#the 'this is a story about you' episode is probably my favorite one so far I don't know what it is about it | Explore Tumblr Posts and Blogs

anonymouscheeses · 4 months

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more obvious shit I wanted to point out but it's more than last time uhhh pt.2 (spoilers for dad beat dad and maybe welcome to heaven. Maybe?)

I love that Charlie just randomly goes into demon form sometimes like here ehhehehe. Also can I just say I love Charlie so much?? She is my favorite and I love her especially in this episode because it feels like the same optimistic Charlie but she was just put in a bad situation. I relate to her a bit TOO much, almost down to every detail like wow. You'll understand later once I get there. But just wow...

LOOK AT THIS FUNNY LITTLE MAN. SPOODER DUST <3 also. Live [image] reaction. Someone make that into a reaction image 🙏🙏

HONEY!!! NEW MEME TEMPLATE JUST DROPPED. (Aka the one guy going crazy trying to explain the stuff on the board iykyk)

OMG... THAT CANT BE CHARLIE... NOT CHARLIE'S EMO PHASE PLEASE BAHAHAHHAHAHA (also love that Lucifer has kept it all these years, if Charlie knew I think she'd be extremely embarrassed. Vaggie would love it probably xd)

HE IS SO GOOFY I CANT- I LOVE HIM SO MUCH ALREADY!!! NEED.

Broskie got character development and is NICE?!? I LOVE THAT SMMM YALL.... LOOK AT HIM!! I am very delusional yes, but I will take this over ass development(cough. Vaggie's "story" in ep 3. Cough).

Imagine this. *holds your hand carefully to help you calm down while talking to your father you haven't really wanted to talk to.* lesbian type stuff ngl 🤯 (relatable)

Angel looking at the gays while being a gay too. HE'S BEING SO KIND TO CHARLIE UGGHH I CANTTT!!(POS) NODDING HIS HEAD, SMILING TO HER, ALSO TRYING TO HELP CALM HER DOWN. I MAY BE ASS AT SOCIAL CUES BUT I NOTICED THIS ONE!! YAA

*SHE IS STILL HOLDING HER HAND. CHARLIE'S ALSO SWINGING IT AROUND NERVOUSLY. I can never get tired of them and will make art soon just you wait.*

COMMANDER VAGGIE! I love that she acts like this is a camp full of tiny kids and honestly? That's not too far off. Sir pentious is at the ready! (glad he's here more often in the episode, thought he would just get sidelined after his first episode but gladly no!) Angel is just surprised. Husk spilled his drink, ON WHITE FUR NO LESS! Niffty of course is on the floor face first. Charlie is just happy to be there yippee!

What is this?? I have no idea what the hell it is at all. Bro is just peepin- it doesn't look like Alastor, even in demon form. And... I can't think of anyone else who could be this. Anyone have ideas or maybe it's foreshadowing? Maybe it was revealed in the 6th episode I don't know I haven't watched it yet. (I am a freak. I don't binge I give myself a day to watch a single episode. Most of the time uhhh.)

WE LOVE A SHORT KING. I LOVE THAT. I LOVE HIM. THE EVERYTHING. HE IS EVERYTHING. LET ME STRANGLE HIM PLEASE. (Lillith and Lucifer's dynamic is 100% Gomez and Morticia but a little more silly short man)

"OH WOW! AN OLDER MAN WHO GIVES ME FATHERLY CARE!" *STARTS TO FUCKING CRY*

I FEEL YOU CHARLIE WAAAGHHH

Oh and there goes the silly guy again! Atp I'm thinking it may be the gal some people been talking about that they've been hinting since the pilot. I forgot her name but she's said to be the big bad of season 1 or probably 2. Not sure if that's what it's trying to imply but here's my little no-thought idea

Lucifer, no...

LUCIFER NO!! THIS IS SUCH AN ADORABLE RESPONSE TO CHARLIE DATING A WOMAN. (ADOPT ME)

AND THEN THE HUG! I GET IM LOOKING TOO MUCH INTO THIS ONE SILLY SCENE BUT I JUST LOVE IT SO MUCH AND WANT THIS SO BAD IN MY LIFE.

Niffty really said, "Yes, I do the cleaning."

Get yourself a taller king who is a short king but compared to you is a tall king

Say what you will, but I genuinely want more dad Alastor, someone make an au before I do plsss and @ me 🙏🙏

alright.. now this is where it starts to be relatable and hurt my heart... yayy.... needing any sort of parent figure that actually cares about you than the actual parent who is rarely there? WOWZA! SAME CHARLIE <3 <3 (SO FAR VERY ACCURATE FROM SOMEONE THAT IS IN THE SAME SITUATION)

Alastor is letting her off kindly, atleast in his way. He may be pissed off she brought a shark gang to the hotel and put it on fire, but they were still close friends. With anyone else he would absolutely either murder them or have severely traumatized the person. She's the exception, although I don't think he'd let it off the hook so easily if there were a next time.

A father-daughter embrace! :,)

(This is gonna be messy asf) He wants to know who she is as a person. He always has, and that's definitely obvious, but from a person inside this, they may not know themselves what the other is thinking. To Charlie it was like he never cared and just wanted an excuse to not see her again, acting like he was truly busy as in the start where he made the rubber duck that breathed fire. Sure. But Charlie saw it as him finding ways to not interact with her again. The only times they talk was when it was related to business stuff or other things of the sort. Let me just say this song... is by far my favorite, including the episode. Sure, it's got problems it's own, but this extremely accurate portrayal of what my own situation with one of my parents just stole my entire soul. Yeah I got a bit of tears about to come out, BUT NOPE! NOT TODAY! I don't ever cry during shows or movies so if I ever get teary-eyed, YOU DID SOMETHING. THAT SOMETHING BEING GOOD. This episode was emotional and connected with me on a deep level that I dont think any film has ever done to me, which is weird because I've been actively trying to find one, any one that does. Then to find it in an indie company from a creator who has achieved the dreams that I myself want to one day? That's fucking amazing.

FORESHADOWING! FROESHADOWING! FORESHADOWING! VAGGIE EX-ANGEL THEORY MUST BE CANON AND IF ITS NOT I WILL TEAR MYSELF LIMB FROM LIMB WITH A CROWBAR. LETS GO TO HEAVENNN!!! TOMORROW! BECAUSE THE DAY I PUBLISH THIS WILL BE TOMORROW(FOR YOU TODAY) BUT TOMORROW FOR YOU ILL POST THE NEXT WHAT I CAUGHT SHENANIGANS AGAIN! SEE YA!

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sunshine-jesse · 5 months

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In defense of Andrew Graves: Facing Yourself

Alt title: Andrew Graves: The Will to Plow Her

I think my analysis of Andrew is one of the best essays I've written so far. But since then, I think I've expanded my understanding of his character in a way that urges me to add on to my prior essay. What I intend on doing is further fleshing out my reading of Burial, and going deeper in detail on why I think Decay ends up panning out the way it does. This essay will end up sharing a lot of text with my prior one, but will add enough scattered throughout that I think it merits a complete reread instead of just scrolling down and seeing what's new.

I've focused a lot on Ashley in my past writings. She's my favorite character in the story (and depending on how episode 3 pans out, maybe ever) and I'm pretty mortified by how some parts of the fandom have reacted towards her, so I pretty much made it my life's mission to push back against that. From highlighting the ways Andrew mistreats her, to coming up with justifications for her behavior that aren't just being a manipulative bitch, I really wanted to prove that a more favorable picture of her could be painted than most were willing to.

But in doing so, I've left Andrew in the dust.

In highlighting his flaws and the ways he mistreats Ashley, I think I've implied a level of intentionality to his actions that I don't believe he has. When I say that Ashley did nothing wrong, it's in direct response to the idea that she holds the most responsibility and agency in how their dynamic plays out, when in reality, I believe she has very little. Most of her actions in-story are in reaction to a variety of stimuli that come directly from Andrew, that he has control over and are aware of how Ashley feels about. His refusal to use clear and direct language to deny her most toxic tendencies causes her more and more stress as time goes on, and instead of giving her clear answers he opts to be catty, passive-aggressive, or, at his worst, threatening. Never direct and never clear, except when establishing boundaries over his name after the choking scene. Andrew fails to help Ashley be better in some frankly depressing ways throughout the whole story, especially in their childhoods, so we never get to see where she'd fall short if given a better influence.

...

Kind of. More on that later!

In mentioning his thing about preferring to be called Andrew instead of Andy, I also implicitly mention one of the places where Ashley falls short in their dynamic and could stand to do better: recognition.

This scene says a lot. It's the most heartbreaking scene in the game, if you ask me, and probably the single most profound and well-written moment in the entire story. I could write a whole 2000 word essay on it alone, but I've already said most of what I have to say about it through what I've said in other essays, so I'll spare you all that. Instead, I'll use it to highlight something:

"I had fun."

Their dysfunction is fun to her. She's so used to abuse and alienation that even the most awful, stressful (as far as we know) route of the game is still fun to her. And that's not a sign of her being a secret evil sociopath or whatever; that's actually not abnormal behavior to develop for a lifelong victim of abuse. Those highs and lows, those strong emotional highs and lows are -addicting-. They're -fun.- Part of why abuse victims get into so many abusive relationships is because it's easy to pick up on those patterns of thought and take advantage of them, and the cycle of abuse is often furthered when a victim of abuse tries to draw out mutually abusive behaviors in someone with no interest in having that kind of dynamic.

This is where I'm willing to acknowledge Ashley's manipulative tendencies. Not just as a matter of controlling Andrew for its own sake, purely out of jealousy or possessiveness, but as a matter of trying to further the only dynamic she's ever known in her life. Better the devil you know, right?

That push and pull- that emotional rollercoaster- is all many of us know. And it's all Ashley knows. This dynamic is something she's so used to that she reacts incredibly harshly to any attempt to change it, because she doesn't know that things can be better. Because of this, she refuses to engage with who Andrew really is, and tells herself- and him- that she *hates* Andrew:

This scene is almost as heartbreaking as the above one in a lot of ways.

Andrew putting his foot down about the Andy/Andrew name dichotomy wasn't arbitrary and it wasn't just about his comfort. It was about Andrew giving a clear indication about what needs to happen for their relationship to improve. He's recognizing the cycle between them and wants to put a stop to it, because he's confident that things between them CAN get better and evolve into something healthier. Ashley, not understanding that their dynamic can get better, because their "fun" little push and pull of abuse is all she knows, rejects that. She rejects the unknown, and says- in Andrew's mind at least- that she'll never accept that new dynamic, nor will she accept who he really is.

Ouch. No wonder he looks so sad in that screenshot.

They have a conflict of understanding here, and I think it's fair to pin most of the responsibility on Ashley. Andrew was clear in what he wanted, and Ashley just... Didn't. She didn't see the importance of it ("...whatever that means in practice") and didn't really ask. This gap in communication, perfectly displayed in this scene, is likely what causes the Decay ending. He wants things to be better, and wants to treat Ashley better, and whether or not he understands the ways in which she communicates with him is in part what determines what he sees her as.

But there's a lot of evidence that he always wanted things to be better, that he always wanted to treat her better. But external factors have made it very, very difficult, and I think there are two key points in which he started to shed the importance of those external factors and seek that better relationship, both of which happening in the apartment: The killing of the warden and the 302 lady. In the first case, he was forced to do it to protect Ashley in a way he hadn't done before, or depending on how you look at it, since the death of Nina. But the intentionality was the key point here. After this point, he calls Ashley Leyley, which may or may not seem important at this point, but it's something I'll draw attention to later, so keep that in mind.

