#A Book Based on a Popular Movie

[tragicallyunaesthetic]

kids these days are growing up without the narnia, spiderwick chronicles and bridge to terabithia movies and it shows

[readthebookfirstpodcast]

[cinemaobscura]

Karaoke Terror | 昭和歌謡大全集 (2003) dir. Shinohara Tetsuo

[angy-grrr]

There is gonna be more than that coming from the poll, but whatever it is vote Kacchan/Deku for best hero. Idc who wins i just need them to be together again

if they just announced it today without saying anything before, I would probably immediately do it.

Right now im just bitter because of the hype -I thought it would at least slightly relate to the actual story (adaptations of other stories, extra content for the volume which once again may I remind everyone is extremely short, almost half what a manga volume usually looks which is a huge problem).

This disappointed me extremely, as its not even related to any content from the manga beyond the characters it uses. I get that many ppl will work on this, and that artist will get excited over being able to get the spotlight, some will be able to ask specific questions, and a character will get a statue and a movie.

Still extremely disappointed because of the "special project will be announced on the 5th *wink wink*".

I can't feel excitement over it as, in my mind, I lost something that felt better -more content related to the story. So at best this would be "oh cool I can try it", a feeling pretty similar to the other announcements -not my favorite thing in the world, but I wont reject it and try to see what comes out of it.

This isnt at best to me right now

[honourablepranksinatra]

Me about a book series I loved as a kid and still is super popular: wait this is really good does anyone know about this

[athetos]

Btw yes I saw the live action zelda news and yes I am pretending I didn’t

[h0lyquarantine]

my dream is for the mark and the void to go viral on tumblr because i firmly believe that it is a book that So many users would be obsessed with . like it is basically made in a lab to make a certain type of tumblr user go completely insane .

[sparcusfun]

10 Best Animated Movies Based on Popular Books

Discover the 10 Best Animated Films Based on Popular Books! From magical adventures to heartwarming tales, these films bring beloved stories to life with stunning animation. Don't miss out on these must-watch adaptations! Watch now and tell us your favorite! #animatedmovie #movie #movie #animated https://www.youtube.com/watch?v=tQ-SbySbW1s

[elibeeline]

Also hot take apparently but whoever's playing Haymitch in the new hunger games movie should be a 🤏 lil bit fugly right? Everyone's fancasting finnick lookalikes but i dont think that suits his character

[uss-edsall]

Ridley Scott, regarding his new Napoleon movie, is being aggressively defensive about its inaccuracies with historians. He's gone on record saying "When I have issues with historians, I ask: ‘Excuse me, mate, were you there? No? Well, shut the fuck up then.’" This is a classic argument of people with no idea how historians do their work, how historical accuracy is determined and evaluated, and - in Ridley Scott's case in particular - how important it is to properly portray historical accuracy in other media.

The reason why Ridley Scott is being so aggressively dismissive of complaints about historical accuracy is due to past beef leading to a problem he likely has.

This is a movie that, by din of being touted as a 'nonfiction' movie about a historical figure, is basing much of its marketing on historical accuracy by default. The trailers show it's not, and reviews by historians say it is riddled with dozens if not hundreds of inaccuracies. Napoleon's portrayal is frankly a surface level depiction and nowhere near the nuance that historians were hoping for.

Scott's defensive about it. He need not be. If he had a historical consultant then he could go "I'm not an expert on the time period, but I have someone who is, ask them about it" and fob them off on his movie's historical consultant. It's a whole Thing. He doesn't have one, however, so he has to defend it personally.

You see, Ridley Scott probably didn't hire a historical consultant for Napoleon. The last time he had one - Kathleen Coleman for Gladiator - she was so upset over the inaccuracies he pushed through and how little her work affected the film, she requested her name be taken off of it.

Why this is important is because so many more people will watch a movie made by Ridley Scott than I or any other person could write. More people will watch Scott's Napoleon in the States than five hundred books about Napoleon combined worldwide.

More people watched Dunkirk than ever read a book about the Evacuation of Dunkirk. The movie Breaker Morant did so much for public perception about the execution of a genuine war criminal people in Australia still on occasion call for a pardon for Morant.

Fundamentally, mass media like movies will always have more impact of a popular perception about somebody, a time period, an event. That's why Ridley Scott making an inaccurate movie and going 'oh, you weren't there, you didn't see it with your own eyes, so how could you know, I don't have to listen to you' is a problem.

[alpaca-clouds]

Why the media CEOs will always learn the wrong lessons

Yesterday a friend and I talked about how the entire (AAA) game industrie looked at BG3 being as popular as it is and going: "Oh, we need to produce 100+ hour games, I guess! Those sell!" Which... obviously is not why it is popular. The game is not popular because it has 100+ hours of gameplay, but because it has engaging characters, that are well-acted and that work as good hooks for the players. Like, let's face it: The reason why I so far have sunken 160 hours into this game is, because I wanna spend time with these characters - and because I wanna give them their happy endings.

But the same has happened too, just a bit earlier this year, right? When Barbie broke the 1 billion and every Hollywood CEO went: "Oh, so the people want movies based on toy franchises! Got it!" To which the internet at large replied: "... How is that the lesson you learned from this?"

Well, let me explain to you, why this is the lesson they learn: It is because the CEOs and the boards of directors at large are not artists or even engaged with the medium they produce. They mostly are economists. And their dry little hearts do not understand stuff more complex than numbers and spread sheets.

That sounds evil, I know, but... It is sadly the truth. When they look at a successful movie/series/game/book/comic, they look at it as a product, not a piece of art or narrative. It is just a product that has very clear metrics.

