#Getting (even more) Meta With Tropes

[absolutebl]

TOP 10 BL Trends of 2023

This is just me with my analysis hat on. 

1. 2023 = the year EVERYONE went outside their lanes

Everything went topsy-turvy this year in BL. 

For example, Korea gave us agonized yearning and outright queerness (The 8th Sense, The New Employee) while Japan served up soft office workers and tender family (Our Dining Table). 

The BL world went askew for a while, especially in the spring of 2023. 

Not that we still didn’t still get Korea’s soft angsty bubbles or Japan’s “what are you doing and why does it hurt?” kink-fests. But there were quite a few BLs that made us chronic watchers sit up in confusion and wonder if Korea was dabbling in Taiwan’s territory or Japan in Thailand’s. Then they fudged the kisses and we were like... okay, back in familiar territory. 

In contrast, Thailand stayed course-correcting for the damage they’ve done in the past with tropes (2022) and self referential meta criticism (2021), but also almost aggressively returned to their BL roots after last year’s series of shockers. Certainly, they are reexamining those roots, transplanting some, aerating others. But they really went back to classic Thai university and high school BL and pulps in a big way in 2023. 

Taiwan is always difficult to gage because they produce so few but they seem to have stuck with what they do best with no deviation while producing more this year than they have in ages. I’m happy for that, why change a good thing? But there is a tiny part of me that really wants them to hit it out of the part with a quality piece soon. For me, We Best Love still reigns supreme, but I would really like the HIStory franchise to give us that level but longer - like a happy version of Your Name Engraved Herein. I think Taiwan has the chops to give us something as good as The 8th Sense or Old Fashion Cupcake but in their style, and I would like to see them exercise their talent for good rather than just profit. 

I know, what a very odd thing for me to say. But if any BL is going to break into the mainstream American market, I genuinely think it’s most likely come from Taiwan. 

Vietnam and the Philippines are falling behind, in general. They just didn’t bring out very many shows in 2023, and what the brought out tended to fub the endings. This is forgivable in Japan (because of their style and quality) but not what watchers want in the lower production value propositions. In other words, if you do a pulp, you can’t mess up the ending (by romance standards). that doesn’t look to be changing anytime soon. 

2. The Office Romance Dominated

After years of Thailand serving us an endless (and slightly bland) buffet of university (and a few high school) BLs, this year Korea was basically like...

Ofiice. We like the Office. It’s cheap to film we can use grown up actors, acting (mostly) their actual age. 

And yeah... it totally worked. 

To be fair, Japan has always given us office live action yaoi from the beginning (they had the source material) but this year everyone else, including Thailand, seriously started playing in this setting. 

3. Boys Danced with Boys

The darling @heretherebedork​ was a big fan of this one, and I rather like it myself. Prior to this boys dancing together was very very rare in BL, but this year we got way more than our fair share. It was lovely. 

Never Let me Go

My School President 

Bed Friend 

The Day I Loved You 

Step by Step

Be Mine Superstar

Tie the Not 

Dangerous Romance

I think there were a few more. These are the ones I remembered to write down. 

4. Getting (even more) Meta With Tropes 

BL has been getting more and more meta over the past few years but this year they really focused in on tropes specifically. Calling out their own biggest and most favorite tropes in a massive way, especially Thailand and especially GMMTV. 

Like they tunneled in on damaging tropes with Bad Buddy and the like over the past 2 years, and now they are just having fun with us. 

I mean they just started the dancing trope and already they are calling it out? That’s like rapid-fire regurgitated meta there, GMMTV. 

5. Cameos are the norm now 

Taiwan has always loved cameos but in the past the other countries have been show and steady with only one or two a year. (Unless Japan does a parody.) 

This year Korea got in on the game.

Korea rarely starts trends but they do adopt smaller and lesser known existing ones and make them super popular. 

This year they did that with cameo couple appearances, even borrowing a few of Thailand’s pairs (TutorYim and MaxNat traveled north). They did it so much I stopped tracking. Love Class 2, Why R U?, and Jun & Jun were the heaviest hitters. 

Taiwan, of course, came back swinging. Kiseki was the gum-ball machine of pair cameos. (In Taiwan mafia = gay.) 

6. We are entering the cross pollination age

The number of remakes picked up or started this year was startling, not just countries revisiting their own content (Thailand, Japan) but countries revisiting OTHER countries stuff.

Lemme explain...

Korea has started remaking Thai content (Why R U?) alongside cameo'ing Thai pairs.

Thailand is doing Korean IP (My Dear Gagster Oppa) and has 2 Chinese ones slated for next year. 

GMMTV acquired a lot of Japanese IP (Cherry Magic, Ossen, and My Love Mix Up) - and then had problems distributing it. 

This is probably the most surprising trend for me. Especially the Japanese stuff. I would have thought these properties well outside of Thailand's price range (even GMMTV's) not to mention Japan’s legendary IP issues (I swear I typed this pout before the pulled TayNew’s excellent Cherry Magic). 

Also why not option some of the older popular manga instead? Bet that's much cheeper. (I did see a NEW Thai translation of Finder into Thai, which is 90s yaoi, so I have my fingers crossed on that front.)

I shouldn't be too surprised. 

Thailand is running out of y-novel content. Their publication industry is just not robust enough (I was just talking to a friend about this at length recently). But I didn't think they had the funds to option, especially from Japan. 

Perhaps the option deals are for peanuts?

7. Korea got cheeky

I’m not sure quite how else to put this. 

After finally figuring out boys can kiss, Korea started to do not just higher heat but playful higher heat, with more aggressive word play and linguistic innuendo, like they are entering their racy rom-com teenage years (Why R U? Love Class 2 and Jun & Jun in particular.) 

I guess: Welcome to your BL teens, Korea? 

It’s cute of them. I am very much enjoying it. 

And now that comedy is warming them up, we get to see them play with actual queer burgeoning physicality in shows like The 8th Sense. 

It’s nice. I like seeing Korea stretch its wings. They still stick to their bubble, but that bubble seems to be expanding. 

8. The Amnesia Trope is back

And I, for one, would prefer to forget about it. 

9. BL got trendy 

I’m not quite sure how to articulate this category but basically we started seeing a lot of “modern” romance trends out of the west (like a/b/o) show up in our BL. Not a ton and sometimes quite small, but there has a been a steady rise of things like: no seme/uke, femme gay, out gay, condom use, messy gay. 

We also got an increasing range of sub genre frameworks (like mafia, office setting) that’s moved BL pretty firmly (even in Thailand) out of school and into the workplace, whether actual working is involved or not. 

It’s not to the point where it feels like we get more non-school BL than school BL (if I include all countries in this assessment).

Japan, in classic Japanese fashion, quietly started moving in the opposite direction. It’s what they do. 

10. The Vampires are coming 

This is an announcement trend, which I don’t usually report on but it’s so CLEAR. 

So last year we had a spate of announcements of possible Omegaverse (2 from China, 1 from Japan, 1 from Thailand - the only one that’s happened). 

This year we got 5 Vampire (or vampire-esk) Thai BLs announced including one from GMMTV. 

Whether all 5 will actually get made is unlikely, but having had (basically) none prior to this (Kissable Lips), I’m pretty confident that we will get at least 2 of them. And I wouldn’t be surprised if at least one other country made one as well. (Side eyes Taiwan with interest.) 

Final thoughts

It feels like we are also seeing a decline in BL (both by quantity and quality) from Vietnam and the Philippines. As you all know, I don’t track or really watch either of these two very closely. But it feels like, now, no one else is either. 

I think we have likely seen the BL heyday already in both places and their industries are now on the decline. 

We might be witnessing a thinning in the players in the BL field. 

FYI we had approximately 

136 BLs in 2023

Previous Years

2022: 117

2021: 95

2020: 62

2019: 40

2018: 30 

2017: 44 (China’s last gasp)

2016: 27

2015: 17 (50% micro)

2014: 17 (50% micro)

And that’s it! Let me know in the comments if you’ve spotted any additional trends you want to call out.

Last year, 2022′s trend report

2021′s Trend report

Last Year’s Stats & Predictions

(source) 

#bl 2023 #bl trends 2023 #film trends 2023 #EVERYONE went outside their lanes #The 8th Sense #kroean bl #thai bl #The Office Romance Dominated #bed friend #Boys Danced with Boys #the day i loved you #Getting (even more) Meta With Tropes #hidden agenda #gmmtv #dinosaur love #love class 2 #jun and jun #We are entering the cross pollination age #why r U? #Korea Got Cheeky #The Amnesia Trope is back #BL got trendy #The Vampires are coming

[musical-chick-13]

I think people who pick one character from AsoIaF/GoT to be The Protagonist are missing the point, because pretty much all of the characters think THEY are The Protagonist™ and that’s ultimately what screws them over.

(I also want to preface this by saying that that’s the reason I find these characters so interesting, and that this is not meant to insult any of them. I LOVE this story, and this is one of the many reasons why.)

Cersei thinks she’s the Villain Protagonist™ of a gritty drama. Even if it doesn’t make sense for things to work out for her, she assumes they will, seeing everyone around her as faceless idiots serving her narrative. Anyone and everyone will betray her because that’s what always happens in stories like this, so she won’t give them a chance to ever get there. People will move the way she assumes they will; everyone is predictable and stupid and shallow and cowardly. And as such, no one possesses the necessary skills to take her down. If she’s more ruthless and ambitious and paranoid than everyone else, she’ll get what she wants. But that’s not how life actually works, so all she does is alienate those around her, even necessary allies. People aren’t always predictable, not all of them are compliant or subservient or easily-frightened or incompetent. And if you prioritize ruthlessness and distrust, the people who aren’t those things aren’t going to see any reason to keep you around or give you aid.

Jaime thinks he’s a Cynical Misunderstood Antihero. He doesn’t need to work on bettering himself or de-internalizing his violent impulses, because he’s not the problem, it’s society, it’s people’s incorrect assessment of him. Look, he made a friend in Brienne, that must mean he’s not all bad, right? He thinks this story ends in a Public Image Rehabilitation, but he still conflates love with violence, and he still has a fucked up relationship with consent, he’s arrogant to a fault, he still insults Brienne (and just about everyone else) when the opportunity presents itself, and he never bothers trying to change that. And it’s all of this that prevents him from every truly becoming a good person. He’s so mired in this idea of being misunderstood that he doesn’t make a concerted effort to prove that he actually is. People think he’s an oath-breaker, that he has too big of an ego, that he doesn’t care about the people he swore to protect, and he thinks that simply going, “Yeah, but they don’t have the whole picture” is enough in and of itself to prove them wrong because, in a lot of stories, it is. But all his behavior does is cement his reputation as these things.

