#I know Disney Channel's Theme: a history mystery is a year old by now but god. It hits hard

[werewolf-garfield]

[songofwizardry]

so for the past few years, i have made a list of 'things i really liked this year' in december, and it's never gone beyond ramblings in my notes app, but this year, finally, it is going on tumblr! mainly bc i enjoy talking about things and i can guarantee i will have forgotten about some of these things in a year and i like records.

so, here we go—a fairly chaotic list of media i enjoyed in 2023 (with links where possible!)

words (prose, poetry, etc):

the word for world is forest by Ursula K. Le Guin [prose]: i have been intending to read this for years, and i finally picked it up at the start of 2023, and it is incredible. it's fairly brutal, but it was... idk, i have not read anything else that captures the violence inherent in colonisation and the effects of the decolonial project this well. what a book

your emergency contact has experienced an emergency by Chen Chen [poetry collection]: this poetry collection was very good and pretty fucking heavy (cw for homophobia throughout) and extremely emotional and made me feel many, many seventeen-year-old-me feelings. honourable mentions to higher education (excerpt here) and doctor's note.

a master of djinn by P. Djèlí Clark [prose]: i did not read as much sff as i wanted to this year, but i did read this one, and it's great. i adore fatma. i want all her outfits. the alternate cairo is super cool. the angels. it's a really good read. there's a pretty good tor dot com review of it here, if you're interested.

darius the great is not okay and darius the great deserves better by Adib Khorram [prose]: i read a truly ridiculous amount of YA this spring/summer. some of it was incredible, some of it was less-so, but i thought at least one YA book should be on here. this was one of my favourites. both books are lovely, a really-well written look at both living with depression and the challenges and joys of being a mixed-race kid. also, Sohrab is a sweetie.

audio & music (yes music-y videos are in here don't question my organisation):

now and for always from the Watermill theatre's revival of the lord of the rings musical [music + video]: i have loved the soundtrack of this musical for years, and then the Watermill ran it over the summer and i had the incredible luck to go watch it, and it was phenomenal. this song makes me cry literally always, Nuwan Hugh Perera as Sam is amazing, and the whole musical but particularly this song with actor-musicians worked so well.

solidarity forever with Billy Bragg at the elmwood starbucks strike [music + video]: i started off this year on strike, and as such was both picking picket music and listening to a lot of Billy Bragg just for. general motivation yknow. anyway this video is posted by Aisling Ayers, who got up to sing with Billy Bragg, and it's really good. it makes me emotional every time.

artist: known from WBUR's Endless Thread [podcast]: this episode was how i got into Endless Thread, which is great fun on my commute, and – as a wrinkle in time fan – the history behind the artist of the cover was fascinating. it's a really interesting episode, and it made me emotional about old sff art.

you're gonna go far by Noah Kahan, from stick season (we'll all be here forever) [music]: this album is actually one of the very few new pieces of english language music i listened to all year (ok this and the new Hozier album) and honestly it's such a good album, incredible song after incredible song. this one is my favourite though. i have been writing more this year, and this one has been on repeat while i've been writing for the last few months.

video:

disney channel's theme: a history mystery by Defunctland [video essay]: look 1 i know we've all watched it by now and 2 yes it was posted in late 2022 but i didn't watch it till 2023 but this may be... my favourite video essay ever? it has everything. the anxiety of wondering if the mystery will be solved. the twist. the impeccable fucking editing. the emotions. the little aside about being a documetarian. it's so good.

the largest telescope that will ever be built* by Tom Scott [video]: we have one (1) more of Tom Scott's regular monday videos before he goes on leave/sabbatical/etc, and he has given us so many gems over the last several years, it's hard to even pick a favourite from this year. but this one is really fucking good. i'm biased though, there's telescopes in this one.

rehearsing a string quartet while speaking different languages by TwoSetViolin [video]: ("salmon, why is this not in the music section?" because there are no rules. this is my list). i fell down a TwoSetViolin rabbit hole at the start of the year, and you must understand i know nothing about music. can't play a single instrument. can't read sheet music. absolutely fuck all. but i am obsessed with this video. i can't recommend it enough. it's hilarious, it's an incredible show of skill, my multilingual heart enjoyed it immensely, and they clearly had a lot of fun with the subtitles and notes.

escape the greenroom - Gamechanger season 5 episode 9 [video, dropout exclusive]: if you are not watching Gamechanger yet i cannot emphasise how much you should because it is honestly fucking incredible, and every season has done more and more weird and fun things with the format, but season 5 really blew the previous ones outta the water. this episode was incredible. i won't spoil it, but here's the opening on YouTube shorts. if you have watched it, it's 100% worth a rewatch btw

plagiarism and you(tube) by hbomberguy [video essay]: you knew it was coming. it's the video of the year. this is the logical conclusion of roblox oof + who wrote caramelldansen + the author of homestuck contacted me just going to a like. whole other level. what a video. more twists than you could ever predict. iconic work. well worth the several hours.

to hurt is to heal - critical role campaign 3 episode 79 [actual play]: i've been so good. i have not put any cr on here so far. everything else on here you do not need to watch several hundred hours of media to understand. there had to be at least one though, because of who i am as a person. anyway this may be my... favourite cr episode ever? at least in my top 3. (no spoilers, promise.) it's got fey bullshit. it's got a fun twist thing i didn't see coming. it's got... asmr? it's got reveals stacked on reveals in a precarious jenga tower. great episode.

ok. there are several more things that could've ended up on this list (including more books and a lot of not-English music), but i will stop here. 2023 has been a wild, wild year with a lot of really incredible happenings and some fairly Intense Times, but hey, let's see what 2024 brings—probably more video essays and more podcasts and more critical role compilations, and (maybe?? if we're lucky???) alecto the ninth. happy new year, folks!

