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hazard-symbols-that-fuck-hard · 9 months

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Okay time for the PBS Kids essay

Read it under the cut!

:readmore:

In 1968, before there was PBS Kids proper, there was Mr. Roger’s Neighborhood. While it came several decades before the children’s block, it laid the foundation for the themes and values present in every facet of the network’s history.

Mr. Roger famously hated children’s programming at the time. To him, it all was droll and useless. But he didn’t dissuade the medium entirely— he saw potential. Potential that led to a few smaller television jobs, and eventually the creation of Mr. Roger’s neighborhood.

Rogers didn’t invent educational TV for children, but he did perfect it. He poured real heart and soul into probably the most sincere, heartfelt program in history.

Honestly, he could have his own essay. The more things you learn about the real man of Mr. Rogers, the more you’ll like him.

Anyway, the biggest thing that makes PBS different is the fact that it earns money through grants, fundraisers, and private donors— not through sponsorships and merchandise sales. This way, PBS Kids can push programming that it feels is important, rather than programming that merely sells well.

This also means PBS is less afraid of pushing social boundaries. Money doesn’t go away when their shows become subjects of debate— and Mr. Rogers took full advantage of this.

For context, this was 1969. The Jim Crow era had just barely, barely ended. Pool segregation was still very much legal.

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Mr. Rogers sharing a pool and a towel with the Black Mr. Clemmons was a pretty big deal at the time— especially on a show made for children.

Rogers was far from the untouchable sacred cow of today. When he was alive, he had a large number of detractors. Let’s just say that scene didn’t fly nicely by everyone.

Just one year after the debut of Mr. Roger’s came Sesame Street.

While Mr. Roger’s was made for all children, Sesame Street had the explicit goal of supplementing the education of underserved communities— especially inner-city Black (and later Latino) children.

While it was made to be accessible to children of all races and income levels, they definitely went the extra mile to make it something special for inner-city Black and Brown kids. (Why do you think it it’s “Sesame Street” and not “Sesame Cul-de-Sac”?)

At the time, a wholesome, sweet show set in a brownstone street was practically unheard of.

Jon Stone, the casting director, deliberately sought to make the cast as rich with color as he possibly could, bringing on a huge amount of Black talent such as Loretta Long, Matt Robinson, and Kevin Clash, as well as featuring Black celebrities as guest stars. Later, the show would expand its horizons, bringing on actors from Latino, Asian, Native American, and many more backgrounds.

White actors were and still are a minority on show.

In addition to letters and numbers, the purpose of Sesame Street is clear: make kids of color know that they’re smart, beautiful, and loved.

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It doesn’t get more explicit than this.

I want to point out this comment because it’s funny

You’re telling me this bitch isn’t Hispanic???

Anyway, these two were followed up by Reading Rainbow in 1983. And guess what?

That’s right. Non-white focus.

These three shows, (along with other, lesser-known programs like Lamb-Chops Play Along, Newton’s Apple, and Shining Times Station (who featured Ringo Starr himself?? seriously how did that happen and why does no one talk about it) and some other nostalgic favorites like Bill Nye the Science guy, The Magic Schoolbus, Arthur, and Thomas the Tank Engine) aired on the new PTV block, which evolved into PBS Kids in 1999, bringing along Between the Lions, Dragon Tales, and many more.

Arthur is another stand-out that I’d like to talk about— it doesn’t have the same racial focus of Sesame Street, but it does focus on different income levels. The characters have various housing situations, from apartments to mansions to no home at all.

It also takes cues from Sesame Street and Mr. Roger’s in regards to talking about tough topics, though as Arthur has a slightly older target audience, it discusses things through stories rather than talking directly to the audience.

Cancer, religion, workplace discrimination, along with current (at the time) events such as 9/11 and Hurricane Katrina are all discussed on the show.

Another big focus on Arthur is disability. For once, they don’t stick a character in a wheelchair and then pretend he’s not in a wheelchair. A striking number of major characters either develop or get diagnosed with physical disabilities and/or neurodivergences, such as asthma, severe food allergies, and dyslexia, and they deal with them in very realistic ways.

A handful of minor characters have more obvious disabilities, and THANK GOD they go beyond the trite messaging of “disabled people can do everything abled people can do! everyone clap now!”

One episode in particular has the awesome message of “holy shit stop trying to help me all the time— it’s patronizing as fuck. I can get around just fine without you stepping on eggshells and trying to be the hero all the fucking time”

There are sooo many other shows I could talk about, but I can’t write about them all. I’m definitely gonna point out some more standout ones, though.

Sagwa, the Chinese Siamese Cat

Created by Chinese-American woman Amy Tang

Dragonfly TV

Features a multitude of female and non-white scientists to foster an interest in science with kids in those groups

Maya & Miguel

One of the network’s first Hispanic-led shows

SciGirls

I shouldn’t have to explain what the goal of this one was.

Molly of Denali

When was the last time you saw a show that treated Native Americans as people? Much less a children’s show? 90% of the cast is Athabascan, and the show revolves around Athabascan culture, not shying away from topics like boarding schools and modern-day racism. Most of the writers are also Athabascan, and the show even has an official Gwich’in dub!

It’s this commitment to real, authentic social justice that makes PBS Kids so much different from its competitors. Could you imagine the Paw Patrol dog looking at the camera and earnestly discussing what happened to George Floyd? I don’t think so— but Arthur talked specifically about it, Sesame Street did an hour long special about race in general, and the network itself made a 30 minute special.

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Disney Jr. could never. (Other than trying to teach colorblindness, of course.)

I’m gonna have to cut this into two parts, since I just hit the image limit

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good-chimes · 10 months

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Proposing:

Grand Unified Scarian Theory

a single, overarching Scarian romance arc across the whole Hermitcraft and Life series as well as a primer for anyone curious about the early seasons.

We start with NEIGHBOR MEET CUTE in early Season 6:

Season 6 begins in a peaceful pirate bay. SCAR, an established hermit just beginning his third season, is happily making pirate caves. Into this tranquil scene comes GRIAN.

Grian, fresh-faced and new to Hermitcraft, picks a sea-themed base location right next to Scar’s pirate caves. He gets himself set up and starts his base. Even someone like Grian can get newcomer nerves, and he spends the first few weeks desperately trying to act like a normal person instead of the horrible gremlin he really is.

(Some hermits are taken in by this. Doc and Xisuma give him pity diamonds, something that—after getting to know Grian—they noticeably never do again.)

The only person exempt from Grian’s just-a-little-birthday-boy act is Mumbo, whom Grian already knows, clearly has a puppy-crush on, and pursues relentlessly.

Grian and Scar don’t interact much at first. Grian sees Scar for the first time while passing by his base. Scar instantly falls in one of his own caves and dies.

Grian panics.

Grian: I DIDN’T DO IT!

Scar, intrigued by his new neighbor, makes some overtures of interest:

1. Scar leaves a fully enchanted trident at Grian’s base as a welcome present. This is a generous gift for the cute neighbor you have a crush on and frankly the most normal thing either of them do in the entire years-long relationship.

Grian goes ‘huh!’ at the trident, never finds out who sent it, and immediately forgets the whole thing.

2. Scar entertains Grian’s traveling-salesman pitch and buys his overpriced armor boxes.

Multiple jokes about the size of Scar’s wallet. Grian clearly pleased by the transaction.

3. Scar makes Grian a complementary in-joke build (Spongebob’s house by Squidward’s house).

This delights Grian immeasurably for five minutes until he turns back to his prank war with Mumbo.

(Poor Mumbo. Clearly immensely fond of Grian but not sure he wants to be in a relationship with a lit stick of dynamite. This is very understandable.)

By this point Scar obviously kind of clocks that Grian is insane about Mumbo. This isn’t much of a leap. The entire SERVER is aware that Grian is horribly in love with Mumbo.

Ah. That’s okay. Scar backs off a bit. He recognizes when he’s not really in with a chance.

Maybe this thing he has with Grian is just going to be a friendship, and that’s okay! Having a crush is fun even if you’re not going to do anything about it. Scar is going to build some shops about it and be normal.

Both of them are going to be very normal.

FLIRTING (First Stages) – mid-Season 6

Both of them immediately forget to be normal.

Grian has started a detective agency and has no mysteries to solve. Scar instantly invents a cookie-based mystery supervillain called the Jangler and leaves Grian a series of tantalizing cookie-based puzzles for enrichment in his enclosure.

Grian has invented a game where you kill people with rockets. Scar volunteers to get murdered. Both of them are delighted.

Scar and Cub’s business empire is incidentally crushing Grian’s startup venture. There is no reason for this to be so flirtatiously charged.

At this point all the hermits move to a new village because of the Minecraft update. Grian starts a who-can-build-the-tallest-house war with Mumbo and Iskall. Scar notices and starts doing the same from the other side of the village.

It quickly gets so wild that Mumbo taps out (Mumbo does not do well with intensity, would rather just not, thankyouverymuch), and it's only Grian, Iskall and Scar.

Scar builds a wild giant plant eating his rocketship, and then a castle in the sky, and an enormous version of himself firing a canon at Grian's house. This is the first time you can really see Grian trying to hold in shrieks when he flies back in to see what Scar has done while he's gone.

Grian’s interest has been caught. He’s gone from barely seeing Scar to checking on him regularly. What’s our good friend Scar up to? What’s Scar done? What is Scar going to do next?

FLIRTING (How To Catch Your Crush’s Interest By Building A Secret Government Facility) – late Season 6

What Scar does next is put on a snazzy military uniform, team up with Doc to steal the time machine Grian invented last week, then, in the most effort someone has EVER gone to to get Grian's attention, spend weeks on end building a fully-functional 'Area 77' military base and containment facility to stop him getting it back.

Turns out this works beyond Scar’s wildest dreams.

Grian INSTANTLY obsessed with breaking into Scar’s base and retrieving his time machine.

Grian persuades Ren into forming a hippie camp with him next to the base and spends weeks entirely fixated on Scar. Meanwhile Scar, who is starting to really understand how to get and keep Grian's attention, builds more and fancier infrastructure to keep Grian out. This is also where Grian really starts looking at Scar's art—the insane cliffs Scar has build around his new hangers—and awkwardly not quite managing words, because it would be very embarrassing to just outright say the word beautiful, and Grian’s a very normal and non-embarrassing person.

In the climax of the season, Grian-the-hippie breaks into General Scar’s base.

Nobody can say that Scar making himself a top brass general and Grian making himself an anti-establishment flower power hippie does not end up with plausibly-deniable not-making-out Grian-provoking-Scar-into-holding-him-against-a-wall.

but.

BUT.

This is Hermitcraft. It’s temporary. Scar and Grian both know it was a bit. A bit they both got super into, sure! But a bit. Not weird at all.

(“Sure, mate, not weird at all,” Mumbo says, after all of this is over. “Then why are you making it SOUND weird Mumbo you’re the WORST”)*

(“Sooo....” Cub says, and Scar says, “I know. I know!”)*

*not canon but you can't tell me it didn't happen off screen

FLIRTING (But What About…) – early Season 7

Okay, so that was weird, but Grian is definitely still in love with Mumbo. The Mumbo pursuit is going great and Mumbo definitely doesn’t look nervous whenever Grian turns up with a new idea. Grian is going to get Mumbo to fall in love with him and they will marry in the spring and have a dozen beautiful children redstone contraptions.

Grian attempts to make it more official with Mumbo. Surely they have been flirting long enough, they are ready for the next stage! This is in no way a reaction to Scar becoming a weird wizard in a way very unsettling to Grian and building the kind of wild organic tangled forest build that Grian is fascinated by but can't even begin to comprehend.

Everything is very under control in Grian's life. He's now official boyfriends with Mumbo. They live together and have a messaging system and everything.

Mumbo announces he’s moving out.

It’s-not-you-it’s-me

You’re… you’re moving out? Grian says, in the smallest possible voice.

We’ll still have the messaging system, Mumbo says, unconvincingly.

FINE, Grian says, I’m moving out TOO.

Mumbo moves out.

Grian deals with this in the healthiest possible way. He invents a mayorship and attempts to give it to Mumbo.

Grian is Mumbo’s self-appointed campaign manager so Mumbo has to be round him ALL THE TIME, it’s for the CAMPAIGN, Mumbo.

Mumbo, a man who doesn’t deal well with pressure or responsibility, is maybe not the ideal choice for mayor, something that has escaped Grian entirely.

Mumbo builds a robot and attempts to palm off all responsibility for decision-making onto it. Grian immediately calls it their son.

Grian puts his moustache all over the server.

NO other hermits support them for mayor (except Scar, from a lost bet, who Grian has continued to have intensely weird flirtations with while all this is happening)

Things reach a fever pitch. Election day arrives. Mumbo doesn’t want this actually but try telling Grian that. The entire MumboGrian edifice that Grian has obsessively and wildly build has reached an unsustainable pitch and finally comes tumbling down around them.

