#I just think it would be interesting for Adam specifically having to adapt since he’s usually pretty reckless with his abilities

[crystalisedtem]

Sometimes I think about the scene in Bionic Showdown where Adam gets knocked out by Marcus temporarily when he hit his laser vision DIRECTLY in Adam’s eyes. I know the siblings are genetically modified so the damage was probably minimised but I can’t help but think about the possibility that Adam would’ve gotten some serious permanent eye damage from it, especially since Marcus destroyed a toaster and fried an entire robot.

[hamliet]

Hazbin Hotel Has Better Theology Than Most Modern "Christian" Stories

As a Christian who was raised in a fundie cult and escaped to now have a far healthier and vital faith, I genuinely really like this show. The songs are bops. The characters are well crafted and interesting, and likable too. The art design is bizarre but appealing.

And, as a theology nerd who studied theology as part leaving said cult and also has since gotten papers published in theology, I'm actually fairly impressed by the show's handling of theology.

No, I'm not expecting the story to preach or even like, be explicitly Christian in a lot of ways. But it's taking a lot of the really beautiful aspects of Christian theology and re-contextualizing them in a way designed to provoke thought: by juxtaposing them with the antithesis of what you would think, by making demons heroes. In my opinion, this makes the beauty shine brighter.

Yeah, yeah, it's designed to be offensive and obscene in a lot of ways. Yet, it's never (thus far) mean-spirited. On the contrary, it seems to have a big, beating heart at its core that is perhaps best embodied by Charlie Morningstar, its protagonist and the daughter of Lucifer and Lilith.

Critique of the Church, with Caveats

The story works best with an interpretation that heaven isn't actually heaven or God (who has been conspicuously absent), but instead as a critique of the church. Specifically, the evangelical American church, and specifically, white evangelicals. (Same as She-Ra's premise, actually).

God's absence therefore makes sense, because while Christians do believe God is present as a living reality among us, we also can't like, see him physically now. So, God being not even mentioned in HH makes it seem more like a mortal reality rather than an immortal one. Honestly I kinda hope God doesn't appear in the story, not only because I think it could cross some lines (which is admittedly personal), but also because I don't see that the story really needs it.

Adam in particular reminds me of every "theobro" on Twitter (I'm not calling it what you want me to, El*n). Basically a dudebro coopting his supposed salvation to flex in an often misogynistic way, who doesn't realize that he has absolutely no love in him and therefore is actually a worse human being than everyone he condemns on the regular.

(Which is kind of why I'm expecting Adam to wake up in hell next season...)

Think red hats. And Mark Driscoll. And, I have a list of pastors. Sigh. They advocate for how "simple" Christianity is, except they themselves make it ridiculously complicated and don't even examine what they suppose is "simple" if it requires them to take the planks out of their own eyes. "Shallow" is a better description of what they actually preach.

But what sends people to hell or heaven anyways?

Eschatology and Atonement Theory

Hazbin Hotel combines a lot of theories, throwing not only the idea of a physical hell (albeit mixed with Dante's idea of what hell is the Inferno, but to be fair a lot of the church has adopted that idea too) but the idea of annihilation, which HH calls "extermination."

See, in Christianity, there's a lot of debate about hell. Like, since 2000 years ago. The reason is because a lot of Bible verses seem to indicate hell, but others indicate the eventual redemption and salvation of absolutely everything in the universe, so you have Christian universalism tracing itself back just as long. But, setting aside universalism, people who do believe in hell tend to fall into one of two camps:

Physical hell, aka suffering for eternity, or annihilation: the idea that souls that aren't saved end up annihilated, or snuffed from existence. HH combines both of them, wherein everyone lives in hell but then every so often heaven "exterminates" a certain number of sinners.

And then you also have Catholic purgatory, which is also adapted in HH in that... for most Christians, physical hell doesn't offer the ability to redeem yourself. Chance over, you're dead. But, Catholic Christianity, which draws on ideas of praying for the dead, has the idea that people can improve themselves or be prayed out of it and into heaven. This seems to be somewhat similar to the idea of Charlie's hotel, in that sinners can improve, redeem themselves, and rise to heaven.

And, I mean, it's already kinda worked. Sir Pentious acted out Jesus' words: Greater love has no man than this, that he lay down his life for his friends (John 15:13).

But anyways, the branch of theology that deals with the afterlife is eschatology. And Hazbin Hotel takes on a related form of theology as well, a type of theology I've only seen covered in stories once before (The House in Fata Morgana): atonement theory.

Atonement theory is something I remember well from my theology 101 class, as in I remember sitting with a friend and her turning to me and being like, "okay, so we know Jesus' death and resurrection give us eternal life, but we have no idea how or why?" To which the answer was "basically, yeah."

Most of the white, American evangelical church is very "penal substitutionary atonement," but the reality is that this theory has only been popular for the past few hundred years. It's also, imo, somewhat scripturally unsound. But there are a lot of other theories, and sometimes the theories overlap. Here's a fairly decent summary. (I'm in general a believer in Christus Victor.)

So how does atonement theory tie into Hazbin Hotel? Well, essentially the scene where Charlie and Vaggie are debating with Emily, Sera, Adam, Lute, and others in heaven is them going over various atonement theories and realizing that they actually know nothing at all. How does one get to heaven? How is one saved? They don't know.

Sera criticizing Emily for asking questions was also very relatable, and I feel for Sera. She's genuinely scared but the truth will set you free, Sera. John 8:32. Anyways, the point is like... the angels are an organized religion, an evangelical church, that preaches about simplicity but mistakes shallowness for simplicity and discourages depth and discovery.

Anyways, the whole crux of theological study and atonement theories is that they should promote humility. We don't know for certain on this side of the curtain. That's okay. So what do we have to guide us?

Love. After all, God is love (1 John 4:8).

Charlie is Jesus

"Why would you endanger your immortal life for these sinners?" 

Adam, the absolute worst, says the above to Charlie in the finale.

I mean... look. That's literally the premise of Christianity. That the immortal son of God comes down to earth, lives with sinners, loves us, and dies to save us. However that happens. Charlie even responds:

"They're my family!"

In other words, she loves them. Yeah, sure, they're destined for extermination, but they are going to be exterminated over her dead body.

In a lot of branches of Christianity, and even in some creeds--though I'm going to give into my pet peeves here and state that it is NOT Scriptural and relies on the faulty assumption that God is bound by time, when I think God exists outside of it--state that Jesus descended into hell after his death and took all the souls of people who were saved prior to his coming to earth to heaven. Again, I think that's small-minded at best. But, the idea that Charlie is working among them to bring them to heaven is pretty reminiscent of this idea. And I don't hate it lol.

Charlie sees worth inherent in everyone, and no matter what they've done, thinks there's a future for them. Honestly we need people like her on this earth.

Angel Dust

Angel Dust is clearly my favorite character. Bite back your shock, I know (I have a type). But his name is also a fascinating multi-layered pun.

Angel is clearly foreshadowing his endgame. Let's be real, we all know Angel is ending up as an angel. And "angeldust" is of course a name for PCP, and considering Angel's drug habits, yeah.

But, dust also has another meaning to it. See, when Adam was created in Genesis 2:7, the words in Hebrew are "apar min ha'adamah," which is translated literally as "dust of the ground." So the dust is what creates Adam, literally "ground."

In other words, I very much expect Angel Dust to end up being foiled with Adam even more so. Adam might be the first man, but Angel is the first sinner working towards redemption. And let's be real, for all Angel's flaws, he's already a better person than Adam. And if there's any hope for Adam (not that I particularly care if there is but) it'd be through realizing that he and Angel aren't actually different after all. Conversely (and not necessarily mutually exclusively), Angel might serve as a more symbolic "adam" in that he becomes the person all sinners look to for hope. Which, y'know, since "the last Adam" is also a Scriptural term for Jesus...

And so it is written, “The first man Adam became a living being.” The last Adam became a life-giving spirit. (1 Corinthians 15:45).

I fully expect Angel's arc, alongside Charlie's, to bring life and redemption for everyone around them. Maybe, maybe even the dramatic "all" of Colossians 1:20 (which means, literally, all, everything, everywhere, in the entire universe).

Closing Thoughts

But honestly, regardless of how the story ends--besides that it will presumably end happily because HH is at its core feel-good despite being profane--season one at least has got good theology. Why? Because it's digging into the questions that theology is concerned with. It's digging into the ideas of human nature, of what it means to be a good person, of what it means to redeem oneself, of affirming how precious each individual human soul is.

It doesn't offer cheap answers, and it specifically calls out the white American evangelical church for how it purports to be simple but actually just confuses people and punishes them for things they can't help, that creates more stumbling blocks than it does shine a light. And it does it in a way that is scandalous. Offensive to many religious people.

But, y'know, Jesus was pretty scandalous too.

So I really love the story so far because it emphasizes what I find so beautiful about my religion, and criticizes the parts that have also hurt me. I don't think it's remotely aiming to be a Christian allegory or anything like that, and I don't at all think anyone has to be religious to enjoy it or gain the core message of it, but I do think that it's doing a hell of a lot more good in the world message-wise than most evangelical movies of the past 30 years.

[shakespearean-snape]

Hi there! so glad to see you posting again I like a lot of what you have to say about Snape. I noticed you say a few times tho that your visual headcanon for Snape isn't conventionally attractive and I just wondered if you had any reference of what he looks like in your mind? An actor or other famous person? just someone like that?

I'm just curious how you imagine Snape because I admit I just see Alan Rickman as Snape in my head since I started with the movies as a kid and didn't read the books a few until years later. It always interests me so much when people say they read the books before the movies or read the books with the movies coming out and saw Snape as someone else.

Its ok if you can't think of anyone just thought I'd ask. thx!

Hello!

*waves enthusiastically like an idiot with zero chill*

I get so giddy when someone sends me an ask like this so I hope no one thinks I don't enjoy questions about Snape or my headcanons. As anyone who knows me knows, I think a lot and especially about those things I love so I always have lots of thoughts rolling around in my head I can be positively overeager to share with anyone interested.

So to answer your question, I don't have a specific person pinned down that is 100% like how I picture Snape in my mind but some close candidates would be a young Adrien Brody (which I think is common enough among Snape fans as a choice, right there with Adam Driver these days), obviously the man that JKR based Snape around, John Nettleship, someone like Adarsh Jaikarran as a potential Hogwarts-era and early 20s Snape (even if he is more good-looking than I usually lean, in some pictures he just channels Snape vibes for me quite a bit) and a very young Julian Richings if you've ever seen photos of him in his younger years (I have two here for you so you can see my point a bit, here and here).

Ironically, Julian Richings in the later years of his acting career would probably have been my first choice for a Voldemort fan cast back in the day when any Harry Potter reboot was purely in the realm of the hypothetical (I mean, c'mon, look at this and tell me you can't see it too) but as JKR is an unapologetic anti-feminist/TERF I provide no monetary support to any of her projects including any licensed games, the watching of future reboots or purchasing of future tie-in books in the HP universe, officially licensed HP merchandise, or even by giving traffic to what was formerly Pottermore, etc.

All I bring to the fandom now is my fan theories and love for Snape, which she not only does not benefit from but never seemed entirely at peace with given how the character got away from her and took off. I can't think of a better way to spite someone so utterly spiteful herself than to take the character she was most shocked by people loving in any capacity and celebrate him in every incarnation (gay, bi, trans, ace, autistic, poc, etc.) with my queer, gender-nonconforming little heart while she gets zero money off me for it.

Anyway I hope the visual guide gives you a little more insight into my mind. I've never seen Snape as "ugly" (even when I joke my Snape is "ugly" and I like him that way) but my mental picture of him is of a man whose looks might fall into that unconventionally attractive sphere or what some people call homely. Occasionally I veer off that a bit, as with Adarsh Jaikarran, oh, oh! And also Lee Soo Hyuk, Song Jae-Rim and Kento Yamazaki (ever since I saw him in the live-action Bloody Monday manga series adaptation)!

But yes, my favorite Snape and the Snape I love isn't usually model attractive but also not quite the gargoyle Harry describes (that kid had some ridiculously high standards of beauty tbh, about the only characters he didn't have mentally critical notes on their appearance was the unnamed Veela, Fleur, and Narcissa Malfoy so yeah he totally thought "Draco's mom has got it going on..." Lol!) but somewhere in that "unconventional" categorization of attractive which I feel really suits a man who so often defies easy categorization in general.

(Excuse all the edits. After I gave a few examples more started hitting me and I was like ohhhhh I should have shared them, why didn't I think to share them? So I may come back and make more edits throughout the day, no promises I won't! Lol)

[notmoreflippingelves]

For the pairing ask meme: Jo/Laurie from Little Women (really curious about it!) And Carla/Mateo from EoA (because kinda love your Mateo roasting and takes 😁)

Jo/Laurie (????)

This is hard, because I don't know whether I ship it or not. I do but I don't. I think if I were to guess I'd say overall, I primarily don't except for Winona Ryder!Jo/Christian Bale! Laurie from Little Women (1994). I guess I'm going to go with "no" overall, because honestly as much as I love that adaptation, Christian Bale Laurie is arguably too "cool"/suave compared to book!Laurie (who tbh is more than a bit pathetic sometimes). Like I'm genuinely a little "What are you thinking?" when Winona!Jo turns Bale!Laurie down but I am mostly okay with it in all other incarnations. I do also mostly like Amy/Laurie and Jo/Bhaer as much if not more , so yeah I'm not really cut up about it Jo/Laurie not being endgame.

Why don’t you ship it?

For me, it's largely that there is a sense (more pronounced in some adaptions than others) that Laurie wants to be a March Girl™ (gender-neutral) more than he wants to be Jo's life-partner which is not really the idea ship vibe--even if I can't exactly blame him as I too would do almost anything to be a March Girl. Like sure Jo was his first choice by far and I do believe that his eventual relationship with Amy is genuinely based on more than "settling"--but I also feel relatively sure that he might have hypothetically settled for Beth or Meg under other circumstances. And that's just not a solid start for a relationship, if your s.o. could've hypothetically is always low-key considering your sibling as a backup plan if things go south with you too. (I mean you could say that the same is true of Laurie/Amy, but I do think it's less bad b/c Amy has literally been in love with Laurie since she was 12 and because overall their personalities "mesh" a little better than Jo/Laurie).

