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hello-nichya-here · 7 months

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Yes, Buffy loved Spike

The way people act like that was in anyway left up to discussion by the show is legit hilarious/infuriating.

James Marsters (Spike) has said in an interview that, when Joss Whedon let him know that Spike was gonna fall in love with Buffy in season five, he had assumed it would one-sided - only for Whedon to correct him with a "Oh no, she's gonna fall in love with you too."

And the show wasn't shy about it either. Through seasons six and seven, we are shown Buffy repeatedly denying that she loves Spike - and then immediatelly contradicting herself either through actions or her own words (and even in season five she had already kissed him once after he did not give away her sister's identiy to Glory even after being tortured).

After Buffy comes back from the dead - from heaven - and is dragged to the literal hellmouth, having to crawl out of her grave, she sees the Buffy-bot being torn from limb by a bunch of demons. Naturally, this fucks with her head a bit. She manages to save her friends, but she is still very shaken, and looking like she's not really fully back to her senses as her sister is speaking to her. It really does look like something is very wrong and that she is not at all the same girl we once knew.

Then she hears Spike's voice and goes to see him. Only when she sees HIM, when HE starts trying to talk to her, when HE is the one taking care of her, does she start to properly respond. And, of course, out of all the people there - all of whom are worried about her and that she supposedly trusts way more than she trusts this "fully evil" vampire - Spike is the one to whom she reveals what actually happened to her.

During the musical episode, we see her sing "I touch the fire and it freezes me, I look into it and it's black. Why can't I feel? My skin should crack and peal - I want the fire back" confirming to us that her depression after being taken from heaven was not just a temporary consequence of the shock of it all, and has left her completely disconnected from the people she loved, and from life itself, and that she does not know if it can ever be fixed.

But at the end of the episode, after Spike stops her from basically commiting suicide (because remember, he stopped BUFFY. not the bad guy) she sings to Spike "This isn't real, but I just wanna feel" right before they kiss. And Spike's own song says "I died so many years ago. You can make me feel like it isn't so."

It is very clear that what convinced Buffy to keep on living wasn't just because Spike loved her - she already knew that, and she also her friends and this has not done anything to make her less depressed. What makes her not give up is realizing that SHE can still connect to others, SHE still can have feelings for someone. Only it is with her former mortal enemy instead of her friends and family (she had even said in an earlier episode that he was the only person she could stand to be around) and the kiss makes it obvious that this new bond she has with Spike is NOT platonic.

And the following episode when she tries to pretend it means nothing? It has her acting all flirty with Spike while they're both dealing with the amnesia spell, and once their memories return the episode ends with her kissing him AGAIN.

And during ALL of the episodes she's claming she is totally disgusted by him? She's having sex with him all the time. And when Tara finds out about it, Buffy does admit she's using him, but she refuses to give an answer when Tara asks "Do you love him?"

When Spike brings a date to Xander's wedding , Buffy KNOWS is just to get her jealous and Spike even admits to it - and she admits that, even knowing all of that, it DOES bother her. She is unbelievably distraught after finding out he slept with Anya, and even says to his face "I have feelings for you, I do. But it's not love. I could never trust you enough for that" showing us that the thing stopping Buffy from truly giving Spike a chance is, understandably, the "You're a literal souless creature that needs to feed on people to survive" factor, not because their connection is not genuine or strong enough, or because of her past with Angel.

Not to mention, it makes perfect sense that, during the season she was clearly suicidal, she falls in love with the character that is representing the possibility of her death - their first time even happens after Spike reveals that, for some reason, the chip no longer causes him pain when he attacks her, and thus he actually poses a threat to her again.

Unhealthy? Absolutely. Scary? Fuck yes. Does she get over her "feelings that are totally not love" in the season finale, when she's crawling "out of her grave" again, this time triumphantly, in the sunlight, all brave and finally letting go of her self loathing? NOPE!

In season seven, when she's finally about to go out with a man that is not and has never been evil, her friends are all obviously wondering if this is a sign that she is over Spike - of if she's just pretending to. Buffy's response? THE biggest Freudian Slip she's ever had in the series.

"Why does everyone in this house think that I'm still in love with Spike?"

STILL!

Still. In. Love.

Not "Why is everyone convinced that I fell in love with Spike? I told you guys I liked him, but didn't love him" but "Why do you guys think I'm not over those totally vague, definitively not deep 'feelings' I had and that were 100% not just a code for 'Yes, I am in love with him, but I'm scared it will blow up in my face'?"

And how does that date with that Not Evil guy, that was revealed to be the son of Slayer, go? Pretty well! It looks like this romance might actually have a chance of going somewhere.

At least until she goes "Look, I know Spike killed your mom when he was souless and all, but if you try to go after him to get revenge again, he will murder you, and I will let him." She also turns her back on her watcher, and father figure, when she finds out he was in on the plan to kill this vampire that is Totally-Not-Her-Boyfriend.

The episode even has Giles directly compare her codependent bond with Spike to what she had with Angel - which again, included her letting Angelus get away and kill people. Sure, Spike has a soul now, he let the dude live to tell the tale since killing his mom WAS an awful thing to do, and if he was attacked again and killed him it would be self-defense - but it's impossible not to notice the very clear "Buffy is protecting her man" tone of it all.

Not to mention, before that, Spike offers to leave Sunnydale since Buffy's potential new boyfriend clearly can help her find demons and thus she no longer needs him around - and she full on says that SHE IS NOT READY FOR HIM NOT TO BE THERE.

Then, of course, there's "Touched." The episode in which EVERYONE is going "We might die tomorrow, lets fuck to cope", and not only is Buffy clearly touched (Get it? Get it?) by Spike's speech about how much he loves her, she asks him to get in bed with her and hold her. And even though they are not having sex, the scenes of them cuddling are being framed as being just as intimate and romantic as the scenes of everyone else making love to their partners. Again, we had Giles full on state the obvious to Buffy: she and Spike might not be sleeping together anymore, but they are VERY clearly acting like they're still in a relationship, even if both are now hesitant to give it a try after literally everything went wrong for them.

The following day, Spike says that it was the happiest night of his life, and when he starts saying that he knows it obviously didn't mean as much for Buffy as it did to him, she corrects him and says it absolutely did. Spike even goes as far as trying to confirm it AGAIN by asking "Were you there with me?" to which Buffy says "I was", which is HUGE considering she had just admited to him the previous night that she had always cut herself off from everyone - Spike VERY much included - due to being the slayer.

"Oh, but what about the Bangel kiss in the finale?"

The one Joss Whedon explicitly refered to as "the show's way of servicing the Bangel fans" aka FANSERVICE? The one that came right out of nowhere as the signature of Bangel's "romantic chemistry" is angsty pining? The one that didn't hold a candle to one of the few Bangel scenes I say absolutely worked, aka the kiss after Angel comes back to Sunnydale to help Buffy deal with her grief over her mother and that only happened after they had spend HOURS together because, surprise surprise, it doesn't matter if they still have feelings for each other, they have NEVER had this dynamic of exes that just casually make out with each other the second they are in the same room together?

The one that happens right before Buffy says "Sorry, you won't be the vampire champion that will save the world, I'm chosing Spike for that role"? The one that is followed by an obviously jealous Angel making it very clear to Buffy that he is bitter she's "brushing him off for captain peroxide"? And then she asks if he'll react that way everytime she gets a BOYFRIEND?

When Angel points out that, again, she just let slip how she actually feels about Spike, Buffy has to deny it because Joss Whedon thought the ONLY way to make sure viewers didn't miss that Buffy is totally an independent woman that don't need no man was to tease both the possibility of a Bangel AND a Spuffy endgame just to go "Sorry, Buffy is gonna choose to be single."

HOWEVER, even the way she does that has changed significantly, as she says "He is not my boyfriend, but he is in my heart." Notice how, unlike all the previous times, Buffy is not trying to diminish what she has with Spike.

She went from "I slept with Spike/said I feelings for him BUT this totally means nothing and I could NEVER love him because he doesn't have a soul like Angel did" to "Look, Angel, I swear that Spike is totally not my boyfriend BUT I will treat him like he is because I absolutely do have feelings for him. Could you pretty, pretty please go back to L.A. now that the fanservice moment is over? I'll even end it with a 'sometimes I totally think of what could happen between us someday' so we can pretend our romance has not been officially pronounced 'impossible to ever be endgame' since season three of my show and season one of your show?"

And where does she immediatelly go to after this? To see Spike. Because she wants another night of cuddling with him. Then The First shows up in the middle of the night to torment her, he explicitly refers to Spike as Buffy's vampire LOVER.

Finally, the final battle is happening, and Spike is about to die saving the world, and Buffy, with tears in her eyes finally says that she loves him. Whedon had even said to Sarah "Be proud of him. Love him when saying it." We even see literal flames as they are holding hands - an obvious nod to the musical, with the "I want the fire (feeling) back", and Whedon basically confirmed it by saying it was a very deliberate choice to symbolize the feelings the characters have for each other. It is the visual representation of Buffy FINALLY accepting that she truly does love Spike.

"Oh, but he responds 'No, you don't, but thanks for saying it' implying Buffy was only trying to make sure he would die happy!"

Did you guys forget EVERYTHING ELSE I just mentioned in this post? Or the fact, at that point, Spike is still processing the guilt of all the monstruous things he did as a vampire now that he has a soul again? Did you forget him literally asking Buffy to kill him for what he did and telling her that the soul did not suddenly make him good - only for HER to be the one to say he fought back against the monster inside of him and that she believes in him?

Again, James Marsters gave us his insight on what he felt Spike meant by that line and how he played it: Spike was saying that Buffy COULDN'T love him. Not yet. Because he didn't feel he deserved it yet. It was not the right time for them. Yet.

"Oh, but in the late seasons of Angel, when Spike is brought back to life, he is told that Buffy never truly loved him!" Yeah, he is told that - BY ANGEL! In what world would he, Buffy's ex that has had problems with Spike since long before Buffy was even born and that had already admited that having her pick Spike over him "did not bring out the champion in him", not be extremely biased?

