but rather as the story progresses the villain finds it in him to be more like a hero

Klaus Mikaelson: From Villain to Hero

There’s something I’ve been meaning to address for a long time regarding Klaus Mikaelson and this post is me finally getting around to do it. For a while now I’ve seen quite some people complain about the “new Klaus”. Apparently, they don’t like that he is now allowing himself to feel something and to express those emotions through, and this will not come out as a tremendous shock, tears. They don’t like soft, sentimental and emotional Klaus Mikaelson. They would rather have the ruthless, manipulative and emotionally shut-down character he was back when he was the actual villain on TVD.



Now, I don’t usually like to comment on other people’s opinions. I’m all in favor of free speech and staying in your lane. However, I am completely appalled every single time I run across this sort of complaints, and I felt the need to explain to you just why it bothers me so much.

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So like a week ago I talked about doing a rec list for my fave Sportarobbie fic so here it is. In no particular order cause I’m just dropping down through the archive and grabbing links as I go

  • home is where you are, series by neyiea Mundane au, wherein Sportacus and his daughter Stephanie move into the apartment above Robbie’s. Robbie starts off being grumpy over his loud neighbors, but after awhile he gets to know them and gets attached. The plot is very light-hearted and there’s very little drama or angst. It’s told mainly through Robbie’s pov, and after the first fic there are a few oneshots about the progression of their relationship. Worth a read if you’re into a gentle, easygoing stories or short reads.
  • There’s No Way!, ongoing wip by sugarspooks Canon compliant fic in which the kids find out being gay is A Thing™, and then promptly start questioning their own orientations, starting with Trixie (Sportarobbie is promised for later, but as yet has only been teased a few times). I’m not personally usually a fan of the “gay realization” type fic, but I picked this one up in chapter two on a whim and am really enjoying it. It’s also the reason I was the right mindset to set sail on the ss stephatrix once That Episode happened to me. Worth a read if you like gay realization stories, Stephatrix, and, again, lighthearted and easygoing stories. Updates frequently.
  • My All or My Fall, ongoing wip by TrekFaerie Twenty-years-later fic that explores Stephanie taking over the superhero role from Sportacus and Trixie taking over the villain role from Robbie. I really like this fic, which probably comes as no surprise given that it’s a much darker imagining of the Lazytown world and cast. The kids have grown up and grown apart, and have accumulated some dark pasts, and some have even severed ties with Sportacus and each other. And, well. I eat that shit like sportscandy. Worth a read if you’re into dark stories, twenty-years-later fic, and Stephatrix.
  • I Like You So Much Better When You’re Naked, completed pwlp by Bonymaloney Smutty quickie that starts with Robbie stealing Sportacus’s mail and then going off into a blizzard, and ends with Sportacus and Robbie touching each other’s naughty places a lot. I’m recommending this for the first chapter specifically; the rest is good too but there was some fun wordplay in the first chapter that really pleased me and I keep going back to read certain passages because I enjoy them so much. Worth a read if you like smut with little plot, Robbie doing stupid things, elf biology headcanons, and fun wordplay
  • (like a hero) in the half-light, oneshot by Edgebug, has accompanying series So I’m listing this one alone instead of as the series because while I enjoy the whole series, the first fic specifically is my absolute favorite Sportarobbie fic on ao3. It’s about Sportacus helping Robbie sleep, and then helping him sleep some more, and then falling in love and getting frustrated and getting more frustrated and honestly I’m full of praise for this; this is the fic that raised the bar for me. Also Sportacus’ crystal has an attitude problem, and Sportacus gets to be the insecure one for a nice change up, the word play is above par, and honestly if you read only one fic from this list make it this one. Then the others in the series. Then everything else on this list.
  • 63-Hours, three-part series by TrekFaerie Okay so. The second fic in this series (it was posted out of order) is one of the earliest fic I read and I fell in love with it about three paragraphs in. It was my favorite before half-light happened. Covers a sixty-three hour period wherein Robbie gets drunk, tries to fight Sportacus, and ends up fucking him instead. And again. And again. Elven stamina, right? This fic is good. It’s great. It’s funny, the timing is perfect, the characterization is spot-on, and Sportacus is cute as hell. Also a lot of my characterization of Trixie was probably lifted from this one rather than canon whoops. Worth a read if you like really good wordplay, smutty stuff, aged up kids, Trixie being gr9, and Sportacus being cute as hell. (I keep hoping for another installment but I think it’s probably complete now.)
  • a terrible idea, completed by theonlytwin (note the fic is locked so an ao3 account is needed) So we’ve all seen that one comic, right, the one where Robbie asks Sportacus out and he’s like “a playdate??” and it’s cute and silly? This fic was inspired by that and is a continuation, and it’s just as sweet and silly as the comic itself. It’s really good, bringing us back to the sweet, gentle, light-hearted type stories I started the list with. Robbie gets through to Sportacus, gets his date, and gets another date too! What fun. Worth a read if you liked the comic, like lighthearted fluff, Sportacus being #oblivious, and silliness.
Fall 2016 Anime: Last impressions

What, me? Posting something that’s not Yuri on Ice? Did I wander to the wrong blog? Oh right, this isn’t supposed to be a Yuri on Ice blog to begin with, oops.

After a very shitty semester and my Mom’s and sister’s vacations messing up with my anime watching schedule (plus a shitty vicious cycle of not watching anime to work on thesis-not working on thesis because stressed from not watching anime), I finally finished catching up with Fall anime, barely on time before Winter begins (I know some winter shows have premiered already, but none that interest me. Rakugo’s on today though!!!!). So here’s a rundown of the best and worst of this most fruitful Fall season. If there’s a gif it means I forgot to take a screenshot of the last episode whoops.  (worst to best my dears, you know how this goes)

Dropped:

Shuumatsu no Izetta: I really tried. Even after the stupidity of episode 4 put me to sleep, I tried to give it a second shot, but episode 6 was literally everything that is wrong with modern anime and ugh, please release me from this hell. Of course having a strong female character was too progressive for a yuribait show, you just had to make her have insecurities about her normal-sized boobs (vs everyone’s ginormous) and dedicate 25 entire minutes to show that she’s actually a real girly girl that likes pie. Ugh. And I didn’t even mention how stupid the “Izetta’s secret might be revealed” plot element was. That was some garbage writing if I ever saw one. Most of what I’ve read after dropping it seems to indicate it was the best choice

3gatsu no Lion: I’m confused with this show. The production values make it very attractive to watch. There is a harsh and interesting story and character drama happening. Episode 5 was particularly great, and some of the storytelling devices are implemented brilliantly. But for some reason I can’t bring myself to care? I don’t know. The more I see the three sisters, the more the scenes with them bore me to death. I found the idea of watching episode 6 terribly not-compelling so I decided to put it in the back burner and wait out. Maybe I’m just incompatible with this mangaka (I really hate HachiKuro). People seem to be loving it, so maybe I’ll give it another shot at a later date.

