#not their solely for shock value deaths
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The way it healed me in a way I didn’t even know I needed healing to know that Heimdall has a son and Thor adopted a daughter... like this movie really said Heimdall and Loki live on in the love they left behind and I am sobbing
#i fully broke down when i realized this#this movie flipped iw the bird and gave their LIVES meaning#not their solely for shock value deaths#and i am forever grateful for it#tlat spoilers#heimdall#loki odinson#thor odinson#axl heimdallson#love thordottir#thor love and thunder#mcu
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Not to mention that, since women are often side-characters, when someone at DC decides that it’s time to streamline the narrative and trim the “background lore” down to only the necessary details, guess who tends to end up getting dropped?
Women characters are always in disadvantage compare to the men. Whether dc decided to streamline, add, or change the lore; it's always the women that's cropped out of it. It's upsetting. Moreover when said women characters already have an established role to play and are important to the lore but they get replaced by dc with men characters instead
YEP! Because women and their place in narratives are seen as ultimately trivial/disposable compared to the REAL story and the REAL stars (aka whatever male character is farting about whatever nonsense at any given point in time).
#ask answered#this is the basis of the entire women in refrigerators point.#that when women are relegated SOLELY to act as side characters to support the REAL characters (aka the male heroes)…#…they’re the ones who get killed/maimed/whatever for shock value and to further the male heroes’ storylines.#incidentally—this is one of the reasons why Jason Todd feels ‘female-character coded’#metatextually his death primarily served to make Batman a Cool Loner Guy…#…and within the narrative he was straight up killed to make Batman feel bad.#he also stayed dead for a LONG time. i think people forget that aspect of the original women in refrigerators essay—#—it wasn’t just that ‘bad things happened to women’ but ALSO that they weren’t undone/unkilled/magically healed…#…the same way male characters were because…you know…the story wasn’t ABOUT the female characters.#why would you bother resurrecting a side character when their death was the most important thing that happened to them???#(enter Judd Winick: BECAUSE IT’S COOL.)
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You've NEVER cried over a ficitonal character??????
no no. what i said was i've never cried over a fictional character dying. i've cried over plenty of fictional characters.
#mostly i just feel extremely apathetic towards the writer for choosing THAT the most common of all real world endings#like bro this is fiction you could FLY you could shoot rainbow arrows out of your buttcheeks you could make entire cities FLOAT#it's just extremely uncreative and boring to me and i hate it (personal opinion obv)#it's like the ''and it was all a dream'' trope#i'm like 😑 okay fine but really??#it's usually solely done for shock value#the only story that does it was all a dream right is wizard of oz#and the only book that gets character death right is crooked kingdom#asked and answered#nonnie#secret library
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MISS ME ?
Pairing - Jackson Rippner x fem!reader
Summary - Jackson was assigned with assassinating you, but how could he kill such a sweet thing like yourself?
Warnings - 18+, noncon, dubcon, stockholm syndrome, smut.
Word count - 1.3k
Your apparent premature death was a tragedy to the world. A sudden shock to hear a promising young woman to have been deemed dead by a shipwreck with a handful of casualties. It was predicted that you would live a fulfilling life, by being the daughter of an established politician. You were goal driven, focused on your studies and wanted to help change the world for the better. That was all gone now, but you were never even on the fucking boat.
When Jackson Rippner was assigned with assassinating you for revenge against your father, the first thing he wondered was who would want to kill a sweet thing like yourself? The more he studied you, the more he desired you. It was only reasonable to have a taste of you before he killed you. It’d be like throwing away a freshly baked cake.
But he became infatuated by you when you fought, swore, cried and begged underneath him. The way you were able to make him come so fucking hard, not to mention the way he was able to make you come so fucking hard, sealed a new fate for you.
Jackson was never one to renegotiate, but he made an exception for you. For free of charge on Jackson’s sole behalf, and an unwritten waiver that if you were to ever be found alive, the client and Jackson’s company had no involvement, you could live. He thought he was doing you a favour, you were not dead because of him. But you weren’t exactly living either.
Your prison was a modern cabin in upstate New York. Jackson chose this home many years ago because he liked being secluded, he didn’t trust people and valued his privacy. It never really crossed his mind that he would share his humble home with anyone in the near future.
“Sweetheart?” Jackson called out, shutting the garage door behind him and dropping his suitcase.
He pouted his lips as he looked around the main living area for you. He climbed up the flight of stairs and headed straight for the bedroom, a smirk on his lips. You weren’t on the bed, but in the corner of the room all curled up.
“Oh baby” Jackson sighed as he slid off his jacket. You looked up to him with tear stained eyes. “Come here” he murmured, sitting on the edge of the bed.
Hesitantly, you got up and gradually went to him. You straddled his lap, because he would have it no other way and he caressed your flustered cheeks.
You couldn’t help but to be relieved when he did come home. Isolation can drive people insane. He liked not talking to you when he was gone, just to make you go that little bit more crazy that what if he never came back. He thought it would make you acknowledge him more, he was right.
“Oh, how I missed you baby. Sorry I was gone for so long, business just got a bit out of hand. I was able to manage though” he explained as he petted your hair, admiring how you were wearing his shirt like always.
“I-I missed you too” you stuttered out. Jackson smiled and you could feel his cock harden underneath you. You were hesitant to ask, “you’re not leaving again, are you?”
“No baby, I’ll be staying for a while. I deserve a break” he answered softly, his lips brushing over your ear.
You didn’t reply, but instead laid your head onto his shoulder. Jackson couldn’t help to have a smug look on his face by thinking of the progress your relationship has made. At first, you despised his touch. He had to take a bit of time off work just to break you down, train you. Christ, he didn’t expect you to have so much dignity and fight in you. Not that he thought that was a bad thing.
There was only one occasion where you almost managed to escape. You managed to slip out of your restraints and successfully unlocked the door just for the alarm to go off. You bolted for your life, but Jackson was quick to catch up. Typically, you tripped and rolled your ankle. Jackson made sure to drag you back to the house by your injured ankle. Where he tied you up tightly to the bed, stuck a vibrator in you and left you for over an hour. Afterwards, he fucked you and your overstimulated cunt a couple of times just to really remind you not to ever pull another stunt like that again.
When Jackson did have the trust in you to be left alone, he wasn't hesitant to threaten you by killing your whole family if you tried to hurt yourself whilst he was gone. Yeah, it was nice to think about how far you guys had come.
“Baby, show me how much you missed me” Jackson murmured as the sensation of you pressed against him.