Mumbo votes Scar for mayor.

Grian votes Scar for mayor.

Mumbo disappears for several weeks to do some nice soothing redstone and calm down.

FLIRTING (Civil War) – late Season 7

Everything has calmed down now. Scar is mayor. Mumbo is...somewhere. Grian is going to work on his base normally.

Grian has a new project. He wants to build in the new nether biomes. He builds a huge and echoing and obsessively inverse version of his huge and echoing and obsessively symmetrical mansion base. It's very impressive. It's totally hollow. There's... no one else here.

Grian decides that okay, he is going to bring PEOPLE here.

He invites Mumbo, because he hasn't seen him in weeks. He invites Bdubs, because Grian above all loves genius. And he invites Scar. Because of course. Everything major Grian does now, Scar is an of course.

Bdubs shows up! Generously builds Grian's entire mansion interior. Mumbo shows up. Builds a tiny upside down disco shack.

Scar does not show up.

Scar is being mayor! Scar is a very busy and important man! Scar has spent the last few weeks obsessively replacing every single goddamn mycelium block in the shopping district with beautifully tailored grass and making trees whose flowers are diamonds. He's also got his own megabase going on. For once Scar has so much to do it's even enough for Scar's ambitions, which have never been small.

He does not come when Grian calls.

Grian is Not Happy.

This is the point where Grian starts a steadily more unhinged campaign of leaving Scar invitations. He makes little tailor's dummies of himself and delivers them to Scar's house. He sets up a tea party of three grians in a secret space under Scar's mayoral throne. He hangs himself in effigy on the tip of Scar's megadrill build. Normal behavior.

And then when Scar still doesn't notice, he puts a tiny bit of mycelium back on one of the streets of the shopping district.

This starts… THE MYCELIUM WARS

Scar attempts to contain the growing mycelium patch with warning tape.

Grian spreads more mushroom spores.

Scar brings in his allies to help contain the growing mushroom patches.

Grian digs out an underground rebel HQ, recruits several rebels, and declares himself Motherspore.

Mayor Scar stares into a camera and uses his most velvety baritone to proclaim he will hunt down Grian and the mycelium resistance and bring them to justice.

Grian sets loose mushroom-spreading sheep.

Mayor Scar obsessively searches for his base.

Grian and Impulse build several decoy bases and trap them.

Mayor Scar employs Mumbo to strip-mine every block of the shopping district with redstone tunnel-borers.

Eventually Deputy Mayor Bdubs, having his own thing with rebel Etho, tricks all of the resistance into ender-pearling into jail.

Scar gets to threaten to pour lava on an imprisoned Grian for ten minutes straight and they’re both enjoying this so much.

Grian: Scar! SCAR! Scar Scar Scar no Scar no Scar no listen Scar

Scar: Yes?

Grian: …Let’s take this somewhere else.

They ‘take this’ to Scar’s beautifully-appointed mayoral office. Grian sits on the arm of his chair (I don’t know what to tell you, this is on-screen canon).

Grian: So I know how to end the war.

Grian: We have to play minigames and make personal bets.

Grian: And Scar, Scar, if you lose…

Scar: Yes?

Grian: … you have to help build my base.

Entire room: [stunned silence]

Etho: Is this what it was about the whole time, Grian?

So! That happened. And the thing is, they could both mentally pass off the area 77 general/hippie stuff as Just A Fun Bit That Got Very Intense.

They can't do this with the mayor/motherspore stuff. They are basically making out on Scar’s chair. The resistance have noticed. The mayoral staff have noticed. EVERYONE has noticed.

Scar is into it. Scar is going along with it. Scar knows he’d had a crush for a long time, and he isn't scared of swimming with a huge wave, never mind where it's going to break. Scar has always embraced the rush. With Grian, you never know what’s going to happen next.

Grian has always loved being around Scar because there’s so much going on that you don’t have to think. Grian doesn’t have to think until everything’s calmed down. It's not until now that he stops and realizes… could this be… something.

(Maybe it already is.)

And then, by whatever eldritch mechanic you personally favor:

3rd life begins.

HEAD-OVER-HEELS – Third Life

In the tiny claustrophobic stripped-bare world of Third Life, Grian makes a choice. Grian thinks, for once very, very clearly: what if it wasn't a bit? What if it was real. What if Grian took every explosive piece of who he was and handed it over to someone he's—okay, he'll admit it—someone he's been obsessed with for a long time. What if that heady sparkle he's been seeing in the corner of his vision is true. What happens if you grab it with both hands?

Scar—surprised, bemused, amazed but wrong-footed—almost doesn't know what to DO with this.

Scar is so used to Grian layering all his obsession behind a thick layer of irony and drama and second-guessing and schemes. ‘Sure we can make out but only if I'm trailing mushroom spores and you're wearing that sash.’ ‘I'm only here because Mumbo's not around.’ ‘It’s not a thing.’ ‘It's not real.’

But it is real.

And, for once, Scar hears a tiny alarm go off in his brain. Scar knows Grian better than anyone else does, by now, and even he doesn't know where this ends. Grian is a force of nature and Scar has never been his unfiltered target. But Grian's throwing himself into this, throwing himself at Scar. And Scar always says 'yes.' 'Yes, and.' 'Yes, let's'. Scar never wants less of Grian. Scar has always taken what he can get.

But with that warning bell, Scar does try to keep that slight layer of dramatic distance, even in this new world where you can die and not come back, even if they don't know if they'll get out of this alive. Scar doesn't fully buy into Grian's second-in-command-devotion, he forces a space for Grian to still be the Grian he knows, some kind of safety vent (‘here's a bee on a lead’). And it could be a lot of reasons, but part of it is…Grian's head-over-heels, for once, and Scar has the unfamiliar feeling of needing to be the one to look where they're going.

Because where they're going is: the last two, all their friends dead, not knowing if there's any way to survive but knowing their friends haven't come back, and at that point Scar takes off the very last of his brakes and the very last of his reservations and says:

For everything you've done for me you can kill me.

(I want this. I want it to be you.)

This breaks Grian absolutely and completely.

And not broken in the fun way! Grian is too far in. Grian let go of Mumbo, who was safe because Mumbo never let it get too far, and he took a risk on Scar, and now Grian is discovering that he didn’t even know what risk meant. Grian is in emotional pain he never suspected existed. Grian has let himself put all his gambling chips on someone who wasn't SAFE and he has lost.

Grian has LOST SCAR and he has LOST HIMSELF and he has FOUND OUT HE CAN BE HURT and he is never going to be the fucking same again.

Scar is in the pond with Grian’s sword at his unresisting neck. And Scar is going to die, and Scar (damn him damn him) has turned it into: he's going to die for Grian. Now Grian is hurting, he's complicit, it turns out grief is an inevitable part of love and beauty, this is all it's taken for Grian's worldview to fall apart in pieces he can't pick up, and Grian has no defenses against pain so there's obviously no way to cope except to beat Scar to death in a cactus ring and jump off a cliff.

AFTERMATH – Season 8

They wake up in Hermitcraft.

They wake up in Hermitcraft! Scar is delighted to find out they just reincarnate, after all that!

Sure, they've all got some lingering trauma but Scar has never let that stop him from doing anything. Scar thought that whole thing went well! He just about dares to think...romantic...? Maybe...?

Grian is Normal to him.

Grian is so fucking normal. it's like. s6 normal.

Scar is. kind of. confused.

Grian is NOT acting like someone he had a romantic death match with.

(Grian is falling apart, but if there's one thing Grian has proved in his building it’s that he’s SO. fucking. good. at facades.)

(Don't go round the back.)

Neither of them are ready for the death game to repeat.

DIVORCE (Traumatic) – Last Life, Season 8

Second death game. Grian deals with his trauma super well by isolating Scar, stealing all his friends, tricking a life out of him, dropping his horse in lava, forcing him into an extortion death loop, then abandoning him and—just as a bonus—murdering Mumbo as well.

This time it’s Scar who comes back falling apart.

A theory that seems plausible: Scar’s old friend Cub picks him up, puts him back together, gets him on his feet. What we do know is that Cub moves in next to Boatem, where Scar is still living with Grian, and incidentally builds an enormous dripstone megabiome that is coincidentally very hostile and might murder you upon landing if you're someone who flies a lot, or happens to be a bird.

There’s a hole with an endless dark void between Scar and Grian’s Boatem bases. They built it together. It’s around this time they both keep repeatedly falling in it.

DIVORCE (But When It Was Good It Was So Good) – Season 8, Double Life

Then the moon gets big. Gets close. Gravity breaks down and that should be the end, should be a way out of this terrible spiral they're in, surely they're better without each other—

Grian turns up at Scar's base and says: Scar. Build us an escape pod.

—and Scar does.

They go out together. Both of them can feel the pull back into each other’s orbit but they’ll die if they acknowledge it. At the end of it all, the void, the protective suits, the unbearable gravity of falling into space together, of holding each other until another uncertain end. They're nowhere but they're in it together.

Is this a good time for another death game? Of course. How much worse can it get.

Double Life, and this time Scar keeps his distance. My soulmate is this allay! My soulmate is my cat! I don’t need a soulmate. Oh—it’s Grian? This whole time? Hahaha. How funny.

Grian: Soo… do you want to base together?

Scar: Do we have to?

Grian: It…might be nice…?

Scar is wary.

He has been burned.

But the pull is still there. The pull is always there. You can’t forget Grian, but you can blunt the edge of him on your skin. Scar is here to take care of these cat-pandas. Grian can do what he likes.

Cheated of Scar’s full attention, Grian tries to tempt BigB into a pale imitation of the Scarian folie à deux (BigB is a genuinely nice man who does not deserve this).

The rest of the server turn red, one by one. Grian and Scar are the last greens. BigB is audibly nervous when Grian proposes a red-green alliance, even though BigB is the red, he has the power. But Grian can’t escape the rest of the server, and the red hunt begins.

Grian and Scar, hunted—trapped at the top of flaming towers, jumping from heights, chased down like foxes at bay, crammed into boltholes with their hands over each other’s mouths, Grian shrieks and laughs and falls back on Scar and Scar catches him and they’re both as alive and elated as they’ve ever been. Scar dies once to Ren and BigB’s zombies and Grian murders both BigB and Ren in revenge (BigB was right to be nervous). Grian has another unhinged murder plan underway when he dies for the last time.

This whole time, Grian was hit in the face by remembering that when it's good, it's so good.

Scar isn’t surprised. Scar has known that forever.

Back in Hermitcraft, its not magically fixed. They’re not innocent any more. But every time Grian looks at Scar he remembers: when it’s good, it’s so good.

And Scar never forgot.

DIVORCE (We’re In Love And We’re Not Done Yet) – Season 9, Limited Life

By now we're into Season 9. They’re still alive. They always live, they always start again, and the other one is just there. Being, infuriatingly and magnetically, them.

Grian is thoroughly annoyed by Scar’s new allegiance to King Ren, but he keeps coming back to Scarland anyway. Scar, I made you an obstacle course. Scar, stand here and get squashed by this anvil. Scar if you don’t do something I’m going to start a resistance.

Grian pretends King Ren doesn’t exist and he has more important things to do, and pretends this so hard that he incidentally invents a mad science robot pulls them all through into the Empires dimension.

Scar, assuming Grian is doing his own thing, shacks up with Jimmy.

It takes Grian three weeks to notice and be shriekingly outraged.

Scar we’re doing a project. Scar you can’t spend all your time with Jimmy! Join my cult. Get in my shrinking machine. I made you an enchanted netherite bow. I need your allegiance. (Another real quote).

Scar teases Grian for weeks then instantly abandons Jimmy when the choice comes down to him or Grian.

Fourth death game—they’re used to this, now. Nothing too intense. Nothing too weird. Grian can’t help murdering Scar.

At this point, Scar is starting to read it as: I love you.

And that’s how we get to the current Scarian dynamic we know and love of you're the worst and I'm the worst and we've divorced a few time but we still like each other so fucking much.

It's been years. They've killed each other every possible way. These two characters are in love and they're not done yet.

#scarian #grian #goodtimeswithscar #hermitshipping #yes canon IS a grand romantic arc #to be super clear: i don't think any of this was cc intention #but we can have a little narrative framing fun #as a treat #i think nearly all of this is true to canon except some timing vagueness and the dialogue in parentheses #thank you to the hivemind for theory help #long post #glossywrites

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trickstertime · 1 year

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I'm absolutely amazed and delighted by the way in which thousands and thousands of people have spontaneously agreed to invent a movie and, without actively discussing it in any way, have very quickly come to agreements on not just overall themes but the characters names, plot points and even specific scenes. Everyone has just accepted that the director is Matteo JWHJ0715, a man who's mother was Italian and father was a licence plate.