[botwstoriesandsuch]

hey Kip! I’m sending asks into different writer’s askboxes, inquiring about cool themes/development facts/stuff the author wants to share about their personal favorite work of their own. What’s yours? :)

Ok so this ask is old and when I first got it I was like “dang I don’t really have a lot to talk about, what should I talk about I could those revalink headcanons the Kip Cut that turned into a working fic uhh hmm maybe I’ll just make something new to talk about real quick” and then I did and now there is a 12+ chapter Revalink fic in my drafts and I’m gonna talk about that now, whoopsie doopsie [click "j" to skip]

aHEM, OK so allow me to break out the primary school white board because yeah, I have a lot of thoughts and the oxford comma has not yet made it’s home into my brain. oh and spoilers for paraphrase. for both all of Chapter one and future events in later chapters, but it’s really nothing you couldn’t surmise from the AO3 tags

so I really wanted to tell the story of Revali and Link learning and struggling to love again after the less-than-fortunate events of Botw, but I wanted a...how you say...fresher, approach on the subject? Like I know we always say that fanfic writers writing the same tropes and stories time and time again is good because we eat that shit up--but at the same time I had asian parenting as was told never to half ass anything ever, no matter what. So now I'm gay and extra and have depression maybe and oh would you look at that @motherhyrule has dropped a beautiful revalink prompt right into my lap

Great so now that we have, that, I shall take you on the step by step process on how to make a :sparkles: story. So step one is to spend at least five to eleven business days for your white board to dismantle your genre and themes and work them around your character arcs. Luckily I have prepared one ahead of time

s*breaks out those laser pointers that uni professors use* So let's start with defining genre. As define because I HATE you, fuck you. I want you to suffer and writhe on the ground, motherfucker. How dare you think that I would give you nothing but pure predictable fluff, fuck you and yours

is the set of expectations that your audience has when consuming a piece of media

And the great thing about fanfiction is that unlike movies or book where the genres are more vague like, "oh it's a noir mystery genre. so there's a crime, maybe a murder, and a detective and a criminal." or "oh it's a teen romance. so there's some white people and a morally questionable six-pack 18 year old love interest that will be painted as desirable for some reason" BUT with fanfiction HALF of the work out the window, because as soon as you see those #revalink #aro sidon #zelpha #revali is an idiot and #found family tags you already know what's up.

Now what's so great about genre and expectation? Well the fun thing about it is that

I will use it to fucking break you.

... ... ...

<3 For example! <3

In Chapter 1: Holes, you already expect there to be revalink, you already expect them to be soulmates with the soulmarks and there's angst and yadayada ya. Revali and Link have to match because thatttss what this is all about, this is about them! This is about cute, little soulmarks and romantic words!

But whoooopsie doopsie [disney channel laugh track plays] they DON'T match anymore! Link's got a different mark! The number one rule of this entire genre has been broken whoooooooooooooooops. *ba dum tiss*

You might notice with a lot of my writing that I do this a lot, this whole..."oop but there's one little thing that's different." TebaSaki sick fic? Ok cool, but what if Teba burns an irreplaceable relic of the Rito champion to fight a wizzrobe first to characterize why his dumbass clicks with Saki. Mipha deciding to persue Link? Ok what if she chases after a dragon to externalize this conflict as she pierces it's flesh for a scale. Link fighting a Lynel? Ok but what if it's actually a sidlink angst fic in disguise and it's also world building on how Link deals with the bloodmoon that erases all of his efforts which is sort of similar to how his existence was erased from Hyrule 100 years ago mwaahahaha! Ok now that I say this outloud I think I just have a pattern of using fight scenes to externalize character growth. I like fight scenes...anyways.

I think another great thing about the realm of fanfiction is that with the tagging system, I can basically use a chekhov's gun sort of deal, without doing any writing. You know I'm gonna use that gun marked "soulmates" but you don't know when I'm gonna shoot it, and you SURE as hell don't know how.

And huzzah! One of the main points of conflict both drives the tension between Revali and Link, solidifies the unique genre and setting of this world, while also creating a new mystery that will carry over for the next few chapters.

Is Revali right in that Link's rebirth makes him destined for someone new now? What will Link do with the information that his soulmark has changed? Why did it change? Did Revali's change as well? How does anything fucking work right now?

And sure, you might be able to tell where things will end with them, but you sure as fuck will not know how because I HATE you. Fuck you. I want you to suffer and writhe on the ground, motherfucker. How dare you think that I would give you nothing but pure predictable fluff. I am not your goddamn fairy godmother, I will do as I fucking please. You will suffer as you fucking deserve, fuck you and your little tiny--

/j

Oh! But you might have noticed on my little planning whiteboard thing that there was a little T-Chart! For Revali and Link! That's because the next important thing besides plot (and in a lot of cases, including this one, it's argued to be even MORE important than plot) is

~CHARACTER DEVELOPMENT~

[to the tune of that history of the world video on youtube]

So yes, it's a little T-Chart outlining their character views in relation to the themes. And the great thing about themes is that they're not something you can necessarily predict in the same way you can with the genre and plot.

But now see, I'm very lazy so I'm just gonna plagiarize @hyrule-kingdom-updates thingy [that you should read btw] because they said my point quite clear enough

Now I don't really need to care about those points about bond and relationships and being understood, because I'm dealing with already established canon characters. I'm not some NERD who dabbles with entire casts of ocs who even cares about ocs not me that's for sure ahaahahaahahahahahaahahahahahAHAHAAHAHAHAHAHAHAHAHAH *cries in my orphaned WTTU fic* AHAHAHA*sobs*DONT FUCKING LOOK AT ME THAT WAY I SWEAR--

/j I love ocs

But the points I do wanna focus on is the idea that characters provide new perspectives on the theme, and that characters growth can be tracked based on their wants, lies, and needs.

So see, themes can be predicted the same as genre/plot because while you can have the same fanfic plots and tropes, theme will always vary!

Sometimes it's a journey of selfworth with Revali! Sometimes it's an exploration of trauma with Link. Sometimes it's about how you deal with the vulnerabilities of love with Mipha. Sometimes there's straight up NOOOO theme, and people just be fucking, and kissing, and baking, and having a good time. And that is totally fine too!

But I'm not a fucking coward.

I'm gonna weave in themes with my plot, because I fucking can.

I'm not a weakling like you.

