Ignoring that last picture, I do see what you mean. And if there were a comparable number of female superhero toys in regular lines, we wouldn’t need this. But take the Wonder Woman Plushie example. I did a very short google, so I may have missed something, but the page I found had eleven figures on it, seven male,…

As somebody who buys for little girls, I’m THRILLED about this. I’m so damn sick of pink sparkly princess stuff for little girls who are smart and tough and active. Their brother is all over pirates which is fun, but then I’m stuck with the pink for the girls. And now there’s Harley and Ivy. I’m so happy.

There aren’t any spoilers in there. He’s mainly talking about process and about superhero movies as a genre. He doesn’t say anything about the next Avengers except that it’s his last as a director.

I want to know why they spent so much time with the assistant in the beginning, setting her up as competent and resourceful for no real reason. Except PoI always has a reason. And a real penchant for small, resourceful brunettes.

I think it's building a world. It's done a nice job of showing Liv's spheres—the family she can't tell her secret to, the police world she's useful in, the morgue where she gets food and compassion—and this second episode with DeBeers creating his addict clients added more depth. You can't build a complete world in…

I do an edit where I go through and take out "said" wherever it's obvious I don't need it, which is most of the time. Thinking about that in a first draft just slows me down but taking them out afterward is easy. I do an "ly" search at some point, too, to take out adverbs.

"All I'm saying is that fictional characters are categorically incapable of making their own decisions or deciding their own destiny because fictional characters do not exist beyond the words and images that real people have created."

Oh, that's interesting. (Really, no snark intended.)

I took this:

Nope. Part of writing story is discovering who your character is as your story develops. As soon as she makes her first move on the page, part of her character is established. It's a small part, but "she's the kind of person who does this" is established for the reader. With every act, every statement, every…

Good Omens. I can practically recite it by heart now.

Oh, yeah. I learned really fast not to engage in internet wars with people who just want to wallow in their outrage. You cannot win with those people.

Absolutely. And this is your column which means you get to decide.

Yeah, "stop posting these stories" is completely out of line. Plus, "because they bother me" is just annoying in that special-snowflake kind of way.

Actually, that is feedback, it's just not helpful feedback.

So asking out of real curiosity here, not trying to be a bitch, truly:

It's just that for some of us they're not funny. Or fun. The fun is in seeing the creep get his comeuppance. Doing something to the food is just weaselly. I realize the power structure there makes it really, really difficult to confront the dumbass, but there's not a lot of satisfaction if the dumbass never knows…

So he rescues her, and she walks behind him until she gets tired, and then he takes her hand to support her, and then she walks behind him until she gets tired, and they stop and she watches while he builds a fire and then she listens while he talks, and then she walks behind him some more . . .

You know, I'd be okay with Katrina if it turned out she's always been a selfish, entitled witch who's so convinced of her own power that she doesn't see how evil she is. A kind of colonial Anya before all the humanizing took place. She knew the rebels were going to win the war, so she swapped Headless for Ichabod. …

Is that what happened there? I've always wondered, but that makes sense. I saw the American first episode first and thought it was awful. Then I saw the British first episode and laughed all the way through it, fantastic show. Same script. I've been trying to figure out what it was for years, but timing is huge…