Modu by priest was truly such a good read. If you like romance? It has a sweeping romance, with a well done bisexual and gay lead (and straight best friend) all written in ways that manage to feel realistic, it's got features people likely found it for when looking for a danmei - rich manipulative younger man, older investigator who's got a hero streak, and yet those categories don't really do justice to them (and of course tao ran is the more grounded detective story lead who keeps his theories to himself and worries about dragging others into his mess).
They're so much more... Fei Du is a traumatized young man who's worried he's as monstrous as the people who scarred him, who is preparing to take the leap and cross the line to become an even more terrifying version of himself if it will destroy the corruption poisoning this city and harming so many, Luo Wenzhou is a cop that used to want to be a hero and learned he will fail people and be unable to save people and holds onto Fei Du as someone who reminds him he DOES fail but also reminds him why he wants so hard to keep Trying to help people even when it seems impossible... why trying and putting in effort to care and help Even when its too late to fix things is Worthwhile. Tao Ran is a contrast to them both, Fei Du living in a world where there's only monsters and victims and Luo Wenzhou desperately trying to force the world to be a place where justice CAN prevail and win even as he sees it fail over and over, trying so hard to believe all people have the capacity for everything and are worth trying to save. Even though Fei Du doesm't believe that, being around Luo Wenzhou makes him want to consider it. Tao Ran, their contrast? Believing the world can go either way, and its up to people like him to create any justice at all, any structure at all, or else everything is just meaningless suffering chaos. As characters, the three of them serve to explore how the world works and views on it in terms of a detective murder mystery encompassing the whole city, the small scale version of the world. Modu is a romance, but its also fully commited to being a murder mystery that wants to tackle the kind of themes that come up in the setting it's created. Its characters are so much more than Insert Character Ship types here. These characters were made this way to explore these ideas (just as the villains are all made to parallel and contrast Fei Du to explord these ideas in comparison to our point of view Fei Du moments, our impressions of Fei Du from Luo Wenzhou and Tao Rans varied perspectives, all of them are different lenses to view humanity and how it works, if the world is just or if we have to make it good, if we can be inherently good and if good people will reach out to us if we just keep treading water to survive, if its luck and chaos, and how much... and much more frankly).
Modu is like. If you want a story about a corrupt city and its victims, symbolizing a corrupt world and all of us at its mercy, and you want to see the heart of the people doing something about it. First the main trio, but also every victim Fei Du recruits to help, every murderer recruited to the corruption, all the people in the cases swayed to some side. Thats what Modu is about.
The romance is just one facet of exploring that, the personal debate about what these things mean about the world as told through two people who view this world incredibly differently. Yet find some way to exist in the same space, same mutual world, when together. It hooks you in and doesn't let you go and youre wondering right there with them, left to draw your own meaning in the end. Hopefully that its worth trying, that doing something is worth trying even when its just the trying you can do and not the succeeding, at least thats what I got from it (at least in regards to Fei Du and Luo Wenzhou meeting each other, unable to live up to the pillar they put each other on but trying anyway, is what I felt from them).
Then like? Modu gives you THAT story, which in its own right is enough to make you contemplate.