Next is the killing of the 302 lady, which is the much, much bigger point. We don't learn much about it until later on- as at first he just gives an excuse about the nail gun that doesn't line up with what we see on the map- but during the dream, it's revealed it was a calculated, intentional killing that he did to make sure there was no evidence left behind, and because Ashley (supposedly) would've wanted him to do it anyway. I say supposedly because Ashley herself doesn't seem to ever want Andrew to kill for her past Nina's death, because he only ever kills for her to defend one or both of them. If you want more evidence that violence for violence's sake isn't something she wants, look at this part in the final dream:

A knife isn't what opens the door, despite it being placed on the ground in that very map. While it seems obvious that the knife (violence) would be the key to solving the puzzle, it's put there explicitly to show you that it isn't. It's not what she wants; what she wants is a flower.

So, why is this important? Why am I centering Ashley- again- when this essay is supposed to be about Andrew?

It's because these two killings are when Andrew's self-delusion over who he really is starts to break down. It's still there, mind, as he still relies upon Ashley as an excuse to justify it, but, as well as what I've said before, the name ultimatum is an implicit confession that the normalcy he finds comfort in is starting to lose its grasp on him. There's a lot that's been said about Andy being something close to a "moral impulse" for Andrew, given his child self's reaction to Nina's death being the only thing he does that approximates a normal moral response to his and Ashley's actions, but if you do think that- which I think is a reasonable thing to think even if I don't necessarily agree- there's something you must also keep in mind:

-He- is the one who doesn't want to be called that anymore. -He- is the one who wants to let that moral impulse go, and Ashley is the one making it difficult.

That reading is assuming that Andy is a moral impulse, which I think is... either wrong or too simplistic. Every time I see that reading, it's from someone who's trying to paint him too sympathetically and absolve him of most moral responsibility. I also find it infantilizing to equate morality with childhood in such a way? But that's another tangent that I didn't sign up to talk about. What I do think, however, is that it's a useful framing device to display his own relationship with morality; the allegory to his child self doesn't have to be there for the general pattern to exist.

When Ashley starts to grill Andrew over the killing of the 302 lady, he gets mad. Very mad. Ashley sees it as pointless, as him covering his own ass, but he genuinely did it for her sake, because he thought that's what she wanted, and that it'd make her happy. But what makes her happy isn't violence- or any similarly extreme action for that matter- it's attention and validation. Something he's always reluctant to give her, despite the fact that he always chose her over the alternatives. But despite making that choice, it's always empty and meaningless, because in Ashley's mind, he never did it for her sake.

And hoo boy, does he not like it being framed like this.

He is perfectly willing to do whatever it takes to keep them happy and safe... but only for her sake. It has to be for her sake. He still needs that traditional role, and he still needs to have a narrative in which he's the good guy- a protector. Because it can't be for his sake. It can't be because that's what he wants. He has to uphold that romantic (in the literary tradition sense) ideal. His darkly romantic idealistic streak colors many of his actions and beliefs. This is most plainly visible in his quip about a double suicide being romantic, but it's also visible within the symbolism present within his dream, such as how he can only pave his own path in blood unless Ashley lights the way. It's visible within his appreciation for poetry, and it's visible with how the cultist within the dream speaks in Shakespearean English.

But the transient nature of this ideal is also revealed within this dream, because there's never a cohesive, guided path, even with Ashley there to light it up. Contrary to Ashley's dream, where you literally have maps showing you where to go, Andrew's dream has many more dead ends and no map to guide him. The symbolic role he acts out gives him no clarity, and there's no overarching narrative; merely a bunch of disconnected symbols.

This is contrasted with Ashley's dream, which has narratives so clear that the story literally gives the dream an episode title.

In a sense, he wants to view himself as an actor acting out a role in a story. He wants his life to be poetic, to represent something greater, and to have a cohesive narrative. This is why he's so disconnected from his true desires: He's more concerned with acting as a representative of an ideal than a person with agency. But every time the mask drops, every time he stops acting, his true self becomes visible. He naturally settles into being comfortable around Ashley, in treating her with warmth and kindness, and their banter becomes much less toxic. As intent as he is on acting out his role, it does nothing for him, and as his dream sequence shows, it doesn't even form a cohesive narrative, because he can't act one out. It's too contrary to who he really is, and what he really wants. But that idealization doesn't just apply to himself, it also applies to Ashley. Specifically, who Ashley is, vs who he wants her to be.

In his unique dream sequence, he sees two versions of Ashley; the child version of her- Leyley- and the adult version of her- Ashley. And the differences in the ways he interacts with the two of them are stunning. Leyley is an obstinate, annoying child. She's the one he NEEDS to take care of, and he hates that. He hates Leyley for what she did for his childhood. He hates that he needs to provide for her. He has the option of trying to kill her, even, over something as small as a candle!

But in the room with all the murders, the gilded cage, he sees Ashley as an adult. This version of Ashley is stuck in a closet that he himself has to open- and to choose to see. Their interactions are calm and friendly. She teases him a bit, sure, but she's still helpful, and they have fun together. He doesn't need her, and she doesn't need him. He needed Leyley- needed the candle- but here, there are other limbs strewn about for him to take. And, crucially, he doesn't even have the option to kill this Ashley for one of the limbs.

And during the choking scene, he lets her go the moment she acknowledges that he doesn't need her anymore. This is the first time we know of that he seems comfortable enough to set a clear boundary, which is acknowledging that their prior dynamic is dead and that they're now Andrew and Ashley, not Andy and Leyley. It's a bit late to express a clear boundary -after- literally acting like he was going to kill someone, but it's the first time we know of that he sets a clear standard for what, in his mind, would improve his relationship with Ashley.

After all, what he wants is to want her, not need her. He wants Ashley for Ashley's sake. Not for what she can provide him. He doesn't even need her for sleep, he just wants her. But Ashley has trouble acknowledging this, because he's never before shown that WANT. Only a NEED. She keeps trying to find ways to make him need her, because she's never seen what his desire for her is really like. She's only ever seen him desiring someone else, someone other than her.

She's only ever seen him as Andy, because she's never truly seen Andrew, only the violence he can inflict on others. But Andrew can see both:

He can see Leyley, the needy, bratty child who always needs his attention, that he needs to provide for. The one he hates and wants to get rid of. The one he kills for to protect.

And he can see Ashley, the one who engages in friendly and cute banter with him. Who comforts and shows him physical affection. The one he loves. The one he kills for to make happy.

He just can't choose which one he wants to see. Every outside influence- from his parents, to Julia, to Nina- makes him see her as Leyley. Ashley herself makes him see her as Leyley too, whenever she brings up all the things he did for her, and calls him Andy, his child self, instead of Andrew, his current self. And as long as he sees that child, he feels like one too, and can never give Ashley anything that comes from the heart.

But he really, really wants to see Ashley as an adult. He wants to take pride in her, how much she's grown, and how driven and competent she really is.

But god damn, does that bitch ever make it hard, because there IS no real difference between Ashley and Leyley. She's grown and changed over time, taking more adult (and stereotypically feminine) responsibility upon herself, but the fact that her temperament and personality hasn't changed much obfuscates that growth. When you talk to Ashley in the closet during the dream after getting the limb, Andrew asks Ashley to come out of the closet, but she refuses to come out because he won't invite Leyley over to play, which is a pretty strong metaphor for how he interfaces with different aspects of Ashley's personality and refuses to accept others. But the reality is that he needs to accept both, or rather, see her whole self as Ashley, rather than just the parts he likes.

In the end, it's him who has to make the choice how to see her. Ashley can only see what she's been shown, but Andrew can choose.

And in the basement scene, he makes that choice.

If Ashley refuses to leave him alone with their parents, that's it. In one of the most critical and important moments of his life, she couldn't give him the space needed to make up his own mind. She couldn't treat him as an adult. She couldn't see him as Andrew. If she does give him that choice, she chooses to acknowledge that Andrew is an adult who can be trusted to make his own decisions, even though she (perhaps foolishly) believes that this choice lines up with her own interests. And frankly it does either way, but in accepting their mom's offer, her chooses to see her as Leyley once and for all. He chooses not to reciprocate what Ashley showed him. He does it because he needs to, not because he wants to. Because it's his duty, not his desire.

This is what results in the Decay ending. Through his inability to see Ashley as an adult, he surrenders his agency and views all of his actions as an extension of his responsibilities, his role, which he no longer wishes to uphold. He dissociates fully from who he really is, acting in accordance with that disconnected, barely-cohesive narrative that exists only within his mind. The game starts to resemble the heartwrenching tragedy that many seem to take for granted that it is, as their dynamic fully doubles down on its painful toxicity. And, in an example of a poetic book end, Ashley's dream shows a double suicide, closing the book on their tragic tale.

It's tragic. It's heartwrenching. It's poetic. It's beautiful.

...Except it's not. Not at all.

It's actually fucking stupid, pointless, and brutal, and Burial shows us that. When we view their spiral as beautiful, we project the same darkly romantic ideal that Andrew possesses onto the story.

But the actual reality is horrifying.

Ashley spends most of Decay terrified of Andrew, the one person she found comfort in. He acts cold, distant, and aggressive towards her, showing pointless cruelty instead of any warmth. All she wants is comfort; all she wants is to not die. She doesn't want to engage in this death spiral at all, and, in her dream sequence, shows none of the same willingness to die alongside Andrew that Andrew does with her. The moment we stop focusing on the end of the Decay dream sequence, which has very striking imagery, and if you choose not to shoot, one of the most beautiful scenes in the game, we can see it for what it really is:

A scared animal running away from a predator.

The moment you see Decay through Ashley's eyes, and not the perspective of some romantic ideal, Decay becomes terrifying, tense, and painful. There is no catharsis to be had in this tragedy. It's easily avoidable as long as Andrew chooses to engage with reality, and not the empty promises of his mother and incoherent narrative of his ideal.

Finding beauty and meaning in tragedy is how we cope with the harshness of reality. But there is no coherent narrative to the tragedies we experience, just like there's no coherent narrative to the ideal Andrew wishes to uphold. It's something we create- that he creates- but it's not something that actually exists.

And when Andrew casts aside his desire for that ideal, and the responsibilities it shackles him to, it grants him clarity that he never had before. He sees the world for how it really is, and acknowledges that nobody- the least of which their mother- is as different from Ashley as they pretend to be.

They're no better than her, and he's tired of people pretending that they are. People are all the same, no matter what ideals they try to uphold and represent. They still sacrifice others in the name of advancing themselves, still punch down whenever they can, and still lay blame on those beneath them rather than try to take control of their lives. They just use those ideals to justify themselves, but Ashley, and now Andrew, reject even the need for that justification.

This is why I believe the story is nihilistic. Not in that it asserts the inherent meaninglessness of life, but in that it grapples with the ideals we uphold and how they obfuscate the reality of the world we live in. The story, intentionally or not, highlights how ideals are often but a pretense we use to justify what we were likely going to do regardless, and how holding to them too strongly can lead to our ruin- and how monstrous they make us look to those who do not share them.

Consequently, this is how I view the part of the fanbase who thinks Decay is a good ending.

(the characters themselves represent existentialism rather than nihilism but i couldn't really fit that analysis in here without it feeling forced so i might cover that another time)

From that point on, their relationship becomes a lot more friendly, lighthearted, and playful. They ironically start acting more like children, but to quote CS Lewis:

"Critics who treat adult as a term of approval, instead of as a merely descriptive term, cannot be adult themselves. To be concerned about being grown up, to admire the grown up because it is grown up, to blush at the suspicion of being childish; these things are the marks of childhood and adolescence."