Do you hear me, 2019 Kip? Do you hear me Demmers? Do you hear me Quill? I'm coming for your ass. You think you're so great, but I'm coming for you. Rest assured that your graves will be as deep as your sculptured pride--

Heeeere is that T-Chart again, plus more!

yyyyyYou might notice that Revali and Link are quite parallel, to paraphrase. Ayoooo, see what I did there? *dabs* I'm a genius. Anywho

They both start off the same way: 100 years ago they were in love and happy. Basically the equivalent of childish naivety. For the first time in their lives, life is whimsical and charming, and they make each other happy. In fact, it's almost a flaw with how they perceive this happiness. But don't worry! It doesn't last long!

You know what happens.

I think the chart is pretty self explanatory. Revali builds walls fast enough to give a republican a wet dream. Meanwhile Link makes every aromantic in the chat groan with his doubled down sentiments in the idea that his chances of being truly happy again are gone.

Now, I can't exactly describe the full on process of the inbetweens, and where Revali and Link are gonna go from here, because...you have to read it for yourself! Heehee...but something I did think was fun was how these character views on the themes are revealed. Because you'll notice that, I never give exposition. Ever.

Ok well, let me rephrase that. I never give exposition scenes. I will never give you a big LOTR fancy wizard scene explaining the ins and outs of a character's question or the world's magic or whatever. I'm a very impatient Kip, and I value efficiency. Nonono, it's all about multi tasking, baby!

Chapter 1: Holes is divided into three parts.

Post 100 Years - Medoh (Establishes Ghost Rev/Bonk Head Link's view)

100 Years Ago - Flight Range (Establishes old Revalink views)

Post 100 years - Mark (Develops Ghost Rev/Bonk Head Link's view in contrast to who they once were)

I think the way that you structure flashbacks is incredible vital, as it's a very quick way to characterize people without having them say stuff like "I used to be like you, until I took an arrow to the knee" or whatever.

And with the main structure of the chapters and the fic as a whole is focus on their characters, that means I can hide whatever other stuff I want in those scenes, becuase you're too busy absorbing the fun character stuff to realizing I'm giving you boring exposition. Like for example:

Post 100 Years - Medoh and Mark

Foreshadowing for the end of the fic

Set up connection to Medoh with Revali

Link has defeated Windblight

Link has been visiting Revali every night for the past few days

Link has already met Kass and presumably Teba

Link doesn't have the Mastersword

Revali's Gale is still an ability that needs master and practice on Link's end

And that's just some of the stuff.

And see, the only reason I can efficiently give all of this information regarding character, and even exposition, is because of the theme. The themes make everything relevant, and everything circles and encompasses one another, so there's absolutely no wasted space. I mean don't even get me started on how it's gonna be to characterize the other characters around this

I don't wanna talk about the other characters too much either because that's spoilers, but you can probably take a gandar based on my notes.

And oh my god this is just on the theme of the faults that come with "soulmates" and "true love" and all that, and how even magical destined relationships still require work and effort, and that no one thing or person solves all your problems. And that's not even TOUCHING the shit on trauma and scars. I didn't think it was even possible for me to talk about botw without touching on that, ha. Ah well, I've been talking for too long.

Revalink has a lot o' writing potential so das pretty cool yeah, I am excite

[laresearchette]

Friday, March 04, 2022 Canadian TV Listings (Times Eastern)

WHERE CAN I FIND THOSE PREMIERES?: CENTRAL PARK (Apple TV+) DEAR... (Apple TV+) ART IN BLOOM WITH HELEN DEALTRY  (discovery +) BUG OUT (IMDb TV)

WHAT IS NOT PREMIERING IN CANADA TONIGHT I (ALMOST) GOT AWAY WITH IT (TBD - Investigation Discovery) LOVE AFTER LOCKUP (TBD - T&E)

NEW TO AMAZON PRIME CANADA/CBC GEM/CRAVE TV/DISNEY + STAR/NETFLIX CANADA:

AMAZON PRIME CANADA ALONE (Season 5) THE BOYS PRESENTS: DIABOLICAL LUCY AND DESI THE TOURIST

CBC GEM DRAMAWORLD (Season 2) ESCAPE TO THE CHATEAU (Season 9)   NELLY RIPPER STREET (Season 5) UNLESS

CRAVE TV AIR AMERICA BAD TURN WORSE CATWOMAN     DIE IN A GUNFIGHT THE EXCHANGE F9: THE FAST SAGA GOOD WILL HUNTING LIFE OF PI PLAYMOBIL: THE MOVIE STEVE JOBS TEEN MOM: FAMILY REUNION (Season 1) UNDERGROUND RAILROAD: THE SECRET HISTORY

DISNEY + STAR FRESH (Season 1) THE CALL OF THE WILD RUSSIA'S WILD TIGER THE WAY OF THE CHEETAH

NETFLIX CANADA THE INVISIBLE THREAD LIES AND DECEIT MAKING FUN MESKINA PIECES OF HER

DAVIS CUP (SN) 8:00am: Netherlands vs. Canada

MLS SOCCER (TSN4) 2:00pm: Toronto FC vs. NY Red Bulls (TSN4) 4:00pm: CF Montreal vs. Philadelphia (TSN) 6:30pm: Whitecaps FC vs. NYCFC

NHL HOCKEY (SN) 7:00pm: Penguins vs. Hurricanes (TSN3) 8:00pm: Stars vs. Jets (SN1) 10:00pm: Knights vs. Ducks

NBA BASKETBALL (SN1) 7:00pm: Cavaliers vs. 76ers (TSN4) 7:30pm: Magic vs. Raptors (SN Now) 10:00pm: Knicks vs. Suns

CHL HOCKEY (TSN5) 7:00pm: Ottawa 67s vs. Hamilton Bulldogs

ALL OUR RELATIONS (APTN) 7:00pm: Nuu-chah-nulth author and professor Charlotte Cote's journey has taken her from a small First Nations community on Vancouver Island to a career in television media and most recently to a position as a professor at the University of Washington. marketplace (CBC) 8:00pm: Unpacking Mover Nightmares: Secret trackers and hidden cameras reveal new spin on alleged mover ripoffs.

