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weaselandfriends · 11 months

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Post-postmodernism in Pop Culture: Homestuck’s Revenge

I recently saw an excellent video essay titled Why Do Movies Feel So Different Now? by Thomas Flight. Though the title is opaque clickbait, the video is actually about major artistic zeitgeists, or movements, in film history. Flight describes three major movements:

Modernism, encompassing much of classic cinema, in which an earnest belief in universal truths led to straightforward narratives that unironically supported certain values (rationalism, civic duty, democracy, etc.)

Postmodernism, in which disillusionment with the values of modernism led to films that played with cinematic structure, metafiction, and the core language of film, often with more unclear narratives that lacked straightforward resolutions, and that were skeptical or even suspicious of the idea of universal truth

Metamodernism, the current artistic zeitgeist, which takes the structural and metafictional innovations of postmodernism but uses them not to reject meaning, but point to some new kind of meaning or sincerity.

Flight associates metamodernism with the “multiverse” narratives that are popular in contemporary film, both in blockbuster superhero films and Oscar darlings like Everything Everywhere All at Once. He argues that the multiverse conceptually represents a fragmented, metafictional lack of universal truth, but that lack of truth is then subverted with a narrative that ultimately reaffirms universal truth. In short, rather than rejecting postmodernism entirely, metamodernism takes the fragmented rubble of its technique and themes and builds something new out of that fragmentation.

Longtime readers of this blog may find some of these concepts familiar. Indeed, I was talking about them many years ago in my Hymnstoke posts, even using the terms “modernism” and “postmodernism,” though what Flight calls metamodernism I tended to call “post-postmodernism” (another term used for it is New Sincerity). Years before EEAAO, years before Spider-verse, years before the current zeitgeist in pop cultural film and television, there was an avant garde work pioneering all the techniques and themes of metamodernism. A work that took the structural techniques of postmodernism--the ironic detachment, the temporal desynchronization, the metafiction--and used them not to posit a fundamental lack of universal truth but rather imbue a chaotic, maximalist world of cultural detritus with new meaning, new truth, new sincerity. That work was:

Homestuck.

That’s right! Everyone’s favorite web comic. Of course, I’m not the first person to realize the thematic and structural similarities between Homestuck and the current popular trend in film. Just take a look at this tweet someone made yesterday:

This tweet did some numbers.

As you might expect if you’re at all aware of the current cultural feeling toward Homestuck, many of the replies and quotes are incredibly vitriolic over this comparison. Here’s one of my favorites:

It’s actually quite striking how many elements of the new Spider-verse are similar to Homestuck; aspects of doomed timelines, a multiversal network that seems to demand certain structure, and even “mandatory death of parental figure as an impetus for mandated personal growth” are repeated across both works. The recycling and revitalization of ancient, seemingly useless cultural artifacts (in Homestuck’s case, films like Con Air; in Spider-verse, irrelevant gimmick Spider-men from spinoffs past) are also common thematic threads.

As this new post-postmodern or metamodern trend becomes increasingly mainstream, and as time heals all and allows people to look back at Homestuck with more objectivity, I believe there will one day be a rehabilitation of Homestuck’s image. It’ll be seen as an important and influential work, with a place inside the cultural canon. Perhaps, like Infinite Jest, it’ll continue to have some subset of commentators who cannot get past their perception of the people who read the work rather than the work itself even thirty years after its publication, but eventually it’ll be recognized for innovations that precipitated a change in the way people think about stories and their meaning.

Until that day, enjoy eating raw sewage directly from a sewer pipe.

(Side note: I think Umineko no naku koro ni, which was published around the same time as Homestuck and which deals with many similar themes and then-novel ideas, will also one day receive recognition as a masterpiece. Check it out if you haven’t already!)

#homestuck #spiderverse #across the spiderverse #metamodernism #post-postmodernism #pop culture

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maxwellatoms · 5 months

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Are there any Mandy openers that gave interesting origins?

If not, which Mandy opener is your favorite?

I remember reading a blurb by Stephen King(?) about postmodernism, and how you have to be careful about adopting little bits of culture from other places or you won't remember what's yours and what's not. Those are sort of the Mandy openers to me. Most of the early ones were original snarky quotes that just popped into my head. A few were famous quotes from others. Now I have a hard time discerning what was what. "Push the button, pull the chain. Here comes the chocolate choo-choo train" was originally a Jean-Paul Sartre quote, for example, when I spent the last 40 years thinking I'd made it up. All of those kids from Mrs. Emenheizer's 3rd grade class probably think I'm a sham now.

My favorite opener is probably "Quick! Jump into the TV set while no one's looking!" (a famous saying widely adopted after the Mongols defeated the Seljuqs at the end of the 13th century). At the time, CN wasn't allowing our characters to interact with TV sets by turning them off or on, or by pressing their faces to the screen. We were in the middle of Screen-Tipping Paranoia, and for some reason everyone was worried about kids crushing themselves with Televisions. The Mandy opener was my passive-aggressive dig at the censors, and I was certain they'd make me remove it. But they didn't. So if you were flattened by your own TV after watching it, that's on Cartoon Network.

✌️

#maxwell atoms #billy & mandy

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extasiswings · 1 year

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Hi sorry if it’s is a dumb question but I don’t understand what’s happening with the Tony’s do yo mind telling me? I’m not American so I don’t really get how the wga strike is related , is this a punishment to the writers because of the strike?

Not a dumb question, I'm happy to explain. So. The WGA is on strike. Which means, no WGA members are doing any writing for broadcast television (among other things). Members who cross the picket line would face serious consequences, and non-member writers who work as scabs during the strike also risk serious consequences (like the inability to ever become a member).

The Tony Awards, although focused on Broadway, are nonetheless a televised broadcast. The jokes, the scripts, all the funny bits of dialogue etc? Those are not written by playwrights or naturally improvised by the various hosts and presenters. Those are written by screenwriters. The same screenwriters who are on strike.

So, because of that, in order for the Tony Awards to move forward as usual, the Broadway League went to the WGA to request a "strike waiver." What this means is, they wanted the WGA to agree to allow writers (and anyone striking in solidarity) to cross the picket line to write and produce the telecast without consequences (essentially to break the strike for this particular program).

Naturally, the WGA said no. Why "naturally," you may ask? Because the Tony Awards air on CBS, which is one of the networks that has caused the strike by refusing to negotiate in good faith with the WGA and putting corporate greed over basic human decency and the lives of hardworking people. Granting a strike waiver for this would undermine the whole point of the strike and do little more than line studio pockets with the advertising revenue and viewership from a major broadcast.

In sum: the Tony Awards can't air because they don't have the writers to write the broadcast (in theory, they could try to make it work anyway, but that would be unlikely to go well). If people are upset about that, then they should take it up with CBS. Fuck the Hollywood studios; Support Unions.

#chapel talks #anonymous #ask

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angelsdean · 5 months

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I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.

#long post #LONG-ass post #but it needed to be said!#i'm sorry if you think every creative involved with spn was a braindead asshole but the thing is.#even the most mediocre of writers understands a thing or two abt symbolism and writers working in TV are plagued by S&P #countless writers have talked abt the S&P bullshit and having to tweak and edit down their work to get past censors #it's a reality of writing for television #and the people who understand all this and understand the context of making TV in the early 2000s (to present tbh!) aren't 'delusional'#i'm sorry but it's naive to think that queer stories and queer characters are free to be told even nowadays. it's still a constant battle #times have changed but unfortunately not as much as you'd think #the confession !!!!! the confession still struggled to air and what we got was so obviously hacked down to bits!!!!!!#how can anyone think getting destiel content into the show was ever easy?#how can anyone think the pro-destiel writers weren't constantly having to be careful and underhanded in their writing?#there's a reason queercoding and subtext exist and it's this!!! it's censorship from TPTB #anyways. people much older than me have been talking abt this for ages. younger fans who are used to more open queer rep need to understand #it hasn't always been that easy and even nowadays SO many networks are still not willing to take a risk on queer stories #so creators do what they can #vic.txt

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diet-comet-soda · 2 years

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I don't think anyone will be surprised when I say this, but there's a fundamental problem with western "adult" animation and that really sucks. To summarize the obvious: nearly every animated show not "made for kids" is limited to one very specific ~type~ of show (you know the one). And sure, some people like this style of show, but the potential left untapped is infuriating.

What I want from adult animation is shows like The Owl House, but taken further, without the limitations that networks put these shows through to make them "suitable for younger audiences". I don't even think they need to necessarily be completely inappropriate for younger viewers, they just need to prioritize their adult audience more and not get bogged down by "think of the children!!" rhetoric.

Animation targetted at older audiences doesn't all have to be like Family Guy. Even the more well-liked adult shows such as Harley Quinn don't stray nearly far enough off the established model to really meet the potential of the medium. Sometimes I want a sincere story without bathroom humour or gratuitous gore or hypersexualization. Sometimes I want to watch something that doesn't even really have "adult" content, but that's still designed for older audiences first and foremost, instead of held in a creative chokehold by brands like Disney to make sure it's colourful and light-hearted enough for little Timmy.

Maybe what I want would more accurately be called "Young Adult" or "Teen" animation, but I feel like those labels would undervalue these shows to the average viewer, similalry to how "YA" vs. "Adult" novels are treated. Just look at what Infinity Train was able to do when it was allowed to go places "kids'" shows usually aren't allowed to! Look at the beta concepts and imagine what The Owl House could have been if it wasn't on Disney Channel!

Of course, I love what we got with toh and how far they've taken this story, and I wouldn't trade it for anything. But there are admittedly a lot of weird moments and character/lore inconsistencies in the show, especially in season 1, where you can really feel Disney's enforced quota of "haha silly cartoon hijinks" messing with things. And I try to ignore them, but I often look at that one Bat Queen concept art and I get this sense of longing for a world where these shows can exist without having to toe the line of conforming to being "kids" shows.

Really my main point is that no one is hitting this specific niche like serialized non-"adult" cartoons are. But these types of shows have no stable space carved out for them in western media. The only place where they can even exist is on kids television networks, where their content is heavily policed and limited. And being trapped on these networks causes the general public to often lump them in with every other cartoon, dismissing them all as "for kids", no matter how different the story-telling style and intended audiences are. And if any of these networks one day decide that serialized cartoons no longer fit their brand, then we lose like half of the shows we have, out of an already measly selection.

Western animation has so much diverse potential, and yet all we get is the same genre of shows with that horribly bland and low-budget artstyle that makes everything just looks like Family Guy. Why does it have to be this way?

