I want to start by saying that i do not hate Cas or Misha i think what Misha does to help people is amazing but this has been on my mind a while.I might be the only one but for the last 3-4 season i can’t help but feel that they don’t really know what to do with Cas they just keep him around because he is popular and because of the whole Dean and Cas shipping (i can’t remember the shipper name sorry) They don’t have him in 3 to 4 eps in a row and then when he does show up he either is just there for shipper reasons or to be funny on the odd occasion they do give him something it either last maybe 6-7 eps and/or is something that Dean and Sam have done or they should be doing.Like they give him Dean and Sam stuff like i said i don’t hate Cas but this has made me not like him as much.They also sometimes end up giving what should be brother moments, Sam and Cas or team free will stuff to just Dean and Cas the premier was amazing last week but there were things i should have enjoyed more but just couldn’t like Jensen acting as i felt they went bit over the top for shipper reason rather than Deans real feelings about his friend. It’s not Misha’s fault it’s not any of the actors fault this isn’t having a go at the shippers i think who ever you ship should you should get something on screen but not at the expense of other on screen relationships, the real story and out of character scenes to get them .Am i the only one who feels this way?
I was rewatching “Escape from Beta Traz” and like this fucking scene
Pidge is just like “Lance, you’re gonna need to get a scan of his face” like it’s the easiest thing in the world and if it were any other idk SANE person they would’ve at least been like “wtf pidge have you seen this guy like he’s terrifying and also how the fuck am I gonna scan HIS FACE from this distance hidden away without him fucking noticing me”
But Lance, CLASS CLOWN LANCE, just says “Copy that” and gets down to business
HE IS A SHARPSHOOTER IN MORE WAYS THAN ONE I MEAN HE REALLY ONLY HAS LIKE A 3 SECOND WINDOW TO AIM AND SCAN FROM THIS DISTANCE
HE SHOOTS THIS BLINDING ASS LIGHT WITH ZERO HESITATION AND LIKE
IN 0.00001456933 SECONDS THIS BITCH TURNS AROUND
But Lance used his fast leggys and hid himself like wtf I’m so proud of him. He is so smart and good and has amazing reflexes and is a quick thinker and doesn’t hesitate when people need him.
And he is like so relieved that he actually did the thing but doesn’t gloat or bask in his moment he just sends Pidge the face like NO PROBLEM “Face on the way Pidge” THAT WASNT RISKY AT ALL. WHATEVER. ALL IN A DAYS WORK.
MY SON GETS SHIT DONE AND THIS MISSION WOULD HAVE COMPLETELY FAILED WITHOUT HIM FOR SO MANY REASONS
Ok but consider: the black lion doesn’t let Keith in. Not
because she (She? He? They?) doesn’t think Keith is worthy or anything, but
because she can tell Keith doesn’t want
to. Keith, of course, wants to honor Shiro’s request that he lead Voltron (even
though he really doesn’t want to). But
Black won’t let him in. Because two of the most important things you need to be
a leader? The willingness to lead, and a team willing to follow. And Keith isn’t
really willing to lead.
But, there is someone on Voltron who really wants to prove
himself a worthy part of the team. Lance. And the black lion senses this, and
so opens up to Lance. Lance, who is doubtful, but who also keeps a cool head
under pressure when it really counts. Lance, who is willing to do anything to
prove his worth, unless it jeopardizes the team, the mission. Lance, who was
the head of the Garrison team, who can be a leader, who is willing to lead.
And so Black choses Lance. Keith stays in Red, and Allura
And when they rescue Shiro, at first he’s all ‘great job
Keith’ and Keith just says ‘no. That was Lance.’ And Shiro is shocked because
this near flawless rescue/decimating a good chunk of the Galra forces came from
Lance. So he goes up to Lance and tells him ‘great job leading, that was an amazing
plan. I’m proud of you, Lance.’ And Lance, precious thing, smiles that soft,
Why the SPN mixtape scene from 12x19 is screenwriting gold, and should be taught to the next generations of screenwriters everywhere - analysis
20 seconds. Two lines of dialogue, three gestures, a couple more camera angles. Episode 19, season 12 of a genre TV show “Supernatural”. A single strike of screenwriting and cinematic genius. The mixtape scene.
