#insight into television production

[lemotmo]

Sending this one because apparently lots of people didn't really understand how this works. So this was a good explanation. Hope your blog heals ❤️

Q. I don't understand how Tim or ABC can just tell him he's not allowed to talk about Tommy or Buck anymore? I'm pretty sure he just lost interest in doing the videos because they can't tell him what he can and cannot do. It doesn't work like that. He can say whatever he wants to whoever he wants that's his right. They all have that right.

A. They don't actually have that right. I have received a TON of questions fairly similar to this so maybe lots of people genuinely don't know how this type of thing works. Lou is the actor who plays Tommy. Tim, Ryan and Brad created the character of Tommy. They own that character exclusively. ABC purchased the licensing rights to that character, when they purchased the show's rights, so they control the characters PR/imaging rights. Meaning neither Lou, or any other actor from the show, can profit off of or promote themselves through their character if Tim, Ryan, Brad or ABC tells them they can't. Full stop. Tommy is the intellectual property of Tim and company. Lou has zero rights to that character. If they tell him he's no longer allowed to speak on behalf of that charter or promote himself using that character (which is what Lou was doing) he is lawfully obligated to stop and stop at once. That is standard operating procedure for any and all television/movie characters. If the actor playing that character had nothing to do with creating that character they are at the total mercy of the person/people/studio who did create and own that character. There is no wiggle room.

We don't have proof that he was told to stop, you're correct. What we do have though is a pretty consistent pattern from him right up until the day it did stop. He communicated with them almost daily, sometimes multiple times a day. He wasn't passive about it. He made a point to do it every day to some degree. He filmed multiple videos over multiple weeks. Each and every one of them speculating on and about Tommy (an even bigger no no was him openly talking about and speculating on other characters). The videos had clearly not been commissioned or approved by Tim or ABC, if they had been then the videos would have had some sort of structure. Then one day he filmed and released a cameo video and the very next day everything stopped. Zero communication. Zero interaction. He not only stopped recording the videos he removed the option to even try to buy one all together. He did leave the option for you to submit a question but many, many people have shown proof that they submitted a question but it went completely unanswered and they couldn't even tell if their question had been read or not. That sounds like someone who was forced to stop rather than voluntarily stopped. I personally think a conversation was absolutely had with him. Most of the time a show will look the other way on fan interactions. It comes with the territory. Some actors engage more than others. But it got out of hand. He was telling people to go above Tim and directly to the network asking for more of him/Tommy. He was openly theorizing on characters and cast mates he had no right being into any conversation(this was a big NO). And those fans were hounding not only Tim, Oliver and Ryan but they were hounding production staff. All of these things occurred as a result of his videos. There was nothing wrong with him pushing himself for more screentime, especially since he knew he was on borrowed/limited time, actors do that all the time. The way he went about trying to do it though was the problem. Rockmond Dunbar (Michael) would be the closest example to the situation Lou currently seems to be in. It was a different circumstance, but he was given explicit instructions to follow and he chose not to follow the instructions and as a result they dismissed him from the show. Temporary screen time is better than zero screen time so I'm sure for now Lou is just following orders.

Thank you Nonny for dropping this in my inbox! And thank you for the kind wishes. :)

(From now on I will address the anon OP as Ali. She has kindly asked me to call her that. I get why. Anon OP does sound kinda clunky. :D )

Now see? This is why I'm so determined to keep on posting Ali's asks. I don't live in the US, so I'm far away from Hollywood and the world of TV-shows. I do have some knowledge of how everything works behind the scenes from all the years I've spent roaming around in fandoms of American TV-shows, but that is only a fraction of the bigger picture.

All characters are intellectual property from the creators of the show, just like book characters are the intellectual property from the author. I knew this, but it's fascinating to read what exactly that entails in the world of TV-shows. It's always interesting to read a full break down of the inner workings of television and actor contracts.

As per usual, thank you for sharing your thoughts with us.

IMPORTANT! Please don't repost this ask and/or a link that leads straight to my Tumblr account on Twitter or any other social media. Thank you!

Heads up! For anyone who is giving me the shifty eyes for reposting Ali's updates instead of reblogging. Read this.

Remember, no hate in comments, reblogs or inboxes. Let's keep it civil and respectful. Thank you.

If you are interested in more of Ali’s posts, you can find all of her posts so far under the tag: anonymous blog I love.

[edpor68]

Happy Friday! Another clip from the Insight episode “A Box for Mr Lipton”- Pattye as Ellen Lipton- absolutely adorable… #patriciamattick #pattyemattick #insight #1972tv #Aboxformrlipton #adorable #youtube

[probablyasocialecologist]

Saito has made a career of teasing out an eco-theory from the late, unpublished writings of Karl Marx. He earned his doctorate at Humboldt University, in Berlin, and now teaches philosophy at the University of Tokyo. His first book was an English version of his dissertation, titled “Karl Marx’s Ecosocialism” (2017), which tracked Marx’s study of the physical world and communal agricultural practices. (Saito is fluent in Japanese, German, and English.) In a second academic book, “Marx in the Anthropocene” (2022), Saito drew on an expanded repertoire of Marx’s unpublished notebooks to argue for a theory of “degrowth communism.” He gained a following, not only in philosophical circles but among a Japanese public facing the contradictions of tsunamis, billionaires, and same-day shipping. “Slow Down” has sold more than half a million copies in Japan and launched Saito into a rare academic celebrity. He appears regularly on Japanese television and aspires to the public-intellectual status of Thomas Piketty, the French economist who had a surprise hit in his 2013 doorstop, “Capital in the Twenty-first Century.”

The key insight, or provocation, of “Slow Down” is to give the lie to we-can-have-it-all green capitalism. Saito highlights the Netherlands Fallacy, named for that country’s illusory attainment of both high living standards and low levels of pollution—a reality achieved by displacing externalities. It’s foolish to believe that “the Global North has solved its environmental problems simply through technological advancements and economic growth,” Saito writes. What the North actually did was off-load the “negative by-products of economic development—resource extraction, waste disposal, and the like” onto the Global South.

If we’re serious about surviving our planetary crisis, Saito argues, then we must abandon capitalism, with its insatiable appetites. We must reject the ever-upward logic of gross domestic product, or G.D.P. (a combination of government spending, imports and exports, investments, and personal consumption). We will not be saved by a “green” economy of electric cars or geo-engineered skies. Slowing down—to a carbon footprint on the level of Europe and the U.S. in the nineteen-seventies—would mean less work and less clutter, he writes. Our kids may not make it, otherwise.

[renthony]

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[starsstuddedsky]

Blonde Phase

Renjun x gn reader

summary: spontaneous hair decisions always end in regret. that's what you expect to hear when you tell renjun you're bleaching your hair, but instead you find support, and even his help. you should appreciate his wholehearted support but instead it has you wondering: why doesn't he care?

genre: fluff, minimal angst, technically they're in grad school but that's not particularly relevant, non idol au,

warnings: swearing, mentions of drinking, spontaneous hair decisions (i do not endorse), lmk if I missed any

wc: 4.4k

a/n: in the immortal words of charles boyle, the most intimate thing you can do with a lover is wash their hair. yknow i made fun of him for that until i wrote this. i see it. also its been so long since ive finishing anything, pls forgive me if this is bad. renjun i love u. as always I'd love to hear what you think <3

“I’m bleaching my hair.” If you say it fast enough, Renjun won’t be able to talk you out of it. The plastic bag swings around your wrist as you walk across the parking lot. “I’ve already bought the bleach and gloves and stuff, and I’m going to do it, today.”

He’s quiet for so long you check to make sure the call hasn’t dropped. “Okay.”

You almost drop your phone. “Okay?”

“Yeah,” he says, drawing the word out. “Was I supposed to say something else?”

“Um, yeah?” You say. “You have opinions about literally everything. You talked me out of buying those pants two days ago.” You finally get to your car, tossing the bag onto the passenger seat and half-falling behind the wheel.

“That’s because they were made of polyester, and the thrift store was still charging $15,” he says immediately. “That was a scam.”

“Money is temporary, drip is forever.”

“Those pants would have lasted a year max, before they fell apart, and you still haven’t learned how to sew so you wouldn’t even be able to mend them or upcycle them.”

“You know what, I didn’t buy the pants, so this fight is moot,” you say. You set the phone on speaker, turning the engine on to blast the AC.

“Well, not moot. Technically I won,” Renjun says.

“I’d respect you more if you weren’t insufferable.”

“Here I was thinking you appreciated my insight,” he says. “You even asked for it.”

“I did not!”

“You literally asked about bleaching your hair.”

“I said I was surprised you didn’t have an opinion, not that I wanted to hear it,” you say.