#Toh #The owl house #Infinity train #Animation #amphibia #gravity falls #king's tide

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sluttywonwoo · 5 months

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instead of you [part thirty-four] || l.mh

pairing: [best friend’s brother] lee minho x college!reader ft. han jisung

summary: you didn’t expect to spend your summer pretending to be your best friend’s girlfriend- then again, you didn’t expect to fall for your best friend’s brother, either.

warnings: swearing, angst, smut (mdni ; 18+)

word count: 3.8k

a/n: revamped my tom holland series from my main blog ( @wazzupmrstark ) to try and motivate myself to finish it!!

additional smut warnings: protected sex, public(ish) sex

“Were you able to get some rest?” Jisung asked, hand in yours as you walked through the airport together.

“Not much,” you admitted.

“Thankfully, I don’t think we’re doing anything today. We can just crash when we get to the hotel.”

“Okay.”

Jet lag was hitting you particularly hard. Oahu was a whole eighteen hours behind Bali, meaning you were technically in yesterday. Everyone else seemed to be handling it fine but maybe that was because they hadn’t ruined their relationship with their best friend by sleeping with his brother.

It was midday and already hot as hell. You waited outside with the Hans while Dom filled out the paperwork for rental cars. He called Minho inside to sign a waiver that allowed him to be the driver of the other car. Minho was the only one of the four of you who was old enough to legally drive a rental car and he rubbed it in the rest of your faces with a shake of the keys once he rejoined your group.

“Follow us to the resort,” Dom instructed Minho. “I’ll send you the address in case you lose us.”

You climbed into the backseat with Jisung and slumped over on his shoulder. You tried to stay awake as Minho drove through the island but your eyelids were feeling heavy and the winding mountain roads weren’t helping.

“Are we not staying in Honolulu?” you asked, watching the road signs zoom past.

“We’ll take a day trip over there but my parents wanted to stay at Ko’Olina again because they liked it so much last time,” Jisung explained.

“Right, I forgot that you guys have been here before.”

“I try not to think about it.”

Your time in Hawai’i was being split between two islands: Oahu and Kauai. In Oahu, you were staying in separate hotel rooms, and in Kauai, everyone was sharing a condo again.

It was nice to be able to have your own space but it also meant that there really wasn’t a way to avoid Jisung. You were kind of stuck with him. At least he was speaking to you again. He’d had some time to cool down so he wasn’t as angry but you could tell that he didn’t particularly want to spend time with you either.

You were stuck at a crossroads in that respect. You weren’t sure how to mend things with him but you knew you wanted to. You just weren’t sure if he felt the same way. He had been pretty clear the night that he found out about you and Minho that he wanted nothing to do with you outside of your already agreed-upon deal. But that had been in the heat of the moment. You had tried extinguishing any flicker of hope that threatened to engulf you in order to protect yourself from being hurt again, but it was getting harder and harder to do the more time you spent with him.

Sometimes it felt like nothing had changed. There were fleeting moments shared between just the two of you when there was no one around to pretend for that made you think your friendship might still be salvageable. But they never lasted long. They were lapses in Jisung’s judgment, when he would accidentally let his guard down, acting like you were still those kids you had been back at school, like you were still his favorite person.

He ordered room service for the two of you and you ate in relative silence. When the tension became unbearable you turned on the TV and flipped through the channels, ultimately deciding on some show playing on The Food Network. Perfect vacation television. It was a rerun of Chopped. You could tell it was a rerun from the dated fashion choices and technology- not because you were an avid fan or anything, though you had seen your fair share of episodes by being best friends with a culinary student. Whenever you watched it together Jisung liked to play a game where he would invent his own dishes with the ingredients the contestants were given.

“What would you make with that?” you asked, nodding at the screen, trying to lighten the mood.

He took a moment to think, mulling over the assortment of items in his mind. “Probably a salad of some kind since it’s the appetizer round. It’s a cop-out but I could make a dressing with that peanut brittle.”

You hummed in acknowledgment. “Knowing you, it would probably still taste good.”

“You have too much faith in me.”

“Or I just know you.”

“Yeah, maybe.”

Later that night, after you had both showered, you tried bringing up your conversation from the other day but Jisung shut you down entirely.

“I don’t want to talk about this,” he mumbled, tossing one of the extra pillows from the bed onto the armchair a little harder than necessary.

“But-”

“I’m just not ready yet,” he cut you off. “I... don’t want to say anything else I don’t mean. And I’m not ready to forgive you yet.”

There it was again, that stupid spark of hope struck like a match against the side of your heart.

You nodded in understanding, biting your lip to keep from showing just how disappointed you were.

It was a strange mix of emotions, hope and disappointment. They were complete opposites but somehow you were feeling them simultaneously.

“O-okay,” you said shakily, watching as he climbed into bed.

You moved to do the same even though it felt painfully awkward, how were you supposed to just go to bed after that? How did people in relationships do it? How did people just roll over and fall asleep like nothing had happened after an argument?

As soon as you reached to pull the sheets back, fingertips brushing the fabric, your phone vibrated next to you on the bedside table.

You glanced at the screen and saw that it was a message from Minho. He was asking you to meet him downstairs. It wasn’t that late but it was already dark and it had been a long day. What could he possibly want?

Jisung must have noticed the look on your face because he sighed and muttered “go” at you without meeting your eyes.

“I, uh, I’ll be back. Later.”

“Yeah, whatever.”

You made sure to grab a room key on the way out and then hurried down the hall to the elevator, pressing the down button over and over again until it finally arrived at your floor.

Minho was waiting for you in the lobby like he said he would be, leaning against a pillar with his arms crossed impatiently. To your surprise, he smiled when he saw you.

“What’s so important you couldn’t tell me over text?” you demanded in annoyance.

Minho’s grin faltered but didn’t fall. He just eyed you with an air of amusement. “Who said I had something to tell you?”

“Why else would you make me come down here?”

He raised an arm, dangling the key to the rental car he had driven earlier that day. “Wanna get out of here?”

“Where are we going?” you asked.

“Do you trust me?”

“Not particularly.”

Minho placed his hand over his heart and winced. “You wound me.”

“Just tell me where you’re taking me!”

“But that ruins the surprise!” he argued.

“The surprise? It’s like eleven p.m. and I’m tired! Why are you dragging me out at this hour? Jisung’s already annoyed that I came down here to meet you in the first place.”

“How does he know?”

“Who else would text me at this hour?”

“Fair point. But are you just going to stand there and interrogate me all night or are we doing this?”

You huffed in frustration. “I don’t even know what ‘this’ is!”

“Come on!”

Minho grabbed your hand before you could argue any further and dragged you out through the lobby into the parking lot.

“So now you’re kidnapping me?” you exclaimed, tripping over your own feet.

Minho chuckled but still shot you a look of warning. “Keep your voice down! People are going to think you’re serious.”

“Yes, sir,” you deadpanned.

“Stop trying to turn me on in public, you already have an unfair advantage.”

You weren’t sure how serious he was but you rolled your eyes anyway. You also didn’t know what he meant by the second part but you didn’t ask about that either.

He didn’t let go of your hand until you reached the car. And even then, it seemed like he was hesitant to release you from his grasp, fingers lingering on your palm like he was afraid you’d run away the second he set you free.

But you climbed into the passenger seat and buckled your seatbelt without a second thought. A series of poor decisions had already led you here. What was a couple more?

Mostly, your curiosity is what drove you to get in the car with him. You figured you didn’t have much to lose at this point. You hadn’t spoken more than a couple of words to Minho in the last few days. You had assumed he’d want nothing to do with you after you fucked up his relationship with his brother-- then again, maybe he didn’t want anything to do with you and was only driving you somewhere where he could chew you out without anyone overhearing. Hell, maybe he was taking you out to a pier where he could push you in the water so that your body would never be found.

No, he's too famous for that. He’d never get away with it.

You were silent as Minho put the car in gear and backed out of the lot. As soon as he turned onto the main road he rolled the windows down, glancing over at you to make sure it didn’t bother you.

“Is this okay?”

“Yeah, it’s fine.”

You watched him mess with the radio dial until a signal from a local station was picked up. Once he found something, he adjusted the volume so that you could hear the music over the sound of the rushing wind, and then he reached across the center console, hand outstretched. The gesture caught you off guard, and you were unsure whether or not you should take it. You figured it would be more awkward if you left him hanging so you looked away and slipped your fingers between his, relaxing into the familiar feeling.

The roads were mostly empty. Everything was already closed for the night. Eventually, Minho merged onto the highway, heading east.

“Do you know where you’re going?” you asked twenty minutes later when he still hadn’t taken an exit. You were beginning to suspect that he didn’t really have anyplace in particular in mind, that he was just taking you for a late night drive, which would have been fine. You liked long drives too. But he had made it all seem so mysterious and the anticipation was killing you.

“Of course I do, how dare you doubt me!”

“It’s just that you don’t have a GPS on or anything!”

“I’ve been here before,” he reminded you.

“Yeah, one time three years ago.”

“That’s all I need,” he assured you. “And if you pay attention to the road signs you don’t even need to memorize the route.”

“You sound like my dad,” you mumbled.

“Your dad must be a very talented navigator,” Minho said decisively, complimenting himself.

You rolled your eyes. “Yeah, but he didn’t fail his driver’s test- what was it, four times?”

“Low blow,” he chided and shook his head.

“You needed to be humbled.”

Comfortable silence resumed between the two of you as Minho continued driving. He got off the highway a few miles later and wove through town before finally turning onto a rocky uphill path. The radio signal weakened almost immediately, static interrupting the music that had been playing. He turned the volume down out of instinct.

“Remind me, do you get carsick?” Minho asked suddenly, like it was an afterthought that had just occurred to him.

“Um, sometimes? Why do you ask?”

“These roads are winding,” he explained, “they might make you nauseous. Just try to look straight ahead. Don’t look at your phone.”

“I haven’t looked at my phone this entire time!”

“Well don’t start now.”

You braced yourself for the twists and turns of the road but it was difficult to anticipate where they would be with how dark it was. The headlights of the car were the only source of light on the gravel road, everything else surrounded by shadows and silhouettes of trees.

Finally, just when you were starting to feel a little lightheaded, Minho pulled into a little lot on the side of the road.

“Are we here?” you asked, squinting in the darkness to try and make anything out.

“Yup,” Minho answered with a smile.

He turned off the car, letting the headlights dim.

“Come on!”

“We’re getting out?” you exclaimed.

“Would you just trust me?”

Sighing, you kicked open the passenger side door and climbed out of the car. Minho rounded the back to meet you on your side, blanket in hand.

“Where are we?”

“Listen.”

