📌OP (Reacting to a Doomsday Trailer): "YeahNaaahhh.... That Marvel time has run out a while ago...."
📌Re: "Then explain, Spider-Man: Brand New Day $2.220 billion at the box office in three weeks."
📌Counter Re: "If your point is the "marvel time" hasn't run out because a spiderman film made billion+ including No Way Home & Far From home--- You're answering your own question.
Think about it---- Your retort wasn't the success of a Marvel Phase, you specifically chose a SPIDERMAN movie, let me repeat that: a SPIDERMAN movie (which is sony & MCU, not just MCU)......again, you answered your own question.
The phases themselves weren't billion dollar factories, Phase 3 specifically was a beast in itself, no question.
But if you're reaching to the recent Brand New Day, how many movies in this specific era did Brand New Day numbers, you know? point is, overall SPIDERMAN movies tended to be more successful.
And be careful with that anime fan logic that because something made bank or got views that means it's worth a shit, there's been a lot of "popular" things throughout history that have been actually not so great after the fact.
Just because ppl will spend for it now while it's a hot topic, don't mean it'll age well.
🚩And just because a movie did NOT make even, doesn't then mean it's not good or decent.
Be very careful with that line of thinking. "
Mainly from anime & manga-ites have I seen this deflection repeated, for almost 10 years.
"Don't know why he wanted women to cover to theatres instead of fans of the comics (men and women)"- @pvpv1234
👆👆👆👆👆
This goes for all genres from games, to movies, to comics, etc. Why go after women specifically when FANS of anything can be and are men & women which means more money anyway. Precisely.
It's self-sabotage, for no reason.
And it fails 90% of the time, if not more. IP deaths by the droves and for what? Nothing.
Women apparently are the reason the first Gundam series was kept on life support (reason I heard was the emotional depth of the characters, empathizing with war victim characters & specifically how young Amuro was suffering his trauma, mature storytelling than just being about action, space opera drama) until men got on board. But the reason the meta franchise is as big as it is is because of men and women, but allegedly, women in fact are the reason Gundam crawled before it learned to fly.
And if true, women gravitated to the 70s series ORGANICALLY, as far as i know- it wasn't specifically made for women. Which is why it's evolution was natural.
Same goes for your Spider-Man or Superman, these were likely not made for men, they were creations, stories.
When you go out of your way to groom a project to isolate a demographics tastes or your presumption of them, you're actually underestimating the audience.
Now this was 2006, likely the Superman Returns strategy wasn't political more so an attempt to broaden the scope based off of peer films.
Why do I say this? Simply given how action heavy the sequel was before cancellation, it's a stark contrast, two different genre's tied to the same Superman.
They wanted both sides on board, not realizing plenty women like things moving fast and looking cool too. Just put the emotional beats within that framework.
Superman vs The Elite is a good example, Superman Doomsday being another.
The Death of Superman 2018 is yet another one, 1978 as well even tho the effects are a bit wonky, but the writing is on-point in ways that makes the 2025 film look like an amateur fan-film.
Point being: Look at the Phase 1 to 3 of the MCU, before execs decided it was time for women to take over or be appealed to: It's funny how on board women were from the start when you look at reaction mashups of IRONMAN 2008, the women eat it up.
The juxtaposition of Tony's playboy to helpless captive status, the humbling it does to his character. That specifically I find in these mashups is what hooks people, but specifically women to see a larger than life personality in a man at his peak or just Stark symbolizing the preconception of a man being competent, in charge, suddenly brought to vulnerability, even weakness. There's a psychological fascination in that, which also explains the alleged Mobile Suit Gundam phenomenon.
There was no women in those cave scenes, and the women cheered when Tony won, they were intrigued when he was doing his mechanics grind, some of them even commented they found it attractive when men just know how things work mechanically (endearing commentary), and they were somber when Yinsen passed away; and it helps that Tony worked in a pressure cooker, a wasps nest, his life & the life of someone else was on the line. He had to earn it.
Just a roller coaster of emotions. Again, ZERO women in those scenes btw.
And when Pepper was being Tony's emotional anchor, the banter, the push & pull, you could see the audience resonated with that. Women aren't these homogenous hivemind creatures that can only connect with female characters, female power (whatever hollywood thinks that is) or something written for the female gaze, you can have both.
You don't have to isolate women in your media fantasy like your academia & politics insists on doing to them in reality even while it's destroying them.
You can cut them a break in the theater at least, you owe them that much, jesus.
