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She would have run amazing fan websites 🥺♥️

@thisweekinfandomhistory y’all would love this

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Back in 2022, Rapunzel's Tangled Adventure, Monsters At Work and Walt Disney Animation Studios "Wish" & "Zootopia 2" alumni Tom Caulfield revealed that he alongside The Ghost and Molly McGee creators Bill Motz and Bob Roth pitched a crossover series featuring The Rescuers and The Great Mouse Detective at Disney Television Animation.

The series would have featured the descendant of Basil working at a modern version of The Rescue Aid Society more akin to The Kingsman or Mission: Impossible lead by Bianca.

According to Caulfield the project might got scrapped due the timing of the release of Chip 'n Dale: Rescue Rangers (2022)

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I've said it before and I'll keep saying it, the internet used to be an escape from reality, now it's just an extention of reality and all of the bullshit that comes with it.

Fandoms have gotten way too "normalized" the past decade... we used to thrive on being the "weird freaks" other people in "the real world" would be disgusted by. Honestly, the best way to tell if you can trust someone in a fandom is wheter they think "weird/freak" is an insult or not.

Like sure, I'll never pretend like 2000s/early 2010s fandoms were perfect (and if there's one thing I'm glad was left behind is how normalized hating female characters for "getting in the way of my gay babies uwu" was back then), but it wasn't a "morality" witch hunt like what current fandom culture is like.

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A slightly deranged review from a long time Dragon Age fan.

What this game promised to be in terms of a Dragon Age game: - Most romantic - Offer a few key world state choices that would have great plot impact, which emphasis on wanting to give players choices that have a visual impact, not just codex. - The most complex, deep companions yet. - Choices that matter.

What I got: [SPOILERS] - The shortest, chastest romances I've ever seen, where the end goal is quite literally sex. The final romance scene is the sex scene, after you've been locked in for some time. No sex before marriage, lol. Even the shortest romance in DAI is longer than the longest romance in this game. It's probably the least sex positive game out of them all. - The only choice that has visual impact is the Solas option, and even that doesn't really give anything major. Solas has maybe one unique line? Otherwise, there is no major change. The other two choices (Did you disband the Inquisition? Did you vow to save or stop Solas?) have no difference, either. It's a matter of do you want your Inquisitor to say "comrade" or "friend." The Inquisition doesn't matter. The South gets nuked off-screen anyway. In codex. So two of the three world state choices we get are mostly represented in codexes anyway. - I have nothing against the companions in Veilguard, but to call them the most complex is somewhat... false. Solas is a complex character. Thom Ranier is complex. Vivienne de Fer is complex. Fenris, Anders, Merrill, Isabela, Morrigan, and Sten are complex characters. They are characters who contain complexities that are not easily swept away. ALL the Veilguard companions are your next door neighbors. They're normal. There's nothing wrong about that, but they don't challenge you. There's nothing to think about. Lucanis isn't going to make you seriously consider your morality, despite being the "prince" of the Crows - hired killers. Neve's standing and possible privilege as a human mage in a magocracy is never commented on. These are just two examples, but the same applies for the rest of the companions. None of them are HIDING anything. I will reiterate that there's not anything necessarily WRONG with that, but it does mean they lack the flare of drama that previous companions had that made them brain-scratchers. - Choices don't matter. No matter what Rook does or says, you're railroaded into a scrappy, heroic person who is always right. The worst thing you can do in this game is just NOT do the companion quests. - Despite being a RPG, there is no roleplaying. It's more action/adventure. But it gets a little slow in places for an action/adventure. And it doesn't have enough roleplay value to be a satisfying RPG. - Pretty much the only reason I can see replaying this game is to see the opposite city routes. You don't have to finish the game to get the full romance, either. - No lore continuity. Elves, qunari, dwarves, and humans just living in peace in Tevinter. Some fantasy where poor communities aren't racist doesn't explain this away. - Orientalism in Rivain? - Reducing what was originally a story about slave liberation and rebellion to "love and murder" over Solas' ex situationship. - The game can understand gender that exists outside a binary but somehow can't understand multiculturalism. - Why does Bellara, a Dalish elf, have white guilt?

