Not to be like this but if I had a fan favorite character I wouldn't kill them in the final season for "shock value"??? (Read: because I hate my fans)

IF 👏🏼 YOU 👏🏼 ARE 👏🏼 MAD 👏🏼 THAT 👏🏼 THE 👏🏼 SHOW 👏🏼 ISNT 👏🏼 A 👏🏼 PERFECT 👏🏼 CARBON 👏🏼 COPY 👏🏼 OF 👏🏼 THE 👏🏼 BOOKS 👏🏼 THEN 👏🏼 LISTEN 👏🏼 TO 👏🏼 THE 👏🏼 AUDIOBOOK 👏🏼 WITH 👏🏼 YOUR 👏🏼 EYES 👏🏼 CLOSED 👏🏼 AND 👏🏼 MAKE 👏🏼 ONE 👏🏼 YOURSELF

fellas i caved and started reading the fanfiction. NOW i thought i avoided the spoilers but they breezed over the events of a couple relevant episodes and you’re telling me THIS

IS CANON ??? COMPLETE ?? STONE COLD ?? SEASON 2 CANON ???

i feel faint. i thought the author was embellishing because they DID divorce shannon and eddie but you’re telling me that someone told buck to his face they thought he had a kid with eddie and he just… says thank you ??? AND GOES ???

god i am not your strongest soldier these two men will be the death of me

house md is in a way extremely groundbreaking and no show has gotten even close to what it managed to do. house is a disabled character who stays disabled for the whole series and yes he is a flawed and damaged person and his bad actions are in line with his character and dealing with chronic pain. he changes even though he is adamant for the whole show that people don’t change. house becomes self sacrificing and learns to love in his own flawed way. he goes to therapy and seeks help and support and he is 100% not the same person he started out the series as. there are canon queer characters that aren’t only treated as jokes and have actual three dimensional character arcs. there are unhealthy relationships and healthy relationships. there is loss but it’s not treated as shock value. actions have consequences. characters stay and go. house md is just as real as it is outlandish at times. it skirts the line with absurdity and realism. it’s beautiful and tragic and at it’s core it is a story of love and becoming a better person despite your trauma and flaws. it doesn’t treat house’s trauma and disability as an excuse for his actions but it’s why he is who he is. and despite all of this, house is happy at the end of the show even though the one person he truly loves, his male best friend, is dying. they could have gone the conventional route and gave wilson a female love interest who is actually good for him at the end of the show and yet they choose to have him run away to spend his final days alive with house. and this show ended before gay marriage was legalized. oh my god.

You cant eat all of that idiot

I have mixed feelings about Tim but I genuinely respect him for at least being honest about this (x)

you know a show/book/media did something right when the fandom writes fanfics that are an extension of canon, rather than a rewrite of canon

Man, to have this story be about a girls’ soccer team in particular. Girls, who are taught to play by clean rules of society that must be actively unlearned in the wilderness. Athletes, who famously operate on superstition, rituals so easily transformed in crisis to matters of life and death. A team, which fundamentally cannot succeed if all parties aren’t working in tandem for the good of the whole. It’s so smart, and so simple, and goddamn, I love Yellowjackets.

Another direct quote from 40’s radio show Clark! This line just lives in my head rent free, he’s always just so excited to break shit 💀💀

COMMISSIONS OPEN

Kinda part 2 of this? (not really but it’s also fanart of radio Clark)

ID under cut;

Image 1:

3 panel vertical comic of 1940’s radio show Superman

Panel 1; Superman is hovering over a lit roof window, he’s smiling and holding up his right hand in a fist saying “there’s the skylight!”

Panel 2; Close up of his fist as he punches and breaks the window with a *krrk* sound effect

Panel 3; back to full body shot of superman now with his hands on his hips and smiling triumphantly over the now destroyed window as he says “there WAS the skylight!”