To them Barbie is not a movie with interesting stylistic choices that stand out from the majority of high budget action blockbusters. It is a toy movie with mildly feminist themes.

Or Oppenheimer is not a movie to them with a strong visual language and good acting direction. No, it is a historical blockbuster.

And this is true for basically every form of media. I mean, books are actually a fairly good example. In my life I do remember the big book fads that happened. When Harry Potter was a success, there was at least a dozen other "magical school" book series being released. When Twilight was a big success there was suddenly an endless number of "teen girl falls in love with bad boy, who is [magical creature]" YA. When the Hunger Games was a success, there were hundreds of "YA dystopia" books. Meanwhile in adult reading, we had the big "next Game of Throne" fad.

Of course, the irony is, that within each of those fads there might have been one or two somewhat successful series - but never even one that came even close to whatever started the fad.

Or with movies, we have seen it, too. When Avengers broke the 1 billion (which up to this point only few movies did) the studios went: "Ooooooh, so we need shared universe film series" - and then all went to try and fail to create their own cinematic universe.

Because the people, who call the shots, are just immensely desinterested in the thing they are selling. They do not really care about the content. All they care about is having a supposedly easy avenue of selling it. Just as they do not care about the consumer. All they care about is that the consumer buys it. Why he buys it... Well, they do not care. They could not care less, in fact.

So, yeah, get ready for a 20 overproduced games with a bloated 100+ hours of empty gameplay, but without the engaging characters. And for like at least 15 more moves based on some toy franchise, that nobody actually cares about.

And then get ready for all the CEOs to do the surprised Pikachu face, when all of that ends up not financially successful.

Really, I read some interviews yesterday from some AAA-studio CEOs and their blatant shock and missing understanding on why BG3 works for so many people.

Because, yeah... capitalism does not appreciate art. Capitalism does not understand art. It only understands spread sheets.

[mask131]

So... Wicked is coming back in style. And as such I need to make a little informative post.

Because since as early as my arrival onto the Internet, in the distant years of the late 2000s, a lot of people have been treating Wicked as some sort of "official" part of the Oz series. As part of the Oz canon or as THE "original" work everything else derives from (literaly, some people, probably kids, but did believe the MGM movie was made BASED on Wicked...) And as an Oz fan, that bothers me.

[Damn, ever since I watched Coco Peru's videos her voice echoes in my brain each time I say this line.]

So here's a few FACTS for you facts lovers.

The Wicked movie that is coming out right now (I was sold this as a series, turns out it is a movie duology?) is a cinematic adaptation of the stage musical Wicked created by Schwartz and Holzman, the Broadway classic and success of the 2000s (it was created in 2003).

Now, the Wicked musical everybody knows is itself an adaptation - and this fact is not as notorios, somehow? The Wicked musical is the adaptation of a novel released in 1995 by Gregory Maguire, called Wicked: The Life and Times of the Wicked Witch of the West. A very loose and condensed adaptation to say the least - as the Wicked musical is basically a lighter and simplified take on a much darker, brooding and mature tale. Basically fans of the novel have accused the musical of being some sort of honeyed, sugary-sweet, highschool-romance-fanfic-AU, while those who enjoyed the musical and went to see the novel are often shocked at discovering their favorite musical is based on what is basically a "dark and edgy - let's shock them all" take on the Oz lore. (Some do like both however, apparently? But I rarely met them.)

A side-fact which will be relevant later, is that this novel was but the first of a full series of novel Oz wrote about a dark-and-adult fantasy reimagining of the land of Oz - there's Son of a Witch, A Lion Among Men, Out of Oz, and more.

However the real fact I want to point out is that Maguire's novel, from which the musical itself derives, is a "grimmification" (to take back TV Tropes terminology) of the 1939 MGM movie The Wizard of Oz. The movie everybody knows when it comes to Oz, but that everybody forgets is itself the adaptation of a book - the same way people forget the Wicked musical is adapted from a novel. The MGM movie is adapted from L. Frank Baum's famous 1900 classic for children The Wonderful Wizard of Oz - and a quite loose adaptation that reimagines a lot of elements and details.

Now, a lot of people present Maguire's novel as being based/inspired/a revisionist take on Baum's novel... And that's false. Maguire's Wicked novel is clearly dominated by and mainly influenced by the MGM movie, with only a few book elements and details sprinkled on top. Mind you, the sequels Maguire wrote do take more elements, characters and plot points from the various Oz books of Baum... But they stay mostly Maguire's personal fantasy world. Yes, Oz "books" in plural - because that's a fact people tend to not know either... L. Frank Baum didn't just write one book about the Land of Oz. He wrote FOURTEEN of them, an entire series, because it was his most popular sales, and his audience like his editor pressured him to produce more (in fact he got sick of Oz and tried to write other books, but since they failed he was forced to continue Oz novels to survive). Everybody forgot about the Oz series due to the massive success of the starter novel - but it has a lot of very famous sequels, such as The Marvelous Land of Oz or Ozma of Oz (the later was loosely adapted by Disney as the famous 80s nostalgic-cursed movie Return to Oz).

So... To return to my original point. The current Wicked movies are not directly linked in any way to Baum's novel. The Wicked musical was already as "canon" and as "linked" to the MGM movie as 2013's Oz The Great and Powerful by Disney was. As for Maguire's novel, due to its dark, mature, brooding and more complex worldbuilding nature, I can only compare it to the recent attempt at making a "Game of Thrones Oz" through the television series Emerald City.

The Wicked movies coming out are separated from Baum's novel at the fourth degree. Because they are the movie adaptation of a musical adaptation of a novel reinventing a movie adaptation of the original children book.

