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gregorygrim · 4 years ago

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Dragon Prince Hot Takes

!!! Full Spoiler For “The Dragon Prince” Seasons 1-3!!!

So I finally got around to watching The Dragon Prince. Timely, I know, but better late than never i guess. I’m not completely caught up yet as I only got as far as S3E7 “Hearts of Cinder” in this first sitting. Considering I haven’t binged any series in almost two years, I think that’s pretty respectable. This means I won’t discuss the last few episodes here, except for a couple of things I was unfortunately spoiled for already, hence full spoilers.

These are basically my first thoughts and opinions after the binge and a good night’s sleep. It’s gonna be a lot so if you don’t care or don’t want spoilers…

TL;DR: 7½/10. Generally enjoyable, there are some aspects I’m not exactly fan of, but no dealbreakers

Firstly to everyone who told me that this was the new ATLA: you all need to rewatch Avatar stat! Like seriously. There are definitely parallels and given the cast and crew I think that’s what they were going for too (which is why I think it’s fair to compare the two), but still, no.

Secondly I love most of the worldbuilding and love that the series at least tries to give it to us in a bit of a non-linear fashion, even if it is kind of clumsy at times. I know some people are put off by expository dialogue and flashbacks, but I’m an epic fantasy nerd, I need that sweet, sweet lore to live as much as you mortals need food.

I like that there was clearly an effort made to integrate the worldbuilding in more subtle ways. For example you may initially find it kind of weird that all these different human ethnicities are existing perfectly integrated in what looks like a medieval society, until you remember from the opening monologue that the Human Kingdoms are the result of a massive diaspora following the human exodus from Xadia, so obviously people got all mixed up everywhere. It’s representation with an excellent in-world reason and that just brings me joy.

I also love the magic system(s) even though we haven’t really gone into that just yet. it really feels like there was a genuine effort made to create underlying mechanics for the magic rather than just making each spell a vaguely elemental themed ability. I really hope we’ll dive deeper into that in coming seasons.

I also like the little nods to other works of fantasy: Ezran’s ability to talk with animals is a reference to Tolkien’s world where some royal bloodlines had the ability to speak with animals, specifically birds; Primal Magic and its spells being cast with Ancient Draconic runes and words might be reminiscent of the Ancient Language from the Inheritance Cycle etc.

Thirdly the main cast is great. Callum, Ezran and Rayla are all interesting and relatable characters in their own right and as a group. I’m not going into each of them individually here, but while I think the series as a whole falls short of ATLA, as protagonist parties go I dare say this one is nearly on nearly on par with the gAang.¹

And yes, I love Bait, which I really did not expect following the first few episodes. I love his weird pug-toad-chameleon design, I love that he works like a flashbang whenever somebody says a quote from Scarface (I wish they hadn’t dropped that later on) and I love how done he is with everything and everyone at all times. I’ve only had him for 25 episodes, but if anything happened to him I would kill all of my followers and then myself.

On top of that, and speaking as someone who god knows is really not into shipping, I love Rayla and Callum’s relationship. It’s believable, it’s refreshing and it brings out the best in both characters without changing basically anything about them. Just two good friends who fell in love. A++, maybe even S tier.

Unfortunately though I can’t sing the same kind of praises about the villains. None of them are terrible (as in terribly written, most of them are pretty awful people), but with one exception they just don’t stand up to the protagonists in quality.

I could simply not take Viren seriously. Even now that is probably the single most powerful magic user in the world, he just has such strong Karen energy, every time he finishes a speech I am overcome with the urge to say “Sir, this is a Wendy’s” and it does not help the mood. I’m not even sure why. It might’ve been the voice because the guy who did Viren (Jason Simpson) also does a lot of kinda slimy characters in various anime dubs, it might be that over-the-top walking stick, idk.

What I’m saying is that as a primary antagonist he simply did not work for me. Which is doubly a shame because this kind of tarnishes the real “Big Bad” of this story by proxy. Aaravos, even as an invisible ghost, with his voice coming out of a caterpillar and next to no info on his backstory, has more style and gravity than all the human antagonists combined. It helps that he is by far the best designed character and Erik Dellums has the voice of a young god, but I’d argue even without that unfair advantage he has the potential to be a top tier villain. While he is stuck as Viren’s “little bug-pal” though he is just being dragged down.

(I’m aware that as of the final episode the caterpillar familiar is undergoing metamorphosis, probably to create a new body for Aaravos’ spirit to inhabit outside of the magic mirror, so I’m definitely hyped for more of him in the coming seasons.)

As for Soren and Claudia, I’ve got mixed feelings. This was one more aspect of the show that a lot of people compared to Avatar and while I see the parallels to Zuko & Azula, they are still very different, at least where Claudia is concerned. I’d also just like to mention that a lot of people told me that they thought the direction in which their storylines went were really surprising and I can’t disagree more. I predicted that Soren would defect to the protagonists on episode 5 right after Viren told him to kill the princes and I knew Claudia was going to stick with her father from episode 12 onward. My point is, it didn’t feel like some kind of plot twist, the way some people made it out to be, and which I don’t think was the intent.

I definitely got the sense that Soren was at least a Zuko-type character, though still not a Zuko clone, and as with Zuko I was consistently able to empathise and sympathise with him and his predicaments. I also appreciated that his dilemma is the result of his convictions and not him being kind of dense, which would’ve been all to easy and probably would’ve ruined his character for me. As it stands he is extremely milktoast, but perfectly functional for his purpose in the story and I can definitely see him evolving further and getting more interesting as we go on.

Claudia is where it gets complicated. Again, I can see the Azula parallels. But unlike that character, who is her father’s animal 110%, Claudia doesn’t strike me as a victim of Viren’s manipulation the way Soren undoubtably is. The way she talks about and uses Dark Magic, how she talks down to Soren and how even Viren finds it difficult to communicate with her, tells me as an audience member that she is an independent person. Which tells me that the cruelty and enthusiasm for causing harm she regularly displays is her own will. And that was before she straight up leads Callum on to manipulate him.

On the other hand I can absolutely relate to her devotion to her family, her big sister role (even though she is younger than Soren) and the way both the separation of her parents before the story and Soren’s injury in episode 16 must’ve affected her because of this. I know that, if my brother had become paralysed from the neck down and I knew a way to heal him, I would not have hesitated to kill that fawn either. Then again her relationship with her father is very different from parental relationships I am familiar with, so I can’t really say I see why she is so devoted to him, other than she promised her mother to stay with him years ago? ¯\(o_Ō)/¯

So basically Claudia falls into an emotional grey space for me. I can’t really tell how to feel about her either way and I’ll just have to see where she goes from here, which, while fine, isn’t necessarily great for an end of season cliffhanger imo.

Seeing as I’ve already talked about some of the show’s shortcomings, I think it’s time to dive into some of the what I would consider flaws.

Firstly this show needed at least 12 episode seasons. I have never made a secret out of my dislike for the modern short seasons and while I recognise that in the current climate in the industry giving everything full 25 episode seasons isn’t really doable, the pacing of this show, especially for the first season is just outright bad at times. It works as of the second season, but the first season alternately feels like it’s either rushing through or crawling along the whole way through.

The believability of Rayla’s and the princes’ relationship really suffers from this the most. It comes a bit out of nowhere on the boat ride and is then taken for granted way to quickly. Like Callum, seriously, this girl tried to kill you and your brother not even a day ago and you are currently cut off from all allies you have ever had until now. A little skepticism isn’t misplaced here. I also wold’ve liked if we’d just gotten a bit more of a sense of movement with the characters. I get that this is not the kind of show where we can just make an entire episode about the characters travelling and camping, intercut with plots centred around a more expansive supporting cast, but still I really would’ve preferred if Xadia didn’t feel quite so around the corner.

Another issue is with setup and payoff, which I think is partially a consequence of the pacing as well. A lot of smaller plot points are set up within the same episode as the payoff just wreak havoc on the narrative structure. A good example is the episode where they ride down the river in a boat and Bait tires to go into the water, but is saved by Ezran, who then explains the story behind Glowtoads and how they are pefect bait for large water predators. Then Bait falls into the water and is attacked by a massive water monster. This happens within five minutes of one episode and never comes up again. To me that looks like sign of rushed editing, which is probably not entirely the crew’s fault, given that they are on a schedule from Netflix, but it’s still a point of critique.

It unfortunately also manifests in the occasional line of horribly forced dialogue, often for things we can literally see happening on screen. Again, this is mostly the case in the earlier episodes, but it never completely goes away.

Finally, and this is where i get into serious issues that made me want to write this, we gotta talk about representation in this show.

First: disabled representation, meaning Amaya. Why is Amaya deaf? Because it’s good to have disabled representation.

Why is Amaya deaf and a high-ranking military officer? Because they didn’t think it through.

I know this may be a contentious opinion, but it is my belief that the purpose of representation, particularly of disabilities characters may suffer from, in fiction is to, y’know, represent people as they are in life. That includes especially the struggles they face and have to overcome, sometimes their whole life. This is not just me talking out of my ass either. A couple years ago I discussed this with several people that are disabled, specifically blind or otherwise severely visually impaired, in a different context obviously, and the general consensus was that it’s better to have representation that shows their life and their abilities as they are, rather than how they might wish they could be.

A mute or deaf person cannot be a medieval fantasy army general, no matter how good they might be in melee combat or who’s sister they are, because at the end of the day, they’re not able to give commands while they are holding a sword and shield. That such a massive logical oversight, especially in comparison to the extremely well done example of representation I mentioned above, and has so little impact on the plot that it leads me to believe, this aspect of Amaya’s character was tacked on in the last minute without being given any thought for the sole reason of the story having a disabled person in it. All this does is necessitate the existence of two otherwise entirely unnecessary characters, Gren and Kazi, both of which achieve nothing, aside from sometimes being literal set dressing.

That is where representation ends and tokenism begins.

And unfortunately this generally lacklustre attitude also extends to the LGBT+ representation on the show.

As of S3E7 “Hearts of Cinder” we have had two onscreen gay couples on the show (onscreen in the sense that both partners were onscreen and they were somehow confirmed to be in a relationship on the show). One of these, the queens of Duren, literally die in the same flashback they are introduced in, which incidentally also features them invading a foreign nation to poach a rare animal and subsequently starting the conflict at the series’ core. Not a great look.

Aside from serving as a tragic backstory for their daughter, the most impact they had on my viewing experience was that they made wonder how the fuck royal succession works in Duren. (People who know me are rolling their eyes right now because I’m bringing anarchism into this Dragon Prince review, but I’m telling you, this why fantasy monarchies aren’t compatible with LGBT+ politics in the same setting. Dynastic governments are inherently bigoted, you can’t have it both ways.)

The other couple are Runaan and Ethari, Rayla’s caretakers, although if I’m being honest you wouldn’t be able tell based on Runaan’s treatment of Rayla in the first episode. By the time we actually meet Ethari and find out about their relationship with Rayla, Runaan is suffering “a fate worse than death” (direct quote from the show) trapped in a gold coin.

I mean come on. That’s about as “technically not ‘bury your gays’” as it gets.

I think I need to reiterate here that my point is not that this show or its creators are somehow malicious. As i stated in the TL;DR: I don’t think this is a dealbreaker for liking this show. But it does demonstrate that they are prone to slipping to some potentially harmful tropes and this needs to be criticised and pointed out to them.

In conclusion, I really love this show. It’s not ATLA, it never will be, nothing else will ever be ATLA no matter how badly (and terribly) Netflix tries. But it does and should not have to be.

What it has to do though is improve. A lot of the building blocks are already there, such as Aaravos or Claudia’s development, Callum’s father, the origin of Ezran’s ability, the purpose of the “Key of Aaravos”, the true fate of King Harrow (we all know his soul is in the bird, right?) etc. Some things like the treatment of Amaya’s disability unfortunately won’t be fixable as far as I can tell, but if they at least manage to fix the gay representation I can make my peace with that.

¹ I know I said I wouldn’t go into each of the characters individually, but a) you should never trust a stranger on the internet and b) I really want to talk a bit about Callum. Specifically the “mystery” of why the hell he is connected to the Sky Primal. I write “mystery” because I think it’s fairly obvious from whence this talent came: there is only one humanoid species we know of with innate access to the Sky Arcanum and one of Callum’s parent’s is unidentified, presumed dead. 2+2=4. Callum’s father was a Skywing Elf. That’s why he recognised Nyx’s boomerang weapon. He remembered one like it either from his very early childhood (remember that he has photographic memory) or Sarai kept one and he found it at some point.

On top of that the name “Callum” or at least the pronunciation is clearly derived from Latin “caelum” meaning “sky” or “weather” and I already mentioned that Ancient Draconic is just bad Latin. It’s not very subtle. Unless they pull a complete 180 concerning the lore about Primal Magic he’s definitely going to be a half-elf, which would also just so happen to make him the perfect mediator between the Human Kingdoms and Xadia. Hmm, it’s almost as if they are planning ahead.

My question: How the fuck did that happen? Or rather: how did that fuck happen? I don’t think even Harrow knew or he probably would’ve a) paid more attention when Sarai advised against poaching the Magma Titan, because obviously she’s gotten around Xadia more than him, if y’know what i’m sayin’ ( ͡° ͜ʖ ͡°) or at least b) put it in his final letter to Callum. Unfortunately we know basically nothing about Sarai except that she was a soldier alongside Amaya and already had Callum before marrying Harrow. So does Amaya know? This is probably the most interesting plot thread in the whole story and as far as my friends told me it’s not going to be touched on anymore in the last two episodes than it already has thus far, which is basically not at all.

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gumnut-logic · 5 years ago

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We’ll Be Home For Christmas 3.2

Title: We’ll be home for Christmas

Day Three - If not for the courage of the fearless crew – Part 2 Prologue | 1.1 | 1.2 | 2.1 | 2.2 | 2.3 | 3.1

Author: Gumnut

23 - 27 Dec 2019

Fandom: Thunderbirds Are Go 2015/ Thunderbirds TOS

Rating: Teen

Summary: The boys can’t fly home for Christmas, so they have to find another way.

Word count: 2909

Spoilers & warnings: language and so, so much fluff. Science!Gordon. Artist!Virgil, Minor various ships, mostly background.

Timeline: Christmas Season 3, I have also kinda ignored the main storyline of Season 3. The boys needed a break, so I gave them one. Post season 3B, before Season 3C cos we haven’t seen it yet.

Author’s note: For @scattergraph. This is my 2019 TAG Secret Santa fic :D I hope you enjoy it.

Okay, you’ve almost caught up with me and I go back to work tomorrow :( So, unfortunately updates are going to slow as work takes over my life for the next five days – it is my double weekend where I work both Saturday and Sunday and I will whinge appropriately. I have been fortunate to be off work from Christmas to New Years and have churned out somewhere around 15,000 words in an attempt to finish this fic…and I failed (It is currently at 32,000 words and climbing). Getting there, but my writing speed will drop dramatically as RL takes over ::pouts::

Happy New Year to all you wonderful Thunderbirds peeps. Thank you for all your support on this fic and all the others I’ve played with throughout the year.

Many thanks to @vegetacide and @scribbles97 for cheering me on and their wonderful support through this craziness. And to @onereyofstarlight for geeking out with me over the setting.

Disclaimer: Mine? You’ve got to be kidding. Money? Don’t have any, don’t bother.

-o-o-o-

“You’re going to be talking gibberish. We don’t speak whale. You could do more harm than good.”

“I have to try.”

“This isn’t about you.”

“I know that, John.” A harsh indrawn breath. “Please. It might be just enough to cause a distraction to draw the mother away so Gordon can do what needs to be done.”

John glared at his brother. It wasn’t an angry glare, but a worried one. Virgil was acting odd. His attention kept focussing elsewhere, his expression troubled.

But John trusted Virgil, so he set up the audio interface with the buoy, giving both his brother’s mic and his keyboard access to the amplifier and transmitter currently hanging in the water column. He looped in full control over the frequency and amplitude and duplicated the buoy’s holographic feed onto Virgil’s tablet so his brother could see what was happening.

Gordon appeared to be in a glaring contest with the mother whale.

Virgil played the first note.

John held his breath.

And his brother began to sing.

-o-o-o-

Virgil recited the notes of the distant whales’ answer to the mother’s distress call in his head as his fingers touched the keyboard. It had a pattern in both the math and the music bouncing around in his brain. He couldn’t duplicate it, but he could harmonise with it.

At first he echoed it a little, getting a feel for the extra dimension of the lower frequencies and the fact he couldn’t hear it when the computer calculated it below human range. Then he improvised.

The mother’s call still echoed through his body, its pulses sharp and poignant. Whales were mammals. Humans shared a relatively recent ancestor and if there was one constant amongst all the mammals on this planet, it was emotion. It might not be quite the same, but if he could feel that mother’s anguish, perhaps she could feel his reassurance, his hope, his need to help.

He wasn’t one to sing often, but in this case he felt the need to connect beyond the electronic and create the sounds only his voice could communicate.

So after a few initial attempts to align his music with the language of the great whale, he let himself go.

-o-o-o-

Mamma whale continued to stare at Gordon.

His brother’s voice echoed through the water around him, the melody fractured by the parts Gordon could not hear.

“C’mon, beautiful, you gotta like that. Virgil is a great musician.” Please.

She moaned again.

Virgil’s melody acknowledged her even though Gordon knew his brother had no idea what she was saying.

The music pleaded and even Gordon felt its draw.

Mamma muttered and drifted a little closer to her calf, nuzzling her as the little girl whimpered.

Calming notes and his brother’s voice slipped into a fragmented resemblance of a familiar lullaby their mother had sung when they were children. No words, just notes, his tone softer, his voice deepening.

Gordon edged closer to Mamma.

She didn’t move.

Still staring, her beautiful eye fixated on him.

Closer.

A little more.

He reached out and touched her.

Still she stared.

He brushed his gloved hand across the folds above her eye. “That’s it, beautiful. I’m from International Rescue. We’re here to help.”

The water vibrated around him as she punctuated his statement with her voice.

Moving slowly, he took off his right glove, removing the barrier between them.

Her skin was wrinkled, yet smooth to touch.

Her eye kept staring at him.

He kept stroking.

Virgil kept singing.

They stayed that way for a period of time Gordon wasn’t quite sure he could measure, when Mamma suddenly let off a grunt and a whine before backing off a little, opening the distance between her and her calf.

Oh, thank god.

“Thank you, Mamma.”

She didn’t answer, but also didn’t stop staring at him.

Gordon edged closer to the calf and when she didn’t intervene, he moved even closer, approaching the little one where she could see him, her frantic eye darting between him and her mother.

Net was snagged up half her face and wrapped around her pectoral fin.

Gordon swallowed and approached, reaching gently up in a parrot of the movements he had made with her mother.

“Hey, sweetheart. Who did this to you? Hey?” He reached out and touched her eyebrow ever so gently. “I’m so sorry. We’ll make it better. I promise.”

His bare fingers brushed such soft skin.

She didn’t pull away.

“Hey, Scott. You and Alan, in the water, quietly. Either side of this little one. Let’s get her free.”

His brothers’ FABs were ever so quiet.

Gordon stroked the little girl’s eyebrow, muttering reassurances as his brothers materialised quietly beside her. It was no surprise when it was Scott who took his side between calf and mother.

Mamma moved a little, but didn’t protest.

Keep eye contact.

Keep stroking.

Keeping his voice low. “It is wrapped around her fin and caught in her mouth. Scott, see if you can free her fin. Alan, cut away the netting on that side and I will manage it on this side. She is very tired. Who knows how long she’s been stuck here.” His stomach roiled with anger again.

“FAB, bro.”

Scott’s hand landed gently on his shoulder and squeezed.

Virgil was still singing.

Gordon kept stroking.

Scott made short work of the net on her fin, cutting the cursed nylon rigging away with a very sharp knife. Alan signalled that he had cut the netting on her left side.

