show runners

anonymous asked:

Love your fics! Are you going to keep writing despite what happen in the finale? Also, do you know wich fics have been deleted?

First of all, thank you, I’m glad you’ve enjoyed them. I do not know which fics have been deleted but I’ve heard that a lot will not be finished and writers are gonna stop altogether. Whelve for example will not be finished, as I’ve heard, which saddens me. Imyourplusone has mentioned stopping at some point, I believe. I don’t know if I can continue writing myself. I do believe in the imposter theory, but I just feel so sick with how this show has been handled and how the show runners think this is some great suspense, when all it does is destroying what could’ve been an amazing show. I haven’t tried reading a Lizzington fic since the finale and I haven’t touched any of my own so far. I mean I’ve had trouble writing lately anyway, but now I’m just so… unmotivated. Like why should I even want to invest my time and thought in this anymore? I honestly don’t know

anonymous asked:

So, basically Kara and Lena both lost their "first true love" at this point. And both have stated that they never felt this way about their feeling towards their male lovers. I wonder if they realize that they can heal together and possibly find love in each other ?? What are your thoughts ?☺

I mean if I had faith/confidence in the show runners and the CW to actually possess the balls to represent two healthy wlw relationships on their show, making their lead female character bisexual, then yes! I would definitely say the door is wide open to that.

Platonic or romantic, it would definitely make sense for Kara to lean on Lena in this kind of situation as Lena lost someone she loved in somewhat of a similar fashion, that being a sacrifice being made for the greater good of the city/world. They can relate and have clearly shown to be a good support system for one another when needed. Lena knows full well that Kara has lost her boyfriend and that matters to her. She would reach out, definitely.

Whether or not we will actually see that next season is unclear depending on the amount of time that passes. Regardless, I really want to see them to continue to grow close and support one another in the way they have been. Concurrently, I don’t want them sitting in Lena’s office pouting over lost loves. It’s human, but also diminishing in a way? For lack of better phrasing. In other words I would rather the season not start out with a still heartbroken Kara if a decent amount of time has passed by. I want women that are able to dust themselves off and move forward and I think Kara will need help with that from Lena and others.

anonymous asked:

From that ableist princeescaluswords guy "They’ve given Stiles kiddie-pool finale moments where he gets to remain human and defeat the bad guys. Take that f*cking wank moment in “Riders of the Storm” where Stiles brains Mr. Douglas. Why didn’t the f*cking Lowenmensch stand up and rip that dumbass’s head right off his body? I mean, Stiles just stood there afterward and delivered a nasty quip at Scott (standard practice)." Why always so ugly and desperate dude????? 😷

At last we’re agreeing that the writing is terrible in this show! The difference is that I blame the show runner and the writers, and not the character. Or, for some indecipherable reasons, the fans of that character.

I mean wow, if Prince thinks that’s bad they should see some of the ridiculous resolutions that other villains have had. But possibly they didn’t roll their eyes quite so hard at those since it was Scott being the hero.

Most of us have been rolling our eyes at this bullshit for seasons but the Scott stans are only noticing the godawful writing and plot development now? Better late than never, I guess!

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that transition tho

Tonight, Brooklyn Nine-Nine has an extremely important episode about racial profiling. I encourage everyone to tune in and learn and to give this issue the attention that it needs. Ratings show that we care about this and want to be informed. 

You can watch live on Fox.com, and I believe Hulu also helps ratings. It airs at 8pm est and it is important. For more information on why, here is a small chunk of what I wrote about B99/the episode for a final paper in one of my political science classes: 


One question that the show runners of Brooklyn Nine-Nine struggled to answer for a long time was whether or not it would be appropriate to have an episode which discussed the racial profiling that is currently the talk of the nation. As a show with two black men playing the most prominent positions of power within a police precinct, many people have been wondering about the dichotomy that this presents. Brooklyn Nine-Nine shows a romantic notion of a police precinct in which all white male characters are aware of their privilege and, if they are not, their co-workers are quick to call them out on it. Yet this is not the case in all police precincts— something that the writers of Brooklyn Nine-Nine have struggled with throughout the four seasons of the show due to the fact that “our heroes are the police, [and] it’s difficult to talk about the police in an abstract way,” said executive producer Dan Goor in an interview with Entertainment Weekly. 

The idea for the episode came about because of the unrest in the nation, and the writers pitched different ideas back-and-forth for quite a long time, but ultimately went with a situation that paralleled one which Terry Crews had been in. Crews is a former NFL player who had once been subjected to a stop-and-frisk, just as he is in this upcoming episode. In the context of the show, however, the character struggles with whether or not he should file a formal complaint that could jeopardize his career. “To a certain extent, it’s the question of: Am I blue or am I black?” Goor commented to Entertainment Weekly. The characters on the show all have to face the world of cops outside of their comfortable precinct, a conundrum that the actors and writers on the show felt that they had to tackle so that “Brooklyn Nine-Nine didn’t become a cartoon,” in the words of Terry Crews. He also points out, however, that this is just one of the reasons— and relevance in society, and making change, is another.

