#The Innovators Show

[waltricia]

Regardless of whether anyone actually reads this, I need to show appreciation for the writing, blocking, and editing of the last scene of 3x03, “Forces of Nature.”

Recently, I noticed that the LW line “this author is captivated” was very specifically placed over a shot of Colin and I knew it was intentionally done to convey the double meaning of the narration being about her and him.

Since then, I’ve realized that the same thing is happening throughout that entire LW narration. And it is fucking BRILLIANT.

So, first of all, this is the transcript of the narration:

“This author believes that all of man’s greatest inventions are nothing more than a distraction from what is most natural to us. Our instincts. The innate animal impulse that is inside even the most sophisticated of us. For when all is said and done, our nature will always win out. It seems Lord Debling’s instinct has led this man of nature to the most surprising pick of the season in Miss Penelope Featherington. Suffice it to say, this author is captivated. For in the battle between man and nature, it is quite clear that the battle is in fact between man and himself.”

Now I’m going to break it down with captioned stills so that you can see which words line up with which frames and I’ll explain what I believe it all means.

“This author” - When it’s first said, it’s on Pen. The second time it’s on Colin. I think there are several meanings here. Firstly, she’s Whistledown and she’s published. He will be, assuming he publishes his travel journals or whatever. Secondly, I think it highlights how they will be united, in the Whistledown storyline along with everything else. There’s a third meaning, but I’m going to get back to it later, once we get to the second use of “this author.”

This is the Innovations Ball, so on the surface, LW is speaking about man-made technology versus the natural world. But with the introduction of “man,” the shot immediately cuts to Colin, so the second layer of the narration is about him. All of Colin’s invented personality traits are a cover, hiding his true self- his sensitivity and his feelings for Pen. Obviously, this echoes what she wrote about him in 3x01, but it’s different. The context is the same, but this time, she’s not speaking directly about him, and really, she may very well not be thinking about him at all in writing it. After all, she still doesn’t know about his feelings for her. But we know. And the feeling of what she’s saying this time is less jarring; more, fittingly, natural. Because he’s starting to confront all of it as well.

In this shot, Colin has been walking across the room to get to Pen. There were people on his right, obstructing his view of her, but as LW says “natural,” Colin passes those people and, though we cannot yet see Pen, we can tell from Colin’s face that he finally clearly can. She is what is most natural to him.

He comes up to her and says that he has a question for her. The narration starts again. But on this shot, it’s only the one word, “our.” Aside from this just being romantic, I think it highlights that the narration is about both of them. But I also think that it’s not just about them. It feels to me as if, metaphorically, it’s written by both of them. Hence, my emphasis on the importance of “this author.”

We cut to our first close-up of Colin in this particular intimate sequence of close-ups. And we’re really in his perspective now, as he’s struggling to manage his feelings.

Again, he had been masking, trying to be like the other “sophisticated” gentlemen.

But a shift is occurring within him.

And this where I really hope there is at least one other person out there paying attention because all of the elements are coming together to tell us something incredible here. We have our beloved Julie Andrews delivering the line with a profound heaviness. We have Kris Bowers’ “Call Me Simon” coming to a close, sounding like a clock striking midnight. And we have the decisive sentiment of the words themselves. I'm convinced that the words “done” and “win out” being said on Pen speak to the finality of Colin’s feelings. If there was uncertainty before, it is gone now and there is no turning back. He is in love with Pen.

But before Colin can say anything else, Debling steps in and takes Pen away to dance.

Side note: Amazingly, I can back up my theory with this shot and another one of my theories:

I had said, when the trailer came out, that when true red shows up behind Colin, that indicates his love for Pen. This is the first time we see that happen.

But anyway, back to Whistledown…

Debling is the literal “man of nature,” while Colin is the metaphoric “man of nature.” Both have picked Pen.

We’ve finally come to the second “this author” and here’s the third thing I wanted to say about it: Possibly my favorite thing about this sequence, is that it acts as a vehicle for the representation of the Polin role reversal. From one end of the Whistledown narration to the other, Pen and Colin literally and metaphorically switch places, seamlessly. They exchange their physical places in the room. She’s the wallflower, then he’s the wallflower. She’s the author, then he’s the author. In a metaphorical sense, they’re both writing this Whistledown piece. This whole sequence serves to show us how Colin and Pen have really been equal this whole time. They’re just star-crossed. It’s like what Luke has been saying in interviews, Colin and Pen keep missing each other. They have brief moments where they eclipse each other and then they slip right past until the next time they orbit around to each other again.