He's not ashamed of being playful with Ashley, or showing affection towards her. He's grown up. He finally sees her, and himself, as an adult- although he still doesn't show that in full until much later on (more or that later). But in Decay, he still sees her as a child, and to an extent, probably himself. Let's compare the ways in which he reacts to being called Andy. In Decay, he lashes out at Ashley and gets angry, even threatening her. But in Questionable Burial, he calmly says that Andy is dead and doesn't need Ashley's comfort, but still tries to reassure her that she's still needed. He's not ashamed of or hostile towards their prior dynamic, because he's grown past it. He still acknowledges Ashley's need to feel needed, but here, he recognizes its importance to her, whereas he was hostile towards it before.

It's a display of respect towards her feelings.

This interaction doesn't happen in the Sane ending, however. He doesn't play games with her and is just a lot less fun to be around all together. Why is that? Because he still hasn't yet shaken viewing Ashley as Leyley there. He still views her as a burden, as someone who needs taking care of. He's calmly accepted that, too, mind you, but he lacks respect for her because she's still a child, in his mind. But in Questionable?

The vision did more than just make him extremely embarrassed and lay his deepest desires bare. It forced him to recognize Ashley as an adult. When choosing between "Never" and "Never say never," if Never is chosen, the burden of thought is lifted off of him. But if Ashley chooses "Never say never!", he has to reckon with the fact that Ashley is an adult, someone who can consent to those kinds of things. Someone who MIGHT. Someone who has agency, and can make her own decisions. And more importantly… someone who can trust him to make his own.

Whether he desires sex or not is secondary; he's always had those feelings and has always been ashamed of them. But now that the part of him where that shame came from is dead and buried, there's no childish impulse to grow up. There's no attachment to the hate and bitterness he had before. Look at what he worries about when he picks up that she's uncertain or confused about who he is now:

It's her feelings.

He wants to be fun to be around. He wants to make Ashley happy. He loves her, and not as a romantic interest or even as a sibling. He loves her independent of all that baggage.

He loves her as a person.

Their relationship runs contrary to societal ideals in some pretty huge ways. So contrary, in fact, that it's hard for some to accept it as anything good, that it can ever be best for the people involved. It's incestuous. It involves them killing and eating their parents. It involves them distancing themselves so much from society that it's hard to believe they'll ever fit in it again. It's chaotic, it's messy, it's codependent, and maybe even toxic. And yet, here they are. They're coexisting. They're happy. They're healing. They're navigating the world in the only way they can: together.

Meanwhile, in Decay, Andrew refuses to allow himself to get closer to Ashley. He surrenders all agency to her, buys into his own narrative, drinks his own Kool-Aid, and may or may not condemn one or both of them to death in the process. Like it or not, the only path where Andrew takes ownership of his life is the one where he's closest to his sister. It's the one where he decides where they will go next, the one where he decides his own feelings matter, and acts in accordance with what he wants instead of how he thinks he should act.

His agency, his freedom, and his growth don't happen in spite of his codependency; they're happen because of it. They can't grow alone. They can't heal alone.

In reading the story, one must interrogate how important those societal ideals are in the face of the realities of what makes people happy. Are those ideals worth upholding in spite of this? Can we really allow people to fall through the cracks in the name of social norms? Can we blame people for taking rash actions when the social contract has failed them?

Or are we so blinded by those ideals that we can't see that people can be happy while blatantly disregarding them?

All I know is that in Burial, Andrew, having cast aside normalcy, now appears to be truly happy for the first time in his life.

Who are we to take that from him?

#the coffin of andy and leyley #andrew graves #ashley graves #tcoaal #gaming #gravecest #tcoaal essay

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scoobydoodean · 22 days

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I was wondering if you, as a Dean fan have opinions about the different writers? Mostly because I see a lot of Dean fans really strongly dislike Dabb for some reason and I don’t really understand why. I’ve never seen a concrete explanation beyond “he can’t write Dean/doesn’t understand Dean/actively hates Dean” but with no examples as to what he does that’s so bad. And I see this in every shipping lane. I don’t have a strong opinion about him as a writer one way or the other.

I'm exploring this more as I rewatch the show (currently on season 6) so I'll speak mainly from that perspective on my most recent thoughts. I am not a big fan of Dabb or Loflin, but have tried to be fair about things so far when talking through each episode. I am a fan of "Alpha and Omega"—it's my favorite finale (it's also... a finale for a season Carver started as showrunner? So I don't know what the implications are there as far as storyboarding). Also points for having demon Dean stab a guy through in 10.02.

I'll focus on the negatives you asked about in this post, but in the links you'll find me moving the narrative this way and that toward much more charitable readings... I think. (I do have a tag #dabb disk horse which you can either peruse or blacklist at your leisure). What I can tell you is something almost always strikes me as a off about Dabb/Loflin episodes so far in this rewatch in terms of character work.

Dabb/Loflin's first ever episode was 4.06 "Yellow Fever". In the aftermath, Kripke felt the need to release a definitive interpretation of their episode to the public, stating, "Dean is not a dick... he's a hero." The whole episode toyed with, to an extent, the idea that all the victims of the MotW were bullies. You can take this other directions—for example, queer meta, or meta about Sam as the real bully. However, the story a lot of fandom latched onto was that "Dean is a jerk and deserves to be humiliated and punished for that" which obviously didn't make Dean fans watching live in season 4 happy—and this theme of Jerk!Dean continues into their next episode, "After School Special", where they once again parallel Dean with a bully literally nicknamed "Dirk the Jerk" by Sam, and throw what I think is transparent shade at Kripke's issued statement from before the Christmas break (post here)... or maybe they mean to throw shade at the Dean fans who got angry. In this episode, they also make illusions to Dean wanting to have sex with barely legal high school cheerleaders, which also did not ingratiate them to Deanfans at the time. I said on my last rewatch, "In After School Special, Dean seems more unlike himself than any episode ever in the history of Supernatural up to this point" (post explaining that here). I carry similar sentiments about portions of 5.06 "I Believe The Children Are Our Future". Yes—I am aware of performing Dean meta. I just... feel like they try a little too hard. It feels hamfisted—desperate. To the point it doesn't feel like Dean anymore sometimes. In 5.06, they also have Dean (guy who is generally very protective of kids) suggest to Jesse that he'd be good to have in a fight???? I can see how they got there, but again—it just feels... off. The last episode I rewatched that they authored, 6.04 "Weekend At Bobby's", also leaves a bad taste in my mouth—not in what it's trying to do with Bobby or what it's trying to do on a meta level—but once again, with dialogue from Dean that just makes me think "he would not fucking say that" (post here). I think looking at all of these, you can probably see deangirl ire toward Dabb has a long history. It's been around as long as he's been around, whether he deserves as much ire as he gets or not.

I haven't circled back yet on this rewatch, but Dabb and Loflin also penned season 7's "The Girl Next Door"... do I need to say anything specific? Maybe I'll just link my entire #amy tag. What narrative did they want you to get from that episode? Who the fuck knows. And that's often the problem:

When you watch various episodes I've mentioned, you can work around to a meta that tells you something different than you might at first think the page conveys—something hidden and maybe contradictory. The thing is... you could also... not do that? And that wouldn't be so bad, except that sometimes the two narratives you can most easily grasp completely contradict each other. "After School Special" can be an episode that points to Sam's envy of Dean and John deep down and foreshadows Sam becoming a bully, but on a meta level, it also just as easily says Sam becoming a bully is somehow Dean's fault, and Sam is some poor captive baby. Dean is a creep and a bully and a cheater but we should all coddle him because he saw his mom die when he was a child and he's sooo sad. "Yellow Fever" can be a queer meta story and might also foreshadow approaching Bully!Sam in 4.14, but it also very much does call Dean a jerk (should we take that seriously? should we not?) and implies Dean should be punished for the outcome of three decades of reality-bending torture. Even if it's a queer meta underneath... it's just as easily one about how closeted men should be humiliated for cowardice or how being closeted turns you into an asshole.

Jumping way ahead, I have to mention 15.10 "The Hero's Journey" just because. Yes, it is full of jokes and Garth goodness, but also tries to sell you the story that nothing about Sam and Dean is real, to a degree that feels like you are being flipped the bird for ever watching this show. And again—you can make meta that it's all a ruse! But is it? Or is Dabb actually just telling you to go fuck yourself? Like he totally wasn't when, after the SPN finale when fans were Not Happy™️, he tweeted a sign reading, "Don't feed the baboons"? Yet again—we play into the motif of the "hero" who isn't a hero at all but some pathetic loser who deserves to be publicly humiliated, bookended with Dabb's opening episode in his opening season. I'm not saying that's what it is on purpose—but I am saying you can make these arguments easily, and that leaves me consistently annoyed with Dabb for being fucking sloppy and leaving me to deal with some of the most insufferable meta imaginable that carries little support outside of episodes written by Dabb or the Dabb/Loflin writing team.... Yes—I am in fact saying that Dabb and Loflin's hamfisted episodes (regardless of their intentions) are largely responsible for some of the most insufferable, loathesome fandom metas about Sam and Dean's relationship around.

Look at 5.16 "Dark Side Of The Moon", and 7.08 "Time for A Wedding!" and 8.14 "Trial and Error", 11.17 "Red Meat", and 15.20 "Carry On". Along with 4.13, while they might or might not say something deeper or contradictory on a meta level, on a surface level, every single one of these episodes sows the narrative that Dean is needy and clingy and needs Sam more than Sam needs him—something I intensely disagree with for a multitude of reasons... but I'll just link this. Many of these episodes also follow a surface level narrative of "normal life obsessed Sam" (and here I'll link my entire #sam the hunter tag and #in which sam is not a helpless little waif with his hands cast over his eyes being carried along by the tides of the immutable sea). When I look at this episode list, I also don't find it at all difficult to believe that Dabb wanted Dean to die in the finale. There is nothing at all shocking about that. And yes—you can argue he's pointing to the opposite—that this fate should be subverted and that's what makes 15.20 the dark ending, but I think you can just as easily argue that yes it's a dark ending and yes Dabb has always dreamed of this ending. A "tragic" ending where Dean dies and Sam goes on to have a white picket fence... while also leaving you little hints along the way that maybe it's all a big ruse because how could he not? He never has to explain anything. Someone else will pick up the story and make it make sense. He's already fucked off to piss all over fans of Resident Evil.

That said, when I mention what I feel is off character work, I mainly mention Dabb/Loflin episodes from my recent rewatch, which suffer from the two of them being newer to the series (coming onto the writing team in season 4) and also leave questions about whether, perhaps, they had conflicting ideas about characterization. Was Dabb the one penning these lines? Was it Loflin? Was it both? Did they trade out who took the lead? I didn't really say anything negative about "Sam, Interrupted" or "Jump the Shark"... (though "Sam, Interrupted" also calls Dean "codependent") who wrote those? Is it possible that the messiness of the meta comes down to two writers at war? I have to imagine though, that they got along, or else they wouldn't have written together for four fucking years. If they didn't get along...? My mind always comes back to their first solo episodes, right after splitting up in season 8. Dabb's first solo episode is "Hunteri Heroici"—the only episode to lend any perspective to season 8 Sam's reasons for abandoning everyone—paralleling him checking out with Fred's catatonia, which Sam has to save Fred from. It is the only episode that lends Sam sympathy in the early part of the season. He follows it up with "Trial and Error"—where Sam promises to save Dean from suicidal thoughts. Loflin's first solo episode is what I would regard as the most scathing solo episode commentary on Sam in the entire series—"Citizen Fang". Then he writes again right after Dabb's "Trial and Error"—penning "Remember The Titans" where Sam tells Dean to get over the promise Sam so passionately made in Dabb's episode and face reality.