In the upcoming episode, Detective Jake Peralta, a white male, points out that he has done plenty of suspicious things on the street and had never been stopped by the police for it. Terry had merely been looking for his daughter’s blanket, while a flashback shows Jake sneaking in through a window wearing a Jason mask and getting away with it. (…) “As far as the show goes, it felt like there was an opportunity to make a statement. I think it’s definitely an issue that is really important [and] has been around for some time,” said writer Philip Jackson. The conscious decision to make that statement instead of shoving it under the rug is where the significance lies in this episode of television.

In 2017, black lives matter more than “all lives matter” because the lives of black American citizens are in genuine danger from the police. White citizens do not suffer from the same fears, period. This is something that frequently both stuns the country into silence and ignites it into action. Trayvon Martin, Michael Brown, Eric Garner, and Sandra Bland could all still be alive today were it not for racial profiling— which the Brooklyn Nine-Nine writers know very well. Thus, the creators have given this episode to the total control of the black community of people who work on the show. It was written by a black writer; the black actors on the show had a say in the way their characters reacted to the situation; the A-plot was taken away from the main character for the first time in all four seasons and sixteen episodes of Brooklyn Nine-Nine. Those telling these stories make it clear whose story they are telling, being careful to elevate the narrative of the black creative members of the team without stomping on or overpowering their voices. 

Perhaps the most telling piece of that narrative is found within a clip of the episode that has just been released on youtube. Sergeant Terry Jeffords and Captain Raymond Holt sit in the private home of the captain and discuss whether or not Terry should report the stop and frisk to his superiors. When Captain Holt points out that Terry is “a great cop. You could become a chief or higher,” Terry’s response is simple, yet effective: “How long will it take to make change that way?”

“The obsession, particularly online, with the homoerotic tension between Sherlock and Doctor Watson… The template for us was the Billy Wilder film The Private Life of Sherlock Holmes, which deliberately plays with the idea that Holmes might be gay. We’ve done the same thing, deliberately played with it although it’s absolutely clearly not the case. He’s only a brain, ‘everything else is transport’ to him and John clearly says, “I’m not gay, we’re not together” but the joke is that everyone assumes that in the 21st century that these two blokes living together are a couple– what they wouldn’t’ have assumed in the 19th century. They’d have assumed they were bachelor best friends and now they assume they’re lovers. That’s obviously such fun to play with and the fact that people now assume, in a very positive way, that they’re together is a different joke to it being a negative connotation.”  Mark Gatiss in The Gay Times, February 2012

Hmm, I’m actually not so sure about that. Because I never got this joke (and no, that’s not a generation thing. I’m round about the same age as the show creators). Honestly, to me, two blokes sharing a flat in central London in the 21st century are just two blokes sharing a flat because it’s fucking expensive. I’d never assume anything else.

Even if one of the man was depicted as obviously gay (Girlfriend? Nor really my area. - Boyfriend? I know it’s fine.) - I wouldn’t assume any kind of romatic interest between them. I can’t see a joke there either.

But when their flat sharing gets laden with innuendo? For example, their landlady asking them if they share a bedroom. Another acquaintance taking them for being on a date. Those two blokes gazing at each other as if they were about to eat each other alive. One of the man killing for the other, who, in return, protects him from being prosecuted… Well, then I’d start to assume something’s going on - because it is shown to me and hammered home.

Only, I can’t see a joke there either…

So, what Gatiss described in the above interview wasn’t what happened. They were not just showing us two blokes living together. Because then no one in the 21st century would think of them as a couple. Moffat and Gatiss had to actively insert innuendo for their viewers to catch up on their ‘joke’ in the first place. They encouraged this on many levels: text, acting choices, casting, costume, music, lighting, cinematography.

They actively implemented homoerotic (sub)text in their show - only to lament at the same time that people cought up on it? That some viewers expected something to come out of it. Because, in the 21st century, no one thought it possible that it could just be a lame joke! Because there just is no joke to it.

The viewers took the positive attitude Gatiis desrcibes a step further and expected positive representation from the writers after playing with the inherent homoeroticism of the original stories. The fandom was far more advanced than the show runners, it seems.

And why play with the  homoeroticism it in the first place? I really can’t see where the fun might be in there, apart from cracking some cheap gay jokes that feed an outdated no-homo attitude?

What is there to play with when it’s not an issue anymore? And if it’s still an issue, I’m not sure that making fun of it ist the appropriate approach to it.

tv show runners when they include a same sex couple on their show: *respond to every positive fan reaction, talk about how serious they take this, talk about how amazing their lgbt+ fans are, milk it for all it’s worth basically*

tv show runners when lgbt+ fans complain that the same sex couple is not being treated fairly in terms of screentime and physical affection when compared to the heterosexual relationships on the show: