#I've never seen the movie and the clips I've seen don't look like a real movie to me

[dragongirltongue]

I don't think garten of banban is real actually, it's like polar express, people just made it up to prank me specifically.

[felix-lupin]

In Coraline, there’s a recurring theme with names and identity, and I personally don't think it's talked about enough. 

(As a note, this is dealing largely with the book, not the movie, although there are some hints of this theme in the movie as well)

Coraline’s neighbors constantly get her name wrong, calling her “Caroline” and not “Coraline”, to which she persistently corrects them. Despite her attempts, they never get it right, until chapter 10, in which Mr Bobo (Mr Bobinsky) finally gets it right.

"It's Coraline, Mister Bobo," said Coraline. "Not Caroline. Coraline." "Coraline," said Mr Bobo, repeating her name to himself with wonderment and respect. "Very good, Coraline."

It should be noted that, until this chapter, Coraline did not know Mr Bobo’s name either. In fact, it had never even occurred to her that he had a name. Up until then, she had just been thinking of him as “the crazy old man upstairs”, not as a person with a name. This moment, with her learning his name and him getting her name right, is a moment of genuine understanding and connection between the two, humanizing them both to each other.

Coraline’s other neighbors get her name wrong, which is representative of them not listening when she says anything, really, such as her telling Miss Spink and Forcible that her parents are missing and them literally not even acknowledging it at all??

"How are your dear mother and father?" asked Miss Spink. "Missing," said Coraline. "I haven't seen either of them since yesterday. I'm on my own. I think I've probably become a single child family." "Tell your mother that we found the Glasgow Empire press clippings we were telling her about. She seemed very interested when Miriam mentioned them to her." "She's vanished under mysterious circumstances," said Coraline, "and I believe my father has as well." "I'm afraid we'll be out all day tomorrow, Caroline lovely," said Miss Forcible. "We'll be staying with April's niece in Royal Tunbridge Wells."

Mr Bobo gets her name right after being corrected (only after being corrected alongside her using his name, mind you, showcasing her making an effort to listen to and understand him as well), which is representative of him actually making an attempt to listen and understand her. This point is further illustrated by a conversation Coraline had with the Other Mr Bobo in chapter 10.

As Coraline entered he began to talk. "Nothing's changed, little girl," he said, his voice sounding like the noise dry leaves make as they rustle across a pavement. "And what if you do everything you swore you would? What then? Nothing's changed. You'll go home. You'll be bored. You'll be ignored. No one will listen to you, not really listen to you. You're too clever and too quiet for them to understand. They don't even get your name right."

He equates those in the real world not getting Coraline’s name right with them not listening to her, and fundamentally not understanding who she is. So, somebody getting her name right, then, shows them actually listening to her, and being willing to understand who she is.

The mice in the real world know more than they should be able to know, and they also get Coraline’s name right.

"The message is this. Don't go through the door." He paused. "Does that mean anything to you?" "No," said Coraline. The old man shrugged. "They are funny, the mice. They get things wrong. They got your name wrong, you know. They kept saying Coraline. Not Caroline. Not Caroline at all."

They seem to know about the other world, somehow, on some level, and the dangers it presents. Them getting her name right represents them knowing more than they should know, more than they are told. Animals in general seem to have this type of quality in Coraline, actually.

The cat does not have a name. It says so in chapter 4, that cats do not need names. It says that this is because cats know who they are. But humans need names, because they do not.

"Please. What's your name?" Coraline asked the cat. "Look, I'm Coraline. OK?" The cat yawned softly, carefully, revealing a mouth and tongue of astounding pinkness. "Cats don't have names," it said. "No?" said Coraline. "No," said the cat. "Now, you people have names. That's because you don't know who you are. We know who we are, so we don't need names."

The cat shook its head. "No," it said. "I'm not the other anything. I'm me." It tipped its head on one side; green eyes glinted. "You people are spread all over the place. Cats, on the other hand, keep ourselves together. If you see what I mean."

This shows that, in humans, names are connected to our identities and who we are. Names are used to individualize and distinguish ourselves from each other. But cats do not need names to recognize each other, or be recognized.

"Oh. It's you," she said to the black cat. "See?" said the cat. "It wasn't so hard recognising me, was it? Even without names."

With or without names, it is still the same cat.

During the Other Miss Spink and Forcible’s performance, in chapter 4, they begin quoting Shakespeare. The specific quotes that they use are interesting to me when looked at under this lens of the importance of names, especially Miss Forcible’s.

"What's in a name?" asked Miss Forcible. "That which we call a rose by any other name would smell as sweet."

"I know not how to tell thee who I am," said Miss Spink to Miss Forcible.

Now, of course, this is just them quoting Shakespeare. But. Why these quotes specifically? They’re at the very least notable when discussing Coraline’s recurring theme of names. Especially the quote about the rose. It makes me think of what the cat said earlier, about how cats are sure of who they are so they don’t need names, about how Coraline didn’t need the cat’s name to be able to recognize it for who/what it was.

But, of course, this does not apply for humans. We need our names to be able to know ourselves, to be able to tell others who they are.

In chapter 6, Coraline wakes up and is disoriented. This disorientation is compared to the feeling one might experience upon being suddenly pulled out of a daydream. In this comparison, forgetting one’s name is equated with forgetting who one is and where one is.

Sometimes Coraline would forget who she was while she was daydreaming that she was exploring the Arctic, or the Amazon rainforest, or darkest Africa, and it was not until someone tapped her on the shoulder or said her name that Coraline would come back from a million miles away with a start, and all in the fraction of a second have to remember who she was, and what her name was, and that she was even there at all. Now there was the sun on her face, and she was Coraline Jones. Yes.

The ghost children have also forgotten their names, and with it most of who they were. In chapter 7, when Coraline is locked behind the mirror in the Other World, one of the ghost children says that names are the first things that one forgets after death.

"Who are you?" whispered Coraline. "Names, names, names," said another voice, all faraway and lost. "The names are the first thing to go, after the breath has gone, and the beating of the heart. We keep our memories longer than our names. I still keep pictures in my mind of my governess on some May morning, carrying my hoop and stick, and the morning sun behind her, and all the tulips bobbing in the breeze. But I have forgotten the name of my governess, and of the tulips too." "I don't think tulips have names," said Coraline. "They're just tulips." "Perhaps," said the voice sadly. "But I have always thought that these tulips must have had names. They were red, and orange-and-red, and red-and-orange-and-yellow, like the embers in the nursery fire of a winter's evening. I remember them."

The ghost children may have their memories, but they have largely forgotten who they were. They may remember their tulips, and certain strong memories, but there is very, very little left of them, and they have forgotten who they once were, they have forgotten their names.

"That is why we could not leave here, when we died. She kept us, and she fed on us, until now we're nothing left of ourselves, only snakeskins and spider-husks. Find our secret hearts, young mistress."

"She will take your life and all you are and all you care'st for, and she will leave you with nothing but mist and fog. She'll take your joy. And one day you'll awake and your heart and soul will have gone. A husk you'll be, a wisp you'll be, and a thing no more than a dream on waking, or a memory of something forgotten."