Dany thinks she’s The Chosen One, which means whatever she does is automatically the right decision. People will accept her rule because it’s hers, she deserves it, it’s morally right. All of her enemies are blanketedly wrong on all accounts in all cases. Her goals supersede anyone else’s because those goals are the way to a Happy Ending, and she doesn’t consider that other people might not see it that way. Many people’s gripes with her stem from gross places like misogyny or wanting to continue keeping slaves, but she forgets to acknowledge that some people’s issues with her might actually be valid. And that The Chosen One is actually a terrifying idea to people outside that person’s immediate personal context. She has three sentient WMDs, essentially. And if she thinks that using them is always morally correct, that the fallout from doing so can’t possibly be a problem because she’s using them and it’s for a noble cause, you end up with what happened in Astapor; and you end up with Drogon killing a child in Mereen and, eventually, her demise at the end of the show.

Sansa starts out thinking she’s an Optimistic Child Hero in a fairytale. This leads to her being held captive at court (she trusted that the authority figures were benevolent), writing a letter to her family that almost comes back to bite her to a deadly degree once her sister finds out in the show (she thought she could solve everything herself via a peaceful resolution), and to her trusting a complete monster of a boy until it’s too late (she thought he was Prince Charming). She thinks that being the Soft, Beautiful Heroine means people will love her and everything will end nicely and neatly, but sometimes instead of “love”, people just take advantage of you. And sometimes their reaction to your beauty isn’t innocent appreciation-sometimes you end up with Littlefinger. (Or Tyrion or The Hound who...let’s just leave it at “they have their own issues,” especially book-wise.) This morphs into assuming that a fairytale-esque betrayal will befall her with every new person she meets. It’s why she defends Petyr after his murder of Lysa, and it’s why she doesn’t leave with Brienne; if she’s going to be betrayed anyway, she might as well at least stick with a villain she understands.

Ned thinks he’s the Noble Hero in a typical fantasy series. He doesn’t consider everyone else’s capacity for cruelty or the idea that honor alone might not be enough. Sometimes there are no perfect choices, sometimes mercy does not give you the end goal you envisioned, and sometimes you can try your best and that can all be undone by one impulsive, unforeseeable action. You can’t honor your way out of ruthless political conflict.

Robb thinks he’s a Romantic War Hero, and thus everything will magically work out for him. His ideals and his marriage will conquer everything. But he broke a marriage promise to a powerful family, and that has consequences. The world won’t bend to his will, not even if he is doing the right thing or has noble goals, not even if he’s had war success, not even if the people at home love him, not even if he’s in love (show) or doing the most honorable thing he can (books). He thinks that being the hero means he can make it through Westeros without having to play the game, and he gets murdered for it.

Theon thinks he’s an Underdog Outcast Hero. He’ll come up from behind with an unsuspecting War Victory, and that will earn him respect, the love of his family, and a legacy he can look back on with pride. And that mindset leads him to murder two children, to drive away any allies and good grace he had at Winterfell, and the reason that the War Victory he imagined was so unexpected is because it’s completely untenable. He gets more and more desperate and it’s increasingly harder and harder to hold onto the control he’s managed to obtain. He has reasons for wanting this that make sense, and he’s been dealt a pretty bad hand in life, and he thinks that’s and his determination to overcome his personal identity struggles is enough to not only justify his actions, but ensure that those actions will be successful. And then his plan blows up in his face, he assumes he’s been miraculously saved (probably still having something to do with seeing himself as The Unexpected Hero), and ends up at Ramsay’s mercy.

Arya thinks she’s a Badass Heroine in the making, a skilled swordslady and Rebellious Princess who’s destined for more than this stuffy life of politics and dresses and formalities. But rebelling isn’t always enough. It doesn’t help with the Mycah situation, and she still needs to rely on others’ help in getting out of the city after Ned is executed. When she does try to embrace the “fully self-sufficient sword lady” idea while with the Faceless Men in Braavos, she is told to functionally discard her identity completely. She does an unauthorized kill because she, not her assassin-persona-in-training, wants to (though the victim’s identity differs in books and show), which leads to her being temporarily blinded and prevented from going on assassination missions, and outright forced to beg for food in the show. In the show, after being reinstated as an apprentice, she is tasked with killing an innocent person, refuses (rebels), and realizes that this life is one she can’t handle. She goes home, and her heading straight for her sword is one of the things that almost completely ruins her relationship with Sansa. In the upcoming Winds of Winter release, her chapter excerpt has her prioritizing revenge over her apprentice duties, and she remarks that her new identity is ruined with this rebellious action. When you rebel, there are consequences-this doesn’t change just because your intentions are good or because you are or think you are important.

Jon thinks, similarly to Ned, that he’s The Good Guy, that doing the right thing, that following The Code is paramount. He thinks that, because he’s The Good Guy, that doing the right thing with the maximum amount of good for everyone will always be a workable option, and that the heroic option will always yield the best result. This is why he thinks proclaiming his love to Ygritte in the show will end well (because love is good and conquers everything) and is, instead, shot by her several times. It’s why he doesn’t foresee a mutiny in either medium, which leads to his (temporary) death. (Let’s be real, he’s getting resurrected in the books, too, this is the one thing I’m sure of.) Because yes, everything is tense and he’s on bad terms with the Watch, but surely they wouldn’t go that far. It’s rough going, and he has to juggle the needs of several widely different groups of people, but he’s doing the right thing and that will win out; his conviction will protect him, at least for the time being while he tries to manage the bigger threat of the White Walkers. The real fight is with them, the mysterious overarching enemy, not within his own ranks. This is a story where everyone puts aside their differences to fight a greater threat-except for the times when it isn’t.

Even Catelyn isn’t immune, as she assumes that Petyr, since he’s her childhood friend, is invested in solving the mystery of what happened to Bran when he tells her the dagger used in the attack was Tyrion’s. Lysa is her sister, she can’t possibly be suspicious. She thinks the Lannisters are evil, her instincts tell her that they were behind everything, she’s the Protective Mother Heroine, so she must be right. But although she is to a certain extent correct, that’s not the complete picture. And this slightly-misplaced confidence leads her to arrest Tyrion, the retaliation of which is Tywin siccing his forces on her homeland, one of the major first steps in the upcoming political war. Then, her continued focus on saving her children-something that must take precedence because they are her children, and this is her story-leads her to taking Walder Frey’s supposed offer of a fix-it solution for Robb breaking his marital pledge at face value, despite House Frey’s reputation, and despite this neat resolution seeming far too good to be true. She’s so focused on the Lannisters-the Obvious Endgame Enemy-that she doesn’t consider the possibility of betrayal from the Freys. She thinks that the world is giving her a break-because she is so desperately looking for one, because she deserves one, because her family deserves one, and those are reasons enough for her to have one-that she doesn’t even bother to re-evaluate the situation until it’s too late.

Melisandre thinks she’s a Religious Hero, but she ends up burning a child alive and alienating one of her few remaining allies in the process (and Davos was barely an ally to begin with). She thinks she’s Doing What Needs To Be Done to serve her savior, but it hurts Stannis more than it helps him, and he just ends up being murdered by Brienne. This is obviously in the show only (at least at this point), and I don’t know if Stannis is going to burn Shireen in the books or not. Stannis thinks he’s the Lawful Hero, and thus, because according to law he’s the Rightful Ruler, anything he does is automatically excusable; he’s just righting a wrong. And in the process, he imprisons his closest friend, has a hand in murdering his brother (when kinslaying is one of the most universally hated breaches of conduct in this fictional universe), allies with a dangerous woman that much of his own court despises, and, in the show, murders his only child and drives away most of the rest of his remaining team.

They all think that, since they are the main characters of their own stories, that they’re the main character of the larger, overarching narrative. That having understandable reasons or sympathetic qualities or even just having a clear goal that they desperately want, that’s enough to cement their importance. And they think that means that they’re justified in everything they do, that everything will work out for them, that the consequences will be lesser for them than for others, because that’s what it’s like to be the main character. The whole point is that there is not A Protagonist™ and that maybe we should examine why a story needs A Protagonist™ in the first place and what that narrative tradition tells us. When GRRM said he turned down adaptation offers because they only wanted to focus on Jon and Dany, this is why.

#asoiaf #got #asoiaf meta #got meta #most of this is directly related to everyone deconstructing the archetypes they would represent in other stories #so I'm not sure how much of this is just 'deconstructing tropes' and how much of it is 'Main Character Perception Syndrome' #also obviously this isn't every character I ran out of room and honestly some of them like davos and brienne and maybe even loras #probably don't think they're The Main Character which there's a whole other essay in there about how they're The Good People #I personally think Bran never gave off 'I think I'm the main character' energy but I know haters will disagree with me on that #like...Idk his sense of self-worth kind of went away and he spent a bunch of time trying to get it back and figure out how to get by #in a society that now thought he was worthless. and how to get enjoyment out of life when his goals were no longer reachable #it read less as 'I think I'm more Important™' and more 'I'm just trying to survive man' but also I love bran I might be a little biased lmao #cersei lannister #jaime lannister #dark!dany #sansa stark #arya stark #theon greyjoy #jon snow #catelyn stark #robb stark #ned stark #melisandre #stannis baratheon #I take my life into my own hands by putting actual names in the tags but I talk about these characters and I don't know how else to tag #this to ensure people who don't want to see it won't have to see it #also for anyone wondering where tyrion is on this list: I was too tired to delve into this phenomenon regarding him because it is ESPECIALLY #prominent regarding him. and this post was already so long and talking about tyrion in this context probably would've made it TWICE as long #there genuinely isn't enough space in here to include him but know that I'm counting him too. most definitely #behold! a creation!