Robert Berens and Meredith Glynn, I bow before you.
This scene should be used as an example for future screenwriters how you can put maximum of meaning into minimal time and dialogue. Should be analyzed and taught at universities everywhere, how to achieve the most using the least. How to write for TV, where you only have less than an hour to built something spectacular.
Let’s just peel off all the layers of these 20 seconds of footage and these 13 words. 13 WORDS.
(Cas knocks, Dean doesn’t say anything. Cas opens the door, apologizes for disturbing Dean in his room, and then takes a cassette tape out of his left inside coat pocket, and puts it on the desk, while tapping the label on it that says “Deans (sic!) top 13 Zepp traxx”.)
Cas: Um, I just wanted to return this.
Dean: It’s a gift. You keep those.
13 tracks. 13 words. The future. So number thirteen is important for the future. I mean, are you trying to tell us something here, writers?
(Dean takes the tape, oustreches his arm, and gives it back to Cas. We see Cas’ hand grabbing the tape, and taking it back.)
That tiny scene is ENORMOUS from the perspective of the narrative and the characterization. Let’s see what we can get out of it. (Prepare yourself: it’s gonna be long. Damn, how much meta can you write based on 20 seconds of television and two lines of dialogue?) (Hint: A lot.)
What I mean:Takashi Shirogane probably is one of the best fictional heroes of this generation. On top of that, Shiro is a character that really shouldn’t exist to begin with. All previous iterations of Voltron have either killed off/replaced the iteration of his character. However, the creative team has decided to enrich, expand, and ultimately create something amazing out of Sven/Shirogane. Shiro is both physically and aesthetically amazing in his character design. There’s a reason why Josh Keaton’s twitter subheading is ‘That hot guy from Voltron.’ But Shiro is amazing both as a physical character as he is in what he represents. Takashi Shirogane is a canonically Japanese character who is both physically handicapped (debatable as his prosthetic physically helps more than it hurts from what we’ve seen.) As well as a character who has been through a disturbing amount of psychological trauma. All this being said, he still leads a group of heroes and carries the weight of the whole universe on his shoulders. He isn’t perfect, he lashes out, he gets angry, he gets scared, he gets frustrated and he gets irrational and attacks without justification. But he still serves as a fantastic roll model for all children and for anyone who watches the show. He stands as a paragon of heroes because despite his limitations and his traumas he still leads effortlessly, he still manages to stay strong despite his demons, he still is moving despite all of what life has thrown at him and that is truly amazing.
I don’t want Shiro to die, I don’t want Shiro to be replaced in Season 3. I don’t want him to just serve as a plot device to advance Keith and Lance, I love the show because Shiro has inspired me to keep on fighting, to go out and be great, to not be scared of what might happen, because fear will inhibit me from doing something great.
I want Shiro to live. I want Shiro to keep on living, I want Shiro to decompress and to cry, to prove to the viewers that its okay to break down, I want Shiro to overcome his demons, I want Voltron to win with Shiro at the helm, I want Shiro to make it back to earth, Alive. I want Shiro to survive.
Internal Conflict: Five Conflicting Traits of a Likable Hero.
1. Flaws and Virtues
I’m sure you’ve heard this before, but characters without flaws are boring. This does not, as many unfortunate souls take it to mean, imply that good, kind, or benevolent characters are boring: it just means that without any weaknesses for you to poke at, they tend to be bland-faced wish fulfillment on the part of the author, with a tendency to just sit there without contributing much to the plot.
For any character to be successful, they need to have a proportionate amount of flaws and virtues.
Let’s take a look at Stranger Things, for example, which is practically a smorgasbord of flawed, lovable sweethearts.
