Supermassive Black Hole | Muse

17/99 songs that remind me of Jenny Humphrey—in (vaguely) chronological order

playlist | outtakes

i already made a joke post about it but genuinely, the whole "wot s1 sucked, which was 100% the show's fault and not the source material's, but now s2 is so much better! shocking! who could've seen that coming!" narrative is SO annoying

like, the eye of the world is boring as shit! it's generic as shit! of COURSE an entire season based on it is not going to be the most groundbreaking or thrilling fantasy television you've ever seen in your life! how on EARTH can the readers who've been saying for decades that the books don't start to hit their stride until book 2 or 3 or 4 fail to grasp the correlation with season 2 being better than season 1? but even so, s1 alone IS more groundbreaking and thrilling than book 1 alone, because the showrunners knew that book 1 is boring and generic as shit and did their absolute damnedest to pull in as many unique elements from later books as they could conceivably fit in this early on.

second, s1 had to do a HUGE amount of heavy lifting in terms of setting up characters, relationships, lore, and worldbuilding. s1 did all this groundwork so that s2 could have the payoff you're enjoying so much, s1 constructed the basic building blocks so that s2 could explore the more advanced concepts you're gushing over. s1 ran so that s2 could soar! put some respect on its name!

third, stakes tend to get higher, characters to get deeper, and plotlines to get more exciting as you go along in a story. this is how stories work. why are you shocked that s1 only built the basic foundation of the story and s2 has the space to grow and deepen that story? that's how stories work, that's how TV works, and that's most certainly how the WOT books work.

fourth, practical constraints s1 had that s2 had less of

budget: s1 was starting from scratch, whereas s2 had more budget to spare since some things could be reused from s1 AND it got a bigger budget than s1 in the first place.

experience: second seasons almost universally tend to be better than pilot seasons, simply because everyone involved in making the show has gotten into the groove and solidified how they want to do this thing. this is how television works.

covid: it should go without saying that s1 would have been One Million Times more difficult and expensive to make than s2 due to covid stuff. whatever effect we may think covid had on s1, the true effect was probably astronomically higher than what we imagine. the majority of "looks too cheap" "looks too empty" complaints likely come down to this (notice that most of those complaints are about episodes 6-8 and not the early episodes; 6 was filmed pre-covid, yes, but i wouldn't be surprised if some covid-related restrictions were starting to rear their heads before production was officially shut down).

the worst part is the people who end their above-mentioned take with "they must have listened to audience criticism of s1 and made changes accordingly." [moiraine voice] the arrogance. s2 had already been written and filming was WELL underway (if not finished or close to finished?) by the time s1 even started airing. if you're impressed by what a great season they've delivered, the credit for that lies entirely with the people who made the show, not your stupid ass.

Ok, I’m not going to get involved in a certain thread because I don’t want any drama and the line of argumentation leans too much to one side already (the views of the vocal majority in this fandom) for it to make much sense to contribute, but I had a few thoughts today:

In a fandom where people write AUs full of cows and merpeople and other shenanigans that have nothing to do with canon (or the actual characters, to be frank), they can’t do that for Calliope (or any other female character, for that matter)?

She doesn’t get to play in the sandbox?

We don’t have the imagination to turn her into one of the two dolls that kiss?

We have to keep her in character while everyone else can be turned into… whatever person (certainly neither the one of the comics nor the show)?

We constantly have to remember her strife and trauma and can’t invent (!, that’s what writing is about!) a different or new side to her? Or a better future? One in which she gets to be happy?

Or we can’t turn her into someone she canonically isn’t?

While all of this always, always works for Dream? Or the hairy guy?

And speaking of said guy: Do we have any reason to think Dream would treat him better than Nada? We’re automatically assuming he’d do the same thing to Calliope, but not to him? Or: Why do we assume he would do what he did to Nada to any other love interest, because canonically, there’s no evidence for that (we wrote about this on here before)? So no, that line of argument just doesn’t fly in my view.

If Calliope and Dream have chemistry and people are able to acknowledge it (which most do), that on its own is enough to ship them. The chemistry argument works with every M/M ship. Why doesn’t it work with her?

Oh, she is allowed in gen fics (and I am a fan of those btw, but that’s past the point), or as a character with very little agency, or any personal or sexual desires. Even better if she serves the ship. That’s okay of course, I forgot. Reminds me of most of the women of the Sandman��I wonder why.

I just wish people would give the honest reason without going through all the mental gymnastics of why Dreamuse is not an interesting (or even bad or problematic) ship, and the other one is the best invention since sliced bread:

They want to see/imagine two guys together.

There, I said it, it wasn’t hard. It’s really as simple as that in fandom, it’s a predictable fantasy, and it’s the same in every fandom. The Sandman isn’t any different.

M/F ships are frowned upon because they’re “heteronormative”, and yet, (mostly) women proceed to project (mostly) heteronormative relationship dynamics on two guys of which they fancy at least one and use the other to project themselves on. Sometimes, they fancy both of them and get more of what they have the hots for. Good for them, there’s nothing wrong with it. We have oodles of research by now why some women prefer M/M porn; it’s not earth-shattering, groundbreaking or “queer-positive” (it sometimes fetishises homosexuality though, but that’s a different topic). It’s been like that since at least the times of Spirk, and probably longer. It’s actually a fairly (dare I utter the word on here?) straight female sexual fantasy. The queer-positivity everyone is so enamoured with is more than, and not singularly limited to, shipping M/M—as a bisexual woman, I personally can’t identify with that line of thinking at all, but other people’s mileage might vary…

If people are into smutty/explicit fanfic , that’s just how it works: Some women project on a female body while imagining to get railed by a guy, others prefer to imagine two guys because they fancy men. Again: Nothing wrong with it, but it’s also not as deep as people often pretend it is.

Yes, I wrote about that one before as well. That’s why I can do it again—“once your reputation is ruined” and all that 🤣

It’s ok to be horny for two guys without turning it into a brain-contorting statement every time.

It’s also okay to reflect on the wider implications of completely erasing women from EVERY fandom, especially if you identify as one.

Edited on May 27 since it’s obviously necessary:

If people’s main takeaway from this post is that it’s about criticising fetishising homosexuality, they clearly have a reading comprehension problem and should read it again. “Sometimes” doesn’t mean “always”, plus it wasn’t even a main point. I even said that fancying m/m is a fairly middle-of-the-road-fantasy, and that there’s nothing wrong with it. The internalised misogyny that shows in people who think they are “saving women from men” by completely erasing them from the narrative and only centering men is a different topic, but these two things aren’t the same.

If people’s main response to this post is, “Then write your own stuff,” they also have a reading comprehension problem and did not get at all what this is about. It’s also the slightly old getting standard response to anything that invites critical thinking, but that one isn’t all that surprising anymore. The assumption people aren’t writing their own stuff is also a bit… silly? But I imagine that misconception is down to the fact that those people never check any tags beyond one or two, and certainly never any that involve female characters.

Some people in the OP even made good points, and I didn’t criticise any of those because they are true.

This post is about the double standards people apply when they say why one ship (m/m) is more successful than the other (m/f):

Trauma? Never a problem when it’s Dream.

Relationship that somehow “shouldn’t work”? Never a problem in tropes like enemies to lovers and many others that are totally used for thee ship. Or with two people (read: men) they really want to see together.

Bending a character beyond recognition or giving them a totally different backstory, because that would solve the “relationship has run its course”-issue? Never a problem with the two guys who can be anything from a cow to a mafia boss. But the women? Nope, we have to remember their trauma and strife, keep them exactly as in the source material and protect their sacredness by completely ignoring them.