Touken Ranbu Hanamaru: This was my biggest disappointment of the season because episode 2 was so good. It tickled all my rekijo bones in the best way. But then it just… nothing ever happened? Also the way all the sword boys gush about how much they love the (invisible but obviously audience-proxy) “Master” is way too transparent and took me out of whatever little interesting character dynamics might be going on. What could be an interesting theme –the swordboys having regrets about not protecting their past owners and being tempted to fix it- is wasted in a “it’s okay, I have a new master now!”. Even with my fujoshi goggles there was little of interest because the boys were so infatuated with the Master I couldn’t even enjoy any of it. Held out until episode 9 and just couldn’t be arsed for more. Maybe the more serious ufotable show will be better?

Nanbaka: I don’t know what went wrong with this mangaka that suddenly decided to turn a perfectly fine comedy into a Very Serious battle shonen thing? Especially mid-arc? The New Year tournament had revitalized the show, I was having a load of fun with it, but then it suddenly turned all dark and serious and nonsensical? The only thing tempting me to go back for the last three episodes is Hajime, he’s a champ. But yeah, the shift in tone was too drastic and kind of spoiled the show for me because I was loving it exactly as it was. It didn’t need the drama. Some people seem to be liking the new direction but ehhhh… idk. If I have time.

The worst:

17. DAYS: It was hard to choose which of these two was gonna be the poop prize winner, but in the end, given how much I struggled to even sit through the last couple of episodes, I guess DAYS takes it. Honestly seldom have I seen a show so infuriatingly ruined by “protagonist no jutsu” i.e. things just happen because a dude is the main character. Kimishita scored three completely bananas goals in that game (bless his heart I love him), but Tsukushi gets all the credit for earning the free kicks and second balls and shit and he’s the one credited as the “hero” of the game. It’s amazing that such an insufferable protagonist is part of a show with an otherwise endearing supporting cast. Now will my love for Mizuki and Kimishita be enough to pull me into watching season 2? Tune in some time next year to find out! (spoiler: most likely no unless it comes out on a boring season)

16.Mahou Shoujo Ikusei Keikaku: I called this show the winner of the “Showed its cards too early Award” since episode one, but boy I didn’t expect it to continue doing the exact same thing over and over through its entire run. At some point it became a very unsurprising formula of showing a character’s tragic backstory at the start of the episode to fabricate last minute sympathy to make up for lack of proper characterization, only to have the character in question murdered in increasingly distasteful ways. I always knew best girl Top Speed wasn’t long for this world, but the way they handled it was gratuitously vicious. Couple that with a barrage of villains, none of which were remotely compelling or had any interesting motivations, a poor man’s Kyubey, a protagonist that is even more infuriatingly passive than Madoka herself (at least in this aspect, MahoIku surpassed its intellectual mother), and a resolution that basically says this whole thing served no purpose whatsoever and you’re left with just a feeling that you could’ve done something better with your life. I never expected grandeur from this show, and in fact I guess it turned out to be about as bad as I could’ve expected it to be, but that doesn’t really erase how terribly dissatisfying the ending was. I guess that’s one weakness that Dark Magical Girl shows have yet to overcome. 

Originally posted by sailorcinnamonroll

Normally a “the meh” section would be here, but I dropped all those shows for lack of entertainment and time, so we’re skipping straight to

The okay

(I liked these shows but none of them changed my life and I was severely tempted to drop them at least once)

15.Gundam: Iron-Blooded Orphans: I have rather complicated feelings about this show. The writing has improved immensely since the second half of S1 and they’re doing a fascinating job at working the different shades of moral grey. Mika’s sick relationship with Orga continues to keep me on my toes. But with only 12 episodes left I’m still not entirely sure of where this is going, and most importantly, it stinks of tragedy and there seems to be a general lack of joy in both characters and story, so I always go to watch it with little enthusiasm and maybe a bit of anxiety.

Originally posted by studiochizu

14.Girlish Number:  This one turned out way better than I expected it to be, although perhaps for different reasons than most. Usually when I hatewatch something, it’s for the pleasant schadenfreude I get out of seeing something continue to fail miserably week after week (see Sailor Moon Crystal or Mayoiga). In that sense, I wasn’t hatewatching Girlish Number but boy was I getting schadenfreude about seeing the exploitative producer go on a downwards spiral and the shitty LN anime adaptation turning up a complete failure. But because this was the source of my enjoyment, the finale was, to say the least, dissatisfying. If the show had ended with Chitose getting a proper comeuppance and landing different jobs (in non-shitty-LN-anime) that forced her to climb her way back up instead of trying to have  sudden fabricated popularity, while Kuzu got his ass fired that would’ve been cool. But the “Oh I ended loving this production” ending was ehhhh. It felt the show ended going milquetoast on its criticism of the industry. Criticized the seiyuu idol units but still had the seiyuu sing the OP and ED criticized the cheap swimsuit fanservice but still had a swimsuit episode etc. I mean they went really damn hard on the industry, so it was weird and a little frustrating that they didn’t go the whole way, given how they’d already guaranteed to lose the buying audience anyway.

13.Udon no Kuni no Kiniro Kemari: It’s hard to explain what went wrong with this one because, if you asked me, I’d say I really liked it overall. But the key problem is perhaps that I adored the first two episodes so deeply and then somewhere in the middle it kind of floundered and went in a different direction than what I expected –which isn’t inherently bad, mind you- but it’s weird that there’s so little actual udon in the show when they’re in the title. The finale was good in idea, but I feel it failed to make the emotional landing, and that they capped it off to be a sort of commercial for Kagawa prefecture was just… weird. So uh, it was a good show but definitely didn’t live up to the promise of the first few episodes.