Some disorganized additions:

- Tonal whiplash. You go from losing a supposedly beloved companion to the final romance scene (the sex scene) in the space of 5 second. - You can't speak to your companions outside cutscenes. However, you can go around the Lighthouse snooping on your companions having nice conversations amongst themselves. - Not a SINGLE companion bothers to check in on the PC even once. You played as a Grey Warden who lost Weisshaupt? No one cares. Emmrich will check in on Davrin but not you. The only point in the game where they show even a smidgeon of care for you is after the Regret Prison, but they don't actually show it. You're pulled out and it immediately cuts to a war table scene. No emotional reunions. - This is Found Family - but only for the companions. Bellara has the opportunity to see Neve as a sister figure, but not you. This could roll into the lack of roleplay value in this game, but it really adds to the lonely element of this game. - "Okay guys, we lost the big game. Let's all take a step back and do some self-care exercises." But the game is Weisshaupt and the South is getting nuked. - Characters often feel like caricatures of themselves. Oftentimes this game feels like a fanfiction of the story and characters it's representing. Some of the things the characters say are not things that normal people would say. Because Rook never builds more than an entirely superficial relationship with their coworkers, it's entirely believable that the most moving thing Rook can think to say, whenever the obligatory Sad Moment happens to a companion, is "[Insert Name Here], I'm so sorry." - You could replace the Inquisitior with a cardboard cut out and it would have more life. - We already had a story about a disapproving parent who is hurtful to their queer child with Dorian. There was a missed opportunity with Shathann to explore the Qunari's view on gender, but only the Tevinter characters are allowed to talk to Taash about different gender identities. When Shathann talks about qunari gender identity, it's oppression. This game's handle on cultural identity is awful. And then they fridged Shathann. - Did you know Elgar'nan and Ghilan'nain, the ancient elven gods (we won't say Evanuris even though that's shorter and more believable to Andrastians who might balk at the idea of ELVEN gods), have escaped from their prison and are blighting the world? The elven gods escaped and they're blighting the world, because they're blighted and escaped prison and are elven gods and are blighting the world, Elgar'nan and Ghilan'nain, those gods, who are elven, and escaped and are blighting the world. - This game is Young Adult. This game is YA with all the darker, grittier elements from the previous game filed away, presented as "politically correct" with "ethical piracy" with no continuity in characterization because Isabela Dragon Age 2 would NOT say any of that. It's if Genshin Impact was a Dragon Age game, complete with the canned body language (cross arms). - The villains are one-dimensional. Aelia's "Minrathous dark truth" AKA Batman villain, Butcher dies after 1 moment of glory, the Dragon King is nothing sauce, if Elgar'nan was just a little bit more intelligent he'd have just smashed that moon into Thedas and called it a day, Illario's speech is ripped right from the Lion King. Gone are the days where antagonists had complex reasons for their actions. Gone are the days where characters were put into situations were there was NO good choice for them to make and we could judge them with the nuance they deserved. - Also did you know: Whatever it takes?

On the bright side, the CC is great.

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Why Fenris could Never Cameo in Dragon Age: The Veilguard

In the run up to Dragon age: The Veilguard, I was almost certain that Fenris would be our main legacy character from previous games. Not only has he been central in the comics released between DAI and DATV, he is an escaped Tevinter slave who's plot revolved around magisters, magic and the structural prejudices surrounding elves in Thedas. Not only that, but he's canonically in Tevinter killing slavers currently so he's geographically in the right place for us to meet him.

About halfway through the game though, it was clear to me: Fenris could never cameo in The Veilguard. Because he'd break it.

How the Veilguard treats Thedas is...odd to me, to say the least. I will be writing another post about how much I adored the expanded big lore in this game (the titans, ancient elves were spirits, where the blight came from etc.) and yet while these large lore expansions worked for me, the actual culture of modern Thedas is entirely softened, its sharp edges filed down until it's a sanitised fantasy world devoid of what made the franchise so vibrant and compelling in the first place.