This is why we're exploring this rewatch.

DISCLAIMER: Now I just devolve into bitching because I'm writing at 3AM. Proceed at your own risk.

It seems like these days, everyone demands an explanation for disliking Dabb (something about some sort of destiel battle... I don't know what that flamewar is and I don't give a damn tbqh.) I guess I've just been wondering what's actually so great about him. Because it feels like people have overcorrected to basically acting like he's god's greatest gift to mankind. People point to how meta his episodes can be, but I think other writers easily best him on that front on multiple occasions (particularly enjoyed by me so far on this rewatch: 3.10 "Dream A Little Dream Of Me", 4.04 "Monster Movie", 4.12 "Criss Angel Is A Douchebag"), and without leaving their meaning so up in the air that you don't even know what the hell they were actually trying to tell you because there are two different completely incongruous narratives you could just as justifiably claim were the intended one. Some people may find that duality praise-worthy. I don't. I find it sloppy—and when I add in mediocre character work, I just land on the side of him being, at the very best, mid.

Add him in as showrunner, you have... at least two of my least favorite seasons (13 and 15). Add that he's a one-trick pony in terms of the Sam and Dean conflicts mentioned above that he continuously rehashes rather than come up with anything new or fresh, and the same conflicts between Dean and Cas being played out until they both die (shut UP I'm not talking about canon destiel as the alternative—I am literally just asking for more diverse conflicts). I can't say I understand what I''m supposed to find so impressive.

(Before anyone so much as breathes this near me, Berens also sucks and I am going to tear off your nose hairs if you start bringing him up as if disliking Dabb for some reason means wearing rose colored glasses about Berens. Berens can eat a whole cactus raw over "The Trap" alone.)

#writer disk horse #dabb disk horse #mail

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autismprotocol · 2 months

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TMAG Theory Board Update (EP 11-12)

Hi guys sorry about the late posting I've just started a new quarter of college and its been pretty hectic. also got into my school design BFA program so pretty stoked about that! Anyways lets get into the Episode Breakdowns because even though not a lot of lore related things happened I still have a lot to talk about

For the breakdown I'll separate each by episode in sequential order

What Happened in Episode 11: Marked

Celias Rude Awakening- we jump right into the weirdness straight away with Celia waking up on the side of the interstate. she indicates that this is not a weird occurrence and ends the scene by telling someone named Jack that she's "on her way." If you remember episode 8 after Celia and Sam talk to Gerry and Gertrude, she mentions stuff about wanting help with her own mystery. When Sam asks about it she says she's looking into Time travel, other dimentions and teleportation. Many people have theorized that maybe Celia is just a super heavy sleepwalker, but I think the she teleports random places out of nowhere. This could be a side effect of her reality hopping if this Celia is originally from The archives universe.

As for the identity of Jack I'm not quite sure about that yet. I cross referenced the name Jack with past episodes of TMA. The only thing that came up was Jack Barnabas from the statement about dating Agnes Montague (aka an avatar of the desolation and Jesus-like figure for the cult of the lightless flame) So Unless Celia is secretly Agnes of Agnes reincarnated , I can't find any way to link Barnabas to Celia. (if anyone has a theory feel free to send it my way.)

Sam Lore- this one is pretty minor story-wise but I thought it was interesting. Before the statement for the episode is presented we get some classic Sam and Alice Banter ™ most of it is pretty lighthearted but I noticed Sam mention something that could indicate he might be an amputee.

These could not mean anything and I find it weird that it hasn't been mentioned until now but thought it was kind of cool and I will probably be drawing sam with a prothetic leg in the future cause I really like this head-canon. It also begs to question if he is missing a leg. it might have anything to do with his past as a Magnus institute test subject but then again could just be a fun character detail added by Jonny and/or Alex .

The Statement- Getting into the statement we get another Ink5oul appearance. Also possible Ink5oul identifying as she/they. (and lets be honest being a fear avatar is pretty non binary core). I found this Episode gave me a feeling of a hybrid between the Vast, Buried and the Flesh some people are theorizing that is might be a new entity called the Deep but I think that the fear of the ocean could easily apply to the vast or buried. Not much to say about this story though pretty standard Magnus horror that also gave us a hint to what Ink5oul's goal could be/which entity they serve.

Post Bonzo- Gwen has a debrief with Lena after her first Externals Liason assignment and her meeting with Mr. Bonzo. Undoubtedly Gwen is still pretty shaken from her encounter, even arriving late to work due to sleeplessness. Gwen is able to ask Lena a few questions mainly she wanted to know who's name was written on the letter given to Bonzo

Lena is largely unhelpful but tells Gwen she should have worked it out by now and if not to pay close attention to the case load for the next couple of days. before the latest episode my guess was Klaus because that is the only person mentioned so far that the OIAR intends to kill. but more on that later

Marked- Now were getting to my favorite thing about this episode. This episode title can have two meanings. The first is the more literal interpretation. Tattoos are marking of the body and the case this episode was all about tattoos so easily a good name would be marked. But I believe this is a red herring meant to misguide listeners who have not consumed all 200 episodes of TMA because if you know the world of Magnus Archives the term Marked takes on a entirely different meaning.

In TMA the term marked is used to indicate that somebody has been influenced by one or more or the fears and are one their way to becoming an Avatar. I think this could be a coded way to tell the audience someone in the OIAR has been marked. I have two potential candidates

Alice Dyer- Alice has been having dreams about the Institute after her and Sam's adventure into the ruins. also she mentions feeling like someone's watching her (common to people influenced or fed upon by the Ceaseless Watcher/The Eye) My guess if she is marked it would be by the Eye.

Gwendolyn Bouchard: Probably the most likely culprit. The main way an entitly tends to mark people is through encounters with other avatars. Gwen has just had an encounter with Mr Bonzo last episode who I strongly believe must be an avatar of some sort.

What Happened in Episode 12: Getting Off

Aww Sam!!- Sam asked Celia out and it was adorably awkward. not much to say I just loved this interaction and I'm longing for a new Magnus brand office romance hopefully is wont be an agonizing slowburn that ends tragically like a certain pair of morons from Archives (I love you Jon and Martin but Jesus christ)

It's Bonzo time bitches!!- Probably one of the most gruesome Magnus statement I've ever listened to (good work Alex) Mr Bonzo completely annihilated some poor dude at his bachelor party. Based on the date of the Incident the I can confidently say that whoever Baz (the groom) was he was our mystery person the OIAR sent Mr Bonzo to get rid of. Along with some of the bloodiest imagery we learned a few things about Bonzo. The most interesting detail is that Bonzo has to be summoned by playing his theme song I think the CD of his theme song acts somewhat like the tapes did in TMA by materialising out of nowhere. Also fun fact you know that torn seam that is right down Bonzo's middle? that is actually is his mouth lined with rows sharp teeth so I guess I know that now (so fun) Moral of the story dont f*ck with Mr. Bonzo

Alice knows something: Theres been this recurring audio glitch throughout TMAGP thatnks to a few extremly observent fans we have started to relize that these glitches are not at all random and are actually letting the audience know when a character is lying (i actually reposted somones deepdive into all the istances of this glitch so far if you guys are intrested in knowing more) why i bring this up now is becuase since we know when any charater is lying we also know when they are being truthful if there is no glitch when they say somthing and at the end of this episode this interaction occurs

Alice goes ahead and makes a joke about this to annoy Gwen but the fact theres no audio glitch when she says "I know" means she does actually know who is behind the OIAR and is activly refusing to share it with Gwen or the others. What do you know Alice!?

and that's about it im already loving these next batch of episodes and am so excited to learn more (ERROR has to show up somtime )

thanks to everyone who resonded the poll on the last update I will continue to include drawings into the breakdown even if it takes me a little bit of time to post. anyways I wrote this all in one sitting and I'm about ready to pass out so thanks again and the ask box and comments are always open for discussion and theory crafting.

-Echo

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doublel27 · 3 days

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I’ve been thinking about Moo’s very publicly r video essay ever since @petrichoraline and I were talking about Moo’s very public declaration of his relationship here and the irony is if no one had said anything to Moo there’s a chance he wouldn’t have done anything.

In episode 8, Neth and Kang had already convinced him he might need to be quiet about their relationship. Kang and Moo agreed that “as long as we know” it doesn’t matter what other people do or don’t know.

And I think it was even worse for Moo because the dance video wasn’t a declaration of anything. That’s what he states before making the Kang fan edit. The video he was asked to delete was simply just boys dancing. And as an idol, he’s gonna be dancing on stage with a lot of boys. He’s probably already posted clips with Tae and Yos as well.

And sure it’s different because Kang isn’t also out here trying to be a dancer and he is Moo’s boyfriend. But a lot of what he was being asked to tone down were things that were what Moo considers normal. And I think that’s what made him so angry when everyone asked him to take the video down. Shone and Moo’s mom didn’t know they were boyfriends from that clip. To Moo’s point that wasn’t an announcement.

And as @luthienmpl points out here it’s not like Moo didn’t very publicly court Kang at school where everyone knows he’s written Kang a song and sang it over the intercom and gave away food for people who congratulated them on being boyfriends. There’s information out there.

Moo got mad at the idea he would have to lie. And everyone was insisting they weren’t asking him to lie, but to not share. To Moo, who if the thought is in his head it’s out of his mouth, omitting facts, deleting posts because of how someone might interpret it even if it’s not explicit what the video is of, to cut parts of himself off, well that’s a lie. After being pushed too far by the repeated requests by others to be less, he snapped with the very loud video of l not only do I have a boyfriend but let me tell you all about him and why he’s perfect.

With the preview showing that the contract is going to say expressly no relationships and Moo’s determination to not lie and Kang being the bluest boy (who tend to be martyrs….I am very curious where Only Boo is going with this story. As I am curious where Thame Po will take this story as they’re doing a similar line.

Another show with a similar storyline from GMM, Be My Favorite just dropped in 2023 and I adored it, but they took a particular stance on this conundrum. You should watch it, but spoilers…in one of the futures Kawi makes for himself, he ends up an idol and is at first delighted to find himself living what he thought was an impossible dream. But it’s quickly clear that he is miserable, drinking. He had gotten his dream girl Pear, but she left him because he wouldn’t marry her and start a family. As an idol, he couldn’t, or wouldn’t, give her the time, attention, and public commitment she was looking for. We also find out that Piesang disappeared around the same time. It’s heavily implied after Kawi chases Piesang and kisses him drunkenly, that Kawi probably did something similar after Pear left as Piesang says “You cannot keep doing this.” (They’d had a similar moment in episode six but this made it feel like we had a bigger pattern and explained his absence)

In the final future, Kawi is happily a songwriter, making songs for other people to sing. It’s the future Kawi chose knowing where the idol path sent him. Piesang even questions him on it. He asks Kawi if he gave up on those dreams because of Piesang and Piesang offers to hide if that’s what it takes. Kawi, thanks to the power of time travel, tells Piesang he’s absolutely certain he couldn’t be happier if he traveled that path. Only misery lies that way. Kawi’s whole lesson though is about making choices in the moment that spark joy rather than letting fear or jealousy lead your choices and living a life that makes you truly happy.

