#Yeah I have a very big comic book planned. The script for the 1 season is ready now and almost 2 season (there are only five of them)

[foresthouseowo]

[ Childhood]

[revisionaryhistory]

Three Days ~ 55

~*~Sebastian~*~

I stared at her. Stunned. I'm not sure if it's how the conversation went or she wants me and whatever comes with me. Emma is so intentional. Her words carry meaning. She wants to be clear and asks for clarity. This is heaven for my overthinking brain. I’m not stuck wondering what she means nor am I afraid to ask. Because I know she'll answer. Really answer.

"I've got eight years on you, how are you the more mature one?"

"Stabilizing influence and frighteningly direct communication of my second dad."

The expression on her face and deadpanned delivery had me laughing. "I can see that. I'll be the emotionally reactive one and you can be the calming one." Then I remembered. "Although, Eli did tell a story about you laying into some guy in Hawaii at a volleyball game. Ed dumped you in the ocean. I wish there was video."

"There is. You'll have to get dad to send it to you."

Tuesday was a good day. Workout was hard and my abs were already sore, but we'd laughed a lot. Good phone call with mom. The house had come together, she was enjoying some time in the pool, and she'd picked up some piano students. My afternoon was spent in my manager, Emily's, office. Mostly she and I, but a few conference calls. I was about to be busy. The next six weeks I was more gone than home. I was excited about the work. Excited to see friends.

Admittedly, the timing wasn't the greatest, new relationship and all, but I was confident we'd figure it out. This is different. I'd like to say it was because my previous experience is whining and bitching about me being gone so long, knowing I was going to pay for the distance, and trying to front-load my leaving to make it more palatable. While all of those all true, the actual difference is I care. The emotionally unavailable hot and cold thing comes into play here. I put up a wall to block the whining and bitching, not really listening, because it's my job. Bitching at me isn’t going to change anything and I’m not going to feel guilty for doing my job. Well, I do, but it just pisses me off because I shouldn’t.  The expectation of gifts, dinners, or a vacation to make up for being gone made those a lot less fun. And I was never successful at cramming a bunch of stuff in before I left, because my work didn't start when I left. It starts weeks before. I don’t leave for filming for a month, but I’m already prepping: gym reading, watching things, research, and studying the script. I get pretty singularly focused. I don't know any other way. And when pushed I shut down. I don't respond. I brood. And I appear cold. None of this is right. Some just is. Some is my fault. Getting to where I didn't care about her (any of the previous hers) feelings and concerns with me gone was a side effect of shutting down and I regret doing that. It wasn’t that I didn’t care about her feelings. It was feeling ineffectual to do anything about it and my self-protection kicking in. Looking back, saying effectively “deal with it” was incredibly insensitive. Not proud of it.

But now, sitting here looking at my schedule I’m finding places I can find some time for us. We’ll figure it out. I can tell you what won’t happen. Emma won't whine where I block her out. She's not going to emotionally blackmail me for things, which will make me want to give. And she’ll leave me alone to prep, let me bounce things off her, or cook something to remind me to eat. I need all of those. I care how Emma's going to feel about me being gone. I care about what we’ve begun and how we'll keep in touch. I also know that while I'm away she will carry on living the life she had before she had me and be just fine.

Emma had practice tonight and a game tomorrow. It was after eight when she called. She was in a tank top and her hair was wet from her shower. I caught up on her day before leading into mine. "I have good news and bad news."

"OK." Emma drug out the word, wary of my response.

"When I get back from Canada, I've got some time to spend with you. Then I’m gone for the month of July. Fashion show, audition and meetings, comic con, then filming in Rome." Playing off last night’s conversation, I added. "I'm not expecting a bad reaction."

"Well, that's good." Her hand moved toward the screen and I chose to believe she was touching my face. "I'II miss you, but I’m excited for you. And me getting to hear about what you're doing. Living vicariously."

I'd had some time to think. I had a lot of thoughts on plans. This was the soonest.  "You get back Tuesday, doubleheader Wednesday, and I get back late Thursday. What's your weekend look like?"

"Empty. I'll come to you. You'll barely be home if you come here. I can come anytime Friday. I'll be done with work except maybe packing up my room. I can do that whenever."

"Early Friday. Thursday night." I wanted to maximize our time. "I have to do some work."

"I can amuse myself."

"Maybe the shop you liked so much will be having a sale?" I laughed at the way her eyes lit up. "July fourth weekend I'm at a fashion show. Wanna go to Paris?"

"What?" Her face moved closer to the screen. I’d surprised her.

"Not necessarily Paris, but near. The third is the show. Have you been to Paris?"

"Family spent the summer in Europe when we were thirteen. Then Pearl Jam tours. Love Paris."

"Not much more than a long weekend, but museums and I'm sure we can find some romantic Paris shit to do."

"I would love to go to Paris with you."

That was good because I'd already made reservations. "California for about two weeks then straight to Italy for at least that. Depends on how long shooting takes. Hopefully back in time to join you in Chicago. Then nothing until the end of August. Will and I had been talking about a group of us going away. We were waiting for my schedule. What do you think about a group trip and we stay a little longer or go off alone? It would be a beach somewhere."

"You going to rub sunscreen on me?"

"Um yay, part of my volleyball job. Beer bitch and sunscreen applier."

“I’m in."

"End of August is a Disney thing. Labor Day weekend is the Toronto Film Fest. Little stuff in there, nothing big. No idea past then."

She laughed, eyes wide, and moving her head in all directions "It's crazy like a tour schedule. I'm jealous. I love touring."

"I thought about Rome, but the schedule's tight. You wouldn't see me."

"I wasn't trying for an invite. I'll get some of my summer PD hours done so I won't have to worry about them. Make sure I've got time for us."

I leaned back on the couch, "That was easy."

She glared at me. "I thought you weren't expecting a bad reaction?"

I shook my head, "No, no, I wasn't. Just an observation. Thought I might have to talk you into the beach." I held it a second before smiling, "Not really. I do know it’s a lot."

"I will always go to a beach."

"You’re not allowed to play volleyball."

"Did you get the video from dad?"

"About an hour ago." I'd enjoyed it several times. "You're a feisty little thing."

Wednesday was a day of pictures and texts. After the gym, I settled in my extra room to prep. I had my laptop on the table, a stack of books on top of my script, and a huge bottle of water. I took a picture and posted it to Instagram along with one of me with a pencil between my teeth and pulling my hair.

Emma ~ How'd you get a picture of your expression during your last blow job?

Sebastian ~ Hidden camera in bedroom. You should see the other things I have. Coupling Season 1. "The Cupboard of Patrick's Love."

Emma ~ “You really don't have enough blood for both ends of your body, do you?"

Sebastian ~ Very good, Sally.

 Love that she can quote one of my favorite shows.

After lunch, Emma posted a picture of her in the middle of a group hug with her students. "I'll miss my munchkins.”  I sent a sad face emoji.

Then I fell into a hole. I got pulled into my research and reading and the next time I picked up my phone it was one a.m. I need time like this and put my phone on do not disturb. The only thing that comes through is two calls from the same number within a few minutes. Anyone important knows how to reach me. Emma knew, but she didn't. Not even when the Demonic Crickets won their game. She posted several pictures, but I got a much better one in a text. Emma with her back to the camera in her team tank, arm up flexing her bicep, and her looking over her shoulder smiling at me. The gold flecks in her eyes were sparkling and the darker ring made the green more intense.

Emma ~ Hope you're getting a lot done. Internally anyway.  XOXO

Sebastian ~ * 12 hours later * Yeah, I did. I'm hungry. Congrats on the win. Picture is beautiful.

Sebastian ~ You're beautiful

 Her thank you came while I was working out. After a shower, I fell back into my hole until it was time for therapy.

I'd been seeing Celie for a long time. Frequency varied. She had a dark brown bob, glasses, and a round face. At this point, I could read her as well as she could me. If she was looking at me over her glasses, she thought I was full of shit. No words needed. She was about ten years older than me and her style worked for me. It was a great one-sided friendship.

I took my regular spot on the blue couch, "How are you today, Celie?"

Celie smiled. She had the unconditional positive regard thing down. I say that, but she does genuinely like me. Most of the time. I can be a pain in the ass. "I've had a good day and after you I get to go home. You seem to be in a good mood. Tell what's going on with you, Seb."

I was always her last client of the day. Sometimes I needed more than an hour. "I am in a good mood. I met somebody. Last time I saw you I was going to help my parents move. I met Emma there. In a grocery store, if you can believe that."

"Sounds like you can't."

"I asked her to dinner in under fifteen minutes."

She widened her eyes in disbelief. Exactly my point. "Did you? Good for you, Seb. A complete stranger. What led you to ask her out?"

"I was all covered up and she tells me I looked like a rehab patient checking into the clinic up the road. But she was kind to me. A sketchy stranger. She didn’t know who I was until we were outside and I introduced myself. She helped me find the things on my list and we chatted." I put my hands in front of my chest, fingers splayed. "She felt good. I didn't know why, just enough that I knew I wanted to know more.”

“And what do you know now?”

I spent the next several minutes telling Celie the salient points. We’ve been doing this long enough that explaining isn’t necessary. She’ll recognize why things are important. My face hurt from smiling after I was finished talking about Emma. I stopped short of the whole conversation on Sunday.

“Besides the obvious early relationship high, how are you feeling about all this?”

“Good. Happy. Hopeful. The only concerning thing was Saturday I woke up from a night terror, panic attack. I got myself calmed down pretty quick, wrote for a while, and once Emma got up I went for a run.”

“Even with being happy, there’s been quite a bit of emotional activity. I’m pleased that you’ve only woken up once. Much better. What do you suspect triggered you?”