"But you're forgetting the Buffy comics in which she is basically told Angel is her soulmate and sleeps with him during some magical fuckery that made her go mad with power!"

Yeah, and in those same comics, even though it took forever and Whedon just HAS to force the "Buffy ends the story chosing to be single because she can either be a strong female character OR be in a happy relationship" AGAIN, she and Spike became a couple after all of that, with her explicitly telling him WHAT SHE HAD WITH ANGEL IS IN THE PAST, and the ending even suggests is only a matter of time before she and Spike get back together again, this time for good.

Claiming that it was up for debate if Buffy ever truly loved Spike is as ridiculous as if I said "I know we are both shown and told many times that Angel and Buffy slept together in season two, but I actually think it's up for the debate if they truly did" NO, IT ISN'T!

We are shown how Buffy's feelings for Spike grow over time, how her dynamic with him changes, how she is actively choosing him over everybody else after he gets his soul, and both the character and the people involved in making the show EXPLICITLY SAY she loves him.

You can dislike it, but don't expect everyone else to cover their ears and close their eyes to pretend it wasn't clear that Spike's love for Buffy has not been one-sided for a VERY long time.

#spuffy

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prince-liest · 17 days

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Why is it that Vox is bad at setting boundaries?? Is that a trait specific to his relationship w/ Alastor or could it be applied to others?

In my interpretation of his character for 666, it's an issue he has with Alastor and Valentino, though in different ways. He has a very obsessive personality and an anxious attachment style, and one of the problems that causes for him in his relationships is that when something happens that makes him genuinely uncomfortable, he has to weigh the pros and cons: do I draw a line in the sand and stand up for myself... or do I tolerate this, like, one thing in favor of keeping my dream come true (Alastor) or the longest, closest relationship I've ever had with someone I've been through all kinds of shit with that knows me best (Valentino)?

He's bad at making the choice that's better for his own mental health, because Alastor is mercurial and a shitty communicator that (from the POV of Vox's in-the-moment anxiety) might ditch Vox at any moment, and Valentino is great at making it sound so reasonable for Vox to just calm down, stop being so dramatic, it's not that big of a deal, he doesn't know why Vox is throwing a fit when they were having such a good time... weren't they? Because Val was having a good time, and he can promise that Vox is about to... besides, doesn't Val always come through?

I also think it mostly comes up when he's already feeling vulnerable, or when Val decides to make a whole situation out of it. When Val or Alastor are just being annoying, or it's something he's confident he's right about, he's happy to make fun of Alastor being "not drunk" or Valentino making a mess chasing after Angel Dust, etc, etc. He also has a lot more experience handling Valentino and has had a lot more drama with him (and thus knows that they'll make it through and come out the other end just fine), so he's more willing to push back; but on the other hand, Val has a lot more practice at circumnavigating Vox's boundaries when he really wants to.

As for the source of this character interpretation: mostly I cobbled it together from Valentino's tendencies as a character + the natural consequence of Vox's psychosexual obsession with Alastor being one-sided. Canon might joss it later, but I like the contrast between a Vox that's a domineering mind controller in his work life vs that behavior being turned on him, in a way, in his private life. There are not many people that he cares enough about to actually see as people, but he's vulnerable to the ones that he does.

#ask #personal #Anonymous #666 live on air #hazbin hotel #my writing #this was a fun ask thank you!!

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olderthannetfic · 4 months

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why do some popular things have such small fandoms, in your opinion? like, John Wick is incredibly popular but has less than 2k fics on ao3 and there doesn't seem to be a big fandom presence on tumblr. there's shows with 10+ seasons that have incredibly small fandoms as well.

i know not every fandom is going to be, say, Harry Potter or Supernatural levels (especially if it's an older show and fics have been lost to time- i've heard ER lost quite a lot) but it's just... odd to me, i guess.

The majority of things don't get fanfic fandoms.

There are some trends though. Certain genres are more likely to generate them than others. SFF is pretty likely. Crime dramas are reasonably likely, whether that's people slashing buddy cops on AO3 or lead canon het on FFN.

Incomplete-feeling canons are a bit more likely, usually due to plot holes or a crappy ending that people want to fix—but not so crappy that everyone just gives up in disgust.

Relatedly, things where the art part isn't too intimidating are more likely than ones where the big draw is that author's exact way of writing or the fantastically subtle and moving acting in some arty movie about social issues.

Serial media are way, way more likely to generate a fic fandom than one-offs, and having a certain number of hiatuses but not ones that are too long helps. You want some gaps where people have time to make stuff before it's instantly jossed, but you do need new canon to reinvigorate a fandom periodically.

Things just being well known by lots of people does help relative to a similar canon that few people saw, but exact audience size isn't the main factor.

Some tasty character dynamics help a lot. Maybe shippy, maybe more found family. A world that people want to play more with also helps. Even the gen-focused fandoms tend to care a lot about the latter two. They don't just write about any old canon. There have to be certain hooks.

John Wick does seem like it fits some of the standard criteria. There's more than one movie. It's fun, dumb genre stuff, not super high art.

TBH, having more than like 5 fics already means it's a success as a fic fandom, so part of it is just your frame of reference. I know you say you don't expect HP, but you should be expecting the norm to be way under 100 fics, not nearly 2k. That's part of it.

But I suspect the big reason is that a lot of people find the films relatively complete as-is.

They're set in the real world (-ish), so the setting isn't that interesting to explore with a bunch of OCs in the way that people write their own HP or Naruto casts. People like the lead, but I don't think they fixate on his relationships to other characters. (Checking AO3, it looks like some people are writing basically John/self, which makes sense.)

For much of the audience, it's all about watching him use a lot of guns. So many guns. All of the guns.

Once the big screen spectacle is done, I don't know that people really want more unless it's more action movies with more visual awesomeness.

IDK, I don't think I've seen any of these beyond some clips, so maybe I'm missing something.

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ifishouldvanish · 4 months

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Some Olrox Analysis & Headcanons

Have you seen this man? Now you have! 🥰

I have a lot of thoughts about Olrox Castlevania Nocturne and I'm dumping them here.

DISCLAIMER: We know so little about Olrox's past and I am but a humble stan looking at an expressionist painting and projecting my own deranged nonsense onto it. I'm fully prepared for 90% of this to get jossed in season 2, but for now I'm just letting the worms in my brain wiggle and send me beautiful visions of what could be 🥹

1. Olrox Was a Commoner and Does Not Respect Hierarchies

I've seen people point to his manner of speech and dress as evidence that he must come from a privileged background, but I think he displays too much contempt for the wealthy/nobility to have been one himself. I think these things are just symbols of power he has learned to use to his advantage.

Of course, there's everyone's favorite quote: "I prefer my blood blue." But he also demonstrates virtually no respect for authority or symbols/institutions of power in general:

He refuses the escort sent by the marquis when he arrives in France and insists on staying at the inn because he likes to "keep his ear to the ground". He would rather be around 'the people' than accept anything from the wealthy.

When Drolta is reminiscing about her glory days as a priestess, there's really not any nostalgia or sentimentality when he interrupts and says "and now those temples are half-buried in dust."

For as good as he is at presenting himself as a Gentleman of Status, he cannot bring himself to even pretend to enjoy himself at Erzsebet's lil debutante ball at the chateau.

When Erzsebet insists she is a goddess, his response is "Of course you are, sweetie 🙂"

His whole speech to Mizrak in the morning-after scene is basically a deconstruction of what power means, and how it is only a perceived vs tangible thing, a temporary position vs an immutable one:

"There are petty demon princelings you can haggle with and cheat. There are demon charlatans whose faces you can laugh in, spit in. There are demons who once were gods... And those who still are."

Foucault? In MY anime adaptation of a vampire video game?? It's more likely than u think 🤔

(continued under the cut bc this got long as hell)

2. Olrox was an Adult when Cortés Arrived

(I don't have a relevant screenshot for this point, so here's Olrox being pretty for no reason)

I've seen it float around some places that if we adhere to historical timelines to a 'T', it would make most sense for him to have been a child, but I'm of the opinion that it's more useful to take what the text itself gives us and fill the gaps with bits and pieces of the actual history where it's convenient. At the end of the day, this is a work of fiction/fantasy. So what does the text tell us?

He lived a long time as human and vampire

As of 1783, he'd been a vampire for approximately 250 years

Now, if we want to take this 250 figure literally, that would put the year of his turning at 1533. But I think we can give ourselves +/-15 years leeway because 250 is just the kind of rounded, even number one would use in natural speech in place of "267" or some shit like that. It's just how believable dialogue is written. So what lies in this +/-15 year window? The invasion by the Spanish, 1519-1521.

Now, he tells Mizrak: "Long ago, when I was still human, I watched men wade ashore from ships..."

I think this is another case of how important dialogue is. Because if he was a boy at the time, this line would likely have been written as "Long ago, when I was just a boy..." or something like "One of my earliest memories is of..." instead. "Still human" implies not only was he a human, but that he had been human for quite some time already. That the events he's describing fall in the stretch of time leading up to "still human" no longer being true.

tl;dr: the Spanish arrival and him becoming a vampire happened within a few years of each other, and if turned vampires stop aging, then he would have had to have been an adult at the time.

3. Olrox Became A Vampire Willingly

I assume that vampirism is something that was introduced to the Mexica by the Spanish in the same way it was introduced to Haiti by the French, in Annette's case.

However, rather than vampires creating spawn left and right, the persistent lore (in the show at least) is that to be turned is to be accepted into the sort of elite in-group of vampire society. (Carmilla questioning why Lisa was never turned, the Count never turning slaves, etc). Vampires feed on humans, they don't view them as potential spawn to have in thrall or whatever.

The Spanish weren't going around giving natives The Bite, because vampirism is power. So what I think, is that Olrox recognized that power, and decided to take it for himself. Rather than being the passive 'recipient' of the 'gift' of vampirism, he pried it from some Spanish vampire's cold, undead hands. (i.e., he drank their blood)

Do I have any proof of this? No. It's just what the worms in my brain are telling me 🤷 But!!

Do I think it would be a sexy little inversion of the way Erzsebet drank a god's blood to obtain her power? Yes.