Still don’t get that this is not about a ship per se but the erasure of all women from stories bar being cheerleaders for thee m/m ship in some way? Okay, then that one’s really beyond anything I can explain, although I think some people just like to consciously misrepresent stuff or really don’t do anything but skim-read. That’s not on me I guess…

top 5 supergirl episodes?

full disclosure i haven't seen the entirety of supergirl (ive literally only seen like 7 eps & its all season 1) so this list will probably change over time (bc im starting to painstakingly watch the show - imagine slowburn but watching a series) however ive watched like a ridiculous amount of supercorp edits so im going to base my choices on the parts where supercorp exist ha!

5. Season 1 - Red Faced

this would probably be the only none supercorp related yet still somehow my personal fave for a few reasons. i love this scene in particular bc it shows that cat grant cares for kara and what cat says here is very relatable. no matter how harsh cat can be at times, cat was a girl's girl here. she gave an advice which was helpful to both supergirl and kara. she had every right to rip kara viciously apart but instead she took a completely different route. i like the line she says here.

"You really need to figure out what's really bothering you." "You really need to find that anger behind the anger. And you really need to figure out what's really making you mad."

i think this was also the ep where kara acknowledged where some of the anger was coming from. even with zero dialogue and with mel's incredible acting skills she was able to convey so much emotions during that scene where she releases all her anger towards the red tornato. From losing her parents, losing her planet —her home, for losing everything and maybe even angry with her parents for the choices they made for her. it was such an incredible and very emotional scene.

im putting the rest in read more bc of how unnecessarily long this post has become

4. Season 2 - "The Adventures of Supergirl"

this should be easy. this was the first time kara met lena and changed the trajectory of every queer person watching this show and lena first delivered the first of many many questionably fruity (gay) lines fjlkajdla

"You couldn't have fooled me."

also bc of this scene thank you very much

3. Season 2 - "Luthors"

if there is one particular scene that convinced me to even give supergirl the time of day its obvs this one and lena "suspiciously straight" luthor delivered one of the most iconic lines on television in my opinion and now forever engraved in my mind. let's not forget lcorp CEO lena luthor took the time of day to fill catco employee kara danver's office with flowers like it's a regular tuesday but oh well

"now you'll have someone to stand up for you. always" "supergirl might have saved me but kara danvers, you are my hero."

screaming, crying, throwing up

2. Season 2 - "Exodus"

tada! i mean, look at it! how heroic! i also find it funny how grateful and confused lena was that kara danvers was having coffee with supergirl late at night but still

Season 2 - Ace Reporter

so this isnt at all groundbreaking bc honestly, 5 isn't enough and anything that has supercorp will be my favorite even though again i havent seen the rest of supergirl yet but we're ignoring canon so we're ignoring that fact too. i think this was the ep where kara was comforting lean about jack's death. i personally have a love and hate relationship towards this scene for many reasons but im a sucker for supercorp and there was a clip where kara hesitated and looked like she was about to plant a kiss on lena's head but then hugged her instead and i think its beautiful and im a sucker for kara leaning in towards lena

BONUS:

im too lazy to figure out where these clips are from which episode but this. i love every scene and its more like these below are my reasons for watching supergirl and has nothing to do with being my top 5 bwahaha

oh did i mention i also happen to have a weird obsession with superrojas i will not rest until i reach the ep where andrea rojas exist

Racism in the ace community is seen as a joke from the outside and a confusing concept in the inside but it's pretty bait tbh:

Barbie, Wednesday and Elsa are ace-coded but not canon aces but they're widely accepted as ace icons in the community. Lacking genitalia, disliking romance and being single are not inherently asexual yet the community happily claims them as ace solely on those reasons. But Selah Summers? Nah she actually didn't say the words "aroace" even though the director confirmed it so she didn't really count. Abbi Singh? Nah she had a girlfriend and her superpower is being a succubus and it's not like the Imperfects actually addressed the themes of an asexual lesbian South Asian woman and her sexuality or anything. Fei Hargreeves? Well yeah the actress and producer confirmed it but she never said it on screen. Ace characters of colour always get held "screened" for approval to be "real rep" in a way white aces aren't its so weird (this also happens to gay aces but that's another post)

Almost anything involving Yasmin Benoit. The reason she's unacceptable ace rep is because of misogynoir. She's spoken so many times about never dating and not having sex (which mind you is none of our business and she shouldn't need to explain herself in the 1st place) and yet she's "too sexual" to represent the community. Again with the nitpicking, popular white ace accounts were so quick to dogpile her for not-so-good takes but when she speaks about racism? Crickets. When she spoke about sexual harassment? Crickets and not only that but they defended her harasser. The main ace activists that defended her were other Black aspecs.

Not understanding how desexualisation affects POC. Specifically, Black women are excluded from representations of love and sex because we're seen as undesirable. It's common for TV/Film to pair up everyone but the Black girl, or have a rebound Black partner for the non-Black main character who's disposed of when they're ready for their "real" non-Black partner again. This isn't done for Black aspecs benefit. It's a form of dehumanisation. Friendship especially in m/f is needed but exclusively pushing for friendship between Black women and non-Black men when there is romance coded or confirmed and shaming Black women in fandom or in show for shipping the Black female character is not doing what you think its doing.

Not understanding how sexualisation effects POC. Again linking to Yasmin, POC, especially Black people have been sexualised due to white supremacy. The "allosexual privilege" framework fails to acknowledge this because Black people's sexual attraction and sex is seen as aggressive and animalistic. Black people aren't "allowed" to be ace because of this sexualisation and why Yasmin regardless of what she wears or does is seen is too promiscuous.

Not acknowledging ace POC as ace rep. Again, where was the acknowledgement of Selah and the Spades as groundbreaking rep? The first aroace darkskin Black girl as a lead in any film? Sherronda J Brown spoke about Big Mouth's Black ace character and someone said it didn't count just bc they dislike the show. Again with Abbi and Fei the community didn't make noise for them like they did Todd from Bojack Horseman or Florence from Sex Ed (mind you the gap between how they did Florence vs O is jarring in itself) Isaac from Heartstopper was inspirational for many aspecs and I wont take that away but the way he's instantly credited for ace representation when he has so little screentime compared to the others is wild.

Just tired tbh. "Listen to POC aces!" "POC aces are valid!" Prove it then...?

i was thinking about not saying anything because really i just want peace amongst the lands but as a person who likes torturing herself on bad social media sites i wanna say the situation with the 'movie is better vs show is better' thing isn't as simple as two camps sprouting simultaneously.

if anything, after the movie was premiered in theatres and leaked there was this camp who saw it that very loudly and harshly spread this whole hate campaign on the show, straight up worshipped the movie like it was the best thing since sliced bread, just started hating on the show like they were antis. in all honesty some people talked like they were being PAID. because 'movie is way better than the shitty show!!' was all i could see on twitter for over a month and i didn't watch it so i was like um maybe it really is groundbreaking?

but then the movie officially released and all of a sudden i saw a lot more 'tbh i didn't think it was that great' takes pop up in replies and comments and posts. it was evening out and then i started to see 'just let people enjoy the movie!! stop bullying us for preferring it over the show!' tweets and 'theres two cakes!! can't we just eat!!' type posts. and i genuinely think most people (on tumblr) want to keep the peace and aren't trying to cause harm. but it puts a slightly bitter taste in my mouth because people were straight up harassing thomas astruc over how the movie did everything so good and his show version was so awful lousy and cringefail. and regardless of how he responded or what your opinion is of him ifl people went too far in their 'support' of the movie at the expense of the show. and having this context and knowing how awful people have been could be sort of... eye-opening? i guess?

because its one thing for two camps to suddenly start fighting. its another when one side was poking the bear for no reason whatsoever for AGES only to start victimizing themselves when the opposite happened (and never usually to the same extent)

She finds out about it a few weeks after her classes start. It happens by chance, and almost seems too good to be true.

But it's not.

The University of Illinois does actually have its own newspaper for gays and lesbians. It exists, made explicitly for them, by them.

And Robin needs it.

