#also what do you mean it’s cancelled and being picked up by abc | Explore Tumblr posts and blogs

thetiredstuff · 2 years ago

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Oh shit are shows usually picked up quickly?

hi anon!! idk hahaha i have no clue how this business works. idk like last time i remember cancellations happening that made noooo sense were of lucifer, which got picked up by netflix & brooklyn 99, which got picked up by nbc. 911 got cancelled but it got picked up by abc before the news was even made public. and while i don't remember it well i believe b99 got picked up like a couple of days after fox canceled it (yeah just looked it up. b99 news got out may 10 and got picke dup by nbc may 11). lucifer took a bit longer i believe (just looked it up. it got canceled may 10 and apparently only got picked up by netflix june 15 so took more than a month?) those are the only two shows i remember getting canceled by one network and then getting picked up by another (or a streaming service) but b99 was incrediblyyyyyyy popular and already had 5 seasons. and lucifer was also really popular and had multiple seasons under its belt as well.

edit: okay so @sunglassesmish just reminded me manifest got canceled by nbc in june and then got picked up by netflix in august (lol why did i forget this? i literally watch this show??) it took about a month and a half for it to get picked up so seems like between now and about 2 months is the time frame we should be getting an answer butttt manifest also had multiple seasons already.

the winchesters only has 1 season. i mean it seemed to be doing really well on hbo max internationally and domestically so i would hope that hbo max would pick it up but i would have liked to already gotten that news by now.

on the other hand. both windy and kung fu were canceled and both the news articles about these shows state that WB had looked at other homes for these shows but didn't find any. the winchesters on the other hand by the looks of it is being heavily shopped around behind the scenes given that they started the hashtag campaign and also a lot of news outlets are writing about this hashtag campaign and cancelation. news outlets love writing about whatever but it makes me wonder how much of them are writing about it because they got a press release from WB and or CM which would be another indicator of shopping it around.

but they tried shopping windy and kung fu around as well before the news of the cancellation broke yet no biters. so i'm guessing this hashtag campaign is more so because there is a potential interested partner to pick up the winchesters, which i would guess is hbo (i wouldn't know where else they'd possibly go) and this campaign is like the final push to them to show that there is ample interest. or the deal is basically as good as done and this is just like added campaigning for their newly-required product which will then boost the products' numbers once a new season airs.

idk but i don't like this limbo and even looking at b99 and lucifer or other shows that got canceled and then saved by another network or streaming service, this is occuring during a writer strike. that throws a massive wrench in any plans for scripted television. (i am on the side of the writers tho!! fuck the studios whoarding money and not willing to pay that 3% extra and fuck them wanting to use AI scripts and fuck their day-rate writer idea). but when the writer strike in 2008 happened, it saw an uptick in reality tv because you don't need writers for that or for those who say reality tv is scripted, you don't need as many writers for that. it's why the cw is going for their fuck boy and fuck girl island show. it's cheap. so i don't know. this stuck in limbo shit while a writer's strike is happening and with studios being assholes makes me nervous because i love spnwin but moreover, spnwin is part 1 of what i'm sure is jensen's plan to expand the spn universe. but if spnwin gets canceled after 1 season and doesn't get picked up, it's gonna be a lot harder to make an spn universe.

but again i am saying this when i know nothing about anything

#spnwin #anon #ask #answered

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tricksterrune · 3 years ago

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Oh, and Pipster (romantic or not) for "Accidentally Saving the Day"!

again, it was a struggle to pry this from my brain

long story short:

Wally asks Piper for help on a mission since he's the sonics expert. Piper hems and haws for a bit before agreeing to help. That makes Wally feel a bit suspicious since Piper is normally always up to help (well, that's how Wally sees it) and won't even tell him why.

At one point, they're at a standstill. The villain (maybe Toyman?) hid himself in a gigantic safe-like construction, meters of steel, bullet proof glass or other fancy material. But the time is ticking awy and they don't know how to get into the safe in time to save a hostage. (I'm thinking Toyman , let's go with him, kidnapped people, put them into death traps, but the team can't find the last one in time).

"What can we do?"

"Unless you just happen to have 100 pounds of explosive lying around, there's nothing we can do."

"I.... need to make a phone call." Turns out that Piper was reluctant to go because he was actually on his way for a date with James. While James isn't thrilled about the raincheck, he understands Piper's desire to help. Which means that he spent the whole story on Piper's couch, amusing himself by sewing tiny rat costumes when the phone rings. And he actually does have an ungodly amount of explosives. He made small explosives early in his career and got in the habit of preparing a few gadgets every month. But since he hasn't used them in years, there's now a stockpile.

"Honey, do you still have that hoard of explosives in your hideout at abc street? Because we're in need of a big boom."

Wally picks up James from Piper's place, races to the hideout, James carries it because it's weightless if he's the one holding the bag and they make it in time to crack open the safe, threaten Toyman and save the last hostage.

Wally asks after all is done, if Piper was reluctant to tell him about dating the Trickster, citing the initial awkwardness. Piper stops dead in his tracks and beings an epic rant. While it speaks of personal growth that Wally acknowledges his past as a well-intentioned but miseducated youth regarding Piper's sexuality, Piper had thought they were all past that, especially since he had told Wally already that he was dating James, but Wally had been too preoccupied or dense to notice. Cue James hysterically laughing in the background, managing to say "I told you so" before disolving into fits of giggles.

