#Hollywood Studios Map

[lackadaisycats]

I hope you know that literally nobody is going to be able to live up to the standard you, V*v, and Glitch have set and your arrogance and exploitation of your fanbase and connections has screwed millions of creatives out of their dreams because Hollywood is a joke that isn't worth telling and wealthy e-celebs like yourself have claimed the indie scene all to yourselves and moved the goalposts into the stratosphere.

Nope. This isn't a zero sum game. There is not some limited, prescribed number of indie trophy slots that a few studios greedily filled up, blocking everyone else out. That is not how it works. Nothing any other creator is doing - short of personally sending hired goons to your doorstep or stealing your credit cards - is taking anything away from you or preventing your success. In fact if an indie creator can manage to demonstrate that they've got something viable going, it may help to map out a pathway for others.

I think I'm not going to bother trying to address whether or not cartoons in return for support from fans - an entirely voluntary exchange - constitutes exploitation. And I'm living in the Midwest driving a 2007 economy car with 200k+ miles on it, but let's just skip past the assumptions that I'm wealthy and connected too.

Instead, let's get to the weirdly myopic notion that the indie scene is held captive by three studios. Maybe YouTube algorithms or Twitter bubbles are somewhat to blame, but in actuality there are so, so many individual people, friend groups, and small production houses out there making independent animation, I cannot possibly name them all.

Here are some anyway:

Far-Fetched Worthikids Satina | Scumhouse Noodle and Bun Punch Punch Forever Ramshackle Noodle Papajoolia | Pipi Angel Hare | The East Patch Jonni Peppers Salad Fingers Monkey Wrench Studio Heartbreak Felix Colgrave JelloApocalypse Odd1sout (started indie, got picked up by Netflix) Allie Mehner JaidenAnimations Lumi and the Great Big Galaxy Cloudrise | The Worlds Divide Telepurte RubberRoss James Lee ENA Godspeed | Olan Rogers Ollie and Scoops Meat Canyon Port by the Sea Kekeflipnote Boxtown Kevin Temmer Weebl Joel Haver CircleToons Long Gone Gulch Atlas and the Stars Animist Skibidi Toilet A Fox in Space Alex Henderson Talon Toniko Pantoja Sr. Pelo Hullabaloo Kane Pixels (started indie, picked up by A24) Homestar Runner Fennah Gods' School Alan Becker Dungeon Flippers JazLyte Psychicpebbles (started indie, Smiling Friends picked up by AS) Piemations vewn Metal Family Dead Sound chluaid Jacknjellify Betsy Lee | No Evil My Pride Cranbersher GeoExe | Gwain Saga Horatio the Vampire Mech West Playground | Rodrigo Sousa The Brave Locomotive Finchwing (+ many other Warrior Cats animators) Quazies SamBakZa Kamikaze: Trial by Fire

By no means a full list. That's just YouTube, and mostly just English language stuff, and I didn't even get to the multitudes of Warrior Cats animation collabs.

The point is, the indie landscape is vast and populated by creators new and old, making all kinds of animated media from skits, to shows, to ARGs, to films. Audience sizes vary as much as the content, stylistic approaches, subject matter, and budgets do. There are no compliance standards, no gateways to entry, no goalposts. There's not even any preset definition of success except what you decide for yourself.

Anyway, instead of nurturing your resentments, consider making something. I assure you, it's a far more rewarding use of your time and energy, and pretty much no one can stop you. ------------- EDIT- Made some additions to the list based on comments. Thanks!

[mascrapping]

Disney Scrapbook Design Ideas

If you’re a Disney fan, there’s nothing quite like the feeling of walking down Main Street in Disneyland or Disney World. The memories of watching your favorite characters come to life and the nostalgia of your childhood memories make Disney a beloved experience for all ages. And what better way to capture these memories than in a Disney-themed scrapbook? Here are some Disney scrapbook design…

[fans4wga]

Writers Guild West Official: Era of Hollywood Mergers Hastened the Strike

August 10, 2023

Laura Blum-Smith, the Writers Guild of America West’s director of research and public policy, considers the strike a result of a tsunami of Hollywood mergers that has handed studios and streamers the power to its exploit workers.

“Harmful mergers and attempts to monopolize markets are a recurring theme in the history of media and entertainment, and they are a key part of what led 11,500 writers to go on strike more than 100 days ago against their employers,” Blum-Smith said on Thursday at an event with the Federal Trade Commission and Department of Justice over new merger guidelines unveiled in July.

She pointed to Disney, Amazon and Netflix as companies that “gained power through anticompetitive consolidation and vertical integration,” allowing them to impose “more and more precarious working conditions, increasingly short term employment and lower pay for writers and other workers across the industry.” But she sees revisions to the merger guidelines that address labor concerns a key part of the solution to prevent further mergers in the entertainment industry moving forward.

“The FTC and DOJ’s new draft merger guidelines are part of a deeply necessary effort to revive antitrust enforcement,” she added. “Compared with earlier guidelines, the new ones are much more skeptical of the idea that mergers are the natural way for companies to grow. And they focus more on the various ways mergers hurt competition, including how mergers impact workers.”

In July, the FTC and DOJ jointly released a new road map for regulatory review of mergers. They require companies to consider the impact of proposed transactions on labor, signaling that the agencies intend to review whether mergers could negatively impact wages and working conditions. FTC commissioner Alvaro Bedoya, who was joined by agency chair Lina Khan, said in a statement about the guidelines that “a merger that may substantially lessen competition for workers will not be immunized by a prediction that predicted savings from a merger will be passed on to consumers.” Historically, transactions have been considered mostly through the lens of benefits to consumers.

The guidelines lack the force of law but influence the way in which judges consider lawsuits to block proposed transactions. They also tell the public how competition enforcers will assess the potential for a merger’s harm to competition.

Antitrust enforcers have steadily been taking notice of negative impacts to labor as a result of industry consolidation. “We’ve heard concerns that a handful of companies may now again be controlling the bulk of the entertainment supply chain from content creation to distribution,” Khan said last year during a listening forum over revisions to the guidelines, in a nod to anticompetitive conduct by studios that led to the Paramount Decrees. “We’ve heard concerns that this type of consolidation and integration can enable firms to exert market power over creators and workers alike.”

Adam Conover, writer and WGA board member, said in that April 2022 forum that his show Adam Ruins Everything was killed by AT&T’s acquisition of Time Warner in 2018 when TruTV’s parent company forced the network to cut costs. He stressed that a handful of companies “now control the production and distribution of almost all entertainment content available to the American public,” allowing them to “more easily hold down our wages and set onerous terms for our employment.” It’s not just writers that are impacted by an overly consolidated Hollywood either, he explained. After Disney acquired 21st Century Fox in 2019, he said that the studios pushed the industry into ending backend participation and trapping actors in exclusive contracts preventing them from pursuing other work.

Blum-Smith said that aggressive competition enforcement is necessary as “Wall Street continues to push for more consolidation among our employers despite the industry’s history of mergers that failed to deliver any of the consumer benefits they’ve claimed that left writers and audiences worse off with less diversity of content and fewer choices.”

“More mergers will leave writers with even fewer places to sell their work and tell their stories and the remaining companies will have even more power to lower pay and worsen working conditions,” she warned. “Strong enforcement against mergers is essential to protect workers in media and workers across the country and these guidelines are an important step in the right direction.”

[suppermariobroth]

Comparison between the official maps of the Super Nintendo World parks at Universal Studios Japan (left) and Universal Studios Hollywood (right), showing how the parks consists of mostly the same elements, but with different layouts.