THE SECRET SAUCE (City TV) 8:00pm: A Chicago marketing executive is dispatched to a cook-off in the Midwest to try and convince a restaurant owner to license his family's secret barbecue sauce recipe. As the pair of them get to know each other, friendship blossoms into something more.

HAILEY DEAN MYSTERIES: A MARRIAGE MADE FOR MURDER (Super Channel Heart & Home) 8:00pm: Hailey's professional code of ethics prevents her from going to the police about a client's confession, so she must find another way to bring the killer to justice.

CURLING (TSN) 8:30pm: 2022 Tim Hortons Brier: Pool Play

ARCTIC VETS (CBC) 8:30pm: Dr. Chris and the team perform emergency dental surgery on polar bear Aurora; Barkley the bison has a broken horn; an orphaned otter pup gets much-needed attention.

THE NATURE OF THINGS (CBC) 9:00pm: Carbon: The Unauthorized Biography:  The key element of life on Earth, it has the power to build and destroy.

THE REAL HOUSEWIVES OF DURBAN (Slice) 9:00pm: Annie and Ayanda hash things out at game night; the theme of Annie's bridal shower gets people talking.

THE EXCHANGE (Crave) 9:00pm:  A socially awkward teen decides to import a mail-order best friend from France. Instead, he ends up with his personal nightmare: a cologne-soaked, chain-smoking, sex-obsessed youth who quickly becomes the hero of the community.

MEDITERRANEAN LIFE (HGTV Canada) 9:30pm (SEASON PREMIERE): A former U.S. Navy oceanography officer, his wife and two sons move back to her home of Sicily, Italy, after years of living in the States; she wants to be close to the sea, but he prefers a home near the center of town.

CRIME BEAT (Global) 10:00pm: Picture Perfect: The Shattered Dreams of Maple Batalia: On September 28, 2011, 19-year-old Maple Batalia, an aspiring model, actress and doctor, is shot and killed in a university campus parking lot; security camera footage pans away at the last moment, leaving her last minutes alive a mystery.

[fly-pow-bye]

DuckTales 2017 - “The Golden Lagoon of White Agony Plains!”

Story by: Francisco Angones, Madison Bateman, Colleen Evanson, Christian Magalhaes, Bob Snow

Written by: Bob Snow

Directed by: John Aoshima

Storyboard by: Jean-Sebastien Duclos, Mark Garcia, Tanner Johnson, John Ramirez

I wouldn't call this a creek, either.

This episode starts with Scrooge and the boys paying a visit to a Gala dedicated to a newly opened Glomgold Wing at the Natural History Museum. The joke is that all of the exhibits are just whatever he can salvage from Scrooge's past adventures, and some outright falsehoods. Dewey even talks about how he's trying way too hard. Dewey's right...in maybe too many ways.

Scrooge, obviously not a big fan of this duck who tries to murder him any chance he can, is only there to support Duckburg's cultural institutions as an upstanding citizen. Oh, and to steal Glomgold's cocktail weenies and teriyaki skewers. The irony is that it's Louie that calls him out for this. That seems out of character for him, though it might be due to his suit giving him a rash.

As the boys follow Scrooge's lead in taking a bunch of buffet food, one of the guests of honor walks in the room. Scrooge drops his bag and gasps at the sight at this familiar-to-him face. The nephews ask him if his gasp is about a curse, a villain, or a villainous curse, but it's even worse than that.

Scrooge: ...it's my ex! (gulp)

🎵Life is like a hurricane...🎶

Well, that's one way to do a cold open.

Specifically, it's Goldie O'Gilt. He clarifies that she's an ex-rival and ex-partner, but the boys do not buy it. Scrooge gets the boys, and anyone in the audience who hasn't heard of this legacy character, ready by telling them to watch their wallets. They trade insults to each other, Scrooge saying that she has cloven hooves, and Goldie calling him a tightwad. Well, it is a fitting name for someone who takes hors d'oeuvres from a buffet. I learned just now that’s how you spell those words.

While the insults both disturb and intrigue Dewey, Glomgold shows up to tell Scrooge that Goldie happens to be his date. Even before she says anything, her body language clearly indicates he doesn't want anything to do with this man. Once the music starts playing, Scrooge and Goldie start dancing. He tries a second plan: dancing the same kind of dance with Dewey. I don't have a comment for that one.

After that, Glomgold decides to reveal the main attraction: a skeleton of a "Glacial Klondike Monster" his oil crew managed to dig up in the Yukon. Unlike the Glomasaurus Rex, which was clearly made up of random dinosaur bones, this exhibit is legitimate. The lights go out, and the mammoth's head disappears. No, it's not another mystery story, or another ghost story for that matter. Scrooge looks around and finds a certain someone missing, and he hot-tails it out of the gala.

While Launchpad drives Scrooge and the boys to the Mansion, it will make sense to how he would know about where she went later, the boys want to know more about "Scrooge's new old giiirlfriend", while they all make literal duck-lips. Yeah, that's their only real character trait they have for the rest of the episode. While DuckTales 2017 gave the boys far more distinct personalities, this episode is not a good example of that. Wait, Huey, Dewey, and Louie acting identically? No way!

They do get to be the audience of another Scrooge McDuck flashback to a time long before Donald or Della. We’re getting into “The Life and Times of Scrooge McDuck”-like material here. From what I've read, it's a very loose adaptation; no Goose Egg Nugget here.

They go into a cave in the White Agony Plains to find the titular Golden Lagoon. Suddenly, Goldie, in her scheming ways, decides to steal the map to find the lagoon for herself. Scrooge manages to catch her, but the map gets torn in half. Suddenly, the "Glacial Monster" shows itself, being what might be the last of the Wooly Mammoths. Goldie’s part of the map ended up stuck in the mammoth’s teeth, and over a century later, that same mammoth's skeleton ended up in Glomgold's Gala. We get a shot of the skeleton with a map sticking out of its teeth, which wasn't shown before when we got a shot of it before, but never mind.

