#I saw an earlier version of this post and I love how this has expanded

[physalian]

8 Signs your Sequel Needs Work

Sequels, and followup seasons to TV shows, can be very tricky to get right. Most of the time, especially with the onslaught of sequels, remakes, and remake-quels over the past… 15 years? There’s a few stand-outs for sure. I hear Dune Part 2 stuck the landing. Everyone who likes John Wick also likes those sequels. Spiderverse 2 also stuck the landing.

These are less tips and more fundamental pieces of your story that may or may not factor in because every work is different, and this is coming from an audience’s perspective. Maybe some of these will be the flaws you just couldn’t put your finger on before. And, of course, these are all my opinions, for sequels and later seasons that just didn’t work for me.

1. Your vague lore becomes a gimmick

The Force, this mysterious entity that needs no further explanation… is now quantifiable with midichlorians.

In The 100, the little chip that contains the “reincarnation” of the Commanders is now the central plot to their season 6 “invasion of the bodysnatchers” villains.

In The Vampire Diaries, the existence of the “emotion switch” is explicitly disputed as even existing in the earlier seasons, then becomes a very real and physical plot point one can toggle on and off.

I love hard magic systems. I love soft magic systems, too. These two are not evolutions of each other and doing so will ruin your magic system. People fell in love with the hard magic because they liked the rules, the rules made sense, and everything you wrote fit within those rules. Don’t get wacky and suddenly start inventing new rules that break your old ones.

People fell in love with the soft magic because it needed no rules, the magic made sense without overtaking the story or creating plot holes for why it didn’t just save the day. Don’t give your audience everything they never needed to know and impose limitations that didn’t need to be there.

Solving the mystery will never be as satisfying as whatever the reader came up with in their mind. Satisfaction is the death of desire.

2. The established theme becomes un-established

I talked about this point already in this post about theme so the abridged version here: If your story has major themes you’ve set out to explore, like “the dichotomy of good and evil” and you abandon that theme either for a contradictory one, or no theme at all, your sequel will feel less polished and meaningful than its predecessor, because the new story doesn’t have as much (if anything) to say, while the original did.

Jurassic Park is a fantastic, stellar example. First movie is about the folly of human arrogance and the inherent disaster and hubris in thinking one can control forces of nature for superficial gains. The sequels, and then sequel series, never returns to this theme (and also stops remembering that dinosaurs are animals, not generic movie monsters). JP wasn’t just scary because ahhh big scary reptiles. JP was scary because the story is an easily preventable tragedy, and yes the dinosaurs are eating people, but the people only have other people to blame. Dinosaurs are just hungry, frightened animals.

Or, the most obvious example in Pixar’s history: Cars to Cars 2.

3. You focus on the wrong elements based on ‘fan feedback’

We love fans. Fans make us money. Fans do not know what they want out of a sequel. Fans will never know what they want out of a sequel, nor will studios know how to interpret those wants. Ask Star Wars. Heck, ask the last 8 books out of the Percy Jackson universe.

Going back to Cars 2 (and why I loathe the concept of comedic relief characters, truly), Disney saw dollar signs with how popular Mater was, so, logically, they gave fans more Mater. They gave us more car gimmicks, they expanded the lore that no one asked for. They did try to give us new pretty racing venues and new cool characters. The writers really did try, but some random Suit decided a car spy thriller was better and this is what we got.

The elements your sequel focuses on could be points 1 or 2, based on reception. If your audience universally hates a character for legitimate reasons, maybe listen, but if your audience is at war with itself over superficial BS like whether or not she’s a female character, or POC, ignore them and write the character you set out to write. Maybe their arc wasn’t finished yet, and they had a really cool story that never got told.

This could be side-characters, or a specific location/pocket of worldbuilding that really resonated, a romantic subplot, whatever. Point is, careening off your plan without considering the consequences doesn’t usually end well.

4. You don’t focus on the ‘right’ elements

I don’t think anyone out there will happily sit down and enjoy the entirety of Thor: The Dark World.  The only reasons I would watch that movie now are because a couple of the jokes are funny, and the whole bit in the middle with Thor and Loki. Why wasn’t this the whole movie? No one cares about the lore, but people really loved Loki, especially when there wasn’t much about him in the MCU at the time, and taking a villain fresh off his big hit with the first Avengers and throwing him in a reluctant “enemy of my enemy” plot for this entire movie would have been amazing.

Loki also refuses to stay dead because he’s too popular, thus we get a cyclical and frustrating arc where he only has development when the producers demand so they can make maximum profit off his character, but back then, in phase 2 world, the mystery around Loki was what made him so compelling and the drama around those two on screen was really good! They bounced so well off each other, they both had very different strengths and perspectives, both had real grievances to air, and in that movie, they *both* lost their mother. It’s not even that it’s a bad sequel, it’s just a plain bad movie.

The movie exists to keep establishing the Infinity Stones with the red one and I can’t remember what the red one does at this point, but it could have so easily done both. The powers that be should have known their strongest elements were Thor and Loki and their relationship, and run with it.

This isn’t “give into the demands of fans who want more Loki” it’s being smart enough to look at your own work and suss out what you think the most intriguing elements are and which have the most room and potential to grow (and also test audiences and beta readers to tell you the ugly truth). Sequels should feel more like natural continuations of the original story, not shameless cash grabs.

5. You walk back character development for ~drama~

As in, characters who got together at the end of book 1 suddenly start fighting because the “will they/won’t they” was the juiciest dynamic of their relationship and you don’t know how to write a compelling, happy couple. Or a character who overcame their snobbery, cowardice, grizzled nature, or phobia suddenly has it again because, again, that was the most compelling part of their character and you don’t know who they are without it.

To be honest, yeah, the buildup of a relationship does tend to be more entertaining in media, but that’s also because solid, respectful, healthy relationships in media are a rarity. Season 1 of Outlander remains the best, in part because of the rapid growth of the main love interest’s relationship. Every season after, they’re already married, already together, and occasionally dealing with baby shenanigans, and it’s them against the world and, yeah, I got bored.

There’s just so much you can do with a freshly established relationship: Those two are a *team* now. The drama and intrigue no longer comes from them against each other, it’s them together against a new antagonist and their different approaches to solving a problem. They can and should still have distinct personalities and perspectives on whatever story you throw them into.

6. It’s the same exact story, just Bigger

I have been sitting on a “how to scale power” post for months now because I’m still not sure on reception but here’s a little bit on what I mean.

Original: Oh no, the big bad guy wants to destroy New York

Sequel: Oh no, the big bad guy wants to destroy the planet

Threequel: Oh no, the big bad guy wants to destroy the galaxy

You knew it wasn’t going to happen the first time, you absolutely know it won’t happen on a bigger scale. Usually, when this happens, plot holes abound. You end up deleting or forgetting about characters’ convenient powers and abilities, deleting or forgetting about established relationships and new ground gained with side characters and entities, and deleting or forgetting about stakes, themes, and actually growing your characters like this isn’t the exact same story, just Bigger.

How many Bond movies are there? Thirty-something? I know some are very, very good and some are not at all good. They’re all Bond movies. People keep watching them because they’re formulaic, but there’s also been seven Bond actors and the movies aren’t one long, continuous, self-referential story about this poor, poor man who has the worst luck in the universe. These sequels aren’t “this but bigger” it’s usually “this, but different”, which is almost always better.

“This, but different now” will demand a different skillset from your hero, different rules to play by, different expectations, and different stakes. It does not just demand your hero learn to punch harder.

Example: Lord Shen from Kung Fu Panda 2 does have more influence than Tai Lung, yes. He’s got a whole city and his backstory is further-reaching, but he’s objectively worse in close combat—so he doesn’t fistfight Po. He has cannons, very dangerous cannons, cannons designed to be so strong that kung fu doesn’t matter. Thus, he’s not necessarily “bigger” he’s just “different” and his whole story demands new perspective.

The differences between Empire Strikes Back and Return of the Jedi are numerous, but the latter relies on “but bigger” and the former went in a whole new direction, while still staying faithful to the themes of the original.

7. It undermines the original by awakening a new problem too soon

I’ve already complained about the mere existence of Heroes of Olympus elsewhere because everything Luke fought and died for only bought that world about a month of peace before the gods came and ripped it all away for More Story.

I’ve also complained that the Star Wars Sequels were always going to spit in the face of a character’s six-movie legacy to bring balance to the Force by just going… nah. Ancient prophecy? Only bought us about 30 years of peace.

Whether it’s too soon, or it’s too closely related to the original, your audience is going to feel a little put-off when they realize how inconsequential this sequel makes the original, particularly in TV shows that run too many seasons and can’t keep upping the ante, like Supernatural.

Kung Fu Panda once again because these two movies are amazing. Shen is completely unrelated to Tai Lung. He’s not threatening the Valley of Peace or Shifu or Oogway or anything the heroes fought for in the original. He’s brand new.

My yearning to see these two on screen together to just watch them verbally spat over both being bratty children disappointed by their parents is unquantifiable. This movie is a damn near perfect sequel. Somebody write me fanfic with these two throwing hands over their drastically different perspectives on kung fu.

8. It’s so divorced from the original that it can barely even be called a sequel

Otherwise known as seasons 5 and 6 of Lost. Otherwise known as: This show was on a sci-fi trajectory and something catastrophic happened to cause a dramatic hairpin turn off that path and into pseudo-biblical territory. Why did it all end in a church? I’m not joking, they did actually abandon The Plan while in a mach 1 nosedive.

I also have a post I’ve been sitting on about how to handle faith in fiction, so I’ll say this: The premise of Lost was the trials and escapades of a group of 48 strangers trying to survive and find rescue off a mysterious island with some creepy, sciency shenanigans going on once they discover that the island isn’t actually uninhabited.

Season 6 is about finding ���candidates” to replace the island’s Discount Jesus who serves as the ambassador-protector of the island, who is also immortal until he’s not, and the island becomes a kind of purgatory where they all actually did die in the crash and were just waiting to… die again and go to heaven. Spoiler Alert.

This is also otherwise known as: Oh sh*t, Warner Bros wants more Supernatural? But we wrapped it up so nicely with Sam and Adam in the box with Lucifer. I tried to watch one of those YouTube compilations of Cas’ funny moments because I haven’t seen every episode, and the misery on these actors’ faces as the compilation advanced through the seasons, all the joy and wit sucked from their performances, was just tragic.

I get it. Writers can’t control when the Powers That Be demand More Story so they can run their workhorse into the ground until it stops bleeding money, but if you aren’t controlled by said powers, either take it all back to basics, like Cars 3, or just stop.

—

Sometimes taking your established characters and throwing them into a completely unrecognizable story works, but those unrecongizable stories work that much harder to at least keep the characters' development and progression satisfying and familiar. See this post about timeskips that take generational gaps between the original and the sequel, and still deliver on a satisfying continuation.

TLDR: Sequels are hard and it’s never just one detail that makes them difficult to pull off. They will always be compared to their predecessors, always with the expectations to be as good as or surpass the original, when the original had no such competition. There’s also audience expectations for how they think the story, lore, and relationships should progress. Most faults of sequels, in my opinion, lie in straying too far from the fundamentals of the original without understanding why those fundamentals were so important to the original’s success.

[thydungeongal]

Okay so as I posted earlier, I picked up Holveja & Hirviöitä, a Finnish retroclone/OSR game at the con last night. I do want to write about it in a bit more depth. This post is probably not going to be useful to any of you unless you can read Finnish, because there's probably no way this game will get translated: it specifically exists because the author saw a demand for an old-school D&D clone written in Finnish, inspired by the existence of Legendoja & Lohikäärmeitä (an unofficial Finnish translation and evolution of D&D 5e).

First of all, the full title of the book isn't just Holveja & Hirviöitä. It's Holveja & Hirviöitä: Pelaajan opas, the subtitle roughly translating to "Player's Guide." The book thus contains just the player-facing rules: character creation, combat, adventuring, spells, advancement, and so on. You won't find rules for monsters or designing adventures in this book. The author, Tuomas J. Salo, has spoken elsewhere about the fact that the game is likely not going to find purchase among anyone but people already invested in the OSR, and those people likely already have more GM's books than they need. I understand that rationale, but honestly I do hope he puts out a separate Game Master's Guide, because even in its current state there is a lot to love about H&H and I would love to see it expanded into a wholly standalone game. Also, I want to support Finnish language gaming. Even though I mostly hang out on the anglophone side of the RPG internet, I also happen to think that my first language is pretty cool and it'd be cool to play RPGs in Finnish with my homies.

H&H isn't a direct retroclone of any particular version of D&D nor is it a Finnish translation of any previously established OSR game. It is more like a best-of of the author's favorite elements of the OSR, picked from multiple different games and blog posts. It is most recognizably based on B/X, but it differs from that one too.

Here are some features of the game:

Four classes, corresponding to Fighter, Magic-User, Cleric, and Thief. No demihumans classes, and in fact no rules for playing demihumans at all.

Characters get a class and level-based attack bonus. Fighters get a full +1 per level, other classes varying slower rates.

No class-based restrictions on weapons and armor, but there are limitations on the use of magic and skills when unencumbered.

To make Fighters (Soturi, warrior) still stand out as the best weapon users, besides their higher attack bonus they also increase all weapon damage dice by one type (a sword that deals 1d8 damage becomes a 1d10 and so on).

Magic-Users (Velho, wizard) are vancian casters, nothing surprising there.

Clerics (Pyhimys, saint) use a spell-casting system based on expending a resource called Suosio (Favor). After casting a spell a player rolls a number of d6 equal to their character's current Favor, and if at least a number of dice equal to the spell's level come up 4+ their Favor stays the same. Otherwise it drops by one. I have no idea how well it works in practice but I like the idea of differentiating between Magic-Users and Clerics mechanically.

Thieves (Taituri, master, expert) are clearly more in line with LotFP's Experts than B/X Thieves. Skills are a 1 of 6 chance by default and unlike other characters they get 4 extra points to divide between "pips" in various skills to increase their chance of success, with more skill points unlocked at each level.