Main Blog | Twitter | Patreon | Small Findings | Source

[ahfuckaghoulie]

map with a possible route and shots from the show for anyone else who has been Wondering

vault 33 → Filly: 4-8 hrs, 10-21 mi

Filly → place where Lucy cuts Wilzig's head off: 2-5 hrs, 5-14 mi. it rly depends on where the hell Filly is (I've mistakenly highlighted LAX but it's further south than that just pretend for me I can't fix it now jfncnfkf)

Wilzig's body → lake with Gulper in it: 7 hrs, 17 mi. right by Universal Studios, btw

the ghoul drags her off course here

Gulper → Hollywood walk of fame: 3 hrs, 6 mi

walk of fame → super duper mart: according to the wiki super duper mart is near santa monica boulevard so i highlighted the whole thing, but it only makes sense for them to go through the walk of fame if it's the east side of the blvd,, 😥 anyways, it's a short walk, like 30 min and 1.5 mi tops

super duper mart → Max/Shady Sands → vault 4: Lucy links up w Maximus somewhere close, and they visit Shady Sands before wandering into Hawthorne medical labs/vault 4. I dunno how to estimate this part of the journey, they could've gone anywhere in that blue area

they spend more than one day at vault 4, I think. Lucy also mentions being on the surface for about two weeks when they leave

vault 4 → radio station with fiddle guy: 4-6 hrs, 10-15 mi

radio station → Griffith Observatory: 2-3 hrs, 4-7 mi

travel time: ~25-40 hrs

total distance: 60-100 miles

added some stuff, but the photos and locations are based mainly off this reddit post

[cityofmeliora]

Ghost and Southern California

i'm from California, so a lot of the locations in the Ghost lore are familiar to me! i wanna use this post to show / explain Ghost being set in the Los Angeles area.

though it hadn't been explicitly stated yet then, there are actually hints that Ghost is based in Southern California as early as Chapter 4: The Accident. when Sister Imperator is driving, you can see palm trees on the hills along the road. of course, lots of places have palm trees, but the specific combination of palm trees with the rocky cliffs and sparse vegetation feels distinctly Californian to me.

the Dance Macabre music video shows Nihil met Sister Imperator at a mansion in LA (as explained by the intro). don't know the exact location, but if i had to guess, i'd place it maybe somewhere in Beverly Hills, which has a lot of mansions like this.

the Kiss The Go-Goat music video again confirms that they're in Los Angeles. it features the Whisky a Go Go, a real music venue in West Hollywood. the Mary On A Cross animated music video accurately places it on a corner along the Sunset Strip.

the Mary On A Cross lyric video shows Sister Imperator walking through the Ministry building before leaving to see the show at the Whisky a Go Go. this is another indicator the Ministry building is in the LA area since it's within driving distance of the venue. scenes in the Ministry building are filmed at a real mausoleum northeast of LA, but i'm not going to name the location because the Ministry is supposed to be a fictional building. interestingly, the lyric video also gives us the exact time of the concert.

after the events of Kiss The Go-Goat, the Mary On A Cross animated music video starts with Sister Imperator driving to her house, which is in the Hollywood Hills neighborhood near the Hollywood Sign. you can see from the road that they're in the hills looking over the city.

then Sister Imperator and Papa Nihil run from their house to the Hollywood Sign. there are hiking trails that go from the surrounding neighborhoods up to the Hollywood Sign. you can go behind it just like they do in the video.

Sister Imperator and Papa Nihil cross a body of water that is most likely the Hollywood Reservoir, although the video places the Hollywood Sign west of the lake instead of east, as in real life.

Sister Imperator and Papa Nihil make out in a cemetery (which i did not attempt to locate) and then end up at a motel. this is not a real motel, though. it's the Bates Motel movie set at Universal Studios Hollywood. i laughed so hard because recognized it instantly in Rite Here Rite now. (i've been on the same tour that the Nameless Ghouls were on.) Universal Studios Hollywood is both a theme park and an actual film studio. there are people filming when Nihil calls Mr. Psaltarian to come pick him up in the The Future Is A Foreign Land music video.

so to summarize some of the locations in those videos: the Whisky a Go Go, Hollywood Sign, and Universal Studios are highlighted in yellow. the red outline on the map shows the boundary of the Hollywood Hills neighborhood. the Hollywood Reservoir is the body of water in the middle of it.

The Future Is A Foreign Land music video and Chapter 13: The Beach Life feature Mr. Psaltarian's beach house, which is on the Pacific Coast Highway in Malibu. though there are beach houses all along the SoCal coast, Malibu is closest to LA, and is pretty much the only place where houses are that close to the water without some kind of barrier. it's a real house and i've driven past it. i know the exact location but i'm not sharing it, for obvious reasons.

here is Malibu on a map relative to Los Angeles:

as a side note, it appears Cardi now drives Mr. Psaltarian's old car, a 1968 Buick LeSabre convertible. it has California license plates, of course, but the plates must have been replaced at some point, since that California license plate design wasn't in use until 1988.

lastly, Rite Here Rite Now is set at The Forum (now called KIA Forum), which is in Inglewood near the LAX airport. Inglewood is technically its own city, but it's completely surrounded by LA.

when Rite Here Rite Now released, TF said in an interview that it's "common knowledge" that Ghost is based in LA. i found it a bit funny because i've read very few Ghost fanfics that are actually set in LA, so i don't know how 'common' that knowledge really is, LOL. but i hope this post helps!

WHAT WAS BEHIND THE DECISION TO SHOOT THE FILM AT THE FORUM IN L.A.? TOBIAS FORGE: [...] There’s this common knowledge that the HQ of the band seems to be in L.A. So the Forum is not only a classic venue, but it’s sort of their home turf. Had we placed the story someplace else, we would’ve had to justify: Why are they there? Why is this show special? Revolver (June 2024)

[certaincollectionlandblog]

A Disney Trip with Mick Schumacher

- I am very much convinced that Mick would greatly enjoy Disney World - He is literally a walking Disney prince - If you had ever gone to Disney before or were a Disney gal he would trust you completely with the planning - Mick's favorite park is probably Magic Kingdom or Hollywood Studios - I feel like he would get mouse ears or those baseball hats that have the Mickey ears on them heck, maybe even one of those sorcerer Mickey hats - Mick + Dole whips = a love stronger than superglue - He is constantly pulling you around wanting to show you things he sees - "Y/N did you see that little girl dressed as Elsa? I can't wait till we have some of our own" - Mick is the type of man that if he saw a mom struggling to get her stroller onto the Monarail, boat, bus, skyliner, or whatever you know he is going to help - Gets a map in every park even though you tell him he doesn't need one because you know your way around - Loves turning on the TV when y'all get back from the parks for a break or even for the night and just snuggling up with you - He gets recognized while you guys are stopped getting candy apples and you offer to take the picture - "You know that's what I love about you" "What?" "You don't care if I'm with you when fans see me because you're so caring you want them to be happy too and I know I am so lucky to have a girl with the sweetest heart" - You attempt to drink around the world at Epcot and Mick has to carry you back to by the time you reach the France pavilion - "Babe do you think I can eat four churros at once?" - Mick definitely has a mild breeding kink because after all he is a huge family man so let's just say seeing all those families around and you in your happy place he is dragging you back to the hotel many times during the trip - I need to see this man hug Donald Duck, it's a bucket list item - You would be sending his mom all the photos you guys take - He wraps his arms around during the fireworks - You make an off handed comment about wishing they had they new Figment hoodie in your size only to come back to the hotel room later that night to find it waiting for you, you know Mick had something to with it - You love going on the Peoplemover with him and just taking in tomorrowland - Mick isn't huge on PDA, but he loves holding your hand as you drag him through the crowds to get where you're going - He giggles like a kid while riding the Dinosaur ride with you in Animal Kingdom - You bend down for two seconds to tie your shoe lace and somehow he has a mickey bar in his hands already

~Instagram~

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liked by carlossainz55, F1wagsupdates, yourbestfriend, and 416 others

yourinstagram My favorite boy in my favorite place

*disclaimer: all photos are from Pinterest

[javiddenkins]

Javid Denkins is not interested in answering questions. 