I also worry a bit about how Laurie's wealth might hypothetically impact the Jo/Laurie relationship. I do think that he would continue to be supportive of her writing and theatrical dreams, but I can also see him overcompensating/supporting her "too much." Unlike Bhaer, I don't think Laurie is capable of offering her constructive criticism that is necessary for her work to improve. He's too much of an inherent simp who thinks Jo March is already the most amazing human to ever exist (again can't totally blame him for that) to even conceive of the possibility that she has genuine strengths and weaknesses. I can also see him throwing his money and influence around a little in order to get her published/earning favorable reviews. Jo is fiercely independent and so achieving her dreams on her own terms/by her own merit is supremely important to her--arguably more important than her achieving them at all. Laurie interfering in her career even positively/with good intentions would inevitably cause a lot of conflict between them and create some self-doubt of Jo as to whether she really "earned"/"deserves" her success at all.

What would have made you like it?

As I mentioned I do sort of like it even as I also dislike it. I guess I would like it more consistently/wish it was endgame if Laurie was just a wee bit less eager/obsessed/convinced they were "meant to be." Also if we had a stronger sense that Jo herself wanted the romance specifically as opposed to just Laurie staying in her life. Another thing that makes me a little wary about Jo/Laurie is the meta-aspect of knowing that Louisa May Alcott was very adamant about not wanting them together. Her publisher pretty much insisted that Jo needed to find love in Part 2 and so she created Professor Bhaer in order to give Jo an alternate love interest

Despite not shipping it, do you have anything positive to say about it?

A lot, especially since I don't not ship it even if I don't ship it. Their "meet cute" scene at the ball is one of my favorite scenes in the book and arguably one of my favorite "character introduction scenes" in all of literature. I think that the two of them have great chemistry and a really supportive dynamic. They care deeply about each other and have so much fun together. (You see this as well in the sequels. Even though they're both romantically with other people, they are still go-to confidants and partners-in-mischief for each other).

I also think that narratively Jo/Laurie has to "work" on some level in order to justify the direction that story takes. The first time that you encounter the story, the reader/viewer needs to really like them together and assume that them being endgame is inevitable. It gives Jo's decision to reject his proposal more poignancy and agency. She needs to love him deeply and know that he loves her--even if they can't love each other in the same way--in order to fully be able to choose herself and her goals over him. If he's not an otherwise desirable option, her choice not to choose him isn't a real choice. She needs to be conflicted, tempted even, if her decision to prioritize her own dreams and needs over his and her family's is to hold any real weight.

And Alcott (and most of the adaptions) do a fantastic job of making Jo/Laurie seem plausible/desirable so that the rejected proposal emotionally fulfills its narrative purpose for Jo's character development (and a lesser extent Laurie's and Amy's as well).

Carla/Mateo (I ship it albeit very low-key though Carla probably deserves better)

What made you ship it?

Probably their interactions in late S3 most of all (especially the finale). I think there is clearly attraction and chemistry between them. They seem to have similar, slightly dorky and clumsy personalities that seem like they would mesh well. And shallow , I know, but their character models are also attractive and look good together.

What are your favorite things about the ship?

Is it bad if I say that I like how easily Rita!Carla was able to make Mateo look like the biggest fool in all Avalor?

I think there is a lot of potential for the two of them to bond. They're both very family-oriented, and I think there's a lot of potential for them to grow closer as being the only (and a little coddled/spoiled) children of very loving but somewhat smothering single parents (Victor and Rafa)--as well as missing their absent other parents (Ash and Mateo's father).

They are also arguably THE characters (well them, Victor, and Olivia) who are most actively interested in learning magic. (Gabe and Elena express some curiosity but specifically in the context of magic being a tool to protect the kingdom as opposed to something they want to learn just for itself). So it's nice to think of magic being another way that they can grow closer/flirt/have fun together.

I also adore the Delgado father and daughter relationship and enjoy thinking about how Carla/Mateo would impact Victor and his relationship with his daughter. Whether he's supportive (most likely) or hesitant (my personal head canon), it has the potential to be really fun/funny and heartwarming.

Is there an unpopular opinion you have on your ship?

Carla/Mateo is one of the only Mateo ships that I can tolerate. Sorry not sorry. It's this and like two non-existent rare pairs . And even then, I don't think I am ever doing more than casually enjoying it, since my Mateo indifference is so strong. (I do really like Carla though and have a few more ships with her).

[fallinglikemagic]

Penny Polendina alludes to Astro Boy - and how this allusion foreshadows Penny’s eventual resurrection

Some of you may remember my first post in which I compared Penny and Astro Boy, with a specific focus on the version of Astro from the 2009 3D animated film (if not, you can read it here, but I'll be repeating everything stated there anyway). In the month or two since I first made that post, more and more parallels have start to pop up, with one of those parallels matching one of our most popular theories and foreshadowing Penny's upcoming resurrection.

In order to write this, I went through and watched the entire film, taking notes as I went. I'm not going to include every single detail that I noticed, only the things that seem the most relevant and can be put together in a single post in a comprehensive manner. Believe me when I say that I've thought about this a lot, and the sheer amount of parallels and connections (and the fact that I'm not the only one to notice these connections) has lead me to believe that this has been done intentionally. 

With that being said, I'm only going to focus on the Astro Boy film from 2009 - the Astro Boy franchise is massive, going back to the first manga coming out in 1952 with a few different adaptations and reboots with different versions of the story, and I just don't have the time to go through all of those. As such, I'm going to be focusing on the movie, due to the fact that it has the highest amount of parallels to both Penny specifically, and RWBY as a whole.

So, let's get into this.

Worldbuilding

Metro City and the Surface - Atlas and Mantle

One of the reasons I've decided to focus on the film in particular is due to the nature of the film's setting. Astro Boy (2009) takes place in two locations - Metro City, and the Surface.

According to the opening of the film, Metro City was created when the people who would become the founders of the city noticed the world changing for the worse, and responded by taking part of the land and lifting it into the sky, creating a floating city - the opening voiceover refers to it as "an oasis, a floating paradise". Everybody else is left behind on what is referred to as the Surface, left to fend for themselves while the people of Metro City largely ignore their existence.

The parallels to Atlas and Mantle are crystal clear. Atlas and Metro City are both set up as a beautiful city above the clouds, meant to serve as an inspiration for the rest of the world. In reality, it's a place where the rich and privileged can live in comfort while shunning the poor. Meanwhile, down in Mantle/on the Surface, people are suffering and struggling to get by. Additionally, both 'surface' and 'mantle' are words that are associated with the ground.

The Blue Core (and the Red Core) - Penny's soul and Maiden powers.

Another concept that is (as far as my research shows at least) unique to the film is the Blue Core and the Red Core.

The Blue Core is a small sphere that is filled with pure positive energy, referred to as Blue Core Energy. It was created by Dr. Elefun, made from the fragments of a star that no longer exists - meaning that the Blue Core is all that's left, and cannot be recreated. This is reminiscent of how Pietro has no more aura left to spare, and thus is unable to give any more of his soul to Penny like he did the first time she died. In this allusion, the Blue Core is representative of Penny's soul and the power of the Winter Maiden.

When the Blue Core was created, there was also a byproduct - the Red Core. Essentially, it's the same thing as the Blue Core, but with negative energy instead of positive. If the Blue Core and the Red Core make contact, they both die - this is relevant later.

You could compare the Red Core to Watts’ virus, due to the way that it causes a robot to have red eyes and that it coming into contact with the Blue Core destroys them both.

Character Parallels

Before I get into this properly, I wanna give a quick side note. While Astro matches up to Penny perfectly, things get a little bit messier with the others in that we have a case of characters taking on multiple roles. However, this is far from unheard of in RWBY - let's not forget about how Blake represents both Belle and the Beast, Yang is sometimes the Beast to Blake's Belle, and Adam is an amalgamation of every antagonistic force in Beauty and the Beast. It's far from uncommon for a character to allude to multiple characters from the same allusion, or vice versa, which is what we see with some of the characters in this allusion as well.

Astro - Penny Polendina

Unsurprisingly, Astro himself is our parallel to Penny.

After the death of his son Toby, Dr. Tenma rebuilds his son as a robot, using the Blue Core as his energy source. The Blue Core is stated to be unpredictable, and it's this that makes Astro who he is, what makes him unique from every other robot. As stated earlier, the Blue Core represents Penny's soul (and the Winter Maiden powers that are attached to it). When the Blue Core dies - and Astro dies with it - and Dr. Elefun is asked if he can be rebuilt, the answer is 'no' because the Core was unique and can't be remade - just like Penny's soul.

While Astro appears perfectly human on the surface, he's fitted with as much self-defence technology as Tenma could fit in him. The most iconic of these upgrades (and the only one that's consistent across every single version of Astro throughout the franchise) is the rocket boots. He even flies in a very similar way to Penny - pay attention to the posing, especially with the legs.

When Astro starts making friends with humans on the Surface, he conceals the fact that he's a robot, afraid of what they'll think of him when they learn he's not human. This matches up to Penny initially hiding the fact that she's not human, seeing herself as 'not a real girl'.

Astro has two father figures - Dr. Elefun and Dr. Tenma. Similarly, Penny has two father figures - Pietro and Ironwood.

During the climax of the film, Metro City starts to fall out of the sky and back down to the Surface. This is a parallel to two seperate moments in RWBY. The most obvious one is when Atlas is falling onto Mantle after the Staff of Creation is used. However, I think this scene more closely resembles the scene from Amity in which Amity Tower begins to fall.

When Astro sees that Metro City is falling, he immediately flies in to hold it up, despite the incredible strain it puts on him. This is a direct parallel to how Penny flew in to hold up Amity Tower.

Astro pushes himself to the limit when he holds up Metro City, to the point where the flames from his boots burn so brightly that they turn blue - oh hey, doesn't that look familiar?

Astro also demonstrates self-sacrificial tendencies at a few points in the film. When he's captured in order to have his Blue Core taken out and placed into another robot, he simply accepts it, saying that "I think maybe this is what's supposed to happen...this is my destiny". This becomes a lot more interesting when you remember that the Blue Core is representative of Penny's soul and Maiden powers. Astro giving himself up to President Stone (the film's main antagonist who later ends up in a sort of 'fusion' with the Red Core) so that Stone can use the Blue Core could be a reference to the virus making Penny want to give herself up to Ironwood so that he can use her soul to open the vault - especially if we believe that the Red Core is connected to the virus in some way.

Near the end of the film, in the fight against the fusion of President Stone and a giant robot containing the Red Core (it's a long story, I'll get to it later in the post), Astro makes the decision to sacrifice his own life in order to destroy both the Red Core and the Blue Core, saying “this is what I was created for” and saving the lives of everybody else in the process. I doubt I need to explain how "choosing to die in order to protect other people" relates back to Penny in Volume 8.

At the end of the film, and in the rest of the Astro Boy franchise as a whole, Astro takes it upon himself to be the protector of Metro City (and technically the Surface, but since Metro City has fallen, they're not exactly seperate locations anymore...). 'Robotic guardian of a city who's seen as a hero by the people' - you don't get much more obvious of a connection to the Protector of Mantle than that.

Additional details that may not be intentional but I still noticed anyway;

- Dr. Elefun describes as Astro by saying "That robot had more humanity than most of us". At this point, there's been many moments that affirm Penny's humanity - "You have an aura, Penny. A soul. That's who you are - our friend. Not a machine", "Her soul is who she is", the fact that she was able to receive the Maiden powers, all of these moments affirm that Penny has always been just as human as anybody else. This is also contrasted against Ironwood (and, for a while, Winter), who act more machine than human.

- Astro is actually rather heavily trans-coded. Penny is also trans-coded, but this is mostly likely a coincidence that happened as a result of the inherent transness of robots

- Elefun tells Astro that he's "not actually an entirely ordinary boy", which is reminiscent of Ruby describing Penny as "she's...not your typical girl."

- The shape of Penny's bow (the way that it sticks out more on one side while the other side is more vertical) looks similar to the shape of Astro's hair (this one was pointed out to me by @cosmokyrin​ when I mentioned this theory in the Frosen Steel server)

Dr. Elefun - Pietro Polendina

Dr. Elefun is one of Metro City's top scientists, and one of Astro's father figures. He is soft-spoken and gentle, a dreamer but a genius. In terms of personality alone, he's a pretty good match with Pietro. He's also the one who created the Blue Core, which draws a direct parallel to Pietro creating Penny's soul from part of his.

Dr. Elefun is the first person to truly see Astro as who he truly is. Dr. Tenma expects Astro to be a replacement for Toby, and is disappointed when he isn't. Similarly, everybody else sees Astro as a robot just like any other at first - an advanced robot, but nothing more than a robot. But Dr. Elefun gives him genuine praise, and encourages Astro to live his life and find his place in the world, just like how Pietro tells Penny that he wants to see her live her life.

It's also worth noting that in most other versions of Astro Boy, Elefun takes the role of Astro's primary caregiver after Dr. Tenma no longer wants him.

President Stone - James Ironwood

President Stone is the current political leader of Metro City. For the entire film, his entire focus is on combat and military strength, and on multiple occasions he actively expresses his intention to start a war with the Surface. He believes that the best way to get re-elected is with a show of military force and violence.

His primary goal throughout the film is to have Astro destroyed in order to retrieve the Blue Core and use it for his own gain. This is a direct parallel to Ironwood's goal in Volume 8 - to hunt down Penny and have her use her Maiden power to open the vault, and destroy herself.