12.Uta no Prince-sama Legend Star:  For me, this and Magikyun are basically tied, because, although I have more love for Utapri due to how long it’s been around and how I’ve grown so endeared to the characters, I can’t say Magikyun did anything worse or better. But anyway Utapri! Revolutions had me losing a little of my love for the franchise, but Legend Star was really great! The music improved drastically and we got some truly neat character arcs. The Otoya arc was surprisingly good. It’s sad to see they’ve fully committed to shitty CG dancing though ): But oh well, the Quartet Night song was great and there’s even more anime coming because Broccoli does like printing money after all. Almost forgot to mention it, but Haruka is hardly relevant this season and I’m not sure if that’s a good thing or not, but I’ll also say I didn’t particularly miss her.

11.Magic-Kyun Renaissance:  I’ll say this about Magikyun, it was less dumb than I expected given the title. I mean it was super dumb, but it could’ve been dumber. It was also a lot of fun, had neat visuals and surprisingly good songs? I feel it could’ve ended in episode 9 because it doesn’t feel like the new resolution in ep 13 actually added anything of note to the story or the characters, but it was okay. It’s harmless dumb entertainment and that’s what I wanted it to be. 

The good

10.Flip Flappers:  It’s always great to see passion projects like this, even if they don’t always stick the landing. In the gayest anime season, FliFla gave us a lesbian visual spectacle that was among the best animated experiences of the year. While narratively it blooped a little in the last third and became a weird Eva-ish nightmare, it sorta kinda worked out at the end, although definitely didn’t live up to its initial dreamy potential. And it was very lesbian, although I feel it was lowkey creepy lesbian since Papika is somehow an adult??? I think they explained some things too much and left others glaringly unexplained. Some weird things happened in that production that hindered its potential, but it’s still a fascinating series to look at, even if you don’t dig the character dynamics (which are adorable but in the end didn’t do much for me). Could’ve done with 100% less creepy robot though     

9.Classicaloid: I’d call Classicaloid the Bungo Stray Dogs (season 1) of the Fall because while it wasn’t what I wanted or expected, it managed to grow on me. I was on the edge of dropping it because the wacky one-note humor wasn’t working for me at all, but with the introduction of Schubert and the slow drip of answers to our questions of what is even happening in this show, it became notoriously more fun. Definitely the strongest moments of the show are when we get to see the Classicaloids having flash backs to their past lives (the episode about Beethoven and his loss of hearing was particularly brilliant) and while I still mostly have no idea of where this is going at all, they’ve definitely got me hooked wanting to know what Bach is even planning.

8.Drifters: This might have gone even higher up the ranks if not for all the homophobic and sexist jokes ugh. But I guess it’s a testament to how entertaining it is that I watched it all through and would still watch the upcoming second season (or maybe it’s a testament to what a good job it did in tickling my very specific rekijo bone). The characterization of Nobunaga in particular is absolutely brilliant, and the little nuances in the interactions between characters of different time periods are fantastic. Cool action sequences and interesting strategizing and politicking. But I reckon this isn’t something that’s gonna sway the non-history buffs. Also ew the sexist and homophobic jokes. The show has great comedy without that, please don’t be so gross Hirano.

Originally posted by ichise

7.ALL OUT!!: It had a bit of a slow start, but once it started picking up with the practice matches and developing the team, it’s just gotten exponentially better! Especially since the addition of the coach. DAYS could learn a thing or two about how it isn’t necessary to make the inexperienced main character the sudden “hero” of the team to make for a compelling sports story. That said I still do not understand about 75% of how rugby works at all, but the endearing cast and the passionate games make up for it. Also the horrible hair. Definitely looking forward to where these kids will go in the second half.

Originally posted by rouge-cerise

The excellent

6.Fune wo Amu: This is a case of me one-sidedly having expectations that a show can’t live up to and thus I don’t enjoy it as much as I could. Which is no fault of the show itself and it is in fact one of the best anime of the season (arguably the year). It does fail on the entertainment department, but compensates with beautiful craftsmanship and a wonderful portrayal of human feelings and relationships. While it wounded up being Very Heterosexual (and the main couple develops in a rather cold and questionable manner, but hey, the wife wasn’t forced to give up her dreams to become a housewife. A+ for progress! ) the portrayal of Majime’s camaraderie with Nishioka (and Nishioka’s very great relationship with his gf!) was really the heart of the show, and just for that it’s absolutely worth the watch.

5.Natsume Yuujinchou Go: I think it’s rather telling to the quality of the season overall that Natsume Yuujinchou somehow fell just slightly above the middle of the pack. I do feel this season of Natsume was weaker than the previous ones, but to be honest I can’t quite pinpoint why. Maybe it didn’t feel like we reached a new milestone in Natsume’s development or in learning about Reiko –in fact, it feels we learned conspicuously little about Reiko this season-, although the final episode and the Touko episode were notable highlights. With a sixth season already in the works, I have little else to say other than, even when it’s not in top form, this is still among the best one could ever hope to get from anime

4.Bungo Stray Dogs 2: Remember how season 1 was good but not what I wanted it to be? Well, season 2 wasn’t exactly what I’d originally hope BSD would be about but it sure as fuck was fantastic! Starting with the flashback episodes to Dazai’s time in the Port Mafia and the story of Oda Sakunosuke, to the introduction of the American writers and the follow-up with Kyouka and Atsushi’s arcs as well as Akutagawa (!!!!) it was a genuinely amazing season that completely justifies watching the first one even if you weren’t entirely convinced about it at first. My only gripe is the lack of Kunikida, but this season showed that Dazai is the lynchpin of this series and he fulfills that role to perfection. I loved loved loved this season and I hope we get more of this series.

3.Jojo’s Bizarre Adventure: Diamond is Unbreakable: While it floundered a little in the second cour (seriously I was happy Shigechi died, he was an awful character), it picked itself right back up in the third and the battle against Kira –who is an astonishingly amazing villain- was just week after week of blood-pumping excitement and fun. Not every episode was perfect, but the package as a whole is fantastic. At moments it felt more like Kishibe Rohan’s Bizarre Adventure, but even that was okay because every member of the cast was so great. You can see the passion David Production has for this franchise, and I’m hoping they’ll continue adapting it. While Joseph is still Best JoJo, I think part 4, with its incredibly strong cast and creative set up might be my favorite arc so far.