“She’s looking at me.” Alan’s voice was quiet.

“Al, she’s scared. Show her you care.”

Gordon was still stroking her eye ridges.

“How?”

“Reassure her. She’s a rescuee like any other.”

As Gordon turned to the net caught in her mouth, his little brother started murmuring reassurances.

“Okay, sweetheart, let’s get you free.” He put his glove back on and with a final brush of her brow, he set to work cutting netting away from her throat folds.

In places it had gouged deep into her skin.

His heart flickered between sorrow and anger.

Scott moved in to assist and between them the majority of the snag was cut away.

That only left the tangle in her mouth. She was actually free to move now, but she stayed where she was, perhaps unaware of her freedom, perhaps because she still had net in her mouth.

Bubbles danced on her skin as she stared at him.

He brushed his hand across her eye ridge again, ever so gentle.

Scott settled beside him and tentatively reached out and touched her flank. “She’s beautiful.”

Gordon sighed. “That she is.” A pause. “Stay here. Keep her calm as much as you can. I need to look at her other side. Removing that last piece will probably hurt.” He swallowed. Ignoring the emotion roiling in his gut, he turned away and dove under her.

Alan was splayed across her left flank, still murmuring reassurances, his arms wrapped around her as much as he could.

Gordon bit his lip, not sure whether to laugh or cry at the sight of his little brother hugging a whale.

Ultimately, he did neither and simply approached her other eye beside Alan and gave her a reassuring stroke.

The net had worn into the corners of her mouth as she struggled against the snag. He could only pray it wasn’t caught in her baleen.

Gritting his teeth, he nudged the net a little, testing it to see if he could pull it out. Once slipped from the groove it had cut into the poor calf’s skin, it did move...just enough to give him hope.

“Okay, guys, be wary. This might hurt.” He reached over and caressed her eye ridge again. “Sweetheart, I’m sorry, but this has to come out. We’re almost done.” Another caress.

Her eye fixated on him.

He tugged on the net.

To his surprise it slid easily, the majority of it just thin nylon rope.

Then it snagged.

The calf let out a sharp groan, her pectoral fins flailing.

Shit.

Alan narrowly missed getting tossed.

“Woah!” Scott yelped from her other side.

“Scott, you okay?”

“I’m good. That must have hurt. Have you got it all out?”

“No.” It was a rush of exhaled air.

Mamma moaned, then clicked at her daughter, but she stayed where she was.

Gordon returned to her eye. “I’m sorry, sweetheart.” His hand stroked her again. God, he wished he could communicate with her. Ask her to open her mouth so he could take the blasted net out safely.

As if the thought was a magic wand, she did exactly that, slowly opening her mouth just a crack.

“Oh, that’s it, sweetheart, yes.” His hand brushed over her rostrum, gently encouraging her to open just that little bit wider. Her sheets of baleen emerged and Gordon refused to acknowledge his awe of this moment, knowing if he did, he would get lost in it.

Reaching in, he gently slid his fingers between the brush-like filaments of her feeding filters, ever aware he was probably either the first or one of very few to have ever reached into a live whale’s mouth. His fingers followed the netting until he could feel what it had caught on. And yes, it was caught in her baleen.

He swore silently and, as gently as he could, he fiddled with the rope, desperate to get it loose.

The calf shifted in the water, agitated. Mamma called out again and Virgil, still playing, still singing, answered best he could with a gentle note echoing through the water.

“Almost there, sweetheart.” He said it more to reassure himself than the calf. He wanted to swear. Unable to see the snag and relying on touch, he failed to locate the tangle. Frustrated he removed his hand and then removed his glove. He needed more information.

Placing his bare hand into a whale’s mouth was an experience. But it gave him the information he needed to unhook the netting from her plates. Something soft and squishy brushed against his palm and he had the distinct impression that he had just been licked.

In any case, he was able to remove his hand and the netting along with it.

The relief was a physical thing, his whole body wilting.

He handed the net fragment to Alan and with a brush of his bare fingers across her rostrum again, he returned to her eye.

She stared at him.

“You’re free, sweetheart.” His fingers touched her eye ridge and to his astonishment, his vision blurred.

Aw, shit. Crying underwater was not a good idea.

He blinked madly and straightened himself out. “John, Virgil can stop playing now. She’s safe.” Scott swam up beside Gordon and placed a gentle hand on his shoulder.

The calf’s eye flickered to his brother and back to Gordon.

Virgil sung one more note, long and plaintive, then faded into silence.

Water lapped at the calf’s flanks.

A quiet click.

A moan.

And Mamma was moving in.

Gordon grabbed Scott and Alan and dragged them backwards, out of range as Mamma took her place beside her offspring. There were several more clicks and moans.

She draped a pectoral fin over her baby.

Nudged her gently.

A flick of a tail and they were both moving. The calf was still exhausted, but she was no longer snared and the injuries should heal, though likely scar. Gordon thought briefly back to the sunfish he had seen yesterday. One of the lucky ones. His anger surfaced again.

Mamma groaned loudly and a wave of something washed over them. Gordon felt it in his gut. It was as if she had reached out and touched him with her voice.

They stayed there until the blue of distance swallowed the pair.

As the last of the adrenalin left his system, Gordon found himself shaking. But it wasn’t over yet. He turned towards the inflatable. “John, I need Four out here, now.”

-o-o-o-

It took John to snap him out of it.

Soft words.

A hand on his shoulder.

An end to the music.

Virgil found his throat aching, his abdomen complaining and his whole musculature system pissed at him for holding his position so long, wired with so much tension.

He let his shoulders drop and groaned. “God.” His hands on his face and he bent over the keyboard.

“Virgil?”

“I’m fine.” It was automatic and muffled by his palms.

John’s hand was back on his shoulder anyway.

Virgil sighed and pushed himself upright, looking up at his brother. “I’m okay, John, honest.”

That earned him a copper frown. But John was forced to turn back to his controls as WASP called in.

Virgil rubbed his face.

His holographic display showed the mother and her daughter turning back onto the south-easterly migration route. His eyes latched onto them.

The mother let off a groan and a wave of intensity washed over him. His bones sung with it and he gasped out loud.

Then it was gone.

“Goodbye.” It was a parched whisper falling from his lips.

John was shooting more worried looks at him.

Virgil pushed away his keyboard and struggled to his feet. Yes, he was going to pay for this little jamming session. His abdomen complained extensively.

But his head was so...full.

“Vir-“

“I’m fine!” Okay, it came out sharper than it should have. Another sigh. “Sorry. I’m...” He waved a hand in the direction of the back of the boat. “I’m just going to see if Gordon is okay.” His brothers were making for the inflatable on his display.

“Take it easy.” John’s expression was still annoyingly worried.

“I’m good. I promise.” He just needed a moment to think.

Gordon called for Four and John turned to action the request. Virgil took the chance for what it was and slipped out of the room, one arm wrapped around his middle.

-o-o-o-

By the time Gordon made it to the inflatable and dragged himself and his brothers out of the water, Two was on approach.

He glanced at their yacht and sure enough, his second eldest brother could be seen climbing the steps to the bow of the boat. He was hunched over just a little more than Gordon was comfortable with.

He nudged Scott and gestured in Virgil’s direction.

His big brother’s lips thinned.

Two’s VTOL fired as she braked mid-air and levelled herself out. Tin was brusque, keeping conversation to procedure, no doubt as unhappy with the reason for this callout as the rest of them.

Virgil straightened on the bow of the yacht and stared up at his ‘bird.

“I’m going to fish that net off the ocean floor before it can hurt anyone else. You want to field our musician?”

“FAB.” It was muttered as Scott eyed his artist brother across the water.

Okay, it wasn’t fighting fair to target Virgil with smother-brother number one, but there had been something in that music that even Gordon and his tin ear could pick up. He would check on the man himself, but that net had to be removed immediately.

Two dropped her module with a splash and Alan engaged the inflatable’s engine to dart them over to it. Gordon jumped off onto the open module ramp, the sight of his ‘bird, as always, lifting his spirits.

He rolled his shoulders as Alan turned the inflatable around and bee-lined for the yacht.

“Okay. Let’s do this.”

-o-o-o-

“I’m fine.”

Virgil said it loud enough to be heard above the roar of Two’s VTOL the moment Scott set foot on the top step leading up to the bow. His wetsuit was still dripping, blue neoprene leaving puddles in his footprints.

He raised his hands defensively. “I didn’t say a thing.”

“You thought it, though.”

Scott shrugged and took the remaining steps to reach his brother’s side. He eyed him sideways, noting the tension knotting the muscles in Virgil’s shoulders through the light shirt he was wearing.

An arched eyebrow and Scott reached out, letting his arm drape across those tight shoulders. As expected they flinched the moment he touched them. He pushed the matter and pulled his brother into a damp one armed hug, regardless.

Some of the tension slipped away.

Target result achieved.

“That was some performance.”

“Hmm.” It was distracted and barely acknowledged, Virgil’s eyes still on his ‘bird.

“John says WASP was able to grab a good percentage of the onsite perpetrators. Penny reports she has some good leads on the financial sources. We will find those responsible and they will pay.”

“They can rot in hell.” The hate and acid in Virgil’s voice was so uncharacteristic, Scott had to stop himself from taking a step back.

“Virg?”

He turned away, pulling himself out from under Scott’s arm. “I’m going to go lie down. And before you ask, yes, I’m fine, okay and completely dandy. Just...a little tired.” Virgil ran a hand across his face.

Scott eyed him, completely unconvinced, but knowing if he said anything it would be either brushed off or his brother would explode. “Okay.”

Virgil looked up at him and Scott was taken aback by the anguish in those dark eyes. But Virgil reached out and squeezed his arm before brushing past and heading back towards the steps off the bow.

Scott’s eyes followed him as his brother braced his side and made his way down.

Yes, they could rot in hell.

-o-o-o-

End Day Three, Part Two

#thunderbirds are go #thunderbirds #thunderbirds fanfiction #Virgil Tracy #Gordon Tracy #Scott Tracy #John Tracy #Alan Tracy

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gothamloveforever · 6 years ago

Photo

This is the second article that Film Daily has published about Gotham.

Gotham is an innovative show based on DC Comics characters and produced by Warner Bros. Television. The Batman origin narrative helped us, as rapt viewers understand how our favorite heroes (Batman) and villains (The Joker, Penguin) came to be the way they are. It also cast a light on just how Gotham City became the wretched crime-filled cesspool we all know & love.

Despite general network issues (the old “being moved to a much worse timeslot” thing), Gotham’s fanbase managed to rally Fox into renewing the show for a fifth and final season – a whopping two seasons short of what the fanbase were promised.

Gotham certainly doesn’t have a shortage of fans or viewers but Fox, like many networks before, has been using the outdated Neilsen rating system to make decisions about shows’ popularity. Let’s be serious: who under the age of 70 actually watches live TV anymore?

Just because an episode gets a viewing figure below that of a series premiere or finale, that doesn’t mean the viewership has fallen considerably. Networks now have a responsibility to establish a dialogue with streaming platforms to consolidate more accurate figures and finally find out for themselves which are the best performers.

Because Gotham is a Warner Bros. production, not a Fox property, sadly the show was less lucrative and more expendable for the network. The show being packaged with the hot mess Lethal Weapon for advertising partnerships also didn’t do the show any favors.

We’ve got plenty of ideas on how Gotham could be saved, but today we’re focusing on what the fans think of the show. TV execs: prick up your ears. Don’t you want to help this incredibly passionate fandom with a continuation of the stories that they love? We would . . . .

These tweets have been edited and condensed for clarity. Join the campaign to #SaveGotham over on Twitter. (Tweets by Fans, under the cut.

Beatriz‏

“Gotham lost about 54 episodes of content, the character development and storylines were lost due to that, some characters had to be killed, others didn’t have the screen time they deserved. We fans were not happy about it.”

Bandi

“People say that Gotham doesn’t need saving because it’s getting an ending. This is true, but the ending we’re getting isn’t the planned one. The writers had plans for 7 seasons. That’s a lot of story left! We got 4.5 instead.”

#SaveGotham | #Gotham spoilers‏

“Gotham is such an original show. It the closest thing we got to a live action adaption of the Batman origin story universe and it’s so good!”

catherine haverty‏

“Gotham is The Coolest Show.”

Angela #SAVEGOTHAM‏

“This show has been mishandled for so many years by the network. Not only was there so little promotion,the use of a outdated & inaccurate rating system(Nielsen),but there was so much drama that went on with Warner Brothers & Fox. All this played a part in getting Gotham cancelled.”

#Gotham | Thursdays 8PM on FOX‏

“Gotham inspires such devotion! The fandom has been holding daily Power Hours on Twitter for an entire year, as of May; advocating for Gotham, writing letters and emails; utilizing other forms of social media. It’s all a labor of love! #SaveGotham”

#SaveGotham!‏

“Gotham is an exciting, daring sort of show with characters that no other show quite has. For lack of better explanation, Barbara Kean said it best on the show: It’s Gotham, baby. We’ve all got flair!”

Liz ‏

“Gotham is a show that truly deserves more than is has received. For years we’ve watched the early lives of beloved characters in the Batman universe grow into who we know they’ll become. Each of these characters are played by actors that pour their soul into their work.”

Mr. Millicent Cordelia‏

“Gotham’s provided a fresh take on the Batman mythos, created original characters of lasting merit, and re-worked minor comic characters to have major impact. #SaveGotham”

James Rankin‏

“For years, peeps have been denied a Batman TV show. Gotham was never that, but it had the makings of revealing all of the back stories. “

λουισα‏

“This show deserves better. The acting is incredible, the writing never cease to surprise, the atmosphere of the show is powerful, the fights are good, the costumes are great! It’s one of the best if not DC TV’s best show and it didn’t deserve to end like this.”

Gothambatcatfanspain‏

“We want to see development of the characters with the same actors. We love the cast, they deserve to continue.”

Svetlana‏

“Gotham is such an interesting show. I want this show to continue, I’m not ready to say goodbye to my favourite characters.”

#Gotham spoilers here | #SaveGotham‏

“Not giving the seven seasons they were contracted for…That’s unfair.”

Kate O’Riley Cosplay

“Fox and Warner Brothers were constantly fighting over because one owns the right to the characters and the other was broadcasting it and they all wanted the most out of it .”

Mr. Millicent Cordelia‏

“I never imagined Oswald Cobblepot as the most compelling character in the Bat-verse, but Robin Lord Taylor has brought him to life in such a way as to make him endearing, charismatic, terrifying, and endlessly fascinating.”

Destiny‏

“Gotham is a show that’s been pushed aside by the network one to many times and it needs to have a full story without cutting massive plot lines out, it’s insulting to the fans not to finish it off properly! #SaveGotham”

DONT LET GOTHAM END!! #SAVEGOTHAM‏

“Gotham has some of the most wonderful story telling and some amazing villains out there. Some great action too and I would love for it to continue its 7 season run like it was supposed to.”

MORDRED LLEWELYN JONES‏

“Gotham fully embraces everything that DC can offer in a way that films & even comics fail to do. The violence, grief, dark humour, love, struggle, psychology, charisma etc. It paints a beautiful picture & showcases just how much DC is capable of in a way which nothing else has.”

#Gotham | Thursdays 8PM on FOX‏

“Gotham’s production values, art direction, and cinematography are of a quality so high which is very unusual for TV. It rivals the quality that’s usually reserved for films.”

Ellen Sunden

“Gotham is a cleverly written and brilliantly acted show with top notch special effects and wardrobe designs.”

“Gotham’s Season 5 has an ultra-impressive 100% on Rotten Tomatoes…a score reserved only for the best of the best in film and TV shows!”

#SaveGotham | #Gotham spoilers‏

“Gotham is totally different from the other DCTV shows as it’s an origin story for characters of the Batman universe. It’s original, dark, funny, esgy, action-packed with some humor, exactly like the comic books. The cast is big and very talented especially Bruce and Selina.”

Tam Loves Kris

“Gotham is a home to so many quality characters that are played by a wonderful cast of people. The fans know what they want and we hope for what is right. #SaveGotham”

Angela #SAVEGOTHAM‏

“Gotham was treated unfairly, so fans have been campaigning to #SaveGotham, tweeting every single day for 10 months. We’re missing 2.5 seasons and we hope to recover them someday. The talent on this show is extraordinary to watch and hope a network can pick up the show ”

nicolle | GOTHAM SPOILERS‏

“This show is so unique and creative.”

Eoghan

“I believe it should be saved as there’s many more more stories to tell. Giving more development to Jeremiah, seeing Bruce as Batman and everyone in their future roles. I feel like Gotham is the perfect combination of The Dark Knight Trilogy And the 60’s Batman TV show. It’s great.”

#SaveGotham!‏

“Gotham is a creative take on traditional comic stories. The actors who portray their characters do so with passion and individually bring fresh, unique takes to the characters they obviously care so much about.”

shane nygmobs endgame now‏

“Gotham’s latest season currently scores 100% on Rotten Tomatoes. It’s a unique take on the Batman mythos that’s embraced the exploration and development of these iconic characters in a prequel, which has never been done before. And yet, there is still so much left to delve into.”

E. Nygma‏

“There hasn’t been a live action Batman TV series since 1966. Put aside the format of the original series. It was revolutionary and could easily fit in today’s market! Gotham may be a prequel show, but it’s absolutely a continuation of the original series! Let it go on!”

ᔕIEᖇᖇᗩ // Gᴏᴛ Hᴀᴍ?‏

“Gotham is one of the reasons I am still here today. The cast and the fans have helped me through so much. I used to be afraid to show my love for superhero’s but bc of this show I am happy to express it. One of the best tv series there is today. And that does not deserve to go.”

lee‏

“Speaking as a lifelong Batman/DC fan Gotham has put its own unique spin on the franchise that has brought new life to the franchise and new fans. The fans want the show to continue. The creators want it. The actors want it. Gotham deserves a second chance.”

ulia‏

“This show is outstanding and it’s absolutely incomprehensible how this show was cancelled.”

Kathryn ‏

“Gotham is the only modern Batman interpretation with constantly increasing ratings, an amazing cast and memorable characters. There isnt a single character thats lacks personality.”

Space_Invader/Spoilers!‏

“Gotham is unique in every way and you can tell the people that work on it, cast and crew, love working on it. It’s in every detail of the show, in every interview they do. The deserve to grow even more.”

KatsaysNo| Gothamit‏

“Gotham has a beautiful cast and great story arcs that can still be extended, so many characters that are fleshed out and amazing to see on tv!”

Beverly‏

“At this point, Gotham would be better off on a network or streaming channel that will give it the freedom to keep making the episodes that keeps fans so loyal. Each season has gotten better. Who knows what could happen if it continues.”

Aurea‏

“I love Gotham! well-acted, visually appealing show.”

Shae Anderson

“We need to #SaveGotham because the retelling of these stories that we are so familiar with has been done so beautifully.”

simplyandsanely‏

“I’m not going to lie: I started watching #Gotham just to see what they were going to do with the Joker. But as time went on, I grew to love this show that’s helped grow so many characters in such a unique way.”

☆ sam‏

“No one has ever done a story about young Bruce Wayne growing up, no one has ever seen the backstories of villains. The characters are amazing, the actors are amazing, the fans are worldwide and so extremely passionate about this show #SaveGotham”

ρнσєиιx ‏

“Gotham went down in viewership because of the networks handling.”

charlie sora | #SaveGotham‏

“We were originally promised 7 seasons. In 2 weeks we will reach the most anticipated moment of the whole series, the arrival of Joker and Batman. But we will only have a 45 minute episode to see this happen which is extremely sad for fans.”

“We still haven’t explored major characters. This is extremely sad considering how well the writers have done.”

Brooke Brown‏

“This show just keeps getting better and better. Gotham just has so much potential that was completely wasted on Fox.”