Image 2;

A digital drawing of Superman in the centre of the canvas sitting crisscrossed his left hand waving and his right neatly in his lap as he beams at the viewer. There is a hard yellow light coming from the audiences right hand side and a yellow dotted rectangle in the background to help highlight Clark. Text with an arrow pointing to Clark on his left side reads “nuisance to property everywhere”

apparently this is how the cool kids are arranging their kin lists right now

WAIT WAIT

I just realized.

Since that photo appeared in the present timeline, it means Sol34 going back has already altered the present.

MEANING the scene where Sun Jae stopped beside the road to share an umbrella with her when she told him "I'm your fan" now has Sun Jae REMEMBERING the same "I'm your fan" from when they were younger.

MEANING not just the umbrella and the candy but the "I'M YOUR FAN" was something she clearly couldn't remember. FOR 15 YEARS.

Laena’s death scene still infuriates me.

I just need to know if people love or hate him and if they think he's good at being so bad. I want to know what the people think of him as a character. Pls. Pls. Tell me what u think of him in ur tags.

Stan Edgar's and Homelander's relationship: my two cents

Tl;dr: Stan Edgar's show-canon relationship with Homelander presumes (and loosely establishes) the relationship between comics Homelander and James Stillwell, including James' Stillwell's extreme confidence vis-à-vis Homelander, which explains a lot of Stan's more insane choices provoking Homelander, but I remain naively hopeful that the show also means to show us in the end that he has miscalculated.

Following up on this post trying to figure out what the hell Stan Edgar's end game is with Homelander, I just want to add a small point to what I think is an excellent discussion because I think you can't really answer the question of Stan's intentions via-à-vis Homelander without establishing what the show-canon relationship between the two is supposed to be (even if the execution is done badly). Personally, I think show canon tries to do one of two things: 1. take the canon relationship in the comics and twist it by having "James Stillwell"/Stan Edgar miscalculate or 2. take the canon relationship in the comics and keep "James Stillwell"/Stan Edgar as the mastermind. My guess (and hope) is that they are going for number 1, but who knows, maybe there's some secret third option.

Either way, what is clear is that the show is trying to replicate, in some form, the dynamic that exists between Homelander and James Stillwell in the comics. That's apparent when Stan Edgar tells Starlight that Homelander will stay in line as long as he is in charge, which is supposed to establish that Stan Edgar is 100% confident in his ability to manage Homelander no matter what.

(It is also hinted at from Homelander's perspective when they replicate the comics plot point that Homelander is confused by/scared of his blood pressure/heart rate/whatever other readings he gets, and when he wonders if Stan Edgar is the headpopper because he thinks he must be a very powerful supe due to his lack of fear.)

Seriously, I think the sentence above is central to understanding the relationship. BUT, interestingly, when he says "and we both know why", the viewer doesn't know why, and this is where the show could have really done a better job explaining it.

This is a problem with many of the points taken directly from the comics because they are casually imposed on the show without properly "translating" them to the new medium and the new storyline to actually make them significant to the show (instead of just mentioning them on the side). Another good example of this is Maeve's alcoholism. We see her drinking in S1E1 during a work meeting, then we don't see her drinking in meetings again though she still has occasional drinks, and in S3, she tells Butcher she's been sober for X months. But that's really all we see of it -- it never becomes a major point in her character arch and gets lost easily. So from a storytelling perspective, that's dissatisfying. Either weave the point properly into the character's arch, or leave it out entirely.

So anyway, back to the main point, which is that the show presumes the relationship from the comics and makes it visible here and there. I think they do a slightly better job with Homelander and his relationship with Stan "James Stillwell" Edgar than with Maeve's relationship with alcohol, but the point is still not translated very well. However, what we can take away from it is that for whatever Stan Edgar does, he always proceeds from the assumption that he has Homelander 100% under control, same as when James Stillwell tells an enraged Homelander, who has come to kill him, to do it already because he is bored out of his mind by his rant.