Do I think it would be thematically very appropriate for a morally grey character who seems to have a very... Interesting relationship with power (individual power vs institutional powers, the subverting of power, the weaponization of symbols of power, etc)?? Oh absolutely fuck yes!!1!

[sickos.jpg]

4. Olrox Was a Priest, But Not Like That.

Priesthood in the Mexica empire was largely dominated by the nobility, whose children would be sent to the calmecec to learn how to read and write, speak the noble dialect, perform rituals, etc. But if the circumstances were right, the children of commoners could also get in!

Olrox says he's never been much of a believer, but he's highly intelligent and incredibly good at reading people. Even if he was never a man of faith, the priesthood was still a powerful institution where one could climb the ranks and earn influence over the nobility. No doubt someone as sharp and charismatic as Olrox would be able to take advantage of the opportunity to get a good education and maybe try to undermine the system from within/play a bit of political games while he was at it.

Also... Olrox's weapon of choice is the dagger. Obviously a dagger is an appropriate weapon for a character who's kind of rogue-ish, but also consider: Aztec warriors used a lot of weapons in combat: clubs, spears, arrows, axes—but an obsidian dagger? That's something that would have been used by a priest during rituals.

5. Olrox is a Bitch™ Who Knows Just What to Say to Get Under People's Skin

A common myth is that the Mexica welcomed Cortés at first because they thought he was Quetzalcoatl. But this is a misreading of the way Mexica social conventions/the noble dialect worked, which was kinda ~passive aggressive in a way, such that the more loftily and overly politely you spoke with someone, the more you were actually telling them to go eat shit and die. I think Olrox's dialogue demonstrates this beautifully in the scene where he meets Erzsebet:

"Taker of Souls, Vampire Lioness, She Who Mauls, The Messiah of--" / "Yes, charmed to meet you 😒"

"Her magnificence has heard much about you." / "Flattered. For a god to have heard of me. 🥱"

"I am a goddess!" / "...Of course 🙂"

His words are receptive, respectful, docile, even... but his tone and delivery are completely the opposite. Compare this with the way he speaks with Richter and (in later interactions) Mizrak—which is more informal, open, confrontational. He's more direct with them because he actually respects them.

As far as reading and getting under people's skin with pinpoint precision, I present the following interactions:

When he catches the marquis' severed head in the catacombs, he reads him (and potentially also Drolta) like a book: "This one? He was just an opportunist, following the messiah because she's powerful. But there are those who love her [looks to Drolta]. So I'm told."

When Drolta gives him a verbal slap on the wrist for feeding on the wealthy, he says "mY Ap0LoGiEs, I didn't realize how invested you are in keeping the mortals happy." - To which Drolta goes on to grumble about how their alliance with some of the mortals disgusts her.

When Erzsebet is waxing poetic about how everyone will see her beauty and worship her, he has the balls to—without missing a beat—say "PaRd0n mEe, but you mean to do this through an alliance with a man who will never worship you? 🫢" right to her fcuuckin face mgod I love him so much (this is the point where she whips out the big guns and yells "I am a goddess!!" while threateningly flashing her orb of darkness btw. Like she did NOT like that)

6. Olrox Has an 'Eye for an Eye' View of Justice

A prevalent theme in Aztec religion is the idea that like... ain't nothin' in this world for free. Sacrifices to the gods weren't symbolic gestures of devotion, but an act of paying the gods back for providing humanity with the means to survive.

The idea that everything has a price pervades the dialogue he has with Mizrak in the morning-after scene:

"What was the cost? Who pays it? Just him? Or all of you? Will you? Which demon will claim his price when all this is done?"

And it's also present in the very first scene where we are introduced to Olrox:

"You see, your mama took someone from me I loved, just as much as you loved her. So, she had to die."

What's interesting about this scene is also how... calm he is the whole time—before the fight, after the fight. Yes, he's motivated by the murder of the man he loved, but he brings zero of that passion to this confrontation. It's just an execution, something inevitable that must be done.

That he's fine with confronting a terrified Richter immediately afterwards to explain what just happened (and is completely unapologetic about it) is also telling. It suggests that Olrox views this kind of thing as just 'the way of the world'—a hard truth that Richter will be better off for having learned sooner rather than later.

I think this also helps explain why, years later, Olrox seems to treat Richter with a little more.... Familiarity than we might consider appropriate. He approaches Richter in the catacombs like he's just an old acquaintance, as though Richter should have no reason to be terrified of him. When Drolta mentions the incident later, he seems kind of lightly amused by it. Then, when he drops off the book, he's visibly/audibly frustrated that Richter starts gearing up for a fight. To Olrox, the whole "killed your mom" thing is water under the bridge, nothing personal.

7. Olrox is a Vampire of Prominence in The New World

Obviously, he has to be kind of a big deal to give a Belmont a run for their money. But let's go deeper into the IMPLICATIONS!!

"In 250 years, do you know how many vampire hunters have promised to slice me in two?"

"Her magnificence has heard much about you."

"You will be her guide into America."

He's enough of a big deal that countless hunters have promised to kill him. Enough of a big deal that Erzsebet has not only heard of him, but sees him as a valuable ally who knows enough about America to guide her as she builds her empire across it.

Olrox wasn't just a powerful vampire who got entangled with the politics of colonial Massachusetts and happened to cross paths with a Belmont. He's presumably had a hand in matters across the continent. Erzsebet refers to the colonists as "American upstarts" but for her, this is a conflict between humans vs vampires. The American colonists aren't allies or even rivals to her—because they're not vampires. They're just more pesky humans to be dealt with. (Also??? 'Protestant Vampires' as a concept is just hilarious to me, I'm so sorry)

So.

What the worms in my brain are telling me is—And this is Big!! This is a Steaming Hot Take!!!

(...seriously, tin foil hat tier headcanon incoming)

Olrox has established a network of indigenous vampires who are resisting the colonial threat. He's been turning them (or at least select individuals who are into it), and thereby redistributing the power he took from the Spanish colonizers to wield against the British colonizers.

(Look I have 0.01% faith in this actually being canon or anything. I just think it would be cool as fuck.)

Anyway.

Thanks for coming 2 my Ted talk or whatever. 😘

#Olrox #castlevania #castlevania nocturne

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diaryofateenageslayer · 9 months

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I was rewatching my Buffy DVDs and found the JW commentary. Even though his views on women/feminism tainted this show, he does explain his directing decisions.

If you don't believe the Spuffy fans, at least believe the writers and actors who created their story!

It's the "wait...Bangel was a big deal?" for me.

JW actually admits that Angel reappearing in the last episode and the Bangel kiss was, in fact, "fan service."

Emphasis on the VOCAL MINORITY that leads to the fan service. Something iconic enough (The Bangel kiss) to "give people hope( 😂) that Buffy and Angel might one day work out" - purple

I don't know what was going through that brain of his, but Parker was NOT "the most important relationship of her life." Like sir, where did that come from? - green

The chemistry between both David/Sarah and James/Sarah is insane. However, I like how both relationships have their own distinct chemistry. - yellow

Spike is more on Buffy's level. he understands her, both physically and emotionally, something Angel struggles with. - orange

The relationship is more nuanced, we witnessed the development, and we watched it build from the ground up. We can point out pivotal moments in the relationship. Spike has more dynamic, he's not just "the tall, dark and handsome vampire" that seduces Buffy.

Buffy tells Spike things she wouldn't tell anybody else.

"These two" (Sarah/Buffy & James/Spike), yes, I agree 🤗- blue

Angel is described as an object of desire. Buffy falls in love because of his looks. If Angel wasn't attractive, would she have fallen for him? It's his body that "becomes the object of her gaze."

He really has his looks to offer. "He's tall, dark, and handsome" so he must be a love interest. "Otherwise what else would his purpose be?"

The analysis states that Angel functions as Buffy's "homme fatal," (An ultimately seductive and dangerous man; a womanizer) which gives a nod to Liam's character, his human self.

Joss explains the comparisons between souled and soulless Spike and his behavior/change. Soulless Spike didn't recognize boundaries.

JW still highlights that Spike needs development before he and Buffy become "lovers" again.

The writer of the character and the story states that this man can be redeemed.

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centrally-unplanned · 6 months

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Rewatching Buffy is also a fun exercise in context-aware consumption. As a show I like I have read a number of production interviews & such about it, and its not a show aiming for hyper-realism; I am rarely fully suspending disbelief when watching. I know this is media, made by actors & crew members.

It is something that makes it very hard to get "mad" about things that fans back in the day were mad at, that almost always ignored the reality of said production. Tara being killed in Season 6 and never returning is a classic example - extremely controversial decision, death-threats-faxed-to-the-team fan response drama. The Big Bad of season 7 has the ability to wear the form of anyone dead, and in one episode tries to convince Willow to stop using magic in the form of some other dead girl speaking for Tara, but not Tara herself.

So why is Tara not-even-a-ghost? Because actress Amber Benson really wanted to leave the show. She had big conflicts with someone on the production - she has never confirmed, but all odds point to Alyson Hannigan (Willow) - and mid-production in Season 6 they came to a head, and also she had an opportunity to do some directing for a shoot in England, so she asked Joss to write her out. Dying fit the themes, and maybe coming back for an episode was on the table but like it didn't really work out. That is TV! Obviously it would have been better for the ghost episode if that was Tara, but its hard to be mad at it, they did what they could.

Season 7 has a bunch of things like this too - Caleb certainly shows up pretty late in the game! So does Faith! Couldn't they be there for more episodes? Not with the contract as a non-regular Nathan Fillion & Eliza Dusku had. Who is main-billing w/ residuals, who is recurring, who is a "special guest", these are important questions for TV productions, and the ideal script doesn't care. So Caleb's arc in Season 7 is rushed, for sure. Its a criticism, I do think they should have written *around* that reality better. But its way to easier to look past that and see the good stuff when you know the constraints.