It's 9:30 in the morning and I'm sitting across from Denkins in a conference room at the AMC Studios offices. Denkins declined to meet anywhere more personal than this beige and glass room, impersonal Muzak buzzing through the speakers, windows overlooking an empty studio lot. There are posters on the wall but none, strangely, for Blow the Man Down, the runaway hit Denkins conceived, writes, and now showruns. 

Blow the Man Down, or BTMD as it's frequently referred to by fans and journalists alike, is a workplace comedy set in the Golden Age of Piracy. This unusual premise would be interesting enough even without the top-tier leads brought on by AMC to play opposing pirate captains Sam Bellamy and Olivier Levasseur—Oscar Issac and John Boyega light up the screen and bring surprising comedy chops to the pirate-filled stage they share with such talents as Michelle Yeoh ("Zheng Yi Sao") and Sam Neill ("Captain Benjamin Hornigold"). 

But beyond that, BTMD seems to be that rare thing in mainstream media: a slow romance between two middle-aged men finding love for the first time. The first—and so far, only—season ends on a cliffhanger, our heroes separated by an ocean but determined to reach one another, and their love story—if it is one—stays unresolved. 

Usually an interview like this—between seasons, after renewal and filming but before advertising—would be the perfect opportunity to delve into the mind behind the magic and attempt to tease out hints about what's to come. 

But Denkins seems determined to ignore Hollywood's traditional playbook. 

Whether this is the standard conference room used for interviewing reluctant showrunners, or if Denkins picked it especially for the purpose, I'll never find out. I've already been waiting half an hour, uncertain if Denkins intends to join me at all. When he does finally arrive, he makes his position clear. 

"I'm only doing this because you agreed to my terms," he says. 

I'd describe what he looked like, if he had a coffee or a snack or a smoker's twitching nerves, if he sounded tired or amused or angry—but I can't. If you see a description here, it's because Denkins decided, for whatever reason, to approve it. Otherwise, sharing my impression of Denkins is off the table, one of many terms and conditions my editorial team and I had to agree to before Denkins would accept this meeting. 

Denkins doesn't want to make my job easy. Photos of him do exist from the few red carpets he's attended; enthusiastic interviews with the cast, writers, and production team of BTMD definitely paint a picture that belies Denkins's apparent efforts to avoid perception. But here and now, in the oppressive air conditioning of the AMC offices, I am contractually obligated to interview a cipher.

If he can be all business, though, then so can I. I hit a button on my phone's recording app, set it down between us, and ask what made him decide to tell the story of an obscure pair of pirates like Sam Bellamy and Olivier Levasseur.

He shrugs. "Why does anyone write anything? This is my job." 

It's not the kind of answer I was expecting. Something must show on my face, because he follows with, "That's unsatisfying, isn't it. No definitive answer."

"It's not what I expected," I hedge.

"What did you want to hear?"

I try to gather my thoughts, but I'm definitely stalling, uncertain that this is what Denkins intends. "I did a little research," I say. "Not as much as I imagine you did, but I found some of Bellamy and Levasseur's history together and, later, apart. Bellamy's ship is the only fully authenticated Golden Age shipwreck in the world, so it makes sense that the wrecking of the Whydah is an important turning point in season one. Levasseur, on the other hand, is best known for the mystery of his encoded treasure map, flung into the crowd at his hanging and only ever partially solved, which you seem to have used as a foundation for the coding and decoding motifs throughout. But for a show that seems determined to discuss the consequences of fame and reputation, it's fascinating that you've chosen two men most casual viewers have never heard of."

"Outside the narrative they built for themselves," Denkins corrects. "Is there a question in there?"

I remember again that Denkins isn't here to make this easy for me. "Why not choose one of the more well-known pirates of the era? Henry Morgan, Captain Kidd, and Blackbeard are all arguably more famous both now and when they were alive. What made you choose Bellamy and Levasseur for this story?"

"I think," Denkins says, "I just answered that. There's a difference between how you perceive yourself, and how the world perceives you. Those famous pirates retained their notoriety even after death. Sam and Ollie did have reputations when they were alive, but if people today know them at all, it's typically for reasons completely unrelated to whatever little fame they achieved in life."

"And that fascinates you?"

Denkins looks irritated. "It doesn't matter what fascinates me. That's the story, that's—look, I don't know how to write a puff piece like this," Denkins says. "I don't know if it would really sound like this, if anyone would bother caring enough about what I want to get this far."

"Excuse me?" I say.

"Do you honestly think," Denkins says, "there's a single journalist out there that would actually agree to these interview conditions? This is a fantasy, a what-if, and it still doesn't work."

"What do you mean?"

"I mean," says Denkins, "I didn't even give you a name."

And that's true, I realize. I don't have a name. 

"Right," says Denkins, as if hearing my thoughts—and I suppose, in a way, he does. "And you don't know how you got here, and you don't know where you'll go after. I made you up. I made all this up."

I look at my recorder, which isn't a recorder. I look at the room, which isn't a room. 

"Okay," I say. "So what did you want to happen?"

Denkins taps my phone's screen to stop the recording. Denkins imagines me noticing that he taps the screen, and so this must have meaning. There is no room for junk words and actions in prose, and even less in television. Whatever's on the page has to have meaning, or it's wasted space, wasted time, a moment that could have been useful now gone and never coming back.

Denkins shoves my phone back to the center of the table and says, "I wanted to see if I could just talk about the story without making it about me."

"But you're part of it," I point out. "You have to be. It came from you. It was something you thought was important, and then you put the effort in to create it. The story exists because of you, in relation to you. That's why people, why fans, want to know more about you. They love the story, and you made it, so they want to love you, too."

"I don't like that," says Denkins. "Rephrase it."

"They love the story," I say, parroting back at my creator, "and you made it. They want to know about you so they can know more about what the story means."

Denkins's chair creaks as he pushes it back, puts his head in his hands. I wonder if he's doing that in the real world, too, in the place where he's imagining this interview that will never exist. 

(Except I'm not the one wondering. He is. He's wondering what an interviewer would think of him if he allowed himself to show this weakness. Rephrase. Show this ache. Rephrase. Show this.)

"I'm not a story," Denkins says, face still hidden. The Muzak piped into the room seems too loud, too discordant now. Maybe that's what the world sounds like to him. "I'm not imaginary. I'm not a specimen to study under a microscope until every part of me is uncovered and connected one by one to every part of the show." He drags his hands back down and I think I can say that he looks very, very tired. 

"Yes, maybe I put some of myself in Blow the Man Down," he continues. "Maybe I did in season two as well. Maybe I put something in The Gang, and maybe I'll put something into whatever else I make for the next fifty years. And what I put there is—will be—has to be—my choice. All things I chose to share. But this?" He waves a hand at the nonexistent conference room, at nonexistent me. "This isn't a choice. It's a demand. I'm being held hostage for answers, as if me keeping my boundaries somehow ruins the show, ruins the story."

"Because you're not a story," I repeat back, watching for confirmation. "Because what you choose to reveal is the only story the audience should need."

"Yes," says Denkins. "That's it."

That's not it, though. I know this, because I'm him, talking to himself. Thinking all this through. 

"So you cut yourself off," I say. "No one can know anything about you, because they're already clawing for what you're not willing to share—so how much worse would it get if you gave them a chance to come closer, right?" 

"To take, and get it wrong anyway," he says. "Or get it right, but not like it. Not like me. How I'm perceived might change how the story is perceived. And even skipping over the whole art of it all—this is a business. How the story is perceived affects dozens, if not hundreds of people and careers. And all of it can get destroyed in an instant if there's some aspect of me that the audience decides is wrong."