You sluggishly lifted your head and leant in to kiss him. Jackson’s arms snaked around your back and he fell back onto the bed. Your hips humped his slowly and controlled. You were rolled over onto your back as Jackson began to unbutton his shirt.
“Tell me, did you miss me? Or my cock?” Jackson teased as he pulled off his shirt and threw it aside.
“Both” you sighed, gradually unbuttoning your own shirt.
“Oh, lucky us” he grinned as he pulled out his hard cock.
Jackson pulled off your shorts and panties with ease and aligned his cock to your entrance. He didn’t even have to consider spitting into his hand, he knew you were already dripping. With a stern push, he was inside of you. A harsh moan left your lips in the process.
“That’s a good girl” Jackson grunted as he went on to find his pacing, “taking my cock so well. God how I fucking missed you” he kissed your jaw.
You hated him. Every single thing about him, you despised. Mostly, you hated how you depended on him. Jackson Rippner was all that you had now, so you couldn’t even hate him anymore. Every breath you took was for him. Your life was his for the taking.
“Fuck” Jackson purred by your ear. “I can feel how much you missed me” he mumbled, your walls clenched against him in a rhythm.
Your legs wrapped around his snatched waist as he started pounding into you. Jackson was deeply groaning with his forehead pressed against yours, your hands pinned above your head by his. You started crying out when he hit your sensitive spot. So he kissed you to make you feel better.
“Can you finally see how I saved you?” Jackson smugly asked, his hands now on your hips. There will definitely be a bruise in the morning.
“Yes” you exhaled, your arms wrapped around his back, nails dug into his bare skin.
“Do you love me?” Jackson asked, slightly unsure if he even wanted to hear your answer.
“Yes” you breathed, he grabbed your chin to make you look at him. “I love you Jackson” you admitted, knowing it’s what he wanted to hear.
Jackson didn’t say it back, but it was clear he did, in his own little fucked up way. His smile was soft and hopeful. Unexpectedly, he came inside of you, a broken moan leaving his lips.
“Fuck, I’m sorry baby. I just missed you so much” he apologised, slowly pumping himself inside of you, you moaned softly.
Aiming for your sweet spot, Jackson started pumping rapidly against you. You bit your lip as you quickly came undone around him, your walls pulsing against his sticky member. Laying defeated in the bed, Jackson pulled himself out and smiled at your mixed fluids on himself.
Jackson fell onto the bed next to you and pulled you into his arms. “You’ll never understand how happy I am to have decided not to kill you” he murmured by your ear as you laid in an unfazed state.
You looked up to him, “so am I”.
#cillian murphy#cillian murphy x reader#jackson rippner#jackson rippner smut#jackson rippner x reader#red eye 2005#cillian murphy smut
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Could I request a House fic with the general prompt being a Doctor/Patient pairing? Like House is attracted to (reader) patient. Your choice of fluff or smut
So sorry it's late but this is my first House fic so I wanted it to be good! Hope you like it!
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Dying's Easy
House x reader
description - you don't want to do the surgery and House is determined to change your mind.
word count - 781
warnings - talks of death, illness, terminal illness, hospitals, surgery, being put under.
a/n - my first House pairing fic so let me know what you think!
Masterlist
REQUESTS OPEN - request here
Your whole body ached and felt like your blood had been drained and replaced twice over. You tried to curl up onto your side, in search of the comfort you received from such a childlike pose. But the wires and your fragile bones screamed for you to stop. You fell back onto the bed as tears of frustration poured down your cheeks.
A knock from a distinctly wooden object halted your crying. Upon seeing the face of your doctor you quickly wiped away your tears. But he had already seen.
He limped forward and place a chocolate pudding cup and spoon in the space between your hands. Before moving away he squeezed one of your bony hands, a little part of him sunk at the feel of your fragility.
“I got you a present.” He gestured to the dessert with his cane.
You looked at him suspiciously. “They’re free for patients.”
“I never said I paid for the present. Does our love mean so little that you must attach monetary value to it.” He dramatically placed his hand to his heart in faux hurt.
You giggled. “Thank you.” He smiled at the flicker of joy but his frown returned when he saw your hands uselessly attempt to open the cup in spite of their shaking. He rose and took the cup and opened it for you.
You gave him the sweetest smile you could muster but sunk down in the realisation of your inability to complete the task.
He went back and dragged his chair closer to your bed as you slowly tucked in to the delicious treat. Only taking small bites.
You had come to enjoy the frequent visits with your doctor. It seemed he only needed to be with you to soothe his own worries which you saw furrowed on his face. His team had often remarked how unusual his behaviour was, comparing him to manic genius with no sense of empathy. You found their quips funny especially because of how anachronistic they were to the man who helped you fix your pillows any time you so much as squirmed.
“I heard you’re refusing the surgery.” You halted your eating, your face fell. Of course it was this.
“I just don’t want to.”
“You realise you aren’t choosing between some cosmetic alteration, this is the choice between living and dying.”
“Well maybe I don’t want to live.”
“That’s ridiculous everyone wants to live.” He rolled his eyes.
“Living’s tiring.” Your voice became childlike in your admittance. This shocked him as his focus was no solely on you. “I’m tired, Greg.” Your words shook and were on the precipice of falling. He took your shaking hand in his and they lay linked on your bed.
“I know.” He cooed. “I know I’ve been wrong before, but I know I’m right about this. I won for you, now just let me fight it. For you.”
You still couldn’t bring yourself to look into his eyes, afraid you’d crumble.
“Being alive is the worst.” You giggled at his dark quip. “But dying is the easy way out.” He used a finger to gently poke your cheek as you tried to contain your smile. “And I never took you for a coward.”
He sat there with you for a full hour. You dropped in and out of sleep but he couldn’t bring himself to let go of your hand.
Eventually Cameron came to prep you for surgery. House still did not let go.
You lay on the table and the surgeons bustled around you, the anaesthetist approached with the gas. House stood next your head and softly stroked your eyelids to offer some comfort.
“Just one thing.” You managed out. “If I don’t wake up, there’s something I’d regret not doing. Can you kiss me?”
House was stunned for a moment and looked around at the surgeons managing one ear on the interesting turn of events. He carefully leaned down and planted the softest kiss onto your cracked dry lips. As soon as you connected he felt the stress leave your body and you welcomed whatever was to come. The gas mask was placed over your nose and mouth.
“See you in a bit.” House teased.
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Your heavy lids fought open and your blurry vision focused on the outline of your hospital room. Despite the post surgey pain, you could sense that everything else was gone. You were going to be okay. You strained your neck to turn to the side where your eyes landed on House, who’s bedraggled clothes indicated where he had slept waiting for you.
