the way so many people are complaining, like, “this season lacked of stakes” (because there was no death??) and it’s like... when did we become so addicted to cynical pieces of media, expecting characters to die, for a story to have “stakes” or any emotional payoff?
why, tf, are there people who can’t settle for a (temporary, because there is a s4) clear-cut happy ending? and i find it particularly ironic considering s1 and s2 also end up on a clear-cut happy ending but somehow it wasn’t “a lack of stakes” back then... *rolls eyes*
i just feel like so many people forgot what star wars is: star wars is luke and han strolling randomly around an imperial base and finding leia just chilling even tho she is the rebellion’s leader. them escaping because obi wan bee-booped the right button. star wars is a bunch of teddy bears saving the galaxy. star wars is anakin skywalker pressing random buttons on a spaceship as a 10 years old and winning a war just like that. star wars is jar jar dropping a ball out of sheer clumsiness and zapping a whole bunch of droids just like that. star wars is grogu being captured by imperial guards on episode 7 of season 1 and being rescued by ig-11 not even 2 minutes into the final episode. star wars is nanny ig-11 just zooming around nevarro destroying the whole imperial army without a scratch to him or yknow, the baby he carried with him. did people forget how the other two seasons were also completely “lacking dramatic stakes”??? because they’re just there, i watched the two previous seasons just before s3 and let me tell you: they’re the same. the arc is the same: grogu (din on s3) gets taken on the penultimate (or one before on s2) episode, somehow the search party does everything right and everything is solved by the end of the season. even more than that, on s1 kuiil dies on episode 7, here, paz vizsla dies on episode 7. so. no death??? why is it a problem now?
like?? no stakes?? a whole exiled people finding their rightful place on their planet and ridding their homeworld of the invader that is the empire, wasn’t enough for y’all??
like i get it, y’all love the depressing era of andor and all, which is fine, to each their own. but why does it prevent other shows of just being what they want to be? yknow, potentially goofy and yknow, actually hopeful? because we know how cassian andor ends up. he dies. it’s horrible, it’s sad, it’s depressing. like, are we really out there pretending that din and grogu’s storyline wouldn’t be as fullfilling because they don’t die in what is basically an atomic explosion or something???
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A concept I have always loved the idea of and wish I was in the business to actually create
is a movie trailer where it starts out with Tears for Fears' version of "Everybody Wants to Rule the World" and obviously it's setting up the movie as some sort of rom-com or otherwise comedy movie
but then halfway through the trailer it transitions sharply into Lorde's cover of the song right as the audience realizes this isn't just a rom-com or otherwise comedy—it's a dark, suspenseful thriller
anyway that's what The Balance storyline's trailer would be like if it had a movie trailer
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Orym had to tell Keyleth about Imogen... he had!
The only other option he had was to tell her in secret, but he chose open honesty.
Notice he didn't say anything at first when Liliana was mentioned, but then Imogen starts talking about maybe Liliana saving them IN FRONT of Keyleth... and Keyleth was watching! (Matt did that check that Liam and Marisha clocked) Now, maybe Imogen was just stating a doubt (she might even be right) but Keyleth has no context for this and she could think Imogen was making excuses for Liliana.
Orym has known Keyleth all his life, she has always been just. Unless Imogen does something to betray them, he has no reason to fear for her, and all the reason to tell the truth, explain the situation, and vouch for Imogen in Keyleth's eyes... which would help to maintain the trust Keyleth has on him.
Look at the table at that moment, no one was surprised. Laura thought Liam was gonna talk about Vax instead of Imogen's connection with Liliana, but she was not surprised by Orym sharing that information.
Right afterward he does that, we find out Keyleth was suspecting already. Orym made the right move! The smart one! He, and Bell's Hells too, can't afford misstrust from their allies! At that moment, the best option was honesty.
The only alternative was Imogen explaining on her own, but she suggested to Orym a change of theme instead of coming clean, the chance was right there, and she didn't take it. Orym hasn't talked with Imogen since their reunion. Before the fight with Ludinus, Fearne and him were planning what to do in case Imogen got tempted by her mother and Ruidus and all that. Let's be honest, Imogen herself has admitted she has felt tempted by the power, and we don't know how much control she has over all of this... Orym has reasons to be concerned, and Imogen trying to change the topic of the conversation instead of saying what it's kinda obvious (she and Liliana look alike), don't assure those concerns, hid best move... in every direction, was to be honest. Putting all the cards in the table.
Keyleth tells Orym what to do in case of betrayal in front of the whole group, so everyone knows where everyone stands. Like, if Imogen has no intentions of betraying them, then she has nothing to fear at all. If she has that intention, she now knows that she'll have to fight everyone else except maybe for Laudna (if she attacks Orym, she'll have to fight Fearne, if she attacks Fearne she'll have to fight Chet and Ashton, is she attacks Ashton and go against the gods she'll have to fight FGC*), and I say "maybe Laudna" because I've noticed a trend of them been tempted by power and the darkness on their own... but not wanting that path for the other, in fact Imogen made an interesting change the time they were apart, she is the one trying to fight the temptation now and keeping herself and Laudna away from the darker path.