“Semantics,” Renjun says. “So what time do you want to come over?”

You frown. “Tonight?”

“The roommates are out of town for the whole weekend, and I have way better ventilation,” he says. “I’d much rather bleach it without passing out.” He pauses. “You do want help, right?”

“Honestly, I was not expecting support. I was fully ready to fight you on this,” you say.

He snorts. “Come over whenever, I'm not doing anything today.”

“See you in twenty minutes.” You hang up, feeling a strange ball of tension roll around in your gut. That was… too easy? Renjun always has something to say about your admittedly impulsive tendencies. But if he’s going to help you’re not going to reject it—knowing Renjun he’s probably already watching Youtube videos and learning more than you will ever know about bleaching hair.

And it’s Renjun. When have you done anything without his help?

.

.

Renjun opens the door wearing a wearied expression. He doesn’t bother to greet you or even smile, just unlocks the door and steps to the side.

“Hi to you, too,” you say, trading your shoes for the spare slippers resting by the doormat. You follow Renjun into the space that serves as kitchen, dining room, living room, and Jaemin’s miniature gym, with weights and mats stacked next to the television.

“Who the hell clogs a toilet and then leaves for the weekend,” Renjun says.

You set down your plastic bag full of hair products and frown. “That’s disgusting.”

Renjun leans against the counter. “And you didn’t have to spend the last forty minutes trying to unclog it.”

“So which of the guys are you going to murder?” You try to guess, running through his roommates: you find it hard to believe Jaemin would do such a thing. Jeno maybe, and Donghyuck would certainly think it’s funny. But, in all honesty, it could have been any of them.

“Don’t know,” Renjun says, “but knowing them, they’ll make a pact to protect each other.”

“Seriously?”

Renjun pauses, gaze sheepish. “It’s what I did when I accidentally killed Jaemin’s little succulent that survived his college dorm.”

You fake a gasp, placing a hand over your chest. “Every day I learn something new about you. That’s devious.”

“I was drunk!” Renjun says, holding up a finger. “And Jeno and Donghyuck pushed me into it, so it was equally their fault.”

“If you say so.” You glance around the apartment. “Where are they all?”

“Jaemin’s visiting family, Jeno has a soccer tournament, and Donghyuck said he’s going camping with Yangyang.” Renjun says, counting off with his fingers.

“Donghyuck and Yangyang are friends?”

“Yeah, according to them they bonded over dealing with me.”

“Those were their exact words?”

“Dealing with my ‘stupid ass,’” Renjun says.

“That’s more on brand.”

Renjun nods.

You think about Yangyang, Renjun’s friend from when he was a kid. You’ve met him a few times now, especially since he’s moved half an hour away from Renjun. He’s fun, always bringing out a chaotic side of Renjun whether it’s dancing on a bar or bringing out angry-Renjun. But Yangyang and Donghyuck?

“That’s a terrible friendship. They’re going to ruin you.”

Renjun nods again, but you see the smile hiding in his eyes. He can rant all he wants, you know he’s excited his friends are getting closer with each other.

You point at the bag. “So where are we doing this?”

You half expect him to lecture you about rash hair decisions but he just gestures to the kitchen. “I figure right here should be fine. The tiles should be pretty easy to clean and probably could use some bleach anyway.”

He drags the chair with a rickety leg from the dining table. You dig through the bag and set everything on the counter. While Renjun cracks a window open, you begin to mix the developer and the bleach, curling your lip at the sharp scent. Renjun joins you, pulling on a pair of gloves.

“Wow that’s strong,” he says, wincing.

“Yeah,” you say. “Definitely a good idea to do it here.”

When the powder is finally combined, you sit on the chair, Renjun following behind you. You section off your hair together, then he grabs the bowl and the brush.

He holds the thick paintbrush brush up against your hair, glancing at you, giving you one last chance to back down. You give him the nod of approval and he shifts back to focusing on your hair, brushing the bleach into it as carefully as he spreads paint on a canvas. He works section by section, carefully drenching your hair with the creamy solution.

“So, are you going to tell me why you decided to do this?”

You can’t resist turning and glancing at him. “I thought you approved.”

“I didn’t try to talk you out of it,” he says, “that doesn’t mean I’m not curious about how you came to this decision.”

You nod until Renjun uses his gloved hand to hold your head straight. “I suppose that’s fair.”

You pause, trying to find the right words. But you find yourself drifting back to Renjun. Why didn’t he ask this before the bleach was in your hair? It’s not like him to keep his opinions to himself. When you first met him, he was yelling at Donghyuck for going to a philosophy seminar just to fight with the notorious bigot of a professor (which Donghyuck did and then got kicked out, and proceeded to get the professor suspended). You only knew Mark back then, a friend from another class who invited you to meet some of his other friends in the dining hall. When Renjun turned to ask what you thought, you said Donghyuck should do what he thinks is right. Renjun didn’t hesitate to call you an idiot then. So why isn’t he calling you an idiot now?

To his credit Renjun doesn’t rush you. He continues to paint the bleach into your hair, content to wait for you to figure out an answer. Except you’re thinking about all the wrong questions. Like, seriously, why do you want him to call you an idiot?

“I want a change,” you finally say. “I’m stuck in a degree that will make me absolutely no money when I graduate, I can’t afford to break my lease, and don’t have any major relationships that need upheaving, so, hair.”

“‘A change?’” Renjun repeats. “Like, you woke up this morning and thought, today I’m going blonde?”

“Like, I have this feeling in my chest, this aching feeling that there’s something I need to do, someone I’m supposed to be, something more than the person I see in the mirror but I’ve made my decisions and I’m happy with my decisions and I genuinely like who I am. So, hair.”

You see Renjun’s hand falter out of the corner of your eye, halfway between the bleach mixture and your hair. He freezes for a heartbeat then continues to move, lifting some hair off your ear, careful not to brush the bleach onto your skin.

“‘So, hair,’” he says.

“Are you really going to repeat everything I say?”

This gets a short laugh from him. “I think the fumes are getting to me already.” He pauses, setting down the brush and stepping in front of you. “For what it’s worth, I like who you are, too. I’m really glad we’re friends.”

You smile at him. “Me too,” you say. “I definitely would have fucked up trying to bleach this on my own.”

.

.

“There’s still some bleach left,” Renjun says after he finishes with your roots. “You’re sure you don’t want your eyebrows to match?”

“Why don’t we do your eyebrows,” you say. “Better yet, why don’t we shave them off?”

Renjun sets down the brush. “Okay, no eyebrows.”

You grin at him. “That’s what I thought.”

He helps you get a plastic bag wrapped securely over your head, then sets the timer.

“What do you want to do for the next half hour?” You ask. “Preferably something that requires little to no movement.” You gesture to your head. “We’re not winning any frisbee tournaments tonight.”

“It was one time,” Renjun mutters, shaking his head and stepping around you plop down onto the couch. “We can watch something.”

You follow him, sitting on the other side, a cushion between you. The space feels strangely empty. Though you’ve spent plenty of time alone with Renjun, even alone with him at his apartment, the silence is usually interrupted by one of the guys getting bored of playing League, or coming back because they can’t go out to a bar without someone forgetting their ID, or in desperate need of Renjun’s expert advice (read: Jeno never remembers to ask Renjun to look over his submissions until 12 minutes before they’re due). The cushion between you never stays empty for long but the moments stretch on, only making the distance feel greater.

You wonder, not for the first time, how long it’s been since you’ve thought of Renjun as just a friend. If he was just a friend, you wouldn’t care so much about what he thinks. And if he was just a friend, you wouldn’t care so much that he suddenly doesn’t think.

You sneak a glance at him, fiddling with the remote for a couple seconds before realizing he grabbed the wrong one. He’s certainly always been handsome—that was undeniable from the moment you met him. But more than just being good looking, it’s Renjun himself. Not just those dark eyes, but the way they burn with passion (even when he’s arguing about the proper number of appetizers to order). It’s his perfectly shaped lips, the way they betray how he feels with a slight curve up or down—and his smile. Always, always his smile, beautiful and breathtaking even though you’ve seen it a thousand times.

He turns, a little furrow in his brow. “What?”

“Hm?”

“You’re looking at me funny,” he says. “Did I get bleach in my hair or something?”

You turn to face the TV, trying to pay attention to the show Renjun chose. “I wasn’t looking at you funny,” you say. “I wasn’t even looking at you.”

“If you say so,” Renjun says, “but if there’s a blonde spot anywhere in my hair, I’m so making you pay for it.”

You shake your head. Where the hell did those thoughts come from? Renjun, more than a friend? Sure, you’re close with him and sure, he’s objectively attractive, but you’ve never had those thoughts before. Well, at least not sober.