Ana‏

“Gotham quite literally breathed new life into me with its inspiring characters and plots. The takes on the familiar Batman characters are unique and interesting, the cast is superb, and this show has a lot more stories to tell – and fans who want to see them

#SaveGotham”

Anders‏

“Gotham’s a great drama show with dark humor & amazing visual. Plus it’s great to see several lgbt+ characters in the main cast.”

Mirela‏

“I think there are many reasons why the show shouldn’t end yet and I’m sure a lot of fans have already pointed it out before.”

Scheming Minor‏

“As a lifelong Batman fan, Gotham has meant new beginnings and creative new ways to wind the mythos of Batman’s beginnings and before. It’s hard to pick where to start, but this show make me jump back into the Batman fandom after watching from S1.”

Mariah Sturtevant‏

“The cast and crew both are absolutely amazing! Everything from set to costume to music to characters is breathtaking and it makes the show truly immersive. We care about the characters because the actors make them real. That’s why it should be saved.”

Sadame21‏

“It does not deserve to end this way, at least someone make Penguin a spinoff please!”

James Gordon’s Stan‏

“It’s a show filled with mystery, interesting topics, and many characters were under developed because of this cancelling.”

Batmanfan935‏

“It is the perfect take on the Batman universe.”

Reah #SAVEGOTHAM‏

“The style is dramatic, edgy, and thrilling in it’s exposition for a new age in the Batman timeline. We’re still starving for more. #SaveGotham”

#Gotham #SaveGotham #Film Daily #Gotham article

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thepastisalreadywritten · 6 years ago

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Saw your GOT post on Skippy’s page... there is zero way most of season’s 7 & 8 can be GRRM’s actual plan for ASOIAF... unless he too throws the prophecies and all logic out then window. 🤢 So frustrated and annoyed. I’m hopeful it can be fixed but he needs to actually WRITE WOW please!!!!

-- Hi. I am still planning to write my Season 8 opinion but it seems I have been swamped with other things as of the moment. Rest assured I will finish it this week. Haha!

Anyway, here’s a short preview.

I. Remember how Seasons 1-4 were FLAWLESS? It’s due to the fact that the show had the books as a guide to the storyline, characters and overall tone of the show. Dialogues were copied straight from the books. Characters were established. Actors were great except for the younger ones though (I mean, the younger Stark children).

II. Seasons 5-6 started to fall apart. Did you notice how the dialogues and character arcs became flimsy? It became apparent that the writers have haphazardly adapted the stories forward.

No question on the PRODUCTION TEAM behind the show because all the staff and crew have always been excellent in bringing the visual, costume, make-up, prosthetics, fire stunt, stunt double, VFX and others to life.

III. Upon announcing that Seasons 7 and 8 will have 13 episodes in total, we all knew it will be a disaster. One can’t sum up the whole story by cutting the character development and storyline by half. And it did!

All the build up and introduction since Seasons 1-6 were for naught:

1. The Night King, White Walker and the undead Army in general

2. “Winter is Coming” and The Long Night

3. Babies offered in Craster’s Keep

4. Jon’s mysterious mother and the R + L = J theory

5. Daenery’s survival

a. Consuming a raw stallion’s heart as part of the Dothraki pregnancy ceremony

b. Surviving the funeral pyre with three living dragons

c. Breaking the chain of slavery

d. Surviving just every challenge among others

IV. All these didn’t matter in the end. Season 8 gave us the so-called “writers’ favorite service”, which gave Sansa and Arya unnecessary scenes, lines and importance. With due respect to those who like these two characters, there was no build up on Arya that she will be the one to kill the Night King. Jumping out of nowhere and doing the ninja moves, seriously?

Jon and Daenerys have gone through hell and back since Season 1. The least that we can expect was their arcs to be given justice. Jon Snow aka Aegon Targaryen spent Seasons 1-7 dealing with the undead.

How is it possible that Arya came into the picture? They based that presumption on what Melisandre told Arya in Season 3 about “the green eyes, brown eyes, blue eyes -- eyes you will shut forever”.

It’s like Voldemort was killed by Peeves the Poltergeist instead of Harry Potter just because the writers want to subvert the story. It’s also akin to Thanos being killed by an arrow by Hawkeye. No, it doesn’t make sense. Arya’s arc was not established from the very beginning. Her storyline was focused on revenge against those who murdered her family. Hence, her resolution in going to Braavos to train under JaQen H’ghar in the House of Black and White.

V. Sansa has no point in asking frivolous lines and dissing Daenerys for no reason whatsoever. Daenerys brought her three dragons and armies to the North for the supposed to be “Great War” and all Sansa was focused on were the food supply and what the dragons were eating. Lest we forget, Daenerys lost two of her dragons and some of her armies, including Missandei.

In every war and battle since Season 1, it is already inherent and implied that soldiers, women and children will suffer from everything. It doesn’t need to be emphasized just to give her the dialogue or scene.

Her dissing Daenerys also has no merit. More on her character later on.

VI. Jon Snow being the son of Rhaegar Targaryen and Lyanna Stark didn’t amount to anything in the story at all. Bran Stark and Sam Tarly were inclined to tell Jon his true heritage yet the story was more focused on the Stark children to think he is above them all by birthright.

Remember how Jon asked them to make a promise at godswood yet Sansa still shared the secret to Tyrion? She already broke the code because godswood is a sacred place for the Starks at Winterfell.

VII. What happened to Tyrion and Jaime Lannister? Both became dull and foolish in the end. Season 8 gave Jaime the alleged redemption arc only to throw everything away by going back to Cersei. There was also no point on the Jaime and Brienne intimate scenes only for the latter to be hurt by the former.

Remember Maggy the Frog’s prophecy on the young Cersei? Although the show didn’t include the part where Cersei will die under the hands of a Valonqar (Valyrian for “little brother), it still doesn’t give credence to her and Jaime’s reunion in the end.

In Book 5, A Dance with Dragons, Jaime has already discovered Cersei’s evil ways. He has started to despise Cersei yet in the show, the writers chose to have them die together in the rubble after the horrible things that Cersei has done since Season 1.

“Nothing else matters. Only us.”

--Jaime Lannister

Way to go in ruining Brienne before that huh? Haha!

VIII. Daenerys going mad in Episode 5 didn’t make sense. It’s not that Daenerys is not capable of being mad but since Season 8 was cut in ridiculous proportions that all the storylines have to be acted out per minute in each episode.

Daenerys “blasting full mad” in one episode is a folly. Had they only executed the “mad” aspect well, book readers and viewers would have understood it but they didn’t. It was a race to the finish line.

Have Dany in “Mad Queen mode” in one scene then Jon stabbed her in the end. Just like that or I call it “Wingardium Leviosa” style. Swish and flick -- there goes Dany’s death. Haha!

Drogon should have killed Jon though. DROGON AND GHOST are two of the best moments in Season 8.

I/we can’t believe that a great story was ruined by lazy writing. Negative comments everywhere on social media, especially Youtube. I have also posted those reviews in the blog. They made great points too.

This has been a long post. It still doesn’t cover some of the characters but I hope to write another one next time. Thank you for dropping by. :)

P.S And yes, let’s just look forward to the remaining two books from GRRM soon.

#Game of Thrones

#Season 8

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thekingofwinterblog · 3 years ago

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There is a lot of good here, but also some points i particularily dissagree with.

The biggest is simply the argument that the reason for the mixed reception to 3A, was fanon expectations.

I dissagree with that heavily, not because i think that wasnt a thing(it definitly was), but because it implies that fans were just out of touch with what was being shown to us onscreen. by marketing, by what the creators were telling us.

essentially that what we were promised had nothing to do with what we expected. and that just isn’t true.

True colors did not promise a direct change in the episodic format of the show. but it DID promise a clear change in tone, a turning point from which one could point to and say, “this is where the show got darker.

And we know this wasnt just something fans had unrealistic expectations for, because this is exactly what happened.

Every single time we were given a glimpse of what was going on outside of Anne’s existence on Earth, we were shown that yes, True Colors DID mark a decisive turning point. This was not the same show it was pre True Colors.

In that regard, fans were not wrong to expect the show to at least try and balance the act of lighthearted fun on earth, with the stark reality of the situation.

The problem is that while Anne’s story wasn’t withouth danger and dark moments, it never really managed to capture the same tone as Andrias sending a robot that was going to exterminate a village full of kids.

Which brings us to Anne, Marcy and Sasha. And why so many fans were frustrated by how Anne’s storyline handled it.

You are of course right in that the fanon and reality are a bit different. Anne and the plantars are the main characters, not Anne, Sasha and Marcy.

or at least that’s how it used to be.

Because season 2B had completely changed that formula by the time it ended.

Marcy joined as a regular cast early in season 2, and from first temple onwards, she was a main character, with the exact same thing happening for Sasha just a bit later in the third temple.

by the time true colors rolled around, the story had changed. all 3 were now main characters, just like the Plantars.

Fans were not wrong in assuming and expecting that this would continue in some way. obviously Marcy’s story came to a crashing halt, and that was the point of it. But Sasha still had her agency, and Fans were not wrong in assuming that she would be our window into how things were going in amphibia.

especially when every single episode, we were reminded that, oh yeah, Sasha and the Wartwood gang exists.

at the very end of the opening, the show made a point in showcasing a lineup of characters that we were meant to pay attention to, because these were the important players.

notice how Sasha and the rest of her crew are given EXACTLY as much space, if maybe even more than the Boonchuys and the Plantars?

This is the show constantly reminding us that these characters exists, and will be important for this season. and that never happens. they are in one episode, and that is IT.

frankly speaking, the show would have been more honest about what to expect if it had cut out everyone left of Sasha and replaced them with the various reocurring characters in season 3A.

outside of the amphibia episodes, the christmas story, and the new normal, Sasha and Marcy is not even mentioned ONCE. not a single time. Anne’s parents don’t even ask what the hell happened to them, which is BAD storytelling.

People were not wrong to expect Sasha and Marcy to not have a mayor role in 3A. With Sasha, we were practiaclly promised that Yes, we will get a lot more of her this season.

That is the problem fans have with Sasha not getting screentime. She became a main character in season 2, and we were promised that would remain the case, and it just, does NOT happen. Which wouldn’t have been a problem if the show hadn’t told us to expect to see more of her.

as for Anne’s part of the story, It’s not the fact that Sasha and Marcy isn’t Anne’s main priority that is the problem. it’s that they arent MENTIONED at all post the premiere.

other than those letters, there is not a single moment where Anne shows even the slightest hint that she even thinks about Marcy and Sasha.

Also, here is one episode that SHOULD have happened, but didnt. Have Sasha and Marcy’s parents show up to demand to know what the hell happened to their kids. This is what logically SHOULD have happened the moment word got out that Anne was back. it was an episode that was practically gift wrapped for the writers.

It was such an obvious story idea rife for interesting character development, and it just, never, happened, because the season had to keep Anne completely and totally separated from the fallout of her closest and oldest friendship disintegrating.

The fact that both the amphibia episodes we did get was all about adressing the aftermath of that, while Anne’s story pretended it didn’t happen, created a MASSIVE tonal dissonance, And frankly, fans were not wrong in expecting it to at the very least be adressed.

And then we get to Darcy.

If there was one character who was hyped even MORE than Sasha, that in the end did NOTHING of real note in 3A, it was Darcy.

We were told, and promised that Darcy was a BIG FUCKING DEAL, to the point where she became the biggest character in the closing shot of the opening.

And she didn’t do jack squat. We are in the end game, i the viewers have NO idea what kind of opinion Darcy has on anything, or anyone other than Andrias.

Which… again wouldn’t necessarily have been an issue, if the show hadn’t hyped her up, and up, and reminded us that oh yes, she matters.

Fans were not wrong to expect darcy to actually do something this season. she did not. hell, we dont even learn her personality yet.

and finally there is the relationship between Anne, Sasha and Marcy.

Matt has told us, that the girls relationship is THE CORE of Amphibia as a show. Like, that isn’t Fanon. that word of god speaking about the central heart of his own show.

This interpersonal core of relationships, and the way they formed the 3 girls into the people they are now, is supposed to be the main thesis of Amphibia. Fans are not wrong for thinking that, and expect the series to treat it as such.

That is what season 2B was ALL about after all. It’s why Sasha and Marcy became main characters.

True Colors tore those relationships into teensy tiny pieces, and then told us “Watch to see how the girls cope and deal with it”. And as such, we expected to actually get to see that story told. And then with Anne it decided, that rather than actually adressing that fallout, to instead completely pretend it didn’t happen, all while wanting us to still believe it still was really, really important.

That the fans expected to see the things the show promised to tackle in some way, is the shows fault, not the fans.

To be honest, the 3A discourse rubs me off the wrong way because it kind of feels like cartoon fandoms are pretty shallow sometimes?

Note how many people keep dismissing the Plantars, even though they were always main characters and their relationship with Anne was the main focus and heart of the show in the first place (literally marketed by Disney that way too), in favor of Sasha and Marcy and for what seems like because they just want to ship them all together.

Reminds me of The Ghost and Molly McGee where Molly and Scratch's relationship is the centerpiece of that show but most of fanart and fanfics are just about shipping Molly with the other girl characters.

We might be opening a pretty big nest of worms with this one, Anon, but knowing my current thoughts, I will say that I was curious of the phenomenon regarding Season 3A.

I'd been observing the fandom for a while — and don't get me wrong even if I've been here from the start it's not like my opinion is the most correct in how people feel about the topic — however, I do see four things that are being put into play over Season 3A discourse. And right now, I honestly would like to talk about it.

However, because of the nature of discourse (being that it's stressful and also prone to having people argue if the discussion isn't handled carefully), I will put all my thoughts under a Read More.

To note, though, I am not going to invalidate people with whatever I will say under the Read More, but I am going to dissect why collisions are happening in the fandom in-general. Because in understanding where these concerns are coming from, then we can have a better picture as to why arguments are starting in the first place.

Anyway, let's begin.

[Word Count: 2,100~]

Keep reading

#amphibia #amphibia season 3 #discourse #season 3a #season 3b

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aion-rsa · 4 years ago

Text

Star Trek: The Rise, Fall and Rise Again of Planet of the Week Storytelling

https://ift.tt/3hF2eED

It’s 1964, a couple of years since President John F. Kennedy announced that the USA was going to land on the moon. It was also the year that saw ground-breaking science fiction anthology series The Twilight Zone come to an end. The series had become a household name by telling self-contained, high concept stories written by leaders in the genre. Not just the endlessly talented Rod Serling, but names like Charles Beaumont, Richard Matheson, and Ray Bradbury. It also starred up-and-coming acting talent such as William Shatner, Leonard Nimoy, and George Takei.

As well as bringing talent to the field, The Twilight Zone was also notable for using science fiction allegory as a way to talk about political and social issues that advertisers and censors would otherwise not touch with a ten-foot pole.

In steps Gene Roddenberry, with a concept he describes as “a wagon train to the stars.” His opening pitch is “Action – Adventure – Science Fiction. The first such concept with strong central lead characters plus other continuing regulars.” In other words, fitting neatly into the niche left by The Twilight Zone, while bringing with it the marketability of a recurring cast.

The heroes of this series, the crew of the S.S. Yorktown, would visit alien planets, but not too alien, as Roddenberry himself points out:

“The “Parallel Worlds” concept is the key…

…to the STAR TREK format. It means simply that our stories deal with plant and animal life, plus people, quite similar to that on earth. Social evolution will also have interesting points of similarity with ours. There will be differences, of course, ranging from the subtle to the boldly dramatic, out of which comes much of our colour and excitement. (And, of course, none of this prevents an occasional “far out” tale thrown in for surprise and change of pace.)”

At which point Rodenberry probably noticed he liked the sound of that split infinitive. The purpose of the “Parallel Worlds concept” was to make “production practical by permitting action adventure science fiction at a practical budget figure via the use of available “earth” casting, sets, locations, costuming, and so on” but also to “keep even the most imaginative stories within the general audience’s frame of reference.”

An excerpt from Gene Roddenberry’s “planet of the week” pitch

In that opening pitch, which you can find at the Ex Astris Scientia fan site here, Roddenberry drops a number of potential story pitches. Some of them, like “President Capone,” would eventually find their way into episodes of the series. Others, like “Kongo,” which promised a race-switched portrayal of “the Ole Plantation days,” perhaps thankfully never materialized.

The idea of visiting a different planet every week allowed the show to keep telling “Twilight Zone-ish” anthology stories, while maintaining a recurring cast, in the same way a detective show could feature a different murder every week. It also meant, at a time when syndication was an important part of any show’s income, that episodes could be shown in pretty much any order without confusing the audience.

The series was successful, then less successful, then cancelled to the upset of a collection of vocal hardcore fans.

It spawned imitators. Blake’s 7 and Space: 1999 were darker, weirder, and more British than Star Trek, and more tied into their own long-term narratives, but both still featured plenty of stories where the characters arrive at a planet and encounter weird stuff. Battlestar Galactica, while trying very hard to be Star Wars, was also no stranger to the planet of the week.

Roddenberry tried to relaunch Star Trek a few times. First as Star Trek: Phase II, then an unrelated series called Starship, then a movie, until eventually striking gold with Star Trek: The Next Generation.

The Next Generation

After an, admittedly, rocky start, The Next Generation took the Star Trek concept further than ever before, and over seven series elevated “planet of the week” to almost a philosophy procedural. Over time, it did things the original Star Trek could never do, introducing character arcs and long-term storylines, such as the Borg, or Data’s growing humanity.

Even in the show’s Writers’ Bible, we can see how the Star Trek concept has been refined. It specifically lays out “We are not buying stories which cast our people and our vessel in the role of “galaxy policemen” and “We are not in the business of toppling cultures that we do not approve of.” It also narrows the focus. No more “Earth where Rome never fell” stories, instead, saying “Plots involving a whole civilization rarely work. What does work is to deal with specific characters from another culture and their interactions with our own continuing characters.”

Star Trek: The Next Generation “The Masterpiece Society”

In its planet-of-the-week stories it hit some of the old stand-bys, such as The Planet Where There Is No Crime But The Only Sentence Is Death, or Racist African Stereotype Planet, in admittedly not classic episodes, but also gave us stories such as “The Masterpiece Society,” which not only gave us a look at a hypothetical world where everybody does the job they are born for, but also asks uncomfortable questions about how the Enterprise should interact with these cultures, a theme we see prop up again in “First Contact” (not the movie) and “Who Watches the Watchers?“

It also gave us “The Outcast,” an episode that, while it’s dated extremely poorly, was at least trying to address the prejudices of the time (and may have done so more successfully if Frakes had got his wish of the gender-neutral alien love interest being played by a male actor).

Star Trek: The Next Generation was an enormous success, and success breeds imitators.

The Planet of the Week’s Golden Age

Red Dwarf started out as an entirely different sort of beast to Star Trek, replacing military and scientific heroes with chicken soup machine repairmen, and space adventures with bunk bed comedy that just so happened to be set aboard a spaceship. But as the series developed they would encounter waxwork museum planets, psi-moons that replicated your inner psyche, planets like ours but everything runs backwards (later remade as Tenet), and a world where everyone was Arnold Rimmer.

The mid-nineties to early noughties were a golden age for planet of the week TV.

Star Trek: The Next Generation itself would inspire several spin-offs, including Star Trek: Voyager and Star Trek: Enterprise, as well as Star Trek: Deep Space Nine (which we’ll come to later).

The movie Stargate was spun-off into the TV series Stargate: SG-1, using the film’s premise to make a planet of the week series that a) saved money on expensive spaceship footage – until they decided they wanted to do that anyway – and b) handily explained why all the alien cultures looked extremely human. That series itself would eventually spin off two other series and a handful of TV movies.