I took a deep breath, “Emma and I wound up in this conversation Sunday afternoon. A couple of my friends at the party had told her I wasn’t acting like I normally do with women, but more like I am with friends. This led to a conversation about my relationship issues. I’m not the same with her. She really doesn’t know that version of me. I think that’s why I had the anxiety. It was the night after the party but before the conversation. First time we’d been around my friends. I think it was not because I’m scared, but because I’m not. Like you said, there’s been a lot of emotional shit going on and I’m good. Remarkably good.”

“Why do you think that is?”

“Emma is different. She’s incredibly kind and is . . . gentle. Not weak though. She’s strong.”

Celie shook her head, “When I think of gentle people it’s a combination. They can be painfully truthful, but their manner makes others able to listen. They have a compassion for others.”

“Exactly! I noticed she knew everyone. She talked to everyone and used their name. I asked and she said she looked at their nametags and you never know what someone’s day has been. That might be the first nice thing that’s happened all day. I know it’s a little thing, but it’s her. She’s like that with me. She doesn’t try to talk me out of being anxious or overthinking. She doesn’t think my insecurities are stupid. They’re all just part of me.”

“She accepts you.”

“Right. The more we got to know each other, the more we talked, I felt safe. She doesn’t do those things I usually shut down over. I don’t feel the need to protect myself. She’s very different.”  Celie was looking at me over her glasses. Uh oh. “You’re giving me the look.”

“Yes, I am.”

“Why?  I thought I was doing good. I asked out a stranger and got this amazing woman.”

“Sebastian, as quick as you are to fault yourself, you’re slow to take credit.”

“Take credit?” I didn’t know what she was talking about.

She leaned forward, putting her elbows on her knees. “You think this relationship is different because of Emma. You lucked out and met an accepting, kind, gentle person.”

“Yes. No. Both. Emma is different and she makes me different.”

Celie made a loud, jarring beeping noise. This was new.

“Ok, I guess I’m wrong.”

“You are. Not completely. You’re not giving yourself enough credit. Any credit. You’ve worked very hard. You’ve read. You’ve journaled. You’ve talked. You’ve done things I’ve asked you to even if you didn’t understand or want to. I’ve seen you grow. To give responsibility for this relationship being different all to Emma is dangerous. What’s going to happen when she falls off this pedestal you’ve put her on? Is that going to be an excuse to shut down and protect yourself? Fall back on old habits.”

I could feel my eyebrows pulled down and the scowl on my face. “So you’re saying this isn’t as good as I think it is.”

“Not at all. I’m saying it’s got as much to do with you as it does her. Previously you would have never asked out a woman you met in a grocery. But that seems to be the furthest you’re going with how you’re different. I do not believe for one second that no other woman you’ve gone out with has been kind and accepting. Or would have been if you would have been able to show them you.  You used to do things to test them. You’d say or do things to see how they’d react. As we’ve talked, you weren’t being real, so you don’t know that their reactions were.”

I nodded then looked down, “I know. Pretty manipulative.”  I felt Celie’s hand on my arm and looked back up. Her face was very soft with a smile.

“Stop, Seb. You need to be proud of yourself. You are doing things differently. You have learned from your past, grown, and come a long way in accepting yourself. Warts and all. You have shown Emma who you are, even the parts you don’t like so much. She can have credit for how she’s responded to you, but you deserve the credit for being brave enough to show her in an honest and authentic way. That allowed her to respond in an equally honest and authentic way.”

I grabbed a tissue from the ever-present box on the table and wiped the wet from my face. Neither the first nor the last time I’d cry in this room.

"If you had met her even a year ago, with her exactly as she is now, this relationship would be very different."

"The wedding."

"Excuse me?"

Yeah, non sequitur. "I was supposed to go to a friend’s wedding last summer but didn't because there was a change in my shooting schedule. Emma was at the wedding. You're right. Had I met her then," I shook my head. “I wouldn't have been ready for her and now could have never happened."

Celie shrugged, "Probably not."

I sniffed and wiped my eyes, "How do I get her off this pedestal I’ve put her on?"

"You seem pretty smitten. Maybe not take her off, just lower it a little." I laughed and she went on. "What you do is own your part. You have been making choices to improve yourself. You have been making choices to go out of your comfort zone. And you have been making choices to let her know you. Emma's been making similar choices to be with you. I'm sure you know what she's come through to be where she is. It seems like you complement each other. Recognize this is both of you waking up and choosing to be with each other. Talk and negotiate what that means. Tell her what you want. And when you're not talking you listen. Listen to what she needs from you. The most important for you is to keep processing the feelings with her. She's the only one who can help those make a picture. And you need to give her the same gift. She has things she’s not so proud of and afraid for you to know about her. We all do. You will need to accept her and treat her with gentle kindness she gives you.”

I was crying again. "She told me. I told her she was different than the others. She asked if maybe I was different."

Celie snickered, "I like her."

"You would. She speaks therapy."

"I want to be very clear, Seb. She sounds wonderful and she may make you better. You sound wonderful and I bet you make her better too. That’s how it should work in a relationship. You help each other along. It takes two people with self-awareness making choices to do what it takes. You both have to choose growth, honestly, humility, vulnerability, and sacrifice. I hear you holding up your end. I’ve not heard you do this before. And while she may be the right woman, you've become the right man. Please, please, do not underestimate how much work you've put in to become the right man for another person.”

"I want to go home and cry for an hour or so."

"I wish Emma was here for you."

I shook my head with a grimace, "It's going to be ugly until I get it out."

"Yes. I think Emma would want to be there to hold you and you'd find more acceptance and comfort in that than you can imagine."

At home, I grabbed a beer, sank down in my favorite chair, and cried. I felt everything all at once but fought to untangle the threads. Sad was remnants of the past and dissipated quickly. Its friends regret and shame fought a little harder to stick around, but they were toxic and needed to go. Pride and relief were together too. Celie was right. I had worked hard. An infinite number of hours had gone into figuring myself out. There have been so many times I thought I'd be stuck forever. Sometime in the last two years that I've been without a girlfriend, all the work must have come together. In the last two years I've been filming almost nonstop. Five movies have come out. Two of which were Marvel circuses. It's like all the therapy (and the work that goes with it) knitted me back together while I was busy filming and living my life. Celie had told me to trust the process. I couldn't rush it or make changes happen before it was time. Patience. I am inherently impatient. Pride was for the work. Relief was for seeing results. Finally.

Next was happy. I’m in a good place. I'm excited about the movie I’m making. I have supportive, fun friends, and a loving family. I don't need a girlfriend to be happy, but one does bring everything together. I like having a person who is mine. Mine in the sense of us experiencing life together. The good and bad. I like that. I want that. And now I have it. The beginnings of it, anyway.

After I pulled my shit together, I wanted to talk to Emma. I wanted support. Maybe not support, but I felt raw. I wanted someone to soothe the raw nerves, to sit with me while all this new stuff integrated. I wish she was here. What I needed was a hug.

Sebastian ~ Can you talk?

I don't like that I asked. It feels insecure and I have zero reasons to feel insecure. I quickly decided to cut myself some slack.

My phone rang and I connected to FaceTime. "Hey." Her bright smile and obvious happiness to see me did wonders to soothe those raw nerves.

Emma's face went from a smile to wide-eyed concern. "Sebastian, what’s wrong? You look like you've been crying. What happened?" Before I could answer, she jumped to a correct conclusion. "You had therapy. Good, bad, or cathartic tears?"

"Mostly the last one."

Her hand went to her chest, "Ok." She picked up what I assumed was her iPad and crossed to the chair in her bedroom. I could see her pull her knees up when she put her feet on the ottoman. She rested the iPad on her knees.

"Mostly a repeat of what we talked about Sunday. Celie said I wasn't giving myself enough credit for the work I've done. My growth."

As Emma had alluded to the same thing, I expected a smile or some acknowledgment of her asking if I was different. Instead, I got, "What do you think?"

"I think I still need to work on not being so hard on myself." I smiled because that statement was me still being hard on myself. "When Celie pointed out how I've changed I could see it and was proud of myself. I can’t see it on my own yet, but I'll get there. I never thought anyone would get past my walls. It wasn't someone getting in, it was me getting out." More goddamned tears.

Emma reached out and touched the screen. "I‘m so happy for you. Proud of you too."

Her words felt like a hug. Close enough for now. "Thank you."

"I know you're a grown man, but I wish I was there. Crying alone sucks."

"Oh," I laughed a little, "the chances of us having a messy reunion are high."

"Why?"

"A lot of you and I talk today. I know me, it's gonna hit me when I see you."

"I should warn you. I have a strict policy that nobody cries alone in my presence."

I smiled at her exaggerated southern accent with the "Steel Magnolias" quote. "See ... gonna be messy."

[jbuffyangel]

Entertainment Weekly Arrow Article

We never get any big articles of Arrow, so yeah I am posting the whole damn thing. There were some interesting little tidbits and of course discussion around Emily Bett Rickards’ exit. Is it wrong that I am low key pissed that of course Arrow gets the cover of EW after she leaves? Is it also wrong that while I’m happy Arrow is getting some attention, I’m annoyed it wasn’t an Olicity cover? Cuz that’s where I am at. (X)

How Arrow saved the TV superhero — and why it had to end

As 'Arrow' prepares for the end, Stephen Amell and the producers reflect on its origin story and preview the 'Crisis'-bound eighth and final season. 

Stephen Amell is dreading the eighth and final season of Arrow, though you wouldn’t know it on this hot, sunny July day in Los Angeles. Wearing Green Arrow’s new suit, the CW star seems perfectly at ease as he strikes heroic pose after heroic pose on a dimly lit stage. But once he’s traded heavy verdant leather for a T-shirt, jeans, and baseball cap, his guard drops and the vulnerability starts to creep in as he contemplates Arrow’s last 10 episodes, which was set to begin production in Vancouver a week after the EW photoshoot took place and premieres Oct. 15.