“Um, why are we watching Singles Inferno?”

“Because I asked and you were too busy not staring at me to answer, so I put it on,” Renjun says. “And don’t you dare try to tell me you don’t like it. I saw you rant on your Instagram story the other day.”

“Okay, but you don’t get it,” you say. “This bitch really has the audacity to to—”

“I saw your post,” Renjun says. “Believe me, I get it.”

“If you didn’t want to hear about it you should not have turned it on, because now I can’t stop,” you say. Renjun rolls his eyes but even as you delve into a full on essay about the horrible men particularly common in dating shows, you see the corners of his lips tilt up into a smile.

.

.

The timer goes off halfway through an episode.

“Saved by the buzzer,” Renjun says. “I’m putting a ban on anything reality TV related for the next three hours.”

“You’re the one that brought it up,” you mutter without any real annoyance. Despite his banter, Renjun dutifully listened to your rants, and even got mad along with you.

You drag a chair to the sink while Renjun drapes a towel over your shoulders. He puts on gloves and unwraps the bag, letting your hair fall into the empty sink.

“Close your eyes,” Renjun says gently. He tilts your head back, cupping the back of your head for a moment before pulling the head of the sink faucet out. He runs the water, long enough for you to peek your eyes open.

You’ve gotten used to seeing Renjun focused. He gets a little furrow in his brow, always glaring at his work. Before you were friends, you used to think he was actually angry, that his frowns and short tone were real. You’ve learned since then, it’s not his emotions, it’s his passion. The frown only comes out when he’s focused, trying to be perfect. When he cares.

“Unless you want bleach in them, close your eyes,” Renjun mutters, with absolutely no malice behind the words. His eyes shift to meet yours and that’s how you know you’re right. He can glare and bluster all he wants, he can’t hide his eyes, warm and shining. Like when he’s looking at his art, his gaze is a combination of soft and intense, creating something stronger than affection. Except he’s not looking at his art, he’s looking at you.

You squeeze your eyes shut, feeling your heartbeat pick up. Despite every attempt to shut down the thoughts, they race through your head, a stampede grown out of control. Renjun, who you’ve only known a year and a half but who has become one of your closest friends. Renjun, who never fails to share the only opinion you really care about. Renjun, who you can’t imagine life without. Renjun, who you’ve never dared to imagine life with.

He places a hand on your forehead, bringing the faucet closer to rinse your roots while keeping the water from pouring onto your face. You prepare for a cold shock but the water that soaks into your hair is the perfect temperature—not scalding hot, not freezing cold. Some water sprays over his hand, falling onto your eyelids and cheeks.

“Sorry,” Renjun murmurs. He holds the head farther away, running his fingers gently through the roots of your hair. He’s so close you can feel his breath, warm against your temple. You can feel his body, hovering over yours, and maybe it’s just your imagination, but warmth seems to emanate from it.

His friends would laugh at you if you described Renjun as soft to their face, but it’s the only adjective that captures the way he works the water through your hair. Soft and gentle and careful and nothing like the Renjun that has to corral everyone into his car at 3 in the morning. And yet this Renjun doesn’t feel like a stranger to you.

Washing your hair takes a lifetime, but as soon as he steps away and turns off the water, you miss it. You miss him, even though he’s only a couple feet away.

“You can open your eyes now,” he says. As soon as you do, he tosses a towel at you. It hits you in the face before you can get your hands up.

“Hey!”

“Sorry,” Renjun says, not sounding sorry at all. He manages to hold back the laugh but still grins at you, unashamed. He steps forward and pats your face dry, with the same gentleness as before, though there’s still a mischievous glint in his eyes. You yank the towel away before he gets any ideas, drying off your face on your down and wrapping it around your hair. You wring it out a couple times before letting go, doing your best to get it to fall evenly around your head.

You raise your eyebrows at Renjun. “Okay, how bad is it?”

“Okay, first of all, I’m insulted that you think there’s any way I’d fuck up you hair,” Renjun says. “And it looks really good. Blonde suits you.”

You take a deep breath and pull out your phone, studying yourself in the mirror and… he’s right. The color is even, somewhere between blonde and orange that is unavoidable when using bleach. Radical hair changes generally end in tears but looking at yourself in the mirror, you don’t feel the usual dissonance. The hair is different but somehow more familiar than the “normal” you that doesn’t feel right anymore.

“I’m right,” Renjun says.

You smile. “Yeah, you are.” You put down your phone, meeting his eyes. “Thank you, Renjun.”

“For what?”

“Doing all of this for me,” you say.

“It’s the least I could do,” he mumbles. “You’re my friend.”

You shake your head. “Thank you anyways.”

Renjun just shrugs and grabs the bowl, rinsing out the bleach in the sink. If you didn’t know any better, you’d think he’s avoiding your eyes.

You do your best to clean up the bleach from the floor, busying yourself until Renjun finishes. You wonder if you’re imagining the tiles getting a little bit whiter. Finally, he turns off the water and glances at you.

“You’re really happy with it?” He asks, sounding more like he doubts you rather than changing his opinion.

“Yeah,” you say, standing up. “I think it’s the ‘me’ of right now, you know?”

“Not really.”

“Like, I feel disjointed, and blonde hair is definitely not me, but it's the me that feels kind of all over the place, so even though it doesn’t look like me, it looks like me.” You wring your hands together, fingers tinged red.

“That makes no sense,” Renjun says, “but I think I get what you mean.” He smiles. “And I’m glad. I wouldn’t want you to have any regrets.”

So he did think this was a potential mistake? Why didn’t he say anything?

Renjun turns back to the sink, but before he can turn the water on, your voice calls his name. “Renjun?”

“Hm?” He doesn’t turn around.

“Why didn’t you fight me on this?”

He doesn’t move for a long moment. You wish you could see his face. “I have been told by certain people,” he begins, which is code for Donghyuck and Yangyang certified their position as Renjun’s worst nightmare. He turns to face you, wiping his hands on a towel.

“That I have a tendency to be overly opinionated in a generally negative direction. And I thought about it, and I realized I'm never really fully supportive, whether it’s a big decision, or, like, coffee, and I’ve always been this way, but, apparently, it’s especially… apparent with you.” He frowns. “This is all coming out wrong. I’m trying to say that it’s different when I’m around you. I’m different.”

Your eyes jump between his, trying to decipher what he’s saying. “Different?”

“I care a lot about you,” Renjun says, “more than anyone, actually.”

“Oh.” You blink once, twice. “Wait, you like me?”

Renjun’s eyes shift to the floor. “Yeah.”

You can’t help but let out a short laugh, reeling at the absurdity of it all. Renjun likes you? But he’s Renjun. Even though he’s the most common main character in your daydreams, you never once realistically thought he might be fantasizing about you too. But he likes you.

“I really didn’t want to say anything, I mean, before anything else you’re my friend, and I don’t want to ruin that,” Renjun says rapidly. “We’re good friends, and I really didn’t want to be the guy that pretends to be your friend but just wants to date you the whole time, that’s really not what I was trying to do, it’s just—”

“Renjun.” You put a hand on his shoulder and he freezes mid sentence, mouth still hanging open a little. Before he can move, you lean closer, the type of line you’d only dare to cross in your dreams.

“I’d like to kiss you,” you say softly. He blinks, eyes darting between your eyes and your lips.

“I’d like that,” he finally breathes. So you kiss him.

It starts light, his lips exactly as you imagined—soft and warm. His arm works its way around your waist, pulling you closer. The other works its way into your hair, still wet and sticking to your head. Renjun kisses like he’s been planning this for a long time, and maybe he has. Every movement is slow and careful, until he’s stolen all your air and even then you don’t want to pull away.

Your bravery fades the minute you meet his eyes. You bury your face into his chest, your cheek resting against your own hand. Renjun wraps both of his arms around you, holding you snugly in place.

“I like you, too,” you say into his chest. It’s the cowards route but if you look him in the eyes the words will never come out. “If it wasn’t obvious.”

“It wasn’t actually,” he says softly. “I think I drove all of my friends insane trying to figure out whether I should confess or not.”

“They all know?” You groan. “We’re never going to hear the end of this.”

“Yeah.” When Renjun laughs, it shakes your whole body. You can feel the rumbling, overtaking his heartbeat. “It’s okay though. It’s worth it.”

You turn your head, emerging from the sanctuary of his chest and tucking your head so that you can see his face. He smiles at you with the familiar warmth you’ve come to expect.

“Yeah,” you say, “it really is.”

Renjun grins.

“Your hair on the other hand…” He says.

“I thought you liked it!”

“I like it,” Renjun says, “but when has Donghyuck ever liked a single change to anyone’s hair?”