Only Boo, of course, is a very different show with a very different lead. Moo is 1000 times more confident and certain than Kawi ever could hope to be. He knows what he wants and while everyone sees them as two disparate pictures, Moo sees them fully integrated. He’s also a much younger character, just out of high school and has yet to face the reality of what it means to be an idol beyond getting to do the things he loves most and feels confident about.

Thame-Po will take us somewhere entirely different with an idol at the peak of their game who signed their right to a personal life away at a much younger age.

So when confronted with a contract that explicitly says you cannot date and Moo, who has no interest in lies of omission or hiding his boyfriend, and is in fact highly reactionary to people insisting he delete rather innocuous posts incase someone wants to speculate…I am very interested in the choices that will get written in here.

It is especially interesting considering the the litany of drama that has come out of highly entitled fan reactions to social media posts and in some cases leaked videos of Thai artists in their own home. Sure, everyone is trying to “protect” Moo in theory, but entitled fans will be entitled whether you hide your personal life entirely or not. These types of fans seem to exist across fandoms of many types and with a level of wild inappropriateness regardless of how open or closed a celebrity is to others. If they post too much with someone that’s a sign. If they avoid posting with someone that’s a sign. Like…there’s no winning.

And to that point, what is the takeaway going to be for Moo as he is faced with a moral dilemma and the two things he wants most in conflict? And what is the messaging going to be from Only Boo/GMM about young idols and talent (as the two leads of this show are) and their rights to their own lives? And are we gonna talk about the extra layer of homophobia of it all or because the fact that even straight relationships seem to be a PR nightmare for some talent, that GMM/Only Boo is content to leave it ambiguous for now?

#only boo #only boo the series #kangmoo #kang x moo #mookang #be my favorite #thai bl #thai series #thai ql #asian ql #asian bl drama #gmmtv #gmmtv 2024 #gmmtv series #gmmtv actors

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the-badger-mole · 8 months

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In the debate between pro-aang-kill-ozai and anti-aang-kill-ozai. Which side are you on and why? If it's the anti then did you like how it was done or do you picture something else?

I think I've mentioned before, but I am not inherently against Aang not wanting to kill Ozai. Some of my favorite heroes have a no-kill policy. I don't even mind the lionturtle solution itself. What I didn't like was how it was handled. There was plenty of time to address Aang's reluctance to kill before the second to last episode. I can think of three points in particular where it would've been thematically appropriate and given Aang's bland, two-dimensional character some depth.

First, right after the siege at the Northern Tribe. Aang may not have technically been the one who killed all those Fire Nation soldiers, but it couldn't have happened without him. You would think that someone who is both committed to pacifism and also the one the entire world is relying on to end a war that people have been fighting and dying in for a century wouldn't just be able to shrug off what happened. Aang did, though. Didn't even cross his mind when he was whining about people expecting him to kill Ozai.

What should have happened was the next season should've opened with Aang grappling with what happened and his part in it. He should feel guilty about it, not because he was actually wrong, but because it should feel wrong to him. Then, Katara and Sokka should comfort him and tell him he did nothing wrong. Build it up that their word are comforting him a little, then drop the bomb when they start talking about how cool it was. How amazing it was to see all those soldiers running in fear for once. How relieved they are that so many of them died. Then have Aang snap on them about the sanctity of life. He needs to be angry and hurt, and this should be the point where he decries the powers of the Avatar. He'd call himself a monster, and maybe he would call Katara and Sokka monsters, too. Then they (probably mostly Sokka) would argue with him that they aren't monsters, they're just trying to survive, and the Fire Nation is a threat to be taken out. This would be the first time it's brought up that Katara, Sokka...the entire world expect Aang to kill Ozai. I think it would be perfect as a season 2 opener. Season 1 was light and goofy, and Zuko was their biggest immediate threat. The siege raised the stakes, and season 2 should continue on that rising. Aang should also have started looking for another solution here. In the library, Aang should've asked Wan Shi Tong if it was possible to end the war without more violence. We should've seen Aang coming to terms with the fact that the world is suffering and he is the one they are looking to to save them. One thing I think the Harry Potter movies in particular did well was that shift from goofy and whimsical to darker and more frightening (as far as kids movies go) as the story went on and the stakes got higher, and the danger felt more real to the characters. Aang never gets that realization. He has moments when the danger feels real, but he's goofy and whimsical for pretty much the entire series until the plot of an episode needs him not to be.

The second place they should have brought up his reluctance to kill was DoBS. This really should've been a no brainer. Aang was loosing sleep over facing Ozai. He had his anxiety about losing- though not really what losing would mean for his friends and the world- but he didn't even consider what winning would take. If DoBS had been successful, there's no way Ozai would've been able to be taken alive. Logistically, killing him would've been the easiest, safest option. You mean to tell me no one brought it up? No one asked Aang how he was planning to take Ozai out? No, instead we get Aang proving he knows what enthusiastic consent looks like and taking away his excuse for what happened later, but nothing about Aang weighing his personal beliefs against the needs of the world. That training montage and confrontation that he has with his friends in the second to last episode should've happened here. This should've been when his tendency to run away should've been challenged, too, because half a season before he was crying about how he abandoned the world again. Now his instinct would be to run, but his friends would challenge him, calling back to that moment. They could demand that he present an alternative to killing Ozai. I don't think any of them would object to him living to stand trial, but Ozai is a rabid dog, essentially. He needs to be put down. Aang's got nothing, but not for lack of trying. When he tells his friends about all his efforts to find a non-lethal way to defeat Ozai, they are unmoved. They are at the doors of the Fire Nation, and now is not the time to be indecisive. He has to go face Ozai. And he's probably relieved when the plan fails. This whole situation would have the added bonus of skipping that first Kataang kiss because no way would Aang want to kiss Katara after her insisting he terminate Ozai with extreme prejudice.

The third place Aang's no-kill policy should've come up is TSR when Zuko asks him what he's planning to do when he faces Ozai if he's so against killing. This should scare Aang, and it should be his focus for the rest of the season. He should be more withdrawn from his friends, because with all the training he's doing (and he would still be training on all the elements because he's not that good at any of them), talks about the most efficient way to kill would be unavoidable. Katara might actually try to teach him bloodbending. Toph would just tell him that a big rock is just as effective as some fancy bending move. Zuko would be warning him about his father's ruthlessness and cunning. This would be where Aang looses his patience with his friends and insists that he's a pacifist and Ozai doesn't deserve to die. This would piss Katara in particular off because by this point, Aang knows what happened to her mother. He would get an earful about how Ozai's plan is to do to the Earth Kingdom what his grandfather did to the Air Nomads and how he's going to let millions of people die because of his refusal to kill one. Now, Aang can take off, only instead of just running away from his friends because he doesn't want to hear them anymore, he could be making one desperate last ditch attempt to find a solution that both ends the war and keeps him from having to kill Ozai. EIP could still happen in this circumstance, but instead of getting mad that he's being played by a girl, he would focus more on how eager for his death the Fire Nation is. That would come up in the argument about killing Ozai.

Now, for the lionturtle. I'm about to blow some minds. I have been vocal about my hatred of the Lionturtle/Rock of Destiny desu-ex-double team, and I do still hate it with a passion. However, as a concept, I don't mind the lionturtle. This is a fantasy adventure. You expect a bit of magical intervention. What I wanted was Aang grappling with this problem for more than half an episode. I wanted him working on a solution the entire time, starting from right after the siege. I wanted to see him take initiative. To actually think about the problem. Maybe have him specifically looking for the lionturtle. Then when it shows it, it could be because it knew Aang was looking and decided he was worthy of a meeting. Aang could still have his meeting with his past lives, and that could still go the way it did. Then the lionturtle could speak up. Instead of poo-pooing the idea of killing Ozai, it could agree that it was the most effective way to make sure that the war would end. Then, when Aang is despairing that he'd wasted all that time trying to find a different solution, the lionturtle could offer the spirit bending. But it would have to come at a cost, and it might not work the way that Aang hoped. Now Aang has to make a choice. Sacrifice something for this spiritbending ability (I'm thinking he loses his airbending, because it seems poetic) that might not have the outcome he's hoping for, or give up his pacifism- one of his few connections to his heritage- and kill Ozai. He chooses the spiritbending. Instead of the conveniently placed rock, Aang would actually have to give up his attachment Katara. I think he would be half-way there, having finally realized how little he understood her. He "loved" her because she was pretty and took care of him, but he's come to realize there's a lot more facets to her that he hasn't gotten to see because they don't fit his narrow view of her. He also understands what Guru Pathik was trying to tell him about one person not being able to replace everything Aang has lost, and he realizes how unfair to her he had been. He still loves her, but as a friend and caretaker. This will actually lead to a deeper friendship between them. Aang defeats Ozai without killing him, but now he has to deal with the loss of his airbending, which only now does he realize was a much of a connection between him and his people as his beliefs. He still has spiritbending. He can still airbend in the Avatar State, but he's effectively cut off a limb to keep his integrity. He will go the rest of his life wondering if it was worth it, especially after Ozai goes to trial and is sentenced to execution anyway. The effects of that on his children could be explored in LoK.

TL;DR I don't have a problem with Aang not wanting to kill Ozai. I just wanted to see him deal with it before the last minute. I think the show would've been better for it, and Aang would've been a more interesting character.

#atla #anti-kataang #aang #how it COULD have gone #he would've been a much better protagonist if we actually saw him struggle with his destiny #spiritbending should have consequences #that's too much of a power up to just give to the hero #and ozai should still die #it just doesn't have to be at aang's hands #THE YEAR OF CONTENT!!!!

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yuurivoice · 2 months

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Laying in bed having a think.

As I try and tackle three intertwined (four? fuck) narrative stories more meticulously than I've crafted any of my narratives thus far, I find myself making several realizations.

BitterSweet is a product of me being at several mental low points but failing upwards. BitterSweet wasn't even intended to be a real narrative, but rather an introduction to Seth then sort of a choose you own adventure, listen to either "path" type thing. When the story revealed itself to me it was very exciting, but I was just going episode to episode and seeing where I'd end up.

Chapter 2 had more planning, a pretty defined outline, and was executed just about to perfection. I think 2 is probably the strongest in terms of knowing wtf was going on and seeing it through.

Chapter 3 is one I feel deeply conflicted about. Plans had to change on the fly multiple times. The scale got out of hand. I was on the struggle bus and only managed to write an episode two at once. It was a mess. We hit some high marks, and some of my favorite performances are in there, but there's this dark cloud over it for me. It's a shame, but it got done.

I can see really clearly how my struggle with my mental health, ADHD, etc. played significant roles in hindering me. So on one hand, I'm thrilled that I was able to make something cool that so many people appreciate and enjoy despite how challenging it was. On the other hand...there's a lot I wish could have been different.

Those wishes have informed many of the choices I'm making now as I tackle Shattered and Echoes, as well as BitterSweet and the unnamed thing. I'm not hitting the big red launch button until it is complete. I've never done that. But I want my writing to be tighter and more cohesive. I'm lucky that making shit up as I went and hitting the broader strokes I knew were there worked out as well as it did, but also I've tripped over myself a time or two.

As ambitious as I'm trying to be with weaving these stories, I want to make sure that when you step back and look at the big picture, it makes sense, but is also really fucking dope.

That's my hope.

This next batch of work is going to be special for me. I'm in my medicated era, but I'm working with a lot of the bones put in place by a version of me that was operating well below capacity.