We have Joyce Byers, who is strung out and unstable, yet tirelessly works to save her son, even when all conventional logic says he’s dead; We have Officer Hopper, who is drunken and occasionally callous, yet ultimately is responsible for saving the boy’s life; We have Jonathan, who is introspective and loving, but occasionally a bit of a creeper, and Nancy, who is outwardly shallow but proves herself to be a strong and determined character. Even Steve, who would conventionally be the popular jerk who gets his comeuppance, isn’t beyond redemption.
And of course, we have my beloved Eleven, who’s possibly the closest thing Stranger Things has to a “quintessential” heroine. She’s the show’s most powerful character, as well as one of the most courageous. However, she is also the show’s largest source of conflict, as it was her powers that released the Demogorgon to begin with.
Would Eleven be a better character if this had never happened? Would Stranger Things be a better show? No, because if this had never happened, Stranger Things wouldn’t even be a show. Or if it was, it would just be about a bunch of cute kids sitting around and playing Dungeons and Dragons in a relatively peaceful town.
A character’s flaws and mistakes are intended to drive the plotline, and if they didn’t have them, there probably wouldn’t even be a plot.
So don’t be a mouth-breather: give your good, kind characters some difficult qualities, and give your villains a few sympathetic ones. Your work will thank you for it.
2. Charisma and Vulnerability
Supernatural has its flaws, but likable leads are not one of them. Fans will go to the grave defending their favorite character, consuming and producing more character-driven, fan-created content than most other TV shows’ followings put together.
So how do we inspire this kind of devotion with our own characters? Well, for starters, let’s take a look at one of Supernatural’s most quintessentially well-liked characters: Dean Winchester.
From the get-go, we see that Dean has charisma: he’s confident, cocky, attractive, and skilled at what he does. But these qualities could just as easily make him annoying and obnoxious if they weren’t counterbalanced with an equal dose of emotional vulnerability.
As the show progresses, we see that Dean cares deeply about the people around him, particularly his younger brother, to the point of sacrificing himself so that he can live. He goes through long periods of physical and psychological anguish for his benefit (though by all means, don’t feel obligated to send your main character to Hell for forty years), and the aftermath is depicted in painful detail.
Moreover, in spite of his outward bravado, we learn he doesn’t particularly like himself, doesn’t consider himself worthy of happiness or a fulfilling life, and of course, we have the Single Man Tear™.
So yeah, make your characters beautiful, cocky, sex gods. Give them swagger. Just, y’know. Hurt them in equal measure. Torture them. Give them insecurities. Make them cry.
Just whatever you do, let them be openly bisexual. Subtext is so last season.
3. Goals For the Future and Regrets From the Past
Let’s take a look at Shadow Moon from American Gods. (For now, I’ll have to be relegate myself to examples from the book, because I haven’t had the chance to watch the amazing looking TV show.)
Right off the bat, we learn that Shadow has done three years in prison for a crime he may or may not have actually committed. (We learn later that he actually did commit the crime, but that it was only in response to being wronged by the true perpetrators.)
He’s still suffering the consequences of his actions when we meet him, and arguably, for the most of the book: because he’s in prison, his wife has an affair (I still maintain that Laura could have resisted the temptation to be adulterous if she felt like it, but that’s not the issue here) and is killed while mid-coital with his best friend.
Shadow is haunted by this for the rest of the book, to the point at which it bothers him more than the supernatural happenings surrounding him.
Even before that, the more we learn about Shadow’s past, the more we learn about the challenges he faced: he was bullied as a child, considered to be “just a big, dumb guy” as an adult, and is still wrongfully pursued for crimes he was only circumstantially involved in.
But these difficulties make the reader empathize with Shadow, and care about what happens to him. We root for Shadow as he tags along with the mysterious and alternatively peckish and charismatic Wednesday, and as he continuously pursues a means to permanently bring Laura back to life.
He has past traumas, present challenges, and at least one goal that propels him towards the future. It also helps that he’s three-dimensional, well-written, and as of now, portrayed by an incredibly attractive actor.