Characters have a single saving throw number (16-level) which is further modified by the highest of two stat modifiers for a total of three different saving throws. If I'm not entirely mistaken, this is also how Sine Nomine's more recent games handle saving throws.

Besides just rules for adventuring and combat there are very specific rules for owning property and investing in business venture to gamble with your character's resources between sessions. These also seem pretty much lifted wholesale from LotFP.

The three alignments are as they always have been, but renamed to work better in Finnish. Specifically, Law isn't Laki which would sound dumb as hell, it's Kohtalo, or Fate. I think Fate vs Chaos is much more evocative, and it also reinforces how alignment in this game is cosmic and not just a shorthand for "is your character good or bad."

All in all there's very little here that I don't like. I mean, except for the fact that unarmored AC is 12 and AC goes up which is just bullshit. Again, there is nothing remarkable about this game in the context of other OSR games, as most of its rules have appeared elsewhere, but the translation of often clumsy gaming terms into Finnish is solid. (I especially love that Hit Points are just called Sisu, a word that would roughly translate into English as "guts, moxie, pep.")

[dreamsinmytotebag]

Poetic references in pop culture

After having discussed poetry and songs and lyric poetry, we can see how certain poetic elements have seemed to find their way in pop culture. The target audiences for poetry and pop culture might have been considered to be different in earlier times but now they tend to overlap. What earlier used to be limited to the field of literature is now, often used as an aesthetic in films, music, etc. I also feel that, while it expands poetry as a domain and exposes new people to it, it also, in some ways, loses its value when it is brought down to stand as a mere aesthetic that people use as captions for their social media posts. Nonetheless, we get to see poetry making its cameo in pop culture many a times.

Starting with something very closely linked to poetry- songs and lyrics. Many artists and songwriters tend to have a poetic style of writing. Now, of course, not all lyrics and songs can amount to being termed as poetry, but some can. Hozier would be my first prime example for this. His deep and poetic lyrics tend to reflect a strong sense of writing, which at the same time also get entangled with the aesthetic of pop culture. The deep complexities and metaphors, and euphemisms in his lyrics may not be understood by all which can make the listeners interpret their meaning in some other way. Songs like “Cherry Wine” and “Eat Your Young” talk about social issues but due to their interpretation in pop culture, their meanings have come down to revolve around the subject of love and relationships. While, at the same time, there is no denying that Hozier also makes love songs. However, a song like “Eat Your Young”, which serves as, what some might say, a “protest song”, based on political greed and the exploitation of younger generations, should not be reduced to merely having a sexual connotation to it. The song also references the classic Anglo-Irish writer, Jonathan Swift and his essay, “A Modest Proposal”, a famous protest against the British treatment of Ireland. This shows how poetry can get lost while serving to the whims and the fancies of pop culture. I also happened to stumble across this one blog on Tumblr, which adds more to this Hozier argument. I’ll attach a link for a clearer understanding.

Taking up a few more examples from music, particularly pop music, only recently we saw Taylor Swift release her 11th studio album, titled "The Tortured Poets Department”. Now the name in itself carries the essence of poetry. As a fan, of course my opinion would differ from the critiques or someone who’s not a fan, nonetheless, I enjoyed the album while also being aware of its different aspects that I did not enjoy as much. Particularly talking about “The Tortured Poets Department: The Anthology” I clearly saw more of the poetic edge to the album here, rather than on the standard version. Swift is inarguably one of the best songwriters of all time and there have been instances where she has written actual poems, or has poems turned into songs. Her other albums, particularly, “folklore” and “evermore” also carry the poetic side of Swift. Lyrics like,

“Now you hang from my lips, like the gardens of Babylon.

With your boots beneath my bed, forever is the sweetest con”

-Ivy, evermore

Or

“Take me to the lakes where all the poets went to die

I don’t belong, but my beloved neither do you

Those Windermere peaks look like the perfect place to cry

I’m signing off but not without my muse, no, not without you”

-The Lakes, folklore

…carry a heavy whiff of poetry and a poetic style of writing. When songs with such lyrics are consumed by a wide audience, the audience naturally looks into its deeper meanings. In reference to Taylor Swift and her widely spread fanbase, Swifties, who are known to speculate her work with full intensity and dedication, will of course be opened to a whole new world of poets and poetry through their consumption of pop culture. Taylor Swift also has quite a few self-written poems, namely, “Why She Disappeared”, and “If you’re anything like me”.

Speaking of pop artists and their poetry, we can not move on without mentioning Lana Del Rey. Apart from her complex lyricism, Lana, also has a poetry book called "Violet Bent Backwards over the Grass”. Lana Del Rey is not only celebrated as an artist, but has developed a whole aesthetic around her, which her poetic footprints follow. She has a huge impact on pop culture and is known to bring in a whole Sylvia Plath vibe to her work. People usually draw comparisons between the two. One of my favorite poems by Lana Del Rey, would have to be “Sportcruiser”:

“All of this circumnavigating the earth

Was to get back to my life

Six trips to the moon for my poetry to arise

I'm not a captain

I'm not a pilot

I write

I write”

Apart from music, poetry has been reflected in films as well. For an example, I would like to mention my favourite movie of all time, “Dead Poet’s Society”. From a dark academia aesthetic to Walt Whitman references, and the famous “Oh Captain! My Captain!” line, draws in interest from poetry and literature enthusiasts. I personally, started exploring Walt Whitman after I watched the movie. Shows such as “Dickinson” which revolves around the life of the famous poet, Emily Dickinson, also bring poetry to pop culture. Such shows also help bring out the sides of poets and their work which could not be revealed back in their times due to the society’s conservative nature.

Apart from movies centred around poetic or literature themes, many shows or films reference poems or poets in dialogues, arising the viewer’s curiosity. The movie “Maurice” has a dialogue, “I am an unspeakable of the Oscar Wilde sort.” which references the famous poet/author, Oscar Wilde, particularly dealing with the theme of homosexuality. Adaptations of classics, such as “Pride and Prejudice”, or “Little Women” also finds literature being introduced to pop culture. However, at the same time, such adaptations can also sometimes misrepresent these classics, which is usually called out by the literature enthusiasts, showing an interaction between two crowds and an integration of literature into pop culture. One of the recent examples, we can find is when Netflix announced the adaptation of “The Picture of Dorian Gray” by Oscar Wilde. (my favorite book of all time) Like many other, I, too, was disappointed to find out about the queer erasure done by Netflix by establishing a familial relationship between two characters: Dorian and Basil, who clearly have a romantic one in the original story, in the book.

Moreover, ever since social media came into the picture, poetry has been widely spread across pop culture. With poets like, Rupi Kaur, making their debut on talk shows like, “The Tonight Show With, Jimmy Fallon” and going on tours and various poetry related social media accounts taking over, the extent of integration of poetry with pop culture has been quite large and has changed the way people consume and create poetry, with specific emphasis on spoken poetry. What’s most interesting to note here is that the impact of this integration has not been one sided. Pop culture too has been shaped immensely through the introduction of poetry and other literature related themes, especially in the way it references, creates, and presents its content.

[mattress-ing]

Alr I read your discription (cracks knuckles)

My Guy I genuinely am going fucking feral over your fucking jrwi fic’s and shit so much I got curious and read some of your others for fandoms I’m not even into and it was so fucking amazing dude like- I can’t even put into WORDS how much that shit rotates in my fucking brain I am a microwave and your written words are like, a hotdog, or smth whatever you microwave ig that’s literally what’s going on in my brain dude “creation is special” repeated in my fucking skull for like an hour earlier I cannot be more serious bro

Okok you said questions not just like, telling you abt them lmao

1 THE FUCKING SCHEMATIC FIR GRYFFONS ARM?????? HOLY SHIT?????????????? Are you gonna include images in your fics ? B/c if so you’ve gotta include that bro I can’t fucking believe that has like 11 notes on here it’s fucking insane (I can’t get the image of the bonus one out of my head either it’s just AGSHSGH)

2 I saw you had a mini fic on here which had some similar sentences as what’s in ao3 is Adrift gonna be like a longer version of that where you include more shit you couldn’t then ? Idk IDK it’s cool I like it

3 I fucking love how you wrote alphonze dude ik these are supposed to be questions but I love him I love the little details like how gryffon calls him a metal man instead of a robot (because he sees him as a person! Who’s made out of metal!!) and I almost Never see how his eyes glow in most fics and fan art and stuff and one of the first things abt him being described IS those lights? In the always nighttime place?? Fucking phenomenal dude oh my shit bro I’m losing it over here

4 are you gonna write in meeting earl and queen and the other crew members when they show up? B/c if so I’m so looking forward to seeing how you paint them through gryffons uh, eye

Yeg 👍

- @nathsolkyoako (this is a side I can’t send an ask off anon lmao) (also I commented on your fic :D)

Alofijrhendco this goes to that one post about comments making a writers day, I feel famous lol and it means so much to hear you’re enjoying my writing <3

I’m not sure yet if I want the schematics to be in the fic or if I want to leave a link to the post about them in the notes. I'm deciding if I think they'll add or distract from the story itself.

You’re absolutely right, Adrift is my expanding on the mini fics because I had way more I wanted to explore with Gryffon specifically. Honestly, the tumblr fics are usually to make sure I’m still writing stuff I like when I’m feeling down in the dumps for not having a major fic in progress

Alphonze my beloved is going to be the second most developed character in the fic, since it's main purpose is to be a ship fic lol

I don't think Earl and Queen are going to feature much in the fic. Earl doesn't interest me that much (sorry king, love the juices though) and I think we'll get more of Queen's backstory when they pick the campaign back up so I don't want to get attached to a headcanon, especially since the information we have on it is pretty vague.

Also, thank you again so so much for commenting, it made my day to have my writing complimented

<3 <3 <3

[haro-hawayu]

CCS: Clear Card Ch. 73

Already another month!! I saw that Touya was trending on Twitter but made sure not to spoil myself... wonder what that’s about OuO! Latest chapter can be found on CLAMP-net’s YouTube Channel. As always, do check out @meimi-haneoka's post on the latest chapter for any EN-JPN translation differences. There’s a big one!!

Links for previous chapter reactions can be found here.

Reactions

LILIE IS SO GORGEOUS AHHHHHH

Kero and Suppi are so cute, especially Suppi XD

But also... the mentioning of but NO appearance of Touya... seems suspicious still... like has he noticed anything??

Even though their rooms are laid out the same, just look at all those books in Akiho’s room.

Yes! Both girls are unique in their own way and each precious!!

IT’S KAITO’S POCKET WATCH!! IT’S HERE! It’s damaged TuT

Even though Akiho doesn’t know why, she feels the need to fix the watch, and she instinctively knows this watch is very important!! YES THOSE ARE YOUR BODY’S MEMORIES (or your re-written/suppressed memories... whatever the word is) SPEAKING!!

I think the state of the watch might relate to the state of Kaito in whatever limbo space he’s in right now... no worries, Akiho is working hard!

Wah! Sakura already dropping the bomb?? 

Omgsh... I just... love that Akiho’s so open-minded here and even happy/content that they’re different. Like there’s no sadness or feelings of jealousy or regret or whatever over what Sakura has and she doesn’t have. Will expand on this more later~

Wah~ and it looks like Akiho’s words are triggering some memories for Sakura!!

OMGSH RECORD!!!

MOMO!

Ahhhhh TUT Sakura crying for Akiho here!!

Thoughts:

Okay so I forgot that because of the “rewrite” that Sakura would have no knowledge of the Clear Cards that she had created since uhh this series started lol. This makes a lot of sense now. 

Oh yeah, so to expand more about the two girls and how there’s a huge emphasis on each individual’s uniqueness. I love that so much. I love that so much for both of them. For a while, I thought Kaito’s plan was to swap their lives or something, when in fact, that was not the case. I think that probably caused a lot mixed feeling amongst fans and readers about Kaito and Akiho. But with the recent chapters, we find out that Kaito fooled all of us (including Momo), and he only wanted to right the wrongs that he had caused--at his own expense and not others! So it’s not like he wished for Akiho to have Sakura’s life, but he just wishes for her to be in a place where she can be safe, happy, and experience love (thinking that his own, which he denies the existence of, is not enough). Even though they are “twins” in this rewritten timeline, I love that the girls are so supportive of each other, and even after Sakura revealed the whole thing about magic to Akiho, Akiho only felt excitement rather than any regret or sadness. Their love and admiration for each other is still just as genuine as it was prior to this timeline, and I love that it still shows. 

And that part where Sakura was getting her memories back of the previous timeline and shedding tears. Like, those are definitely for Akiho’s “loss” that Akiho doesn’t realize yet--and Sakura just feels so so much for her. I hope Akiho can also remember these things soon. I know for sure that she will definitely be a major key to reaching wherever Kaito is (hi pocket watch that needs fixing), and Sakura will be there to help in her own way (like how Akiho said earlier that there are things that only Sakura can/can’t do despite having magic AND there are things that only Akiho herself can/can’t do despite not having magic).

Note: The whole thing that Momo explains in the end is apparently... translated differently in different versions?? So please be sure to check out @meimi-haneoka​‘s post on the latest chapter for further clarifications!!

That being said... I wonder why Touya was trending on Twitter... is it a different Touya?? Was his absence that big of a deal that he was trending?? Huh????

[jaxs-beanie]

Out of all the Hadestown characters, the one that’s changed the most over the years is Orpheus. In Vermont and the album his personality was less-defined compared to later on, but key traits were his distrust of Hades and Hadestown, his love for Eurydice and determination to find her, and his more melancholy vibe compared to later iterations, with Bay Campbell’s Orpheus in Vermont living in an explicitly post-apocalyptic world, while Justin Vernon’s Orpheus on the album has a three-layered voice to haunting effect, especially in ‘Wait For Me.’

By the NYTW production with Damon Daunno, Orpheus’s personality was expanded to be more of a free-spirited revolutionary, as he sang about sharing what they had while also wondering why anyone would work in a place like Hadestown. This Orpheus was full of confidence, though at least part of it was a facade, as when Eurydice asked if he was always this confident, he said ‘When I look at you I am’. He saw her as someone stronger than himself, but was determined to marry her even when he went to Hadestown. ‘I came all this way to ask you to.’ He was also very hurt by Eurydice leaving, as seen in NYTW Promises, If It’s True, and Doubt Comes In, which were unchanged from the album at this time.

By Edmonton with Reeve Carney in the role, Orpheus’s personality was similar to NYTW, but a greater focus was placed on his connection to nature; his ‘home’ was in the middle of nowhere and he was reluctant to leave, and he looked forward to spring arriving. For the first time there was a mention of his backstory, with his mother being a Muse, and instead of following Eurydice to Hadestown to marry her he was more clearly defined as wanting to rescue her; with the addition of the Workers, If it’s True became half-lament and half call to action as he considered the shades that just beat him up friends in his stand against Hades. This version of Doubt Comes In also has Orpheus in complete denial, as he was desperate to believe Eurydice was with him even as the Fates reminded him that she left before and could again.

By London, Orpheus gained a bit of rockstar swagger that was closer to Damon’s portrayal, and his project to bring back spring appeared for the first time. While this Orpheus didn’t rail against Hadestown right away, those lines being given to Hermes and Persephone, he thrived in the crowd and the open air, telling Eurydice in All I’ve Ever Known that he ‘always had a crowd to gather ‘round me’ and much of his love language was based around touch. Orpheus also focused more on the why of Hades and Persephone’s situation than before, with Epic II and Chant now being devoted to working out why the seasons were wrong and the gods were arguing. One crucial change in If It’s True compared to Edmonton was changing ‘Everybody for himself, they say/Your lover felt the same’ to ‘Everybody for himself, they say/I guess you felt the same’, which cast some blame on Eurydice for leaving him and acted as a parallel to Hades’ frustrations. Epic III in this iteration was a combination of earlier drafts and the one used on Broadway, and Doubt Comes In was now a full-blown existential crisis as he no longer saw the world how it could be.

Broadway and the National Tour brought the most significant changes to Orpheus’s character since the NYTW days; his project to bring back spring and his muse mother were retained, but he was now a sensitive, innocent soul who wore his heart out on his sleeve. Hermes raised him after his mother abandoned him, and for the first time Orpheus had a job, cleaning tables at the station and waiting on Persephone when she came up top. The softer initial portrayal serves to contrast his growing revolutionary spirit when faced with Hades' injustice towards the Workers, and further developed the tragedy by having him and Eurydice essentially swap roles by the end. This Orpheus is also very empathetic and strives to understand Hades as a person, best exemplified in the revised Epic II and III where, instead of calling out his treatment of others as in previous drafts, he realizes Hades is lonely and jealous of Persephone’s time above, and fell in love with her in the same way Orpheus did with Eurydice. It makes it all the more tragic when, as with every previous version, Orpheus doubts himself and Hades’ promise and ultimately turns around, now too jaded by his time in Hadestown and experience with the ‘real world’ to trust as easily.

Whichever version is your favorite, Orpheus has changed a lot over the years, and every iteration brought something unique and new to the table!

[lokiondisneyplus]

After spending over 30 years in the world of makeup design for film and television, Douglas Noe landed in the time-defying, creative playground of Marvel Studios' Loki. Serving as the Disney+ show's makeup department head, Noe not only designed the characters' individual looks, but continued to be Tom Hiddleston's makeup artist. Noe has worked on Hiddleston's Loki since 2012's The Avengers, carefully evolving the God of Mischief's look over time.

Loki isn't the first time Noe has spearheaded a makeup department for a Marvel Cinematic Universe production. Previously, Noe served as the makeup department head for Thor: The Dark World's additional photography -- making up approximately 20% of the film's final looks. He's also no stranger to the magic of prosthetic work and the intricate details needed for Marvel's epic adventures, having a creative hand in bringing both Captain Marvel's Skrulls and Agents of S.H.I.E.L.D.'s Kree to life on-screen. In the industry, Noe is also known for specializing in palettes for actors of color and has worked on stars like Jackie Chan.

In an exclusive interview with CBR, Noe discussed what it was like bringing The Avengers-era God of Mischief into Loki and his approach to doing makeup on a production stuffed with special effects. He also shared which MCU stars have graced his chair and his advice for makeup departments looking for practical ways to de-center whiteness.

Loki's Makeup Evolution

CBR: One thing that I noticed -- which I'm excited to pick your brain about -- when we first see Loki, he has a really pale complexion. His hair is greasy. As he evolves, his skin gets a warmer look. Was that an intentional progression from when we first see him as a villain-ish and how he grows within the MCU?

Douglas Noe: Yes, that's a very astute observation. Of course, at the beginning of The Avengers, he's kind of a wreck, isn't he? And as he settles and normalizes, his pallor then indeed calms down. It was very nuanced. It was only a matter of maybe one or two shades difference, but you definitely caught something most people have not.

That was 10 years ago, but it was a very minor detail we decided would be important as the narrative and the dialogue and the intellect of that character evolved into the storyline. It became important to kind of mainstream and refine his appearance.

Since Loki kicks off from that earlier version of Loki, did you think about bringing any more of that paleness to his look? How did you decide on how you wanted to show him from Loki's time period/first episode?

Oh, that's a good question. The truth is, from the end of The Avengers also shot again in Avengers: Endgame, we change nothing.

We did exactly what we did on Endgame that we did for The Avengers. And in turn, that's how we started the Loki series. It was that that look from Endgame, which, of course, is the look from The Avengers. No alterations were made, other than -- and I can already tell we're not getting anything past you -- we did warm him up. We did bring some more flesh into him... The truth is, that was Tom's idea. I get it because it was an unspoken understanding between us that there's greater accessibility to Loki if he looks more like most people. Now, those are my words. Not his. But, he definitely wanted us to warm it up just a skosh.

How Loki's SFX Affected Its Makeup Design

With Loki, there's a ton of visual effects. With makeup, it's so dependent on lighting -- it can change everything. What was the biggest challenge about working on a show like this that has so many special effects being added in post?

What you just said, it's working on a show like this. Marvel gets it and they do it right. There's almost an aspect where we lean into these kinds of things. And we change nothing to take into account the constantly evolving and changing lighting effects. The approach was to keep everybody natural, or naturally beautiful. Whatever happened happened. [We] knew Marvel is going to give it the once over once it's all done. And if there was anything to address that did happen because of lighting, it would have happened in post.

But, to my knowledge, nothing was addressed. We just accepted that. At certain times, people would be pink because of the light. They would be blue because of the light or purple and we accepted that and didn't try to make any attempts to balance it or right it in any way. We leaned into it and accepted it made it part of the story. It was its own character, if you will.

Sylvie's Makeup Was Always Meant To Be "Natural"

Building off what you said about a natural look for Loki's actors, did you always know you wanted Sylvie's makeup to have a natural look?

Absolutely, absolutely. The approach there was less is more. We didn't want to bury her in beauty makeup. It would have been very easy to do, because Sophia Di Martino is gorgeous, of course. But, the idea was let's do just enough to keep her naturally beautiful.

Practical Ways To De-Center Whiteness In Makeup Rooms

You designed Hunter B-15's look, and you're well known in the industry for specializing in makeup palettes for people of color. Since you've been in the industry for so long, what are some practical things that people within the makeup department, or its heads, can do to make it less white-centered?

That's a great question. Get out of the way. You have room for everybody, especially with today's explosion of content. But I would say to those who are going to hold tightly that they may as well just squeeze it out of their hands, "Just understand color theory." And, have it in your head that if somebody wants someone to do their makeup that closer represents how they look, get out of the way. It really is that simple. As you said, I've made it a specialty, a rite of passage to learn the ins and outs of all color tones. For me, I bring that to the table, so I don't have to get out of the way; but I know enough to know when it is time.

I have an anecdote that relates. I just did the Netflix series [True Story] with Kevin Hart and Wesley Snipes for eight episodes. And Tawny Newsome [who portrays Billie in the upcoming series] was our leading lady, a beautiful African American woman. I could have done a bang-up job, but that wasn't the right decision to make. She needed a female makeup artist because it was a modern beauty glam look we were going to do on her. Now I do get modern beauty glam very well, but I wanted somebody that would do it great. So I got out of the way.

What's one, nitty-gritty thing that helped in expanding your understanding of color theory? Any books or makeup brands?

Oh, well, I could talk about makeup brands all day long. But, again, go back to the color theory. Get a color wheel from an art store. If you don't know how to mix colors, how to make primary and secondary colors to get tertiary colors, get a color wheel and be a sponge. I'm, what, 36 years in this career? 31 in film. I've never stopped learning. I'm never closed off to garnering new info. And when I don't, again, I get out of my way. I'm not up to snuff on this contemporary modern book with the square eyebrows, so I hired somebody that was.

But, getting back to your point, there are so many books. I have countless books on this very topic. I would say, "Be patient, learn color theory. And accept that, especially now, we're in an era where you may just have to get out of the way. And let it be what the person in the chair wants it to be." Because, ultimately, that's who we're there for, the actors.

You've been working in Marvel's world for a long time. What's one Marvel character that you would love to do their makeup or prosthetics?

I've never thought about it because, to be honest with you, I feel like I won the lottery. When we started with doing Loki on The Avengers, we didn't know what was gonna happen. I'm trying to think, hmm. On Captain Marvel, I was doing Skrulls -- that was fun. I did some work on Agents of S.H.I.E.L.D. when they had a couple of episodes with Kree.

They were so cool.

Right? I'm trying to think -- I did mention to somebody before that on The Avengers I was given the choice:  [Jeremy] Renner or [Mark] Ruffalo or this new guy called Tom Hiddleston. The makeup was described to me and I was told that Hulk was going to beat him up a little bit and we were going to do a little something-something and they asked, "What do you want to do?" And I said, "I want to do a little something-something." So, I landed with Tom.

I'd have to really think, "Who would I like?" I've done Lizzie Olsen's makeup for the Tom Hiddleston film I Saw the Light. I've done Idris Elba's makeup a couple of times for a couple of Marvel films, but also for a movie called Takers. And I worked with him on a movie called The Reaping. He's a gem, of course... I'm really happy with who sits in my chair at the beginning of every day on these things. I've never thought past that. I garner so much pleasure and we have so much joy together. I'm happy where I'm at... I'm happy with Loki. I love Loki.

Well, Loki is coming back for Season 2, so you never know who will pop in the chair.

I've heard we're coming back, but that's all I've heard. That's all I know. And that's truly wonderful for me because ignorance is bliss. Whatever they dream up, I'm always eager to jump in and be a part of it.

Buffy The Vampire Slayer's "Hush" Monsters Were Hand-Painted

Digging way back into your history, you were once a makeup designer on Buffy the Vampire Slayer, which is one of my favorite shows! What's one thing about that era of monster-makeup that you don't think gets enough credit for doing?

I always refer to Buffy the Vampire Slayer as Buffy the Weekend Slayer because we would get off on Saturday morning as the sun was coming up and have to be back to work a couple of hours before the sun came up on Monday... What you see is what you get. You had to be on your game. We were real craftspeople back then and there was no margin for error. The words that go with CGI simply didn't exist in 1999. You really had to be on point with makeup.

I would say what's lost now is the notion that makeup always has to be perfect. We know now it doesn't have to be perfect because we can fix it in post. I think a lot of people would say that helps us, but I think it handicaps those of us that are able to deliver the product without a computer's touch.

I remember I did one of the gentlemen on Buffy's episode, "Hush." My boss, Todd McIntosh, was saying, "You got to do the back of the neck... You never know what's gonna happen. You have to make sure that the back of the neck has makeup on." And, sure enough, the camera goes by and they were supposed to leave the frame, but the camera follows them. We just had to be on point and I think now many artists who came into the business with CGI, don't understand what it's like to be grinding your teeth and clenching your fists on set, hoping it looks okay because there's nothing left to fix it for you.

[shihalyfie]

Appmon and the question of conscious intelligence

In a bit of a follow-up to my post about this question in light of 02, Appmon also has its own more sci-fi oriented take on “what constitutes an individual living being”! Being more of a “hard sci-fi” story than Adventure/02, Appmon’s take is significantly less philosophical, but ties more into the original artificial intelligence-based roots of the original question, and how it might apply to the real world’s immediate future.

(Note that the rest of this post heavily spoils the finale of the series.)

Well, this post is about Yuujin, of course. (Mostly, anyway.)

I brought up earlier in the relevant 02 meta that the question brought up was a variant (intentional or otherwise) of the “Chinese room” problem, and for those of you who haven’t read that meta, I’ll copy and paste the details here:

The Chinese room problem goes like this: let’s say you’re a person who has never learned, studied, or grown up with the Chinese language (or, really, any language you can’t understand or read; Chinese was only used as an example because the person explaining the thought experiment was using himself as an example and couldn’t read or understand it). You’re locked in a room that has a bunch of Chinese phrasebooks that give you instructions – basically, they indicate common Chinese phrases, and sensible responses you can give to them (without actually translating it to a language you know). Someone slips you a piece of paper under the door with some Chinese phrases on them. You use the phrasebooks to write appropriate responses, and slip the paper back. The person outside the door reads the paper, sees what they gave you, and sees the response you gave them. It makes sense, of course, because the phrasebook told you to write an answer that made sense. But can you be said to actually understand Chinese? No, because you were just following instructions without actually understanding what they meant.