“Since when do you care what Donghyuck thinks?”

“I’m just saying now that we’re officially dating, my friends are going to be extra annoying,” Renjun says.

“Extra annoying? I didn’t think that was possible.”

“Don’t underestimate them.”

You groan, pressing your face back into his chest. “It’s not too late to get some hair dye.”

“You are not changing your hair because of my dumbass friends,” Renjun says.

“You like it?”

“You like it,” he says. “That’s the only opinion that really matters.” He pauses then adds, “But yeah. I like it.”

You grin, lifting your head to kiss his cheek. “Maybe we should dye your hair too.”

Renjun snorts. “Oh yeah?”

“We could have matching couples hair.”

He laughs out loud this time. “Maybe we should just get some shirts.”

“Three minutes of dating and you already want matching shirts? Huang Renjun, be honest.” You push off of him until you can place your hands on his shoulders and look him in the eyes. “Are you obsessed with me?”

“Yes,” he says, layering his voice in sarcasm that still isn’t enough to hide the truth of the admission. “All day every day, all I think about is you.”

“Well, see, that can’t be true because if you were that obsessed and I’m this close, you would already be kissing me because—” You forget whatever you were going to say, but it doesn’t really matter. Not when Renjun is kissing you like this. Your hands at his shoulders slink around his neck, while his wrap around your waist, leaning so close to you, you feel your back begin to dip.

Huang Renjun is poison, the kind that turns into a heart-shaped puff of pink when the bottle is opened. You melt into his kiss and it’s still not enough. You could die, right this instant, and you don’t think you’d notice. Death itself wouldn’t be able to tear you away from this moment.

“Renjun!” Donghyuck’s voice thunders through the kitchen. “How dare you? You bastard, you’re cheating?”

You jump apart, turning to see him looming in the doorway. His glare settles on you, and you see the exact moment he realizes he recognizes you.

“Jesus Christ, you could have knocked or something,” Renjun says.

“I live here too,” Donghyuck says automatically. He squints, then looks at Renjun, then back at you. “YN? Your hair is blonde.”

For some reason, you raise your hand and wave at him. “Hey!”

“Oh my god!” Donghyuck cries. “Yangyang owes me thirty dollars!” He races back out the door, screaming something that’s lost as the door swings shut.

You glance at Renjun. “Cheating?”

He frowns at the door, still a crack open. “Did he… seriously think you were someone else? That I was cheating on my unrequited crush?”

His eyes shift to yours. A heartbeat passes and you burst into laughter. His friends might be annoying, but they’re still endearing. You press a messy, smile-infested kiss to his lips and wonder if you’ll ever get used to the giddy feeling.

There’s plenty messy in your life, plenty to doubt. But watching Yangyang and Donghyuck drag their backpacks in (apparently Donghyuck forgot his power bank and they decided to give up on camping) as they attempt to interrogate Renjun on every detail, you can’t help but feel like it doesn’t really matter. You don’t doubt Renjun. You don’t doubt blonde suits you. And you don’t doubt the power of a last minute hair decision, not anymore.

thank you for reading!! likes, reblogs, and comments are always appreciated

[disneytva]

"NOT JUST A GOOF" Documentary In Development Exploring The Making Of "A GOOFY MOVIE"

Disney Vacation Club Members on Disney Cruise Line got a WIP screening of the upcoming documentary "NOT JUST A GOOF". The upcoming documentary explores the definitive behind-the-scenes story of Disney Television Animation's cult classic theatrical film "A GOOFY MOVIE"

NOT JUST A GOOF follows a ragtag group of artists from Disney TVA in their Disney Movie Toons theatrical sub-division yearning for an opportunity to prove that they could do more while they undeniably do just that, the film also pinpoints the ever-changing studio dynamic of this era, with Katzenberg being ousted while A Goofy Movie was still in production. NOT JUST A GOOF features insight from A GOOFY MOVIE with director Kevin Lima, producer Dan Rounds, story supervisor Brian Pimental, screenwriter Jymn Magon as well voice actors Bill Farmer, Jason Marsden , Jim Cummings, Rob Paulson, Jenna von Oÿ and Powerline's VA Tevin Campbell. NOT JUST A GOOF is Directed by Christopher Ninness and Eric Kimelton

The documentary NOT JUST A GOOF will also feature how A GOOFY MOVIE became a cult classic between Disney and Animation Fans, the doc features a sizzle reel of fans sharing their heartfelt stories about why A Goofy Movie means so much to them.

[flytotheway]

Brief opinion on Midas Man: it's a television movie that's it, not extremely bad but not good either, mediocrer at best. The script was unfortunately flat practically a wikipedia page without insight, I didn't expect they would explore really dark situation or the controverse relationship between Brian and John...but all the relationships Brian have in the movie with his family, friends, the Beatles are superficial not explored. The invented Tex guy was boring, their love story not build and in the first minutes it's so obvious he is using him and we don't particulary know what kind of person is. It's a pity for all the older actors involved because they are veterans british actors, talented people which is not given a good material. Jacob Fortune Lloyd is great in the role you can see how much effort, passion and subtlety put in hi work but the script is unfair to him, one of the only scenes I really liked was with George Martin (a really good casting), because it's possible to see the glimps of what kind of men they are, unfortunately after that scene the movie doesn't show us how they worked behind the scenes. The Beatles are reduced as funny extras again I am repetitive but the friendship he had with them is not explored, he was their manager, he created their image, he toured with them for years, he was protective and cared for them, it's a waste the actors reached a good energy vibe cheeky students who befriend their akward but cool young teacher. Blake Richardson is one of the best Paul McCartney, Jonah Lees as John I think he was too much critised I didn't find him stereotypical at all, yes he is short but I don't particulary care, I am much more focused on interpretation, John Lennon is a very difficult person to play and many older actors failed to play him right. He was a good young John Lennon, nuanced and he studied John expressions, he showed his silly side, his more pensive side, Jonah Lees deserved better. Leo Harvey-Elledge and Campbell Wallace they were in the scenes nothing more nothing less, I surprisingly liked Adam Lawrence as Pete Best, he is not painted as a bad guy you feel sorry for him, he has presence in the way you feel him different and disconnected from the group. Cilla Black I don't know how she was so I can't do a comparison, she is a nice presence in the movie but as said before she is flat as the others characters. It's not a terrible film, is not unwatchable nothing like that howevere fails in his intentions to tell Brian Epstein, as a beatles fan I advise you to watch him at least for Jacob Lylod, maybe when you are alone during lunch or dinner, the pace is smooth

The wigs were terrifying, the production problems are crystal just watching John hair: at the begin red, then brown and in the end red again. George's wig who is red for some reason and Paul's moustache are a litteral crime

[pianokantzart]

Hi!! I absolutely love your Mr. L comic!! Also, I love that piece of Mario Movie concept art that shows the bros' room (the one with Mario sitting on the bed playing video games) because each side of the room gives so much insight into their personalities/interests! Luigi's side has a microscope and also a bunch of model robots and racecars, which would suggest a science/engineering interest. Mario's side has a football helmet and a baseball, which implies that he was in multiple sports in high school. There's a Beastie Boys poster right in the middle of the room, which to me suggests that both of them like that band and probably jam out to it together. Headcanon central over here

Thank you!

Yes, I love their room design so much!! I wish I had a chance to get a better look at it in the movie, but thankfully we have concept art.

Unfortunately, The Beastie Boys poster got replaced with that VWA wrestling poster in the final product (probably for copyright reasons), but that makes me wonder if... 1. VWA is an actual real life wrestling competition in this universe 2. Wrestling is on the long long list of sports Mario's interested in (he did referee boxing in the game universe after all)

Given the look of his wall it seems like Mario dabbled in literally every sport he could growing up, though I headcanon that for financial reasons he only keeps up tennis and baseball to this day (which is still a lot for a guy with a full time job.)

On Luigi's headboard there's a box for a Star Fox model kit, which pretty much confirms that he was the one who made the Arwing hanging over the television, and given the camera he was 100% the one who took all the photos hanging on the cork board and on the wall. I like the implication he's more inclined to hobbies that are slow and quiet and require a lot of patience.

Also! On Mario's side of the room there's sports trophies while on Luigi's side of the room there's little ribbons on the wall, like what one would earn at a science fair or an art contest...

... Or a robotics competition, because I am perfectly normal about the idea of Luigi being a skilled mechanic who builds/fixes things and that one day becoming an established part of Movie Verse canon.

[kolbisneat]

MONTHLY MEDIA: July 2024

I read a lot more than I was expecting this month but I ain't complaining. Here's how I spent the month of July!

……….FILM……….