Ok, here’s the final stretch, and it is a fucking fascinating maneuver:

The battle isn’t between Colin and Debling. In fact, Debling doesn’t signify at all here. I’d say there are actually three other battles being referenced: Colin and himself, Pen and herself, and Colin and Pen. The first “man” of that sentence is said on Colin, while “nature” is said on Pen. So in the battle between Colin and Pen- for there is a battle, as Cressida will mention in 3x04 when she says “Eros and Psyche, battling it out”, and also there will be more blatant battling in part 2- the real battles Colin and Pen are facing are the ones within themselves.

Of course I’ve already written about Colin’s battle with himself.

The reference to Pen’s battle with herself is particularly interesting to me. At first, I didn’t see it and I didn’t understand why that bit of the narration was spoken over the Pen and Debling dance instead of over Colin. Then I realized that the second “man” of that sentence is said directly on top of this shot where, again, it’s not about Debling; it’s her face we’re seeing. Then, Debling spins her and the “himself” is on Pen too. And I know I’m right about this because the shot was in the trailer and I watched it so many times. And I noticed that Sam Phillips is very specifically looking away from the camera in this moment. I figured it was because we had to know that the moment was about her. And I was right.

Pen’s journey is her reconciliation with herself. Colin and Pen really have the same inner battles. They both need to drop their masks. That’s why the mirror scene is going to be so important- it’s about exposing and embracing the bare parts of both of them. They are already equal and united. They just need to see it.

Ok that’s it. I’m done. I got it out. And I literally can’t add any more images to this post. To anyone who will have read this fuckin novel I just wrote, thanks for sticking around. These ballroom sequences are particularly difficult for the cast and crew to do, and there is obviously so much complexity in this one, so I feel like it should all be acknowledged. Someone has to acknowledge it, and if that has to be me, I will gladly continue using up my Friday afternoons to do so.

To the cast and crew, to the captain of the season 3 ship, Jess Brownell, to the director, Andrew Ahn, and writer, Eli Wilson Pelton, to everyone’s favorite choreographer/movement director, Jack Murphy, to Luke, Nic, and Julie fuckin Andrews, I see you and I love you. Please keep doing what you’re doing. It’s all worth it. ♥️

[badgopher]

I get that standard time is probably the correct option, but this blogger is a slut for daylight saving time and is already sad about 4-something PM sunsets.

Trying to decide which lamp in my apartment might accidentally break so I can replace it with this dinosaur one from Target.

Wait, is it raining???? It's raining??!?!!

I look at my shoes after 8 weeks and I'm like, eh, they're fine but I go ahead and order a new pair per the recurring calendar event that past James set up after figuring out why his feet were full of angry bees, and then I put the new pair on and every time I'm like oh, yeah.

The seasonal candle I like was on the shelf at Target this afternoon so I grabbed one, and when I got home I popped the lid off to smell it as I was putting it away and... nothing. So I stuck my nose in the candle I have out and nothing. So that's a fun thing.

Maisie Peters is opening for Kelsea Ballerini and they're coming to San Diego in March and I got a ticket and that made me happy.

[jewfrogs]

i never understand why people are so dramatic and insistent about wanting companions to be ‘ordinary people’ when that is already the majority of new who companions. ‘please let ruby sunday just be normal’ the last companion who was anything other than ‘normal’ was nardole in 2017 (if ‘not normal’ means ‘not from 21st century earth’) or clara in 2015 (if ‘not normal’ means ‘has complicated plotlines’?). every companion who ended up extraordinary started out as an ordinary person in 21st century earth. if ruby’s birth parents weren’t ordinary people she would be the only companion in the past two decades of this show where that was true. which personally would be a fucking breath of fresh air

[bumblingbabooshka]

It's impossible to write a TOS x Any other Series crossover [for me] without having to think about whose lens it's going to primarily be from because the vibe of TOS is so distinct and I think quite different from all series that follow it. The way the characters speak and are presented is so theatrical and of course steeped in the past that I find myself considering if this is, say, Janeway meeting Kirk (through a VOY perspective) or if I should write Janeway as she would appear if she stepped through a portal and was in TOS' universe.

[lunacygansita]

i guess 2023 is the year animation dies. christ.