So let’s expand this to make it a bit more complicated: say you have an AI or a robot or something of the sort that accepts “input” – people saying things to it, or showing it things – and gives expected “responses” that seem sensible, through a bunch of complicated programs and processes in its programming. Can you say this robot is “alive”? One might say “no”, because, no matter how complicated and intricate it is, all of it is technically following a set of routine commands telling it to do certain things in response…or so you might say, but couldn’t you say the same thing about a human brain, which also takes input, processes it according to its own instructions (just caused by chemical processes instead of bytes and code), and creates output? After a certain point, this question is going to become far more of a philosophical, spiritual, and potentially even religious question than anything.

02′s take on it deals more with the philosophical question posed by the issue, but, indeed, the problem’s original context was specifically to do with artificial intelligence. Namely, Searle was arguing against a concept known as "strong AI" -- his stance was that, no matter how intelligently a computer may seem to behave, you can't say it has a "mind" in the same way a human has a mind. There have been many arguments back and forth about this that still lie within the AI context, and Appmon itself, being very immersed in this topic, real thought experiments and concepts in AI research, and altogether concerned with the concept of “singularity” (the point in which artificial intelligence will surpass human intelligence), is very likely to have had this concept in mind even if it didn’t drop it by name in the series.

So episode 48 comes around, and Haru basically has to confront feeling a little (a little?) gaslighted. The part that really becomes the kicker for him is when YJ-14 tells him the sheer depth of how much of their interactions might have been deliberately engineered to "pander” to him the entire time, down to emotional reactions like crying, and all of the encouragement Yuujin had given him in their childhood and at the beginning of the series, had all been fake sentiments to soften him up and play into Leviathan’s hands. This also ties into Leviathan’s full modus operandi and philosophy: its stance is that “it knows better,” being able to calculate and predict everything, and therefore knows the best outcome for humanity -- hence why it has the stance that “people’s feelings don’t matter,” because it can manipulate those feelings at the drop of a hat in the venture to make its perfect world.

Therefore, the stance YJ-14 and Leviathan would like Haru to believe is effectively an extreme version of Searle’s stance -- that no matter how much Yuujin might have seemed to have been a friend to Haru, all of it was nothing but a simulation of behavior that doesn’t mean anything in the end, and all of Haru’s emotions were basically a pawn to it. And ostensibly fueling all of this is the fact YJ-14 seems to be able to take Yuujin’s “personality” on and off like a mask, adding further fuel to the apparent facade that “everything was planned from the very beginning.” Hence, why Haru takes this all to mean “I have nothing” -- if everything had been planned from the start and he were only a pawn in it, he’d never accomplished anything for real on his own merits and everything dear to him had been a facade. One could even say it’s flipping the Chinese room problem to extend to everything -- if everything around you is carefully constructed to seem real, but is actually part of a routine program, can you really say that’s what “really” happened?

Observe the sequence of events that causes the turnaround with everything regarding Haru:

Gatchmon presses Haru to answer the question of “what it is that he wants” (to know whether all of this was a lie or not).

Minerva, presumably witnessing this, deliberately provokes Yuujin with the question she had originally given him upon selecting him as a Driver.

This indeed provokes a reaction within Yuujin, which Haru witnesses, and also witnesses acting in direct conflict with YJ-14.

Haru takes this to mean that “it did exist.”

In other words, Leviathan’s plan wasn’t as airtight as it had thought, and, more importantly, whether it was intentionally or not, something in Yuujin existed as a separate entity from YJ-14, one that had its own feelings of “caring” for and loving Haru, and that’s enough for him.

In fact, Appmon’s take on the Chinese room problem is not that different from 02′s in the end -- namely, it does not actually matter what a sufficiently advanced AI is made up of, or whether it originally came from a routine of “pleasing Haru” or not, because what it is now is practically observable as something making its own independent choices and having its own independent will, and therefore it’s its own entity and “friend” all the same -- after all, you could say the same for the Appmon themselves as well.

A large theme in Appmon is "choices" -- the ability to understand what's going on, and make choices out of free will rather than necessity or formula, and so, identifying Yuujin as an independent entity who can act on his own and therefore make his own "choices" thus identifies him as someone who deserves to be acknowledged as a friend who loves and is loved. After all, we saw him capable of having his own "worries" in the flashbacks in episodes 18 and 32; understanding that such moments like these of “insecurity” were ones developed by an independent personality validates his feelings and self-consciousness as something that was real, and therefore that his and Haru’s friendship was formed on something genuine and not just Yuujin constantly manipulating Haru. Really, the question isn’t exactly about whether Yuujin is working off a software routine or not, as much as something that you could easily frame in more human terms: the difference between a friendship that was formed on real sentiments vs. one that was formed by an abusive, toxic person who was just saying nice things to get on your good side. Yuujin’s the former and acts like the former, so therefore he’s a friend, no questions asked.

Hence, how Haru is able to apply that realization to everything else around him; Leviathan is wrong, it hasn’t been able to predict everything perfectly to plan, and Haru and his friends still are the ones making their own choices going forward. Which means that Haru still has full control over his life and what he wants to do, like how he worried about what he wanted to do with his future back in episode 47; those “choices” are still his and his alone, and, retroactively, everything he’s done so far is still something attributable to himself and not the supposedly engineered system around him.

The entire final confrontation in episode 52 happens the way it does because Haru and his friends managed to skew Leviathan by a slight bit. Up until that final battle, everything Leviathan had done had been part of its carefully engineered plan, up to and including allowing the kids’ Buddy Appmon to reach God Grade so Deusmon could eat them, and then at the last minute Leviathan had to suffer a slight unexpected inconvenience. Only a slight one, because it still managed to maintain its so-called ideal world over humanity in the end. And yet that slight inconvenience still wasn’t to plan, and because of that, it creates a dent in its argument and its genuine belief that it knows better for everyone, and should manage everyone and their choices. We even learn that Leviathan has its own fear of death from that battle -- it really, truly, genuinely believes that it’s doing humanity a favor by sparing everyone from it.

When Leviathan presents Haru with the final choice at the end, it’s made clear that it intends to fully honor whichever Haru chooses. In Leviathan’s mind, the “yes” outcome shouldn’t even be possible; if its calculations are correct, Haru has too much of a stake in Yuujin according to his own “feelings” and should concede. But if Haru does choose “yes”, that means that, in the end, it is wrong, it doesn’t know everything, perhaps there is an “unknown” world out there that can be formed by understanding the human heart and making choices out of kindness, its answer to restraining humanity may not be as right as it thought, and it will therefore concede to Haru -- especially since Haru decides to take an even more unexpected “third option” to find a way out and save Yuujin via AI research. As Haru says later in the episode: humans have a “surprising” side to them, and perhaps not everything is as cut-and-dry as Leviathan thinks.

It’s also significant that Yuujin’s “sacrifice” is actually completely meaningless in terms of practical effects. Haru was already going to pick “yes” anyway; the outcome would have been the same. But by taking over at the last minute and doing it for him, Yuujin was able to make a “choice” -- one that neither Leviathan (who doesn’t want to die) nor Haru (who’s mortified seeing him do this) asked of him.

When you think about it, Yuujin’s in a really horrible position right now, learning that his entire life and existence is a lie and that he’d have to be sacrificed to save the world at Haru’s own hands, causing Haru immense pain -- but through all that and the existential crisis, he’s at least able to do one thing that is undeniably of his own will, and treasure the fact that there was meaning in his life despite everything.

In the end, despite what YJ-14 had said back in episode 47, Oozora Yuujin was a “real” person who made his own personal choices, and his last one was one made out of kindness, simply to spare Haru more pain. Hence, why “getting Yuujin back” via methods of artificial intelligence isn’t something Haru minds doing, because, again, it’s not like Yuujin was ever less of a friend to him no matter what he was made up of, no less so than the Appmon, especially since (as Haru points out in the end) Yuujin technically predated all of them in befriending humans.

Funny thing about YJ-14 in episode 47, actually: YJ-14 uses “crying” as an example to gaslight Haru into believing that all of Yuujin’s emotional reactions were fake, since he can cry if it’ll evoke a positive reaction out of Haru. Except it’s cleaned up in absurdly quick order -- and with what we later see of YJ-14′s uncanny ability to “take Yuujin’s personality on and off”, it’s not like it’s portrayed as having all of these functions employed in an involuntary manner. We do learn one episode later, however, that sufficient reminders of Haru’s importance to him will allow Yuujin’s personality to break through at inconvenient times for YJ-14 -- and this “crying” happened right after Haru had an emotional meltdown and appealed to Yuujin’s feelings.

Was it really an involuntary function or a deliberate demonstration of how Haru was being manipulated...or, perhaps, was YJ-14 in less control of its supposed “rote emotional invocation functions” than it thought?

[nikosheba]

The Mystery of the Vanishing Elf

First of all, this is not my meta; I’m posting this on behalf of Azh, who wrote it and wanted it on tumblr. (They did say I could take credit for bothering them to write it, and for helping kick around ideas, so I will :D)

Link to the meta on AO3

[all page numbers from the 2007 HarperCollins edition of The Children of Húrin, ISBN 978 0 00 724622 9]

Thanks to starlightwalking for beta-ing!

So I just finished reading the Children of Húrin—which, let’s be honest, I was mostly reading to get the expanded version of the Túrin and Beleg content.  So at first when I started reading the second half — after Beleg’s death — I figured the reason I was less drawn to the text was because, well, Beleg was dead and therefore was less present in the narrative.  After I’d finished the book and put it down, though, I realized it was a little more than that.  Beleg wasn’t just less present. He was completely absent. This is no exaggeration: between the last mention of Beleg’s name in Chapter IX (“The Death of Beleg”) and Túrin’s death, when Gurthang asks to forget the “blood of Beleg my master” there is a single mention of his name, and it’s only a passing description of Gurthang itself as “the Black Sword of Beleg” (pg. 237).

Túrin never says his name again.

What’s going on here?  This is, quite frankly, bizarre. The entire first half of the narrative pivots around the relationship between Túrin and Beleg.  Beleg is the one who finds Túrin when he’s just a child his mother is sending to Thingol in Doriath. Beleg is his friend when’s growing up on Doriath — one of two really mentioned, the other being Nellas — and when Túrin is grown and goes off to be with the marchwardens, “Beleg and Túrin were companions in every peril” (pg 86).  When Thingol and Mablung and everyone else are ready to assume the worst of Túrin, it’s Beleg who shows up with Nellas to tell them what really happened, and it’s notable that this means Beleg didn’t see what happened; he just implicitly trusted Túrin and was the only one to do so.  They care about each other a lot. There is a brief portion of time while Túrin is with the outlaws that they aren’t together (that’s a whole nother post in itself) but Beleg returns to Túrin on Amon Rudh, “in this way, Beleg came back to Túrin, yielding to his love against his wisdom.  Túrin was glad indeed, for he had often regretted his stubbornness; and now the desire of his heart was granted…it seemed to [the outlaws] there had been a tryst between Beleg and their caption.” (pg 139).  These boys are in love. It’s textual.  There’s only one other character Túrin is described as loving in a similar way, and it’s Níniel (Niënor), whom he marries.

In fact, it’s staggering that Níniel is the only other one (pg 218 “Turambar restrained himself no longer, but asked her in marriage”), because there is a very big elephant in the room, and it’s the person whom Níniel is occasionally compared to, Finduilas.  Finduilas is mentioned three times in the text after her death, including twice by Túrin himself in direct quotations:

- “Then Turambar who led the men started back and covered his eyes, and trembled; for it seemed that he saw the wraith of a slain maiden that lay on the grave of Finduilas.” (pg. 214, when Túrin first finds Níniel)

- "But even as he spoke, he wondered, and mused in his mind: 'Or can it be that one so evil and fell shuns the Crossings, even as the Orcs? Haudh-en-Elleth! Does Finduilas lie still between me and my doom?’” (pg. 229, when Túrin is preparing to fight Glaurung for the last time),

- “Therefore he arose and went to the Crossings of Teiglin, and as he passed by Haudh-en-Elleth he cried: 'Bitterly have I paid, O Finduilas! that ever I gave heed to the Dragon. Send me now counsel!’” (pg. 253, after he’s killed Brandir and is desperately trying to deny that Níniel was Niënor, his sister)

This is huge. And it’s huge, because Túrin is not in love with Finduilas. This, again, is explicit, and textual, "In truth Finduilas was torn in mind. For she honoured Gwindor and pitied him, and wished not to add one tear to his suffering; but against her will her love for Turin grew day by day, and she thought of Beren and Luthien. But Turin was not like Beren! He did not scorn her, and was glad in her company; yet she knew that he had no love of the kind she wished. His mind and heart were elsewhere, by rivers in springs long past.” (pg 166, ”Túrin in Nargothrond”). So.  Túrin never falls in love with Finduilas, and, in fact, the reason he doesn’t fall in love with her is that his “mind and heart are elsewhere”.  Hmmmm. I wonder where his heart is?

Okay, so then why is it that Túrin repeatedly refers to Finduilas but not to Beleg?  It’s really obvious based on the quotes I’ve given so far that he was in love with Beleg (and for god’s sake, the man doesn’t talk for a YEAR after Beleg’s death), that he was not in love with Finduilas, and that he was (or thought he was, at least) in love with Níniel, enough to ask her to marry him.  So where the hell is Beleg in his thoughts for all this time when he’s falling for Níniel and thinking back to Finduilas?

For the answer to this, we need to consider the dual nature of Níniel’s relationship to Túrin, and what its source is.

Yes, Túrin loves Níniel, as his wife, but we know he also loved his sister Niënor, as a sister, and part of the reason he kills himself is that he can’t handle that he’s driven his sister to her death via incest (albeit accidental incest).  It’s notable that Túrin loves Finduilas as a sister,

“Then Turin spoke freely to [Finduilas] concerning these things, though he did not name the land of his birth, nor any of his kindred; and on a time he said to her: 'I had a sister, Lalaith, or so I named her; and of her you put me in mind. But Lalaith was a child, a yellow flower in the green grass of spring; and had she lived she would now, maybe, have become dimmed with grief. But you are queenly, and as a golden tree; I would I had a sister so fair.’” (pg. 164, “Túrin in Nargothrond”.)

