#and left

[kedreeva]

imagine never having bred a peafowl in your life and then coming at one of the people who has been doing this nearly 2 decades and probably knows the most about peafowl mutation genetics bar the scientists actually working in labs studying them for their jobs, and telling them straight up "I'm no expert but you're wrong because I read a forum post that says something different than 99.9999% of breeders and keepers have demonstrably seen when they breed" and then spending 5 hours trying to mansplain their trade to them because you think you understand genetics better than them, despite that you can't even write a punnett square

that's the guy I spent my morning interacting with, as a favor to a friend.

[crooked-wasteland]

The reason I'm done with Helluva Boss is that single scenes could be whole episodes with an actual narrative and instead the show just rushed to catharsis and tropes when there is legitimately a story there that no one is telling. And it is not about the contents of the writing. The ideas have merit in a void. But the issue is that this writer (Medrano) cannot maintain continuity or slow down for her characters to really develop. The scene with Stella hugging Octavia could have been the climax of a season to multi-season arc of exploring their dynamic.

And the fans can't say "It's indie, the budget" when you have Norman Reedus and Kesha in your show to any degree. You blew your budget for storytelling on voice actors so you can feel special. It sounds like Kesha recorded her lines on her phone and emailed them.

You could have used that money to make an amazing show with passion for the actual story and art of animation only to blow it on casting. That's a choice. A selfish one that shafts all the talented animators freelancing for Spindlehorse. It robs them of an audience because you can't tell a halfway decent story. I feel bad for them working on a nonsensical show with no stakes, but they really try. The animation has always been the best part of the show. And it's probably because Medrano has no hand in it, delegating everything to her friend/actually talented artist she is exploiting -Sam Miller.

Not to say Miller is some perfect person or even someone who deserves sympathy for her situation. It takes a special sort of person to remain friends with Medrano. Miller has directed the animation from the start and has given her animators a wide berth to really bring their A-game and not be trapped to the narrative's quality. They are the real Spindlehorse.

But it's so unfortunate they didn't have a better story to work with.

[pucksandpower]

“No man deserves to see you look this good.” - My mom

[gayboysteve]

The fact that Rust's middle name is Spencer is incredibly funny for a lot of reasons but mostly because his mom proves she could have given him a normal name before abandoning him entirely

[yell0w-jacket]

TIL you can. change how much items cost if you're straight I guess idk

[frooglet]

I Hate:

Boys who say the most trans/homophobic shit only to backpedal with "it was just a joke."

[nelkcats]

Phantom, the sentient Helmet

Danny wasn't running away. He no longer had a reason to run, or to really care about his injuries (he wondered if his experience at Amity had left him numb to physical injuries, but when your father shoots you 5 times a week you start to get used to it).

The truth was that Danny was a little envious of his clone. Ellie had no responsibilities and she could travel wherever she wanted; Because of his obsession, or his mentality, Danny could never be free, he always had to stick with someone to protect. He needed to protect. It just couldn't be Amity the one he protected anymore.

Then he left his hometown. He hugged his friends and said goodbye before looking for a new "purpose", preferably one that didn't hate him. And he arrived in Gotham, with an aggressive spirit that screamed that he wanted to be protected as much as he was protecting.

It was obvious that "Red Hood" didn't know the ghostly ways, so Danny debated how to help him until he noticed his helmet, and the halfa did the only thing he could think of: he possessed it.

When Jason woke up, his helmet had developed an A.I. that he was sure it didn't have before. When he tried to restart it, the A.I. moved to his motorcycle, and well, it wasn't hard to find out that it wasn't an A.I. at all, but "Phantom" refused to leave. Jason sighed and left it like that.

At the end, Phantom turned out to be very helpful, always with reliable information, and sometimes, he didn't even behave like the A.I he was supposed to be, sometimes he was just a very tired guy, spouting vaguely worrying comments. And giving life advice to Jason, ignoring everything he was doing, like killing people (bad ones), Phantom didn't really care. Once, Phantom said that he was right, that what he was doing was right.

The first time he found out what Phantom really was was because some people cornered him, and were about to shoot him before something jumped out of his helmet. Something gigantic and vaguely threatening, but Jason felt safe. When the shadows disappeared and all that was left was a boy of his own age, clearly tired, Jason wondered if it was too late to ask him to stay out of the helmet.