Oops.
While learning to control his powers under the guidance of Clockwork, Danny accidentally curses his own bloodline with the Curse of Sentient Food several centuries in the past. Originally, a witch was supposed to curse his family. Oops. Well, the Fentons were always adapting, and technically, either way, he'd end up battling dino nuggets at three am in his underwear, no matter who the curse came from. So he shrugged and continued on.
Unfortunately, this also means that out of nowhere, the timeline shifted, and some of his very distant relatives are now battling their food into submission at every meal because Danny is ultimately way more powerful than some mortal witch from the 1600s. His version of the curse reached literally everyone he could ever be related to for the last few centuries. Even if they were adopted into the family!
So, returning to the present time after training, Danny is a little startled to see some news clips of people's dinners coming to life and beginning revolutions. Wow, John Fentonightingale really got around, didn't he? He felt a little uncomfortable that now all these random people had to deal with their share of Fenton luck, but from some of the interviews, everyone seemed to be handling it pretty well!
Especially his so-distant-they're-on-another-tree cousins, the Kents, who contacted his family directly, asking how best to prepare a zombie turkey. Their son was coming for Thanksgiving with his new wife and some coworkers, and they just refused to make the guests fight for their lives on a holiday!
They invited the Fentons to join them, of course.
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I don't have a problem with the funnier-as-a-(type of person) blogs conceptually but often the posts people tag them in were in fact funnier when they were about the original things they were about, and new levels of funniness were NOT actually unlocked when considered from the perspective of (specific type of person) like what you mean is that the post REMINDED u of this and that's not quite the same thing in a way where I always have this autism reaction of like THAT'S NOT ACCURATE IT IS FUNNY ON ITS OWN MERITS
like once someone tagged one of my clown car full of mice posts "funnier as a system" and I was like no that's. not correct it is not funnier that way it's in fact equally funny either way I promise. the reason for this is that either way it is a clown car, that's full of mice, and you must envision this. it matters not if you are a system or not a system. it crucially depends on the mice that are in the clown car. do you see
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I love your unhealthy clingy famous MC you don't understand how feral I'm over him
THANK YOU I LOVE HIM SO DEARLY TOO!!!!! the backstory with absent parents and just. everything about seven... i think makes a lot of infamous ocs potentially lean into this?? or at least there are a ton of choices that just made me go "oh yeah. that's him" . idk there is an element to how infamous is written that really helps with characterising him, including how customisable it is, and i do love that about this IF!!!!! crying about him below the cut <3
aki kind of navigates the world worried his loved ones will leave him and is a little too clingy because of it. he also has been playing those worries off by being charming, flirty and funny. like he can somehow project this hyper-extrovered version of himself and try to make people love that !!! he drops that more around his bandmates/friends, but not in front of people he's just met (please guess who accidentally escalated the bed fight on the tour bus)
aki also hooks up with people a lot, just cause he likes sex but also because he enjoys the no-strings-attached. because of those attachment issues, when he gets something that feels black and white to him, something one-and-done and he leaves in the morning, he can just. take feelings out the equation. he knows its not meant to last so he can just walk out (leave! hit da bricks!!! walk out!!!!!)
committing to a romantic relationship . you can imagine. is a little complicated due to all this LMFAO he just overthinks and worries before even getting into it, regardless of if it's reciprocated or not. between the one time he's actually into someone (seven) and how that ended (...badly) + the fact that deliriously avoiding commiting to anything except hookups = very little (none at all) actual dating experience. aki has no idea to deal with it and will balk. yeah this is immature of him but i have plans to make this guy character develop so hard throughout the course of infamous that he may implode
i love the genre of character where they're just going "i know i have a few issues, who doesn't, but honestly i think i'm well adjusted!!" <- they are not well adjusted. in fact they're worse than they think
also no one asked for the orionmance essay i sent my friend but here it is <3
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more chb!jason AU thoughts:
we've talked plenty about hades kinda unofficially adopting jason, but please also consider thalia deciding nico is her bonus baby brother now. nico and jason bump into the hunters sometimes while out adventuring and they post get a begrudging pass for being boys because of thalia and bianca. sometimes while handling a job for hades that's bigger than they can handle, nico and jason hit up the hunters for help. it's easier (and somehow less awkward) than reaching out to anyone back at camp if the hunters happen to be in the area, and it comes with the bonus of hanging out with thalia.
thalia definitely has her own guilt about everything with bianca, and while she shares annabeth's kneejerk dislike of jason being in constant danger, she also can't bring herself to dissuade him from looking after nico. and it seems like nico's looking after him just as much, and jason seems happier than she's seen him since he was little, so...y'know what, it's all cool with her. she aggressively sisters nico as well and he has Feelings about it.
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Re: your Disco S4 review:
but there was just a bit too much Therapy Talk for my liking. and to be clear, i don't mean too much Actual Therapy. i really respect the show for portraying therapy and trauma recovery in depth and just having cool main characters go to therapy because it's good and healthy is Very Cool. but i do think there are definitely scenes (particularly in the beginning of the show) that has dialogue fall into Therapy Talk where all the characters go around in a circle and coherently state their thoughts and emotions and then resolve their conflict.
I also have the same issue, I know the crew were heavily traumatized in season 1 and I love that we’re finally getting a Trek have Starfleet take mental health seriously.
But it’s how the writers execute the scene that’s the problem. I think you’re right on the money about them needing another pass at scenes like that.
