people really just find anything to be pissed about these days huh........because sincerely, what the actual fuck are y'all going on about??? all this moral uproar and vitriol for a silly old-ass boyband song????? please stop it forever <3

I'm a bit petty with this but I'm glad she didn't marry Cregan or another man who's all nice, chivalrous and supports her mother's claim. That would've been soooo boring, free of drama and real angst and I love toxic shit lmao. This is a personal preference so absolutely no offense to those who enjoy those type of stories, but I generally feel like most of the times where the OFC is married, betrothed or has a side romance with Cregan or another man like him, at least half of the readers turn immediately into Aemond antis. And I don't blame them, with Aemond being Aemond and doing stupid Aemond things and fighting for his side in the war it's hard for a lot of readers, especially when most are team black, not to be like "yeah he doesn't deserve her if he does all this and won't swear allegiance to his half-sister to prove his love for OFC"…which I do get it but like we said previously, he can't betray his family for love just like the OFC can't do it either. Also, after reading dozens of chapters where a clear connection has been established between Aemond and the main female character, one that is clearly based on true love, I really can't bring myself to root for another endgame ship; anything else that is not with Aemond always seems rather forced since it will all be based on duty and all that. Plus I really like the trope in which two persons from two opposing sides do manage to end up together despite all the forces that try to keep them separated. Not to mention that with Cregan specifically, I just don't think he wouldn't keep his father's oath if he didn't get to marry a daughter of Rhaenyra…seems a bit dishonorable for a Stark if you get what I mean and using him as a plot device in a Aemond/OC story when the sole purpose is to make Aemond jealous and feel some pain that someone else is or may be sleeping with the woman he loves is a bit cheap.

Agreed about the girlboss thing. Sometimes I do like the trope and I imagine it's hard not to write a girlboss when your OFC rides a dragon but with Aemond/OFC stories specifically it's a bit overdone at this point. Besides having almost no bad character traits and never suffering any major consequences for their bad decisions, a lot of the times these types of characters also read a bit too modern for a Westerosi woman (even for a Targ princess) while Aemond and most other men still retain a majority of the characteristics medieval men have.

I wonder what decision Daenera will make that is dark and with the intent of securing/freeing herself…it most likely involves killing someone who may be innocent. I suspect she won't manage to free herself though since judging by most of your past comments it seems like she'll be with Aemond during the war? Or maybe she'll reunite briefly with her parents when King's Landing falls but then she'll go back to Aemond when he's occupying Harrenhal to kill him and Alys when hearing about the rumors? Although I've always imagined the next time she'll be seeing any of her parents would be, in the case of her father, before Aemond and Daemon's final battle. It will be a long time but I also can't wait when both of them eventually decide to choose each other. Being loyal to one's side until the bitter end, I'm afraid it would be a death sentence and neither of them will do anything that would get the other one killed so their side can win the war. While some things and crimes will never be forgiven like Luke's and their child's death, the only way both can survive is to choose themselves and be united against those whose actions led to the whole mess they'll be facing in the first place. I also imagine that if she gets pregnant again, they'll take into account their future child's life when making the decision to choose each other and be even more motivated to do so. I also hope Daemon lives to witness her getting pregnant AGAIN with Aemond's child so he can telll her "don't worry I'll get rid of this one too"

Ohh I'm excited about the latest preview!! Alicent will try to force Aemond to marry whoever she wants until the end isn't she? Too bad Aemond won't listen to her this time! Even though I'll be hurt seeing Daenera forced into the (official) marriage with him, I'm also glad he took the opportunity to marry her. I feel like it was always going to be the only chance he was going to have so yeah…

I hear about the stories other people write a lot, but I don't read them since I have paranoia that I will accidentally plagarise it lol But I always go with 'to each their own'. I also prefer my stories where two people who should be enemies and should hate each other, fall in love. I love stories when there's a brutality to their love, when it has teeth and claws--but that there's also this deep seeded love that can't be dismissed. I love stories where no matter how flawed and awful a character is, that there's something to love about them anyway. And that is why I'm writing this. I also chose Baratheon because it would be DRAMA! If she had married Cregan it would all have been tame and just... I wouldn't work. It might have worked with a Lannister, but since they're pro Green, they likely wouldn't support Rhaenyra anyway. Boris Baratheon provided me with the drama and angst I wanted, and it was a plotline that could easily fit into the story -- and his death will also have consequences.