Denkins pushes back from the table, stands up as if to leave. I'm not done yet, though. He's not done yet.

"Sounds lonely," I say.

"Sounds like something a fan would say," he shoots back, and I shrug.

"Blame yourself for thinking it and making me say it, then. It sounds lonely. It is lonely. It's lonely to think there's no way that you could open yourself up, talk about who you are and what your art means to you, without feeling like someone, everyone, will take advantage of that vulnerability."

I pause, and in that pause I find something to latch onto. "You've imagined me," I say. "You've imagined this scenario, where you stay cut off and oblique and hidden." I pick up my phone from where it's placed between us, and I shut it down completely—not because it exists, but because it's a symbol he understands. "What would happen if you imagined being part of the story?" I ask. Rephrase. "What would happen if you imagined being free?"

We look at each other. The tinny music of this artificial space comes to a sudden halt.

Denkins leaves the room. 

I am—

Denkins comes back. He sits down. He looks at me.

Time doesn't exist in the beige and glass room. But behind him, now, there is a poster of Sam Bellamy and Olivier Levasseur, a drilled coin on a cord stretched taut between them. And the Muzak hasn't restarted.

Denkins looks different. Or maybe he just feels different. Those things are functionally the same, here.

"You know the old movie trailers?" Denkins starts, not really a question. "The ones that start with 'in a world…'"

I nod. 

He smiles a little. "Okay. In a world where Blow the Man Down doesn't exist. Let's say there's something else instead. Let's say it's called Our Flag Means Death. It's a workplace comedy, it's the Golden Age of Piracy, the works. They even manage to kiss in the first season, though the cliffhanger is worse. And in that world, there's a different guy who runs it, a guy named David Jenkins, who seems nicer and more outgoing and shares a lot more of himself than I do. And I think it goes mostly okay for him, except he has to scrub his social media, delete most of his Instagram, and never gets to name his wife anywhere in case a fan might notice and start following her around."

"Sounds grim," I say.

He shrugs. "It's another way of handling it. David, in that world, has made a choice to draw the enemy fire toward himself, instead of hiding away and letting it scatter at random. It seems to work okay for him, and maybe it would for me too, but, you know. Maybe that's a little of myself I gave Ollie. Because I also like the idea of testing something first, all the way to destruction."

A little of myself. This—this is personal information. Something that, in the negotiations that never happened, he said he'd never give me.

My phone, with its blackened screen, is right there. I keep my hands still, folded together, decidedly not reaching for the phone. Denkins watches, sees. His shoulders loosen; neither of us, I think, realized how tense he'd been.

"In that world," he says, "there's a second season coming that no one knows anything about and there's a fandom going feral. Echo chambers that feed off their own theories because there's nothing new to add to the pot. Just like our world, right? In the absence of good data, overwrought ideology works just as well.

"And in the middle of this, to provide a distraction, maybe, or to draw that enemy fire like he so often does, David Jenkins says he'll get a Tumblr—you know, one of those not-really-social-media internet places. And maybe he does. He doesn't tell anyone his username, so it's a mystery whether he really did it or not. But someone opens an account. And someone says they're definitely not David Jenkins."

Javid Denkins is holding a cup of coffee. So am I, now. We take sips, mirrors of each other. The coffee tastes like it has seven sugars in it.

Denkins swirls his cup gently, not looking up at me. "When you're trying to figure out something that's terrifying," he says, slow and careful, "and enraging, and so big and so much that it feels like you'll collapse under the weight of it…sometimes you need to find a way to conceptualize it more abstractly. Make it manageable. Put it in bite-sized chunks. 

"So instead of me, dealing with all this fame, and these expectations, and these pulls to turn me from a person into a plot point…maybe there's this other guy. In this other universe, with this other pirate show. Another writer, who says he's definitely not David Jenkins. But—he could be. He could be. And either way, there's enough uncertainty that the fandom can't tell right away."

"Schrödinger's showrunner," I say. 

Denkins tips his mug at me. "Yeah, that gets pointed out, too. Because either it's really him and the fandom will eat at him—death by a thousand needy bites of demand, and something that feels like connection but by its nature can't be—or it's not him, just a fan pretending to be him, attention-seeking, scamming, stealing unearned laurels to crown a meaningless triumph: successfully mimicking the concept of David Jenkins."

"Pretty binary."

Denkins shrugs. "You saw the first season. I'm a sucker for duality." 

He hums and looks out the conference room's window. The AMC lot is gone. More accurately, it was never there. Outside the window is an ocean. The water is green-screen perfect, and there are two tall-masted ships in the distance: Bellamy's Whydah Gally and Levasseur's La Louise. They float angled toward one another, counterpart to their captains on the poster behind Jenkins, missing only the drilled coin between them.

"Except," says Denkins, slow and musing as he watches the distant ships, "in the vast multiverse of imaginable possible outcomes, it turns out that there is the very slimmest possible chance of a third thing happening."

There is another ship floating now between the Whydah and La Louise. It's freshly painted, poorly rigged, and its figurehead is a unicorn. Instead of one flag, it has half a dozen. And I know, because Denkins knows, that instead of gunpowder in its hold, it carries jars and jars of harmless marmalade.

"So," I say, "David Jenkins—"

"Oh, definitely not David Jenkins," says Javid Denkins, amusement lighting up his face. He keeps his eyes on that third ship.

"So the person who is definitely not David Jenkins," I say. "He comes and starts a social media account. He answers questions."

"Sort of. Nothing specific, really. Just…narrative likelihoods. Enough to dangle hope. But the fandom wants more. There's a Richard Siken line he sees, that if he'd chosen to stay anonymous maybe he could've actually posted: 'but monsters are always hungry, darling.' It's like that. So he backs up a little, and considers how to hold off the inevitable. The season two hints are vague? Make them vaguer. Add some smoke and mirrors to hide how little substance they have. There are only so many general pirate tropes around? Stretch out how long it takes to get the ones he has. Add steps. Add puzzles. Make the fandom work for it, and maybe they won't notice how little there is to find. Give them an interesting enough box to open, and they'll ignore the fact that there isn't an answer on the inside, just another, smaller box." He tilts his head and looks at me. The light outside is now luminous pink and yellow, flashing off the water and highlighting his face like a duotone painting. "Then he…" Denkins sighs. Puts down his mug. "Then I sit back and see what happens. I see if it's as bad as I think it would be if I did it here, in the real world."

"And is it?"

Denkins reaches out with one hand, tugging my phone over to his side of the table. He starts fiddling with the buttons, attention on it instead of me. "To start with? Yes. And no. It didn't matter that the one thing I promised was that I wasn't David Jenkins. They—the fandom—found me anyway. They assumed I was him. And I was right, of course I was right, they asked me questions. Hundreds of them. Like that was the only reason I existed, like I couldn't just be a regular person like the rest of them, just on Tumblr to read about the Carpathia and get taken out by the color of the sky."

"For better or for worse, you're a public person," I say. "They think they know what it means when a public person breaks down the barrier between themselves and the fans. Even well-meaning people make assumptions."

The recorder is no longer a phone and app; it's an old cassette player with thick plastic buttons like I, or more accurately Denkins, had as a child. It matches the ones his elementary school classrooms had, which in turn looked like the device Mr. Spock carried at his hip to record and interpret data from strange new worlds. 

Denkins, in the here and now, half-presses the play and record buttons, which would trigger the record function if pushed down completely. He holds back. Riding the edge of commitment. Over and over. 

