Okay if you haven't yet, and you have Netflix/Paramount+, consider giving "School Spirits" a chance.
It looks like a silly little cheesy teenage ghosts show, I put it on for background noise, and then got totally engrossed in the mystery. It's VERY well written, very well filmed, the mystery was GREAT and the payoff at the end is also great.
One of the things majorly lacking in shows I've recently tried to watch is that they try to do a twist/reveal at the end that comes out of nowhere. They don't want you to guess what they're doing. This show doesn't do that. This show wants you to guess. They give you seven different mysteries and enough clues to guess (most of) what is going on, so that when you get the final puzzle piece to any given mystery, it feels GREAT.
The story premise is this: a teenager in hs wakes up as a ghost in the hs, and doesn't remember how she died, and with the help of the other ghosts, tries to solve the mystery of her own death.
Simple premise. BEAUTIFULLY executed. Not all of the questions that arise get answered, but the main one (what she doesn't remember) gets solved by the end of the season, leaving the "why/how and what comes next" to be carried to the next season. It does a cliffhanger RIGHT. But now I desperately want to see the second season (which I believe has been approved, so it's a matter of waiting).
So pretty please, if you're looking for something to do and a great, engaging lil mystery to watch, consider! School Spirits!!
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On one hand, I think that Kiyi is actually a wonderful idea for a character; you can get a lot of interesting stories out of inserting this innocent, guiless little girl into such a fraught & complex pre-existing family dynamic.
However, some mind-numbingly bad storytelling decisions surround Kiyi's existence in canon. Ursa's magical amnesia chief among them; it is so goddamm boring to take a character with as much baggage to chew on as Ursa has, only to make it so she has to grapple with literally none of it.
No Ursa looking at baby Kiyi & mourning for the two babies she was forced to leave behind, grieving children who are still alive. No Ursa looking at Kiyi grow up & seeing Zuko & Azula in her, equally as happy as she is afraid for her. No Ursa trying to give Kiyi as normal & happy a childhood as she can, while constantly looking over her own shoulder, praying that she won't be recognized. No Ursa hearing wild rumors about her older children's whereabouts & actions, not knowing what to believe.
No, instead of any of that, we just get Ursa becoming a blank slate who can now go off & live a blissfully ignorant happily ever after with her (equally blank) high school sweetheart, forgetting the very children whom she risked everything for in the first place. And that sucks.
Also, if I were writing Kiyi, I'd just say fuck it & make her Ozai's kid. That's a thousand times more interesting.
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No because why do I feel like the Zutara bait... might not be bait???????
I wouldn't be saying this if we were just getting scenes of Zuko touching Katara's scarf or Oma and Shu being red/blue. That'd just be your average baiting.
It's that Kataang's moments are being NERFED. He wasn't there during the secret tunnel. He didn't side with her when Pakku was being sexist. She wasn't the first person he saw after he woke from the iceberg. She didn't ground him out of the Avatar state.
Nothing has been added to substitute those vital moments.
The best part?
It's still believable for Aang to be into Katara. Just not for Katara to be into him.
Because they had some "moments" and enough for a twelve year old boy to catch feelings or misinterpret as being something more meaningful and project undertone upon. Which could cause him siding with Pakku because HE DOESN'T UNDERSTAND WHAT KATARA NEEDS OR WANTS.
Katara, realistically, wouldn't forget that and might hold a grudge.
And is there anything more Zutara than pointing out that Aang is twelve, actually?
Meanwhile, Zutara is getting subtle, bait-esk (or just bait) content which makes sense because it is the first season and the writers don't have much to work with yet. If they build on the Zutara angle in this way in future seasons, that wouldn't just be smart but would save us from a shoehorned Kataang.
I still hope they keep Aang's love for Katara and I want similar for Mai and Zuko, but wouldn't it be great if Aang got to see Katara as more than a romantic interest and for Mai to realize her Zuko (which may have never existed, similarly as Aang's Katara) is gone and she doesn't fit into his life anymore?
I think that'd be nice. Interesting even.
Oh, and Netflix, if you need any points for representation make Sokka have a bi awakening with Zuko only to find the boy is straight and into his sister, because that's my experience genderbent and I would feel very represented. And Tyzula for the win.