The Other Mother stole their hearts and their souls and their selves. She stole who they were away from them, their identities and names and the names of those they loved, leaving nothing in her wake.

The same ghost that talked about the tulips and the names of the tulips struggles to answer when Coraline asks their gender, as well, and when they do eventually give an answer they seem somewhat unsure of it, as shown by the word choice of “perhaps” and “I believe”

"A boy, perhaps, then," continued the one whose hand she was holding. "I believe I was once a boy." And it glowed a little more brightly in the darkness of the room behind the mirror.

(I personally take this quote, specifically it "glow[ing] a little more brightly" after coming to this conclusion, to mean either that the ghost is happy at realizing that he was once a boy, or even to mean that he has become somewhat more tangible upon this realization; upon remembering something about his self, and his identity.)

As an aside, it's noteworthy to me that we never learn the Other Mother’s true name. She is simply “The Other Mother” and “The Beldam.” Never is an actual name applied to her, only titles. We do not truly know who, or what, she is. Beings without names are shrouded in mystery (or should i say mist-ery). The ghost children are benevolent mysterious beings, the cat is an ambivalent-leaning-helpful mysterious being, and the other mother is a distinctly malevolent mysterious being.

"Who are you?" asked Coraline. "I'm your other mother," said the woman.

"She?" "The one who says she's your other mother," said the cat. "What is she?" asked Coraline. The cat did not answer, just padded through the pale mist beside Coraline.

But in conclusion, names in Coraline are extremely important. I’m sure there’s probably more that I'm missing, and feel free to add onto this, but basically—

People need names to know and remember who they are, and forgetting one’s name is the first step to losing the rest of who one is. Names humanize a person; with a name, they are less shrouded in mystery, more clear.

Knowing somebody's name helps one connect to and better understand that person; it is the first step in getting to know them and see them as a full person, the transition from “the crazy man upstairs” to “Mr Bobo”. Names, to people at least, are one of the fundamental building blocks of who we are.

[transsexula]

Hate seeing people say that Transandrophobia isn't real because, in their words, the "androphobia" isn't something people in real life face.

Now. Maybe this is because when I see this opinion, it's attached to someone who is either transfem, AMAB, or who has only ever lived in incredibly liberal areas.

Meaning: They do not have the life experience to speak on that.

It's simple, I can use myself as an easy example: I grew up on the west side of the US. My extended family and parents were very Christian, very conservative. The community I grew up in was in turn the same- very conservative, very Christian, very fundamentalist. Certain Disney movies were banned from the house for featuring witchcraft, or other "morally reprehensible" things. DISNEY MOVIES.

With this background, I'm sure you can tell where this was headed: I can clearly remember being in the pharmacy with my mother. I was small. I saw a lady with what I now know is a pixie cut- incredibly short hair, bright bold pink. Her girlfriend was there, and her own hair was incredibly butch- like they went to a sports clips and asked for what the guy next to them was getting. I was amazed- I'd never seen a woman that looked like that before. I voiced so with awe and wonder to my mother. I was supposed to get a haircut in an hour. "I want that! She looks so pretty and nice"

Who was visibly disgusted. Grabbing me, yanking me away, muttering "no. You don't want to look like that. Let's go."

Fast forward a few years. I'm too young to be drinking a beer, my uncle has stayed up late. We are watching music videos and sharing interests, when we see a rather masc looking woman in a video. He's disgusted. He makes an offhand joke about how she needs to be reminded of her feminine ways. I know what violations he's implying so vividly. He opens up about his fantasy of hatecriming two butch "women" he saw. I'm too afraid to speak.

There's a debate in church. Should women be allowed to wear above the knee shorts? We really didn't like that they can wear pants. Really, the pastor says in his sermon- it's the woman's job to maintain her feminine nature, in opposition to her husband's masculine nature. These blurring lines aren't good for people.

And- I don't want to get into the people I've known who've been hurt, abused, forcefully feminized, beaten for being masculine- the men that feel entitled to their bodies, because they feel entitled to a say in how they present.

The reason you don't see the abuse for being masculine, is because you come from a world where it's widely accepted in ways that not every culture, not every state or country has.

Gnc women, trans men, transmasc nonbinary people- if you're in the wrong place, born to the wrong family, you may never be safe enough to wear pants. You may not be able to cut your hair. Or be anything less than the perfect, ideal woman.

You get punished for not being what you have been assigned. For the act of defiance against others perception, you can be killed.

So, yeah. There's a lot of androphobia. There's a LOT of fear of the masculine. It just comes out in ways you aren't expecting, as someone who hasn't had to experience it. You don't know what to look for. Where to look. It's everywhere but you can be blind to it if you're insulated enough.

Hell- even terfs are falling into severe androphobia. It's their whole motto. What am I, if not a failed woman to them? Mutilating my perfect feminine form? Being a man is the ultimate crime to these people. Are you really telling me JKRs very public campaign hasn't made life hell for ALL of us? We are all losing healthcare due to this.

[animebw]

So, I've been getting almost all my hibike euphonium knowledge from osmosis from what you say. So I wanted to know how integral to the plot is that guy some people ship kumiko with (never learned his name), not only in this season, but in the previous ones too.

Because I don't think you mentioned him at all while talking about this season, other then kumiko being tired when people think they are dating, but I have seem some people say that they did end up together bc something something hair clip in the epilogue?

Also wanted to know if they dropped or dealt with the Reina crush on the teacher thing

You do seem to cherish this show a lot, so I do wanted to check it out myself, but these two things are the only things holding me back at this moment

So here's what actually happens: in the original novels, Kumiko and Shu get together at the end. Unambiguously. She confesses, he gives her the hairclip back, it's a whole big scene.

In the show, Shuichi has maybe twenty lines of dialogue across the entire final season, not a single of which has romantic implications or framing, he has a single line of dialogue in the entire final episode, and then we see Kumiko has the hairpin in the epilogue but it's not commented upon and Shuichi is never seen again.

Last week when episode 12 aired, the original author Ayano Takeda posted on Twitter that she was happy with the changes KyoAni made, and she encouraged fans to appreciate her novels and KyoAni's adaptation as equally valid interpretations of the same story. There was, however, a follow-up tweet where she further clarified that she had the final say on any changes the show made, and if Hanada or Ishihara or whoever proposed a change she wasn't fond of, it was ultimately her call whether to let it happen or not. So what this feels like to me? Is a compromise. A compromise between Takeda's original vision and KyoAni just very obviously not giving a single shit about Kumiko and Shuichi as a couple.

Now, KyoAni's been changing things in Eupho ever since the first season, and in fact, most of their shows diverge pretty heavily from the source material. And since I haven't read the original novels, I only have secondhand knowledge on what KyoAni added or took away. But what I have heard is that while all of Kumiko and Reina's subtext is still there in the novels, Shuichi has a far more visible role in Kumiko's life, with many more scenes dedicated to them as a romantic subplot. In fact, I've heard there were a few scenes in season one between Kumiko and Reina that were originally between Kumiko and Shuichi in the novels. I can't confirm if that's true or not, but frankly, it would not surprise me one bit.