Piper had even invited Wally on outings with both of them, suggesting double dates with Linda, but Wally had managed to cancel all of them last minute for superhero stuff. So, Linda knew and also talked to him about them, mentioning them casually. But, Wally was too dense to notice. At that point it has been months and James had guessed that Wally had no clue, Piper of course denied it because surely his best friend (excluding James) would remember such an important details, but nope. James got him to agree on a bet.

While things click in place for Wally ( a hundred situations suddenly make so much more sense), Piper keeps ranting on and James has sunk to the ground, tears in his eyes.

#james jesse #the trickster #pied piper #hartley rathaway #wally west #the flash

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wizardysseus · 4 years ago

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i was thinking about once upon a time (abc) in bed this morning so i decided to write this list

subject to change, since awhile ago i was in the middle of season 6 when they took it off netflix and i never quite got around to picking it back up. i’m gonna finish if it kills me i promise

top 5 things about once upon a time

5. anna frozen

when ouat introduced frozen characters, most fans decided the show had jumped the shark. they were not wrong. however, it was this very thing that allowed the show to be fun again! after an excruciatingly bad season 3 (we will get to that), bringing on anna and elsa literally transported directly from their own unaltered story in cheap ass versions of their unaltered movie costumes allowed the show to let loose and do... basically whatever it wanted. this became the hallmark of the show for those who stuck with it: absolutely not making sense at all, but being fun about it. post-season-three ouat becomes a totally different soap opera from season one, but by god you are never bored.*

personally, the flashback episode where anna annoys rumpelstiltskin and gets the better of him and he’s so fucking mad about it is like top 10 episodes**

4. 2x16 “the miller’s daughter”

this episode is just another personal favorite. it exemplifies what this show was really good at when it was good, and also where everything went wrong. i think cora is a great example of a good ouat villain, i think the twist on the rumpelstiltskin story is great, i think the dramatic beats really work.

...and in typical ouat fashion, cora immediately dies and two more villains we don’t care about at all are introduced. (sonequa forgive me you know i’m in love with you but tamara was nothing. it’s not your fault.) yes we get that great scene of snow aggressively doing archery practice while listening to “bad reputation” but was it worth killing off a compelling villain just as you’d dug into her story?

3. the commitment to regina’s redemption

and lana parrilla in general. i mean i’m gay and she’s hot but the worse the show got, the more acting lana gave it. and this is just speculation, but i think lana is more comfortable with drama than with camp? because regina becomes a much more interesting character as someone conflicted and on the path to redemption than as a villain. and by god, they were gonna redeem regina.

if only she had been gay we really could have had it all.

2. rumpelstiltskin

the sweet spot with rumpelstiltskin for me was seasons one and two when he was unabashedly bastard, there was an attempt to make him sympathetic but nobody except belle actually liked him, you weren’t quite sure how much he knew, he was pulling all the strings, and he was just really fucking weird. it will surprise no one who follows this blog to hear that that is my type of wizard.

1. season one

it’s a good season. it’s a good season. there are some bad things about it, but it was extremely watchable. it was doing fairy tales with occasional disney nods in a (mostly) cohesive fashion. the lore and the magic hadn’t sprawled out of control yet. it had the strongest relationship, imo, between emma and henry, and emma and snow. as for iconic episodes, most of the greats are here, plus sebastian stan as the mad hatter and giancarlo esposito as a series regular. the crowning moment for me is the scene at the end of skin deep, when regina confronts gold in the town jail and he reveals that he remembers his real name (after beating the shit out of belle’s dad with his cane obviously). god. that is some good television.

worst 5 things about once upon a time

5. the adoption politics but everyone knows this one.

4. WASTING the talent

you had the love of my life sonequa martin-green and gave her nothing. you somehow scored oded fehr as jafar and gave him nothing. you had giancarlo esposito and regina literally forgot he existed. i will kill you

3. rumpelstiltskin.

it’s no secret that robert carlyle was acting circles around most of the cast; my opinion is that the showrunners felt that if they committed to either his redemption or his villainy, they would never find someone else with the talent to fill his shoes as bastard wizard. so they flip-flopped on him every half-season, which ruins his story longterm, slowly kills the light in robert’s eyes, and gets reallllllly old. it’s also no secret that my favorite rumpelstiltskin is bastard wizard, but they screwed over belle BIG time in the process and for that i will never forgive them.

also like. the rumpelstiltskin fairy tale is antisemitic to begin with and they did not minimize that by comparing him to a lizard and naming his storybrooke counterpart mr gold. they just. did that.

2. THE FUCKING NEVERLAND ARC GOD IN CHRIIIIIIIIIIIST THAT HALF-SEASON IS EXCRUCIATING

1. captain hook

*it’s my opinion that if you are bored, you’re watching a hook-centric episode. every time i dropped the show and forgot about it for months at a time, it was because i had been in the middle of an episode about hook and just could not get through it. how do i describe all the things i don’t like about what killian hook jones did to the show? with subpoints!

1a. the episode where gold gives him back his hand and he never changes.

**this is actually the same episode i mentioned about anna and, like i said, it’s one of my favorites and not at all boring. look, i’m not pretending this list isn’t subjective as hell.

remember when hook blackmailed mr gold into magically reattaching his hand, which gold has been keeping in a jar, because hook has a date with emma and wants it to go well? but also, gold tells him that if he reattaches his hand with dark magic, it will turn him evil? and then hook spends the episode doing evil things, only for mr gold to tell him “i was just messing with you! the hand was not evil, you gave yourself permission to be evil ;)”

yeah, that’s basically hook’s mo.

