Judas Hope

Ffh really has me looking to hecking punch a spiderman's kneecaps.

I have a lot of conflicted feelings about this season because while I care about the characters, it feels like they're becoming less and less fleshed out. Idk if it's just me but this season, the kids felt like hollow copies of themselves from the last two. They felt more like archetypes of themselves. Don't even get me started on Billy

(f*ck you he deserved a chance to get better; not to have an easy arc but to get better and join the gang he's the same f*cking age as steve and nancy and jonathan jfc)

I honestly think you shouldn't write sequels if you were only planning on one. I feel like Season 1 was so f*cking good because a) the practical effects on the monsters and b) the story was clearly well developed. But I get WHY they made more.

There's no part of you

which I don't despise.

From your hands and your teeth

to your voice and your eyes.

From your words and your laugh

to your loud as fuck cries.

From your personality

to your pleasantest disguise.

From your alpha male tendencies

to all which that implies.

From how you spend money

to your stench that draws flies.

From the piss inside your guts

to your lungs and smoke, likewise.

From your every waking breath

to the last one when it dies.

The Russo Brothers have found themselves in an incredibly lucky position wherein their audience is so invested in the characters that they can put any story they like onscreen and people will care. But the biggest problem I found would be the fatphobic "comedy."

Writers are incredibly egotistical creatures. We're obsessed with ourselves and our worlds and our people, places, things.

And we're treated accordingly. We're handled like the brand new lightbulb and we're minded like the gap between the platform and the train.

All you have to do to please us is stoke our confidence and caress the contours of our delicate egos and give us constructive feedback but never be too opinionated about our work and only use positive or neutral tones of voice and assure us that whatever deadline suits us works for you and at the end--at the very end of it all--tell us what good work we've done and make us believe that it was all our idea the whole time.

The feedback is very important because you must nudge--only nudge; never push or shove us--in the direction that the story needs to go because if the story goes wrong we will complain.

We will complain about the setting and the characters and the dialogue. We will cry over our spilled syntax and the general state of the prose.

Me: God, you absolute dumb-fucking piece of dumb-dumb, no brain having, seven tabs of acid taking, stupid little bitch boy.

Marcus from Deadly Class: 🙂

Split skin.

Gnaw on the rough gristle.

If the meat resists, unhinge your jaw

dig inside the clavicle.

Flick your tongue over the carnage.

Lick it up.

Howl.

Your sickly spit is leaking;

spilling on the carcass.

Drown it.

Roll in your inflicted filth.

Chip your incisors

on the grit on the bone.

Rip the meat

from the seizing corpse

until the stringy tendons stick

between your teeth.