2.Haikyuu 3: vicky’s probably gonna hate me for this but If I’m honest, the Shiratorizawa match wasn’t my favorite in the manga. I love the development Tsukki got through it and I commend Furudate for how brilliantly he’s been working in making these characters grow in such satisfying ways. But Shiratorizawa, and Ushijima specially, is the epitome of OP rival and that’s something that’s never really worked for me. It felt like the Rakuzan game in Kurobas, there were moments in which it felt that it just never ended. And I was worried about how they were going to work it into ten episodes. I think it’s a testament to the anime team that they managed to make it not actually feel like 10 episodes, and that they’ve made this one of the most exciting matches to watch in all of Haikyuu. It was truly spectacular and I can’t wait for S4

THE BEST

1.Yuri!!! on ICE: Joke’s on you, this was a Yuri on Ice post all along!! Even if my conflicted feelings about the ending had been sourer and heavier, I would have no doubt that this is the best show of the season (and the year). It’s taken me a while, but after having chewed on my feelings for a couple of days (while fighting the denialists with all my might) I’m even more confident about it. I don’t even know what more praise I can rain on this beautiful, beautiful show that has literally saved me so many times during this really difficult trimester and I am ever so grateful to its creators for giving us such a beautiful gift in such dark times. Now please end our suffering and confirm a season 2, because just like Victor and Yuuri can’t live without each other (canon!) I can’t live without them anymore ;—;

What a strong season this was! A high note to end an otherwise shitty year! Thanks everyone for following this nonsense blog and I hope this new year brings us all more beautiful anime (and less menstrual cramps for me). Winter shows I’m watching premiere literally today so I’ll skip the “anticipation” rundown and go straight to my watchlist in a couple of weeks.  As always, I’ll be happy to hear which were your favorite and least favorite shows of the season, but I know y’all never answer to my questions ;—-;

V i g i l a n t e

Kim Taehyung/V x Reader

Summary: It started off as a paid job to protect you until he made it his duty.

Inspired by a K-Drama called ‘Healer’ (highly recommended!!)


The night sky echoed quietly with only the whispers of the wind blowing gently along the tranquil trees as the tall men clad in dark suits stand uniformly amongst the entrance of the grandeur company building. The unspoken rustling of the leaves left an atmospheric and angsty calm feeling amongst the men. The two figures by the entrance stood with their arms to their side as a dark, thin earbud wirelessly connects to a larger network. With their shaded glasses concealing their eyes, they scanned the outside of the building to keep its security tight.

In all its splendor, the building of Kim Incorporated - with the one and only entrepreneur, Kim Namjoon, as its head - stood proud and tall as it hovered above the other business companies in Seoul. Kim Incorporated was infamous for their dirty tactics and scandalous business tricks which evidently affected the wellbeing of the neighborhood. The monopolistic Kim Namjoon sought for power and the government abide to his very demand. Whether it was to burn all contracts from the past to excusing their unlawful actions, the government upholded their decisions.

All the grimy business contracts laid in the safe in Kim Namjoon’s office and if those words were to be released, the government would have no choice but to take action in fear of rejection from the public. But who would go to it? With the intimidating men clad in black lined up to destroy anyone or anything that trespasses into the glorious tower of Kim Incorporated, it was only obvious that nobody would be crazy enough to do such a daring task.

Well, everyone except him.

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2 essays with related topics fought their way into same post.

I find it kind of upside-down that so many people identify Kylo as a survivor, and Darth Maul as a predator, because Darth Maul was canonically just … a whole lot better at hiding his vulnerabilities.

There’s lots of speculation that Snoke brainwashed Kylo and turned him against his family because that’s what Leia wants to believe happened. While Han apparently didn’t know anything about it and therefore concluded their son was just Vader, part II. For some ‘bad genetics’ reason. It’s very likely that canon will corroborate what one of them thought, because otherwise a lot of audience members will blame Kylo’s rejection of the light side on bad parenting. But what I want to focus on is the fact that something about Kylo’s presentation in TFA made a lot of people interpret him as mistreated and redeemable.

While (AFAIK) the PT audience took Darth Maul at face value.  

The contrast really stood out to me recently because I was skimming the kmeme for Kylo prompts and finding very detailed requests for the kind of whump people wanted to see - a physical record on his body of what Snoke had inflicted on him, among other things - and I was thinking “Star Wars has a character with exactly the sort of really unmistakeable abuse history you seem to be headcanoning. But it’s … Darth Maul??“

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notquitethatmad  asked:

Hi, I was wondering if you have any advice on writing a good villain? Like one that people hate to love/love to hate? Someone really twisted and horrible

Welcome to Villain Theory, You Will Be Here A While

I AM SO IMMEASURABLY GLAD YOU CAME HERE. If there is one thing in this universe that I have love for in whatever blackened shreds remain of my soul, it is a great villain. As evidenced by the size of this post, I have a lot of thoughts on the matter.

Everyone has a different idea of what makes a great villain, and there is no formula for making a villain that people hate to love or love to hate. Just a cursory look around Tumblr will show you that everyone has different taste in villains. Sometimes they are loved because of their physical attractiveness, other times their backstory is what makes them lovable/hatable. That is a largely subjective part of villainy that I do not think I can definitively cover.

So, rather than giving you my opinion on what makes a great villain, I intend to talk about antagonists and villains as concepts. I invite you to take from it what you will. I believe that making a villain and making a twisted villain involve different things, but I’ll get to that. (And I WILL get to that. I promise. I am just long-winded.)

Come with me. I will explain some things. You might even find them useful.

[Content warning: Spoilers. Lord of the Rings (Frodo and the Ring are spoken of), Finding Nemo (ish), Avatar: The Last Airbender (ish), Flowers for Algernon (COMPLETELY), Batman (The Joker is spoken of).] 

Let’s Consider: Antagonism vs. Villainy

Let me go into semantics once again, so we can break this down even further. A villain is a character or thing that swears by bad or evil, and who is generally the opposite of the protagonist in goal and moral. An antagonist is someone or something who works against the protagonist to impede or halt their progress. A villain can absolutely be a protagonist, but an antagonist cannot. These terms are not always interchangeable and do not always overlap. Not every story needs both and some stories succeed with neither, but that is a post for a different day.