“I’m very emotional and melancholy, but it’s time,” Amell — who is featured on the new cover of Entertainment Weekly — says as he takes a sip from a pint of Guinness. “I’m 38 years old, and I got this job when I was 30. I’d never had a job for more than a year. The fact that I’ve done this for the better part of a decade, and I’m not going to do it anymore, is a little frightening.”

Developed by Greg Berlanti, Marc Guggenheim, and Andrew Kreisberg, Arrow debuted in the fall of 2012. The DC Comics series follows billionaire playboy Oliver Queen (Amell), who, after years away, returned to now–Star City with one goal: to save his home-town as the hooded bow-and-arrow vigilante who would become known as Green Arrow (it would take him four seasons to assume the moniker). What began as a solo crusade eventually grew to include former soldier John Diggle (David Ramsey), quirky computer genius Felicity Smoak (Emily Bett Rickards), lawyer-turned-hero Laurel Lance/Black Canary (Katie Cassidy Rodgers), and the rest of Team Arrow. Together they’ve defended their city from a host of threats — dark archers, megalomaniacal magicians, and the occasional metahuman — while Lost-like flashbacks revealed what Oliver endured in the five years he was away, first shipwrecked and then honing his skills around the world to become someone else, something else.

The premiere gave The CW its most-watched series debut since 2009’s The Vampire Diaries. But before they launched Arrow, Berlanti and Guggenheim had to suffer through a failure: 2011’s Green Lantern, starring Ryan Reynolds. The duo co-wrote the script but lost creative control of the film, which flopped. So when Warner Bros. Television president Peter Roth approached them in late 2011 about developing a Green Arrow show, they were wary. After much deliberation, Berlanti and Guggenheim agreed, on the condition that they maintain control. Says Guggenheim, “As long as we succeed or fail on our own work, and not someone else’s work then maybe this is worth a shot.”

Their take on the Emerald Archer — who made his DC Comics debut in 1941 — was noteworthy from the beginning. Taking cues from films like The Dark Knight and The Bourne Identity and series like Homeland, the writers imagined a dark, gritty, and grounded show centered on a traumatized protagonist. “As we were breaking the story, we made very specific commitments to certain tonal things, such as ‘At the end of act 1, he has his hands around his mother’s throat.’ And, ‘At the end of act 2, he kills a man in cold blood to protect his secret,’ ” says Guggenheim.

A hero committing murder? That was practically unheard of then. Having Oliver suit up in a veritable superhero costume by the pilot’s climax was radical too. Sure, the Marvel Cinematic Universe was deep into Phase One when the producers were developing Arrow, but TV was traditionally more apprehensive about comic books. Smallvillefamously had a “no tights, no flights” rule and only introduced superhero costumes in the last years of its 10-season run, and there weren’t any masked avengers running around NBC’s Heroes or ABC’s No Ordinary Family, the latter produced by Berlanti (Let’s not even mention NBC’s The Cape, which was essentially dead on arrival and never did get its six seasons and a movie). But Arrow not only fully committed to the idea of someone dressing up like Robin Hood to fight crime with a bow and arrow, it introduced a second costumed rogue, the Huntress (Jessica De Gouw), in episode 7.

“It’s just comic book to the extreme and the fans seem to really love it,” says Batwomanshowrunner Caroline Dries, a former writer on Smallville. “They still maintain it very grounded, but it’s very different with everyone in costumes. The appetite for superheroes has changed in my mind in terms of like they just want the literal superhero [now].”

Not that the team wasn’t meticulous about creating Green Arrow’s cowl. “We had to have so many conversations to get it approved, but that’s why we got [Oscar winner] Colleen Atwood [Memoirs of a Geisha] at the time to [design] the suit,” says Berlanti. “We were determined to show we could do on TV what they were doing in the movies every six months.”

“It’s really easy to make a guy with a bow and arrow look silly. We sweated every detail,” says Guggenheim, who also recalls how much effort it took to perfect Oliver’s signature growl. “I actually flew up to Vancouver. On a rooftop during reshoots on [episode 4], Stephen and I went through a variety of different versions of, basically, ‘You have failed this city,’ with different amounts of how much growl he’s putting into his performance. [We] recorded all that, [I went] back to Los Angeles, and then sat with the post guys playing around with all the different amounts of modulation.”

That process took eons compared to the unbelievably easy time the team had casting Arrow’s title role. In fact, Amell was the first person to audition for the role. “It was Stephen’s intensity. He just made you believe he was that character,” says Guggenheim, recalling Amell’s audition. “We had crafted Oliver to be this mystery box character, and Stephen somehow managed to find this balance between being totally accessible in a way you would need a TV star to be, but he’s still an enigma.” After his first reading, Amell remembers being sent outside for a short time before being brought back into the room to read for a larger group: “I called [my manager], and I go, ‘I know this is not how it’s supposed to work, but I just got that job.’”

In the first season, the show’s chief concerns were maintaining both the “grounded and real” tone and the high quality of the stunts, and investing the audience in Oliver’s crusade. Beyond that, though, there wasn’t much of an over-arching plan, which allowed the show to naturally evolve — from introducing more DC characters, such as Deathstroke (Manu Bennett) and Roy Harper (Colton Haynes), sooner than they initially intended (the shot of Deathstroke’s mask in the pilot was meant as a harmless Easter egg), to promoting Emily Bett Rickards’ Felicity from a one-off character in the show’s third episode to a series regular in season 2 and eventually Oliver’s wife. Even the whole idea of a Team Arrow — which, over time, added Oliver’s sister Thea (Willa Holland), Rene Ramirez/Wild Dog (Rick Gonzalez) and Dinah Drake/Black Canary (Juliana Harkavy) — was the result of the writers allowing the best ideas to guide the story. “Greg used to say all the time, ‘You have a hit TV show until you don’t, so don’t save s—,’ ” says Amell.

Also not planned: Arrow spawning an entire shared universe. “We went on record a lot of times during the premiere of the pilot saying, ‘No superpowers, no time travel.’ But midway through season 1, Greg started to harbor a notion of doing the Flash,” says Guggenheim. “I’m a very big believer that it’s great to have a plan, but I think when it comes to creating a universe, the pitfall is that people try to run before they can walk. The key is, you build it show by show.” And so they did. First, they introduced The Flash star Grant Gustin’s Barry Allen in the two-part midseason finale of Arrow’s second season. From there, Supergirl took flight in 2015, then DC’s Legends of Tomorrow in 2016, and Batwoman is due this fall. “It’s like the hacking of the machete in the woods and then you look back and you’re like, ‘Oh, there’s a path,” says executive producer and Berlanti Productions president Sarah Schechter. But even though Arrowis the universe’s namesake, Amell doesn’t concern himself with the sibling series outside of the now-annual crossovers. “I never think about any of the other shows,” he says. “I want all of them to do great, but they’re not my responsibility. My responsibility is Arrow, and to make sure everyone from the cast to the crew are good.” His sentiments are seconded by Flash’s Gustin: “I don’t understand how he does it — his schedule that he maintains with working out, the conventions he goes to, the passion he has for it, and the love he shows towards fans. He’s always prepared. He cares more about that show being high quality than anybody else on the set.”

That said, the universe’s expansion precipitated what is widely considered to be Arrow’s best season, the fifth one. After focusing on magic in season 4, the show returned to its street-crime roots as part of “a concerted effort to play not just to our strengths but what made the shows unique,” Guggenheim says of balancing their four super-series in 2016. “Because Arrow was the longest-running Arrowverse show, we were able to do something that none of the other shows could do, which is have a villain who was basically born out of the events of season 1,” he explains of introducing Adrian Chase/Prometheus (Josh Segarra), whose criminal father was killed by Oliver. “That gave the season a resonance.”

It was midway through season 6 when Amell realized he was ready to hang up Oliver Queen’s hood. “It was just time to move on,” the actor says of pitching that Oliver leave the series at the end of season 7. “My daughter is turning six in October, and she goes to school in L.A., and my wife and I want to raise her [there].” Berlanti persuaded him to return for one final season, which the producers collectively decided would be the end. “We all felt in our gut it was the right time,” says Berlanti. Adds Schechter, “It’s such a privilege to be able to say when something’s ending as opposed to having something just ripped away.”

But there’s one integral cast member who won’t be around to see Arrow through its final season. This spring, fans were devastated to learn Rickards had filmed her final episode—bringing an end to Olicity. “They’re such opposites. I think that’s what draws everyone in a little bit,” showrunner Beth Schwartz says of Oliver and Felicity’s relationship. “You don’t see the [love story of] super intelligent woman and the sort of hunky, athletic man very often. She’s obviously a gorgeous woman but what he really loves is her brain.” For his part, Amell believes the success of both Felicity and Olicity lies completely with Rickards’ performance. “She’s supremely talented and awesome and carved out a space that no one anticipated. I don’t know that show works if we don’t randomly find her,” says Amell, adding that continuing the series without Team Arrow’s heart is “not great. Arrow, as you know it, has effectively ended. It’s a different show in season 8.” And he’s not exaggerating.

The final season finds Oliver working for the all-seeing extra-terrestrial the Monitor (LaMonica Garrett) and trying to save the entire multiverse from a cataclysmic event. “[We’re] taking the show on the road, really getting away from Star City. Oliver is going to be traveling the world, and we’re going to go to a lot of different places,” says Guggenheim. “Every time I see Oliver and the Monitor, it’s like, ‘Okay, we are very far from where we started.’ But again, that means the show has grown and evolved.” Adds Schwartz, “This is sort of his final test because it’s greater than Star City.” Along the way, he will head down memory lane, with actor Colin Donnell, who played Oliver’s best friend Tommy Merlyn in season 1, and Segarra’s Adrian Chase making appearances. “Episode 1 is an ode to season 1, and episode 2 is an ode to season 3,” teases Amell. “We’re playing our greatest hits.”