Stone wants to use the Blue Core in order to power a specialised combat robot, ironically called the Peacekeeper. When Astro continues to escape his clutches, he decides to use the Red Core to power the Peacekeeper instead, but it doesn't completely go as planned. The Peacekeeper is equipped with what the film calls 'adaptive technology' - it's capable of absorbing anything it makes contact with into its own body.

And I do mean anything

After Stone is absorbed by the Peacekeeper, he's in full control of it - essentially the Peacekeeper is nothing more than a metal outer shell. President Stone has become a fusion of man and machine.

Dr. Tenma - both Pietro Polendina AND James Ironwood (a bit more Pietro than Ironwood but it's worth acknowledging both)

You might notice that while Elefun and Stone do have plenty of references to Pietro and Ironwood respectively, there are gaps where they don't cover every aspect of these characters and/or their dynamic with Penny. This is where Dr. Tenma comes in.

Dr. Tenma is Astro's dad, and the one who built him. He originally created Astro as a sort of 'replacement' for his biological son Toby after he died, giving Astro all of Toby's memories (more on this later). Naturally, this is a very clear connection to Pietro.

Additionally, Dr. Tenma uses the Blue Core - a completely unique, one-of-a-kind technological marvel - in order to power a single small robot that's intended to be nothing more than a replacement for his son, saying "I can't lose him again!". In this moment, Dr. Tenma is so focused on not losing his child that he doesn't acknowledge the big picture.

However, once Dr. Tenma realises that Astro isn't a perfect replica of Toby, but rather his own person, Tenma discards him, not caring if Astro gets destroyed or not. Similarly, when Penny stopped doing what Ironwood wanted her to do, Ironwood stopped caring about her as anything more than a container for the Maiden powers and is perfectly willing to let her die once the vault is opened.

Luckily, Dr. Tenma does have a change of heart, deciding that while Astro isn't Toby, he's still his son. Near the end of the film, Astro is very injured, and Dr. Tenma encourages him to get far away from the danger. However, Astro refuses to back down, instead choosing to sacrifice his life in order to stop President Stone, despite Dr. Tenma begging him not to go. Here, we have yet another parallel to this moment in Amity.

Bonus (aka characters that aren't perfect allusions, but connections do exist)

When Astro ends up on the Surface, he's taken in by a man who calls himself Hamegg. Hamegg ends up being a jerk, and while his personality and actions in the film don't particularly match up with any characters in RWBY, his backstory is a perfect match to Watts - a head scientist in Metro City who was shunned and fired for reasons unknown (Hamegg claims that they were 'intimated by his ideas and talent', but this was when he was trying to impress Astro and he lies a lot anyway, so this could be a complete lie).

On the Surface, Astro befriends four human kids (Cora, Zane, Sludge and Widget) and their robotic dog, Trashcan. While the personalities don't really match up (though Cora, Astro's closest friend, does bear a visual resemblance to Ruby), the idea of a 4-person group + a dog could be a parallel to Team RWBY and Zwei.

Zog is a very old, very large robot that had been 'dead' for several years until Astro found him and revived him by giving him some of his Blue Core Energy. Zog is our allusion to Winter - Astro giving Zog some of his Blue Core energy is a parallel to Penny giving Winter the Maiden powers. Additionally, in The Final Word, Winter explicitly calls herself a machine. While this does have significance on it's own, it could also be a nod to this allusion. That being said, the main connection between Winter and Zog (and possibly the most important part of this post) is based on events that have yet to happen in RWBY canon, and so I'm saving that part for the end of the post.

Story Parallels 

Toby's Death

Toby Tenma, Dr. Tenma's biological son, was very similar to Astro in terms of personality (with some key differences), as well as having a strong physical resemblance.

When the Blue Core and the Red Core were first being shown off to President Stone, Toby was accidentally locked behind a sealed off barrier, trapped with the Peacekeeper containing the Red Core. Toby was killed in a blast that completely disintegrated him, leaving nothing but a hat containing a single strand of hair.

This hair is important, because Dr. Tenma used this hair in order to extract Toby's DNA and memories, which he was then able to implant into Astro in order to make him resemble Toby.

This scene is most likely a parallel to Penny's first death in the Vytal Festival. In her first death, Penny's body was destroyed, but her core remained intact. Her core, which contained all of her memories, was the key piece in properly putting her back together without erasing who she used to be. The strand of hair containing Toby's DNA is representative of Penny's core containing her memories.

Additionally, there's the fact that when Toby was rebuilt as Astro, he was given various upgrades to allow him to better hold his own in a fight, with the most obvious behind the ability to fly via rocket boots. Penny received similar upgrades when she was rebuilt as well.

It's worth acknowledging that Toby's death could potentially parallel the moment that Ambrosius separated Penny from her robotic body, with the strand of hair instead being her soul, separated from her dying body and then disintegrating. However, due to the timeline and order of events, I think that Toby's death is more likely to be a parallel to Penny's first death, and her separation from her robot body is instead a parallel to the next scene I'm about to mention.

Momentary Death

When Astro is captured by President Stone and taken back to Metro City, Dr. Tenma actually does remove the Blue Core from his body, which does cause Astro to temporarily die.

Luckily, it only takes a few moments for Dr. Tenma to change his mind and return the Blue Core to Astro, reviving him.

Astro's 'soul' was removed from his body, causing that robotic body to die, even though in the end Astro does survive it. This is reminiscent of Ambrosius removing Penny's soul from her robotic body, letting that body die, while Penny survives.

Zog

I briefly went over Zog earlier, but I wanna go into more in-depth about him, because the parallels between Winter and Zog and the implications of said parallels are the main reason I ultimately decided to make this post.

As I said earlier, Zog is a very old, broken down robot that nobody has been able to revive in years. When Astro finds him, he brings him back to life by giving him some of his Blue Core Energy. Astro essentially gives Zog some of his lifeforce, a part of his soul.

Winter was on the verge of death at Ironwood's hands, but Penny was able to save her by giving her the Maiden powers, and her soul with them.

However, Zog doesn't keep all of the Blue Core Energy Astro gave him all to himself...

Resurrection

As I've mentioned a few times in this post, Astro does die - and I mean properly die, not a death that lasted 2 minutes at the most and had no consequences. Astro sacrifices himself and his Blue Core dies, all in attempts to protect the people of Metro City/the Surface and his friends. Dr. Elefun says that he can't be rebuilt because his Blue Core, his soul, was unique.

But then, Zog comes around. Zog, who is holding onto what is a part of Astro's soul - the only surviving part of Astro's soul. Zog returns some of the Blue Core Energy to Astro, which brings Astro back to life.

So, to recap: Astro gives a part of his lifeforce, part of his soul, to Zog. When Astro dies, Zog gives some of that soul back to Astro in order to revive him.

If you've been looking at the theories regarding Penny and Winter recently, this will sound VERY familiar. While the specifics vary, the essentials of the most popular theory is that Penny transferred her soul to Winter to hold on to along with the Maiden powers, and that somehow, Winter will return that soul to Penny in one way or another (either by putting her into another robotic body, or just somehow extracting her soul and letting it form it's own body again). The fact that this movie has these exact events occurring makes this seem more and more like the most likely route.

If Penny really is an intentional allusion to Astro Boy - which, based on the sheer length of this post, seems pretty damn likely - then the film practically spells it out for us. Winter will give part of her aura, the part that Penny gave her, in order to bring Penny back to life.

thank you for coming to my ted talk

[ineffable-endearments]

GO season 2 speculation below.

Someone sent an ask to Neil asking if the bookshop opening scene would be included in season 2. He said no, that was meant for season 1, but I noticed that he added: "Although there was a place where the perfect version of the conversation I needed had been written in the book, so I went and lifted it from there."

So there's a conversation that exists in season 2 that is already in the book but wasn't adapted for season 1. THAT certainly got me speculating.

Keep in mind, this is very heavy speculation, but in the end, it's just my rambling. If you want to go into season 2 without excessive theorizing or the risk of developing expectations that will likely be false, don't read this. You're not missing much.

It seems like he must be talking about a specific conversation if he's referring to a "perfect version." I'm guessing that means it's not a conversation mentioned in passing (at first, I thought of the conversation Crowley had with Aziraphale where they went over the whole "to be truly good you have to have a chance to be truly wicked" thing).

Also, it's apparent that there are more historical flashbacks in season 2, so this mysterious conversation could take place any time between 4004 BC and now.

I skimmed through my book, and here are the options that stood out to me:

The end of book conversation in St. James Park - Crowley's long ramble about ineffability that gets interrupted by Death. Although the Death-interruption gimmick probably wouldn't be repeated since it was used in season 1, there would be a lot of opportunities throughout history for bickering or rambling about the Fall, and Eden, and the Apple. That kind of ramble could easily be used to make thematic connections. I find this one the most likely because it's the sort of banter that could take place at almost any time, anywhere, almost unmodified, and it is a full-on Conversation (although Crowley does a lot more talking).

The scene at the airbase where Aziraphale is gently arguing that he and Crowley should stick around to fight Satan because of all the trouble they've put humans through over the millennia. This was replaced in season 1 by the scene where Aziraphale tells Crowley to DO SOMETHING and Crowley stops time to talk to Adam. Admittedly, this possibility is intriguing. In season 1, Aziraphale was appealing to Crowley's friendship, and I'm extremely glad that decision was made because it felt so right for their story. However, the points made in those few lines are still really interesting, still thematically relevant, and they could find themselves facing another dangerous situation in season 2, whereby they need to make another philosophical choice about humanity.

There are several conversations between the Them that didn't make it to the screen, so it could be one of those. However, I didn't necessarily see one that seemed thematically strong that didn't get adapted in the first season already. The main one I can think of now would involve references to Greasy Johnson. I have no idea if the Them will be in the new season at all, and if so, whether Greasy would get involved. It seems too complicated.

The scene where Crowley and Aziraphale are telling each other which human leaders work for their sides and discover that several of the humans are working for both sides.

The drunk bookshop bird-sharpening-its-beak-on-a-mountain-for-eternity scene. I mean, for obvious reasons the scenario wouldn't be the same, but I'm sure there's room for silly conversations somewhere, and the commentary about the bird is a fan favorite that wasn't adapted the first time around. And those are all my thoughts for tonight.

[inmyarmswrappedin]

ok now i need to hear more of your thoughts about the remakes and how they adapted even’s favorite films

Hi anon 🎬 Sure!

So, first off, the thing about Baz Luhrmann is that he makes unapologetic love story movies. His movies have elements of action and adventure, but they’re first and foremost love stories, and that makes him stand out from other big movie directors. His movies aren’t even romcoms, first because they don’t have happy endings (as Even notes in the video with Mikael) but also because the setting is never contemporary. Like even aside The Great Gatsby or Moulin Rouge, which are not set in the present day, Romeo + Juliet does ostensibly have 90s technology. But since the characters speak in Shakespearean verse, it gives the movie an atemporal feel. So this is a super tragic, super romantic movie that is actually super toxic for Even to model his life after, because Even is convinced that, in order for him and Isak to be in true love (for any love story to be valid), their story has to end badly. 

In Skam, Even provides the twist himself, by starting to make references (and model his life after) Pretty Woman when he starts to become manic. Pretty Woman is like, far from a non problematic movie lmao. But it does have an unlikely happy ending, and it’s through Isak’s understanding of how Even sees Romeo + Juliet and Pretty Woman, that he is able to ultimately reassure Even that their love story doesn’t have to end tragically.

So anyway, the fact that Even unabashedly loves this super romantic movie makes him mysterious and attractive and passionate, because it’s not a dude bro action or superhero movie. By loving this movie, Even is rejecting the macho persona Isak so badly wants to project.

I’ll start with the examples I like lol:

Only Lovers Left Alive: David identifies with this movie to the point that his cartoon persona is a vampire. Like Adam in the movie, he dresses in all black. He is convinced that he’s a monster who can’t live in society because he will be rejected. So it’s pretty clear how this movie is toxic for David. But I also think the movie is sooo telling of David’s actual desires. David likes to pretend that he can go it alone, that he doesn’t need anyone, that he wouldn’t take anyone with him in the case of a catastrophe. But... The movie is about Adam and Eve, the titular only lovers left alive. By loving this movie to the extent that he does, David is parading his major yearning for a forever partner. And like, of course he eventually asks Matteo to run away with him, but Matteo demonstrates how innately he understands David by telling him he does want a relationship with David, but he doesn’t want the toxicity of acting like they’re two monsters who’ve been cast aside from society. 

Dangerous Liaisons: I think Skam España took an interesting route by choosing to not have Cris verbally connect the dots (like Druck did). The thing is, Dangerous Liaisons is a tragic love story, yes, but a love story between Valmont and Tourvel, whereas Joana projects on the Marquise de Merteuil, who is all but the villain in the story. Tragic story aside, Romeo and Juliet do love each other, as do Adam and Eve. Joana’s idea of romance (and of herself by extension since she projects on Merteuil) doesn’t even allow for loving and being loved back in return, because no one in Dangerous Liaisons loves Merteuil, and Merteuil herself has become so twisted that she can’t even call her feelings for Valmont “love” (though that’s how Joana interprets them). And the thing is, Joana still finds beauty in the movie! She writes Cris a letter with the edges burned out because it reminds them both of the story. She wants to meet at a specific park because it reminds her of the movie. So it’s just so... beautiful, that Cris takes all of this and just gives Joana the Liaisons dangereuses book. Like, she is lowkey reminding Joana that the book is just a book, that Joana is a real person (within the Skam España story I mean lmao) and not a twisted awful villain, that she is loved, and that Dangerous Liaisons can be their thing (like “their” song, but a movie in this case) without having to be the horrible thing that will destroy them. I really like that the writers chose to imply all these things in their minutt for minutt scene, without saying them explicitly. 