Obviously, I don't know the reasoning behind the decisions KyoAni made. But looking at Hibike as a whole, it feels like they looked at this story with a pretty standard het relationship subplot and realized there was actually a far more compelling love story lurking just underneath the surface, one that Takeda herself didn't seem to realize was as special as it was. So when they turned it into an anime, they made the conscious choice to downplay Shuichi's role as much as possible and cash all their chips on centering her relationship with Reina as the real heart and soul of the story. And over the course of nine years, they supported that story as much as they could, finding every way possible to prioritize them in the narrative and frame them with the cinematic language they've deployed for so many straight couples in the past, while simultaneously refusing to give Kumiko even a single moment where she appears romantically interested in Shuichi.

And I want to stress that last point in particular: outside of that one scene in the Year 2 movie where Shuichi almost kisses her, every single interaction Kumiko's had with the idea of being in a relationship with Shuichi has been "Oh HELL no." She's constantly avoiding him in their first year, she can barely work up the effort to be civil to him while they're actually dating, and it's only after they break up that they're able to be on good terms with each other as friends. Even in this final season, there hasn't been a single moment where it's felt like either of them were considering getting back together. Shuichi's just been happy to support her, and Kumiko feels comfortable around him for the first time ever, and that's the extent of it. It's only the comments from the first years that suggest anything about a romantic subplot still ongoing between them, but none of that is reflected in any of their onscreen moments.

Like, even putting Kumirei aside, there is just no romantic tension between them anymore. Not even in a "Wow, where did that romantic moment come from? That was so forced out of nowhere!" sort of situation- the love story between them is completely nonexistent at this point. The only evidence in this entire fucking season that they start dating again is Kumiko having the hairpin in the epilogue (which, side note, hasn't been brought up all season either), which, frankly, is so open to interpretation that Bandai's shareholders are salivating in jealousy. Sure, maybe it does mean Shuichi asked her again and she accepted, but it could just as easily mean he gave it to her free of charge and accepted she didn't think of him that way. Or it could even mean he gave it to her and said something like "Once Reina finally gets turned down by Taki-sensei, make sure you give this to her, I think it'll be put to far better use that way." And frankly, that last interpretation is way more supported by the show I just watched than simply them getting back together.

The point is, KyoAni does not care about Kumiko and Shuichi getting together. It has never cared about Kumiko and Shuichi getting together. Honestly, my crack theory is the reason they sped through Kumiko's second year in a movie is to get through her Dating Shuichi arc as fast as humanly possibly. But Takeda clearly does care about them getting together, considering that's what happened in the novels. And I suspect that's one thing she decided not to budge on when they were in conversations discussing the changes KyoAni wanted to make. So to compromise, KyoAni put in the barest minimum effort to suggest things technically played out like they did in the novels- "Look, she's got his hairpin! That means they got back together!"- while refusing to spend a single solitary second on it beyond that and removing any explicit confirmation so everyone who doesn't care about them as a couple- KyoAni included- can interpret it otherwise and be fully justified in doing so.

Because from start to finish, through the entirety of this season, the love story that stood at the center of everything was Kumirei. Every last plot beat, every last thematic throughline, every last bit of swelling music and romantic framing and effort spent making you root for two people to stay together, it was always them and no one else. Even the big change they made in episode 12 where Kumiko loses the soli only further cements their story as the story of this show, with Reina's utter devastation at losing her only confirming just how special Kumiko was to her in a way not even Taki-sensei truly measures up to. I've said it in the past, but even moreso now than ever, it is impossible to look at the arc of Hibike Euphonium and not see a love story between these two girls, a story about just how fucking much they mean to each other and all the reasons their connection was something unlike anything else on this earth.

And if you choose to see it as a story of Kumiko and Shuichi getting together instead? Then you are actively fighting against what the show is communicating to you every second of every episode. You are, in fact, the delusional shipper inventing a romantic subplot where none exists. You are everything that yuri shippers are accused of being when they choose to actively engage with the text as it exists and not as you imagine it to be. Because as open-ended as the ending is, as straight as it pretends to be, it is far easier to imagine a future where Kumiko and Reina reunite as lovers than a future where she somehow falls for the guy she's never shown any interest in before. Frankly, if I was a Shuichi truther I'd feel pretty insulted by this ending! "What do you mean their entire subplot is cut out and it's only half-assedly implied in the epilogue that it totally happened offscreen? What is this bullshit?!"

This is why I chafe so strongly against the queerbaiting label. I watched three seasons of BBC Sherlock, I know full well what queerbaiting looks like. But a love story like this does not happen out of malice. It only happens because every single person involved, from animators to voice actors to directors and everyone in between, believes in it so strongly that they're willing to push as hard as they can to make it as real as physically possible within the limitations at their disposal. Kumirei is Hibike. Their story is Hibike. And if KyoAni can't convince Takeda to let them embrace it fully, well, they can at least wrestle her to a stalemate that allows that interpretation to still be possible- and, even, more plausible than the direction she initially took it down.

Adaptation is an art of making changes. It requires a text to stand on its own, fully apart from whatever source it sprang from. And KyoAni in particular has always embraced the philosophy of treating adaptation not as a one-to-one copy machine like so many of its contemporaries, but an opportunity to build something entirely new. All of its shows are, first and foremost, shows before they're translations of their source material, works of art designed to be taken as wholly complete experiences however much they resemble their inspirations or not. In Hibike! Euphonium the novel series, Kumiko and Shuichi are canon. In Hibike! Euphonium the TV show? It's flat out impossible to come to that same conclusion unless you're dead-set on believing what you want to believe, evidence be damned. And if you're so obsessed with this mid het ship that you choose to ignore the single greatest love story of all time to pretend it's more plausible, then you're simply an idiot who's opinions aren't worth engaging with.

[namedr]

What are your art inspirations?

Disclaimer: A LOT of RAMBLING

Honestly hard to answer, nowadays I don't really look at a lot of art anymore but mostly just movies.

Biggest inspiration over the years (from 2020 to 2022) would have to be Kan Liu. His painting style with mostly just the round brush and hard edges really spoke to me, especially when it came to lineart I was a massive fucking copycat lmao.

Around 2022 I also began falling in love with Sungmoo Heo. The perspectives and overall style just fucks so hard.

The most obvious inspo would have to be Seonhyeok Jeon though, who I still rip off blatantly.

In general I began taking art seriously around 2020, when I found Kan Liu, because I began training to compete in bodybuilding, which I did the next year. I began getting super interested in how the body and muscles work so I just drew those a fuck ton, and those anatomy studies ended up really helping my art skills in general.

Anyway! For animation... Hiroto Nagata and Q Kawa are big inspos.

This shit is so fucking RAW and HOLY SHIT when I look at how the perspective gets just in your face I always just think "what am I even doing man I have to PRACTICE". It's like watching a Zyzz or Ronny Coleman clip before doing a lift at the gym but for art, shit's motivational.

This cut in Ghost In the Shell as well is WOW, I think what speaks a lot to me is when an animation doesn't conform to what's standard in the medium and tries to push boundaries/be unique. Be it in this case through insane details, in the case of Mushoku Tensei through bg animation mixed with extreme foreshortening or just a crazy perspective and punchy movements in the Madoka clip.