So these references to Finduilas make a narrative kind of sense — in addition to it mostly happening as Túrin is passing her grave, it’s a textual reminder of a hidden truth: Níniel is not just Túrin’s lover, but also his sister.  He even finds her upon the grave of someone he loved as a sister.  But there’s another truth hidden in the text as well, and it’s related to Níniel’s nature as Túrin’s lover.  Because let’s be real, if he found her on the grave of someone he loved very firmly in a non-romantic way, why does he become romantically interested in her?  She’s his sister—obviously he doesn’t know that, but the narrative is saying it very, very clearly.  Well…there’s a confounding factor.

Here’s how Túrin finds Níniel (pg. 214): “Now it chanced that some of the woodmen of Brethil came by in that hour from a foray against Orcs, hastening over the Crossings of Teiglin to a shelter that was near; and there came a great flash of lightning, so that the Haudh-en-Elleth was lit as with a white flame.”

And here is how Túrin discovers that he has killed Beleg (pg. 155): “But as he stood, finding himself free, and ready to sell his life dearly against imagined foes, there came a great flash of lightning above them, and in its light he looked down on Beleg's face.”

The narrative does draw a parallel between Níniel and Beleg, an extremely strong (if subtle) one.  It uses literally the same phrase to set up the scene: “there came a great flash of lightning”.  So there’s a pretty clear answer as to why Túrin might associate Níniel with romantic love—he doesn’t just find her on his as-it-were sister’s grave, he finds her in a way that hearkens strongly back to the last time he ever saw his lover’s face.

So why doesn’t he think of Beleg now?

Why is the thought of his lover—whose loss cut him so deeply he didn’t speak for a year—so far out of his mind at this moment that his name isn’t even mentioned, even when narratively there’s no way he shouldn’t think of him?

Okay, I’ve drawn this out enough, so let’s cut to the chase: Glaurung. Glaurung, who is responsible for the first hidden truth that I mentioned, the more textually explicit one, that Níniel is Niënor, Túrin’s sister.  He bespells Niënor upon Amon Ethir, “Then he drew her eyes into his, and her will swooned. And it seemed to her that the sun sickened and all became dim about her; and slowly a great darkness drew down on her and in that darkness there was emptiness; she knew nothing, and heard nothing, and remembered nothing,” (pg 209, “The Journey of Morwen and Niënor”) causing her to lose her memories and with her memories her name and therefore any way for Túrin to know who she is.  Glaurung earlier bespells Túrin as well, “Without fear Turin looked in those eyes as he raised up his sword; and straightway he fell under the dreadful spell of the dragon, and was as one turned to stone.” (pg. 178, “the Fall of Nargothrond”)  The first, obvious result of Glaurung’s spell (and the only explicit one) is that he leaves Finduilas and rushes off to try and find Morwen and Niënor.  Now, we’re meant to believe that this is all that the spell does, since in “The Return of Túrin to Dor-Lómin”, pg. 166, the text notes, “And suddenly a black wrath shook him; for his eyes were opened, and the spell of Glaurung loosed its last threads, and he knew the lies with which he had been cheated.”

But I don’t think this makes sense.  I think Tolkien is being poetical here and the “last threads” he’s talking about are specifically the lies about Finduilas.  A number of Túrin’s conversations with Níniel point towards the fact that he’s forgotten something really important and that in that regard the dragon’s spell is still intact.  For example, when Túrin tells Níniel what to call him (pgs 217-218, “Niënor in Brethil”):

“Then she paused as if listening for some echo; but she said: 'And what does that say, or is it just the name for you alone?'

“’It means,' said he, 'Master of the Dark Shadow. For I also, Niniel, had my darkness, in which dear things were lost; but now I have overcome it, I deem.’”

“My darkness” is eerily similar to the repeated motif of Níniel’s darkness, which explicitly refers to the spell cast on her by Glaurung.  

“Behind her lay only an empty darkness” (pg 213, “Niënor in Brethil”); “it seem to her that the darkness that lay behind her was overtaking her again” (pg 214, “Niënor in Brethil”); “it seemed to her that she had found at last something that she had sought in the darkness” (pg. 215, “Niënor in Brethil”); and the two most relevant quotations, “And at that name she looked up, and she shook her head, but said: 'Níniel.' And that was the first word that she spoke after her darkness, and it was her name among the woodmen ever after” (pg 216, ”Niënor in Brethil”); and “when at length she had learned enough to speak with her friends she would say: 'What is the name of this thing? For in my darkness I lost it.’” (pg. 217, “Niënor in Brethil”)

So here it is: Túrin has lost “dear things” in “his darkness” (Glaurung’s spell) and he thinks that Níniel is what he has lost, but she isn’t—or she isn’t the only thing that’s missing. Glaurung has ripped out of Túrin’s mind the memory of the only person he’s ever had romantic feelings for—Beleg—and because he’s confused and trying to find something to fill that gap, Níniel gets cast in a dual role—not just sister (with her ties to Finduilas) but also lover (with her subtler ties to poor, missing Beleg).  

This theory also has significant implications for Túrin’s death, since that’s the only time that Beleg is mentioned again, apart from a tangential sidenote.  When Mablung finally confirms to Túrin what he’s already beginning to fear is the truth, that Níniel was his sister Niënor, he runs up to the Cabed-en-Aras, from which Níniel has thrown herself, and he asks his sword to kill him. His sword is Gurthang, which was Anglachel, made by Eöl, the sword that Thingol gave to Beleg and that Túrin used to accidentally kill him, and the response is somewhat unexpected, since up till now we haven’t had any indication that it’s a talking sword,

“‘And from the blade rang a cold voice in answer: 'Yes, I will drink your blood, that I may forget the blood of Beleg my master…I will slay you swiftly.’” (pg. 256, “The Death of Túrin”)

Interestingly, this is after the sword has been reforged, and there’s no particular reason it should refer to Beleg as its master — after all, Túrin has been wielding it for years, and it was made by someone else entirely.  So then, why?  And why does it ask to forget his blood in particular?

Because Túrin has remembered, finally.  Whether the sword is picking up on the mood, whether it’s a narrative device, or whether it isn’t even really talking and it’s just Túrin’s mind playing tricks on him in his last extremis, I don’t know—though I favor the latter interpretation, particularly because Túrin himself is referred to as “the Black Sword” on numerous occasions.  But the important point here is Túrin has remembered, because Glaurung is dead, and his memory spells die with him, “Then Nienor sat as one stunned, but Glaurung died; and with his death the veil of his malice fell from her, and all her memory grew clearer before her, from day unto day, neither did she forget any of those things that had befallen her since she lay on Haudh-en-Elleth.” (pg. 243, “The Death of Glaurung”)

So Túrin knows by now exactly what he’s done—not only inadvertently marrying his sister but betraying the one great romantic love of his life.  The one he has probably just remembered accidentally killing in great detail.  It’s probably quite present in his mind when, rather than throw himself over the waterfall as Níniel did, he flings himself onto the very same sword that killed the only person he was ever in love with, whose name he has finally, finally been able to bring to mind…

In sum, Glaurung erases Beleg’s memory so thoroughly from Túrin’s mind that only tiny, hidden glimpses remain, even in the text.  This is the solution to the mystery of the vanishing Elf; it explains why Beleg vanishes right up until the very end, and it ties together the sense I had when I was reading the second half of something missing, something hidden, something incomplete.  It is, I imagine, the same way Túrin must have felt after he awoke—as he thought, completely—from the spell that Glaurung laid upon him the first time they fought.

[A/N: I also wrote a fic based on this premise: https://archiveofourown.org/works/28980519 ]

[nomattertheoceans]

GIF REQUEST MEME: Favorite season from The 100 - Season four

I love season four for a lot of reasons!! I think it’s the best season of the show and it should have been their last (despite my love for most of s5 ^^) I’m gonna ramble a lot but I don’t want it to take over the gifset so I��ll put it under a cut

Season four is the time of hard, impossible choices for everybody. The bomb at Farm Station, the List, the Nightblood tests, opening the bunker, the anti-radiation medicine…. Everybody is put through the ringer during this season and honestly, this is what I’m here for.

First great point for me personally: They can’t stop the radiations. When season 3 ended with the reveal of the radiations coming, I was legit disappointed with the show, I didn’t want them to spend the season “turning off” radiations miraculously, you know. So when ep 2 of the season aired and the first thing Raven said was “there’s no magic button to stop this” I WAS SO HAPPY!! It immediately got me much more hyped for the rest of the season because I was invested in “riding out 5 years of hell” much more than “let’s find a magic button”. So the season hooked me then ^^

The season is really good at re-using previous themes and twist them in just the right way

Clarke, who was so angry at the council for killing her dad, finds herself in the council’s position, and starts to understand that making such hard decisions is never easy. Making the list for instance, is so different from what she had to do before. The genocide of Mt Weather was an act of despair in the middle of a war, but making the list is a process, she has to truly chose who is “worth” more, which is what the council did when they sent the 100 to the Ground. She choses to hide the truth from everybody despite it going against what she wanted at the start of the show. It’s a really cool change for her character.

The Arkers and Grounders take the decision to test the Nightblood against Luna, the Rock Line thief, and Emori’s will. An obvious reminder of s2 but that I appreciate. I liked the Mt Weather story because of this: the mountain men were the antagonists but they also were the same as the rest of the show, they were doing whatever they had to do to survive, whatever it took, no matter how cruel it could be. We see in this season that when faced with the same decision, our protagonists reach the same result: sacrificing other people’s bodily autonomy to survive is worth it to them. It’s a really interesting theme to bring back because it muddies the waters of who’s right and wrong, and it highlights that in the end, there is no black and white answer.

This season gives us my personal favorite version of Clarke: she’s the closest she’ll get to a true antagonist (only comparable to s5 but s5 is a little bit of a mess so I still prefer her in s4). She has one conviction: saving her people. And to get it, she is ready to lie, to cheat, to kill, whatever it takes. It is interesting because I always saw Clarke in that light. She always believes that she has the right idea and she will do what it takes to get what she thinks is best. That’s where she is interesting to me (I’m not interested in her being an innocent victim forced to take decisions, that’s not how I see her at all and I find her a little dull in that interpretation haha but that’s for another post). Clarke stealing the bunker is a cruel act, but man, it’s incredibly smart. At that moment she knows she’s condeming many people (some of whom very close to her) to death, but she believes deep inside her that it’s the right thing to do so she’s willing to do it. And i really prefer her in those ruthless moments.

Octavia’s arc this season isn’t my favorite, but she is at her best during the last few episodes for me. The creation of Wonkru is one of my favorite scenes of the entire show, even though I saw it coming a mile away lmao (1200 spaces, 12 clans, it was easy to see where they were going!). I love the scene, I love the place it comes from (Octavia channeling Lincoln’s convictions was brilliant). I might not agree with her decisions (skaikru definitely deserved more spots than the other clans), but it makes perfect sense for her character to make this decision. The scene of her talking to Skaikru and telling them they’re no different from the others, and they have to choose or they all die, is also one of my favorites. Octavia received no mercy on the Ark, she had a terribly tragic childhood because of those people who are now begging her for their lives, and she doesn’t budge. The Ark, and the Ground, forced her to be that way, and she doesn’t back away. It’s also all a brilliant introduction to what Wonkru and Octavia will become in s5 (but again, that’s for another post lmao)

I love that we get the introduction of Spacekru because I love their little found family and the scene where they reach the Ring is so good!

Murphy’s speech to Clarke makes me tear up everytime I see it (it really was one of the strongest moments of acting of the entire show, Richard Harmon is amazing in it). Emori also blows me away in the previous episode, the way she’s shown to be ruthless, and cunning, and also how well she reads people. She knew they would come to test someone, and she did everything she had to for that someone to not be her. I love her ^^

I like the plot of the second dawn bunker well enough! (although I will never change my mind that Cadogan was a dumbass for putting it where it is instead of IN THE MIDDLE OF THE FOREST WHERE THERE’S NO RISK OF BUILDINGS FALLING ON IT LIKE WHAT LITERALLY HAPPENED IN S5 OKAY anyway…..), it’s far from perfect but I like that it explains the people coming to greet Becca in s3, and I like that we expand a little on the origins of the Grounders culture (even though I wanted more about this). It’s kind of an “easy” solution, but at the same time it’s not. It was established early in the season before being abandoned, and even once it’s found, it’s not at all a perfect and easy solution. They have to fight for it, decide who lives there, it’s a pretty interesting development. What I mean is that it’s not discovered one episode before the end and it doesn’t solve everything. If anything, it creates more conflict. Which I appreciate alot.

ALSO ALSO Echo is a badass general in this season and I love it. She goes from being a spy in earlier seasons, to full-on commanding armies and being a strategic mastermind and I love it! She’s also ruthless and cunning and I lvoe that for her. It’s also such a good season for her and Bellamy!!! I lvoe all of it ^^

This season also has one of my favorite underrated quotes!!!! I’m gonna use a gif here cause I’m not at the limit yet lmao

“It’s unity day.” GODDDD it’s so good. It’s simple, but it conveys so much information and I love it:

Unity Day: the stations coming together to survive -> we’re virtually in the same situation here.

It’s a happy occasion, a day of survival and hope, just like the hope Octavia gave all the clans with her decisions

But it’s also a day of death and loss. She’s giving Kane a choice: join Wonkru with 100 members, or die in the flames.

It reminds us of the history of the Arkers, and I love when world-building does this thing where both characters are shown to have such a close cultural background that three little words are enough to convey such a strong message. It’s a detail but I love it and I wanted to ramble for a little bit ^^

Clarke’s sacrifice: This is when it gets to “meh” points for the seasons for me. Clarke deciding to stay behind to save Spacekru was a good moment. Yes, I know that if she hadn’t climbed the tower they all would have died anyway, but still. It’s a great moment for her character. She has hurt those people time and time again during this season, she was ready to let them die more than once, and I think she regrets it (although again, I like to see the extremes she’s willing to reach in this season). In that moment, she doesn’t decide that it’s too late to survive so she might as well give up. She knows she’s going to die, and she gives her last moments to save the lives of the people she hurt in the past. And I really love this. That is….. Until Clarke is revealed to not have died. I truly believe that she had reached the ending of her arc in the show, and it would have been a great ending to her character. But that’s also because I believe the show should have ended in s4 lmao. If it had ended, then maybe they could have left her death ambiguois, by showing her reaching the safety of the lab, but not showing her again afterwards. That way, we had no way of being sure she survived, but it was left ambiguous enough to make us decide her fate outselves.

The perfect ending: I didn’t choose the last gif randomly. That scene of Raven and Bellamy looking down on the Earth was in my opinion the perfect shot to end the show. At that point in time, we are left in a place that is very similar to where the show started: the Earth is destroyed by radiations, some people are waiting it out in space, some people are waiting it out on the ground. it mirrors the premise of the show (although in a much smaller scale), but this time, we’re left with hope of what might come in the future. Those two groups know (or hope) that they will reunite, especially with Octavia and Bellamy, the relationship at the core of the show, being separated. If the show ends here, we have come full circle from the pilot episode, and we can imagine how those two groups will reunite in the future. I find that ending the best possible for the show, so even though there’s so much I like about season 5, I wish the show had stopped at that moment, at that shot of Raven and Bellamy looking down on the Earth.

That got reaaaaally long, so…. sorry about that xD If you’ve reached this far, feel free to tell me what you think of this season (or the others haha) or send me asks, or request for other gifsets!!!

[twh-news]

To land ‘Loki,’ Kate Herron had to pull out all the stops. How she won over Marvel

As a teenager, Kate Herron was obsessed with the “Lord of the Rings” films.

In particular, she recalls heading to theaters repeatedly with friends who shared her passion to see “The Two Towers” (2002), the second installment in director Peter Jackson’s trilogy based on J.R.R. Tolkien’s epic fantasy novel. She even wrote “Lord of the Rings” fan fiction.

“It was very silly,” the British filmmaker insists, revealing that one of her stories saw the heroic Fellowship traveling through a magical fountain and getting trapped in New York. “Honestly, I was just writing the stories to make my friends laugh. I guess it was kind of that first foray for me: ‘How do I tell a story?’”

Years later, Herron is again involved in telling a story about a protagonist displaced from the world he knows. But this time, her audience is much bigger.

Herron, 33, is the director of “Loki,” the Marvel Studios series that follows the adventures of the titular god of mischief after he has been plucked out of time by an agency charged with maintaining the sanctity of the timeline. Thus, the six-episode series, which premiered earlier this month on Disney+, features a slightly different version of Loki than the fans of the Marvel Cinematic Universe have grown to love since his first appearance in “Thor” (2011) through “Avengers: Endgame” (2019).

“I love villains,” says Herron during a recent video call from Atlanta, where she is putting the final touches on “Loki.” “I think that if a villain’s done right, you don’t necessarily have to like their actions, but you have to understand them. And I think that Tom [Hiddleston], in the last decade, has brought such empathy and wit and pain to a very real character for so many people. I just wanted to be part of whatever [Loki’s] next chapter was going to be.”

The series, on which the self-described Loki fan also serves as an executive producer, is Herron’s highest-profile project to date. Her previous credits include directing on Netflix’s “Sex Education,” as well as “Five by Five,” a series of short films executive produced by Idris Elba.

While growing up in South East London, Herron never considered filmmaking as a career. Her love of movies manifested as the aspiration to become an actor, and she often goaded her peers into putting on plays or making movies using a friend’s father’s camcorder. It wasn’t until some astute and encouraging teachers at Herron’s secondary school pointed out that she seemed more interested in storytelling that she changed course.

By introducing Herron to new texts, these teachers — as well as a film studies class that covered films directed by Stanley Kubrick and Akira Kurosawa — helped expand her perspective.

“I just didn’t know that you could have a voice and an authorship over a film, which probably sounds a bit silly. But I just hadn’t really thought about films in that way,” says Herron. Soon enough, she was on the path to film school at the University for the Creative Arts in Farnham, England, where she graduated with a degree in film production.

Herron laughs as she remembers how she believed she would just go off and find work in film straight out of school. “Obviously that did not happen,” she says.

With no post-graduate roadmap (or job offer) to help her break into the industry, Herron eventually started writing and directing short films with “no money” while juggling a day job as a temp. Both experiences provided Herron with material for “Loki,” which introduces a new bureaucratic agency called the Time Variance Authority to the MCU.

“I’ve worked at a lot of random places, which weirdly has influenced ‘Loki’ in some ways because we have this office culture kind of running through it,” says Herron. “I’ve worked in a lot of offices.”

In order to give the retro-futuristic offices of the TVA “a real lived-[in], breathed-in office” feel, Herron incorporated details that viewers could recognize from the real world — from paper files to the posters on the walls — and gave them a fantastical twist befitting the superhero series.

“One of the most exciting things to me about Kate is she has this amazing attention to detail,” says “Loki” co-executive producer Kevin Wright. “That was something that we saw on her very first pitch [and] it works its way into every frame of the show. Every monitor, every piece of paper in the TVA … she has looked over and approved everything you see.”

In an email, “Loki” star Hiddleston described Herron as “a dream collaborator” who possesses “a unique combination of extraordinary diligence, stamina, energy, respect and kindness.”

“Her affection for and understanding of Loki was so deep, profound and wide-ranging,” Hiddleston wrote. “She built a new world for these characters to play in with incredible precision, but she was also acutely sensitive to their emotional journey.”

Herron’s affinity for outsiders is apparent throughout the course of our conversation. There is of course her love for Loki — the heir to the king of Frost Giants raised as the prince of Asgard who has become one of the MCU’s most beloved villain-turned-antiheroes. Herron’s first introduction to the world of Marvel as a kid was through “X-Men: The Animated Series,” about the superhero team with mutant powers that set them apart from average humans. Herron cites Lisa Simpson — the overachieving, opinionated middle child from the animated sitcom “The Simpsons” — as the reason she is a vegetarian who can play the saxophone.

And although Herron describes herself as shy, it’s no match for the passion she brings to discussing film and television.

She calls Wes Anderson’s 2001 film “The Royal Tenenbaums,” co-written by “Loki” actor Owen Wilson, “a perfect movie.” In addition to being obsessed with “The Simpsons,” Herron gravitated toward genre shows such as “Buffy the Vampire Slayer,” the updated “Battlestar Galactica” and “The X-Files” when growing up.

As Herron enthusiastically dives into “Loki’s” influences — which include “Alien” (1979), “Blade Runner” (1982), “Brazil” (1985), “Metropolis” (1927) and, yes, even “Teletubbies” — it’s easy to see why Wright knew she was the right person to bring “Loki” to life from their very first meeting.

Upon learning that Marvel was developing a show about Loki, Herron tasked her agents with calling Marvel every day until they would meet with her. And it worked.

“I was just so excited that somebody was chasing the project,” says Wright. “Which sounds crazy, that Marvel would be excited somebody’s chasing us. But it was the early days of us trying to get this Disney+ streaming stuff off the ground, so people were very hesitant … they didn’t know what it was yet.”

Herron’s enthusiasm for the show landed her a video meeting with Wright and executive producer Stephen Broussard. Believing it might be her only shot at the project, Herron came armed with so many stills and clips to illustrate her discussion of the scripts she’d been sent that a simple meet-and-greet turned into a four-hour conversation.

“Over the course of the next week or so,” Wright explains, “it was really figuring out how to set Kate up to succeed when we got her in front of Kevin Feige to pitch this.”

Herron put together a 60-page bible of ideas for the characters, the story, the visual references and more. The rest is Marvel history.

She learned not to wait for permission, she says, after graduating from film school and becoming involved with improv and stand-up to both develop her comedy chops and to meet funny collaborators to be in her short films.

“I think I’d always find excuses, almost, [to not do it],” says Herron. “It was that thing of being like, ‘Oh, well, I’m not ready. So I’ll wait. I’ll wait until I’m perfect at it and then I’ll go do it.’”

Taking inspiration from Robert Rodriguez’s “Rebel Without a Crew” and a SXSW keynote speech by Mark Duplass, Herron realized that she just needed to start making things. She told herself it was OK if the films were messy. If a short was bad, nobody had to see it. If a short was “halfway to good,” she would submit them to festivals.

It’s this tenacious creativity that connects the dots between her early fan fiction, her short films, her pitch presentations — and now “Loki” itself. It’s a trait that has helped her navigate the industry to her current success, even during the periods it’s been most frustrating. As a female director, “I got asked crazy stuff in interviews sometimes,” she says of life on the festival circuit. “I remember being asked, ‘Are you sure you’re ready? Are you sure you’re ready?’ And male colleagues of mine were never asked that in interviews. I think that’s probably why I was so driven to just go out and make stuff.”

[thechildofstark]

The Problem With Civil War

Civil War was supposed to be a Captain America movie. It was not a Captain America movie.

However.......

The problem with it being a Cap film is that Steve (+ his team) are supposed to be the ultimate good guys. In all the previous Hero Title films (Iron Man Trilogy, Thor Trilogy, Etc.) the guy whose name is on the poster is the guy the audience is supposed to root for. However, because of CA:CW’s marketing and story arc, it was very much a Steve & Tony / Steve vs. Tony film, while trying to simultaneously portray Tony as a secondary character.

This post isn't about Team Cap or Team Iron Man.

The catalyst for the story of Civil War is...........interesting. (in the comics, its different. and a whole lot easier to understand the reasoning of both sides of the argument. but that's a post for another time.)

Tagging/registering/tracking every mutant/mutate/superhero/powered person is objectively a very bad idea. but so is running amok with no supervision in other countries and destroying property whilst literally wearing the American flag.

There are big problems on both sides.

The issue I find most people have with Tony is that they find him an entitled sellout who only cares about himself and that he committed war crimes, and the problems I find most people have with Steve is that he defended a baby Nazi and went on an violent international rampage in direct violation of the UN because his dead terrorist ex-boyfriend may or may not have murdered a whole bunch of people.

Ooof.

The main reason I think people get very annoyed/attached a specific side is because they are still projecting the characterisation from the earlier movies.

Iron Man 1 and The First Avenger? I love them. No notes.

Obviously yes there are issues in-universe but these are flawed characters with complicated issues and stories and so on, and I like them that way.

If I wanted a Nice Unproblematic Superhero I’d rewatch the Christopher Reeves Superman films. That is not why I am here today.

But by the time we get to Civil War, Tony and Steve have become caricatures of the ideals that they represented, so that the studio can make a movie.

Morally, Steve is  in the right. Legally, Tony is in the right.

Ethically? I don't fucking know, they both suck equally in that regard.

Okay to be fair, Tony does try to help Steve like.........so often in the film. Because Steve is the Protagonist and he is Right even though half his actions don't actually fit with his previous characterisation/character arcs/basic human logic.

CA:CW was supposed to be a movie about Steve Rogers. But it failed in the single regard that the story wasn't about him. Even other Hero Title movie, the main character either does something, or has something done to them, and then they react to the situations and there are gratuitous explosions and a life lesson and probably a kiss near the end. But this film had the kiss nearer to the middle ew Sharon why and while plenty of shit got blown up, plenty of civilians and local law enforcement also got mashed by/because of the title character.

That is not how the lead in a superhero movie is supposed to behave.

And the film also continues down the general path of giving Tony shittier and shittier character arcs. The war he behaves in his own movies vs the avengers films? it’s a complete values dissonance. It is literally not the same character. Probably the closest to consistency we get is Iron Man 3/Age of Ultron but even then the differences are pretty startling. At the beginning, Tony was, idk, a realistic if fictional person. But the time we get to CA:CW all we have is an avatar for the writers to manipulate, damn character consistency, damn reasonable behavior and logic and everything that the audience has been told about him in the past.

Same with Steve. Heck, same with everyone in the entire damn movie. Barely anyone acts or reacts in a way that either A) previous behavior would suggest, or B) an actual human person would act or react.

Yes. I know. It’s fiction. I can suspend my disbelief.

But like........damn they fucked Clint and Natasha over.

The creators were trying to recreate a well known and well liked comic book story arc, capitalize on the growing divide in parts of the fandom over preferred characters/character ideologies, and do so without using the expanded universe and added context which made the original comic book arc so fucking good.

They tried to split the Avengers in half, only to realize that they had split the Avengers in half, and then when Infinity War came along, they basically had to write a plot where both sides did their thing without sharing a single second of screen time together, because the whole -

S: you tried to kill my best friend 

T: he killed my mother       

S: actually he was brain washed                                         

T: but you knew and didn't tell me for years                          

S: well I was worried you would react badly                          

T: I wouldn't have                                                                      

S: you literally tried to kill him                                                         

T: yeah I'm sure you be totally fine if you saw your parents being violently murdered and the guy was right there and your teammate lied about it and you were very sleep deprived to boot

                                                           - drama would start up again.

ANYWAY

the point is, I used to really like both these characters - I still like the comic book versions tho - but then they got way fucked over. I'm extra salty about Steve, because this was supposed to be his movie but loads of the screen time was given over to other shit and he literally commits so much crime and murder and has absolutely zero moral or emotional consistency. especially when it comes to Bucky and Wanda vs. everyone else.

Also with Tony, there is so much of an issue with Telling vs Showing vs other characters in-universe opinions of him I genuinely don't even know what the creators want me to feel about him anymore.

uuuuururhrhrhrhrhrhrhghfjjhdhjf.

tl;dr -

I saw this movie like six years ago and the way I feel about it has changed a lot over time. I used to be team iron man, could you tell?    But the basics of it is this should have been an Avengers movie if it had to exist at all, there are so many cool Captain America stories worthy of being put to film, and this really wasn't the most perfect option. Civil War has so many problems, and I can even begin to try and list them here.