* I know that maybe others would jump to protect Orym and start this domino, but the one person I have no doubts it would do it, is Fearne.
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Hey, welcome to the world of toh criticism! Glad to have you here. I second all of your thoughts on toh's worldbuilding, there was absolutely no effort put in there other than 'what if human world but ugly'. And you are so right about the school's placement system. Why they thought it made sense for the only courses they offer to be a kindergarten level class and an advanced class for high schoolers, with the only thing separating them being knowledge of two spells, is beyond me. I'm excited for you to get to Belos though, he does give the series that much-needed plot structure and while they do drop the ball on his story it's really only towards the end and he's easily the series' strongest (or only strong) point up until then.
Thank you! Happy to be here 😁 and yessss I am so looking forward to plot. The episodic nature of the show is driving me mad. Especially when they are blatently copying story beats from other media (I'm looking directly at the episode where Luz goes to school for the first time and most of the jokes/events are obviously taken from HP)
The school's advanced placement system is so fun to make jokes about. @monkeymindscream and I got much enjoyment out of that.
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I am so ready for EXU: Calamity.
Like others have pointed out, I absolutely love that this is an adventure for which we know the ending, but we don't know the ending. We know what's going to happen, we know that nothing anyone can do will ever stop it — but we don't know what they will do. Matt and Brennan have created a story where tragedy and loss is inevitable, where the ending has already happened and the history has already been written, but they've done it in such a way that never robs the players of their agency.
Because the truth is, we don't know what happened. We don't know what will happen. The Calamity didn't just destroy 2/3rds of Exandria's population, it didn't just destroy every magocracy of the Age of Arcanum, it didn't just devastate the world — in a way, the Calamity destroyed itself. It destroyed its own history, and most of the history that came before it. We know that it happened, we know some of the things that occurred — but all that we know exists on the order of gods.
Vespin Chloras released the Betrayer Gods because he wanted to ascend like the Raven Queen. (Dire Children chase the Matron's wake.) The Betrayer Gods, upon seeing the world, no longer sought to destroy but to dominate. (Festering wounds from schisms long-since passed.) They formed a stronghold at Ghor Dranas, decimated Xhorhas, and launched an attack on Vasselheim. That attack forced the Prime Deities to descend and fight the Betrayer Gods. The Apotheon was given gifts of the gods and nearly defeated Gruumsh, Torog was banished (probably by Sehanine), Tharizdun was locked away by Ioun and Pelor, and the Betrayer Gods were imprisoned once more. The Prime Deities left Exandria and built the Divine Gate so nothing like the Calamity would ever happen again. (The wheel will always spin, its gilded fulcrum rotting from within.)
So the history is written, the time has gone by, but the stories haven't been told. Things end in tragedy and destruction and inevitable loss. The march of time will carry on, the march of time will stop for no one's hands, the march of time will inevitably and invariably push forward. That history happens, has happened, will happen. It's gone by. It's done.
But that's the thing about tragedies.
In my eyes, a really, truly good tragedy is a story where it seems like there are a thousand, thousand times where a character could've made a different choice, a thousand chances for things to end up better, a thousand opportunities to avoid what's coming next — but where it simultaneously feels like nothing could have ever avoided the inevitable end. A good tragedy comes when we know that the characters could have made a different choice, could have done something different, could have changed course, but we also know that those characters never would have. And that's what we know now: this tragedy will happen, because these characters may once have had a chance to stop it, but they were blinded by their comfort and arrogance until it was too late. They could have had a chance at stopping Chloras, but they never would have.
(Honestly? I think that these characters are the people who could've stopped Chloras from releasing the Betrayer Gods, but didn't. I think the city they're on either housed the temple he used, or floated above it. I think that we're going to get to see Brennan play possibly the greatest mortal villain in all of Exandrian history, and I really, really hope that this is the series where we finally get to see a full party of 20th-level characters.)
I can't find it anymore but there's a post floating around about Shakespeare's tragedies — about how if you put Othello in Hamlet's plot he'd have killed Claudius immediately, and if you put Hamlet in Othello's plot he'd out-think Iago. But it's because the characters are who they are that these inevitable tragedies are allowed to happen. Heraclitus, a Greek philosopher, had a saying that went something like this: character is destiny. I think this is what they meant.
We know how it ends, but we'll watch it anyway. Because really, we don't know how it ends. We know how people think it ends, we know how the gods told people it ends, and yeah, that might be the truth. But there's a world of difference between world history on the order of gods, and the tale of a group of would-be heroes who never really had a chance but tried anyway. (Especially when those gods are known to lie.)
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