You closed your eyes and did as you were told, waiting for any sort of clue as to where you were. In the distance, you could hear waves crashing against the shore. The salt in the air and the sound of breeze rustling through palm fronds only confirmed what you already knew.

“You took me to the beach?”

“Follow me.”

Minho took your hand and led you along the sandy path down to the shore. You toed off your shoes and held them in your free hand as you walked. The place was practically empty. The only other signs of life were the flames from a bonfire about half a mile down the beach.

Minho used the flashlight on his phone so you could see where you were going, keeping you steady when you tripped over your own feet in the uneven sand.

“Careful there,” he chuckled.

He picked a spot that wasn’t too far from the path, something that put a little more distance between you and the bonfire.

“Is this okay?”

“Seems as good a place as any,” you said and shrugged.

Minho laid out the blanket and motioned for you to sit on it. The sand underneath the fabric was cool, having long lost hold of the heat from the sun. It molded to the shape of your body as you chose a comfortable position.

You could feel Minho’s presence beside you but neither of you moved closer to the other. You figured he hadn’t brought you all the way out here to sit in silence, but you didn’t want to be the one to prompt the conversation. He was the one who was so insistent on coming, he could make the first move.

He did, after several more moments. You waited patiently, allowing him to collect his thoughts. His eyebrows were knit together, eyes downcast, as if he were having an internal argument with himself. Then, his expression softened and he met your gaze, any trace of conflict seemingly absolved.

“You look really pretty.”

You scoffed. “You can’t even see me that well.”

“Speak for yourself, I can see you perfectly.”

“It’s dark out!”

“We have the moonlight.”

“Barely.”

“I think you need to get your eyes checked,” Minho teased.

“Did you bring me out here just to make fun of me?”

“Yeah, are you not having a good time?” Minho asked. “Do I need to up my game?”

You rolled your eyes but didn’t grant him a response, instead pulling your knees to your chest so that you could rest your chin on them.

“Do you like it? Here, I mean?”

You nodded. “It’s nice. Quiet.”

“Mhm.”

“But why this beach? I mean, we’re on an island, the whole place is beach, but you drove me all the way out here.”

“It’s usually pretty empty, especially at night.”

“And you know that because... you’ve taken lots of girls out here?”

“If you count my mum, then yes,” he said sarcastically. “I don’t exactly frequent the island of O’ahu.”

“So you’re saying that if you did, you’d bring girls here all of the time?”

“Oh, totally. It’s how I’d seal the deal, like all the assholes in the movies.”

“By telling them they’re the first one you’ve ever brought here?”

“Exactly. But you know I’m telling you the truth because you already slept with me.”

You shoved him with a scoff, a little harder than you intended, making Minho fall back onto the blanket.

“Hey! What was that for?”

“You know exactly what that was for.”

He grinned sheepishly and then stretched out the arm that was closest to you. “C’mon, then. Join me.”

You shifted a bit, moving further down on the quilt so that when you laid back Minho’s arm would slot perfectly under your neck. You curled up to him, slinging your own arm across his stomach. The rhythm of his breathing along with the sounds of the waves breaking against the shore was soothing. It was the most relaxed you’d felt in a long time. You were halfway to sleep when you felt Minho murmur something into your hair.

“What?’ you asked groggily, blinking your eyes open.

“The stars, look.”

You repositioned yourself a bit so that you could stare straight up at the sky to see what he was talking about, gasping quietly when you did.

It wasn’t as impressive as the night skies on the boat had been, you were much closer to civilization now, but it was still better than anything you’d ever gotten to see back home. It was as if the sky was dripping with diamonds, stars hanging out of reach like they were on display at a store far out of your budget.

“It’s gorgeous.”

“I thought you might like it,” Minho mused, “I’m glad the clouds cleared so you could see them.”

“It’s nice here even without the stars,” you assured him. “Though, they’re definitely a highlight.”

Minho turned his head to look at you, smiling. Your eyes had adjusted slightly, allowing you to see the details of his face.

You weren’t sure who leaned in first, but the next thing you knew you were kissing him. Minho cupped your face with both hands and pressed his tongue against the seam of your lips, silently begging you to open your mouth. You did, gasping when he got impatient and nipped at your bottom lip.

You took the initiative this time and rolled on top of him, working your hands under his t-shirt to feel him up.

“Missed this,” Minho sighed, “missed you.”

“It’s only been like three days!”

“Way too long, if you ask me.”

You rolled your eyes but let the comments fuel your ego anyway.

He matched your pace and dropped his hands from your face to let them roam your body. It didn’t take long for them to find your tits, fingers brushing over your nipples underneath the fabric of your shirt. You rolled your hips against his, already able to feel that he was half hard through his sweats.

Minho groaned and broke away from kissing you to catch his breath, tilting his head back and swallowing hard. His hips stuttered underneath you, encouraging you to keep going. You took over and began kissing your way down his neck.

“Do you have a condom?” you asked breathlessly

You knew you were acting desperate but it’s because you were desperate. You were aching for him and your panties were beginning to feel uncomfortably sticky.

“Are you sure?” Minho asked, not answering your question.

“Yes, fuck, where are they?”

He propped himself up on his elbows and nodded down at his pocket. “I still have a few in my wallet.”

You sat up a little and brought one of your hands down to his pants, brushing your palm over his erection before fumbling for his wallet in his pocket.

“You’re a menace,” he hissed as he kicked his head back.

“Don’t act like you don’t love it.”

You retrieved a condom and slid the wallet back into his pocket, tearing the foil wrapper open while you tried to get his pants off at the same time.

“Need help?”

“No, I got it,” you muttered.

You were able to get Minho’s pants down far enough to get his dick out and put the condom on him before pushing your own pajama shorts and panties to the side so you could ride him without having to take them all the way off.

“Wait, I haven’t even fingered you or anything,” Minho interjected, putting a hand on your stomach to stop you from lowering yourself onto him. “It’ll hurt.”

“We don’t really have a lot of time,” you argued back, “I’m really wet already. You don’t need to.”

“Bullshit,” he countered in disbelief.

You were starting to get annoyed. Why wouldn’t he just fuck you like you wanted? You could tell Minho was getting frustrated as well, confused as to why you were rushing into it.

“At least let me rub your clit a little first?” he pleaded.

You wanted to tell him that it really was fine, that you’d just need a couple of extra seconds to adjust to his size, but he was already running a thumb over your pussy, feeling around for the spot that would make your knees buckle.

“F-fuck,” you whispered when he found it, arching just slightly to press yourself into him further.

“Feels good, doesn’t it?” Minho asked, sounding entirely too pleased with himself.

You couldn’t even deny it. “Yes.”

“Still gotta be quiet, though,” he reminded you, “don’t want to let those folks down the way know what we’re up to, huh?”

You nodded in agreement even though you had completely forgotten about the people having a bonfire on the beach. They were likely too far away to see the two of you in the dark, but you knew sound carried so you would still have to be careful.

“Can you put it in now? Just want to feel you.” You threw in a pout at the end just for good measure, hoping that would be enough to get you what you wanted.

Minho nodded and put a hand on either of your hips to help you. You sighed in relief as you sank down on him, finally feeling full. You were able to take him all at once but you did need more time to adjust to having him inside of you, to which Minho cockily mouthed I told you so at you.

Once the discomfort ebbed away you leaned down and pressed your chest to his, resting your head against his shoulder. He wrapped his arms around you instinctively as you started rocking yourself on his cock, trembling at just how deep he could get at this angle.

“I can’t believe we’re doing this,” you mumbled.

He carded a hand through your hair and cocked his head to the side. “What, having sex on the beach?”

“Mhm.”

“It’s a first for me too,” Minho admitted.

“Better make it memorable then, right?”

lmk what you think i always appreciate feedback!!

#instead of you stray kids #instead of you skz #iou stray kids #iou skz #stray kids x reader #stray kids smut #skz smut #skz x reader #lee know smut #lee know x reader #lino x reader #lee know x female reader #lee know x bi!reader #lee know series #stray kids series #lee minho x reader #minho smut #lee minho smut #minho x reader

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immaturityofthomasastruc · 10 months

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#23: “The Miraculous Ladybug Movie May Give You What You Want, but My Show Gives You What You Actually Need! You Don’t Work in Television, so You Wouldn’t Understand.”

I've been running this blog for almost three years at this point, and I've seen Astruc talk trash about various things while claiming his show is better, like Winx Club, Paw Patrol, Pokemon, and Pixar as a whole. I never thought I'd see Astruc act like his show was better than a movie based on his show though.

For those who don't know (and you'd be forgiven, seeing how Astruc has barely talked about it on his Twitter), there was recently a movie that hit theaters based on Miraculous Ladybug called Ladybug & Cat Noir: The Movie. Supposedly, it's meant to be a retelling of how Marinette and Adrien met as civilians and as heroes. While I haven't seen it, it seems to be getting good reception, with some saying it's better than the show it's based on.

Of course, Astruc had something to say about this.

Okay, I sort of get what he's trying to say here. It's hard to compare the experience of watching an hour and a half long movie and a TV show with five seasons under its belt, but at the same time, the way Astruc phrased it still made it seem like he was trying to say the show was the better option because it “gives you what you need”. Nobody was expecting the Love Square to be resolved in a few episodes. Most people at least wanted more stories about the two to be told that don't involve constant padding. Astruc also acts like the Love Square is the only draw for the series instead of, oh, I don't know, the superhero action? You're really telling me they couldn't have tried focusing more on that after resolving the Love Square? I'm just saying, if The Office can continue after Jim and Pam got together, you can at least try to actually write other stories after the Love Square becomes canon.

One user in particular had some things to say in response to Astruc's claims, and you can guess how well Astruc took that.

Again, nobody is saying that working in television is all sunshine and rainbows, Astruc, but just because someone isn't familiar with dealing with network constraints and test audiences, it doesn't mean that they're unable to provide any meaningful criticism.

Also, Astruc is once again using a psychology term, in this case, the Dunning-Kruger Effect, to act like he's smarter than the critics. This man took psychology as an elective in college, didn't he?

But then again, this is coming from someone who doesn't think constructive criticism is a real thing.

Funny how he once again acts like anything that isn't positive feedback of his show is delusional, isn't it?

Eventually, this devolved into Astruc posting a little tangent about how fandoms have only gotten more toxic, which would have been a decent point... it if didn't come after all the things he said about fans not being able to criticize his show.

Again, there's nothing wrong with what he's trying to say here, but it feels less like a critique of how fans have become more toxic with the advent of the internet, and more like he's complaining about how mean people have been to him lately.