Yes, I really mean a century later. While they don’t specify the exact year, Scrooge is definitely referring to the Klondike Gold Rush in 1896. Huey, in one of the few times he gets to show off his personality, starts counting on his fingers and outright asks how old Scrooge is. He obviously does not answer that question, but this episode gives a rather decent explanation beyond "it's just a cartoon, so just relax".

While running from the Wooly Mammoth, Scrooge and Goldie jumped into a freezing lake, causing them to be stuck in an ice cube for 5 years. In fact, this episode confirms this isn't the only time they've been in situtations that made them age slower. The dance scene from earlier shows them talking about a fountain of youth and several timeless demon dimensions. In an unrelated note, Goldie also offhandedly mentions a necklace that prevents burns, which the camera zooms into for a few seconds. I did not think much of this on my first viewing.

After the story that was captivating that even the driver got too interested in it, Scrooge finally reaches his Manor to find that Goldie barged into his house, and she immediately asks where his half of the map went. One may wonder how she managed to get past Mrs. Beakley, all but shown to be a super spy with great combat abilities, and her trained-in-similar-arts granddaughter.

Well, she did. As the rest of this episode will prove, she's just that awesome. After Scrooge throws a chair at his own nephews after they do the same "Scrooge loves Goldie" shtick, yeah, don't anger Scrooge, Goldie realizes that it must be in Scrooge's top hat. When Scrooge wrestles her down for it, she offers the adventure. Scrooge asks why.

Goldie: Because it's gold, because it's a treasure you never found, and because you're Scrooge McDuck.

Scrooge, Goldie imitating him: You think you know me sooo well!

They decide to go on the adventure. Speaking of the map, we later see it, and it's one of those "dotted line with the X on it" maps. I'd imagine the one that has the X on it could have at least tried to extrapolate the path. I guess I could assume that half was in that skull, but wouldn't Glomgold take it? Whatever.

Goldie puts on her old outfit, and they go into the cave. The entire episode essentially follows a similar path: throughout the adventure, they both accuse each other of trying to sabotage each other. They are totally doing that. Scrooge finds an arrow trap, which he activates by throwing a pebble at it, and accuses Goldie of doing it. Scrooge then stops Goldie from getting stuck in a giant bear trap that he totally didn't set up. Notice the difference there.

They end up at a pulley-controlled elevator, built for one. Not willing to let one person go and get a jump on the lagoon, they have to share the elevator. Of course, this leads to her complaining about his sweat. It's a funny scene.

Not speaking of particularly funny scenes, Glomgold is slowly following them. I'll be honest: his scenes don't really do much for me. All he really does is get hit by all the traps, cuts the rope of the aforementioned elevator, and talks about how Scrooge is taking his girl. He seems to disappear after this scene, because it's better to focus on the scenes with Scrooge and Goldie trying to mess each other up.

One scene has Goldie lighting a trail of gunpowder behind Scrooge, taking both halves of the map with her while he's chasing. In this universe of ducks and dogs that walk upright and talk, this trail of gunpowder leads to a bear. Not a relative of Baloo, but a bear just like in real life. I wonder how that works.

Unlike in real life, Goldie gets cornered by Scrooge riding that same bear. He even reveals that he speaks bear. This show now has just as much talking to non-language-speaking-animals as that other reboot. How can he do this? Because he's Scrooge McDuck. Yeah, that’s a running gag throughout this episode, and it does have a good payoff at the end.

They eventually reach a dead end, which happens to be right next to the frozen lake where they spent 5 years of their lives. This leads to even more backstory. After 5 years of being forced into staring at each other, their frozen scowls slowly turned into smiles. Aw, they really do love each other. While it's certainly romantic to see this, it is a horrifying thought that they were conscious in there.

Of course, there's a caveat: as soon as Goldie's half of the ice melts, she immediately leaves Scrooge behind. Scrooge realized that she loved gold more than him, and Goldie...agrees. Fitting.

They do get to the waterfall made of molten gold, thanks to the help of erosion over a century. Scrooge gets Nanook, the bear, to break the wall they thought was a dead end open in something that would have looked cool in trailers. However, as soon as they bask in the glory, a twist happens. I debated whether or not I should even have these ellipsis, to be honest.

← JAW$! 🦆 Day of the Only Child →

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Big shock, she was going to betray him in the end, just like Scrooge repeatedly accused her of doing! There is one surprise on top of this: Glomgold decides to show up, after stumbling down a hill because he's Glomgold, and reveals that he teamed up with her to do this ruse! Unlike the last time he tried, this turned out to be true.

Scrooge, telling himself he should have expected this, asks Goldie why she did this after all she did for her. He talks about how he untied her from Nanook...which he happened to tie her to himself. Again, fitting. Her response?

Goldie: Because I'm Goldie O'Gilt!

See, good payoff.

Regardless of what I feel about Glomgold’s involvement in this episode, I do like the flashback scene he describes, which is in this 50's romance comic book-like style. It even ends with him smooching the air. He sure loves that Goldie, he even came up with the shipping name: Glomgoldie.

There's a pickaxe fight that mirrors the dance scene down to certain lines, and a rather shocking scene that does give Glomgold a little more purpose in the plot. I don't want to give away everything, but I definitely questioned whether they would really do what they did.

I only have one thing I will say that will add to this review: the necklace I talked about earlier does become a plot point. What necklace? Well, that was my first impression of that ending, too; it took a second viewing for me to realize it didn't just come out of nowhere.

How does it stack up?

Promising a big adventure that happens to be a huge reference to the original comics, and the return of a classic character, DuckTales 2017 took a huge risk with this episode. As someone who hasn't really read the original stories, I can't judge whether or not it's a good adaptation.

I debated what rating I should give this. It's an entertaining adventure, sure, but it's a little repetitive, and Glomgold just became a third wheel that was more tiring than funny. This one slightly misses the mark for me. In a worse reboot, this would be one of the best episodes, but after Jaw$, it's just merely above average, which is a very high neutral for this show.

Next, the return of another classic character...whether you like him or not.