[themidnightcircusshow]

I said I was going to write a post about how the slow death of tv tropes contributed to the fall in media literacy and bad faith criticism in fandom, so here we go:

For those not in the know, TV Tropes is a website that acts as a wiki of common tropes, how they’re used, and what media they appear in. It was one of the hotspots for fandom. That probably sounds strange considering my description of it, but TV Tropes was iconic for being extremely addictive, helped by being a site made of rabbit holes and commonly being written in a very fun and often times humorous way. The website originally started as a way to analyse Buffy, but soon grew from connecting tropes within the show to other shows, until it became something where every media property you know had a frequently updated wiki filled with the fandom analysing the show (or one lovingly cultivated by one or two fans). Fun and interactive as it was, TV Tropes essentially acted as baby’s first media criticism, a great way to get people recognising and understanding tropes across media. It also helped that one of its many taglines was ‘tropes are not bad’, because literally everything is a trope, that’s what tropes are.

Unfortunately, due to what many people claim is a change in site runners who heavily cracked down on moderation (including allegedly at one point taking down the page for Lolita. Three guesses why.) the site started bleeding users maintaining the wikis which of course led to a serious loss of traffic. Go to any page for something that came out in the late 2000s vs in the 2010s, and you will see a marked difference in not just what there is but how detailed the wiki is. 

This coincided with a sharp increase in low effort but high traffic bad faith criticism such as Cinema Sins, WatchMojo, buzzfeed articles, etc that pump out such a high volume of content that is designed to be quickly consumed that it would be genuinely impossible for them to give in depth, good faith criticism and earn a profit. So they don’t bother. 

Good faith media criticism has also changed drastically in this period. Video essayists have been on the rise all decade (albeit with a very wide margin of quality, which has become a problem now that people are so easily convinced of your argument simply because you’re well lit and have a decent mic), but this is still the opinion of one person, usually one person deconstructing a work that is bad, instead of a wide group of fans analysing the work together. Media analysis became something to be passively consumed rather than a group activity that honed your own analysis skills. 

The whole point of TV Tropes was to dissect things down to their bare bones, like taking apart a car to see how it all worked. That taught fandom as a whole to recognise plot elements, gave the tools to discuss good examples, bad examples, and what’s overdone. It also tried to remind people that some tropes are a matter of opinion (Your Mileage May Vary) and some are just fact, but not necessarily in a bad way. 

There’s a lot of reasons why fandom has changed so drastically in the last decade, and the problem with media literacy extends well outside of fandom. But while there have always been bad takes and bad critics, the TV Trope era at least gave us somewhat of a leg to stand on, if for no other reason than people were able to put into words what they were talking about. 

#Fandom #Fandom Analysis #Fandom Things #TV Tropes #Television Without Pity died around the same time too #And Cracked #(which had its problems but were not nearly as bad as hyper commercialised quick read sites now) #So we're back to capitalism and bad site runners ruin everything #I'm noticing this even more now coz this is (partially) my job but finding websites that want in depth articles is next to impossible #If you want a consistent living wage #So in fandom we're losing media literacy #Those bad takes then get taken out of those circles (or brought in) by people who either can't be bothered or can't afford to care #So now we're stuck in this self perpetuating cycle where so few people seem to have even an idea of what they're talking about #It makes me sad #It also makes me extremely annoyed and sometimes even angry #My Meta

[emdeerm]

I'm a Grandpa? Again?!

My brain got away from me. srry

This might be a horrible, horrible idea that will have so many butterfly and directs effects on the DC canon that I know nothing about but...

Consider this: Bruce is Danny's clone/test-tube baby.

Danny has lived for many, many years and somewhere along the lines, he got his DNA stolen again (in his human form mind you) by someone and they made a clone/baby (most likely cause the child would destabilise without more DNA. Human Danny is just 1/3 of the DNA he has). Maybe the League and Ra's is responsible. Maybe some other party I have no knowledge about. Maybe it was GIW. But it happens.

Anyway, whoever succeeded, had some intentions with the clone if it had powers. He did not. Was a failure and was dumped as a 3yo in Gotham. Tom and Martha Wayne found him and adopted the child.

Now, Danny doesn't know it. He just goes around, living his best life with his partner/(s), works somewhere new every 5-6 years or so, trying out new professions when he wants. When his DNA got yonked, he was a practicing cook. By the time Batman is old enough with all his kids he is a doctor or something.

Let's throw in the Ghost King for fun. Love the trope. Could be just him being a super strong and respected Ghost in the Realms who helps himself to Pariah's treasury. Not like the guy needed it anyway.

So, YEARS pass. All parties are unaware. Meta human protection happens. Ecto Acts get ruled out automatically by the Government somewhere in a list of all stuff that change. The Ghosts haven't been sighted for over 30 years. The Government disbanded GIW wven esrlier just cause they were a moneh draining leach. The JL didn't even pay that much attention honestly (let's say Batman wasn't there for some reason to check the final copy), just one more thing that changed for the better in their eyes.

So, Danny and his kind are now legally in the clear. Does he so something with it? Well, not much. Just uses his powers more freely. His rogues don't find the Living Realm all that interesting now and just come to Phantom to play. Except Sculker. That ass is still unbearable.

...

I got sidetracked from my original idea. Anyway-

...

Damian in school has to do the ancestory assignment. And finds out that he has a weird relation to this Random DudeTM. (Maybe Tom's and Martha's DNA was indeed used in the process of creation. Who knows, maybe it was their doing all along in the name of Doctor Science. Idk. All options are fun) Came out of nowhere. The relation is unclear too.

That gets brought up to Father. Father is surprised. Investigation happens.

The Bats are flabbergasted by the results.

Danny gets the news that he is a surprise Granpa again (Dani was the first one to come with a grandchild out of nowhere. Adopted. You know what? Let it be Cass. Let her have a traveling super mom).

#dpxdc #dc x dp #dp x dc #danny phantom #dcxdp #dc x dp crossover #Bruce is Danny's clone/baby #he was unaware #Gasp #Batman and Robin will be limknal to hell for sure now #sure #the human half has been used but human Fenton isn't normal either #....we have potential Baby halfas everyone #maybe THATS how they find Danny #the Bat and the baby bird just one day started to feel a bond to somebody they never met but miss #(ghoost cores started to develope perhaps?) #JASON :0 #GETS ADOPTED BY GHOST VIBES AND IS NOW A FULLY BRUCE'S CHILD #so #yeah #:D

[regulusrules]

A very long meta explaining why the confession scene in Good Omens is the best that has ever been written and performed on screen

First of, the scene begins with two different realisations that makes each of them believe that their dynamic will significantly change (Crowley wanting to confess his love and Aziraphale wanting to break out the news about heaven). This, you can see, creates an unprecedented shift in their energy, makes them super excited (Azi) and super nervous (Crowley) to break the news to one another. And despite the two matters being drastically different, when Aziraphale begins his revelation we don't get the Miscommunication trope where Crowley listens to the offer and passively retreats back his emotions. No. He is steadfast in his resolution, in his love for Aziraphale.

And that right here is king attitude no.1, because even if Aziraphale just threw something so godforsaken on him, he won't allow himself to be cowardly or let go of the one person he loves more than eternity. Crowley still bares his heart, still lets it all out, because he will not lose Aziraphale in his naivete of still believing that Heaven is good and Hell is evil. (I write this with supreme detachment of my own beliefs lol) He tries to make Aziraphale understand that sides didn't do them any good the past 6000 years, that the only solid foundation they ever had was them, and that Crowley would rather have them than have everything.

The way you hear Tennant's voice breaking when he said “And we spent our whole existence pretending that we aren’t”, is the perfect reflection of how Crowley genuinely despairs the time they lost and wouldn't have any more of it. And even with how bare and raw he's feeling with revealing all this, he still goes on. He still tries to tell him and I would like to spend our whole existence together, but struggles and struggles because he's strung wide open. But he keeps trying.

Now you see here a moment of disbelief on Aziraphale's behalf, because he doesn't understand why Crowley would refuse going back to heaven with him when all Aziraphale remembers of Angel!Crowley was how utterly bright his eyes shone when he lit up the stars and surely Crowley must miss that too? He wants the same thing Crowley is saying, just in a different dimension. The “I can make a difference” immediately changes to “We can make a difference” because that's all what’s ever been for Aziraphale; them changing the small engines of the world according to their partnered will. He is genuinely benign and not ill-intentioned when he says “Nothing lasts forever”, because he truly wants a better life for them, a better existence. And that's when it gets better: Crowley has his walls back up, he's walking away, because he can't bear that he was never enough as he is for Aziraphale. That he was never worth reciprocation.

But Aziraphale doesn't let him leave.

And that is king attitude no.2, because he doesn't want Crowley to leave when things are strewn all over the place that they don't know where they stand. All Aziraphale ever wanted was for them to stand on the same ground. He asks him to come back to him but hides it by finishing it with “to heaven!” because the whole conversation is going too fast for him, and he's undergoing a religious crisis of sorts that does not end in 6000 years, yet even so he still doesn't want to lose Crowley because he's everything he has and he can't do it without him and “I — I need you!”

And that's when it gets reaaally interesting. Aziraphale's expression then turns from sorrowful desperation to rageful desperation, because he's baring his heart and Crowley is walking away from him. Their solid ground is completely shaken when he says “I don't think you understand what I'm offering you” because he's trying to be subtle about his love for Crowley and still direct as much as he can, but Crowley responds with a condescending “I think I understand a whole lot better than you do” and if this isn't peak human beings in their arguments, I don't know what is. Because we all think we are so misunderstood every time we get into an argument with someone we love, and we absolutely despise it when we feel patronized, so it's no wonder Aziraphale bitterly says “Then there's nothing more to say”, because if Crowley understands, truly does, then he'd see right past his fear to how much he loves the ground Crowley walks over.

And on the other hand I don't believe Crowley truly meant to be patronizing, but in a desperate last attempt he wanted to make Aziraphale understand what he is trying to say, what he spent his entire eternity feeling for Aziraphale, what Aziraphale would be giving up if he goes to heaven. What their life sounds like with no nightingales.

“You idiot, we could've been.. us” is the very culmination of love confessions. It took every single emotion and equated it. Tennant's delivery of it was unsurpassed in the way that it truly covers everything. And the way he grabbed Aziraphale, not entirely lovingly but desperately and angrily and, honest to God, awfully, is the reason why their kiss is so perfect. No queerbaiting, no beating around bushes. It is raw and sad and giving and agonising. Crowley wants to say see what you're giving up? See what we can have? And all Aziraphale thinks is how could you lay this on me now after everything, after every chance we could've been something, after me loving you from the first time I've met you. He's angry towards himself too, because nothing he can offer Crowley will be good enough that he chooses him instead of his choices. Sheen's choice in making his character grab Crowley's shoulder and let it go and then grab it once more in desperation is so unexplainably perfect of how much Aziraphale wants to hold onto Crowley.