After Phase 4 and Phase 5's failures, that Doctor Doom Special Look reaction mashup, everyone loved it. That Official Trailer didn't hit as expected for most, but that Doom Special look trailer was it.
Watch the mashup with just the women on screen, they're eating it up just like the good old days, the tragic villain archetype with a calloused heart, the mystique of a man in a mask, the implied vulnerability underneath all that power. Success in wait, if it's written proper.
Women are not as complex as we want to think, very predictable, and that's not a bad thing. They're also not these simple beings either, that will just support product because "all female" fetish or #TheForceisFemale got slapped on the box.
Yes, plenty of buzzfeed & article outlets written by men and women will praise the sentiment of excluding men for women, exclusionary rhetoric is great when it's one way. But WOMEN, the everyday woman is not going to support that like Men have entire rooms filled with Gunpla & figurines, collectibles (MONEY MAKERS), just because the studio wants a pet audience to groom, but an audience that's politically current & on the right side of history.
If it's too male dominated, it needs to be altered. If it's female dominated, & men are outside looking in, that's progress.
I personally don't think Singer's intentions were that deep, but how things have escalated since then, and the MCU's recent desperate pivot in tone, politics and marketing because they know they fucked up: Is further proof of how an empire acts through this misconception that you feel successful enough to treat women like a replacement reserve after we're done using the men to pay the bills.
Countries do this, decline ensues, so when studios pivot out of fear because failure's knocking, what does that forebode about a whole country? When the same spiteful attitude is the exact same, because zeitgeist bleeds into media eventually from top-down, studios simply feel the burn much faster than a country would.
It's a microcosm really, a social experiment.
Your population is men and women, your audience is men and women.
You wouldn't have gotten this far with just one group carrying; sure you've got Shoujo & Shonen; but Anime & Manga as a whole, like comics and video games isn't just for men or women.
Plenty of boys watch Shoujo (including myself back in the day, and in fact; I have things to catch up on, actually) and plenty of girls & women (not stereotypical tomboys but regular girls & women) watch shonen/masculine-wired anime.
So the logic of appealing to one just to appease no one is not only exactly what you deserve, not because of karma, but mathematically that's one of the only logical outcomes to expect as an absolute. As an equation, that's to be expected.
But otherwise, Singer merely miscalculated, because again; the sequel by the sounds of it was less romance nove and more graphic novel. His mistake, I presume had nothing to do with politics, but he simply misread the terrain because of the success of a seemingly female oriented film. (The Devil Wears Prada 2006)
But I will say this, if there was too much going on in Superman Returns 2006 action-wise, people would've had complaints about that, rightfully, because it would've been inflated with too much or messy. Case and point? Batman v Superman: Dawn of Junk. So let's not be so quick to assume just action would've made the film better.
As I'm watching Superman Returns while typing this, the lack of action isn't the issue than how Superman & Clark are written and characterized.
TL;DR
DUNE PART ONE was no different from SR2006 & is a perfect example: Like Superman Returns 2006, DUNE PART ONE was also quieter, somber introduction to the world and then PART TWO brought the thunder. Like literal theater rumbling thunder, I saw the film 3-4 times in 2024.
The difference is, DUNE was given a chance to prove itself, Superman Returns was denied that chance.
Singer merely miscalculated, but what he did wasn't wrong, because DUNE did the exact same thing, not in execution, but in principle. Routh has matured immensely as an actor, he's still with us, he's on board. Still attached to the character. And Singer & Ottman cooked with Days of Future Past, ngl. They just need a good script, it's not too late. WB needs to let go of this cinematic universe crap and just take risks.
Not bad. Not as good as pulling fragments of a moon from miles away from orbit (IW Trailer still better), but compared to that nothing Official trailer: this was leagues better. Very much enjoyed it. Very much.
The title of the film is his namesake, don't hold back, do what you have to do, Marvel. Spoilers be damned, if the film is worth seeing, spoilers won't matter.
Show us feats, DOOM is the hook for most people, use him.
1 episode, ppl had to wait 20 years for one episode.
In general, thematic payoff Is not character arc, and a narrative payoff, a symbolic payoff for a character is not character development if the work wasn't done to justify it. A spectacle is not a pivot point for Orihime, no more than Deku's fights changed him as a person.
A character can be an anchor, a fixed point, a symbol, but a fixed point is stagnant, they don't get development. Things happen around them, they change the world, yet they remain static.