So let's start with Fenris and slavery. In all three games, the reality of slavery is pushing at the corners of the world. In DAO Loghain allows Tevinter Magisters to enslave elves in order to raise money for his war effort. In DA2 Fenris is fighting to be free from slavers who will not leave him be, let alone the reminders that the city was built by slaves which are everywhere. In DAI one of the two possible mini-bosses is Calpurnia who was a slave, and characters such as Gatt and Dorian both show us how much slavery is tied into Tevinters culture and success.

But DATV the first game actually set in Tevinter where we get to see the famed Minrathous...it's like the game purposefully wants to avoid the issue. I can feel it tilting the camera away to not allow me to see. Slavery is mentioned, but never talked about in depth or as a specifically ELVEN problem in Tevinter. This might have been done to be less problematic, it feels ignored.

We are in DOCK TOWN. We are at the DOCKS. You would think that slaves from all over Thedas who are being smuggled and bought by various groups would be everywhere. You would think that the injustice in dock town would be partly built on the back of ships we've seen in the comics crammed with elves in chains. This is the world Dragon age set up for us. And yet...nothing. zilch. A tiny easily skippable side quest where we free a couple of venatori slaves, but only one of whom is an elf.

None of our Tevinter characters seem to have been influenced by their culture even a little bit when it comes to how they view elves; there is no moment when Neve fucks up and says something prejudiced, no moment when Bellara or Davrin are distrustful of her for being a Tevinter mage.

The same goes for Zevran; a character who epitomised the issues with the crows. The crows have consistently been characterised as very morally dubious assassins who kill for the highest bidder and who buy children on the slave market and torture them as they grow in order to assure that they reach maturity able to withstand torture without giving away a client's name. Zevran is very explicit about the fact that if you fail a contract your life is forefit.

Nobody responds particularly to you if you're an elf. Nobody trusts rook less for it in Tevinter. Nobody treats Rook any differently. Even DAI had better mechanics for this; with nobles in Orlais less likely to trust you as an elf.

Considering one of the main plot points of this game and what makes Solas sympathetic is the fact that he was fighting against the slavery of ancient elves...you'd think the game might want to mirror that in modern Thedas. It might want to show us how characters fighting to end slavery in Tevinter are similar to Solas and how the society Solas fought against was similar to the one that characters we love such as Fenris have fought against in modern Thedas. Maybe we'd want to explore how in a world of slavery like this, how could the answer NOT be to tear it all down? Maybe we should have that option at the end of the game so it really can chose whether we agree with Solas and his plans or not.

Adding Fenris to this game would entirely break the game because Fenris refuses to allow you to look away from this horror. He is a sympathetic character who had to learn to trust mages again because of course he didn't trust them. Of course he didn't. Fenris wouldn't allow the camera to shift focus because he's literally covered in the lyrium scars that show how slaves are used as experiments in Tevinter. Fenris WOULD question Neve on how she feels about elves and slaves. Fenris WOULD have things to say about Lucanis and the crows (let alone the fact Lucanis is an abomonation). So he could never be in this game; he'd drop a bomb on it's carefully constructed blinders to the very society its supposed to be set in.

And yet, in DATV, the crows are presented as...a found family of misfits and orphans? The politician who opposes the crows having absolute power in Antiva is framed as a comically evil idiot who doesn't understand that the crows are ontologically good. Yet...they're NOT. Crows in this game act more like a secret rebel group than an assassin organisation. We see no crow taking contracts with the VERY RICH venatori magisters despite being hired killers. We see crows just refuse to kill people despite having a contract because 'its crueler to leave them alive'. The crows don't feel like the crows here, they feel like a softened version of a cool assassin group who are cool because they wear black and purple.