1b. episode where emma tells him his brother is lying to him and he learns the exact wrong lesson from this and never changes.

so emma goes to the underworld to get hook back after he dies (while being evil and doing villainous things). they find his brother down there, too, and emma senses that he has a dark secret (because he does) and is lying to them (because he is). but hook always idolized his older brother, so he won't believe her. when emma confronts the brother directly, hook interrupts to rant to her about how he knows what this is ~really all about.

actual dialogue:

HOOK: i don't need proof to know what's really going on here. emma, when are you gonna admit that this isn't really about my brother? EMMA: what else would you think it was about? HOOK: us. you think if you can prove that liam is a villain, then i’ll somehow feel like i was less of one.

who... would EVER come to that conclusion. and why is the lesson he learns at the end “perhaps i do deserve saving after all” (another direct quote), and not “NOT EVERYTHING IS ABOUT YOU, BECAUSE EMMA WAS LITERALLY RIGHT ABOUT YOUR BROTHER LYING TO EVERYONE”????

1c. the emma dark one arc, where hook never changes.

this would be the arc that leads up to the above underworld arc, and it is deeply dumb, entertaining, and hard to explain. suffice it to say, during this whole arc, killian (along with emma) has all the powers and ~~~Darkness~~~ of the dark one (formerly rumpelstiltskin). unlike emma, he is not aware of this for most of the season. the moment he finally finds out, he turns on emma and goes through with all the revenge plans he’s apparently been holding onto since season two.

it’s supposed to be sympathetic, because emma made this choice for him to be a dark one, which is clearly awful, when he didn’t want it. so i get that. but on the other hand, it is..... boring. because (a) it's nothing we haven't seen him try to do and fail at before, his motivations really aren't that complex. and more importantly, (b) he was the dark one the whole time! the only thing that changed, that made him act evil, was finding out about it. at that point, it's not the ~~~Darkness~~~ making you do evil things. it’s just you. because you’re a dick.

how is this arc resolved? well, he dies. after the underworld arc (which i very much enjoyed tbf), a sizable part of robin hood’s death episode is devoted to people telling emma to slow down and grieve for killian, since at least two arcs have revolved around her inability to let hook go when he is literally dying or dead. (it’s been said a million times but being his girlfriend really sucked the personality out of emma and i miss her.) and in the end he just... comes back anyway. no explanation given; he says it must be a reward from zeus for killing hades... while he and emma make out literally in front of the coffin of robin hood... who actually died fighting hades. killian died half a season before. while he was evil. and emma reverts to tearful girlfriend.

it’s insulting. it’s grating. and it is a Killian Hook Jones Guarantee that his episodes will involve some measure of this.

like, is it more or less the same shtick that the writers kept giving rumpelstiltskin, too? backsliding and screwing over his love interest who gets less and less say in the matter? yes. definitely. the crucial difference is that i, personally, love rumpelstiltskin, while i find hook boring and not self-aware. but clearly i have had a lot of fun complaining about him! again, this is not an objective list.

conclusions

this show ran for 7 years. it got cancelled not because it deserved to, but because no one liked the soft reboot. it was on until 2018.

#thoughts #once upon a time #long post

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auroracalisto · 5 years ago

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not alone, never alone

ALSO POSTED IN A COLLECTION LOCATED HERE: https://archiveofourown.org/works/23310046/chapters/55832104

Requested by @amy-de-l-abc. The request was quite long, but the jist of it was having a suicidal reader, but one who isn’t quite able to do anything. She and Reid start out as friends but the ending will have them getting together. Fluff on Reid’s part, as he comforts her when she is feeling down. Reader also feels like she can’t depend on her therapist or her family, and unfortunately, not even a suicide hotline will help (in a very negative way, which is purely for this story’s purpose). I hope this is somewhat what you were looking for! I tried my hardest to incorporate everything you asked for. I was thinking of making this multiple chapters but decided to make it one chapter so it's gonna be super long (hope you don't mind). Also, just to let you know, the reader and Spencer do end up together in the end. So. That's a plus. Also, I had to change some of the formatting here because it’s not the same as AO3, which is fine, but if you read it there and here, there might be a slight difference.

TRIGGER WARNING: It is very possible that the content within this story can be triggering for some audiences. Read at your own caution. And please, if you ever feel like you need help, do not be afraid to reach out. Things like the messages in this story are purely fictional and would most likely not happen if one was seeking help. There are multiple contact numbers for suicide hotlines, and they are very easy to search up. Here is a link for international hotlines: http://www.suicide.org/international-suicide-hotlines.html And here is a link for the United States hotlines: http://www.suicide.org/suicide-hotlines.html Do not ever be afraid to reach out. You are never alone.

[]

"my biggest fear is that eventually, you will see me the way I see myself." [anonymous]

[Your name] sat, nervously picking at the fuzzies on her sweater. Her knee bounced up and down as she chewed on her lip, her eyes glancing towards the clock every now and then. She needed to speak with her therapist, Julia, and the wait was agonizingly long. If she didn’t get in soon, JJ will be calling her and telling her to be ready for another job. And she couldn’t wait much longer to talk with her therapist.

