#@ netflix hire me

[jgvfhl]

Count Vega comparisons:

I'd like to thank all those who worked to bring Wolf King to netflix, bc that series has single-handedly smacked my tail feathers out of art block. SO!!!! I am comparing my interpretation of Count Vega from the books and the show's portrayal. Why? Because it's an excuse to draw my absolute beloved book character of all time, thank you.

Main points:

I fucking miss his cape and long hair. Those losses are tragic. The books also mentioned his sword having a basket hilt, and those are fancy as shit, but it tracks cuz he's a pirate prince and a sword master.

Show!Vega has shinies!! Necklaces! Rings! Cunty hoop earrings!! All good things, all very piratical. I love the added pops of color on the show's design in general.

FINNED BOOTS??? J'ADORE TELLEMENT!! TIT WINDOW????? give whoever thought of that a raise.

The facial hair threw me, I'll be honest. Still not sure about it, but also Vega in the books remains my only fav in any fandom who is clean-shaven, so maybe it was time lol

In brief: Owlie read these books at the same time Owlie's hyperfixation on the Atlantic Golden Age of Piracy began, and the books are quite... Eurocentric, in a way? So my Vega has much more inspiration from Atlantic pirates, where the show clearly draws from Arabic and Mediterranean influences in fictional pirates. Fabulous.

SO what does an Owlie do with this information? Put them both in a blender, obviously:

I uh... um... waow.... uhm...

@banananutloaf4life @soranatus @holyrunawaychild @angstybreadstyx @the-witch-forever-lives uhhhh yeah those are all the Wereworld folks I know off the top of my head :P

[heartbreakterrorbird]

Les Mis and Comedie of Misery:

Act 1, Scene 1:

Inspector Javert enters M-sur-M to meet the Mayor

Inspector Javert

Is that Jean Valjean?? What the Sigma?!

Audience laugh track

[godidontgaf]

did I tell you guys about that dream I had yesterday where ricky had to build something for julian while he was away (for like an hour) and when julian came back ricky had used the materials julian gave him to make a catapult and start a war with the neighbours

artistic rendition

[hiraya-sa-dilim]

proposed change-up for "facade" for netflix

abandoning old dc references, we get urania blackwell, a woman depressed and isolated after developing an untreatable career-destroying (career being modelling / acting / anything that relies deeply on keeping up w conventional beauty standards) chronic skin disease. she tries different ways to kill herself but always chickens out last minute until, in her frustration, death actually heeds her call. death promises to take her like she wants... after a year. urania is furious, cursing death for prolonging her agony.

but then things start to just... get better. urania learns her friends and family don't hate her for changing and instead love her more strongly for it. she finds a community of those with similar afflictions and forms bonds with them beyond the hurt they share. she discovers a new talent she uses to excel at a new job she enjoys and basically expands her identity beyond her looks and shame.

and then death keeps her promise. except urania doesn't want to go anymore. but death keeps her side of every deal, always. urania mourns what would have been a long, fulfilling life ahead of her and settles for being grateful she was granted another year to be happy and loved again.

[vrooom-vroom]

drive to survive had better title an episode "papaya rules"

[hichdjb]

so apparently my art is gonna be in the background of a Netflix show???

for context: I'm currently in highschool and Netflix is going to film a show set in a highschool so they got some artwork off the walls n stuff to put in the background to make it ✨ authentic✨ (and also prolly to save on budget tbh) and something I made for an art project got chosen?? So my art is going to show up in I Netflix film ig. I most likely won't watch the show because I tend to dislike ✨ teenager movies✨ with 💅drama 💅 but I'll update with that eventually maybe. If the art shows up I'm probably only really going to be able to write down a timestamp because you can't screenshot Netflix and Tumblr doesn't like me putting photos into posts but yeah. Newest featured artist on Netflix: some nerd from a highschool in literally the middle of nowhere. Where's the artist from? Idk cactus town! So yeah that's neat ¯⁠\⁠_⁠(⁠ツ⁠)⁠_⁠/⁠¯ (⁠ヘ⁠･⁠_⁠･⁠)⁠ヘ⁠┳⁠━⁠┳ (⁠/⁠¯⁠◡⁠ ⁠‿⁠ ⁠◡⁠)⁠/⁠¯⁠ ⁠~⁠ ⁠┻━⁠┻

[mecwmellc]

another line i need from tshoeh: and to anyone tempted to kiss the tv tonight, please don’t chip your tooth

[ekingston]

So it’s 2019, because that’s what it said on the screenshot I used to create the gif, and you’re casually browsing Netflix, grateful to be alive in a world where COVID or an internationally devastating shift in political alliances are but distant echoes of a future that may never come to pass, and you happen upon a movie that’s just been added, called BREACH.