There's over 450 fanfictions on AO3 that are tagging themselves as to whether their fic is cannon compliment or not. For a movie that doesn't exist. Scorsese's Wikipedia page has had to be locked because people kept adding it to his filmography.

It's fantastic and could probably be used as a basis for a collage thesis on human... colabritive behaviour?? Like, we could all sit down and talk about it and agree on themes etc but no one is. It's all through tumblr posts that become popular because they're funny, are framed particularly well, have an interesting theme/scene idea etc. Like, it's almost a democratic in how it's coming together but it's much faster and there's no typical voting structure and no leaders. Like, one of my mutuals added the ice-pick Joe thing and now it's 'cannon'.

Makes me think of humans thousands of years ago making up stories and spreading them by retelling, adding and removing themes and scenes at each retelling until it coalesces into a full story. It's absolutely delightful and I love it.

#Goncharov #goncharov 1973

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thegreatcaptainusopp · 5 months

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I am just. SO fascinated by the core theme of dreams in One Piece as it pertains to Usopp. Everyone else has a dream that’s like…either very specific as a goal, very ambitious, or both (some at different levels of quantifiable than others). But Usopp’s simultaneously so simple and so unquantifiable. It’s not a hyperbole, like “bravest warrior of the sea”, for example. It’s just “brave warrior of the sea”. So straightforward. But like, how do you even declare that completed? At which point does Usopp look at himself and go: dream achieved! Because in that case, he’s already achieved it. He achieved it the second he stepped on the merry. He achieved it the second he was terrified scared during a fight and stayed to fight anyway. He achieved it the second he decided to fight everyone he loved because he thought they gave up on their ship. He achieved it the second he put on a mask and pretended to be someone else to be a hero.

The existence of Sogeking is so telling about this because like. He invents a persona in order to be a warrior and feel worthy enough to fight. But that’s still him under there. It seems like Luffy and Chopper aren’t the only ones fooled by the Sogeking persona, Usopp himself believes to an extent that that’s another guy, that’s the brave warrior of the sea he wants to be. But it’s still him!

So like. His journey is less about achieving the dream. It’s more about realizing that he’s already achieved it.

#one piece #op #usopp #speaks #strawhats #straw hats #straw hat pirates

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lgbtlunaverse · 3 months

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What kind of saber is baxia anyway?

I love my bloodthirsty princess of a cursed blade, and in my heart of hearts i am nothing but a sword nerd, so i've been extremely fascinated by Baxia and how we know frustratingly little about what she actually looks like!

I mean, look at bichen, right?

Bichen in the donghua:

Bichen in the drama:

They're clearly not exactly the same. The scabbards are different, and the guards have a different shape. But these are recognizably different iterations on one theme, right? Thin jian with a white grip silver guard, light blue tassel and silver mounting accents on the scabbard.

Now this is baxia in the donghua:

And baxia in the drama:

????????

THAT'S A COMPLTELY DIFFERENT WEAPON

it doesn't stop there either, the audio drama is kind enough to give us ANOTHER COMPLETELY DIFFERENT BAXIA

pretty! But how is that he same sword??

And when we go back to the novel, we get very little information on her appearance other than the fact that her blade is tinted red with all the blood she's absorbed. Which none of these designs incorporate.

This is not a dig on the designs itself, they're all quite gorgeous in their own right and i'm going to spend a while discussing all of them! Because isn't it fascinating how, since we know little about novel baxia beyond "saber" all of these designs ended up so different? What kinds of sabers are these, anyway?

So, a chinese aber, aka a "dao" (刀) just means a sword that has only one cutting side. As opposed to a jian, which has two.

You can see how that leaves a LOT of room for variaton.

I've actually seen some people get confused because Huaisang's saber in the untsmed is thin and quite straight, making it superficially resemble the jian more than drama!baxia, but it is still clearly a saber!

See? only one cutting blade!

This, to me looks a lot like a tang dynasty hengdao

credit to this blog for providing his image and being a great source for all this going forward.

TANGENT: during all this I found out the english wikipedia page for dao is WRONG! Ths is what they about the tang hengdao!

So that sounds like the hengdao was called that during the sui dynasty, but then, after that, started being called a peidao, right?

WRONG

I LOOKED AT THE SOURCE THEY USED AND IT SAYS THIS:

IT WAS CALLED THE PEIDOU UNTIL THE SUI DYNASTY, AT WHICH POINT IT WAS CALLED A HENGDAO. Which would carry over to the Tang dynasty. This was the source wikipedia linked! and it says something else than they say it does!

Anyone know how to edit a wikipedia article?

ANYWAY

BACK TO BAXIA

Since we're already at the drama, let's look at drama baxia: She's also straight! the general term for straight-backed saber is Zhibeidao, but that's a modern collector's term, and doesn't really say anything about which historical kind of saber baxia could be based on. Another meta i found on the drama nie sabers already went on some detail here.

I'm gonna expand on that a little: The kinds of historical straight-backed sabers we see resemble the hengdao a lot more than they do baxia. They don't go to their point as harsly as she does (she's basically a cleaver!) and they're all way skinnier.

No, my personal theory is that instead of being based on any kind of historical sword, drama!baxia is based on a Nandao.

I mean, come on, look at it!

Baxia!

The Nandao... isn't actually a historical sword. It was invented for Wushu forms. There's a really fascinating article about its conception, but that's why the swords in the images look a little thin and flimsy. Wushu swords are very flexible and light, they're dance props, not weapons to fight with. There are actual steel versions of Nandao, but they're recreations of the prop, not the other way around.

So That's one way in which Baxia differes from the Nandao: she's actually a real weapon. The other is that, as you can see above, the nandao has an S-shaped guard. Baxia doesn't. She's also much more elaborately decorated, of course. Because she's a princess.

Now: audio drama baxia!

This is much easier. with that flare at the tip?

Oh baby that's a niuweidao, all the way!

There are more sabers with that kind of curved handle, but the broad tip is really charcteristic of the niuweidao. The Niuweidao is also incredibly poplar in modern media, often portrayed as a historical sword, but it originated i nthe 19th century! And it was actually never used by the military!

That's right, the Niuweidao was pretty much exclusively a civilian weapon! That makes its use here anachronistic, but so is the nandao, and considering that the origin story of the Nie is that they use Dao intead of Jian because their ancestors were butchers, portraying them with a weapon historically reserved for rebels and common people instead of the imperial military is actually very on theme!

Finally, Donghua/Manhua baxia. These two designs are so similar I'm going to treat them as one and the same for now.

Unlike both previous baxias, The long handle makes it clear this baxia is a two-handed weapon, though Nie Mingjue is absolutely strong enough to wield her with one hand anyway. Normal rules don't count for cultivators.

Now, this is where things get tricky, because there are a lot of words for long two-handed sabers. And a lot of them are interchangable! This youtube video about the zhanmadao, one of the possible sabers this baxia could be based on, goes a little into just how confusing this can get. This kind of blade WAS actually in military use for many centuries, making it the most historically accurate of all the baxias. But because of that it also has several names and all of those names can also refer to different kinds of blades depending on what century we're in.

So here's our options: i'm going to dismiss the wodao and miandao, because these were explicitly based on japanese sword design, and as we can see manhua baxia has that very broad tip, so that won't work

(Example of a wodao. According to my sources Miaodao is really just the modern common term for the wodao, and the changdao, and certain kinds of zhanmadao... do you see how quickly this gets confusing?)

Next option: Zhanmadao.

Zhanmadao stands for "horse chopping saber" so... yeah they were anti-cavalry weapons. meant to be able to cut the legs and/or necks of horses. That definitely sounds like a weapon Nie Mingjue would wield. But if you watched that youtube video i linked above, you'll know the standardized Qing dinasty Zhanmadao looked very different from earlier versions. It was inspired by the japanese odachi, and more resembles the miandao than its ealrier heftier counteprarts.

Earlier Ming dynasty Zhanmadao on the other hand were... basically polearms. the great ming military blog spot, another wonderful source, says these are essentially a kind of podao/pudao (朴刀) which looked like this

Now that blade looks a lot like baxia, but the handle is honestly too long. Donghua!baxia straddles the line between sword an polearm a little, but while zhanmadao have been used to refer to both long-handled swords and polerarms, this was undeniably a polearm, not a sword.

If you want to know what researching this was like, I found a picture of this blade on pinterest-- labeled as a "two-handed scimitar"-- and the comment section was filled with people arguing about whether this was a Pudao, Wudao, Zhanmadao, Dadao, Guandao, or a japanese Nagita.

So... that's how it was going. This has kept me up until 2 AM multiple times.

However! Thanks to this article on the great ming military blog I found out there have historically been pudao blades with shorter handles!

Specifically, Ming dynasty military writer Cheng Ziyi created a modified version of the pudao to work with the Dan Fao Fa Xuan technixues-- aka technqiues for a two-handed saber, which would alter heavily influence Miaodao swordmanship-- thereby, as the article points out, essentially merging the cleaver-polearm type Zhanmadao with the later two-handed japanese-inspired design.

This is the illustration for the Wu Bei Yao Lue (武備要略) a Ming dynasty military manual

This blade shape in the illustration doesn't match Baxia exactly, but since it's a lengthened Pudao-like blade and we've seen above that those can match Donghua Baxia's shape, i'm gonna say that calling Baxia a Zhanmadao with a two-handed grip isn't all that innacurate!

However, because all of these terms are so intertwined, there are a dozen other things you could call her that would be about equally correct.

To show that, here's a lightning round of other potential Baxia candidates:

Dadao (大刀)

Which are generally one-handed and too short. However!

Another youtube video i found of someone training with a Zhanmadao that resembles baxia a little also calls it a "shuangshoudai dao" (雙手带刀) shuangshou means two-handed, and while 雙手带 seems to refer to a longer handled weapon, when looking for a shuangshou dao or shuangshou dadao (双手大刀) we find a lot more baxia-resembling blades like here and here

I also found that, while the cleaver-like Dadao is strictly a product of the 20th centuy, since dadao just means big sword or big knife, it has been used to refer to loads of different weapons! Some people could've called the zhanmadao and pudao "dadao" during the Ming dynasty as well.

Another potential baxia candidate that mandarin mansion classifies as similar to the later dadao (though longer, as seen in the illustration below) is the "Kuanren Piandao"

Which piqued my interest because this diagram classifying different tpye of Dao:

Claims that a Kuanrenbiandao (diferent spelling, same sword) is the same as a modern day Zhanmadao.

(So once again, all of these terms are interchangable)

Another opton Is the Chuanmeidao/Chuanweidao (船尾刀) below you can see a diagram, based on the Qing dynasty green standard army regulation, of blades all officially classified as types of "pudao"

The top middle is the Kuanren Piandao, and bottom left is the Chuanweidao.

Both of these have a lot of baxia-like qualities.

So there you go! live action baxia is based on a Nandao, audio drama baxia is based on a Niuweidao, and Manhua/donghua baxia is some kind of two-handed Zhanmadao/Pudao/Dadao depending on how you want to look at it.

I'm honestly surprised no one has made the creative decision to portray Baxia as a Jiuhuandao, aka 9 ringed broadsword yet.

I mean look at it! Incredibly imposing. Would make for a great Baxia imo. (@ upcoming mdzs manga and mobile game: take notes!)