But in the back of his mind, Crowley isn't choosing the same. Instead, Crowley's choosing to run from something that no doubt will rebound in their faces. They are angels and demons of heaven and hell, how could Crowley expect they could run and hide without being a repercussion later on? At least what Aziraphale is suggesting ensures that they will have a high position of power, enough to make them together, enough to make them happy, but instead, Crowley is walking away.

And when Crowley lets go of him, not the other way around because of course it is Crowley who must let go and detach from the utter pain that pierced his heart, you can see his expression being one of defeated longing. He sees all expressions passing across Aziraphale, sees how torn apart the other man is, too, and awaits just a semblance of anything they could work with. But instead, Aziraphale's face closes, and he tells Crowley “I forgive you”, and Crowley thinks this must be his second falling, because he's never felt more pain. “Don’t bother”, he says, yet still waits for Aziraphale outside and doesn't leave until Aziraphale has left him. Because in the end, Crowley would always be there for Aziraphale, even if he doesn’t feel worthy of it.

And that, my beloveds, is why eternity will remember this scene.

#good omens #good omens 2 #good omens spoilers #david tennant #michael sheen #good omens meta #LJ metas #regulusrules metas

[threetrenchcoatsinatrenchcoat]

Why Dev Patel failing to jump out of a window is so cool

This era of movies tends to skirt the line of satirizing so much as to stand for nothing. The tradeoff of sincerity for meta humor is not in a ratio I recall voting for. I get wary every time a story possibly maybe makes fun of me for caring about it, and I've come to accept that I think of sincerity as a fragile thing. But fragile is not the same as meaningless.

Let's talk Monkey Man. Bobby/The Kid/Dev Patel is trying to get out of a building and leaps sideways into a window, ready to smash through it and land on the street. He clunks against it, he falls to the floor out of frame, the window remains fully unscathed, and the action music cuts out. A beat. Then he gets up, the chase keeps going, and the music kicks back in. In a lesser movie, this choice is saying, "Aren't action movies stupid? Anyways I guess here's an action movie." On the other side if nothing is ever changed, it's saying, "Aren't action movies perfect already? Anyways I guess here's more of the same." It's great when you can subvert expectations in a way that doesn't undermine everything else, so here's why this isn't undermining its premise and even enforces it.

First off, after coming back in, the music keeps playing and being a legitimately exciting beat underscoring the rest of the scene. The joke knows when it's over and gets out of the way. Second, this trope is a great target for this bit; windows are so much more reinforced than this genre ever credits. But then the magic is that the entire rest of the movie is consistently brutal. The window bit comes from a unified authorial voice that also earnestly digs into the action before and after it. A deliberate drawing attention to the difficult realities of action only works if the rest of your action does hit harder than the fare of movie you're invoking.

And Monkey Man delivers. Every henchman takes so many hits before going down, and the hits are bloodier, closer, and quieter than Hollywood action. And the last thing that makes it work is that it only happens the once. It brings up John Wick and rather explicitly claims this movie will be smarter, and it does the joke with the window to ask you to take the violence seriously. Every time a movie distances itself from its genre, it's making sincerity take so much more work every other minute. Lots of movies give up on it entirely. This movie chooses the work.

#monkey man #monkey man movie #dev patel #somebody else watch this movie cause i'm gonna keep having thoughts about it #analyzing the themes #sincerity

[microclown]

I think, not everyone, but a lot of the people who are so hung up on the kiss aren’t thinking about it within the context of the narrative.

I probably won’t articulate this well, but the whole plot of season 2 felt like a direct, meta-y response to us, the fans, and our desire see Aziraphale and Crowley’s relationship progress to something more.

Neil had established in the first season, they are already in love, so what is it really then that we want see? What is it that’s missing? That leaves us feeling unsatisfied?

What does love mean to you? What would it mean to Aziraphale and Crowley? What does a loving relationship look like, and how does one get there?

The methods Crowley and Aziraphale use to get Maggie and Nina together are common romance tropes in fiction. Crowley says “one fabulous kiss and we’re good!”

But rainstorms and dancing didn’t make Maggie and Nina fall in love. They were going to get there on their own, eventually, after a lot of open communication and working on their own personal growth.

And “one fabulous kiss” won’t give us a happy ending. It won’t give us what we’re missing from Aziraphale’s and Crowley’s relationship. We as fans like to think that’s all we want, but is it really? Because the love is there! What we’re truly missing has more to do with internal growth and healing, communication, and working towards a true understanding of each other.

And I think that’s what we’ll get in season 3! I don’t know if we’ll get another kiss although I would love to see one but we will get a satisfactory resolution between two beings who are deeply in love.

As a side note, I don’t want to down play how fucking important it was to have them kiss on screen. As someone who has grown up watching queer coded relationships on screen and is exhausted from having everyone involved queerbait, or even outright ridicule their fans for seeing it that way, it is so refreshing to have a very visual, undeniable, romantic gesture. Because I know it really does take a kiss for some people *cough* my parents *cough* to see a relationship as anything but platonic. I’m so glad we got that undeniable validation before what I can only expect is going to be an epic third chapter!

#good omens #go 2 #good omens 2 #good omens season 2 #ineffable husbands #aziraphale x crowley #crowley x arizaphale #neil gaiman #crowley #aziraphale #good omens fanfiction #good omens analysis #good omens kiss

[rageserenity]

It's 2024. Are you still thinking about movieverse!Cherik? Because I am.

For the past several months, there's only been a very slow trickle of posts/fics in the xmcu cherik tag. Let's try to breathe some life back into this incredible pairing!

With one clear winner of my poll, here's thirty prompts for the thirty days of April. (This is a super chill, laid-back event---do these in any order, interpret them as loosely as you like! Create in any medium! Fic, art, gifs, meta, incoherent screaming about the otp…all winners in my book.)

The only rule here is to cherik too close to the sun. Alright. Here are the prompts.

Mutual Pining

Doesn't really even need elaboration! Write that horrifically slow slow-burn. Gif every time McAvoy made insane fuck me eyes on screen. Make a playlist of songs about impossible love.

2. Alternate Meetings

There are endless quotes about how these two complete each other in a way no one they'd met before or after ever did. How else could they have met?

3. Erik Has A Telepathy Kink

This is basically canon. Let my boy get freaky!

4. Canon Fix-It

All the times Fox fucked it up. There are endless options.

5. Hurt/Comfort

Put them in that Situation. Put them in that Blender. Break them apart and put them back together ❤️‍🩹

6. Canon Compliant

Draw that missing scene! Gif your favourite cherik moment!

7. Beach Divorce

Make it worse. Make it better. Show it to us exactly how it was. Break it down in a 3,000 word meta. Go wild!

8. Domestics

Sometimes you just want to see them doing normal couple things. Erik put the gun down.

9. Found Family

The real heart of x-men!

10. Time Travel

There are SO many possibilities here. Stick them in a time loop. Give them a chance to change their past.

11. AU

Love a good AU!

12. There Is Only One Bed

Had to get this one in here. What better way to amp up the tension?

13. Genosha

By some miracle, cherik actually did end up together at the end of 2019s trash bag disaster Dark Phoenix. We aren’t making a big enough deal about this.

14. Declaration(s) of Love

Who says it first? How do they say it and when? Have they said it…without saying it?

15. Jealousy

Need I say more.

16. Reunion

These two have absolutely no chill.

17. Soulmates

Classic prompt, had to get this in here too.

18. The DOFP Aircraft

The TENSION here. Break it down for me. How does Charles feel about his injury? How does Erik feel about his injury?

19. Gay Mutant Road Trip

You already know.

20. Body Swap

SO fun when people have superpowers.

21. First Kiss

When? How? Who initiated it?

22. The Mansion

Mansion!content is a genre of its own.

23. Conflicting Ideology

Give me your theses. Who’s right? Can they ever reconcile completely? Write a fic where it drives them apart.

24. Sebastian Shaw

A trope unto himself.

25. Team As Matchmaker

They had to have known something was going on, didn’t they?

26. Cooking

Charles deserves a good meal. Also, imagine Erik using his powers in the kitchen. The sheer domesticity…

27. Hurt No Comfort

Plenty of scope with these two 🥲

28. Growing Old Together

Giving Sirs Ian Mckellan and Patrick Stewart their props as well!

29. Making Up

*pushes chess board across the table* sorry babe

30. Charles Xavier Did More For Mutants Than You'll Ever Know

Rising to each other’s defense. Only I can insult this man.

I will be tracking #revivecherik to reblog stuff! Here’s a fic collection for the same. Let’s get this ball rolling! Please feel free to send me an ask if you’ve got anything to say! And most importantly, let’s all have fun 😁

*I know a few of you preferred something like a gift exchange because of the commitment factor—I’m super down to organise a tiny one for the handful of us! If this promptathon doesn’t flop horribly, we can hopefully do a whole bunch of stuff :)

If you read this post all the way through, please reblog for reach! Thank you! Hoping you participate come April.

Shoutout to @inmymagnetoera for reaching out and helping with this!

#revivecherik #cherik #charles xavier #erik lehnsherr #xmfc #james mcavoy #michael fassbender #x men days of future past #x men #charles x erik #magneto #professor x

[drmajalis]

"Le standard rpg moralistic choice™️" is one of the most boring tropes in western rpgs imho.

What I prefer and what I think pretty much everyone enjoys more are choices based on ideology and how you want to do things, not "do you wanna be good? or a mass murderer?"

I'm talking "choices" like disarming the nuke in Megaton in Fallout 3, or, fucking nuking the entire town. Or more recently, do you save the tieflings and the druids from the goblin army bent on wiping them out? Or do you decide to just slaughter them all?

Like, Bioware had data from the Mass Effect series which showed that less than 10% of players went Renegade on a first playthrough, when all you do is offer people a choice between being good, or bad, most people will just choose good, because that's usually what makes most sense for the story.

Compare that to (take a shot) Fallout New Vegas, just one quest, that being fixing the Helios One solar power plant and deciding who should get the power.

Should you distribute the power equally among the region, even if that means nobody really gets a lot?

Should you send it to Camp McCarren and the Strip since they are vital to protecting New Vegas from the Legion?

Should you send it to the slums in Fremont and Westside since that might help their situation the most?