"Yeah," he says. "Yes. That's true. And I could've been completely anonymous if I wanted to be left alone entirely. I suppose I wanted to prove that everything I believe—everything I'm afraid of—is true, and that I'm justified in hiding away, refusing to be 'known' by anyone I haven't specifically agreed to. Hence the thought exercise. And when I was done, and I had my proof," he says, leaving off the recorder buttons to raise a pointed finger at me, "I wouldn't have to see you again either."

We look at each other. "But here you are," I say.

He laughs. It's rusty, but sure. "Here I am," he agrees.

"So what happened?"

"Turns out," he says, "that in that infinite universe of possibilities a writer can dream up, there's a world where, yes, all my worst fears are confirmed…but that's not all that happens."

He stops, and we are both silent for a long, long moment. His fingertips brush over the recorder buttons, repetitive and soothing, like he's calming something feral and unused to human touch.

"Would you believe," he says at last, hushed and small in this glass and beige room floating on a digital sea, "that there is a world where fans—people—don't ask for more than I want to give? Who see the box I'm in, and instead of ripping it open to grasp for whatever good thing they think they can find inside…they give something back. 

"I played it all out, you see." He waves his hand over the recorder. Now there are two of them, sitting side by side, each with a row of thick black plastic buttons along the edge: one to play, one to rewind, one to record, and one to pop open its lid so that the cassette can be changed. One of the recorders is a little bigger than the other. "If I can imagine it," he says, "it has to be possible."

He looks at the two recorders; he's quiet now, talking to himself rather than me. I don't think I'm as necessary as I was before. I think maybe this is just him. Just Denkins in this lonely little room. He moves the smaller recorder so that it's lined up with the larger one, like he's lining up Matryoshka dolls as he reveals them.

"It started small," he says. "There were people who saw my puzzles, and made puzzles back for me, just to play along. People who saw my puzzles, and shared what they knew about them, just to help others play too. Small things. Little things. Possible things. I liked it. I didn't expect it. I…wanted to give back, too. Not just in the story, I mean. It was me who wanted it. Wanted to add to a world, to a community, where that sort of giving could happen. So I went further. I didn't just try to hint at common story beats this other show might hit—I started listening, following, asking what would be most welcome, and then gave that instead. And it grew. It grew until it wasn't really just an experiment anymore. It stopped being an adversarial proof. It started being…something else."

Denkins reaches out, and now there are three recorders on the table. The newest one is the smallest. He lines it up with the others.

"I'd already made David Jenkins," he says, "and in turn he'd made his own Javid Denkins. So why not do it again? This other Javid Denkins, this me who's me but not me, goes deeper. He uses the tools at his disposal. Our Flag Means Death has pirates named Edward Teach and Stede Bonnet. OFMD has a fandom like BTMD does, where people write stories about the characters, for themselves and—for others. Fan fiction. A thing that can be a gift, if you want it to be. So I started to write one."

One by one, Denkins hits the 'play' button on each of the recorders. The cassettes whir, a steady background hum. Each starts playing a part of some orchestral piece. Not the individual instruments, but something stranger. It's as if each cassette contains the whole work, but with fragments missing that the others complete. There are still some gaps in the playback.

Denkins waves his hand over the collection again, and a fourth recorder, smallest of all, appears. He presses play on it too, and the music fills in. It's a pretty little melody. Simple, if you know how to hear it.

Denkins hums a little of it before looking up, seeing me again. "That was it, really. That's what finally made all this small enough for me to understand. Made it small enough, far enough away from my actual world that I could finally let myself feel it. In this story that I'm telling, here is Edward Teach." Denkins touches the smallest recorder very, very gently. "Teach lives in a world where he's not the main character; he's just a fan of a gay pirate romcom called Blow the Man Down. He's tired, and he's angry, and he doesn't know how to deal with the world the way it is, with the fandom as he perceives it. He makes a Twitter account, anonymously, to prove that what he fears is real."

Denkins covers the recorder with both hands, only muffling the music a little. "Here's Edward Teach, made up of all my fears and saying them out loud."

He raises his hands, and now there are two little recorders, the same size, both playing the same parts together. He touches the new recorder with his fingertip, as if it's a bubble that could too easily break. "Here's Stede Bonnet," he says, "made up of all my fears coming true. And then having to live through it anyway." He stares down at this new recorder; the same as the Edward Teach one, but evidently special in some way to Denkins. He says, to me, to it, to the room: "It's a hell of a thing, to need to go so far away just to see what you've been carrying on your back the whole time."

After a moment, he looks back up at me. "In my story," he says, "Stede survives the disaster. My disaster. He survives it, because he has Ed—a love interest, yes, but not just that. He's someone he opened up to. And more than that, I saw—because I could imagine it, and so it must be possible, it has to actually be possible—I saw the fandom become…people."

With both hands, Denkins presses a button on each of these two small recorders.

Their lids pop open.

And from the walls, from the ceiling, from the glass windows and the limitless sea, there comes a multiverse of music.

"These people," says Denkins, tilting his head to listen as the swells of unseen instruments add to the gentle overture of his pocket worlds and turn the piece into something greater than the sum of its parts. "They're not some nameless collective made up of their worst impulses. They're just people. People are complicated. You can never know them completely; they can never know you. All you really get is what they—we—choose to do. 

"And I saw people try to help Stede. People, strangers, who didn't know who he was, not really. And they felt compassion anyway."

After a long moment, just taking in the music, Denkins sighs and carefully closes the lids on the two small recorders. The singing universe becomes just a recorded orchestral piece once again—though no less beautiful for it. He gently pushes the two recorders together until they're touching, side by side, and covers them with his hand. He says, "Ed got to see this. He got to know that even if his worst fear happens, he'll be okay on the other side of it. And he won't be alone." 

He lifts his hand; the two are now one, still playing its little melody.

Denkins picks up this amalgamated recorder and sets it on top of the next largest. He puts his hand over the stack he's just made. "Move it up a level," Denkins says. "David Jenkins, or someone who is definitely not David Jenkins, runs a Tumblr with games and puzzles and digital tools that stretch the boundaries of the narrative. He sees the reactions to his story. Sees fans who know it isn't real, who know that Stede and Ed are characters in a narrative—and nevertheless, these fans, these people, see that these characters are hurting. They try to help. They don't know who's behind the masks labeled 'Stede' and 'Ed,' not really. But they feel compassion anyway."

He lifts his hand. The little recorder atop the larger is gone. The music is different. Not lessened, but changed. It's come closer. 

Once more, Denkins moves the smaller combined recorder onto the last one—or, I suppose, the first of all of them. "So move it up one more time," he says. The music isn't audible in the room now; but I hear it anyway. It's in me. Us. The last little notes coming from the final recorders just a reminder of what the world could sound like.

He covers the top recorder with both hands. His touch is aching and very, very soft. "Here's me. Javid Denkins. I don't know if there's a world where I could open myself up and not have everything burn down in flames. I don't know if it could ever be possible for me to leave this room, open my laptop, and start something, somewhere, called 'definitely not Javid Denkins,' and have it be as beautiful and awe-inspiring as it was in my thought experiment.

"But God," he says, "I want it."

He lifts his hands, and all that's left is the final recorder, the one that was my phone to begin with. The music dissipates completely. But the feeling of it remains. Denkins rests his hands on either side of this solitary recorder. He says, "I don't know if all of that—all of them, my fans, my friends, all of what we made together…I don't know if it already exists for me in the real world. Just waiting for me to be brave enough to look. I don't know. But I think I have to believe that it does. That they do. I have to believe that it's possible not just to imagine that kind of grace, but to live it." 

Denkins brushes his thumb over the last recorder's play button. "I think that's what it means to be human," he says. "To try anyway. To unlock yourself despite your fears, and find hope there waiting for you."

He closes his eyes. I close my eyes. We take a deep breath together.

We open our eyes.