And I could go even FURTHER if you dare me to and claim the Wicked movies are at the 5TH DEGREE! Because a little-known-fact is that the MGM movie was not a direct adaptation of Baum's novel... But rather took a lot of cues and influence from the massively famous stage-extravaganza of 1902 The Wizard of Oz... A musical adaptation of Baum's novel, created and written by Baum himself, and that was actually more popular than the novel in the pre-World War II America. It was from this enormous Broadway success (my my, how the snake bites its tail - the 1902 Wizard of Oz was the musical Wicked of its time) that, for example, the movie took the idea of the Good Witch of the North killing the sleeping-poppies with snow.

[emberwhite]

Do people judge a book by its cover? They absolutely do. They take one look at this, and they either often instantly hate it or love it.

Talking about how things should be is just yelling into the void. There is just reality. And this is the reality of being a self-published indie author.

People make complete conclusions based off of incomplete information. In this case, my book, there are no adults pressuring the boy into getting any surgery. There's no mention of surgery at all even. This person is thinking of a children's book written by a very popular political figure. Some people have had the courtesy to ask me if it's like that book. It's not at all. It's not even political. It's a story told from the perspective of a kid who grows up knowing they are very different and yet can tell no one about it. Even saying a word about it would bring all of his deepest and darkest fears into reality.

The challenge was to make the story as dark and scary as I could without ever going too far for a children's book. There are already some scary children's books and movies out there that prove what's possible, and I worked with my illustrator, Marta, to push it as far as we could go. There's one page we had to re-do almost completely because even I said that's a bit much.

But I'm very happy with the final result because we also got to do so many fun and colorful pages like this.

There will be plenty more drive-by reviews as the book continues to grow and grow. They take one look and see a soapbox to express all of their disappointments and frustrations in life.

I think they might be scared of the book. The world they grew up in is slowly fading away day by day, and it's all they have come to know. They've been around for so long that everything has become a bore to them, and the only remaining pleasure is to escape into the past in order to better preserve it. I can oddly relate, actually.

So the book is on Amazon, and you can watch the whole thing for free on YouTube as well. If you get the chance, let me know what you think. Literally, watching it for free and then giving it a simple rating on Amazon is the best way to support the book. But I also love waking up to reviews like this every day.

[love-and-war-on-cybertron]

Imagine this ✋😌🤚 (Transformers Prime Wise) everyone is in the base chilling and the kids randomly start talking about who’s the most attractive of the bots (based on whatever random criteria list Miko made). while they are all going on about why their personal bot would definitely be popular they start arguing and suddenly call out to reader (who has been minding their business on the couch distracted reading a book or something) and asks them which autobot is most attractive, reader instinctively and with absolutely no hesitation blurts out the bot thats been on their mind for a while nonchalantly acting as if they didn’t pretty much confess their attraction and said bot definitely heard them. (I would love Ratchet or bulkhead, or bumblebee whichever one is easier to write for)(loved your Rodimus fic btw it was so cute 10/10) sorry this request was so long, it’s completely fine if you don’t wanna write this 😭

No need to apologize!! I'm so glad you liked the Rodimus one, it got rewritten like four times XP I still need to catch up on TFP, but I'm a little more familiar with Ratchet from it. I hope you enjoy!

Ratchet was too busy working to pay attention to what the humans were up to. This part had been busted for a week and he needed it for his next project. The talk was nothing but an annoying buzz in the background, occasionally becoming loud enough for him to huff or grunt to try and get them to quiet down.

Something about who the most attractive bot was. How childish! the criteria listed by Miko wasn't anywhere near Cybertronian beauty standards. What did a human know about biolights and kibble? The angular chassis of a tank compared to the smooth curves of a racer frame? This kids would make their observations and laugh, especially when Decepticons were the topic. Prime was called a "daddy" and Bee had "Puppy energy".

"What about you, Y/N?"

Ratchet listens a little closer, but still keeps his focus on his work. You weren't a child, and had a decent processor in that head of yours. You might have some sense not to play this stupid game.

"Ratchet."

Hwat?

Ratchet almost drops his tools in surprise. You, the only human he thought had some sense think he's attractive. Glancing over his shoulder, he sees that you had been just as busy as him when the questioning started. Sat on the couch with your book, looking around, stumbling over yourself to explain. He caught some of it: intelligent, skilled. Handsome for a robot.

Miko seemed to spearhead the grilling despite being the one to start the whole thing.

When you glance in Ratchet's direction, he sees your eyes widen and how quickly you look down when they meet his optics. Shame? Embarrassment? It doesn't sit right to see you teased. Just because you can appreciate an older bot.

"What's so funny?" Ratchet scoffs, "at least one of your kind has some taste." He turns away from the console and over to the platform. Bee chirps and nudges him before getting shoved away by the doctor. "Isn't it time you all leave?"

He leans close, glaring at the kids. Miko tries snarking back about the weekend but Raf mentions a movie playing. Bee volunteers to take them home, perfect excuse for him to go to the drive in.

Wheeljack heads out with them, raising an optic ridge at the medic as he passes by. It's just the two of you left. Ratchet shift, glancing back at you. You don't look at him, sitting back on the couch with your book. Body tense and heated. Trying to look casual and relaxed and clearly anything but.

He vents out and looks back at his project, then at you again. "So... got a thing for old bots huh?"

You hunch down, gripping your book tighter. "Ratchet, I-"

"You uh… sticking around?" He interrupts, "I could use some help."

You peek up over your book. Ratchet had you help a couple times, small hands being able to reach places. And again, being the only human in this base that he thinks has a lick of sense.

"Sure... Yeah..." You put the book down and smile.