Or should you use the power plant to fuel a giant space satellite laser, just for yourself!

New Vegas is filled with actual choices like this, and, if you can't even do that, you coulds try what (act surprised) Knights of the Old Republic II does and make meta comments on the futility and bizarreness of binary good/evil choices.

Early on when you arrive on Nar Shaddaa in KOTOR II a beggar asks you if you can spare some credits, and no matter what your choice, give them to him, and he gets mugged later, refuse him, and he goes out and mugs someone else, with Kreia commenting negatively on either choice you make.

Anyway I'm just really sick and tired of the boring binary morality choices and wish we had more actually intellectually debatable issues, the very fact that even 13 years later people argue over what the best ending to New Vegas is should be proof enough that it's way of doing things is objectively better.

#rpgs #fallout new vegas #knights of the old republic #baldur's gate 3 #fallout 3 #video games

[godsandvillains-if]

Gods and Villains is a superhero/horror story set in a dystopian future where Earth is filled to the brim with crime and corruption—a.k.a MCU meets The Boys.

Warning! injury to major characters, gore, body horror, trauma and PTSD, amnesia, death, and sexual content. Rated +18. More specific content warnings will be provided at the start of each chapter.

You take control of a powerful metahuman, an otherwise ordinary human on the outside but who has the meta-gene, a potent mutation deep engraved in their DNA, which gives them superhuman abilities. This next step in human evolution comes with a setback, however, for the curse of madness seems to follow their every step. It lurks in the shadows, patiently waiting for the opportunity to strike—many metahumans fall prey to its alluring promises. 

With a dark and traumatic past filled with untold horrors and inhuman experiments, you are rescued from the clutches of crazy terrorists by a team of heroes that might lend you all the tools you need for redemption or complete self-annihilation. 

As the only metahuman with the ability to wield the powerful Chaos Magic, your very blood holds the answers to unlocking the secrets behind the control of time and space, but it has the drawback of being almost completely volatile. 

Who can you trust to keep you safe other than yourself? Trust no one, and maybe you can get out of this literal hell alive.

Play as male, female, or non-gender specific, along with transgender choices;

Romance one of seven characters, and if your heart is big enough fall in love with two of them. There's three possible poly routes available: Archon and Stardom, Archon and Mars, Paladin and Wildcat;

Customize your appearance, personality and powers;

Struggle against the shackles of madness trying to take hold of your psyche;

Battle a multitude of villains or become one yourself;

Uncover the secrets behind the meta-gene and your abilities;

Help the public fall in love with superheroes or forever destroy that chance;

In total there are seven romance options, each with their own personality, and dark secrets for you to uncover. You can read more about them below:

?

The villain, or anti-hero, whatever you want to call them, Mars is an enigmatic figure; the very concept of life seems to hold no value to them. A trail of bodies follows wherever they go, and on the news, they are regarded as the biggest menace of the century. They will have the unique ability to sway your loyalty. Beware, their sweet words and promises may drip with honey, but they also drip with the blood of their victims.​

Trope: Forbidden love, emotional scars, blood-play

Zev/Zena Hammer

The oldest of the bunch and not a metahuman per se. Hammer acts as the spokesperson for the team, mitigating the often tenuous relationship between humans and the so-called "mutants". As a retired police detective they've learned firsthand how rotten the world can be for the innocent, and they've vowed to protect them at any cost. Their analytical and communication skills will go hand in hand when dealing with various crimes, just as their implants.

Trope: Widow/widower, age gap, don't-call-me-daddy/mommy

Adam/Ada Armstrong

The current leader of the Alliance Team. Headstrong and dauntless, they are regarded as the strongest metahuman in modern times and the most enigmatic of them all, whose past is shrouded in mystery and unknown even to their closest friends. On the outside, they might seem apathetic and unconcerned with human suffering, but their true feelings are hidden beneath layers of deep trauma. Superhuman strength and invulnerability are their greatest assets when fighting villains.

Trope: Nobody thinks it will work, love/hate, fucking-your-boss

Edward/Evelyn Osborne

The former leader of the Alliance Team and Archon's best friend. On the surface, they are the stereotypical showboat: cocky, greedy, and egoistical. Stardom does whatever they can to gain attention, fame, and riches. For them, the best feeling in the world is an adoring fan and a beautiful person fawning over their heroics. The meta-gene gives them a genius-level intellect, which in turn is used to develop several pieces of equipment that are employed by themselves and the team during fights.​

Trope: Billionaire, belated love epiphany, good-people-have-good-sex

Johnny/Johnnie

If Archon's past is shrouded in mystery, Paladin's is drowned in it. For all you know, their name is not even Johnny/Johnnie but an alias of their choosing. They are known to be the silent loner type and are somewhat socially withdrawn from other members of the team, only speaking when called upon to do so. Behind their silver mask, they harbor more than a few inner demons, and together with their superhuman weapon and combat proficiency, they fight for the innocent.​

Trope: Secret identity, oblivious to love, weapon-fetishization

Pedro/Pilar Flores

The youngest of the team, considered by many a lighthearted jokester without any real talent beyond their obvious powers—which set them apart from every human that walks the earth. With their metahuman status so evident for everyone to see, hiding just didn't seem like an option, so they chose the next best alternative. Known to be playful, energetic, and often immature, they are responsible for balancing the team's more serious side, and when someone can take the form of any living being on Earth, the repertoire of pranks is endless.​

Trope: Beauty and the Beast, broken in some way, begging

Doctor Malik/Malika Aziz

The renowned Doctor Aziz, a famed archaeologist and considered to be the most powerful sorcerer, or magic user, in the world. They wear several enchanted artifacts that, in turn, accentuate their already tremendous knowledge of the mystical forces. With an extremely strong moral compass and kind demeanor, they will show themselves to be the best teacher you could ask for, but why do they seem to be everywhere you look?

Trope: Time travel, twin siblings or clones?, teacher-student

LINKS

DEMO ✶ PATREON ✶ KO-FI

#if: intro #if: gods and villains #interactive novel #interactive story #interactive fiction #choice of games #if game #hosted games #choicescript #choices #dashingdon #if wip

[subway-tolkien]

Okay, this is 1600 words of (positive!) meta regarding the OFMD finale. Included is character analysis and a treatise on why a certain trope people keep throwing around does not apply here.

This is of course just my take, and I'm sure people will disagree, but I needed to get this out. Apologies if it comes off disjointed, I've had like no sleep.

Spoilers within, obviously. You have been warned. Heed the tags. I didn't tag any characters because I consider it a spoiler, but you know who this is about.

Listen. Listen.

Let me start off by saying I have been where you are. I’ve had beloved characters die, either because it was important to the narrative or for shock value. I’ve been there, so I’m not coming at this without empathy. I’m not an Izzy hater. I loved him as a character. I’m truly sad to see him go.

But from what I’m seeing around Twitter and tumblr, some of you do not understand the role of an antagonist in a story.

Izzy was always meant to die. The moment he said, in the first season, “the only retirement we get is death,” I knew he was meant to die in the end. The foreshadowing ran through both seasons. Izzy was the true antagonist of S1. He was there to keep Blackbeard tethered when he started pulling away, and yet he also set the plot in motion. He inadvertently introduced Blackbeard to the person who let him be just Ed. He put Ed on his own path to redemption without even knowing it.

S1 ended with Izzy getting what he wanted as Ed lost everything he had. S2 was about Izzy coming to terms with the fact that he’d gone too far, he’d turned Ed into a monster. It wasn’t what he wanted. He wanted Blackbeard back, just like old times. Instead, he got the Kraken, and it was more than he bargained for.

Especially after it cost him his leg and he realized how far gone Ed really was. The conversation that ended with Izzy’s half-assed suicide attempt was the final blow to Izzy—Ed really didn’t seem to care anymore. Where Izzy wanted him to stop giving a shit about his silly boyfriend, he instead got a Blackbeard who didn’t care about anything, and he was apparently now included in that category.

(I said half-assed suicide attempt because Izzy wasn’t meant to die then, THAT would have been an empty, pointless death. It wouldn’t have taught Ed anything—in fact, all it did was make him more self-destructive, which was Izzy’s purpose to the narrative, but not his endgame. That Ed thought Izzy killed himself pushed Ed to the brink. Ed wanted to die and take every scrap of Blackbeard with him. Had Izzy successfully killed himself, Ed and the Revenge would be at the bottom of the ocean.

It wasn’t until the crew left Izzy the unicorn leg that he realized the power of compassion, the incredible act of grace from a crew that suffered so much from Izzy’s own machinations and didn't need to forgive him. It moved him to tears, and it moved him to accept that maybe it wasn’t such a bad idea to let people in, to let himself be cared for. It was a foreign concept and something Izzy likely hadn’t experienced since losing his family (I fully expect a shit ton of fanfic of Izzy’s life before piracy).

Israel Hands found the capacity to let love all the way in and by god, did he pursue it.

But, again, Izzy was always meant to die, and I’m glad they stuck to the narrative they set out with instead of placating fandom and letting our influence dictate how they told this story That’s never good, trust me. Fandom should not influence a creator’s decisions regarding their own characters. It rarely if ever ends well.

[Stares in Voltron S8]

And I see a lot of people out here throwing the “bury your gays” phrase around—I beg you, please look up the definition of the trope. Izzy didn’t die because he was queer, he didn’t die because of his disability. He wasn’t one half of the only queer couple in the show fridged for shock value. He wasn’t killed off due to pressure from conservative viewers. He wasn’t the only queer, disabled character.

They didn’t kill off Lucius, or Jackie, or Wee John. Would you be as outraged if it was any of them?

Killing Eve is bury your gays. Supernatural is bury your gays. Pretty much any film, book, TV show, whatever, where a queer character dies because they’re queer, of AIDs, to further the narrative for a straight person, etc—that is burying your gays.

Izzy’s death was none of those things. Izzy’s death had meaning.

Izzy’s death freed Ed from the Blackbeard persona. It finally forced Izzy to say the things he couldn’t say until he realized it was his last chance. Izzy was also tired. I honestly think he stuck it out for Ed’s sake, because he was afraid to let Blackbeard go without making sure Ed would be ok.

He loved the idea of Blackbeard, but over time, he learned to love Ed. He finally understood what Ed tried to tell him the whole time.

“Fuck off, you twat. You’re surrounded by family.”