Daenera will have her own girlboss moments, as she's always had. But actions have consequences (for the most part, I do need some level of freedom) and I want to keep to that. Aemond burned Dae= she poisons his sword He exposes her scandalous letter = she sets him up with a whore Aemond helps Boris beat Aran=Boris wants Dae as wife/he basically introduced them lol Daenera fucked aemond = She needed to be married off Daenera stars an affair with aemond = she gets beaten up and is threatened to become a brood mare = she kills him Boris dies = loss of an alliance And so forth. Some consequences are bigger than others, and some are a domino effect. I also fear that if I keep her the same throughout the story, it will go stagnant, so having her lose power and fight to regain it will battle that stagnancy.

I wont reveal anything more, but the act is dark, and it is a way of securing/freeing herself, though she will remain with Aemond and in King's Landing. I am not entierly sure where she'll be, but I am leaning towards her going to Harrenhal before King's Landing falls. And she'll only meet Daemon again to confront him. With Rhaenyra it will be far longer, and Im not to sure when they will meet again.

"I also hope Daemon lives to witness her getting pregnant AGAIN with Aemond's child so he can telll her "don't worry I'll get rid of this one too" Are you kitting me?! This is great! lol I hope by the point that they choose each other, that by doing so they will each work to win the crown, and weave their way into it. It will take great machinations, but I'd like to see them (and especially Daenera) in a crown. But I am not entirely set on the ending just yet, though I really do hope it will end with them on the throne.

Oh, Alicent does NOT want Aemond to marry Daenera. She thinks that it will only bring him ruin and destruction, and with her knowing about the affair, she'd try and force his hand.... though, we know Aemond, he will drag his feet and push it as far off as it can get, and then everything happens and he's like 'this is my opportunity! Aegon gets a crown, I get Daenera its a winwin' and Alicent will have brain bleed trying to wring that idea out of his head. But a marriage with Daenera is sound. Politically it makes sense.

Jesus Saves

 

Maybe Jesus Saves written up there on the cliff or the abutment of the bridge is embarrassing because in one way or another religion in general has become embarrassing: embarrassing to the unreligious man because, although he does not have it anymore, he has never really rooted it out of his soul either, and it still festers there as a kind of reproach: embarrassing to the religious man because, although in one form or another he still does have it, it seldom looks more threadbare or beside the point than when you set it against very much the same kind of seventy-five-mile-per-hour, neon-lit, cluttered, and clamorous world that is represented by the highway that the sign itself looks down upon there.

 

And maybe, at a deeper level still, Jesus Saves is embarrassing because if you can hear it at all through your wincing, if any part at all of what it is trying to mean gets through, what it says to everybody who passes by, and most importantly and unforgivably of all of course what it says to you, is that you need to be saved. Rich man, poor man; young man, old man; educated and uneducated; religious and unreligious—the word is in its way an offense to all of them, all of us, because what it says in effect to all of us is, "You have no peace inside your skin. You are not happy, not whole." That is an unpardonable thing to say to a man whether it is true or false, but especially if it is true, because there he is, trying so hard to be happy, all of us are, to find some kind of inner peace and all in all maybe not making too bad a job of it considering the odds, so that what could be worse psychologically, humanly, than to say to him what amounts to "You will never make it. You have not and you will not, at least not without help"?

 

And what could be more presumptuous, more absurd, more pathetic, than for some poor fool with a cut-rate brush and a bucket of white paint to claim that the one to give that help is Jesus? If he said God, at least that would be an idea, and if you reject it, it is only an idea that you are rejecting on some kind of intellectual grounds. But by saying "Jesus" he puts it on a level where what you accept or reject is not an idea at all but a person; where what you accept or reject, however dim and far away and disfigured by time is still just barely recognizable as a human face. Because behind the poor fool with his bucket there always stands of course the Prince of Fools himself, blessed be he, in his own way more presumptuous, more absurd and pathetic than anyone has ever managed to be since.

 

Jesus Saves....And the bad thief, the one who according to tradition was strung up on his left, managed to choke out the words that in one form or another men have been choking out ever since whenever they have found themselves crossed up by the world: ''Are you the Christ? Then save yourself and us." With the accent on the "us." If you are the savior, whatever that means, then why don't you save us, whatever that involves, save us from whatever it is that crosses us all up before we're done, from the world without and the world within that crosses us all out. Save us from and for and in the midst of the seventy-five-mile-per-hour, neon-lit crisscross of roads that we all travel in this world. And then the good thief, the one on his right, rebuked the bad one for what he had said angrily, and then in effect said it again himself, only not angrily, God knows not angrily—said, "Jesus, remember me when you come in your kingly power." And finally the words of Jesus's answer, "Truly, I say to you, today you will be with me in Paradise," which are words no less crude than the ones trickling down the cliff side, in their way no less presumptuous, absurd, pathetic; words that express no theological idea as an idea, but words that it took a mouth of flesh to say and an ear of flesh to hear. I can imagine that the guards who had been posted there to see that the execution was carried out properly might themselves have felt something like embarrassment and turned away from the sheer lunacy of the scene.