And, of course, this led to the usual fare of people calling out Astruc for his close mindedness, and Astruc once again saying how people aren't allowed to criticize his show in any way that isn't blind praise.

And here's the thing. We're still not done yet. This little tangent only warranted more comments about how Astruc handles criticism, only this time, it's also about calling out the people who think they can do a better job handling the show.

First, do you mind giving us an example of what kind of constraints you have to deal with, Astruc? We all know that TV executives suck, but I think we'd have more of a reason to understand your struggles if you actually explained some things that needed to be changed because of executive meddling.

Second, nobody wants a beach episode, Astruc, especially after that one issue of the comic you're choosing to ignore. We just want a more consistent story that doesn't rely on endlessly padding out the Love Square.

And finally, did you just say you have to be French if you want to rewrite Miraculous Ladybug? What does being French have to do with any of this? I remember seeing a little tweet a few years ago suggesting you would be a good choice to write a Superman story, but last time I checked, you aren't American.

Let's review in case you got lost. Someone tweeted that they thought the Miraculous Ladybug movie did a better job at the story it set out to tell than the Miraculous Ladybug TV show, Astruc tried to explain how his show is still good in its own way while justifying how long it's been going on for, he ranted and raved at fans for daring to criticize his team's writing before going on a tangent about how the internet has made people more hostile over the years, and when people still weren't happy with him, he claimed that you could only criticize or rewrite the show if you're an experienced French TV writer like him.

So just keep that in mind, fanfic writers. Unless you're French and have experience writing for television, you don't have a chance in hell to successfully write your own version of Miraculous Ladybug.

#immaturity of thomas astruc #iota #thomas astruc #thomas astruc salt #miraculous ladybug #miraculous ladybug salt

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gentlebeardsbarngrill · 2 months

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02/23/2024 Daily OFMD Recap

TLDR; How To Help; Rotten Tomatoes Reviews/GoggleBox; Cast & Crew Sightings; Taika; Rhys; Leslie Jones; New Watch Party: These Thems; Save OFMD UK Billboard; Transparency policy; RhysDarbyFaction; We'reWolves; Fan Spotlight; Podcasts/Youtube vids; Articles; Love Notes; Daily Darby / Tonight's Taika

Hey all. I'm starting out with the how to help section tonight because there are some things we'd love to see happen to try and help with the renewal.

== HOW TO HELP ==

= Rotten Tomatoes Reviews =

Okay all, this is a big one. It's been brought to my attention by @bzy_hands on twitter, that there are less than 1000 reviews on rotten tomatoes for Season 2. They have an excellent point, Con DID screenshot Season 2. If you haven't already, please go over to Season 2 and review it to help get over that 1000 review mark.

Need help on how to review on RT? @lowrahh Was kind enough to make a tutorial for us, check it out on the repo: Review on Rotten Tomatoes and IMDB

== Let's Get OFMD On Gogglebox ==

Our crew-mate @queerly-autistic was kind enough to have written up a How-To on on getting OFMD on Gogglebox!

"One of the biggest things we can do to try and get Our Flag Means Death picked up by another network is keep making noise about it, and so I had a wild middle-of-the-night idea about one way we could do this: try and get the show on Gogglebox! For anyone who doesn't know, Gogglebox is an extremely popular and successful show in the UK on Channel 4, where ordinary people (and sometimes celebrities) watch and react to television shows, pop culture moments and films."

Wanna give it a go? Please check out their tutorial here!

== Cast & Crew Sightings ==

==Taika!==

It's been a minute since we've seen Taika! But he's out with Rita at the Taylor Swift concert.

= Rhys Darby =

Well, even though Rhys is taking some time off until March, we still have some Cameo's coming in from prior to him closing cameos!

= Cameo 1 - Cryptids! =

Thank you to @iamadequate1 for sharing this fun little cryptid video +

Tumblr / Twitter Links

= Cameo 2 =

Our friend @blackcravatart over on twitter was kind enough to share a birthday video for her (edited for names). I don't know if it's anywhere else and I didn't get permission to download it, so I apologize I'll try to do that and get back to you if we are allowed to share it elsewhere! Cameo Video on Twitter.

= Red Dead Redemption 2: Episode 3 =

The next exciting episode of Rhys playing Red Dead is up!

youtube

= Leslie Jones =

I really don't post enough about Leslie, who is my absolute idol. She's out doing comedy at the Hawaii Theater in Honolulu tonight with @lennymarcusnyc! Just wanted to give a shout out her way since she's a BAMF and deserves all the love.

== New Watch Party ==

Join @adoptourcrew on Friday 3/1 for a watch party of #TheseThems! Times haven't been secured quite yet but mark your calendars!

Watch Party Hashtags:

#TheseThems

#These Gems

#AdoptOurCrew

Wanna see what other watch parties are planned? Feel free to visit the repo for Watch Party Events.

== Save OFMD Billboard Campaign ==

Some of you may have noticed that there's been some suspicious pictures going up across multiple platforms regarding a billboard with the hashtag #WatchTheHorizon from our SaveOFMD Crew. There's definitely some Billboard planning in the works and the crew has provided a bit more transparency on the situation this time. All links in the images will be listed below.

Links:

SaveOFMD Crew Transparency Policy

Team HAVEN

Trans Lifeline

RainbowYOUTH

Outright International

Full Twitter Thread

== SchadenFreude ==

Just a little karma for WB.

== Rhys Darby Faction ==

So for those of you not on twitter, there was a bit of fun had with a random film poll guy who posted a poll that included Rhys Darby on Twitter.

It was found by OFMD twitter, and immediately started being retweeted, which, is how twitter works, right? His Response to this was:

So several of our OFMD Twitter group decided to OWN that lovely little name, and put together an actual hashtag #RhysDarbyFaction... and start polite menacing and trying to boost engagement for #AdoptOurCrew and #SaveOFMD Which triggered a meme factory, here's a few:

#RhysDarbyFaction is now a trending Hashtag on Twitter, and the Faction is using that to help support the #SaveOFMD and #AdoptOurCrew effort as well as spread positivity and love around Rhys Darby works. There's even a discord server if you're interested in joining: https://discord.gg/r7db78j4 There's been talks of putting together some events for a Cryptid Scavenger hunt, but in general it's just a small safe space to try and promote little guys and support the ofmd renewal effort. You don't need to join the discord to be part of the crew, just use #RhysDarbyFaction and be a polite menace/positive force!

== We're Wolves ==

So according to the #WellingtonParanormalPodcast's tiktok, it sounds like Jermaine is finally in talks for writing "We're Wolves"! A sequel to the 2014 What We Do In the Shadows movie. I know we've all been in a Vianton mood since that one Rhys Cameo, so just wanted to make sure you'd heard if you hadn't! SRC: Tiktok

== Fan Spotlight! ==

Getting close to the end of the month so gotta catch up! More collages from our friend @wnderngnomad on Twitter!

Day 23: The Cinematography

Day 4: Nat Faxon

Day 5: Vico Ortiz

Day 6: Leslie Jones

== Podcasts / Youtube Vids ==

Speaking of podcasts, checkout some podcasts from our fandom!

= Citizen Dame =

First up! @celluloidbroomcloset, has a podcast that’s called Citizen Dame. While it doesn't specifically discuss OFMD in this episode, they do discuss Taika, and you all know how much we love that man. So give it a listen and support a fellow crew-mate! Podbean Link / Patreon / Spotify

= Never Left Podcast =

Another fan-podcast I'd like to add tonight is Never Left! More podcasts and discussions on all things OFMD -- give them a listen if you feel up for it! "Welcome aboard our Safe Space Ship! Your Co-Captains, Ariana Perry and Amanda Catron, will be hosting this completely spoiled, totally unofficial, deep dive into Our Flag Means Death." Podbay / Linktr.ee

== Movies With Marty ==

Marty has a new First Watch video out! If you haven't watched Marty's vids yet, feel free to check them out! He's a hoot and is a HUGE supporter of OFMD!

youtube

== Articles ==

What to watch on Netflix and BBC this weekend?

Keeping promises of queer representation

== Love Notes ==

Today has been a long day lovelies, and I'm out of spoons so I'm gonna take a night off from writing out love notes and spread some from someone else. Just know I'm very proud of you for everything you did today, I hope you're doing well and feeling safe. <3

== Daily Darby / Tonight's Taika ==

Idk if these really go together tonight, but here we go. Both of them were on tenor with no srcs? Sorry! Hope you all enjoy!

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thepoparena · 1 month

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Thoughts on "Quiet on Set"

I imagine, being one of Youtube’s “Nickelodeon Content Creators”, you want to know what I thought. QUIET ON SET, the new four-part documentary detailing inappropriate behavior and abuse on the set of Dan Schneider’s various Nickelodeon shows, starts off on its worst foot, with all the earmarks of trashy tabloid journalism. A couple of gossip journalists walk us through events and interject how you’re supposed to feel about them. There’s one moment where Leon Frierson, former ALL THAT cast member, talks about how uncomfortable some of the costuming made him, about how the noses on a nose-themed superhero costume has some unfortunate phallic resemblances, and then we cut to a writer from Buzzfeed going “and then the sneeze gag is basically a cum shot joke!” Frierson never says that. In a later episode, a similar comparison is made to a gag on ZOEY 101, but there it’s actress Alexa Nikolas making that connection from the workplace environment she had found herself in. It’s an authentic observation, where in the earlier example it was outsider sensationalization, playing to the “crusaders” on Twitter and Tiktok where the public side of Schneider drama has mostly lived over the past decade. They bring on Marc Summers, Nickelodeon elder statesman who had virtually no presence in this era of the channel, for all of twelve seconds so that he can watch a clip of a Schneider show and go “oh, wow, they aired that?”

You can imagine how the producers' eyes must have lit up when they learned that Brian Peck, former Nick dialogue coach and convicted sex offender, owned a John Wayne Gacy painting. I mean, yeah, that’s fucked up, but it has virtually nothing to do with anything. It is, however, a perfect “can you believe this” moment that can be clipped and shared on social media for shock value. It’s something that the documentary can ride as a viral moment.