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hello Ever After High tumblr community, i humbly request your attention briefly.
so basically, i have a lot of Ever After High ideas clogging my head, ranging from misc. concepts, to plans for entire storylines/arcs. (this includes world building regarding both what we’ve already seen and what we haven’t yet seen, character arcs and development, fairytales and fairytale characters we have yet to actually meet onscreen, etc.)
i doubt anyone cares that much, but i have this vision for how the rest of the Ever After High story (in the tv continuity) would go. i have tentative plans to write this continuation using the 4 episode per story arc format that eah later switched to, while staying in line with the tone and writing style of the specials/webisodes so that it feels like it could naturally work as an official, canon continuation of the series, all while still telling a compelling narrative.
currently i have a rough outline for the first four-episode story arc that i’ve come up with (though i still have a few things i wanna workshop with it) written out. (side note: i typically write the finished draft of stuff in screenplay format, so the rough outline is written with eventually being transferred into that format in mind.)
i just wanted to post this to see if there’s any actual, palpable interest in this at all. and because my friends think i’m insane for keeping my work to myself & the select few people i’ve chosen to show it to as opposed to publicly sharing it because they at least think it’s good enough to be shown off.
so, yeah, just putting this out there incase there are people who wanna know more. i’d be willing to share the aforementioned rough outline i’ve written.
tldr; i want to write—and finish—the story of Ever After High.
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I think one of the things that I find so compelling about Minkowski & Eiffel is that I believe that who they each are as people means they have the inherent potential to have immensely positive impacts on each other, but I do not believe they would have even been friends in most possible scenarios in which they could have met. I believe they are uniquely attuned to help each other grow and develop and become better versions of themselves, but for the first year and a half of them living and working together, the prevailing emotion between them was irritation. I believe that they are able to support each other through hardship in a way no one else could, but without the specific kind of hardship they went through, they might never have known this.
And even as I acknowledge that they might never have bonded without the trauma, it's important to me that it's not that they are bonded purely by trauma, in a way that might imply Minkowski or Eiffel could have built the same bond with anyone who'd been up there with them.
They are bonded by the ways in which they care for each other, by the ways in which their contrasting personalities make them uniquely well suited to support each other, by the way Eiffel makes Minkowski laugh when she really needs to, by the way Minkowski would do anything to keep Eiffel safe, by the way Eiffel reminds Minkowski of her moral compass in her darkest moments, by the way Minkowski helps Eiffel understand that some things are worth taking seriously.
But without what they went through together, they might never have seen beyond their surface-level understandings of each other in order to form this incredibly valuable friendship. It's not that their traumatic experiences are all that bond them. It's that the traumatic experiences forced them to break past the initial barriers that prevented them from connecting with each other properly and from trying to understand each other, in order to realise the potential for connection that had always been there.
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Since we’re talking max angst and interesting directions… perhaps something with Azula and Ozai? Not necessarily in a pairing way, though do what you will. Something to do with all the carefully-hidden fear and complete loyalty Azula has for him. If you’d like a prompt, everyone I’ve ever cared about has either died or left me, except for you.
For this prompt game! (And also this one!)
Warning for reference to canon child abuse ahead
“Father!” Azula snaps around, shocked outraged rising so unexpectedly through her control that it’s almost—almost, she’s not sloppy, not like Zuzu—enough to seep into the braziers burning around them. “What is the meaning of this!"
“I’ve decided to lead the fleet of airships to Ba Sing Se alone,” Father repeats, not even—not even looking at her as he says it, staring instead at those banners, at that--that phoenix.
“I thought we were going to do this together,” she grits out, clenching her abs and forcing herself to exhale slow and ignoring the way her fire wants to spark, wants to boil up out of her. She did everything right, everything he asked her to do and more!
She gave him Ba Sing Se, gave him Zuzu and her useless Uncle, gave him the Avatar dead and out of the way and so what if he came back, Azula did it and everyone knew, she did everything she was supposed to and now—
“My decision is final,” Father says, smiling up at the airship festooned with his new symbol, and Azula will perform fifty katas to perfection before dinner because the words unexpectedly burst out of her without her permission:
“You—you can’t treat me like this!” she snaps, nails digging into her palms. “You can’t—"
“Everyone I’ve ever cared about has either died or left me except for you, Azula,” Father interrupts, tone abstract and eyes nearly glittering with intensity as his gaze finally drifts to her, and Azula ruthlessly swallows the rest of it back.
“My brother,” he finally continues into the crystalline silence, pausing as if to see whether she will attempt another interruption—as if she’d be so foolish as to point out that the useless lump of a man left, and three times at that, and that just what Azula knows of it.
“My father.” Dead, and for the best.
“Your mother.” Dead, or she’d better be.