It requires some snooping, though it's basically nothing after everything she did at Starcourt. Soon enough, she is $8.50 ($7.50 for a yearly subscription and $0.5 each for the two previous issues) poorer in dollars and infinitely richer in happiness.

People Like Us: News, opinions, and features for the C-U gay and lesbian community it says on the front page. Issues 2 and 3 are both 8 pages long while the first issue is slightly shorter. They have everything. News about marches in Chicago and local gay-friendly businesses. Opinion pieces on places to meet up and homophobia. Roommate ads, reviews, and personal stories. News about AIDS. And, in the very back, a blurb proclaiming LESBIAN CONTRIBUTORS WANTED.

Maybe that'll be her one day. She's no Nancy, but she can write. For now, though, she's content with reading. It's almost overwhelming to hold the papers, knowing that it's made by people like her. That someone like her might be reading the same words at the same time. Less lonely, in a way.

No one else on campus knows about her. Ellen, her dorm mate, seems fine so far, but Robin won't take her chances just yet. She struck gold with Steve, Eddie, and the kids, but someday her luck will run out. So she hides the issues in a hard folder under her mattress whenever she isn't reading.

Then she gets the October issue in her hand and nearly dies of excitement. On the front page, the news section is announcing that "two highly acclaimed gay/lesbian films are set to appear on campus this month". The groundbreaking Desert Hearts and Parting Glances will be screened four times each, one week apart from each other, at the end of the month.

At her first opportunity, she calls and tells Steve about it.

"You have to come and see them with me!" she says. "I can't go alone!"

So he does, and he barely complains about the 3-hour drive.

On Sunday, October 19, he shows up at 7 in front of her building. They catch up while having a bite to eat before the film. It's mostly her talking, blabbing about classes and professors and new people and Illinois and the college experience while he chews his half of the pizza, staring at her with big eyes that scream I missed you, I missed you, I missed you!

She takes every chance she gets to knock their feet together under the table and clutches his arm on their way to the film. Just in case her own eyes don't scream it back loud enough.

By the time Desert Hearts starts, she's giddy. She knows only what the newspaper told her: that it's about a soon-to-be-divorced college professor meeting a lesbian country girl in Reno in the 50s, and that it includes a 'climactic lovemaking scene'. Both facts have her squirming with excitement, her seat squeaking beneath her.

The lights go out and the movie starts. It's slow-paced and atmospheric, using the Nevada scenery to its advantage. Parts of it are actually really slow, but she doesn't mind, especially not as it builds and builds toward Vivian ultimately accepting her attraction to Cay.

Steve is with her from beginning to end, scoffing at the antagonistic stepmother, squeezing her hand when the lovers are separated, and squeezing some more when they're reunited. When they reach the intimate scene, he gasps loudly. Then both of them succumb to a giggle fit and must stifle themselves lest they be thrown out. The newspaper was right – it is pretty hot stuff.

There's no dramatic declaration of love at the end, no the ending is as slow and quiet as the rest of it. Still, it hits hard. A sledgehammer to the chest, shattering her ribs and smearing her heart all over. Because these women look each other in the eyes and say 'I love you'. They say 'I want you'. They say 'she just reached in and put a string of lights around my heart', and they say it like it's normal. Which, Robin knows it is. But her world is small and their world is the silver screen and they say it like it's normal.

Steve turns to her when the credits roll and the lights come back on, saying it was good. But when she looks at him, his face falls. Arms wrapping around her, he pulls her into his lap and guides her face into the crook of his neck. Fingers cramping where they clutch his shirt, she buries herself deep and cries, cries, cries. She thinks she hears someone ask if she's okay, but Steve shoos them off, so it doesn't matter.

He walks her home in comfortable silence. As they stop outside her building he tucks her hair behind her ear and offers to stay with her. But she tells him no – he has work in the morning, so she'll have to make do without him.

The responsible thing to do after waving him off is go to bed, wake up early for class. Instead, she steers her step to the nearest payphone and punches in a California number. Minutes later she's got Vickie on the line, wondering if she's okay and if she's been crying. Robin reassures her, then recounts the evening. Soon Vickie's bell of a laughter envelops her; they discuss who's the Cay to whose Vivian until Robin runs out of coins.

Next week, Steve is back and they do it all over again, except this time they eat burgers. They even snatch the same seats they had the previous screening.

Parting Glances follows a gay couple for 24 hours of their daily life. Because they're established, their intimate scene happens much earlier. Steve's muttering about how unfair it is that it's less explicit than the lesbian scene has pride burn in her chest, even as she shushes him.

All in all, it's a really good film. It doesn't hit her as hard since it's about gay men and no lesbians, but it still hits. Again, because it's presented as something normal. They're people in love, and they have jobs and problems and dreams and friends. The hardest hit of them all is Nick, who has AIDS but not in a pitiful way. He's a rockstar with a sense of humor, still cool and charismatic. Sexy, even, thanks to the oozing confidence and the intensity of his gaze.

Steve is quietly contemplative on the way out. She slips her hand into his and lets him think. It's first when they're halfway home that she breaks the silence. Spinning so she's walking backward in front of him, him holding her waist to steer her away from lampposts and curbs, she asks:

"Did you like it?"

"I did. But it left me a little sad." He shrugs. "I just hope Nick survives and gets back together with Michael."

She chews the inside of her cheek. "I don't know if… I mean, AIDS is-"

"I know, Robbie, I'm keeping myself up to date. Or I try. It's just… It's very…" Steve sighs, shaking his head. "You know."

And she does know. The fear of being targeted and the frustration of being helpless. The fury of knowing diseases are supposed to be cured, until the ones affected are people who aren't supposed to exist in the first place.

Steve says, "I think he'll be okay. Nick."

"Yeah," she says, a little choked up.

"And he and Michael will be happy."

"Yes."

"And Cay will stay on the train, or Vivian will return to Nevada, and they'll be together. For real."

"They will. And even if they don't," she reaches up to cup his cheeks, caressing his stubbled jawline, "they'll have someone else. Someone just as good. Or better."

His gaze on her is heavy and bright, boring through, seeing inside. He nods.

"Or better," he says.

With that, he grabs and swings her around (in a pretty impressive move, not that she'll admit it to him) until she's latched onto his back. Then he carries her home.

It's maybe 50 degrees out, so not freezing but enough to leave you shivering if your jacket is old and getting threadbare, like Robin's. She's not cold, though, because Steve always runs hot. His back is firm and his grip on her thighs is secure; she burrows into him, absorbing his warmth and familiar scent. Lulled, not to sleep per se, but to rest by his even strides, she dreams of all the beautiful things she wants to have, and even more vividly of the things she wants to keep.

------------------------------

People Like Us was a real newspaper. You can find the issues that helped inspire this fic here.

(Oh, and you should really watch both those films if you haven't already.)

Turtles Catches Up With Old GMMTV: A Honorable Mention For War of Y, and Another Look at How Thai BL Talks About BL (With a Bonus Watch of BL: Broken Fantasy)

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, I take a look at the more recent attempts by the Thai BL industry to critique itself with War of Y and the mini-documentary, BL: Broken Fantasy.]

2022's War of Y. Let me start this piece off by saying that this show is not good. My friend and BL elder educator, @bengiyo, once said about the OGMMTVC project, that some people (LIKE ME :'( ) just have to look into the abyss to satiate their curiosity about how this genre has developed, and that's definitely a point of the OGMMTVC. Not all past Thai BL shows are good, not by a long shot, and I don't recommend War of Y if you're watching dramas for pleasurable experiences only. (If you want to watch a GREAT drama that critiques the Thai BL industry, start with 2021's Lovely Writer, and I'll get more into this later.)