What makes a villain a villain is action. What makes an antagonist an antagonist is force against the protagonist. Again, these things can overlap, but do not always do so. I would like you to disregard the notion that villains and antagonists must be characters. They can be, but they do not always have to be.

Antagonism as a Force Against the Protagonist

Antagonists work against the protagonist, be it directly or indirectly, active or passive. 

A direct antagonist works against the protagonist with full knowledge of the protagonist’s existence. This is probably what you think of when you think “antagonist:” someone who sees the hero coming and starts putting things in the hero’s way. Direct antagonists are more likely to be active than passive, as they do things like send henchmen, enact plans, fight the heroes, etc.

An indirect antagonist usually has their own goals that happen to coincide with the protagonist’s journey. Non-evil antagonists can easily fall into this category as a rival to the hero, providing tension without needing to be a “bad guy.” Indirect antagonists can easily be active or passive, since any activity they take part in does not have to include the hero. A passive antagonist has an effect on the plot without actually doing very much. Passive antagonists can (and are probably statistically more likely to) be objects as opposed to characters.

Consider Lord of the Rings. While yes, there is Sauron and Saruman and the Nazgul and such, hobbit Frodo’s personal antagonist is almost exclusively found in the One Ring. The Ring is a passive antagonist, which corrupts Frodo by simply existing in his possession. It attempts to corrupt him and prevent him from destroying it, thereby affecting his progress to the goal.

Antagonism as Conflict

The antagonist can be an agent of conflict, and depends on the protagonist in order to exist. Remember, antagonism is not (necessarily) villainy. Antagonism is only something that opposes the protagonist. A character can have conflicting morals and goals to your protagonist and qualify as a more-or-less good person while still being the antagonist to the story.

The antagonist serves to bring about negative progress in the protagonist’s journey to the goal, however they choose to do this. They can bring about conflict just by virtue of making the journey harder for the protagonist, just as well as they can by actively pestering, obstructing, and outright harming the protagonist. The link between conflict and antagonism is that the protagonist is navigating the maze of the plot through the conflict to reach the end goal, and the antagonist is either causing the conflict or adding new walls to the maze.

Villainy as a Reflection of the Hero

Let’s leave antagonism behind for a moment while we talk about villainy.

Villains are separate from antagonists in that not all antagonists are evil, and not all villains are antagonists. Villains oppose heroes in a number of ways, sometimes multiple ways in one story. They can stand in their way, send flocks of doom-legion troops after them, work to subvert them, ignore them while they carry out evil plots, any number of things make a villain villainous. What makes a great villain is largely up for debate, but let me start here.

A villain can be a reflection or shadow of whatever the hero stands for and loves. A villain who is good at their job might be this because they represent whatever the hero fears, loathes, or is scared of. A reflective villain is more than not-the-hero, a villain is the essence of not-the-hero.

Consider another plot in which the villain is not a physical thing, but a concept. Finding Nemo is a Pixar film about fish and fishbowls. Again, Finding Nemo has no personifiable villain, as even the sharks are friends (albeit unwanted ones). Marlin’s villain in finding his son is not the dentist who took him, the sharks, the birds, or any of that. Those are obstacles. Marlin’s real villain is the concept of bigness: His fear of everything has made him feel small (which, incidentally, he is), and he must take on the entire ocean to track down his son.

Villainy as Reverse Heroism

Then you have the less metaphorical and more literal interpretation of villainy in the reversal of heroism. After all, an interpretation of evil is that it is the diametrical opposite of good.

Consider Avatar: The Last Airbender. The villain at the end of the line is Fire Lord Ozai, is a destructive megalomaniac bent on domination and assuredly lacking in empathy from his first appearance onscreen. Meanwhile, hero Aang was raised a peaceful monk and throughout the series struggles to come to grips with the idea of having to kill someone, even if that someone is as ruthless and tyrannical as Ozai. The two of them are directly opposed in a multitude of ways: where Aang concerns himself with the nature of right and wrong and morality, Ozai views right and wrong as concepts that are beneath him as the world’s most powerful Firebender. Ozai is pride against Aang’s humility.

The reversal of heroism does not necessarily mean that the hero came first and that the villain built themselves around that, but that the hero and villain are truly opposing forces, opposite each other in a multitude of ways.

Villainy as Conflict

Villainy is a phenomenal method to bring about conflict. If a burning village isn’t inciting enough an incident, then what is? Remember, though, that not all villainy is evil in so many words.

Flowers for Algernon is a story about a man who undergoes surgery to boost his incredibly low intellect. Charlie and the original lab subject, a mouse named Algernon, become wildly intelligent as a result of the medical procedure, and all seems well until Algernon’s brainpower begins deteriorating. Charlie must come to terms with the fact that his newfound intellectual capacity is also short-lived, and as the story moves forward his mind also declines to the point of its origin. Charlie’s villain in his journey to genius is not physical but entirely mental; he will always know that he used to be intelligent. His villain is the idea of knowing, and once he knows, his struggle is no longer about the decline, but remaining at the bottom with little (if any) hope of return.

Conflict and villainy can easily coincide. Conflict is the basis of the story, the thing that drives the plot and spurs on the characters. Bear in mind, if your villain is a part of the conflict, I expect you to deal with the villain somehow before resolving the plot in its entirety.

Some Final Thoughts

Now let’s put them together. An antagonistic villain is something that brings about negative progress in the protagonist’s journey by way of villainy. From here, you can go in any number of directions. Are they trying to usurp the throne from an unsuspecting monarch by way of subterfuge and policy? Are they a conniving, manipulative type, working to some nebulous goal that the protagonists happen to stumble into? Are they an inexplicable force of chaos that enjoys villainy for the sake of villainy?

Not all antagonists and villains are driven by clearly defined goals and motives. The Joker throughout his illustrious history is shown to cause chaos solely for the sake of causing chaos. An interesting dynamic of the goalless villain is the mystery of how to gain the upper hand on them. How do you prevent a villain from reaching their goal if they do not have one?

Something to think about when your protagonist/hero begins locking horns with your antagonist/villain: At what point in the story do they gain the upper hand? Remember, plot is born of conflict, and there is no real conflict if the protagonist/hero has all the pieces of the antagonist’s/villain’s demise and chooses not to use them.