[dreamaboutwhathappens]

it’s interesting to see how taylor has always imagined her ideal partner as being courageous (“headfirst fearless,” “this love is brave and wild,” “you walked in wearing a football helmet and said okay let’s talk,” “don’t blame me love made me crazy if it doesn’t you ain’t doing it right,” “standing broad-shouldered next to her was a love that was really something….”) and how i think at first she thought that joe simply being willing to be with her felt courageous but then as she grew she realized that it wasn’t enough of that feeling because he wasn’t always standing broad-shouldered next to her, only when it was convenient for him. and that’s not fearless. that’s just doing what’s easiest

[divinekangaroo]

One thing I adore about PB is Tommy's approach towards modernity. Straddling the non-industrial past and the industrial/modern present; constantly positioning himself on the cutting edge, if not quite bleeding edge, of period/era technology. Cars, manufacturing, shipping, phones, typewriters. Medicine, psychology, and even bringing in incredibly modern concepts into politics in that era. He is constantly grabbing at the future. It's this striking characteristic in him, all the way from S1 when they install the phone in the Garrison - ~if only we knew someone else with a phone, we could call them~ - through to S6's final episode when he even wangles a seat on an airplane to get to Canada without wasting time. So uncommon at the time, but he just went: I need to get there with least time lost, and matched requirement to a borderline experimental non-consumer-available insider technology to do so.

(Sidestep: Such an interesting juxtaposition of all that, with the constant representation of the pre-industrial-era Romani threads in S6, too: Esme, the hills, the horse, the curse, the mythology, the vardo, all that slamming up against an actual cutting edge submachinegun, so ‘contemporary’ it’s actually anachronistic by a few years (if my research was right, it’s a WWII weapon that submachinegun, not to get on the symbolism, but). Arguably, Ruby in hospital having the most contemporary medical treatment available while Tommy goes walkabout to lift a curse is another notable juxtaposition.

There’s also an interesting slant of his modernity balanced against what I call his hoarding habit — the most cutting edge piece of tech or modernity in 1923 he’s still hanging onto in 1933. But yeah, even with that the juxtapositions are interesting because they can only happen if the forward reaching/modernity focus is there)

So, when I see contemporary-modern!AU takes of Tommy that are like, representing him as a relatively humdrum part of the capitalist consumer status quo, or even as a luddite who can't and won't use an Iphone, I scratch my head. I do think he’s *not* much of an innovator, but he is absolutely a considered first-gen adopter and recognises (and takes) opportunity regarding tech innovation with little concern for risk.

I have contemplated would rich modern!AU Tommy with disposable income finance startups if they pitched well: probably yes, because he takes gambles; with a personally vested interest in the innovators in the same way he had that vested interest in Bonnie. Startups as horses or boxers on a diff playing field, win some, lose some, etc.

[mrsimqle]

I’m begging y’all to drop these subscriptions to paywalled creators and ea creators for dhm

[mylastmoleculeofserotonin]

I think I’ve finally put my finger on the reason why I (and people in general) love to watch “kids’ shows” when they are older teens and adults: because empathy and love, especially platonic love, are arguably humans’ most valuable trait and yet, in our society and in “realistic” media is treated as a weakness or at least at odds with being successful. Like, empathy isn’t even unique to humans, it’s found in and is integral to so many species of animals (and maybe even plants too!!), especially what we consider to be some of the most fearsome predators like lions and wolves. But humans have have “gone all in on” empathy and the capacity to form bonds with other humans, even outside familial circles, which is the reason we outlived the homo erectus which lived at the same time as humans since we were able to form larger communities. And all that’s to say that seeing shows where moral goodness is synonymous with empathy and friendship and wins the day is probably very satisfying for our brains since we don’t often see empathy treated as the essential part of us that it is.

That’s why shows like Hilda or Kipo and the Age of the Wonderbeasts are my personal favorites because the main characters’ defining trait is being empathetic and is, at least in the beginning, their only way of avoiding trouble. And these shows in particular feature the main characters advancing the plot and achieving heroic feats through simply talking it out and generally being a kind and helpful person. When I first watched these shows I, admittedly, saw such events as cheesy, but when I took time to think about it, it not only makes sense why it worked, but was quite literally the best possible way to fix the problem at hand because empathy is a very natural thing for humans and is literally how we have become the apex species so of course it can work when someone gives it a chance.

It’s human nature to be kind and empathetic and is why it’s so satisfying to see it spotlit in kids shows.