Reading those first drafts I wrote last year was humbling. God they were bad. Frustratingly so because when I took a hammer to it, what I cooked up in significantly less time on the second draft was so much better than what felt like I had to pull teeth to accomplish before.

I try and tell myself not to look at all of my work through that lens of "I could have done so much better" but it's frustrating. I've gotta cook with the groceries that version of me brought home lol.

It boils down to this. When these next projects launch and the dust settles, I don't want to be glad it's over. When I finished BS3, I breathed a sigh of relief because it felt like I just got out of a year long brawl.

When I finish these projects, I want to be proud. I think that's the conclusion I reached. I was not proud of my work, because it was tainted with compromise and frustration that outside factors fucked with several aspects of it.

So I'm trying to prove to myself that I can do better than that. For myself. I've shaken off the frustration that I'm an entire year behind schedule. I've committed myself to completing it all before it sees the light of day. I've streamlined the process. I really tried to set myself up for success.

When I was struggling I'd cut every corner, I'd phone it in, I'd toss out ambitious ideas for the sake of just being able to call it done.

There's a lot less of that happening now. I'm able to at least try and hold myself to something resembling a standard. Now I just hope I can execute.

Thanks for reading. Sorry about all of whatever that was.

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murd3rouscrow · 2 months

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Holy shit... The retired colourman might be my new favorite mystery, as always, spoilers below

I just want to start by how much more gruesome this one was, especially compared to the last episode with the ai. I really really like the more gruesome stories. It amps up all the emotions.

Also very fun story, like you know the murderer is, that's not the mystery. It's not the who, but the what... Oooo very ominous, very cool.

Also Lillian. She was there, ngl she kinda grew on me. Let's be real, we'd probably be just like her. Also didn't think she'd go through with the true crime podcast after getting sprayed blood. I'm going to assume john have her some important podcaster wisdom while they were outside.

Also, more Mariana, which I'm always happy about. Especially Mariana basically solving the mystery. Love it. Love her. Especially loved the emotion and her little moment with Sherlock in the cellar and attic

Further making me want a Sherlock and Mariana only episode, I swear they'd be so efficient. Also just Sherlock reassuring her that she doesn't have to the bodies, he'll do it. Like yes, I've been waiting for some Sherlock x Mariana, so far they're dynamic had only been making fun of John together (which is also great)

This entire mystery was just fueling my inner baker street poly heart.

Overall, great episode, loved the emotion, I like very much.

#sherlock and co #sherlock & co #sherlock holmes #john watson #jonk watson #mariana ametxazurra #marijohnlock #just decided that's their shipname #i love them so fucking much #the retired colourman #i love these little people in my ears

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spaceorphan18 · 28 days

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More thoughts on XM97 - because of course I have more thoughts...

Doing some more reflection, because this is what I do during hyperfixation, apparently.

It helps to write things down and get them out of my head, I suppose. Honestly, it'll be nice to get past the last episode, because then I can compartmentalize and just push the thing away until season 2 (if the finale gives me any reason to want to come back).

DeMayo went on another tweeting spree (I just keep an eye on these things because I get curious) and during this particular bout, I feel like I've got somethings clarified. And I think my own personal frustrations come down to - the ideas of writing and creating vs fan expectations.

Overall, I do think that XM97 is a solidly good (or at least entertaining) show. The animation is good. The voice cast is good. And the ideas they are using, in theory, are more adult and mature and nuanced than the original kids' show ever was (which, I'll give TAS some credit - dug deeper a lot of times when most kids' cartoons of the time didn't).

One of the biggest issues for me has been execution. First of all, the show is way too short for the amount they're trying to pack in here. It almost feels like they wanted to do everything on their wishlist because if they didn't, they wouldn't get the chance to do it. And it feels, muddied... They really needed a full season to unpack a lot of this.

The thing about Rogue and Gambit's story.... I get the 'kill your darlings' strategy of writing. In fact, I agree that good stories are messy and have conflict and you should always put your heroes through the worst. I feel like there was a better way to do the story (I believe) they're telling.

I don't think Magneto needed to be a part of it at all, and the triangle just feels... forced in a lot of ways. I understand that they went there to give Remy some heartbreak along the way, but I truly believe the two of them, with their own issues, and the two of them being in an undefined relationship with complicated issues over touch -- still could have resulted in compelling TV, and still would kept the devastation of Gambit's death.

Episode 5 is still my favorite, and despite my distaste for the whole Magneto side of it, I think the writing there was top notch, and still the best this show has been. I get, though, that they wanted to have Rogue and Gambit "break up" for the impact to hit harder, for Rogue to feel much more guilt once he died, for that last line to be even more heartbreaking.

So, the easiest route was to add the Magneto of it all. Episode 5 is brilliant in a vacuum. But in greater context there are other ways you can get there. And, no, Magneto wasn't ultimately needed. Rogue still could have had regrets, there still could have been heartbreak, there are always things you just don't say before a tragedy.

The thing about it, had they set this up correctly, and in a way that was more satisfying and didn't involve third parties? You may have gotten way more of the Rogue and Gambit fans on board. (And I'll get to the fan side of this in a second.)

See, TAS flirted with Rogue and Gambit's romance but never pushed it too far. Not only was it a kids' show, but Rogue probably would have never had her powers under control and it just was never going to go that far. Meanwhile, the comics have moved way beyond where TAS was. Rogue and Gambit's relationship has evolved a lot in thirty years - way past the tragedy, past the will-they/won't-they, past the break ups and reunions, and in the comics, Rogue and Gambit are a relatively healthy (for a comic book couple) couple of best friends and old marrieds. They're story is so far beyond what they once were that going back to TAS feels... odd.

So, the show starting in this place where TAS left off feels awkward in a lot of ways. There's a lot of expectations layered onto this show, but the show -- being limited by external factors, can't really handle all of it.

I don't think the first few episodes of the show did enough to show the sheer strength of Rogue and Gambit's connection and relationship. And part of that was time and part of that is because it's a sequel to a show set thirty years ago and part of it is time compression and part of it is the writing wanting to leave some vague open-endedness to the relationship so that Episode 5 could work.

And thus Episode 5 feels a bit jarring. It's way more a mature script. There's much more going on in those relationships that we haven't seen set up. Not really. And it's almost relying too much on - things that were mildly set up in the original and the heavy history of the comics.

Which leads me to what has happened afterwards. I think that in a world sans the Magneto of it all, you still get a Rogue who is absolutely heartbroken over the loss of her love. She would still go dark. She would still seek vengeance. She would still wrap herself up in that trench coat and wreck havoc on everyone until she ultimately succumbed to her own grief and eventually dealt with it in one way or the other.

(The part that I just don't agree with -- besides giving up the trench coat, which I know is symbolic in gesture -- is her running off to play Colossus in Fatal Attractions. Which, again, is why they did add the Magneto of it all, but I'm digressing.)

Anyway, this leads me to the fan expectations, and why it does feel so raw for a lot of us. Rogue and Gambit have never really had their time to shine. The films are full of mischaracterizations and limited (very limited) appearances. The other TV shows never let the relationship shine. And even in the comics it felt like forever for the X-Office to take them seriously.

This TV show felt like an opportunity to start fresh. To be excited about something. To get behind the characters we love and celebrate them. We can still break their hearts. We can still even kill them off. But give us a reason to care!

But instead of building that relationship with us fans, it went a different route. And now we feel heartbroken and angry, instead of just heartbroken. Gambit fans - who get shit on so often - get one bright of moment of glory before a death that feels somewhat hollow when you start to realize it was in purpose of someone else's story. Rogue fans - have the internet hating her with a passion. It feels like once again - being set up only to fail.

It feels hurtful, even when, I truly believe, that was not the writers' intentions. Make your characters go through hell - yes, but you have to have your audience on your side to make it impactful.

I don't really know where the show goes from here. There's either going to be closure or a cliffhanger. What I'd really like, though, is some sort of hope.

Because I get real life sucks. And I get that we often reflect in our fiction that it does. But we're talking about a cartoon about superheroes. We're talking about escapism at its finest. I love complicated and messy and nuanced and sometimes even heartbreaking stories -- but I also want something that makes it all worth while.

There is still one episode left, and I'm curious as to where it's going to go. Because at the end of the day, X-Men has always been about hope, too.

#xmen #x men 97 #rogue #gambit #roguegambit #romy #good lord look a this diatribe #I'm so sorry #okay i'll shut up now #I just needed to say all the things to get them out of my head #this is just a stream of conscious - don't expect anyone to read it all #I'll be so glad when this is done and this summer I can focus on the comics

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reidsc0nverse · 11 months

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A Rose by Any Other Name (Chapter Two)

Summary: Reader accompanies Emily to a club during a case where Spencer shows her one of his many talents with the help of the one and only Derek Morgan.

Warnings: Language (not much at all)

AN: This is based on episode 4x9 (obviously) and basically goes along with the story. Also let's pretend Courtney (the bartender) wasn't the object of Spencer's attention for his magic trick. K thanks.

Series Masterlist

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The other day when I walked through the doors of the BAU I was not expecting to be thrown into my job, but of course, it happened.

I was in the technical analyst Penelope Garcia's office when all of a sudden JJ (as she now told me I can call her) went into labor. How wonderful.

I mean don't get me wrong I'm so happy for her, but I still had a good week of training that I could've used.

That was two weeks ago, so now I'm fully in my spot as Communications Liaison, and not to brag or anything.. I'm doing pretty well.

Right now we've been working a case in Atlanta where a guy of the "Alpha Male" type would kill women that he would pick up from the local bars. The team came to the conclusion that he was getting his tips from a pick up artist that seems to be teaching his skills to other men.

They call him "Viper" and, according to Emily, he's a real treat.

"He's a grade A asshole." she huffs walking into the room of the precinct I'm in.

"That bad?" I ask and she slumps into the chair next to mine.

"He makes me wanna gauge my eyes out." She says, laughing, but clearly annoyed. So far while I've been on the team she and I have gotten pretty close and she's honestly one of my favorite people.

"I'm so glad I wasn't there." I say, shaking my head. I've dealt with one too many narcissists on a personal level so if I had to listen to a guy go on for ages about how to play hard to get with a girl or blatantly insult them to get them attracted to him I'd probably lose my mind.

"Time to give the profile" Derek says as he sticks his head in the room. Emily sighs and walks out with me to the rest of the team.

They go on giving out details to the local PD and I drone out until Spencer talks to me, or at me kind of. "I like those earrings, yeah my grandma has a lot of fake jewelry also."

PARDON?

He smiles and waves it off as not serious, which I understood he was only exemplifying what our unsub does but it didn't diminish the fact that it was funny as hell.

After the team finishes I get up and Spencer walks towards me, "Um, sorry about that. I just needed to show them what the unsub learned from Viper."

I laugh and wave him off, "No no don't apologize it's fine, it gave me a good laugh so I'm really not hurt by it."

He smiles and Hotch calls us over to where the rest of the team stands.

They explain that we need to see about more of what the unsub may have learned back at the group discussions and they hint that Emily is gonna need to go back and talk to Viper.

"Oh. Oh god, this is really gonna suck."

A little later, Emily comes to me after the team splits up with a cheeky look on her face and her hands behind her back.

"Y/NNNNN...." she drags.

"Oh god what do you want." I say playfully, already knowing what she's gonna say.

"You know, Derek is bringing Spencer as a wingman, so maybe you coulddd..."

"Fine fine, but if we're hitting the club I don't think my work attire is gonna cut it." I say, looking down at the blouse and black pair of pants I'm wearing.

She shakes her head, "Ah, no worries, I have something you might fit in." She pulls out two dresses from behind her back and hands one to me.

