As much how I loved that Gaiden reassured me that Sasuke and Sakura's love is strong; the thing I hated was Kishi giving Sasuke that long of a mission.
Gaiden was largely unnecessary, and Sasuke’s absence was just written to create pointless drama. I think Kishimoto’s problem is that he can’t write convincing happy, loving relationships. Or at least functional ones, at that.
If you look at the entire anime, there is no couple (with the exception of mostly off-screen couples like the Harunos) that has a regular marriage that isn’t doomed in some way. (Spoilers ahoy!)
Fugaku & Mikoto - killed by their son
Minato & Kushina - killed by the Nine Tails (and Obito)
Asuma & Kurenai - Asuma killed by Hidan, Kurenai left to raise child alone
Naruto & Hinata - fairy tale romance, he’s too busy to come home and actually take part in his family
Sasuke & Sakura - they get married, but he has to go off on a mission for who knows how many years
Izumi & Itachi - He kills her with a dream before massacring the rest of the clan
Konan & Yahiko - he kills himself to save her and his friend
Dan & Tsunade - he dies on a mission and she can’t save him
Neji & Tenten - Neji dies (okay, so that’s just my own personal headcanon, but even as simply a friendship pairing, they were doomed)
As for InoSai, ShikaTema and ChoKarui, we never really see much of them (although with ShikaTema I get the sense of a bullied husband and overbearing wife)
Kishimoto is incapable of writing a couple that are involved and then get married and have a happy, normal life (well, as normal as life in a relationship can be, anyway).
And I get it - this is a shonen series and there doesn’t need to be an emphasis on that sort of thing. But the thing that draws people to Naruto isn’t just the prolonged action sequences and cool techniques, but it’s the story and the relationships between the characters.
The whole series is based on the friendship of Naruto and Sasuke, on the bonds of Team 7, of the way people interact with each other (Kakashi and Gai’s ridiculous rivalry, Sasuke’s hate/love relationship with his brother, Sakura and Ino’s friendship/rivalry, the redemption from past deeds because of the loyalty of one’s friends, etc…). You’d think that a guy that is so good at portraying those kinds of bonds over the course of a fifteen year series would at least try to get better at depicting romantic relationships.
I mean, I know the Japanese are typically reserved when it comes to these types of things, but they are not a culture without romance. Just flip through Japanese literature throughout the ages, and it’s there. So there’s no reason why Kishimoto couldn’t come up with a credible plot to show romance between the two other protagonists of his series that didn’t involve a soap-opera of drama.
It’s one thing if you’re bad at writing these things and you try to improve. I am terrible at action scenes. I hate them, I feel like they’re stilted and too technical, but I still try to write them so that I can get better at them. But if I didn’t care, if I didn’t want to get better at them but needed to have them in my stories, I would collaborate with someone who could write action scenes very well. Because my fans at least deserve that.
But Kishimoto didn’t even try. He concocted the ridiculous plot of Gaiden as an attention grabber to create needless drama. If he had any respect for his fans (and I’m not just talking about the SasuSaku fans here, but the NaruHina ones as well), he would have collaborated with someone who actually knew how to write a good plot that included romance drama and action drama for Gaiden.
I abhor lazy writing, and to me, Gaiden is the epitome of that.
do you think matt and harry could do better when it comes to intimate scenes because i love malec but some of the scenes seemed forced (and harry seems to kind of carry the scenes on his own tbh) and im reminded that its just straight actors playing gay characters you know
Yes! I’ve actually been thinking about this for a couple weeks. I think Matt is trying really hard, but he’s still pretty stilted and awkward in more intimate scenes, whereas Harry is more natural and relaxed in them.
I’ve always felt awkward and uncomfortable with straight characters playing LGBT characters. It just makes me feel gross and weird inside because I know they’re acting, they’re getting paid to “act gay”, and I know they find same-gender attraction repugnant. But I try not to let it ruin my enjoyment of the on-screen couple!