Ratchet smiles back, offering his servo for you to climb on.

[threeacttragedy]

Entry 20: The One Where We Take a Course in Rear Window Ethics

Oh, hey, hey – you’re back!

Yes. I, uh – we need to – uh... What the hell are you doing with that Exakta VX camera fitted with a 400 mm Kilfitt lens?

Come here. See those open windows across the courtyard?

Uh, yeah…

Well, I’m trying to zoom into that apartment –

Wow. Because that’s not creepy as fuck.

Oh, don’t be so modern. This is New York City, 1954. It’s fine.

Yeah, okay. I need you to focus for a moment. Seriously – put down the zoom lens. Headquarters called and wanted to know why Dorothy was still in Oz. You know we were told to take her home.

No – actually we were told to throw stones at that wannabe Wizard. And we did. Kind of. Okay, whatever, but surely you can feel the shift. At the very least we’ve infiltrated the base camp with a bunch of flying monkeys. They’ll take care of the rest. God, there’s one in there –

And we were supposed to help Dorothy find her way back home.

Meh, don’t worry about Dorothy. I don’t think she’s ready to go home. Even after the ping-pong bullshit of the past few weeks, she’s still standing on her own two feet. Although Toto continues to be a mild pain…

But –

But nothing. Dorothy’s had the power to get her own ass home this entire time. When’s she’s ready, she’ll go.

Okay, well, obviously you’re not going to be of any help as you seem preoccupied with spying on your neighbors. So, I’m going to need to borrow the hot air balloon. Where’d you put it?

Oh, it’s on the—wait! If you take our balloon, how am I supposed to get around? I’m not staying here indefinitely. There’s no air conditioning in this damn apartment!

How about I promise to come back for you? Maybe.

Damn you. Fine, I’ll go with you. Let me get my shit together. Here, hold my camera – and don’t drop it!

Hmph, this is heavy. How does it work? I just look through this and… <points camera towards apartment across the way> Oh – this is interesting. What the hell did you say was going on over there? “…[S]tart from the beginning…Tell me everything you saw – and what you think it means.”

You know those days when you have no choice but to catch up on the work you’ve been blowing off for the past few days (maybe even weeks)? Well, last week, I was having one of those days. The work I’d been pushing down my list for weeks finally needed to be addressed. Regardless of how mind-numbing it was, it had to get done otherwise things were going to start going awry.

I’m one of those people who – when working on the mundane – has a mind that tends to wander every few minutes or so. I find myself Googling things like, “What is the fastest animal on the planet?” And, for your own Useless Knowledge, the cheetah’s land speed of 60+ mph doesn’t come close to the peregrine falcon’s dive bomb of 240+ mph.

Anyway, to keep my mind from wandering, I usually have something running in the background to force my brain into paying attention to two things at once – somehow that helps me maintain focus. The most popular “something” is almost always one of the many (quite possibly too many) British detective shows available for streaming. But, the other day, I simply wasn’t in the mood to rewatch Season 3 of “Dalgliesh” for the seventh time.

So, after a bit of scrolling, I put on an old movie I hadn’t seen in years: “Rear Window.”

The 1954 original, of course.

I’m rarely impressed by anything put out by Modern Hollywood, but the old shit – well, there are some legit classics out there, including this one.

One of the reasons I’ve always been fond of this movie is because you go into it knowing the “bad guy” right from the word “go.” I’m one of those extremely annoying people who can guess the villain within the first few chapters of a book, or within the first twenty or so minutes of a movie (like I said, I am rarely impressed by Hollywood). However, I will admit, one book did slip by me. Damn you, Agatha Christie. Honestly, though, the thrill I felt with being wrong was far more memorable than anything I’ve ever felt with being right. Good or bad, a surprise always leaves its imprint, doesn’t it? Plus, the hysterical elation my father must have felt – and later exhibited – knowing I was going into the final few chapters wrong – well, damn him, too. And, no, the book was not “Three Act Tragedy.” That one was quite easy.

Okay, enough about Ms. Christie. Back to Mr. Hitchcock.

As I sat busily typing away and listening to the dialogue of “Rear Window” playing in the far reaches of my office, it suddenly occurred to me that the parallels between “Rear Window” and the Lukola fandom were rather, well, thought-provoking. Here we have a man (and later his sidekicks) peering into the personal life of another human being. Our protagonist in “Rear Window” witnesses an event (a cover-up, actually) and sets out to prove it – all from the perspective of an onlooker looking in. Sound familiar? I thought it might.

So, welcome to your course on “Rear Window Ethics.”

Now, I cannot intertwine “Rear Window” with the Lukola fandom without dragging your ass into the story. Actually, I could – but it’s far more entertaining for me (and hopefully you) if I form a nexus between you and the movie.

Therefore, you, of course, get to align yourself with L.B. Jefferies (played in real life by Jimmy Stewart). If you’re still in this fandom, it’s because you’ve witnessed something you simply cannot ignore and you’re almost certainly hellbent on proving it at this point.

It’s very likely most of you entered the Lukola fandom alone. You watched some portion of the World Tour and became intrigued. Your mind began to wander, which sparked some urge in you to do some digging. Eventually your investigation led you to the Devil – sorry, I mean, social media. There you met like-minded junior investigators, and you’ve now found yourself chatting with these newfound friends and theorizing in the burrows of underground group chats.