And if you're like me and care about people, about characters? Well it gives you, like I said, those big themes and a city's nightmares symbolizing the world, and brings them down to an individual level. You read from the mind of the little girl who grew up in this (one of my favorite scenes and when I felt this novel was going to not shy away from dark psychological moments and bringing them to you). You read from the mind of Fei Du when he knows himself, when he doesn't. You read from the minds of all kinds of people, and the heart of much of the investigation is peoples motives and things they'd gone through and how that shaped what they'd do next. Why they'd do it. Leaving you to wonder who's right. Jaded idealist Luo Wenzhou who wants to believe in the goodness of the people he loves, but also is willing to risk that strangers may have good intent? Fei Du who thinks theres only victims and perpetrators and everyone is going to fall into one in the right circumstance? Tao Ran, who feels the world is too messy to dare declare predictable, who thinks even your closest can betray you and even you can accidentally hurt them, nevermind strangers, and the only thing you can control and rely on is your own choices? Some mix? None of them? The side characters as they come up, grow and evolve, do they understand the world better or worse, and is the world they experience different than anothers and justify why their worldview is likewise different? Modu gives you that up close and personal, over and over. Im still thinking about it. And the way its done, they all get to feel like lived in people. Not structures to tell the themes only. But on their own, there's a personal struggle between Fei Du feeling like a monster who'll destroy Lup Wenzhou if he loves him, like his dad destroyed his mom, and Luo Wenzhou carrying the guilt he could never save Fei Du and desperate to believe in Fei Du (and keep trying to save him in that way if only that way) as person who can do good despite not being saved and despite Fei Du's fears. You could cut the entire city's plot away, all of the crimes and make the city calm, and still that core of their plot would be carrying a Lot of weight. Theyre playing a game of "enemies" to lovers sure, or whatever romance story structures they fit into. But they're also made to be deeply rooted into each other, their personal beliefs tied into the outcome of what they hope or fear happens if they are close together. Modu made me care about that. Its like the fears many people might have, abiut theur own flaws, about getting close to others, about trusting and being unsure if that trust is safe to give. Its that and magnified into bigger form, in this landscape of a fucked up city and the tragedy of Fei Du and Luo Wenzhou's meeting and former lives.
Its like. Id love to to read another danmei (Ive got a lot on my to read list). But what's going to give me roo
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Burrich, single, handsome, takes no wife and dedicates his entire life to his prince. Takes in his child, raises him, because his prince told him to, because he's his prince's child, even if a bastard, it's his, and he does the best he can in the worst possible way, and when he thinks he failed his prince in the last task he gave him, to raise his child well, he tries to break that last link to his prince. He drives Fitz away.
I desperately need a fic from this man's pov, who gave up his youth for his prince, whose prince left him to grieve and mourn on his own, alone, so utterly alone with a child he was unprepared for, whom he's hurt and knows it, hates himself for it, but can't bring himself to regret anything he's done because he's stubborn and proud and can't see past his own internalized phobias.
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Ultimately, I think one of the worst things Hopes does wrt its writing of Claude is take out all of the complexities and contradictions that had made him so interesting to begin with.
OG Claude lies and manipulates people and closes himself off while still searching for the truth and wanting people to come together and be open with each other, because of how his traumas meld together with his dreams. He says that he'll do whatever it takes to get what he wants and shows off opportunistic tendencies and then buckles at the first sight of innocents getting hurt, because no matter how much he wants what he wants he still prioritizes the lives of the people around him over anything else. He knows of people's capacity to hurt others for petty or illogical reasons - was raised with that knowledge beating its existence into him - and yet still dreams of a world where people of different lands and cultures can still be friends, because that is how tightly he holds onto his dreams. He's a kind person with the capacity for being a dick, and his contradictions add on so much to his character; they in large part are his character.
Hopes Claude? He lies and manipulates people and closes himself off... and that's it. He says he'll do whatever it takes to get what he wants... and he does. He knows of people's capacity to hurt others for petty or illogical reasons... and has no real dreams of stopping it (or dreams of anything in the future really, by his own admission) and he indulges in that very behavior himself, seemingly without any awareness. He is untrustworthy, and manipulative, and opportunist... and that's it. What you see is what you get. And if this were a character unto themselves, if we're kind and we ignore all of the other issues with Hopes!Claude's writing, that would be a fun enough villain to follow around.
But it's not; this is supposed to be Claude. This is a character who has so much of his foundations be built on the idea that what he presents on the surface isn't all that he seems. That he's more than a character who is just "tee hee I'm only pretending to be nice but I'm actually eeeeevil evil evil evil evil evil evil," but someone who both uses kindness as a means to an end and embodies it genuinely. Warm yet calculated, a good man with real flaws - THAT is who Claude is. Hopes Claude is who Claude is if you strip him of any complexity - He Is Only Pretending To Be Good, But Actually He Is Bad.
He's just... easier to swallow, in a sense. Claude is a good person who is willing and able to do bad things, but only up to a very specific, very clear point, all for a good dream he's held onto for years and plans extensively to make a reality in the future; Clyde is a shit person who's willing to do everything short of bombing specifically whatever land he himself is ruling, all for what essentially amounts to no concrete purpose. There's no need to think about Clyde as hard, since he just does what he does because he's doing it and that's enough.