Overall it's hard to say what else my inspirations are though. When it comes to manga and comics I can think of Batman Year One, The Climber by Shin-ichi Sakamoto, Ultra Heaven by Keichi Koike, Solo Leveling (big inspo in 2021) and Homunculus.

Also, even though everyone assumes it, I haven't played Cyberpunk 2077 or am that big a fan of the Blame! manga, I guess I just have a fairly similar artistic vision to both of those.

For animated fiction it'd be Spiderverse recently, Millennium Actress, Silent Voice and a million other anime I've forgotten the name of. Naoko Yamada's directing for Silent Voice or other anime like Hibike Euphonium and the Liz movie has always been amazing to me because she is able to express characters personalities through their body language, like they way they walk or stand, in a way I have never seen done before. Extremely recognizable and iconic style imo. A long time ago I used to be really into watching anime, but I don't care much for it anymore.

Other inspo would be this guy on twitter, his stuff is insanely cool https://twitter.com/be_myvu/status/1725069515107533178?s=46

It's like that Ralph Waldo Emerson quote - “I cannot remember the books I've read any more than the meals I have eaten; even so, they have made me.” I think throughout the years I've been so obsessed with all kinds of artists that I've taken in inspiration from everywhere. I cannot recall them all anymore, but they have made me the artist I am today.

Currently, like I said, I would consider movies to be my biggest inspiration because I find it interesting how cinematographers are able to stylize real life, which I'm trying to get closer to. If I could direct a movie, I would probably stop making art right then and there, but I'm not really working towards that goal anyway lmao. One day, being able to make a short film in animation would be something I would like to do though.

I'm not deep enough into the movie scene to get the street cred of being called an expert but I love them a lot. Fallen Angels made me fall in love with fisheye back then for example. Fight Club and The Batman have a grit to them visually that I find inspiring, and movies like Persona and Heat also come to mind when I think of movies I just love. I could look up my letterboxd for a more thorough answer but I feel I've already been writing way too long.

For video games, I guess you can imagine that I would say Signalis lmao. Besides that I can think of Subahibi (vn), Muramasa (vn), and Va-11 Hall-a for inspirations

Lastly, I guess huge inspirations are also a fuck ton of music. I mostly listen to either metal or hard techno, but I think I'll refrain from any more yapping.

I feel that this isn't really a great answer to the question, but it's the one I consider the most correct, because it's never as simple as just mentioning one artist. With a lot of these you wouldn't see a visual resemblence to my art, but in all of these I recognize a feeling that I also find in my own art.

Thank you for the question!

[prettyboysdontlookatexplosions]

medialog june 2k24

watched

wordplay - rewatched this documentary about crosswords and particularly about the annual crossword tournament put on by will shortz while waiting for the anesthesia from my wisdom tooth extraction to wear off and found it about as charming as i remembered... i love a doc about a subculture made up of endearing nerds. i first saw it when it came out and on revisit it also has some intensely 2004 vibes - in particular jon stewart shows up as one of their crossword-fans talking heads and it really brought home for me how influential he was on the development of internet tone (like to this day the reason so many people on reddit sound Like That is because they're trying to be jon stewart and failing...)

the bourne ultimatum - movie go zoom zoom! still not convinced matt damon can act

artists and models - i had never seen a dean martin/jerry lewis film before and i don't really want to again but i'm glad i saw this one (this is how i feel about the two (2) wes anderson movies i've seen, and also pulp fiction & tarantino). some great colors & costumes, a plot that goes surprisingly bonkers in a final third turn that reminds you it was the cold war (between that and all the stuff about comics & violence this one also functions as a real time capsule), and (my main reason for watching) shirley maclaine the love of my life is so adorable and funny as a daffy sweetheart in a role that really lets her (a former dancer) show off her gift for physical comedy.

the secret garden - the cast in this movie is so good, including the children in the starring roles, and while it doesn't even attempt to do anything with the book's deranged relationship with things like the british empire and the concept of disability, watching it really did bring me back to why the book has been so beloved - the fantasy at its heart is ultimately about hard humble work paying off and about friends teaching each other to be nicer, which are i think deeply appealing narratives for children in a way that people sometimes forget. it's so funny that part of what cures mary and colin of their bad personalities is meeting another unhappy rich child for the very first time!

humanist vampire seeking consenting suicidal person - this was slight but sweet, a darkly funny romcom with some style and heart. also i had never seen a french-canadian movie before i don't think and it was a fun surprise to hear them talking like "frenchfrenchfrenchfrenchRRRRfrenchfrenchRRRR." not an accent with which i have much familiarity!

jurassic park - my somewhat inexplicable, even to me, aversion to raiders of the lost ark had me avoiding action spielberg for basically my whole life but i gave this a shot thinking maybe i would appreciate it if not enjoy it and was absolutely GLUED to the screen from about five minutes in. i understand why other directors are like that about spielberg now, and also what jj abrams is trying to do all the time and failing because he doesn't understand how it actually works. this is like the most famous movie in the world basically and i've seen so many clips from it over the years and yet even waiting for them and expecting them to come i was ON THE EDGE OF MY SEAT! like WOW! truly a movie that feels like a theme park ride more than any other i've seen except maybe fury road. anyway as you statistically speaking probably already know this movie absolutely rocks, and not just for (1) laura dern and (2) jeff goldblum with his tits out.

citizen kane - spent the last weekend in june at two different marches & closed it out sunday night with a screening of the movie that made me bisexual <3 one day i'll figure out a way to articulate how this movie did what it did to me but for now i will just say that it is great and its reputation is deserved and orson welles is one of the most entertaining screen presences of all time and it looks so cool and beautiful all the way through and it is so so so so gay

interview with a vampire season 2 - my opinion on this is at this point well established lol finally some good fucking food!!!!!!!!!!!!!!!!!!!

read

megan abbott, the turnout - this & the zadie smith book are further steps in me catching up with authors i lost track of during some bad reading years! when i heard that megan abbott was coming out with a book about sisters who run a ballet school i was like LOL because that's like the peak ultimate megan abbott premise (girls and the nastiness of both feelings and bodies and ambition and hunger and an atmosphere of nightmares and filth and the insane dynamics of a tightly knit but deeply dysfunctional world, all to the nth power), and guess what as a megan abbott fan i loved it :) all the bad reviews on goodreads for this are like "why is this book so gross? why is she sexualizing the nutracker? there were scenes in this book that made me feel dirty reading them. way too much focus on the wet leotard crotches of little girls" and i was sickos dot jpg the whole time. but actually i think the reason that this wound up being my favorite abbott since dare me is that at its core it's a book about a woman with an unbelievably fucked up childhood due to her incredibly fucked up dead parents and the suspense that gives the book its tension and its form is less about what's going to happen with the plot and more about whether she is at any point going to put it together that the things that happened to her when she was young were actually bad; the further the book goes, the more deeply you understand the walls of denial and distortion around her entire life. it rules.