Farscape took the Planet of the Week setup and decided to get real weird with it, taking full advantage of the creativity of the Jim Henson Creature Workshop to give us aliens that were far more than a funny-looking forehead, and storylines that were far more complex and messy than the clean cut Star Trek universe would typically allow. At the same time, while planets of the week weren’t a rarity, Farscape’s episodes would frequently bleed together into overarching single plotlines. Sliders, meanwhile, would abandon spaceships entirely, taking Roddenberry’s original “parallel worlds” pitch to its logical extreme.

Even Gene Roddenberry’s unused ideas were being mined for potential ideas, with Gene Rodenberry’s Andromeda giving us a series about a Definitely Not The Federation Starship getting thrust into the future to discover the Definitely Not The Federation has fallen and the galaxy is in disarray (an idea that might sound extremely familiar to modern Star Trek fans).

But while space shows were in a boom, two shows in particular were already adding twists to the formula that could spell doom for the Planet of the Week.

Bringing the Strange New Worlds to You!

As The Next Generation was getting ready to end on a high, two series were closing in on a way to replicate its success. There is some debate about how much these two creative teams arrived at the same solutions in parallel, or if there was some cross-pollination, but either way, the thinking was the same.

Q’s Return on Star Trek: Picard Season 2 will Follow “Significant Trauma”

By Joseph Baxter

Star Trek Picard Season 2 Teaser Trailer: All the Easter Eggs & References

By Ryan Britt

The most expensive thing about planet of the week shows was, basically, the planet. You could creatively reuse props and costumes, but each world needed its own backdrops, scenery, alien makeup, and more. What if you could do Planet of the Week but without the planet?

And so we saw Star Trek: Deep Space Nine and Babylon 5 emerge. Instead of a spaceship, the setting was a space station, and instead of visiting a different planet every week, the adventure would come to them in the form of alien visitors and clashes among the native alien populations of the station.

The station brought with it other implications as well. No longer would the characters be able to fly away at the end of the episode, never thinking again about the chaos they left in their wake. These characters would have to live with the consequences of their actions, with the effects returning on them again and again.

Both Deep Space Nine and Babylon 5 started out with storylines that seemed like fairly straight forward Star Trek-style fare, but over time these long-term plotlines would build up. Both space stations soon found themselves facing a mysterious new threat, and the outbreak of a galaxy-wide war.

As the necessity for one-and-done storylines fell out of vogue, writers felt more freedom to produce these ongoing storylines.

These series, alongside Space: Above and Beyond paved the way for yet more serialised storytelling in the form of a new, rebooted Battlestar Galactica. This version was no Star Wars knock-off, and had no interest in planets of the week. While it was set on a fleet of ships, Battlestar Galactica was less interested in the planets those ships were flying by than in the relationships between the people aboard those ships, and their battle with the pursuing Cylons.

The cast of Babylon 5

At the same time, a feeling was spreading that bobbly forehead aliens looked a bit silly, and stories became decidedly human centric. Firefly straddled the gap between episodic and serialized, in much the way Joss Whedon’s Buffy the Vampire Slayer had done before it, but every character in it was human, and every planet (or often, moon) they visited was a human colony, more often-than-not, a desert one with a decidedly Wild West aesthetic.

Star Trek: Enterprise became the first Star Trek since the original to get canceled, and the first not to have a successor series immediately lined up.

By 2010, the only series about spaceships visiting alien planets was Stargate: Universe, and even that show was more interested in the inter-character drama among the ship’s crew than in the planets they were popping in on along the way.

Even J.J. Abrams’ new Star Trek movies were less interested in strange new worlds, than in preventing attacks on Earth. Star Trek Into Darkness climaxes with Spock having a fist fight with someone on the roof of a rubbish truck in a really quite modern-looking San Francisco.

For a while, spaceships just weren’t something you found on TV. In 2014, the only space TV show on air, Ascension, turned out to actually be about a bunch of people who only thought they were on a spaceship, but were actually in a massive simulator.

Space Gets Cool Again

Then Abrams got the job that, frankly, judging from his Star Trek movies, was the one he had wanted in the first place. He got to make the new Star Wars movie. It came quickly in the wake of the heavily Farscape-aesthetic wielding Guardians of the Galaxy (Ben Browder, Farscape’s John Crichton, would later say “When I met James Gunn, I introduced myself and he said ‘I know who you are.’ And I said ‘Yeah, I thought you did because I saw your movie, bro.’”)

Around the mid-2010s, there seems to be a tipping point, where people finally have their fill of the post-apocalyptic and are suddenly very keen to get back to space.

In TV land James S.A. Corey’s The Expanse novels were being adapted into a TV series in an attempt to create the fabled “Game of Thrones in space.” That was quickly joined by the more cheap and cheerful space-bounty-hunter series, Killjoys, and space reformed-mercenary series, Dark Matter.

But with the exception of The Expanse’s protomolocule, we had yet to see many aliens on TV, with less interest in exploring alien worlds than in space crimes and interplanetary/stellar scale politics and warfare.

In 2017, when Star Trek, finally, returned to the small screen, we were given a series that involved less traveling to previously unexplored alien worlds, instead giving us a long-term plotline about the Federation’s war with the Klingons.

And yet old-style Trek stories were starting to make a comeback. Seth MacFarlane’s The Orville was marketed as a space spoof akin to a live action Space Family Guy, or something in the mould of Galaxy Quest. What viewers actually got was a remarkably faithful homage to the Star Trek of the nineties. Over two seasons it’s given us planets where the female gender is outlawed, where everything is decided by social-media vote (an extremely “successful white male comedian who’s worried about getting cancelled” form of social commentary), and a planet where everyone born under a certain star sign is put in camps. It’s a series that might not quite reach the heights of the stories it’s aspiring to be like, but it is clear about the sort of stories it wants to tell.

At the same time, planet of the week stories were coming from another unexpected direction, in the form of Rick & Morty. From its Purge Planet episode (that directly references Star Trek’s own ‘Red Time’, to the culture of civilized facehuggers, one thing Rick & Morty excels at is taking a big idea, playing with for the length of a story, and then putting it back in its box.

So while Star Trek: Discovery was followed up by the equally plot-arc-heavy (although extremely welcome) Star Trek: Picard, perhaps it wasn’t surprising that the third new Star Trek spin-off was an animated series written by Rick & Morty writer Mike McMahan.

Despite being a comedic take on the franchise, Star Trek: Lower Decks still feels more like “old” Star Trek than its franchise-mates. It features a big orchestral theme tune and an opening credit sequence with the ship flying past various planets. Its plots involve rescuing ancient cryogenically frozen colony ships, space zombies, extremely crystal-themed planets, and massive alien trials that actually turn out to be surprise parties.

Star Trek: Discovery, meanwhile, seems to have been taking the long way round to its planet of the week roots. Its second season gave us a look at the culture of Commander Sarus’ home planet (along with some very dodgy prime directive violations) and a planet of humans abducted from Earth’s World War III. Its third season saw the Discovery thrust into the future to discover the Federation has fallen and the galaxy is in disarray, allowing us the peculiar pleasure of seeing a Planet of the Week episode where the planet in question was Earth. Now that Michael Burnham is a Captain, and the ship is reunited with the remnants of the Federation, we may actually see some actual exploring next season.

Even Star Wars, which has never really been at home in this particular sub-genre, has given us The Mandalorian. Despite the ongoing plot, every episode of the Star Wars series features the Mandalorian (I refuse to remember his actual name) riding into town on a new planet with a drastically different biome and inhabitants, having an adventure, and then riding off perpendicular to the sunset.

And now we come full circle. Because as well as its own sideways edging towards Planet of the Week stories, Star Trek: Discovery has also introduced Captain Pike, the Captain of the USS Enterprise introduced in Star Trek’s original pilot. He, his first officer “Number One”, a new Spock (the third, if you’re counting) and their much shinier looking Enterprise NCC-1701-No-Bloody-A-B-C-or-D proved so popular with fans that they have been given their own series.

The description of Star Trek: Strange New Worlds sounds… familiar.

Executive producer Henry Alonso Myers describes it as “We want to do Star Trek in the classic mode; Star Trek in the way Star Trek stories were always told. It’s a ship and it’s traveling to strange new worlds and we are going to tell big ideas science fiction adventures in an episodic mode. So we have room to meet new aliens, see new ships, visit new cultures.”

It sounds like a pretty good idea.

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Anime in America Podcast: Full Episode 3 Transcript

The Anime in America podcast, hosted by Yedoye Travis, is available on crunchyroll.com, animeinamerica.com, and wherever you listen to podcasts.

Episode 1 Transcript: In the Beginning There Was Fansubs

Episode 2 Transcript: Robots, Real Estate, & Silvio Berlusconi

EPISODE 3: THE LONG CON(VENTION)

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Disclaimer: The following program contains language not suitable for all ages. Discretion advised.

[Lofi music]

Alright, I’m sure you know the scene: people dressed up as their favorite characters, giant halls packed with toys and hamster plushes, hour-long lines to pack into a room to get a glimpse at creators and actors. Even if you’ve never been to an anime or comic book convention before, you know exactly what they’re like. You’ve seen the photoshoots, read the reports, or probably saw that one episode of Community where they go to an “Inspector SpaceTime” convention. Inspector Spacetime.

Conventions are a huge part of fandom. In 2020 alone, there are 62 anime conventions scheduled for the United States. And that doesn’t even include all the comic book and movie conventions that have anime programming, like San Diego Comic Con. Before all of this, before you could go to a different anime convention almost every single weekend in a year… it all started in a hotel room in Dallas. This is Anime in America brought to you by Crunchyroll and hosted by me, Yedoye Travis.

[Lofi music]

The year was 1983. The inspiration? Star Blazers, the adaptation of Leiji Matsumoto's Space Battleship Yamato that aired in the U.S. in 1979. It was pared down from the original—names were changed, scenes were cut, and the violence was dialed back—but it still became a cult hit. So what do you do when you love something so much you just want to share it with other people? You start a convention.

The idea of conventions was not new, not even in 1983. Science fiction conventions date back to the 30s, but back then it was like, seven dudes in someone’s house reading Isaac Asimov, or some shit like that. Over time, it morphed into something that more closely resembled the modern fan convention formula—fans, panels, dealer’s rooms, special guests, and cosplay, although that specific word wouldn’t enter the lexicon until much later. Soon, fans started organizing conventions for other stuff too, like Star Trek, horror movies, and comic books.

Why was Star Blazers so special though? Up until then, most of the anime shown on broadcast television was episodic. So you could show any episode, in any order, and no one would know the difference. Not so with Star Blazers. By many accounts, it was one of the first serial anime series to air in the United States.

[Star Blazers season one theme]

You had to watch every episode, in order, to follow this rich storyline of intergalactic warfare, cosmic politics, and a brave crew recruited to retrieve technology from a faraway planet to save life on Earth from the ravages of alien nuclear technology. It was the stuff of science fiction dreams, and a lot of people were hooked.

So in 1983, three guys—Mark Hernandez, Don Magness, and Bobb Waller rented some space at the Harvey House hotel in Dallas, booked some merchandise dealers, and hosted Yamato Con 1. Their video room promised one full season of Star Blazers, as recorded off the TV, minus the commercials, and the Space Cruiser Yamato movie in its original Japanese. Back then, not everyone had a VCR because they were still incredibly expensive. The average price of a VCR in 1983 was $500, uh which, given inflation, is more now. So just think- consider that.

And that didn't even count the VHS tapes, which cost $15.99 for a blank 90-minute tape. So just the idea of being able to sit around all day watching Star Blazers with other like-minded fans seemed revolutionary and very costly. Need I remind you, it cost a lot. Yamato Con even had a dealer room, with eight merchants selling everything from model kits to manga. About 100 people showed up, which is a lot when you think about how this was way before the Internet and message boards made it possible to advertise your event on a wide scale.

There is some controversy about whether Yamato Con was technically the first ever anime convention in America, but it’s certainly one of the earliest instances of a con being devoted entirely to anime. At that time, there were already anime screenings at science fiction conventions around the country, and yes, of course, obviously it was a lot of Star Blazers.

[Lofi music]

Here's Jim Kaposztas, who in 1983 convinced New York’s oldest science fiction convention, Lunacon, to start showing Star Blazers in one of their video rooms. Side note, if his name sounds familiar, it’s because Jim is also credited with making the first ever Anime Music Video or AMV, or those videos you used to watch in like 2006 where Naruto would dance to The Pussycat Dolls or whatever it was. In Jim’s case, it was a montage of the most violent scenes from Star Blazers set to the Beatles’ “All You Need is Love,” a tribute to the British TV series, The Prisoner. Which, I’m not sure, I don’t understand how that works as a tribute, but that’s fine.

Kaposztas: My first exposure with anime at conventions was Noreascon Two, that was the 1980 World Science Fiction convention in Boston. There was a group called the “Cartoon/Fantasy Organization,” or C/FO for short, run by one Fred Patten, and he was screening anime in a small room at part of the convention. One of the things that he did was he was showing this movie called Lupin the Third Castle of Cagliostro and he was running a survey for the distribution company, Tokyo Movie Shinsha. So people would come in, they would watch this subtitled movie and then fill out forms, but other than that he was running all sorts of anime that was popular in that time frame from a lot of the early giant robot shows, to Space Pirate Captain Harlock, some of it subtitled, some of it not.

Yes, before the internet was dominated by our very privileged sub versus dub debates, some fans didn’t have a choice but to watch anime in its raw Japanese.

Kaposztas: Back then, there would be people that would narrate it which, from time to time it’d be like part right, possibly right, and bordering on some Mystery Science Theater 3000.

Okay. Let’s take a quick trip back to 1981. Reagan is president, crack is at its height, and Post It Notes were just invented. It’s December, Philcon 3, and budding anime fans are hungry for anything anime. Jim Kaposztas again.

Kaposztas: They were screening the original Space Battleship Yamato, they were screening whatever they could get a hold of. I’d seen loose episodes of Space Runaway Ideon, Mobile Suit Gundam, and a lot of the times it was people figuring out “okay, this is what’s going on in the show,” and such. Usually there would be parties like on Friday nights and Saturday nights, people would put up little signs. In the case of Gammalon Embassy it’d be a picture of Deslock that says “Gammalon Embassy, Room Whatever!” And it’d be somebody with a VCR and a bunch of tapes and they’d show stuff and try and explain it to people. Used to get like 20-30 people packed into a hotel room, staring around a small television monitor.

Jim Kaposztas was addicted. He went to Lunacon in 1982 in costume, dressed as Captain Avatar--the first commander of the starship Yamato--complete with the beard, and all the other stuff. I don’t know what that guy looks like, so I wish I could give you more information, more of a visual. But you guys have Google.

He runs into a guy named Rob Fenelon who tells him, "Hey, I have all these Yamato tapes from Japan, but no VCR," so Jim drives the 30 miles home, just to get his giant VCR, and drives all the way back. They screened Space Battleship Yamato all Saturday night, then they do it all over again on Sunday morning. Months later, Rob gets in touch and says, "Hey, why don't we put together a video room at a convention?" They made a bunch of contacts, screened some anime with the local Star Blazers Fan Club, and a year later, at Lunacon 1983, started what eventually became known as the Star Blazers Video Room. And to fill time between screeners, he would include anime music videos, the aforementioned anime music videos. The first one he made took hours to make, and required the use of two VCRs. And thus was born the AMV, all thanks to Star Blazers.

Meanwhile, in Los Angeles, where it was actually a lot easier to stumble upon manga in the wild thanks to the large Japanese-American community, Fred Patten was doing his best to raise anime into the limelight. Patten, who tragically passed away in 2018, was one of the godfathers of the American anime scene, spending a lifetime promoting and writing about anime and manga.

In 1977, he co-founded America's first anime club, the Cartoon/Fantasy Organization or the C/FO for short. Around that time, he even became friends with Osamu Tezuka, who was "bewildered but flattered" that so many American fans took the trouble to figure out the plots of his manga, for a language most of them couldn't read. Tezuka was so flattered, in fact, that in 1980, he convinced Devilman creator Go Nagai, Lupin the Third Creator Monkey Punch, and a couple other manga artists to go to San Diego Comic Con with him to check out the American manga fandom for themselves. That same Comic Con, both Tezuka and Patten were presented with Inkpot Awards—Tezuka for the film Phoenix 2772, and Patten for “Outstanding Achievement in Fandom Services and Projects.”

So while anime video rooms, Japanese guests, and even anime conventions have been around since the 80s, it wasn’t until the 90s that the convention landscape as we know it today really started to take shape. And once again, it started in Texas. As things seem to do.

[Lofi music]

Once again, there’s a little bit of controversy on which convention was technically the “first” anime con, but Project A-Kon is definitely the oldest continually running anime con in the U.S. that still exists today. The first one took place the weekend of July 28, 1990 at the Richardson Hilton in Richardson, Texas, and had an attendance of 380 people, which if you remember earlier, 100 is a lot. So now it’s 3.8 times that.

According to its flyer, it was the “first animation con run BY fans, FOR fans,” with guests like Teenage Mutant Ninja Turtles animator Louis Scarborough, Jr., Animag editor and publisher Trish Ledoux and Jeffry Tibbetts, and celebrated Disney animator Tex Henson. Tickets were only $4 a day, $6 for the weekend, and included access to two video rooms, a masquerade dance, a dealer’s room, an art show, a model contest, and something called… Japanimayhem, which they described as a “LIVE”—all caps—”anime-style RPG”.

All that at $4 a pop, obviously your next question is “What is Japanimayhem?” What the fuck is that? Who knows? Japanimayhem was a card game released in 1989, designed by Mark Camp and Stephen Grape, with the alluring subtitle, “A Game of Violence on Video for Anime Lovers.” Basically, players represented parodies of anime characters who competed to see who can rack up the most victims in a killing spree. Which… hmm. For those parents who blame violence on video games, here’s a little bit of fodder for you.

But I digress. Back to Project A-Kon. Hopefully you still remember Star Blazers from... literally two minutes ago? It is the anime that inspired so many anime video rooms and fan gatherings in the 80s? Well, it was also partially responsible for Project A-Kon. When Star Blazers was being rerun on TV in 1982, it inspired a high school student from Denton, Texas named Derek Wakefield to turn his science fiction club into a Star Blazers fan club. Thus, the EDC—the Earth Defense Command— was born. The club grew in size, eventually putting Derek in touch with the Star Blazers Fan Club in New York—the same fan club that Jim Kaposztas and Rob Fenelon worked with to organize a small screening of the series before they launched their own video track. And now you see how everything is all related.

[Lofi music]

1983, Yamato Con. EDC wasn’t involved with the event, but some of the members did show up and distribute flyers for the club, and one of those flyers found its way to an attendee named Meri Davis, who not only went on to later head the EDC… but also Project A-Kon. You see, by the late 1980s, the EDC had morphed from a Star Blazers fan club to more of an anime club in general. A really organized anime club, that had regular meetings, local chapters, fan zines, newsletters, screenings, and a tape distribution service that helped the anime scene in Texas grow like wildfire. So when one of them said, “I wish we could put on an anime con,” the wheels started turning, and from that Project A-Kon was born.

Once again, everything always comes back to Star Blazers. By the way, if anyone wants to learn more about this time period, you should definitely check out Dave Merrill’s blog, “Let’s Anime,” which is a great resource on that entire era. We’ll drop a link in the show notes just so you can check that out, ‘cause we’re nice people.

By 1990, the anime scene in America had really taken off. Thanks to the efforts of all the dedicated fan organizations, the growing availability of VCRs and fansubs, and writers like Fred Patten, Trish Ledoux, and Helen McCarthy, who was spear-heading the anime fan movement in the UK, anime in America was getting to be a big deal. So big that even the Japanese studios were starting to pay attention.

To tell this story, we gotta jump back to the 80s once again. You might be familiar with the name Studio Gainax. They’re the Japanese studio behind legendary titles like Neon Genesis Evangelion and Gurren Lagann. Well, the founders started animating as a hobby, creating short videos in 1981 for an Osaka sci-fi convention nicknamed Daicon. Like many cons, it was a pure labor of love. At that same con, the group of fans also had a table where they sold garage kits, which were these small-batch resin models that would only be available for a limited time at certain conventions. They were so successful that the following year, they launched a company called General Products, with the goal of making model kits that were actually licensed. At the same time, they continued animating under the name Daicon Films.