Your Netflix synopsis says: When a man turns up dead on the shore of a remote mountain town and a local girl vanishes without a trace, it’s up to a local detective to put the pieces together. But when she rescues an attractive tourist off the side of the road, the investigation takes an intimate—and dangerous—turn.

And you’re like, ‘eh, nothing I haven’t seen before,’ (though the LGBTQ label is interesting), but then the preview starts autoplaying and IS THAT KATIE MCGRATH?! And it IS. So now you have no choice but to sit through the trailer.

Nocturne by Blanco White is playing, calmly at first, swelling as it goes on. You’re presented with a wide shot of a towering dam, the camera slowly rising up the water-streaked concrete before breaching the top. An enormous lake BOOMS into view, jagged mountains beyond it, forming a serrated edge against the lightening sky. It’s early morning. Mist is rolling down the densely forested mountains and over the water.

(You wonder if this production used the same locations (or rather special effects) as Les Revenants did, and yes, it absolutely did, because I loved the atmosphere of that show and I adore mountain towns with enormous lakes and it is, to date, the most Hollywood version of non-Paris France I’ve ever seen.)

The wide shot narrows to a ground-level closeup of the pebbled shoreline, pulling slowly away from the water until we glimpse a piece of discarded police tape, fluttering on the breeze. The camera pans past a pair of sneakers and then a pair of uncomfortable-looking high heels, wobbling on the rocky beach. It’s a news crew, reporting live on the disappearance of a young girl. The camera pushes past them, staying at ground-level as it leads us into the woods, where we find the paws of a canine unit, splashing in a shallow mountain stream. There’s the sound of police radios, and then we see the boots of a police search party. We stop at a much smaller but otherwise identical pair of leather boots. The camera pans up at our detective—it’s Katie McGrath! Finally!

She looks amazing, obviously. For the sake of this miraculously being a supercorp AU, her character is a fair bit more acerbic version of our girl Lena Luthor, except we’re time traveling so she’s now in her early 40s, her dark hair greying slightly at the temples (let a girl dream), her jawline somehow sharper than ever, freckles proudly on display in the natural light. Her hair is hanging loosely over her shoulders, looking like it hasn’t seen a brush since she last laid down. Lena is wearing slacks, a wrinkled dress shirt and a men’s blazer that is slightly too large for her. She stares off into the woods, chin jutting, a muscle jumping in her jaw, her fingers absently playing with a pack of cigarettes.

CUT TO:

Early nighttime. A dark mountain road, lit sparsely, tall pine trees walling it in on both sides. We see over Lena’s shoulder, her hands on the steering wheel, as her cruiser’s headlights sweep over the shape of a woman, bent over the engine of her stalled car. The woman—blonde, mid-thirties, wearing cut-off jeans and a long-sleeved t-shirt far too thin for the late hour—turns when the car appears, squinting into the light. It’s Kara.

Lena comes to a stop behind her and rolls her window down. She calls out, “You need a ride?”

CUT TO:

The dimly lit interior of a spartan living room. Lena dumps blankets on the couch.

Kara asks, “You sure this is okay, me sleeping here?”

CUT TO:

Daytime, and we’re at the sheriff’s office. Lena, wearing a clean-but-barely-ironed dress shirt, drinks coffee as if her life depends on it. Mike Matthews, the sheriff’s deputy, makes fun of Lena’s uncharacteristic hospitality.

“What was I supposed to do?” Lena asks him, as we see a flashback shot of Lena watching Kara over the rim of her coffee cup, earlier that morning. “Next town’s hours away.”

We see Kara maintaining eye contact with Lena for a moment, the corners of her eyes crinkling, as we hear Mike telling Lena, back at the office, “You won’t even let me stay at your place.”

“You had bed bugs,” Lena points out. Then she raises an eyebrow, looking away, adding as a casual sidenote, “Plus she’s prettier than you.”

WLWNESS/SAPPHICTROCITY/LESBIANANIGANS CONFIRMED.

CUT TO:

It’s evening, and we’re in Lena’s kitchen. Kara is making dinner when Lena walks in, feeding scraps to—and this is very important! but only to me—Lena’s dog. Did I mention this is actually also a crossover with Person of Interest, and for absolutely no other reason than I need Lena to have Bear the Brilliant Belgian Malinois? “I see you made a friend,” Lena says. It’s unclear whether she’s talking to Bear or Kara.

The news is on, talking about the missing girl. Lena turns it off before settling into a chair near the open doorway, her legs splayed wide at rest. Bear immediately settles at her side, chin resting on Lena’s thigh. We all kind of want to be a Brilliant Belgian Malinois, in that moment. Kara asks, indicating the TV, “You think she’s still alive?”