After a moment, I smile at Denkins, a little crooked. I've got one last question to ask, and it's one he might even answer. 

"Who are you, really?" I ask. 

It's something we all have to answer about ourselves eventually, and it seems particularly relevant now.

Denkins shrugs, and his smile mirrors mine. "Does it matter?"

"It feels like it does."

"How about this," he says. "Who are you, really?"

And knowing what I know now…if I'm anyone at all, then I suppose I'm Javid Denkins. An aspect. A reflection. A dream.

And so, in these universes he's imagined, is everyone.

"So," Denkins says. "You think I can start over?"

I smile wider. It feels good. "I'd love that."

He pushes the recorder back to me, and in my heart I hear his laughing request for one last rephrase—

Javid Denkins has been waiting for me.

It's 9:30 in the morning and I'm sitting across the table from a cheerful enigma. Denkins was already in the room when I arrived, a hot coffee by my seat and a box filled with fresh breakfast pastries and marmalade open and ready to be enjoyed. An advertising standup emblazoned with the unreleased (at time of writing) air date for season two of Denkins's Blow the Man Down takes pride of place at the head of the table. Through the windows opposite, bright sunlight bounces off the buzzing AMC studio lot, and I think I hear a certain pirate romcom's theme music playing quietly over the room's speakers.

Denkins grins at me, and it's easy to see why his actors and writers speak so highly of the experience of working with him. Because I can tell already: this is going to be fun. 

It starts when he leans forward, eyes bright, and presses the record button on my phone for me.

"Let's play," he says, and—we do.

[poetryincostume]

A ribbon corset has been on my list to make for a good few years now. In 2020 I was full steam ahead to make a Helga Sinclair (Atlantis) cosplay. Life, pandemic, work, and endless distractions means we’re still not quite there yet, but in dribs and drabs I’m tackling elements of the costume as I’m still sitting on the majority of the materials.

This was when when I was in the depths of being very taken with making costumes from the skin out; fit, silhouette and sharp clean lines are my priority when making and where I find great satisfaction. To achieve a perfect shape, you need the perfect structure to build on.

Playing with undergarments creates further opportunity to explore character and the setting, historical or fictional, in a fun intimate way. Fabric choices, actual garment choices, shooting for a silhouette that is easily drawn but harder to achieve in the flesh. This led to me deciding that Helga would need a full set of pseudo-historical undergarments.

With references to the Kaiser, the overall steampunk aesthetic, and the silhouettes featured in the Washington DC-set opening scenes, Atlantis is clearly set in the early 1910s before the outbreak of World War I. Helga's design, however, drew heavily on Hollywood starlets of the '30's and '40's, most notably Veronica Lake and her career making hair. Withn the film, Helga remained highly individual, and was exclusively animated at Disney's French Studio by Japanese animator Yoshimichi Tamura for maximum sex appeal that Burbank animators apparently just can't get right.

This gave me a lovely big window of around 30 years to play and pick and choose from for possible undergarments which led me to: the ribbon corset.

Ribbon corsets emerged alongside sports and 'health' corsets at the turn of the twentieth century. These developed out of a growing engagement with sports and exercise in the leisure classes, the burgeoning Dress Reform movement that advocated the abandonment of the corset. Particularly in the case of the pretty ribbon corset there was also the influence of the late Victorian aesthetic movement that favoured loose, diaphonous romantic garments.

These corsets sat under the bust and had boning at the centre front, back and sides and no more and rested on the high hip. This allowed maximum movement for the active lady, gently supporting the torso in the fashionable flat fronted shaped with little restircution. The body of the corset was otherwise was made up, as in the name, of strips of ribbon.

When looking for discussion of how to construct one of these, all pointers led to Sidney Eileen's perfectly detailed tutorial, which I do recommend reading through. To my eye it is a very modern approach that I didn't quite agree with so I used it as a jumping off point along with the patterns in Corsets & Crinolines, and Corsets - Historical Patterns and Techniques.

To draft up the pattern was very simple: I marked out my desired waist measure, then measured up my centre front and centre back lengths (averaged out from the various patterns in my references compared against myself). I then used my ribbon - 50mm jacquard - to map out my body layout.

When it came time to construct I realised that my ribbon - so abstractly bought years ago - just didn't have the body to take this structure. Much too flimsy, much too synthetic. Fortunately I had a 50mm green grosgain in large quantity in my ribbon drawer. Given the merc-for-hire miliatry drab favoured by Helga, I thought the green alongside the pretty shell coloured floral made a lovely character juxtaposition.

I mounted my jacquard onto the grosgrain, creating a nice delicate border. If you look closely you'll see that actually there are too shades of green grosgrain here as I was about a metre shy of my preferred colour, but i figured it was close enough and minimally to just fake through.

These newly formed ribbons were laid out on my pattern, stitched carrfully together and then tacked all over to stop any irritating movement when working.

The boned panels - side, back and front - were two layers of herrinbone couil, trimmed with grosgrain and covered with main ribbon. The ribbon panels were first stitched to one layer of coutil, as you would with any garment. The ribbons were then quilted neatly and vertically across the width of the coutil panel to make sure that they are entirely secured. This was repeated for all panels; the side panel has two layers of quilte ribbon as a result.

As no extant example that I have seen to date has binding on these boned panels - naturally, it would add bulk and distract from the clean lines of ribbons - I decided that this would mean that I would sandwich and hem my boned panels for security. Each boned panel had its grosgrain trim and top ribbon tacked in placed, the the second layer of coutil was stitched and turned to the inside, folding the quilted ribbon very neatly inside. Boning was then inserted from the side and stitched into place rather than inserted into channels.

A lovely ivory powder-coated busk, and stitched over eyelets and Helga's vaguely turn of the century ribbon corset is all done!

References:

Underwear Fashion in Detail, 2010, Eleri Lynn

Corsets - Historical Patterns & Techniques, 2008, Jill Salen

Corsets & Crinolines, 2017, Norah Waugh

The Making of Atlantis - https://youtu.be/tvR9Zdp74fY?si=5mMV1AH6HLir2rNZ

How To Make A Basic Ribbon Corset, Sidney Eileen - http://sidneyeileen.com/sewing-2/sewing/corset-making/basic-ribbon/

An Edwardian Ribbon Corset, History Wardrobe - https://historywardrobe.wordpress.com/2014/04/10/an-edwardian-ribbon-corset/

[slightly-nerdy-rambles]

Robstar Week Day 5: Romance and Roller Coasters (Prompt: Date)

Admittedly, this is probably the combined-prompt fic that most loosely follows this year's prompt. I'm originally from Central Florida and pretty much grew up going to theme parks, so I really had fun with this one, which was originally based off of last year's day 2 prompt of "Carnival/Amusement Park". I based the theme park the Titans visit here off of the Disney and Universal parks, especially Islands of Adventure's Jurassic Park area (as if that won't be obvious to anyone familiar with it, lol). Ironically, despite the presence of a raptor-themed roller coaster in this fic, I haven't been on IoA's Velocicoaster (it opened shortly after I moved out of state, and I haven't gotten a chance to visit the park since then) and I had in fact forgotten the coaster existed when I first got the idea.

Romance and Roller Coasters

It was a pleasant surprise for Robin whenever he could get Starfire excited over something new.

Of course, “surprise” hadn’t always been quite the right word. He still remembered a few years back when just about everything on Earth was new to her. Starfire was as curious as she was optimistic, and quite nearly as impulsive when it came to casual outings, so she had a habit of diving headlong into everything from team sports to sandwiches.

But as time passed, more of the unknown had become known and things that were once strange and magical became normal. And while Starfire never lost her zeal for life, it was sometimes easy to forget the sheer enthusiasm with which she approached new experiences.