[Daicon IV Opening]

This was before the two officially combined to form Studio Gainax, one of the first studios that had animation and merchandising under one roof. And General Products was actually really successful. They had two brick and mortar shops in Japan, and they helped organize the Wonder Festival in 1985, a toy and figure show that still runs twice a year today.

At some point, it made sense to expand overseas. Gainax’s animation division had already dabbled in the US market in 1987 with a movie called The Wings of Honneamise, a coming-of-age tale set in an alternate world about a man who becomes the first person in space, amidst political turmoil and conflict. It’s a love letter to what humans can achieve when they dream and work together, but that’s... not really what American audiences saw. The version that premiered at Mann’s Chinese Theater in Hollywood was heavily edited, hastily dubbed, and renamed Star Quest. And it umm… it didn’t do too well. It bombed. And it basically disappeared until it was re-translated and re-dubbed in the 90s. But General Products wanted a piece of the American fandom pie, so in 1989, they launched GPUSA. They stuffed the catalog full of shiny new anime merchandise, but they wildly overestimated fans’ interest in their products. For starters, a lot of those titles hadn’t even made it overseas yet, so anime fans had no idea what they were even looking at. So due to poor planning, GPUSA flopped and closed its doors a few years later. But not before they sponsored… AnimeCon.

You might better know AnimeCon by its modern name: Anime Expo. Kind of. Which, I’ll get to it later, it’s… you’ll understand soon. AnimeCon was run by Gainax, Studio Proteus, and two anime clubs: UC Berkeley’s Cal-Animage, and Bay Area’s CA-West. It was scheduled for three days, starting August 30, 1990, a couple of months before I was born, at the Red Lion Hotel in San Jose, California. Because of Gainax’s connections, they were able to get an incredible line-up of Japanese guests, including Kenichi Sonoda, Katsuhiro Otomo, Haruhiko Mikimoto, Gainax’s own Yoshiyuki Sadamoto and Toshio Okada, and amazingly, Leiji Matsumoto. And just a quick round of applause for getting all of those names in one go, first take.

Before we get ahead of ourselves—Matsumoto ended up cancelling his appearance, but the convention was a huge success regardless. It drew around 2,000 attendees, in comparison to the previous 380 and 100 figures that we dropped earlier. That was five times more than Project A-Kon 2 that same year, which had about 500 attendees.

Sadly, there never was an AnimeCon 2. They just ran out of money, they went broke. But from the ashes of AnimeCon rose the SPJA, the Society for the Promotion of Japanese Animation. A collection of Bay Area sci-fi and anime fans, they officially incorporated in April 1992 under the leadership of Mike Tatsugawa, who in 1989 had co-founded Cal Anime Alpha at UC Berkeley. They struck an agreement with AnimeCon to purchase their assets and obligations, and on the Fourth of July weekend, 1992, they put on the first ever Anime Expo. But all was not good in paradise.

[Dramatic music rises in the background]

There was a generational rift in Bay Area fandom, and it split into two camps-- East Bay versus South Bay, C/FO versus Cal Animage, the new kids on the block. The result was two competing anime conventions scheduled for 1993, held on back-to-back weekends, only 40 miles apart.

[Dramatic music fades]

Anime America was set to take place the weekend of June 25 at the Santa Clara Convention Center. Anime Expo was scheduled for the following week, July 4th weekend, at the Oakland Convention Center. It seems like July 4th is a bad time to host an anime thing, but maybe that’s just my opinion, and maybe I’ll be proven wrong in the next couple paragraphs.

Anyway, the industry was not pleased. In fact, they flat-out refused to support both conventions. In December of 1992, Viz founder Seiji Horibuchi wrote the con chairs of Anime America and Anime Expo a stern letter, pleading with them to either make nice or separate their events.

Here’s a little snippet of the letter, which was co-signed by publications and companies like Bandai, Shogakukan, Studio Proteus, Animerica, Animag, and of course, Viz.

[Piano music plays throughout]

“Dear Convention Chairmen,

We, the industry professionals listed here, do not believe that there should be two ’93 Bay Area anime conventions in close time proximity. It’s as simple as that… Japanese guests don’t have time in their busy schedules to attend two conventions. Retailers don’t have the resources to set up for two conventions. And there’s no way the fans (those outside the Bay Area, anyway) can afford to come to both cons… We’re writing to let you know we’ve talked among ourselves, and that we’ve all agreed that unless (1) there is only one Bay Area anime convention, or (2) Anime America and Anime Expo are separated by time and/or distance, we all withhold our support from both conventions… We would like to hear from you by January 8, 1993—a new year for a new convention. If we don’t hear from you, we’ll have to assume you do not wish our support… Please, won’t you consider our proposal? We don’t think we’re being unreasonable. We freely offer you our full support—the combined forces of the entire American anime industry—if only you’ll put aside whatever has been holding you back and do what’s right.”

So, they were not- they weren’t mad. They were just… disappointed, I guess. That’s a lot of words to just say “Hey bro, chill! Relax. Move the conventions. What are you doing?” This could’ve been a Tweet. It could’ve been a Tweet.

Spoiler alert, both conventions went on as planned, both had Japanese guests, and both had attendance counts north of 1,000 people. So… suck it, anime industry! Ha-ha! Both had an industry presence, as well, with A.D. Vision, informally known as ADV, opening their first preorders ever at Anime America for their subtitled release of Battle Angel. And surprise, Seiji Horibuchi ended up going to both conventions. Look at that, look at God.

Even with the fan interest, it became clear to the SPJA that change needed to happen. In 1994, they moved south to the Anaheim Convention Center, a few blocks away from Disneyland, of all places, and they’ve stayed in Southern California ever since. For the most part, they’ve always taken place on or around Fourth of July weekend. One big change, of course, is that it’s a lot bigger now. Last year, they reported around 115,000 unique attendees. For reference, that’s about the same number of people who live in the entire city of Berkeley. So [exhale]-hWow that’s umm.... that’s a come up, right there. That is a come up.

Sadly, Anime America closed its doors after its 1996 event, but the Bay Area isn’t without anime cons. These days, there’s about a half a dozen events that fans can go to scattered throughout the year.

The 90s were a really great time to be an anime fan. It’s nothing like it is now; fans are just straight up spoiled now, they got everything. All their anime streaming on demand, all the Hulus and the Netflixs. But the 90s were really good. Anime was getting distributed left and right, and you could even pop down to your local Blockbuster or Hollywood Video and rent a tape for a dollar. For the younger listeners, Blockbuster is like… it’s like Netflix, but you had to umm... you had to look a person in his face when you rent porn. [Silence] It’s like that.

[Lofi music]

Even though it was a lot easier to find anime, the best place to watch it was still anime conventions and your local anime club. Thanks to fansubs, tape trading, and pooling resources, clubs often had access to the newest shows and a vast library of titles they would routinely lend out to members. And because they already had experience booking venues for screenings and communicating with other clubs, it made sense that clubs all over the U.S. would eventually arrive at the same conclusion—let’s start an anime convention.

A few weeks after Anime Expo 1994 hosted a 2,000-attendee convention in Anaheim, all the way in Pennsylvania, a much smaller fan gathering was taking place. Started by four guys from the Penn State anime club, it was held at the Penn State Days Inn, in State College, Pennsylvania from July 29-31, 1994. They called it [Sparkling]… Otakon! Guests included comic artist Robert DeJesus, a handful of professional and fan translators, and notable members of the local anime community. Like most anime conventions, it also included screening rooms, panels, a dealer’s room, model competitions, and other now standard events. By official count, it had about 350 attendees. They weren’t going for a huge, record turnout, though. They just wanted to go to an anime convention that was efficient, well-run, and had stuff that they liked. Prior to planning Otakon, the founders had just attended a different convention, and on the way home, got to talking.

Monroe: They went to the convention, and I can’t remember which one it was, it’s on the website somewhere, and it was the four fathers, the four guys in the car. It was Bill Johnston, Mitch Hagmaier, Dave Asher, and Todd Dissinger. And the convention they went to was very, very small, but it was also apparently very badly organized, and as they were driving back from the con, they were saying “you know, we could do a better job,” and then they decided to do it.

That voice you hear is Sue Monroe. She wasn’t at the first Otakon, but she heard about it from her cousin Matt Pyson, who did go. She ended up going the second year, and she liked it so much, she asked to be on the staff. She’s been on the staff ever since, and even served as Otakon’s first female president and Con Chair in 2002.

After that first year, Otakon just kept getting bigger and bigger.

Monroe: Every year, the whole plan was “we can do better.” So we would sit down after the con and we would talk about all the things that hadn’t worked out and how could we fix it so that that wasn’t going to happen again? And by the time that I was Con Chair, we had 17,000 people, we were at the Baltimore Convention Center.

Monroe: For a while there, we were increasing at an exponential rate, because each group took something that they were interested in and just focused on making that better. Every year, it was something else that they were going to do to fix things, make them more efficient. And the whole idea was that it’s by fans, for fans, so we looked at what we would want if we were going to a convention, and we tried to make it as much like that as possible.

In 2001, Otakon surpassed 10,000 attendees. By 2004, that number had shot up to almost 21,000. Which is fucked up.

Monroe: We didn’t have enough staff to handle everybody. We had to make sure we had enough people, and since we’re an all-volunteer staff and we’re a little picky about who we bring on to staff, we just couldn’t handle that many people. We also had no room. People were very, very- well, that was also around the time that yaoi paddles came out.

Oh, okay. Yeah. Right. Yaoi paddles. Cool. Look… bro, if you know, you know. I don’t know what to say. They’re umm… they’re kinda like umm… fraternity initiation paddles- you remember the paddles they had at frat houses they would hit you with? It was that, except they said “YAOI” on them in all caps, which is a call-out to a popular genre of manga and anime featuring romantic and oftentimes sexual relationships between men. It’s gay anime, why are we saying… it’s a lot, why’re we saying it like we’re Republican Congressmen?

They were sold and popularized by a doujinshi vendor, Hen Da Ne, but if you follow the Internet crumbs back far enough, you’ll find the actual source, a woodburning artist named Mike who goes by the online handle Akicafe. In a Cosplay.com thread from 2004, he posted the origin story of the paddle. He said it started out as a joke between himself and the owner of Hen Da Ne, since a big chunk of the company’s business relies on the sale of yaoi manga and doujinshi. So he crafted the very first yaoi paddle, with nice wood burned letters, and a high gloss acrylic finish. Apparently Hen Da Ne liked it so much, they decided to mass produce them, much to Akicafe’s dismay and without his final consent. [Sarcastically] Haha, ain’t that fun, how that works?

So the paddles took off. They were sold at every convention that Hen Da Ne was at, and for a while, everyone was happy. Until people started misusing their powers. Unruly fans ran around, smacking strangers with wooden paddles, and throwing them at each other. This was around the same time “glomping” was a popular thing— and glomping, if you don’t know, is when fans would just run at each other and tackle people with bear hugs. Very violent practice. It all came from a good place, or course—it was genuine fan excitement and love for their fellow fans—but it also got to be too much. People were getting slapped and hugged without consent, and it became kinda a problem. Like, a big problem.

Monroe: We had a lot of glomping going on back then, so you’d have people running through the hallways, well not running because you couldn’t run, it was too crowded, and throwing themselves on other people. It just became very… it wasn’t fun, and if it’s not fun, why do it? When I was Con Chair in 2002, I’m the type of person who reads all of the reviews, so after 2001 I read all the reviews and I marked all the things that were problems that people had complained about in the reviews. And we used to do that every year. And then we tried to fix them, tried to make things better. But we were getting to the point where we couldn’t do that because the absolute problem was we had too many people there. It was just too full. The downtown area liked us, although it got to the point where the people at Burger King didn’t want to work on our weekend anymore, because we always shut them down.

By 2005, Otakon started capping their audience at 22,000, which is a good problem to have. The year after, they raised it to 25,000, and it just got to be too big. But despite some grumblings here and there about crowding and wait times, fans still loved it. Anime conventions had gone from being local gatherings to bucket list fan destinations. They were even hosting music concerts for legendary acts like Yoko Kanno, T.M. Revolution, and L’Arc~en~Ciel. Even Japanese fans started coming to America, just to check out these conventions.

The industry was happy, as well, and Japanese guests loved having a reason to come to the U.S., and they loved being able to meet their American fans in person. Guests like Madhouse co-founder Masao Maruyama liked Otakon so much, he’s been back 15 times since his first guest appearance in 2001. He’s even listed as an honorary staff member, which is insane. Although that origin story is kind of wild. We’ll let Sue tell that one.

Monroe: In 2002, which was my year, was his first year as a guest. And it was a wonderful time and he was a wonderful guest, but at one point somebody stole his pack that had all of his electronics in it. They just walked in while he was doing a panel and walked off with it. And his passport was in it. And it had been such a really excellent con, and here was the most terrible ending we could think of to it. And Maruyama-san voluntarily came to the Dead Dog-

For reference, the “Dead Dog” she’s referring to is slang for an informal party on the last day of a convention. It’s not quite as bad as it sounds. Maybe worse.

Monroe: We were trying to get the Japanese guests to be a part of the Dead Dog after the con, so that the staff, who worked throughout the entire convention and didn’t get to see all of stuff that the fans, the rest of the members, did, that they would have an opportunity to interact with the Japanese guests. So he was at the Dead Dog, and we discovered that this had been stolen. So a number of us went back to the BCC and it was like one of those Keystone cops things, we drove back to the BCC and we had 35 minutes that we were allowed to be in the building before our contract ran out. And we searched and searched and we went in to the- you know that wall that moves to close off a room? Well that’s where we found his bag. They had taken the electronics, but they left his passport and his tickets because they didn’t find it. So we found that five minutes before we had to be out of the building.

Luckily, no one else needed to lose their passport to be convinced to keep coming back. They just liked it. And the American market was growing really fast in the early 2000s. It was at its highest around 2002/2003, when the anime-related market in North America was valued at about $4.84 billion. Home video sales hit a high of $415 million, and fans could even buy anime at mainstream retailers like Walmart, or watch it on Cartoon Network.

Even with all that, they still kept going to anime conventions. And where the fans were, the U.S. anime distributors were, as well. Companies like Geneon, Bandai, Tokyopop, Viz, and ADV were setting up massive booths at shows like Anime Expo, which hit 25,000 attendees in 2004. Its enormity stunned long-time fans like Fred Patten, who wrote that the event seemed to “flood and overflow the Anaheim Convention Center.” He blamed the “unexpectedly poor management” as much as the crowds, lamenting that registration lines the first couple of days were four to five hours long.

Even more surprising for fans who had grown up in the era of tape trading, 2004 was the first year that anime distributors started publicly cracking down on pirated and unlicensed anime DVDs. During their Anime Expo panel, Bandai announced that they were bringing legal action on four dealers caught selling bootleg DVDs. Several other exhibitors were given warnings to remove all their counterfeit merch, and those who didn’t were kicked out and banned from the dealer’s room.

In just a decade, Anime Expo had gone from a dueling Bay Area fan convention to the largest anime con in America. [Convention music fades in] American distributors started jockeying for power, building bigger and louder booths, hosting mini concerts, and holding autograph sessions of their own. Part of it was advertising to attendees, but part of it was just to impress their business partners in Japan. [Music ends] Because so many business licensors also attended Anime Expo, it kinda turned into a… what’s the word? A pissing contest. A contest for piss.

Heiskell: It’s all Anime Expo, that’s all it is. I mean, if you go to Otakon, no one has big booths there. And then if you go to- it’s just Anime Expo is the only dick measuring contest now. And it’s gotten to the point where it’s two levels. The first of them, and then the second tier.

That’s Lance Heiskell. He was at Funimation for 13 years, first as a Senior Brand Manager, then eventually the Director of Strategy.

Heiskell: And you know, Anime Expo just makes money off of that, because to be within the corporate liensors, if you have a big booth it means that you are a, to them, you’re a big anime company. And we didn’t have a big booth until I kind of forced the issue of Fullmetal Alchemist. It’s like this is a huge show, we need to bring our- we had a corporate booth, but it was more for licensing show. So we retrofitted it for Otakon, and that was in 2004 whenever Lark and Show was there, and then our booth was- I mean, sorry, our first episode was the opening act. The first dub. And then you had all of this Japanese press there, covering Lark is Dale, covering Fullmetal Alchemist, we had like Aniplex there, and we had to have a booth. And so that was the first time that we had a big booth. Then the next year after that, I think that’s when Adam started doing the conventions, because Anime Expo we had our first like big boy booth, and that was Tsubasa was that first big booth for Funimation. I think the big booth era, I think the height of it was probably 2004, because I know that it was- yeah, it was probably 2004, 2005, because I just remember Tokyo Pop’s Monster House booth, and then it was right next to Bandai, and I remember Jerry Chu just blaring noise from speakers towards Tokyo Pop’s booth, and Tokyo Pop doing the same, that when you would walk through, your ears would just be kind of garbled. And then every 30 minutes, you’d hear the drum, they’re throwing stuff off. I do have video of that, of the drum and the throngs of people. I have video from 2005, because the Funimation booth was on the far right side, and ADV’s was on the far left side, and they gave ADV the biggest sighs because their booth was really kind of quiet until the drum. And then you just saw everybody swarming due to the them, with the big drum. So, they invite the press to throw stuff out, or just anybody to throw stuff out. I mean, that would be fun. And then, I mean ADV’s booth served two purposes, because the second level was meeting rooms, meetings with the Japanese licensors. This was before the Marriott, so it wasn’t really a good space to have meetings.

The Adam he mentions is our very own Adam Sheehan, Director of Events at Crunchyroll, who prior to coming over here worked alongside Lance at Funimation for 10 years. They know a lot about anime conventions, because they’ve both been to a LOT of them.

Sheehan: Hi, I’m Adam Sheehan, I’m Director of Events here at Crunchyroll. We do about 12 to 13 events- we attend- Crunchyroll, on a regular basis. Back in the day, when I was young and gungho at Funimation, we did up to about 25, 30. I remember like one month, I was doing one every single week for four or five weeks in a row, and I was a shell of myself at the end of it. So I was like “I’m getting too old for this, so I basically need to figure out a better way to do it,” and also, we actually focused on doing more at less, so instead of basically doing the same thing over and over again at multiple cons of different sizes. We pick or choose our ones, and then do a LOT at it, like a bigger activation. More guests, larger panels, and things like that.

Looking at Anime Expo’s attendance numbers, you wouldn’t guess that there was actually a period of time where the anime industry was kinda shaky. Right around 2006. Anime companies were launching 24-hour on-demand video channels, they were partnering with Japanese companies to directly license and distribute anime, they were expanding into more and more retail locations, and then… the bubble popped. The home video market went from $375 million in 2005 to $316 million the next year. By 2010, it would only be $200 million. Lance pins the exact apex of the bubble to the first ever North American Anime Awards, hosted in February 2007 by ADV.

Heiskell: That’s when ADV had all the Sojitz money. It’s 2007, and that’s when ADV spent so much money on that event, because it’s New York, you have to hire union camera people, that was just this big thing, and their network was really popular, they had all the Sojitz titles.

And then came the music store closures.