← JAW$! 🦆 Day of the Only Child →

[grandemasterpyrokitsune]

Happy 10th!

The time has finally come to talk about why PaF is so important. Really, anyone could do this anytime, but this date alone has a significance to it. To any of my followers who don’t know(and will sit through this brick wall of text to find out), today is the 10th anniversary of the sneak peek premiere of Phineas and Ferb; technically, February 2008 is when it officially premiered around the world, but I’m sure that everyone else in the fandom is eager to kick off the celebration today. I’m sure this will turn out to be a multi paged thesis, so I’ll try to split this up into parts.

-----------------------------------

PART 1: Best Day Ever

Anyway, ten years ago today marks the 10th anniversary of Phineas and Ferb. This show is considered an old soul of sorts, enjoying a long lifespan of 8 years, tons of merchandising and entertainment opportunities, the admiration and respect of many celebrities, and a very long summer. As formulaic as it appears, this show has more history to it than it appears to have.

PART 2:Busted

(This part details history of Disney’s TV animation ventures and basically life before PaF. Feel free to skip if you’re clued in to its history.)

The 2000s were considered a lousy time for TV animation . While many say it's the "worst" decade for it(whether worldwide or just in North America), I'd call it a transitional period. The 90s was an exciting a refreshing time for TV animation where the stories were driven by the creators, not toy designers. I would generally consider it more of the same from the Golden Age of Animation but more modern. The 2000s had newer technologies to work with and perfect while the ‘90s mainly just worked w/ cel animation and did it so well. Flash and CG were in their infancy, so I assume the software got a bit more attention than the stories. Primarily, companies were just looking to work with more cost effective options to make their shows with. It was a rough period,but far from the worst. Anyway, this kind of TV animation is still a relatively new type of animation. Disney were the first ones to spearhead this movement and they made three or four blocks of new cartoon for different generations of kids. 

The first block(formally known as Disney Afternoon)was ushered in with three pilots; Fluppy Dogs, Wuzzles and Ducktales. While the former two merely tested the waters and the latter was the only one successful, all three were made with stellar animation and complex storytelling for what everyone knew as entertainment for kids. After the success of Ducktales, Disney was brimming with pride and made seven years worth of cartoons for this block. Even if some cartoons didn't strike people the right way, they were still wildly memorable. While their D.C. original programming generally doesn't get more than short compilation discs, the DA 'toons get full series releases digitally and through DVD. This prompted to launch One Saturday Morning on ABC. 

With the acquisition of Nicktoon Doug, Disney paired it up with Recess and Pepper Ann, chasing after the success they had a few years before. The aforementioned series were the highest rated on the block while other series are more obscure and buried by Disney. They are acknowledged as good but were overshadowed by 24/7 network like Nick and Cartoon Network bringing a lot more cartoons to a lot more times of the day. 

Disney started to notice how much of an animated surplus they had and that they air their cartoons for weeks on end. Thus, Toon Disney was founded,which became a more visible hub for the cartoon blocks of the 90s and all other ages of Disney. At one point,they started airing Sonic the Hedgehog and making their own co-productions under their most popular TV cartoon brand, Jetix. As extensive as these programs got, they were being seen by fewer and fewer people. 

To overlap slightly with the end of OSM, Disney started making more cartoons for the Channel’s demographic. Shows like Kim Possible, Lilo and Stitch, and American Dragon:Jake Long began airing and netting extraordinary ratings. In fact, Disney Channel was probably most successful in the early 2000s. It found its new groove if you will with its signature style of tween/teen sitcom and animated series. The former seem to have more clout on the network after the premiere of Lizzie McGuire,solidifying the formula. Similar to OSM, many cartoons were more or less not acknowledged the way they were 10 years before. Since sitcoms dominated because they were faster and cheaper to make, it seemed that the outcome was better. Over the course of the period (c. 2002-2008) they released the smallest selection of DC cartoons ever while the sitcoms got more and more press. It’s unclear what Disney was going to do next, but soon summer of 2007 came along...

PART 3: Gotta Make Summer Last

Disney Channel aired the premiere of High School Musical 2 and decided to air the first episode of PaF afterwards. As a result HSM 2 netted 17.6 million views and PaF 10.8 million views. We could easily deduce that eager HSM fans made up the clout of viewers, but that’s not to say the show couldn’t prove interesting to viewers anyway. In fact, Disney delayed its original 2007 release in the US to release it in February in multiple countries. Places such as Latin America, Brazil, Japan, France and Portugal got to experience the show right along with us. International promotion was rolled out which only netted PaF even more press. It became one of Japan’s most popular Western cartoons, it got wild promotion in Latin America and most of Europe(all around) made excellent dubs and gave it the lion’s share of time slots. This was a pretty good outcome all things considered.

Thus the cycle began. First came DVDs and games, then came interviews and guest spots, than movies, Disney park attractions, live events and then omnipresence.... scratch that last one, but you get the idea. The TV Movie itself was more or less the peak of the show. It remains the 10th most watched DCOM premiere of all time and the show remains one of the longest running animated series of the main Disney networks(DC, XD, and Junior). I think the last time Disney mass merchandised a TV cartoon this much was Lilo and Stitch(last one not already a franchise was Doug or Recess). The show is even part of the Marvel and Star Wars universes(non canonically of course)Even then, Disney elevated the show to new heights. It had everything Disney wanted; likeable protagonists, innocent motifs, enough songs to last for days, episodic adventures, and tons of mass marketing appeal. This simple show connected people across the world(if the Tumblr/DA fandoms for PaF were any indicator)through its mult-faceted music and rudimentary themes. While this show raised the bar, it also left the bar to be raised another notch by...

PART 4: Meet the Man of Mystery

In 2012, Gravity Falls premiered as a sneak peek behind DCOM Let it Shine. While not an instant ratings hit, it quickly became one of the most critically acclaimed Disney TV cartoons of all time. The spotlight quickly began to fade on the smartest stepbrothers around as new episodes were coming infrequently. While the numbers were still big enough to make Teen Titans Go mutter in awed jealousy, it still was becoming less of a force on the main network. However on Disney XD, it was still Adored by the Network. I remember how I felt watching day long marathons several times a month, sometimes without reason. Despite its mass appeal, Phineas and Ferb could be classified easily as a boy targeted program due to the protagonists and the subject matter. Until XD found its groove, they would continue to spam PaF for what felt like eons. To this day, they still occasionally air it in primetime slots.