War of Y, directed by the chaotic Cheewin Thanamin and the I-am-assuming-to-be-misanthropic-and-indulgently-self-righteous-and-preening Den Panuwat, gave us 20 episodes of what I believe they thought to be groundbreaking critical art about the currently Thai BL industry. Let me set up an outline so that I don't spend too long on the bad stuff, and explain why War of Y does at least get an important mention (but not an official inclusion) on the OGMMTVC list.

1) What was War of Y about, how it was structured, and some quick high points, 2) Comparing War of Y to other pieces of Thai BL fiction that did a better job of critiquing Thai BL culture, and 3) A close-out reflection of Aam Anusorn's 2020 mini-documentary, BL: Broken Fantasy.

War of Y, as presented by Cheewin and Den, is designed to be a meta-drama of four chapters, all examining a specific aspect of the Thai BL industry. The first chapter, led by Billy Patchanon and Seng Wichai, focuses on two ship partnerships competing with each other, to the mental detriment of one of the older ship's celebrities; the second chapter focuses on two HORRIBLE warring managers; the third chapter showcases, in excruciating detail, god help us, a Y idol reality show, replete with singing; and the final chapter depicts the creation of a BL series and the rise of another super celebrity, whose career potentially gets derailed by his relationship with a female acting colleague.

Before I get into the few high points, I just want to say that this bloated structure (four chapters of five episodes each) did not do this drama well. It could have been edited down GREATLY for more succinct messaging. The other major issue I had is that the Thai BL genre -- as a romance genre itself, that demands romantic and coupled endings -- is just not the right genre to meta-critique the industry from which the piece of art comes from, not unless you're the screenwriter of Lovely Writer, who deftly managed some very complicated storylines into true art. There was no deft to War of Y. Couples got together in pandering and condescending ways, because that's how a Thai BL should end, right (?!); HORRENDOUS warring enemies suddenly made up with barely any context except to make money, and so on. I kept saying to friends during my watch that in a Den Panuwat show -- the worse you are as a character, the more likely you are to be redeemed for seemingly no good reason.

[Exhibits B and C in Den Panuwat's screenwriting record of questionable human characteristics? Fucking Only Friends and Playboyy. THE WORSE THOSE CHARACTERS WERE, THE BETTER THEIR OUTCOMES. Yeah, we really wanted those assholes to end well. ANYWAY. (I am committing to never watching a Den Panuwat show again. ANYWAY.)]

But there were a few high points. Actually seeing a Y idol reality show, something that international fans may not be able to appreciate with a lack of subtitles, was at least eye-opening for the inter-related nature of these kinds of shows, with some performers subsequently getting series gigs. (I understand that Santa Pongsapak, of My Own 12%, is an example of this kind of performer, who started out first as a music idol trainee.)

And the acting. Some of the acting was EASILY the best part of War of Y, as it very often happens in questionable Thai dramas: Billy (BILLYYYYYYYY), First Piyangkul, Dome Waruwat (who we most recently saw in Cooking Crush, and who absolutely SLAYED as one of the SLIMIEST, GROSSEST characters EVER, ohmygod), and

SENG MOTHERFUCKING WICHAI

(who will win one of the crowns as one of THE BEST FUCKING ACTORS IN THAI BL at the conclusion of the OGMMTVC project)

were easily the best reasons to watch War of Y. The range of Seng Wichai. It's ironic that he left Idol Factory last year, ending the BillySeng ship, and was then disgracefully treated like utter crap by the media and BL fans for the reveal of his relationship with Freen Sarocha. That, in itself, could make for a heartbreaking drama about the BL industry, but alas. We have War of Y instead. Seng is a motherfucking hero, and is also the KING of cringe, playing a horribly behaved actor who learns to overcome his insecurities to stand up against the advantages taken unto him by greedy managers.

We also had MANY wild and crazy cameos from real BL professionals in the show. @twig-tea and I agree that director New Siwaj's cameo was BAFFLING. He played a BL director (which he actually is) who maybe hated making BLs? (Maybe he actually hates it?) But still does it? And was mostly checked out of making the BL-show-within-the-BL-show, until he was called out about it, and then behaved like a good boy. Like. That cameo, along with a literally-evil NetJames and an even more inexplicable and weird literally-evil MaxNat cameo (wtf, that wasn't filled out AT ALL), were the really weird ones. The sad ones were ones like sweet NuNew Chawarin telling young BL guys that they have to sing (NO THEY DON'T). There was actual!Tee Bundit telling off Seng Wichai's character, that was rad. Director Lit Phadung of SOTUS and Dangerous Romance (😬) was there. Even the original novelist for Thailand's first television BL, Love Sick, was there, playing herself as Kwang Latika, who complained to a producer within War of Y that the show-within-the-show (yeah, I know) was taking her novel out of context. That shit sounds familiar! I could have used more accurate commentary on that.

The last high point that I can muster is that the show began to toe the line of the issue of actors needing to explore their sexualities for art's sake. As fans, we truly do not have much insight into this process, and I think it's for good reason, so as to protect actors (wherever they land on the sexuality spectrum) from very real, emotional, and sensitive processes and workshops that prepare them for taking on queer material. We know that actors like Nanon Korapat from Bad Buddy use Method techniques in their performances, and that can be mentally draining. Do I believe that some actor pairings experiment with dating, and may actually be in relationships? Yes, I must believe it, considering the psychological work these young men have to do to build attraction to each other for art's sake. The CEO of Korea's Strongberry studio confirmed as much earlier this year.

Unfortunately, I think War of Y leveraged these very sensitive realities to blatantly and flippantly indicate that ships can be ASSUMED to either explore sex with each other, and/or to even assume that they SHOULD be in relationships, à la the television BL romance formula that I mentioned above. I think this show could have transcended the romance genre formula, frankly, and I think the show came kinda close to doing that in the last chapter with First Piyangkul -- but not before setting up First's character, Achi, as a cheating monster-machine who was willing to go to great lengths to protect his fame, including outing his trans-female ex-girlfriend and co-star (YEAH, THAT HAPPENED), as well as separating himself from his ship and sexual same-sex partner while still indicating that they were dating. The whole storyline was just -- BLEH.

As I chatted with another fabulous BL elder, @twig-tea, about after I finished War of Y, clearly, Cheewin and Den thought they were intellectual geniuses upon the creation of this show, thinking that a BL itself would be a sufficient mechanism to offer meta commentary about problematic aspects of the BL industry (IT'S NOT). Twig wisely said to me that a writer or directly simply CHOOSING a topic to explore vis à vis a BL -- like a criticism of the industry itself -- is not, in of itself, worthy of laudation. And Cheewin and Den were CLEARLY expecting flowers by the end of this drama. If you've ever lived in smelling distance of southern California, you'll know that entertainment industries love nothing more than to talk about the entertainment industry, and that they think that fictional drama art is the best way to obsess over the vagaries of these industries (IT'S NOT). Instead, Cheewin and Den basically outed themselves as economic shippers and idiot faux-savants who are clearly in the game for fame, and maybe the dudes themselves, which -- BLEH REDUX.

On the OGMMTVC list, Lovely Writer does such a better job at covering the latent homophobia and judgments against actors within and external to the industries that take on BL. War of Y actually teed up a LOT of interesting topics, such as the BL-to-het-drama-and-studio pipeline that I talked about in my past OGMMTVC KinnPorsche pieces -- but these topics in War of Y just instead drowned in misanthropic meditations about fame, sex, and money that seemed far more suited to reaaaaalllly-bad Cinemax than, say, a proto-documentary.

The OGMMTVC syllabus also has YYY, from 2020, as a first entrée to BL-commentary-within-BL (and funnily enough, YYY also stars Lay Talay, who was the main anchor of War of Y, and was actually fantastic in both shows). YYY is a lot more succinct, CONCISE, zany, weird as HELL, incomplete, INSANE, not the greatest show, but HILARIOUS, simply in part because of its different and wonderful writers in Fluke Teerapat (a former BL actor himself) and Tanachot Prapasri. If you're looking for commentary about BL within wild-ass fiction (and if you're willing to watch it with shrooms or a fifth of vodka), watch YYY. (And remember that you're really watching YYY to watch Poppy Ratchapong eat his role of Porpla totally alive. Utter brilliance.)