david j. skaal, something in the blood: the untold story of bram stoker, the man who wrote dracula - as previously mentioned, i have some real qualms with some of his dracula readings, but overall i found this an addictively pleasurable tome - 600 pages and he kept them turning the whole time. i love a biography that starts off with some background on medieval ireland, you know? skaal is a good writer with an engaging but learned style, and the book is clearly both exhaustively researched and intended for popular audiences (albeit popular audiences who have definitely read dracula, but, i mean, who else is reading 600 pages about this guy?); reading it often feels something like having a drink with a professor who knows his stuff and is NOT afraid to gossip. dracula qualms aside i may investigate some of his other books, particularly his book on dracula screen adaptations, since i'm curious about those but don't necessarily want to, like, watch most of them, lol

bonnie jo campbell, the waters - book club book that was objectively certainly not terrible and which had some things i did like or appreciate, like an 11 year old girl obsessed with math (representation matters...) but which i found just about the most boring thing i have read in my life. like i would definitely say campbell is a better writer than, say, taylor jenkins reid (to name another book club book) or whatsherface who wrote the book of fried green tomatoes which we also read las year... but i found those books much more aggravating but also easier to get through than this book, which really requires you to have some level investment in, like, the natural world of rural michigan, but mostly made me feel so glad i don't live in a small town where all the men have guns.

zadie smith, swing time - it's funny because when i started this i was spending a lot of time thinking about how maybe plot and structure have become underrated, but then this was like a very long book written in the style of someone just kind of talking at you about their life, with plot events technically happening but never feeling like the driving force of the book, and i was totally riveted, which was a good reminder that you can get away with anything if you're a genius! smith is just such a keen observer of people and how they operate, and so allergic to relying on any kind of obvious assumptions about the relationships between demographics & personality or beliefs, even as demographic realities are such a key part of the fabric of the book... i was a little worried i would be disappointed by the fact that she abandoned the modernist-leaning experimentation of NW for a more straightforward, even chatty, style, but "you can get away with it if you're a genius" applies to that too. this book is also an absolute masterclass in the universal through the specific - i cannot emphasize how much literally not one thing the protagonist experiences has ever happened to me, how much our lives and backgrounds and personalities overlap not at all, and yet constantly i found myself aching with resonance over things like "it's so true that's what it's like when you have a mom" or "that really is what it feels like when you are young and sort of smart but also sort of stupid" (which if i were to define it briefly is i think more or less what the book is about).

listened

charli xcx, brat - i remain after all these years a true romance truther and continue unfairly to measure all her subsequent work, much of which is frankly too sophisticated and experimental for my listening taste even if i recognize she's Doing Something, but this album sounds great and has some bops. as a straight-through listen it was too rich for my blood, but i find myself enjoying the songs on shuffle mixed in with whatever else i've been into more than i would have expected from that first exposure, and also 360 has been stuck in my head more waking hours than not for like a month and a half now and i'm still not sick of it (although i think my favorite song on the album is 365, and not just because i think it's really funny that she ended the album with "the opening track coming out of the bathroom after doing cocaine"). plus as someone who HAS been listening to charli since whenever the video for "you're the one" dropped it is nice to see The Culture finally rally around her even if i remain a little puzzled over why now, the all-star remixes getting rolled out have been pretty delightful (LORDE!!!!!!!!), and it's nice to have the zeitgeist coalesce for a moment over something i too think is fun (especially since the other thing gay people love this summer is chappell roan on whom i have yet to be converted sorry to everyone i'm sincerely glad you're having a good time)

[animentality]

As someone who recently had a family member start The Boys, and this was after my mom said she started it and then quit because she thought it was dumb, I'd like to thank you for breaking it down in a much more eloquent way than I ever could. I've just been sitting here bitching

I was tempted to make this anon so you wouldn't have to deal with nothing but cowards who can't say their opinion with their chest, but then I thought 'nah, let's give them another target if they're so dead set on defending something'

Aw.

That's the nicest consideration I've ever received on Tumblr, but don't you worry.

I'm a hater at heart, I know how to deal with other haters, they're my people.

Glad that you agree though.

I was just sitting there after seeing an annoying TikTok about how deep The Boys was...

And like, listen I haven't seen the entire thing.

hilariously I forgot to mention.

it's not like I watched a single episode or anything.

I watched 4.

I watched half of the first season.

but as far as I could see, and from the discourse and clips I've seen, it's just so dependent on other media to succeed and to me, that's not good world building.

like the actors might be amazing, and the story passable, but the idea of super hero sponsorships and corporatism by itself is not an entirely unexplored genre.

it doesn't stand alone when you have to know the Justice League and marvel movies to understand the dark jokes they're making.

also the way it presents its violence and its sex, is just pushing boundaries for the sake of it.

it's also such a grim story that takes itself so seriously- but super heroes have never been that serious.

you being grimdark is like a 13 year old emo kid who hates the establishment just because he's 13 and hormonal, disregarding the fact that he's a middle class white boy who benefits the most from the establishment.

what are they satirizing and taking a serious look at?

people say super heroes... but since when have super heroes been some kind of important social phenomenon?

they're escapism and wish fulfillment, but they're also just pure entertainment.

they're not fucking real.

so is the boys criticizing something deeper? corporations? capitalism? corruption?

but most people only really care about how it "humanizes" heroes...

by making them sex offenders and murderers and psychopaths.

how "human."

so you have no meaningful social commentary and you have no meaningful characters for us to root for.

you think you're making something deep, but it's shallow and malicious, it's jabbing at other people's fictional tastes, and inviting you to laugh too.

but it's a joke itself.

and it doesn't realize that it is.

South Park ass show.

so "self aware" without having the self awareness to see that its as shallow as the stories it condemns.

[rottenbrainstuff]

IWTV Season 1 finale - fuck all y'all bitches, we're going to Havana

Mostly, this was great, mostly. There have been little things here and there through the whole season that strike me as very underdeveloped, and I mean really it's only noticeable because I am enjoying the rest of it SO MUCH, that these little things stick out, to me. For instance, Antoinette, barely a character at all, exists to be a minor plot point then disappears. Also for instance, I had a really hard time believing this kind of party would be exciting for Louis, and I wish we could have seen him being more reluctant, perhaps being persuaded by having people he wanted revenge on in attendance, or something. I was deeply unimpressed by the filming of the cutting of the throat - I've never seen a throat cut on tv or a movie that looked good and not silly. It's always better if there's some part left up to the imagination. A la Braveheart perhaps. Or I was thinking, perhaps if the scene was shot from the back, instead of head-on. I don't know.

Little niggles aside it's still great fun. I adored the costumes. The baby had me fooled - 100% I thought it was real, 100%, was extremely not down with that for a second, then I had to pause the show and laugh for a bit.

Armand reveal was great of course - I desperately wish I hadn't spoiled that for myself before going in, because that would have been such a fucking mic drop moment, and Armand was always my favourite character of all from the books. But, seeing so many clips of Armand on tumblr was what got me to try out the show in the first place, and without being spoiled it’s likely I never would have bothered, so, I don’t know. I wish I could have had that surprise but I understand why I couldn’t.

Now I can get into season two, where things start to get really fun.