Heiskill: Like 2006, around September, because Funimation launched the anime online website in 2006. In 2006, Suncoast and Sam Goody had major store closures, and that was like the first cripple, because that was Tokyo Pop and it was also Pioneer, with a lot of returns. And then February was American Anime Awards, then one month later, it was- Geneon closed one month later. I mean, the bust was the music industry. The music industry crippled the anime industry. A lot of manga, and a lot of anime, was in- this was in the era when Suncoast was the number one anime retailer. It wasn’t Best Buy, it wasn’t Amazon, it wasn’t WalMart, it was Suncoast. And Suncoast was built on music. And Suncoast was Suncoast and Sam Goody and FYE and it was all the malls. And so this is when malls were still popular, but then you had some of the department stores kind of teetering where malls were still popular. And all the Suncoasts were in the malls. But then when you had the iPod, and you had iTunes, and then you know, you had just everybody shifting to digital on their music, that’s when all these stores kinda needed something else. And so they brought in- they always had anime, but they brought in anime more. And whenever manga got popular, they brought in manga. It’s very similar to when Gamestop brought in toys. Because Gamestop brought in anime around the same time, too. Because they thought it was cool. I mean even Hot Topic- and also they had Fafnir T-shirts at Hot Topic around this time. Fafnir. I saw it with my own eyes, I should’ve taken a picture for evidence. But yeah, so whenever the music- whenever Sam Goody would close a store, then everything in the store would have to be returned. And so this was a lot of manga, a lot of anime, and if you’re closing half your stores and all the anime companies would sell in a lot of product, and it was all- you could all be returned. So if you sold in 10,000 units to Suncoast, and then around that same time their stores closed, then they could say “hey, I need a refund on 8,000 of these,” and if a company just doesn’t have the money, then the anime company is on the books for it. So they owed a lot of debt to Suncoast, and Suncoast and Sam Goody and all of those kept a lot of stuff in their warehouses that they would just do these random returns. And so it was capital, it was cash. And it was the music industry that really hurt the anime industry. It wasn’t streaming, it wasn’t digital downloads, it was the music industry.

Over the next several years, the anime industry went through a lot of changes. Companies like Geneon Entertainment and Central Park Media closed, while others, like ADV, restructured and completely rebranded. Publications like Newtype USA and Anime Insider shut their doors for good, followed a few years by the closure of Borders, which is literally where I used to buy ALL of my manga. Any manga I ever read as a child: Borders. That’s where it happened. Even Best Buy, once a mini-haven for anime fans, slashed their inventory across the country. Now they got that little DVD section that’s only there to sell TVs and Playstations.

[Lofi music]

Somehow, throughout all the chaos, anime conventions kept going strong. Anime Expo kept getting bigger and bigger, hitting nearly 50,000 attendees the same year Bandai Entertainment announced it would stop producing and distributing new titles. The American anime home video market had taken a nasty beating, but fans still wanted their anime, and they still wanted to go to anime conventions. By the late 2000s, it was no longer about marathoning anime in video rooms—fans could already stream anime online, both legally and uh… less legally. Anime was everywhere. The rise of online retail meant that fans didn’t even have to go to dealer’s rooms anymore to get their merch.

What the internet couldn’t provide, though, was all that stuff that’s brought fans together for decades, even back in the early sci-fi days. Just hanging out, meeting people who share a common interest, and also cosplaying.

Okay now, I know what y’all’re thinking. Y’all’re probably thinking “Hey! Hey- hey but, isn’t- isn’t cosplay from Japan? Everybody knows that the world ‘cosplay’ comes from the Japanese portmanteau for ‘costume’ and ‘play.’” But people have been going to conventions and dressing up as their favorite characters as early as 1939, when science fiction editor, writer, and superfan Forrest Ackerman rolled up to the first World Science Fiction Convention (WorldCon for short) in what he called “futuristicostume”, a VERY dumb name.

Everyone was presumably delighted and not weirded out, because the next year, WorldCon had its first ever official masquerade, a tradition that has kept up even until now. The idea of dressing up rippled through different fandoms, from the earliest Star Trek conventions, to San Diego Comic Con, which began hosting its first official masquerade in 1974. Whether or not American science fiction cosplay inspired Japanese fans is up for debate, what we do know is that the word “cosplay” itself was coined by a Japanese writer named Nobuyuki Takahashi in 1983.

But by then, dressing up had already been a popular part of Comiket and local Japanese community gatherings and conventions since the 70s. Whatever the origin, though, the word “cosplay,” it blew up. It’s in this podcast, it blew up. Y’know, this podcast, the pinnacle of fame. Everyone knows what it means, regardless of anime fandom or even comic book nerding, at all. Everybody knows cosplay.

These days, you can hear it on mainstream TV shows, or as the punchline to late-night talk shows. It’s so popular, you can go to your local JoAnn Fabrics, turn the aisle, and see entire displays devoted to cosplay, complete with commercial patterns that look suspiciously like Sailor Moon and Vash the Stampede. Fans who don’t want to sew can even buy entire costumes from overseas retailers or wigs pre-styled for a certain character. Because as I said earlier; these kids are spoiled. They don’t work for shit. Make them do stuff. They all on TikTok. Tiktok? Doin’ the dances.

To get some insight on the ever-evolving cosplay scene, we talked to Charlene Ingram, who’s worked in the industry for 10 years as a marketing director for companies like Funimation, Viz, and Capcom. But some fans may actually know her by another name: Tristen Citrine, a celebrated cosplayer whose impeccable handiwork and love for the craft made her a frequent guest at anime conventions around the world. Her first anime convention was Anime North in 1998, in Toronto.

Ingram: I didn’t even know, honestly, at first, like I heard that they had a masquerade, and I participated in it, but I didn’t know it would be like, such a stage production. And I had from my internet browsing, and this was I mean, this was early late 90s. I had seen some of the earlier cosplay postings and message boards. I remember American Cosplay Paradise was around way back then, Tokyo Cosplay Zone, all of the almost UseNet-looking boards that the Japanese cosplayers would use, I remember looking at their pictures and seeing what they were doing and seeing how they posed and everything like that. But there was nothing like just being there and seeing it. That was… that was the real epiphany that not only were people dressing up, there was the beginnings of kind of a stage production. And it was very, very rudimentary back then. It was a lot of “walk on this stage, and pose” and the MCs back then were more akin to things like something out of like Vaudeville, where they kinda riffed with you and it was very tongue-in-cheek. There wasn’t a lot of huge theatrics, like sometimes people would maybe try to recreate a little bit of a sword fight, or something from a scene of their favorite shows, but it’s close to unrecognizable to what we have today, how much it’s grown and how much it’s matured.

Competitive by nature, she was drawn to the world of masquerade contests. Her turning point was Anime Expo [crowd cheering] where she experienced for the first time fans cosplaying and singing from the Japanese Sailor Moon live action stage plays.

Ingram: There was a Sailor Moon skit, and it was based on something that I hadn’t even heard of at that time. I didn’t know that Sailor Moon had musicals in Japan, and they’d had them since like 1994! And that was amazing, like I didn’t even know it, and these girls were on stage and they were dancing to one of the theme songs from that, and they had all the Sailor Guardians, well not all of them, they just had a few of them, but it was like nothing else in that masquerade. In that Anime Expo masquerade, it was a lot of like what I had seen at Anime North, but to see that singing and dancing, and then all of that glitter and splendor, I knew. I was like “This is the type of masquerade I want to be in, I want to be- like I want to perform, I want to have these big, bodacious things, and I gotta meet these girls.” And I didn’t get to meet them until it was a month or so later, at San Diego Comic Con. I met them, and we started chatting on the internet, and we started laughing and sharing our interests and our love for Sailor Moon and my love for anime and being this new girl on the West Coast because just like moving to Los Vegas, I was very much like a fish out of water, and I was very intimidated by folks from California because growing up, California was this magical wonderland where the best and the brightest and the most beautiful hung out, and I would never be good enough for that. So, just seeing this, just hanging out with these girls and eventually, them inviting me to be a part of the group and learning that I have this sewing ability and all these dreams that I had, it was really, that was really a game changer like I really bonded with these girls and I wanted to do something great and celebrate Sailor Moon together.

Before long, her talent and craftsmanship were being recognized, and she was getting invited to anime conventions as a special guest.

Ingram: Because I really took the bull by the horns, I was very passionate about it and I really wanted to show off my sewing ability with this new genre I was really into. And it started in 2000, and I remember that was my first time I had a guest appearance was AniMagic 2000, and it was in October of 2000. And this was a convention that happened at the end of convention season, when there was still a convention season, and it was a place for everyone to kind of chill and it was out in the middle of nowhere, it was in Lancaster, California, and it took place at this hotel that all the rooms were centered around this pool. And they did the masquerade poolside, so it was very nice and casual, it was kinda like anime camp. And that was the first time I was a guest at a convention. And then I was a guest at Anime North, and then Project A-Kon, and the list goes on and on. But really starting in around ‘98, like actively with cosplay, to get to that point was probably really unheard of by today’s standards.

Busy as she is with work, Charlene still tries to find time to cosplay, though she says that some things haven’t really changed.

Ingram: If you look at a lot of the costumes from back then, the really well made ones, and some conventions now even have exhibits for cosplayers’ costumes, especially from the past and currently. Good sewing techniques have not changed all that much over the years. The process for making things and making things well, especially with fabric craft, hasn’t really changed all that much. Your fundamentals are still your fundamentals, you just have the advent and introduction of a lot of materials, especially your themal plastics and your EVA foams and stuff like that, that have been invented that make different types of things easier. And that’s really cool, I do have a lot of fascination with the new materials as they come out, I always like to buy them and play with them and see what they’re all about, and I do like working with EVA foam, but I just feel like… I almost feel like a soul bond when I’m working on something that is fabric-based.

One thing that has popped up in the last several years, though, is the advent of the professional cosplayer. If you just Google “professional cosplayer,” you’ll get a torrent of hits. Everything from cosplayer influencer salaries, to dozens of “what is it like?” articles, to message boards filled with fans wondering how to break into the career. It’s another side effect of conventions—and cosplay—reaching a high point in mainstream culture. But for Charlene, it’s all signs that we’re living in a magical time.

Ingram: And it is very wonderful that some cosplayers can actually make a living at dressing up and going out and doing events and working events, that’s really rather magical and I really love that side of things. And I’ll say that I love all sides of professional cosplay, be it the spokesmodel type, the event worker type, the just the person at just like you go to Comiket or Tokyo Game Show and there’s a line forever and they have to bring extra security. I love that person. I love the professional cosplayers on Patreon that do pictures and chats and stuff with their fans, and they make their living that way. I even love the cosplayers that are cam girls. I love them, they’re doing- they’re living their passion, they’re living their best life.

Cosplay is now more accessible to everyone than ever before, but it also means that conventions have needed to step up in another way—by making it safer for people to be in costume. In 2014, New York Comic Con became the first major convention to publicly post signs with four simple words: Cosplay is not consent. One of its primary pleas: “Keep your hands to yourself.” No touching, no groping, and please, no gross propositioning in elevators. Basically, don’t suck, don’t be a shitty dude, and remember that under every costume is a fan just like you and me. At its core, the Cosplay is Not Consent movement is about the basic tenets of respect and personal safety. Luckily, it’s grown over time, with more and more conventions adopting their guidelines and declaring their support by posting information around the venues and in guide books. It’s hard to know for sure exactly how much it’s helping the cosplay community—only time will tell—but convention organizers hope it will at least embolden cosplayers to speak out for one another.

Ingram: But the cool thing is now, we have these signs at conventions that say “cosplay is not consent,” and we have this culture where people will say “No!” or people will call it out, or like people will correct each other and that’s really cool. And people will ask for hugs, which is also really cool. Or people will ask what your name is, and not just talk to you like you’re the character. There’s this understanding that there is a human underneath the costume that wasn’t always there before. And I think in that way, that’s also making cosplay a lot more welcoming for folks.

[Lofi music] And she is right. We’re growing and evolving, and so is fandom. As the convention scene gets bigger, our expectations for them are growing, too. Like demanding safer environments for attendees, purging counterfeits from dealer booths, and just holding everyone to higher standards. Anime fans have become a global powerhouse-- driving a market worth $18 billion worldwide. So it’s no surprise that anime conventions have grown with it. What once was just a chance for fans to cluster around a TV and watch Star Blazers is now its own ecosystem, with thriving cosplay scenes, world premieres of brand new anime titles,, concerts with the kinds of mega-stars that sell out baseball stadiums in Japan, dealer rooms the size of those stadiums, and fans who will cross continents and oceans just to hang out with their friends at these events.

There are so many anime conventions that now, instead of just going to the nearest one, fans can even decide which one they want to go to based on their vibe. Like… Anime Weekend Atlanta if they’re really into anime music video contests, or Dragon Con if they want to see some really intricate costumes across different geek genres. Or local hidden gems like Anime Los Angeles, where all the California-based cosplayers debut some of their newest builds. Or… Crunchyroll Expo, shameless plug, where you can be amongst the first fans in the world to check out new titles. From Crunchyroll. By the way, Crunchyroll Expo. Gang? Gang, gang. Squad. Yes. Do it.

Anime has also carved out increasingly large spaces at comic book conventions like San Diego Comic Con and New York Comic Con. There are video rooms that run around the clock, giant publisher booths, autograph sessions, and cosplayers galore. What once was a space carved out at these conventions by dedicated fans, is now a draw to pull in more attendees. There’s even a cosplay contest at South by Southwest, which most people probably know more for its film and music programming.

That’s not to say that anime conventions have fundamentally changed over the years. They haven’t. We just expect more from them now. Here’s Adam Sheehan again, who’s been doing this long enough to really track all the little, subtle changes.

Sheehan: Yeah, the expectations have definitely changed in that, as I mentioned when I found out AnimeCon, I had no idea what it was or that it even existed. But now it’s like you have your shopping list. You got the schedule ahead of time. If you’re looking for something new, you’re aware before you walk in. You’re like “oh, there’s a premier of this show I’ve heard about, I want to show up for that because that sounds neat.” It’s not about walking through the door and going “there’s a bunch of rooms, a bunch of people, let me figure it out.” Because of that, the expectations of what people want are different, almost based con by con. You bring DragonCon up. They do panels, they have what are called dealer’s rooms there, too; but what they’re mostly known for is the cosplay, then evening events. Everyone gets their own theme about it. Expectation for an event level is almost along that line. It’s like Anime Expo, San Diego Comic Con, you know you’re going to get some big news, some big guests showing up. Local con in Florida, you’re maybe not as much, but maybe you were expecting to go and buy stuff. And see, they’re friends, so that basically is almost an event level what people are expecting, so the exploring, if anything, basically has changed from “I don’t know anything, walking in the door, surprise me” to “I have expectations, but there’s still a chance to blow it out of the water by who’s the guest? How good’s the show? How much fun do they have with their friends?” So all those things mixed together is basically what some of the big changes are. It also helps now that anime’s mainstream, it definitely was not mainstream in the 90s, us nerdy little kids in the corners in the clubs had to basically educate other people and say “no, this exists!” Where now it’s like it’s either mentioned like on the Big Bang Theory, or there’s movies about cons, or it’s mentioned like that, so people get the general idea that a convention exists and people go there and that they buy stuff and they meet people and they dress up. So that base knowledge is good for the casual goer, even if it’s just a parent bringing a kid to their first con, they’re like “oh, this is generally what they’re going to walk into.” But you never quite know what you’re going to see. The trends I’m seeing across that since AX’s growth has been just around the overall trends of the anime world. Merch getting better, technology getting faster, or I guess more easier access to, as well as just the overall growth of anime. Like almost every single convention around the nation over the last five or six years has had either stay the same or an increase, there’s been very few that have actually gone down, because anime fandom has just been growing. And we joked at one point--God this must’ve been like four or five years ago, at one point?-- that we were looking like, we did the math and said “oh, if you take every convention around the country, small, large, no matter what size the event, there’s a con every single weekend of the year, including Christmas and New Year’s that you can go to.” So basically if you want do the full otaku livestyle, you could be at a con every single weekend for a straight year, and never stop.

Where are anime conventions going to go from here? Only time will tell. But even during the short history of anime in America, they’ve changed so much that it’s hard not to be excited about their future. So the next time you go to a convention and you’re just standing around, waiting for an autograph from your favorite director or voice actress, take a moment to look around and think about the humble origins of anime conventions. And how it all started with Star Blazers.

Peace.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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myhahnestopinion · 7 years ago

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THE AARONS 2017 - BEST TV EPISODE

My consumption of serialized TV seems to be inversely correlated to the amount of bing-watching I do. I love the more complex storylines and engaging characters of serialized TV, but I also like having time to reflect on how each episode works as a piece of the whole. That’s why I designed this award to look at the exemplary singular efforts in TV this year. Here are The Aarons for Best TV Episode:

#10. “The Ricklantis Mix-Up” (Rick and Morty, Season 3, Episode 7)

The promise of Rick and Morty taking their absurd antics to the realm of Atlantis was enticing… but it was not meant to be. Instead, the show flipped the script, transporting us into a trio of trope-blasting adventures with some unexpected, but amazing, dark social satire. In a miniscule fraction of the time and budget, Rick and Morty create a high-concept buddy cop examination of systemic racism far more enjoyable and insightful than Netflix’s Bright could ever have hoped to be, along with a surprisingly affecting coming-of-age tale, and a sublime political thriller. A lot of Rick and Morty episodes had a chance at making this list, but “The Ricklantis Mix-Up” ultimately got it for delivering a holy trinity of the show’s brilliant meta-narratives.

#9. “Stupid Piece of Sh*t” (BoJack Horseman, Season 4, Episode 6)

Since its inception, BoJack Horseman has been a blistering portrayal of the depths of depression, but “Stupid Piece of Sh*t” (Netflix’s censorship there) found a way to be even more cutting than usual by finally giving us a glimpse inside BoJack’s head, narrated by Will Arnet’s haunting voice work. Taking advantage of the cartoon format, the episode’s innovative departure from the show’s traditional animation style brought mental illness to life in painfully real fashion, and made it clear that the show’s honest look at these struggles is indeed a story best told through the animated format. Well, that, and because the episode also delivered plenty of wonderful animal puns and sight gags, as always.

#8. “New York, I Love You” (Master of None, Season 2, Episode 6)

Similar to “The Ricklantis Mix-Up,” a large number of Master of None’s second season could have made this list, including its wonderful send-up of Bicycle Thieves and the touching “Thanksgiving” episode, but “New York, I Love You” stood out for its narrative swerve and its triad of empathetic stories. Departing from our regular cast to follow the stories of unique New Yorkers by way of camera pan, the episode showcased Master of None’s knack for finding compelling stories and wise commentary in the simplest of stories. Stories about the characters that make up the character of New York City may be rote material for TV, but Master of None’s unique viewpoints and celebration of diversity, from a Burundian cab driver to a deaf couple, made it one of 2017’s most powerful and important stories to watch.

#7. “Duet” (The Flash, Season 3, Episode 3)

Like Barry Allen with Singin’ in the Rain, I’m a sucker for a good musical, and The Flash’s celebration of the talented cast of Broadway stars and Glee-alumni amassed by it and its crossover show Supergirl was just way too much fun to not include on this list, despite a confusing direction for the episode’s central villain. The stars were all clearly having a grand time getting to put a superhero spin on a classical musical style, and while the show’s covers of existing song were stirring enough, it’s really the two original numbers that made this episode such a delight, including the tender “Running Home to You” from La La Land’s songwriters, and the clever wit of “Superfriends” from Rachel Bloom of Crazy Ex-Girlfriend fame.

#6. “Chicanery” (Better Call Saul, Season 3, Episode 5)

If Better Call Saul indeed ends up lasting as long as its predecessor, than “Chicanery” will sit as the exact middle of the show, and is appropriately a game-changing episode and the height of emotional drama thus far. The entire show has been building towards watching Jimmy McGill and his estranged brother Chuck going head-to-head in the courtroom, and the resulting conflict was one of the most intense watches of the year. The sharp plotting and rich characterization provided the perfect framework for a show-stopping performance by Michael McKean, whose vitriolic courtroom meltdown was absolutely shattering for viewers. Honestly though, the real reason this episode was guaranteed a spot on this list is because, of course, it also marked the return of Huell to the Breaking Bad world.