When she first set foot in the Adventure Studios theme park, that enthusiasm came roaring back.

“It’s like we are in another world!” she marveled aloud, lifting a foot off of the ground and turning every which way to take in all the sights at once.

Robin grinned as he cast an only slightly more subdued gaze around. “Yeah, that’s the idea.”

Adventure Studios was one of those big amusement parks that had whole sections themed after different movies and the like. The other Titans had been needling Robin to schedule a day trip ever since he had, as Beast Boy put it, “rediscovered his fun side” in Tokyo. Now, all five of them were gawping up at the stylized buildings, decor and rides that drew the gaze every which way.

“Ooh, ooh!” Beast Boy practically shrieked, shaking Cyborg’s arm in his excitement. “It’s the Kraken Whirlpool ride from Terrors of the Deep! Let’s go, last one there’s kraken chow!”

Robin frowned thoughtfully. “Maybe we should wait to see what everyone – and he’s already gone.” Cyborg had run off as well, leaving him standing in the middle of the shop-lined central street that Adventure Studios had named “Hollywood Road” with Raven and Starfire.

Raven shrugged. “They’re big kids, they’ll be fine. Even if the word ‘kid’ applies more than it should.”

Robin rubbed the back of his head, still frowning a little. “Yeah, I guess they can do their own thing and just call us when they want to meet back up.”

Starfire, meanwhile, had busied herself looking over a map of the park. “Oh!” she cried, pointing out one of the map regions in particular. “This area is styled after that dinosaur movie we watched last year.”

Robin craned his head to look. “Yeah, that’s a pretty popular franchise so I’m not surprised. Do you want to check it out?”

At Starfire’s enthusiastic nod, he turned to Raven. “You coming?”

Raven shrugged again. “Maybe later. I actually wanted to check out the Wizard Barry land before it gets too crowded.” She spared a moment to scowl at the small flood of people that was already starting to pour into the park, despite the fact that they’d arrived shortly after it opened for the day.

Robin nodded and took Starfire by the hand. “Okay then, call us if you want to meet up later!”

*******

While he felt a little guilty admitting it, Robin was kind of glad that the team had split up. He enjoyed spending time with all of his friends, of course, and he still hoped that once they all had their fill of running off to the first thing that grabbed their attention, they’d at least get to meet up for lunch or something. But for the moment, he got to focus on letting Starfire’s sheer enthusiasm for everything infect him.

“Oh!” she cried out again, lifting a few feet off the ground to inspect a looming Allosaurus animatronic. “Fascinating. It’s so lifeli–”

The animatronic suddenly moved to face her and leaned forward with a gaping, tooth-filled maw and a screeching roar playing out over its speakers. Starfire squeaked and flew back down to duck behind Robin.

Robin himself had admittedly taken a startled step back at the dinosaur’s sudden threat, but then he craned his head to fix her with a playfully teasing smirk. “What are you hiding behind me for? You’re the one with the starbolts.”

Starfire huffed and settled her feet on the ground. “Perhaps, but I doubt the owners of the park would appreciate me damaging their lifelike robots.”

Robin chuckled. “Fair enough.”

The two of them continued on down the path, marveling at the thick jungle-like landscape pressing in around them and the Mesozoic facsimiles dotted throughout the foliage. They took their time, pointing out familiar dinosaurs, trying to remember which of the forms they’d seen Beast Boy take in training and battle, and reminiscing on their favorite parts of the movie it was all built to resemble. It was like an impromptu date, and Robin was enjoying every moment of it.

Starfire squeaked again – in delight this time – when the path turned to reveal a looming building that resembled the movie’s infamous dinosaur lab. She lifted off the ground curiously to approach its doors, but before she could make her way in, something else caught her eye.

“I do not recall that from the movie,” she said, cocking her head thoughtfully at the big sign for a coaster that proudly identified it as “Raptor Pack Attack!”

Robin smiled. “It’s still an amusement park, so even the themed areas have roller coasters and other rides. They just have to be more abstract about the theme – like, if I remember it right this one’s all about speed, so it feels like you’re being chased by the raptors.”

Starfire’s eyes widened in understanding. “Oh, so it is a ride! Is it like the roller coaster at the pier?”

Robin’s smile widened into an anticipatory grin. “Sort of, but that's kind of a small and simple one compared to what the big parks can do. Want to try it out?”

Starfire nodded enthusiastically, a grin overtaking her own face as she caught on to his knowing excitement. She thoroughly enjoyed all of the rides at the pierside park back in Jump, and he could tell she was eager for a chance to experience something like that on a grander scale.

It had been ages since Robin had gotten to ride a big steel coaster, so he matched her energy as the two of them ran up to join the queue. Luckily it was still early enough in the day that the wait time hadn’t gotten excessive, so it wasn’t very long before they could see the start of the ride looming up before them. Starfire leaned over the railing to watch the ride attendants and mechanisms at work, as enraptured by the process of loading and unloading riders as she had been by everything else.

Robin let out a contented little sigh and leaned onto the railing as well. “You know, I’ve kind of missed this.”

Starfire blinked and gave him a questioning look. “Missed what? The roller coasters?”

Robin flinched a little, heat crawling up his cheeks – he hadn’t meant to say that out loud. “No. I mean, yeah, a little, but uh… I was talking more about seeing you get excited over new stuff.”

Starfire blinked again and tilted her head. “You think I have lost some of my enthusiasm over time?”

Robin shook his head. “Oh, not at all! It’s just… Well, there’s kind of something magical about experiencing something for the first time, and you are the best example of that I’ve ever seen. It’s great that you’re more familiar and comfortable with Earth now, but I also like how you get when you’re trying new things, you know? It’s like… it gives me a fresh appreciation for those things, if that makes any sense.”

Starfire hummed in thought for a moment, letting her gaze drift back to the roller coaster entrance. Finally, she smiled again, and Robin could swear it not only reached her eyes but made them sparkle.

“Well, I still maintain that Earth is full of amazing things to discover,” she said. “And I do not believe I will run out of such discoveries anytime soon. Perhaps we can experience some of them together?”

Shooting a meaningful glance at where the line had shuffled forward while she spoke, drawing enticingly close to the coaster, she held out a hand to him. “Such as, for example, a roller coaster that I believe you referred to as being ‘all about speed?’”

Robin smiled back and wordlessly took her hand in his, and as they approached the front of the line, the adrenaline of anticipation for the thrill ride wasn’t the only reason for the tingling rush just beneath his skin.

[mascrapping]

2021: Disney - Hollywood Studios - Title Page

This spread is the Title Spread for our day at Disney’s Hollywood Studios. While we were there mostly to experience Galaxy’s Edge, we stopped to take a few pictures on our way into the park, and I decided to use them on this first page. If you remember from yesterday’s blog, I put the Animal Kingdom Park map at the end of the series as part of an ephemera page. In this case I am putting the map…

[dindjarindiaries]

The Star Wars: Galactic Starcruiser officially closes in just under two weeks, and as someone who experienced it in many different ways, I wanted to answer some FAQs that reveal exactly how unique, ambitious, and rewarding this experience has been, and why its closure shouldn't be a celebration.

Q: Is it a hotel?

A: No. It is not just a hotel. This is a 3-day, 2-night immersive experience, and the best thing I can compare it to is an actual cruise. You probably spend the least amount of time inside your cabin, aside from getting a quick wink of sleep between each jam-packed day of constant activities.

Q: Why is it so expensive?