[mad3lyncline]

𝑫𝑨𝑵𝑵𝒀 𝑮𝑶𝑵𝒁𝑨𝑳𝑬𝒁 𝑺𝑬𝑵𝑻𝑬𝑵𝑪𝑬 𝑺𝑻𝑨𝑹𝑻𝑬𝑹𝑺 – 𝑷𝑨𝑹𝑻 𝑭𝑶𝑼𝑹 . still more starters taken from danny gonzalez youtube videos . adjust pronouns as necessary !

i just wanted it to sound like he was in trouble .

this guy makes business sound so easy .

it was probably more , he's just being modest .

this guy does it for the passion .

you could have done all of this without leaving your bed .

might i suggest an empty room with a folding chair ?

my passion is tiktok dances and lip sync videos .

mine should look like that ? should ?

this whole operation is not so much a career as it is a crime .

i think the weirdest example of this has got to be jason derulo .

this looks like i'm scrolling on tiktok while facetiming jason derulo .

let's go , that's a zinger baby ! add another zinger to the zinger counter .

well that sounds to me like it would make some pretty good content .

i don't know if you know this , but rainbows actually have colors . . . like a lot of them .

i've never seen this movie , and quite frankly i have very little desire to . . .

that's so funny i forgot to laugh .

we have to risk untold amounts of human life to make this happen .

it's for people who watch the travel channel . . . which i don't think is kids .

i've watched a lot of clips of it on youtube .

this show needs subtitles like 100% of the time .

make sure you pick the longest needle you've ever seen .

okay , i'm gonna imagine my hands are magnets .

it's probably gonna take a little longer than the twenty minutes i had allotted to figure it out .

i think someone probably convinced her that this is telekinesis .

anyway , i was gonna give up on this entirely .

they rebranded telekinesis to sound even more insane .

sometimes i have trouble getting the foil to move , but that's just 'cause i care too much . it freaks the foil out .

oh my god , he and [ name ] are sharing a field ?

that's the most romantic thing i've ever heard , dude .

psychokinesis is real , it just sucks .

there's a school in england where children are learning to see while blindfolded .

why would she need to come closer if he's just like , perceiving it with his mind ?

so i'm like 90% sure this is what's going on here ; in fact i'm 95% sure . in fact , i'm 100% sure .

i don't know if the kids have just been sworn to secrecy ?

[eldritch-spouse]

Thoughts on Jeepers Creepers from his movies. This isn't really a smash or pass ask (feel free to answer that though), just general thoughts on the monster. Personally as a kid watching the second movie scared me to high hell. I hated driving at night for a real long time.

I just really like that movie on general. The hers scene is the best. More horror movies need a scene like that.

Overall its not exactly underrated moreso overlooked. But I love him both his biology general sadism are wonderful.

Ahhh, I can't really offer much of an answer? I don't know all that much about Jeepers Creepers, but there's a surprising amount of lore behind his origins? Quite weird. I've never seen any of the movies but I have watched tons of clips of the character itself.

Visually, I love it when he peels his face open, I think he looks very pretty that way. The problem comes when he closes it again and it just kind of looks... Eh.

Aside from his general appearance, I can't say I'm very interested in him, nor do I have much on my mind.

[ordinaryschmuck]

From how people talk about it and the clips I've seen, it sounds like Wolverine and Deadpool did what Doctor Strange and the Multiverse of Madness tried and failed to do with its cameos.

Oh, ABSOLUTELY. The Illuminati are basically canon fodder that don't really do much for the plot other than get killed in cool, gruesome ways and make the nerds go "Ooh, look! Characters and lore that I know!" You could honestly write them out and little will change to the plot.

With the outcasts that Deadpool and Wolverine run into, I guess you could say the same thing but you'd be missing a thematic element that this movie's at least TRYING to convey. This whole movie is a send off to the Fox/Early era of Marvel movies, using characters who never got a real ending or their time in the sun unlike Fox's X-Men universe. It's why Gambit said he feels as though he was born in the Void. It references the fact that his movie was in development hell for years before getting killed out back in the alley like the film was Daredevil's dad and Fox was the Kingpin. Here, it's at least giving these characters and actors one last hoorah before the MCU inevitably replaces them with their own new, good movies.

I heard one reviewer said, "It's fan service for all twelve fans of these movies," and while it's true that those weren't the BEST Marvel films I'd say that's a cynical way to look at things. It's acknowledging Marvel's past in film-making, honoring what came before in a way that feels...right.

...Except for the Human Torch. That was just a fakeout cameo that was used exclusively for a punchline. And while I would LOVE if Johnny Storm had a chance to actually DO something in this movie other than spout exposition and get popped like a nightmarish blood balloon, it...it IS pretty funny, I can't lie.

[bobburgerenthusiast]

Season 1 Episode 1: Human Flesh

I've seen this episode so many times and it never gets old. I don't remember how I felt watching it the first time, but I always enjoy it as if I am looking back at old home movies. The nostalgia I get from the opening credits music to the animation is so amazing. Every time I see a clip of this ep I have to rewatch it it's just so funny. This pilot episode has got to be one of my top 5 as far as pilots go.

P.F.E.T.A

Rat's All Folks! Exterminators

Not even a minute in and we have the infamous "my crotch is itchy :-/" scene from BB. Already in under five minutes the show manages to capture how goofy and close this family is. I also really miss the face zoom ins with the background music to go with it lmao.

First and only time I can recall Bob calling Linda baby and its so cute.

Burger of the day: "New bacon-ings" comes with bacon?

NO.

The Ch*ld Mol*ster comes with candy?

YEA

MY FIRST TIME NOTICING LOUISE THRUSTING IN THE AIR WHEN SHE TELLS HUGO BOB N LINDA ARE IN THE BASEMENT GRINDING THE MEAT 😭😭😭

ah yes the autism toothpick scene. Took over tiktok for a bit and people complained saying "tHe OtHeR sEaSoNs ArEn'T aS gOoD" just cause they're different doesn't mean it isn't good OKAY!

Gene looks so cute in his little burger fit. 🫶🏼 I love the way Mort yanks Gene into the building after delivering his food. Then he deliver's that dead body with a bow to the restaurant's front door.

When Bob goes out to confront Hugo and Ron in their van then grabs Hugo is so funny. That's one thing I wish was a bit more consistent, I love when Bob has his deranged moments lol. But I get it he's a tired old man! Helping Hugo get out of the spot is too real. I don't know how to parallel park. I barely know how to drive. Took me three tries to pass my driver's test. I fell victim to the California roll 😔🤚. Every time I'm driving someone around I always make them park for me so I get it.

Bob talking to himself into the reflection of the window is so fucking funny. My favorite scene in the episode.

Overall I give this episode a 8.5/10. I do wanna establish now that my favorite types of episodes are the emotional ones that make me feel like I swallowed the sun. These funny ones are a close second though. This episode perfectly sets up the wholesome but crackhead family dynamic shown throughout the rest of the show and really gets your attention. One of the reasons I find it so hard to start new shows is because it starts out so SLOW but this is a cute lil episode that has too many iconic moments to just have it as background noise. Seeing Bob and Linda on the ferris wheel makes me so excited to start a family and grow old w my man 🥹 they are such couple goals AND parent goals.