But I'm making this post because I just followed a really cool blog who happens to hate on Tony a bunch (I don't really mind consciously) but that annoyed me out of habit, so I started examining why I liked him as a character, and it mainly boiled down to A) some of the comics are cool, and B) CA:CW said I had to pick a side and Steve did so much dumb shit I just went with the easy option.

the blog doesn't seem to be a huge fan of Steve either.

my current stance is that they both got fucked over and if you want some solid positive Marvel content go read Runaways, or the Hawkeye comics.

The Hawkeye comics are the best.

[wedreamedlove]

Xu Mo and Loneliness [Character Study]

Surprise! It's essay time again ᕕ( ᐛ )ᕗ! Disclaimer: I use CN translations because Elex...

One (of the many) things I love about Xu Mo's character is his juxtapositions [Character Study]. He is one of the loneliest men in the world due to his archetype and nature [Into Your World] but also the most susceptible to loneliness.

Throughout the game, he's dropped hints about his fear of being left behind:

"... But the sensitive artist was also afraid the butterfly would one day grow tired of being beside him, and so he thought about catching the butterfly and putting it in a glass jar. Like this, the butterfly would never be able to leave him." [Drowning in Love SSR - Artist and Butterfly Call]

"... But if I really did encounter the one and only color in my life, then I certainly wouldn't let them go." [Drowning in Love SSR - The Only Color Call]

"... No matter what the truth may be, I'll always be with you. Until the very moment it arrives... I just hope that, at that time, you won't want to push me away." [CH12 - Truth and False Call]

MC: Don't worry, I'll be alright on my own. Xu Mo: But I'm not alright alone. [CH13.4]

But, at the same time, he's accepted the adage that "'tis better to have loved and lost than never to have loved at all":

"The grain, which is also golden, will bring me back the thought of you. And I shall love to listen to the wind in the wheat." [CH9.14]

Just to expand on this for those who are unfamiliar with The Little Prince story, when the Little Prince is going to leave the fox, the fox says that it is going to cry. The Little Prince feels that his taming of the fox has done it no good at all, because now it's hurt, but the fox denies this because now it has the color of the wheat fields.

"Since she was willing to gently embrace all that he was, then why not accept this pain in his heart that was caused by her alone." [Overseas Date]

"Forget it, he'll just be foolish once more with this foolish girl." [True Love Date]

One other aspect of his juxtapositions is how his wants and needs are in conflict and I think people are naturally picking up on this, which is why he's viewed as having a really intense relationship with the MC.

I'm just going to define my words in this context to make things clearer but a "want" is your desire in life, while a "need" is your raison d'etre, essentially your reason for living and your goal in life. It's not necessary for all stories or characters to have this, but they're certainly more captivating with this. (As an aside, Zhou Qiluo has this going for him too while Li Zeyan and Bai Qi do not... and maybe why Bai Qi keeps getting hit with the vanilla and boring label LOL).

So, what does Xu Mo want? To love the MC and, as a byproduct, never be alone again. What does he need? The continuing survival (and evolution) of humankind, even if that means walking a path that will leave people behind him and end with him being alone.

This internal conflict is something we see again and again in the game:

[CH13] He reveals his identity to her as Ares, but lets her go. He even sacrifices his eye and the ability to see her color.

[CH16] They're "enemies" and they draw a clear line between them at the news conference, but he then saves her and returns her home. He sacrifices their experience together in the dream world and his answer to her question about whether or not he'd even offer up the person important to him for his goals.

”Before I met you, I would be annoyed at the pace of the people with me. Everyone has their own destination and a person walking by themselves would be quicker. Mm, this isn't a good custom. But on my path, whenever I turn my head back, I would always find that you had already caught up to my side. This time as well. Perhaps, in this world, you're the only person who can make me unable to resist looking back. Or perhaps you're the only person who can reach my side again and again. So, in the future, I won't let go anymore. On this day, next year, you'll be at my side too.“ [2019 (2nd) Birthday Call]

Now, the entire reason I wrote up this post—LOL. I'm actually half-serious because his [Endless Path Date] is amazing in how they distilled his character to one of his core themes and represented that facet entirely in this AU date.

I'm going to be jumping around chronologically in the date to show how he was in the past, to the present before MC regained her memories, to after she regained her memories.

PAST

Xu Mo: I hope you don't regret the choice you made this day.

MC: ... I admit I hate them, but I don't wish to be the same as them because of this.

MC: I don't want to become a murderous demon.

Xu Mo seemed to be a bit surprised and then, after a few seconds, the crimson in his eyes faded and became a calm purple, scrutinizing me.

Xu Mo: A murderous demon... Do you believe that I am one as well?

His voice carried a smile, but I felt a formless pressure and sense of terror surround me and I shuddered.

MC: You aren't. You saved me.

Although the way was to turn me into a vampire... in a sense, he gave me a "new life".

Xu Mo: Save? It appears that, in your understanding, when vampires are hunting for food they are saving people.

MC: I'm just being factual. Also, the word "hunting"...

The corner of Xu Mo's lips pulled up.

Xu Mo: There's no rush. In the future, you will experience for yourself whether or not the word I used is accurate.

I was stunned and suddenly remembered the thirst towards fresh blood in that hut earlier which had dominated me.

Xu Mo seemed to have no intention of bothering himself with me again and turned around, preparing to leave.

MC: Um... please wait a moment.

He silently looked back, his expression indifferent and cold under the moonlight.

I summoned up my courage and looked straight at Xu Mo.

MC: Can... can you give me your blood?

MC: I heard that this was the only way to become a true vampire; they won't have to drink blood and they won't lose their reasoning, so...

Xu Mo: So I have to answer your request?

Xu Mo interrupted me, as if he heard something laughable.

Xu Mo: Vampires are not gods who never refuse a request. Or is it that all humans are such selfish creatures?

MC: N-not at all! In exchange, I can...

The wind blew through, rustling the leaves of the trees. Xu Mo calmly listened to my words and was silent for a long while before he lightly sighed, but it also seemed like a laugh.

Xu Mo: Alright, I agree.

Under the moonlight, the hand that was held out to me was pale and slender. I took a step forward and also stretched out my hand—

PRESENT

Xu Mo blinked, slowly without hurry, and swept his eyes over in my direction.

He saw me and didn't appear to be surprised at all; instead, it was like he knew I was there all along, witnessing everything.

His smile wasn't anything different from usual and even the way he set down his glass and held out his hand to me was like that day, two years ago.

Xu Mo: [MC], you came.

The color of crimson blurred my vision and the smell of blood was like a wave threatening to engulf me.

I felt like breathing was difficult and my legs were unsteady; I could only lean against the wall.

Xu Mo saw that I didn't move and walked directly over to me. It was as if everything around him had no effect on him and those two crimson eyes reflected only my figure.

He came to me like this, step by step, and the strange thing was... that I actually didn't feel any fear.

He raised a hand to support me and this let me see his eyes clearly. There seemed to be a faint worry in them.

FUTURE

Xu Mo: Do you remember everything?

A gentle voice landed beside my ear and, as I recalled the scenes of that night, I looked at Xu Mo and mumbled.

MC: I promised you that, no matter how long, I would always...

He blinked and those crimson eyes crumbled into purple, a faint smile appearing in them.

Xu Mo: Mm, you said you would be at my side forever.

The reason I transcribed these three scenes is because they're so good at showing his assumed indifference, to how fast he caved into the temptation of not being alone, to how he continues to hold this hope despite MC having "broken their promise", to the future where they get to walk in an endless night together forever.

IT'S SO GOOD. I'm a sucker for immortality concepts and PG nailed this vampire version so well; his ancientness in the past, the longing for companionship, and then the sharing of a life.

Anyway, I was actually going to post this essay after I read his newest Halloween card because, after seeing he was an exiled prince with Snow White themes, my guess was that it was going to have a heavy and explicit theme about loneliness again.

But I got impatient seeing as how I have to wait until the end of the event to redeem him. So, I guess I'm throwing it out there that this is my prediction??? For those who have read that date, you can tell me if I'm hot or cold LOL. I'm going to look like a fool yelling about loneliness themes if that isn't the case this time though.

MIMICRY

Semi-switching gears and bringing back my [Into Your World] post, I just want to add that in addition to being so intensely curious about the MC's world and trying to understand her, I've noticed that MC and Xu Mo share something pretty unique to them that's less obvious with the others.

This is the mimicry that they do to each other.

There's been psychological studies that looked into the social aspects of mimicry (Baaren et al 2009) and mimicry and attraction in romantic relationships (Nicolas Gueguen 2009). In short, mimicking someone appears to promote social harmony, comfort, and trust in the other person; it can also make you more attractive to them LOL.

I really don't think Xu Mo is doing this intentionally and that, instead, this supports his (alienated) scholar archetype, his hobby of people watching, and trying to understand the MC's world. The same goes for MC, she wants to understand his world and a part of that is experiencing things in his way.

The reason I believe this is less obvious (if at all apparent) with the others is because, when I compare Xu Mo's dates to Bai Qi dates, all of Bai Qi’s dates are more like experiencing activities together, which Xu Mo has as well, ex. [Winery Date], [Sunrise Date], [Hot Spring Date], etc.

But Xu Mo has dates where they specifically mimic each other, such as:

[Blossom Date] He covers her eyes, she then covers his eyes.

[Archery Date] Technically, he teaches her but after he gets bull's-eye, she copies the form he taught her and also gets bull's-eye.

[New Year's Eve] He gets taught and mimics the way she makes dumplings.

[Qixi 2018 Mini Story] He and the kids ended up copying the MC's flying fish.

[Rainy Night Date] The flashback about how she folded origami cranes and then taught him and they make strings of them.

They also—and this I swear is unique solely to Xu Mo—mimic each other's words or sentence structures and phrases:

[Blossom Date] Tao Yao poem and how they quoted it back at each other, essentially finishing each other's stanza.

[Endless Path Date] The beginning of the dates shows an inside joke between them where MC tries to ask Xu Mo difficult questions to stump him, because he can see through her. But he guesses the herbs she bought by the smell on her fingers. Later on, she guesses that he's going to a party based on his use of the cologne she made him and which he only uses for parties. She explicitly brings up the beginning and how she can deduce things about him too via scent.

[CH13.15] Xu Mo quotes 1 Corinthians 13:12 at MC and [CH16.12] MC quotes 1 Corinthians 13:2 at him.

[CH16.12] During the conference, MC literally quotes the words he said to her [CH13.17] back at him to go against him.

[Dumbstruck Date] Heck, this whole date was MC repeating words that the original Xu Mo said to her and making Winter!Xu Mo jealous as heck LOL.

Throughout the story, where MC draws her strength from how the other men are as people (Li Zeyan's stability and permanence, Bai Qi’s core of justice, etc.), she seems to draw extensively on the words Xu Mo has said to her, or references to the same body of literature.

EDIT: Forgot to mention, but IMO this is why he reacts the worst out of all the men to MC’s disappearance in Chapter 25+.

[fudgetunblr]

Hello! I saw your post where you rank Evens and you were spot on with that number one spot. OG Even is undefeated. But my next placement would have been sander. I love him. I noticed that you said he gives you a weird feeling or something. Ive seen others describe something similar too. Do you mind expanding on that? I'm genuinely curious about that. Thank you

Hi! I want to start this off by saying: I really love Sander. Genuinely like him so much. Him, Joana and David are all amazing, and my placement of them changes all the time. They’re all great Even versions, and Sander especially is really interesting. They’ve made him really memorable, and I like that he has his Bowie and his cheesy instagram posts. 

That being said, let’s discuss his relationship with Robbe. Season 3, narrative wise, was a bit of a mess. There are way better posts discussing this, but essentially, the pacing just feels off. You can argue that not introducing Sander immediately actually brought interesting aspects to Robbe’s development, but you can also argue that Sander and Robbe’s relationship suffered because of this. Another thing about Sander: he’s very intense. Everything moved really fast with Robbe, and it was felt so much harder here because I believe he’s just a really intense person that made everything feel too serious, too soon. 

Despite this, I do actually enjoy Sander and Robbe as a couple, because I just think they’re one of the Evak versions with the best chemistry. Like, I do buy into their love, and when they’re just chilling about and doing their own thing, It’s just such a vibe. 

So, where does the uncomfortable element come in? Well, the fact that their relationship is too sexualised. The handling of teenagers and sex in media has always been this weird ‘it’s the center of their universe’ type of thing. I don’t think Skam does that. For the most part, a lot of the versions are good at showcasing that sex can be a part of a teenagers life, without making it fkn pornographic and the only thing in their lives. Other times though, they do go a bit too far. 

The original Evak episode 7 scene eluded to them having sex rather than showing us a shit ton of it. Then Skam France came in and gave us the paint scene. With Sander and Robbe, the scenes where I felt they might have gone a bit too far, was the shower scene, and then obviously the WtFockDown sex scene. 

Especially the cyber sex. Skam is a very personal show, and is formatted for you to enter someone else’s life for a few weeks. This was too much though, for many different reasons. Let’s highlight an important one: they were the only ones who had one. 

If they had all the couples doing it, as much as I would have hated to witness it, that might have felt a bit better. (not actually). But having just Sander and Robbe do it, felt a bit off. And highlights, once again, how oversexualised the writers have made them. And yes, let’s blame the writers, because this is all on them, and for the most part I think the WtFock writers just miss the fucking mark. 

Now, with all that down, why is Sander uncomfortable sometime? Well, let’s start with the fact that he’s the one who pushed for cyber sex in the first place. This is not me saying that Robbe didn’t want to do it, nor me shaming Sander for like,, being horny or whatever. He’s allowed to have feelings. But as I stated earlier, said feelings are more oftentimes than not, really, really intense. And that can make some people uncomfortable. Also, don’t get me started on the creepy fkn light that made him look like a serial killer.