 

Such a one as that save me? That one—the spindle-shanked crackpot who thinks he is God's son, bloodshot and drunk with his own torture, no less crossed up, crossed out than any other mother's son. Such a one as that—Jesus, scrawled up there on the concrete among the four-letter words and the names of lovers? Only somehow then, little by little, a deeper secret of the embarrassment begins to show through: not can such a one as that save me, but can such a one as that save me? Because I suspect that at its heart the painful wincing is directed less to the preposterousness of the claim that Jesus saves than it is directed to the preposterousness of the claim that people like ourselves are savable—not that we are such sinner that we do not deserve saving, but that we are so much ourselves, so hopelessly who we are - no better, no worse—that we wonder if it is possible for us to be saved. I suspect the reason why the name "Jesus" embarrasses us when it stands naked is that it inevitably, if only half consciously, recalls to us our own names, our own nakedness. Jesus saves....whom? Saves Joe, saves Charlie, Ellen, saves me, saves you—just the names without any Mr. or Mrs., without any degrees or titles or Social Security numbers; just who we are, no more, no less. I suspect that it is at our own nakedness that we finally wince. 

 

-Originally published in Secrets in the Dark, Frederick Buechner

Okay I understand what you said about death note, but don't you think you're going a bit overboard with the roasting? It's bad for people who know the original masterpiece, yeah, but it does stand alone as a movie. If I watched it with my non-anime-watcher brother, he might go, "Oh, that was interesting." And maybe finally give the original a shot. It did its job getting people familiar and interested in dn, but of course it couldn't be as good, its an entire sieris shortened to one movie

Well I did say when I started it that I wouldn’t have much pity toward the movie either. 

And I’m sorry, but we’re talking about a story that was extremely Japanese, and which not only was stripped of its Japanese intend, but also showed off Asians being killed by Light, and especially a bullshit explaination on them picking the name Kira because “in Japanese it means Killer so they’ll think we’re japanese” and them letting messages in Japanese on the crimescenes to pretend Kira is Japanese.

This is not the kind of things to overlook. Whitewashing isn’t something to overlook, and the movie dealt with it in such a poor way, in an actual offensive way, when you adapt something, you at least try to respect it.

And it’s not an entiere series shortened into one movie. They planned sequels. The movie ends on a stupid cliffhanger. And it follows absolutly no plot from the original. Why do you try to use the L. and Kira’s showdown, and clearly call your characters those ways, while you don’t respect the story at all?

Oh and fyi, for as...... much as they are (i’m not found of them), there are Japanese movies adapted from Death Note. The First movie is all about the mindgames between Light and L, and it ends on L. meeting Light. They changed a lot of things, but they kept the focus where it should be: on L and Light’s mindgames and manipulations. It teased for a sequel while actually leaving you with quite a story that was closer to the original. Of course you can’t adapt 12 volumes into one movie. But, especially when you expect sequels, you can try to cut the story correctly.

Listen, when you adapt something, you’re supposed to at least have read the thing. As bad as the Last Airbender Movie was, at least it did show you a Kid who ran away from his duty because he was scared of wars, two others kids finding him and trying to help him learn the elements, and Zuko the antagonist is still someone extremely wounded in hs honor after his father’s abuse.

And let’s be real, The Last Airbender is one of the worst adaptation of all time, it’s boring, and it’s whitewashing, but at least it kept the characters basic traits and journey. Why would you adapt something and keep the name if you’re not going to at least follow the story?

Like i repeated, it wouldn’t have been as bad if say, they did a whole new story where Ryuk just happens to drop the Death Note in America with enteirely new characters. No L. No Kira, an actualy story. Like the Chapter 0 of Death Note, or why not even explore the BB Murder Case since it’s a novel happening in America?

You can take the idea of the Death Note, but not if you take the characters name and the basics of their showdwn while absolutly nothing about it will be respected.(especially since the movie totally overlooked the mindgames between L and Light because Light did a really obvious mistake.)