But season 8 is not just about building toward a satisfying series finale. “Everything relates to what’s going to happen in our crossover episode, which we’ve never done before,” says Schwartz. Spanning five hours and airing this winter, “Crisis on Infinite Earths” will be the biggest crossover yet and may see Oliver perish trying to save the multiverse from destruction, if the Monitor’s prophecy is to be believed. “Oliver [is told] he’s going to die, so each episode in the run-up to ‘Crisis’ has Oliver dealing with the various stages of grief that come with that discovery,” says Guggenheim. “So the theme really is coming to terms, acceptance.”

If there’s one person who has made his peace with Oliver’s fate, it’s Amell. “Because he’s a superhero with no superpowers, I always felt he should die — but he may also not die,” says Amell, who actually found out what the show’s final scene would be at EW’s cover shoot. “I cried as [Marc Guggenheim] was telling me. There are a lot of hurdles to get over to make that final scene.” Get this man some more Guinness!

[harris-coopers]

‘Riverdale’ heartthrob Cole Sprouse goes for leading man status in ‘Five Feet Apart’

When Cole Sprouse left Hollywood, he didn’t think he’d ever come back. He was 18, and he’d been acting alongside his identical twin brother since they were in diapers. The choice to work as a kid had not been his own: His single mother wanted to be around for the boys and have a steady career, and putting her twins in the entertainment industry seemed like a “lucrative alternative,” he says now.

But then Sprouse and his brother, Dylan, landed their own Disney Channel show, “The Suite Life of Zack & Cody.” By 13 they’d signed a licensing agreement with Dualstar Entertainment Group, Mary-Kate and Ashley Olsen’s company, to develop their own quarterly lifestyle magazine, ringtones and cologne. They were full-blown teen heartthrobs.

And yet when it came time to apply for college, the twins decided — unlike fellow Disney stars Miley Cyrus, Selena Gomez or the Jonas Brothers — that they wanted to pursue higher education and enrolled at NYU.

“My brother and I were getting recognized a lot. It became one of those things that we realized we had just sort of taken as gospel since we were little kids, and that there was another path through life,” Sprouse, now 26, recalls. “I was completely content, at the time, to let the Disney shows exist within this little nostalgic bubble and I was ready to move on.”

But somehow here he is now, sitting on the balcony of a ritzy hotel smoking Marlboros, promoting his first leading role in a movie, “Five Feet Apart.” And the film, a romantic drama about two young lovers with cystic fibrosis, is not the only project he’s taken on since graduating with honors from NYU in 2015. For the past two years he’s starred as Jughead on the CW series “Riverdale,” a teen drama based on the Archie comics.

The program, which has already been renewed for a fourth season, has reignited Sprouse’s popularity. On Instagram, he has nearly 24 million followers, many of whom are obsessed with tracking his real-life relationship with his on-screen love interest, Lili Reinhart.

“Riverdale” also rekindled Sprouse’s love for acting. During college he did none of it, opting to study something completely different: archaeology, geographic information systems and satellite imaging. He became interested in the field because his grandfather was a geologist and “it seemed like an academic discipline that was really competitive and challenging. I fancied testing if I could do something like that.”

He traveled to Germany, France and Bulgaria for excavations, and on one dig, after spending six weeks hunched over a 1-by-1-foot trench of dirt with a toothpick, he pulled a 35,000-year-old Aurignacian stone blade out of the ground. Following graduation, he began working in cultural resource management as an archaeological assistant in a Brooklyn artifact laboratory. He was thinking about going into academia: studying at graduate school, researching a specific time period or peoples and becoming a professor.

But then he heard from his acting manager, who, per Sprouse’s request, had left him alone during his four years at NYU.

“He asked me to come back for a single pilot season. I was on this path, but I said ‘OK, if I don’t book anything, I don’t think I want to do acting anymore,’” he says. He did book something — “Riverdale” — and soon began to realize it wasn’t acting itself he had an issue with.

“From a very young age, the industry had been defined as a business,” he continues, “and it took me going away to school for a while and redefining that to find [performing] as a passion again.”

On “Riverdale,” Sprouse’s Jughead is a something of an outsider — an artsy writer with a signature beanie and leather jacket. Roberto Aguirre-Sacasa, the show’s creator, initially thought the actor might be a better fit for Archie, the lovable jock. But after reading the pilot script, Sprouse expressed interest in Jughead — even though the character only had one scene in the episode.

“It was already kind of a sign that he viewed himself differently,” says the showrunner. “I think Cole is an old soul. He’s done a lot, and he’s seen a lot, and I think that gives him a little bit of wisdom that other actors his age might not have. When he smiles, he looks like a true 15-year-old kid. But when he furrows his brow, he looks like he has the weight of the world on his shoulders.”

When it came to tackling his first adult movie part — he and his brother were in Adam Sandler’s “Big Daddy” as boys — Sprouse didn’t want to stray too far outside of his comfort zone. Recognizing the persona he’d established on “Riverdale,” he chose to play a similar archetype in “Five Feet Apart”: Will, a brooding teenager whose rebellious spirit attracts his romantic interest, played by Haley Lu Richardson of “Split” and “Support the Girls.”

“This role was interesting in a larger business sense, because a return to film also meant a question of how much of [the ‘Riverdale’] audience would turn out,” says Sprouse. “I didn’t want it to feel so incredibly distinct.”

The CBS Films production, out Friday, follows two CF patients as they fall in love but are unable to physically touch due to risk of cross infection. Cystic fibrosis is a genetic, progressive disease that affects lung function, making it difficult to breathe; the average life expectancy for the 30,000 afflicted in the U.S. is 37.5 years.

Justin Baldoni, who makes his directorial debut on “Five Feet Apart,” is also an actor on a CW series: “Jane the Virgin.” But he and Sprouse never crossed paths at network affairs. Instead, Baldoni began thinking of him for the role after catching some of his interviews on morning talk shows.

“Cole’s a great actor, but I was actually more interested in who he was off-screen,” explains Baldoni. “Cole had to grow up a lot faster than the normal kid. He was surrounded by adults: directors and producers and writers and people that were basically employing him. … When you grow up with cystic fibrosis, you grow up with doctors and nurses. Those are your friends. You learn medical terminology. You have to understand regimens and taking care of yourself in a way that regular kids don’t. You’re forced to grow up a lot faster. So there was an interesting parallel between Cole’s life and Will’s life.”

Baldoni came to “Five Feet Apart” having steeped himself in the world of CF. He had the idea for the film while working on a web series about those with terminal illnesses, “My Last Days.” One of the episodes focused on an 18-year-old girl named Claire Wineland, a CF patient whom Baldoni became so close to that he ultimately hired her to serve as a consultant on “Five Feet Apart.”

Sprouse spent a lot of time with Wineland, who died last September three months after filming was completed, talking about how CF affects both the mind and the body, including how the disease makes it difficult to gain or maintain weight. Together, he says, they came to the conclusion that it would be “a really powerful choice to embody that physicality,” and so with the aid of a nutritionist, Sprouse lost 25 pounds over the course of five weeks.

Sprouse initially told Baldoni he was somewhat hesitant to sign onto “Five Feet Apart” because he knows the scrutiny that films in this genre — “The Fault in Our Stars,” “A Walk to Remember,” “Me Before You” — can face for romanticizing illness.

“But I’m a believer that even if it might feel like the volume is a little bit too high within that genre, it still serves as an amazing platform to discuss something like cystic fibrosis,” says Sprouse. “And the star-crossed lover narrative — this is something that has existed before Shakespeare to Ovid and Pyramus and Thisbe. It’s part of our cultural memory bank. It’s one of those motifs that we just understand so well.”

Sprouse, who has the kind of poster-boy mane that’s perfect for brushing out of his eyes, frequently peppers his speech with these kind of literary references. He and his brother were the first ones on their father’s side of the family to go to college, which is “positive upward momentum” he’s proud of. Someday he hopes to spark a larger conversation about the California High School Proficiency Examination, a test that many young actors take at 16 so they can receive the legal equivalent of a high school diploma and no longer be considered minors.

“It basically cripples young academics who are working children from feeling capable to take the SAT and the ACT,” Sprouse says. “So many of us don’t go to college because our skill sets are not defined enough to be able to take those tests that would eventually allow us to apply. And kids are encouraged to do it because if you’re 18, you can work more hours and hypothetically make more money — and also because as a kid, you always want to sit back in your high chair and go ‘Yeah, I’m an adult.’”

On set, his collaborators have come to value his intelligence. Aguirre-Sacasa says that Sprouse “does a ton of work” on the “Riverdale” scripts, asking questions about the scenes and offering different points of view.

“A lot of times our episodes are homages to different films,” the executive says. “So Cole asked: ‘Can you send me a list of the movies you’re referencing in any given episode?’ And I’m that exact same way.”

While Sprouse no longer dreams of leading excavations in far-off lands, he’s found another non-acting passion that fulfills the “desire for learning and otherness” that archaeology did: photography. A few years ago, he walked into One World Trade Center in New York wearing a button-up T-shirt and asked the receptionist at Conde Nast Traveler magazine, “Hey, can anyone give me a job?”

He was pointed in the direction of former creative director Yolanda Edwards, who was willing to toss him a few unpaid assignments. Since then he’s landed a handful of high-profile gigs for Elle, W Magazine, Adidas and J Brand. He’s planning to spend the majority of his upcoming hiatus from “Riverdale” working as a fashion photographer.

Sprouse showcases some of his work on his Instagram account, which he admits is “very curated.” He’ll often delete old photos of himself, and he’s careful not to post too many photos of his girlfriend, Reinhart.

“I’ve girded my private life very intentionally,” he says. “It’s one of those things that I still sort of grapple with, and Lili and I grapple with.”

