Thinking about how I would write an adult Scooby-Doo series, because I think it can be done.
The first thing I’d do is make the characters actually be adults. Still young, but adults, in the mid to late 20s range. Mystery Inc. is a private detective type business that they run together. In this universe, the supernatural/ghosts/etc are real, but not necessarily common, so when they take on a case, the culprit might be a person disguised as a monster, or it might actually be a real ghost. The stakes can be higher; sometimes a bad guy is legitimately trying to kill them. Sometimes the mystery they’re trying to solve is a murder. Sometimes they actually get hurt on their cases.
Fred: the core of Fred’s character should be that he’s incredibly kind. Like, give a stranger the shirt off his back kind. The “Fred can’t talk to potential clients because he might take a case for free and we need to eat” kind. He’s an honest and good person and sometimes gets himself into trouble because he assumes other people are too. While he’s not very good at reading people or noticing ulterior motives, he’s brilliant when it comes to mechanical or engineering type stuff, so he’s the one who keeps the mystery machine running, builds their gadgets, and of course, designs the traps.
Daphne: she comes from old money, and her parents absolutely despise her life choices, to the point where they haven’t officially disowned her, but they have basically cut her off, so she doesn’t actually have access to any family money. Growing up wealthy has granted her a variety of skills, including speaking multiple languages, horseback riding, and fencing. She’s very into fashion and jewelry (even if she can’t afford it anymore) and has extensive knowledge of both that can occasionally provide a vital clue in a case. And even though her parents have cut her off, Daphne still has a wide network of contacts she can ask for favors sometimes, because she’s personable, and people tend to like her. Daphne is also very emotionally intelligent, and is usually the one who can spot when someone is lying to them.
Side note - I ship Fred and Daphne, so I think I would start them off as an established couple for this universe. Dating, engaged, married, I don’t care. They are stupidly in love, ride or die for each other. There’s no will they, won’t they, no worries about cheating. They are in a healthy, happy, loving relationship, and no one (not even Daphne’s disapproving parents) are going to mess that up for them.
Velma: she is the forensics nerd who sometimes gets super excited about the wrong thing at the wrong time (”He was mummified in seconds? That’s so cool!” “Velma! His wife is standing right there!” “Oh. Sorry.”). She’s not purposely insensitive, she just gets laser focused on her work and forgets to filter herself sometimes. She’s also the one who can get so fixated on solving whatever mystery they’re working on, she’s willing to bend or maybe break laws. Is breaking and entering really so bad? Not if it gets them answers.
Shaggy: he is still the comic relief, but he’s the comic relief by being the only person in the group that actually has common sense. He manages the business’s finances, he’s the only one who knows how to cook, and the others tease him for being a coward sometimes, but Shaggy maintains that if a ghost with an axe is coming for you, running is the only sensible option. He should also have a range of random knowledge that sounds useless, but sometimes saves the day (ex ventriloquism, origami, the history of spoons, etc).
Scooby: as this is a universe where supernatural creatures exist, Scooby is an ancient eldritch type being that took a shine to Shaggy when he was a kid, and took the form of a talking dog to befriend and hang out with him. Aside from the talking dog bit and not aging, he never uses his powers in a way that anyone notices. The audience is not told upfront that Scooby is an ancient eldritch being; it should slowly be hinted at throughout the series so the audience put it together, but the characters never realize it. Scooby genuinely considers Shaggy to be his best friend, and cares about the rest of the gang too.
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Production houses: but if the writers stay on strike we can't guarantee the future safety of your favorite shows 🥺🥺😭😭
Viewers who 1, have already lost their favorite shows because they were cancelled in spite of good ratings and good reviews or 2, have stopped watching new content entirely until the entire series has aired and concluded as a result of so many good shows getting cancelled on cliffhangers and thus leaving said viewers unable to gain closure with those characters and with a hollow viewing experience, so they've begun a, watching older shows they know came to a planned conclusion or b, revisiting their old favorites and enjoying the nostalgia or c, reading new books or fanfic instead: YOU ALREADY CAN'T GUARANTEE THE FUTURE OF OUR SHOWS SO GET FUCKING WRECKED AND PAY WRITERS WHAT THEY DESERVE!
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at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
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everyone calling reddit social media is wrong
it's a forum and message board platform not social media at least not in the same vain as other social media sites it doesn't work like twitter or instagram or tiktok
and I think this is why everyone on tumblr is more accepting of their refugees and not twitters (besides the twitter refugees bringing old discourse back)
because tumblr is also not what social media is thought of nowadays it's a blogging platform. both tumblr and reddit are similar in that they both reflect the internet of old, when forums and blogs and personal websites were more popular, a time when you didn't post about every little thing in your life, when you could be anonymous
and no matter how hard the ceos or the staff of either websites may try they can never fully transform into the next twitter or whatever without fundamentally changing what these websites are. which would be a death sentence
people aren't coming to these websites for social media, they're coming for the community, for the uniqueness, for the long discussions they can have without a character limit, for information, for anonymity. to browse the internet without feeling pressured into posting perfectly fake photos and stories about your life in a desperate attempt for likes and attention
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I'm re-reading the Discworld series for reasons, and honestly the most relatable part of reading these as an adult is how many of the protagonists start out being tired, used to their little routine and vaguely disgruntled by the interruption of the Plot. Sam Vimes wants to lie drunk in a gutter and absolutely doesn't want to be arresting dragons. Rincewind is yanked into every situation he's ever encountered, though he'd much rather be lying in a gutter too. (Minus the alcohol. Plus regretting everything he's ever done said witnessed or even heard about fourth-hand in his whole life.) Granny Weatherwax is deeply suspicious of foreign parts and that includes the next town over; Nanny has leaned into the armor of "nothing ever happens to jolly grannies who terrorize their daughters-in-law and make Saucy Jokes"
Only the young people don't seem to have picked up on this---and that's fortunate, because someone has to run around making things happen, if only so Vimes and Granny and Rincewind have a reason to get up (complaining bitterly the whole time) and put it all to rights. Without Carrot, Margrat, Eric, etc. these characters don't have that reason; they're likely to stay in the metaphorical gutter and keep wondering where it all went wrong or why anything has to change.
............well, that's not quite true. You get the sense that Vetinari knows how much certain people hate the Plot. And as the person sitting behind the metaphorical lighting board of Ankh-Morpork, he takes no small pleasure in forcing the Plot-haters specifically to stand up, and say some lines.
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