And how the fuck does it stands alone when it removed the lore? No really?? 

Okay so, where the hell Ryuk’s come from? Why did the notebook say “Do not trust Ryuk”? What did Ryuk do in the movie that wasn’t trust worthy aside from not letting Light know Mia was doing bullshit? What was the point about this plotline?What was Mia’s deal? We just had to accept that a cheerleader would get into murders right away?Besides have you seen how those two bounded without even blinking at the idea of murders? Especially since Light is supposedly a victim we’re supposed to feel bad for in the movie?

Why do we have to accept that? Why do we have to accept the lowest of effort, of writting a basic Teenage Horror Screenplay, while the actual story was supposed to be One of The Kind? 

Seriously though, Awkward Teen with a Crush on Cheerleader Who Gets The Girl After Getting Mysterious Powers is a cliché. Turning Ryuk, a sympathetic figure in the manga, a passive observator, into a sort of creature always pushing you to do bad is cliché. Hell, they removed entierely the relationship between Light and Ryuk while it was the focus of the original.

Not to mention it was a story about a greater scale. The original manga was a commentary on how Law Enforcement works in Japan, and how a priviliged, popular, “will go far” kid like Light, who had access to the information, would believe he would have some reasons to clean it up.But instead, it became a teenage drama. Light was always pushed by other people in the movie to make murders, and he often want to get out of it. Even the God persona is something coming out of their ego, while in the manga it’s something that just happens. Here, it’s kids who want the attention, and get backlash for doing so. An underdog, who just want to keep his life going in school, who plays God just because he was pushed by his girlfriend and because he is a poor kid who’s traumatized.

We went also from a story which was a commentary on Japanese Law Efforcement, to a story who was so oblivious to the Law Efforcement Commentary, that they showed a white cop choke the black lead before letting him go, and you’re supposed to cheer for the cop. 

Is it worth showing someone who don’t want to watch anime for them to get interested?? No. 

It’s a watered down stupid teen flick which plays on Edgy Fuel. It’s a project that was born and kept going with racist intends. It’s a story you may watch, think “bleh” and leave. Not get interested in more. And if you do, jfc. I’m sorry but I hate the idea some people might come into the manga expecting say, Ryuk to be like this movie bullshit, or Light, or L, or anyone. 

And okay, as a standalone movie?

The movie is poorly paced. The exposition scenes are hilariously bad. The characters motivation are inexistant, explained by a sexy montage of them having sex while killing people (of color), showing how immature the whole subject was treated. The montage itself was incredibily bad, the whole idea of seeing the ascension of Light’s godlike persona was totally overlooked for his stupid romance. It gives tragic backstories to the two main leads to explain somehow why they’re like that.

 The whole fun of this story, which was to see how L and Light was trapping each other, was ruined by the fact the plot runs on stupid and Light doesn’t make any decision. It’s Mia doing them. L. discover Light is Kira halfway throught he movie because Light fucked up. The manipulations of say, getting rid of the FIB agent, was completely overlooked in a cheap twist. Because that wasn’t important. 

The whole plot requires you to just accept they are whatever genuis and overlook the batlant mistakes they make to make the plot running. And, because it didn’t make it through, spelling out the message of “chosing the lesser of two evils”, removing the reader’s freewill to chose who to side with. 

It was not fun. It was not exciting. It was seeing Edgy to be Edgy.

And I’m sorry this is insulting? Death Note was a serie that run for 3 years. For 3 years, the authors went out of their way to make an unique story, with unique characters, with a complex view on mankind. They put 3 years to elaborate the themes, to develop the characters, to tie up the looses ends. And Hollywood saw from it just an opportunity of a quick cash, to be Edgy by taking the name and concept, and make the usual soup they do with teenage horror movies. 

Death Note wasn’t the franchise to do it. We can’t blindly accept adaptation because “it stands as a stand alone movie”. It’s completely disregarding the fact it was someone else’s work that you decided to strip from everything that made it so unique to start with. 

Even more when it’s America disregarding a culture and somehow managing to be offensive toward it, making them the victims of a story they were the main characters of to start with.

So I completely disagree with your point of view on it. I’m sorry if i’m harsh, it’s not against you nonny, much more against the movie.

If an adaptation isn’t capable of getting the basic understanding of the story right, they have no right to claim themselves as such. I’m not asking an adaptation to the comma, i’m asking to an adaptation which would respect its root.

Which isnt what this movie gave.