Otherwise, as a means of complementing this review, I also watched 2020's non-fiction mini-documentary, BL: Broken Fantasy, by Aam Anusorn, another Series Y director who made the documentary, perhaps in part, to atone for past BL shows that he made, like 2Moons2 and Call It What You Want.

BL: Broken Fantasy featured interviews from directors, actors, and actual fans, about the nature of shipping, what the industry demands of actors, what fans themselves demand, and offered even a little bit of insight from two HUGE actors, Bright Vachiwarit and Win Metawin of 2gether and Still 2gether, about the process itself of young men acting in a queer coupleship.

The documentary is perhaps too short for its own good. And it sets up Aam as an unwilling participant within the BL industry, seemingly not knowing about what he was getting into when he first started making BLs (2gether's director, Champ Weerachit, also presents this way, which I found a touch disingenuous, as they were literally filming 2gether in the documentary).

But BL: Broken Fantasy hammered on a couple of important and real points. The economic benefits of shipping are HUGE. The sponsorship deals, the fame, the money -- they literally make young actors very rich and very well attended to. The fans EXPECT shipping performances, so that they themselves can situate themselves as caretakers or "mommies" to their young flock of boba-eyed actors that they worship. And for directors who want to earn money by making filmed art: the budding industry offers them that opportunity in growing spades. ( @lurkingshan will be happy to know that of all people, Aof Noppharnach, confirms to the documentary's audience that BL is a romance genre of love stories. As if there was any doubt, playa!)

At this point in time, in 2024, if I want a meta-critical understanding of the BL industry, and its many impacts on queer populations, fan bases, and Asian and global society, I'll go to Dr. Thomas Baudinette's Boys Love Media in Thailand and choose the academic route. We are SO LUCKY now to actually have tremendous academic discourse on the genre and its impact on media, fandoms, queer society, and global and regional acceptances of queer equity.

As opposed to the roads that academics are paving, War of Y allowed itself to bloat and gloat, on behalf of its creators, about their desires for shipping, for lavishing attention on beautiful young men, without offering us objective insight into the mindsets of these gentlemen who are important artists and creators in many of the shows we love. There needs to be a space for fair and objective criticism about an industry that may, at many times, take advantage of these young men. While there were many industry cameos in the show, the most frequent cameo was Den Panuwat himself. That enough should tell us what this show was ultimately really about.

[Well, as you can tell, I am fucking DONE with War of Y, laughing my azz off, and -- I'm off to greener pastures. I'm taking a cute and quick break from the OGMMTVC to devour Japan's anime version of Cherry Magic for an upcoming comparative (and totally self-indulgent) Big Meta on Thailand's and Japan's versions of that franchise. (And I have also been watching Fully Booked, AMA.) But I've got a long-awaited rewatch of The Eclipse coming up, to explore how GMMTV handled homophobia as a centered topic head-on, and from there, I go back to Idol Factory to watch Thailand's first GL, featuring the lovely FreenBecky, in GAP.

AND THEN: HOLY SHIT! FINALLY! My School President. I can't wait.

Here's the latest of the OGMMTVC list. If you've got any questions or comments about the syllabus, just mosey on over to this link and drop a comment my way!

1) The Love of Siam (2007) (movie) (review here) 2) My Bromance (2014) (movie) (review here) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 5) Make It Right (2016) (review here) 6) SOTUS (2016-2017) (review here) 7) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 8) Make It Right 2 (2017) (review here) 9) Together With Me (2017) (review here) 10) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 11) Love By Chance (2018) (review here) 12) Kiss Me Again: PeteKao cuts (2018) (no review) 13) He’s Coming To Me (2019) (review here) 14) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 15) TharnType (2019-2020) (review here) 16) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 17) Theory of Love (2019) (review here) 18) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 19) Dew the Movie (2019) (review here) 20) Until We Meet Again (2019-2020) (review here) (and notes on my UWMA rewatch here)

21) 2gether (2020) and Still 2gether (2020) (review here) 22) I Told Sunset About You (2020) (review here) 23) YYY (2020, out of chronological order) (review here) 24) Manner of Death (2020-2021) (review here) 25) A Tale of Thousand Stars (2021) (review here) 26) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (re-review here) 27) Lovely Writer (2021) (review here) 28) Last Twilight in Phuket (2021) (the mini-special before IPYTM) (review here) 29) I Promised You the Moon (2021) (review here) 30) Not Me (2021-2022) (review here)

31) Bad Buddy (2021-2022) (thesis here) 32) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) (review here) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch (Links to the BBS OGMMTVC Meta Series are here: preamble here, part 1, part 2, part 3a, part 3b, and part 4) 34) Secret Crush On You (2022) (review here) 35) KinnPorsche (2022) (tag here)  36) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For the Sake of Re-Analyzing the KP Cultural Zeitgeist (part 1 and part 2) 37) Honorable Mention: War of Y (2022) (for the sake of an attempt to provide meta BL commentary within a BL in the modern BL era), with a complementary watch of Aam Anusorn’s documentary, BL: Broken Fantasy (2020) 38) The Eclipse (2022) (tag here) 39) The Eclipse OGMMTVC Rewatch to Reexamine “Genre BLs” and Internalized/Externalized Homophobia in GMMTV Shows (watching) 40) GAP (2022-2023) (Thailand’s first GL)

41) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 42) Moonlight Chicken (2023) (tag here) 43) Bed Friend (2023) (tag here) 44 La Pluie (2023) (review coming) 45) Be My Favorite (2023) (tag here) (I’m including this for BMF’s sophisticated commentary on Krist’s career past as a BL icon) 46) Wedding Plan (2023) (Recommended as an important trajectory in the course of MAME’s work and influence from TharnType) 47) Only Friends (2023) (tag here) (not technically a BL, but it certainly became one in the end) 48) Last Twilight (2023-24) (tag here) (on the list as Thailand’s first major BL to center disability, successfully or otherwise) 49) Cherry Magic Thailand (2023-24) (tag here) (on the list as the first major Japanese-to-Thai drama adaptation, featuring the comeback of TayNew) 50) Ossan’s Love Returns (2024) (adding for the EarthMix cameo and the eventual Thai remake)

51) Dead Friend Forever (2024) (thoughts here) 52) 23.5 (2024) (GMMTV’s first GL) (thoughts here)]

My Review of Miraculous Awakening: The Movie:

Spoiler alert: yeah I'm more disappointed than pleased. Zag really should consider making something original with his own deviations of the original show instead of contaminating what was already good on its own.

More under the cut, because spoilers:

The Things I did like:

The animation and visuals were stunning. The transformation sequences, Marinette's dreams being visualised, Ladynoir's duet were all very beautiful to look at. I liked how the powers and power-ups glowed, even the background and setting was tastefully done. This movie is very cinematic to look at and watch. The character models were definitely better looking than the prototypes they showed us in 2021.

(Sadly it seems like all the 100M budget went into this alone)

The Ladynoir was so cute y'all. I'm sorry, I know there are several people who would disagree but I liked their dynamic, their bickering and all was funny, and their duet and dance took my breath away. Was it as earth-shattering and groundbreaking as the show's Ladynoir dynamic? Absolutely not. It definitely felt like I was watching two different characters who had to learn to not dislike each other (compared to how they got along so well and clicked since the day they met in Origins), and I did like that they made Marinette acknowledge her feelings for Chat as well as Adrien, but if I compartmentalise it from the show, I think it's fine enough. I'm not really conflicted about it if I look at it that way.