Defining the conditions of success or failure can also help you overcome plot blocks when you feel your protagonists/heroes have gotten stuck in a corner. What are the conditions of defeat? How about victory? Do they change at any point in the story? Do we always know what they are, or do learn them as the story goes on?

Twisted Villainy

As to the other part of your question. What defines twisted, sick villainy more than anything is the limitations of your world, and therefore twisted villainy depends on what your genre is. This type of villain goes above and beyond what is already unacceptable in the world, which varies by genre and setting. Twisted for fantasy middle-grade fiction is going to look very different than twisted in R-rated sci-horror.

In order to create a villain who is perceived as twisted and disturbed, you will have to think far outside the box of “normal” villainy. Figure out what your world perceives as bad, then double it up. Make it worse. Go further and further outside the lines of what nauseates and and horrifies your world, and set your villain loose.

……..So, that wraps up that question, I think. Let us know if you have other questions.

-Headless

I Am The Law: Arrow 5x07 Review (Vigilante)

So…. I’m not going to lie. I was super bored. Really freaking bored. 

I was zenning in the Land of Ho Hum. I even considered folding laundry (that’s when you know things are getting bad for me)… UNTIL the last 2 minutes. Then it got interesting.

Let’s dig in…

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Farscape full series review

How many episodes pass the Bechdel test?

87.5% (seventy-seven of eighty-eight)

What is the average percentage of female characters with names and lines for the full series?

35.75%

How many episodes have a cast that is at least 40% female?

Twenty-nine.

How many episodes have a cast that is at least 50% female?

Six.

How many episodes have a cast that is less than 20% female?

One.

Positive Content Status:

An average rating of 3.03. Though the show generally makes significant effort to be progressive and inclusive, it is sometimes burdened by outdated and uneducated perceptions of oft-overlooked issues, and as a result it can sometimes be ham-fisted and offensive when it is trying to be supportive and positive. Nevertheless it is in some areas not only well ahead of its contemporaries, but leaps and bounds in front of a lot of current television.

Which season had the best representation statistics overall?

Season four scores highest in all areas.

Which season had the worst representation statistics overall?

Season three averaged out at the bottom of the heap.

Overall Series Quality:

Slow to get going, but what it becomes is one of the most heartfelt and unselfconsciously deep narratives I have had the immense pleasure to witness. It is devoutly and delightfully weird, richly complex, but absolutely coherent and infinitely satisfying. 10/10.

MORE INFO (and potential spoilers) under the cut:

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To Kill Or Not To Kill: Oliver Queen, Dark Felicity and The Green Arrow’s Evolving Morality

In your last review, when Felicity tells Oliver he has to “kill that son of a bitch” she’s not longer being his light and she’s pushing him to the dark. And when she asked him last year to kill Ra’s, what was she doing? also, i have to point out we don’t know much about this and Barry didn’t say anything when Oliver said he had to kill “him” (sorry it’s not Thea). So Barry is basically agreeing with him or at least to too against the idea. - Anon

I received this ask challenging my remarks in my 4x10 review and I’ve noticed a general discussion in the fandom around this idea of “Dark” Felicity. I wanted to clarify my perspective on the matter because I didn’t discuss it very much in my review.

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shackled up [ao3]

a/n: for underbellamy b/c we all wanted parole officer cbellamy & delinquent clarke let’s be honest

wc: 1608

Bellamy frowns at the name listed on the case file currently kept in his hands, the manila folder crumpling slightly in his large hands as he glances dubiously at the luxurious mansion sitting on top of the hill.

He can’t really call it a house, because he’s pretty sure the driveway itself is bigger than his house, which is a humble one story thing that he’s rebuilt from scratch basically, what, with all the renovations he’d done.

But this? It’s fucking huge.

Glancing at the file again, and the greasy, pale looking mugshot attached - it’s true when they say there’s no conditioner in jail - he frowns again, feeling the deep crease between his eyebrows grow just a little bit more.

This surely can’t be right.

The delinquent he’s got on file is named Clarke Griffin, and she’s been let out early for multiple accounts of breaking and entering, along with aggravated assault - all petty crimes usually committed by those desperate enough to steal what they need.

He’s seen these types of people before in Arcadia - a ton of them, actually, thanks to his job as a parole officer - the kind who aren’t hardened criminals, but those who are just trying to survive on stealing and breadcrumbs, and Bellamy can’t help but pity them.

Because after all, he used to be one of those people.

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anonymous asked:

Do you think they will make CS the Ross and Rachel of OUAT, and will keep them apart and "will they, won't they" with them until the last episode of the show? I'm getting this horrible dread feeling that they will, something about that latest interview with JMo has my intuition not too pleased because it sounds as "complicated" means more relationship drama and that Emma at this point of her life is still not ready for a relationship, sadly :(

No.
Hook and Emma are getting together.
Soon.
And once they are together it will be forever

It can feel like “will they, won’t they” at times for those of us that want them to get together so badly already. It’s been a slow process. And many fans wrongly thought that after their first kiss they would be together.  But keep in mind that Emma confessed in Season 1 that she had a history of one night stands but never let it go further.  So for her it makes sense that physical intimacy might come before emotional intimacy.  

That said, there has been a clear progression for their relationship if you look at the big picture and not focus on the weekly ups and downs written to create drama. The trajectory of their relations ship has been:

  • Enemies
  • Partners
  • Friends
  • Lovers

If the writers wanted to do an “on again off again”,  which is really what Ross/Rachel was, they would have gone with Neal. But this is a show about fairy tale happy endings.  And they aren’t going to make the heroine’s love story one that is riddled with pain.  For True Love couples most of the trouble seems to stem from outside sources.  The love is pure, not tainted by past relationship troubles.

Much of the angst, or complications as JMo put it, for Captain Swan stem from “wrong place wrong time” issues.

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Nerd Moment: The Classic Emma Swan Hero Quest

Since he start of the OUAT Emma has been a journey. We all saw it as her personal journey to find and understand herself as well as find home. What we did not fully see was that Emma is on a classic hero’s quest. A formula used in Gilgamesh, Beowulf, Arthurian legend, The Inferno and so many more books. Her story, like many other hero quest tales, follow a formula. With OUAT being a fairy tale based show the formula is a little different from the classic one but contains the same elements needed for a good hero quest tale.