Our pirate group are also sanitised; the Lords of Fortune are good pirates who only steal treasure that's not culturally significant. Theyve clearly read the modern critiques of the British Museum and have decided to explicitly stop anyone levelling similar critiques at them. There is no faction of the Lords of Fortune who aren't like this, no internal arguments about it. Everyone just. Agrees. And is able to accurately tell what a cultural artifact is vs. what treasure that you can have yourself is. Rather than showing us why a pirate stealing cultural artifacts might be bad (like in da2 where such a situation literally causes a coup and a war) it just tells us it's bad. But also pirates are cool so we still want them in our world.

This issue seaps into Thedas and drains it of any of the interesting complexity and ability to SAY anything that this franchise had before this game. It becomes a game about telling and not showing rather than the other way around. The games have ALWAYS asked questions about oppressive structural systems and their interplay with society, religion and culture and how these things can affect even the most well meaning character. Dragon age at its best IS a game about society and how society functions both for and against it's characters and what happens to societies built on cruelty and indifference. The best bad guys dragon age has given us are those who are bad because they embody these systems or have been shaped by them. Our main characters have had to wrestle with questions surrounding how to exist in these systems, fight against them, learn and grow.

Yet every group you come across in DATV is sanitised and cleaned up to the point of being as non problematic as humanly possible. None of our cast of characters have to wrestle with where they came from or the world that shaped them. None of them have to confront their own biases. They start the game perfectly non-problematic and end it that way too.

And this just...isn't what Dragon Age has been in the past. It isn't why I love the franchise. The whole game just felt, in a way, hollow. And this was a CHOICE and it is why the legacy characters are few and far between. Too many dragon age characters are just too...angry and complex for this game. You can feel them pulling their punches on this one. I have to imagine they did this because they didn't want to be criticised or have too much controversy? But I think it honestly goes far too much in the other direction and just makes it bland.

I can't imagine what I say here will be unique, but it is the basis for a LOT of my other thoughts on this game so I wanted to get it out of the way first. The softened Thedas and characters make this game by far the weakest in the franchise.

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what's the first movie you remember seeing in theaters? don't try and be all edgy and cool and say like tetsuo: the iron man. be honest.

Go!!

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My thoughts on Dragon Age The Veilguard alternate between "It has a lot of flaws but it's still a nice game with a lot of well thought details" to "GOD THIS IS BAD"

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Emmrich Veilguard is one of the best characters ever because he feels like a Terry Pratchett character who accidentally wandered into Dragon Age. I love this for him.

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What really kills me about Skeleton Crew being so good is that, at this point, I'm not sure it matters. The ratings have been terrible for the show, despite that I don't think I've ever really seen anyone say anything against it, which I think means that people are just absolutely burnt out on these live action shows and I can't really blame them. I've enjoyed things about all of them, I've enthusiastically loved several of them, but even I'm tired of stories that feel like they're half a story. To the point that, even when one of the shows defies that, it doesn't matter anymore. Skeleton Crew is the first show in a long time that feels like you can actually watch it without feeling like they're holding back something for another season or even another show all together. (Maybe Andor and Obi-Wan Kenobi escape this to some degree, but not as well as Skeleton Crew.) I think the idea is that they want that MCU kind of tie-in connectivity, they want a big shared universe that gets everyone hyped up to go watch everything--the problem is that D+ Star Wars just is not good enough or fun enough consistently to pull that off. So little of it is new, it's just filling in the gaps and telling half a story. Even The Mandalorian, which started out so much fun and a breath of fresh air, fell hard into this--it tells half of the story of the fall of Mandalore, it throws in characters that their primary story is in another series all together, it undercuts its own characters' arcs by having major moments take place in spin-off series. Very little feels whole anymore. And you can get away with that when you have a strong series of movies to build a foundation on, like with the originals and the prequels, but Disney has so thoroughly fucked up with the structure and direction of the sequels that what should be fertile ground for covering stories is leaning back harder on the originals and the prequels rather than the sequels. And then the shows themselves aren't building anything new and almost nothing ever finishes. Nothing is a satisfying arc or conclusion because The Story Can't Be Over Yet. (This is why I think OWK and Andor work best, they're leading up to an ending we already know. There is already a built-in end point. Rebels as well had an end point!) I think that's what Disney has really fucked up--almost nothing ever ends because they don't know what's going to be a hit, so they want the option to bring everything back and never let go of anything. They can't give The Mandalorian an actual story arc because they don't know where this story is going. They can't give Ahsoka a complete story because Felony can't let go of her. So even when Skeleton Crew comes along, tells a story that's satisfying in and of itself, has a satisfying conclusion and arc, it doesn't matter because so many people are exhausted and just don't care anymore. And I'm not sure Disney even realizes that's a major problem, because they're too focused on wanting to never let go of anything.