The things I'm conflicted about:

Marinette's arc was....generic. It reminded me of several coming-of-age arcs where the protagonist had to learn to face their fears and believe in themselves, yada yada yada. But it felt like the soul of the Marinette we all know was gone from movie!Marinette. What made Marinette Ladybug in the first place was that quiet but powerful moment in Origins where she transformed to save Chat Noir and Alya even though she was terrified. Marinette was shy and reserved in the beginning of Origins, but it seemed like that was all Zag ever comprehended. What makes Marinette a hero is that she didn't "just face her fears", it's that her love for the world is bigger than that fear. She's scared of disappointing and failing the world than failing herself. That little nuance was deeply missed in the movie. Oh and her mega-intelligent genius brain too. What happened to the girl who can build a box that bites that hand that tries to steal from her? Where are her zany, over complicated plans?

However the reason why I didn't put her completely in the dislike tier is because this girl is genuinely the only one in the movie carrying the combat on her back. She's the one saving people, she's the one actually using her powers, she's the one at least acting like a hero.

Marinette's singing voice was not suitable at all. Lou is technically a very good singer but she's unable to bring the life Christina Vee does to her voice. Idk why they needed a singing voice actor for Marinette, Christina Vee has a beautiful voice already. Three guesses as to why she wasn't used. (/s)

The musical numbers were, like I said earlier, nice and lovely to look at. But after them making Marinette sing for the third time about believing in herself and having no way out of "facing her destiny" it starts to get grating. In all that time, they could have used it to flesh out Adrien's character much more, or even work on the rules for the miraculous. I did like Hawkmoth's number, Chat's song about falling for Ladybug and Ladynoir's duet, but that's it.

The thing Germy Zag and his money hungry company fails to understand is that Miraculous Ladybug, or any version of it will fail as a musical is because the show is too plot and action-driven. There is always something that has to be shown visually or explained verbally, and unless they're willing to show that in song, instead of filling it up with pretty sequences, ML as a musical is never going to work.

Things I dislike:

The "Chosen One" trope is 100% the worst part of this movie. (The use of Careless Whisper is a close second)

The miraculouses in the show were jewels that were meant to be given to people who proved they good at heart, and had potential to be heroic. The earrings and the ring flying away to magically bond with their owners was just plain lazy writing. What makes Ladybug (well, to a certain extent, she is the Guardian now) and Chat heroes is that they can choose to give up their powers at any point, they can choose to give up, but they get up and fight anyway because they want to become good people, not because they were destined to.

Why was the butterfly miraculous described as "evil"? It was common sense to show it as a jewel that can be misused by bad people, not something that was essentially made to be misused. Why were the Ladybug and the Cat shown as rivals, and not two halves of a whole that complement each other?

And most importantly, WHERE THE FUCK IS THE LUCKY CHARM???

And on that note, what, may I ask, did Adrien to earn the ring? How did he meet Plagg? How was he convinced to put on the suit? Movie!Adrien is a complete disappointment, and he didn't even have any nice redeeming moments like Marinette did for me to tolerate his portrayal. One of the important (if not THE most important aspects) of Adrien is his kindness. What kind, selfless things do we see Adrien do? What brave things do we see him do, other than taking shots at the villains?

Chat Noir in the show was much more reckless and direct than Ladybug but we also always see him saving civilians, putting Ladybug first, putting the fight first even when he is not doing good emotionally (which is always). It just felt like a fan's surface-level understanding of who Chat Noir is: a few snarky lines put together and a huge ego.

And don't even get me started on how shallow the Love Square was portrayed. Or in other words, the two sides of it that Zag thinks is the most marketable. I really really hate how rushed Adrienette was, compared to Ladynoir. This is insane, because I never thought I'd have any opinion like that about any canon portrayal of the Love Square, but it's true. Why did Marinette fall for Adrien? Because he awkwardly helped her up? Why did Adrien find Marinette's quirks weird when he's never ever done that in the show? Like where's the depth that Origins put into this ship?? And every single episode after??

I do think this could've been fixable though, if they didn't reduce Adrienette to a montage (like him telling her about his mom) and added at least 1 Marichat and Ladrien interaction each. That's what the other two sides are meant for!! For both of them to see a different side of their partner when their partner is seeing them differently!

In other words, this movie is showcasing the "true selves" syndrome several parts of the fandom were accusing the show of. Zag simply did not understand the ins and outs of what makes the Love Square so compelling and I really think if this was fixed, the movie wouldn't be as disappointing as it is.

Gabriel's arc was pathetic. I know, on one end, it's like, yay, Adrien's gets a grieving, neglectful but well-meaning parent!! He gets to avoid the abuse he goes through in the show!! But I think it also takes away the angst that comes from Adrien essentially being a hero fighting against his father's abuse daily, which is also a core component of the show (who knows how season 6 will deal with that) and it also was a huge asset to Adrien's character - how he turned out good, kind and heroic despite all that.

And Gabriel by himself just isn't as compelling if he wasn't a ruthless villain, in my subjective opinion. Maybe the moment of forgiveness between son and father would have been more touching if we got a few scenes between Gabriel and Adrien. (Can you believe they only interact TWICE in a 90 minute movie??) Maybe Gabriel shutting Adrien out but out of genuine overprotectiveness, maybe Adrien trying to bond with his father but Gabriel misunderstanding it and killing the entire vibe. Just something to show us that Gabriel really does love his son, if that is what the movie wants us to believe.

The ending being a sequel hook was so stupid lmfao. Gabriel wants to stop being a villain for his son's sake but will entrust the peacock miraculous and his refrigerated wife to his assistant? Instead of idk, properly cremating the poor woman? He doesn't want to be a villain but he won't let go of his obsession with his wife?

It makes sense psychologically, I just hate it because I know that in 2 years Germy is gonna waste another 100 million dollars to make another pointless sequel.

Overall I'd give it a 3/10. It's a shame because all of this stunning animation could have been used in the actual show, or the bickering dynamic they wanted for Ladynoir could have been done with different original characters.

Okay so to be clear I have no stake in this since I haven't seen any of the shows you mentioned in your post and I'm not asking you to defend your point. That being said, because Legend of the Seeker has been on my "to watch" list since I was like 16, I have to ask - is there an extra bad reason why it shouldn't be compared to Wheel of Time or is it just general "just because it's middle fantasy doesn't mean it's similar" vibes?

Gonna answer both your asks separately just to avoid going too long on either

but yeah, there's reasons not to compare Wheel of Time to Legend of the Seeker, and its because the guy who created Legend of the Seeker is a piece of shit

basically Legend of the Seeker is based on a book series called the Sword of Truth by Terry Goodkind. Terry Goodkind was a libertarian shitbag who definitely seemed to plagiarize a whole lot of other fantasy series of the time period, including of Wheel of Time (which was published first), but at best just happened to write a lot of things that were very, very, very, very, very, very similar

Now you can argue that both series have inspiration from Dune, and sure, they do. But there's a difference from being inspired by stuff (which Wheel of Time upfront is) and outright stealing plot points and worldbuilding aspects and pretending like they're wholly original and groundbreaking (which Terry Goodkind tried to do). And its not just that Goodkind didn't acknowledge that he was inspired by things like Wheel of Time. He outright talked shit about fantasy as a genre and hated his books being called fantasy because he thought they were elevated literature that should be held above fantasy. He didn't just deny that he was inspired by other fantasy works, he was outright offended at the suggestion and called people stupid for pointing it out. Also if you asked him who his favorite author was, he'd always say Ayn Rand and basically no one else.