A woman poked her head out from the office and smiled gingerly towards the nervous girl. “You can come in now, Miss. I am so sorry for the wait,” she opened the door.

[Your name] stood and came in, giving her a faint smile. “It’s okay,” she softly spoke.

“Do you have children?” her therapist smiled.

“No. I’m not in a relationship,” she shrugged, sitting down in the chair across from the woman.

“Oh.” She smiled. “Anyone would be lucky to have you, [Your name].” She got out some files to look through as she spoke, “Do you remember my son Evan? Well, he’s been acting up in school again. After our meeting, I’ll have to go and pick him up from school.”

[Your name]’s eyes widened and she felt her chest tighten. Am I seriously taking up her time? she thought to herself before she forced a smile in her doctor’s direction. “Thank you for letting me stay,” she mumbled.

Julia rose an eyebrow. “Of course, [Your name],” she softly spoke and grabbed her pen. “Now. Do you remember what we went over the last time you were here?”

It was just last Tuesday. Of course, she remembered. [Your name] nodded.

“Alright, good,” Julia smiled. “How have you been doing? Has anything worked for you?”

Julia had given her some stuff to do whenever she felt herself losing control. She had the rubber band on her wrist hidden underneath her sweater sleeve. Pursing her lips, she gave a small nod. “I think so.”

“Really?” Julia grinned, proud of her patient. “That’s great!”

Another forced smile made it’s way to [Your name]’s lips and she turned her gaze onto her buzzing phone. No, constantly ran through her brain as she tried to silence the call.

“Do you need to take that?” Julia tilted her head.

“No,” she quickly replied, only to flinch when there was another call.

Julia expectantly smiled at her. “You can answer the call. It’s okay.”

[Your name] frowned and closed her eyes as she answered the phone. “Hello?”

“[Your name]?”

It was JJ.

“Yes, I’m here.”

“We have another job. You’re gonna need to come in. I’m so sorry, I know that you have your appointment, but this can’t wait.”

“Fine,” she frowned, letting out a soft sigh. “I’m across town. I’ll be a second,” she mumbled before she hung up, looking at Julia.

Julia watched her with soft eyes. “What was that about?”

“I have to go. Looks like Evan’s gonna get in trouble sooner than later,” she tried to joke as she got to her feet, stuffing her phone back in her pocket. “Thank you for meeting with me. You don’t care if I call you later, do you?”

“Not at all, dear,” Julia smiled. “Just message me so I’ll be able to go somewhere quiet. Be safe, [Your name].”

[Your name] smiled and left her therapist’s office, her chest as tight as it was before.

[]

“You made it,” JJ smiled as [Your name] walked into the briefing room.

[Your name] nodded to JJ, returning her smile, before she sat down beside Emily and Spencer. She didn’t look at them, glancing towards the files sat in front of her.

Spencer glanced towards his friend with a concerned expression, but he didn’t say anything. [Your name] never told him much of her home life—or her life, in general. He frowned and leaned back in his chair as Penelope came in, immediately talking about the case.

“You all remember the choking game case we had a while back?” Penelope asked, looking back at the group. She was aware that [Your name] had not been apart of the team at that time, but let out a relieved sigh when [Your name] nodded to say that she knew what it was about.

“Alright,” Penelope continued, “it looks like we have another one similar to that. There are children in New York committing suicide—at least, that’s what NYPD is ruling it as for the moment. From what I have been able to see, there is a database their webcam videos are going to and showing that thousands of children are viewing these videos.”

[Your name] was tense in her chair.

“NYPD has requested our help,” Penelope said, looking towards Hotch.

Hotch gave a small nod. “And we’ve accepted the case. Wheels up in thirty, everyone,” he said, casting a glance towards [Your name]. He stood and gathered his things, everyone else doing the same and grabbing their go-bags.

[]

It was quiet on the plane ride. They had already debriefed what information they had, so everyone was just preparing for what was to come.

[Your name] sat in the corner of the plane, holding her phone in front of her, typing away.

[Your name] I just feel like everything I do is pointless. I can’t talk to anyone about this.

[SUICIDAL HOTLINE] I’m sorry to hear you say that. Please, tell me more. I promise you, everything that you do has meaning. It has a purpose.

[Your name] Yeah, but that’s the thing. I feel like it doesn’t. I had to leave my therapist today because of my job. I feel like I’m drowning. I can’t even have an hour to myself. Everything is just throwing up in front of me.

[SUICIDAL HOTLINE] I am sure your job would understand if you decided to take some time off. Is that what seems to be the problem?

[Your name] No, that’s not the problem. Well, not all of it. I just. I don’t want to be here. I feel like everyone would be better without me.

[SUICIDAL HOTLINE] I can assure you, that is not the case. You have a purpose. You have a reason for being here, just like everyone else does. Are you with people right now? I am listening to you, if not. You are not alone.

[Your name] I am with people right now.

[SUICIDAL HOTLINE] Are you going to hurt yourself? If you are, please remind yourself that you are okay. Everything is okay.

[Your name] It’s not okay, but I am not going to hurt myself.

[SUICIDAL HOTLINE] You are aware that this is a suicidal hotline, correct?

[Your name] Yes, I am aware.

[SUICIDAL HOTLINE] You’ve messaged a suicidal hotline and you’re not going to hurt yourself? Is that what you are saying?

[Your name] Yes.