#5. “The Law of Non-Contradictions” (Fargo, Season 3, Episode 3)

“The Law of Non-Contradictions” was an outlier in the already peculiar early episodes of Fargo’s third season, moving the location of the show outside of frozen Minnesota for the first time, and transplanting Carrie Coon’s Officer Burgle to sunny California. While the pieces all falling into place in its final moments made Fargo my favorite show of the year, “The Law of Non-Contradictions” is one of my favorite episodes precisely because it doesn’t fit into the show’s larger narrative. Burgle’s investigation of her murdered stepfather’s past as a pulp science-fiction novelist ended up irrelevant to the case at hand, but its examination of the role of stories in our lives and the frequent failures of good intentions, themes that are enhanced by a beautiful animated story within its story, made the episode a key piece of the lingering power of Season 3.

#4. “USS Callister” (Black Mirror, Season 4, Episode 1)

While Black Mirror’s terrifying Twilight Zone-like looks at technological trepidation made it into such an addictive show, it’s the episodes that break this mold that become some of my favorite episodes of television ever. “USS Callister” is the most visual effects heavy episode of the show ever, and, given it also runs at a full 80 minutes, could very well be considered a movie, but, like “San Junipero” before it, the true power of the episode comes from its place within the show’s loose anthology structure. The episode certainly gives a haunting look at the dangers of potential technology through its scathing indictment of the toxic masculinity festering in certain sects of fandoms, given form in Jesse Plemons’ perfect parody of William Shatner’s Kirk. However, what makes it one of 2017’s best episodes is its fulfillment of the intentions of its parody subject, Star Trek, with its thrilling adventure of a diverse crew working in harmony to overcome insurmountable odds.

#3. “Hero or Hate Crime” (Always Sunny, Season 12, Episode 6)

It’s Always Sunny in Philadelphia continues to show it deserves to become television’s longest running live-action sitcom, because every year it manages to put out at least a handful of great new episodes. Season 12 had a couple highlights, including a wickedly fun Always Sunny take on The Wiz, but “Hero or Hate Crime” understands that the greatest moments of the show come from just letting the cast bounce off one another. The gang’s debate over whether Frank’s use of a slur to warn Mac of a danger to his life constitutes as a hate crime is a fantastic source for the show’s riotous and outlandish, though never truly offensive, brand of dark humor. It’s all great fun, but it’s the episode’s unexpectedly moving ending, perhaps the first time Always Sunny can be considered an emotional experience, that cements “Hero or Hate Crime” as one of the finest episodes of the long-running series.

#2. “Dance, Dance, Resolution” (The Good Place, Season 2, Episode 3)

In what I like to consider the unofficial spiritual mascot of the Reboot Already Underway podcast, “Dance, Dance, Resolution” was the most madcap episode of a very madcap sitcom, an episode so intent on tearing down its status quo that watching it made one extremely nervous that the show had pulled yet another bait-and-switch and its finale was going to come unexpectedly in only the third episode of the season. Thankfully, the show didn’t end, finding a way to subvert all expectations yet again at the end of this extraordinary, joke-a-millisecond entry directed by Cabin in the Woods’ Drew Goddard. “Dance, Dance, Resolution” suggested that The Good Place truly does have an eternal source of cleverness to draw from for its twisted afterlife, made even clearer by the lengthy list of unused punny restaurant names that episode writer Megan Amram released on Twitter the following day.

AND THE BEST TV EPISODE OF 2017 IS....

#1. “Cryogenics, Lightning, Last Review” (Review, Season 3, Episode 3)

“Dance, Dance, Resolution” may have been such a clever deconstruction of its show’s premise that it seemed like The Good Place’s finale would come in just the season’s third episode, but Review actually did it. Review is perhaps the most underappreciated show of the decade, and, had the viewership justified it, I’m sure it would have never stopped being entertaining to watch Forrest McNeil’s absurd quest to review everything in life, no matter the cost to his health or personal relationships. While it’s sad to see such an ingenious show end, I couldn’t imagine a more perfect note for Review to go out on, an episode that saw the show’s cringe-inducing absurdism and glorious dark comedy in peak form. The tragedy of Forrest McNeil truly deserves a place alongside the great works of the Greek poets and Shakespeare, a downfall that simply must be experienced in its entirety for yourself. So, I’ll say no more than: I give this episode… all the stars.

NEXT UP: THE 2017 AARON FOR BEST TV PERFORMANCE!

#tv #TheAarons #TheAarons2017 #TheAaronsTV #bestof #bestof2017 #reviewcc #BoJack horseman #the good place #master of none #the flash #better call saul #black mirror #uss callister #always sunny #rick and morty

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mdwatchestv · 7 years ago

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Game of Thrones 7x07: Look What You Made Me Do

And just like that it's over! This truncated season of seven episodes blew by as fast as a trip from Dragonstone to Eastwatch. I'm still not really sure why this season had to BE only seven episodes, I know the show is intensely expensive, but HBO has the money and why not shell out for three more episodes of their most popular property? Now faced with the prospect of a final season not hitting our little screens until 2019, I feel like a six episode finale is just not gonna cut it. I mean are we even going to make it two more years as a society? I would be super bummed if I had to leave this physical plane without having heard the final chords of the song of ice and fire. Although if the producers want to take the time to think very hard about writing and storytelling, I would not be adverse to that. Let's be real, while this season was full of spectacle, and had plenty to enjoy, the writing was just not up to the par of previous years. Drama that felt natural and earned was shelved in order to rush forward big "show stopping" moments such as Dany and Jon's meeting, ice dragon making, and this past episode's all hands on deck summit in the dragon pit.

Fan theories spiraled wildly out of control in correspondence with the increasingly erratic storytelling on screen. Instead of trying to predict the solution to a complex puzzle-plot, we are now in a time when literally anything can happen, including (but not limited to) Lannister lieutenant Ed Sheeran. Still, were we not entertained? There were absolutely moments this season that will go into the annals of GOT greatness: Arya's Walder Frey Face Swap Massacre, Olenna Tyrell's Final Fuck Off, Loot Train Battle Dragon Destructo-Fest 2k17 to name a few. But the season's writing on a whole often veered into what felt like fan service (or straight up fanfiction). Game of Thrones isn't the first show to do this, but it is the first show to do it that up until this point has been famous for granting essentially the opposite of fan service. Oh you love this strong, glorious, perhaps ridiculously attractive, character? It would be a shame if something were to....happen...to them. But that being said this episode felt a bit more solid than it's immediate predecessor, and while they may not have completely stuck the landing, it was more of a point deduction for some hops rather than a horrifying leg break (did anyone else see that last Olympics? There is not a day that goes by I don't think about it.)

So our merry band of zombie hunters, as well as Brienne and Pod, have all assembled at King's Landing in order to persuade Cersei into a ceasefire. How much time has passed since the zombie capture? Days, weeks? Who knows. What's important is all of our favorites have assembled in a veritable class reunion. Pod is happy to see his old boss Tyrion still in one piece, Bronn is reunited with Pod, and Brienne and The Hound are downright chummy despite Brienne being under the impression she had murdered him during their previous encounter. Time really does heal all. But how much time? That's the true question. For once Jon is not the most popular princess at the party, he didn't fight in the Battle of the Blackwater, and he didn't co-parent a murderous pre-teen. Our group is escorted to the not-at-all-a-trap Dragon Pits where they await Cersei. Bronn and Pod peace out immediately because Bronn don't give a shit and also can't contractually be in the same room as Lena Headey. Ain't love grand.

Cersei is rolling deep (her crew includes Euron thank god), but her entrance is promptly upstaged by Dany flying in on Drogon. Before anything can happen, Euron interrupts the proceedings to call out Theon for, essentially, being a little bitch. It is glorious. Anyway the zombie is produced and runs right at Cersei, where exactly none of the people sworn to protect her do a single goddamn thing. Euron weighs the threat of millions of the undead versus the safety of his little island and peaces HARD. I absolutely loved this reaction and wish it had been genuine. Is Euron my favorite character? Unclear, but strong maybe. Cersei says she will stand down if Jon promises to stay neutral. Jon I Can-Not-Tell-A-Lie Snow/Targaryen of course blabs that he already bent the knee to Dany. No one is impressed by this. Not only is Jon the least popular, he is now also the least liked.

Brienne cements my theory she only made the trip to tje Landing o'Kings to act as Jaime's moral compass, and pleads with him that loyalty to houses is dumb in the face of the current threat. She's not wrong. Later on Cersei will call Jaime the stupidest Lannister, but surely it is Tyrion who proceeds to fall hook, line, and sinker for her hand-on-stomach motivated-by-concern-for-my-baby-change-of-heart routine. Did anyone truly think that Cersei would just...join up with the good guys? That is a "what if" fanfiction summary too ridiculous for even this season of the show to pursue. Cersei is the woman who blew up half her own damn city, she does not have time for Jon Snow and Daenerys Targaryen. Why risk her throne when the zombies will kill these silly children for her? Why risk anything when the Iron Bank subplot has resulted in a whole mercenary army in Essos? Actually speaking of Essos...why doesn't everybody just move over there? Why not just let the Night King HAVE Westeros if he wants it so bad. Like they said, the zombies can't swim and Essos doesn't seem to be physically connected to Westeros in any way. Look I'm just saying.

Back at Dragonstone, it's revealed that Theon actually was impressed by Jon's foolhardy declaration of loyalty. Theon's subplot this season has been understated, but honestly one of my favorites. While he hasn't had the flashiest part in recent seasons Alfie Allen has turned in a consistently subtle and poignant performance in this role. Over the course of the show Theon's journey has been about belonging and finding his worth. This was at times less than subtly symbolized by first his castration (literal/figurative/symbolic/etc) at the hands of Ramsay, and then even less subtly by his reclamation of said "manhood' this episode. But that aside his new side quest to rescue Yara is pleasingly cyclical as he stakes his loyalty to the one person who ever willingly and proudly claimed him as family. Also now that presumably Yara is tied to Euron, who is pivotal to claiming Cersei's mercenary army.... I'm just saying maybe Theon will be able to play the part of hero in the end after all.

Speaking of families coming back together, all is well in Westeros as the Stark Sestras team up to take down Lord Baelish once and for all. Look I am always happy when storylines end in positive female friendship, but I still can't help feeling frustrated with the way this was played out. It is unclear how much time is passing for any of the characters in the show, but at what point did Arya and Sansa realize they were being played? Were any of their public confrontations for show? Surely there would be no point to their private arguments, so at least some of their discord had to have been real. How much, if it at all, were they able to set up Littlefinger in return? Or did they just arrive at their conclusion moments before the mock trial? I admit as an audience member I was fooled, not by clever storytelling, but by total misdirection that robbed us of the satisfaction of seeing these two bright young women begin to think for themselves. Like so many scenes written this season this was another example of a satisfying punchline delivered at the cost of a seemingly reverse-engineered build up.

And as much as I have enjoyed Aidan Gillen's scheming, it was rewarding to see him dispatched at the hands of the women who he spent most of the series attempting to manipulate. Despite his claims otherwise, the only person Littlefinger has ever truly cared about is Littlefinger. Even though the path there was rocky, I look forward to Sansa and Arya's newfound alliance. Arya recognizing what Sansa has been through, and Sansa in turn telling Arya she was the strongest person she knew was a beautiful scene. Both girls have been wearing their hair in styles reminiscent of their parents, and seeing them take on the leadership roles of the previous Lord and Lady of Winterfell was a nice touch.

But not all the show's siblings are getting on, and after threatening Tyrion with death, Cersei is on a roll. Jaime is, for some reason, surprised that instead of keeping her word Cersei has no actual intention of zombie fighting. Jaime has had quite the arc this season, one that has driven him away (perhaps forever) from his twin, lover, and baby mama. As I wrote about previously, Jaime is the archetypal white knight. He is one of the few characters not motivated by greed or self-promotion, but rather a warped familial love.. While he has acted cruelly and cowardly in the past, he is not characteristically cruel or a coward. This season he has witnessed true horror in the form of fiery dragon death, the vengeful Olenna Tyrell, and the true depth of Cersei's darkness. He seems to finally realize that what he perceived as righteous action motivated by true love may have been in service to the wrong side. A Jaime Lannister unmoored from his familial duty is as compelling a wildcard as any, and it will be interesting to watch his journey continue to unfold hopefully in a Northerly direction.

Well, we've come to it. There's nothing left to talk about. Sam and Gilly arrive back at Winterfell just in time for Sam to have an exposition-off with the Three Eyed Arse-Face. Sam proceeds to take credit for Gilly's breaking news, and together with Bran's "vision power" the two explicitly spell out the true nature of Jon's identity. None of their revelations are a surprise to viewers of the show, beyond chiseling 'Aegon Taragaryen" into canon. No, the bigger surprise was that this narration was the voice over to Jon and Dany getting it on on her pleasure yacht. While we heard definitive proof that Dany is in fact Jon's Aunt, we watched their supple bootied bodies writhe around together. What emotion was I supposed to be feeling during this scene? I am honestly asking. Because the emotion I was feeling was void. The absence of feeling. "Jon needs to know." Yeah ya think Bran? With all that you can see you couldn't see that you should have told him this vital, life-altering information just a little bit earlier? Send a goddamn raven since they travel at the speed of light. Jesus Seven Hells Christ.

Also there were many happy romantic flashbacks of Rhaegar marrying Lyanna, but it's super fucked up that Rhaegar ditched his first wife and children to have a SECOND child name Aegon. Like what the fuck is that Rhaegar?? Granted the first Aegon (along with his sister and mother) were horribly murdered by the Mountain, so I guess it was good he decided to make a spare. Oh sorry Jimmy, I decided to have another son with my new wife, who I like more than Mommy, and his name is also going to be Jimmy. If family therapy existed in Westeros, we would probably be in a very different place politically.

Finally, finally we end for with the Night King's arrival at the wall. The new zombie ice dragon is locked and loaded and it BREATHES BLUE FIRE. The blue fire was pretty cool, and I eagerly await it's use in the dragon on dragon throw down that will inevitably occur next season. With the power of blue fire the Wall crumbles into the sea, devastating and conclusive proof that wall's are never the answer (no matter how cool and icy they look). I have to wonder though, what was the plan for traversing the Wall without a dragon? The Night King couldn't have known one of the only three dragons in the world would fall into his clutches...what was the contingency plan? Doesn't matter, the Wall is down and I'm going to need a wellness check on Ginger Beard.

Well that's it friends, season seven! If our own nuclear winter hasn't come I'll see you back here in.....two years..... Miss ya!

Things I didn't get to:

Clegane-bowl pre-game?

Probably could have thought of some more derogatory things to say about Bran.

Cersei's fake out Stark-alliance fur-lined dress.

What happened to Gendry?

MVP: You. You made it.

XO MD

P.S. if you want to talk to me on Twitter about incest and shitty Westerosi parenting I'm @marthadee.

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hoopslab · 8 years ago

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Game of Thrones S7 Ep1: Winter has been a long time coming

SPOILERS FOR GAME OF THRONES ON HBO, UP THROUGH EPISODE 1 OF SEASON 7

Way back in 1997, I started reading this book called A Game of Thrones, the first in a promised series called A Song of Ice and Fire. It was an outstanding book, taking many of the standard concepts found in sci fi/fantasy novels and turning them on their heads. The book had this crazy de-centralized cast with maybe 10 point of view characters, many of them children, that told the story from several different angles at once. There was no clear-cut protagonist, and the closest thing we were given to a central “hero” got killed before the first book ended.

While there was a lot of political intrigue among the adult characters, who all were playing the Game of Thrones on some level, I found myself most interested in the young characters. The 7-year old Bran, who got thrown out of a window, was paralyzed, but seemed to be developing a third eye. The 9-year old Arya, who was already fiery and took no stuff from anyone, beating up the whiny Prince Joffrey to get one of the first out-loud cheers of the story. The 14-year old Jon Snow, who seemed to get a raw deal from day 1 with a “step mom” who hated him and a life-long birth as a celibate monk on The Wall before he was old enough to have to make that decision. And of course, the 13-year old Dany, who was abused and exploited by a sadistic and desperately weak older brother and ended the story by reintroducing the music of dragons to the world.

I’ve waited literally 20 years to find out what those young characters would do when they grew up. And on Sunday, I finally started to get answers to some of those questions.

Let’s talk about the first episode of season 7 of Game of Thrones, on HBO, which sets the stage for the final stretch of a story marathon that has already extended for more than half of my life.

Dany’s return to Westeros

I’m starting with the end of the episode, because it’s the stone whose ripples affect the most other main characters. Daenerys Targeryan ended Season 6 on a boat, traveling with an armada of ships that were bringing her Doethraki hoard, her Unsullied warriors, and the rest of her army towards Westeros with her three dragons flying overhead. At the end of the first episode of Season 7, she finally arrived. She landed at Dragon Stone, at a castle that had seemingly been abandoned after Stannis Baratheon took his show on the road in Season 2.

Dany’s return, in Episode 1, focused on the emotional aspect of the homecoming. She had been born at Dragonstone, but other than that had never set foot on the continent that she believes herself destined to rule since being exiled as a baby. She’s had a crazy, turbulent life on the run with her big brother that ultimately saw her sold as a “wife” into a situation that was a short step above slavery, and ultimately growing into a warrior-queen and conqueror of nations on other continents. Thus, on the show, they focused on how mega of a deal it was for her to finally be back on the land of her birth...from her feeling the sand with her hands, to her slow walking tour of her new home base. Her line to Tyrion, “Shall we begin?” was the last line of the episode, and really whets the whistle for what should be an epic storyline in this penultimate season of the show.

The Hound sees the White Walkers coming

This whole storyline is a departure from what we’ve seen in the books, to date. The last published book in the series, A Dance with Dragons, did not have the Hound traveling with the Brotherhood without Banners. In fact, in the book series, it hasn’t even been confirmed yet that the Hound is still alive. And Beric Dondarion had long-ago passed his...gift...on to a certain Stone-hearted character that was not resurrected on the show. So, before late last season, I wasn’t looking for the Hound and the Brotherhood to be marching together up North.

However, Episode 1 gave the Hound a feature section and foreshadowed a big role for him moving forward. First, they had the crew re-visit the exact cottage where the Hound and Arya had visited and the Hound had stolen the life savings of a man and little girl. Fast-forward to the present, and the man and little girl are dead (seemingly by the man’s hand) after they apparently ran out of food. The Hound is clearly responsible for their misery...and for one of the first times, he actually seems to feel and acknowledge that guilt. His digging graves for them, because that’s all that he can do at this point, shows clearly that he has grown as a character from a henchman without feelings (that could strike down Micah with no remorse in Season 1) into a more nuanced warrior at this stage of the game.

But the most important revelation was that the Hound can now see visions in the fire (that he’d even get close enough to fire to look is HUGE for him), and that those visions were of the White Walkers. The Westeros universe is full of legends, and the priests of the Lord of Light have perpetuated some of those legends. The fact that the priest Thoros has been able to resurrect Beric from death so many times would suggest that Beric’s life is somehow important to the Lord of Light in his goals...and one of his biggest assumed goals is to counter the White Walkers. But perhaps, it’s not Beric (or the non-existent Stone Heart) that are the important ones...perhaps Beric was kept alive specifically to bring the Hound to where he needs to be, so that HE can become one of the leaders against the White Walkers? I look forward to finding out.

The Lions and the Krakens

Cersei ended last season with an absolute G move, wiping the priests of the Seven and the Tyrells completely off the map. Of course, in her gloating glee, she also abandoned her son who took that opportunity to commit suicide. This left Cersei as the queen, with absolutely nothing to humanize her, which caused even Jaime to look on in horror.

This season opens with Cersei one-step away from cackling laughter on the “evil overlord” scale, with Jaime seemingly terrified as he tries to figure out a way to move forward when the world hates them and his partner is channeling her inner Mad King (er... Mad Queen). Cersei’s power move is to partner up with Euron, the other evil monarch on the board, who happens to own a sea armada and has a history as a pirate.