But the absolute worst thing with Wheel of Time specifically is that when Robert Jordan (the author of Wheel of Time) was literally publicly known to be dying and unable to make convention appearances he was scheduled for, because he was literally dying, Terry Goodkind decided that the best thing he should do as an author was show up at those conventions and make fun of Robert Jordan's health and talk about how he personally as so healthy and his heart was great (Robert Jordan died from a heart disease)

He was also just like massively disrespectful to everyone, including his fans who he thought were all idiots if they did things like had simple questions about his work or categorized his fantasy books as fantasy. And one of the last things he got attention for before he died was mocking the art work for the covers of one of his books publicly online for being poorly done (it was literally fine) only for the artist to come out and point out that they did the cover exactly as they were directed by him and his representatives.

So yeah, fuck Terry Goodkind and Legend of the Seeker and Sword of Truth. There's a bad history between WoT and SoT and its all because of Terry Goodkind being a shitty excuse for an author

Today I'm here to traumatize you with something probably not so groundbreaking but!! It broke my mind!! So I'm gonna share

I've been thinking about the sentence "you said 'trust me'" and why it felt a bit strange. Like, sure, Crowley trusts Aziraphale. We know that, we know Aziraphale knows that, they say it explicitly for once, so what is the matter

Well, the matter is that Aziraphale asked Crowley to trust him, like it was Aziraphale shooting the shot, but in reality we know it was Crowley the one with the loaded gun

So what was Crowley trusting?

Well, Crowley was trusting Aziraphale, who in return was trusting Crowley with his - technically only corporal - life.

Now, aside for the entire ordeal of not being actually dead only discorporated and ecc ecc, let's speak symbolism

Because in my humble opinion, this is the closest thing we have to an admission of feelings from both of them.

On one side, we have Aziraphale - who is having a quite exciting night between the nazis, the show, the miracle not working, the hots for his knight in a shining armor - who is saying "I know for sure you will never hurt me, you'll find a way, everything will be fine"

If we ever gonna get Aziraphale admitting he's lost his faith, I believe he's gonna recall this moment. He's not praying God, he's on his own, and he's not afraid

(what was it? Even though I walk through the darkest valley, I will fear no evil, for you are with me)

On the other side, Crowley is just having a nightTM: saving their angel in distress (nice), him being grateful (NICE), contraband gone wrong (less nice), flirting with the angel (I don't know how else to call it)(niiice)

A normal tuesday.

Then, the miracle stopped working and they are on their own and they're pointing a loaded gun to their angel and oh boy things are going south fastly. The camera does a great amazing job in expressing how stressed Crowley feels with the trembling and the movement, just right on the spot. It starts trembling from the moment the gun is passed to Crowley, and its underlined when they cut to Furfur and it's perfectly stable, and stops only when the trick is done (amazing I love it)

Crowley is terrified, but Aziraphale said "Trust me" and he did. Only, it's not Aziraphale who is doing the risky part in theory, by shooting and aiming while never firing an arm before. But in practice? He totally is.

From facts, it's not news for us that they'd do anything to keep the other safe, but they can never acknowledge it, right? But here he is, entrusting his very own existence in Crowley capable hands and not only it's risky for a number of reasons, no, that's straight away nuts from any point of view. And it's even nutter (ehehehe like Agnes) when you realize he's doing the very same thing in the 67 by gifting him holy water.

I've always found odd that change of heart by Aziraphale. I couldn't only be because he found the entire heist thing silly, but it's not like they gave us more material to work with.

But in the light of what we saw in the 41 I feel a little bit more certain to say that Aziraphale is moving on the same feeling he moved in the bullet catch.

"I trust you to not hurt me, I trust you to not kill yourself because you know what it would mean to me"

Of course, they cannot speak of it. Of course, all they have is flirty banter and Crowley hyping Aziraphale up for his show. Of course, when Aziraphale gave them holy water, he nearly couldn't stop their feelings from coming to the surface and Aziraphale needed to be the one to put a break on it. They had one (1) public appearance and it took an earthly miracle to not get discovered.

All they had, for so much time, was those silent confessions and those candle light lit and glasses of wine shared. Someday, tho, they will dine at the Ritz (metaphorically, too). (And maybe have some go--sat--damn explicit conversation about their mutual feelings towards each other)

I watched the leaked episode and....tbh.... I actually kinda liked it? IDK if it's just because Unhappy Campers was THAT bad but I actually had a decent time. It definitely had its issues but i actually kinda enjoyed it- I'll get more into details under a cut.

I actually REALLY like Fizz and Ozzie's relationship, they're cute and it's nice their relationship isn't 100% sexual like so many other MLM characters on the show. There were also some pretty good gags too, i.e. Crimson pulling out the dictionary when Fizz was singing faux Italian, Stolas being enthusiastic about reading the contracts, and the "why is it always a sex thing?" line from Striker would've been really good if Western Energy hadn't done that to him.

Also OH MY GOD BLITZO IS TAKING RESPONSIBILITY FOR HIS ACTIONS. It definitely wasn't written in a groundbreaking way but TBH I actually liked the scene where they talked about the accident? Like I said, he actually acknowledges it's his fault, I like the fact Fizz has conflicting emotions and doesn't immediately forgive him and honestly Brandon did a pretty good job with the delivery. He's actually not that bad a VA when he's able to say lines that aren't sex jokes.

It definitely wasn't perfect (Striker immediately finding Blitzo the second he and Crimson are arranging plans is one HELL of a contrivance, and they don't even make a joke about it) but... it was actually kinda enjoyable? Like...a 6-7/10

Ok i just finished the last ep of To Be Continued, here are my final thoughts about the show.

i feels like this show was all over the place with both its pacing and writing the early EPs were very slow and the later EPs felt rushed and missing some stuff. i haven't read the book but i think the show condense a bunch of plots in the flashbacks to fit the runtimes, it made a lot of them felt underexplained.

And omg the side couple, i had so much hope for these two at the beginning of the show but they were the sidest couple that ever side. holy hell they barely showed up each ep and i think their total screen time from the begining to the end probably was under 20 mins. i really liked these two dynamic but this couple felt very detached from the overarching story, i think gumbie didn't even interacted at all with the main couple.

Overall i liked this show despite it many shortcomings. the gay angst in the flashbacks and the way the show conveyed it through the cinematography and acting were both well done. the sex and aftermath scenes gave me a lot that feelling of being gay, young and dumb, and full of anxiety. love is fucking scary and i think this show did a good job with how much you just want to ran aways from it.

I had low expectations coming into this show since it's a CH 3 show( it's the most poppular network channel in thailand.) so i didn't expect it to be groundbreaking or anything. and it end up being just that, a slightly above average BL with some goods and some bads.

Last thing though, i need more Baan Nakhun in BLs!!! despite short screen presence this man stole my heart and soul with how wholesome and sweet he played Gumbie.

Look at this man! he's too pretty to not be in more BLs! Someone need to cast him as a lead asap!

since you are a queerbaiting scholar, I have a question that I don't remember if you've ever covered. Do you think the t'hy'la footnote in the Star Trek TMP novelization could be considered an example of queerbaiting or is it just too iconic to fall under that category?