Of course (SPOILER ALERT), Shadow never does succeed in fully resurrecting Laura, ultimately allowing her to rest instead, but that doesn’t make the resolution any less satisfying.
Which leads to my next example…
4. Failure and Success
You remember in Zootopia, when Judy Hopps decides she wants to be cop and her family and town immediately and unanimously endorse her efforts? Or hey, do you remember Harry Potter’s idyllic childhood with his kindhearted, adoptive family? Oh! Or in the X-Files, when Agent Mulder presents overwhelming evidence of extraterrestrial life in the first episode and is immediately given a promotion? No?
Yeah, me neither. And there’s a reason for this: ff your hero gets what they want the entire time, it will be a boring, two-dimensional fantasy that no one will want to read.
A good story is not about the character getting what they want. A good story is about the character’s efforts and their journey. The destination they reach could be something far removed from what they originally thought they wanted, and could be no less (if not more so) satisfying because of it.
Let’s look at Toy Story 3, for example: throughout the entire movie, Woody’s goal is to get his friends back to their longtime owner, Andy, so that they can accompany him to college. He fails miserably. None of his friends believe that Andy was trying to put them in the attic, insisting that his intent was to throw them away. He is briefly separated from them as he is usurped by a cute little girl and his friends are left at a tyrannical daycare center, but with time and effort, they’re reunited, Woody is proven right, and things seem to be back on track.
Do his efforts pay off? Yes – just not in the way he expected them to. At the end of the movie, a college-bound Andy gives the toys away to a new owner who will play with them more than he will, and they say goodbye. Is the payoff bittersweet? Undoubtedly. It made me cry like a little bitch in front of my young siblings. But it’s also undoubtedly satisfying.
So let your characters struggle. Let them fail. And let them not always get what they want, so long as they get what they need.
5. Loving and Being Loved by Others
Take a look back at this list, and all the characters on it: a gaggle of small town kids and flawed adults, demon-busting underwear models, an ex-con and his dead wife, and a bunch of sentient toys. What do they have in common? Aside from the fact that they’re all well-loved heroes of their own stories, not much.
But one common element they all share is they all have people they care about, and in turn, have people who care about them.
This allows readers and viewers to empathize with them possibly more than any of the other qualities I’ve listed thus far, as none of it means anything without the simple demonstration of human connection.
Let’s take a look at everyone’s favorite caped crusader, for example: Batman in the cartoons and the comics is an easy to love character, whereas in the most recent movies (excluding the splendid Lego Batman Movie), not so much.
Why is this? In all adaptions, he’s the same mentally unstable, traumatized genius in a bat suit. In all adaptions, he demonstrates all the qualities I listed before this: he has flaws and virtues, charisma and vulnerability, regrets from the past and goals for the future, and usually proportionate amounts of failure and success.
What makes the animated and comic book version so much more attractive than his big screen counterpart is the fact that he does one thing right that all live action adaptions is that he has connections and emotional dependencies on other people.
He’s unabashed in caring for Alfred, Batgirl, and all the Robins, and yes, he extends compassion and sympathy to the villains as well, helping Harley Quinn to ultimately escape a toxic and abusive relationship, consoling Baby Doll, and staying with a child psychic with godlike powers until she died.
Cartoon Batman is not afraid to care about others. He has a support network of people who care about him, and that’s his greatest strength. The DC CU’s ever darker, grittier, and more isolated borderline sociopath is failing because he lacks these things.
And it’s also one of the reasons that the Lego Batman Movie remains so awesome.
God willing, I will be publishing fresh writing tips every week, so be sure to follow my blog and stay tuned for future advice and observations!
magnus bane? who’s that i dont - [trips] [hundreds of thousands of photos of magnus spill out of jacket] these arent mine im just [gathering them up frantically sweating] listen i just listen fuck [thousands of pictures of magnus scatter across the floor] i don’t like him what do you -
season 2 alec:
magnus bane? the love of my life? [trips] [hundreds of thousands of photos of magnus spill out of jacket] i love him so much here let me show you - [pulling more pictures out of his pockets] listen i love him so much [thousands of pictures of magnus scatter across the floor] look at my boyfriend, isn’t he amazing?