#mdzs #mdzs meta #nie mingjue #baxia #cql #the untamed #long post #I HAVE SO MANY TABS OPEN. FEEL MY SUFFERING #I understand that asking a gigantic region with thousands of years of rich history and many different subcultures #to have one standard naming convention is basically impossible #But could they do it anyway? for me? 🥺#i also want to buy one of these... so bad #or even just a plastic trainer so i can practice the techniques #but i know that once i start buying swords i'm not gonna stop until my money runs out #Being a sword nerd is a very dangerous not phyisically but for your wallet

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crippleprophet · 7 months

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rules of engagement before we begin: do not seek the original post out to interact with it negatively or harass op in any way. if i find out about anybody doing that sort of shit i’ll block them so quick it’ll be the fastest i’ve moved all year. ok thx here we go

[image description: three screenshots of a post with the username blacked out. the introductory & closing paragraphs are as follows, & the bullet points will be listed within the body of this post. the introduction reads:

nobody warns you this but addiction happens without you noticing and one of the first things that it attacks is your ability to care. if you find yourself using recreational drugs every day, stop and take one day a week sober. if you struggle with this or if you don't see the point of the exercise, you are likely already addicted and you need help.

nobody ever taught me the warning signs for drug addiction, only that "it costs lots of money and destroys your life!!!1" which is not helpful if you can't recognize a developing addiction in yourself. so here's some things to watch out for with recreational drug use.

the conclusion reads: yes this applies to weed. weed is a drug and you can get addicted to it like any other substance. addiction is not the same as physical dependence; it is psychological and it can happen to anyone. you are not immune to addiction. end image description.]

now! fundamentally why i will never align with this kind of perspective is that i affirm addiction as a social construct, like all so-called mental illnesses, & the psychiatric institution which invents & reifies them as a fucking sham.

answer quickly:

what substances is it possible for one to become addicted to? does this include caffeine? why or why not?

is the claim of sugar addiction legitimate or anti-fat pseudoscience? what, if anything, differentiates this from other addiction science?

what is the harm of the so-called opioid epidemic: access to a safe supply of narcotics, or the lack thereof?

can an autistic person who eats the same dinner every night, for example, be said to be “psychologically addicted” to it if they have a meltdown & subsequent ongoing distress + disinterest in food when it is discontinued?

can you be addicted to psychiatric medication? immunosuppressants? why or why not?

my point is less that these behaviors are not indicative of addiction but rather that that wouldn’t inherently make them harmful. fuck it, let’s take it point by point!

planning your day around drugs e.g "i'll give myself an extra half hour before heading out so i can get high first"

this whole post had me asking “literally what is the problem with this,” starting with this first bullet! why does someone need to leave for the grocery store at 5:30 instead of 6, or whatever? and the other recurring theme: what happens if you replace “drugs” with “pain management”? (chronic pain is not the only valid reason to get high—all reasons for drug use are equally value-neutral—but it certainly still is one.) “i’ll give myself an extra half hour before heading out for my pain management to start working” is the kind of calculation familiar to most people with chronic pain. “stop and take one day a week without pain management” is not a test of whether you “need help,” it’s torture.

now, disregarding one’s priorities or commitments to other people in favor of drugs can happen, & in many circumstances it’s harmful to the other people impacted. that’s not what was said here, & stopping that behavior does not require getting sober.

rapidly switching emotions around drugs. you love them but you hate that you love them so much. you hate the way you feel on them but you hate being sober. feeling guilty after using even when you didn't give a crap beforehand.

do you know what else i love but hate that i love, what else i hate using? my fucking bed. three years ago, my mobility scooter. this is not a logical argument, this is a bullshit argument. my feelings about something do not inherently reflect its harm to others – or to myself, even, though i firmly argue for the right to make “self-harmful” decisions regardless.

you know what people hate being on but hate worse being off? the vast fucking majority of medications.

why might a drug user start to feel guilty when they previously didn’t? being shamed by friends, family, or a fucking tumblr post; surpassing a constructed threshold of “acceptable” use they didn’t know they’d internalized; experiencing new or greater access issues; beginning to probe their morality around drugs & unpack things they were taught; experiencing consequences of criminalization; getting triggered.

caring less about spending money. if you are budgeting for drugs like they are food, you are likely prioritizing them more than is healthy.

“if you are budgeting for pain management like it’s as important as food, you are likely prioritizing it more than is healthy.” health is absolutely useless as a value for me anyway, but: the food’s no good if i’m too nauseous or too dead to eat it.

prioritizing drugs over other people’s financial needs is harmful! this wouldn’t happen if food & drugs were provided to people; some people wouldn’t need as many drugs if their needs were met otherwise; people’s needs being met shouldn’t be dependent on their parent / partner / self not using drugs; this harm is not what the bullet says.

getting high to do household chores and other unpleasant things because it would suck less and be more bearable on drugs

“things should suck. because god wills it i said so.”

feeling anxious or restless while sober, not knowing what to do with oneself, feeling lost or ungrounded.

again just. what’s the problem with that. so what if being sober sucks or is boring or stressful or demanding. so what if someone decides to deal with that sober or decides to use more because of that. who gives a shit.

thinking about doing drugs constantly even while sober. maybe it's the first thing you think of when you wake up. maybe when you're bored or otherwise have free time, drugs are one of the first things you can think of to occupy yourself with.

“thinking about getting better pain management constantly when you’re in pain”

i feel like you’re gonna tell me the only thing that can really take my pain away is jesus

again like. what is the problem with doing drugs because you’re bored. why do i need to occupy myself, what, fucking productively?

going to work or school while under the influence, especially if it happens regularly and if you're seeing your performance suffer as a result.

what’s wrong with going to school high. derailing a class discussion is a dick move, maybe, but that’s not inherent to being high. work & performance are both very broad terms – a surgeon or someone operating heavy machinery not being sober is putting others at risk of harm in a way a cashier is not.

the idea of taking a 'tolerance break' sounds good to you until it's actually break time, at which point you can come up with 20 very reasonable sounding points to explain why it wouldn't benefit you actually and you should just keep doing drugs regardless.

y’all think this is incredibly circular logic too right? “drugs are bad, so telling yourself drugs are not bad is proof that they’re bad.” took me right back to the sunday school classroom and i wish i was fucking exaggerating. it’s an argument founded upon the inherent wrongness of trusting yourself – what you want to do must be wrong because you want it. this is one of the points that’s a more solid indicator of, like, “congrats! you’re now in circumstances doctors are salivating to psychiatrize as XYZ Use Disorder,” but that doesn’t make it any less nonsense as a moral argument.

even if you succeed at quitting the drug, you keep your dealer's number on your phone "just in case"

so what. what’s wrong with giving yourself the continual autonomy to choose whether or not to do drugs. what’s wrong with quitting drugs for a while and starting using again.

you pretend to be sober when you aren't. you worry about other people noticing how much time you spend high. you make efforts to hide your drug use or minimize how much other people think you're using. you're scared of other people's judgement if they were to find out.

this one might be the most ludicrous to me, which is really saying something. “if other people being bigoted towards drug users makes you pretend to use less than you do, that’s your fault & not theirs.” cool! thanks for the quick heads up to not believe a word you say!

you have mood swings laced with self-hatred, regret, financial worries, and guilt. these mood swings are then very quickly wiped away by feelings of "but it doesn't matter, i can do what i want, and clearly i'm doing just fine while using drugs frequently". news flash, if you are rapidly switching between feeling numb-ok and hating yourself more than anything because of your drug use, you are mentally ill.

again, “the norm knows you better than you know yourself, you can’t listen to yourself, the body is wrong, wanting is wrong, pleasure is wrong, you are wrong wrong wrong.” but god, what a beautiful example of how oppression is psychiatrized: it’s not enough for the oppression to have worked, the system must then convince us that the effects of it working are our own fault. it’s not enough to just kill us with us fully aware of the knife, it’s gotta convince us we’re bleeding out for no reason. if you want any moments of pleasure during your miserable godforsaken little life you’d better put your nose back on the goddamn grindstone and repent. everything around you for your entire life has told you to hate yourself for your drug use but if the combined force of that violence works you are mentally ill, and that is the worst crime of all.

according to this post, when is it okay to use drugs, then? well, not planned into your day, and not at work or school, but not when you’re bored or have been thinking about it too much, and not if anyone who’d judge you or you don’t trust knowing you’re high or you just don’t want knowing is around, and not if you don’t want to quit, but also not if you’ve quit already. you have to hate your drug use otherwise that’s proof it’s attacked your ability to care but hating your drug use is proof you should stop. #JustSayNo

#& yes i wrote this stoned #substance use #drug use #addiction #drugs #long post #stigma #mac.txt

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ohtobeleah · 8 months

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Bruises // Jake Seresin

Chapter One: [Happily Ever Afters Don’t Exist]

Summary: A certain naval aviator shows up on your front doorstep right on cue. Because when the nightmares are too hard to handle on their own? You and Jake find solace in one another’s presence.

Word Count: 2.5k

Series Warnings: Heavy themes of violence, sexual assault, torture. 18+ content. Minors DNI. Mature themes. Being held in captivity. Hostage style situation. Main character death! Whump, Angst. Conversations that discuss antisocial & antisemitism views.

Author Note: THIS SERIES IS CONFRONTING, FICTIONAL, AND DEPICTS IMAGES OF TORTURE. DO NOT READ PAST THIS POINT IF YOU BELIEVE THAT THIS SERIES WILL BE DETRIMENTAL TO YOUR MENTAL STABILITY. CURATE YOUR OWN TIMELINE.

Series Masterlist | Main Masterlist

***~***~***~***~***~***~***~***~***~***~***~***~

Sunday- August 13th 2023. Present Day

We all remember the bedtime stories of our childhoods. The shoe that fits Cinderella, the frog that turns into a prince, Sleeping Beauty is awakened with a kiss. Once upon a time and then they lived happily ever after.

Fairy tales—the stuff of dreams. The problem is, fairy tales don’t come true. It’s the other stories, the ones that begin with dark and stormy nights, and end in the unspeakable. It’s the nightmares that always seem to become reality.

You shot up from your spot in your bed trying to regulate your breathing from yet another nightmare, the nightmares you already lived through that your mind, body and soul couldn’t let go of, the overwhelming fear had triggered yet another panic induced asthma attack. Your inhaler sat close by on your bedside table.

You came to quickly realise after all that you’d been through that the person that invented the phrase ‘Happily Ever After’ Should have his ass kicked and kicked hard. Because ‘Happily Ever After’ Didn’t exist.

Sleep didn't come easy anymore, especially at night. Since you’d been on mandated medical leave you did your best to sleep during the day and stay awake all night, just to keep the voices in your head silent. It did little to curve the nightmares though, the sounds of tortuous screams that would send you into a dizzying fit of terrors until you realised you were safe. That you were home and that you were in your own bed, not on some dirty cell floor a million miles away with no hope of ever seeing your loved ones again.

A knock at your front door in the middle of the night would usually have your heart racing. People don't knock on peoples doors in the middle of the night, and if they do? Your mother always taught you not to answer unless you were expecting company.

As you padded over to your front door with a warm cup of peppermint tea in your hand, you had to wonder what one it was this time that brought the wounded soul to your doorstep. You opened your front door to reveal the very person you had actually been expecting for all the wrong reasons. He stood with his shoulders slumped in his grey sweats and an old longhorns T-shirt that looked worse than he did. Sad emerald green eyes met yours as he ran a nervous hand through his sandy locks, hell, this never got any easier.

Jake Seresin showing up on your doorstep at one in the morning had become a thing. On the nights he wasn't dragging his tail up your three porch steps, you were banging against his courtyard gate. Both as desperate for company as each other. Yet neither of you would admit you were struggling. But the unspoken was as loud as silence could ever be.

You’d both witnessed and experienced the unthinkable, unspeakable acts of violence that should have killed you both. But yet here you were, making him peppermint tea at one in the morning, trying to hide the fact whenever you looked at him all you saw was the way his body bled and bruised.

“What one was it this time?” You asked as you handed Jake the tea you'd made for him, having expected him any minute now. He still had bruises that littered his cheeks and eye socket. Doctors had reassured you that his broken jaw would heal in time, for someone with the gift of the gap not talking though was a difficult task. But being in an induced coma for the first week since being admitted helped the swelling a lot. He looked more like himself now.

Lieutenant Jake ‘Hangman’ Seresin. The very embodiment of a human ken doll. He looked like the Jake you knew before the mission that nearly killed you both. Everyday that passed he looked less and less like the version of himself that would have said or done anything to keep you alive. That had done everything he could have.

“The one where they made me hurt you.” Jake mumbled as he stepped past the threshold of your humble abode and accepted the cup of warm peppermint tea you had made for him. He appreciated the warm sensation, it grounded him. “I get that one alot, whenever I close my eyes–” Jake paused as he drank in the sight of you. You looked healthier now. Brighter. Your eyes weren't so full of fear and your lip wasn't as split anymore. “All I see is you and how I couldn’t save you.”

You and Jake had shared all your darkest nightmares with one another, he was the only person who understood what you were going through, what you sounded like while your skin was cut and your bones were broken. He was the only one who understood when you told him your body didn’t feel like yours anymore. And you were the only one who understood what it was like to want to die just to feel peace. To escape hell. You’d seen the limits each other could tolerate, and you'd seen each other's breaking points. Neither of you could escape the burning guilt you held for each other. It was a bond that you wouldn’t wish on your worst enemy.

With all the love you held for each other you’d both agreed now just wasn’t the right time. A relationship seemed like the worst thing to jump head first into after experiencing hell on earth. But with that mutual understanding came a deep hesitation to believe any of it was ever real to begin with.

“Well, you did.” You reminded Jake as his eyes wandered down to where your hand and wrist still remained in a cast. He could still remember the way you screamed out in utter agony when the hammer smashed your bones, how you looked when infection took over. “I’m here because of you.” He didn’t reply straight away as he took a sip of the warm peppermint tea you’d made for him. He watched silently as you closed your front door—making sure to lock it and switch off the patio light. It was the middle of the night after all.

Jake Seresin was a wreck, you knew that much. The people who knew him better than most would often tell you he was a shell of his former cocky, egomaniacal self. They all missed that version of Jake—the one who could give anyone a headache just by his charm alone, but was present and aware.