QUIET ON SET was produced for Investigation Discovery, whose bread and butter is schlocky true crime documentaries. Shows like EVIL LIVES HERE and WHO THE (BLEEP) DID I MARRY. Not exactly tasteful television. The channel is owned by Warner Bros Discovery, and was simultaneously released on Max. Warner Bros Discovery owns Cartoon Network. The documentary puts emphasis on Nickelodeon being on the top of the children’s cable game, and often brings up the Disney Channel as Nick’s main competitor. At no point is Cartoon Network mentioned, because, well, nobody wants to say their competitor is doing better than them, and saying you’re doing better than Nickelodeon would defeat the documentary’s narrative. My point is that I do not believe QUIET ON SET comes from a genuine place. It’s cheap schlock shock documentary filmmaking that wants to attract the same crowd who watch serial killer shows for fun. However. It’s also a space where a lot of people who were hurt during this time at Nickelodeon have come forward to tell their stories, and that pretty much nullifies all the gross exploitation elements present in the early parts. When these people start speaking for themselves, the documentary has no choice but to let them speak, and its more garbage instincts fade away. By the time Drake Bell starts telling his story, the gossip journalists all but vanish until the end, and there’s a stronger sensitivity to everything. The topics raised are harrowing. Workplace discrimination, sexual harassment, child abuse, sexism on set, racism on set, and general mispractice paint a meaningful picture of the toxic environment Nickelodeon was allowing at this time. The stories told by AMANDA SHOW writers Christy Stratton and Jenny Kilgen are infuriating. And then the sexual assault of Drake Bell by Brian Peck. Not an easy watch. It shouldn’t be an easy watch. What a fucking awful thing. It’s heartbreaking to watch. The documentary handles it with an unexpected tact and evenhandedness. It doesn’t excuse Bell’s later behaviors, and it allows Schneider to come off as one of the few adults who handled the situation correctly, even if the rest of the documentary is largely against him. I wish this had been the tone of the entire piece. QUIET ON SET is an important document of a terrible entertainment workplace. It’s a shame they dumped a bunch of trash on top of it. It’s not an easy watch, but it’s one of those things that’s going to be referenced to a lot over the years, and I hope that the people who make children’s television were learn the right lessons from it.

#quiet on set #nickelodeon

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sequencefairy · 4 days

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Ya know, I was gonna be done. I spent hours yesterday talking friends off ledges when people were harassing them for being excited about the watcher announcement, or when their anxiety ballooned while watching the never-ending fucking tide of absolutely entitled morons kept piling on and on and on and spreading baseless bullshit every where.

But like, I cannot be done.

Because I am just so fucking disappointed. I'm so fucking sad to be sitting here watching people writhe with glee over the reactions to the announcement, and fill their little vengeful mugs in anticipation of watching the fall of a fledgling independent media company they are literally standing around lighting matches to throw onto the pyre.

Y'all make me sick.

You profess to love these guys, to want to see them succeed, to enjoy the stuff they make for you. You beg and demand and scream for more time with Ryan and Shane and bitch constantly during periods of the year when it's not Ghost Files or Puppet History time. You complain to anyone who will listen about how this is a betrayal, as if they're your fuckin' friends who you know personally.

News flash, they're not. They never were. You're parasocially attached to the plush puppet and the guy who sticks his hand up it in a way that is detrimental to your critical thinking skills and you know what? Fucking don't subscribe to the streamer. Who fucking wants you around anyway?

I would bet American cash money that none of you have EVER had to sit with your staff in a meeting and figure out how you were going to keep your company afloat. That none of you have ever had to decide to take a risk like this, in this kind of economic climate and be cautiously excited about what it might mean for you and then to have this absolute viciousness being the response.

I'm really sorry that for some people the price is just out of their reach. I completely understand wanting to join in on something and being unable to because of the money. The amount of times I've had to say no to doing something fun because I just didn't have the cash is not a small amount. It sucks. It really sucks.

But you know, the emotionally mature response to not being able to afford something is to be like, well is there a way that I can save up for this? Something else I can cut out? And if the answer is no, then, unfortunately, sometimes, you just have to be left out. This is a fact of life.

Do you people also get bitchy with artists who charge commission prices that mean they can afford to live?

The comparisons of Watcher to non-network television streamers are laughable. Like, Watcher is absolutely not on the same level of operating profitability as other streaming services. They are an independent production studio that gives a shit about making content that they like to make and taking care of their employees and the other people who are associated with them. And in order for them to continue to make the stuff we like (Ghost Files, Puppet History, et al), we're gonna have to buy-in.

Seeing people say with their full chests that they should just fire people? Are you fucking hearing yourselves? Who should they fire? Their queer employees? The people who write and do sound and edit? The people who make Ghost Files or Puppet History look the way it looks? The people who are the reason the shows work?

And, I'm sorry, but if you think that the solution here is that they should just ... make worse shows, I don't even know what to say to you at all. Sorry that Steven and Ryan and Shane wanna do more than lifeless unsolved copies for the rest of their lives. Go watch fucking unsolved if you want that, watcher has always wanted to do more, do better, make bigger things. And you know what? They are for sure allowed to do that.

I am also utterly enraged by the racism. I cannot even imagine what it's like to be any Watcher employee of colour today, watching the hate and the cruelty roll in. Y'all are just fucking mean, and gross, and I hope you all walk on legos in the dark in bare feet.

Everyone who is acting like this is some fucking personal betrayal needs to go smoke a bowl or do a bong rip and chill the fuck out.

#things jess says #i did not sleep for shit last night #i am exhausted #i am sad #i am disappointed #i am enraged by the racism #by the way that people are out here being their worst selves over six fucking dollars #over some videos they feel entitled to because they were once accessible for free #breaking news but shit costs money #i'm sorry you live in a fantasy land where it doesn't #it must be really nice

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stagefoureddiediaz · 4 days

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Hi Kym! I apologize if you have answered an ask like this before, but I am curious for your opinion.

You've talked a lot about how intentional all the Buddie parallels are in terms of costuming for several seasons now, both with Buck and Eddie together, then with their respective girlfriends, and in comparison to Bathena. We are now even getting throwbacks to season 2 and Eddie's first episode with Buck's stonewash jeans! Tim is adamant in interviews that he never planned this bisexual awakening in advance (we know that Eddie was originally meant for Maddie ofc) and that he doesn't know where the characters are going yet, but even Oliver has said he intentionally leans into the Buddie of it all with his acting, or at least into Buck's then-presumed bisexuality.

My question is, with just how pointed and intentional the costume choices have always been, is Tim is lying? Or are the costume designers secret Buddie shippers and intentionally lean into this storyline too? How much of what we see in terms of costuming is the decision of the show runners/directors vs creative expression of the costume designers? Is there a point in the show for you where it became clear how intentional it was becoming with the costuming, where they may or may not have said, "we're going to commit to telling this story in subtext until we are allowed to tell it overtly"?

Thanks :)

Hey Cookie-Kat!!

How lovely to have you in my inbox, and what a great question!

putting my answer under the cut - because it got long!!!

The answer I give is going to have to be a bit vague I'm afraid because the reality is that as I don't work on the show and I'm not 100% sure on the set up of their various departments, I can't categorically state how they are going about things in 911 land! I can share my experience and knowledge of how things can be done and try to give you some sort of framework - but I can't definitively say that this is how they are doing things.

First up let's address the whole Tim lying thing.

Tim is all about subterfuge in interviews - its literally his job as a showrunner. I would take every thing he says in an interview with a giant grain of salt. the entire purpose of his interviews is to tease and hook people, without giving anything way becasue why would he spoil all the things he has planned that make people watch the show he is creating. If he came out in an interview at the start of the season and said

'yeah, we're going to do a cruise ship disaster and all these things are going to happen, and in episode 4 Buck is going to get kissed by a guy and figure out he's bi and Eddie is going to find out his girlfriend was a novice nun and its going to send him into a catholic guilt spiral, and maddie nad CHim are going to get married, but x, y and z are going to happen before they can get down the aisle'

Why would anyone tune in to watch the show? we'd already know what was going to happen so there wouldn't be any point - there would be no buzz and the viewing figures might be ok, but they wouldn't be remotely close to what they are. I know for a fact I probably wouldn't be tuning in - people like to be surprised, they like to speculate - we in fandom take it to a higher level, but even the general audience speculate - water cooler conversations about what you watched the previous evening and how you think it's going to play out are part of a show's appeal - part of how it keeps people watching - shared experiences are a powerful commodity, especially in network television and they cannot be shared if we all know what is going to happen.

I would also add that this season is the most explicit acknowledgement of buddie that we've had in interviews and that means something. The show - writers, actors etc have all been incredibly careful before no to ensure that they haven't crossed over into queerbaiting the audience - which is something I really appreciate them for. But this season, things have definitely changed. whether that is down to being on a new network, that actually has a marketing strategy and that actually seems to care about the show and the stories that they have wanted to tell, I don't know, but it is so refreshing and exciting to see.

Tim is a clever person - he knows exactly what he is doing and every single season, without fail we have him saying things in interviews that can be read in multiple ways - none of them have ever been lies - subterfuge is the name of the game - then if you reread them in the aftermath of the season, you can see what he said did in fact play out as he hinted at - he has the context that we didn't have at the time and that is why he can subvert and talk his way around things.

I genuinely don't think Tim planned to give Buck a bisexual awakening from the start - we know he never planned on the buddie of it all, but a good writer will go where the characters take them. As soon as you create something and put it into the hands of others (the actors, directors and crew) things can very quickly take on a whole new direction and a life of its own.

If you ask me, I genuinely don't think Buck could've had a bi awakening before this point - it wouldn't have made sense from a narrative perspective (and his death and rebirth actually make the perfect jumping off point to explore) until now because of the very nature of Buck.

There isn't a single show (by show I mean one that isn't a limited series which will by definition have a planned arc) on network television that knew where each and every character would end up at the end of the show or that characters journey (by this I mean when cast chose to leave a show). Yes they might have planned a few beats to hit along the way, but they wouldn't know the end point for the character. We have a perfect example on 911 - Michael - the show hadn't intended to end Michaels arc in the way it did - his journey as a queer man coming out later in life was an important part of the show - important for representation as much as anything - they had to adapt and change in light of what was going on with Rockmond and write out a character that they would've had other plans for.

The other thing I should mention is that When Tim says he hasn't decided or written the scripts for upcoming episodes, that doesn't mean he doesn't have a plan. He very much will have a plan. There would've been clear arcs for each character laid out at the start of the writing process for the season - they would want to get character a from one point to another by the end of the season. Its the how they get there that is the unknown - at this point we don't know the end points for any characters this season, but if we take season 5 Eddie as an example - at the start of the season he is post shooting and back at work, seemingly perfectly fine. By the end of the season he is genuinely in a good place having gone through his trauma arc. The arc they would've decided on for Eddie that season was to explore his trauma and how to get him from a 'seemingly' good place to a genuinely good place. From there they would've decided on various touchstones - so Ana being mistaken for Christophers mother and them being a family is his trigger to launch his arc. Chris being scared of loosing his father a major touch stone, pushing him into leaving the 118. His then feeling on the outside - left out and replaced by Lucy is his next one, followed by the fact all his army buddies are gone, another touchstone - coming in quick succession to build momentum and leading to his breakdown. Pushing him to actually get help - therapy is another touchstone - one that helps to get him to the end of the season in a vastly different place - healing but still working on things.