All journeys send the hero to find truth, justice and restore harmony to a kingdom. While on the journey the hero goes through trials and tribulations. They must face their inner most demons as well as monsters. Many even encounter their antithesis to show the internal battle happening with them. When the hero is at their lowest point is when they find their true strength and emerge changed and a victorious season. This is what Emma goes through every season and in the show as an entirety while still following the basic formula.

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diethion-deactivated20170111  asked:

Andrew Ryan = Walt Disney, minus the death/child manipulation (more or less amirite)

OK LEMME JUST TELL YOU A LITTLE SOMETHING ABOUT HOW ANDREW RYAN IS WALT DISNEY AND TRUST ME WHEN I SAY THAT THIS IS THE SHORT UNEDITED VERSION WITH NO CITED SOURCES I’M PRETTY SURE I COULD WRITE A WHOLE BOOK ABOUT THIS

Many have compared the character Andrew Ryan to Ayn Rand— an obvious choice given that Bioshock was written essentially to parody the the work of Ayn Rand, Atlas Shrugged. This isn’t the only similarity drawn throughout the game however. Ken Levine wanted to take the platform of gaming and use it to make points beyond simple questions of right or wrong. With this in mind, it is easy to notice that there are decided similarities between the main antagonist of Bioshock— Andrew Ryan— and one of the most celebrated men in American History— Walt Disney. Not only is this not an accident, but Levine’s choice in making the comparison shows us that history is truly only what we make of it.

Levine starts at the beginning of both their lives, showing that both Ryan and Disney rose from practically nothing. The mentality that accompanies this rise to power is one of a very high self worth— and a very low respect for those who they see as clinging to the tails of those who have risen higher. This is by no means to say that they believe that the bourgeois in any way deserve what they have— only that a self made man is the best that a person can be. Ryan arrived in America as a poor Russian immigrant, Disney was unable to attend school until he was eight years old. In spite of these shortcomings, these men both worked their way up to becoming the business moguls that they (within their own universes) are famous for.

Along with this pride for self-achievement, and the honour that they saw accompanying it, goes a certain distaste for those who they saw as looters or parasites. Though Walt was not one to use that word, he was very opposed to communism. He not only founded an anti-communist society, but he actually named names during the red scare. Ryan’s dislike for communism ended up costing him some of his fiercely protected morals. His need to eradicate the “parasite,” as Levine termed it, led to his decision to take away certain freedoms from The People. Although even he condemned his actions, he saw it as the necessary thing to do, to keep the people safe from those who would cheat to get ahead.

Another similarity, of course, is the interest they both had in furthering industry. Both Disney and Ryan invested a great deal of time and money into things not necessarily relating to their field. Disney has been known for funding special scientific projects, and Ryan had his Best and Brightest club in order to keep tabs on the scientific community. Disney may not have built a city under the ocean in order to create his personal heaven, but there are a rather well known series of parks throughout the world that serve as shrines to his creations and ideals. Things like Epcot and the Carousel of Progress are great examples of the way that Disney’s interest and involvement in social and scientific progress still live on today.

It would be easy to go on listing similarities between the two, but there’s more to Ken Levine’s choice to make these similarities than that. In Bioshock, he takes a person that we, as Americans, consider one of the greatest American Innovators of all time…. and essentially transforms him into a villain without changing anything but the point of view. Just because our Rapture hasn’t fallen, because Disneyland is still a fully working model, doesn’t mean that the mindset of this man that we worship so thoroughly wasn’t just the same as the man we might call a villain. Rather, they were both of them idealistic. Ryan’s ideals were such that he could be considered either wicked… or very naive. Disney may have housed the same ideas, but he never used them to secede from the world in quite the way that Ryan did. In different circumstances, they would have been exactly the same.

So why is it that we see one person as a hero and one as a villain? Not only did Levine create a character identical to a man that is still practically worshipped by the greater part of the world, he made that character the villain. Perhaps the answer lies purely in time. Disney didn’t live to see his creations fail. His company flourished— still flourishes, so that sense of bitterness which is all we are allowed in the glimpse of Andrew Ryan in Bioshock never had to take seed within his heart.

In the end, what separates the two is how their stories are told. Disney is still very much a saint, while Ryan is condemned, when, in fact, they two shared the same capitalist, anti-altruistic ideals. Were Walt Disney in Ryan’s shoes, it’s very likely that he would have handed his son the golf club and given him the same orders. A world in which either of them lacked control was no world in which they would want to live. In this regard, Ken Levine has done a masterful job of storytelling. He took a hero and made him a villain, purely by changing the environment in which he was placed. Though at heart they two might be the same, Levine’s audience is forced to see this Randian idealism as evil, however much they might inadvertently worship it outside of the game. When it comes down to it, the only difference between the two men is the way in which their stories are told.

Before I end this post, I’d like to leave you with a few visual similarities between the two men.

(and unfortunately, I can’t find the video online but.. the last time I was at Disney, I saw a video where Walt was calling his wife to let her know that not only would he not be home for dinner tonight, he probably wouldn’t see her until the world’s fair. And all I could think of was this )

OUAT Episode meta - S4.03 - Rocky Road

OUAT S4: Rocky Road 4.03

Episode meta

This episode we knew was going to be a bit of a mash-up of things. So I’m going to try to hit on all the points here, and I’m sorry if I miss some.

Throwing this 5k plus word analysis under a cut so as not to cloud up everyone’s dashboards.

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anonymous asked:

Hii my Darling, anon asking this as I dont want hate from the fandom. Teen Wolf is about Scott. He IS the Teen Wolf. Its about Scott going from Beta to Alpha his jurney. So when did Teen Wolf become all about Stiles? I know Stiles is his best friend~

cont. ~ But Stiles is meant to be a supporting character. It saddens me greatly as our show is lossing viewers because the SUPPORTING character isnt with another supporting character. Meanwhile Scott os foing great things, there’s a amazing story going on yet all the fandom is talking about is a girl and a boy being together, who are meant to be background characters anyway. What are your views on this? I do wish the fandom would go back to Scott x

Hi right back attcha lovely nonny :) sorry for the late reply, i’m in holiday mode atm which means i’m operating at a snail’s pace…

One of the most fascinating things about fandoms is discovering how different we can read and interpret the same source material. There is no clearcut right or wrong answer and especially with a show like Teen Wolf where we are told stuff mainly through the characters, but often shown that things are not necessarily as we first thought, interpretations will be different and often go in opposite directions . Show vs tell is a big thing in Teen Wolf, and i think this is where most of the difference of opinion comes from - some people take the things being said as the absolute truth while others interpret and adjust for the things also shown. (the things shown very often contradicts or tells a slightly different story than what we’re told). 