[jughead-is-canonically-aroace]

omg thank u for introducing me to the term kuleshov effect, that is my favorite aspect of fan edits it makes me go insane

it's so fucking cool, i was actually gonna make a video essay for a final project (before i realized that i don't know how to use a video editor + other problems befouled me) comparing two movies illustrating the connections and the contrasts i was making using the kuleshov effect, which would have pretty much just straightup been an amv using songs from one of the movies.

it's part of why a good gifset is one of my favorite kinds of fandom meta - clips from x episode paired with clips from y later episode, etc - like !!!!! you're making a connection and holding it up for me to look at directly so i can then make that connection myself purely through the juxtaposition!!!!!!!! that's so cool!!!!!!!!

like, look at this

you see what i'm saying??? the meaning comes from the interraction of the paired gifs/lines

or this one

which does like, angle or lighting comparison in addition to the contrast in emotion - shot comparison! match shots! et cetera!

like, the meaning here isn't coming from the caption, i don't see that until later, it's coming from seeing these visuals & dialogue juxtaposed and interpreting something from the decision to pair them. that's video essay

but like to get back to videos and amvs and the kuleshov effect and soviet montage in general - look at this supernatural amv. i've never seen supernatural but this is one of my favorite songs by the mountain goats, and there are lines in it that were put in a completely new perspective for me by watching this amv and seeing what shots the editor put under which lines

soviet montage is a style that developed pretty much in direct response to western/hollywood continuity editing, and specifically in response to the film birth of a nation, which was interesting to the soviet filmmakers in the way that they saw the style of filmmaking aided the film in selling the story of the KKK to the american audience

continuity editing stylistically wants to be noticed as little as possible, and guide you along the viewing of the movie, blurring the lines between your reality and the reality of the film (the idea of the suspension of disbelief) through things that mimic the real life experience of moving throug the world - shot-to-shot things like showing the exterior of the building and then the interior, keeping the camera within the same 180 degrees in a single scene so the people you're filming aren't suddenly on different sides of the camera (the viewer); and scene-to-scene things like having events occur chronologically (and if not, having a clear indication of flashback or flash forward as per filmmaking convention)

the soviet filmmakers saw this as like, some capitalist propaganda bullshit because it encouraged you to take in these ideas without necessarily thinking or critically examining them, and so it was very easy to make the KKK the heroes by just building a triumphant narrative around them, and how that narrative is shown to the viewer depends on how it's edited

and so montage editing, which is rising out of the same school of filmmaking as the kuleshov effect, is in direct response to that, to try and find a style of editing that makes the viewer pay attention to the techniques and to the fact that they're watching a film, keeps their brain engaged, and has them draw their own conclusions from what they're shown rather than being gently handed the conclusions by the film. so it's a style that is built on inviting thought and critique, and therefore a pretty natural style for expressing audiovisual critique and analysis

(amvs also have their roots in this style bc soviet filmmakers were often working with recutting american films rather than filming their own due to lack of funds for purchasing film. which is pretty cool)

if you wanna check out a cool classic example of soviet montage editing, vertov's man with a movie camera (1hr) is really fun, kind of a "day in the life" but also a display of different effects you can get by using a film camera in different ways, bit of stop motion, etc

(vertov is also a really interesting, he coined the idea of kino-eye, which is about the way that the camera looks at the world and how that's different from how a human eye looks at the world, and also, the way the world reacts or changes in response to being looked at by the camera. which is Pretty Relevant Right Now I'd Say! glares at tiktok. glares at surveilence state. anyway you might wanna check that out too it's a bit tangental to the topic but still relevant in terms of the idea of film as unique medium which can be used to express ideas differently than the written word)

[sherlockianscholar]

part 1 (1985-1990): the saga of jeremy brett through the scuttlebutt archives

go here for part two!

since 1971, sherlockian and baker st irregular, peter blau has published a small "gossip" sheet for all sherlock holmes news under publication of the "scuttlebutt from the spermaceti press." after the advent of computers, peter started digitizing all his sheets from 1985 onward.

i went through blau's archives to look for any tidbits on jeremy brett. what i found tells jeremy's saga as granada's sherlock holmes. some of the entries are very straightforward. some of them require reading through the lines. some of them are just fun background bits of granada. but all of them paint jeremy's story through little snippets of news.

March 1985: granada premieres in america! vincent price quoted edgar w. smith, one of the foremost sherlockians in history :)

July 1985: the beginning of the closing chapter of his life

for some reason these are the only pictures i can find of joan and jeremy together, but they are absolutely adorable

August 1985 #1

August 1985 #2: jeremy's flightiness around the role trickles to the press. though he'll never say why.

"'and then i hang my pipes up,'" he said with a smile." his feelings regarding holmes were dangerous before joan's death and only got worse.

to quote producer june wyndham-davies, "when his depression was upon him, and he suffered from depression of the worst kind, he was a different person entirely. i've never known anyone whose personality could change so much. he would become aggressive and not want to continue. i had so many conversations with jeremy about not wanting to continue as sherlock holmes. he felt that sherlock holmes had turned him into a monster. jeremy brett was like that before he ever came to sherlock holmes, but it wasn't his fault and it certainly wasn't sherlock holmes fault."

December 1987: i didn't know he commissioned the play, the secret of sherlock holmes! and helped write it!!

February 1988: damn, that's audacious

May 1988: i can only imagine how much more would've been created and executed if jeremy hadn't gotten sick

okay but, the dog in the hound of the baskervilles is named khan. the movie is literally the wrath of khan.

June 1988: i can't pinpoint the timeline for when jeremy's mental illness became public knowledge and published by the media. however, from this short news clipping, it doesn't seem like they knew the real reason jeremy's hair was cut short. and almost certainly not that he chopped it off himself.

"jeremy just got into one of his manic states—you know, i hate sherlock holmes etc., and one day he cut his hair. in front of the mirror, he lopped bits off. i remember the first time I saw him after he had done it. we were both appearing in an 80th birthday tribute to sir laurence olivier at the national. he turned up at the theatre and i said, 'god, what have you done to your hair?' it was patently obvious it had not been cut by a barber—there were bits sticking up all over." -edward hardwicke

July 1988: the age of jeremy brett! forget the victorian era, this is the jeremerian? brettian? era

October 1988 #1

October 1988 #2: jeremy's insecurities shine through more. high praise for daniel day-lewis. "don't worry you haven't heard or seen the last of him!" congrats to jeremy for introducing lewis to america LOL. yay for play success! (also what does he mean by saying the private life of sherlock holmes is a "damaged film?" robert stephens was one of jeremy's life long best friends--stephens died exactly 2 months after jeremy. coincidentally, jeremy's ex-boyfriend, paul shenar, died exactly one month after jeremy.)

October 1988 #3: L O L

November 1988 #1: jeremy's opinion matters!