I also think, most of the time the show literally stops the action for the characters to just talk. And I adore characters being in a room, just talking. But I think it’s because most of the time it’s because those scenes do two things at the same time. Or they usually have characters talk around it and be difficult.
In season 4, it seems the characters start their scene and they just over indulge too much, maybe a tighter edit would also work.
But also I think most modern shows have that problem where they use Therapy talk as a crutch for character development and relationships.
And again, I preface this that I do love having mental health taken seriously but I think there’s a way to do it where writer’s integrate it organically— one of the new shows I like from AppleTV— Shrinking, is literally all about it but it’s funny and heartbreaking and sweet. I think maybe it’s because the writers are also new to the concepts and think they have to fit everything to be relevant.
Hopefully, they worked out the kinks for season 5!
Yeah exactly. I love Disco but sometimes it feels like the writers just need to read their dialogue aloud to make some last revisions (and also put some nuance/unspoken things into the dialogue).
I also think, most of the time the show literally stops the action for the characters to just talk. And I adore characters being in a room, just talking. But I think it’s because most of the time it’s because those scenes do two things at the same time
This!!!! I know fiction is never meant to accurately reflect reality and that there are always going to be weirdly timed conversations for the sake of narrative but Discovery in particular has SO MANY "stop and talk" scenes during Big Action and it drives me crazy when the plot just establishes a strict time limit to do something and then we spend three minutes for characters to have a heart to heart instead of just. Doing The Thing. I know the 90s era "walk and talks" were annoying to film but those downbeats of characters chatting while going from point A to point B is a great place to add small bits of characterization (and movement!) instead of standing still and monologuing.
Thanks for the rec, I've never heard of Shrinking but will have to check it out!
(putting a big tangential ramble about Disco's portrayal of mental health/therapy under a cut because yeesh it got long)
As someone who has been in therapy, has a psychology degree, and has written fiction that uses therapy sessions as a setting/framing device, I can say with a decent amount of confidence that the way therapy/mental health is utilized in Disco is neither super realistic nor using its full narrative potential. Imo we skipped a very interesting part of everyone's healing journeys between s3 and s4 where characters are actually struggling to articulate their problems or denying their issues. Particularly with Detmer who went from having severe PTSD flashbacks in s3 to talking about her feelings with total clarity in s4 when actual trauma recovery is nowhere near as quick or linear and usually requires making major lifestyle changes to actually heal and maintain that healing.
And also I take issue with the fact that all of the characters are growing and facing similar issues at the same time and pace. It ends up making a lot of awkward and redundant conversations between characters who aren't in conflict and are self-actualized enough that they state everything they mean. And when there is meaningful conflict, the characters seem to very quickly overcome their flaws and make up. It's like the opposite problem that a lot of sitcoms and soap operas run into when characters are so driven to conflict and secret-keeping. It is refreshing to have a show where everyone is committed to being their best selves (which is quite similar to tng in that regard) but it doesn't easily mesh with the sort of drama that Discovery seems interested in telling stories about. All of this is also probably why Book's narrative (and his relationship with Michael) was one of the best parts of s4 because it felt like the writers actually committed to realistic season-long conflict born out of trauma and loss that wasn't written off. And as a result I think David Ajala's acting was some of the best of the show because he was given so much depth. I really just wish that the other characters had something similar but Disco's style of hyper-serialization, shorter season orders, and a large cast of recurring characters just doesn't lend to realistically telling stories about trauma and recovery because we almost only see the action and not the characters living their ordinary lives.
And while 90s Trek certainly wasn't The Best at portraying mental health (the therapy it shows in tng is just. Wrong. And so many characters like B'Elanna and Janeway have their issues with depression forgotten about after an episode or two), portrayals of PTSD with characters like Kira, Seven, Neelix, Picard, and Sisko tend to be more interesting to me because those characters' journeys through healing aren't linear. And as always, more episodes and episodic television in general makes it so emotional moments really hit (like Picard's breakdown in Family after Best of Both Worlds, seeing Kira's trauma around her father's death in Ties of Blood and Water, or whenever Neelix, the usual comedic relief and lighthearted character, has to confront how his family was killed in a brutal genocide) whereas with a show like Discovery – there's constant character drama and confrontations and big emotional moments so the catharsis of someone having a breakthrough in their treatment is a bit undercut. For something like that to be memorable, there have to be unmemorable moments too which just isn't Disco's style. It's not inherently a bad thing, but it's not really to my tastes.
Even the other new Treks tend to be a bit more grounded with character dialogue and addressing mental health. My enjoyment of Lower Decks shot way up in s4 because her admitting that Sito's death drove her away from wanting to be an officer was such a huge moment of catharsis when Mariner usually avoids talking about her feelings with a six foot poll. SNW has both La'an, M'Benga, and Chapel dealing with PTSD and their moments of vulnerability and pain are better because SNW tries to balance the silliness and seriousness of Trek. Picard is probably the most similar in content/tone to Discovery and even there despite the serialization and awkward characterization moments, the characters all have consistent issues with trauma that affect them at different times and affect them despite self-improvement. And I think Picard sometimes dips into heavy-handed emotional conversations but it's not quite as much as Disco because oh boy these characters are good at avoiding their feelings.
To be clear, I do love Discovery and people blow the awkward writing/Therapy Talk problem WAY out of proportion to cover for the bigoted reasons some people vocally hate the show. Like this problem does annoy me but it is just one aspect of the show and I hope one that will be fixed (or at least less noticeable) for season 5.
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