Whether or not that works depends on if you prefer a character with depth that resembles an actual person, or a plot device with a name & backstory.
It's important to know both the difference, and the limitations of characters like that.
Could've easily modeled Inoue's power after Susan Storm (defensive type, yet most powerful of the four) and had her be prominent & gentle still.
It being "the point" doesn't mean, "it works". (MHA fans vomited that excuse for years)
If this was Rey (not a fan, also poorly written), Chibi would likely be complaining or other grifters would cry mary sue, but since the goonable pretty anime girl does it, now all of a sudden Orihime is a great character after 20 years of neglect, selective action & passivity.
(just in case his channel gets taken out again @ThatAnimeSnob)
If the her limiter or block justifies it not being random, then that's not a mechanic, that's her ability waiting for permission, then she's a narrative wildcard aka an Eri or an Alluka, a plot device.
🚨so when hundreds of episodes for us (not the characters chronologically) justifies her limits & her not being a mary sue, allegedly. But 20 years of stagnation & de-prioritization is a good thing simultaneously because it hasn't been 20 years for them lmfao, that isn't a problem because this was "the point". Cake being had and eaten simultaneously. r/bonk
Im glad ppl are enjoying it, could be worse, so much worse. But this is an embarrassment for someone on payroll and for a character thats been there since day 1.
This is like Katara's very basic Book 1 "Waterbending Scroll" development happening in Book 3, but that's not a problem because that was "the point", that was the story they wanted to tell, as if being the author makes you an exception to making bad decision with the story.
It being yours, means you can't fail because it's your story. WRONGO.👁👄👁
And despite her not having much combat experience, Orihime "trained" with some blokes, so that means she's not a mary sue, yet with no legitimate combat application to base her feats on, she's able to refute one of the most powerful players. So she can't be a traditional fighter to preserve her gentle nature, yet because of her benching, she doesn't have the XP to justify this. It's not just training, it's experience, scars, blisters.
Can't have it both ways.
📌If this was the story he wanted to tell, & we just have to accept it? What this actually says is she wasn't a priority for 20 years >> not that he was necessarily cooking for 20 years.
Because what happened wasn't extraordinary, it was relatively basic for a painfully simple character.
this is what happens in plot-driven stories, typical shonen, but ppl want to force labels like "character development" into it so the wait can mean something. It was the same way with My Hero, can't have it both ways family.
On kubos part, this is a bizarre way to coddle a character, because being too capable, her being too good at something somehow threatens their innocence.
It's a telling misunderstanding of human complexity on the author's part. "
7:16 Thorias' take on the c*ck thing is interesting, there's actually plenty of (air quotes) "men" that are into that garbage & far worse, but the thing is, Hollywood bombarding men with this disrespect is actually what helps perpetuates these fetishes to exist in the first place.
when the culture seeds disrespect of men for being men for decades on end, then some (air quotes) "men" will perpetuate it themselves as a coping mechanism.
so it's paradoxical: there's plenty who like it, and yet the environment they lived in (including what they watch) is precisely why they think they like it in the first place.
it didn't just come outta nowhere; decades of this cultural abuse will leave a mark eventually.
And to tie back to the show, it's insane how persistent it is, even plenty of women are tired of men being written like this, jaded, outdated, rugged and rejected.
It's inorganic and unnatural. And so one sided, and men in positions of power allow it.😂😂😂
That man's (George the Giant Slayer, on Youtube) script is top-notch
POV: me when other brothas & sistas stepping up spittin pure uncut, potent facts without "imo" in their mouths::: 🧐🍷
"-turn disrespect into dollars."
exactly.
Because if it’s only one way, then it’s not diversity, it’s selection.
If it’s "not that deep”, ok fine, then lets have more fun with this & swing the pendulum both ways--- but consistently.
give us more Gods of Egypt 2016, this time showcasing more obscure African gods & goddesses because.... why so much emphasis on the Greeks but not the African or Arabic Pantheons? like what the fuck hollywood.
Cast Timothée Chalamet as Anansi & make more films with iconic casting like The Conqueror (1956 film/John Wayne as Genghis Khan), and make them eligible for an Oscar if it’s good.
I’m not saying it won’t happen, I’m asking for it lol.
Otherwise this industry rigid norm of POV: paint your project in enough brown or just overall color as if the people you’re hiring are these inanimate pieces on a gameboard, then maybe we’ll give your movie a cookie.
It’s disgusting.