That is the level of confidence that should be assumed behind every single of Stan's actions that affect Homelander. My personal take is he takes some joy in humiliating Homelander and getting away with it, especially since this person he considers largely irrelevant to the company's bottom line has just given him a ton of extra work.

I did also consider the possibility that Stan is doing this strategically to show who the real boss is and bring Homelander back under his thumb, and I guess that's possible given that he has just had to deal with two Homelander contingencies in a row -- the supe terrorists and HL discovering Ryan. That would seem like a good time to reassess his prior assumptions about his control over HL. But I do think his confidence in his ability to manage HL is supposed to be taken as real and not just an act in S3, so my personal headcanon is that Stan is being petty. Homelander annoys him, so why only punish him once if he can do it -- cost free in his mind -- over and over again?

Anyway, my hope is that the show is going with having Stan Edgar miscalculating instead of masterminding. I don't want a "Stan as puppet master who saw every single one of Homelander's moves coming" storyline, but based on the way the scene between Homelander and Stan Edgar on 99 was done, miscalculation also seems more likely, because Stan does slam the glass down on the table as he leaves the room, which I'm guessing is meant to indicate that despite his blood pressure and calm demeanor, his blasé attitude was an act and he is waking up to the fact that, oops, he did miscalculate.

That doesn't answer all the questions, such as why choose Starlight over Maeve, but I mean, the answer to that one is pretty evident from a storytelling perspective: if you have a central heroine and a character who will leave the show at the end of the Season 3, which of of these two characters are you going to put at the center of a major conflict? Obviously the one who is your main heroine. Bringing in a new person mid-season just for this would be... a very questionable choice in any writer's room.

Anyway, I would also argue that in this case, it doesn't really do much harm to Stan's character building and story arch. It's totally in line with his own and Vought's overall ethics that they would discard a woman who, by industry standards, is old, and go for a fresh face, their rising star, a person Stan presumes to still be impressionable and malleable -- he knows how to work with people like that. Sure, she may not be as young as Vicky was when he got to her, but it's reasonable he would assume he could shape her more easily than Maeve, so I really don't see any plothole here.

Starlight's relationship with The Boys is irrelevant because Stan canonically does not see The Boys as a threat. He may not love Butcher, but he's good enough to form a temporary alliance with, and Stan certainly does not view him as a existential threat to himself or to Vought. That may be another miscalculation, but for the time being, given Butcher's hyperfocus on Homelander and his inability to see the big picture about Vought, it seems fair enough. Stan also doesn't believe that he's giving Starlight a whole lot of power with the new position. The co-captains are performing monkeys in his mind (just like Homelander himself has always been), so the risk, to him, is not much higher than having her join The Seven in the first place.

It certainly doesn't answer the question of why Stan put Stormfront in The Seven given what must be a very complex relationship between the two. Clearly, she's influential at the company, clearly, they work together (she does the high risk stuff for him so that he can maintain plausible deniability and distance himself from the ugliest parts of Vought's medical experiments), clearly, they do not like each other (unless there's something we don't know). But perhaps that's their deal: Stormfront does the ugly stuff for Stan, Stan gets her closer to her beloved Nazi-ideal-conforming potential son-in-spirit. Obviously, their exact relationship is never explained directly. It's either a plothole or a plotline that was left open because it will be closed later, or a plotline that was left open and will remain open because the way shows are written means not all loose ends are tied up in the end. Personally, I don't think we'll see this one resolved.

Anyway, best case scenario, the show will deliver as a twist on "James Stillwell" as someone who miscalculated on multiple fronts (mainly Homelander, possibly Butcher, but that's probably just my pipe dream lol) thanks to his overconfidence, and gets destroyed along with Vought as a consequence. Worst case scenario, this will all fizzle out and not be resolved properly as the show descends deeper into the contemporary American politics non-plotline.

Anyway David Jenkins created something awesome and so did everyone who works on that show. I so hope we get a Season 3. I hope DJ knows how awesome he is and how awesome his team is that made this show. Just…. Wow. What a ride.