Evil Dead II (1987) Didn't love Evil Dead (not that it's not good, I just get too spooked by straight horror) but had no idea that this would be what it is. Puppets and stop motion! Looney Tune antics! Magic with rules! This is my kinda movie and I'm baffled the modern films in the franchise don't try for this sort of energy.

Poor Things (2003) It took a while for me to settle into this, but around the time Dafoe's Godwin explains Bella's condition, I was all in. It's a dreamlike movie with dreamlike logic so despite some of the discourse I tried not to take too much of it literally. Beautiful and far funnier than I expected.

……….TELEVISION……….

Columbo (Episode 1.04 to 1.07) Gosh I love the era of television where each episode was self-contained. Episode 7 features Columbo smoking in a doctor's office and I was not at all expecting him to comment on the dangers of tobacco, but he did! I notice this first season only had a handful of episodes with the classic "oh one more thing" schtick so I'm curious if that pops up more in later seasons.

Scavenger's Reign (Episode 1.01 to 1.12) This is a show where I sit down, turn it on, and while the beautiful opening credits play, think, "I wonder what horrifying imagery is gonna f*** me up this episode?" The animation and design are sooooooo good that it made up for the occasionally baffling writing. Please go watch it so a second season can get greenlit.

Bridgerton (Episode 3.05 to 3.08) I missed a few eps there in the middle but it all worked. That final party, and all that went with it (the speech, the bugs, the reveal of who paid for it) was 10/10. Good stuff.

……….YOUTUBE……….

Yoko and The Beatles by Lindsay Ellis Yoko Ono didn't break up the Beatles. And while this video essay expands on the factors that DID split up the band, it's also a really great dive into the weight of fame and the weight of fame on women. VIDEO

Was starting a product business a mistake? by Simone Giertz An honest and detailed insight into the dream vs. reality of small business and internet fame. Looks like it's going to be a full series and I'm looking forward to more. VIDEO

……….READING……….

N or M by Agatha Christie (Complete) Spy Thriller set during the Second World War? With a husband/wife spy duo? Oh heck yeah. Sometimes I find the clues to be a little convoluted/unnecessarily obscure but this one struck a great balance of visible but easily forgettable.

The Knight of the Swords by Michael Moorcock (Complete) Having first read the comic adaptation (penciled by Mike Mignola!) I now realize some of my issues (pacing, understanding the abstract) work better in novel form. An elevated pulp adventure that has some great ironic twists.

Sherlock Holmes vs. Dracula or The Adventure of the Sanguinary Count by Loren D. Estleman (Complete) Thrift find purchased based on the premise alone. Exactly what you'd expect but not much beyond that. It's at its best when you get Dracula directly interacting with Holmes and/or Watson.

Spider-Verse by Dan Slott, Christos N. Gage, Mike Costa, Dennis Hopeless, and many many more (Complete) Really enjoyed reading this but am baffled by its production. Why the issues aren't collected in chronological order, I'll never know. I know the book is over ten years old now but the writing (especially all of the Spider-Women) really stands out as...not great. All but the Superior Spider-Man essentially sound the same (perhaps the point?) but Gwen and Jess and Cindy mostly talk about things like body image and pheromones and it's glaring. I'm curious what I'll think upon a second readthrough (reading in order, and after the first wave of nostalgia has completely rinsed off) but I definitely think this story walked so the movies could break the speed of sound.

The Unbeatable Squirrel Girl Beats Up the Marvel Universe! by Ryan North and Erica Henderson (Complete) North's writing and Henderson's artwork are the perfect blend for such a bright and enthusiastic character. Unbeatable Squirrel Girl is such a great series (which I gotta go back and finish) and this is an equally great introduction to the character.

Superior Foes of Spider-Man Vol 1 by by Nick Spencer, Marcos Martin, and Steve Leiber (Complete) I was really excited for this series (the premise! the cover art!) but the pacing, humour, and art just didn't connect. Honestly really bummed that I didn't like this more.

……….AUDIO……….

3D6 Down the Line (Podcast) A nice change of pace from the modern D&D games I play in. They use Old School Essentials for their system (more akin to 2nd Edition D&D) and play with a mindset similar to the 70s style of play (treasure for experience, everything is lethal). I'm still having trouble distinguishing some of the voices from each other, but it's a great listen.

……….GAMING……….

Oz: A Fantasy Role-Playing Setting (Andrews McMeel Publishing) Tuesday crew watched a peaceful inauguration and gained notoriety for saving a neighbourhood from roaming monsters (you can read all about it here!) and the Mof1 crew is dabbling in dangerous contracts with dangerous people (all for a cap that controls the winged monkeys).

And that's it. See you in August!

[itsdeniini]

★☆NI-KI'S FUTURE PATHS IN CAREER ꨄ︎

💿°｡🎧✮ note: i am a self-taught tarot reader, and the interpretations i provide are personal. if anyone would like to share their own insights, i would be more than happy to hear them! please be kind <3

knight of swords, justice, page of cups, ace of swords.

In terms of his career path, I see him going in a direction that will require his creativity, communication and leadership skills to prosper. He is passionate and driven to reach his goals. I see him being a good orator who can convince his audience of his ideas. He may also be involved in media, such as television and radio. He will likely achieve success and recognition for his efforts.

He will likely pursue brand deals that align with his personal style and values. He may collaborate with fashion designers and brands, as well as beauty and lifestyle-focused businesses, as these collaborations could enhance his brand reputation. He has the potential to be a highly sought-after ambassador for various brands.

Ni-ki obviously has the potential to launch his own brand. He has the skills and ambition to create something unique and authentic that appeals to his fans and the general public. His creativity and vision can translate into developing products that represent his personal style and values. Through his own brand, Ni-ki can bring his unique vision and style to a wider audience. He could also pursue this endeavor with a business partner or collaborative effort with other influencers to create a line of products specifically tailored to his target buyers.

Outfits that match his potential clothing brand aesthetic the most:

His brand logo will be designed by himself. It will be something abstract and expressive. It could use bright colors and unique shapes to create an eye-catching and intriguing design. The overall aesthetic might be edgy and futuristic but also have an earthy touch.

Hebi (modern Japanese word for snake) will feature in the logo design, blue being the primary color or an accent color.

In broad strokes, Ni-ki will find his own path and will convey his ideas freely more often. His creative vision and ambition may lead him to explore new avenues and opportunities. He may discover new ways of expressing himself, which could also lead to his own personal style and aesthetic being further developed. He may find himself in unexpected situations and meet new people who challenge and encourage his growth.

[ericdeggans]

Why you should care about the TV Critics Association Press Tours, even if you are not a TV critic

Back in the day, years ago, it happened with regularity: A snarky story in one of the entertainment industry trade magazines taking a shot at the Television Critics Association’s twice-annual press tours.

Before we go on, a bit of inside baseball for context: the TCA is a group of critics and journalists who cover the TV industry, and two times a year we hold a conference of sorts in Los Angeles. Loads of major TV outlets participate, rolling out press conferences, receptions, set visits and interview opportunities to promote series and projects rolling out over the next six months or so.

The most recent TCA press tour, which I attended in Pasadena, Calif. (the picture above shows me giving the group's Heritage Award to Twin Peaks during the TCA Awards July 12), concluded in the middle of last week. And, predictable as an afternoon rain shower in Florida, The Hollywood Reporter rolled out a tough piece describing “The Incredible Shrinking Press Tour.”

“Frustrations with a staid press conference format, accelerated by Hollywood belt-tightening and the COVID-era shift away from in-person gatherings, to say nothing of severe budget cuts across the media landscape, have taken a visible toll on the press tour,” read the story, which quoted unnamed publicists of TV programmers sniping about having to participate. “An event that once stretched more than two packed weeks wrapped its latest cycle on July 17 after a thin eight days. Powerhouse streamers such as Netflix, Apple and Amazon were absent, and not a single programming executive took the stage to face down the press.”

(cast of Brooklyn Nine Nine at a TCA set visit)

True enough, this year’s press tour was smaller than previous outings; the event has struggled to return after COVID sidelined much of the TV industry. But Hollywood has also been buffeted by the impact of two strikes last year and concern – so far averted – that there might be a third this year.

A surplus of TV programming, increased production costs and caution about this year’s climate has led some big projects to be delayed until next year – more than one person in the industry joked to me about the phrase many are repeating in Hollywood, hoping to “survive until 2025.” Downsizing in media has also made it tougher for journalists to find the time and financial resources to attend press conferences at a swanky hotel which stretch out over more than a week.

Turns out, there’s lots of reasons why the tour has slimmed down this year, as the industry itself recalibrates and refocuses amid lots of institutional change.