But the Jake you knew was just as scared and bruised as you. Even if he wouldn’t admit it, the mutual midnight visits were enough of an explanation, and you didn’t push. He didn’t push either. The two of you just existed, trying to navigate through the trauma of the situation the two of you found yourselves in. Marked confidential and sealed indefinitely. Plagued with the sounds of each other’s tortuous screams.

“You were there because of me too.” Jake finally replied, his voice was soft and barely audible. “You were my responsibility.” He bowed his head in shame, regret had followed him everywhere since the two of you had gone down. “I failed you.”

It was your turn to listen and take in the heaviness of Jake's admission. An admission you’d heard a hundred times before and would surely hear a thousand times more. It was Jake's truth, his version of reality.

“You didn’t fail me, Seresin.” You sighed softly as you walked your way around to stand before him. Jake looked at you with so much guilt, so much anguish in his eyes. Those deep green emerald eyes. “Because we’re home, we’re safe, you’re standing here drinking my peppermint tea and I’m about to reach up and kiss you—“ You placed your hand on the back of Jake's neck, slowly, tentatively. “Because you didn’t fail me, you saved me.” Jake knew that was true to some extent, you were holding on for dear life when rescue came. Without them, without Jake begging you to stay, you probably wouldn’t have.

“Please—“ Jake whispered as tears fell from his lash line. “Just one.” You did. It wasn’t hard touching Jake, or loving him or kissing him or doing anything that made you feel connected. If it were anyone else you’d struggle. But not with Hangman.

It was the softest of kisses, the most fleeting of things, but you did what you said you were going to do and reached up to kiss Jake's lips.

Jake raised his eyebrows in reaction to your softness but soon closed his eyes knowing he was safe and pulled you closer by the small of your waist with just one hand. He still held the peppermint tea in the other. Savouring every single moment, every fleeting touch you were willing to give him.

“You didn’t fail me Jake, I’m standing right here, because you kept me going—you kept me alive.” You knew exactly what Jake needed to hear as he let his forehead rest against yours. You cupped his cheeks to catch the tears that had begun to fall down his slightly bruised cheeks. You caught Jake's tears with the pads of your thumbs, just like you’d done when he was covered in his own blood.

“You gave me hope and we’re okay Jake, we’re okay.” All Jake did was nod with closed eyes. He needed your gentle touch to ground him, keep him from falling into the dark depths of the hole he was standing on the edge of.

“We’re okay.” The same hole that you had teetered on the edge of. “We’re okay.” Jake repeated a few times as he kept his eyes closed. He was afraid that when he opened his eyes you’d be gone. “We’re okay.” He whispered just one more time before he opened his eyes, you were still there, his weapon’s system office, his responsibility, his one and only guiding light. “Thanks.”

“Not a problem.” You pressed your lips together in a fine line before you stepped away. Heading towards the kitchen where you’d left your own cup of tea. “I’m glad you’re here actually.” You sheepishly admitted. “I was going to try and get some rest but couldn’t fall asleep alone.” Jake knew what you were asking of him—he’d asked you a fair few times himself. But again, it was all coded.

“I’m pretty tired, could use an hour or two.” He replied with half a smile that only graced half his face. Jake followed you over to the hallway he knew led down to your bedroom. Completely lit so that not an ounce of darkness could shroud your recovery process. “I’ll stay.”

“Thanks.” You looked up at Jake as he looked at you, both as broken as each other. He still saw the uncertainty in your eyes, the fear that your time had left you with. Jake could argue you had it worse than he did, but you’d say it wasn’t a competition. “I think I sleep easier with you here than when you’re not.”

“If I wasn’t so haunted by your screams Hollywood, I’d be flattered.” Jake teased as he took a sip of his tea. The tea you’d made just for him in the mug you knew he liked. It was easy to joke about small details, it’s how you and Jake got by, but the sad reality was it was all true. There was a time where Jake Seresin would have taken that compliment and turned it into something more sexually explicit. But now? Even when the two of you did embark on showing one another what it was like to touch the stars and all Jake saw was you in that cell screaming for those men to stop. In his nightmares as he’d lay beside you he felt like one of them.

Jake caught himself falling into a k-hole of thoughts as he took another sip of his tea to bring him back down to earth. “But yeah, I sleep better with you by my side too.”

It was weird going from being so sure of every word Jake spoke in the time you were held together, to all these ‘Thinks’ and ‘Pretty Sures.’ But you knew the ‘I love yous’ shared and the admiration admitted were all just tactics to keep each other alive. At least on Jake’s behalf you assumed. For you? Every word of it was real. Every plea for Jake to keep his eyes open was real. Every cry of mercy for them to stop beating him was real. Every ‘take me’ every ‘I love you’ every ‘don’t you dare die on me, not now.’ Was real. Every ‘when we make it home, I’ll never let you go.’ Was real.

“Good.” You yawned, exhausted from all the sleepless nights and half ass attempts during the day. “Because I’m exhausted.”

“Feels like we’re on a train that’s going like two hundred miles an hour without any breaks.” Jake began walking with you towards your bedroom. A bedroom he’d become so familiar in he knew where you kept your socks and what corner you favoured for dirty laundry. “And as much as you wanna stop that train we can’t get off, for some fucking reason we just can’t get off.” He continued as you pushed your door open, still lit from almost every light you owned. “Wouldn’t it though—wouldn’t it just be so nice to step off onto the platform for a minute?” Jake asked as you took his tea and placed it up on the dresser beside yours. Coaxing him forward and towards your bed by his hand.

“It would be nice.” You tried not to cry.” “It would be so nice.” You knew what Jake meant, what the platform was a metaphor for. You couldn’t say you hadn’t thought about it—the sweet release death would bring. “But I’m not quitting on you now Hangman.” You held back tears as you kissed Jake again, this time with more passion and fire in your intention and this time he kissed you back.

The back of your knees hit the side of your bed and you were down, with Jake falling with you. It was the closest to love the pair of you would get. Relearning what gentle romance was. Relearning to understand that not every touch was rough.

“So you don’t get to quit on me.” You reminded him sternly. It was just the trauma talking. You’d give anything to go back to the way things were before, when the two of you hardly spoke. When the pair of you bickered and argued and didn’t engage in pity sex out of an existential obligation to one another just to feel something besides hopelessness and pain. “Because we made it out, we got out and we survived—“ You cried into his mouth as tears of his own dripped off his cheeks down onto yours. “And we’ll survive whatever else is left to come, okay, you and me?”

Jake didn’t give you an answer, but he nodded silently before he took your lips hostage again. His hands were gentle against you—afraid that he’d hurt healing wounds. But he could never. He could never hurt you as much as they did.

“Just you and me Hollywood."

***~***~***~***~***~***~***~***~***~***~***~***~

Tags 🏷️ @americaarse @blindedbythelightt @tayl0rhuynh @athenabarnes @imaginecrushes @whyareallnamesgone @mjmaximoffbarnes @amiets2 @mads-weasley @gabbyella @ephemeralninon @xoxabs88xox @pedrohoe04 @starkleila @je-suis-prest-rachel @clancycucumber230 @maisie-rebloging-blog @callsign-barbell @obiwankenobis-lap @some-lovely-day @paperbag333 @callsign-magnolia @jhiddles03 @hardballoonlove @shanimallina87 @seitmai @abaker74 @missemrose @starset21 @kmc1989

#bruises // jake seresin #jake seresin x reader #jake seresin #jake seresin x female!reader #jake seresin angst #jake hangman seresin x reader #jake hangman x reader #top gun hangman

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balioc · 4 months

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Holiday Engineering: What Not to Do

We can learn a lot from Chanukah, because Chanukah is a garbage-tier holiday.

I mean this in a mostly-detached, mostly-analytic way. Like many people who were raised Jewish, I have some very fond and happy memories of Chanukah. Anything can accrue fond and happy memories, if you have a way of getting people to do it. But Chanukah is full of features that actively detract from its being resonant, impressive, memorable, or fun. It is an anti-advertisement for its community.

If you're a would-be designer-of-holidays, this is actually a really useful thing. Mimicking the good and successful holidays is quite hard; their quality tends to hinge on a lot of idiosyncratic hard-to-replicate factors, and "invent something as cool and punchy as the $WHATEVER" can be a tall order. But it's easy to look at a design failure and say, "I"m not going to do that."

With that, let's go into the details:

CHANUKAH: THE GOOD

Timing. It's a midwinter festival-of-lights. Solid start. Everyone loves those. Brightness and festival cheer, in the long cold winter nights, is practically a need for many. The holiday mostly skates by just on being the winter light festival for the Jews. A+. Or, really, we should knock that down to an A, because Chanukah usually comes too early to be ideal for this purpose, but -- still, quite good.

Traditional food (side dishes). Latkes are incredibly popular, and for excellent reason. If you're trying to settle on a food that everyone will love, "fried potatoes" is a damn good choice.

CHANUKAH: THE NEUTRAL

Symbols. There's really just one that matters: the chanukiyah (nine-branched menorah). Which is, on paper, a very cool and snappy symbol. Distinctive silhouette, ritual engagement, plus the allure of fire. But it loses a lot of points for the fact that you don't actually light the whole damn thing, and get the proper visual effect, until the very end of a long-ass holiday when everyone's enthusiasm and attention have ebbed. On the first night, in particular, you light just two candles in your chanukiyah, and it looks lopsided and sad.

Traditional food (sweets). Jelly donuts are fine, I guess, if uninspiring and uninspired. Chanukah gelt is pretty lame as candy goes...but from a holiday-design perspective, it's hard to go too far wrong with giving kids candy.

Music. "Maoz Tzur" is kinda pretty. "Oy Chanukah!" is kinda fun. That's pretty much it, barring some silly kids' music (and I guess that Adam Sandler thing). Nothing that will knock anyone's socks off. But, honestly, two decent songs is more than many good holidays have.

Gifts. Being the big annual gifting holiday is a double-edged sword. It's some super-powerful mojo, culturally speaking. People are obsessed with giving and receiving gifts, in a way that's very hard to excise or evade, no matter how often you trot out your utilitarian language about deadweight loss. Chanukah gets a lot of its traction out of the fact that it's the holiday where you get presents. But. (a) In the modern world, the gifting holiday is unavoidably a locus of stress and misery for many people, and Chanukah doesn't have nearly enough upside serving to support that burden. (b) Chanukah is bad at being a gifting holiday. The gifting is not well-integrated into the event, it's a tacked-on thing copied over from Christmas, and it shows. There's no real ritual surrounding it, no presents-under-the-Christmas-tree equivalent, certainly no Santa Claus. Worse yet, the eight-day-holiday thing means that either you need a set of gifts whose awesomeness is equally divisible by eight (mega-awkward), or else you have inconsistencies and disappointments.

CHANUKAH: THE BAD

Theme. What is the holiday about, when everything is said and done? What is our key takeaway message from all the shit we're doing. "God is great, God looks out for His people, God performs mighty miracles." Stop. Shut up. You fail. That's every holiday, if you're operating within a religious tradition. You need something more than that, something powerful and deep and important and special, to be even halfway-decent as a holiday. But for the vast majority of Jews (including Jews in the most orthodox and observant denominations), that's pretty much all you get. Because...

Mythology. The story of Chanukah, the holiday's narrative raison d'etre, is just unconscionably bad. In some extremely vague sense, it's a story about Jews overthrowing foreign oppressors and casting off foreign influences...which is already pretty bad from a modern liberal perspective, we don't like jingoistic ethnonationalism these days. But the actual events of the Chanukah story are less about Jews-against-foreigners than they are about Jews-against-other-Jews. It is a story about fanatics seizing power and murdering cosmopolitans. Virtually everyone hates that shit, up to and including the most tribal-minded Jews. The rabbis of the Talmud were pretty iffy about Chanukah for exactly this reason, and didn't talk about it much, with the result that the holiday doesn't have much in the way of supporting cultural infrastructure. And you really can't tell the Chanukah myth without that horrible stuff; it's so baked-in that it gets incorporated into even the most sanitized propagandistic Hebrew-school versions of the tale (with exactly the effects that you'd expect on Hebrew school students). The miracle of the oil feels like a tacked-on narrative coda, because it is, because without it the only possible moral of the story would be "kill your neighbor if he's not pious enough for you." But it's much too little, much too late. The miracle of the oil is super lame by miracle standards: no one is saved from danger, there are no memorable SFX, the whole thing is relevant only to the rituals of a long-vanished Temple.

[There are several lessons that can be learned from this particular problem, at multiple levels of abstraction.]

Structure. You can have a good eight-day holiday, but a festival of that length needs an arc. The days need to be distinct from each other. You need to be either building up to a climax, or -- more commonly, as with Passover and [the twelve days of] Christmas -- coming down from a main celebration at the beginning in a long pleasant haze of semi-special time. Chanukah is flat and internally undifferentiated, except for the addition of more candles to the chanukiyah. You can't sustain real holiday feeling that long, and there's no particular day on which you're supposed to do anything special, so it all just turns into a mush of "how much do we care right this moment?"