Last Man on Earth: Honestly, like I don’t particularly have a big issue with Skam Italia making this Niccolò’s thing, other than it’s so... dude bro-y bland? Like one thing you can say about Romeo + Juliet, Only Lovers Left Alive and Dangerous Liaisons is that they are all such high key romantic (as in, emotions running high) movies, it’s what makes Even, David and Joana so mysterious and attractive and passionate. If I knew someone who told me he projects on Last Man on Earth I’d be like, “The Good Place is better” or “if you wanted to stan a SNL cast member, Andy Samberg was right there.” I mean, I do think Bessegato knew what the point of Even’s movie was, but Last Man on Earth is exactly the type of dude bro material I would expect from him, and would not expect from an Even. 

Polaris: Polaris is an undeveloped motif who seems interesting because of the dark and light aspects, and I claim my five pounds. Polaris is in no way toxic for Eliott, like all the others movies and show (even Last Man on Earth) were for the other characters. It’s just... cute. Cute like everything about Eliott is cute and nothing more. Eliott drawing himself as a raccoon is cute because he has a mask and is nocturnal! Whereas Lucas is small and defensive like a hedgehog! And Lucille is elegant and mean like a cat! Etc. This motif is never really developed or explored, it’s never given a twist, Eliott is in fact still obsessed with it 3 seasons later, just like he was obsessed with it before he met Lucas and it was Idriss he envisioned in the other role. There’s no growth, Eliott just never progresses beyond what Polaris represents for him. It sure is cute as fuck though, which is why the stans love it.

 ???:  Does Sander even have a movie? I heard he likes Baz Luhrmann and maybe even Romeo + Juliet, but this isn’t really explored. I don’t think even David Bowie’s life or sexuality or various musical personas (like you could do something with Ziggy Stardust or Aladdin Sane if you couldn’t think of a movie) are explored. Sander likes Bowie like he could like Iggy Pop or Freddie Mercury, queer music icons who for the most part are “safe” for straight men to stan without their sexuality getting called into question. I assume Robbesander stans think the lack of an Even’s movie motif is a sign of excellent writing, and proves Sander is a better Even because he doesn’t project on anything toxic or whatever the hell, just like Robbe is the best Isak because he was so good at letting Zoë and Senne have drama uninterrupted. 

[hecallsmehischild]

Recent Media Consumed

Books

The Silmarillion by J.R.R. Tolkien. About ten or fifteen years ago, I tried to read this and was totally overwhelmed by it. I kept it around, hoping maybe someday I might be able to read it. I finally have, and here are my impressions: WHY SO MANY NAMES. WHY YOU HAVE TO NAME EVERYBODY, AND EVERY TRIBE OF PEOPLES, AND EVERY INANIMATE OBJECT, AND EVERY LANDSCAPE FEATURE. WHY. *ahem* So. I have a general comprehension of the events of The Silmarillion, but I dealt with it by doing what you do for an impressionist painting. I (mentally) stepped way back and let all the names flow by me, and if there were names that were repeated a lot, then I mentally attached appropriate plot points and character details to those names so I could track with who they were and what they were doing. And, actually, I found myself able to hang on and enjoy the book for the most part. This is going to lead into a re-reading of the Lord of the Rings books, since I haven’t read those in about as long…

The Hobbit by J.R.R. Tolkien. I haven’t read some of these books since pre-teen years, with one required re-read of The Two Towers in high school (i.e. it’s been many an age since I’ve read these and my memory of the stories has been far more heavily influenced by the movies). In re-reading the first book, I was struck by the extreme tone shift for the Elves and Dwarves. Elves seem much closer to happy, mischievous fairies than these ethereal, solemn pillars of elegance and grace the movies show them to be. And Dwarves are far more bumbling and craftsmanlike than the movies show. Aside from that, The Hobbit was a pretty solid adaptation from the book, and the book also reminded me that this story was the first time I experienced “NO, MAIN CHARACTERS DON’T DIE, HOW DARE YOU,” and probably was the first book to make me cry. I must have been 8 or 10 years old. I FORGOT HOW MUCH THIS STORY INFLUENCED ME.

A Conflict of Visions by Thomas Sowell. I have a longer-than-usual list of things to say about this book. First is that it was just that level of difficult that I was struggling to understand while reading it (on Audible), but I think I got it. Sowell has several base concepts that I see repeated throughout his books, though he does like to dedicate whole books to specific aspects of the same topic. He is pretty damn thorough that way. So, for example, I would put this book in the middle of a three-book spectrum of similar concepts: Intellectuals and Society (most concrete and easiest to read), A Conflict of Visions (next-level abstraction, a little difficult to read), Knowledge and Decisions (root abstract concept, very difficult, I have not been able to get past chapter 2). The second thing I have to say is about a couple interesting concepts it proposes. Its whole point is to help readers understand the roots of two ways of seeing the world that come into severe conflict politically, and he calls them by their root titles: the constrained and the unconstrained visions. He traces the path of each back through the intellectuals that most spoke of them (tending to contrast Adam Smith with William Godwin and Condorcet). Though he leans heavily toward the constrained vision (based on reading his other works) he does his best to make this book an academic study of both, with both of the visions' strengths and flaws and reasoning and internal consistencies fairly laid out. In doing so, he helped me understand a few things that make this situation really difficult for people on opposing sides to communicate. One of them is that root words and concepts literally mean different things to different people. I had some vague notion of this before, but he laid out three examples in detail: Equality, Power, and Justice. It was kind of astounding to see just how differently these three words can be defined. It makes me think that arguing about any specific issues rooted in these concepts is fruitless until first an understanding has been reached on terms, because otherwise two parties are endlessly talking past each other. Another really interesting idea he brought up is the existence of “hybrid visions” and he named both Marxism and Fascism as hybrid visions. This was especially fascinating to me because I have seen the accusation of “Nazi” flung around ad nauseam and I wondered how it was that both sides were able to fling it at each other so readily. Well, it’s because Fascism is actually a hybrid vision, so both sides have a grain of truth but miss the whole on that particular point. In any case, this was a little difficult to read but had some fascinating information. For people who are wondering what on earth this gap is between political visions, how on earth to bridge the gap, or why the gap even exists in the first place, this is a really informative piece.

Movies

The Hobbit & Fellowship trilogies (movies). I mean, it’s definitely not my first watch, not even my second. But I went through it with Sergey this time and that means the run-time is double because we pause to talk and discuss details. This watch came about partly due to Sergey’s contention that Gandalf’s reputation far outstrips his actual powers, so we ended up noting down every instance of Gandalf’s power to see if that was true. Conclusion: Gandalf is actually a decently powerful wizard, but tends to use the truly kickass powers in less-than-dire circumstances. That aside, this movie series was always a favorite for me. I rated The Hobbit trilogy lower the first time I saw it but, frankly, all together the six movies are fantastic and a great way to sink deep into lore-heavy fantasy for a while. And I’m catching way more easter-egg type details after having read the Silmarillion so it’s even more enjoyable. (finally, after about a week of binge-watching) I forgot how much this story impacted me. I forgot how wrenchingly bittersweet the ending is. I forgot how much of a mark that reading and watching this story left on my writing.

Upside-Down Magic. Effects were good. Actors were clearly having fun and enjoying everything. Story didn’t make enough sense for my taste, but it was a decent way to kill flight time.

Wish Dragon. So, yes, it’s basically an Aladdin rewrite, but it’s genuinely a cheesy good fluff fest that made me grin a whole lot.

Plays

Esther (Sight and Sound Theatres). < background info > This is my third time to this theatre. There are only two of these in existence and they only run productions of stories out of the Bible. The first time I went I saw a production of Noah, the second time I saw a production of Jesus. My middle sister has moved all the way out to Lancaster, PA in hopes of working at this theatre. My husband and I came out to visit her. < /background info > So. Esther. They really pulled out all the stops on the costumes and set. I mean, REALLY pulled out all the stops. And the three-quarters wrap-around stage is used to great effect. I tend to have a general problem of not understanding all the words in the songs, but I understood enough. I highly recommend sitting close to the front for immersive experiences. This theatre puts on incredible productions and if you ever, ever, EVER have the opportunity to go, take it. Even if you think it's nothing but a bunch of fairy tales, STILL GO. I doubt you'll ever see a fairy tale produced on another stage with equal dedication to immersion.

Shows

The Mandalorian (first two seasons). Well. This was pretty thoroughly enjoyable. It felt very Star-Wars, and I’d kind of given up after recent movies. Felt like it slipped into some preaching toward the end? Not sure, I could be overly sensitive about it, but I enjoyed this a lot (though I did need to turn to my housemate and ask where the flip in the timeline we were because I did NOT realize that the little green kid IS NOT ACTUALLY Yoda).

Games

Portal & Portal 2. Portal is probably the first video game I ever tried to play, back when I had no idea what I was doing. Back then, I attempted to play it on my not-for-gaming Mac laptop. Using my trackpad. Once the jumping-for-extra-velocity mechanic came into play, I just about lost my mind trying to do this with a trackpad and gave up. Later I returned to the game and played it with my then-boyfriend on a proper gaming computer. Now, after having played several games and gotten better at "reading the language" of video games, I decided I wanted to see if I could beat the Portal games by myself. Guess what. I BEAT 'EM. Yes, I remembered most of the puzzles in Portal so that's a little bit of a cheat, but I'd say a good 2/3 of Portal 2 was new puzzles to me. It is crazy how proud I feel of myself that I could beat Portal 2, especially. Learning how to play video games at this age has really knocked down the lie, "You can't learn anything." Though I still suck at platformers and games that require precision. Since I find those types frustrating, I probably won't be playing many. Games are about enjoyment, so I'll push myself a little, but not to the point where I can't stand what I'm playing.

The Observer. I like the concept and the art but I don't think I could keep trying to play this game. It's really depressing. My in-game family members all died of illness or accident or committed suicide. I also kept getting executed by the state. In order to keep us all alive I'd have to do pretty terrible things that I have a hard enough time contemplating even in a fictional setting.

Baba Is You. Fun and interesting concept, but I got stuck pretty early on. Don't think I want to push as hard on this one.

[gryfon-spanish-werewolf]

Uuh dunno if you would like this prompt : Anna and Elsa as a mythical creatures.

Would love too see what you will write them as ^^

@like-redhead-probably I sat thinking about this ask for a long time, because while I IMMEDIATELY thought of one for Elsa, Anna’s absolutely eluded me. And I know you were probably looking for a story, but I am unable to stop myself from first EXPLAINING my choices xD

I was already thinking about the myth of the Hulder (or huldra if we’re speaking of the creature in general instead of the specific Norwegian myth) for other story-related reasons, and as I did more research, I felt like the Hulder REALLY shared similarities with Elsa.

Generally speaking the huldra is a Scandinavian myth of a pale skinned, blonde or brown haired, attractive young woman who lives in the wilderness, often luring men away with song or dance to be killed or misled, stuck wandering forever. Sometimes she’s connected strongly to water, and instead of making men lost, she drowns them. Sometimes she is described as similar to an elf or fey-like creature, with characteristics related to other Huldufolk (we’ll get to them later) such as living in a parallel world, or a world Underground, and therefore preferring caves or appearing and disappearing suddenly. Sometimes she is depicted as having a hollow back, or a cow’s tail, which she hides out of embarrassment or to conceal her true identity. Which… how cute is that?

Before the 11th century, the myths were focussed more around the Huldufolk, which literally means “Hidden Folk”. There are lots of stories as to why and how the Huldufolk came to exist, but for the purpose of Elsa I think it most appropriate to look at the Christianization of the myths. Why?:

Frozen and Frozen 2 are modern movies made by an American company and Christianity is nigh untanglable with American culture, they take place in ~1840s Norway, F1 has a dedicated place of Christian congregation depicted in said movie, an official royal crowning overseen by a Christian faith leader, and the adaptation of Frozen generally comes from author Hans Christian Anderson and therefore should take his life and society into account, etc.

The Christianized myth says that one day Eve was washing her children (presumably after Cain, Abel, and Seth) in the river, when she heard God approaching. Ashamed that He would see her kids unclean, she hid the half she wasn’t done bathing, and when God asked, “Where are the other children?” Eve claimed that she had all of them present, indicating the clean ones. This gave God pause, but in the end He said, “Then let all that is Hidden, remain Hidden.” The children that Eve lied about became the Huldufolk, unable to live among humans. These people would eventually become characterized as dwarves, elves, fairies, etc., as time and interpretations rolled on, the huldra being just one of many mythical “species”.

So. Who is Elsa? She’s a:

fictional, blonde-haired, blue-eyed, fair-skinned young woman who led thousands of men wlw to wander helplessly into the dark caves and wildlands of social media with a power ballad and a jaw-dropping transformation sequence

Okay I’m joking… mostly…

In fact my interest in choosing the Hulder for Elsa lies purely outside of any romantic or sexual appeal, especially since Elsa as a character exhibits next to 0 romantic or sexual interest across two whole movies and an additional two shorts. Indeed, there’s a reason people headcanon her as either asexual, aromantic, or both! No, the reasons I chose the Hulder are:

Elsa’s name

Her upbringing

Her duty as queen, and

Her general behavior, specifically in regards to Frozen 1, as Frozen 2 Elsa is, at times, an almost completely different character

Elsa’s name was chosen very specifically by the filmmakers because it means “God is my Oath”. Oaths are binding, heavy, and invoke the maker’s or subject’s actions and personhood in the future. In Elsa’s case specifically, it invokes divine witness: perfect for a queen, someone born to rule. A promise to be fair, to uphold, to protect, to lead, to be a dignified and honorable face for the country. And Elsa was so ready to be that… except for the powers of course. Or at least, when they became something other than a magical gift of wonder and joy. When they became dangerous. Then there comes another oath, spoken to powerful creatures of magic, the Trolls, and born from parental fear: “She can learn to control it.”

Binding, heavy, invoking of Elsa’s future. As she grows, Elsa becomes closed off, quiet, hiding in her own home. She still takes her duties seriously, but now that she has been Other’d, taught to hide herself and her curse, she is just as much shadow as person. To young Anna, Elsa must have been almost ghostlike, disappearing right when Anna thought she’d cornered her, only to reappear sometime later down the hall, out of arm’s reach.