#buffy the vampire slayer

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canonmisogynyvictimstournament · 8 months

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PRELIMINARY ROUND - BUFFY THE VAMPIRE SLAYER/ANGEL THE SERIES

PROPAGANDA

Fred Burkle

1.) She is chronically a damsel in distress in the canon even though she has demonstrated her intelligence and ability to use weapons. The canon consistently takes away her agency over her body and ability to make decisions just to further plot. Why does she die because she gets possessed by a god for no reason </3

2.) ok I promise I'll be more normal about the other ats female characters than about cordy. fred was introduced as a genius physicist who had spent five years stuck in a demon dimension where humans were persecuted, surviving on her own and trying to somehow find a way back home. after being rescued from the demon dimension by the show's main characters, she joins the main cast and starts trying to readjust to the normal world. the setup for her character is really interesting, with her having a lot of trauma from her time in the demon dimension, feeling helpless, and struggling to become comfortable living in the human world again. but I guess because she's a Woman the show instead reduces her to just being at the centre of a love triangle with two of the other main characters, which she has almost no agnecy in and gets stretched out over like two seasons. and then after she breaks up for good with one of the guys and it looks like MAYBE she'll at least be freed from love triangle hell, the show introduces a NEW love interest for her just to keep the love triangle drama going. she basically never gets any focus or to be an active player in the show's plot aside from in a couple of episodes, pretty much being reduced to just a damsel in distress. and as if all that wasn't bad enough, fred's story ends with her being killed by a demon that takes over her body and destroys her from the inside out in a way that isn't Technically a mystical pregnancy but is like. close enough to one and presented close enough to one for it to count. (if you read the cordelia submission and are perhaps thinking to yourself jesus christ did they actually fridge both their main female characters in exactly the same way? Yes. Yes they did.) the demon in fred's body then allegedly becomes a new member of the main cast but the show does pretty much nothing with this character and she doesn't play any important role so it really does just feel like fred died for no reason other than to make her boyfriend sad. This is because fred died for no reason other than to make her boyfriend sad. It fucking sucks but I guess it's not like she got any agency or development when she was alive either

3.) Poor Fred. Amy Acker is a fantastic actress and Fred had the potential to become a truly wonderful character - a brilliant scientist who goes through intense trauma and finds her purpose in helping other people. I have a lot of love for her. Unfortunately she was the victim of a lot of really misogynistic writing. For starters, a lot of her characterisation falls into the ‘quirky weird girl who’s hot but doesn’t realise’ camp which Joss Whedon is fond of. Like other examples of this, her trauma is turned into something quirky which fades away once they get bored of it. Also, she becomes completely sidelined and silenced in a love triangle where the feelings of the man pining over her are given all air time, and her own opinion is never mentioned. Additionally, she’s constantly sidelined in the final season after being made the token girl, and is finally killed off unceremoniously to generate drama and pain for the aforementioned man who was pining over her. And you know what the worst part is? She still gets off more lightly than Cordelia.

Cordelia Chase (CW: Pregnancy)

1.) (downs an entire bottle of vodka and slams it back on the table) SO. CORDY. Cordy started off as a supporting character in Buffy the Vampire Slayer. At the start she was your typical high school mean girl character, but as the show went on we got to see more depth to her character: her insecurities, her courage, her capacity for incredible acts of kindness. Then after the third season she moved into the show's spin off, Angel, where from the beginning she was basically the show's secondary protagonist. Her and Angel were the two mainstays of the show's main cast, she gets the most episodes centered on her out of all the characters aside from Angel (and yes, I've checked), and we really got to see her grow from a very shallow and self-centered and kind of mean person to a true hero who was prepared to give up any chance at a normal life to fight the good fight while still never losing the basic core of her character. There were some… questionable moments like the episode where she gets mystically pregnant with demon babies and things got a bit iffy like halfway through season 3 where the writers seemed to run out of ideas for what to do with her outside of sticking her in this romance drama/love triangle situation with the main character but overall, pretty good stuff right? THEN SEASON 4 HAPPENED. In season 4 she gets stripped of literally all agency and spends pretty much the entire season possessed by an evil higher power, and while possessed she sleeps with Angel's teenage son (who BY THE WAY she had helped raise as a baby before he got speed-grown-up into a teenager it was a whole thing don't worry about it) and gets pregnant with like. the physical manifestation of the higher power that's possessing her. it's about as bad and stupid as it sounds and also is like the third time cordy's got mystically pregnant in this show and like the fourth mystical pregnancy storyline overall (you will be hearing more on that note in other submissions I'm so sorry). after giving birth she goes into a coma, in which she remains for the rest of season 4 and the first half of season 5. SPEAKING OF WHICH DON'T THINK SEASON 5 IS GETTING OFF SCOT FREE HERE. yeah so in season 5 the show just FULLY starts trying to erase cordy's existence. she gets mentioned ONCE in the first episode and then never again until halfway through the season where she wakes up, helps out Angel for a bit and encourages him in his fight against evil, and then goes quietly into that good night and dies so it can be all sad and tragic. I'd call it the worst fridging of all time but even THAT feels generous because the whole point of fridging is killing off a female character so a man can be sad, and after Cordy dies basically no one's even sad about it because the show immediately goes back to pretending she never existed. she is not mentioned ONCE in the two episodes after she dies. in the whole stretch of time between her death and the end of the season she gets mentioned exactly four times. again, I counted. anyway the fun twist to all of this is that all of this happened because the actress who played cordy got pregnant before season 4 and joss whedon was so pissed off about this affecting his plans for the show that he decided to completely fuck over her character and then fire her and write her out of the show. so cordy's a victim of both writing AND real life misogyny!! good times!!

2.) OH SO MANY THINGS they menaced by giving her terrible hair cuts, making her seem like she'd get together with the guy she loves (and who loves her back) but instead she was killed and when she was brought back, she got possessed by an evil entity who used her body to give birth to itself. afterwards she was in a long coma and died. her character was so throughoutly assassinated

3.) She got demonically pregnant TWICE - there was this real sense of a womb/ability to get pregnant as like, a place for evil to get in. She got positioned as femme fatale and evil mother. The actress basically got fired for being pregnant, and when she agreed to come back for a single final episode she specifically said they could do anything but kill off the character. Guess what happened

#polls #preliminary round #cw pregnancy

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becomingbuffypodcast · 7 months

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Who get the biggest passes from Buffyverse fans and can you give examples of the worst things these characters do?

Well this is a juicy question.

Spike, and Cordelia.

Interestingly, at some point, both characters were given the role of calling Buffy out on her "crap." James Marsters even talks about how he was brought in as a replacement for Cordelia in season 4, but then was replaced by Anya when they decided to do something else with him.

With Cordy being the mean girl, and Spike the soulless vampire, the writers had the freedom to use these characters to say and do some incredibly cruel things towards Buffy in the name of "brutal honesty," while also excusing their behavior because they weren't meant to be the hero...at least initially.

This worked a little too well, as Charisma and James were amazing in their roles. Each character is charming, beautiful, multifaceted, and extremely funny.

The problem is, you can't keep your characters stagnate, so the writers were forced to give Cordy and Spike character growth, but also find a way to retain who they are. This is incredibly difficult when your character was literally written to clash with Buffy, and is popular for saying mean, biting things in the name of "tough love."

-Cordelia-

While Queen C is more than the resident mean girl, her cruel words and selfish behavior are praised as "truth" and confidence, with her belittling nearly every member of the Scooby gang. She is constantly pitting herself against Buffy; (Homecoming, Halloween, etc) demeaning and belittling her when Buffy has personally saved her life several times. She begins to show signs of character growth in season 3, but once Xander cheats on her, reverts right back to blaming Buffy for everything. Instead of holding Xander accountable for his actions, she makes a wish that Buffy never came to Sunnydale, and then never sees the consequences for her own actions.

Even after her move to LA, she calls Buffy a cry-Buffy, blames her for turning Angel into Angelus, emasculates Wesley, victim blames and shames a SA survivor (Untouched), and is generally just careless about what she says or does, with no thought about how her words effect others.

Personally, while I do see some growth over her time on Angel, I do not buy her characterization in the later seasons where she is drastically changed to become a Champion, and then shoe-horned into a relationship with Angel. On top of that, she never atones for or even recognizes her need to change for her awful behavior, and that makes it very hard for me to forgive her for her past sins, let alone root for her.

It's possible that with better writing and without Joss being a horrible person, that her transition would have been more organic and believable.

-Spike-

For a show about feminism, the writers really spend a lot of time on this man. He steals Buffy's underwear, stalks her, makes a sex robot that looks just like her, attempts to kill her multiple times, boasts about killing and torturing other slayers, justifies it by saying they wanted it, ties her up, then spends a season belittling her just so that she'll sleep with him. THEN when she refuses sex with him, attempts to force himself on her.

And for those of you who say, "oh he just didn't have a soul yet." Fine.

After he had a soul, he boasts about assaulting her, shames her for using him for sex when he knew she didn't love him, shames her for not loving him, and blames her for the reason he's tortured with having a soul. (Beneath You)

He nearly kills Robin Wood, and then mocks him for not being loved by his mother (which is proven to be false in "Damage"), all while wearing the coat that he stole from Robin's mother after he killed her.

Not once does he apologize to Buffy or attempt to hold himself accountable, even after he has a soul. It is not until "Damage" on Angel that we see any sort of unselfish remorse.

Then to add insult to injury, season 7 has Buffy spending so much time taking care of Spike, rescuing Spike, training with Spike, reassuring Spike that he is a good man...all to the detriment of her other relationships. People like to blame the Potentials for why season 7 is as clunky as it is, but I blame the focus on Spike.

Even worse, the show doesn't seem to want Spike to change, as there's hardly a difference between pre souled and ensouled Spike. And that goes against the show's core tenant of choice and growth.

From the very beginning, vampires represent the opposite of adolescence in that they are stagnate and do not change. "Fool for Love" very clearly establishes that Spike's persona is created to compensate for his lack of an identity. Cecily's rejection of him deeply wounds him and he is shown to create a facade to mask his insecurities. So he takes from powerful women and forms a false identity around them to prove that he is not beneath them. The episode emphasizes this pattern with Cecily, Dru, and the two Slayers, continuing in present day with Buffy.