It's why I'm glad I am Dev-Approved to just fuckin' ignore Hopes entirely as a horrific fever dream, because Hopes does not understand what made Claude so lovable at all
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I will be the first person to defend Kato's writing to the death, but if there is one flaw I do think she has. It's that she has shoved Izumo into a corner a lot and she hasn't done anything big since the Illuminati arc. Maybe it's a bit more obvious to me since I am such a huge fan of Izumo, but it's kind of sad that nearly every character has had more time and space than she has.
Konekomaru, and even Paku has had more of a influence directly on the plot as of late outside of some pushing Shiemi towards romance. It's not the worse, but it's disappointing after what a ride her arc was. She didn't even really fight during the last big battle with Satan before things went nuts. It's just been side stuff.
Izumo isn't the only one, Shiemi got a bit of this too for a couple of years. It's not the worst writing ever, and I can see where Kato is going with things and why they were sidelined (the story needed to focus on the brothers after all). I think it just stands out to me since Izumo's literally hasn't been involved in the direct action since the Illuminati arc. Shiemi at least got to fight her fears in the form of Amaimon.
That isn't to say fighting is the only thing that can make a character important. it just kinda feels like compared to the others Izumo's been in the corner than the actual plot. It's still a great manga, I think it's one of the best written series out there and I'll fight for that. Kato's writing is amazing and this series means a lot to me.
Kinda just sad Izumo's been kind of shoved off.
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Thirteen and yasmin are insane because watching the show it feels like the doctor is genuinely incapable on some level of truly loving yasmin- even to the extent that she fell in love with previous companions.
Hear me out, (this is a bit of a crackpot theory) something about this regeneration, something in the way she seems to be built as a direct reaction to twelve's late-season unabashed emotionally vulnerability- the way he held onto the pain and emotions and held on HARDER when they hurt, and now thirteen wont even pick them up.
Somewhere in those few seconds of regeneration, the regeneration itself must have latched onto the previous doctor's lingering thoughts- all those thoughts, a whole lifetime thinking about how much everything HURT- of much EASIER it would be to just AVOID all of that to just IGNORE it how he didn't HAVE TO GO THROUGH ALL OF THAT. But regeneration is a bit of a tricky process isn't it? You're usually lucky enough to get the right amount of arms and legs. You'd probably have pretty poor luck if you tried politely explaining"I'm just kind of grieving pretty hard right now and my life sucks ass usually and my desire to not suffer and irrationally blame my emotions themselves for this is actually a pretty common response so please don't overreact and make me incapable of proper emotional expression and connection with the people in my life please that'll actually make this WORSE not BETTER." I mean seriously good luck trying to explain those concepts to splitting timelord cells, I can't imagine they're great with conversation.
So the twelth Doctor's dying and one of his last thoughts is "man if I cared about people less I'd suffer less" and the thirteenth doctor is born (in a sense) woth that thought at the forefront. And she still cares!- so, SO much, but... it's.. different. It's not quite CLICKING. anymore. Things that WERE easy or at least DOABLE before just AREN'T now. Or at the very least they feel WRONG. Like walking around in someone else's shoes. In an old coat that doesn't quite fit. In an old face. And then the universe dumps the doctor right into the lap of 3 new companions with no clue about space or aliens or the doctor or any of that. No idea of what the doctor was like before- of what she is capable of now or WAS capable of before, and she doesn't tell them either.
And so she's walking around and she's keeping this ravine of distance between herself and everyone and everything in a way she never has before and there's no one there to call her out on it, but she pretends! She pretends it's not there! And she's really, REALLY good at it this time- maybe because twelve regretted not being better at it himself, even (but that's a different thought). And sure the companions call her out on it, yasmin in particular calls her out on it A LOT, Ryan, too- but they still don't realise the EXTENT to which the Doctor is (failing? refusing?) to connect with them because they have ONLY EVER met THIS DOCTOR and so they don't realise how drastic the difference is. They lack the proper knowledge to REALISE what is even truly going on with the doctor. But the doctor is still the doctor aren't they. And these are still their companions. And frankly, they're still kind of a dick.