Activities. The traditional dreidel game is the worst, most boring, most unbalanced game in the history of games. Pushing it on children only makes those children hate Chanukah, and Judaism, and games, and you.

Traditional food (entrees). There's no classic Chanukah dish that can serve as a viable main course, unless you're one of those people who can happily eat fried potatoes as an entire meal. This is a glaring omission. It's particularly bad for Chanukah, because Chanukah has so little else going for it that it really needs to lean hard on the standard holiday "gather for a festive meal" thing.

Social role. As many people will eagerly tell you, Chanukah was a pretty minor holiday for most of Jewish history; it got big largely because of a marketing push in the 19th and 20th centuries, mostly because people got scared about the prospect of the younger generations assimilating, and wanted to give them a holiday to compete with Christmas. Which is maybe the worst idea that anyone has ever had. For more reasons that I can easily list here, modern Western Christmas is an absolute SSS-tier holiday, one of the very best of all time. Setting yourself up as a direct competitor to Christmas -- inviting your own people to make that comparison -- is tantamount to telling them that your traditions and your community are worthless and weak, and that they should join the ranks of the gentiles. And that would be true even if your own offering were something halfway decent. Trying to do it with Chanukah...it's like Estonia declaring war on the US. It's the ultimate "we have food at home." It is, if you'll pardon my saying so, Christian rock.

#holiday analysis

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hoverboards-and-dragons · 3 months

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Lucifer appears to be the only fallen angel in hell in the hellaverse

(even vaggie as pointed out can still enter heaven), with the other sins being far more clearly demonic and somewhat implied to have been created along side hell

and, I love this change, that not all the big names in hell were originally angels, makes hell really feel like it's own place with its own history and power structure that got haphazardly repurposed into an afterlife as a second thought

(there's a very interesting meta-narrative to follow if you assume the human realm of the hellaverse has the same understanding of Christianity and the Lucifer story as we do and all reinterpretations are in world misconceptions, it makes it look like the story was reframed to make hell existence more defined by heaven, to delegitimize their right to self-determination, that anything in hell is just a result of heaven's defects going to stir trouble, which is a justification that commonly pops up in imperialism, and on top the resistance from oppression being used to justified even greater atrocities, golly the themes-)

right where was I?

i like that Lucifer stands out so much, his silly little guy sits a top the throne works cause he feels like he's operating on an entirely different Power system to everyone else, it doesn't matter how weak of an angel he lets himself be they'll never even begin to touch him (overlords cry themselves to sleep over not being able to beat the whimsy out of this stupid little guy that ranted about differences in scale colourization of snake breeds for 3 hours)

the contrast of the other sins being giant demonic creatures while he's this small angelic humanoid of light in chef's kiss

Everyone talks about the other sins being like aunts and uncles to Charlie but we need to acknowledge the equal importance notion that that means Luci crashed into the sins' realm at mach 5 with the impact cater alone probably forming a whole ass new ocean (his distraught sobbing filled it) and they immediately accepted him as their new not-sibling (they fucked at some point lets be honest, you can't convince me he and Lilith have a monogamous exclusive relationship, she invented feeling restrained by a relationship) in the sins weird eternal dysfunctional found family

Fuck, I Need That Fic with a freshly fallen Lucifer and the other sins So Bad, link me if you know one

The Six: No Angels allowed in hell

:Lucifer

The Six: OK we'll make an exception because he looks very polite-Prideful

there is one(1) acceptable angel

It's so important to me that Luci has his sibling archangels in heaven just so they can watch him have a better family in hell

Given it seems like Lucifer's fall wasn't a result of being intentionally cast out but some inherent consequence you know they miss him so much, that twist of 'how could he do this?' and 'why didn't I stop him?', you know there's this awkward mix of pity, anger and longing whenever they interact that Luci's grown both resentful and numb to

He needs to lose his entire family only to find a new one please Im so attached to this concept, shaking him

Trading in one group of assholes that lovingly give him shit out of jealousy(dad's favourite) for a different group of assholes that lovingly give him shit out of jealousy(highest ranking prince, also A Mess)

Luci: "Hey, Can you finish signing off on those trade-?"

Belph, yawning: "Can you talk to your daughter?"

#hazbin hotel #hazbin hotal lucifer #hazbin charlie #hellaverse #hazbin lucifer #hazbin lilith #hazbin hotel headcanon #viziepop #lucifer morningstar #helluva boss

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victimsofyaoipoll · 8 months

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Round 3

Propaganda Under Cut

Kairi

kairi is the third protagonist of the kingdom hearts series and the third member of the destiny trio, alongside fan favorites sora and riku. sora/riku shippers HATE kairi, and will go out of their way to discount her at every turn. the hate for her ranges from typical "she's a boring bitch" to fans of soriku making five-hour long video essays reassuring their fellow shippers that the big bad kairi won't show up in the next installment – to quote one video, "she's in a box. she's on the shelf. four walls, no door." kairi is the greatest bogeyman the soriku fandom has ever known, to the point where most of said video essays and fanon meta posts focus not on why sora and riku should get together, but rather on why they don't like kairi.

Literally has a 100+ page Google doc fan theory writing her out of the narrative and putting all of her (few) canonical accomplishments onto half of the popular m/m ship (soriku). Don't even get me started on how her memory was completely written out of the canon plot of re:coded. KH is a nightmare to explain so dude trust me she is THE victim of yaoi

She is so fundamental to the plot and themes and narratives of game and yet it is near impossible to find anything about her thats not ship bashing pre-mlm with the other two characters. I dont even care if she ends up with one of the main characters i just want fans to see her as a cool character to love or like, anything other than “annoying comphet girl.” You can write your mlm but pleaae stop inventing comphet where it doesnt exist. She does not even get to spend time with sora ever?? Why does everyone see her as a threat and a thing to destroy?? Let her have friends so help me

Misa Amane

she gets treated in-canon the way fandoms treat female characters that Threaten an m/m ship. it's like, "oh why don't you go sit in the corner and be pretty, misa, while the Men have intelligent conversation and pretend they aren't ten seconds from fucking each other, doesn't that sound nice?" it's infuriating. and MAYBE it's better now but i remember her getting treated the same way in fanfiction too, like we all need to do just as badly by our female secondary characters as fucking tsugumi ohba, but with the added insult of making her be alternately oblivious of the relationship between light and L or actively trying to sabotage it—incompetently, of course, because god forbid misa be allowed dignity or moments of cleverness.

she's one of the first characters I think of when I consider old school fandom misogyny. The annoying bitch and clingy crazy gf allegations were AFTER HER ASS. She's also a lot more intelligent than people gave her credit for, but most seem inclined to take the Very Biased word of our unreliable, narcissistic narrator and his homoerotic arch nemesis and claim that just because she's bubbly and into romance that she's also a complete moron. Which is blatantly untrue. Everyone was afraid of Misa girlbossing too hard. Killing people and devoting yourself to the deranged twink of your dreams even though you know he'll never love you back??? Having a hardcore goth aesthetic and being so Hot even literal Death Gods are into you?? God forbid women do ANYTHING!

Not only is she the victim of yaoi culture, she is the victim of early 2000s misogyny by an author that wanted to introduce a girl character because he knew his male rivals were getting too homoerotic. She is a goth bimbo icon who portrays what I think is one of the few callouts for stan culture and what parasocial relationships can do to both the stan and the idol. The fact that she is a toxic fan of Kira and also hot, funny, sociable is tragic in its own way, which I think the author did try to touch on but was too misogynistic too really get through. Of course, she was reduced to villain status by the fandom and anime alike because she got in the way of the supposed romance in their psychological horror anime.

#round 3 #poll #kairi kingdom hearts #kh kairi #kairi #kingdom hearts #misa amane #misa misa #death note

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physalian · 15 days

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8 Signs your Sequel Needs Work

Sequels, and followup seasons to TV shows, can be very tricky to get right. Most of the time, especially with the onslaught of sequels, remakes, and remake-quels over the past… 15 years? There’s a few stand-outs for sure. I hear Dune Part 2 stuck the landing. Everyone who likes John Wick also likes those sequels. Spiderverse 2 also stuck the landing.

These are less tips and more fundamental pieces of your story that may or may not factor in because every work is different, and this is coming from an audience’s perspective. Maybe some of these will be the flaws you just couldn’t put your finger on before. And, of course, these are all my opinions, for sequels and later seasons that just didn’t work for me.

1. Your vague lore becomes a gimmick

The Force, this mysterious entity that needs no further explanation… is now quantifiable with midichlorians.

In The 100, the little chip that contains the “reincarnation” of the Commanders is now the central plot to their season 6 “invasion of the bodysnatchers” villains.

In The Vampire Diaries, the existence of the “emotion switch” is explicitly disputed as even existing in the earlier seasons, then becomes a very real and physical plot point one can toggle on and off.

I love hard magic systems. I love soft magic systems, too. These two are not evolutions of each other and doing so will ruin your magic system. People fell in love with the hard magic because they liked the rules, the rules made sense, and everything you wrote fit within those rules. Don’t get wacky and suddenly start inventing new rules that break your old ones.

People fell in love with the soft magic because it needed no rules, the magic made sense without overtaking the story or creating plot holes for why it didn’t just save the day. Don’t give your audience everything they never needed to know and impose limitations that didn’t need to be there.

Solving the mystery will never be as satisfying as whatever the reader came up with in their mind. Satisfaction is the death of desire.

2. The established theme becomes un-established

I talked about this point already in this post about theme so the abridged version here: If your story has major themes you’ve set out to explore, like “the dichotomy of good and evil” and you abandon that theme either for a contradictory one, or no theme at all, your sequel will feel less polished and meaningful than its predecessor, because the new story doesn’t have as much (if anything) to say, while the original did.

Jurassic Park is a fantastic, stellar example. First movie is about the folly of human arrogance and the inherent disaster and hubris in thinking one can control forces of nature for superficial gains. The sequels, and then sequel series, never returns to this theme (and also stops remembering that dinosaurs are animals, not generic movie monsters). JP wasn’t just scary because ahhh big scary reptiles. JP was scary because the story is an easily preventable tragedy, and yes the dinosaurs are eating people, but the people only have other people to blame. Dinosaurs are just hungry, frightened animals.

Or, the most obvious example in Pixar’s history: Cars to Cars 2.

3. You focus on the wrong elements based on ‘fan feedback’

We love fans. Fans make us money. Fans do not know what they want out of a sequel. Fans will never know what they want out of a sequel, nor will studios know how to interpret those wants. Ask Star Wars. Heck, ask the last 8 books out of the Percy Jackson universe.

Going back to Cars 2 (and why I loathe the concept of comedic relief characters, truly), Disney saw dollar signs with how popular Mater was, so, logically, they gave fans more Mater. They gave us more car gimmicks, they expanded the lore that no one asked for. They did try to give us new pretty racing venues and new cool characters. The writers really did try, but some random Suit decided a car spy thriller was better and this is what we got.

The elements your sequel focuses on could be points 1 or 2, based on reception. If your audience universally hates a character for legitimate reasons, maybe listen, but if your audience is at war with itself over superficial BS like whether or not she’s a female character, or POC, ignore them and write the character you set out to write. Maybe their arc wasn’t finished yet, and they had a really cool story that never got told.

This could be side-characters, or a specific location/pocket of worldbuilding that really resonated, a romantic subplot, whatever. Point is, careening off your plan without considering the consequences doesn’t usually end well.

4. You don’t focus on the ‘right’ elements

I don’t think anyone out there will happily sit down and enjoy the entirety of Thor: The Dark World. The only reasons I would watch that movie now are because a couple of the jokes are funny, and the whole bit in the middle with Thor and Loki. Why wasn’t this the whole movie? No one cares about the lore, but people really loved Loki, especially when there wasn’t much about him in the MCU at the time, and taking a villain fresh off his big hit with the first Avengers and throwing him in a reluctant “enemy of my enemy” plot for this entire movie would have been amazing.

Loki also refuses to stay dead because he’s too popular, thus we get a cyclical and frustrating arc where he only has development when the producers demand so they can make maximum profit off his character, but back then, in phase 2 world, the mystery around Loki was what made him so compelling and the drama around those two on screen was really good! They bounced so well off each other, they both had very different strengths and perspectives, both had real grievances to air, and in that movie, they *both* lost their mother. It’s not even that it’s a bad sequel, it’s just a plain bad movie.

The movie exists to keep establishing the Infinity Stones with the red one and I can’t remember what the red one does at this point, but it could have so easily done both. The powers that be should have known their strongest elements were Thor and Loki and their relationship, and run with it.

This isn’t “give into the demands of fans who want more Loki” it’s being smart enough to look at your own work and suss out what you think the most intriguing elements are and which have the most room and potential to grow (and also test audiences and beta readers to tell you the ugly truth). Sequels should feel more like natural continuations of the original story, not shameless cash grabs.

