I Imagine Cody & Wolffe Passively Mentioning How Fox Is Way Too Overworked And This Is The Result: Resigned

I imagine Cody & Wolffe passively mentioning how Fox is way too overworked and this is the result: resigned mandatory tea time

And Fox doesn’t know this and thinks it’s presumptuous that the Jedi keep delaying his work for some tea but it seems to be working

Bonus:

This is certainly not a new take. but I really do think Din Djarin will be the key to Mandalore’s revival and will be the “Mythosaur” the Armorer spoke of in legend. Especially compared to Satine and Bo Katan’s previous attempts to lead.

Satine understood peace and stability was needed for Mandalore (after witnessing the Mandalorian civil war which more than likely influenced her pacifist ideals), however she tried to force change way too quickly and in a frankly horrible way as brought up in this post. She thought eradicating the Mandalorian warrior traditions and identity would help lead to peace, but instead it fractured the Mandalorians as a people and tore it apart from the inside out allowing someone like Maul to take control.

Bo Katan understands the importance of Mandalorian identity and heritage as warriors, but all that she really knows is war. A confession she herself made to Ahsoka in the Season 7 TCW finale. Another thing that breeds trouble is her disrespect for certain Mandalorian sects and backgrounds which makes further unity under her much harder. Yes she’s a great warrior, but to unite and lead a people in the long run takes so much more than just being good at fighting.

Din however, brings both of these ideals together and possesses a trait that stands out from the Mandalorians of the past and even present: Meekness and humility.

He’ll often find ways to settle issues peacefully and take time to negotiate instead of being so quick to shoot.

But will fight and do it well if he needs to whether to defend himself or someone else like Grogu.

He takes time to understand others, their culture, backgrounds, and shows respect towards them.

Is not power hungry in the slightest, having no interest to rule or have any sort of power over anyone even when the opportunity arises.

Even in the frankly controversial scene in TBOBF, it was yet another element of proof that Din is deserving of the Mand’alor title. I’ve seen people suggest that Din should’ve disowned the coven and more traditional Mandalorian ways in response, but honestly… That’s something Bo Katan would do. Instead of being defensive and angry, Din practiced humility and accepted the consequences of removing his helmet. A further step being that he intends to regain his title as a Mandalorian by doing it the traditional Mandalorian way, showing he doesn’t think himself above consequence or the Mandalorian code and traditions.

In a way, he embodies what both Satine and Bo Katan hoped to achieve but struggle to do so. He respects The Way and being a warrior is ingrained with who he is, but also takes time to negotiate and understand others around him. To me at least, I think this is what ultimately makes Din the leader Mandalore needs that Satine and Bo Katan cannot and have not been able to fulfill. 

Suddenly got motivated to design an armor for post-TCW Korkie and decided he and bo-katan also have an extremely antagonist relationship as per family tradition and he swings between telling people she died and acting extremely confused when people say they’re related

So you know those fics where, when Anakin doesn't fall and Padme doesn't die, they end up on Tatooine with the kids, Obi-Wan, and Ahsoka? Usually as like "canon but a few steps to the left" of O66? And there's a whole Hubbub about how Padme's not used to Living Poor, missing so much of her support system, etc.

I want to see that premise played out where the 'ship' that ends up on Tatooine is Obitine. But the plot keeps getting subverted because the year on the run and living on Manda'yaim mean that Satine is actually fully ready for living in hiding on a desert planet (while she bides her time to figure out how to recover her planet and people from the Empire).

Necessary disclaimer: this is not a values judgement of Padme. It's a variation on a common plot format that I think would be funny, because the Lars are definitely expecting this fancy lady to be mostly useless.

(I guess this is kind of a mix of the Anidala-on-Tatooine and CodyWan-on-Tatooine fics. But. Meh.)

God I love deceptively lovely Satine.

She's so pretty and refined and pretentious and then it's like. Oh. Oh.

She's lived through hell, and also probably 60% of her job is negotiating agricultural reforms that'll allow her people to survive the sandy wasteland that is Manda'yaim.

And like… Obi-Wan… having a girlfriend on Tatooine… mayhaps finally getting married… 🥺 🥺 🥺

He's never needed marriage and he's still a little torn on the subject because he's all that's left of the Jedi but

Satine has always put Mandalore first. Obi-Wan has always put the Force first. Hidden away like this, unable to enact their usual duties but still holding those priorities… would marriage change anything but their reputations and the tan line of their ring finger?

Maybe. But probably not.

OJ and JJ: Why Jean Jacket Let the Haywoods—Especially OJ—Get Away with More Than Anyone Else in “Nope”

I’ve seen Nope twice now. While everyone I saw it with enjoyed it, I heard a few cries of foul when it came to OJ and the others’ improbable good luck with all their near misses interacting with our favorite terrifying gulch-haunting UFO. I call foul back and say plot armor had nothing to do with it. Some luck, yeah, otherwise we’d have no protagonists. But that was hardly all.

Spoilers for Nope below

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Probably the single hardest lesson for me to internalize in writing was that you don’t design a character you design a character arc.

One reason you as a writer might end up stuck with a flat or boring character, or one that just isn’t doing the things you need to create a vibrant plot, despite working out all the details of their life for hours, is because you’ve made the mistake I always do. You’ve made a character who is a blend of all the characteristics you envision for them, rather than saving some characteristics for the end of their journey. 

What do I mean by this? Maybe you envision a character who is a handsome prince, honest, brave, and true. In your plot, though, he’s going to be an antagonist for a bit but you don’t really want him to be seen as a bad guy, necessarily. But when you drop him into your story, he’s just… there. Being honest, brave, and true. 

That’s because the prince has no character arc. He is a static figure, a cardboard cutout. 

Let’s go a little deeper with a great example of one of the best character arcs in YA animation: Prince Zuko. He is, objectively, honest, brave, and true (to his cause of finding the Avatar) from the outset. But he’s also a dick. He’s a privileged, imperialist brat, who is rude to his uncle and vicious to our protagonists. 

By the end of the series, though, Prince Zuko is still honest, brave, and true, but he’s also a good person who has learned many lessons over the course of his trials and obstacles. He has failed over and over again at his initial goal of capturing the Avatar. He has failed at winning his father’s regard. He has failed at numerous smaller goals of day to day adventures. He has learned from all of these. We have seen his journey. But, if you started your vision of how to write Zuko from who he ends up being, he’s got nowhere to go as a character. 

It’s not just about what flaws he has corrected though. It’s about what lessons about life he has internalized. What flawed views of the world he has corrected and how. 

Rather than saying, “The character starts out a dick and learns to be nice,” be more specific. “This character starts out believing the empire he is loyal to is morally in the right for its conquests, but over the course of working for that empire’s ruler and seeing his cruelty first hand, not to mention fighting the empire’s enemies and mingling with its civilian victims, he becomes a better person and learns the error of his ways.” 

Already, right there, you have more than a cardboard character. You have a character who has an arc that molds to your plot.