“Welcome back.”
You reached out a weak arm and cupped his cheek.
“Thank you.”
#house md#james wilson#house x wilson#dr house#dr house x reader#house x reader#gregory house#gregory house x reader#gregory house x james wilson#gregory house x you
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analysing varadha's psyche
a deep dive into the workings of his mind
varada, because of his childhood, has always seen love as something to be worthy of, given to those who either have inherent value or have earned it.
and even though he instinctually knows, deep down, that deva will protect him, and trusts deva to come when he calls, it still shocks him when deva does goes to extremes or places varadha's regard over his own.
he definitely doesn't understand it, especially with his own view of himself; and everytime deva shows up for him, he has the thought 'this is the farthest deva will go for me'
and is proven wrong each time.
but we see him grow familiar with deva's loyalty and devotion to him, with the more time he spends in deva's presence, which leads us to our next point:
2. varadha does not ask for things, because he's faced disappointment enough. he's tired of not receiving or being able to hold onto that which he wishes for – and it's led him to a point where he cannot imagine the privilege of 'wanting' anything for the sake of it.
this is very common in those who have been raised in an unhealthy environment or have had a deficit of love or safety – he's had to tell himself "no" so often, that he finds it very hard to ask for things.
which is why it's also very fitting that deva understands him so well, and can anticipate what he needs, even before varadha has to figure out how to ask.
we see varadha get more comfortable towards the end of the movie though, where after they've fought together, he says he wants the kingdom.
he doesn't phrase it as a request to deva specifically, it's more of a goal for himself. but the fact that he has this desire, and wants something specific, tells us that he finally feels secure enough to think beyond survival and safety.
3. in the present, he carries out all duties as king solely because he is obligated to. it is definitely not something his heart is in.
even when he asked for the throne, it was WITH deva by his side, right after the adrenaline rush of fighting side by side with him.
otherwise, varadha had actually given up a while before the ceasefire, just wanting to make sure the people around him would be safe, even if he died:
when rudra touched his mukku poga again, he had been completely capable of fighting back, but he'd lost all will to.
the only thing that changed his mind – the only thing that had made him not only want to live, but want to strive for more – was the chance that he would get to have it and simultaneously have Deva next to him as well.
now that deva is gone, and their relationship messed up, he knows deep down, that none of this is really worth it, but he forges ahead because the responsibility of a kingdom has fallen to him, and if not him, it will end up in the hands of those who hate him and would do worse things to him than death.
3. varadha does not like calling deva 'devaratha' (the only time we've heard him say 'devaratha,' is when they were at the gate, for official purposes)
he still calls him 'deva' in the present, even though they're not on good terms, especially after deva hurt him seven years ago
he clearly cannot bring himself to call the other anything other than 'deva,' which implies a complete refusal to distance himself from deva anymore than he already has.
4. he's very self-disciplined and very resolute when he decides to be. once he has made a decision, he's not intimidated and cannot be threatened into doing the opposite, which also makes him very loyal once he's devoted himself to a cause.
his father definitely tried multiple methods to get the truth out of varadha, but we know that varadha stayed silent and never revealed anything that could put deva in danger, even to the people he trusts with his own life.
#they're...literally obsessed with each other your honor. i-#these are headcanons; but also very much a psychoanalysis.#also he's been keeping watch of deva throughout these seven years for sure#he knew before even baba (who is definitely his closest advisor) that deva had stopped the consignment.#character analysis#varadha rajamannar#salaar
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With how much focus she has received since the beginning of the Krakoa era, what are your thoughts on Storm ? And do you agree on the perception that she's becoming something of a Mary Sue?
I’m going to start with a mini-rant about the Mary Sue.
To the extent that there is any validity to the term at all, it is solely and exclusively within the realm of fanfiction. A Mary Sue is an OC (original character) whose supposed annoying omni-competence is really secondary to the main problem with the character, which is that they warp the narrative away from the main characters of the source material - Kirk and Spock or Picard and Data stop doing things that drive the plot, and instead just stand around asking "where's Poochie?"
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Outside of fanfiction and in the realm of the media that gives rise to fanfiction, a prominent character who is incredibly talented and powerful and who makes the plot center around them is called a fucking protagonist - so no, Rey isn’t a Mary Sue, Carol Danvers isn’t a Mary Sue, Katniss Everdeen isn't a Mary Sue - none of them are Mary Sues and anyone who claims otherwise is showing that they have deep-seated Issues with female protagonists in their fiction.
Is Storm a Mary Sue?
Even if we weren't talking about the most prominent black woman character in fiction, I would consider this question pretty damn offensive, both because no one would ever ask this question about a male character and - in a franchise packed to the gills with hyper-powerful women who make the plots revolve around them and who even get the complementary Love Triangle - no one sends me asks about any of those (white) women.
But to answer your question: no, Storm is not a Mary Sue - she's the main character of the X-Men.
See, when Chris Claremont took over X-Men in 1975, he did so with a brand-new cast of characters, the so-called "All-New, All-Different X-Men." In no small part because they were far more diverse and more colorful than the O5 (suburban WASPs one and all), most of these characters would become break-out stars and the core of the X-Men from that day to this.
However, Claremont didn't vibe with all of the All-New X-Men equally: he had Sunfire quit the team (repeatedly), he killed off Thunderbird for shock value (a death that has only been reversed this last year), he would have killed off Wolverine if John Byrne hadn't stopped him (Claremont would later turn around on Logan once he worked out his voice), etc.
But one character that he vibed with right from the beginning was Ororo Monroe. From the very beginning, Claremont's Storm is the most powerful of the All-New X-Men, both in terms of her powers and in terms of her personality, being the only person who can face down Logan. At the same time, she's complicated by her struggles with crippling claustrophobia caused by the Suez Crisis-induced trauma of her childhood.
After a few years, Claremont tired of the African Nature Goddess routine and had Storm experience an almost total transformation that nonetheless was completely grounded in her character. Feeling overly limited by the total emotional control required of her powers, Ororo undergoes a subtextual lesbian awakening in Tokyo's underground punk scene and emerges out the other side a free spirit, leader of the X-Men, and Queen of the Morlocks.
In his most audacious move in LifeDeath I and II, Claremont had Storm lose her powers thanks to Forge's anti-mutant tech - and then defeat Cyclops in a duel for command of the X-Men without her powers - and then regain her powers in an epic cycle that saw the X-Men die and be reborn as outlaw heroes in the Australian Outback.