"So you just happen to have party wear in your go bag?" I ask, looking at the black tight fit dress now in my hands.

"We go to some interesting places." She smirks and smacks my shoulder lightly, continuing, "Come on, I'll help you get ready."

She takes my hand and we go to the PD locker room, getting changed and she gets her makeup out.

"I thought you hated this guy, now you're getting all dolled up." I tease her, she laughs and starts applying her eye makeup.

"I take every opportunity I can get to look hot as shit with a job like this. Plus, we're still going to the club." She jokes back and after a couple minutes we're done getting ready and meet up with Derek and Spencer at the car.

"Heyy, looking good ladies." Derek says with a cocky smile and Spencer waves at me awkwardly.

"How flattering." Emily says and then huffs, turning to me, "You better help me through dealing with this worm."

"Of course" I say, hand on my heart and all.

Once we get to the club we decide to split up, Derek and Spencer asking girls in the club if they've seen anyone similar to our unsub, and Emily going up ahead of me while we face this nightmare of a man.

She tells me to stay back until the right time and I watch her play her game of flirting while continuing to intrigue the man. She looks back at me when he gets a little too confident and a little too close so I walk towards them, Viper's eyes following me carefully.

The conversation goes as usual, some mindless snarky remarks tossed around as he starts discussing eye contact, more specifically pupil dilation.

"Okay fifteen seconds." Emily says in response to the eye contact that Viper has been making with me, and trying to prove a point.

"What do you see?" I ask.

"Nope, no dilation."

Viper comes quick with his response, "Ah, because you have someone else on the mind."

Do I? Maybe. I don't know. No.

Emily eyes me teasingly and the conversation between us and Viper goes stale until he gives us just what we want for the case. He gives us that our unsub is going to go for his "queen bee," the focus on all his killing.

Emily calls Hotch with our findings and I meet up with Derek and Spencer as they talk, or..bicker maybe.

"Come here pretty girl," Derek says to me, I comply, confused but still.

"Pretend she's someone you're showing the unsub to, use that magic." Derek says to Spencer, putting me in front of him, but he explains to me that apparently Spencer isn't having any luck giving the profile out to the girls at the club so now he's doing..magic?

I don't know how he's not having luck, he's an attractive guy. I would feel like girls would go crazy trying to talk to him but I guess not.

Spencer looks at me like he really doesn't wanna do this, but he goes with it anyway. "Don't worry I'll play along" I tell him and he seems comforted in that.

He begins by acting as though we've never met and asks me if I've seen the man in the drawing before, I nod no and he pulls out a pen.

"We have reason to believe he has a scar about right..here." He says, running the pen through the paper and moving it around, leaving no rips in the paper.

"Woah, woah. What? How did you do that?" I ask, inspecting the paper.

He shrugs and smirks, "A magician never reveals his secrets."

Derek laughs and pats his back, "That's what I'm talking about, pretty boy!"

After the case ends smoothly we arrive at the BAU once again and settle everything down. I go to JJ's office which is mine temporarily and get some paperwork out of the way with Emily.

"So, don't mean to remind you of Viper, but, is there someone on your mind?" She asks teasingly.

"Oh god." I groan and put my face in my hands.

She snickers and responds, "Oh so there is!"

"Maybe." I say, dragging the word out. "But I don't know, he doesn't really know me that well."

She nods, I feel like she sees right through me.

"Seems like you and Spencer kind of had a good time earlier."

I choke on my own spit, "Um what?" I say, coughing. Covering my mouth as well as the slight pink coming onto my face.

She smiles and nods her head as a tall figure walks in the doorway. "Speak of the devil." She says and walks out, I look up and see Spencer, so now she's leaving me and him alone.

His eyebrows furrow, and I wave it off.

"Hello there, Houdini." I say smiling up at him, he laughs and leans against the doorway.

"You know it's an easy trick, nothing up to Houdini's standard."

I shrug. "Eh, still impressive."

Things are quiet for a moment and there's a hint of tension in the air until he clears his throat and starts.

"You looked really nice today, by the way. Just thought I'd say." His face goes red and I smirk.

"You came all this well to compliment me?" I tease. He laughs sheepishly and shakes his head.

"No, no. I was um, I was coming to ask you if maybe you wanted to grab a coffee or something. Maybe I could show you how I really do that trick?"

He was nervous, obviously. But that didn't help the grin on my face growing and trying to hold back the blush that's definitely growing on my face.

"I thought magicians couldn't tell anyone how they do their tricks." I reply, more calmly than I thought I would've, I mean I'm just trying to play it cool.

"I can make an exception. I'll let you know, I have your number right?"

I nod and he smiles again and sticks up an awkward thumbs up, "Cool. Well, I'll see you later."

"Bye, Spencer" I say playfully and as we walks out to the hallway I peek out and see Derek standing by the doors that leave the office with a cheeky look. I can see the back of Spencer's head nod and Derek raise his arms, saying something but they're too far to hear.

Guessing Derek convinced him to go for it.

Good thing.

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I'm gonna be real and say I kinda hate this chapter but I promise it gets good. ALSO TYSM ON THE SUPPORT FOR THE LAST PART IM SO GRATEFUL UGH.

taglist: @darkenwolfie @justlivinginadaydream @daddy-dotcom @itsametaphorbriansblog @rosesandlavendertea @4karaa

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connabeth · 5 months

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that was the best episode by FAR and here’s why:

1. annabeth instinctually knowing he’s alive and refusing to lose her faith in him even when grover didn’t believe so.

2. the hug. the overwhelming relief on her face. his pleasantly surprised reaction. us being able to see everything visually click in grover’s head once he realized what he’s in for. percy teasing her about it when they’re hiding on the highway bc he assumes that’s why she’s being standoffish. grover heaving and rolling his eyes when percy suggests that. i can already envision the MoA parallels in my head of them running to each other.

3. percy and annabeth referring to each other as friends on multiple occasions like FINALLY you’re getting it

4. percy telling annabeth and grover about his revelation that the quest goes deeper than they think and annabeth and grover being light years ahead of him

5. percy’s renewed faith in his father contrasted with annabeth’s dwindling faith in her mother

6. annabeth seeing the fates cut a string and mentally preparing herself to sacrifice herself for her friends and the quest bc she’s so ride or die for them it’s insane even if she’ll deny it and say it’s for the sake of the quest.

7. none of them talking to gods with the deference they’re supposed to. annabeth cooly staring down ares like she couldn’t be blasted to smithereens.

8. annabeth casually mentioning she’s never seen a movie ever to an appalled percy, speaking to how sheltered camp life has been for the last 5 years, making her unaware of general pop culture. percy promising to catch her up on what she’s missing out on. cut to their interrupted botl movie date that’s most definitely not a date. cut to MoA when she mentions roman holiday is her favorite movie bc she watched it a lot with her dad after they somewhat reconciled…also due in part to percy.

9. annabeth getting distracted by the beauty of the machine at the entrance while percy thinks he is actively going to die. her love for design will never not be endearing.

9. percy and annabeth riding down the tunnel of love seeing hephaestus’s story play out and annabeth insisting that sally prepared him the best way she could’ve—with unwavering loyalty to his loved ones, the antithesis to the gods.

10. annabeth being so ready to sacrifice herself for him, especially after probably being ridden with guilt and self-hatred for letting him get the best of her at the gateway arch, and understanding he would never let her do that. his pure faith in her as being the most capable—“You’re better at this than me. You just are.” with the utmost conviction in his voice. both of them tearing up and percy begging her to do what he originally chose her on the quest for. annabeth fighting back every instinct within her that despises standing back and letting someone else take the fall. him turning to her and saying “i need you to promise me something” and her immediately swearing if she’s able to save anyone on this quest, it’ll be his mother, knowing that’s the most important thing to him in all of this. him asking she come back for him and her scoffing “you think you had to ask?” and his sad watery smile back, knowing he didn’t need to….ALSO the ever-iconic “seaweed brain”. PEAK cinema i’m telling you

11. percy trusting annabeth with riptide as his parting gift and thing to give her strength and remember him by. paralleled with how she’ll (hopefully) untie her camp necklace and tie it around his neck before his final fight with ares as a token of good luck and entrusting him with the home she wore around her throat…

12. the well-written conversations with the gods, though unexpected. grover being FAR more clever than he’s given credit for, manipulating ares’s tendency towards anger, bitterness, and pride to get what he wanted out of him. annabeth rejecting hephaestus’s promises of power and glory and the renewal of her mother’s favoritism and pride, something annabeth used to crave with her entire heart. annabeth echoing to hephaestus what she said to percy in the tunnel about him not being like the rest of their godly family and telling the god that she refuses to be like them too. that the way they treat each other and their children isn’t right, the same way percy insisted to her last episode. hephaestus being one of the only gods capable of empathizing with her and telling her “you’re a good kid, annabeth. i’ll put in a good word with your mom for you.” no one speak to me i’m unwell

13. timothy omundson in general…although i keep hearing him as lassie in my head 😭

14. ares negging on them and warning percy his dad’s mind is as fickle as the sea itself and percy won’t be able to hold down his father’s favor and percy responding by threatening the literal god of war in the most percy-like fashion

15. ares didn’t call twitter X. but now we know who’s behind the mentally ill stan wars

things they really didn’t need to change:

1. the one thing i am really miffed about it is them robbing thief annabeth from my cold, dead hands. i wanted to see her raid a store without a second thought and be a little gremlin!!! she has hermes’s influence all over her (thanks luke/being a runaway), let us see it!!!

2. percy and annabeth being slightly awkward at the entrance of the thrill ride of love didn’t carry the same humor as the book scene because they’re such children about it in tlt and annabeth is extremely flustered but we don’t see that here.

3. aphrodite’s scarf. it was a fun detail they could’ve kept. seeing percy making heart eyes would’ve been funny (and maybe a glimpse into future seasons)

4. percy seeing a clip of gabe being gabe and saying “im going to kill him” is merely a NUGGET of the hatred we should be seeing from percy for that man. especially in area’s presence which feeds off of and amplifies everybody’s anger and hatred and bloodlust. there still needs to be more build up to turning gabe to stone at the end of all this

5. percy blacking out from using his powers to get him and annabeth out of the water. while he’s nowhere close to being a master at his craft at this point in the books, and he is known to lose control, even as a more seasoned warrior, i don’t think what he did warranted a blackout. i feel like they’re underselling his innate strength a little bit.

6. overall, although it kind of worked out, there was just a lot of plot deviation from the books—grover not going to waterland, no mechanical spiders, percy and annabeth not jumping out the ride into free fall and being saved by grover wearing maia, although they crash into a billboard etc etc.

#pjo #percy jackson #percabeth #percy jackson and the olympians #pjo tv show #annabeth chase #grover underwood #anyway i realize i just wrote the whole episode my bad lol #my thoughts

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k-nonsense · 1 year

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My updated rankings/reviews of all the k dramas I have seen so far (up to 55 now). I would recommend any show I gave a C grade or higher, which is most of them. I bolded recently added shows.