You’re safe. You’re loved. You don’t need me anymore. You don’t need to be reminded of who you’re capable of being, you need the people who will guide you to who you will become, and I’m not one of them.

I know a lot of Izzy fans are stung by his death, some of you are deeply upset. I get that. Like I said, I’ve been there. Sirius’s death made me throw that fucking book across the room. That Fucking Woman™ killed off my entire OTP, purely for shock value and, imho, a direct response to shippers. Trust me, I have felt betrayed by a creator for their decisions.

But I need you to understand that no, this was not a personal attack, this was not malicious, this was not “bury your gays." A show that celebrates queerness and diversity is not suddenly homophobic and ableist because your favorite character died and happened to be both of those things. But when the majority of your cast of characters is different in some way, and they’re in a show about 18th century pirates, you have to accept that one of them could, in fact, die. “Anyone Can Die” is also a trope and the more accurate one to describe E8.

If only being queer and disabled made you invincible.

Spoiler alert: it doesn’t.

And no, I’m not an Izzy hater. I loved him, I loved him as an antagonist, and I loved his redemption arc. He was fascinating and Con put his whole O’Nussy into that part. I’m sorry to see him go, but as a mystery writer who often has to kill off beloved characters, I understand that he served the purpose he had from the beginning.

I swear, if some of you had your way, there’d be no conflict at all in any form of media. This what a steady diet of nothing but fanfic gets you. This is not a fluffy one-shot with magical healing dick and a happy ending where everyone sails off into the sunset. If that’s what you wanted, what you headcanoned, you did this to yourself. It’s not David et al’s fault that we took that character and babygirled him. That’s the risk we take when we decide to love a specific character, when we take a genuinely terrible person (in S1) and woobify him.

So, please stop harassing and attacking David, Alex, et al. David did not and should not change his story to placate us. The fact he went ahead with it despite the backlash I’m sure he expected makes me respect him as a creator even more.

Anyway, I’m going to revel that we have three (!) queer relationships with happy endings where one or both didn’t immediately die (again, the actual definition of “bury your gays”) and that we got at least two seasons of a little show that celebrated individualism, diversity, queerness, compassion, and love.

In the end, it all came down to love.

“There he is.”

Goodbye, Blackbeard.

Hello, Ed.

#ofmd spoilers #ofmd season two spoilers #ofmd finale spoilers #ofmd finale #Meta #ofmd s2 spoilers #our flag means death

[frasier-crane-style]

Why The Last Jedi doesn't work as subversion is that it continuously requires the characters to act like they KNOW they're characters in Star Wars and not LIVING the Star Wars.

I'll give you an example. Rey. In TFA, her parents are simply missing and she's waiting for them to come back. In TLJ, she suddenly thinks they're an important secret for Kylo to reveal to her because she's pathologically suppressed the truth that they're drunks who sold her for alcohol money (or, you know, blue milk money, whatever).

But why would she ever think that she had an important family or heritage unless she knew she was the protagonist of a space epic and having an important family or heritage is something that happens to those?

Or DJ. The Benecio del Toro character is supposed to be a subversion of the rogue with a heart of gold trope. But why would Finn and Bangs ever think he's a rogue with a heart of gold that's implicitly trustworthy? They find him in a prison cell and have no reason to think he has any loyalty to the Resistance--he even gives a speech about how he considers the First Order and the Resistance to be equally bad!

In ANH, both Luke and Obi-Wan treated Han like exactly what he was, a mercenary, who had to be cajoled into helping out until finally he showed his true colors by attacking the Death Star. They didn't know they were characters going through a story arc. The Sequel Trilogy characters act like they do, until Rian Johnson pranks them by twisting the story arc they had no reason to think they were participating in.

And the entire Luke storyline is a subversion of the entire idea of mentorship. Luke doesn't teach Rey anything. She doesn't need to be taught anything. It's unclear why she even thinks she does, given that she already beat down Kylo Ren with ease, but, again, character in a story. She thinks she needs a training montage, Rian says "she doesn't get a training montage!", and scene.

It's all very meta and post-modern and taken at face value, it doesn't make any sense once you ask obvious questions like "Why shouldn't Poe know that there is a plan to save the fleet?" Defenders of TLJ dismiss those obvious questions because they see them as unimportant next to the post-modern gamesmanship the movie is really concerned with, but Star Wars doesn't work like a Scream movie, where the characters are largely obsessed with horror movies and then, ironically, placed inside a horror movie.

That's a kind of cynicism that doesn't really work for Star Wars; you can't do a sincere narrative about the triumph of good over evil when the characters are mostly convinced there's no big difference between Good or Evil winning.

To go back to ANH, Obi-Wan is emphatic about how wonderful the Jedi were, how tragic it was that they were wiped out, how awful it is to live under the Empire, and how important it is to fight to restore the Republic. That's the baseline of sincerity that this kind of primordial mythmaking needs to work.

With TLJ, most every character on both sides are cynical, foolish, corrupt, power-tripping, shrill, pompous... most of all, incompetent. It seems less like an epic battle between the noble and the venal--more like two competing cliques of sitcom characters, only one of them is inexplicably Nazi-themed. You're left pretty much adrift, with no characters to sympathize with and no conflicts to become invested in, just visuals and 'themes'.

But children can't get invested in themes or subversion. Neither can most people. It's the province of the elitist to care about subtext over story--the sick doldrums of modern art--and Star Wars isn't for them. It's for the people.

#star wars

[little-pondhead]

So, for the Supervillain Danny and Everlast Trio Villains Au's....

What about Jazz?

Since I understand everyone's villain alter ego is based around their trauma and becoming their own antithesis and what not, I'd like to think that Jazz's alter ego would be a bad girl, kinda like Ember and Kitty (the former who mind controlled her twice and the latter who almost took her place while slowly corrupting her), maybe with a hint of Spectra (the school councilor thing, the hospital thing, and that one time with all three of them).

Instead of being the nice, normal girl who tries to be perfect, she's a loose cannon who does all the wild teen stuff, doesn't care about anyone accept for those who are in her 'gang', and will absolutely resort to violence the first chance she gets. Maybe she also has some kind of mind control powers, given how these incidents relate to her being under someone else's control.

Maybe she doesn't come around as often, because she has college and the like, but once she does, things get messy as she takes the chance to let out all her school related stress.

you have read my m i n d

Jazz had almost no childhood since she helped raise Danny from a very young age. She's intelligent and respectful and really wants to be an excellent example for Danny, so she acts as such. Therefore, Jazz never got to go through her 'teenage rebellion' phase. She wears modest clothes and upholds a pretty solid moral code. So here I present Nightingale, the punk-rock social justice warrior who comes and goes like a hurricane. She takes on the name Nightingale to avoid confusion, but once the JL realizes she and Fenton are related, some of the members consider going on a very long vacation to another world so they don't have to deal with this shit.

Now for her powerset, I'm not entirely sure if she should play meta or not. It's a common trope in fics that Jazz has been ecto-contaminated from her parent's experiments, thus giving her some sort of body enhancement. I played on that to give her a set of ears and teeth that match Danny's. She may not have ghost powers, but if she's fighting alongside Team Phantom, she must have some freaky abilities, right? (I love the mind control idea, btw) I feel like Jazz would be the Exception, where she's obviously enhanced in some way, but it's not an obvious power she can consciously separate herself from. It's like trying to tell your body to stop using your eyes. Unless other outside forces are preventing it, Jazz can't really not use her enhanced strength or speed. It drives the JL nuts because either Nightingale is a very weak meta or just an Olympic-level teenage athlete, and no one will spill the beans.

Also, this is personal preference, honestly, but I think it'd be really fucking funny if the DC universe is where Jazz and Danny have all their sibling fights. At home, they have to put up a united front so their parents don't get suspicious and the house doesn't kill them. (Also so none of the rogues takes advantage of their anger at each other) But they're siblings. Even if Jazz and Danny are the best of friends, they have to have arguments over the stupidest stuff. That's practically rule number one of having a sibling. So they go there to blow off steam and duke it out like they've always wanted to. It's mostly to release tension and stress, but each fight is getting more and more elaborate, and this whole thing is ridiculous. None of the heroes get paid enough for this. They're just gonna sit back and watch the show.

#pondhead replies #doodles from a pond #supervillain danny au #let jazz go apeshit #as a treat #GASP #I THINK #INSTEAD OF DANNY ADOPTING CONNER #JAZZ SHOULD #THAT WOULD BE SO FUNNY #also i just realized i spelled 'nightingale' wrong in the sketch #fuck me i guess #danny phantom #danny phantom au #dp crossover #dp x dc #dc x dp #justice league #dpxdc

[luna-rainbow]

CATWS and its building of stakes

Part of the reason why CATWS was so memorable in its appeal was the way it built the stakes throughout the story. Each of the major characters had something(s) at stake by the final act, and that was pivotal for the plot to sustain its tension and for the satisfaction in its final payoff.

The overarching conflict was the global, existential threat of Hydra getting their mass murder machine up in the air, and the ideological question of what the middle ground between freedom and security should be. But what made the final act so moving was the intimately personal stakes for many of our characters.

There was, obviously, the very personal stake Steve had to surmount in having to physically get through Bucky in order to protect the freedom he was advocating for. But apart from Steve, every other major character was challenged with a personal sacrifice in the final showdown. Nat was faced with having all her covers blown and her past - that she had tried so hard to hide - revealed to the world. Sam was confronted with going back into the field after losing his partner so traumatically that he changed careers. Fury was grappling with dismantling the organisation that he had devoted his life to build. And on the other side, Pierce and Rumlow had invested decades of their lives in an ideology which if successful would install them at the top of the food chain.

There was a great meta from years back talking about how well the movie established the competencies of the characters before introducing threats -- and how we were then able to quickly understand the threat because of how competent we have seen our protagonists be. Every action sequence served a purpose and built upon the previous one.

The Lumerian Star sequence was fantastic in how effectively it established the competence of not just Steve and Nat, but the entire Strike team. Rumlow and Rollins were good at their job; they're not super soldiers or super spies, sure, but they were skilled enough to keep pace with Steve and Nat.

This was an important foreword for the elevator fight, which itself was a pre-requisite for the Causeway fight. We have seen both Steve and the Strike team capable of taking down multiple pirates swiftly, so when the elevator fight started, there was a genuine sense of threat to Steve, even if he would make a quick job of disabling them. Then, after seeing Steve's skills against a very capable Strike team, it became all the more terrifying when the Winter Soldier almost nailed him to a van about 2 minutes into their fight.