But, as someone who has attended TCA tours since 1997 – yes, I’m THAT old -- I’m here to say that the tour remains a relevant and useful part of covering the industry, despite the anonymous sniping of assorted industry types.

(Yours truly visiting The Price is Right set during a TCA tour.)

When I first began attending tour, as the TV critic for the St. Petersburg Times in Florida, the event was filled with critics like me from regional papers from across the country. We were trying to give our local readers insight into an industry which came into their living rooms nightly for hours at time. And for me, the TCA tour was an invaluable crash course in modern television.

Over the years, I got to know publicists who arranged exclusive visits to the sets of ER, Six Feet Under, Sex and The City and Law & Order. I quizzed industry leaders at on the record receptions, including former CBS head Les Moonves, Fox News founder Roger Ailes, Survivor and The Apprentice executive producer Mark Burnett, FX head John Landgraf and Scandal/Grey’s Anatomy creator Shonda Rhimes.

When the late, lamented UPN network created a sitcom that felt a bit too close to being a veiled comedy about slavery – the show was called The Secret Diary of Desmond Pfeiffer, look it up – I was there to challenge the network’s executives and its producers. When Ailes and the Fox News anchor Chris Wallace tried to deny the way the cable newschannel favored conservatives, I was there, again, with access I would never have gotten any other way.

Most recently, in February, I asked producers from The Bachelor franchise why the show has struggled to handle racial issues – leading to losing its longtime host Chris Harrison and, possibly, the show’s creator Mike Fleiss. Their eight seconds of silence before a roomful of TV critics spoke volumes and sparked headlines nationwide.

There are few other major industries in America where the people who run things are expected to regularly face a group of journalists asking questions, sometimes pointed, about the decisions they have made. Given that media is occupying an increasing portion of our lives, having a forum where the press can interrogate the work of newscasters, documentarians, reality TV producers, media executives, series showrunners and big stars in public is incredibly valuable – both to journalists and the general public.

(former ABC entertainment president Jamie Tarses faced tough questions from reporters at TCA in 1997.)

The TCA tour has drawn lots of barbs over the years, from complaints from TV outlets about how much it costs to present press conferences, receptions and special events, to criticisms about the value of promotional items given to critics (that’s been severely toned down from the time, decade ago, when one network handed me a free cellphone after a press conference. I handed it back, noting it was far too valuable a gift to accept.)

But, as a former TCA board member from many years ago, I think what really rankles some in the TV industry is how little control they have over what happens at tours. Despite loads of coaching from experienced publicists, it is tough to predict what questions will be asked during a 40-minute press session, and an off-the-mark response can resonate for a while (Besides The Bachelor producers, I remember stars like Roseanne Barr, Katherine Heigl and even Donald Trump earning lots of critical coverage from bad press tour appearances.)

Entertainment trade publications have also often cast shade on the press tour, which regularly invites legions of less powerful and more removed journalists into the kind of access they usually enjoy.

What keeps the tour going, beyond its value to TCA members, is the ever-increasing need for publicity to punch through a media environment filled with more noise, distraction and competition than ever. Those who make TV need more ways to reach consumers, and the TCA tours still offer programmers the opportunity to reach journalists who connect with millions of consumers every day.

If the TCA press tours go away, what will be left is overly stage-managed press conferences wholly controlled by the TV outlets, with access severely limited to journalists and critics in big cities like New York and Los Angeles.

I hope that doesn’t happen. Because my time at the TCA has been among the most rewarding experiences in a long career, offering a window into the TV industry that is unparalleled and always enlightening.

[accio-victuuri]

Exclusive丨What kind of story is "Zanghai Zhuan" telling?

As soon as the news that "The Legend of the Hidden Sea" was about to start filming came out, overwhelming rumors swept across the world. It was true or false, and it was just a blur.

Information about the casting, story, formation of the behind-the-scenes production team, etc. have become hot topics among netizens, which has also pushed "Zanghai Zhuan", which has not yet started production, to the forefront. But at the same time, such high attention also shows that the audience is looking forward to it.

What kind of work is "Zanghai Zhuan"? What kind of story is being told? What is his style like? Why choose Xiao Zhan? What new insights will Director Zheng Xiaolong gain when he returns to the creation of costume dramas? With these questions, Entertainment Management Studio contacted the person in charge of the show and learned about the behind-the-scenes story of the show.

Create an independent and complete original script

As one of the producers and producers of the show, Chunyu Film and Television has been involved in this project for more than two years. In the early stages of script creation, Chunyu Film and Television reached a consensus with Quantum Pan Entertainment ( one of the producers ) - "Zanghai Zhuan a" will be an independent original story, and we strive to create a brand new series.

This series will kick off with the personal growth of the male protagonist Zang Hai.

"Zanghai Zhuan" tells the story of Zhinu, the son of Zheng Kuaiduo, the Imperial Supervisor of the Great Yong Kingdom. His whole family was wiped out overnight. Bearing a blood feud, he returned to the capital ten years later under the pseudonym Zanghai. With the help of the construction techniques and manipulation techniques he has learned for many years , all the way to wisdom and treachery, and finally the injustice was avenged.

This is a period drama with revenge as the main line. The character of the male protagonist Zanghai is a contradictory and complex complex. On the surface, he is calm and calm, proficient in the art of manipulation, good at scheming people's hearts, and sworn in with his enemies; but deep down, he has not given up the pursuit of justice and truth, and has never lost his good nature.

During the script creation process, the screenwriter will send the script to the director every once in a while. The director will also give very detailed opinions. These opinions are not just about raising problems, but also down to solutions. He focuses on the polishing of each scene and strives to make every scene more exciting while maintaining its excitement.

Chief director Zheng Xiaolong and director Cao Yiwen's requirements for the overall temperament of the play are - although the background of the era is fictional, they should avoid characters using the language and thinking of modern people, and at the same time, the audience should not find the lines obscure and difficult to understand.

A costume romance drama with a realist core

If we want to give "Zanghai Zhuan" a clear classification in terms of subject matter, it should be a costume legendary drama, striving to present an artistic expression that coexists with refreshing feeling and depth.

Zanghai experienced the pain of annihilation of his family when he was young. Later, he learned the art of Kanyu and the art of annihilation from his master. As an adult, he became a strategist and devoted himself to finding the truth of the year and avenging his family. This was his first and only goal. But in this process, he will also have changes and struggles, as well as inner entanglements and conflicts.

On the road to revenge, he had the guidance of his masters and met his childhood friends again. Zanghai felt the warmth and beauty in life besides revenge, and experienced some precious emotions in life that he had never experienced before. Should he do it for Will these melt away the hatred sealed in my heart? When borrowing the hands of others to seek revenge, will Zanghai feel guilty for those who were taken advantage of?

Judging from the above-mentioned general story line, "Zanghai Zhuan" is not only a "legendary drama with a male protagonist", but also displays and discusses complex human nature.

"Zanghai Zhuan" also has very strict requirements in terms of styling, art, props, etiquette, etc. All staff members submitted proposals and went through layers of screening before finally joining the crew. In the early preparation process, historical consultants and etiquette directors have already started working. They will feedback some problems in the script at any time, and will also make reasonable suggestions on art, modeling and other related plans.

It can be as small as how to design the cloud patterns on an official uniform, what style the official uniforms and official hats are, or as big as whether the buildings and props made by comparing ancient paintings are in line with the characteristics of the historical dynasty they are referring to. Directors will all work with related creations. The team held in-depth discussions and strived to have evidence and history to rely on.

Zheng Xiaolong’s team has not been involved in costume themes for many years, but this track is not unfamiliar to them. In the creation of "Zanghai Zhuan" this time, the directing team adheres to their consistent creative concepts, adheres to the realistic creative method, and uses realistic techniques to strive to make the story and characters solid, and these are the characteristics of any project that Chunyu Film and Television does. the rules.

Casting Tips

The casting of "Zanghai Zhuan" was brainstormed in the early stages, but the final choice was made by the directors. Every confirmed actor is the one that everyone thinks is most suitable for the role.

In several early meetings, the directors believed that Xiao Zhan's image and temperament were very suitable for the role of Zanghai. They had a lot of discussions with Xiao Zhan about the story and characters, and Xiao Zhan also put forward many of his own ideas and questions. According to the producer, Xiao Zhan is always very detailed when discussing the story of the script. When talking about a certain scene in the script, he will express a lot of his understanding of the content.

For him, although "Zanghai Zhuan" is a costume drama, the creative direction and performance method are completely different from the previous works he has participated in, so it is also a new challenge.