So, about your sidekicks…

The part of “Stell-aaaaaa!!!!” (yes, that is my hat-tip to Jake) is given to your most “inventive” Lukola friend. You know, the one that has their own “theories” channel in your private chats; the one who scurries down the rabbit hole – not in search of the White Rabbit – but in search of the Cheshire Cat. Stella is the reason you think outside the box. In “Rear Window,” Stella (played by Thelma Ritter) is Jefferies’ nurse (Jefferies is injured and bound to his apartment; hence why he has so much free time to gaze out the rear window). This friend will throw anything and everything against the wall to see what sticks – even if it occasionally takes a deep-dive into how to cut up a body in a bathtub.

Next, we have Detective Doyle, Jefferies’ long-time friend (played by Wendell Corey). Doyle is quite possibly your spouse, haha, or anyone who side-eyes your involvement with this fandom. Doyle half listens to Jefferies’ theories and usually counters Jefferies with an alternative piece of evidence. But don’t fret, although Doyle teases Jefferies about his wild theories throughout the film, Doyle is, in fact, supportive of Jefferies and does comes around in the end.

I’m going to switch gears for a moment but not before acknowledging that, yes, I am aware I’m missing a player here. Don’t worry – she will arrive shortly.

Alright, on to our subject matter: Lars Thorwald.

Thorwald (played by Raymond Burr) is our straight-outta-Hitchcock-baddie who has been spotted by Jefferies trying to cover up the murder of his wife. The obvious parallels I’m going to draw between “Rear Window” and the Lukola fandom are (1) Thorwald’s crime being equivalent to the World Tour and everything that has happened thereafter, and (2) Jefferies’ obsession with proving Thorwald is guilty being comparable to the fandom’s obsession with proving Lukola is real.

Now, I’m going to get the ball rolling by fast-forwarding through the World Tour all the way up to where I last left you – the post-release of “Mis-Directed.” Recall that shortly before the book’s release, in a surprise turn of events, Luke appeared with Antonia at the Boss event held January 30. However, this was almost immediately negated by Luke snubbing Antonia post-event (and perhaps even more shockingly, Antonia’s mirrored lack of acknowledgement of Luke). And try as Nicola might, there’s no skirting around the innuendo made throughout that fan-fic of a book.

“Watson! Get up! There’s fuckery afoot!”

Who the hell are you?

I’m Dad. Who are you?

Ah, not that guy!

Yes, that guy. Of course, Dad has entered the room. After all I needed someone to fill the role of Lisa Fremont (also known as Grace Kelly). Lisa is your Lukola friend with the highest degree of common sense. She takes the “evidence” presented and looks at it with some realism. She is never going to take the Dwight Shrute Route and state something as “Fact,” but she is the one you rely on to delineate between what makes sense and what doesn’t. In short, this is your friend who understands human nature.

Alright, before I really get this ball rolling –

Since I’ve now added a third wheel (Dad) to the back-and-forth dialogue of my two wizard-chasing-balloon-riding-time-traveling-narrators, I suppose I should also give these two imbeciles names.

You first.

Uh, well, I’m Charley and that’s –

I’m Crowd.

Full credit for these two make-believe idiots is given to my dad. He created the personas of “Charley and the Crowd” for my two nieces a few years ago. They would show him their dolls and my dad would narrate what was going on in their stories. Of course, my nieces regularly corrected him with, “No, Papá, that is not what Barbie is doing!” Still, Charley and the Crowd stuck around, playing the role of two, usually counter-productive and sometimes ignored, news anchors at a Macy’s Day Parade-like event hosted by my nieces’ massive collection of L.O.L. Dolls.

And just for clarity’s sake, during the dialogue between Charley, Crowd, and Dad, actual statements made by Dad will be in quotations. Any statement not in quotations was added simply to move the story along.

Let’s begin (finally).

In “Rear Window,” every time Jefferies and his sidekicks present their findings to Detective Doyle attempting to prove Thorwald’s guilt, they are thwarted by evidence discovered by Doyle’s investigation. It’s a constant back-and-forth throughout the movie; however, regardless of how “solid” Doyle’s evidence is that Anna Thorwald is still alive, Jefferies remains sat on the hill that Thorwald killed his wife. It was this parallel – not the peeping Tom aspect of the movie – that piqued my interest last week. No matter what was thrown at him, Jefferies remained steadfast in his opinion Thorwald murdered his wife. Nothing budged him. I realized Jefferies’ level of resilience mirrored every diehard Lukola’s reaction to every piece of contradictory evidence thrown at them. Nothing budges them.

The tail-end of January and all of February was a bit wild in the Lukola fandom. I mean, there were a lot of narratives being thrown around only to be counteracted by another event. As I mentioned earlier, we ended January with the Boss event but that flame was quickly extinguished by Luke and Antonia’s complete lack of follow-up. Luke had the perfect opportunity to make it “official” with Antonia – to finally shut down the Lukola shippers – but he didn’t.

Crowd: Antonia not doing anything with it is the biggest tell, in my opinion.

I’m not going to spend much time rehashing the Boss event because I already discussed it in Entry 18 (link below), but I will touch on two things that I believe deserve an Honorable Mention.

The first being –

Charley: Why didn’t Antonia have her phone or even a handbag at the Boss event?

I mention this little detail because it was echoed at the BAFTA afterparty Luke attended with Antonia on February 16. In fact, I suspect this may be the modus operandi when Antonia attends an event with Luke – she is not given the opportunity to have a phone with her. One would think, at the very least, you would see Antonia entering and/or leaving an event with some kind of handbag or clutch. But we have pictures of Antonia entering both the Boss event and BAFTA afterparty without one. I will acknowledge we don’t see her leave these two events; however, if we rewind time, Antonia does not have a handbag with her during Papsmear.

Dad: “Well, that’s extremely odd.”

