Sunday, March 13, 2016

Questionable

Now Playing: The Neighbourhood - Let it Go and Female Robbery

The 100 didn't get cancelled.

The second I saw the news, I just let out this. . .hysterical laugh that went on for like three minutes. It was scary.

I'm about to go all conspiracy theory on here, but I'm tempted to think the controversial death was written at the halfway point because if they did lose viewers for it, they would already have seven episodes of great reception to carry them through to a renewal.

EVIL GENIUS?

No. No. I know that's not realistic--I listened to a podcast interview Jason Rothenberg did and dude sounds like he's about to start crying as he attempts to defend his choices and talks about how shocked he is by the fan reaction. So maybe it wasn't all a diabolical plan and just happy coincidence--but whatever it was, it worked in his favor.

Thanks to wiki-references, I got to compare Controversial Episode's Ratings with Follow Up Episode's Ratings and there was a drop. The fourth season will probably be last one and I dearly hope the producers are getting ready to wrap up the story, if only so they won't go to the land of Half-Told Shows Axed In The Middle.

As for me, I haven't watched last week's episode for a myriad of reasons. Mainly because. . .I'm just so tired. Of both the creators and the fandom.

I don't know how The 100 fans did it, but they somehow manage to call out the despicable treatment and writing of one marginalized group (LGBT+) while also insulting another marginalized group (POCs).

And the treatment of fans who are both POCs and LGBT+? Just. . .holy fuck. They get shit thrown at them from all sides.

Particularly from the side that defends the bindi on Lexa--ignoring the fact that it's perfectly possible to praise her character while also point out The 100 has a few problems when it comes to being. . .uh. . .race sensitive?

Because, just speaking personally, I tried to stick by this show, even defend it at times, and yet can't seem to do it anymore.

I'll be damned if--aside from Clarke and Octavia in their good moments--I didn't keep returning to the show for Raven, Monty, Indra, Lincoln, Anya and Wells while they were still there, and ohmygodheavenlyjesus Bellamy--

This boy.

This poor boy.

Had the best character development in the first season.

Is played by one of the best actors in the show.

Got tortured continuously throughout the entirety of the series and has been tossed aside and treated as disposable by endless characters.

Is currently being written like shit because the showrunner and writers have no idea what to do with him.

Hated by angry Clexa fans because he's "just another man" despite THE FACT THAT HE'S LIKE ONE OF THE ONLY POC LEADS IN A SUPER POPULAR SHOW THAT DESERVES TO BE TREATED WITH RESPECT AND SHOWN AS VULNERABLE AND STRONG AND WORTHY OF LOVE AND ACCEPTANCE WHILE DISPLAYING HIS SKILLS AS AN INCREDIBLE LEADER--

Okay. No. Can't rant. Won't rant. And to be fair, I heard a couple of Clexa fans report some Bellarke fans being content at Controversial Death Plot Point.

So it's shit all around.

Point is. Part of me wanted this show to succeed because Bellamy is amazing and deserves all the love in the world. But after the choices made with his character this season (really? Mass murdering a sleeping army because Oh He's Still A Monster? Fuck you, writers. Fuck you) I don't trust this team to do him justice.

Sigh.

I think I'll go back to my original plan and just catch up when the season finishes.

Just on Bellamy though. . .even if his character writing ultimately goes completely off the rails, I already see how his early writing and portrayal will influence my own work.

Maybe I adore Bellamy so much because he's kind of what I hope to write one day with an old character of mine.

More on that later. Another post, another day.

Going off of The 100 and its deplorable storytelling choices, I've decided to revise a couple of plot points I was going to make in the rewriting of Millennium Girl.

For about a year and a half now, I've realized. . .there's a certain awkward angle to the way I've chosen to tell my story. The fact that I'm a POC writer isn't going to excuse me from this criticism if I'm not careful.

Technically, there are two protagonists. Because that's the kind of writer I am. I love dual protagonist--chalk that up to the influences of Halo 2 living through me to this day.

But just because I see Wendy (a black girl) and Lilith (a white girl) on equal terms does not mean the text treated them that way. At least not in the first draft. Ideally the two leads would have an equal number of chapters. If they weren't, Wendy is still not supposed to be a secondary character or a supporting character. She's supposed to be the deuteragonist at least.

This might not seem like a big deal, but the way the story is constructed so far seems to imply the opposite. Stripped to the bones, this is what I'm seeing: White girl protagonist faces white male antagonist. Black girl (and her twin brother) and Asian girl help her defeat him just cuz.

That's the simplified version. And if I'm not careful and make Wendy's motivations clear and individualistic to her character and the triggers to her own character development-- well, then, I wrote another story where the POC characters drop everything to help the White Hero.

In my head, this is as much Wendy's story as it is Lilith's. But just because I see it that way doesn't mean I've written it that way.

I'm already rewriting a ton of chapters to be told through Wendy's perspective. That might be at first a superficial fix, but it's to ensure that Wendy's personal arc is put to the front and center. That was why the discovery of her being a comic book fan was so important to me. The theme of heroism (and the price of heroism) isn't something born from Lilith's arc and struggles. That's purely on Wendy.

I need to make that clear.

And while Jessica Jones had somewhat inspired me to push Ansel to a more frightening point, I almost overdid it. Overdid it in the same way Jessica Jones did, according to some fan criticism and analysis.

So I'm going to try and strike a balance in some of my more brutal narrative choices. Ansel doesn't need to go on a rampage and kill people (especially with a mostly POC cast) for me to prove that he's a worthy opponent.

If I can't make him terrifying or formidable without relying on pointless deaths constructed for shock value--

Well then I guess I'm not a very good writer, am I?

That's the challenge right now.
~Becky

P.S: You don't want to know how much trouble those damn gifs were giving me.

But I fought them and came out victorious.

For Bellamy.

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