On the other side, the Winter Soldier's introduction was an assemblage of horror story tropes -- of unexpected manifestations and impossible disappearances, and urban myths stretching back through half a century. The two characters used to introduce him were extremely competent from what we had seen of them. There's Fury, normally prescient and wily, scraping by a very determined assassination attempt, only to be stopped by the Winter Soldier materialising in the middle of the road...which he escaped, only to be later shot through the wall. There's Nat, normally cunning and cautious, telling Steve of how the Winter Soldier successfully ambushed her, of how his kills spanned 50 years, a logical improbability.

Not only was Steve about to meet the Winter Soldier with the weight of these legends behind him, from the vantage point of Hydra, they were sending out the Asset to meet Captain America with his historical legends behind him (oh look, another narrative parallel). All of this build-up culminated in the Causeway fight. The technical impressiveness of the stunts aside, part of why that fight worked so well was because we have had all these story beats that showed us how capable Steve and the Winter Soldier were, then we see them both genuinely struggle to overcome the other.

We can't talk about the final fight without talking about the emotional stakes, and we can't talk about the emotional stakes without discussing what Bucky means to Steve. We already had the "not without you" and the "I'm following the little guy from Brooklyn"; we've also had the "I don't want to kill anyone" turn into "I'm not going to stop until all of Hydra is dead" and the "I'm just a kid from Brooklyn" callback. This movie added the "even when I had nothing I had Bucky" and the "I knew him" and the "he will (know me)" and of course the "end of the line" exchanges.

But there were also more subtle cues -- that came from Steve's frequent rebuff of Nat's suggestions for companionship, the string of betrayals Steve had to grapple with, and Steve's lamentations of guilt and regret and uncertainty. Steve could not deny that he was lonely, but he had 101 excuses for why he could not make new connections. Steve did not know what he's looking for or why he's fighting or how long he wanted to continue, until he found out what was behind SHIELD and, specifically, what Hydra had done with Bucky.

Even removing the shipping angle, the final showdown between Steve and Bucky was unique in superhero movies, even for a friend-turned-enemy battle. It was not like the fight between Tony Stark and Obadiah Stane, or Peter Parker and Harry Osborne, or even Thor and Loki or Charles and Erik -- because there was no ideological divide between Steve and Bucky. Bucky did not and could not believe in the cause he's fighting for - he simply did not have that capacity for choice. The ideological battle was carried by the other characters - between Fury and Nat vs Pierce, between Sam vs Rumlow, and between the rest of SHIELD vs Hydra.

For Steve, his fight was much purer, dearer, and more heart-rending. The final battle held such emotional significance, not just because he's fighting his best friend, but also because his best friend was an unwilling participant in the circumstances. Bucky was Steve's physical equal, but he's also Steve's shared life experience, his tragically failed mission, his unfulfilled childhood promise, his betrayed faith in SHIELD, and the price that was paid for Hydra to grow under SHIELD's nose. This fight offered closure for all of these narrative and emotional threads.

He was also, once again, Hydra's asking price in exchange for the freedom Steve wanted for the world...and Steve so desperately wanted, this time, for that world to include Bucky.

#bucky barnes #steve rogers #stucky #stucky meta #catws meta #should i have a tag for good script writing? #this is an example of a script that worked #long post

[absolutebl]

This Week in BL - The Industry is Having Issues But the Spice Spicy Must Flow

Organized, in each category, with ones I'm enjoying most at the top.

March 2024 Wk 4

Ongoing Series - Thai

Two Worlds (Thurs IQIYI) eps 1-2 of 10 - One of those "he's dead Jim so time travel" thingames starring MaxNat. I'm over this concept but I do enjoy MaxNat. Phupha (Gun) and Khram (Nat) love each other but Phupha is murdered. Then Khram is pulled to a parallel world where, years ago, Khram and Tai (Max) were in love. However, Khram was killed by Tai’s dad. Now Tai finds alter-Khram. But then there is ALSO an alter-Phupha to deal with. (Phupha is played by Gun Thanawat who was Khom, the repressed butler bodyguard from Unforgotten Night. We like this, but we scared of the love triangle aspect.) Did that make sense? Yeah, okay, see what I mean?

Initial thoughts?

The subs are troubling but I’m enjoying this show a lot. It’s nice to see MaxNat get something meaty to sink their teeth into - that’s not just each other. Also it’s so smart of them to give us a fully fleshed out entire episode developing the alter romance rather than just a separation + death. It makes Khram’s grief and motivation that much more believable. Also it’s really nice to see Nat have good chemistry with other actors. 

Deep Night (Thurs iQiyi) ep 3 of 8 (10?) - I'm still enjoying it. But Two Worlds is objectively better. So this one has lost ranking. Also, unexpectedly chili (the name of my heavy metal Thai cover band).

Lovey switchy and verse main couple too.

This is all quite pleasing.

The bit where the hosts pretend to be a BL couple actor ship was epic on so many levels.

Also unsettling.

All sex work is performative, and in a way there is something more honest about this depiction, in this setting, than what BL actors are made to do on the promo circuit. Which then begs the question, how different is BL from sex work? That's the unsettling bit, for me anyway. Not to slam on sex work AT ALL, we pro-the-true-pros on this damn blog, but actors have been shaded by association with True Professionals for a very long time and BL has already had one epic shut down in this regard. (See the PerthSaint scandal around Love By Chance, no I will not explain.) Where was I? Oh yes, so anyway, see the Gossip section for the part where they better be paid either way!

Also, since I'm a warped fucker, I found this scene funny.

And then hilarious when all of those BL tropes were just trotted out. Like a greatest hits reel.

Truly beyond meta. (How Absolute BL of them.)

Note he’s even standing in yaoi's patented "hands in pocket with the shoulders back"? 

Meanwhile, the gayest bridge in Thailand made its quarterly appearance:

And lip serviced was paid to the most touristy romantic things you can do in Bangkok.

And I mean lip service literally. 

To Be Continued (Thai C3 Thailand grey) ep 5 of 8 - I’m still enjoying it but getting more and more nervous. We getting too close to Promise territory for comfort. EXPLAIN Ji’s reticence well and do it now or risk audience mistrust. We have to be given a GOOD reason for Ji's behavior, or he'll be irredeemable.

City of Stars (Fri iQIYI) ep 8 of 12 - NO SINGING. Yes smiley kisses and good communication and a nice healthy relationship. But no singing!

1000 Years Old ep 6 of 12 - Dropping in the ranks. I’m sorry it’s just gotten boring. It has, however, inspired me to invest in my own ridiculous cream fuzzy sweater. Which I plan to wear with leather trousers and huge stumpy boots, like the Kpop queer I truly am. Or do I mean vampire? 

Kiseki Chapter 2 (Sun iQIYI) ep 1 of 6 - Seems to be an excuse for a small posse of Thai actors to wander around Tokyo playing tourist and sing in public . Someone stop them?

“Most people think this kind of thing is bad manners .”

Anyway, it’s v boring. I’ll give it one more ep but I suspect I’ll DNF.

Close Friend Season 3: Soju Bomb! (Weds iQIYI) eps 1-2 of 6 - Meh. This is also looking suspiciously DNF-a-licious.  

Ongoing Series - Not Thai

Unknown (Taiwan Tues Youku YouTube & Viki) ep 5 of 11 - It's brilliant. I love it. I'm ready to hurt. Let’s do this thing. 

Distribution note: This one has been picked up and is also airing on Viki now, so it may lose YT distribution in soem territories. I like Youku's hard subs better than Viki's subs, but that's a matter of preference not information since I don't speak Mandarin.

Love is Better the Second Time Around AKA Koi wo Suru nara Nidome ga Joto (Japan Weds Gaga) ep 3 of 6 - It is good. Every week I like this show a little more. I'm enjoying a reunion romance explored in Japan's quintessentially contemplative yet slightly surreal way. The juxtaposition of the tenderness of the sex scene with this Japanese brand of authenticity was oddly elegant - for lack of a better way of putting it. All in all, this is a good show. Thought provoking. Stylish.

AntiReset (Taiwan Fri Viki/Gaga) ep 9 of 10 - It remains lovely but they sure are reusing a lot of footage. Also, this was a classic penultimate doom episode. I do wonder how they are going to resolve this show ethically.

My Strawberry Film (Japan Thurs Gaga) ep 6 of 8 - It is what it is, and it isn’t my style of show no matter what country of origin. Oddly that's one of the reasons I don't like it. Anyone could have made this, it's not as Japanese as I want it to be, it's just indie film club high school angst. Yawn.

I watched it, finally

The Servant and the Young Master (Vietnam YouTube) 7 eps - I dislike vertical filming, but I kind of enjoyed this show as a BL. I like class conflict romances. For me the rich kid is a bit too dictatorial (edges into bulling), but it’s kinda works. It’s sparse and underdeveloped and a bit plotless, but mildly entertaining. If you're missing Vietnamese BL you might give it a try. 6/10 

Began Beginning (Myanmar YouTube) 8eps - A Burmese BL that I had thoughts about but actually ended up recommending. Read the saga here:

It's done, ready to binge, but I suck

What Did You Eat Yesterday Season 2 AKA Kinou Nani Tabeta? Season 2 (Japan Gaga) 10 eps

It's airing but...

Graduation Countdown (Taiwan YouTube) ep 1 of ? - on one hand it's micro-installment vertical, on the other it's adorable and from Taiwan. I blame @heretherebedork entirely for my conundrum. As indeed, I did for My Type back in the day. (That was Nat Chen's first BL, yes of Kiseki: Dear To Me fame.) So I think I will also simply lean on Here to let me know when it's done and binge all at once. It's just too much to ask me to keep up with 2 minute pieces, I don't have that kind of endurance training, not even for BL.

Time the series (Tue Gaga/YT) 10 eps - it's finished now, I dropped it at ep 4. Should I bother?

A Secretly Love (Thai Sat WeTV grey) 10 eps - I watched the first ep but grey is too much work for this inferior of a show. I may pick up and binge if it gets distribution but for now, it gets a DNF from me. KimCop might have held this crap together but Kim without Cop? No thank you.

Lady Boy Friends (Thai WeTV grey) 16 eps - reminds me a bit too much of Diary of Tootsies only high school. Not my thing. DNF unless it turns a corner and is truly amazing for some reason.