I don’t believe I’ve mentioned it before – at least not on this blog – that my dad has an eye for women’s fashion. My sisters and I grew up under his critical eye and, to this day, my father doesn’t know where he went wrong with my older sister. This is entirely why he was given the part of Lisa Fremont, the movie’s style icon in the form of Grace Kelly. The fact that Antonia is never seen with any type of handbag at these events sparked his interest.

Dad: “[It seems] they [at a minimum Luke] wanted complete control [of what Antonia could take away from the event]. No handbag. Nowhere to hide a phone. No rogue pictures floating about.”

Charley: Yes, it does seem that way.

The second event I wanted to mention was – although neither Luke nor Antonia liked the Boss grid post of the two of them entering that event together – Nicola did. Now, this wasn’t an immediate like. In fact, Nicola waited almost two weeks to like the post, on February 12.

Crowd: The day before Nicola went back and liked that post, that video was being dissected across social media.

Dad: Why?

Charley: Because it was suggested Luke said, “Let’s get this done,” as he walked inside the event with Antonia.

Dad: “I don’t hear shit.”

I will admit, when this video was initially sent to me, I didn’t hear anything except the background noise. However, when I was told what was allegedly being said, I was able to hear it. This very well could be the power of suggestion but the timing of Nicola’s like on this post is, at a minimum, noteworthy.

Once we leave the Boss event, we stumble right into “Mis-Directed.” I’ll post the links to my review of that book at the end. It is what it is – and it’s a whole lot of…umm, yeah…maybe Dad said it best.

Dad: “Either your Lukola thing is real, or Ireland is a psychopath.”

Crowd: Seriously, who let this guy in here?

I’m going to have to hard agree with my dad on this one. Not necessarily about Nicola being a “psychopath,” but the references made in the book are too on the nose for it not to be intentionally Lukola- and/or Polin-coded.

I’m also convinced this book was edited after the World Tour, with the most obvious example of this being demonstrated with the quote: “The dates here coincided with the time period of Leicester Square… Below the words was a symbol of a V-shaped flying dove. At first glimpse, it strongly resembled two raised fingers.” If our duo is to be believed, Luke and Nicola had no idea prior to the World Tour that the fandom would go wild over Colin’s fingers. But after the release of Part 1, any mention of “two raised fingers” would send the fandom into a feeding frenzy. And it’s such an extremely random bit of innuendo, I have trouble believing the author came up with it on her own.

Charley: When you think about it, if Antonia hadn’t shown up at the Boss event, the Lukola fandom would have taken the book as confirmation that Lukola was real.

Indeed, a hefty portion of the fandom would have done just that. The fandom was already convinced that Luke and Nicola spent the holidays together – even without direct evidence – because there was evidence that Luke and Nicola did not spend the holidays with Antonia and Jake, respectively.

Antonia appeared to be with family at Christmas and in the Maldives over New Year’s – without making even the slightest insinuation that Luke was with her.

Jake seemingly spent the holidays with Dylan B., as demonstrated by his pre-Christmas stories with Dylan in their (basically) adjacent hometowns – without Nicola, who, by her own account, was in Galway. Jake and Dylan’s Christmas stories were followed up with their jointly hosted New Year’s Eve party – at which Nicola was not present (as evidenced by Nicola’s comment to an attendee’s New Year’s Eve post: “Have the best night miss yous”).

Dad: “It is weird they [Nicola and Jake / Luke and Antonia] wouldn’t spend any of the holidays together. One? Sure, maybe. But all? No.”

But, even with that statement, my dad chose to play the role of Detective Doyle (a/k/a the Devil’s Advocate of “Rear Window”) regarding the holidays because –

Dad: “Misty [Antonia] was with her dance troupe. Jake was with his friends. Ireland was doing her thing. But no one knows where Thang [Luke] was. Everyone else has a trail except him, which is odd. He could have been with Ireland, but you can’t prove it, so what you have is not really evidence.”

Charley: Thanks, Dad.

But, let’s face it, my dad is right. There’s no solid evidence that Luke and Nicola spent their holidays with each other or anyone else. You can apply the same theory to the birthdays. The only “evidence” we have that two people did not spend a birthday together was Jake posting a belated birthday greeting to Nicola followed by Nicola posting what appeared to be an intimate birthday dinner for two, presumably from the night before. We can surmise Nicola’s birthday date was not Jake, otherwise he would not have posted the late greeting.

About Jake’s birthday –

Crowd: Oh, yeah, “hard launch No. 54” because Nicola used a red heart in her birthday story to him.

Charley: You mean the same one she used in a story for another friend just the other day?

Crowed: Yep.

Dad: “I don’t know what to say about those people [the Jakolas]. They need to resubmerge or something. There’s no relationship there [between Jake and Nicola].”

The Jakolas are banking this “hard launch” on the fact Nicola posted a birthday story for Jake, but not for Luke, and vice versa. These are the same people who will argue that Luke and Antonia not posting about each other’s birthdays is because they’re private – but, in the same breath, refuse to acknowledge Luke and Nicola may not post about each other’s birthdays because they’re private.

I believe it’s worth mentioning that no one from the Bridgerton cast except James Phoon posted about Nicola’s birthday on January 9. When Nicola acknowledged her birthday greetings the day after, she did not repost Phoon’s story nor did she repost fan-favorite JVN’s birthday story. And I should have placed bets on this next part – no one from the Bridgerton cast posted about Luke’s birthday on February 5. Surely, I’m not the only person who saw – and anticipated – the comraderie there.

What the Jakolas should have been focusing on with Jake’s birthday was the fact that it was Dylan and Becky’s boyfriend that were wearing matching “Jecky” shirts at their joint birthday party. No one else had that shirt except for the two people believed to be their significant others. Although I’m not fully convinced Jake is dating Dylan, I am one hundred percent convinced Jake would date Dylan over Nicola.