In sum, Storm was clearly Claremont's favorite character and, as a result had the most interesting character journey over his 16-year run on X-Men.
Storm in Krakoa
And then Storm basically lay fallow for almost thirty years. In no small part due to the pioneering work done by Claremont with this character, later writers were frankly too intimidated to touch the character and so starting in the 90s, Storm was increasingly sidelined in the comics in favor of the characters that were commercially "hot" at the time - Wolverine and Gambit, especially.
In the 2000s, the most significant thing to happen to Storm was her marriage to T'challa. While I think Reggie Hudlin had mostly good intentions with this decision - he wanted to create a black power couple at Marvel and thus put together Marvel's most prominent black man and black woman into a relationship - the result was to make Storm a supporting character in Black Panther comics, rather than a main character in X-Men comics.
I would argue that it is only recently with the advent of Al Ewing as a major writer in the X-office with S.W.O.R.D, X-Men Red, and Storm and the Brotherhood of Mutants that we've gotten a writer who's not afraid to write Storm as she deserves to be written - as the most powerful of the X-Men, the Regent of Arrako and the Voice of Sol, the standard-bearer of Magneto's legacy, and a woman trying to balance the demands of two planets and her own desires.
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Obviously nobody should be talking poorly about any of Bumble's competitors but it's insane how people voting for Alex are going 'its a CAT'. Like, okay and? Alex Dewitt is ink on paper and we rightfully take issue with her writing to the point of making it a term, so why is it any different when a fictional cat has misogynistic writing? And these are cats with a society, laws, religion, and understanding of (herbal) medicine. They are on par with people. And, it's a YA series. Shouldn't people take the message "fat, abused women dying isn't a problem because they can't contribute ackshually, and if we acknowledge it is how can the goodboy main character stop licking his brother's kitty boots if he's a bad person :(" as a red flag in any series? Let alone one for kids?
Like, did everyone outside of the fandom miss the Ashfur defense? Because I was there for it and it was pretty clear a LOT of impressionable children genuinely believed the "he only loved too much" excuse hook line and sinker, and blamed Squirrelflight for everything. There were so many fans genuinely believing that I literally remember seeing hate art and fanfics portraying Squirrelflight as a horrible person just for asking to stay friends. That alone was a testament to how harmful Warriors can be, all because of that one scene of Ashfur being spotted in StarClan.
And with that fiasco in mind, how can anyone trivialize it to Bumble being 'just a cat'? Especially when kids are reading this, and could really take the harmful message Gray Wing the """Wise""" has for them that if you have nothing to contribute to the people you desperately need help from, you are stupid for trying to ask for it. I was lucky to not take any of the really harmful portrayals relationships in Warriors to heart, but not everyone will be. People should support Alex all they want, she deserves it! But downplaying what happened to Bumble because she's a cat is harmful :(
Alex DeWitt's story is so shocking and straightforward that you're able to sum it up with a single word; "Fridging." It's become the touchstone for a wider discussion about misogyny in media because it is so evocative and so easy to explain as an example.
That IS important. That IS a legacy.
But somehow, if you try to explain how EARLY misogyny in media starts, and how pervasive it is even in "less respectable" mediums like YA xenofiction, they lose their fucking minds. People who refuse to read anything at all going, "what could possibly have happened to a cat?"
You know what, though? I'm GLAD Bumble is winning, and I'm proud of this fandom and our campaigning. I think we actually deserve to be a little smug about this after all the damn "justa cat" comments. Bumble doesn't HAVE a legacy. The book doesn't VALUE HER LIFE AT ALL! "It's so sad Clear Sky is going to have his reputation ruined for killing this useless woman. I never liked Bumble anyway, what matters about this is my poor brother :("
The runner of the Canon Misogyny Tournament mentioned in passing how they kinda take issue with the idea of quantifying misogyny based on suffering because of how it oversimplifies the insidious ways it can express in a narrative, and I've thought a lot about that a lot. They're right.
And Alex is THE posterchild of this because her death is ghoulish. We needed what happened to her as a simple, evocative term, to advance the conversation around media misogyny and get it through people's skulls. But, she has become the conclusion of a sentiment that the more gruesome the death is, the more misogynist that makes it.
but. The fridge was not the misogynistic part of what happened to Alex. THE FACT SHE WAS ONLY INVENTED TO DIE FOR THE PAIN OF A MAN IS. THAT is what the term "fridging" is supposed to point out; The absolute LACK of interest in her as a 3-dimensional character, in women as people, to the point where the writer chose to send Alex out in a gorey, disrespectful way solely as a motivator for her boyfriend. THAT is the bad part.
But instead people have latched onto the fridge half. More violent = more misogyny.
There's a lot of ways for a narrative to be misogynist, though. To downplay the lives, emotions, or contributions of women characters, and to reinforce real-world bigotry.
Warrior Cats does a LOT of this, blaming bad mothers who didn't shut up and accept their 'purpose in life' for Brokenstar's tyranny, making it a TRAGIC thing that Clear Sky is being held accountable for murdering women because his man pain makes it ok, and even blaming Squirrelflight for rejecting Ashfur's advances which caused him to go "crazy" and attempt to murder her children (until, of course, the welcomed retcon of TBC).
Bumble's death, because she is a fat woman, is treated as unavoidable. It's not a terrible thing she died, Gray Wing never really liked her anyway, what REALLY "matters" is that now no one likes her murderer.
She was stupid and selfish to even ask for help, because she is so fat and weak. To be upset at all that her only friend watched her get dragged back to her abuser. Even as she bleeds out, she gets to listen to Turtle Tail making up excuses and wishing she "could have found happiness."
All while Tom the Wifebeater, the fat man who physically assaulted two women, gets a big cutesy redemption death and honored and beloved by everyone and even gets to "lose weight and that's so good :)". Because the books value the lives of men more than the lives of women, plain and simple.
Bumble wasn't just fridged. It's worse than that. Her life doesn't even have enough value to get Clear Sky held accountable for murdering her, because beloved writer favorite Gray Wing hated her for being friends with his wife and doesn't want anyone to hate his poor, innocent big brother :(
Like you said, you can ask anyone in this fandom and they'll tell you about the impressionable kid they were, or have MET, who was badly influenced by the constant misogyny of these books. People who defend Bramblestar tooth and nail as he abuses his wife, the screeds against both Leafpool and Nightcloud for making Crowfeather sad, and the absolutely radioactive Ashfur Defenders who have thankfully died down since TBC's welcome retcons.