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Happy Birthday Ninjago!!!

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The only unproblematic shadow daddy:

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Fuck Neil Gaiman and Amanda Palmer. They can both burn in eternal Hell.

The fact that multiple women told Palmer the horrific things Gaiman had done to them and she was still bringing other women around him, introducing them to him, etc.

Sickening. That Vulture article is one of the worst things I've ever read. My god.

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i often wonder how many ppl from 2012 tumblr are still active on here

are u also still here, lurking in the shadows????

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First off, spin this wheel.

You just landed on one of 200 fandoms that have been very popular somewhere on Tumblr over the years. Topics were chosen either from appearing on a @fandom end-of-year recap or from my own long (long, long) site memories before that.

also all of these fandoms are definitely things that really exist in the real world and none of them are Tumblr creations

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"In the past, whenever the movies in Hollywood went stale and executives exerted too much control over artists, the industry had an important hand brake: the audience. If a movie bombed with audiences and box office numbers plummeted, then studios would have to change course. After all, the box office has always been viewed as the gold standard of metrics in Hollywood for a reason: it’s the most distilled and straightforward measurement of audience interest. Moviegoers must choose to buy tickets. They cannot skip around, fast-forward, or order groceries through the Prime app on their phone. No moviegoer enters a theater expecting to leave after two minutes. Until Netflix, one of cinema’s essential qualities, the thing that distinguished it from television, was the way it commanded an audience’s attention. Whether a movie grossed big numbers or bombed, a box office report carried an inadmissible truth: the vast majority of the audience experienced the movie in full, and its taste couldn’t be ignored.

How to predict the audience’s taste — what will make money and what won’t — is a question that’s plagued Hollywood since its inception. The problem was captured by the screenwriter William Goldman in 1983. “Nobody knows anything,” he wrote in his book��Adventures in the Screen Trade. “Not one person in the entire motion picture field knows for a certainty what’s going to work.” Netflix’s greatest innovation was that it found a way around this uncertainty: it provided a platform on which there are no failures, where everything works.

This is an important milestone for the largest Hollywood studios as they all set their sights on integrating artificial intelligence into their productions. In March, news outlets reported that OpenAI CEO Sam Altman had held meetings with top studios to showcase his company’s text-to-video generator, Sora. Clips generated by Sora that circulated online alternated between drone shots of cityscapes that look ripped from video-game cut scenes and animals rendered in the 3D animated style common to Hollywood productions today. Streaming platforms are the only place where this garbage makes any sense — a place where it would never be watched at all.

But by insulating their films from failure, the streamers have destroyed the meaning of success. Thierry Frémaux, head of the Cannes Film Festival and a vocal critic of streamers, understood this well when he presented the dilemma at a Cannes press conference in 2021. “What directors have been discovered by [streaming] platforms?” he asked. It wasn’t a rhetorical question. Frémaux began calling on journalists to name an auteur whose career had been launched by a streamer. By this point, Netflix had released more than seven hundred films in the US alone, with hundreds of directors attached. Yet as the Guardian later reported of the scene, “nobody could name any at all, in fact.”

Here, streaming platforms have achieved a strange paradox. Never has a group of studios gained so much control over the production, distribution, exhibition, and reception of movies by making movies no one cares about or remembers. Having not only failed to discover a new generation of auteurs, the streamers have also ensured that their filmmakers are little more than precarious content creators, ineligible to share the profits of any hit. It’s a shift that has induced a profound sense of confusion."

Casual Viewing by Will Tavlin, for n+1 mag

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the absolute 0 cultural impact of literally everything lately