TL;DR I’m Just sayin’, picture it: an animated epic of a talented Hispanic/white/asian whatever woman voicing a black woman Mulan in China, solid character arc, Spiderverse tier animation, Ghibli story inspirations & whooping ass to a Daniel Pemberton & John Ottman score; just might be the palette cleanser Hollywood needs, bold & brave. Not even joking.
Otherwise the greeks still have Homer’s original book, TROY, other translations; they can just go enjoy the takes that’s deemed accurate tbh. If Americans who complain about appropriation of blacks want to appropriate the works of another culture, then let the Americans display they're full of shit, all for the world to see and carry on.
And as much as I liked Perry's layer because her voice just has that sound; I found it wasn't the song that hooked me, overtime that whiney defiant overtone in the lyrics became more unattractive as i got older (Cyndi Lauper vibes just way more on the nose); for 'I kissed a girl' tho, ultimately the lyrics still kick but I outgrew them. It was always the music and that guitar riffing that was the staple, ngl. It's sick how funky it is.
Glad he/many enjoyed it, i’ll try it eventually- however.
Just from a distance, even before seeing the movie, I wish Peter moved on from Michelle.
In retrospect; I get she was a rider (she was 100%), they been through it together, but a soft regress is a cop-out.
Having Sadie play someone else who helps him heal just as a friend most of the entire movie: Planting the seeds of a new bond for him but not moving too quickly but ultimately building upon the “Brand New Day” namesake of actually moving on without regressing.
Have the new character be in the background first 30 minutes, show her doing her own thing, coming and going, they say hi, have witty banter, cheeky stuff in between the dark storyline. Smallville’s Clois level energy.
A confident dork.
📌Namely, importantly: Give her destinations, passing him by, curate a sense of purpose for her, so she doesn’t just exist to be the replacement for MJ; she’s got shit going on too. To cook that payoff just right, that is paramount for me, she needs to be almost fleeting but present, simultaneously.
Peter can get help, but still has to process the trauma, he has to do the work. This way he’s not hopping on a new train via romantic platitudes and smoochy.
But it’s a painstaking transition, it’s been 4 years but you don’t just get over something like that situation especially when it happened like that.
Ultimately, she is patient. Even before she figures out the secret, she sees his integrity and character.
Otherwise, establish she & Peter know each other prior in-between NWH & BND, skip the meet-cutes. The neighbor to lovers trope.
edit: they actually teased the neighbor thing as a gag in the movie where the woman tried to make small talk about them being on the same floor and Peter brushes her off awkwardly. I made this pitch originally before seeing the film by a few hours but i’m glad the movie inadvertently illustrated my point. Even though they sped-walked passed it, kinda feel bad for her tbh.
Pitch continued: He’s resisting her hints, help, counsel for most of the movie (a good 55% of it to focus on his personal baggage, just so the blue-balling doesn’t piss off the audience too much through peter rejecting a good thing): Just to reinforce his dysfunctional avoidant and isolationist martyrdom.
She’s not hunting him down, they simply meet at the laundry mat, on the street, Empire State: have her even point out how they can’t seem to avoid each other.
And part of the arc is him moving on first in a similar fashion to the movie but the friendship is a vehicle to that outcome; accepting who this woman is, not who MJ was. Because reasonably moving on isn’t going to be easy like a light-switch.
And to side track, let’s highlight his trauma track record:
Aunt May’s death & her dying right in front of him
Goblin’s terror on his life in less than 3 days
having fought at the Avengers Compound in a deadass war
losing Tony & watching him… die right in front of him.
The trauma of being dusted to death.
the trauma of coming back & the world is in another server entirely.
the trauma Mysterio put him through/ getting hit by that train.
the anxiety of the whole world knowing who he is, yes, that still happened btw; I will admit I had remind myself that that happened.
ofc the trauma of being forgotten by his bestfriend and girlfriend, the world. (how does that effect gov. records, dental, school forms? pictures, physical pictures? *shrug)
fighting a Warlord (Thanos) on Titan, etc. etc. etc.
Peter’s rejection of Ursula-like wouldn’t be justified in how he does it, brushing her off; but his blockheadedness would be thoroughly rationalized & made clear that he’s got more going on in his head than just Ned & Mj not being there. He’s been through it, and far too young.
Illustrating the scale of his headspace keeps the audience from trivializing the true weight of his burden just because he’s rejecting her best efforts, & some may/ most will likely sympathize with her and through that may becomes frustrated with Peter; Audience Psychology is real.