It doesn't just end with annoying internet comments. Those kids carry that kind of message with them. It reinforces existing biases and causes them to downplay abused women and toxic men in their real lives.
But sure, "just a cat." Cool way to downplay the 20-year-old bestselling YA fantasy series that is still ongoing but ok. 50000 Bumblesweeps upon ye.
(though i do also have to say, since I started speaking more about it today, I'm seeing more non-wc fans push back against the 'just a cat' comments. Sincerely, thanks guys. It's not every DC fan or Alex voter, just a very vocal section of sore losers willing to downplay misogyny because they're angry.)
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Let's talk about this moment real quick. Spoilers for Dual Destinies, especially the final case:
I've made me jests, but...
Athena isn't confused here because she's stupid.
She's confused because she's spent the better part of 7 years training, studying, and fighting her inner demons for the sole purpose of saving Simon. He was (and still is) one of the most important people in her life and now he's saying that it isn't? After all of this?
Simon is a key part of Athena's trauma, that he'd go and throw his life away for seemingly no reason at all (her memories of UR-1 blocked out with only the grim setting of the courtroom he was sentenced to death in being vivid). Her mother was dead, Aura was no doubt incandescent and wondering why Simon is covering for the true killer, and she was sent to Europe away from her friend Juniper (though they did exchange letters).
The day Phoenix inspired her to pursue a career as an attorney, she had some way of reaching out to and maybe even saving someone she knew from her past. The last tether to happier days in the Space Centre before UR-1, one that knew and forged a strong student-master bond with her mother Metis Cykes. Fighting hard to break out of her shell and become as physically and mentally strong as she could.
She says as much during her conversation with him above, and to Phoenix & Pearl in the detention centre earlier that day/
She practically changed her entire personality over that period of time to be as strong as she possibly could be - enough that her childhood friend didn't recognise her at first:
All driven by a desire to salvage what she saw as a terrible mistake. If she could save this one person from her past, then perhaps they'll both have a chance at making peace with what happened that day.
With how well Simon knew the Cykes - seeing them for more than their stoic and awkward exteriors - it's fair to say they were familiar with one another. Athena's fixation on him is partly a result of trauma, yes, but it also speaks to unspoken happy memories of this black-clad dork who visits her mother and seems to understand her better than most anyone else did... even compared to her mother, it felt at times.
And he does understand her, knowing how to push and test her abilities in court and forming silent plans to catch the phantom together despite spending 7 years apart.
One of the bad endings for Turnabout for Tomorrow - where they fail to crack Simon's testimony - mentions that Athena left the office after the fact. Ignoring that they skipped over Clay's trial for a moment, we hear that Apollo and Phoenix take this event rather poorly, yet we don't hear a peep about Athena:
I can only speculate. Maybe that's the point; leaving us to wonder what Athena did after she failed to save Simon from his execution date. I'm sure Simon died reassuring himself about how Athena no longer has to bear the guilt for her mother's death. But I doubt that's any comfort given her intense reaction to re-living memories of failing to save him the first time.
Near and dear. Again. She's already failed to save someone she describes as near and dear - on par with Juniper at least - and she's left frozen in shock at the prospect of failing a second time.
She's confused by the notion that Simon's life isn't important because of just how much she values it. How she had no option but to save him, or be locked back into that dark place she entered when that horrible trial ended - knowing she's failed a dear friend because of how foolish she is.
#turn your thinking around!#psyche-lock cracking#the cykes brigade is totally cyked!#prosecutor birdman#psych siblings#rare moon of hope#judge junie#if you're wondering how i manage to spill these off-the-cuff. so am i!#ace attorney spoilers#dual destinies spoilers#aa5 spoilers
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The Intricacies of Crafting Character Deaths in Storytelling
Elevating Narrative Through Character Deaths
Character deaths wield the unique ability to transform the narrative landscape, serving pivotal roles that extend beyond the confines of plot advancement. They are moments ripe with potential to:
Deepen Plot Dynamics: The departure of a character can catalyze significant plot developments, altering the course of the narrative and presenting new challenges and dynamics for the characters left behind. This not only propels the story forward but also introduces complexity and unpredictability.
Enhance Character Arcs: The ramifications of a character's demise are felt most acutely in the evolution of surviving characters. Witnessing or grappling with loss can reveal hidden depths, trigger transformations, and redefine motivations, thereby enriching character arcs with nuanced layers of growth and introspection.
Amplify Thematic Resonance: Character deaths can serve as poignant reflections of the story's underlying themes—be it the fragility of life, the inevitability of change, or the nature of sacrifice. These moments offer a mirror to the thematic heart of the narrative, inviting deeper contemplation and emotional engagement from the audience.
Forge Emotional Connections: At its core, the impact of a character's death hinges on its ability to evoke a profound emotional response. This connection not only cements the audience's investment in the narrative but also elevates the storytelling experience, making it memorably resonant.
Discerning the Whys and Why Nots of Character Deaths
The decision to write a character out of a story should stem from a place of narrative integrity rather than convenience or shock value.
Valid Reasons Include:
Narrative Necessity and Integrity: A character's death should feel like a natural culmination of the narrative's direction and themes, serving as an essential link in the chain of the story's development rather than an arbitrary twist.
Emotional and Thematic Depth: If the demise meaningfully enriches the narrative's emotional landscape or underscores its thematic concerns, it justifies the inclusion.
Conversely, character deaths can detract from the story when:
Solely for Shock Value: Utilizing death merely as a tool for surprise can undermine the narrative's depth, leading to moments that feel unearned or manipulative.
For Plot Convenience: Eliminating a character simply to untangle complex plot threads can be perceived as a shortcut, cheapening the narrative's overall craftsmanship.
Crafting Deaths with Lasting Impact
The resonance of a character's death is profoundly influenced by the narrative groundwork laid both before and after the event.
Prior to the Death:
Robust Character Development: Investing time in developing the character ensures that the audience forms a meaningful bond, amplifying the impact of their loss.
Strategic Foreshadowing: Implementing subtle hints about the character's fate can enhance the sense of inevitability and poignancy of their demise, while still preserving the element of surprise.
Narrative Integration: The potential death should be deeply intertwined with the story's fabric, ensuring it feels like a consequential event rather than an isolated incident.
Following the Death:
Showcase Reactions: Illustrating the emotional and practical aftermath of the death through the eyes of surviving characters adds layers of realism and depth to the narrative.
Honor the Legacy: Exploring how the deceased character's influence persists, whether through the memories of others, the impact of their actions, or ongoing storylines they set in motion, can enrich the narrative's continuity and emotional resonance.