Simply put, from the perspective of the plot, it is a costume legendary drama about the growth of the male protagonist; and from the perspective of the core setting, the protagonist faces the contradiction and struggle between the fate of his family and country and his personal emotions, and faces the "ego". We will wait and see what choice he will make in the end.

article source

[vivicantstudy]

17 Compelling Reasons to Start Learning Mandarin Today!

1. Cultural access: Mandarin opens doors to understanding China’s rich cultural heritage, including literature, philosophy, and art. It’s the key to exploring classical works like Confucian texts and contemporary media without relying on translations.

2. Cognitive benefits: Studies show that learning Mandarin enhances cognitive abilities, such as problem-solving and memory. The complexity of Mandarin characters and tonal distinctions challenges the brain, leading to better mental agility.

3. Future-proofing: As China continues to grow as a global economic powerhouse, being fluent in Mandarin positions you advantageously for future job markets and international business opportunities.

4. Travel convenience: Speaking Mandarin makes traveling in China, Taiwan, and Singapore significantly easier. It helps with navigating public transport, understanding local customs, and accessing services, enhancing your overall travel experience.

5. Business and networking opportunities: With China being home to many of the world’s largest companies, Mandarin can open doors to new business ventures, partnerships, and job opportunities in a wide range of industries.

6. Learn a completely different writing system: Mandarin involves learning thousands of characters, offering a unique cognitive challenge. This skill not only enriches your understanding of the language but also provides insight into Chinese thought processes and cultural nuances.

7. Stand out in the global job market: Fluency in Mandarin is a rare and highly sought-after skill. It can distinguish you from other candidates, making your résumé stand out and potentially leading to higher salary offers and unique career opportunities.

8. Influence of Chinese pop culture: Access China’s booming entertainment industry, including hit movies, music, and television shows. Understanding Mandarin allows you to enjoy these cultural products in their original form, without relying on subtitles or translations.

9. Connect with Chinese heritage: For those with Chinese ancestry or interest, learning Mandarin facilitates a deeper connection with your heritage. It allows you to engage with historical documents and family traditions that are often only accessible in the original language.

10. Enhance travel experiences in Asia: Mandarin proficiency improves your travel experiences across multiple countries in Asia, where Chinese influence is significant. It helps you interact with locals, understand regional dialects, and fully immerse yourself in diverse cultures.

11. Access to advanced technologies: China leads in fields like artificial intelligence and fintech. Understanding Mandarin gives you direct access to cutting-edge research, innovations, and trends emerging from these technology sectors.

12. Build stronger personal relationships: Learning Mandarin allows you to communicate more effectively with Mandarin-speaking friends, colleagues, and partners. It deepens personal connections and shows respect for their language and culture.

13. Tap into Chinese academic resources: China’s academic sector is growing rapidly. Mandarin proficiency enables you to access a wealth of research, academic journals, and educational materials that are increasingly influential on the global stage.

14. Gain insights into global trends: Understanding Mandarin helps you stay informed about global trends and innovations directly from China. This knowledge is valuable for staying ahead in industries like fashion, technology, and social media.

15. Improve cultural sensitivity: Learning Mandarin enhances your understanding of Chinese social norms and etiquette. This cultural insight is crucial for navigating personal and professional interactions with respect and understanding.

16. Develop long-term cognitive benefits: Mandarin’s unique challenges, such as tone recognition and character memorization, promote long-term cognitive development

These were my favorite reasons why I study Mandarin! I’m loving the journey because it connects me deeply with a new culture and opens doors to Chinese technological innovations. Plus, the challenge of learning Mandarin is boosting my cognitive skills and problem-solving abilities. Thanks for reading up to here!

[probablyasocialecologist]

Through time, we’ve seen a progressive narrowing of how we experience entertainment: from the collective cinema experience, to the family viewing of the television, to the even narrower audience of the streaming service and various video apps, and now the expectation is that we’ll strap a set of screens directly onto our faces to ensure we can’t share an experience with another person. The development is a worrying one, and illustrates how disconnected tech executives are from real life.

The leaders of the tech industry are not only separated by much of the public because their wealth, experience of the world, and exclusive lifestyles, but also seem to have stunted social lives, or at least a lack of insight into the social nature of regular humans. They think an ideal way of living is one where as much as possible is mediated through digital technology because they have a specific interest in the tools that made them rich and powerful, and continuing a process that put them in that position in the first place. And while people have been open to going along with their visions, it’s pretty clear there’s a growing frustration and even dissatisfaction with the world they’ve created. Doubling down on it seems like a bad idea.

[...]

Given that the Vision Pro will retail for $3499 and won’t launch until 2024, with an initial rollout limited to the United States, I think we have a unique ability to ensure this project fails. We’ve already seen how ridicule can take the hype out of a tech bubble, most recently with crypto and the metaverse, but a decade ago the same thing happened with Google’s attempt to make its Glass smart glasses happen. Instead, its users were termed “Glassholes” and the product was scaled back and sold as a niche enterprise tool.

[elennemigo]

“Paddington” producer-distributor Studiocanal is gearing up to shoot “How To Stop Time,” starring Benedict Cumberbatch and with D.C. Moore (“Mary & George”) and Tomas Alfredson (“Tinker Tailor Soldier Spy”) on board as key creative talent.

Production on the title by Studiocanal and SunnyMarch will be announced by CEO Anna Marsh on Monday at her keynote at Cannes’ MipTV trade fair. 

Based on Matt Haig’s bestselling novel, “How To Stop Time” is written by Moore with Alfredson set to direct. Filming will take place in London and other parts of Europe in 2024, said Marsh. 

Published in 2017, “How To Stop Time” turns on Tom Hazard, a London high-school history teacher, apparently 41, but suffering from anageria, or a very slow ageing process, which means he has lived since the 1500s. Affected by a life of perpetual loss, Tom is part of a like-conditioned secret power elite whose only rule is: Never fall in love.Then he meets a captivating French teacher at his school who seems equally fascinated by him.

Robyn Slovo (“Tinker Tailor Soldier Spy”) is series producer alongside Cumberbatch, Adam Ackland, Claire Marshall and Leah Clarke for SunnyMarch (“Patrick Melrose,” “The Child in Time”). Moore, Alfredson, Haig and Jamie Byng executive produce. Ron Halpern, Studiocanal EVP global production and SVP global production Joe Naftalin executive produce and are overseeing for Studiocanal.  

“Losing his loved ones, his existence is in many senses one of perpetual loss. So you can imagine Benedict being absolutely perfect for the role,” Marsh told Variety in the run-up to her keynote. 

“How to Stop Time” will also key in on a love story that, for reasons beyond its lovers’ control, seemingly cannot last. “There are many themes that hit home,” she added.

Cumberbatch said that when he first read “How to Stop Time,” “the potential of this story was immediately obvious.” “In his inimitable style, Matt once again explores what it is to be human and what it is to live a life – a very long one in this case – with pathos, insight, humor, drama and inspiration,” the actor-producer continued. 

He also praised Alfredson for being “the perfect person to capture the scale, tension, and sense of humour alive in DC Moore’s adaptation.”

Canal+ will air “How to Stop Time” in France, throughout Africa and in its six territories in Eastern Europe. Beyond the Canal+ footprint, Studiocanal will look to take the series onto the open market.

As it looks to build an even larger presence in the English-language scripted space and address international audiences, Marsh confirmed to Variety that Studiocanal has acquired an equity stake in London-based Strong Film & Television, co-founded in late 2020 by “Broadchurch” director James Strong and Matt Tombs, a former executive at the BBC and Paramount.

“We have the appetite to make more globally-reaching shows, and a lot of the talent for those kinds of international shows is definitely in London. There’s a lot of great talent there,” March said.

[consanguinitatum]

DT talk throwback: my interview w/David Blair, director of Takin' Over The Asylum

Over half a decade ago now I was a writer for David Tennant News/DT Forum, one of the bigger unofficial fan sites of DT's at the time (now sadly defunct). During my time there, I got the chance in Jan 2016 to interview David Blair - most notably the director of Takin' Over The Asylum, though he worked with DT in three other shows - about those projects, and what he remembered about David. I didn't want this interview to sink into the depths of the Wayback Machine and I thought y'all might enjoy reading it, so here is that interview in its entirety:

David Blair, Director / Front Cover of BBC DVD for Takin' Over The Asylum (UK)

Hello Mr. Blair! From 1992-1996 you worked with David Tennant on four separate television shows:  Strathblair in 1992, The Brown Man in 1993, Takin' Over The Asylum in 1994 and A Mug's Game in 1996.   Were you at all involved in the casting process for Strathblair, the first project you worked with David on... If so what did you see in the young actor that won him the role?  And how did that translate into choosing him as Campbell Bain?