Asked if he thought about how much attention dating his costar might garner, he says he had no choice in the matter: “We legitimately could not stay away from one another.”

Beyond Reinhart, he and his cast mates — who film in Vancouver — are exceptionally close, especially of late, as they grapple with the loss of “Riverdale” costar Luke Perry.

“It’s been very, very hard this week,” he acknowledges, referring to juggling his film press responsibilities with his grief. “But the family has asked us all to keep it as private as possible, and I respect them tremendously through this time, so I continue to do so. We go back tomorrow, and it’ll be nice to be together. We all got together and talked it out a couple days ago, and then they gave us a couple of days off of production to acclimate, which was really wonderful.”

As for his future as an actor, Sprouse says he doesn’t expect to leave Hollywood again any time soon.

“It’s easy to forget, because this industry has so many different sides to it, that the act of acting is an incredibly enjoyable thing,” he says. “It’s a really empowering thing to do and it’s all the stuff on the outside of it — the publicity and the celebrity — which I actually had a problem with.”

Source: LA Times

[hippyexd]

Collection of my stories: Explained

Here is the post that nobody cares about but I'll share it because I just want the world to know.

1. Demon Academy.

I've posted some things about it already, it's a comic I started in 2014 originally in hungarian. I'm not quite happy with the way I started it, but I've built an interesting world, and I adore the characters, it's one of my best work that I'm very proud of. I drew 260 pages in total (book 1 and book 2) and I intend to pick up the story again sometime soon, when I get over exam season.

2. Runner

A medieval-themed fantasy story that I eventually want to make into a cartoon series. It's a bit cliché, but the characters are fun, and it has a lot of potential for epic music. I basically came up with the entire plot while listening to fantasy music mixes. Fun times. I've only got some character drawigs, and I just recently managed to finally have eneryone's finalized version. I also have a side story/shared universe thing planned for it.

3. Xyber-no

A post-apocalyptic cyberpunk futuristic action horror cartoon series idea. I've got the characters done already, and plans for like 2 seasons worth of content, I'm just lazy to edit the 1st ep's script. It's not even 20 minutes long. Honestly I'm just anxious to touch it. Got most of my ideas while listening to Neffex songs.

4. Racer

I watched Initial-D, and way back I had a roleplay about a car racer dude, and these two motivated me to write this story. It's not really a novel, it resembles more to a script but it's not actually a script. It was mainly dialogue practice, to make the characters feel more fun. I just finished the rewrite like a week ago, I think it turned out pretty great. Planning on adding a part 2 or a season 2 or something like that, but again, too lazy to actually touch it. It's fun to re-read though.

5. Singer

I'm currently working on this story, because when I'm bored, I write. And when is the best time to be bored? Exam season. Hell yeah. Anyway, it's about a suicidal dude falling in love with a singer (also dude, I love my gay kids okay) and then they figure out their shit. Good story to fit in as much angst as possible, with a few lovely fluff parts.

6. ZR series

Most of my followers came from the ZR community, so y'all know what this one is. But in case not, it's a comic series portraying my reactions to various moments that happen in Zombies, Run!, a really fun and creative workout app. The comic is on hold right now because I've already got too much shit to do til christmas. (Such as the Fellow Five drawing I promised. It's not forgotten, I just don't have time!! XD)

7. Demon and Vampire

Basically an over the top gay fluff love story with a little angst. It's pretty cool, sometimes it's boring, it's full of clichés and stuff, but I read it like 6 times and usually I hate my own writing, but there are parts that I just genuinely love in it. Fun stuff.

8. Psychoville

I've written the first 10 pages in like 30 different versions, because I'm unable to nail it. The main character is the daughter of Satan, who's name is ironically Angel, and she lives in a small town called Psychoville in the desert in Nevada, next to Searchlight, Nevada. As the name implies, she lives with 9 (or 8, I forgot) psychopaths, killers, mass murderers, insane mentally ill people who love each other to bits (and sometimes cut each other to bits) until she gets the task to investigate something for her father away from her home. Got a lot of inspiration from Welcome to Night Vale, and that lawless town in Kansas, I think? The yes theory made a video on it on yt, it's pretty dope.

9. Hollywood Undead Hungarian Fanfiction

It's just what it is. A fanfic of the boiz going on tour, getting in trouble, drinking and so on. No romance (bc that's gross and I couldn't find any fanfic that was not in some shape or form a ship fanfic). Da Kurlzz was still in the band when I wrote it. I was like 12. I just wanted to have fun. The chapters are 2 pages long in total. But the hungarian fans liked it, was trending a bunch of times on wattpad and it has a lot of reads. Despite being horribly shitty, I'm proud of it, and it has a lot of really fun parts and jokes.

10. Wrong Number

I almost forgot about this gem, but this was my first finished english story. It's almost entirely written in sms text format, it's progressig a bit too quickly, but at the time I was having a lot of fun with it, and that's all that matters. It has some really funny lines I came up with, I like re-reading it just for that. But also, it was a fun way to get around having to write long paragraphs lol. I just wanted to have fun with it. Heavily inspired by the Call me Beep me klance fanfic.

11. Milky Boiz

Context: my friend and I, at 2am, were thinking about what our ship name would be, but I kept typing "mmmmmilky" in the chat, that turned into milky boiz, and she said, that if we were guys, that would be our ship name. This gave us an idea for a webcomic, which we didn't actually progress with yet, but we do have an insta page where we already posted some of our boiz, you can find it under the name of @ink.stars , go pay a visit, it's my art and my friend's, and she is a wonderful artist and a lovely person and I love her to bits.

12. Night Vale Steampunk AU

It's pretty much dead, but while I was really actively part of the Night Vale fandom, I started a Steampunk AU. It was fun, it got like 4 chapters or something and big plans, but the characters were not in character, and it lost the Night Vale vibe, so I just let it go.

13. Cop Comic

Also a dead project of mine, but I still like it. It was inspired by a moment on one of our high school class trips. The characters were based on me and my friends, but the resemblence stops at hair color, that's all. Mabye not even that. Anyway it's what it is: cops dealing with crime and their personal problems. I wish I had known Brooklyn Nine Nine back then, would have been a great help.

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

So, there you have it, all my favourite finished and unfinished works/ideas, just so you know if in the future I reference one (planning to post more Runner, DA and Xyber-no content along with the ZR comic)

[shewhowillrise]

Still bitter about the cancellation of Almost Human five years later? Here’s a list of 5 awesome shows that have the same look, feel, or character bonds as Almost Human!

1) Continuum - 4 seasons - Netflix

Continuum revolves around Kiera Cameron, a cop from the future who is trapped in the present with 8 different escaped criminals, also from the future, who she has to capture. The show takes place in current Vancouver and Kiera must use her prowess and powers to take on and hunt the 8 members of Liber8 who are running rampant before they manage to alter the future significantly.

Notes:

There are flashforwards (technically flashbacks - time-travel is weird) to the future. Honestly, Almost Human seems like a prequel to Continuum in a way. There’s a lot of the same tech in both shows. It’s also a cop drama, much like Almost Human, and Liber8, this show’s inSyndicate, has an interesting story arc within the plot. There’s many twists and turns and with time-travel, there’s no end to the wacky science-bable. You’re at the edge of your seat the whole time wondering what’s next? and how does this change things in the future?

2) Dark Matter - 3 Seasons - Netflix

Dark Matter tells the story of the crew of the derelict spaceship the Raza, awakened from stasis with no memories of who they are or how they got on board. Facing threats at every turn, they have to work together to survive a voyage charged with vengeance, betrayal and hidden secrets.

Notes:

A group of six people and an android learning and regaining their humanity. What does that remind you of? This crew is fun to watch develop deep relationships and trust with one another as they try to regain their pasts. It’s a space opera with an interesting twist, and if you’re a star trek fan, they have their mirrorverse they have to survive. Now, the show was cancelled after season 3 (with a mind blowing cliffhanger no less!) because of money, but!!!! stay with me, the show runner recently posted there were *distant rumblings* of the show having a season 4 & 5, and whether that be live action, or comic book, this show is worth it! (the show runner has actually posted the scripts of the first two episodes of s4 on his blog!)

3) Altered Carbon - 1 Season (renewed for a 2nd season!) - Netflix

In the future, people's consciousnesses are contained in what are called "stacks", storage devices attached to the back of a person's neck. Physical bodies are turned into what's called "sleeves", mere disposable vessels. Takeshi Kovacs, a violent mercenary, wakes up 250 years after his sleeve is killed, and he's given the choice to either spend the rest of his life in prison for his crimes, or help solve the murder of the wealthiest man in the world.

Notes:

I’m only a few episodes in, but the look and feel of the show is very Blade Runner and it’s been helping me ease my soul about Almost Human. It has a cop-esque plot. With different technologies practically every scene, it’s another show that seems it can be a continuation in the Almost Human/Continuum timeline.

4)  Westworld - 2 seasons (renewed for a 3rd season!) - HBO

Westworld isn't your typical amusement park. Intended for rich vacationers, the futuristic park -- which is looked after by robotic "hosts" -- allows its visitors to live out their fantasies through artificial consciousness. No matter how illicit the fantasy may be, there are no consequences for the park's guests, allowing for any wish to be indulged.

Notes:

I love this show. It’s amazing and the story is intriguing, the characters evolve, and the integrated storyline keeps you guessing on what’s really happening. Robots becoming conscious on who they are and what they are to humans is mind exploding. And it seems like the first five seasons have been planned, and it’s on it’s way to being another Game of Thrones but for scifi fans, so there doesn’t seem to be a cancellation in sight!