A: This has probably been the biggest comment I've seen even before it opened, and well before I played a part in its story. Again, no one's just paying for a room to sleep in. The price of this experience is all-inclusive. Here's what you would actually be paying for:

all your food, meals, and drinks (aside from alcoholic drinks)

a park ticket to Disney's Hollywood Studios theme park

2 Lightning Lanes, one for Rise of the Resistance and one for Smuggler's Run

16 total hours of constant immersive entertainment, with characters you get to know personally

top-tier concierge service, including luggage brought straight to your room

your room for 2 nights

additional perks and services

There's definitely more I could have added to this list as well. When it's broken down, it's similar to paying for a Deluxe Resort room along with park tickets and food. Yes, it's very expensive, but you're paying for much more than a bed to sleep in.

Q: How does it work?

A: Everything is facilitated through the datapad, a program that can be accessed through the Play Disney app with a valid reservation. This app allows passengers to view their scheduled events (including lightsaber and bridge training), share comms with key characters, access a map of the ship, and more. The datapad also works alongside unique MagicBands that can tap into ship consoles to complete missions and more.

Q: What's the story, and how do you fit into it?

A: It's the Halcyon's 275th anniversary voyage, and many special events are planned - including an excursion day to the ship's very first port of call, Batuu. Everything goes haywire when the First Order boards on suspicion of Resistance activity. The Halcyon Crew Members, the First Order, and more will call on you for help, and you're the only one who can determine your path. The story is set between the events of The Last Jedi and The Rise of Skywalker.

Q: If it's so great, why is it closing?

A: Your guess is as good as mine. I've witnessed this experience change people firsthand, bringing shy children out of their shells and creating communities of adults who get to truly play for the first time since they were kids. It's been a 3-day escape for people to forget the stress of their every day lives and just have fun in a galaxy they love. It's one of Disney's most ambitious projects yet, and to see them give up on it so fast is very disheartening.

Hopefully one day, it'll return in some capacity, and many of you will get the chance to see it for yourselves. Until then, as they say on the Halcyon: May adventure forever find you.

[fantasyfantasygames]

Hollywood Hoedown

It's a Hollywood Hoedown!, Yee-Haw Entertainment, 1988

From the same company as the Dukes of Hazzard RPG, Hollywood Hoedown has you telling the story of a redneck family making their way through the glitz and glamour of tinseltown.

Without an existing show to draw on, Hoedown focuses on a set of character archetypes, which actually might be one of the earliest examples of this approach. All of them are defined by where they are in the family and their most prominent trait. That's not mix-and-match, by the way. You can play as the Ornery Grandpa, the Big Mama, the Handsome Brother, the Smart Brother, the Sexy Cousin, and more, but thankfully not the Sexy Grandpa.

We're still in the 80s, so this is still a six-attribute roll-under system with hit points and such. There's a bolt-on system to track how well your characters' shows are doing, and how well their acting performances are helping their careers. Careers are basically the skills of the system - they go from -1 to -5 with more negative numbers being better. The card system from tDoHRPG is gone, which makes things simpler but more boring. I'd probably strip out the system and run it with GURPS, or maybe a system specifically focused around TV shows like PTA. A She's All Flat hack might do well too.

The GM advice is quite good. There's no adversarial tone here. The GM is encouraged to make the characters' lives hectic but not hell, and to keep the players laughing. When there's a session that ended in a way that no one liked, you're encouraged to handwave it away as "all a dream" and just go back to the status quo.

Hollywood Hoedown is less problematic than Yee-Haw's earlier games, thank god. It's still problematic. The biggest one is the issue of how the players are going to portray rednecks. Some of the character archetypes help with that - there's a specific "Idiot Cousin" archetype that helps to imply that not everyone is an ignoramus, and the "Brainy Kid" and "Handyman Uncle" archetypes who are the underestimated masterminds. The art could do more to help even things out, though. It's very stereotypical, with a lot of line drawings of out-of-shape people in shabby clothes, yelling. Gender roles are strictly enforced (again, the 80s). My favorite piece is the Thanksgiving table, where the family is clearly all having a good time and the studio executives are there chowing down right next to them. I'd like to see more of that.

There was one supplement, Hollywood Hootenany. It provided a scenario, more or less. There's a setup, about a dozen fully statted NPCs, and some discussion of where things might go next. There's a "battle map" of a sound stage, which is an odd choice but whatever. It's only 32 pages long.

[spiritsofprogress]

Universal is pretty sweet actually

While I’m usually more of a Disney parks fan I was at Universal for part of my spring break and I’ve realized how harsh I’ve been on these parks and how “a bunch of screens” is really reductive. While they’re not filled with dark rides there’s a lot there to love.

I still have my fair share of criticism like for one thing they have stopped giving paper maps (despite supplying tickets) and force you onto the app if you want to know your way around.

Another being just how little there actually is (if there were more stores and restaurants or shows would’ve loved to know like maybe on a map or something) each park has a few rides making the waits INSANE at times. Then they took out a bunch of classics (Jaws, Twister etc) but then there’s just… no replacement, there’s just space and an empty facade as far as I’m aware. They keep closing and taking away like the Poseidon walkthrough was one of my favorite things and it’s gone for no real good reason as far as I know etc.

Goods-

The theming in the parks is insane and I absolutely adored it. Every inch of both parks is so themed and its own little universe (in a world where Disney is stripping the theming from hotels and ruining sight lines, bare minimum queues etc this was refreshing). Every queue was fantastic and filled with detail, so waiting was a little less horrible with so much to observe.

Streetmosphere! MGM (Hollywood studios) and Disney used to similarly have this and have lightly brought back some characters out and about but not really. Alternatively universal had a BUNCH — a guy at the cab just walking in, blues brothers, all the classic cartoons out to meet and greet etc etc. preformance and walk about interaction was abundant— so adding this to their theming I was absolutely losing my mind.

Like the rides may be so so , all are enjoyable but you know what I mean- but what really hits it out of the park for me is how throughly they’ll tell a story. Starting in the queue and even continuing as you exit with details and employee behavior etc

“All screens” but I’ve noticed even screen heavy rides will tend to have a full set piece or two or it will be a healthy mix of both. Kong for example starts and ends in full sets and with animatronics. (They’ve changed it and it’s better than I remember but still the best queue I’ve ever been in)

Also a huge love for far side lmao. Seen a few in at least two lines.

[princesstadashi]

Disney World hoodie: complete! My poor fingers are raw because everyone insists on putting iron on backings on patches, but I managed to stitch them all on! XD Each arm is themed to a Park (Hollywood Studios, Animal Kingdom, and Epcot) and the back of the hoodie is a semi-functional map of the Magic Kingdom!

[paralleljulieverse]

From the PJV Archives: 20th Century Fox...and the Summer of Love

In the summer of 1967, 20th Century Fox was riding high on the waves of extraordinary commercial success. Their 1965 release, The Sound of Music, was the biggest grossing film of all time and the studio coffers were overflowing. With a lineup of promising blockbuster productions in the works, the studio organised a high-profile PR junket where theatre exhibitors from across the United States and abroad were flown to Hollywood for an "open house" visit. This souvenir foldout map, a memento from the event, vividly captures the studio's breezy confidence. Rendered in hyper-energetic cartoon style, it shows Fox films dominating the North American continent from sea to shining sea. Crowds everywhere throng to Fox theatres, their enthusiastic sentiments captured in comic speech bubbles. Even aliens from outer space are featured in the studio's vision of cultural ascendancy!

That this glorious Hollywood summer would soon enough turn to a winter of discontent is a matter of historical record. The youth-driven counter-cultural revolution unfolding on the streets of San Francisco that summer would quickly transfer to the nation's movie houses. Later that year, smaller edgier films like Bonnie and Clyde (1967) and The Graduate (1967) emerged to lead the charge of the New Hollywood and, almost overnight, Fox's big roadshow offerings like Doctor Dolittle and STAR! would be deemed old-fashioned and out-of-touch. Still, for one final "fun summer", there was nary a cloud on the 20th Century Fox horizon..!