“From that very first scene, a curious thing passed between us, a feeling of rhythm, complete understanding, an instinct for how one could bring out the best in the other. In all our work together you can see this strange—I don’t know what… a kind of rapport. It wasn’t conscious. If you heard us talking in a room, you’d hear the same thing. He’d tease me a little and a kind of blending emerged that seemed to please people. Whatever caused it, though, it was magical.”
can we all stop pretending that after you’ve come out to your family and they’ve accepted you, that everything is fine ?? like there is a difference between acceptance and embracement. just because you’re out it doesn’t mean that you’re no longer too scared to put up pride flags in your room, or get happy when there is a lgbt couple on screen, or bring up lgbt social injustices, or dress how you want to, or have your hair how you want to, or wear makeup. just because they haven’t kicked you out or they’ve told you that they still love you it doesn’t mean that they don’t judge you and it doesn’t mean they embrace your sexuality or identity
Evelyn Carnahan is beautiful intelligent woman, who becomes a damsel in distress and saves the main lead and her brother and the whole damn world in the end of the movie with her knowledge of ancient Egypt.
The Mummy (2017):
Jennifer Halsey is beautiful intelligent woman, who becomes a damsel in distress in your typical written for male gaze fashion and does mostly nothing after the first act of the movie.
screen couples: Fred Astaire & Eleanor Powell: Broadway Melody of 1940
“She ‘put ‘em down like a man’ no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself. […] I had 29 dance partners… I could hold my own with 28 of them..I met my match with Ellie. No male dancer can keep up with her and it was apparent to me she should be featured in solos.”
Some fun questions for the Supergirl Comic-Con panel (mainly for the producers / writers)
Why did you replace James, a kind and respectful black man, with Mon-El, a white slave-owner, as a love interest, especially after spending the entire first season building up the relationship between Kara and James?
The relationship between Kara and Mon-El has shown obvious signs of abuse with Mon-El exhibiting extreme jealousy, yelling at and humiliating Kara at the DEO, undermining her constantly and attempting to guilt-trip her when she broke up with him. Why do you continue to promote this relationship as healthy and romantic?
Supergirl is supposedly a feminist show centered around female empowerment, so why was Kara’s entire arc in Season 2 centered entirely around her male love interest instead, with her career, her development as a superhero and her previously highly important relationships (with Alex, James, J’onn) sidelined completely?
Why did you promote episode 2x13 as Sanvers-centric when in reality the relationship between Alex and Maggie barely got 5 or 6 minutes of screentime? Why was Maggie’s traumatic coming out experience never addressed properly, let alone respected by the other characters?
What was the point of turning Maggie into a cheater? Why did she receive more backlash for it in-universe than Mon-El had for being a slave-owner and lying about his past to Kara and admitting to never actually intending to come clean about his past?
Season 2 has prided itself on its great work for LGBT representation, but why was Sanvers only given the bare minimum of screentime and never allowed the same amount of both casual and overt intimacy on screen as the straight couples (even the rather irrelevant Winn/Lyra pair)?
Why do you keep portraying Kara’s work as a superhero as brawn over brains, when she was shown a great number of times in Season 1 to be highly empathetic, trying to talk down her adversaries before engaging in combat?
The bond between Kara and Alex has been established to be the strongest relationship on the show in Season 1, so why did you keep undermining it in Season 2, having their romantic interests replace them in each other’s lives? In what world would Alex be content to sit in yoga class while there was a bounty on her sister’s head, or let Kara’s ex-boyfriend accompany her comatose sister to an another dimension instead of her?
Why are J’onn’s extensive abilities never used in investigations or in combat, having him dumbed down and sidelined instead?
Lena Luthor has been very clearly shown to be a survivor of emotional abuse, going so far as to have her acknowledge it and confront Lillian about it in the Season 2 finale. She has also been shown to consistently strive to do good and distance herself from her family, and yet the producers have kept teasing that she might turn evil. Don’t you think it’s a disservice to abuse survivors to suggest that no matter how hard they try, they will never be able to overcome their past trauma?
Season 1 has shown CatCo to be massively influential in shaping the public’s opinion, and yet we have seen little to nothing of it in Season 2 and it’s supposed focus on pro and anti alien sentiments. Will CatCo and Kara’s dayjob regain its significance for the plot in Season 3?
When will we start seeing more of James Olsen again? Why did he have less than a minute of screentime in the finale, never even getting to talk to his old friend Clark? Will we ever see Clark and James discussing James’s decision to take up the Guardian’s mantle?
Okay but why is this so underrated— Lydia literally looks like a princess saving her prince, or the queen saving her king and then we have the precious cinnamon roll that is Scott McCall watching both of his best friends in the background again at yet another great moment.