1. Hometown Cha Cha Cha: An absolute masterpiece. It’s a heartwarming fish out of water story about a big city girl who finds herself in the quirkiest little seaside town. I wanted to stay in Gongjin forever. Grade: A+(Netflix)

2. Extraordinary Attorney Woo (S1): Delightful! Never have I ever rooted for a lead harder. She is the most endearing lead you will ever find. And the male lead is so so swoony. Grade: A+(Netflix)

3. Alchemy of Souls: The wildest of rides and the perfect blend of fantasy, adventure, mystery, comedy, and romance. The characters are just so lovable, you’ll never want it to end. Season 2 just as good as Season 1. Grade: A+ (Netflix)

4. Lovely Runner: the most beautiful love story ever told. ImSol and Sunjae forever! In every timeline! My only wish is that the drama would never end. Grade A (Viki)

5. My Demon: This show had me utterly enthralled, it was so mysterious and suspenseful and yet incredibly goofy and romantic. My new favorite main couple in all KDrama land. Yes it wasn’t perfect but I enjoyed it so much, it really encapsulated everything I love in a tv show. Grade: A (Netflix)

6. Love To Hate You: New fastest binge of my life. 10 episodes and I didn’t fast forward at all. There were no bad/slow parts. Also the funniest KDrama I’ve ever seen. Just watch it. You won’t regret it. Grade A+ (Netflix).

7. Business Proposal: It’s got every trope you can think of and it does them all to perfection. Plus it’s hilarious. Grade: A (Netflix)

8. Healer: This super romantic action mystery drama will keep you on the edge of your seat. Ji Chang Wook is equal parts sexy and adorable which is a seriously winning combination. Grade A (Viki). One caveat: I was very disappointed by a certain wardrobe decision in episode 3.

9.Her Private Life: Super funny and charming. The romantic leads have incredible chemistry. The premise is so good! Might be the one of the most rewatchable kdramas. Grade: A (Netflix)

10. Castaway Diva: Just utterly heartwarming. An instant classic. Ultimate underdog, redemption, story that teaches us what real love and family is. Also Ki-Ho is the new standard by which all men will be judged. Grade: A (Netflix)

11. Rookie Historian Goo Hae Ryung: Great strong female lead. Very good messages. Couldn’t stop watching. The most adorable prince I’ve ever seen 💜Cha Eunwoo💜 Grade: A (Netflix)

12. Bad Prosecutor: Absolutely thrilling and hilarious. It’s like a heist, detective, lawyer, action comedy that will keep you wondering who is outsmarting who? Super shocking plot twists. Amazing OST. Stuck the landing with a truly satisfying finale. Grade A (Viki)

13. Sh**ting Stars: Probable the biggest turnaround of any show I’ve seen (The “Africa” part was so problematic). However it turned out to be one of the funniest and swooniest KDramas out there. There are 5 couples and you will cheer for all of them. Grade: A- (Viki)

14. Strong Woman Do Bong Soon: The main couple is absolutely everything! Just fast forward through pretty much every side plot (they are not important) and you’ll love it. Grade: A- (Viki)

15. So I Married the Anti-Fan: It’s campy, fluffy, goodness, with a fierce female lead and a K-pop star enemy/love interest. 2nd fastest binge of my life. Grade: A- (Viki)

16. 100 Days My Prince: An absolute classic period drama romcom. Who knew D.O. could kiss like that? Such a great strong female lead. I LOVE a show with adorable, quirky, townspeople. Grade: A- (Netflix)

17. Romance is a Bonus Book: Might be the most romantic K-Drama I’ve ever seen. Nothing about the trailer or setup intrigued me but I’m so glad I watched it anyway. It was a truly beautiful love story. Grade: A- (Netflix)

18. Because This Is My First Life: This drama really does everything right for me… A slow burn romance built on mutual love and respect. Supporting characters who I genuinely cared about and had incredible side stories of their own. A critique of the patriarchy. Women supporting women. An adorable cat. Maybe a bit melodramatic at times but not too much. Grade A- (Netflix)

19. Start-Up: Exceptional acting, compelling storylines, intriguing plot twists, great cinematography, intense love triangle. It’s just all around high quality. Grade: A- (Netflix)

20. Run On: Cute, fun, silly and pretty light. I especially loved the supporting cast. Strange storyline but it was a fun easy ride. Grade: A- (Netflix)

21. Forbidden Marriage: This is a weird show, but weird in the best way. It’s like a comedy, horror, romance, fictional-historical. I don’t know how to describe it but it’s really fun. B+(Viki)

22. Soundtrack #1: Short and beautiful. I just loved it. No one does heart eyes better than Park Hyung-Sik. Grade: B+(Disney+)

23. Weightlifting Fairy Kim Bok-Joo: A bad-ass yet vulnerable female lead. The main couple just had a lot of fun together. Refreshing. Grade: B+ (Viki)

24. Doctor Slump: This show was a really nice journey of both mental health and romance. Grade: B+ (Netflix)

25. Welcome to Samdalri: Very heartwarming and beautiful story about love, family, friendship, and going home. It has quirky townspeople and Ji Chang Wook 😍 what’s not to love? Grade: B+ (Netflix)

26. My Lovely Liar: Creative and engaging premise, intriguing mystery, and a swoon worthy romance. A very fun viewing experience. Grade: B+ (Viki)

27. King the Land: This drama pretty much has no stakes or conflict and the main couple has THE MOST chemistry I have ever seen in my entire life. So if you just want to turn your brain off and be happy, this is the drama for you. I absolutely loved it. Grade: B+ (Netflix)

28.Law Cafe: This drama has so much to love, a strong/fierce/brilliant and morally righteous female lead, lovable side characters, steamy romance. But what I loved most was how the show spotlighted important issues like consent and abuse in nuanced and progressive ways. Yes it’s a fun rom-com but it felt like the beginning of a new chapter of more egalitarian storytelling which made me really excited for the future of k-dramas. Grade: B+ (Viki)

29. Not Others: A lovely Gilmore Girls type show about the relationship between an immature mother and her very mature adult daughter. It was a pleasure seeing them grow in their relationships with each other, others, and themselves. I want more! Grade B+ (Viki)

30. Cheer Up: Sports, comedy, romance, mystery, suspense, coming of age, this show had everything. The female lead was the lovable, feisty, driven, and brave. The male lead was adorkable, considerate, and sweet. It’s all very enjoyable and wholesome. Grade: B+ (Viki)

31. I Am Not A Robot: Zany premise but it was surprisingly pretty grounded for how crazy the set up was. It’s funny, emotional, good story telling. Great character development. Grade: B+ (Viki)

32. See You in My 19th Life: The shared experience of watching this mystical mystery drama week to week made it a really enjoyable watch. Not sure if it was totally satisfying, or that any of the couples’ chemistry felt authentic, but it was a very interesting and creative storyline. Grade B (Netflix)

33. Summer Strike: This show made me cry a lot. It’s heartbreaking yet healing. I’m still not sure if I liked watching it or not but it was a beautiful story of found family. Grade B (Netflix).

34. Shopping King Louie: Adorable! So many light fluffy feels for this show but it does drag a bit in the second half. Grade B (Viki)

35, Fight For My Way: Such lovable leads. Love the fierce female lead and adorable himbo male lead. It’s like a coming of age story but for 30 year olds. Storyline was ok. Second couple was skippable. Grade: B (Viki)

36. What’s Wrong with Secretary Kim: More PSJ is always a good thing. This drama did all the tropes in ways that didn’t always feel fresh, but it was very romantic and hilarious. A true classic. Grade: B (Viki)

37. Touch Your Heart: If you can just stick it out through the first few very shaky episodes, you will enjoy this adorable, fluffy, series. Grade: B- (Netflix)

38. Doom at Your Service: It was sometimes real sad yet ultimately a heart warming mystical story. Grade: B- (Viki)

39. True Beauty: Fun, cute, teen drama however, it’s a little too “antsy teen” for me. Cha Eunwoo though💜 Grade: C+ (Viki)

40. Destined With You: The chemistry between the main couple was absolutely sizzling. Rowoon was both hilarious and next level adorable. However, the plot and the characterization of women occasionally made me very frustrated. Grade: C+ (Netflix).

41. Suspicious Partner: Great story, great characters, attractive actors, beautiful romance, interesting plot, sometimes funny, sometimes suspenseful, but with 40 episodes, the plot was dragged. Grade C+ (Viki)

42. Crash Landing On You: The first half is GREAT but the second half is way too melodramatic for my taste. It’s a very interesting storyline, the main couple has insane chemistry, and there are very lovable side characters. Grade: C+ (Netflix)

43. Secret Romantic Guesthouse: First few episodes were a fun scooby gang mystery, middle episodes were super boring, last 3 episodes were crazy fast paced and thrilling. It ended well- I’ll give it that. Grade: C (Viki)

44. Dear.M: It was inoffensive and decently entertaining. If you like school dramas, you’ll probably enjoy it. Grade: C (Viki).

45. A Good Day To Be A Dog: The storyline is bonkers but very intriguing. It started off so well but the storyline lost its way in the back half. But hey, Cha Eunwoo + dogs, it’s worth the watch. Grade: C (Viki).

46. Angel’s Last Mission: Love: This drama was very similar to Doom At Your Service but it was more a bit more redundant with all of the tragedy and crying. I LOVED the chemistry of the main couple but I found myself fast forwarding a lot. Grade: C- (Viki)

47. Marry My Husband: Episodes 1-11 were phenomenal. Such an interesting premise with shocking twists and turns. After episode 11 it seemed like there were new writers who had never seen the show. Very disappointing but top tier villains. Grade: C-

48. Our Beloved Summer: I LOVED V’s “Christmas Tree” OST however I struggled to keep watching. Boring storyline but great acting. Grade: D+ (Netflix)

49. Heavenly Idol: An absolute hot mess. It was completely convoluted and just low quality but I also weirdly liked it. I can’t bring myself to rank it higher because I know how bad it was but I actually enjoyed it better than many shows I ranked ahead of it. Grade: D+ (Viki)

50. My Secret Romance: The story of a total screw up female lead falling for a manipulative, gaslighting, hottie. It was problematic yet fun? So 🤷‍♀️ Grade: D+ (Netflix)

51. My Man Is Cupid: Pros: many cute dogs, sometimes those dogs wear human clothes, cute ending. Cons: Makes no sense, not much chemistry, murder plot takes up too much time. Grade D+ (Prime).

52. She Would Never Know: As handsome as Rowoon is, I found his character problematic at the beginning (no means no buddy) but he did get a lot better as the show went on. I just ended up skipping to watch just the scenes with the main couple, which made the show way more enjoyable. Grade D (Netflix)

53. My Love From the Star: I found myself fast forwarding a lot through all the parts that didn’t involve the main couple and most of the flashbacks. Grade D (Viki)

54. Goblin: The age gap is too disturbing for me, like call the police disturbing. However, the Grim Reaper who is one of the most adorable characters I’ve ever seen. Grade: D- (Viki)

55. Extra-Ordinary You: I have never felt so betrayed by a second half of a series as I did in this one. All of the character development that it seemed to be leading to was replaced by a pretty sickening codependent relationship. Grade: D- (Viki).

Currently Watching: Going Seventeen, Ateez Wanteez

Dramas I’m Thinking About Watching: Gaus Electronics, Bad and Crazy, Hospital Playlist, Another Miss Oh, Oh My Venus, My Roommate is Gumiho, She Was Pretty, Crash Course in Romance, Soundtrack #2

Dramas I just couldn’t Finish (I’m sorry I tried): Today’s Webtoon, Once Upon a Small Town, Love in Contract, Hotel Del Luna, Kings Affection, Record of Youth, Behind Your Touch, Sparkling Watermelon, Tale of Nine Tailed 1938, Strong Girl Nam Soon, The Story of Park’s Marriage Contract, Wedding Impossible

What are your thoughts on these shows? Do you agree or disagree with my rankings? Any k-romcom recommendations that are not on the list yet?

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