The way I wrote this last part may sound cynical,jaded, and/or pessimistic. However, it’s written that way to emphasize another point. After the success of this series, Disney went from relying on a few filler shows to releasing a new show basically every year and truly giving them all the promotion they could. While not all series got the treatment we all wanted them to have, a lot more of them have come and gone to try to re-innovate and reinvigorate the brand. Phineas and Ferb (more or less) singlehandedly convinced Disney TV to put more stock in their animation division. Don’t know how many Fallers know this but Disney actually asked Alex Hirsch to make his pilot for them after seeing his work. They were actively seeking out new talent and new stories. Honestly, while Kick Buttowski and Pickle and Peanut got a lot of flac in the day, they were(to an extent) a sign that the House of mouse was trying to experiment and make something they liked to see. The latter especially seemed like a personal pet project of XD’s off sense of humor. 

I’m sure the networks would have reinvented their cartoons eventually, but PAF brought it out in the best way.  In a way the boys were kind of dc celebrities in their heyday. When you can summon a bunch of popular characters from the live action sitcoms to dance for possibly hours for a two minute music video in the name of a teal platypus made out of digital ink and pixels, that’s pretty special indeed.

CONCLUSION

Phineas and Ferb is my favorite animated series,explaining why I can info dump mostly from memory as I have in this post. While many have told me that it’s nothing special, to me it stands out as the brightest diamond in the rough and a shining testament to the duality of animation in general. Ten years from now, I hope that I can write better when I must wax sentimentality about my favorite cartoon show. Thanks to the cast, crew, creators, and fans for making summer last. See you at the 20th!

[silverscreenclassics2016]

by Paul Batters

Part Two continues with the wonderful, personal stories of how our featured writers came to discover and love classic film.

Maddy 

Blog: Maddy Loves Her Classic Films   Twitter: @TimeForAFilm

I grew up in the 1990’s and was brought up on the animated Disney films such as Bambi and The Hunchback Of Notre Dame. I was very into dance when I was little and my parents bought me the documentary That’s Dancing (1985). That introduced me to so many classic era actors and films. It especially got me interested in Fred and Ginger, The Nicholas Brothers, Gene Kelly and Eleanor Powell. I started to seek out many of their films as I grew up.

If I had to pick one film in particular that made me fall in love with this era of filmmaking, then it would have to be Top Hat. It was the first b&w film I saw and I loved everything about it – from the characters and the dancing, to the stunning sets and beautiful costumes. This girl was hooked! In my teens I discovered Alfred Hitchcock. His films made me a classic film fan for life. They were what first made me aware of the language of cinema and got me interested in how films were made. Rear Window was the first I saw and I remember eagerly returning to the Library every weekend to borrow more of his films.

Theresa Brown

Blog: CineMaven’s Essays From the Couch     Twitter: @CineMava

I would need to go into some type of hydro~therapy, deep dark hypnosis to pull the memory of what film led me into loving classic films; and also to get into my past life as Cleopatra. My parents told me I used to run into the living room and stand in front of the tv set during commercials. Commercials, for heaven’s sake!! Were they bite-sized movies for the tiny Baby Boomer I was? It’s hard for me to say just what film set me on this path of being a classic movie buff. My mom took us to practically ev’ry Disney movie back in the 1950’s. American TV of the 60’s and 70’s threw away a lot of “old movies” and I was up all hours of the night trying to get my fill. Maybe seeing these films was a way to connect to my father and aunt with movies they grew up seeing on the big screen. For my 16th birthday my father gave me my first movie book: on Bogart films. Cinemabilia was a NYC book store I got lost in for hours. Classic films are just in my DNA.

Aurora

Blog: Once Upon a Screen    Twitter: @CitizenScreen

I arrived in the United States from Cuba at the age of five and immediately fell in love with movies. We were given a secondhand television set where one day I happened upon Delmer Daves’ Dark Passage. The unique point of view sequence at the onset of the movie fascinated me even then. I longed to see the face that peered out at the dark, grim world. I have loved film noir ever since. The only other genre that competes is the musical; it is what truly made my imagination soar. I remember vividly seeing On the Town and marvelling at the notion that my father had brought me to a place where people danced on the street. We lived in a crowded New York City apartment. I remember too wishing that my family were just like the Smiths in Meet Me in St. Louis. Alas, there are too many of those moments to recount, too many ways the movies made me who I am. It is to those days, when I knew no one outside my family, when those characters were as real as any person I had ever met, that I owe my love of movies.

Robert Short – Writer

Having been a fan of classic films for over fifty years now, I find it difficult to ascribe any specific movie as the pivotal film that inspired my love of the golden era of filmdom.  During the 1960’s and 1970’s, the decades in which I chiefly grew up, the cinematic offerings from the 1930’s and 1940’s were the general fodder of movie viewing on television; I undoubtedly saw many from a very young age.  I can say with greater certainty that I had developed a conscious interest in “old movies”, a relative term, by the age of twelve or thirteen.  Perhaps the interest grew organically; perhaps it was a moment of epiphany.

Again, while I cannot pinpoint any definitive “watershed” title, there is possibly one film of note which served as a cornerstone in my movie-watching career.  “Juarez” marked my first “late show”, the late-night movies that I was finally permitted to watch after beginning high school in September 1969.  A typically lavish production from Warner Bros., and another quality contribution from 1939, the film was immensely entertaining, albeit often historically inaccurate.  Admittedly, the fact that “Juarez” was my introduction to the venerable institution of the late show, now gone by the wayside in the wake of our modern digital era, may seem very trivial and unimportant.  However, the late show itself was once the chief means to watch classic films; through it my access to many wonderful movies was greatly expanded.