5) Battlestar Galactica - 1 Miniseries and 4 seasons - Hulu

In this series we follow a human battleship in deep space known as Battlestar Galactica. The ship is fleeing a relentless attack to wipe out the entire human race implemented by their own created AI beings known as Cylons. The Battlestar accompanies and protects what they assume to be the last 50,000 people in existence after a quickly executed genocidal attack on all 12 human colonies, in which the Cylons were almost completely successful. They occupied all colonies and killed any found survivors. With low supplies, no allies, and little hope, the entire convoy ventures into uncharted space to flee the onslaught in hopes of finding refuge among the stars. Their destination is the fabled 13th Colony of Earth, founded by a tribe said to have left the human origin planet of Kobol "early on" before any other tribes or the founding of the 12 colonies.

Notes:

Another Robots vs Humans! This show has many twists and turns and keeps you guessing on who’s a robot and who’s a human. Loyalties are tested and unlikely bonds are formed. It has a shocking ending that gosh if you watch this, I wish I could see your face for the big reveal. Make sure to watch the mini series (two tv movies, totally about 4 hours) first, which is the prelude to the actual show.

Honorable Mention: (only an honorable mention because I haven’t watched it myself, but it sounds like Detroit: Become Human but as a tv series)

Humans - 2 seasons (renewed for a 3rd season!) - Amazon Prime

Set in suburban London, the story takes place in a parallel present where the latest must-have gadget for any busy family is a Synth – an android robot eerily similar to a human in nearly every respect. Based on the swedish show, Real Humans.

And one Awesome Movie!: Next Gen - Netflix

Next Gen is about a 13-year-old girl who hates robots when her father lost everything. Her world was surrounded by robots and she denies everything around her, including her mother who loves robots more then her daughter. Her life changed when she encounter 7723, a secret robot whose weapons are overpowered and is known to be theorized as the strongest bot in the world. They both must face a evil menace who threatens to destroy the world.

Notes:

Yeah this is a movie, not a show, but the main character has a distaste for robots, much like John Kennex, until she learns to love her one of a kind robot, kinda again, much like Kennex. It has hilarious moments and tense scenes. A cute fun movie that is all around, enjoyable.

Want to watch these shows but don’t have Netflix/Hulu/Amazon Prime? I can give you links to some, uh, other sites. Just send me a message and I’ll back to you as soon as I can.

[xseedgames]

2017 End-of-the-Year Q&A Extravaganza Blog! #1

It’s time for our first 2017 End-of-the-Year Q&A Extravaganza! We’ve got a bunch of these we’ll be posting over the holiday break, so please look forward to them. Now, let’s roll right in!

We have answers from: 

Ken Berry, Executive Vice President / Team Leader John Wheeler, Assistant Localization Manager Nick Colucci, Localization Editor Liz Rita, QA Tester Brittany Avery, Localization Producer Thomas Lipschultz, Localization Producer

Question: Has selling your games on PC worked out for you so far? I know supporting the PC platform is a relatively recent choice for XSEED. - @Nate_Nyo

Ken: Being on PC has been great for us as it allows us to reach anyone anywhere in the world regardless of region or console. We were probably one of the earlier adopters in terms of bringing content from Japan to PC as we first published Ys: The Oath in Felghana on Steam almost 6 years ago in early 2012.

Brittany: I love working on PC. The work involved is greater than working on console, but I feel like it's a bigger learning experience, too. For console, the developers normally handle the graphics after we translate them, and they do all the programming and such. For PC, everything falls on us. I wasn't that experienced with Photoshop in the beginning, but I think I've gotten a lot better with it over the years. We can also receive updates instantly, and since I talk with our PC programmer through Skype, it's easier to suss out our exact needs and think of ideas to improve the game or bring it to modern standards.

Question: What non-XSEED games do you praise the localization for? - @KlausRealta

Brittany: Final Fantasy XII. I love everything about Final Fantasy XII's writing. I'm also a big fan of the personality in the Ace Attorney localizations. I'm still playing Yakuza 0, but you can feel the passion of the localization team in the writing. There are some projects where you can tell the editing was phoned in, and then there are games where it's obvious it was a labor of love. All of these games have a color I aspire to.

Tom: Probably going to be a popular answer, and not an especially surprising one, but I've got to give props to Lost Odyssey. It's hard to deny the timeless quality and absolutely masterful English writing that went into basically every line of that game's massive script, with the many short stories being of particular note. That game really does represent an inspirational high bar that I think most everyone else in the industry will forever strive to reach in their own works.

For a more unexpected answer, I've also got to give mad props to Sega for their work on Monster World IV. As a Sega Genesis game released digitally in English for the very first time less than a decade ago, I guess I was kind of expecting a fairly basic "throwaway" translation -- but instead, the game boasts a full-on professional grade localization that's easily up to all modern standards, brimming with charm and personality. It's really nice to see a legitimate retro game being given that kind of care and attention in the modern era, and it makes it very easy for me to recommend (as does the fact that the game is actually quite fun, and is sure to be enjoyed by anyone who's played through all the Shantae titles and really wants to try something else along similar lines).

John: I played Okami on PS3 earlier this year (before the remake was announced), and I was awed by how skillfully the team handled text that is chock full of localization challenges like quirky nicknames, references to Japanese fairy tales, and regional dialects. I was especially amused to see a reference to "kibi dango," the dumplings Momotaro uses to bribe his companions in that famous story. We dealt with the same cultural reference with STORY OF SEASONS: Trio of Towns.

Nick: My go-to response is always Vagrant Story, because it’s the game I credit with getting me really interested in a career in localization. Before that point, I had enjoyed games for their story and characters, but hadn’t realized just how much the specific word choices and tone contributed to a reader’s perception of a story as a whole. The gents behind VS’s localization would go on to be industry luminaries, with Rich Amtower now calling shots in Nintendo’s Treehouse department and Alex Smith being synonymous with the highly regarded prose of Yasumi Matsuno’s games – including the cool and underappreciated Crimson Shroud for 3DS, and Final Fantasy XII, which as anyone who’s played it can tell you is a stellar localization. Having spent a lot of time with FFXII’s “The Zodiac Age” remaster this year, the care and attention to detail put into the localization still blows me away. The unique speech style of the Bhujerbans (with...Sri Lankan inflections, if memory serves correctly) sticks with me, because I knew that I myself would never have been able to pull off something like that so deftly. I guess you could say Vagrant Story started a lineage of games that’s always given me something to aspire to as an editor.

Final Fantasy XIV, which I’ve been playing this year, also has a very good localization, especially considering the reams of text that go into an MMO of its size and scope. Michael-Christopher Koji Fox and his team have done a bang-up job giving life and personality to the land of Eorzea, and I’ve enjoyed seeing how the localization has changed in subtle ways as time has gone on. The initial “A Realm Reborn” localization sort of cranks the “regional flavor” up to 11 with heavy dialects and vernacular, but in subsequent expansions, they kind of eased up on that and have found a good mix between grounded localization and the kind of flourishes that work well in high-fantasy settings.

 And, while I haven’t played it in a number of years, I remember Dragon Quest VIII having a really great localization, too, with ol’ Yangus still living large in my memories. Tales of the Abyss was fantastic as well, and both DQVIII and Abyss delivered some really brilliant dub work that showed me how much richer one could make characterization when the writing and the acting really harmonized. I still consider Tales of the Abyss my general favorite game dub to date. The casting is perfect, with not a bad role among them. I also want to give mad props to Ni no Kuni’s Mr. Drippy, just as a perfect storm of great localization decisions. Tidy, mun!

Question: How hard is it to turn in game signs and words to English for Japanese? Is it as simple as going in and editing text? Or as hard as creating a whole new texture for the model? - @KesanovaSSB4

Tom: We refer to this as "graphic text" -- meaning, literally, text contained within graphic images. How it's handled differs from project to project, but the short answer is, yeah, it involves creating a whole new texture for the model. Sometimes, this is handled by the developer: they'll just send us a list of all the graphic text images that exist in-game and what each image says, we'll send that list back to them with translations, and they'll use those translations to create new graphic images on our behalf. For other games, however (particularly PC titles we're more or less spearheading), we'll have to do the graphic edits ourselves. When the original PSDs or what-not exist for the sign images, this is generally pretty easy -- but as you might expect, those aren't always available to us, meaning we'll sometimes have to go to a bit more trouble to get this done.

John: The best practice is to review graphic text very early in the localization process because it takes effort to fix and can throw a wrench in schedules if issues are discovered too late. On occasion, it is too difficult to change ubiquitous textures, especially those that might also appear in animation. This was the case with "NewTube" in SENRAN KAGURA Peach Beach Splash, which the localization team wanted to change to "NyuuTube" to make the wordplay clearer to series fans.

Question: With the Steam marketplace becoming increasingly saturated and being seen as a greater risk to publish on in recent times, what does XSEED plan on doing in order to remain prominent and relevant in the PC gaming space? - @myumute

Ken: It is indeed getting harder and harder to stand out as hundreds of new titles are releasing on Steam each month. We are working our way towards simultaneous release across all platforms to help leverage some of the coverage from the console version to get more attention to the PC release, so hopefully that's something we can accomplish soon. For PC-exclusive releases it continues to be a challenge, but at least they have a long tail and even if it's not an immediate success at launch we know it can continue to produce sales for years to come.

Question: What was your favorite film that you saw in 2017, and why? - @Crippeh

John: I'm way behind on movies this year (haven't seen Disaster Artist, Phantom Thread, or Get Out, for example), but recently I've enjoyed both Star Wars and Lady Bird. I expect I'll watch my favorite film from 2017 sometime in 2018.

Ken: Wind River. Mainly because of Jeremy Renner's performance and how many quotable lines he had.

Liz: Get Out for horror mindblowing amazingness, Spider-Man Homecoming for genuinely fun comic book movie, and The Shape of Water for Guillermo del Toro. Guillermo del Toro should always be a category.