Charley: What’s next?

Crowd: God, there was so much shit going on in February! Uhh, let’s jump to Valentine’s Day. Nicola attended the IFTA’s with her mother and sister, and Luke attended a GQ dinner event alone.

This holiday follows in the same vein as the previously noted holidays, except it’s Nicola and (amazingly!) Luke that are both accounted for. Jake was presumed to be in Sheffield rehearsing for his play; and Antonia was nowhere to be found, not even at the GQ dinner.

However, Antonia does make a brief reappearance at a BAFTA afterparty alongside Luke on February 16.

Crowd: But it was a repeat of the Boss event. The next day, neither acknowledged the other.

Charley: And Luke was reported to have left the party after only an hour – without Antonia. He even posted a picture of himself getting into a car alone.

Dad: To me, “[i]t seems like Thang took his dog [Antonia] for a walk and left her at the dog park.”

Two days later, Luke – actually out for a walk – is papped getting coffee, alone. Is it horrible of me to say that the most exciting thing about these pictures was the untucked versus tucked shirt? I’m not even sure why I’m taking the time to mention this except I felt there would be some side-eye if I did not.

And to be honest, I’ve left out some details and minor events from the months of January and February because, if I were to add them, this post would be twice as long as it already is. For example, don’t get me started on sunburns, tan lines, and “sunny places.”

If we were in the movie, “Rear Window,” everything stated up until this point would run parallel to the back-and-forth between Detective Doyle and our Trio of Peeping Toms. Evidence is presented by the Trio, which is then countered by Doyle. Doyle’s evidence is dismissed by the Trio because, again, they’re hellbent on proving their case, so they continue theorizing and digging into Thorwald. All that leads up to the movie’s climax.

Charley: Have we finally made it to the SAG?

Crowd: Yes, yes, we have.

Charley: Dad – Dad – wake up!

Dad: Huh?

Alright, the fucking SAG awards. This would be about the point in “Rear Window” where Lisa gets caught by Thorwald rifling through his belongings in search of evidence. We’re in the audience biting our nails because Jefferies can’t do a damn thing to help Lisa except watch everything unfold. And that’s what we did with the SAG awards. The entire Lukola fandom was hyper-focused on Luke and Nicola – and they did not disappoint.

Forget all the drama we endured from the sideshow characters and the nonsense that came with them.

Forget Luke being AWOL for six months.

Forget everything except the “hug heard ‘round the world.”

The ice was broken; the champagne was flowing. Luke and Nicola’s joint SAG appearance was like the World Tour on steroids.

Dad: Can I say something?

Crowd: Fuck. What?

Dad: “It was their season, right? So, their joint appearance on the red carpet wasn’t earth shattering. Neither was them sitting together. It was their night to celebrate.”

Crowd: Who invited this wet blanket to the party?

Dad: I wasn’t done. “Their season has run its course, right? They’ve ‘graduated.’ So why are they the focus of mainstream media?”

Charley: <thinking> Because there’s something newsworthy there?

That is your climax. Not their SAG appearance – because everyone can have their own interpretation of Luke and Nicola’s behavior and those interviewers’ Q&A’s – it was the mainstream media going ga-ga over Luke and Nicola that sent the Lukola narrative tumbling out the window. If you’ve seen the movie, you’ll understand that reference.

By the following day, Luke and Nicola were everywhere. I genuinely appreciate the “Librarians” of the private group chats – those people who track and record every single post, story, like, non-like, follow, unfollow, literally everything – their job was grueling last week. The Sincerely Ignorant Lukolas who jumped ship months ago were frantically trying to climb back on board, while the Jakolas were desperately trying to find their Dramamine. The Defectors went silent except to remind their hive of hornets not to worry; that they will get “a reminder soon…”

Charley: A reminder of what?

Crowd: Oh, that there are two side characters floating about.

Well, lo and behold – right on schedule – a random picture of Luke and Antonia in an elevator surfaced the day after the SAG awards. The problem with the picture was that it was dismissed by Lukolas almost immediately. The account that dropped the picture on X was suspicious. Antonia’s hair and clothing seemed “so last year.” The Lukolas were far more focused on Luke and Nicola liking anything and everything to do with the SAG that day than to pay any attention to the “same old song and dance” about Antonia. Even Nicola liking Jake’s very bland “Nicola” comment on her grid post was dismissed with a “shooing” wave of the hand and an uninterested half laugh.

On February 25, the “insinuation” pictures were at it again. In fact, it was a rather busy day. An event host posted a picture of what appeared to be Antonia perfectly centered at an L.A. hotel pool. The story was reposted by the hotel itself. In fact, that’s the only reason the picture was found by the fandom. A new elevator picture of Luke and Antonia dropped; however, it, too, was dismissed fairly quickly, regardless of it being dropped by a different, less dubious X account. The Lukolas just didn’t give a fuck about Antonia. Luke was the subject of a blind that insinuated he had spent most of his time at the SAG looking in a mirror. And the evening was rounded out by something that would have rocked the boat in June 2024 but had little effect in February 2025 – Nicola followed Antonia on Instagram and vice versa!

Oh, shit – Jefferies just lost his grip and fell out the “Rear Window.” But he didn’t die! So, that’s a plus.

The following day, February 26, Antonia started to remove tags from her Instagram account including the “Soho” New Year's 2024 picture of Luke and his friend group, which included Antonia. And Nicola responded to the “mirror” blind about Luke with “I can confirm this is 100% not true [laughing/crying emoji].” So, interestingly, we had Antonia backing further away from Luke and Nicola stepping up to defend him.