God promised Adam and Eve that their children would inherit the earth, even after leaving the Garden of Eden. Then suddenly that changed, due to Eve’s fear and shame of her unwashed children, and some would now inherit Underground, or somewhere else entirely. The lost children of Eve had become Other’d, needing to hide, disappear, and resort to inhuman tactics just to exist. Maybe they’re jealous, maybe they're just tricksters. But it’s not their fault. And it wasn’t Elsa’s either. Another reason they are similar.

Now, it’s not all doom and gloom for the Hulder, or for Elsa. While the Hulder is generally known for her more chaotic and negative attributes - just like our favorite snow queen, there’s a light at the end of the tunnel. There are a few myths that say burning a charcoal fire -instead of a coal or gas one- is most pleasing to the Hulder, that she’ll even watch over it during the night, and wake the sleepers in case something happens. If a traveler leaves supplies behind with a note or offering for the Hulder, they will travel safely. In fact, some people leave caches for her, as though to cater to specific requests. Coming across the Hulder by chance can have a multitude of outcomes, but if an astute observer spots her cow tail and mentions it, she may become shy and run away. Don’t mention the empty back though, that’s almost certain death.

Basically my point is… trade out the word “traveler” for the name “Anna” and we can draw all the similarities we want. Anna did all of those things, in a way. Anna gave Elsa a little gift of their favorite snowman every Christmas. Anna knocked on Elsa’s door and spoke to her, treated her kindly despite the distance between them, literal and metaphorical. It’s not hard to imagine that Anna left little notes around the castle, hoping Elsa would find them, read them, and know that Anna still loved her, still missed her. And, well, hopefully Anna wasn’t setting any fires and falling asleep next to them - but Anna always kept a light on for Elsa, in her heart. And it flickered and wavered sometimes, but it was a strong fire most days. And we know Elsa was always drawn to it, drawn to Anna because she loved her right back. Loved her first, even. And because it was a warmth that pleased Elsa, she tended it, quietly, carefully, warmly. Like putting a blanket over an Anna that had fallen asleep in the painting room, refusing that slice of chocolate cake so Anna could have two desserts, and listening, for hours and hours, days and days, for the sound of Anna’s glorious bonfire-like soul outside her bedroom door. Even when her secret was revealed, Elsa believed that the best way to protect Anna’s life, her flame, was to distance herself, running to a secret, special place all her own - much like the Hulder might run away back to the Underground.

And this last part’s just me, but I’d like to think that if the Hulder was treated kindly, respected, and given dignity, maybe it wouldn’t be so bad if someone came across her accidentally. That instead of being instantly drowned, or the Hulder becoming sheepish and attempting to run, it would feel recognized. It could be called by name. And instead of feeling the need to hide it’s Otherness, it could be treated as part of it, and cared for just the same. I don’t even need to be subtle here: Anna called Elsa by Name, really saw her, and reframed her darkness into light. Anna hasn’t fought God yet, but she did walk through hell and back for a sister that everyone else saw as a threat, monster, and sorcerer. A category 9 Other. Too bad for them, Anna’s got a Category 10 heart.

Speaking of. We finally got to Anna.

Anna was difficult to pin down because to me, Anna is so very, very human. That’s what makes her special! Yes, yes, you could throw any mythical creature at Anna and the fun part would be trying to make it work within her personality and characterization BUT since the question was Anna AS a mythical creature, that changes the game! The word ‘creature’ itself tends to conjure something distinctly INhuman. So I…. tried, and cheated maybe a little. Because I picked for Anna the Norse Valkyrie.

Most people know what Valkyries are so this one takes significantly less explaining. Valkyries are women that are warriors, shieldmaidens, and the hands of Odin, and they choose who lives and who dies during battle. Their chosen dead ride with them to Valhalla, while those they choose to live are usually granted honors in life. There are the darker sides of Valkyries that paint them as blood hungry maidens waiting on the sidelines before a war, singing the names of who will die with glee… but generally speaking the version of Valkyries that most people know and admire today are accurate! And thank goodness because attempting to depict Anna the other way would probably give me an ulcer.

Anna, much like the Valkyries, is a woman of valor and strength, who is perceptive, guides others, sees into people’s hearts and reveals their goodness. Valkyries are also warriors of prowess themselves, and Anna in Frozen 2 with that ice sword? We all know she was ready to use that for real. She also exemplifies traits that Valkyries both look for and have! Bravery in the face of danger: hello Marshmallow, Elsa’s own blizzard, Hans’ lethal sword strike, LIVING MOUNTAINS, and a damn collapsing.... dam. She also defends those who cannot do it themselves: saying publicly that, “My sister is not a monster… she was scared, she didn’t mean any of this,” even if that cast suspicion or doubt on herself, and the crown, as a whole. Anna knew and believed in Elsa, despite all the years and heartbreak and anger. Despite the impossible magic that literally just happened before her very eyes. Belief in character, despite appearances. And once they were reunited, Anna made every effort to stay by Elsa’s side because she STILL had that faith in her. Anna’s name means “Grace” or “of Grace”, and damn if she didn’t extend that to the person others found most unworthy, even to Elsa herself. Valkyries see what others don’t, and their decisions are final.

[Deep breath] SO! You asked for Anna and Elsa as mythical creatures. You got… a small academic paper, by social media standards xD. I intend to write a little piece about a Valkyrie who encounters the Hulder on the edges of a battlefield and… realizes she never made a choice about this particular woman. And wonders why she can’t ;). BUT I didn’t wanna leave you hanging any longer. Hope you like my choices!

Oh also, nobody asked, but Kristoff is a werebear. No research required

[jillianreneewriting]

Ok, Hear Me Out...

BEAUTY AND THE BEAST RANT AHEAD (specifically about Emma Watson and Dan Stevens 2017 remake).

Ok. So. I think I do this rant much better justice in my podcast (yes I plan on being more active again and uploading my podcast episodes as they come out here as well, though in the meantime they are available on Patreon and Spotify but I'll make a separate post about that later), but I still want to impart this wisdom upon others ASAP.

So for background, yesterday in my open discussion creative writing workshop course (we haven't started workshops yet so we're just discussing different topics each week, example this week was mostly characters) and we came upon the topic of tropes and how we raise the stakes, and suddenly I made a GIANT connection that I hadn't made in the past 4 years about this one movie. And now I can't get it out of my head - hence this post.

Before I explain where I'm going with this, please listen to just this snippet of Days in the Sun from Beauty and the Beast (2017), and keep it in mind as you continue to read onwards. (skip to 1:27 to get to the lines I'm talking about here. The segment ends at 1:55)

"I was innocent and certain, now I'm wiser - but unsure.

I can't go back into my childhood, one that my father made secure...

I can feel a change in me, I'm stronger now but still not free..."

A bit more background... as a reminder, this song begins, as Belle is tending to Prince Adam/The Beast's wounds after he saved her from the wolves. This is the turning point of the entire story, this is when she starts to notice that he isn't all roughness and rudeness. This is not entirely where I am going with this though.

We have all grown up knowing that Beauty and the Beast was a beautiful love story. There have been many adaptations for books, movies, musicals, and television shows, but one thing remains the same - that it is a romance. Period. Why do I bring this up? Because of having this knowledge going into this movie every time I've watched it for the past four years, I never noticed what I finally did yesterday.

Perhaps no other telling of this story is supposed to be like this (though I'm definitely going to do some digging and see if there's anyone else with similar thoughts and if so what their thoughts are on other popular remakes/adaptations), but even without this song, without these three specific lines being written by Alan Menken, it is clear that this telling is no longer the simple romance that we see the original story as, but instead, something much - much deeper, that anyone of any age can connect incredibly deeply with.

No, instead I think its main theme is the crossing of the threshold from being a girl, from being a child, to being an adult and young woman. This song merely reinforces it, if not screams at the audience "hey, pay attention to me, listen to my words, LOOK I'M NOT JUST A ROMANCE, I'M IMPORTANT." It quite literally in this regard, is a coming of age story, a coming of age romance.

Yes, Belle is supposed to be 17 according to Disney. She is an adult already age wise when the story starts, especially according to the time period this remake is set in - supposedly in the mid 1700s. But according to everyone around her, she is far from an adult. She lives alone with her father, she spends her time reading and inventing, and trying to teach children to read. She rebukes every advance from Gaston, seemingly the only "eligible bachelor" in their little town, their quiet village. None of this is what people would think of an adult woman would act like. She is far from considered to be an adult in their society.

In Days in the Sun, she addresses this herself when she refers to everything that had happened before that point in time, before she arrived at the castle, before her father left their home, as her childhood. She has stepped into the unknown, she has left her home, her father, everything she's ever known. Due to her forced separation from her father and her "provincial life," she is forced to grow up - and with that, we see her own character development, alongside Prince Adam's. When Gaston rounds up the villagers and goes to kill Adam, and Belle finally is able to get to the castle, she isn't just rebuking Gaston anymore, she is completely standing up to him, snapping his arrows in half - she is fending for both herself and for Adam, which is something she may not have had the instinct to do before her "crossing the threshold" into adulthood, into womanhood.

She never fully conforms to how most would expect a woman to act as an adult would. She continues her reading, Emma Watson herself had gripes about the lack of a scene she had wanted to end the movie, of them opening up the library to the public and her teaching young girls to read. She never gives up her passions, but instead embraces both the change, the uncertainty, alongside the interests she clearly displayed since the first mere minutes of the movie.

Moral of the story: 2017's Beauty and the Beast starring Emma Watson, Kevin Kline, Luke Evans, and Dan Stevens, isn't *just* a romance. Instead its main theme or focal point may indeed be the crossing of the threshold between childhood innocence and surety, to adulthood, loss of innocence, and uncertainty - the fear of the unknown. Just with a healthy sprinkling of romance thrown into the mix.

"I was innocent, and certain, now I'm wiser - but unsure,

I can't go back into my childhood, one that my father made secure,

I can feel a change in me, I'm stronger now but still not free..."

- sincerely, an English major who might be taking critique and reviews a bit too seriously...

[lux-i-fer]

I know that the Hell Family ask was just indulging an anon but could you maybe go into more detail about it, if you can think of details? Like what is the demonic council or as a viscountess or baron how would Charlotte and Dan do their jobs? Also how are Eve and Lilith two sides of the same coin?

Demonic Council: In reality, it’s just a bunch of high-ranking demons with agendas. Typically, they act as demonic advisors for Lucifer in regards to the current Hellish political climate, but that doesn’t mean they don’t have their own reasons for being there, too. These demons often represent certain interest groups and hold a considerable amount of power/status within their specific area. However, these demons will not be figureheads in tribes or fighting cohorts or the like. We have to remember that upper class demons are high content humanoids. They are going to be your “businessmen”--your white collar workers. They do not do “manual” labor and they do not engage in physical conflicts. They get their prestige from winning intellectual conflicts. Therefore, despite the fact that all demons are trained to fight, you would not see someone like Maze, whose specialty is combat, on the council.

Similar to how many modern day politicians have their own agendas and businesses they’d like to promote, the demonic council also have specific desires that Lucifer must occasionally appease. 

Charlotte and Dan: As I stated in this post, Charlotte would make “a great candidate for dealing with Hell’s more complex administrative problems. Her specialty is hunting down political loopholes that could cause Lucifer trouble down the road.” And, of course, Dan assists her with this work. Basically what this type of work entails is a whole lot of (you guessed it) paperwork! Hell politics are notoriously difficult to navigate, with only Lucifer and Maze truly knowing every single in and out of the laws themselves. This is partially due to the fact that Hell Law was established around the time of the creation of earth, following the creation of Eve and the banishment of Lilith. Demons are largely tribal by nature so when Lucifer finally assumed the throne, a lot of the laws revolved around a society of many tribes operating under a set of mutually agreed-upon laws. However, these laws could differ depending the region of Hell you travel to, since the landscape was vast and endless. The closest comparison I can make to more effectively sketch this out is how many indigenous peoples from our own history had trade deals with their neighbors; however, the rules for these trade deals were not universal across the globe. A trade deal between the Iroquois Confederacy would not be the same as a trade deal between the people of the Tigris and Euphrates Rivers. The same applies for demonic law. 

So, going back to Lucifer coming to power, he would have had to adapt all of these laws into the modern Hell Law to unite the demons under one governing front. Now, this was obviously a very tricky and precarious task, and there are some laws that are so ancient and specific to the demon species that Lucifer himself doesn’t have a full grasp on what they mean. So it is up to Dan and Charlotte to interpret these laws and ensure that they still remain just and fair (or rather as just and fair as Hell can be). If they are in need of revision, the are sent to Lucifer to look over. If there is something within a law that could potentially harm Lucifer’s right to rule, the law is also sent to Lucifer and so on.

Lilith and Eve: So haha I’m kind of a dumbass. What I initially meant by this was that Lilith and Eve look physically like twins; however, soon after posting I realized that in Lucifer canon Lilith looks like Maze...not Eve. So in this AU, let’s just assume Lilith and Eve are twins. You can scrap that if you don’t like that headcannon, we’re just gonna ignore it anyways, because the phrase technically still applies, albeit in a different manner. 

I view Lilith as holding a Maze-like role before she decided to go up to Earth for good. She would probably enjoy torturing souls and creating hell loops. Eve’s job also has to do with monitoring hell loops. This is mainly due to them being twins in this AU. As I’ve stated before, appearances mean everything in Hell. You can’t just give one twin one thing and the other something else and not expect Hell to riot.

However, their physical appearances aren’t the only reason I chose to say this. Both Lilith and Eve were wives of Adam. They were canonically created by God to be polar opposites of each other. Lilith is headstrong and driven, taking none of Adam’s shit. However, Eve is often depicted with a more Type B, easygoing personality, letting herself take a backseat to Adam’s desires. (Up until the very end, of course.) They are literally two halves of a whole woman. They are both extremes: the shrew and the maiden. Together, ignoring their more complex personality traits, they would form a regular woman. Their ability to work in tandem with each other keeps the hell loops in balance and running smoothly. Lilith sees what Eve misses and Eve catches the things that slip by Lilith.