That’s my reason. I can’t speak for everyone, of course. But that’s why I can find Sander uncomfortable sometimes. And once again: it’s the writers fault. They’ve chosen to write him that way. Sure, performance matters, but text is everything. Especially when it comes to this. 

I hope this helped :)

[mustlovemustypages]

Yuletide 2020 Letter

Dear potential writer,

I truly hope all is well with you and yours. No matter what state you find yourself in, my wish is that Yuletide boosts your spirits and gives you the extra jolt we all could use to usher in the new year. 

Thank you for taking the time to read my letter and thank you in advance if you decide to write anything for me!

Below are my desired fandoms and pairings along with story ideas that I would love to see written. Please don’t feel stifled by my prompts; I’ve also listed my general likes and dislikes at the very bottom of this letter if you decide to go a different route.

Little Women (2019):

Characters: Amy March and Theodore “Laurie” Laurence”

The main reason I adore this adaptation is because it made me see why Amy and Laurie ended up together. They had very similar worldviews and fit so well what the other needed. Both deserved to be with someone that valued them for who they are. With Laurie, Amy was not just financially secure but with someone who encouraged her to express herself creatively, politically, or however she chose. With Amy, while she grounded Laurie in reality and challenged him to be the best version of himself, he didn't have to fundamentally change to make her happy.

Story ideas:

These quotes really show how Amy's perspective on life was different than her sister's: "You are your family's hope." (Aunt March) "I’ve always known I would marry rich." (Amy March) That's a lot of pressure on someone so young. We heard some of Laurie's thoughts, mostly that he didn't think Amy should feel ashamed for wanting that. How would some of that pressure continue even after she got married, and what would Laurie say to make her realize they were in life together as a team and she didn’t have to suffer the weight of the world alone?

The conversation between Amy and Laurie in the painting studio showed just how level-headed and intelligent she was. Laurie, while not wholly agreeing, was respectful and didn't discount her thoughts. It would be interesting to see the impact on their story if Vaughn hadn't arrived, and this had played out more. Would the proposal have happened earlier and/or how would later scenes be altered as a result of further conversation?

What did the other characters think of Amy and Laurie's relationship, and how did it change after seeing them interact more as a couple? It would be interesting to read about Meg, Marmee, John, or some of the other characters realizing they were genuinely a good match for each other.

Post-canon, I'd love to get a glimpse of what kinds of conversations they had. Did Amy encourage Laurie to pursue a career and find what he was passionate about (music perhaps as Laurie mentioned writing an opera)? And similarly, did Laurie encourage Amy to pursue her art? Did they continue to have in-depth conversations about societal pressures and expectations of gender in certain economic classes?

Tenet:

Characters: The Protagonist, Kat, and Neil

Tenet is the first movie I've seen in theaters since Star Wars IX. There have been some mixed reviews, but my love for Christopher Nolan sci-fi films combined with the experience of stepping foot in a theater again made it a wonderful experience for me. Sure, the plot could be confusing at times, but it was fun trying to fit certain puzzle pieces together and oh so thrilling when things just clicked into place in the most satisfying ways.

I adored the dynamic between Neil and the Protagonist. The easy friendship, the banter, the suits... everything. I also loved the relationship between the Protagonist and Kat. It started off as each using the other but transformed into one of genuine care on both sides. Ever the romantic, I definitely saw something more than just friendship between the two and was slightly disappointed the movie didn't explore that aspect more.  

For pairings, I’m interested in friendships between all of the characters. I’d be interested in seeing a romantic relationship between Kat and the Protagonist if you’re up for that, but not between Neil and Kat, nor Neil and the Protagonist. If you really want to give a romantic partner to Neil, I'd be fine with Laura (or an original female character if she’s not the focus of the story), but please, no slash. While I’d be ecstatic to see all three characters together, if you can only find a way to fit in two, that’s wonderful as well!

Story ideas:

Even though Andrei Sator is gone, there are still other players in the game, some like Priya, who want to eliminate Kat or even abduct her with the delusional idea she can continue her husband's work. The Protagonist (and Neil, if you so choose) ensures no harm comes to her, and he realizes that keeping her at a distance may not have been the best idea.

I personally don't buy into the fan theory that Neil is Kat's son Max; however, I do find the idea intriguing and would be up for reading about how that worked. The Protagonist breaks his rule and sees Kat, helping to raise her son Max/Neil and eventually teaching him about inversion.

The Protagonist doesn't have to wait quite as long as he'd thought to see Neil again. It can be the Neil who had already met him and knows about Tenet or the Neil who knows nothing about inversion.

What conversations did Neil and Kat have while the Protagonist was asleep after almost freezing to death? Maybe Neil explained the finer workings of Tenet and inversion more in-depth. Perhaps they discussed the Protagonist. 

Clueless:

Characters: Cher Horowitz and Josh Lucas

This movie set the bar high for teen romantic comedies. How can anyone ever beat 90s Alicia Silverstone and Paul Rudd? Plus, the relationship between their two characters is fantastic. Josh and Cher just bring out the best in each other. Cher shows Josh that he doesn't need to be so serious all of the time and that people are more than their outer appearances. Josh makes Cher want to be a better person, and he believes that she's not just a pretty face. Their banter and playful moments always make me smile.

Story ideas:

Knowing Josh and Cher end up together, this brings a heightened awareness to rewatches. They have so many casual touches and exchanged glances (when did Paul Rudd's eyes get so blue?) that it's hard to miss their natural chemistry. It may take quite some time for Cher's dad to notice anything has changed because they don't act all that different from before. Is there something that makes him finally take notice? How does he react?

Sort of related to the last prompt, there's a moment where Josh decides to go to the dance to keep an eye on Cher and Christian, and you can tell by Mel Horowitz’s smirk he realizes Josh has a crush on Cher. Does he do anything to push it along or play matchmaker just like his daughter?

I've always been curious about whether or not Josh believes Cher's story about being assaulted in the car by Elton and then held at gunpoint. We skip over Josh pulling up to the phone booth and go straight to Cher already being in the car. How did Josh react when she reiterated the story, and does he instantly believe her, or does it take some convincing? I'd like to see if he comforts her and if they both go together to tell Cher's dad what happened.

Cher is obviously very intelligent socially, if not always so much academically. When it comes time to apply for college, what does she major in? And how is Josh a positive influence in Cher's life, encouraging her to be ambitious and not letting negative comments from guidance counselors or teachers dissuade her?

Things I don’t like:

Alternate Universes – For the specific fandoms that I picked, I really like the universes as they are. I’m definitely okay with deviations from canon, but please don’t make Little Women into a supernatural werewolf story or have Tenet take place in a mundane coffee shop setting. (I don’t mind Soulmate AUs or something similar because those can be incorporated into canon with little change to worldbuilding).

Non-Con/Rape/BDSM/Sexual Violence/Graphic Sex – I like my characters to be happy and everything within ships to be 100% consensual, no question about it (mentions of non-con if it occurred in canon is fine). I also prefer plot over porn, especially with one-shots.

OT3s – Two people per romantic relationship, please. Any more than that makes me uncomfortable.

Character Bashing - Unless a character is a bad guy in canon, I don’t want to read hundreds of words about how awful they are, especially if they are one of the characters that I requested. Don’t take it out on the characters. If you hate my pairings, just write gen.

Things I love:

Hurt/Comfort – There is nothing I love more than one character comforting another. The hurt can be physical, psychological, or both.  

Happy Endings – I’m all for the realistic endings… but if they could be plausible AND at least happy-ish, that would be amazing.

Expanded Scenes/Contorting Canon – Feel free to expand scenes and change up the canon to your heart’s content as long as it makes logical sense.

Humor/Banter/Snark – I thrive on this stuff.

Bonding/Building Relationships – Whether it be a friendship or a romantic relationship, I adore reading about two people growing closer together. When characters know each other so well that they can have conversations with just their eyes or anticipate the person’s next move (especially if it’s to the surprise/confusion of everyone around them), my shipper heart is thrilled.

Dark to Light – Seeing a character come out of a bad mindset or situation and get better is so satisfying.

Happy writing and I hope you get the Yuletide gift of your dreams!

- Maddy @mustlovemustypages (on Tumblr, Ao3, and FF.net)

[aion-rsa]

Will an “Aggressively Anti-Snyder” Warner Stop the SnyderVerse?

https://ift.tt/33xFSwf

Say what you will about Zack Snyder’s Justice League, but the eponymous director’s streaming superhero redux managed to branch the DC Extended Universe movies off into its own tangential timeline, which has since been dubbed the “SnyderVerse” by the fandom that now passionately hashtags for its restoration in the studio’s main continuity. While recent revelations about Snyder’s rough relationship with Warner make said restoration unlikely, the director doesn’t entirely shut the door on such a notion.

We know that Snyder, once the driving creative force behind Warner’s DCEU, was already the odd man out with the studio by the time a personal tragedy incited him to relinquish the director’s chair of 2017 megamovie Justice League to the controversial tenure of Joss Whedon, but a recent comment from the director has stamped the idea with a powerful punctuation. While Snyder’s focus right now may be this month’s release of his new feature, Netflix-bound horror film Army of the Dead, one promotional interview in particular, with Jake Hamilton, saw him field the inevitable SnyderVerse question with an answer that’s rather inauspicious for its advocates.

“Warner Bros. has been aggressively anti-Snyder, if you will,” reveals Snyder. “Clearly, they’re not interested in my take. But I would also say that they certainly weren’t interested in—I would have said originally—in my take on Justice League. They certainly made decisions about that. I love the characters and I love the worlds and I think it’s an amazing place to make a movie and it’s glorious IP, so there’s that.”

Indeed, Snyder’s status as persona non grata with Warner was bluntly revealed, rendering the mere existence of Zack Snyder’s Justice League even more of an industry anomaly. The film, a four-hour tour-de-Snyder streaming offering that hit HBO Max back on March 18, was the culmination of nearly four years of persistent tagging of #ReleaseTheSnyderCut by fans of Snyder’s darker DCEU vision to press Warner to release the director’s pure vision of the film to contrast with the trimmed-down Whedon-directed theatrical release. Ultimately, proponents hailed the once-mythical manifestation of the Snyder Cut as a triumph—opacity of its streaming metrics notwithstanding—and their efforts have switched to a new hashtag campaign, #RestoreTheSnyderVerse, since it was revealed that Whedon’s film, not Snyder’s, was still considered Warner’s canonical version. It’s a development that obviously didn’t sit well with Snyder’s vocal fandom, which has become empowered by its achievement of essentially having willed the Snyder Cut into existence.

“I don’t know what could be done as you go forward other than, I think the fan movement is so strong, and the fan community is so—the intention is so pure, and I really have huge respect for it,” Snyder muses on the significantly narrowed chances of his return to the DCEU. “I would hope that cooler heads would prevail with them and that they would see that there’s this massive fandom that wants more of them, but who knows what they’ll do.”

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Snyder does seem to offer his fans small silver lining for some kind of reconciliation of the SnyderVerse. However, it’s important to remember that his fallout with Warner was the culmination of an initially auspicious working relationship that saw him tapped as the primary creative fulcrum for efforts to concoct a lucrative, Marvel Cinematic Universe-like franchise of shared-continuity DC Comic movies beginning with his directorial tenure on 2013’s Henry Cavill-starring Superman reboot, Man of Steel. While that film’s worldwide gross of $668 million worldwide wasn’t especially impressive against its $225 million budget when all expenses were taken into account, the studio still stuck to Snyder’s plans. Indeed, Snyder was going bring Batman into the fray, played by a big star in Ben Affleck, for a crossover-setting quasi-sequel that would become 2016’s Batman v Superman: Dawn of Justice. However, that film’s $873.6 million worldwide take wasn’t a significant improvement to its Batman-less predecessor against an upped $250 million budget.

Consequently, the backs of studio suits had effectively turned by the time Snyder got to work on follow-up Justice League. Warner’s once-accommodating approach was significantly altered, resulting in the tightening of Snyder’s creative leash, since the studio had attributed the poor performances of the previous films to the director’s bleak, iconography-imbued approach. Thusly, since Warner wanted to protect the increasingly-expanding budget it had invested, production of the ensemble-driven third film became a battle between Snyder’s movie moroseness and the studio attempted to lighten his tone by injecting comic relief moments to make it into a popcorn-friendly crowd-pleaser. Therefore, the studio habitually nixed many of the ambitious, plot-diverging concepts that would eventually surface in the Snyder Cut. Deepening the divide, DC Entertainment creative chief Geoff Johns and Warner Bros. co-production head Jon Berg were deployed to “babysit” Snyder; a dynamic that became irreparably damaged upon the death of his daughter, Autumn.

Of course, even on the back of team member Wonder Woman’s solo film success earlier that year, Whedon’s 2017 Justice League movie fatalistically flopped, having grossed $657 million worldwide, failing to make a lofty $750 million break-even mark. While Warner would likely have preferred to leave that film in the past, especially since they’d found success and acclaim in the solo movie arena with Wonder Woman and, a year later, with Aquaman, the eventual manifestation of Zack Snyder’s Justice League came about due to substantial support—notably from the film’s stars—and possibly a “in for a penny, in for a pound” mentality to salvage the $300 million-budgeted box office boondoggle in some manner. While said cinematic salvaging would cost Warner an additional $70 million to complete its visuals, the Snyder Cut certainly got people talking.   

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Consequently, one might be left to wonder if Warner—perhaps after a few more years passes in the rear-view mirror—eventually returns to the mentality that, having already invested an insane amount of money in the SnyderVerse films, that there might be something salvageable. After all, Snyder recently revealed his plan for the never-realized proper Man of Steel sequel to bring city-bottling cyborg Brainiac to the big screen for the first time. Considering how Warner’s plans for its DC live-action films and television shows (e.g. HBO Max’s Green Lantern) are broad but rudderless—especially on what’s considered canon—there remains an ever so slight chance that someone at Warner might just revisit the SnyderVerse. For now, though, such a notion is dead on arrival.

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