That’s it! Stay turned for blog #2 later this week. Here’s a preview of the kinds of questions we’ll be answering:

Question: Have you ever considered selling the music CDs for your licenses stateside? - @LimitTimeGamer Question: If possible, would you please consider researching and localizing classic Korean-made PC xRPGs? - @DragEnRegalia Question: Do you have any interest in pursuing the localization of any of the large, beautiful Chinese RPGs that have been hitting Steam? Or are you focused exclusively on Japanese titles? - @TheDanaAddams Question: What inspired you all to do this kind of work in the first place? Also, what’s the story behind the company name XSEED? How did you all come up with it? - @TBlock_02 Question: What was everyone's favorite game(s) to work on this year? - @ArtistofLegacy Question: What's everyone's favorite song from the Falcom games you've released so far? - @Crippeh

[love-takes-work]

Steven Selects: Episode 7 Recap

Steven Universe podcast “Steven Selects: Episode 7: I Am My Mom,” hosted by McKenzie Atwood, is the seventh of an eight-part series of spotlights on fan favorite episodes. The guests are Matt Burnett, Ben Levin, and Hilary Florido. The official description:

"I Am My Mom" is the focus of discussion with Steven Universe writers Ben Levin and Matt Burnett. Discover how they worked in the callback to "Marble Madness," what inspired Aquamarine and Topaz, where the hostage scenario idea originated, and who would win in a fight between Lapis and Aquamarine. Plus, Storyboard Supervisor Hilary Florido returns with some college advice, movie tips, and the reason why "Beach City Drift" was the hardest episode she ever boarded.

Outline:

McKenzie's first question is the usual: how did the episode change from conception to completion? They said they wanted Steven to be pushed to the brink with guilt, so he decides to take a stand and give himself up.

Lars and Sadie's situation was also an important point because right before everything happened with the kidnappings, he had ditched the party and abandoned Sadie, only to also abandon her on the ship too. In the outline they intended to have Lars make promises to Sadie about the future of their relationship, only to show yeah, he backed out even though he promised not to, and THEN he got kidnapped.

The writers weren't sure how to play Sadie--is she disappointed, angry, whatever--but the reality of being abducted made it too much to deal with at that moment.

McKenzie asks about the difficulties of writing a hostage situation. The uniqueness of having everyone stuck in Topaz's body helped it stay interesting (and funny sometimes). They discussed Steven's martyr complex as well, how much is he supposed to bear his mother's burden, especially during the Trial. They discussed martyr stories and how someone in Steven's position is sometimes more selfish than selfless. (Obviously that's what Connie was angry about in future episodes.) They wanted to do the martyr story and then show what happens when you find out the repercussions of that decision.

And of course they brought up the "Marble Madness" callback--when Steven realizes he was the one who gave Peridot the list. They said they didn't specifically plan it at that point, but they did have it in their pocket for a while. Rebecca Sugar suggested that idea and pulled the list from that Season 1 episode.

(As a writer myself, I can confirm that this kind of thing happens All The Time. These callbacks look like they were planted intentionally but you can totally recognize them in your past work and act like you planned it even if you weren't that on top of the story at that point.)

Matt and Ben make it clear that even though they did not specifically write "Marble Madness" with that line with the intention of calling it back later, things like that are what make writing feel organic, and if you write you don't have to feel like you have to know that many minute details of your work that far in advance to be successful bringing some of these elements full circle. Don't put too much pressure on yourself!

McKenzie brings up the introduction of Topaz and Aquamarine and asks for the writers to talk about them. Rebecca Sugar was the initial creator of the first versions of them, with Topaz as the big quiet one and Aquamarine as a small, powerful companion who is described as "Cartman-like." (Wow!) Way back in Season 1 they were talking about what Homeworld Gems would be like. They thought it would be fun to have Aquamarine's motivation in doubt at first, wondering if she was an innocent, confused Gem who needed help, but then she turned out to be this huge powerful brat.

McKenzie points out that Aquamarine and Lapis have similar levels of mind-blowing power and wanted to know which one would win in a fight. Aquamarine is supposed to be a top special mission troop, so she's scary, and Lapis is only supposed to be a terraformer, not a fighter. They said they weren't sure who would win. Aquamarine would fight dirty, while Lapis has "dark anguish" that would fuel her fighting, so if she could survive Aquamarine's underhanded tactics, she might be able to triumph with her "Gem goth rage." (LOL.)

Topaz's ability to hold other people's bodies inside her Fusion form is also mentioned as probably a special power of hers--though other Fusions could form around solid bodies, she's "designed" for it and can handle it.

Fan Questions (answered by storyboard supervisor Hilary Florido):

Question: What scene stands out as the hardest one you worked on and why?

Answer: There's always SOMETHING in every episode, but Hilary mentions "Beach City Drift" and the racing scenes being very tough on her, even though she volunteered to take them.

Question: Do supervisors get the full power on what to cut?  What's the relationship like with the storyboarders and revisionists?

Answer: Yes, supervisors get a lot of power, but at the pitch stage there's always plenty of conversation. Storyboarders can defend their ideas if they feel strongly about them. It's very collaborative. If it's at the animatic phase, though, and it's over time, it has to happen.

Question: What high school and college classes should you take if you want to be a storyboarder?

Answer: Hilary went to school for comic books, which is similar but not identical. There are two types of boarding: concept-based and script-based. On the premise-based type, you have to do more writing, while if you're just handed a script, you're not adding your creative input as to what happens in the story. She recommends watching movies and paying attention to stuff, camera angles and whatnot, life drawing classes, and reading/English classes, understanding storytelling. Just soak up your surroundings and absorb what else is going on in your life. Understanding film, camera moves etc., is helpful.

Next week, for the last episode of "Steven Selects," they will discuss "Off Colors" with the writers and Rebecca Sugar will return to answer fan questions.

[Archive of Steven Universe Podcast Summaries]

[ethanalter]

Ben Barnes on breaking bad in 'The Punisher'

Ben Barnes as Billy Russo in The Punisher. (Photo: Netflix)

Warning: This post contains spoilers for the second half of The Punisher‘s first season.

When Ben Barnes accepted the role of Billy Russo on The Punisher — the new Netflix series starring Marvel’s famous gun-toting vigilante, Frank Castle (Jon Bernthal) — he knew that a dark future awaited his character. After all, in the comic book realm, Russo frequently dispenses and endures punishment as the gruesomely scarred villain, Jigsaw. And though the show changed some details about Billy’s origins — making him Frank’s longtime friend rather than his longtime nemesis, for example — his ultimate fate wasn’t likely to be altered. So for Barnes, the question wasn’t “Will Billy break bad?”; it was “When will Billy break bad?” The show’s producers didn’t mind making him wait to find out. “They were fairly clandestine even with me about any sort of twists and turns,” the British actor tells Yahoo Entertainment. “We were shooting Episode 5, and I was thinking to myself, ‘Is there going to be a turn? Is it going to happen?'”

Turns out that Barnes had to wait only one more episode. At the end of the sixth hour, “The Judas Contract,” Billy emerges as one more member in the conspiracy that odd-couple allies Frank and Micro (Ebon Moss-Bachrach) are working to unwind. That revelation sets the two on a collision course that ends with Frank essentially creating the man who will become Jigsaw.

We spoke with Barnes about the scene that reveals Billy’s true nature, and why his memorable role as Logan on Westworld made him a better bad guy.

Yahoo Entertainment: Were you excited to play the moment where it’s revealed that Billy has been part of the conspiracy against Frank all along? Ben Barnes: We did a read-through of each episode before we started filming them, and I remember the read-through for “The Judas Contract” very specifically. Our showrunner, Steve Lightfoot, was there, and so were some of the executives from Marvel and Netflix. We finish reading the episode, and there’s the reveal of who Billy’s in league with. I remember Steve going, “Billy Russo, you dirty, dirty boy.” I just looked at him and went, “You wrote it!” [Laughs] They were quite excited about that turn because after that point, Frank Castle is battling the powers that be in a more general way, as well as his inner demons and stuff. So it’s nice to get a little bit more specific about it. The truth is that there’s not really any kind of a traditional big bad [guy] in the comic book sense in this particular series. It’s an origin story for both of the characters in a way. While they’re at odds by the end of the series, they haven’t become each other’s nemeses yet.

Once the reveal happened, I wanted to go back and rewatch Billy’s scenes up to that point to see how that reveal was teased in your performance. Obviously, I did know it was coming, and I was asking all sorts of questions about my involvement in things, but they wouldn’t tell me exactly what they had planned for the future. I would want to know what my involvement had been in Frank’s past — I needed to be up to date on that stuff at least. So when I’m playing my game of cat-and-mouse with Dinah Mandi [played by Amber Rose Revah], I could sort of pick and choose as an actor what moments are feeling a little more genuine or whether he’s a ruthless liar through and through. I thought it was interesting to see for the first time in a Marvel series such a slow burn in terms of character. You genuinely don’t know what side this person is on.

What sort of discussions did you have with Jon Bernthal about how much Frank knows, or suspects he knows, about Billy? We had a lot of discussions about their pasts, and we actually shot some scenes that may be being saved for any future seasons that might come about. There was exploration of their history as friends, and we see them together as partners and as “Uncle Bill” in terms of his relationship to Frank’s family. In a lot of these universes, the “villain” has done something that’s wronged the hero in such a way that can never be forgiven, but in Billy’s case, a lot of the other characters have done much worse things in terms of organizing the massacre of his family or trying to keep him at bay. I think that Billy’s betrayal is only keeping information from him, which in the grand scheme of the Marvel universe is not the worst crime that’s ever been perpetrated. However, because of their closeness and their brotherhood, it seems so much more.