[flamecanary]

Batwoman Season Two: Thoughts & Theories

So, we’ve had a few weeks to sit and ingest all of the news regarding the second season of Batwoman, and I have a lot of Thoughts. 

First off, though, I want to say that I think the casting of Javicia Leslie as the new Batwoman is pretty great! It’s wonderful that we’re seeing a Black woman step into the role, and I think it’s amazing that this whole group of heroes - Batwoman, Luke Fox’s eventual Batwing, Sophie Moore - are people of colour. (Where Nicole Kang’s Mary Hamilton falls into that, I’m not sure. She’s clearly a suspiciously similar canon foreigner substitute for Bette Kane, but with Kate gone, I wonder if she’s ever going to put on a cape and a cowl and become either Bat-Girl, Flamebird, or Hawkfire. Granted, this is a completely different discussion, so moving on…) I bear no ill will towards the actress, and I hope that they write material that does her justice and allows her to shine. 

Having said that, though, I still kind of disagree with the showrunners’ plan to write Kate Kane out and bring in a new character. My main issue isn’t that they’re changing who Batwoman is, but their reasons for WHY they’re changing the character. Caroline Dries is on record as saying that they didn’t want fans to “address the elephant in the room” with having a new face portraying the face of Kate Kane. Here’s the thing: A major plot thread of the first season is people getting new faces, from Mouse wearing many identities (and seeking out a permanent new face of his own when he was younger), to August Cartwright wearing a new face and changing his identity, to Alice taking Duela Dent’s face and masquerading as her for a moment, to that final twist with Hush at the premature end of the season. If any audience is ready and primed for the main character to suddenly show up with a brand-new face, it’s the audience for Batwoman. And there are options here too - explanations ranging from not even mentioning the change apart from saying something along the lines of “did you change your hair?” to explaining it away as a delayed aftershock from the Crisis changing Kate’s face so she now resembles the Batwoman of another Earth. It’d be a fairly seamless way of continuing on the world that the showrunners set up in the first season. 

Which brings us to the first big problem of swapping out Kate Kane for a new character. The entire world of Batwoman so far has been created to affect Kate on a number of levels - her sister is her enemy, her father is enemy to her caped and cowled persona, her romantic and social entanglements are related both to Kate herself and to her cousin, Bruce Wayne. It’s not as easy to take Kate out of the equation and drop in this Ryan Wilder character, when Ryan has none of the relations that Kate does. The entire supporting cast is deeply related to both the Kanes and/or the Waynes in one way or another. Now, it’s easy to see how Ryan would be brought into the world of Batwoman. She’s on the run, she’s living out of her van, she’s clearly a little hard-up in life. An easy scenario would be to have Mary chance upon an injured Ryan and bring her into her secret clinic, and from there, it’s easy to see how she could get entangled into the Batwoman persona, especially with the plot thread from last season when there were Batwoman impersonators running around trying to protect Gotham when Kate had given up the cape and cowl for a few weeks. It’s not a perfect solution, especially since Ryan lacks the ties to the Batfamily that Kate had, but it’s also not the first time that someone unrelated to the Batfamily has tried to take on a Batmoniker. (Misfit, what’s good?) 

Honestly, the best way to move forward would be to phase out some of the elements of the first season that are Kate-specific and bring in new elements created to tie specifically to Ryan. The Wonderland Gang and Alice’s motivation don’t make sense anymore, since Kate is gone. Swapping out the Wonderland Gang (as well as the threat of Safiyah Sohail and the rest of Coryana) for something like the Religion of Crime - perhaps led by Whisper A’daire - would work - given that they’re setting up Ryan to have been a drug runner, she could easily have been one with ties to the Religion of Crime. It’d be an easy way to give Ryan foes of her own to fight and establish herself as Batwoman, while using classic Batwoman villains. The show is starting out by tying Ryan’s origin to Scarecrow, and that’s a great place to start out, but Batwoman deserves more than just oft-used Batman villains.

As for Alice herself, well, Rachel Skarsten is a phenomenal actress. For a time in the comics, Alice starts calling herself Red Alice and seeks out redemption. With Kate gone, it’d make sense for this version of Allice to go down a similar path, maybe trying to live up to be the person that Kate believed she could be. Red is an important colour both to Kate and Alice, so it’d be easy to see why Alice would start calling herself Red Alice in an effort to distance herself from her old, villainous persona. (Perhaps it’s also accepting the “red on her ledger” that she’s trying to wipe clean?)

As far as Ryan Wilder’s identity goes, I’m not sure I buy that the character’s name is Alice. The DCTV universe has a habit of using familiar names in new ways - it’s how we got both a Dinah Laurel Lance and a Dinah Drake on Arrow, after all - so it’s not unheard of that Ryan may just be a placeholder name until the character’s true identity is revealed. There are a number of options as to who Ryan Wilder’s actual identity might be, though currently the front runner in my mind is Kathy Duquesne, the Batwoman from Batman: Mystery of the Batwoman. While that version of Batwoman was one of three women using the name, and the wealthy daughter of a gangster, the DCTV shows have never been particularly beholden to other continuities when adapting characters, and out of all of the possible characters that could be adapted, Kathy is a strong contender. (Given that her surname is pronounced Du-Kane, well, she even sounds a bit like Kate Kane.) 

The second option as for who it might be is Onyx Adams, though we have already (briefly) had a version of Onyx Adams appear in the Arrowverse before. Of course, that was pre-Crisis, and who is to say she wasn’t a casualty of continuity resetting itself? Sure, this might be the League of Assassins badass that was present in the comics, but she is a vaguely bat-related character, though never one who wore the mantle of a Bat. (There were rumours for a while, years ago, that she was going to be the next Black Canary in the comics, though that obviously never came to pass.) 

There are many other canon characters who Ryan Wilder could turn out to be, though they all seem very doubtful, such as Katrina Netz/Kathy Webb-Kane of Spyral, Katrina Moldoff from the Brave and the Bold animated series, Elainna Grayson from the current Batman Beyond comics, or even Violet Paige, who is Mother Panic in the comics, but could easily just be Batwoman here. Of course, if it does turn out that her name is just Ryan Wilder, this isn’t the first time that live action DC has created a new civilian identity for a familiar costumed character. Catwoman had her Patience Philips, after all. 

One of the things I’d like to see is Ryan Wilder getting a Batwoman costume of her own. As wonderful as Kate’s Batwoman costume is (though that wig did get a little unwieldy and weirdly styled sometimes), Ryan deserves her own look and her own identity. If Betty Kane, Barbara Gordon, Helena Bertinelli, Cassandra Cain, and Stephanie Brown could all have their own looks as Batgirl, then Ryan deserves her own look as well. I’d earlier posted a John Byrne look from the 90s which would be an interesting place to jump off from, but then there’s also the greyed out version of the costume from Batman: Mystery of the Batwoman, as well as the more traditional black and gold look that Cassandra Cain sported as Batwoman in a possible future. Whatever direction they go, Ryan deserves to have her own identity with a familiar codename, and let’s hope that the show does right by her in that regard. 

How well this retooling is going to go is anybody’s guess, but Batwoman is an important character in the DC mythos - both in the comics and the tv universe - and I really hope that they do right by her and by the legacy being left behind by Kate Kane.

[bluejaybabbles-archive]

IS IT TOO GAY OF ME TO ASK FOR ALL THREE MIDWEST MONSTERS WIP CHARACTESR FOR THE SOFT MEME... i just love them DEARLY

IT IS EXACTLY THE RIGHT AMOUNT  OF GAY TO ASK FOR ALL THREE OF THEM MAX 

Putting this under a cut bc it got a bit lengthy!

Let’s go in alphabetical order! First up, Antonia Figueroa!

what they smell like

I haven’t thought about this much, but definitely something soft...like fresh laundry, or something floral! She tries to seem aloof and standoffish, but she’s really just. So soft, if you gain her trust, so I think her scent would reflect that! 

what their favorite smells in the world are

Vanilla!! She has far too many vanilla candles. She also loves the smell of the ocean breeze. The last time she went to Puerto Rico, she used her magic to bottle the ocean breeze, and when she’s stressed, she opens the bottle and just sits in the scent for a while.

what pajamas they wear/what they wear to sleep in

Big t-shirts! She has a collection of graphic tees just for sleeping in. A lot of them have the Pepsi logo on them ajsdbsdufh and some of them are just like. You know those tacky shirts with the animals printed on them?? These ones:

[id: a grey t-shirt with images of a bald eagle, a mountain lion, a wolf, and a moose on it.]

Yeah.

my favorite ship (if applicable) and a cute hc about them

okay this one’s gonna be a little hard bc Toni, Javi, and Avery are all in a polyamorous triad so OBVIOUSLY I ship them all together but also! I definitely ship Antonia with Triss, a monster hunter from the Summer Court!! I can’t decide if it’s a casual thing or if Antonia is just also in a serious relationship with Triss, but Triss is over at Toni’s place all the time. Triss takes a big interest in Toni’s witchcraft and asks lots of questions, and she definitely curls up on her couch and reads spell books while Toni’s mixing potions or smth!

my favorite friendship (if applicable) and a cute hc about them

Antonia and Javi!! Like yeah they’re partners but a) they don’t start off as partners, and b) YOU SHOULD BE FRIENDS WITH YOUR PARTNERS!! They’re the kind of friends that bounce snarky fake-insults off each other and then just end up cuddling on the floor and playing with each other’s hair. They’d also definitely bond over their experiences in being Puerto Rican out in the Land of Corn and Ghosts and Corn Ghosts

a song that reminds me of them

Wild Roses by Of Monsters and Men! Specifically this part Gets Me:

Down by the creek, I couldn’t sleep, so I followed a feelin’

Sounds like the vines, they are breathing

(Oh it sounds like, it sounds like, it sounds like, it sounds, oh)

And I’ve seen the way the seasons change when I just give it time

But I feel out of my mind all the time

In the night I am wild-eyed, and you got me now

what animal i think they would be if they were an animal

She would ABSOLUTELY be a cat. 100% a grumpy cat who reveals her True Soft Nature around maybe one or two people. She says “mother I crave violence” but what she really craves is a good snuggle session

what position they sleep in

She starts off on her back, but she’s a restless sleeper, so she usually ends up on her side by the end of the night! She definitely starfishes, though, which becomes a little bit of a problem when she, Javi, and Avery start sleeping in the same bed aifhsidgh

their favorite drink

PEPSI!! She’s specifically a big fan of wild cherry pepsi, but regular pepsi also works. At any given time she’s probably wearing some sort of pepsi memorabilia. 

a gift i would give them if i could

Spell ingredients! Dried plants from my yard! A ticket to PR! also this:

[id: a white shirt with the word Pepsi across the chest in blue. Beneath the word Pepsi is the Pepsi logo, a red, white, and blue circle. The shirt also has several Pepsi logos down the sleeves.]

Next up we have Avery!

what they smell like

Avery smells earthy and like. Fresh?? Crisp?? At the same time?? Kind of like a winter morning in the woods! Y’know that smell of “things are still alive here, the cold is just keeping them dormant”? That!!

what their favorite smells in the world are

His senses were enhanced during his time in the Court of the Moon, so he has some OPINIONS about smells ajfhsdiufhud that said! He LOVES fruity smells, specifically citrus scents! He’s also a big fan of the smell of fresh baked goods, whether that be bread or cookies or brownies!

what pajamas they wear/what they wear to sleep in

So Avery sleeps nude and keeps clothes next to the bed so he can put them on really quick if he needs to, HOWEVER! Javi eventually compiles a collection of lounge wear for him! (”Come on, you can’t just be in going-out clothes and armor all the time! Isn’t that uncomfortable?” “If I get uncomfortable I just get naked.” “I’m going out and buying you clothes right now.”) It’s honestly wild to see someone who wears mostly blacks and greys standing around his house in baby blue pajama pants with raccoons on them, or in a sheer green sleep shirt that says “Sunday is for snuggling”

my favorite ship (if applicable) and a cute hc about them

Okay so here I’m gonna focus on him and Antonia because holy WOW they’re so sweet, like!! Antonia feels like she can be herself around him, which is so rare. She’s his main supplier for spells and things since she knows the way he works, but also he says he goes to her because she “casts her spells/brews her potions with love” and that “makes them all the more effective.” He definitely comes to her place if a hunt goes wrong and she does the whole “patches you up while affectionately calling you an idiot” thing

my favorite friendship (if applicable) and a cute hc about them

Avery and Triss!! Triss is the first person Avery really opened up to after being released from the Court of the Moon. Even though the Celestial Courts are...different from the others, he felt that another monster hunter would be the one to understand him most. She helps him open up to more people, and shows him the beauty of the world. I imagine she gathers bouquets of wildflowers and “weeds” and brings them to him sometimes!!

a song that reminds me of them

Some Kind of Disaster by All Time Low! Especially these parts:

I woke up from a never-ending dream

I shut my eyes at 17

I lost every moment in between

I felt the sun rise up and swallow me, yeah

and

I crashed down from a high that felt so real

I never knew how much it would hurt to feel

You gotta hurt sometimes to learn to heal

You gotta get back up and learn to deal, yeah

AND

And it’s all my fault that I’m still the one you want

So what are you after?