oh unequivocally like for clarification for people i guess who have a more narrow and specific definition of queerbait i do think it like kind of dodges around the entire central conceit of hoped for "gay representation" or something that is not really the lens i think its viewed thru in 70s fandom the way it was in 2010s as in like the way people frame queerbaiting they want characters to join this pantheon of confirmed gay characters fitting a mold of existing gay characters on tv to some degree and nobody was assuming like from that tease that kirk and spock would be portrayed as a couple in future movies or anything the way the queerbait dance between creator and fandom was portrayed in 2010s queerbait discourse but i think it was probably the first and most high profile attempt to date for a creator to try and mediate the relationship between the media property shippers and ship haters through like a direct communication of like canon material i guess like i would have to go on a pretty big deep dive back into some of the random star trek zines ive looked at to find sources again im struggling to find it right now but i know i read some various responses from fans at the time and kirk/spock shippers did react negatively to the footnote in much the same way people reacted to like ship tease jokes in classic queerbait tv shows on tumblr which i found really interesting people did think it was trying to shut kirk/spock shippers down just as much as people thought it was energizing them and speaking to them it really threads the needle so perfectly by like opening the door to a whole new type of possibility and whatever to the types of people who want that while also in text saying theyre not lovers hah hah isnt that weird which i think some fans also felt uncomfortable about because it was like shining a light on their niche corner of the fandom letting people know there were people who thought the relationship between kirk and spock might be romantic but again ive only read like two accounts of this so i honestly have no clue how widespread each type of reaction was i wonder if it also like re inflamed fights about if they do or dont have sex lol because that was a whole thing which is slash was for people who believed it was sexual vs kirk&spock was like homoerotic friendship to nonsexual romance fanfic and these were bitter fandom divides as well but of course and like this isnt to paint it all in a negative light but i do think the dissenting voices get a bit lost in the history and i thought it was kind of fascinating how similar a lot of the weird mediations felt to like some actor at comiccon 2012 saying well i dont know but it could be romantic you know it creates the perfect vessel for everyone to see what they want thru it so i think in many ways it was groundbreaking queerbait but also tbh did it better than anything else like truly stoking the fires of fan speculation and probably introduced a lot of people to the idea of "the premise" and planted the seeds in their minds to begin with and again few other queerbait texts are out here inventing special words that mean lover for the characters to call each other few people that bold like again somewhat different context but it does kind of feel like a first of its kind broaching into that messy dynamic between fans and the powers that be as they sometimes called them and truly a fascinating iconic piece of queerbait history

ok upon further looking i believe i must have read a scan of "a careful analysis: the roddenberry footnote" by christopher randolph (a pseudonym for della van hise the author of killing time) that was printed in the star trek zine naked times issue #3 but i have been unable to locate an actual link to the full text beyond the excerpts from fanlore here [x]

Friendly reminder these are feats Sarada was pulling at 11-12, this isnt something new or groundbreaking & definitely doesnt scale her to Otsutsuki. If that were the case then that'd make her stronger than B0ruto who had to flee from them 😑 which your crazy if you think she is

A Chidori is not hard to dodge if you have the sharingan and reflexes to match it which Sarada does, why I bring this up is because yall were the same ppl who attacked me and anyone else who said she was more than capable of fending for herself against Kawaki both here & here

Yall said he was too fast, that she would've died, and my favorite 'what did you expect her to do?'

I dunno, THIS?

Dont even try to argue that base Kawaki without karma, and V1 karma Kawaki was stronger and faster than a 10 tails Rinnegan amped Sasuke.

Also just wanna point out yet another glaring power scaling flaw, which is why the hell is her chidori weaker than it was when she was 12? she grabbed a whole chunk outta Boro but 3 years later she just gives bee stings? Hidari should be missing part of his abdomen.

For the record heres the damage Chidori typically does if you think Im just nitpicking no, this is a literal power scaling flaw.

Dont get me wrong Im glad shes doing something, but she was always capable of doing this all along so its not really impressive but more of why'd it take yall so long to show her actually use her arsenal & fend for herself like she always could? where was this in 58? 78? 81? 82?

It took 4 years, 4 YEARS for her to do what shes always been able to do again, shes done this since Gaiden, Sasuke has done the same at 12, yet for 4 years all she did after Boro was stand there or cry and yall response was 'what could she do?' stfu.

THIS is what she could do, if a 12 year old Sasuke could dodge a semi Kurama amped Naruto then Sarada can handle a base karmaless Kawaki and a V1 Karma Kawaki.

And before anyone mentions, the only reason Sasuke stopped being able to dodge is because Kurama had a mind of his own, he could predict Narutos movements and dodge accordingly but he couldn't predict Kuramas.

Now yall wanna gas when yall didnt even believe she could do THIS much, the bare damn minimum, DODGE, yall didnt even think she could do that but now all of a sudden when she does its this incredible feat? but I thought we were the haters for sayin she was always able to do this?

Isnt it ironic that the ones who were called haters are the ones who were saying Sarada was better than that, and the ones who were called 'real fans' were the ones saying she was too weak and slow to even dodge with her 3T sharingan? funny how that works.

See how fast ppl switch up and forget their own narratives they put out there. Be honest, you knew she was always capable of this, you just made excuses either because of a ship or because it made your goat look good.

I already know Im still gonna get branded a hater for literally saying she's always been this strong and capable of fending for herself, but Im not gonna pretend this is some impressive feat when it isn't, 3 years ago yea, but 3 years later? this SHOULD be light work for her now.

If next chapter we see some MS abilities then we can talk about impressive feats, but this? thats how I know yall didn't think much of her and still don't if you think this is a big moment just dodging an attack and doing a low damage chidori 🤦‍♀️

This is what yall clowned Naruto for when he came back in the timeskip still using his same arsenal he left with, so lets not pretend this is any different for Sarada, everything shes done in TBV so far she was doing in part 1, there's no difference YET but hopefully in 11 we'll finally see her growth, OR a dodge and chidori is all she gets and will immediately need saving now.

As long as Boruto stays outta the way then the odds are higher for her to actually hold her own, but if Boruto is coming back to the scene its game over for her so here's hoping his ass has to take a back seat the entire invasion so everyone else can actually do they thing without him draggin them down.

For context, what I mean by that is whenever Boruto is involved everybody else gets dragged down to make him look good by comparison, for example in 58, 78, 81, and 82 Sarada for some reason completely forgot how to move, dodge, react, or activate her own sharingan, but as soon as Boruto has to stay away hiding, suddenly she remembers she has the sharingan, reflexes to dodge, and defend herself. I used Sarada as the example but this is a problem with the entire cast not just her, but since this post is about her thats why I used her for reference, but everybody immediately got better as soon as Boruto was written out of the way.

I said it before and I'll say it again, HES the problem, not from any fault of his own, but because the writers cant seem to make him shine and stand out on his own without draggin everybody else down so he looks cool and badass by comparison, rather than him just standing out on his own merits.

Think about it, name one 'cool' or 'badass' moment he's had in the timeskip that hasn't been handed to him at someone else's expense

His win against Mitsuki came with Mitsuki was already wavering and feeling doubt and willing to die

His win against Code came after he just rescued Sarada who just stood there

His win against Kawaki came after he had spent the last 8 chapters being easily knocked out and knocked down

The entire invasion everybody was getting sneaked, caught off guard, barely holding their own, and needed saving, while Boruto was just casually beating Code and his grimes with zero effort.

Now? with Boruto removed? Inoshikacho holding their own against Jura and Hidari, the strongest two clones

Shikadai done restrained Jura and pulled his branches apart to free Himawari

Inojin saved Himawari and bought them time to get away from the village

Chocho pushed Jura out of the way to make his bijuu bomb miss and expanded herself when Inojins bird was hit to cushion everybodies fall.

Himawari awakens Kuramas power

Sarada remembers shes an Uchiha with the sharingan who can dodge and react accordingly

Kawaki got his brain back and prioritized Himawari's safety over hunting down Boruto.

The difference between when Boruto was involved and when he wasn't is night and day. Again its no fault of his own, but it seems like the writers cannot make Boruto shine without dragging everyone else down, and the only way everyone else will shine is if Boruto is FORCED outta the way.

I really appreciate a boss and a babe, bc while its main storyline is nothing too out of the ordinary, its development of its side characters through storylines that have never dared to be shown in otherwise "fluffy" bls is very important. showing the fallout of battling depression with jack, even after he's off his meds, is very important. and the tian storyline, while obviously very upsetting & quite dark compared to the rest of the show, is honestly groundbreaking to tell. the character of thoop is also very interesting to explore, both annoying & lovable. all of that to say that the characters of abaab? are surprisingly amazing, and the show cares about their feelings & mental health on a whole other level. and as someone who had no intention of watching the show, I'm actually so glad I did :)