“Could be.” Lena digs for her pack of cigarettes and pulls a lighter from a kitchen drawer, probably shoving an old walkman she’s had forever out of the way to get to it, scratching the course hair between Bear’s ears before settling back down. “‘Course if you asked me last week, I may have told you something different.”

Kara turns off the stove so you can all stop worrying, and starts plating the food. “What changed?”

Lena pauses while she lights her cigarette and takes a deep drag, the blue smoke drifting through the doorway outside as Lena savors it, slowly breathing out as gays the world over are forced to reconsider the merits of smoking. Like yes, it kills you in terrifying, excruciating ways, but LOOK AT HER. Lena watches Kara intently, but doesn’t answer her question.

CUT TO:

We see Lena in her bedroom, late at night, flipping through case files. Her fingers (which, EXTREME closeup, EXTREME CLOSEUPS OF HER HANDS THROUGHOUT THIS ENTIRE PRODUCTION, hover over a grainy picture of a young white man, wearing a red baseball cap. His back is turned so we can’t see his face, though if you hated hard enough back in the day you may have a hunch. As the camera circles around the room, Lena is replaced by Kara, the bedroom now bathed in golden morning light. She’s looking through the photos too, her fingers shaking. We see her react to the photograph of the ballcapped man, before quickly putting things back exactly as they were.

CUT TO:

An evening shot of the lake, the water wrinkling in the breeze, softly lapping at the shore. We hear the sound of something large hitting the water.

CUT TO:

A pee break, actually, and you’re gonna go ahead and grab a snack while you’re up. There sure is a lot of water in this movie. Wait, weren’t you just watching a trailer? Why does it feel like an hour has passed? Is it the hands? How many times have you hit that pause button? What year is it?

CUT TO:

Lena and Kara are at the Lake Pub. It’s dimly lit and smoky. Lena drinks whiskey. Across from her, Kara stirs a glass of soda with her pinkie finger. They’re regarding each other so openly you genuinely start to feel a bit faint.

“You’re looking at me like I’m one of your suspects,” Kara says.

You disagree. That’s not what suspicion looks like. You’re sure, because you’ve seen Katie McGrath look at approximately 99.9% of her female costars this way.

Lena keeps her gaze level, unflinching and forward. “I look at everyone like that,” she lies.

A beat.

“I don’t think that’s true,” Kara says.

You’re feeling suddenly thirsty, too.

CUT TO:

Red and blue lights illuminate the deep indigo sky over the lake. A body is being dragged from the water as Lena watches, clenching her stupendous jaw. Seriously, how is she growing hotter all the fucking time if storybook-princess-turned-mesmerizing-murderess was her baseline?

CUT TO:

Lena, sitting in her parked car. She slams her fist against the steering wheel. (Don’t worry, no hands were injured in the making of this film.) It’s overlayed with imagery of a burial service, a US flag draped over the coffin, a pair of grieving women—one middle aged, the other a pretty 20-something brunette, surrounded by officers in dress blues. Lena is there too, looking dashing in her uniform, but also like she hasn’t slept in a week.

CUT TO:

Lena is standing in the center of her living room, rubbing her brow with her long, spatulate fingers. Kara is hovering in a corner a couple of feet away, cautious. “Just say it,” she whispers. “You think I killed him.”

Lena releases a breath that is half-huff, half-groan. “I’m not sure it even matters anymore,” she says.

“How can you say that?” Kara asks. When Lena doesn’t answer her, Kara steps closer and touches her arm. Lena turns as if she’s going to shrug Kara off, and the instant you begin to wonder what the hell this movie is supposed to be about, you stop caring because Lena abruptly pulls Kara closer and they kiss, urgent and rough.

You’re not sure if your ears are ringing or if the sound you’re hearing is a chorus of lesbians all over the world exploding into cheers & wild applause.

As the music builds to a crescendo, we see a quick series of images:

Lena presses Kara against her bedroom wall, Lena’s lips at her jaw, her fingers undoing the button of Kara’s jeans before they slip inside her pants; your life flashes before your eyes; Lena points her gun at someone, but we don’t see who; Lena’s fingers support Kara’s chin as she gently dabs at her bloodied brow with a piece of gauze; headlights illuminate a figure in the road, mirroring Lena picking up Kara, but this time the smiling man in the red baseball cap (again seen only from the back) is the one pulling over & rolling down his window.

The dam’s floodgates open, a roar of white water pouring through.

The music stops abruptly as we end on a final, long shot. Lena stands on top of the dam, looking down, the sky above her, the dizzying depths below. The camera falls away, down down down, until it breaches the surface of the water and sinks into the dark water beneath.

Kara (voiceover, pleading, breathless): “If I go under, I’ll pull you down with me.”