“Your brother.” A dead man walking, and Azula doesn’t permit herself to blink at his inclusion.
“All of them, every one of them, has left me,” Father murmurs, shaking his head as if in sadness, and Azula holds her shoulders back and loose and understands without allowing herself to think about it all the ways that left and died are the same.
“Except, of course,” he adds, almost as an afterthought, head cocked and his eyes hooded and intent on her face, “For you.”
Azula breathes in a steady, even breath, her inner flame perfectly still as she bows, perfectly correct. “Father—”
“You would never do that to me, Azula,” he interrupts, words soft and still cutting through the noise of the courtyard as she carefully doesn’t think of the everything he asked her to do and the more she gave him. “Would you?”
“Father—”
“You're so like your mother these days, you know,” Ozai interrupts, Azula holding herself perfectly at ease as he reaches out to brush a lock of her hair back into place, his right hand lingering over her cheek, his thumb tracing the ridge of her brow, fingers resting along her temple, her hair, firebender hot just like her own skin. “Do you remember her?”
They have spoken of her, occasionally, why would—
“No, Father,” Azula says, quickly adding on, “And I would never leave you, Father. Never,” she says, firm, confident, resolute with just that edge of brashness the way he likes it and never thinking of the new scar in the stone behind the throne in the catacombs, a scar from lightning she knows Zuzu can’t generate, he’s too stupid for it. But for all his uselessness Iroh on that ship had been able to—
Father suddenly smiles, slow, his fingers pressing over her hair, cradling the side of her head. “I know you wouldn’t, Azula,” he murmurs, and she keeps her eyes open as his palm drifts from the bridge of her nose to her temple, feeling the calm, calm, calm steadiness of her inner flame. “I know.”
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They’re not allowed to read fanfic? Darn, I kind of assumed Rob found your Twitter handle from reading your fic since he didn’t seem to do anything else on twitter when he followed you
So it comes down to the basic idea of copyright. It’s not illegal or technically even banned, but since RCG are creators, writers, producers, etc. on Sunny and not just actors, it’s really a dicey area for them.
The copyright laws/legality of fanfiction is actually really interesting, there’s a long, messy modern history of fighting for the right to publish and protect fanfiction from studios and/or creators claiming copyright infringement. This use to be a huge issue where authors would send cease and desists to websites like Fanfiction.net to take down all fanfiction of their work. OTW (Ao3) kind of spearheaded the right for fanfiction to exist apart from what it's derived from. The T standing for Transformative argues that because fanworks ‘transform’ the content they are based off, they are exempt from copyright law, as long as there’s no profit. So we cannot find ourselves in legal trouble for publishing fanfiction. As long as it's transformative (aka you're not just republishing source material), it's new/original content.
So that means fanfiction kinda has its own protections in return. As long as you're not profiting off of your work, you have a right to claim that your fanfiction and the ideas that are new/original belong to you. Which means if there is ever any proof that a creator read your work and then a later episode (or sequel, book, etc.) reflected anything you wrote that was not already in the source material prior to that, it can get very messy, in that there may be grounds for you to claim they profited off of your work. So most creators (writers especially) avoid reading fan works.
You can see why for a show like Sunny they might be especially careful reading anything, since there’s so much you can do in that show. If RCG have an idea for something as simple as The Gang Goes Camping, for example, but they’ve previously seen or read a fan work that hit that plot they’d be pretty inclined to never make the episode.
The basic idea being that you don’t want to hinder what you can in good conscience, with no legal issues, write, so you avoid fanworks all together.
I'll give you an example based on what happened with Charlie: he was in public and surrounded by fans and one fan hands him his spec script, or plot idea for an episode. If he had read it, all of a sudden whatever was on that paper becomes a legally grey issue in the writers room. If they liked the plot idea or dialogue (or whatever was on that paper) and end up using something in an actual episode, what claim does the fan now have? Everyone at the event could potentially tell you that this fan contributed to the show, so it's best not to read it. Don't risk ruling out a plot line you may have wanted, don't risk accidentally stealing from a fan, don't risk the show ending up in a legal battle.
Also, first anon: I still don't know why or have any solid proof as to how Rob found my account, but at the time he followed me I did have a 5hr old Tweet with ~15k likes reposting one of his TikToks and calling him the cringiest person alive. I didn't tag him or name him, he didn't like it, or interact with it or any of the replies or literally any other Tweet that day, but I have to imagine he saw it and that's why he followed me. Degradation kink overrules everything else.
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