Amanda Garrett

Blog: Old Hollywood Films  Twitter: @oldhollywood21

My lifelong love of affair with classic movies began when I stumbled across director John Ford’s Western Stagecoach (1939) on PBS when I was in grade school. It soon became my favourite movie mostly because I wanted to be BFFs with Doc Boone played by Thomas Mitchell (I didn’t understand that what I thought was very funny behaviour was caused by alcohol), and I secretly wanted to be Andy Devine mostly because I thought driving a stagecoach seemed like a cool job. I’ve watched Stagecoach dozens of times since then, and while I’ve given up my ambition of being a stagecoach driver, I still find the film a rewarding experience all these years later. There are several reasons for this including the masterful plot, which Ford unfolds with clockwork precision, and the roster of great character actors. Most of all, I return to Stagecoach because of Ford. The gruff director despised being called an artist or even worse an auteur, but the truth is he was both. Ford’s fluid camera work makes Stagecoach poetry in motion, and he would return to the theme of one man’s quest for justice throughout his career.

Name: Jay

Blog: Cinema Essentials   Twitter: @CineEssentials

Although I grew up watching classic films, most were colour films from the 1950s and 1960s. If there was one film that overcame my childhood resistance to black and white, then it was Green for Danger. It’s a brilliant comedy-thriller that plays with the conventions of the murder mystery genre.

Alastair Sim plays an eccentric detective sent to investigate a series of suspicious deaths at a hospital, where he finds a range of suspects. Sim is unquestionably the star of the show, but there are many good supporting performances, from Trevor Howard, Sally Gray, Leo Genn, Megs Jenkins and Rosamund John.

The film was made by Sidney Gilliat, who co-wrote The Lady Vanishes and its spiritual successor Night Train to Munich. That gives you an idea of the sort of humour and playful tone of the film, which are mixed with a bit of tension and an intriguing mystery.

I first saw Green for Danger when I was 7 or 8. I’ve seen it numerous times since, but I usually forget who the murderer is, because it’s the performances and characterisations that make it irresistible. And the film is so entertaining anyway, that it doesn’t really matter if you remember the solution or not.

Margot Shelby

Blog: Down These Mean Streets

It’s hard to say exactly when, how and why I became a classic film fan. Neither my parents nor my grandparents were interested so I discovered them myself. I was probably around five and I assume some classic film came on TV and I was hooked. I loved history (still do) and somehow old movies were like a history lesson, a window into another world. Something just clicked. I wish I could remember what the first movie was that really left an impression on me, but I really can’t.

I’m so jealous of the people who had friends and family who also like classic films.

Unfortunately I had nobody I could share my love of classic films with. My friends weren’t interested either, everybody was just shaking their heads about my obsession.

Well thankfully nowadays we have the internet and yes, there are other people like me out there. I’m not a freak! Good to know. 🙂

Carol

Blog: The Old Hollywood Garden

I created The Old Hollywood Garden because I wanted to express my love for the classics. I wanted to make people want to watch them, and I wanted to share my undying fascination with Hollywood’s Golden Age with the world.

I became a classic movie buff after viewing my very first classic movie which was Gilda (Charles Vidor, 1946). All the way back in 2007 when I was fifteen years old. I was flipping through the channels, and I stumbled upon it on an retrospective type of channel which shows old films and TV shows. Its black and white cinematography caught my attention straight-away and I put the remote down and watched it. I had no doubt in my mind this would be the start of something great for me and I couldn’t wait for it. I was barely half way through it and I already knew that I wanted to consume as many of these wonderful movies as possible. I was mesmerized by Rita Hayworth – who isn’t? – and I loved the love-hate relationship between Gilda and Johnny (Glenn Ford). It was hot. It was exciting. It was a masterclass in screen chemistry. Years later, I still think it’s the sexiest movie ever made.

I was drawn in by them mostly, but right from the start, I thought Gilda was so fascinating. Johnny’s voice-over narration in the beginning (‘To me, a dollar was a dollar in any language…’) was everything I’d imagined these things to be. Great lines, no non-sense attitude; straight-up cool. The plot was interesting enough – small-time gambler Johnny is hired by Ballin Mundson (George Macready) to work in his casino, not knowing Ballin’s wife is his ex-lover Gilda – and the performances were fantastic. Especially Rita Hayworth’s. Her most iconic role was also her greatest. A flawed character, multi-layered and yet mysterious. Confident and yet vulnerable. A sort of anti-heroine that no doubt paved the way for many female characters that followed it. It is still one of my favourite performances of all time and the reason I couldn’t take my eyes off Gilda the first time I saw it. A ‘femme fatale’, I later read. I was transfixed by this. Film noir was intriguing.

Years later, of course, I realised that Gilda isn’t quite a film noir (noir melodrama?) and Gilda isn’t really a femme fatale. Not in the traditional sense anyway. Looking back, Gilda was ahead of her time, in many ways. But back then, I just knew that this was endlessly fascinating. I had to watch more of these. So many more. I had to watch more stuff with Rita Hayworth in it. And Glenn Ford. I had to watch all of these films noirs. And the screwballs and the Pre-Codes. And the musicals! I had to watch all the Golden Age of Hollywood had to offer. Needless to say, I’ve been doing just that for twelve years and it has been absolutely blissful.

Editorial use only. No book cover usage. Mandatory Credit: Photo by Columbia/Kobal/Shutterstock (5886203bk) Rita Hayworth Gilda – 1946 Director: Charles Vidor Columbia Lobby Card/Poster

It’s been an absolute honour to share the memories and feelings that classic film fans have about the films that matter to them and the experience of discovering classic film. The beauty is that those feelings do not go away but grow and flourish, as the journey continues and as we all discover and re-discover the films we have come to love. But it is also a wonderful thing to connect with classic film fans from around the world and share those experiences.

It has been an honour to share these contributions and my personal thanks to all who have contributed.

The Films That Brought Us To Love Classic Film – Part Two by Paul Batters Part Two continues with the wonderful, personal stories of how our featured writers came to discover and love classic film.

[werewolf-garfield]