So you see - they generally plan an overall direction, but how they get there is the bit that is a bit fluid and can be determined to a certain extent by audience reaction (I don't mean that they would out and out rewrite the entire plan for the season for a character, but they might chose to lean into different aspects if the audience react in a certain way - we saw this with Lucy - planned for a bigger arc, but the audience reaction to her was pretty negative, so they changed direction with her character and cut her part down).

In terms of Bucks bi arc - they will have been waiting on how it was received before fully determining how to play it out for the rest of the season - I genuinely think we'll be seeing more of Lou as Tommy later in the season as a part of Bucks arc - The way Lou has spoken about it being initially a 4 episode arc, suggests to me that its always been intended to run it longer if reaction was good - which we know it was. My explectation remains the same - that Tommy will be around until either the end of episode 9, or the middle of episode 10, to get Buck to where he needs to be by the season end.

I am on the fence as to where exactly that is - Everything from set, costuming and the script is screaming at me that it's about Buck figuring out not only that he is bi, but that he is also in love with Eddie. That is his arc for the season. What I am unsure of is how they are going to leave things at the end of the season (and I think a part of that will have been determined by audience reaction), whether or not we'll leave him acknowledging his feelings to himself, to a third party (Tommy and or Maddie), or to Eddie himself. Of course part of it will be determined by Eddies arc and how far they plan on getting him in regards to dealing with his catholic guilt and what form and direction t hat is going to take, but I cannot see any reason to start exploring that aspect of his character if you weren't going to use it for a queer arc of some description.

In terms of costuming - which was the main point of your ask - sorry I get rambly in these replies some times - I always view it as the first 2-3 seasons at the very least will be about establishing a characters look and vibe within the wider show, and from then on you can start to play into themes and colour theory etc. Somethings you can establish earlier - especially if they are centric to a character more widely. Examples of this are Eddies army green tees and shirts - establishing him visually as ex military, or the black singlets that he wears when in an emotionally vulnerable place, or Buck wearing his white trainers as part of his search for self, or his white shirts as a signal of him being in danger. You can do this, because they aren't playing on anything in relation to other characters at this early point.

So the decision to take Buck out of jeans (stone wash jeans specifically - he's been wearing jeans they've just been black or dark navy) and have him in very obviously shorter trousers, creating a specific aesthetic for him - this smarter, fitted clean cut style that is different from his season 1 looks, has been about playing into his journey of searching for self - that is his big overarching arc - the one that spans multiple seasons.

The intent to do that, wasn't about Buddie (or bi Buck) when they started to use it as a visual marker for him. It was (and always has been) about Buck. about his search for meaning in his life and who he is, who he wants to be - about being his authentic self.

The reason I got so excited about seeing him in jeans once more, when the first stills dropped at the start of the season - was because I knew that it was a signal that this bigger arc was coming to fruition and moving into its next phase. The costume team have been sitting waiting for when the time was right to do this - its being done with such intention.

Of course I hoped that it would be buddie related - things were pointing in that direction from other costuming choices. And to me at least, I still think its very much buddie related - because to do this now - for this bi awakening arc - its too loud and too big for 'just' a bi awakening arc - its about something bigger for Buck - something long term (and I'm not saying Buck being bi is't long term, because obviously it very much is - bi rep is so important!) him figuring out he is bi is a smaller part of a bigger whole for his character. The implication of the jeans returning is that this part of himself he has unlocked plays into a bigger story. Bucks search for self has always been about finding love - about being wanted and seen and accepted for who he is. As a costume designer, I wouldn't personally be putting him into jeans at this point unless it was related to his endgame - being bi isn't enough on its own for them to decide to visually show that he has fully found what he has been looking for on his search throughout the seasons (the white trainers still being in used also play into this) because he is still looking for that lasting happiness - he's just taken a massive step forward to figuring out what it is and where it lies.

With regards to colour theory and the paralleling of Buddie with other ships such as Bathena or Madney. Colour theory alone it wouldn't be enough to convince me, it is in combination with other factors such as the paralleling of Bathena and Madney that it comes into play. The thing is, creating those parallels and colour theory combinations doesn't have to lead to something. I'm going to do a terrible job of trying to explain this, but I'll give it a go.

Various people, who work on the show in some capacity have all commented over the years that they weren't expecting the level of chemistry that Oliver and Ryan have. We also know that they have played into the buddie of it all with some of the scene choices they've made - sort of an acknowledgement of what we're seeing - the elf scene in s2 is a prime example - a nod to fandom and the fact that they are being shipped together - and an acknowledgement of the chemistry - without it necessarily needing to mean more (the same goes for things like the text comments on the botfly influencer livestream call etc).

Back then wardrobe are still very much in character establishment mode - creating and defining the looks of the characters, and playing into colour theory on an individual level, not necessarily on a partnership level (S2 Bathena would've been treated in this way as they were already intended to be an end game couple so you can play into colour theory much earlier), that comes later. I wouldn't have been able to write costume metas in season 2-3 in the way I do now, because the parallels didn't exist and the ground work hadn't been laid.

Once you get past that intial establishing phase, hat is when you can start to play into the colour theory much more in relation to specific characters and pairings. One of the clearest examples of this is Eddies black shirt green trousers combo that he wears at the loft when having serious conversations with Buck. He first wears it in season 3 at the end of the lawsuit/fightclub arc (3x09), and then we dont see it again until season 5 (5x04) at yet another scene in Bucks loft.

The meaning of the colours in that scene are important sure, it is playing into colour theory, but what is happening visually is that we're subconciously connecting dots and remembering that Eddie has worn this outfit before to talk to Buck - that means it must be a serious conversation, one very much focused on something Buck has done (or hasn't done depending on which way you look at things). Eddie has been in Bucks loft on multiple occasions between those two scenes, and Buck and Eddie have had multiple serious conversations in the intervening episodes as well. so why that scene if its not meant to make us connect dots?

Now on a fundamental level, those two scenes can be read as establishing the close friendship Buck and Eddie share - that they are following through on their s2 promise to have each others backs. its entirely correct to assume that - it is after all what those scenes are establishing. But what it is also doing is laying the ground work for if they want to take Buddie further. we know that the conversations about Buddie have been happening in the writers room and on set for a good long while, and even if you don't yet know if you're going to go in that direction, you would be foolish not to lay the ground work in a subtle way if you can, so that the option is there if you did decide to take that direction.

A show will use what ever tools are at its disposal to lay various foundations that it can then pick and choose to build on as it wants or needs to. It is why we see the pictures in Eddies house moving around, why things on the fridge change (fridge theory is not as out there as some people would have you believe - there is a whole thing coming up on Eddies fridge in reaction to guts and the digestive system - which will very much be playing into his catholic guilt arc!) in Christophers room move around and change - its not just about him being a growing (soon to be teenager) boy, its also about laying foundations for story arcs they might choose to develop down the line and the Buddie groundwork is no different.

Its not about the wardrobe team being shippers of Buddie - its much more about them knowing where a season is headed (in brad strokes, even if they don't have specifics) being really good at their job and now being able to bear the fruits of their labour from earlier seasons - they had been doing the same with buck and Taylor - now they're doing it with Buck and Tommy (and Eddie). It would've been super easy to spin the costuming for Taylor into more positive colours - especially on Buck - in season 5, but they had the bigger picture and knew she wasn't going to remotely be endgame, so they were able to play into that throughout the season. Establishing Tommy as a version of Eddie is building on the Eddie groundwork they laid and using it to make it very clear that we are supposed to see the similarities between them - its steering us as viewers towards thinking 'oh Buck has a type - He's dating someone like his best friend - he should just date his best friend' is all about subtly nudging the audience in the right direction - towards Buddie - its just most people won't pick up on it in a conscious way.

I'm not sure if this makes any sense or if it even answered your ask, but essentially the show is using everything at its disposal to tell the story its telling and they have been laying groundwork that can take things in various directions - they are just choosing to push the buddie agenda to an increasing degree (and I have said groundwork far too many times in this post!!)

Thaks for the great ask 💜💜💜

#kym answers things #cookie-kat777 asks #costume asks #costume things #911 costuming #this is such a rambly post!!!#does it make sense - who knows!!!#911 abc #buddie

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jbuffyangel · 3 months

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Hot and Cold: Arrow 1x22 Review (Darkness of the Edge of Town)

There is no episode that exemplifies the disjointed nature of Season 1 more than “Darkness on the Edge of Town.” We have Exhibit A: an OTA field op and the smoaking hot chemistry of Stephen Amell and Emily Bett Rickards igniting in an elevator shaft of all places.

And Exhibit B: the other show. A frigid black hole I feared we’d never escape from.

Let’s dig in…

Olicity and OTA

Let’s start with the positive since there is soooooo much freaking positive! It can take time for a television series to find its footing in the first season. Unfortunately, nowadays if the audience isn’t binging the entire season in 24 hours, the show gets canceled. But blessedly, this was 2013. Network TV was still the supreme ruler, and Arrow was pulling big enough numbers for the CW to allow for some leeway.

Twenty two episodes of leeway. Arrow finally found its groove and latched on to the mystical “it factor” that keeps an audience watching - Oliver, Felicity and Diggle. The chemistry and dynamic between these characters and the actors who play them is undeniable and it creates an action packed, laughing out loud, and sizzling hot episode. The writers are having FUN in “Darkness on the Edge of Town" and it shows, which means we get to have fun too.

Oliver decides to question his mother regarding the Undertaking, but she refuses to confess. So, Oliver and Diggle take a more brutal approach. The Hood kidnaps them both and beats the crap out of Oliver until she coughs up the information. It’s always hilarious when this show acts like David Ramsey can fit in Stephen Amell’s suit.

The burgeoning relationship between Oliver and Felicity is very much in its infancy. Oliver is fully in denial about feeling any type of way toward his IT girl. Never is that more apparent then when Oliver and Diggle return from the confrontation with Moira. Diggle gets a few solid whacks in, which I’m sure felt amazing given the absolute jackass Oliver was being the past few episodes.

Felicity has a much harder time concealing her feelings towards Oliver and it’s clear she worries about him. She is always the first to ask if he’s okay, offer a supportive ear to listen or shoulder to cry on. However, Oliver seems to draw a line in this episode when Felicity reaches to touch the bruise on his face. That small step was too much. He physically keeps her at arm’s length because the intimacy of Felicity’s concerned touch is not something Oliver is ready for. There is still a very big wall hiding all that pain, regret and unworthiness.