Barnes with Jason R. Moore in The Punisher. (Photo: Netflix)

And for my money, Billy is actually kind of broken from when he’s a boy, so Frank is the one man he has respect for. He sees something of himself in him, and I think that’s what makes the betrayal sting for Billy too. Because when you’re playing these characters with such different shades of morality, it’s important in portraying that character to believe everything I’m doing is absolutely on the level. I actually feel a bit sorry for Billy in certain circumstances. What he’s doing is out of self-preservation and love, and it might be for the wrong, but I wanted to play it that he cares very deeply about Frank. I don’t think the story really works unless Frank holds a special place in Billy’s life.

In a sense Billy is already broken, so his final transformation into Jigsaw — when Frank slices his former friend’s face on glass — is a case where he finally looks on the outside the way he does on the inside. Yeah, absolutely. I sort of saw it in stages, like a game of Jenga. Billy was essentially orphaned and abused as a child, and that’s corrupted him a certain way. But from being in the military, he’s built up this kind of incredible mask, which is based on the way he looks, the way he dresses, and the way he treats women. It’s all this giant mask, so the idea of the shattering of that mask is the final thing in terms of losing how he sees himself. That’s part of the idea of using mirrors in our version — as this cautionary tale of narcissism. And that’s stacked up against the idea that he could have brain damage in some way, which they mention in the last episode. I have no idea what they’re going to give in terms of how the Jigsaw character will be revealed, but I certainly have my ideas about how it could work, and how he could be a more traditionally threatening figure in the Marvel universe.

How important was your role on Westworld in terms of transitioning from the heroes you played early on in your career to the more villainous roles you’re playing now? It looks like you’re really enjoying being bad. It certainly helped prepare me in terms of the boldness of my choices. Earlier on in my career, I felt like if any accusations were leveled at me, it was that my performances were a bit traditional and what people were used to. So I made a decision that I’m just going to be a bit braver, and I think that Westworld allowed me the opportunity to do that — to really kind of stretch my legs in terms of mischief. Obviously, the two characters are very different; Logan is more of a pain in everyone’s neck. One thing I asked is that he never say something that wasn’t true. There was one line where he had to [lie], and I told [the writers], “It’s really important to me that Logan never lies.” He’s weirdly a bit of a moral compass for the real world, I think. Of course, I have to be on his side because I have to play him! But yeah, I did want to take some of that momentum through to The Punisher and be a little more broken and evil and malicious. I’m having fun pushing where that can go.

Will Logan be back in Westworld‘s second season? I am back a little bit in the second season, which is not something I necessarily expected! But I am back, and I will say that everything that I’ve encountered so far is different. I have not read full scripts or anything, but it’s certainly flipped me upside down in terms of what I was expecting from the series. No one’s going to be disappointed in terms of it pushing the envelope!

Season 1 of The Punisher is currently streaming on Netflix.

Read more from Yahoo Entertainment:

Review: ‘The Punisher’ makes ultraviolence seem inevitable

Review: ‘Marvel’s Runaways’: Cool teens versus villainous parents

6 things to know about ‘Godless,’ Netflix’s star-packed limited-series western

[viralhottopics]

Patrick Stewart says he’s ‘absolutely’ interested in a Professor X cameo in ‘Legion’

Will David find his famous father in 'Legion' Season 2?

Image: Michelle Faye

Have you wrapped your head around that epic Legion finale? Did you walk away feeling as mentally empowered as David Haller, or was it crazy-making enough to have you ready to check into an asylum?

Either way, star Dan Stevens and showrunner Noah Hawley are satisfied with the results, even if the finale’s surprising mid-credits sequence might leave you with more questions than answers heading into Season 2.

“In terms of putting it as a post-credits sequence, I think there’s a proud tradition of that on the Marvel features side,” Hawley told reporters in a conference call. “It’s the beginning of another thought. I wanted to give people the end song and the feeling of watching the credits, to let them absorb the complete story they just watched. And then I wanted to tease them as to what chapter two is going to be.

SEE ALSO: ‘Legion’ creator wants the show to prove itself before you call it an X-Men series

But what is chapter two going to be?

“I like this idea of having to face our demons, and the idea that in the first season, that was an internal struggle for David, and now we’re taking something that has so much power over him psychologically and emotionally and making it an exterior agent. There’s going to be something very complicated about going to war with yourself,” Hawley revealed. “We’ve now created a villain for David that is worthy of building a whole story around. The backstory of this thing, and their relationship and their history, is so nuanced and rich that it makes for a potential showdown that we’re very invested in as an audience, as opposed to doing a villain-of-the-year kind of approach.”

As David unlocked more secrets about his past, the show grew closer to revealing the identity of his father, who in the comics is Charles Xavier aka Professor X leader of the X-Men. We got a glimpse of his iconic wheelchair in episode 7, and Hawley says they plan to address the mystery of David’s birth parents at some point in the show.

“Any person who learns that they were adopted is going to have those questions and want to seek out those birth parents. I think that’s a very natural story,” Hawley said during the conference call. “Certainly where we left David at the end of the first year, that can’t be his first priority, but in terms of coming to understand who he is and what his purpose is on this world? I think that that’s definitely something we’re going to approach.

SEE ALSO: Bryan Singer explains why the X-Men franchise is perfect for TV

Obviously, if the show wants to involve existing actors from the X-Men franchise, there’s some red tape to get through.

“It’s a creative conversation, but also a sort of corporate conversation on some level, in terms of the movie studio and their relationship to the X-Men and the characters they want in the movies and want to protect, potentially,” Hawley said. “Were we to want to have Professor X on the show, or even Patrick Stewart on the show, or even James McAvoy, or one of the actors it’s a conversation both with the actor and with the studio. I don’t know, I haven’t really dived into that quandary yet. But I certainly need to start thinking about it.”

Luckily, Stevens recently appeared on an episode of The Late Late Show with James Corden with Sir Patrick Stewart, joking that since Professor X is David’s father, “essentially I’ve got a job offer for Sir Patrick,” who responded that he was “absolutely, 100 percent” in. So Hawley should probably start making some calls.

Here’s what else Stevens had to say about the first season of Legion and his hopes for Season 2 in a conference call with reporters:

On the truth behind Davids powers and his mental state achieved by the end of the season, and the mysteries that remain:

Stevens: The [finale] has some questions that have been answered [but] I dont think all of them have been. Thats kind of exciting. The show was intended to have a sort of experiential effect, and really to try and get inside Davids head and the way that he sees the situation. I think some of the confusion is delivered, and quite effective.

I think particularly in episode 7, theres quite a lot of exposition and a lot of big questions are answered there. And at the end of [the finale], which I would encourage people to sit through the credits so they dont miss the very final beat of where this is all going Id like that answered in Season 2.

On that crazy, what-the-hell-just-happened mid-credits scene:

Its always intriguing, I think, when you get the final script of the season of anything. How are they going to put a button on this, but also maybe tease out for another one? Of course when we shot that, we didnt know for sure that we were going to get a Season 2.

I like the seasons of any show that hang on a bit of a knifes edge, and its kind of a resolution, but theres a lot of confusion and further questions. Its a really fun scene. It continues to be as playful as the rest of the season was

On whether the door is open to bring in further elements from either the established X-Men cinematic universe, or the deep mythology of the X-Men comic books:

Thats really a question for Noah. Yeah, I dont really have the answers to that. Its certainly possible. Its been fun teasing certain elements throughout Season 1 that do link into the preexisting X-Men universe. Im sure there will be more of that, but I couldnt say more than that.

David faced a lot of demons in Season 1, but this was the scariest

Image: Michelle Faye/fx

On the most mind-bending curveball the show threw him as an actor:

The scene where Im having dialogue with my rational self was a pretty mind-blowing script to read. I had no idea how we were going to shoot that. It reveals a lot about David, it reveals a lot about the story, about whats maybe happening in and around himIt was actually really fun to shoot, but it was challenging.

On whether that British accent Davids rational mind-self spoke in was a nod to Stevens own national origins, or a sly wink Patrick Stewart’s Professor X:

I wouldnt go as far as to say its specifically a Patrick Stewart impression, but it made us laugh that the idea that Davids rational self might be British. David sort of thinks its funny that his dad might be British. Theres kind of a playful thing going on there.

Im pleased that it sounds a bit like Patrick Stewart, I guess! Im not sure I was going specifically for that, but yeah, its nice that theres a hint of it there.

On how much more territory within Davids powerful and damaged psyche remains to be mined in future seasons:

If you know the comics, there are still hundreds of elements that we havent really explored in terms of Davids mental makeup. Its a fun line to play with, where he feels like hes got a grip on things, when actually hes got a grip on one or two things but the rest is still very much up in the air and theres a lot of things flying around in there.

I think one of the interesting narratives, I guess, in the first season was that idea that we are the stories that we tell ourselves. This idea that hes been told that he is schizophrenic and that he is this menace, have really defined him for the majority of his life. Its about dismantling that, and reassembling something in its place. So theres a weird adolescence that he goes through in the course of [this] season. Yeah, theres a lot of interesting elements still to play. Hes not on as concrete ground as he might seem at the end of this season, I think.

On the various sources of inspiration that helped him shape Davids very particular mental afflictions:

There were a number of different sources, I guess, that I took ideas from: a lot of interviews with sufferers that I found online; I managed to speak with suffers of different mental conditions, specifically paranoid schizophrenia; I also talked to a psychiatrist who treats the condition.

I take inspiration from a lot of different places, really, different kinds of literature. Theres obviously quite a psychedelic influence on Legion, so looking at that kind of literature and art; looking back at the original comics and getting a glimpse of the character and his state from that. Bill Sienkiewiczs artwork, particularly the expression really coming through that stuff, was very helpful.

WATCH: Hugh Jackman and Patrick Stewart know why Magneto isn’t in ‘Logan’

Read more: http://on.mash.to/2nwzfUx

from Patrick Stewart says he’s ‘absolutely’ interested in a Professor X cameo in ‘Legion’