I was a Producer at the BBC before I started directing. David was a student at the Royal Scottish Academy of Music & Drama in Glasgow. He asked if he could meet me just to talk through procedure for TV, interviews, etc., as the college appeared more interested in theatre than camera. Indeed, frowned on the latter! He’d be about 18 then. I certainly knew from the outset that he ‘had something,’ and I gave him a few minor opportunities as soon as I embarked on my directing career. To be clear, I only work with actors I want and believe in – still do. Some might say my own career has been stifled by this obduracy but I don’t care. My need of working with great actors is paramount and David’s a shining example of what makes it all worthwhile. I commissioned Takin’ Over The Asylum for the BBC and worked closely with the writer throughout the creative process. I knew as soon as I read the screenplay, David was going to be perfect for Campbell. But I’m not a fascist about this kind of decision-making, so I mentioned to the writer and Casting Director I had a boy ‘in mind’ for the role. I didn’t oversell; I knew he would make it work for himself. There may have been some minor scepticism at first, but when he did his audition, he blew them away.

David's audition tape for Takin' Over The Asylum

Many of David's fans have seen Takin' Over The Asylum and are well-versed with it. Can you talk more about Strathblair, The Brown Man and A Mug's Game, and David's roles in each?  Little is known about the roles he played in those productions. Can you give us any insight into the stories behind all three of the projects themselves, and what was it about David in those years that made you want to cast him in all of them?

In truth, Strathblair and The Brown Man were merely cogs in my directing wheel. They weren’t aesthetically of great merit but gave me a few credits to kick-start my career. What I needed was a ‘signature piece’ and that came along with Takin’ Over The Asylum. In many ways, I regard that as the start of my directing career. In those days, without a high-profile production on your CV, you would more than likely be destined for a treadmill of soaps and ‘continuing drama’. Before Asylum I was picking up scraps; after it, I was being asked what I wanted to do. Thus A Mug’s Game became my second collaboration with Donna Franceschild, who’d written Asylum. Ken Stott, Katy Murphy and others from Asylum were already on board - and really? We just wanted David to ‘be in it’. It wasn’t a huge role but he kindly agreed to come in and do it for us. Played a music student (at the Scottish Academy, as it happens), as I recall but, again, hugely professional and accomplished. In one scene, he had to throw up over the railway tracks at Partick train station in Glasgow.... ah, an enduring memory.....

Did David do anything on set of any of the productions he worked on with you that totally took you by surprise or that was unexpected?  What did he do?

I think in those days, more than anything, it was important to keep in mind just how young he was. This boy of 21, was commanding the space, displaying an extraordinary ability to create laughter and tears; sometimes both at the same time! He had natural charm and wit and that, combined with this wonderfully spontaneous joie de vivre, made him a joy to be around both on the set and off.

What do you feel David's most unique/valuable attributes as an actor are?  What do you think separates him from his peers as he has matured into the career he has today?

When I look at him now I still largely see the same lad I met all those years ago. Still bursting with enthusiasm and an absolute desire to come out on top – which he’s done consistently. He’s retained his appetite, clearly, and devoured a huge range of roles – never seeking a ‘comfort zone’ in the process. It’s also struck me that he’s never attempted to be somebody he’s not and that truth, integrity, diligence – some might say, ‘Scottishness’ (!) – defines the man we see today.

David has said he considers Takin' Over The Asylum a career-defining project for him. What is your reaction so many years down the line to that comment?

I’ve always been rather humbled by David’s regard for myself and Takin’ Over The Asylum. I genuinely never felt I did anything out of the ordinary. I picked the best man for the job which, God knows, he underlined in spades once he played the role. He gave me as much as I gave him. Of course, there are occasions in my own career where I look back at defining moments and say “if it hadn’t been for so-and-so”.... but, I guess, the reason why we can reflect in that way, is because we didn’t let anybody down. David didn’t – and I hope I didn’t.   Looking back at Takin' Over The Asylum all these years later, do you feel it still holds up as well as it did?  In retrospect do you feel it helped shed as much needed light on the mental health industry as you'd hoped?

Funnily enough, somebody called me the other day to say he’d sat down and watched all six episodes and couldn’t believe how well it’s stood the test of time. I think I agree. I suppose because it’s a subject matter nobody would touch with a bargepole these days – that’s keeps it fresh somehow. All the scripts were vetted by the Association For Mental Health before we signed off on them. The writer had had mental health issues and wanted it to be authentic and in no way derisory. In fact, I remember many of the extras I cast all had had mental issues – one in particular having been institutionalised for 37 years!

I'd like to explore your decision to cast institutionalized patients as extras in Takin' Over The Asylum in a bit more detail. Was this related to filming the series at Gartloch Hospital, and if not, how was the idea first presented and eventually implemented?  Was this something you and Donna discussed as part of your intention to make the show as sensitive to the subject matter and as authentic as you could?  And did you run into any problems with compensating the extras, or any other issues relating to their Sectioned status?

It was simply an idea I had not just to add authenticity, but to have these guys make a worthwhile contribution to the film – and also make them feel good about it, if you like. I wanted to dispel the notion that all mentally ill people were screaming banshees – the story alludes to this anyway – by whose definition are we mad? I also thought it would help the non-mad actors (if there is such a thing!!!) to be surrounded by the ‘real’ rather than the ‘made up’ and thereby enrich their own performances.

Speaking of Gartloch Hospital, how did you choose that particular hospital for the filming location?

Gartloch was one of several mental hospitals around Glasgow being run down at the time, as part of the government’s controversial ‘care in the community’ programme. In other words, ‘we don’t want to pay to look after them any more, so you do it’. Of all the ones I looked at, Gartloch – not least with its huge tower – seemed to provide the best ambience; most suitable for the story and visually rewarding also.

Exploratory views of the interior and exterior of (now abandoned) Gartloch Hospital

As you mentioned, you do certainly seem to gravitate towards actors and writers that inspire you. Years ago you spotted a certain something in David -- so if given an opportunity, would you be willing to work with David again and if you could choose your own ideal role for him, what would that role entail?

Nothing would give me more pleasure than finding a project that both David and I could work on. David, creatively, is a bit of chameleon, so I don’t think there’s an ‘ideal role’ for him as such. A brilliant piece of writing and a character that takes him a place he hasn’t been before would be the simple remit.

Over the years many fans of Takin' Over The Asylum have expressed their desire to know what happened to Campbell and Eddie after we left them. If you were to continue their story, where do you think Campbell and Eddie would be today?

My hunch is that Campbell would have gone on to be a success in the music industry and Eddie would have tumbled into an even darker place, fueled by alcohol and self-doubt. I’ve often imagined Campbell inadvertently bumping into Eddie while he was sleeping in a cardboard box and Campbell doing for Eddie what Eddie had done for Nana in the very first episode.

Lore is - from Donna amongst others -- that you asked her to take a minor character from a play she'd written and make a drama around him. Of course that character is Ready Eddie McKenna. Could you tell us what the name of that play was?  And what was there about Eddie in the framework of that play that made you see him as the kind of character that could carry an entire series - and that Donna was the woman to write it?

With regard to the question below, it’s strange how little fateful moments define what we are and what we do. In my early days as a Producer, I commissioned Donna to write one of four monologues I was overseeing – I didn’t direct it, as it happens, but it was a sterling piece performed by Katy Murphy. The BBC – not myself – then commissioned Donna to adapt a stage play she’d written called And The Cow Jumped Over The Moon to fit a play strand we were doing at the time.

On the day of the studio, the Producer overseeing the project, was taken ill and they asked me to fill in for her ‘in the gallery’. (This was an old TV play where you worked in a rehearsal room for, say, three weeks then shot the whole thing – multi-camera – in a matter of days). Of course, as a result, I became familiar with the material and was indeed taken by this minor character – Eddie – who was a hospital radio DJ. After that, I asked Donna if she felt there might be mileage in creating a serial based around this character. I’d love to go into great and meaningful depth about why I thought that but, in truth, it was just a hunch – although it was one relative to how Donna was writing at that time; I believed she could deliver something unique with wide appeal. She hadn’t done any original TV work at that time (apart from the monologue) and had worries.

It took her some time to finally come up with a first draft – the breakthrough, she told me, came when she switched from just a hospital to a mental hospital. After that, we worked the episodes one at a time getting precisely where we wanted to be on one, before moving on to the next. Not an option that’s often available these days. During this process both Donna and I were supported hugely by the then Head of The Department, Bill Bryden. And that support manifested most clearly in simply leaving us to our own devices. No script executives, story editors or any other distractions. The work we ended up with had the footprint of nobody but ourselves.

And that's that! I hope you all enjoyed this unique insight into Takin' Over The Asylum and DT's work with David Blair.