5. You walk back character development for ~drama~

As in, characters who got together at the end of book 1 suddenly start fighting because the “will they/won’t they” was the juiciest dynamic of their relationship and you don’t know how to write a compelling, happy couple. Or a character who overcame their snobbery, cowardice, grizzled nature, or phobia suddenly has it again because, again, that was the most compelling part of their character and you don’t know who they are without it.

To be honest, yeah, the buildup of a relationship does tend to be more entertaining in media, but that’s also because solid, respectful, healthy relationships in media are a rarity. Season 1 of Outlander remains the best, in part because of the rapid growth of the main love interest’s relationship. Every season after, they’re already married, already together, and occasionally dealing with baby shenanigans, and it’s them against the world and, yeah, I got bored.

There’s just so much you can do with a freshly established relationship: Those two are a *team* now. The drama and intrigue no longer comes from them against each other, it’s them together against a new antagonist and their different approaches to solving a problem. They can and should still have distinct personalities and perspectives on whatever story you throw them into.

6. It’s the same exact story, just Bigger

I have been sitting on a “how to scale power” post for months now because I’m still not sure on reception but here’s a little bit on what I mean.

Original: Oh no, the big bad guy wants to destroy New York

Sequel: Oh no, the big bad guy wants to destroy the planet

Threequel: Oh no, the big bad guy wants to destroy the galaxy

You knew it wasn’t going to happen the first time, you absolutely know it won’t happen on a bigger scale. Usually, when this happens, plot holes abound. You end up deleting or forgetting about characters’ convenient powers and abilities, deleting or forgetting about established relationships and new ground gained with side characters and entities, and deleting or forgetting about stakes, themes, and actually growing your characters like this isn’t the exact same story, just Bigger.

How many Bond movies are there? Thirty-something? I know some are very, very good and some are not at all good. They’re all Bond movies. People keep watching them because they’re formulaic, but there’s also been seven Bond actors and the movies aren’t one long, continuous, self-referential story about this poor, poor man who has the worst luck in the universe. These sequels aren’t “this but bigger” it’s usually “this, but different”, which is almost always better.

“This, but different now” will demand a different skillset from your hero, different rules to play by, different expectations, and different stakes. It does not just demand your hero learn to punch harder.

Example: Lord Shen from Kung Fu Panda 2 does have more influence than Tai Lung, yes. He’s got a whole city and his backstory is further-reaching, but he’s objectively worse in close combat—so he doesn’t fistfight Po. He has cannons, very dangerous cannons, cannons designed to be so strong that kung fu doesn’t matter. Thus, he’s not necessarily “bigger” he’s just “different” and his whole story demands new perspective.

The differences between Empire Strikes Back and Return of the Jedi are numerous, but the latter relies on “but bigger” and the former went in a whole new direction, while still staying faithful to the themes of the original.

7. It undermines the original by awakening a new problem too soon

I’ve already complained about the mere existence of Heroes of Olympus elsewhere because everything Luke fought and died for only bought that world about a month of peace before the gods came and ripped it all away for More Story.

I’ve also complained that the Star Wars Sequels were always going to spit in the face of a character’s six-movie legacy to bring balance to the Force by just going… nah. Ancient prophecy? Only bought us about 30 years of peace.

Whether it’s too soon, or it’s too closely related to the original, your audience is going to feel a little put-off when they realize how inconsequential this sequel makes the original, particularly in TV shows that run too many seasons and can’t keep upping the ante, like Supernatural.

Kung Fu Panda once again because these two movies are amazing. Shen is completely unrelated to Tai Lung. He’s not threatening the Valley of Peace or Shifu or Oogway or anything the heroes fought for in the original. He’s brand new.

My yearning to see these two on screen together to just watch them verbally spat over both being bratty children disappointed by their parents is unquantifiable. This movie is a damn near perfect sequel. Somebody write me fanfic with these two throwing hands over their drastically different perspectives on kung fu.

8. It’s so divorced from the original that it can barely even be called a sequel

Otherwise known as seasons 5 and 6 of Lost. Otherwise known as: This show was on a sci-fi trajectory and something catastrophic happened to cause a dramatic hairpin turn off that path and into pseudo-biblical territory. Why did it all end in a church? I’m not joking, they did actually abandon The Plan while in a mach 1 nosedive.

I also have a post I’ve been sitting on about how to handle faith in fiction, so I’ll say this: The premise of Lost was the trials and escapades of a group of 48 strangers trying to survive and find rescue off a mysterious island with some creepy, sciency shenanigans going on once they discover that the island isn’t actually uninhabited.

Season 6 is about finding “candidates” to replace the island’s Discount Jesus who serves as the ambassador-protector of the island, who is also immortal until he’s not, and the island becomes a kind of purgatory where they all actually did die in the crash and were just waiting to… die again and go to heaven. Spoiler Alert.

This is also otherwise known as: Oh sh*t, Warner Bros wants more Supernatural? But we wrapped it up so nicely with Sam and Adam in the box with Lucifer. I tried to watch one of those YouTube compilations of Cas’ funny moments because I haven’t seen every episode, and the misery on these actors’ faces as the compilation advanced through the seasons, all the joy and wit sucked from their performances, was just tragic.

I get it. Writers can’t control when the Powers That Be demand More Story so they can run their workhorse into the ground until it stops bleeding money, but if you aren’t controlled by said powers, either take it all back to basics, like Cars 3, or just stop.

—

Sometimes taking your established characters and throwing them into a completely unrecognizable story works, but those unrecongizable stories work that much harder to at least keep the characters' development and progression satisfying and familiar. See this post about timeskips that take generational gaps between the original and the sequel, and still deliver on a satisfying continuation.

TLDR: Sequels are hard and it’s never just one detail that makes them difficult to pull off. They will always be compared to their predecessors, always with the expectations to be as good as or surpass the original, when the original had no such competition. There’s also audience expectations for how they think the story, lore, and relationships should progress. Most faults of sequels, in my opinion, lie in straying too far from the fundamentals of the original without understanding why those fundamentals were so important to the original’s success.

#writing advice #writing resources #writing tips #writing tools #writing a book #writing #writeblr #sequels #kung fu panda

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aimasup · 1 month

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just found some Valiant AU development sketches and notes in my old OLD sketchbook

I really thought it would be a webtoon

long post warning! And I mean long looooooooong post. If you get to the bottom and go "I'm not reading allat" I do not blame you

more under the cut:

^^^ OC

General notes:

This Valiant AU was meant to be a solarpunk superhero slice of life that slowly reveals a heavier plot, mostly focusing on character interactions and personal growth

White Hat Incorporated is a struggling, newbie business and clients are rare

The episodes can range from domestic shenanigans like fixing a leaking pipe or getting dinner, to running their business by defeating the villain of the week

The villains and heroes stay in their roles from canon. The only ones with major changes are our main 4 guys

All major information about White Hat would be discovered from the point of view of Lumencia and Zug as they realize that not only is PEACE corrupt, but that their boss is neither human nor demon nor alien

Now onto the characters themselves:

Dr. Zug Gleis

Like his name suggests, he likes trains. His train is also a drill that was an attempt to burrow out of government's arrest

Which he then modified into a laboratory, each train cart being a unique kind of laboratory for surveillance, medicine, etc. He sleeps very uncomfortably in cramped spaces and likes it that way

V.I.R.U.S is now a software he created and repurposed into his bratty computer assistant, now Cambot. She's also the one recording all their commercials and making his coffee. Basically Zug doesn't get along with ANY of his children

He doesn't like to leave his laboratories, so he set up a network of tunnels through White Hat's mansion that send and receive messages, inventions, food, etc. There's one little chute for these in most parts of the place

His arc was focusing on his inability to accept help from others because he sees any kind gesture as a possible way to control him. Even worse if the kind person genuinely means it, because he also sees accepting kindness as a handicap, a debt

His villainy was an easy way to make money and show the world his capability without any assistance from any hero or villain organization

Really, he just wants to be able to do whatever he wants, but his need to be the best or else he's the worst is tiring for him. Anger issues don't help

This stemmed from a past of constantly being bullied and compared to his brother, Goldheart

After dropping out of hero college, Zug became his own supervillain's known as The Mad Condoctor, whose theme was, you guessed it, trains. He stole trains, modified scrap metal, targeted stations and trade centers, held hostages, prepared puzzles for heroes to solve, etc

The Mad Condoctor was notorious for being uncooperative and a backstabber. He operated at night and was an expert in secret missions, spyware and tech-based combat and the likes

By the first season finale he would have genuinely cared for his coworkers but still didn't value his own life, so he let himself be taken in by PEACE. The crew have to go retrieve their idiot and many things about White Hat Incorporated are revealed to the public after they clash with their local PEACE headquarters

He finds authority annoying and hates seeing people kiss up. Mostly shameless in his actions and doesn't much care for other people's opinions. Can be honest to the point of hurting

So he is a terrible liar. It's like he's allergic to it or something. Prefers to lie by omission

Will only call White Hat 'sir' and 'jefecito' sarcastically or to get a point across. Unfortunately hopelessly devoted to him at the end of the series whoops

Lumencia

A superwoman with horse-like powers that decided to choose unicorns as her motif because that's way cooler. She has kicks and punches that convert her diet into energy, which is great because she loves eating

Changed it up so that Lumencia is the resident prankster and WH tells puns, not the other way around

She has a room with a slanted ceiling which she can climb out the window of to lie and chill on the roof. She's also converted that space, where flat roof meets slanted roof, into an outdoor cinema/gym, decorated with christmas lights. The mansion is a three-way clash of decorative styles from afar

She doesn't have a license to be a hero, but she helps out wherever she can anyway, stopping purse snatchers and helping lost children find their parents and such

In fact, she is actually one of the most beloved people in the little town they live near, with many residents familiar with her buffoonery but affirming her as a reliable source of help

She's also relatively well-known online, as she posts videos of her playing the guitar and well-intentioned but nonsensical 'Lumencia Tips', filled with terrible puns and comic-like ballpoint pen doodles

Her arc would have focused on letting herself acknowledge her strengths that aren't related to fighting

Shes very buddy-buddy with petty criminals and shop owners alike, able to strike up a conversation and make pals no matter who they are. Once she deems you chill, you can chill, yknow? This isn't on purpose.

Even though she has gross taste in food and is messier than Zug, her handwriting is very pretty and neat. She also is very good at graffiti and sticks to an aesthetic, with glitter and y2k stickers and denim-clad wizards on skateboards, all the works

She has a very straightforward view on heroics and is not big on plans, preferring to punch her way out of situations or annoy her enemies to tears. In fact, her main goal is to become an official part of one of the many PEACE-brand hero leagues.

There's other hero corporations too but PEACE is the number one in America

So one day she just showed up on White Hat's doorstep and never left because it would 'look good on her resume'.

Previously, she bounced from place to place, relying on connections and the occasional tip from her halfway-illegal heroism efforts to get by. She also doesn't remember where her powers are from, only that her parents worked at PEACE and where killed by 'villains' when she was a little girl

Her favourite place is the funfair because that's the last nice memory she had

By season two she would have started another arc where she learns that she was an experiment and her parents were killed by their own higher ups in PEACE to silence them, and she has to come to terms with why she even wants to be a hero as well as stand her ground when her optimism is challenged.

Lumencia's music is like whatever Equestria Girls and Electric Mayhem have going on. I think the genre is power pop? Either way it sounds like those elaborate 80s radical van murals look

Is an effortless liar in the sense that she says the most batshit things with utmost confidence and treats consequences like an afterthought.

Only calls White Hat 'White Hat' and not 'boss' when she feels the situation calls for it. Also unfortunately hopelessly devoted to him by the end of the series

624

An extra set of hands that cleans the place and helps out with their little business. Does not like being interuppted when listening to music

Goes from 'fucking hate these guys' to 'they give me food therefore they are mine' in the span of the entire series

Quite lazy, plays the winning side. Which is usually the heroes here

Dunno if I'd call his arc an arc. All I know is there's an episode where his spoilt teenager-ismd hits their peak and Zug and Lumencia have to reach an understanding with him by respecting his boundaries and helping him feel secure

And after that episode, 624 stopped being a total catalyst for disaster plotwise

White Hat

He is one of the comic reliefs and manages White Hat Incorporated, often making really stupid decisions because profit is not on his mind

The final voice I settled on for him was fucking Australian Markiplier

His "growth" would be the characters and readers seeing him to actually be a caring, experienced-in-heroics-but-not-business individual who gives really sound advice and becomes a source of comfort for his close friends

But is still a MEGA-PRICK. Every time he gets beat up it's for a valid reason

In canon, villainy triumphs because Black Hat is there. In the Valiant AU, the story is in the heroes' favour because White Hat is in his place.