Mindful Tone Setting: The narrative tone in the wake of the death should reflect its significance, allowing both characters and audience adequate space to navigate their grief and find closure.
Navigating the Ethical Landscape
Writers must tread carefully, mindful of the ethical implications and the messages their stories convey through the depiction of death. It's crucial to handle such moments with sensitivity, avoiding the trivialization of loss or perpetuation of harmful stereotypes. Moreover, understanding genre expectations and audience sensibilities can guide the frequency and portrayal of character deaths, ensuring they enrich rather than detract from the storytelling experience.
Conclusion
The decision to conclude a character's journey through death is a formidable aspect of storytelling, demanding careful consideration and thoughtful execution. By anchoring these moments in narrative necessity, emotional depth, and ethical sensitivity, writers can craft deaths that not only serve the story but also offer a lasting impact on the audience. Such carefully navigated departures not only underscore the stakes and depth of the narrative but also foster a deeper emotional connection between the story and its readers. Ultimately, the art of writing character deaths is about balance—between advancing the plot and honoring the emotional journey of the audience, between the shock of loss and the narrative necessity, and between the finality of death and the enduring legacy of a character’s impact.
Happy Writing!
See Slaying Fiction for more fun content.
#writer#writing#tumblr writers#novel writing#fiction#writeblr#creative writing#writing advice#writing community#writing tips#fictional characters#Character death#death scene#killing characters
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what's the most fucked up thing/AU/whatever you made? I wanna desensitize myself to your work before diving in.
Starting out with saying I wouldn't condone any of the bad shit within my stories, often times these are just what ifs I find interesting to look into. I wouldn't look at an actual murderer irl and go "Awesome" but I'll joke around with my villain Mikey like "He hasn't done a thing wrong heart emoji" when he has actively killed and enjoyed the murder of multiple people.
A lot of my aus are more toned down from my regular more personal works, solely because I can't help but go a bit easier on the turtles since they are a comfort for me and I wouldn't find my more personal topics appropriate for the turtles.
Overall, I'd say body horror, disease, self harm, suicide, murder, and mental/physical abuse/child abuse/neglect is something to look out for in a lot of my works, along with gore and injury in general. I also have a tendency to write cannibalism (an interesting motif to me, I would not condone it irl, obviously) and/or autocannibalism (to cope with personal issues I am not comfortable elaborating on, it's some Mental health stuff.) Overall I like putting the turtles through it, lmao.
(Forgot to add animal abuse/death)
I will never directly delve into the topic of sex within my works (as in you'll never see me write any of them doing such acts), but I have a handful of somewhat older Leo's who specifically deal with unhealthy romance, one of these is within my magical boys au where all four experience some level of inappropriateness due to their fame, not once is this a good thing, and this is meant to be a bad thing within the story. The other has a Leo who dates around a lot but always falls short due to his anxieties and commitment issues. He never goes through with it, though he likes to joke about more sexual topics. (He's crude.)
The magical boys au, priorly mentioned, contains underage drinking and smoking, mental health issues, self-harm, and the boys being mistreated and abused within their own workplace, one way or another.
One of my oneshots currently has a younger child get murdered in it, though I've deliberately made the death surrounding it not as detailed, as even if younger children die in my stories it makes me uncomfortable to focus on it the same I would other characters, unless it's an injury a child survives, then it's a 50/50. This is a situation that is conflicting for the main character, but is done out of survival's sake. (In his eyes.)
Viral.Donnie has evolved into a character that focuses on addiction later on, and I do tend to give the turtles addictions depending on the story.
Million Dollar Box/Villain Mikey has hallucinations, vivid, probably not 100% accurate, but these are not his real brothers. Story wise, they are a way to delve into his mental state and look at his conflicting feelings about his family.
Villain Raph is less developed, but he actively is mentally (and physically) abusive to his brothers in his own way.
A lot of the time, my writing style mixes with the thoughts and personality of the main focus, and a lot of these times, the characters are not rational nor moral. Untrustworthy narrators are fun.
You will see I don't like actively splitting up the turtles entirely very much. Normally, I'd be able to do it easily, but I have a soft spot for them. Hell, Viral Donnie, Villain Raph, and Million Dollar Box Mikey's follow-up story gives them a family after losing theirs. Most of the time, if one turtle falls, I take the others, or at least one others with them. For fun.
I try to not go for just shock value, even if I like describing the horrors I like having a reasoning, whether it be some insane deeper meaning I made up, it fitting a character/their personality, or just being interesting for me. I do my best to tag all potentially triggering topics within my works, but I may slip up at times. Apologies for that.
Horror is my main fixation overall outside of TMNT, and I like various types of it. The Nonsense Apocalypse AU is supposed to be a mixture of slice of life and horror, resulting in a world that just doesn't make sense, with some more... serious aspects on top.
I hope this helps, I kinda went on a ramble, but I didn't want too much confusion since most of my actual aus aren't fully out yet in any way.
Hope it helps again, Anon.
#nardo's asks.txt#rottmnt#rise of the teenage mutant ninja turtles#rise of the tmnt#rise leo#rottmnt leo#rise donnie#rottmnt donnie#rise mikey#rottmnt mikey#rise raph#rottmnt raph#rottmnt au#idk how to tag this specificly tbh#info? loredump? its not rlly either#long post#????????
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This is taking most of the situations out of context and grossly ignores Bianca’s own toxic behaviour.
Xavier broke up with Bianca because it’s implied she used her powers ON him, without his permission. She admits “I make one mistake, and you can’t forgive me.” (Woe is the Loneliest Number). I don’t think it’s unreasonable to lose trust in someone who would force their will onto you via powers. If anything, she’s the toxic one in that moment because she brushes off what she did as no big deal when he’s made it clear it upset him.
Why give someone a second chance when they seem totally disingenuous? She proved herself to be manipulative. Not just with him, but with everyone. She's lying to everyone about who she is. She poisoned her fellow Nightshade to win the competition.
Xavier tells Wednesday not to trust her visions because she doesn’t have full context. “The first thing he’ll tell you is that visions can’t be trusted. They only show one part of the picture.” (Friend or Woe). An example is her vision of Rowan. She sees him die but has no idea in what context or why. It turns out she inadvertently caused his death because the Hyde was protecting her. If she never ran to the woods and followed him, Rowan would likely still be alive because WE know that Tyler is the Hyde and would have been with Wednesday if she had run away from Nevermore as she originally planned.