Some kind of disaster (Some kind of disaster)

Fuck I gotta. I gotta go listen to this song now. I’m having Feelings

what animal i think they would be if they were an animal

Y’know, I was gonna be tacky and say a wolf, but now that I’m thinking about it...he’d be a coyote. Adaptable, can be a loner or in a pack, tend to be crepuscular when around humans, some people are very adamant about how they should be shot on sight.....

what position they sleep in

If he’s sleeping alone, he’ll sleep on his side, but if he’s sleeping with other people, he sleeps on his back so they can curl up on his chest!

their favorite drink

Water. Like, actually, he really loves ice water. Sometimes he’ll get frisky and drink *gasp* flavored water!

a gift i would give them if i could

A weighted blanket! Like, I know you have to be able to jump right up and get to work if duty calls or whatever, but can you please get one night of deep sleep?? And a hug. Someone hug this man

Last but CERTAINLY not least, Javi Justiniano! 

what they smell like

Fresh rain on dirt, crushed rosemary, and fresh cut wood! 

what their favorite smells in the world are

They absolutely ADORE the smell of peppermint! They’re also a big fan of pumpkin spice candles. It really is a shame they love seasonal scents so much sdifuhdiu I imagine they try to stock up as much as they can to last them through the year

what pajamas they wear/what they wear to sleep in

Okay so Javi is EXTREMELY tacky and will wear like. A sheer nightgown and silly patterned pants as pajamas. So a combination like this:

[id: a pale person with long, dark hair wearing a sheer and lacy white nightgown]

[id: a pair of black pajama pants with a red waistband and a red pocket. The pants are decorated with images of various red lobsters and the words “Pinch Me...I’m Dreaming”]

If anyone asks them about it they just shrug and say “I’m nonbinary, it’s allowed”

my favorite ship (if applicable) and a cute hc about them

Here, I’m gonna talk about Javi and Avery because Holy Shit I Love Them. Javi is EXTREMELY chaotic and Avery rolls his eyes about it but secretly adores everything about them. Like. Javi canonically drunk calls Avery and asks him to carry them to bed because they don’t think they can make it up the stairs and Avery actually does it. And when Avery’s about to leave, Javi asks him to stay until they fall asleep, and he stays until morning, and hold on I gotta sit down--

my favorite friendship (if applicable) and a cute hc about them

So I’ve already talked about how Javi and Toni’s friendship is AMAZING but I wanna give a shout out to Javi’s as of yet unnamed roommates! Like, they have to deal with the random monsters that Javi attracts and at this point they’re pretty unfazed by them. They walk into the kitchen and see a weird floating eyeball with wings or some shit and Javi’s like “I’m sorry it was there when I woke up” and they go “It happens. Does it like peaches bc ours are about to go bad” 

a song that reminds me of them

3am by Halsey! Specifically this part:

My self-preservation and all of my reservations

Are sittin’ and contemplating what to do with me, do with me

Think I took it way too far

And I’m stumblin’ drunk, getting in a car

My insecurities are hurtin’ me

Someone please come and flirt with me

I really need a mirror that’ll come along and tell me that I’m fine

I do it every time

I keep on hanging on the line, ignoring every warning sign

Come on and make me feel alright again

Baby. Has some abandonment issues. It’s probably fine.

what animal i think they would be if they were an animal

DEFINITELY a dog. Like, a big, sweet, clingy dog whose adoption profile labels them as “Thinks they’re a lap dog, so they need to be taught not to fall asleep on top of you. Unless that’s something you want!” 

what position they sleep in

On their tummy or their side! They don’t like going to sleep alone, so they have a couple people-sized stuffed animals to snuggle in bed. When Antonia, Javi, and Avery are all asleep in the same bed, Javi’s in the middle, curled up on Avery’s chest, and Toni is spooning Javi. It’s so good

their favorite drink

An iced mocha with peppermint syrup and LOTS of whipped cream! Most drinks are honestly just a vessel for whipped cream for them

a gift i would give them if i could

A big house with a nice backyard, and also a big dog to snuggle when they have to go to sleep alone! I’m totally not projecting! 

THANK YOU AGAIN MAX, this was a lot of fun and I’m even more excited to write about these characters now!! 

[go-events]

GO Rom Com Spotlight: @musegnome​

The most excellent @musegnome​ has claimed The Wedding Singer to adapt for Good Omens in the Good Omens Rom Com Event.

For reference, here’s a little background about the source material!

About The Wedding Singer: Set in 1985, Adam Sandler plays a nice guy with a broken heart who's stuck in one of the most romantic jobs in the world, a wedding singer. He loses all hope when he is abandoned at the altar by his fiancé. He meets a young woman named Julia (Drew Barrymore), who enlists his help to plan her wedding. He falls in love with her and must win her over before she gets married.

We spent some time chatting about how the adaptation is coming so far, as well as future plans for it! Now, get to know @musegnome​ a little better!

* * *

goromcom: You know how if you open a Tumblr chat with someone you haven't chatted to before, Tumblr tells you two things they post about? I wanted to tell you that yours reports that you post "about #goromcom and #good omens." Aww! goromcom 4eva!

musegnome: #goromcom 4eva indeed! I actually have a weird online social media anxiety, because I worry that can't read people like I can in person. I've been an accountless Tumblr lurker for years - and finally created Tumblr and Discord accounts when I signed on to the Rom Com event! Everyone has been lovely. Please come say Hi on my new Tumblr!

goromcom: And we’re happy to have you! You chose to adapt The Wedding Singer as your rom com. Has this movie been a favorite of yours, or is there some other reason you chose it?

musegnome: I was a teenager when this movie came out and I've loved it forever (though not of course without an eye toward its more problematic qualities). I also feel like Robbie and Julia map very well to Crowley and Aziraphale respectively, and a lot of the other characters connect wonderfully too (Glenn's attitude toward Julia was reminiscent of Gabriel's attitude toward Aziraphale; Robbie's brother-in-law's nipple-twisting comments were a great way to link to Shadwell, etc.) Because of the aforementioned online social anxiety I was hesitant to jump in to the event, but when I realized I had a list of almost all the GO characters connected to Wedding Singer ones, and a multi-chapter story line outlined, I took the plunge! I'm really excited to mix up a favorite nostalgic movie with my current GO obsession.

goromcom: What's your favorite moment of The Wedding Singer, and are you looking forward to presenting it in your adaptation? Any loose plans for that scene that you can share?

musegnome: Less a favorite moment and more some favorite scenes/lines. The scene where Robbie is talking to the woman who jilted him at the altar, Linda, and as she's telling him about all the reasons she doesn't want to marry him, he says "You know, that information might have been a little more useful to me yesterday." I quote this line all the time, and that scene is definitely making it into this fic! Along with the whole wedding cake/dress shopping montage, capped by the bit where Robbie and Julia listen to the rival wedding singer John Lovitz (to be replaced by Hastur and Ligur ...with Ligur singing "I Will Survive"). That's actually the next scene up for me to write, and just writing this description has me antsy to get started!

goromcom: Oh, some Ligur irony there! It sounds like you may plan to stick closer to the story beats of the original movie rather than making bigger changes?

musegnome: Pretty closely. The major events and scenes will be the same as the Wedding Singer (but stuffed with GO tropes like a turducken), and there's a few original scenes I'm adding to firm up the Wedding Singer/GO bridges. I'm still working on the ending - in the movie, Glenn and Julia get on a plane to go get married in Las Vegas, and Robbie gets on the same plane and stops them. But I have Gabriel as Glenn, and since the angel/demon characters are still angels and demons in this fic, I can NOT imagine Gabriel tolerating plane travel at all, or viewing Las Vegas with anything other than horrified fascination. I have a tentative plan that will be a major change from the Wedding Singer ending, but would tie into the Nazi church scene in GO. We'll see how it plays out though; characters can veer off in unexpected directions!

goromcom: What's an interesting decision you've made in your planning so far--a notable casting decision, a changing of venue, or some other plan you have to paint Good Omens all over your rom com?

musegnome: I thought about doing the fic as a full human AU, but I had a lot of touches I wanted to include that involved angelic/demonic abilities. So I have the Wedding Singer town of Richfield (which is of course Tadfield in the fic) as a kind of neutral space where the angels/demons come to tinker and thwart each other in the happy parts/miserable parts of weddings and wedding planning. Also, The Wedding Singer was almost as much a tribute to the 1980s as it was a romcom; I'm not doing a specific 80s focus, although I've tried to keep music and technology mentions such that the fic could vaguely be set in the 80s. Like I mentioned earlier, a lot of the characters have similar roles and personalities, and map really well - Robbie and Julia as Crowley and Aziraphale, their respective BFFs Holly and Sammy as Anathema and Newt, Glenn as Gabriel, Rosie (the lady Robbie is teaching to sing) as Madam Tracy... so it's been fun to draw those lines.

goromcom: I am blatantly stealing this last question from The Good Place: The Podcast, but here goes: Tell me something "good". It can be something big or small. It can be a charity you think is doing good work, or you can talk about how great your pet is.

musegnome: Not to belabor a point, or to gush too much, but everyone on the GO RomCom server has been a delight. I've really loved getting to interact with everyone - couldn't be a nicer group (or a more welcoming fandom) for a socially anxious gnome to dip online toes into! And I haven't written for fun in a very, VERY long time, and it's been a real confidence booster to see how easily the writing has been flowing so far. (Hope I haven't just jinxed myself....) I'm so thrilled about this whole experience. Also, I have a very cute tiny dog who likes to keep me company while writing.

goromcom: Adorable! 

Stay tuned for the GO adaptation of The Wedding Singer, coming soon!

[leakinghate]

Legendarily Defensive: Editing the Gay Away in VLD

Disclaimer: This meta is a collaboration of the entirety of #TeamPurpleLion.  We understand while we do touch on narrative romance, we are intentionally trying to be as ship-neutral as possible, and provide that which we only have evidence for.  We encourage the experts in their respective ship-fandoms to meta as they do best on these topics, and we hope this can be a factual basis to springboard from.

In the most recent AfterBuzz interview March 4, 2019, Executive Producers Lauren Montgomery and Joaquim dos Santos revealed in no uncertain terms who, precisely, is responsible for the editing fiasco that resulted in the version of Season 8 presented to the fandom, including explaining to their viewers when the changes were called for, and a heretofore unknown why: the removal of a mlm relationship between two of the male Paladins.

Let’s break it down.

The interview itself is a little very difficult to stomach, especially the latter half.  But, the first portion is an unusually open and honest discussion of what went down behind the scenes, and what it meant to the producers.  It’s also the place where we’ll be lifting direct quotes from.  The hosts of AfterBuzz allow the Executive Producers to have the floor and speak with quite a bit of leeway, and some very curious facts come to light.  For anyone interested in the source, the interview can be found on Youtube.(3)

Voltron is a unique case.  While much of the fan base may not have been around for prior incarnations of this franchise, it has existed for quite a while.

It originally came from a Japanese show Beast King GoLion.  From this show, the robot we recognize from Voltron: Defender of the Universe, was created in 1984. There exists an interview with the Executive Producer of Defender of the Universe, Peter Keefe, as well as other cast and crew on the production of how BeastKing became Voltron.(4)

After Voltron: Defender of the Universe, several other iterations bloomed forth - some in the form of comics, some as sequels, some as reboots. The first series to follow Defender of the Universe was Voltron: The Third Dimension, a CGI-based sequel released in 1998.

While not nearly was popular as its predecessor, it managed to stir up some legal conflict:

“Worse, the Japanese creators of Beast King GoLion — Toei Animation — began saber-rattling. Toei believed World Events had overstepped the boundaries of their 1984 agreement and made the CGI series without buying those explicit rights.

To quash this dispute once and for all, Koplar and crew purchased GoLion outright in 2000. Now they had the freedom to adapt at will. But nothing was in the works.”(7)

As of 2000, Koplar and World Events Productions (WEP) owned all the rights to Voltron. Talk of a live action movie has been in the works since 2005, but with little traction. In 2010, WEP licensed rights for the Voltron franchise to Classic Media (now DreamWorks Classics) (7).   By 2011, the animated series Voltron Force was released.

In 2014 Lauren Montgomery and Joaquim Dos Santos approached DreamWorks Animation with the idea of producing a new Voltron show, with the license DreamWorks had recently come to own through their acquisition of Classics Media. In 2016, Voltron: Legendary Defender launched.

It’s worth noting World Events Productions licensed rights to produce Voltron content to DreamWorks Studios.  They did not hand over the entire franchise to do with as they saw fit.  DreamWorks only purchased the ability to play with the characters and the story in whatever capacity WEP believed would remain on-brand.

Amidst the protests and visceral reaction to the final season of Legendary Defender, many have felt confusion about where to direct their frustrations.

In another post, @crystal-rebellion theorized the symbolism in Season 7’s Episode 4 ‘The Feud’ was actually a very blatant representation of what was going on behind the scenes, and why. (2)

Since the most recent interview, statements from the Executive Producers as well as the host have confirmed this to be an accurate assessment of the situation.

Joaquim Dos Santos says it himself:

"This is not a vilifying of DreamWorks. Any exec we ever interacted with was like, 'Hey, we understand why you want to tell the story, we understand where you're coming from. It's a little bit bigger than that. There's other sort of controlling parties with Voltron, which makes it unique.’ It's not just a DreamWorks owned property, and I think it got logistically really really weird." (3)

Seven times, he specifically mentions the pushback didn’t come from DreamWorks, but from ‘other controlling parties.’  He alludes to some logistical weirdness, the implication being a difference in creative direction, or some dissention from higher up. In fact, the hosts and EPs discuss a controlling IP owner eight times in the course of one interview.