So despite their sudden inability to connect with their companions on a level the doctor has never experienced before, and despite these new companions personalities being so unique and their journey with the doctor being so hectic that the doctor and all of them keep chafing and slipping out of the same old Doctor-And-Companion molds that the doctor keeps trying to shove them all into, the doctor wont stop trying to make these old molds fit! And honestly that never ends up being a huge problem for any of them. It's just kind of an interesting aspect of the doctor- a fascinating way that they sort of dehumanize their friends, by just plopping them in a mold and replacing them when they wear out. Because of course you still care for them! But by giving them a ROLE in your life that can just be REPLACED as opposed to letting them exist as a PERSON in your life once they're gone? That makes things easier. That makes the grief easier to bear.
ANYWAYS. back to the yasmin thing. If you remember the Yasmin thing. So. Yasmin falls in love. Of course she does. And the doctor notices. Of course she does. She's old and more people have been messing with her head than usual but she's good with noticing things no matter what else changes about her. And she doesn't say anything. Because she's a timelord! And Yasmin will die, or fall in love with someone else, or turn into a cyberman, or experience one of the infinite possibilities of horrors or wonders in all of time and space that will tear them apart and the doctor will be left alone again, so what's even the point!
Except then Ryan and Graham leave. And then the Timeless Child arc happens. And it wouldn't hurt to feed into it a little would it? Just to keep Yasmin around? Just to keep her from leaving? It wouldn't hurt right? I mean Thirteen could love Yas! She does! Of course she does! Yas is her fam! Her companion! The only one who's stuck with her through it all!- who keeps calling her out, coming back for her, saving her, taking care of her, helping her- and she's grateful! And she cares about Yas! That's not so different from love, right? And love would make Yas stay! And it'd be easy! It'd take what?- a date? Two? Probably! Humans like dates! And romance! And flirting! She can do those! In all honestly she HAS been doing those- (She gets incredibly posessive of anything that becomes part of her tardis, her world, her home, and well, yasmin has been there a long time. And flirting is fun! And a sort of socially acceptable way of staking a claim isn't it? Not to mention the doctor isn't great at denying themself anything that gets another being to feed their ego.) So she leads Yas on a little. Drops hints here and there. She doesn't really know if she means them or not but she knows that she wants Yasmin to stay, that she can't even imagine Yasmin leaving. And that's love right? Or close enough anyways.
So she decides that she loves Yasmin and that she and Yasmin are "together" in a way and decides not to question it further. Because she's placed yasmin in a new companion mold and herself in a new doctor-companion relationship model, and everything's as it should be! and yasmin has no other point of reference for the doctor, so she settles for what she's given. Decides "this is all she can give. She abandoned Ace and Tegan seemingly without a second thought and didn't even apologize- I guess this is how it's always been, with every companion. That's fine! I can handle this! It's worth it for her." And in the meantime The Doctor is sitting there on the other side of the console fully aware of the fact that this is in fact NOT the limits of her affection, but she's HAPPY, or at least as happy as she will allow herself to be with Yasmin.
Yasmin though. Yasmin WANTS more, she DESERVES more and Thirteen KNOWS this, but Thirteen puts her own desire to both keep Yasmin at a distance and avoid desciphering her own feelings above Yasmin. Eventually, Dan calls the doctor out on this. Pretty much just telling her "You KNOW that she likes you. Do SOMETHING about it." The doctor doesn't say anything but does, in a later episode, sit down on a beach and make a wish with Yasmin. "I wish this would go on forever" both meaning she hopes yasmin stays with her forever and that their relationship never progresses. She has everything she needs from yas- which, for the doctor who with previously loves (i am intentionally NOT specifying romantic interests) became OBSESSED with them to the point of not just self-destruction, but universe destruction? Potential INTER-universal destruction in the case of Rose? How could THAT doctor- because YES this is a DIFFERENT DOCTOR, but this is still THE DOCTOR- ever be satisfied with the disconnected relationship she has with Yasmin if she was in love with Yasmin? If she felt THAT WAY about Yasmin? Like she had for all those comapnions that had come before Yasmin that The Doctor had fallen in love with?