[SUICIDAL HOTLINE] Alright. Please seek real-life help. A suicidal hotline will not help you if you aren’t going to hurt yourself.

[Your name] Wait

[Your name] But I want to talk. I want someone to just listen to me. I thought this hotline was supposed to do that. You’re supposed to help everyone.

[Your name] Hello?

[Your name] felt her heart drop. No one would help her. Shortly before her text messages with the hotline, she had messaged her therapist and canceled their future appointments. Maybe it was too rushed, but [Your name] knew she was just wasting Julia’s time. She knew it.

The plane soon landed, and everyone was ushered to the SUVs. It was only a matter of time before they reached the precinct. Everything there was already set up and [Your name] and Spencer was left behind to deal with the paper trail and information that was already available to them. Everyone else had gone out to interview the victim’s families and to the crime scenes.

Spencer looked towards [Your name] with soft eyes. Mascara was underneath her eyes, not very noticeable, but noticeable if you looked close enough. She must have been crying, he told himself, sitting across from her with a can of her favorite soda. He took notice of things. He couldn’t help it.

“How are you feeling?” he softly asked the woman.

She rose an eyebrow, thanking him for the soda as he handed it to her. “I’m okay,” she softly mumbled, opening the soda and taking a sip of it. Her eyes never once met his, but she was grateful for his company.

The two got to work on the case, helping each other out when it was needing.

[]

Three days went by before they returned home.

[Your name] was stressed. Her skin felt like it was on fire. Looking out the window of her apartment, she took a seat on her couch and held her cup of hot chocolate close to her chest. She sniffled and sipped at her steaming drink, her phone buzzing beside of her.

It was her sibling. They kept messaging about how [Your name] should visit them and her parents soon. But she didn’t want to. She loved her family, yes, but . . . she was just a burden to them.

If I go, if I break down in front of them, it’ll be hell, she frowned to herself. They can’t even handle me when I’m not depressed.

[Your name] ignored her sibling’s messages and closed her eyes, jumping a bit when her phone began to ring. She looked at it and the contact read ‘Spencer.’ She furrowed her eyebrows, a bit confused, but she answered the call and sat her mug down, anyway.

“[Your name]?” Spencer greeted. She could practically hear his smile in his voice.

“Spence? It’s ten o’clock, why are you calling?”

“Um, I just, I was just wanting to make sure you were okay. I . . . may have seen some of your messages yesterday. You left your phone open under the suicidal hotline.”

[Your name] felt her heart stop. “What? You read my messages?”

“No! Well—well, I mean, I didn’t mean to, [Your name],” he quickly said. “I was just . . . are you okay?”

Just that morning, she had run into an old friend from her graduating class. They had spoken fondly of their memories together, even going as far as talking about their wellbeing nowadays. [Your name] mentioned just briefly how she had been seeing a therapist and her friend had asked her, “Don’t depressed people usually sleep all day? You really don’t look depressed.” The thought returned to her and she felt hot tears begin to form.

“Spence, I really don’t wanna talk right now—”

“[Your name],” he softly spoke, a deep frown on his lips. “Can I—can I do something for you? I haven’t eaten yet. Maybe I can pick up some take out and come to your apartment. Is that okay? I—I really just want to talk to you, [Your name].”

She nervously rubbed her hands over her pajama pants before she gave a small nod. When she realized he couldn’t see it, she spoke, “Yes. But—but I’m not changing. I’m ready for bed. So just . . . just text me when you get here.”

Spencer smiled a bit to himself. “I’ll be there, soon. Don’t do anything, okay?” he asked.

“Okay.”

[]

[Spencer] I’m at your door. Can you let me in?

[Your name] didn’t answer, but she got up from her spot on the couch and turned her television off, going to answer the door.

She gave Spencer a weak smile, moving away so he could come in.

“I hope you like Chinese,” he said.

She gave a small nod. “I’ll get plates and silverware. Go ahead and take it to the living room,” [Your name] looked at Spencer for a moment, a soft blush forming on her cheeks. He was the first one from the team who had been in her apartment.

[Your name] went to her kitchen to grab the dinnerware, making sure to grab a couple of sodas just in case Spencer didn’t pick up anything to drink. When she came back to the living room, Spencer had already set up all the food for them.

He glanced up and smiled softly at the woman. “Hey,” he said.

“Hey,” she replied, sitting down the plates and the sodas.

Spencer hesitated for a moment before he spoke up again. “Are you okay?”

[Your name] stared at him, a frown evident on her features.

“You don’t have to tell me what’s wrong. But—but I just don’t want you to be alone, [Your name],” he quickly spoke. “No one deserves to be alone when they’re hurting. When . . . when I was, well, it was a couple of years ago—anyway, when I wasn’t well, I was alone. I didn’t let anyone in. Please, [Your name], don’t block everyone out. No one deserves to be alone,” he said, taking in a deep breath, “Especially you.” He mumbled that last part, but she caught it.

The blush that had left her cheeks moments before had returned.

“What?” she softly asked, keeping her eyes on his.

“You don’t deserve to be alone,” he said, returning his gaze. He frowned at her and momentarily ran his hand through his hair before realizing that he had messed it up. He let out a sigh, not moving to fix it.

Instead, [Your name] found herself reaching forward and fixing it for him. She, however, wasn’t smiling. She was fighting her tears. She wasn’t about to cry in front of him. At least, that’s what she told herself.

Don’t cry, don’t cry, don’t cry.