In order to be consistent with the lore and message of the show, ensouled Spike needed to look a lot different from un-ensouled Spike, but the writers knew he wouldn't be as popular.

And so we're left with a half baked season where we're supposed to believe that Buffy is distant from everyone but Spike, who looks the exact same as he did the season before when he tried to force himself on her.

It's just icky. It's the opposite of empowering. It blurs the lines of the lore. And it sends the wrong message.

We can like these characters and even root for them, but we need to be honest about their flaws, and not justify awful writing and problematic characterization.

#buffy summers #buffy the vampire slayer #buffy btvs #tv: btvs #buffy watching #becomingbuffypodcast #sarah michelle gellar #alyson hannigan #buffy anne summers #btvs s5 #anti spuffy #anti spike #anti cordelia #bangel #buffy and angel #buffythevampireslayer #not really anti #i dont hate them

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laylaisthename · 1 year

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ILW // Here they are! All 7 different end cards you can get in the many many more variations of the niche endings available in the game.

Google Drive Link to the cgs here

I am beyond honored to have been allowed to leave my own mark in the game like this, and honestly never in a million years expected to actually become involved with the game.

Everyone is fine to use these as phone backgrounds but if you do youre legally required to tell me which one is your favorite.

Putting it under the cut for length, but here's a breakdown of each card;

Starting with the Evil!MC end cards, that are lovingly dubbed Judas' Kiss if you stayed with Matty, or Scorched Earth for MC's solo end.

The images really mostly speaks for themselves; the flaming heart, hand in atrocious hand if you chose to share the power with Matthias, but then when you put it next to the solo end is where it got fun for me. The heart is broken, its just you now, but the glowing eyes are smiling. My first time testing the judas kiss route I did not hestiate for a second to hit "kill him"

Next is the death card

I really liked the idea of (if your mc wasnt a huge dick anyway) that they give you a grave outside the cave, something for people to leave Rowan flowers and gifts. A classic grave didnt quite feel like it fit so I settled on a cairn. It felt very fitting with the Power being a respect for nature and such. I set it to be at night, with moonlight streaming down on the grave to give it a melancholic sort of feeling, with the sun charm sunny gives you strung off it, and then placed flowers at the grave to kinda show that people have come by because they care about Rowan. Meanings for the flowers are below and while not canon, I like to think each of the LI's left behind one of them; red roses from Abel, blue violets from Amalia, sunflowers from Lincoln and the marigolds from Joss, though really they were all chosen more generally.

Onto the blood end card! Which I named New Horizons, and not because of animal crossing. A winding road in the mountains at sunset; the road has been long, it has been hard and now youre choosing to move on. Symbolically what i wanted this card to be is that feeling of leaving everything behind. The sun is setting on your old life as you go to embrace the normal life that Blood MC wants so much. Youre on the top road moving around the bend, not sure where life will take you but that's alright, you have the rest of your life to look forward to figure out where you'll go.

Onto my own canon end; the Mixed end!

Lovingly called "Best of Both Worlds" because mixed rowan is playing that hannah montanna life. More seriously; this card in contrast to the blood end is not about leaving everything behind, but embracing what you are. The card itself is set at dawn to contrast this; soft yellows and pinks, morning dew and fog clinging to the forest floor with a streak of Power playfully dancing among the trees. Its the dawn of a new day, seeing everything in new light after the darkness of the past weeks/years rowan spent trying to understand themselves. It's my personal favorite end even if my mc and Linc gotta do long distance for a while. But to me its about accepting yourself; moving on from the grief of losing your family without alienating yourself from your memories of them and embracing that Power side of yourself without being changed by it. The life you built after being ressurected is your own and no one can take that from you.

Next up my almost canon end, that does live rent free in my mind because I love angst.

Closed gate shadow end, Far, Far away (yes this is a shrek/starwars/nerd refrence); its a fairly straight forward card, thought it does have one of my personal favorite little details. This is the second draft I made of it after this scene from Lincoln's shadow goodbye stuck with me; looking up through the trees at the night sky.

I really wanted to hide an eye shaped constellation in the stars but couldnt make it look good sadly :sob: But my favorite little detail are the fireflies and how some of them are cyan; touched by the power Rowan is now again a part of. Not canon, but I like to think these little cyan fireflies come to sit on the LI's heads next they wander too close to the woods (Fireflies by Owl City starts playing).

Shadow end is just. Its so beautiful really. From sharing your experiences with the wisps, how Rowan's wisp has been changed by their time as a person, how despite their grief they are not sad or unhappy, melancholic yes but this is where you want to be. Its a cosmic love, the joy of having lived, coming inside on a cold winter day to find your home warm and inviting, your family waiting for you to tell them about your day. The card itself is a little whimsical, hopeful despite the closed gate that the power will forever be part of the world, even if its been cut off. And this brings us to the other shadow ending card; the flower

Eternal Bloom, a ghostly hand reaching out to hand this flower over to the world, a final gift, a final goodbye. Maybe a promise of "I'll see you soon" but first and foremost, it is a promise of love.

Thats right babes. Its all about Love. Unfading Love.

symbolically there isnt anything hidden in the card, but thats also in part of it at face value telling you all you need to know; its about love! its a gift, for you, to remember me by. You have not forgotten me, and even changed as I am, I have not forgotten you. Rowan's change in personality after merging shadow was sooooo heart breaking tbh but ITS SO GOOD. You found joy in what you were, but its time to come home, take off your coat, hang it up, take off your shoes.

And it is all about love! All these cards (well, not all of them) were for me made from the heart, trying to keep in line for the different themes each end resolves to give the players something to remember each route by.

To anyone that made it this far, let me know which one is your canon card/which card you like best! And im kissing you on the lips I love rambling about my thoughts and if you got to here then you deserve a reward. So.

#ilw #it lives within #it lives within spoilers #art #but seriously i will forever remember these last 4 months #it was soooo much fun seeing my name in the credits #also fun fact! I made male harper's outfit!!!#and reb picked it but i also did the colors for female harpers #we wanted them to match #and i liked the red bc it reminds me of their power fit

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ghostflowerdreams · 10 months

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Audio Drama Recommendations, Pt. II

For part one, click here. I went on another audio drama binge and I found some that were pretty fun to listen to. I usually tend to go after the ones that are completed because the longer the wait, the more likely I will forget the details, but this time I just went for anything that caught my attention. This also isn’t in any particular order.

The Magnus Archives – is a horror fiction anthology podcast written by Jonathan Sims, directed by Alexander J. Newall, and distributed by Rusty Quill.

The new Head Archivist of the Magnus Institute, Jonathan Sims, attempts to bring a seemingly neglected collection of people’s testimonials of their encounters with the supernatural up to date, converting them to audio and supplementing them with follow-up work from his small but dedicated team. [COMPLETED]

It has five seasons, each 40 episodes long, as well as additional content such as Q&As, non-canon fan-submitted statements and one-off episodes that tie in with Rusty Quill's other podcasts.

It does start out slow and maybe at some point you’ll be wondering where is this going and what does some of these episodes have to do with the overall story, but it does all eventually connect. Your patience will pay off because once the build-up is done it picks up and things get really interesting!

Unwell – is a horror podcast starring Clarisa Cherie Rios and produced by Hartlife NFP.

The story follows Lillian Harper who has returned home to Mt. Absalom, Ohio to care for her estranged mother Dorothy after an injury. Living in the town's boarding house which has been run by her family for generations, she discovers conspiracies, ghosts, and a new family in the house's strange assortment of residents. [ONGOING]

This audio drama has five seasons which runs for 12 episodes. It currently has 54 episodes in total and each one is about 20-30 minutes long. New episodes are released fortnightly (biweekly) on Wednesdays. They take a mid-season break between episodes 6 and 7.

Bridgewater – is a supernatural thriller audio drama produced by Grim & Mild and by iHeartRadio, created by Aaron Mahnke and written/directed by Lauren Shippen.

Folklore professor Jeremy Bradshaw is pulled into the mysterious 1980 disappearance of his police officer father, Thomas, by new evidence that threatens to upend decades of certainty. Along the way, he’s helped by some unlikely partners who challenge everything he believes in, and ultimately tries to answer the question: can the past actually be rewritten?

Together with his father’s former partner, retired Detective Anne Becker, Jeremy must chase the clues that will tell him whether his father really did fall victim to a Satanic cult in the Bridgewater Triangle—or something much more dark and unexplainable. [ONGOING]

It has two seasons, the first consist of 10 episodes and the second has 12 episodes. Each one runs about 20-30 minutes long. Season three was put on hold when there was news of a possible television series. However, that fell through and by then everyone was working on other projects. So a season three, well, that’s pretty much up in the air.

It stars Misha Collins (Supernatural), Melissa Ponzio (Teen Wolf), Nathan Fillion (Firefly, The Rookie), Karan Soni (Deadpool), Kristin Bauer (True Blood), Hilarie Burton Morgan (The Walking Dead, One Tree Hill), Wil Wheaton (Star Trek: The Next Generation), Jonathan Joss (The Magnificent Seven, Parks and Rec) and Lori Alan (Spongebob Squarepants, Family Guy).

The Lovecraft Investigations -- is a mystery thriller/horror fiction podcast written and directed by Julian Simpson, based on several works of H.P. Lovecraft. It’s produced by Sweet Talk Productions for BBC Radio 4. It concluded with three seasons and each episode is about 25-30 minutes long. There might be a fourth season in the works, but even if there isn’t the series is considered to be finished.

The first season starts off with an investigation into the disappearance of a young man, Charles Dexter Ward from a locked room in an asylum. [COMPLETED]

It stars Barnaby Kay (Shakespeare in Love), Jana Carpenter (Doctor Who), Nicola Walker (MI-5, Unforgotten), Mark Bazeley (The Queen, The Bourne Ultimatum), Phoebe Fox (Eye in the Sky, The Woman in Black 2: Angel of Death), Steven Mackintosh (Rang De Basanti, Lock, Stock and Two Smoking Barrels), Samuel Barnett (Dirk Gently's Holistic Detective Agency, Penny Dreadful), Alun Armstrong (Sleepy Hollow, The Mummy Returns), Adam Godley (The Great, The Umbrella Academy), and so on.