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and idk idk cause the way that fandom interacts with characters is so nasty cause i guarantee if ricky were put in the exact same position as ej this season y’all would not be as upset with him. cause yeah ej wasn’t around as much as he (or gina) wanted but that’s because he was busy having to quickly put together a show that a) none of his friends were cooperating on creating (except carlos briefly but like that quickly goes away wtf?) and b) means so much to gina as she co-stars in it and he wants to do his best for her. but suddenly he’s big and mean cause he spent less than two weeks not giving her his full attention and idk if your boyfriend has been with you for months now and you can’t deal with him being busy (with something that benefits you) for two weeks are you really ready for a relationship?
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i'm really bummed that first kill got cancelled. we deserved to see cal and jules' happy ending, but on a more serious note i think the cancellation speaks to a general trend where sapphic-led american and british shows — especially ones with women of color — *still* aren't seen as profitable. when they do occasionally get made they receive overly harsh criticism and get cancelled — see the wilds, batwoman, trinkets, one day at a time, betty, i am not okay with this, even sense8 — the list goes on. there are so many shows with queer women as side characters but they very rarely get to be the true leads.
that's not to say that shows with queer male leads don't face some of the same issues in the states or the UK, but there are significantly more examples of shows with queer men at the helm that have been renewed for second, third, even fourth seasons. i don't mind a show having a short run (when it's planned that way) but renewal is an indication of investment and perceived profitability, and clearly that's not what Netflix or other companies see in their sapphic-led shows.
i see a lot of comparisons between viewership numbers for heartstopper and first kill, and i think it does highlight a bit of a double standard, but it's also worth noting that the budgets for these two shows must have been VERY different. heartstopper probably cost pennies to produce, while first kill has elaborate sets, props, CGI, fight choreography, and a larger main cast.
netflix saw heartstopper as an easy win, but didn't see first kill as something worth the effort to renew despite its success. i think some of this is because of the negative reviews written by people the show wasn't intended for. reviews called it unoriginal and underwhelming, but heartstopper never received that type of criticism. first kill was held to a very different standard. both were designed as teen dramas, but only heartstopper was actually treated like one by critics.
some of this could be that first kill seemingly has a wider audience appeal. first kill has supernatural elements, which is a popular genre for teen and adult viewers alike, while heartstopper is just a slice of life teen romance with less adult appeal. i'd also speculate that sex and violence play a part in how these two shows were treated. heartstopper is about as G rated as you can get. first kill is distinctly not G rated. the presence of sex and violence might have made first kill seem like a better target for wider criticism. no straight adult man is going to write a review calling heartstopper boring, but there's a chance he might write one for first kill.
shows that truly put queer characters front and center — no matter their gender — are not common on british and american tv, but it is true that there are fewer queer female leads than male leads, and shows with trans leads are almost non-existent. it's not quite fair to compare heartstopper and first kill without some caveats, but i do think the comparison still highlights some issues with how mainstream tv here treats queer leads and queer romance — especially queer women and queer Black characters.
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It’s so hard being a fan of helluva boss and not hazbin hotel, it’s hard and nobody understands
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GIRL THE NADDPOD DISCORD'S RELATIONSHIP WITH ELDERMOURNE SLANDER I CAN'T-
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am i the only one who feels slightly annoyed when ppl draw sumeru characters with the canon skin tones lol
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I've been watching Sophomore Year (as I said) and it's really reminding me why I was so glad when we started Junior Year to find out that Kristen and Tracker had broken up, because that entire relationship storyline is so fucking annoying. Like I don't know if I've mentioned or not that I find Kristen really annoying in general, but it turns out Tracker, in conjunction with Kristen, is also annoying.
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I really like how Whitney's jewish convert status was handled in The Curse and I'm sad to see articles where writers just reveal their biases against jewish converts while writing about the show like man u missed the point and im side eyeing u.
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deku is so amazing and strong and compassionate and special and heroic and his accomplishments are so incredible, and he’s not just strong but also one of the smartest most strategic characters in the series, and he deserves to be adored by everyone and he doubly deserves the title of greatest hero ever, and i hope one day he receives more credit than he currently gets
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