Source: @lyricalarrow

Admitting he remembers the exact day they met, however, is absolutely no problem. We shall come to discover just how much Oliver remembers about that day in later seasons. I have a lot of male friends and I guarantee you I don’t remember the day we met. However, the day I met my husband is burned into my memory.

The team determines the only way to stop Merlyn from leveling the Glades with a man-made earthquake machine is to find the location of the device. Unfortunately, Felicity is unable to hack Merlyn’s system so she needs direct access to his mainframe inside Merlyn Global Headquarters. LET'S DO CRIMES!

Oliver makes an appointment with Tommy (more on that later) while Felicity continues to up her adorability factor by dressing up as Big Belly Burger employee delivering lunch to a security guard otherwise known as John Diggle.

The burger is laced with benzodiazepine, so it knocks out the other security guard and gives John free reign to control the elevator & cameras. Do we know how Diggle is able to pose as a security guard? No. Do we care? Nope. Let the hijinks commence!

Oliver and Felicity make their way to the elevator, but not until Oliver unloads an unwelcomed dudebro hitting on Felicity.

Jealousy looks so good on him. The way Stephen Amell plays this scene, with his nails-on-a-chalkboard look at the word “sweetie” to robotically knocking the papers out of the elevator, is physical comedy at its best. Something Amell rarely gets to do, but he’s great at it.

The mainframe is on the twenty fifth floor, but the elevator only goes up to the nineteenth, so Oliver and Felicity have some climbing to do. It seems Felicity is thinking of a certain kind of climbing as well and really who can blame her?

Source: @lyricalarrow

Oliver lifts her WITH ONE ARM out of the elevator, which is so freaking hot I cannot.

Then, very gently, bends down to wrap his arm around Felicity’s waist and loop her arm around his neck. Oliver is moving with the precision of a jungle cat, but it also feels like an incredibly elaborate way to grab hold of someone. It has a very superhero sweep-her-into-my-arms sensuality to it. The mission is giving Oliver plenty of reasons to touch Felicity and he doesn’t seem unhappy about it, particularly when he softly tells her, "Hold onto me tight."

Is it warm in here? Holy Moses, Oliver Queen. Get control. This man is a god to women, so he clearly understands the connotations of, “Hold onto me tight.” There’s a thousand different ways to say that platonically, but nope! Oliver charges headlong into the blinking neon lights of SEXUAL INNNUENDO.

Felicity’s Freudian slip didn’t feel so Freudian either. She knew exactly what she was saying and leveled her full meaning in a single look. I thought the elevator was going to combust from all the heat. If you are looking for the text book definition of undressing someone with your eyes than look no further than these two. They way they hold the gaze. WOW. Can we have all the nakedness now?!!! It’s a sin against science for Oliver and Felicity not to bang regularly BECAUSE THE CHEMISTRY.

THIS IS NOT THE BEHAVIOR OF A MAN MADLY IN LOVE WITH LAUREL LANCE.

This scene has the classic Superman and Lois Lane feel to it.

Source: @olicitygifs

Oliver is doing his vigilante thing, but his partner in crime isn’t the leading lady of Arrow. It’s a supporting character who’s feeling less and less supporting with each episode.

Unfortunately, Felicity is about to be discovered while Oliver is held up by Malcolm Merlyn, Thea and Roy Harper. This is a very popular day to visit Merlyn Global. Oliver’s frustration under his cool and calm exterior builds the tension nicely and we do wonder how Felicity is getting out of this jam. Never fear! It’s John Diggle to the rescue. Top notch comedy from both Rickards and Ramsey.

Source: @olicitygifs

Their first official team mission outside of the bunker is a wild success. Felicity still has to search through all of Merlyn’s data to determine the location of the device. Despite all the heat, hilarity and hijinks on this side of the show, Oliver makes an abrupt decision regarding the other side of the show that makes absolutely no sense.

Lauriver and Merlance

Still feeling warm friends? Well don’t worry. I have a nice bucket of ice cold water to dump on you.

As predicted, Oliver’s love confession messes with Laurel’s mind and obliterates any clear path back to Tommy. He drops this bomb on her and they have not spoken for a WEEK. Of course, this is all Laurel has thought about and she makes a rather elaborate speech admitting she has feelings for Oliver too.

Yeah, none of this is a surprise. Tommy knew Laurel had feelings for Oliver. We knew Laurel had feelings for Oliver. Hell, even Oliver knew. The only one who wasn’t admitting it was Laurel, so at least she’s finally being honest about things. You don’t get a love triangle if the central figure in the love triangle doesn’t have feelings for two people. The issue is who does Laurel love MORE.

Laurel: Maybe Tommy was right. Maybe he and I weren’t meant to be.

She had a clear answer last week. It was Tommy. She absolutely wanted to get back together with him, but Oliver decided honesty was the best policy on this one subject only. This line enrages me because Oliver has distracted Laurel from the man she is truly meant to be with. I will die on this hill, friends. DIE. ON. THIS. MERLANCE. HILL.

Laurel: Tommy’s a good guy. Are you?

Oliver: I didn’t have an agenda. I didn’t mean to make it more difficult to fix things with Tommy.

Oh for fucks sake. Yes, you did Oliver. That’s exactly why you said it. This is just a straight up lie. Oliver absolutely wanted to confuse Laurel. He just doesn’t want to look like the bad guy for doing it. This is some A+ Ollie behavior.

After Laurel makes a wonderfully impassioned and heartfelt speech about her feelings for Oliver, after probably obsessing about it for seven days straight, Oliver dumps her. AGAIN.

Oliver: Nothing’s changed. My life hasn’t changed. I haven’t changed.

I am infuriated on Laurel’s behalf with this flip flopping back and forth. The time to make this speech was last week in the hospital hallway. That was the moment to let her go and put Laurel on the plane with the man she belongs with, but Oliver couldn’t do it because it was too damn hard. It was just cruel and horribly unfair to both Tommy and Laurel because Oliver has absolutely no intention of being with her. But now it’s too late. The information is out there. You can’t put the toothpaste back in the tube, my dude.

Laurel pays her father a visit to basically get his permission to date Oliver again. Yeah, let’s make the man who lost his daughter to Oliver’s selfishness sign off on banging his other daughter again. This show.

Quentin’s speech is equally as empty as any speech Laurel’s made about seeing the change in Oliver because we, the audience, have not been privy to those moments. We’re just supposed to take their word for it even though the last time Quentin saw Oliver Queen he was trying to arrest him for drug trafficking. But sure, Quentin thinks he’s “changed.”

In order to make this storyline work, you have to give proper attention to the Lance family interacting with Oliver and the writers do not seem interested in doing that. All the important emotional growth takes place off screen and we’re supposed to accept it as fact because the characters tell us.

Meanwhile, they are organically growing the relationship Oliver has with Diggle, Felicity, hell even Roy! So we know the writers are capable of SHOWING these moments of character evolution. They just choose not to when it comes to the Lance family. It’s why the show feels so completely disjointed.

Oliver pays Tommy a visit and wants to have a chat.

Source: @queensarrow

So it's safe to say Tommy is still pissed.

Oliver encourages him to work things out with Laurel – kind of?

Oliver: Lord knows, I am guilty of a lot of things between us, but not you are her.

What’s infuriating about this conversation is that Oliver still refuses to accept any kind of responsibility in their break up. Oliver pretends to be a friend to the all feminists and touts Laurel’s independence and free will. She makes her own choices and she chose Tommy.

Tommy’s point is clear, even if it is self pitying; Laurel is not dealing with all the information. If she did have all the information then she would choose Oliver. From Oliver’s standpoint, it doesn’t matter because he can’t be with her.

That’s not reassuring to Tommy nor is it supposed to be. If the elements keeping Oliver and Laurel apart were removed (the Hood) then Oliver wouldn’t think twice about making a move on Laurel. And Tommy knows this. These are not the actions of a best friend, which is why he’s so pissed.

Now, Tommy’s big mistake was throwing in the towel too early. He should have NEVER given Oliver an opening with Laurel, but he did and it set them on this path. No we have to watch it play out.

Oliver: I promised myself that when I crossed all of these names off the list, I’d be done, but taking down these people, it doesn’t honor him. I was just treating the symptoms while the disease festered. I stop the Undertaking… I wipe out the disease.

Diggle: What are you saying Oliver? You would hang up the Hood?

Oliver: Merlyn’s plan is what I returned from the island to stop.

Does anyone else have whiplash? Oliver does a complete about face and determines he can be with Laurel since he only needs to cross one name off the list instead of dozens. He’s just missing one step, gee what could it be? Oh! I know. OLIVER STILL HAS TO CROSS MERLYN’S NAME OFF THE LIST AND STOP THE UNDERTAKING. Talk about counting your chickens before their hatched.

A hero’s journey is a very specific type of story. Joseph Campbell outline seventeen stages in 1949 and Christopher Vogler created an updated version in 2007 for screenwriting. I’m not going through all seventeen steps, but we can skip to the very last one regarding this storyline.

Freedom to Live/Return with the Elixir – meaning the hero has faced their internal and external struggles, has conquered the demons around them and earned the right to live as they choose. From a spiritual sense, the hero lives without fear of death.

It’s similar with Vogler’s elixir stage. From a community perspective, the hero has found the magical way to heal their wounded land. They are bringing hope, life and freedom back to their loved ones. In doing so, it gives the hero a personal victory. They’ve earned the right to experience peace and joy, which can be represented in a wide variety of narratives.

Oliver is hero. Arrow has made his endgame very clear - save Starling City. Has he saved the city? Has he stopped Malcolm Merlyn? NO. So why is his leather clad ass running all the way back to Laurel Lance to enjoy the fruits an elixir he has yet to procure? If Laurel is endgame, this makes absolutely no sense. This is too fast. It’s too abrupt. It doesn’t feel earned because it hasn’t been earned.

Clearly, the initial plan was to put Oliver (Green Arrow) and Laurel (Black Canary) on parallel, if not intersecting, paths. I’m not saying Oliver cannot be with Laurel as they evolve into superheroes together. But this is the first freaking season you guys! He hasn’t done a damn thing yet! Neither has she. And yet, here Oliver is, knocking on Laurel’s door, looking for some fruit.

Oliver: Ever since I’ve been back, we’ve been doing this dance. We come together and then I pull away. Something pulls me away, but I think finally that something might be over.

Laurel: What are you are trying saying?

Oliver: That you know me better than anyone. And that you are more important to me than anyone. I just hope I didn’t wait too long to say it.