Because at the end of the day, she doesn’t truly know him yet, or the full scale of what he’s been through even when she figures out he’s Spider-Man.
TL;DR Committing to the consequences of the spell vs tailing MJ & Ned here and there; then MJ gets involved anyway through plot, and while I appreciate the maturity to have MJ state the obvious that she is not who he knew & they don’t just resume activities after his confession: Good scene, good acting. Regardless, it still regresses the NWH sendoff, especially the ending.
His soft following/ stalking; even the trailers didn’t sell me on, that was a red flag. But I get it, still not on board.🚩
My charge is, even before watching the movie: What’s the destination? If they’re showing him shadowing Ned & MJ in just the trailers, that’s regression. We can’t keep him stuck.
Even actual spiders eventually move their web-domains to different locations. Moving on.
Again, this theoretical Sadie switch, make her a blatant variant of Ursula Ditkovitch or something (she deserved better). Homemade chocolate cake & “a glass of milk” meme and everything.
No kissing, not in this movie. Just chemistry, warmth, and connection; everything he needs but doesn’t want, not from her. Not initially.
The audience would know undoubtably what their trajectory is as a couple/team, but they themselves don’t & that’s ok. They don’t need to rush it.
The point is not fixing all his issues in one movie or replacing anyone, but him finding some meaning beyond his memory of a past life, beyond the Spider. Processing his problems, vs a “fix”, letting go his illusion of control, which inadvertently can be the key to mastering the Arachnimode.
The secret is kept, MJ & Ned don’t find out, no contrivances there, no MJ being meat puppeteered to kiss peter. (good on him for telling her. That spoke volumes, a very good scene. One of many good scenes)
Just a little bit more progress in that respect but with something more tangible & evident that he actually gains a life of his own by the end of the movie; 📌but only after he moves on. Again, he can still have a brief interaction with Ned & MJ, but only brief.
I get/ & got what BND was going for. It’s in the title of the movie. But it’s self-defeating.
NWH was already such a good threshold for a fresh start to soft regress without a tangible storytelling takeaway would be a waste. Its interesting.
Brand New Day — The Jean Grey problem:
Cause what they did with Sadie’s Jean character instead was: Bizarre, a little bit concerning, and at times- disgusting.
That she not only got away with it, but got validated by aunt May in peter’s memory: Wait what?
So we didn’t even get to see aunt may showing peter that love.
She instead expresses it to this character that had a chunk of the city hostage simultaneously as she got glazed, lmfao.😂She’s a terrorist.
📌Jean is still a person. Jean has a reason, yet a reason is not an excuse.
And her claim that “her (sara) only crime was being special/different” (paraphrasing) — is immediately/pre-emptively contradicted by the fact that they were playing with peoples minds in the park then having ice cream afterwards.
This is Wanda levels of avoidance, or thinking having emotional pains (sympathetic) justifies being a scumbag or a straight up menace or a violator to serve an endgame.
Even if they did that invasive telepathy on rats or something instead of people in the park, it’d still be concerning; so the fact that the movie shows them blatantly doing that to people; NO ONE in the park finds it weird, that people a few meters off are bustin’ a move and the girls just move on?
But Sara’s “only” crime was being a special snowflake.
IMAGINE if Andrew from Chronicle pulled this shit, or the script specifically just let him fly off to Tibet to start over after all that. He got close with the “Apex Predator” schtick; and yet, being a kid at the bottom of the food chain. His attachment to that concept made sense & no, the movie doesn’t destigmatize what he did just because he started out a victim.
A victim of circumstance is not justified to be a demon. (Wanda, Jean, Andrew, Superboy-Prime etc.)
We knew he was a victim by both his school peers & father, the situation of his mother and no one was making excuses for what he chose to do. What makes the movie so hard to watch is just how much anti-glazing Andrew gets no matter what he does.
Wanda gets excuses, Jean gets excuses, even Walters deflected accountability etc.
The film thinks we’re that stupid, or for the benefit of the doubt, doesn’t catch it’s own condescension.
That’s what kept this from being the best Spider-Man film of all time (most of it is still a fire film tho): Jean Grey telepathically hijacking the narrative.
Tom Holland worked his ass off here, this is one of my favorite Spider-Man performances in a live-action movie: his charisma & confidence with the people, the police; his immediate panic & empathy when he hurt that Policewoman etc. It’s beautiful, reminds me of Reeve Superman.
📌The Arachnid hormone mutation was not leaned hard enough into.