While the partnership pairs the two most odious families/live characters on the board, it was also necessary because...Jaime was right. Cersei and crew were sitting ducks without allies, but with the GreyJoy armada they can at least make it interesting. They still seemingly have no counter to the dragons, but it would seem that they are set up to cause their own brand of mischief in the short term.

What can Bran do at Castle Black?

Bran Stark was my favorite character in the books, and though some of his development/training has been less exciting on-screen than I’d have hoped, I have still been anticipating his role as an adult. In Episode 1, he finally makes it back south of the wall with his entry to Castle Black. Like Dany’s return, this is another potentially big stone thrown into the pond...but unlike Dany, no one else is aware that Bran even exists.

On the political front, there’s the very real question of what happens in the North, where Jon Snow has been declared King, when it is learned that a true-born son of Ned Stark is still alive? But more importantly, to me, is what Bran may be able to accomplish as the Three-eyed Raven? Will he be able to communicate through the trees to other characters? Is he just going to walk the past to learn more important stuff? Will he tell Jon that he’s the son of Rhaegar and Lyanna? Will he warg into something powerful and fight? Jon and Dany are, on paper, the most important protagonist-like characters in the story. But Bran is a wild card, and after 20 years I’m really looking forward to seeing how his storyline plays out.

Sam and Sir Friend Zone at the Citadel

Sam Tarley got some on-screen time in Episode 1. His initial montage of duties was...gross. No other way to say that, really, but I guess the show did a good job of conveying that he has scut duties that are repetitive and seemingly endless, and that have kept him from doing any major learning. His stealing of the key to the forbidden section, and subsequent learnings on Dragon Glass, could be important in moving the narrative along. But we (meaning the viewers) already knew that Dragon Glass was a thing, so I’m curious what else he’ll learn of value that makes his time at the Citadel worthwhile.

Also, the 1-second cameo of (presumably) Jorah Mormont’s scaled hand in the dungeon/hospital should have future significance, as well.

Winter came for the Freys

The cold-start of the show, with Arya masquerading as Walder Frey and essentially destroying the Frey House was...fun. Maybe it shouldn’t have been, because Arya is still a young girl that has now effectively become a trained serial killer...and I should probably worry for what this bodes for her moving forward. But...yeah, I can’t lie, I’ve enjoyed watching her reap her revenge on the odious Frey family for the Red Wedding.

Like Bran, Arya is another wild card that could have a major effect on things moving forward, that no one else even realizes is alive. While Dany is the obvious power on the board, the four Stark kids have a lot of juice themselves...it’s just dispersed, and currently unharnessed. Will the 4 remaining Starks ever become aware of each other and start to work together? If so, they’d be incredibly powerful. But, that’s a pretty big what-if.

Jon, Sansa & Littlefinger...& Dany?

One of the most big assumptions for ASoIaF readers on the message boards, back in the day, was that Jon Snow and Dany Targeryan were on a crash-course to become the big power couple of the series. Jon was “Ice”, Dany was “Fire”...and together, they could run things. And, this could still happen.

But, last season, when Sansa and Jon reunited at the Wall there was this odd sense that they were acting less like brother-and-sister and more like lord-and-lady. I don’t know if it was intentional or not, but their on-screen chemistry sparked enough of a buzz that the actors that play the parts have been asked about it and online shippers have started putting them together.

Whether there is any future to the shipping or not, it’s clear that the showrunners are playing up the conflict between Jon an Sansa as they try to figure out how to run the North. Sansa questions Jon’s every decision, but not in a constructive way...more in an undercutting way, the way that she called him out for his decision on handling the Umber and Karstark families in the middle of a meeting. It seems as though she could have conveyed her opinion to him 1-on-1, and they could have hashed that out before they got in front of the people. On the other hand, the argument can be made that Jon hasn’t listened to her enough, and that she’s speaking the kind of sense that could have saved Ned and Rob...if they hadn’t been so set in their ways. Is Jon going down the same path to the same end?

Add in that Littlefinger stays in Sansa’s ear, constantly telling her that she should rule (instead of Jon) and empowering her with his army and options...and there’s definite potential for Sansa to go her own direction. And in the previews for Episode 2, there’s certainly a hint that Jon may be considering a meeting with Dany. At the least, there is a Jon-Sansa-Littlefinger ruling triangle and very potentially a love-triangle as well...and Dany’s introduction to that volatile brew could have very real political, and/or romantic, consequences.

Takeaway

This was just episode 1. I’m really looking forward to watching how this plays out over the next two months, which will ultimately set the stage for the End Game in Season 8. Winter has been a LONG time coming...20+ years for me...and now that it’s here, I’m going to love watching it burn!

#misc #Game of Thrones #HBO #GOT #John Snow #Dany #Bran #Stark #Lannister #Targeryan

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ethanalter · 8 years ago

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‘Farscape’ Star Claudia Black Revisits Aeryn Sun’s On- and Off-Screen Feminist Journey

Claudia Black and Ben Browder as Aeryn Sun and John Crichton in ‘Farscape’ (Credit: Everett Collection)

Leading up to the 20th anniversary of the March 10, 1997 premiere of Buffy the Vampire Slayer, Yahoo TV is celebrating “Why Genre Shows Matter” and the history of how these shows have tackled universal themes (e.g. how much high school sucks) and broader social issues.

Perhaps because they seek to imagine the world that’s possible rather than the world that is, genre shows have a long tradition of striving to expand the horizons of what’s possible for women on television. Within the realm of space operas alone, there’s a direct line that connects Lieutenant Uhura’s prominent perch amongst the Enterprise‘s largely male bridge crew on the original Star Trek to The Expanse‘s fiercely independent engineer, Naomi Nagata. And each point along this continuum helps inform the next: commanding officers like Babylon 5‘s Susan Ivanova and Voyager‘s Kathryn Janeway are linked by a devotion to duty, if not necessarily temperament, while Killjoys‘ scrappy bounty hunter, Yala, could have been a student of Firefly‘s highly-skilled soldier, Zoë Washburne. On this International Women’s Day, we celebrate the accomplishments of one such influential intergalactic heroine.

Her name is Aeryn. Officer Aeryn Sun if we’re being formal, one of the interstellar outlaws at the center of Farscape, the wildly ambitious Australian/American space serial that ran from 1999 to 2003 on the Sci-Fi Channel. Bred from birth to be a loyal Sebacean soldier in the Peacekeeper army that patrols her section of the galaxy, Officer Sun switches careers after inadvertently ending up aboard a living spaceship named Moya that’s occupied by a motley crew of jailbreakers. These convicts-turned-comrades include towering warrior Ka D’Argo, blue-hued priestess Zhaan, flatulent deposed despot Rygel XVI, and John Crichton, an Earth-born astronaut who is very, very far from home. Created by Rockne S. O’Bannon and produced by The Jim Henson Company, Farscape enjoyed a bumpy four-season stateside run that ended prematurely when the network declined to fund a fifth and final year. (Sci-Fi later aired, but didn’t finance, a wrap-up miniseries, Farscape: The Peacekeeper Wars, in 2004.)

The cast of ‘Farscape’ (Credit: Everett Collection)

One of the joys of Farscape is that its defining house style is the lack of a defining house style. Episodes can range from standalone homages to body-switching comedies and vintage Loony Tunes cartoons to densely plotted multi-part stories that don’t conclude with conventionally happy endings. The primary constant amidst this narrative and tonal juggling is the turbulent love story between Aeryn Sun and John Crichton. Revisited today, Farscape stands as something of a bridge between eras of space opera, linking the last wave of episodic space adventures like Star Trek: Voyager and Stargate: SG-1 to the intensely emotional serialized narratives that later drove Battlestar Galactica and its ilk. Aeryn is both a traditional and transformational figure as well; raised to be an impersonal enforcer in the Imperial Stormtrooper mold, she comes to live out a promise that John makes to her in the very first episode: “You can be more.”

“Oh, I’ve got chills down my arm,” says Aeryn’s alter ego, Claudia Black, as she reflects on the character and those prophetic words nearly two decades later. “Her evolution as an individual takes off in an extraordinary way [after that].” Over the course of Yahoo TV’s hour-long conversation with the Australian actress, it’s clear that she does regard Aeryn as an individual unto herself, one who took on a life that sometimes superseded the actress’s own. “I was always happy to hand the charactbuer off,” Black says. “I would say [to the producers], ‘If I’m going in the wrong direction then please find someone to serve Aeryn, please. Because she deserves to have the full love of a person who can give you what you need.’ She was honestly such a privilege to play, and I never abused that privilege.”

And Black very nearly didn’t get that privilege. The role had already been cast when she first auditioned for Farscape, but the creative team encouraged her to read for Aeryn anyway. That reading later led to a screen test opposite Tennessee-born Ben Browder, who would be playing John Crichton. (Interestingly, Browder’s casting is, in part, what opened the door to Black inheriting the role from the English actress who had originally been chosen as Aeryn. “Because of the Australian co-production agreement, if they brought in a lead actor from America, the second lead had to be Australian,” Black explains. “So thank god for our union!”) Immediately recognizing the crackling onscreen chemistry between them, Browder pushed hard for her to land the role over network skepticism. “I was a controversial choice for sure,” Black says now. “I was just lucky in the end.”

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Whatever the circumstances of how she got the role, Black climbed aboard Moya with strong ideas about how to play Aeryn. Superficially, the character is part of the wave of warrior women that swept through genre shows in the ’90s and early ’00s, whose ranks included Xena, Buffy, and even Cleo of Cleopatra 2525 fame. But as conceived by O’Bannon and carried forward by executive producer David Kemper, who became a driving creative force behind the show, Aeryn cuts against that archetype as well. Unlike Xena, she doesn’t necessarily relish battle; it’s something that’s been programmed into her. (Although, as Aeryn memorably remarks in The Peacekeeper Wars: “Shooting makes me feel better!“) She also reverses the arc traversed by Buffy and Cleo, which begins with them in places of perceived weakness — as a cheerleader and exotic dancer, respectively — and leads towards empowerment.

Related: ‘Buffy the Vampire Slayer’ 20th Anniversary: Joss Whedon Looks Back — And Forward

Because of her militaristic upbringing, Aeryn starts from a place of fierce strength. Her journey over the lifespan of the show, then, becomes about softening what Black describes as Aeryn’s “jagged edges” without surrendering her agency. “I’ve always loved science fiction because of the way it affords us an opportunity to look at humanity from an outsider’s perspective,” Black says. “And Aeryn really gets to experience it firsthand the best way that humans can, which is through love, in all of its forms. When I look at humanity, and my own life, we have to break before we can grow. That’s really what happened with Aeryn; she became stronger with softer edges.” (For the record, Aeryn may start out as a superior fighter to Buffy, but Black says that Sarah Michelle Gellar would easily mop the floor with her in real life. “Sarah has a black belt in karate, and I have two left feet! I always felt like a bit of an imposter [as Aeryn] just on the physical front. If I could push the reset button, I’d go back and get good at some form of martial art.”)

But that stronger-to-softer arc is also more treacherous to navigate than a traditional empowerment story, flirting, as it does, with the fanboy-friendly stereotype of the buttoned-up ice queen whose resolve (and inhibitions) melt when love, generally in the form of a strapping male hero, comes her way. The risk of falling headlong into that tired trope is something Farscape had to deal with throughout its run, especially as the core of the show was always the romance between John and Aeryn.

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And while that romance takes a number of unexpected twists and turns — most boldly in a Season 3 storyline that saw Aeryn committing herself fully to a cloned version of Crichton, only to see him die and then have to re-learn how to love the original John — it ultimately culminates with two staples of a standard love story: a marriage proposal and a pregnancy. “It seemed pretty clear to me that Rockne’s intention in the pilot was that this was going to be a love story for the ages,” Black says. Not only that, but it was a love story penned by a largely male writing staff who had their own opinions about how to depict Aeryn’s gradual acceptance of Crichton’s love that sometimes ran counter to Black’s feelings. “I recall moments where they wanted me to be more vulnerable with Aeryn, and I didn’t want to be because I didn’t think it was time and I didn’t think she was ready,” she says. “But it wasn’t my place to say.”

Nevertheless, she persistently found ways to make her voice heard, whether it was by talking one-on-one with specific writers or her co-star, who was equally eager to avoid certain genre show clichés. Black recalls one instance early on in the show’s run when Browder actively pushed back against Sci-Fi’s directive that John Crichton demonstrate the same sex drive as James T. Kirk. “They wanted Crichton to have an alien girl of the week. Ben put his foot down and said, ‘No, he’s not that kind of guy. This isn’t the story I want to tell.’ And on my side I was saying, ‘Yeah, what does that say about Aeryn if she’s going to fall in love with a guy [like that]?’ We wanted to investigate and have them experience the more positive aspects of attraction, as well as what’s worth fighting for and what’s worth dying for,” she says. “Maybe the show would have continued longer if we’d been able to please the network! They know what they’re going to need in order to keep [viewers] interested and tuning in. But we’re very proud of what we managed to make regardless, because of those choices.”

The ongoing battle that Black personally waged throughout Farscape‘s run was ensuring that Aeryn maintained control over her own body. In the genre shows of her era, the female leads were stronger and savvier than ever, and that translated into fashion choices that expressed their own body confidence and sexuality. Xena rode into battle in a heaving breastplate, while Buffy fought vampires in halter tops and Relic Hunter‘s Sydney Fox always donned a tight tank top before exploring some ancient tomb. But flashing cleavage, leg, and midriff also made those characters desirable pin-ups for the male audience courted by networks and advertisers. (Farscape added its own version of a pin-up type midway through the first season in the form of Chiana, a grey-skinned con artist with a plunging neckline and a voracious sexual appetite.)

But those fashions didn’t make sense for a soldier fighting in an army where men and women’s bodies were interchangeable. In fact, Black remembers reading a very specific direction to the makeup department in the production notes for the pilot. “When I take my Peacekeeper helmet off [for the first time], the note read in big print, ‘She looks masculine.’ They thickened my eyebrows — which are already thick! — and shaded my face in very minimal makeup. All of the on-set gallery images of me in the first season are with that very masculine makeup.”

Aeryin in her ‘masculine’ Season 1 appearance (Credit: Everett Collection)

By Season 2, though, Aeryn’s appearance underwent a noticeable change; her hair got longer and straighter, and her Peacekeeper uniform gave way to outfits that walked a line between practical and revealing. Black, who describes herself as a feminist, agreed to these cosmetic changes as she felt they were part of a “natural progression” for Aeryn. “I was honoring where she had come from at the same time having to find a way to let her grow into whatever it is she was going to become,” she says. (This clip from Farscape‘s aforementioned Looney Tunes-inspired episode, “Revenging Angel,” neatly summarizes — and satirizes — the female body types commonly featured on genre shows that Aeryn deliberately defies.)

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Already objectively beautiful, Aeryn’s sexuality continued to emerge as she grew into her new self. Even so, Black could sense it wasn’t emerging quickly enough to satisfy certain expectations. “I felt that I was being pushed to show more flesh than was necessary,” she admits, pointing to one incident in the show’s fourth season where it was written into the script that Aeryn would sit poolside in a bikini. “I just said, ‘I will get in a bikini for you if it makes sense, but this woman’s world is falling apart.’ It was the last thing I thought Aeryn would do [in that moment]. It felt really frivolous and superficial to me.” (Black had already donned a bikini to play pregnant Aeryn in a hallucinatory scene in the Season 4 premiere. “They not only had me in a bikini, but they gave me a pregnant belly as well, which is really hard to pull off and make it look naturalistic,” she says.)

Black remembers shooting down an even more egregious bit of flesh-flashing in an earlier episode. As an international production, Farscape frequently shot extra scenes for certain ad-free European markets that would fill the time normally allotted for commercials. The cast referred to these filler sequences as “Euro scenes,” and they rarely involved big story or character beats. According to Black, this particular episode dispatched D’Argo and Aeryn on a planetside mission, and the writers cobbled together a Euro scene that she describes as “absurd.” “They said, ‘Let’s have a scene where we cut to them by a lake, and Aeryn turns and sees a bunch of soldiers across the lake. Aeryn takes off her clothes, swims across the lake, and fights these soldiers completely naked, then comes back to D’Argo and off they go.'”

In later seasons, Aeryn naturally progressed towards more revealing fashion choices (Credit: Everett Collection)

“There were so many things about it that were so bizarre,” she continues. “I said, ‘You know what, please explain this to me, how this honestly can fit in.’ In the end, they just said, ‘All right, fine — we won’t do it.’ That’s what I felt I was having to haggle for a lot of the time: my right to keep my clothes on until it was appropriate. I’ve always felt as an actor — and I’m sure other females have felt like this as well — that when you sign on the dotted line and enter the business that somehow you’ve given your body away as a piece of property, and you spend the rest of your career haggling for pieces of it back.” And the actress credits Browder with backing her up in her fight for Aeryn to be in full control of her own femininity and, by extension, her destiny. “Aeryn is really as feminist as I am, but she’s nothing without Crichton, which is an interesting statement to make,” she says. “So as much as we praise Aeryn, we must give full credit to Crichton and to Ben for shaping him the way that he did. It’s the space that he gives her. He’s such an exquisite champion of her growth and development, that it becomes possible for her to grow to her full size.”

In the 13 years since the concluding Peacekeeper Wars miniseries, rumors have occasionally flown about Farscape‘s return. At one point, there was talk of a webisode series following John and Aeryn’s child, D’Ago Sun-Crichton, but funding never came to fruition. (The show did continue in comic book form for a time, but publication ceased circa 2011.) Black, whose recent credits include stints on The CW genre shows Containment and The Originals, has no updates on any future revivals, and jokes that if Aeryn and Crichton ever do return, they’ll be “tired, ornery, and not really wanting another battle.”

Claudia Black as Dahlia on ‘The Originals’ (Credit: Annette Brown/The CW)

In a way, though, Aeryn’s larger battle has already been won. One of the breakout characters on Battlestar Galactica — which premiered in December 2003, nine months after Farscape‘s series finale — was Kara “Starbuck” Thrace, who displays some of the same steely spine, and jagged edges, of Officer Sun. And today’s genre TV landscape is populated with women who, consciously or not, reflect Aeryn’s assertiveness, independence, and refusal to conform to societal (or genre) norms of appearance or attitude, whether it’s Orphan Black‘s Helena, Sense8‘s Nomi, or Jessica Jones.

Related: ‘Battlestar Galactica’ EP David Eick Revisits 5 Episodes That Remain Relevant

For this Scaper, she lives on off-screen as well. When my wife and I learned that we’d be having a daughter, we thought about all the things we wanted for her life. To know that she, and she alone, is in control of her body. To be strong in the face of injustice. To be confident in her own power. And to know that when she chooses to give her heart to another person, that person will be her champion, and give her the space to grow to her full size. And so we picked a name that, for us, would embody all of our hopes and dreams for the individual she’s becoming with each passing year.

Her name is Aeryn.

Farscape: The Complete Series is available on Blu-ray.

Read more from Yahoo TV’s “Why Genre Shows Matter”: ‘Battlestar Galactica,’ ‘Buffy,’ and Other Series That Genre Show Producers Believe Deserved More Emmy Love ‘Luke Cage’ Showrunner Cheo Hodari Coker on Embracing Exploitation Superheroes, Spells, and Sexual Abuse: A Conversation With Melissa Rosenberg and Sera Gamble, EPs of ‘Jessica Jones’ and ‘The Magicians’

#Ben Browder #_revsp:wp.yahoo.tv.us #_uuid:51ad5995-91f1-347e-a801-b7cafdeb9f25 #Farscape #Buffy the Vampire Slayer #_author:Ethan Alter #Why Genre Shows Matter #Claudia Black #_lmsid:a0Vd000000AE7lXEAT

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