Man Suang that MileApo vehicle from last year is coming to Netflix in the USA. I haven't heard much about it and since the KP stans would have lost their tiny minds if it was any good at all, I'm assuming it's not good at all.

Gossip

Thai BL actor Yoon breaks with his former company and talks about some very very VERY shady goings on in the Thai BL industry. Including not being paid.

And whacha know, same thing happening in Korean BL.

Have I mentioned recently how much I hate the film industry?

Next Week Looks Like This:

Starting Soon

3/31 Only Boo! (Thai GMMTV YouTube) 12 eps - New main couple for GMMTV in an idol romance about a boy who dances good and a food stand vendor. Other side of the tracks grumpy/sunshine pair who fall deeply in love but, of course, baby boy idol can't date. Boyband but from GMMTV? Control your singing and I'm game.

4/1 Love is like a Cat (Korea ????) 12 eps - This completed filming Aug 2022(!) which means there have been serious problems with post-production. This is another of Silkwood's Korean+Thai colab projects. Mew Suppasit plays a rookie film star, called the Cat Prince (for his cold arrogance) who goes up against a charismatic puppyish animal daycare director (JM of JUST B). There is also a side romance (love triangle?) with a veterinarian. Geonu of JUST B is also in the cast.

I wonder if this was part of the hold up, with Geonu on Build Up right now, they might have tried to muffle this one. Or maybe it's just that bad...

4/3 We Are (Thai GMMTV YouTube) 12 eps - University ensemble BL featuring PondPhuwin, WinnySatang, AouBoom, MarcPawinPoon - basically the good kind of messy gay friendship group (so more My Engineer and less Only Friends). Looks a bit like the Kiss series but everyone is queer. I'm IN!

Knock-Knock Boys (Thai WeTV?) - 4 college friends conspire to help their friend lose his virginity. Familiar faces like Seng (yes, Billy's previous partner), Best and frest face, news here.

Upcoming BLs for 2024 are listed here. This list is not kept updated, so please leave a comment if you know something new or RP with additions.

NOTE: It looks like one of my personal favorites of last year Unintentional Love Story is getting a spin off!

THIS WEEK’S BEST MOMENTS

Without ghost girl.

With ghost girl.

I think she may be my favorite part of 1000 Years.

CLASSIC tsundere seme description of a sunshine uke. Like classic'est of classic. (Two Worlds)

Is there such a thing as a tired trope in a BL? Since it is a genre that is made up entirely of tropes quilted together? Your philosophical question for today brought to you by Deep Night's kabedon (Japanese trope) + punishment threat (Thai trope).

Love me a lap sit moment. (City of Stars)

(Last week)

Streaming services are listed by how I (usually) watch, which is with a USA based IP, and often offset by a day because time zones are too much work.

The tag BLigade: @doorajar @solitaryandwandering @my-rose-tinted-glasses @babymbbatinygirl @babymbbatinygirl @isisanna-blog @mmastertheone

If ya wanna be tagged each week leave a comment and I will add you to the template. Easy peesy.

#this week in bl #bl updates #The Servant and the Young Master #The Servant and the Young Master reviewed #Vietnamese BL #Two Worlds the series #To Be Continued the series #City of Stars #Unknown the series #Love is Better the Second Time Around #Koi wo Suru nara Nidome ga Joto #AntiReset #1000 Years Old #Deep Night the series #bl series review #upcoming bl #bl news #bl reviews #thai bl #japanese bl #taiwanese bl #koren BL #BL gossip #BL updates #BL starting soon

[percheduphere]

LET'S TALK ABOUT WHO LOKI CHOOSES

I've previously discussed romantic tropes in the Loki series in my meta here. This meta supports the former by counting each of Loki's decisions with each of Loki's love interests (Sylvie and Mobius) and where those decisions occur in the progression of the overall story of S1 and S2 combined. The end of S1 is the midpoint of the whole story. Bear this in mind as I track how Loki's decision-making shifts. You can even choose to view Loki's decision-making with respect to Mobius as platonic if you want. It doesn't change the plot, count, or character development.

I have to give Sylvie attention and credit where it is due. To not do so would not only ignore her legitimate importance in the series and Loki's development, but it would also undermine my own credibility as an essayist. Feel free to comment, but here are my ground rules: no hate and no yucking other people's yum.

S1E1: Loki chooses himself. We could make the argument Loki chooses to trust Mobius here, but I don't think we see Loki start to like Mobius as a person until S1E2.

S1E2: Loki straddles between choosing himself and choosing to help Mobius because he actually wants to. It helps that the latter serves self-preservation. Loki most obviously chooses himself when he bullshits Mobius at the RenFaire. His choice is more gray when proposing the apocalypse theory. To be conservative, I won't count this in Mobius's favor. However, I feel fairly confident Loki chooses to help Mobius (1) sift through the possible apocalypses because of this genuine reaction:

Loki is starved for praise. He's a centuries-old god for goodness sakes.

When a third option presents itself at Roxxcart, Loki chooses himself and Sylvie (1).

S1E3: Loki chooses to: 1.) help Sylvie through "attempting diplomacy" with the widow (2), 2.) help Sylvie with his "shit plan" disguise (3), 3.) be vulnerable with Sylvie on the train (4), 4.) sing Sylvie a song (5), 5.) help Sylvie get to the arc (6).

S1E4: Loki chooses to comfort Sylvie by holding her hand; their feelings for each other trigger a giant Nexus Event (7). Loki chooses to tell Mobius the truth about the TVA; if he didn't care about Mobius, he would have withheld this information (2). Loki chooses to trust Mobius (3). Loki chooses to reciprocate Mobius’s feelings of friendship (4). Loki chooses, with Mobius, to find and rescue Sylvie (8). Loki chooses to combat Renslayer with Sylvie (9). Loki chooses to confront the Timekeepers with Sylvie and gets pruned (10).

S1E5: Loki chooses to share a blanket with Sylvie (11). Loki chooses to stay in the Void and follow Sylvie to the end of time, "Where you go, I go" (12). Loki chooses to hug Mobius (5). Loki chooses to trust Sylvie's insistence that he intrinsically knows how to enchant (13).

S1E6 (THE MIDPOINT): The confrontation with HWR is tricky. Loki chooses to slow down and think about the consequences because he's learned the value of slowing down and thinking from Mobius (6). Loki chooses to kiss Sylvie back (I realize this is debatable for many Lokius fans, but I'm not going to argue this; 14)

S2 NOTES: For the sake of my own sanity, I am not counting Loki's unconscious and conscious timeslipping. You can refer to the counts for that in my meta here. I will also not be counting the near-infinite number of loops Loki refuses to kill Sylvie for "the good of the multiverse."

S2E1: Loki chooses to seek out Mobius for help (7). Loki chooses to be vulnerable with Mobius in the hallway (8). Loki chooses to trust Mobius's judgment that they only have one shot at stopping the timeslipping (9).

S2E2: Loki chooses to protect Mobius from Brad (10). Loki chooses to help Mobius reverse-engineer Brad's TemPad (11). Loki chooses to comfort Mobius in the pie automat (12). Loki chooses to follow Mobius's intimidation plan for Brad (13). Loki chooses to convince Sylvie to join his and the TVA's cause (Sylvie declines #1; 15). Loki chooses to hold hands with Sylvie to combine their blast power (16). Loki chooses to follow Mobius back to the TVA (14). Loki chooses to ask Sylvie to stay and help (Sylvie declines #2; 17). Loki chooses to comfort Mobius in the Control Room (15).

S2E3: Loki chooses to humor Mobius's sightseeing (16). Loki chooses to try cracker jack (and hates it; 17). Loki chooses to prioritize the Loom per Mobius’s advisement (18). Loki chooses to give into Mobius's tandem bike request (19). Loki chooses to plead with Sylvie to spare Timely and asks for her help (NOTE: this is Loki's 3rd request; writers love the significance of threes and Sylvie turns Loki down all three times; 18).

S2E4: Loki chooses to defend Mobius in the Pie Automat (20). Loki chooses to compare (through implication) Thor's relationship with Jane with his relationship with Mobius (21). Loki chooses to use this same comparison to assure Sylvie that her mercy on Timely was an act of mercy for all people on all timelines (19).

S2E5: Loki chooses to look for Mobius in the Pie Automat (22). Loki chooses to look for Mobius in the Control Room (23). Loki chooses to recruit Mobius (24). Loki chooses to quote Mobius's "form and function" to Don (25), Loki chooses to help Mobius through the time door (26). Loki chooses to promise Don (Mobius) that he can return him to any point in time (27). Loki chooses to recruit Sylvie (20; she turns him down a 4th time). Loki chooses to argue with Sylvie that Mobius should have a choice (28). Loki chooses to listen to Sylvie that his friends are better off without the TVA (21). Loki chooses to let Don go for Mobius’s own good (29). Loki chooses to control timeslipping upon hearing Sylvie say "Do you think what makes a Loki a Loki is that we're destined to lose?" (22). Loki chooses to rewrite the story to save Sylvie and Mobius (23 / 30, respectively).

S2E6: Loki chooses to reenact all of Mobius's small gestures of kindness even though they cost precious time: he chooses to hold Victor's glasses (31), he chooses to compliment OB's "not to scale" model (32), he chooses to recite an abbreviated version of his and Mobius's bickering over "who's in the suit?" (33), he chooses to finish Mobius's joke about taking OB's job (34). He chooses to seek out Past Mobius for guidance and comfort (35). He chooses to shake Mobius's hand (36). He chooses to talk Sylvie out of killing HWR (24). He chooses to sacrifice himself to save Sylvie and Mobius (25 / 37, respectively). He chooses to listen (and watch?) to Mobius say, "Let time pass" (38).

Loki chooses Sylvie: 25

Loki chooses Mobius: 38

If I missed any decision points for either Sylvie or Mobius, let me know and I'll update the meta and counts accordingly.

Ultimately, Loki's sacrifice is for BOTH Mobius AND Sylvie. BOTH ships are important to the narrative and Loki. However, between the two of them, there is only one person who has consistently chosen Loki since S1E1, never rejected Loki and his requests for help, and who has, in turn, unknowingly been chosen by Loki in kind. Need a meta for Mobius’s decision-making? Here it is.

#loki #mobius #lokius #loki season 2 #loki series #loki meta #my meta #loki analysis #my analysis #sylvie