Crowd: So, where do we go from here?

That’s a good question. The thing I’ve learned through this “course” is that the Lukolas are now unmoved by the shenanigans happening around them. You can serve Antonia to them on a silver platter, and they’ll flag down the waiter and ask them to return her to the kitchen. And you won’t find Jake anywhere on their menu (hence why I didn’t even bother to mention Jake’s play).

Dad: I think “the whole thing has run its course.”

It really has. The Lukolas are tired but unyielding. At this point, they just want their version of Thorwald to confess. The narratives running parallel to each other (i.e., Lukola vs. Jakola vs. Lutonia) can’t go on much longer. One of them is going to crack under the pressure.

Remember, “Three can keep a secret…”

P.S.

Dad: “Is Ireland still wearing that ring?”

Me: Yes.

Dad: “Then why did you call me?”

Me: <deep sigh>

[raven-at-the-writing-desk]

So what is the canon info that we have on Neige Leblanche? Like from the canon story and the special event like Glorious Masquerade.

Neige is 172 cm tall.

He is a sophomore at Royal Sword Academy, so he is ~17 years old.

Neige is considered “the most likable celebrity in the world”. He is known for “his disarming good looks and approachable nature”.

According to Mira, Neige been called pretty/beautiful more times than Vil has (based on Magicam comments).

Cater says that Neige is a top Magicam influencer.

Vil is often playing Neige’s evil counterpart in various productions. For example, he was given the offer to play the villain in the sequel to Legendary Sword, while Neige was to play the hero.

The rivalry between Vil and Neige appears to be entirely one-sided. Neige seems oblivious to Vil’s hostility and resentment of him, acting very friendly and inviting Vil to join him for singing and dancing.

His fan club name is “Eternal Snow”. Rook is its second ever member.

In Glorious Masquerade, Neige throws himself in front of fire lotuses to save Rook and Epel.

The Seven Dwarves state that they want to win the Harveston Sledathon so that they can share luck with everyone and make the world a happier place. “We know we can't make everyone happy all by ourselves. But if those close to us can be happier, like Neige... Then when other people see his smile, it'll lift their spirits! That's how we want to share it.”

The first time Vil co-starred in a movie with him, Neige would frequently leave. He would do his chores, attend rehersal, then go home and do more chores. He'd practice for the movie in what little spare time he had, and still always managed to cheerily greet Vil.

Neige has lived with the dwarves for years. They have been supporting each other for a long time (since he was child) and do not seem to have any adults in their lives.

Neige has never divulged his personal history to the press.

Rook states that Neige’s smile is that of “someone who’s overcome untold hardships. That’s why so many people are drawn to it.”

He apparently donates most of his pay to charity in order to aid underprivileged children with their futures. This is also something undisclosed to the public, but is known among his most dedicated of fans.

Like Vil, Neige was a child actor.

He won the title of Best Actor at the prestigious annual Diamond Movie Awards. Neige is considered the youngest recipient at 14 years old.

He calls Vil “Vii-kun”.

Rook calls him “Roi de Neiges”.

Rook had trouble expressing his emotions as a child—until the fateful day that he watched the musical King’s Road, which started Neige as the lead. The entire performance and its combined elements brought Rook to tears.

The very first time Rook dressed up to attend a performance was after he transferred to Pomefiore from Savanaclaw. Vil helped him get ready to see a show starting Neige.

Neige is seen in commercials for Red Apple Soda and Félicité Cosmetics’ Precious Protection Foundation in book 5.

Neige says he hasn’t seen Vil since the last movie they filmed together.

Neige is described as having perfectly choreographed walking and talking. His aura is also described as less intense and less glamorous than Vil’s, his smile like “a tiny flower blooming in an open field.” NPCs also call him very “accessible”, “friendly”, and wholesome”.

Neige is happy to hear Vil singing; he compliments Vil’s voice and calls it “absolutely incredible”. He also tells Vil that he looks forward to their VDC/SDC performance and encourages Vil after NRC’s loss.

Vil and Neige’s first production together was a musical drama set in a school. Neige was the star and Vil was their bully.

Neige chooses to perform an arrangement of a popular nursery song from the Shaftlands for VDC/SDC. He says he chose it because he “[wanted] to have a fun time and [to] share it with everybody watching the SDC. [He] figured something familiar would be the way to go [… he] wanted to share some special memories with [his] friends at school. […] if [they] could get the whole world to sing along with [them], it would make for an experience [Neige and the dwarves would] treasure forever.”

He’s been wanting to try apple juice from the Felmier family farm ever since Vil made a post about it on Magicam.

Neige was hypnotized by Jamil to sing for the cultural fair attendees. This served as a useful distraction while Yuu and co. dealt with OB Vil.

He seems to enjoy singing with others, be it the Seven Dwarves, NRC students, or whoever else wishes to join.

Neige recognizes Rook as “R”, a fan who goes to every single one of his meet-and-greets and writes him letters. R also buys each of his photos at fan events and composes poems to share his impressions of each photograph. In fact, Rook brought his Neige photo album with him to Ramshackle for their training camp!

Neige was surprised to find out R was a man, but quickly accepted it and encouraged Rook to please sign with his full name in future letters.

Jamil remarks that Neige handles situations with grace. “He's a leading global celebrity, but he still treats fans warmly and attentively. That's definitely a strength.”

Neige had never seen Vil cry outside of acting until NRC’s loss at VDC/SDC.

A movie adaptation of a children's novel starring Neige (~11 years old at the time) pulled in twenty million madol/thaumarks its first week.