Midnight Burger – is a monthly sci-fi audio drama about a diner at the end – and somehow the beginning – of the universe.

When Gloria took a waitressing job at Midnight Burger outside of Phoenix, she didn’t realize she was now an employee of a time-traveling, dimension-spanning diner. Every day Midnight Burger appears somewhere new in the cosmos along with its staff: a galactic drifter, a rogue theoretical physicist, a sentient old-timey radio, and some guy named Caspar.

No one knows who built Midnight Burger or how it works, but when it appears there's always someone around who could really use a cup of coffee. Come by any time, we open at six. [ONGOING]

The audio drama currently has three seasons and each episodes averages about 30 minutes to an hour or so.

Rex Rivetter: Private Eye – is a 1950s-style noir detective audio drama written by Greg McAfee, directed by Rhiannon McAfee, and produced in San Diego, CA by Downstairs Entertainment with editing and sound design by Steve Murdock. The Rex Rivetter theme “Nightmare” by the Artie Shaw Orchestra is used with permission of Music Sales Corp.

The year is 1955. Tinsel town. The land of make-believe. It's a time of growth in American prosperity. Especially in Los Angeles. Here, dreams are bought and sold.

But there's a seedier side to the City of Angels, the shadows where pimps and narcotics pushers live, where organized crime stands just around every corner with one hand out, and the other wrapped around a roscoe. It's a city full of fancy dames and slick cons, where bookies know the vig, so you better, too.

Some folks call it noir or pulp fiction. But for a private eye named Rex Rivetter, it's home. [ONGOING]

It has four seasons and each one runs about 20-30 minutes long. Due to the pandemic, it is still unknown if season five will ever come out and so far there hasn’t been any news about it either.

Mansfield Mysteries – is a satirical, cozy murder whodunit written by Amy Henson, directed by Nicholas Hoyt and produced by The QuaranTeam.

It follows the inquisitive, martini-loving socialite Dorinda Mansfield and is set in quiet, affluent Berkshire Bay. So far it only has one season, which contains nine hilarious episodes, each three-chapter story finds Dorinda wrapped up in a new murder. With the help of her devoted daughter, Stacey—as well as the occasional frenemy—Dorinda digs for clues, navigates Berkshire Bay’s elite social circles, and sifts through years’ worth of grudges and motives. In this company town, no one can be trusted, and everyone has something to hide.

Whether at the Labor Day Extravaganza, the Halloween Tennis Club Open, or secret karaoke night, Dorinda sets out to find the real killer before they get away with murder… Just as soon as she orders her martini! [COMPLETED]

If you’re looking for a bite-sized audio drama, this might be for you. It has three seasons (or chapters) and each one only takes three episodes to complete its tales, which is fun, amusing and will keep you entertained while you’re working on something or resting your eyes.

The Call of the Void – is an indie science fiction mystery audio drama created and written by Josie Eli Herman and Michael Alan Herman. It’s produced by Acorn Arts & Entertainment. It contains three seasons of 28 episodes and each one is about 25-30 minutes long with a cast of about 35 actors.

In the bustling streets of New Orleans, a tour guide and a palm-reading outcast team up to unravel the mystery behind cases of sudden insanity besetting the city. [COMPLETED]

Wolf 359 – is a science fiction audio drama created by Gabriel Urbina and produced by Gabriel Urbina and Zach Valenti under Kinda Evil Genius Productions. It consists of four seasons with 61 episodes in total and each one is about 25-40 minutes long.

It is set on board the U.S.S. Hephaestus space station orbiting the star Wolf 359 on a deep space survey mission. The dysfunctional crew deals with daily life-or-death emergencies, while searching for signs of alien life and discovering there might be more to their mission than they thought. [COMPLETED]

#audio #podcasts #audio drama #podcast #listen #audio dramas #the call of the void #wolf 359 #mansfield mysteries #midnight burger #the lovecraft investigations #the magnus archives #bridgewater podcast #unwell #unwell podcast #rex rivetter: private eye

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catbountry · 4 days

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It's been a year since the premiere of Trigun: Stampede. The series, despite the fears of the fans of the '98 anime, actually turned out really good; Yasuhiro Nightow is a big superhero comics nerd, and wanted to have this new anime adaption be an adaption similar to the adaptions of the MCU, back when those movies were consistently enjoyable, and I daresay a bunch of the people watched Trigun probably were either already anime fans, or they were nomad fans who may have been really into the MCU at one point.

I have a lot of thoughts on an American perspective on Vash the Stampede as a character, with a lot of comparisons to American comic book superheroes. And while Trigun wasn't my first anime, I was hooked on it, as someone who grew up around Batman and Spawn's 90's popularity. During my first Otakon in 2001, I must have seen a dozen Vash's and Wolfwoods. I remember the year there was a Wolfwood cosplayer whose Punisher gun was shaped like the Star of David instead of a cross, making him a rabbi. That shit was amazing. The larger point is that I've loved this character for more than half of my entire time being alive, and I haven't seen a lot of discussion of Trigun viewed from a more political lens, and why it resonates so much with Americans (or at least me, who is an American) in particular

Buckle up, kids, this is gonna be long and rambly.

There was a period of time where I watched nearly every single new MCU movie in the theater. It was exciting seeing adaptions of comic books that would have probably never gotten a movie before the success of The Avengers. And I don't think it's a mistake that the most comic book-y of the movies are usually the best; Guardians of the Galaxy and its sequel remain as probably my favorite MCU movies. Nightow was working directly with the studio making a new Trigun anime and reportedly got the crew to watch a bunch of Marvel movies to set the tone for the anime as an adaption; it's why Vash got a completely new redesign that freaked all us old fans the fuck out. Though it appears that once again, Trigun tried and failed to get that massive Japanese audience that most successful anime have. But boy, oh boy, do us westerners fucking love Trigun, especially us Americans. Nightow's love of superhero comics bled into Trigun, and it just so happened that he was incredibly influenced by Spawn, Hellboy and Batman as much as he was influenced by Akira Toriyama and mechanical art. McFarlane Toys released a Vash figure that is McFarlane'd the fuck up. Nightow loves all superhero comics but especially the Blade trilogy.

Just look at this and imagine being 13 years old and seeing this on a screen for the first time with the instrumental hard rock opening.

Also, I wouldn't actually get around to reading Spawn until I was an adult, but you know what? It's pretty good. The writing is definitely weaker than the art, but holy shit, that art goes hard and I still think that shit's cool as fuck.

As stated before, around the early 2000's Trigun was considered peak anime, though it's been more overlooked in recent years in favor of Cowboy Bebop, an anime that has aged gracefully by comparison. But while Bebop has that sort of timeless cool and level of quality that drew the attention of filmmakers like the Wachoski sisters, Trigun has that very specific kind of adolescent sense of coolness that comic book fans get, especially back in the 90's before this sort of thing would be smothered to death by MCU's Joss Whedoning of superheroes. Spawn, Hellboy and Batman are still cool. And Trigun also has a shitton of guns, obviously, given that Vash being an incredibly OP gunslinger in a world where everybody has guns.

And America loves guns.

I think the contrast of Vash's pacifism while still wielding a gun is extremely interesting because it's not something you see very much (I bet if I watched more westerns, I'd have a better idea if this is a trope in them at all). Batman does not use guns and doesn't kill people, which is why there's still discourse around Tim Burton's Batman films to this day still; I don't think Kevin Smith has budged on this. Other more morally grey superheroes will use guns (by this definition I'm counting The Punisher even if he doesn't have any superpowers, unless you count severe PTSD as a superpower). And a lot of them had huge surges in popularity in the 90's around the time Nightow was making Trigun. Vash posed like Batman or Spider-Man looking brooding (like the gif above) happens a lot in the earlier issues even though that's not really his character.

Several years ago, there was an attempt by a conservative thinktank to discredit a bunch of Hollywood actors saying that gun violence in America is a serious issue and contrasted their statements scenes of them shooting guns in movies, but if we're being real here, gunplay in movies can be really fucking cool. Again I invoke The Matrix, or movies by Robert Rodriguez and John Woo. Look at video games, and compare the decline in violent crime that's been happening here since the 70's and 80's, as culture warriors bemoan movies and video games for becoming more violent. Remember when Wayne LaPierre, vice president of the NRA, brought up fucking Splatterhouse as a reason why Sandy Hook happened? Do you know what Splatterhouse looks like?

It looks like this.

You know how these guys constantly say the only way to counter a bad guy with a gun is a good guy with a gun? Usually, the inference is that if the "good guy" with a gun shoots, he's shooting to kill. Deadpool and the Punisher would shoot to kill. But Vash is constantly trying to avoid it. And I remember as a teenager finding that really cool? And the manga and anime don't shy away from how impractical Vash's pacifism is. It's a bit more realistic than Steven Universe's ending, but also Steven Universe was made for children.

I know Avatar: The Last Airbender is often invoked when criticizing Steven Universe's philosophy, but I haven't really seen Vash's similar philosophy criticized in the same way, and I think a lot of that has to do with the presence of Wolfwood, who is the "I think we're gonna have to kill this guy" guy. I'm honestly surprised I haven't seen art of this yet. I may have to get on that. I already drew Vash horrified at the Trolley Problem.

Vash is a character designed with maximum coolness in mind, but also an overpowered being who is capable of killing millions, and in the anime, he somehow destroys July City without killing anyone directly, but the destruction of the city led to a bunch of people dying. He's so deeply committed to not wanting to kill anyone that he's probably killed more people than he would have if he just shot Knives. The best Batman stories acknowledge that Batman's refusal to kill Joker has similarly results in the deaths of people Batman could have prevented if he killed one guy, and this could also apply to Vash's relationship with his brother Knives, who was kind of destined to be a mass murderer with a name like that, let's be real.

Online, we tend to joke about bringing out the guillotines, or justify not feeling an sympathy for billionaires who die in a sub trying to view the Titanic. But if you were given a gun and a real human person begging for their life, what would you actually do? Do you honestly think that you would be the ethical Death Note user?