Spencer cracked a soft smile. “It’s okay,” he said. Hesitantly, he hugged onto the woman. He was visibly uncomfortable with the new touch, but he didn’t dare pull away. This made her tears form quicker and a couple even fell. Spencer was making himself uncomfortable . . . for her.

[]

The following Monday was the same as it usually was. [Your name] was upset once more, but she had the day off. She was even expecting to spend it alone. That was until she got a message from Spencer.

[Spencer] Hey.

[Spencer] So, I am sorry if you’re not awake, but if you are, can you let me in your apartment? I picked up breakfast. I figured since we all have the day off, you’re not doing anything.

[Spencer] Sorry if I assumed wrong. But I don’t want you to be alone.

[Your name] smiled a bit to herself as she read the message. She tossed her phone on her couch and slowly pulled herself off of it, going to the door. Unlocking it, she saw Spencer with a bag of her favorite breakfast food. She blushed. He truly remembered a lot of the things she did at the office. Like constantly bringing in breakfast biscuits and hashbrowns.

Spencer gave her a soft smile. “Hey.”

“Hey,” [Your name] said.

He’s just here cause he pities you.

[Your name] swallowed thickly before she let the man in. “You know you didn’t have to come.”

“But I did,” he said, looking over at her.

[Your name] tilted her head, leading him into the kitchen. She expected him to continue. Spencer sat the bag on the countertop.

“Breakfast. And, uh, I needed to tell you something. I’ve been thinking about it for some time now, and I just can’t stop thinking about it. I understand if you don’t feel the same, but I know how you feel about yourself and I just need to tell you before something happens, if it does end up happening—”

“Spence, what is it?” she softly asked, interrupting his tangent.

“Okay, right,” he closed his eyes for a moment. “I—” he looked at her, his eyes softening their gaze. He smiled a bit. He knew he needed to tell her. “I really like you, [Your name]. And I understand if you don’t feel the same. I understand that you don’t even know where your head is, sometimes, but really, I just needed to tell you so you knew—” he gripped at the edge of his shirt, “—I really needed to tell you so you knew that you would never be alone. Even if you don’t feel the same, I really just needed you to—”

[Your name] interrupted him with a soft kiss to his lips, fighting back the tears that were threatening to spill.

“Spencer,” she softly said, “Thank you.”

His eyes widened a bit as he stared her down. “What—do you—”

She nodded and kissed him again, hesitantly wrapping her arms around his neck. He copied the stance and pulled her close for a moment. He soon reached his hands up and wiped her tears away with his thumbs.

“I am so sorry you feel the way you do. But you’re not alone. You are never alone. I promise you that,” he said, keeping his eyes on hers.

“Thank you,” she repeated, giving him a tight hug. She buried her face in his chest, taking in a deep breath.

Her family might be unable to care properly for her. Therapy might not be able to help her. But . . . now she had Spencer. Maybe that’s not exactly what she needed, but it was a start. He would be there, now. That . . . had to be enough.

[Your name] looked up at Spencer one last time, admiring his features.

For the first time in a long time, she truly felt like she wasn’t alone.

#Spencer reid #Spencer reid/reader #Spencer reid x reader #reader insert #x reader #possible tw?#suicidal reader?#request #criminal minds #one shot #depression

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xtruss · 4 years ago

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Rigis Philbin, Television Personality and Host, Dies at 88

— BY DAVID BAUDER | July 25, 2020

NEW YORK (AP) — Regis Philbin, the genial host who shared his life with television viewers over morning coffee for decades and helped himself and some fans strike it rich with the game show “Who Wants to Be a Millionaire,” has died at 88.

Philbin died of natural causes Friday night, just over a month before his 89th birthday, according to a statement from his family provided by spokesman Lewis Kay.

Celebrities routinely stopped by Philbin’s eponymous syndicated morning show, but its heart was in the first 15 minutes, when he and co-host Kathie Lee Gifford — on “Live! with Regis and Kathie Lee” from 1985-2000 — or Kelly Ripa — on “Live! with Regis and Kelly” from 2001 until his 2011 retirement — bantered about the events of the day. Viewers laughed at Philbin’s mock indignation over not getting the best seat at a restaurant the night before, or being henpecked by his partner.

“Even I have a little trepidation,” he told The Associated Press in 2008, when asked how he does a show every day. “You wake up in the morning and you say, ‘What did I do last night that I can talk about? What’s new in the paper? How are we gonna fill that 20 minutes?’”

“I’m not gonna say it always works out brilliantly, but somehow we connect more often than we don’t,” he added.

“One of the greats in the history of television, Regis Philbin has passed on to even greater airwaves,” President Donald Trump said in a tweet. “He was a fantastic person, and my friend.”

Ripa and her current partner, Ryan Seacrest, called Philbin “the ultimate class act, bringing his laughter and joy into our homes every day.”

“There are no words to fully express the love I have for my precious friend, Regis,” Gifford said Saturday on Instagram. “I simply adored him and every day with him was a gift.”

The tributes flooding in over social media read like blurbs for a movie Philbin would promote: “Always made me laugh” — Tony Bennett. “One of a kind” — Henry Winkler. “A lovely man” — Rosie O’Donnell. “His wit was only surpassed by his huge heart” — Meredith Vieira. “As wonderful a man as he was talented” — Paul Reubens, also known as Pee-Wee Herman. “You were the best” — LeVar Burton.