November 1988 #2: in my opinion, "bending the willow" is the most important part of jeremy's interpretation of holmes

August 1989: michael cox (the cornerstone of creating and shaping the first half of granada's run) begins to make his (very forced) exit. jeremy's physical health problems are becoming apparent, but they are brushed away by the actor, attributing his breathing issues and weight gain to heavy smoking. and once again, jeremy tries to cast off holmes, without revealing his true reasons.

according to granada's page on the arthur conan doyle encyclopedia, this is what was really happening:

"the performances were probably cathartic for him, but required excessive physical effort from a man with a worsening heart condition who, due to the enormous water retention caused by the lithium, found it difficult to breathe and move. he was forced to leave the theatre and go to hospital, where he stayed for a fortnight and had more than twelve litres of water removed from his body. by 1989 brett and hardwicke, who had supported him with boundless patience, were on their knees. brett took a short holiday but had to be rushed home and hospitalized: the treatments for his bipolar disorder and his heart condition had clashed."

i strongly recommend reading edward's later comments of his difficulties with jeremy during the show: link here

October 1989: two months later, jeremy has yet again changed his mind on continuing as sherlock holmes

November 1989: philip purser how d a r e you say that about my beloved watson. of course, it's from the daily mail, so his opinion doesn't matter.

December 1989: granada undergoes major changes. the conservative government was actively attacking the british media and coming after their budgets. after ousting all of the original leaders of granada's sherlock holmes, the new priorites were based off of ratings and profitability. "you must always remember that your business is to form the market as well as to supply it, [otherwise] your career will have succeeded only in restraining the arts, tarnishing the virtues, and throwing confusion into the manners of your contemporaries." -a granada staffer to the new leaders of the show

January 1990: jeremy finally feels stable in the role, but i think without that dance with "the dark side of the moon" he felt like he lost a key element in his portrayal of holmes. even though he had always been terrified of that instabiity.

end of part 1, so here's part two!

[bruinhilda]

So, with all the talk about Steamboat Willie becoming public domain, I realized a couple of things.

First, that I'd never actually seen Steamboat Willie. Never saw it as a kid, never got around to looking it up even after all the copyright talk started again. (I have recently watched it. Didn't think it was bad or meh or anything, but I just don't seem to "connect" with it.)

And after some thought...I don't think I've seen ANY Mickey Mouse short in my life. Ever. I can't recall ever seeing them on TV. I remember seeing some Donald Duck, and maybe one or two Goofy shorts...but not Mickey Mouse. In fact, I don't think I actually saw Mickey in anything other than clips or bumpers until Fantasia was re-released in theaters in the 1980s.

Loony Tunes and Tom & Jerry? I would be shocked to find one I haven't seen many many times. That was a good portion of my childhood. But the Disney stuff? It's more that I was aware of it existing, without having seen a lot of it.

That might be because Loony Tunes was everywhere, on multiple channels all the time...and Disney had a single one-hour program once a week where they mostly showed boring live-action programs I'd turn off five minutes in. Later on they were on cable. Premium cable that of course my family was not going to pay for, we're broke as shit, count yourself lucky you got to see basic cable for 5 months before we cancelled it and got the giant antenna you have to stand outside and turn around every time you change the channel.

The movies were also rarely shown on TV. Certainly not the "good" movies...those were kept in the Vault and would only be re-released to theaters for a couple of weeks every 12 years. Your elders will talk about how amazing they are, so prepare to be underwhelmed by most of them when you finally have a chance to see it for yourself.

I don't think I was impressed by a Disney movie until I saw Fantasia, and I wasn't absolutely wowed by one until Lion King. Everything else was just...kinda there. Snow White is back in theaters, it's an event, we're gonna go see it. And I'm going to forget half of it 5 minutes after leaving the theater, because it's just not speaking to me.

I don't know why most of the Disney stuff just doesn't connect with me the way a lot of other animation does. I don't see them as bad or anything. They just...don't move me, for the most part. There's a handful I love. There's a bunch that I find just...okay. Not going to complain that it's playing in the background, might watch some of it...might just wander off.

And the rest, like Mickey Mouse...I've never actually seen. I have no real plans to see. Sometimes I think about looking up this or that...but have no real motivation. I'm sure a lot of it is good. I'm probably missing a few gems that WOULD connect with me the way I'd want.

It's kind of making me once again feel out of step with the rest of the world. People gushing about this or that pop culture thing...and when I admit lack of exposure to it, they're not just surprised, they're AGHAST. Sorry. I'm sure Mickey Mouse is fine and funny. I just haven't seen that for myself yet, and these days I don't have the spoons necessary to correct that situation.

[brainrotallthewaydown1312]

my friend just got me into Ted lasso earlier this month. slightly before 3×10 came out. it's already one of my favorite shows, which took me by surprise. the only sports shows I've ever liked before have been anime. technically i am half way through season 2 but I'm online so ive seen a lot of spoilers. including how they just handled the ot3 in the finale. and i have a couple thoughts.

before we started the first episode, one of my friends selling points was "there is an ot3 that might actually have a shot at going canon by the end and the end is soon" and before seeing any of it my answer was "you already sold me but don't get your hopes up. it's still made by two massive studios and studios are pussies. and then i watched the first episode and she showed me some clips of Roy and Jamie later in the series and some actor interview clips to explain the ot3 better and i said "I'll tell you exactly what is going to happen. they are going to pull a korrasami. it looks like the writers are writing towards it and the actors and everyone wants it to go that way, but they are at best going to get an episode close to the end where their 'friendship' develops with a few hints and then at the very end of the last episode they will throw an ambiguous bone that could go either way. because that is as far as those studios will allow" and i was exactly right. exactly fucking right.

and I'm happy we got as much as we did with them. it feels like the type of representation you get from a Hollywood movie in the 50s. subtextual but easily readable with a trained eye. and it feels natural for their development. even with the backslide of the fistfight. because real growth isn't linear and theirs has never been either. this feels like a very natural place for them to end and it feels like they are at the start of something that they as characters don't quite understand yet.

but there is a part of me that is still disappointed. the same way part of me was disappointed when i finished leverage and got korrasami'd by that ot3. it's always left ambiguous with polyamory. it's either an ambiguous ending that will go under the studios radar or it's basically a porn from the start (not that there is anything wrong with that side of it either, i just want more variety) Dani got to have 2 girlfriends. and they looked happy. and they were there for a few seconds and they were gone. and we don't know them. Roy and Jamie and Keeley have been at the center of the show since the start and they have been growing towards it the whole time. they deserve something more than being happy together at a celebration. something concrete. something that acknowledges where they are with each other properly.

I'm elated that we weren't told no. I'm elated that Keeley didn't let them make her choose. I'm elated that they looked happy in the end. that they were close. that something that would have been several episodes of drama in season 1 was solved with "fuck we're stupid".

but I'm devastated that it's happened again. that the comfort of the cishet target audience was valued over the narrative value of their growth together. that it's entirely my decision what the ending means yet again. that even in a show that has been bold with it's queer representation, polyamory with actual narrative strength and value is a step too far. that i fell into the same trap I've been falling into since i was a little kid watching avatar. that i saw it coming and was still hit with the full force of it. and I'm so tired.

but i can't wait to get properly caught up. i know it will be a gut punch, but i still love every second with these three. and with everyone else. this show has taken me by surprise in so many ways