I'm just upset that Twelve and Nine have so much less merch than Ten and Eleven because they were both amazing and while Nine only had one season he still deserves appreciation and Twelve's seasons were awesome especially series 10 which was so much more diverse than Doctor Who has ever been and I just don't understand why it has to be like this
I think as a fandom we don’t talk enough about Bitty in the NHL.
I mean, I know he loves pies but he does love Hockey. There’s a lot of stuff in year one about how Jack plays better with Bittle on his line - the coaches say it and Bob suggests it on the parents weekend too. It seems like the kind of thing Georgia Martin might pick up on. And she’s a little hesitant because she KNOWS about Jack and Bitty and doesn’t want to mess with relationship dynamics but…
So Bitty gets drafted to the HNL. Or, rather, spends half a season playing for the AHL: raising his fitness levels and getting some help getting over the final bits of his checking fear. Then someone’s injured and he’s called up and when he gets on a line with Jack it’s just as magic as always.
They are amazing on the ice together. You can almost feel all the people who’ve inevitably criticise Bitty for being too small or too ‘delicate’ going quiet when they realise just how fucking good he and Jack are together on the ice.
And it’s great for Jack and Bitty. No Bitty at home alone for a lump of the season, when Jack’s off playing, Bitty’s right there with him. A five game roadie is still hell but it’s less hell when you’re boyfriend’s there every night to tell you hs loves you. They sit together on the plane and bus and room together (obviously) and it’s pretty awesome. And they bring a kind of stability to the team which really helps.
Then, in Bitty’s first full year of the NHL, they win the Stanley Cup.
Bitty gets the winning goal. With 30 seconds on the clock.
And he’s flashing back to the Yale game in their first year of college because he KNOWS how much winning means to Jack. So he turned to look for him on the ice when the wistle blows and Jack is just there grinning and lifting Bitty up into his arms and kissing him in front of the cameras and the Stanley Cup and everyone because he is so fucking proud of Bitty for that goal.
And then they’re basically like hockey royalty and super famous and in love and they have their cup day on their wedding day and then they have to win another cup together so they can put their baby in it and it’s awesome.
their relationship developed from one based on something very one-sided to one based on mutual respect and admiration
I feel like all of lance’s strongest moments this season involved allura in one way or another. How he gave up blue, how he realized he has to pilot red, how he stopped keith from getting them all killed because he wanted to go back for allura, how he told her he won’t let alfor down just!! these were all amazing lance moments and allura played a roll in most
lance (and hunk too to be fair) was actively trying to make allura comfortable as part of the team and making sure she was okay in blue. You could see he really wanted her to join the team and be happy as a part of it
when lance let out his insecurities in front of allura, she immediately told him WHY he was important to the team. Like despite her annoyance at him in the past she didn’t hesitate to take him by the shoulder, look him in the eye and told him exactly why he was chosen as a paladin and why the team needed him
also just “If I had to lose blue to someone, I’m glad it was you” was the most beautiful shit I have ever heard ok
I loved season 4 it was amazing but I really would have loved to see more of an emotional trade off with Keith and Lance, not just because I ship them but because of how far they came as characters. Lance became Keith’s rock, he kept him together and to see them go from trusting eachother to only a few moments of dialogue was a little disheartening BUT I still loved it! #loverboylance. R.I.P Narti, you will be missed 🙏
Victor is the flashiest, neediest mermaid in the world who acts like it’s mating season all year ‘round. None of the other mermaids want to put up with his shit anymore so he goes to the surface to make friends with humans. He meets Yuri who is the first human to be unimpressed by his flashiness and therefor, Victor must return to him everyday until he manages to get a “wow!” or “amazing!” from the stone cold fisherman. Yuri is just annoyed with Victor for always scaring away the fish.