He also says, in regard to the issue of LGBTQ+ representation and Adam specifically:

“Here's where we arrived on this. And we were pointing to things like Overwatch. We were pointing to Steven Universe. They're different scenarios, we were in a slightly different position. We didn't have that position of being the creators of this IP. And we also weren't a video game that was marketed to teens and above. We for all intents and purposes were started as a show for boys like 6 to 11 to sell as many toys as possible. And that's just like a fact and that's business, and it is what it is.” (3)

DreamWorks is not a platform that markets ‘toys for boys’ (a talking point brought up no fewer than five times) - but World Events is. President Robert Koplar himself states his target demographic is boys and their dads in Episode 12 from the Let’s Voltron podcast not once, but twice. (5)

The EPs confirm as much with their recent statement in the March 4th ABTV Voltron interview(3) that the possibility of a male paladin’s replacement was greenlit until the IP holder learned the male paladin was to be replaced with Acxa, a woman. This kind of sexist hypocrisy goes as far back as 1984 with Allura being spanked in front of her own team in one episode(11) and tied to a chair by them to prevent her escape in another(11). The 2003 Devil’s Due comic shows Lotor, who looks to be no more than five, witness his mother’s murder via strangulation by his father (complete with an expression of horror on her dead face)(12). Lotor then suffers the same type of non-lethal strangulation in a scene where his father interrupts what the comic refers to as “recreation” with a scantily clad blonde resembling both Lotor’s mother and Allura in a different series(13). All of this takes place in a franchise whose target demographic has consistently been six to eleven year old boys and their fathers. Koplar’s company has made their hypocritical moral stance abundantly clear in Legendary Defender, even going so far as to order the destruction of the entire final season. According to Dos Santos:

“Specifically with Season 7 and 8 we basically held onto Season 7 so Season 8 was like done by the time S7 was dropping. We had like a month left when reaction for Season 7 started coming in, and that was day of the drop. We were in a weird position. To DreamWorks's credit, the tide started changing internally. They came back to us and said, okay we're open to explore this relationship between Adam and Shiro so we were in this weird position where we had all the animation done, we had $0.00 left in the budget in terms of like what we could do and it was like, all right, we know Adam's fate is what it is, do we do this and sort of like take this step knowing that we're going to take some flack? And we decided to do it so we revised the dialogue. You can probably see it in the animation. If you really pay attention it's like, it's literally our editor cutting out mouths and like puppeting different dialogue. The dialogue is pretty vague, it's sort of the best we could do, and that was a process of discussing what we could actually have them say.”(3)

Hold the phone. Taken in context, Dos Santos is explaining the process of DreamWorks giving the showrunners the green light to change the epilogue of Season 8 to give Shiro the unambiguously gay orientation they had written out of Season 7. The problem is, there is no dialogue in the epilogue. Even if we consider the epilogue to consist of everything from “one year later” onward, there is no dialogue for Shiro and another male character that would have to be reworked.

Here is what we think happened: Season 8 was finished in June. The IP owner hated it and ordered it changed at the beginning of July. Those changes included cutting a male/male romance. August came and the fandom melted down over Adam dying. Hoping to avoid a repeat of the Adam debacle, in mid-August DreamWorks came around and offered to let the showrunners put something into Season 8 for more gay representation. By this point the edits to Season 8 were almost complete, the budget was gone, and time was short, so they opted to give Shiro a wedding during the ending, in the epilogue. In an effort to brush off the clear edits to Season 8, Dos Santos mentions the lip movements during the interview but is confusing the making of the epilogue with the rest of the edits.

Indeed, it seems those edits resulted not only in the deaths of the series’ heroine and a childhood abuse victim, but also in the demolition of not just one but possibly two completed romantic arcs. When discussing Allura and Lance’s romance, Dos Santos and Emma Fyffe have this to say:

JDS: I could see the argument where it’s like, it's basic. It's what we've kindof come to expect from okay the guy sort of turned around and-- but I think Lance's arc aside from being with Allura was bigger than the Allura love story.

EF: And Lance's overall story arc I really enjoyed. But again, I think it's this whole idea that we were dealing with this IP that was like "okay, monster of the week, it was like dudes being in love with one hot girl and just macho men with fighting robots and whatever was happening with Pidge".

JDS: Right, yes, yes. (3)

The showrunner himself not only agrees Lance’s milquetoast romantic arc was due to pushback from the IP holder, in discussing the controversy surrounding the main characters’ sexual orientation, Dos Santos inadvertently reveals a major romance between two male paladins was cut.

EF: ...it is important to know that, again, you have this character who is very much your sort of quintessential, like, alpha male.

JDS: That-that was the trope that we were trying to, like, sort of step on was that, you know. I grew up with characters like Duke. To a much lesser degree, he’s a big, giant robot Optimus Prime. The idea of Optimus Prime being with another Optimus Prime was off the table. Like it was a no-go. (3)

If Allura and Lance’s IP-owner-influenced romantic arc is any indication, clearly two main paladins being together was fine. Dos Santos is referring to the inability to pair two male mains.

We don't know for sure, and won't until the original S8 is released. But, we have reasonable cause to believe Keith was intended to be gay and part of the romance that got tanked. When speaking about Keith’s sexuality Dos Santos says:

JDS: Because, I think we didn’t, we didn’t pair him with anybody, you know what I mean. I think we didn’t designate sort of where he stood. We don’t know. It’s-- It’s--

KC: We don’t know

JDS: Yeah, it-- It doesn’t really matter to be honest with you. I mean it would be great to confirm just to make people happy, but, like at the end of the day he is who he is, and leaving it open to interpretation. (3)

Do you hear that? “It would be great to confirm”. Not that it would be great if they could have done it, but if they could have confirmed it. It seems that JDS conceptualizes Keith as having an attraction to men, but he was forbidden from making that fact plain. Again, we have no concrete evidence of who Keith was slated to be with, just that the writers couldn't have two gay male paladins.

The wording of his statements is just clear enough to avoid dishonesty and just vague enough so as not to break contract. Even beyond NDAs, it’s not as if the Executive Producers can speak more directly to these points. We already have evidence of the IP owner’s character in the form of the Voltron Store’s Twitter presence outright lying about WEP and the store being separate entities:

(8) When only a few weeks earlier they had liked a tweet explicitly identifying them as one and the same, while confirming they have the final say over what can be done with the characters:

(1)

Before the fandom realized that WEP was behind the edits to S8 of VLD, the information that they owned the license was accepted fact. This excerpt from the Lets Voltron Podcast, Episode 134, is just one example:

(talking about a Voltron reference in Ready Player One)

Host 1: For those of you not in the know, if you think DreamWorks is the all in all for Voltron. Well, World Events Productions is the company that owns --

Host 2: The Voltron intellectual property.

Host 1: Many of you have heard of DreamWorks obviously. They make the show. Well, World Events Productions owns the property and has helped make this new show and all previous shows possible.

LV Podcast EP 134, 5:00-5:30 (6)

Now? Many official avenues are hastily attempting to downplay WEP’s involvement. When reached for comment in February 2019 the LV Podcast claimed that DreamWorks owned the licence.

The official phone number listed on WEP’s website no longer offers an option to connect a person to WEP, instead it offers three options: to directly input an extension, the accounting department, and The Voltron Store. (9)

In an effort to prevent fans from contacting them with complaints, WEP have inadvertently made their association with The Voltron Store explicit. Regardless of what the twitter account may claim, they are one and the same company. If these incidents weren’t damning enough, the store has further attempted to engage in a subtle smear campaign by liking tweets from users apologizing for harassment and death threats the store had received over Season 8, when all groups bringing the problems with its forced edits to WEP’s attention have specifically advocated for civil and nonviolent communication. (8)

As the story unfolds, one point is clear: Each new interview brings more information forth, repeatedly shining the spotlight on one little office in St. Louis.

WEP LLC is a private company. It has no shareholders, investors, or boards to answer to. It is the sole IP holder of the Voltron brand, and its President is the only person in the entire world who has final say over what can and cannot be done with the characters. When someone says “the IP holder” they are really talking about one man: Bob Koplar.

#TeamPurpleLion is a collective of analysts ( @crystal-rebellion, @dragonofyang​, @felixazrael, @leakinghate​, and @voltronisruiningmylife​ )intent on tracking down the who, what, where, how, and why of the destruction of VLDS8. We present sourced & cited commentary, relying on evidence so the VLD community can see what happened behind the scenes.

[they-handed-me-the-moon]

Okay, so I went to see a screening of the first episode of Good Omens last night and Neil Gaiman was there to answer some questions, and it was. Very amazing to be there.

Unfortunately the interviewer wasn’t great, but there were still fantastic moments and lots of details I hadn’t heard before, so I’ve put the highlights of the conversation with Gaiman under the cut. Major disclaimer here, though: I didn’t record any of the conversation and didn’t take notes during the panel. I wrote down all the interesting bits I could remember immediately after, but none of this is Gaiman’s own phrasing unless I specify otherwise, and its entirely possible that I’ve accidentally fudged some of the details.

There’s here that I’d consider a spoiler, but in case anyone is being particularly careful I’ve separated anything that could be seen as sort of vaguely spoiler-y.

Anyhow, here goes:

Okay, my absolute favorite story that I hadn’t heard before was when Gaiman was talking about the audition process. Apparently when they started searching, all the audition tapes were horribly, horribly, horribly (I clearly remember his triple emphasis here) wrong, but he couldn’t pinpoint why. And then ... Nina Sosanya auditioned for the part of Mary Loquacious. Now, apparently Good Omens has been her absolute favorite book since she was quite young, and she rereads it every year. And according to Gaimen, she just *got it* in a way no one else had. Apparently everyone else, knowing that they were auditioning for a role in a comedic show, was pitching themselves as comic actors. What Nina got, with her understanding of the book, was that the humor doesn’t come from the characters being funny in a making-jokes-and-pulling-faces sort of way. The comedy comes from the circumstances, from the storytelling (whether that’s narration or editing, camera angles, etc), and from characters being completely ridiculous with utter sincerity. Nina, he said, played the role straight and trusted that the comedy would be constructed through and around that. And seeing her act made it click in his mind, to the point that he then told casting directors to look for applicants who played their roles like Nina played hers. So basically what I’m saying is that Nina Sosanya personally saved Good Omens with the power of good acting and being a fan. (I’m tagging @shaxpere​ just for this, because I feel like you’ll have the appropriate level of appreciation).

Continuing the theme of comic acting not being right for Good Omens, he mentioned that he and Terry were approached through the years by multiple comedic duos who tried to pitch themselves as Aziraphale and Crowley, and they always turned them down without a thought. 

I think he also said something about taking the characters seriously even as they and their circumstances are ridiculous, because they aren’t just trying to make the audience laugh, they want them to be invested in the characters. I may be getting things a bit mixed here; but he definitely said something along the lines of wanting the audience to be genuinely emotionally invested in these characters.

He then went on to say that instead of going the comedic duo route, they instead went and got the “premier Welsh actor” (that is one phrase I’m quite sure he used) of his generation and the “premier Scottish actor” of his generation.

From there he went into talking about Aziraphale and Crowley. Regarding  their on-screen chemistry, he said: “the chemistry wasn’t instant. During the read-through it was a little awkward at first; they were tripping over each other a bit. But after only about twenty minutes in they started to find their characters and how they exist in relation to each other, and it was like watching them learn to dance.” (Again, I’m very much paraphrasing, but he definitely used the learning to dance phrase).

Next he talked about going out for a meal with some big deal writer fellow (I *think* it was Richard Curtis, the script writer of Love Actually) and Richard asked: “okay, so David and Michael have never acted together, but now that you’ve worked with them you can tell me: which one is actually the better actor?” And gosh of everything that was said that night I wish I could have an exact recording of Gaiman’s answer to that question, because it’s not exactly new, but I’ve heard it more from Tennant and Sheen than Gaiman directly, and the way he said it just made me very happy. But the gist of it was that he genuinely cannot answer that, because when it comes to this show you can’t separate them enough to pit them against one another. He compared them to a film or tv duo, I’ve forgotten who, but one of those pairs that are just impossible to think of apart from one another; it’s never just ‘x’ or just ‘y’, it’s always ‘x and y’. That’s what Tennant and Sheen are as Aziraphale and Crowley, he said. He said they make each other better when they’re acting together, and that, essentially, it’s less like they’re not doing two individual acting jobs but rather are creating a single thing together.

He talked a little more specifically about Sheen’s process of finding his character, and said that for Sheen his breakthrough with Aziraphale was approaching it from the perspective of Aziraphale being an angel and therefore a being of love. Sheen has said that before, but its worth adding than Gaimen then went on to say: “He loves Crowley, he loves books, he loves food, he loves wine, he just loves things”—and I may have misremembered that list a bit, but Crowley was %100 the first thing on it.

Oh, and fun fact: I’ve heard several people talk about how they love the radio adaptation of Good Omens but really feel that it’s missing something without the narrator. Turns out you’re not the only ones: apparently it was listening to the radio drama that convinced Gaiman that there had to be a the narrator in the show.

I imagine he’s said this before, but I haven’t heard it: apparently Good Omens was born in part from Gaimen reading some of Douglas Adams’s work, thinking, “I could write that sort of humor,” and then sitting down and writing that first portion of Good Omens that he sent to Terry Pratchett. 

Speaking of Pratchett he mentioned how he really made this show for him several times, and that’s not new I just :,)

He talked about two deleted scenes I hadn’t heard about! They were initially supposed to be the scenes introducing Aziraphale and Crowley. I sort of missed the context of Crowley’s scene, but I think it was him messing with the phone lines? Which he apparently did by, um, recruiting a bunch of rats. Which implies that, a). He can talk with rats? Like there’s a bit of a conversation in the scene that they seem to understand. And b). he can either control rats or has some sort of business arrangement with them. Personally I lean towards the latter. So yeah. I don’t have any particular thoughts about this but it does raise Questions.

Aziraphales’s scene was him on the phone doing something book related (I believe he was negotiating a deal/trying to find a rare book, possibly Agnes Nutter’s prophecies) while doing helpful little miracles like keeping a pram from tipping over or something. Ultimately I don’t really miss either of those scenes, especially since the Crowley one had a bit of dialogue I’m happy to be without, but the Aziraphale scene in particular sounds solid, especially if he’s being snippy on the phone while absently doing pleasant little miracles.

Kinda-sorta-vaguely-spoilery-stuff:

The panel began with the interviewer saying something about how closely the first episode sticks to the book (that’s it that’s the whole spoiler; like I said these aren’t really spoilers) to which Gaiman said something like, “Well, I guess that’s what happens when the author writes the show and is also the showrunner who decides whether to approve the script.”

The first few minutes of the show are a tribute to Douglas Adams, and specifically to the film or tv adaptation (I forget which) of Hitchhikers Guide to the Galaxy. I’m not going to explain what Gaiman meant by that because a). you can piece it together when you watch, and b). I’ve never seen either adaptation so I’m not actually sure what he meant.