Vash has guns but he chooses not to kill people; he prefers to not even use them unless he has to, instead opting to run away and look cool doing it somehow.

He really, really doesn't want to kill people. He doesn't become numb to people dying. It hurts him every single time he watches someone get killed. In reality, most of us that aren't sociopaths would be distressed at the thought of killing someone. The only reason armies in real life work is that they become inoculated to the idea of violence and dehumanize the enemy. Vash is no soldier. He is idealistic, he is empathetic, and he sees every human being as a person worthy of life. Batman refuses to use guns, as that's how his parents were killed in front of him. Vash has to use guns in order to protect people from getting killed. He has the ethics of Superman but the tools of a comic book antihero. He's the logical conclusion of an shonen anime protagonist in a world that chews up anyone with that kind of optimism and hope and spits them out. And yet... he still keeps going. He remains committed. He's still cheery, goofy, lovable Vash.

Batman used to kill people, in the earliest comics. With the Comics Code Authority, no superheroes could kill people. In the 80's, comics were getting darker and edgier, taken more seriously. While Alan Moore's Watchmen delved into the moral complexities in a world with superheroes that was similar to ours, Frank Miller was keeping Batman consistent, even as Gotham got darker and uglier.

Batman is a vigilante. The police can be helpful or they can fuck up everything, depending on what's needed for the story. In Batman Year One, there's a scene where Batman crashes a party attended by the elites of Gotham, politicians and mobsters mingling.

Seeing this during the Bush presidency blew my mind. I don't want to get into just how perfectly the members of his administration seemed to resemble a rogue's gallery of sorts with the shared goals of making a lot of money and bombing the shit out of Iraq and Afghanistan. I was extremely anti-war even before the 2000 election as a very opinionated 14 year-old watching, Jon Stewart on The Daily Show and feeling relieved that a grown-up was able to see through all the bullshit; it helps when the guy who's against the war and killing people is funny. I remember writing in my diary at 12 years old after Columbine happened that I wanted to take all of the guns and melt them down in a pot, similarly to that scene in Superman IV where he throws the entire world's nuclear arsenal into the sun. But also that same year I would fall in love with The Matrix... and not long after that, Trigun.

Again, we come back to the idea of someone using a gun, a weapon designed to kill people, and using it in pursuit of the exact opposite. That resonated with me. I myself was very idealistic, and the political climate of my teenage years seemed to do almost everything to stamp that out of me. Things feel just as fraught two decades later, but in slightly different ways. Pacifism is looked down upon, as indicated by the backlash to the ending of Steven Universe, and how one crazy lady called Rebecca Sugar, a Jewish person, a Nazi for writing it that way. But for Steven, things worked out. For Vash? Well, he still has hope somehow, despite everything. I think the fact that he strives to protect human life, even when someone is a complete monster, is admirable in that it cuts to the very basic desire to not see people hurt. But we're also selfish, and scared, and sometimes it's hard to conceive of a solution to a problem that doesn't involve violence. Seeing dead bodies on TV or the internet upsets us, but we're often paralyzed by feeling like we can't do anything, and even if we tried, we'd likely perish in the attempt. We desire revenge, punishment for those who transgress by inflicting violence, and we can rationalize using it against the right targets. Vash the Stampede would have a fucking breakdown dealing with the state-backed violence that's been a part of geopolitics pretty much as long as there have been states and geopolitics. Vash would try and solve the bombings of Gaza with an impassioned plea for both sides to stop fighting before he would somehow wind up making things worse and it would eat away at him inside, no matter how brave a face he puts on as he tries to find some kind of hope in a hopeless situation. And... you know what? I kind of wish more people would be like that. Maybe if there were enough people like that, these sorts of things wouldn't happen in the first place. I wish more people could look at human suffering and feel compelled to try and stop it, not discriminating against one side or the other, trying to understand why people are doing what they do. Seeing anti-war protestors in Tel Aviv brings back memories of protests against the start of the War on Terror, and how hated America was internationally during those years, even when most Americans approved of the war. Michael Moore was booed at the Oscars for condemning George W. Bush and the War on Terror. It's terrifying that those in power want us killing each other and have conditioned us to support it. I want so badly for human beings to come together to just stop the violence, but it feels impossible, like we're destined for failure, like we might somehow make things worse or become worse versions of ourselves full of hatred and ugliness. But we should want to try, even if it's hard or unprofitable or we have no idea how to even do it. Somebody actually dedicating themselves to trying to fight our violent impulses out of love is appealing, and if they're more powerful than use, and can do more... well, I want the biblically accurate angel with every mental illness willing to martyr himself over and over again. But it is more fun when he's Bugs Bunny about it.

#political bullshit #trigun #comics #tl;dr #not fanfiction #I am high right now I hope this still makes sense when I'm sober

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mermaidsirennikita · 2 months

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Do you have any queer historical romance recs? Are there any upcoming 2024 queer historical romances that you’re excited for?

Absolutely, I have recs! As for 2024 books, I'm currently most looking forward to You Should Be So Lucky by Cat Sebastian, which is an m/m romance set, I believe in the 50s, set around the world of baseball.

I also just read A Sweet Sting of Salt by Rose Sutherland (out 4/9) which I SUPER recommend if you want a f/f romance set in the 1800s, with a touch of fantasy. It's about a prickly midwife who finds this mysterious woman in the middle of the night, literally about to give birth. She helps her, and her husband turns out to be a local fisherman. But... something isn't right... both with the husband, and with his wife's origins. And when the husband realizes the women are falling in love, he only becomes more possessive. I promise it's romantic and has an HEA and doesn't feature overwhelming sadness (there is domestic and sexual violence alluded to, but it's brief and off the page).

As for historicals otherwise...

M/M

We Could be So Good by Cat Sebastian--set in the same general era and space as the 2024 release, I think, about a pair of reporters slowly and sweetly falling in love, especially after they become roommates (and they were ROOMMATES).

The Secret Lives of Country Gentlemen by KJ Charles--about a guy who moves to the marshland after he becomes a baronet, and has to take care of his estranged father's family left behind. He finds out there is a crime family of smugglers controlling the area, and he rats on them after seeing something sus... But when he goes to testify, who's there to stop him but the guy who he used to anonymously hook up with! JOSS DOOMSDAY. Joss Doomsday is amazing I love him. Super sexy, funny, and definitely focused on a side of England you like, never see in historicals.

The Nobleman's Guide to Seducing a Scoundrel by KJ--the standalone followup to the last book. In this case, another title is inherited, and this time the lord's this gruff former soldier. His cousins or something contest his inheritance, and he hires this young, charismatic secretary (especially important because our lord has a hard time reading, which I felt was done in a really touching way). Anyway, the sexual tension boils over and they start hooking up on the low, but there's a SECRET. (Also, the lord is very like "I'M ABUSING MY BOSSLY POWER" while the secretary is like "I mean... abuse it some more.....")

Band Sinister by KJ Charles--kind of a queer sendup of gothics, this is about a young guy whose sister is like, always spying on their scandalous neighbors who hold orgies and shit for the sake of writing her novels. Then she breaks her leg and ends up laid up in the orgy house, and he rushes over like NO ORGIES FOR HER, but he realizes the group of friends is actually super cool, especially the verrrry siiiiiilky smoooooth one who's just soooooo suave. So good, and especially interesting in that, while I would definitely not call this a poly romance, it does explore the complexities of open relationships and polyamory.

The Queer Principles of Kit Webb by Cat Sebastian--Kit is a retired highwayman running a cafe, and suddenly this vERRRY pretty nobleman comes in flashing his very nice ankles and asking Kit to steal this mysterious book from his dad. Kit refuses, but agrees to teach Percy how to steal. Both are great, but omg PERCY is AMAZING. He's kind introduced as somewhat like... conventionally more on the femme side, but he's like a secret swordmaster, and also takes the lead with Kit sexually a lot. One of my favorite moments in this book is when he's blowing Kit and Kit thinks he's gone too deep and is like "SORRY" and Percy rolls his eyes and makes Kit grab his hair and start facefucking him lmao. Also has nice demi rep in Kit.

Something Fabulous by Alexis Hall--A frosty duke proposes to a woman he was always supposed to marry, and she subsequently goes on the run. He then has to pair up with her dramatic, fanciful twin brother. It's a really funny romcom, with a ridiculous duel that had me wheezing. Plus a semi-cultlike group of lesbians? Also, enthusiastic ass eating.

F/F

An Island Princess Starts a Scandal by Adriana Herrera--A cold vamp widow wants this business deal with a fun and flirty heiress, and the heiress agrees to make the deal... If the vamp agrees to show her LESBIAN PARIS. Hot, and both of the leads are Latina.

Mortal Follies by Alexis Hall--Adding this even though it definitely has a good dose of fantasy, because it's like... Jane Austen meets a Midsummer Night's Dream, with an emphasis on the fairies. This young deb ends up hexed so her dress is unraveling at a ball, and as she hurries into the pushes, she meets the mysterious Lady Duke, who's rumored to have murdered her brother and father. They begin this push and pull of seduction. It's both funny and kind of dramatic.

Trans/Nonbinary

Something Spectacular by Alexis Hall--the standalone followup to Something Fabulous. The runaway fiancee's ex, the genderfluid Peggy, is roped by said ex into attending an opera. The ex wants to seduce Orfeo, this gorgeous castrato soprano, and when they open their mouth to sing Peggy, who's very gruff and in control typically, faints. Orfeo is naturally like "WHO'S THAT" and begins pursuing Peggy rather than the ex. One of my favorite books, so funny (at one point they accidentally incite a gay orgy) with a hint of melancholy and great sex. Also, it has one of the most unique sex scenes I've ever read.

Unmasked by the Marquess by Cat Sebastian--a bisexual marquess makes a new friend in this young dandy in town. They kiss, and he thinks his friend is going to blackmail him... But the friend, Robin, turns out to be chamber maid in disguise! Except they're actually not a man or a woman, and don't want to live as a woman. It becomes as an FWB thing, but naturally our romantic hero falls in love and things become Fraught. Has one of my favorite "resentfully horny" moments, when Alistair is watching Robin from across the ballroom, and they pull a glove off with their teeth, and he's like "THAT IS IMPROPER" and wants to fuck them so bad.