I’m aware that Wednesday is written as perfect and overpowered, but Xavier is right in this instance. She’s working backwards and using the visions to explain what she wants them to mean instead of just admitting she doesn’t know something. It's like reading one random paragraph in a novel and thinking you can expound the entire story just from that.
Further, Xavier tells a psychic that no psychic can solely rely upon their visions, not just Wednesday. He’s not targeting her specifically, he’s acknowledging a flaw in their powers, which is a) true and b) Wednesday never practiced or had a handle on her powers. She admits this to Thing when they’re at the Crackstone barn. "No, I can’t just touch something." Id. She can’t call forth a vision at will nor has any control of what she sees. Not trusting her visions is a fair assessment even if he was specifically speaking about her.
It’s not “mansplaining” when Wednesday actually doesn’t know or have experience with her own powers. We know she has a stressed relationship with Morticia ("I would rather dye my hair pink than ask my mother for advice." Id.) and kept her powers a secret for months. She really has no reason to be so reliant on her visions or take them at face value when she literally has no context nor experience.
So, it’s more like telling a baker who inherited their position, with no previous training, and who never actually bakes unless forced to, not to trust the yeast. In addition, yeast does expire and goes bad. An experienced baker tests the yeast ("blooming") before adding it to the recipe, they don’t blindly trust it. This is a failure of an analogy all around.
Xavier does not know the extent of Bianca’s relationship with her mother. Bianca specifically is living a lie at Nevermore. Her name isn’t even Bianca. I don’t think it’s fair to assign him blame of “leaving her” when a) Bianca lied about her home and personal life and b) has never met Bianca’s mother. If anything, he’s presuming she’d be happy because he would be happy if his absentee father had shown up.
Again, if Bianca purposely lied about her home life to be better than it was, how is that Xavier’s fault he believed her? His psychic ability isn’t mind reading.
I think Bianca looks shocked, but not “terrified.” Any fear Bianca may have is more about her lie being exposed than she is afraid of her mother. Further, since she has admitted to using her powers on him, how do we know she didn’t Siren him to ignore red flags in order to keep her secret? I can sympathise that Biance is getting away from a toxic situation, but why date someone while living a lie? What’s her endgame if she never plans on being honest?
He yanks her into the room for both their benefit as she’s not supposed to be in the boy’s dorm. They’d likely both get in trouble if she were caught. He didn’t invite her, and she could have tried to talk to him somewhere else at any other time. They both literally live on campus. Why is she coming to his room uninvited to go over an issue he’s already made clear was a deal breaker for him?
Bianca' s jealousy in that instance is her own issue. They're broken up and he's allowed to move on.
I do agree he shouldn’t have taken her to the dance and then sulked the whole time. He should have gone stag. I’m willing to give grace to a 16-year-old, however, for not perfectly handling every situation in his life with perfect maturity. It was a low stakes dance and in the big scheme of things of what Xavier has done vs what Bianca has done, I think Xavier comes out on top.
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a post in defense of (a very much alive) S5 Jonathan Byers
under the cut b/c this is more frustrated commentary than strict analysis, and you shouldn't have to read if you don't want to.
I feel like it must have come from the dry spell between seasons, but I have to say it: all of this “Jonathan is gonna die and that means Stancy could happen” stuff lately is not only giving "I just like angst for its own sake," it's lowkey nonsense if you look at it thematically (in context of the Jon/Nancy/Steve madness yes, but especially in context of the Byers family).
—like? Friends.
Given the Duffer’s track record of refusing to fully kill off major characters even when it could have made sense to (cc: Hopper and Max), I don’t think anyone is actually meeting their end, but let’s be SO serious about who is actually likely to get axed: the boy with a mom, brother, step-sister and girlfriend who have been central to every single moment in this show…or the one they've put into a triangle we all thought was over until S4, who they’ve honestly written into a corner, & whose primary drive in four entire seasons was getting a girlfriend and protecting a bunch of teenagers?
I'm getting ahead of myself. Let's just talk Jonathan.
The Duffers (Matt especially) have openly gotten upset at even the notion of Mike dying because "that's depressing" AND "that's Nancy's brother" (showing the familial ties are a HUGE part of what would keep them from ending someone), in addition to them saying they've thought through every imaginable scenario" on who might die—
—and you think its Jonathan whose meeting his end? King of championing "not liking what you don't have to" and the outcasts in all areas from music taste to being queer...after all the Byers have been through and knowing The Duffers write toward championing the outcasts and those who embrace their differences?
That, combined with the fact that the only "evidence" I've ever seen for him potentially dying has been that speech he gave to Will in the SBP somehow being connected to (you guessed it) setting up angst for Will...I'm gonna take a hard and wild educated guess based on the entirety of the rest of the show and say that was literally written so Will could catch a goddamn break, not as a death tag.
The fact that Noah confirmed it wasn't in the Duffer's OG script, was written day of filming + was done because "it was important for people to see will wasn't alone" is evidence enough for that.
Even so, the fact that there are still at least 4 unresolved plots Jonathan is part and privy to makes his death even less likely, because it wouldn't make sense for resolving anything for him to die at all, never mind in the episodes before our supposed timeskip.
Jonathan's messy relationship with Nancy, the fact that he's the only one who actually knows Will is gay, and the fact that he's the only other character who saw & understood the ULTIMATE Chekhov's gun in the form of that painting (on top of also having a longstanding relationship with Mike )should make it clear he isn't going anywhere from a narrative perspective...and I'm not even sure where the idea that he would die popped up, other than fandom warping the canon and projecting onto the plot.
The Duffers have always been clear about not doing things solely for the sake of surprise + not liking things that don't make narrative sense...and Jonathan's death would be both of those things, done solely for shock value.
I just. Be so serious right now. if you want to imagine the weight of Jonathan dying SOLELY for fandom angst DO THAT...but don't pretend like his death in the show wouldn't be the most poorly foreshadowed thing in this entire show, on top of not matching a single theme of the ongoing Stranger Things narrative. ☠️
Put some respect on his name lmao
Bonus: If you really want to talk about character's dying (and not just jump into angst for its own sake): they haven’t given Steve a proper love interest EVER outside of Nancy, made Dustin cry over Eddie instead of staying close to Steve S4, and haven’t ONCE referenced that boy’s family properly more than a few times in passing (and only by Steve himself).
He is the only character who craves normalcy despite this show being about championing the outcast, was supposed to die seasons ago but stayed because Joe Keery was so beloved, and has now been written into a corner where every single person who is central to him (esp Dustin and Robin) either have a new love interest or are worried about something else more than him, which...if you want canonical evidence for a possible death, you're looking in the wrong corner of this love triangle.