Yes, Scott McCall is our titular character, but i agree with the meta group (not sure which one of them to credit tbh) that he is not the focus of the series, rather our way into to it. He’s our narrative focus, but not the catalyst for the events we see unfold. Peel back the layers and Teen Wolf is more about the war between hunters and werewolves/supernaturals, and at it’s core it’s really all about the Argents vs Hales. We’re told the story with scott as our main protagonist, but in reality he’s just one piece in a much larger puzzle - a puzzle that was begun even before he was born.

athenadark has a fascinating meta on how stiles can be argued to be the actually narrator of the series. Scott is Stiles’ best friend, and he’s biased, and because he’s firmly on team scott, the world we are presented are colored by scott and stiles’ interpretation of it. Scott early on chooses to place his trust with the hunters, despite being a werewolf. because of his relationship with allison he tends to favor their methods and ways of doing things, while derek is for the most part, especially in season 1 and 2, cast as a villain. Scott doesn’t trust him, he hates authority figures (the guy has daddy issues and it shows), and although derek is later shown to be a good guy (but often not with the best methods, yet his heart is in the right place), scott repeatedly casts him as a bad guy and treats him like one. The more favorable sides we see of derek are usually scenes where stiles is present.

You say that Stiles is a supporting character. At first glance this seems true, but i’m inclined to disagree. Scott’s important, but without the presence of derek and stiles it wouldn’t be the same story. I’d encourage you to also read this meta (also by athenadark ) that explores the different roles these three always seem to take in relation to each other.

The story of beacon hills and the war between hunters and werewolves began a long time ago and is tied to the nemeton. we still don’t know the root of the conflict, what caused the nemeton to be cut down and why Beacon Hills is such a hub for supernatural shitstorms. Scott and friends are caught in it, but he’s not the most vital part, and the way the story is unfolding at the moment, he doesn’t seem to be the superhero that will swoop in to save the day either. Still Scott seems to have cast himself in that role. He still can be, but he’s not there yet.

You say the story is supposed to be the story of scott and how he goes from beta to alpha. I say this is part of it, but not the whole story. the whole story is larger than scott and it very much also invoves stiles, lydia and derek at it’s core. But the story started a long time ago with another generation and these characters are sucked into it not by choice but as a consequence. History repeating and the fact that all actions have consequences seem to be some of the fundamental themes in TW.

Why do so many people seem to talk more about stiles and derek and whatever their relationships are, rather than scott? honestly, because many of us find their storylines and character arcs more intriguing and fascinating. All the characters in TW are flawed, but on the surface Scott appears just good and kind, whereas the flaws, complexities and layers of both stiles and derek are more visible, and for many therefore also more interesting. Scott too is a flawed character but a huge part of the fandom don’t seem to see it and the writing is clever too and seems to actively “hide” it unless you stop to think and analyze. again if Stiles is the narrator, it makes sense that it’s harder to spot scott’s faults because stiles is loyal to scott and loves him like a brother. It’s harder to see the flaws in people you love, you tend to forgive them for a lot, but lately i feel we’re seeing signs that stiles is nearing his breaking point.

Don’t get me wrong, i don’t hate scott. Not at all. In fact i think it’s quite brilliant the way the story is unfolding. But Scott will have to grow a pair, learn to make active choices and suffer the consequenses of his actions, or he will not grow into the alpha he can be. Scott has been fighting his inner wolf since season 1 and even now as an alpha he’s not fully in tune with it.  Athenadark actually calls Scott teflon coated, meaning that he never suffers any real consequenses for his actions. It doesn’t stick and usually it is derek or stiles who bears the brunt of it. And this also means that scott isn’t learning how to be a real hero either. usually stories like this about protagonists tend to make them fall, suffer through a crucible if you will, before they pick themself up and rises a better person and a better hero. right now we’re waiting for scott’s fall. Not because we hate him and want him to suffer, but because we want him to grown into the alpha he can be. I think we’re seeing the start of this now. With the way he handled Liam in last week’s episode, more and more people are beging to see this side of him.

I think so many people care about stiles and his relationship with Malia  because we can see how unhealthy it is (in addition for it being a hurdle in the path to sterek, lol). Personally i love Malia as a character, and i’m looking forward to seeing how the relationship with stiles will be resolved. I don’t find it nearly as interesting to talk about scott’s relationship with kira because it’s a much more healthy one and therefore not all that much to analyze. Kira is very concerned with concent and it has unfolded with a natural progression, rather than the lightnening bolt romance of allison and scott.

I must admit i don’t know all that much about viewers, but have registered that there has been a drop. Personally i don’t think we can attribute this to just the show and fans not focusing enough on scott and his story - i think this also is a result of horrendous PR and because a lot of people who used to watch the show are now dropping it because they’re unhappy about the way things are progressing. And not just in relation to scott. 99 % of the TV shows we watch are very straightforward where plot points are explained in detail and each season wraps up a bigger story arc and starts fresh next season with new mysteries and dramas. TW is different. It’s like one big fantasy story divided into different chapters/books = seasons. many are complaining about plotholes and bad writing. In reality much of this are unresolved plot threads that will be important later. Rewatch the series and be amazed at all the foreshadowing for things in later seasons. It’s not perfect, Jeff Davis makes mistakes but the writing is really not as terrible as many are claiming it to be. whether or not the writing is to your liking is another thing entirely.

the fandom is filled with a lot of wank at the moment. In my opinion much of it is unfounded, but it all boils down to your own point of view, expectations and how you interpret the material presented.

not sure how well i answered your question or statement to be honest, but to sum it up - yes Scott is important, but he’s very much just a pawn in a great big chess game. But he’s our pawn and so we’re biased and want him to win the game. usually pawns don’t do that, but he will definitely play an important part. But there are other pieces on the board as well, and right now many seem to be focusing their attention on them, because they are in more interesting positions. But who knows - Jeff Davis’ next move might change all that….