After hustling into an entertainment career by parking cars at a Los Angeles TV station, Philbin logged more than 15,000 hours on the air, earning him recognition in the Guinness Book of World Records for the most broadcast hours logged by a TV personality, a record previously held by Hugh Downs.

“Every day, you see the record shattered, pal!” Philbin would tell viewers. “One more hour!”

He was host of the prime-time game show, “Who Wants to Be a Millionaire,” briefly television’s most popular show at the turn of the century. ABC aired the family-friendly program as often as five times a week. It generated around $1 billion in revenue in its first two years — ABC had said it was the more profitable show in TV history — and helped make Philbin himself a millionaire many times over.

Philbin’s question to contestants, “Is that your final answer?” became a national catchphrase. Philbin was even a fashion trendsetter; he put out a line of monochramactic shirts and ties to match what he wore on the set.

“You wait a lifetime for something like that and sometimes it never happens,” Philbin told the AP in 1999.

In 2008, he returned briefly to the quiz show format with “Million Dollar Password.” He also picked up the Lifetime Achievement Award from the daytime Emmys.

He was the type of TV personality easy to make fun of, and easy to love.

When his son Danny first met his future wife, “we were talking about our families,” Danny told USA Today. “I said, ‘You know that show Regis and Kathie Lee?’ And she said, ‘I hate that show.’ And I said, ‘That’s my dad.’”

Yet Philbin was a favorite of a younger generation’s ironic icon, David Letterman. When Letterman announced that he had to undergo heart surgery, it was on the air to Philbin, who was also there for Letterman’s first day back after his recovery.

Letterman returned the favor, appearing on Philbin’s show when he went back on the air in April 2007 after undergoing heart bypass surgery.

In the 2008 AP interview, Philbin said he saw “getting the best out of your guests” as “a specialty. ... The time constraints mean you’ve got to get right to the point, you’ve got to make it pay off, go to commercial, start again. Play that clip. Say goodbye.” He gave his desktop a decisive rap.

“And make it all conversational.”

Regis Francis Xavier Philbin grew up in the New York borough of the Bronx, the son of Italian-Irish parents and named for the Roman Catholic boys high school his dad attended. He went to Notre Dame University, and was such an enthusiastic alum, he once said he wanted his ashes scattered there.

After leaving the Navy in 1955, Philbin talked his way into a meeting with the stationmaster at KCOP-TV in Los Angeles. He got a job parking cars, then progressed into work as a stagehand, courier, newswriter and producer of a sports telecast. When its sportscaster didn’t show up one day, Philbin filled in.

Philbin got far more on-air experience in San Diego in the early 1960s, when KOGO-TV began producing “The Regis Philbin Show” for a national audience. The program of music and celebrity interviews was taped two weeks before each airing. It was canceled after four months.

In 1967, Philbin was hired as the announcer and sidekick to comic Joey Bishop on his network show. When he heard that he was going to be fired because of poor ratings, Philbin tearfully announced he was leaving on July 12, 1968, walking off during a live broadcast. He returned three days later after letters of support poured in.

He and Bishop had bad blood: Bishop called Philbin an “ingrate” for walking off during a salary dispute and later badmouthing him.

Philbin’s second wife, Joy, was Bishop’s assistant.

After three years of commuting to St. Louis each week for a local Saturday night show, Philbin became a star in local morning television — first in Los Angeles, then in New York. In 1985, he teamed with Kathie Lee Johnson, a year before she married former football star Frank Gifford, and the show went national in 1988.

Philbin’s “sarcastic playfulness” endears him to fans, Good Housekeeping magazine wrote in 2000.

“He’s the little guy protesting the injustices of life, from crime waves to paper cuts,” the magazine wrote. “The ranting is punctuated with Kathie Lee’s familiar cry of ‘Oh, Reege,’ uttered sometimes in sisterly sympathy and sometimes in teacherly admonishment.”

The gentle bickering and eye-rolling exasperation in Philbin and Gifford’s onscreen relationship was familiar to anyone in a long-lasting relationship.

“No arguments, no harsh words in all this time,” Philbin told a theater audience in 2000. “Well, there was the time I didn’t talk to her for two weeks. Didn’t want to interrupt her.”

Gifford left the show in 2000. After a tryout period for a replacement, soap star Ripa (“All My Children”) filled the slot.

The same hustler who parked cars in Hollywood worked just as hard to land the job on “Who Wants to Be a Millionaire.”

“I begged my way on,” he told People magazine. “There was a short list, and I wasn’t on it. I called my agent, and we made a full assault on ABC in L.A.”

The audience responded to Philbin’s warm, comic touch in the role. He later jokingly referred to himself as the man who saved ABC. It wasn’t complete hyperbole: ABC was suffering in the ratings before the game became a smash success. Forbes reported that two-thirds of ABC’s operating profit in 2000 was due to “Who Wants to Be a Millionaire.”

Philbin appeared to love every minute of it. Even the ultimate arbiter of hip, the MTV Video Awards, asked him to make an appearance.

“It’s better to be hot,” he told the AP. “It’s fun. I know this business. I was perfectly content with my morning show. People would ask me, ‘What’s next?’ There is nothing next. There are no more mountains for me to climb. Believe me when I tell you, all I wanted when I started this show in 1961 was to be a success nationally.”

The prime-time game burned out quickly because of overuse and ended in 2002.