#HERE U GO ANON LMAO#my st commentary#jonathan byers#stranger things#he will be alive and well in S5!#single? maybe. but DEFINITELY alive lmao
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So I've seen some (I assume) show-only people really, really upset about Hopper's death. Like, calling the show runners sick, awful, disgusting people for it. So, insane as it is, I'm here to defend the murder of fluffy canines.
Wolves in the Wheel of Time world are not cute little companion puppies that are just so sweet and innocent and perfect. Killing a wolf is not killing a helpless creature that is relying solely on human kindness to survive, nor is it done just for shock value.
Wolves would be VERY UPSET if you viewed them this way! They are just as independent and capable as any of the human characters - they have their own society, lives, and beliefs. They fight in battle.
Hopper wasn't just standing next to Perrin as his little dog on a leash and then was murdered out of the blue - he chose to join the battle and attack an enemy. The enemy then killed him as he was seeking to kill one of them. Hopper died in battle just like any human would have (and did many times over in the story).
Yes, the Whitecloaks and people at large do only view them as animals - dangerous animals that can kill them - not as equals to humans, but Perrin does understand their importance as beings in their own right. He was reacting to Hopper's death not as a 'you just killed my pet out of the blue!' but as a 'you just killed a member of my family (pack)'.
Does it suck to see canines killed on screen? Yeah. Does that mean that if a story includes the death of a canine that means the writers are disgusting, sick, cruel people because 'killing the dog' has gotten a bad rep in media? No.
Including wolfbrothers means including their role as beings who are also fighting against the shadow. That means some are going to die in battle. Just as Uno's death was significant and meaningful to our characters, just as Rand's mom dying was meaningful, Ingtar's death, Karene and Steppin's death, etc, are all meaningful to the story and the characters, so is Hopper's death.
If the death of a canine is triggering to you, I get it. Torture scenes and graphic depictions of violence are triggering to me. But that doesn't mean that I thought the showrunners were disgusting, sick people for having death in the show, or lingering on people's last moments and giving them their due rather than brushing right past the death.
If the death of any being other than a human - especially canines - really gets to you, then The Wheel of Time probably isn't for you as the wolves play a very important role in the fight against the Shadow. They're warriors just like the people are which means they're going to fall in battle too.
I know this post is probably only for a very tiny fraction of people who watched the episode, but I felt it needed to be said. Calling writers bad people for wolf death is just wild to me.
#wot show spoilers#wot on prime#wheel of time#I can't believe i felt the need to defend the murder of the bestest boy#but being true to the wolves as characters - they'd be pissed at us calling them good babies!!!!!#i don't want Hopper to die either but like - story stuff and letting others be heroes too and all that!!#killing the dog gets a bad rap but with the worldbuilding here I see it as much much closer to any other human's death in battle#also like you're not supposed to like the fact that he's killed#you're supposed to be pissed at the whitecloaks for it - especially since they go out of their way to kill wolves (like lots of people in#the real world)#but to say the showrunners and writers are disgusting people for it is way too far imo#including hard topics like that doesn't make an author evil or sick - it's a part of telling a story#if you don't like that content just watch something else
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Eddie's character, whatever you may feel about him, was absolutely pointless to the plot.
You know who was actually useful in this shit show? Argyle. He also happens to be alive.
The Duffers knew they were going to kill off Eddie, and yet they made more Eddie merch anyway.
Argyle has next to no merch. And let's not forget the mistreatment of Eduardo Franco by the fandom.
Eddie's death was predictable. Not only that, it was lazy. This is what the Duffers do. They add new characters to neglect their main characters, only to kill off the newbies.
They didn't want to kill off any main characters, so they decided to attempt a half-assed connection between the new character and the main characters. Which was pointless because Dustin was the only character who actually acknowledged Eddie's death besides Wayne Munson. Not Mike, not Nancy, not Robin, and not Steve.
The whole friendship with Dustin and Eddie serves to make up for the fact that Eddie was a new character and was going to die anyway.
They didn't want to kill off the main ocs so they decided to create a connection with a new character over a short period of time and kill that character so that Dustin's tears can make up for the void of the loss.
Did I cry for Eddie's death? If I did, I think it was more due to Joe's acting and Dustin's crying, but it was an unnecessary death.
I knew it was coming. The Duffers' love for shock value deaths didn't work this time.
Eddie just... died. He put himself directly in harm's way.
Billy's character made other characters more interesting. Not the Duffers- Billy, which we didn't get, but Dacre Montgomery's Billy. We know more about him than we do the main characters. He's one of the only characters who doesn't stand there like a fucking npc. He's actually complex. He's vibrant and constantly reacting to his environment. He doesn't need to depend solely on other characters and their relationships to make up for what isn't there, because on his own, he's already well-rounded.
Billy's death, whether you like his character or not, actually served a purpose to the plot. He sacrificed himself to protect El and Max.
He was already in danger, and he had no choice. Other people's choices led him to his demise.
His death hitting hard didn't just rely on his connection to a main character.
El has been saving the Party's asses since s1. She's one of the reasons the others haven't died yet. And let's face it, some of them should've died (or stayed dead).
She's always there to save the day, and she wouldn't even be in s4 apart from flashbacks without Billy fucking Hargrove.
@atomrose @intothedysphoria
#billy hargrove#im really annoyed rn cant you tell#anti duffers#the duffers are bad writers#billy hargrove defense#eduardo franco deserves better#billy hargrove deserved better#dacre montgomery deserved better#joe quinn deserved better#the fact that billys sacrifice ended up being trashed by the duffers makes me physically ill#ive had it#the writers are incredibly dim-witted#whether they realize it or not#without billys sacrifice there would be quite a bit missing from s4#he saved your favs#from a writers standpoint eddies character and his death were useless#it doesnt even matter whether i enjoyed either character#speaking from a writers standpoint rn
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been witnessing so many pointless deaths and eliminations in my favorite media these days. first izzy dies just to end ed's arc, not even his (OFMD) and now fiore betrays alec solely for the shock value of their duo not ever having anything real (disventure camp). like at this point TADC episode 6 will have gangle abstract for no apparent reason other than how much jax hates her (after her and jax have gone through an entire arc of learning to be friends) /hj /vvvneg
#ofmd#our flag means death#ofmd spoilers#ofmd s2#ofmd season 2 spoilers#disventure camp#disventure camp alec#alec disventure camp#disventure camp fiore#fiore disventure camp#tadc#the amazing digital circus#tadc jax#tadc gangle
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