A Lady for a Duke by Alexis Hall--Viola faked her death at Waterloo in order to live as her true self. Years later, she's pulled into helping her old best friend, the Duke of Gracewood, who's suffering from a chronic injury and severe depression following the battle. At first he doesn't recognize her... at first. Has an absolutely INCREDIBLE moment of recognition, and I really like that it's this romping old school type romance with a trans heroine.

Most Ardently by Gabe Cole Novoa--this one is actually a YA Pride and Prejudice retelling, highly recommend if you're open to it. In this case, the Lizzie character is actually Oliver, a trans boy, and he and Darcy fall in love--molly houses are included in this, which I really like. It's not super about historical accuracy, which I personally dgaf about, and it's very sweet and funny and warm. Also, the author is a trans man.

Queer Polyamory

Scandalous Passions by Nicola Davidson--FFM. A king's former mistress is sent away because the queen hates her, and is also asked to care for the king's ward. She and the ward begin to give in to their attraction, and at the same time their escort is this much-feared knight (who's really quite subby) who's been in love with the older heroine for years. And then he begins falling for the ward as well.... Super sexy medieval, with Dom/sub overtones.

Their Marchioness by Jess Michaels--A playwright is asked to a marquess and marchioness's home... Turns out he and the marchioness were in love before she was forced to marry the marquess. Fortunately, she and her husband are now very much in love, and he's basically gifting her a tryst with her old love for her birthday. Then he joins in... and it begins being more than sex. Has some bi awakening stuff.

M/F with Bi leads

The Perfect Crimes of Marian Hayes by Cat Sebastian--a standalone followup to Kit Webb. Percy's stepmother Marian is having a correspondence with a blackmailer, who unbeknownst to her is her odious husband's secret son. He ends up falling in love with her as they go back and forth with letters, so when she ends up in trouble and on the run, he comes to "save" her, only to find that Marian ain't that girl. Both leads are bi, and the sex is really cool and interesting because Marian doesn't like penetration due to trauma surrounding her pregnancy and labor. So she penetrates him (among other things) instead.

Hugo and The Maiden by S.M. LaViolette--a successful sex worker ends up being transported and washing ashore after a shipwreck. He's very snarky, but finds himself up against the vicar's uptight and uncompromising daughter--but he still has enemies lurking. Hugo is openly (for the day) bi and services both men and women. I really liked that even as he fell in love, his bisexuality wasn't like this background thing--he sees a guy he likes at one point and is basically like "if I wasn't taken......."

Any Duke in a Storm by Amalie Howard--a spy (who's also kind of a lady pirate) ends up being attracted to her super rakish and slutty first mate. She's bisexual, and one of the women on her ship is her former hookup (still her friend), which I like.

Melissa and The Vicar by S.M. LaViolette--a madame goes to a small village to recuperate and de-stress, and ends up falling in love with a virginal vicar she's so sure she can't have. Melissa is bisexual, and I thiiink a woman she used to be involved with is on the page? Her hero, Magnus, kind of has a "oh shit am I bi?" moment when Melissa tries to fake him out by pretending she's hooking up with Hugo. To be fair, everyone wants to fuck Hugo.

In Which Margo Halifax Earns Her Shocking Reputation--a scandalous woman begins chasing her sister (who ran off with a Bad Man) along with her brother's best friend, who's secretly in love with her. Margo is bi, and her relationships with women are one reason why she's considered scandalous~.

#romance novel blogging #romance novels #book recs #i wish there were more f/f recs :/#that's not by design but f/f romance is verrrrry much underrepresented and a lot of the f/f historicals i've read are just...#light on plot #and i'm someone who needs conflict

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jinxquickfoot · 6 months

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So I finished my Age of Ultron rewatch. It's been a couple of years since I last saw it, and here are some random thoughts I had on it:

Things I will maintain I like about this movie:

It has some of my favorite jokes in the MCU, and they're usually the little moments. The little nod of validation Rhodey makes after getting a laugh at his "Boom! You looking for this?" story. Clint telling Steve he's no match for Ultron and Steve replying with, "Thanks, Barton". Clint's "Yeah, you better run" after Pietro has long since disappeared with Wanda, there are loads of them.

I like Vision, Wanda and Pietro. Despite being secondary characters with not a huge amount of screen time, Wanda and Pietro feel like real people with real backstories, and Paul Bettany is wonderful the first time we see him as Vis.

It's the only movie we get to see the Original 6 hang out as friends.

I love that Fury randomly shows up in the middle and is like "let me make a sandwich while we discuss how not to let the world end also by the way hi Tony I really care about you"

Other casual appearances of other MCU characters, something that is so lacking Phase 4 onwards. Sam being at the party and Thor going to Selvig for help makes the world feel lived in.

RDJ's never dropped the ball as Tony but his performance really stuck out to me here, god he's good

Steve and Thor have multiple moments of teaming up and working together, what an underrated duo

Hulk vs Iron Man suit inside an Iron Man Suit fight

The Avengers do their best to evacuate Sokovia before Ultron attacks, which does not excuse the amount of damage caused there, but I do think is a plot point everyone forgets about (myself included)

And things that annoy me (skipping over the stuff everyone talks about like the Natasha/Bruce plot):

I hate how Joss Whedon writes Steve, both here and in Avengers. He only feels like Steve when he's being given jokes, otherwise he is so self-serious and stiff, the core of Steve is his heart and it is nowhere to be found in this movie

The movie spends so long setting up character arcs that feel promising and have no payoff. What is the point of Laura telling Clint the Avengers need him if he's going to retire at the end of the movie. Steve has several references to finding home in a way that doesn't go anywhere (Until Endgame, I guess). Don't get me started on Natasha.

It's trying so hard to have a theme but it never says anything unique. Bruce, Tony, Natasha and Vision all refer to themselves as monsters. Ultron decides that the Avengers are the bad guys. Steve has a speech all about proving they're not the monsters Ultron says they are. Based on WHAT? What is the message of this movie?? That the Avengers are better than the evil AI who wants to kill everyone?

(I half-feel there was a previous draft where Clint was their heart, or something, or he died and they were like whelp Phil Coulson 2.0 let's go avenge him, and the random pieces of that are still floating around the script with nowhere to go)

NO ONE is remotely concerned enough when their friends are getting hurt (maybe just the hurt/comfort lover in me, but still.) Natasha comes across as the only person who cares when Clint sustains a life-threatening injury. No one seems to be bothered that Natasha is being held captive by a psychotic supervillain. Tony shows more emotion over a fictional future where they die than when someone is actually in danger.

They really could have had a premise where they weren't allowed to access technology at all and could have gone retro with everything and they didn't and that just feels like a wasted opportunity. Clint and Natasha digging out old spy tech. Steve being like "Yes! This is familiar! I got this!" Tony making genius inventions out of tech from fifty years ago. Come on, it was right there.

#thanks for coming to my ted talk #age of ultron #mcu #marvel #avengers #thoughts

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olderthannetfic · 5 months

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ONTF, you're older than I am, you're highly media literate, maybe you'll know: what was the appeal of the Joss Whedon style of writing to begin with? Everyone whateverishly wording their phrasey bits in that very Whedon-y way never did anything for me, positive or negative, and the constant need to have comedy during serious moments or interrupt a serious moment with either snark or a remark that nods towards tropes diffuses the tension to the point where I can't get invested. None of his characters ever felt capable of having sincere moments like most characters in other things I watch, and the few moments of that they did have would get undermined by one of the aforementioned flaws.

I do think the "omg worst writer EVER!" crowd is a bit much, because I've seen things so bad that Whedon looks like Shakespeare by comparison. But my half-sister, who is 25 years older than me and thus in her late 40's, swears Joss' style is revolutionary and deep. And frankly I've been wrong about a lot of media I used to hate and I'm open to the idea I'm missing something. It's super likely given my limited media exposure, though I am admittedly trying to work on that and branch out into more genres of media and more formats so I don't become that 'guy who has only seen Boss Baby thinks every movie has Boss Baby vibes' meme.

So. What am I missing? What's the context I'm missing and the key here that will allow me to appreciate the appeal of and enduring fandom for Whedon's work? I am admittedly a fandom baby but I am willing to learn.

I mean... I despised him from the get go, other than the Buffy movie, which I still quote that death scene from regularly, so I'm probably not the best person to describe what's appealing about his style.

But one-liners during action are a common taste even if I'm fonder of the sorts of homoerotic 80s trash Ruthless Reviews used to cover.

Ironic distance is also popular and easier to swallow than earnestness for a lot of people.

However, I do think Buffy's original audience was connecting with it emotionally. Look at the part where Buffy's all upset after the most clownishly 1980s take on loss of virginity and heavyhanded metaphors for guys being jerks that just made every writer involved seem excessively middle-aged and out of touch Giles asks if she has any idea what could have happened to Angel. For people who weren't going to high school in 90s California, that bilge was apparently very moving. Certainly, there are parts of Buffy where the quips die down for some actual emotional moments.

People like style. Something that commits to being aggressively stylized will often stand out from the bland clones that surround it. Look at Wes Anderson (another creator I don't particularly like). Whedon's godawful faux-witty dialogue did sound different from other things on TV at the time. He also lets women say some of the one-liners, which is sorely missing from most media.

But mostly, he was formative for a lot of people, and I had to live through many, many years of them earnestly entreating me to give his shitty writing another chance because this time I would somehow connect with this sex-negative parasite and his casting aesthetic that I didn't find hot or interesting.

(I like dumb and campy things. I just like them to star a bunch of body builders from New Zealand, not waifs.)

People always hold up the things they imprinted on as more revolutionary and deep than they seem in retrospect. In Whedon's case, his already obnoxious style suffers from having been copied so much since, but even if he weren't famous or popular, if you were talking to that one person whose adolescence was defined by their love of him, they'd say all this same nonsense your sister does.

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