If Laurel has no clue Oliver is the Hood then can he really claim she knows him best? It sounds good to say, and probably what Laurel is dying to hear, but it rings hollow because there’s no evidence of this anywhere on the show. Laurel was wrong about who Oliver is all season. We are just supposed to accept some verbal acknowledgment of change, that she knows him better than anyone, but without any television scenes to back it up. That’s not how storytelling works, Arrow writers.

Sorry to beat a dead horse, but I warned you I wasn’t done with this topic - Oliver is still lying to Laurel. There should be more talking. What are those things pulling you away, Oliver? Why are they over? Are you a hooded, crime fighting, serial killer who has been mysteriously stalking me all year? Those are just some ideas off the top of my head. There is no person on this planet that Oliver needs an honest conversation with more than Laurel Lance, but nope. They jump straight to sex.

Let’s talk about the sex. This has been built up all season. These two characters belong together. They are bulldozing over Tommy Merlyn to be together because they are this passionate romance that time cannot quell. It should be like the fourth of July in Laurel’s apartment right now.

Source: laurelscanary

Instead, of heat we get frigid. Fish have hotter sex.

I’m willing to acknowledge "Radioactive" was the hit song of 2013 and every show on the CW was using it. It has a very sexy beat and big crescendo. It sounds like a good song to use during a sex scene.

Except for the fact that it’s called RADIOACTIVE with lyrics like, “This is it, the apocalypse.” This is not the romance your Plan A couple usually requires in a scene like this. They had Blake Neely for a composer. Where’s Oliver and Laurel’s love theme? We'll probably get it in the season finale but anything would be better than "Radioactive."

Source: laurelscanary

Next issue. Black socks and jean shorts? Wardrobe – what were you thinking? Nobody felt the need to tell Katie to take off the sox? Details matter!!

Source: laurelscanary

Stephen Amell and Katie Cassidy kissing are like watching two pieces of flat cardboard trying to hump each other. Can they choose a direction? Are we biting or no biting? Are we using tongue or no tongue? Can Oliver unbutton his shirt or does Laurel need to help? Is Oliver going to drop Laurel while trying to get her sweatshirt off? It was just so awkward from start to finish. ZERO SPARKS.

Source: habibialkaysani

And for the coup de grace, they leave the curtains pulled wide open, so Tommy can see them screwing from the street. The look of utter devastation on his face is heartbreaking and that’s the final image they leave us with as their love scene fades to black. Oliver and Laurel reuniting are not framed as a good thing. It’s framed as a betrayal, because that’s exactly what it is.

Source: @queensarrow

Even worse, Felicity finds the device while Oliver and Laurel are asleep and HE LEAVES. No note. No, honey I have to run out and save the city real quick, but I’ll be back for round two later. Nothing. But please, tell me again how much Ollie has changed.

When I watched this episode live I was horribly disappointed the big reunion with Laurel and Oliver fell flat. This was really my last gasp trying to be a Lauriver shipper. And I use the term “trying” loosely. I was more or less looking for any redeeming qualities in this love story, but after this hypothermic love scene I was officially out. I could not ship these two. I could never forgive them for betraying Tommy. But I feared Arrow would never move on from Oliver and Laurel.

Of course, their real intention becomes all too clear later. Arrow was trying to blow them up to make way for something infinitely better.

Theroy

Speaking of flipping back and forth, these two break up every other week. Roy is clearly committed to finding the Vigilante, which leads them to Merlyn Global and a run in with Oliver, the disapproving older brother. Again, Stephen Amell’s acting is superb.

I loved the way he said “What” to Thea and the firm alpha male handshake he gives Roy, warning him to stay away.

Obviously, Roy accomplished his goal. He found the Vigilante. Roy just doesn’t know it. He thinks Oliver Queen is too much of a wimp to ever consider him as the man in the hood. Thea was good and ticked off with that “wimp” remark. Enough to dump Roy. She will not tolerate any slander of her brother. #QUEENSIBILINGSFOREVER

But this is like the fifth time these two broke up, so it’s losing the impact. This isn’t all about the Hood’s identity and thanking him for saving Roy’s life. He wants to BE the Hood, so Roy can protect the people he loves and never lose anyone again. The question is – who did Roy lose? Unfortunately, Thea storms out before we get an answer, but hopefully one is coming in the season finale. (No I do not remember who).

Long story short, yes I like these two, but the faster the Arrow writers move the characters into the Hood storyline the better. Otherwise they are just marooned on their own show like Laurel Lance Island.

Stray Thoughts

Yao Fei died! It’s so sad and traumatic. I forgot he’s shot in the head. Really didn’t need to see that twice.

Fyers is shooting down a commercial airliner to destabilize the Chinese economy. It’s always about money for these assholes.

Walter wants a divorce and I would say their differences are irreconcilable. Moira is getting what she deserves. You can’t kidnap your husband for six months and then offer him tea and crumpets when he comes home.

"Who the hell is Felicity Smoak?" Uh oh. Quentin has Felicity’s name. That ain’t good.

“Is the other archer working for Merlyn?” Please don’t make Diggle look this dumb again.

Merlyn versus Oliver battle was EPIC! The fight scenes this season are so stellar.

“Psychopaths are color coding themselves. That’s helpful.” HA!

Listen to the Watchover podcast reaction to 1x22!!!

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shehungthemoon · 4 months

Text

Just dumping my Ina Paha thoughts here. 🙃

First of all I did NOT know it was the 100th episode going into this, so i was very confused watching the montage at the end lol

I also had to click out and make sure I didn't click the wrong episode when the Pilot started playing at the beginning. When I heard Danny's voice on the phone instead of Hesse's I swear I got whiplash

It's filmed so well (bar where they reshot the pilot where Steve gets Danny on the phone instead of a dead dad, in which they literally forgot to put the same filter over the scene to make the stitching coherent) and I absolutely love the camera work they did with the white-room and the video projections. It felt very much a level above normal network television cinematography, especially the parts where Steve's going in and out of the hallucinations.

Steve finally FINALLY killing Wo-Fat was so cathartic, it should have happened ages ago but I'm willing to look past all the dumb ways he survived just to allow this incredible ending to his story.

Ina Paha gave me Kono doing... this. I owe Grace Park my whole life. Pls costuming department put her in hot pink again 💗

yes, it was a Steve episode. but Danny REALLY shone, first as the only resident Actual Detective figuring out what happened to Steve by the tire-tracks, rampaging through the compound steadily and efficiently and knocking people off without a pause, and then in Steve's mind shooting Hesse's kneecaps off?!?!?! That was CRAZY and probably not suppose to be as hot as it was and definitely made me want an ex-mobster AU immediately. Basically I have a competency kink and really like badass!danny shit 😊

Seeing Chin's long hair again made me swoon

My jaw dropped when I saw Jenna! I think it's really interesting that Steve still thinks of her so much, and I was surprised that she showed up in both the actual dreams and the montage. I definitely underestimated how much she impacted Steve's life, it seems, and I hate that we'll never hear him address that and we'll only know about it inadvertently like this.

(hand over the heart for how lori got like. one team shot. poor girlie.)

⭐I took the montage at the end as being flashbacks and memories that Steve was having as he left the compound. Looking at it through that lens certainly makes one unwell.

Obligatory squeal for Adam appearing just to save the day :))) look below to see the love of my life! :)))))) ⬇⬇⬇

Of course, the obligatory mcdanno bullet(s). It writes itself! The way Danny said Steve's name so small and broken when he found him. The way they look at each other on the ground, the pain their faces. I need an official apology statement from Scott and Alex for it. Can we talk about what flashes by during the montage at the end? (IMO it being Steve's memories.) So much Danny.

The first thing is Danny and Steve's first meeting. Jfc. The showrunners milk it SO MUCH and who's complaining

The big, rocking hug. The hands clasping underground. Gracie of course. And then Danny collapsing from the bioweapon, which to be honest I was NOT expecting to see at all--it felt like a genuinely strange choice to include in there and it really ONLY makes sense if you go along with all that being what Steve's remembering. Even then, I was surprised to see it, so basically this is Hawaii Five-Oh making mcdanno gayer than even I was wanting them to be. Steve still thinks about that? From so long ago? Even with so many other close calls in between then and now? Good fucking lord ok then loverboy that's WILD. Canon accepted ig this show is just pure whump.

Danny goes through all of this just days after losing his brother and killing Reyes. JFC can we please address that. I need a 30k introspection fic to let me into this man's mind rn.

The Wo Fat v.s. Steve fight at the end was INCREDIBLE. I would love to give the choreographer's hand a shake, it's some of the best work I've seen on television in a long time. It was impressive for a procedural like this. It was long and physical and you truly didn't know what the outcome was going to be; it everything that their built-up relationship deserved for a conclusion. It also happening with a Steve coming off of hours of torture and drugging was crazy (guess we finally know who would win a PVP if they were both at full strength!). That being said I was really impressed with Wo Fat's capabilities and physical prowess, I was not expecting it to be so even and close to the line. I actually jumped when Steve LIFTED him up into the lighting fixture. We do not talk about Steve's (Alex's???) raw upper-body strength enough.

Anyway. Electricity in the water play. The physicality hell that this gif below is ⬇. Fire extinguishers and loaded needles. Crazy martial arts. Chair and buckets (holy shit did y'all see the force with which Wo Fat SHOT that bucket?????) flying. All's fair. I loved it.

The shot going right through the forehead, clean. I don't know how to put into words why that's so monumental to me but it is.

The mystery bad lady was SO intriguing, I wish we got more from her... How does she know Wo Fat? Why was she entrusted with all that information on him and Steve and especially Doris? Absolutely where did she come from, what was her name? Why did I have a huge huge hot crush on her? All important questions. (Goes to show that h50 CAN give us some more genuine badass, not just there to date someone women characters, just explicitly choose not to. I'm holding out for Ellie to remain platonic so hard right now.)

Almost forgot Danny in that black Hawaiian shirt. Will be whimpering over that image forever. The whole episode I was trying to focus on the underlining betrayal mystery they were laying out but every time my brain started working too hard Scott with his stupid waist and those flower patterns just started flashing into my head

Again, are you seeing this:

I'm unwell and so so happy.

H50 you're a gem when you want to be.

#just a post for me really #h50 #ina paha #i like to imagine that after this danny and steve just curl up in a house with doors locked and shades shut for a week and cry on each othe #steve mcgarrett #mcdanno #hawaii five 0 #i've been going thru h50 chronologically very very slowly for years but have watched p much most of the show on reruns #but god am i so so glad that i just so happened to never catch this one. i'm so glad I watched it when it was suppose to be watched

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