Lena (voiceover, raw but full of conviction): “I’m a pretty good swimmer. And I have a feeling you are, too.”

CUT TO BLACK.

You blow out a breath and resign yourself to your fate. You hit the mute button, and press play.

Also I was proud of how this one manip turned out so I’m sharing the version that makes it marginally more clear that Kara isn’t randomly & uncomfortably touching her own face:

Like I said: SO MANY CLOSEUPS.

[luminarai]

I’ve seen a lot of people wonder if Taigen’s gonna pull a Li Shang from Mulan once he finds out about Mizu’s Secret™️ but I mean. This man’s internal logic is already so damn weird, this might as well happen, y’know??

Bonus:

[thenationofzaun]

Arcane's Music Videos and Storytelling

Many have complained about Arcane Season 2 overusing "music videos" compared to Season 1 and I agree. Two in particular - "Sucker" in episode 2 and "Hellfire" in episode 3 - are particularly bothersome because instead of being supplementary to the storytelling, they replace the storytelling. Entire plotlines are told through these music videos and barely expanded upon further through writing. Despite both depicting very major events that are incredibly impactful for both Zaun and the characters involved.

First, the Chembarons' gang war. Shown entirely through the "Sucker" sequence, dialogueless. Later, there are only a few brief written scenes related to it (Smeech heading to Margot and the meeting table discussion, neither of which actually depict the war). Smeech is later killed and the gang war story is abandoned by episode 3. This would have been such a major event for Zaunites. Not just for major characters, but for everyone who has the misfortune to live in that city. If they had actually written this subplot out, the worldbuilding could have been expanded upon and given much more depth, these Chembarons with excellent designs could have been fleshed out and not felt like a waste of characters, and we would have gotten more insight into the lives of the average joes in Zaun. It would have been a natural continuation of the Chembarons' introduction in Season 1 too. This subplot could have easily taken up the entirety of Act 1, but because of too many competing subplots, it had to be cut short and summarized by the song.

Next, Caitlyn's squad releasing The Grey into Zaun. Shown entirely through the "Hellfire" sequence, also dialogueless. The impact of this action is only briefly mentioned later through dialogue, when really this would have had a huge effect on many people living in Zaun. If they had written this entire sequence out regularly, we could have had character building for the three new enforcers as they interact with Vi and Cait while moving through Zaun. We need this, as two of them don't even have names yet. One doesn't have any dialogue yet. We could have seen in detail the impact of their actions on Zaun, rather than only being told. We could have had much needed characterization for Vi. What was her reaction to this plan when it was first conceived? Did she oppose it initially and have to be convinced?

Edit: The "Hellfire" sequence also covered all the Chembarons getting wiped out and Shimmer being dismantled.

I want to experience these events as a story, not as an AMV. It's admirable how artistic and beautifully made these sequences are, but they are the epitome of "style over substance." In my opinion, rather than being at the beginning of the episodes, these sequences could have worked as end credits. They are summaries of subplots after all. The episodes themselves could have these storylines written out regularly, and then the end credits have beautiful imagery summarizing what happened.

They could have taken a page out of Chainsaw Man's book. Each episode of Chainsaw Man had a highly stylized end credits sequence, all with different animation styles, with imagery of that particular episode's plot. The episodes themselves have normal written storytelling. This way you can flex your artistry as much as you want, without sacrificing the writing. Arcane's end credits are just a black screen with text. If anything could have been replaced with stylized visuals and have nothing of value lost, it was that.

[lexosaurus]

Water. Earth. Fire. Air. Long ago, the four nations lived together in harmony. Then, everything changed when the Dannypocalypse attacked. Only the Danno, master of all four elements, could stop them, but when the world needed him most, he vanished. A hundred years passed and my brother and I discovered the new Danno, a Danno named Danno. And although his dannobending skills are great, he has a lot to learn before he's ready to save anyone. But I believe Danno can save the world.

[xxloone]

Figured I’d post my intro remake on here just because, anyways here yall go

Also I didn’t see I spelled Ehasz wrong until after it took almost 15 minutes to export so uh. There’s that too.

[ryllen]

Watch 'My Daemon',

it's about a very good boy & a very good dog,

told in in very good stories.

[brellafaun]

they had to separate viktor from the others because having a sweet moment between him and claire would’ve forced allison to realize she essentially murdered his son with zero hesitation

[cinematicexcursions]

i did some scientific research and found out jinx is only 5” 4 and that means i am shorter than her so when sevika towers over her in the beginning of episode 4 in the first season that means……

[nothinggold13]

Getting the entire Narnia series adapted to screen one day is such an important dream for me, I am begging Greta Gerwig not to shoot it in the foot before it even begins. B E G G I N G .