I wanted him to be (mostly) opposite to Black Hat in many ways! BH's office is huge, minimalistic, corporate and cold, while WH's office is small, maximalistic, filled with sentimental items and like a warm cabin.

BH basks in hellfire and while WH does use fire, he prefers the ocean. BH enjoys golf, WH enjoys dancing. BH takes himself seriously, WH very much doesn't. BH detests everything, WH has an appreciation for everything. And etc...

They're still horrible creepy eldritch monstrosities, the fish theme for WH is just because he likes ocean shit and fish are scary

BH has made himself known globally and universally, he has statues and monuments and paintings

WH has nothing; White Hat is five years old. This is his first time being White Hat

But he's been around since the beginning of time, taking many forms and names, learning the wonders of the universe and giving all of his time to help however he could

He believed this to be natural, he's the one of a kind who doesn't need rest or food. He can't die or get really hurt, and would later learn he couldn't bear to love either

Some of the things he was included many plants and animals before the humans, then farmers and warriors, witches and politicians, an entertainer vigilante, a writer, a parent, a fur-clad warrior in the snow, guiding forces of nature, and a female pirate.

I wanted him to cycle through the entire alignment chart in terms of morality as he exhausted everything he could do to make a difference

After World War 2 on earth, his psyche gave out and he collapsed into a long, long nap; a shadow pooling in a lake, his favourite

Finally woke up and decided to take his own form not based on any species or star or tree, chose his own outfit and everything

And made his debut as White Hat, forged documents to start a small business for heroes support

He doesn't have an arc, but if he did, he would be in the midst of learning to let himself get attached again and be properly selfish. Maybe identity issues.

But he doesn't have an arc

And so really only serves to help out Zug and Lumencia. He's comfortable with no one knowing these things about him ever, because what would they even do if they did?

Wouldn't change anything, they wouldn't understand the full scope even, so he's at peace with himself right now, grateful that he's alive for once

He uses manipulation to direct conversations away from himself and get people to spill their feelings, or burrow into their trauma without using magic

if he wants he can let loose to trigger some kind of indescribable primal instinct within a person, that cripples them with terror and despair and love for the sublime face of something divine, bigger than the observable universe. He doesn't like doing this.

He's a fan of ice and shadow manipulation, he thinks the colours go well with his coat

Most animals hate him and he cries about it

He also cries when he tries to download an app on a laptop

He is a competent medical doctor, babysitter, and waiter. In fact, he seems to have infinite patience and calm when he isn't whining over dessert like a toddler

The human skeleton hanging in his office is real

Hopelessly attached to Lumencia, Zug and 624 by the end of the series but they don't need to know that

This AU will forever make me warm and fuzzy inside I love them so much, I had so many locations planned, started Pinterest boards and shit

Instead I think I'll take some of these things and apply them to my OCs instead! HUGE thanks to everyone who enjoyed this version of this AU while it lasted! Maybe it'll come back one day, maybe not. Likely not

#my post #my art #art from last year #villainous valiant!au #villainous heroic!au #villainous #villainous hbo max #villainous cn #miss heed #white hat #dr zug gleis #lumencia #624 #long post #not tagging all these characters

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pyreo · 5 months

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I've never thought about this in the 11 years I've played but I just realised gw2 must look.. pretty zany to outsiders? It didn't even occur to me. I'm really glad it's in a low fantasy setting that allows for pretty much anything and I think it's inkeeping with the focus on player creativity in an MMO to have that kind of range.

Like I know the overall aesthetic can get wacky but because that's so fitting for a multiplayer game... it's never occured to me that anything looks odd.

Like, here's a screenshot of me, someone's bird, and some lovely folks from the last pride march

Like real pride marches, being over the top and loud is the point. We have the tools to do that, even in regular gameplay. I think it's fascinating that nothing about this feels out of place. Magic in this universe does practically anything you want it to. Technology varies from nonexistent to far beyond real life. There's a massive range but everything feels kind of.... justified?

Some people will wear fantasy armour and keep everything on a theme. Some people are going to group transform into giant frogs and some people are going to cosplay as Johnny Bravo. It happens. The game doesn't mind. It doesn't shy away from people being incredibly weird. I remember the devs recalling a decision they had to make about letting players jump on top of a plot-important table where NPCs sat for serious discussions. The decision was they they shouldn't stop people from doing that if they wanted to.

The openness of the setting means these are all things that could exist. People reanimate corpses here for the hell of it. The weapons are magic and can be literally anything. The mounts are all creatures that have been tamed, or vehicles someone could have invented. Even the living plushie mounts are lore-compliant because... magic.

But on top of this, this game has one of the most sincere stories of anything I've ever played? Whether it's to your taste or not, I don't think you could deny how much care goes into it. From terminal conditions to villains having tantrums over childish insecurities to symbolic anticapitalism to racial superiority rallies, it has treated its topics with dead-solid respect. It does not undercut its serious moments - but it allows you the privilege if you'd like.

Maybe it's the balance of being so immersed in that that's stopped me from thinking any of this looks silly. The players can be silly, sure. Maybe there's a kind of game-and-player suspension of disbelief. We tell our story, and you have your freedom, and for the most part they won't intersect (except for the infamous Wynne cutscene).

In the MMO space there's other ways to approach this. You've got ESO which holds back very tightly to its high fantasy setting. That's for people with different tastes who don't want anything aesthetic-breaking in their game, and they have to cut back the player freedom to get it while trying to introduce a steady stream of new armours that can't be too interesting. They have magic, but don't go too far. It also means you get deals begging you to come to the cash shop to buy, like, rags. Fun rags for your character!

Then inbetween those two there's 'your name has to be lore compliant but fuck it, flying convertible'

#gw2 #this is NOT a dig at those games I'm just fascinated by the varying levels of what they'll accept #and that car is one of the most immersion breaking things i've ever seen just bc nothing else is like that

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sleepynegress · 6 months

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So, I'm Watching Dollar Tree The Gilded Age: The Buccaneers (I apologize that this is a long one folks because of ADHD Romantic Period Drama w/ ~Color~ tangents)...

Okay... So, I have to preface this by admitting that Bridgerton never has been my great big thing. It's a cake sculpted from cotton candy.

Pretty and sweet, but not much substance. And very much leaning on the "fantasy" so everyone can enjoy the costume romance fun (but it does please me to see my marginalized players, playing well...). -Using an author's works as a base, who not only started with an all-white palette but was flippant and insulting in response to the idea of inclusion... And yet...

I'm just saying, it is something that the woman who walked away from ABC because an exec didn't respect her enough to get a Disney pass for her family, went on to make that lucrative author's uplift deal with, instead of say, Beverly Jenkins. I love underdog romances that aren't the typical het white bread. Give me the canon gays (I never got slash...but I love when it's canon, especially with color), the big girls, the dark brown skin girls, the Black couples, and the interracials, especially when both are BIPOC and there's no lag in charm/looks in the lighter half in some expertly lit, dressed, confection that makes everyone look as gorgeous as they actually are and there's all kinds of soft plotting and chemistry. Bridgerton for all its lazy ways of handling color, gave that. Everybody is hot. And the people that studios have typically just pretended either weren't "invented" yet or were all living horrible tortured lives of enslavement got to get the sweet costumed wooing, will-they-won't-they, ~romance~ treatment. But... being an obscure Black history nerd... I'm neurodivergent, so I have some deep-dive GEMS that I'll mention here that I NEED TO SEE DONE WELL, before I die. FYI I called Dido Elizabeth Belle a good 8 years before that was actually made. It is frustrating to see some of the ACTUAL interesting capacities in which some actual existing Black folks in history who did live interesting, not tragic lives, not given the big glossy budget, well-written renderings they deserve... In lieu of what has now, firmly taken hold as a trend, colorblind casting in known white works. See recent adaptations of David Copperfield, Persuasion, Tom Jones, & Great Expectations,

and now, this The Buccaneers (which like I said, is Dollar Tree, and *worse* the colorblind cast sister Conchita is using her regular-eggular Cali accent and...is not a compelling actress & her man is a jar of mayo) and baby...them costumes are Reign-levels of anachronistic/bad. It's the lazy jump onto the trend Shonda exploded, and Mr. Malcolm's List started (yeah, that short film was put on YouTube a full year before Bridgerton debuted). So, my point... Instead of *just* doing colorblind casting in old classic white period works... I need to see these ACTUAL GREAT stories of and/or written by or about the colorful people who lived in those societies. And this is where it could get long... but I'll do my best to keep it short... EXAMPLES that were gotten right and those *I need to see adapted*: ____

Interview With The Vampire is inclusive color-AWARE casting... The showrunner went beyond and actually rewrote the narrative to make sure the inclusion wasn't lazily done, but actually improved the depth of the source IMO. And I believe the showrunner is a queer white man. It just takes empathy and effort.

Passing... is a moody slow-burn horror based upon an actual work written by a Black woman in that period, and adapted by a white-passing WOC who not only lived the theme, but rendered it expertly.

Belle is often pointed to as a good example, but my nerd-ass knows Gugu's beyond AMAZING handling of the material elevated it.

Too much was changed from the reality of her life (IMO), still...Most period dramas are about as "true" and yall know I was not a fan of Sam Reid's over-dramatic ass in this... (yelling in that damn carriage for what?!) but he is PERFECT in IWTV. Sanditon being made, despite the typical side-character Black character issues...really was a reset because Miss Austen had already envisioned, in her day and above her class(!) a Black heiress as a character getting the Austen treatment, w/o any modifications the salty and ignorant would prefer to think is beyond "true history". ----- I have a little hopeful part in my brain that wishes it had the power to will capable adaptions of the lives of Carlotta Stewart Lai - middle-class educated Black woman who became a teacher & lived an "Anne of Green Gables" type of Edwardian life (more interesting really) surfing, having "bathing parties," and teaching Hawaiians with her Black family, Portuguese, Hawaiian and Chinese friends on the big island... Her life was w/o the stereotypes people assume all Black Americans lived in Victorian/Edwardian "America".

Gustav Badin, a Black man who was "Chessmaster" of the Swedish Royal Court in the 1700's...was in charge of the Royal family's secrets after the Queen's passing, really gives me intelligent queer Black man energy in his portrait and lived out a non-tragic life in a VERY white space many don't know we occupied.

And The Hunters... Who already have a short film and I've posted about it here... but I would LOVE to see an actual rendering of their lives in the Klondike, with their gold and silver prospects and son grandson Buster and daughter Teslin in Edwardian Canada.

(that is Teslin at the highest point in the photo, named after the lake she was born at)

(and the Hunters' grandson Buster ice-fishing)

All this to say... Now, that I've thoroughly veered away from my review of a middling show... I WISH THESE DAMN SHOWRUNNERS used a little effort in research and imagination and gave us more "true to life" renderings of Black life (and life of color, in these romanticized spaces) that isn't tragic nor the patronizin inclusive "fantasy"... That feels like it's smirking at me while saying "we know you weren't ~really~ here, but here! have a cookie!!" These people existed.

You don't have to *just* make inclusive versions of white works with the lie that you have to do that because thee above people ~didn't exist~. Nor do you have to be lazy when you do!! (see: IWTV) Right now, for me... It feels like for the most part we're in a period of very shallow "advancement" in period rep. And I'm saying if little old me can find the actual stories that could make AMAZING true history-based media. Why can't the more powerful people do the same?? P.S.

You already know I'm fresh off being mad about that shitty Bass Reeves show...but I'm even madder because I can't even say, "just make sure its made by Black people," because Jeymes Samuel (AKA Bullitts) gave us skinny biracial StageCoach Mary!!!

---NO!! I will never stop being mad about it!!

DO BETTER!! Have the empathy and care for the material, regardless, and don't rest on "I know what I'm doing because I'm Black" That male gaze won out over truth in The Harder They Fall *smh*

P.P.S I get the feeling the lazy adaptions are about cash-grabbing, what they see as a trend, and being all the ready to jump back into the whitewashed business as usual, that ain't true to *all* actual histories nor (as Austen proved) fictions of those eras or spaces.

P.P.P.S. On The Glided Age!! I do love that the Fellowes drama has Erica Armstrong Dunbar (known for her book and research on Ona Judge -another figure whose story needs to be adapted!!!- the Black woman who successfully escaped enslavement from George Washington's household and was doggedly pursued by him throughout her life) and Salli Richardson-Whitfield as producers... so, Denee Benton's Peggy is authentic... but as much as I like The Gilded Age, I want to combine Fellowes comfort drama... with a CENTRALIZED Black character... Why can't someone do all of it correctly?? WHY??!!!

#I am so sorry...#I may have to attempt to do a video essay on youtube to truly cover what I want to fully say in this..I #blah blah #meta #the buccaneers #the gilded age #bridgerton #black history #marginalized folks in period dramas in comfort period drama is what I want #and done WELL!!#give me sarah forbes bonnetta's life

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