[icewindandboringhorror]

I have a big google doc thing where I keep track of media and stuff (putting everything in loosely ranked categories), which is mostly just for my own reference so I know what tv shows I've already seen before, etc. and I never really look back through it, typically just a quick "okay, watched two movie in the past 8 months, need to quickly slap them somewhere in the lists. okay. done. save document. exit". But today I was actually reading through some of the old notes and there are like... MULTIPLE places where my comment is basically "It would have been good if it were about elves" or "I wish there was a fantasy show made in this same style" or "It's well made, but I just keep thinking about how I would like it more if everyone was an elf or was in old 1700s costumes" or etc like...... lol.... Most biased media ranking system on earth blatantly made by someone with an extremely hyperspecific range of narrow interests. It'd be like if a food reviewer only had 5 foods they actually liked, so they'd just go to a pizza place and be like "eh, the pizza was okay, but I just think it would be better if it was cereal instead. :/ ...2 out of 10"

[messagefromtheunderworld]

hello i am not dead just lazy

[narrativelysignificantturtleduck]

i'm not a particular jee fan but as a fan of atla old men i am Adjacent and y'all. i'm so sorry for what they did to your man in natla. first off de-aging him removes the dynamic of zuko being an asshole teen failing to command grown adults (unlike azula who does have the respect & fear of adults) and second making him & the crew members of the 41st makes it seem like his problems with zuko are totally unjustified bc he owes his life to zuko while originally the point is that zuko has this capacity to care about people but is trying to stifle it and embody this cruel tough leader role that doesn't actually fit him. and what is the point of zuko if he is not struggling & failing to live up to his shitty father's idea of leadership and masculinity

[spocks-kaathyra]

coming up with new and innovative ships that no one has even thought of before (nal x kelas)

[grison-in-space]

okay so I wanted to show @coffee-mage-sans-caffeine some terrible field Beagle stacks, so that they could see how uncomfortable the dogs look, and therefore I went hunting for field rabbit beagle kennels.

I turned up one pet "rare color" breeder and one that turned out to be a breed-specific article from a fucking content mill. Which: Gross. But the third one actually was a field rabbit-hunting beagle breeder, one who had the most good ol' boy [appreciative] blog description of his goals I've seen in a very long time:

Woodpont Beagles are a pack of dual-purpose (show and field bred) hunting hounds located in Southern Ohio, USA.  Some of our female lines now stretch back as many as 16 generations, spanning nearly 40 years.  Hounds from this kennel have been very successful in the past at field trials and shows, although the primary focus the past 20 years has been on pack work after cottontail rabbit or snowshoe hare. 

[...]

Feel free to contact us if this sounds like the type of hound for you.  Not everyone likes the same kind of beagle.  If your interest is field trials, or showing, you may want to keep looking.  If you want good, honest hounds for pack work or gunning, these just may suit you.  Puppies occasionally available.

Like, you know that is an old white man with the most rural of backgrounds and interests. His philosophy is fantastic, mind you, the dogs themselves are a blend of conformation and working beagle lines with the goal of maintaining the best of both worlds, if I wanted a beagle or to hunt rabbits I'd be on that man's doorstep in a heartbeat. I'm reading his stuff and I'm watching very carefully, and I see a post title and pre-emptively flinch:

Immediately what pops into my head is QAnon and hideous right-wing politics have invaded all kinds of circles over the years, and look I was starting to really like this guy, his opinions about working hounds are kickass, and oh no he's going to take time out of his day to make it clear he thinks people like me are scum--what does it read--oh no, oh no, what is it gonna say--

Things You Will Not See Here

Hounds with No Show Blood

Hounds with No Field Blood

Hounds in above ground kennels (i.e., raised on wire rather than being reared on the ground. always. no stacking kennels or god forbid runs.) ...

Yeah. Okay. I can live with this. It's a website straight out of 2013 (or 2003) rather than 2023. And oh, what a breath of fresh air the blog is!

[flufflecat]

Can someone explain what the narrative stakes are even supposed to be anymore in jjk. All the characters are essentially guaranteed to die, the current cast is comprised almost entirely of characters who showed up 2/3rds into the story and we're supposed to care about them for some reason, and I do not even know what the threat is supposed to be anymore. The apocalypse? Destruction of an amorphous innocent society? Like has ANYTHING been shown of "here's the regular world that apparently needs to be saved" or are we just supposed to assume "this society is just Real Life+, so you're REQUIRED to care if some guy threatens to kill all humanity, because one of those humanities may be... a child" or something. Can you spare two seconds to show anything other than some magic randos fighting, or is it just a superhero story all the time now, minus the fun. Remember when yuuji had friends.