Not to the point of Man-Spider tho, as some comment-nomads seem to want. No thanks, I’m good on that.
But TL;DR that should’ve been the main antagonist of the film, his own evolution, something he can’t talk to, reason with, appeal with a memory or punch into submission.
Have him actually train with his new abilities for a while vs just suffering it.
Otherwise: what happened to Sara wasn’t right, no question.
But let’s not forget the fact that they were playing with people’s minds like they were new toys to experiment with, violating absolute strangers in a park, making them all do the damn wiggle.
📌Violating Banner, let’s address that: Which wasn’t brought up in significance after the fight scene. Not enough, if at all: her being the cause of reawaking his demon, his trauma, and putting him through the anxiety of hurting people. Jean never answers for that.
We know Banner, not her. What makes her so special that she can violate someone who has earned peace, served the country & the world despite his mistakes; he’s a veteran. Then she gets to get off scott-free?
And then everything she did to all those people throughout, including that guy that got hit by that cab because she was playing with his mind — -
she made a hand ninja impale himself just to get Peter, apparently they’re just misguided talent, what did he do to deserve a blade in his guts?
The tank plowing through the city, the possible brain damage implications of jerking through people’s minds like that & they have no memories afterward.
It’s just so much that didn’t need to be in the movie.
Sadie could’ve been a way better engineered entity towards that more productive alternative of an Ursula-like. No powers, just a normal, witty, dorky neighbor; way more significant presence. Could save some money on CGI too.
And the antagonist, again, should be his creeping primality- his built-in instant kill.
His guilt, trauma, and maybe a Morlun mystic that’s gravitating to Peters climbing spider essence.
Or (for those that aren’t a fan of the totem take) a Morlun-like that escaped DODC & has been living in the sewers this entire time for maybe we’ll say: 4–6 years under the radar stifling his appetite — to explain how no one ever found him.
Killing addicts & criminals to satiate his hunger with his own bizarre/disgusting justification of who the world won’t miss.
But it escalates to anyone he chooses or gets too close because he can’t contain it anymore. Maybe even say children go missing & all that that implies is what really gets the city in a panic (because Spiders do not discriminate via morality). To amp up the stakes, the crisis, mortality.
To give Peter a physical match, not a MCU villain mirror: that almost tempts him to give in to his impulses too. But the temptation for Parker (to avoid mischaracterizing him) being when he’s under Arachnid mode, it’s not the power that tempts him, he knows better.
But in his vulnerable, brittle mental state, It’s main his cold/machine spider-instinct mode that dampens the emotional pain & the memories, his need for connection. So it’s like a high, his senses expand, but his human cognizance shrivels. Until he masters it, it’s a tragic trade.
The power, not needing to hold back, his moral inhibitions are de-prioritized. Another excuse not to be vulnerable, avoidant; which ties into Peter’s mindset in the film as is. His own loneliness epidemic.
Save for Aunt Mays memory, Tony, memory of Mj, Ned, his career — basically everything he accomplished brings him back. And ultimately Ursula-like.
Make it more about Peter, than him having to share the script with a seldom-sympathetic terrorist in the 2nd to 3rd act.
Keep Frank, keep DeWolfe (I enjoyed her presence way more than I expected); keep Ned & Mj’s cameos but scarcely. Using their presence as a visual for Peter to see, seek after, briefly interact as temp fix, then eventually move on from committing to the consequence.
Grey wasn’t it, how she used her powers was interesting, namely her limit & how she worked around it.
Her motivation was understandable, & yet what ruins it is this accountability avoidance fetish the MCU possesses with these toxic female characters, the narrative confusing sympathetic reasons for excuses. That needs to evolve, it’s not cute.
"Its because there are shows where you get horny by body odor, where you jerk off to images of feet; where you bark like an animal. And think this is what thousands of years of recorded civilization amount to." - ThatAnimeSnob 2026
3:44
One of the ThatAnimeSnob quotes of all time.
One hand its just a tv show, on the other hand .... is being a gooning loser what your bloodlines survival amounted to? All the risks were taken so we could have a packaged life experience, just so we can squander it masturbating in filth as dogs, tinies, footslaves, anything to communicate being less than what you are because that way you don't have to meet a standard, comfort of weakness. Squandered precisely because the privilege wasn't earned. I mean damn, it aint that deep; but should it be? Maybe part of the problem is the significance is actually not as trivial as we want it to be, maybe what we put in our heads actually does matter, or not? Thats tough. whomp.