Philbin enjoyed a side career as a singer that began when he sang “Pennies from Heaven” to Bing Crosby on Bishop’s show. He said a record company called him the next day, and he made an album.

Even though the series “Regis Philbin’s Health Styles,” on Lifetime in the 1980s, was part of his lengthy resume, Philbin had health issues. Doctors performed an angioplasty to relieve a blocked artery in 1993. He underwent bypass surgery in 2007 at age 75.

He’s survived by his wife, Joy, and their daughters J.J. and Joanna Philbin, as well as his daughter Amy Philbin with his first wife, Catherine Faylen, according to People.

Regis Philbin, American TV host who spent 17,000 hours in front of camera, dies of natural causes at age of 88

The New Yorker was paid $28 million a year in 2000, the most ever for a game-show host, and had a career lasting six decades.

— ABC.NET.AU

American TV host Regis Philbin, who logged more hours in front of the camera than anyone else in the history of US television on shows like Who Wants to be a Millionaire, has died aged 88.

Key Points:

Philbin died of natural causes, according to his family, one month before his 89th birthday

Guinness World Records listed Philbin as having put in about 17,000 hours on television

He was paid $28 million a year in 2000, the most ever for a game-show host

People magazine said Philbin died of natural causes one month before his 89th birthday, citing a statement by his family.

"His family and friends are forever grateful for the time we got to spend with him for his warmth, his legendary sense of humour, and his singular ability to make every day into something worth talking about," the statement said.

"We thank his fans and admirers for their incredible support over his 60-year career and ask for privacy as we mourn his loss."

Philbin was known for his rough edges, funny anecdotes, self-deprecating humour and a Bronx accent that was once described as sounding "like a racetrack announcer with a head cold."

American comedian and late-night host David Letterman, a long-time friend, called Philbin the funniest man on television.

Philbin, known to fans as "Reeg", was a fixture on various local and national shows for half a century with co-hosts including Kathie Lee Gifford and Kelly Ripa.

He hosted Who Wants to be a Millionaire when it debuted in the US in 1999, as well as other game shows.

His $US20 million ($28 million) a year salary in 2000 was the most ever for a game-show host.

Guinness World Records listed him as having put in more time on camera than anyone else in the history of US television — about 17,000 hours.

Philbin was perhaps best known as the host of the nationally syndicated talk show, Live! with Regis and Kathie Lee. It started in 1988, and became Live! with Regis and Kelly in 2001, running until 2011.

Jimmy Kimmel@jimmykimmel

Regis was a great broadcaster, a good friend and a tremendous amount of fun. He leaves behind a beautiful family and a TV legacy that will likely go unmatched. Regis, I hope our friend Rickles met you at the pearly gates with open arms and a slew of the insults you loved so much

Kelly Ripa Pays Tribute to Regis Philbin After His Death: 'He Was the Ultimate Class Act'

Philbin first made a name for himself in the 1960s with his own show on local TV in San Diego and then as a sidekick to comedian Joey Bishop on another program.

His biggest success came in the various incarnations of his nationally syndicated morning talk show that began in 1983 when he created The Morning Show for WABC in his native New York City.

After two co-hosts came and went, singer Gifford joined him in a highly successful collaboration in 1985, and in 1988 the program gained national syndication.

Gifford was his co-host for 15 years before Philbin was partnered with former soap opera actress Ripa for 11 years. Ripa remained as host of the show after Philbin departed.

"I think he is the world's greatest storyteller … that's his gift," Ripa said in 2011.

In 2001, he won a Daytime Emmy award as outstanding talk show host and claimed another Emmy for Who Wants to Be a Millionaire.

He also received a lifetime achievement Daytime Emmy award in 2008.

Philbin, who was born into an Irish-Catholic family in New York City, dealt with heart problems during his career and underwent triple-bypass surgery in 2007 at the age of 75.

Philbin married his second wife, Joy, in 1970 and remained married the rest of his life.

She sometimes co-hosted his national talk show with him when Gifford or Ripa were absent.

ABC/wires

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facepalming-since-chernobyl · 5 years ago

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TSE State of the Pilot: A Speculative Update

Yes, it’s me again. I had a really crappy day so I could use a distraction and hence another submission of my rambling thoughts concerning the TSE situation is following.

So I haven’t managed to find that spotted ratings account’s info on the pilot. I found the Twitter but didn’t find it there or on their website. So I don’t know what to make of their redevelopment claim. Maybe it’s true or maybe it’s just their speculation since it wasn’t ordered to series at this particular time, not because they want to retool it, they just haven’t decided what to do.

I noticed a couple of things that shed some light on this. 1) They didn’t order ANY drama pilots to series this time, not just TSE, they haven’t said anything about Rebel either (which is high profile and has a writers room) and The Brides (which comes from Berlanti so they wouldn’t sneeze at it for sure). Which also leads me to believe they’re still sniffing out the situation and 2) I honestly don’t think ABC knows what to even do at this point given the virus situation, it keeping them from filming anything including pilots and returning shows and they’re still trying to work out a strategy as to how to deal.

I’ve noticed and so did all of SpoilerRatings that ABC was the last to announce their renewals/cancellations/pickups and seems to be the most in the dark as to what their upcoming scheduling strategy even is. NBC, CW, and even Fox had something out before ABC did - they’re all taking a mixture of approaches: putting on summer stuff/reality tv that’s already filmed, airing from-home shows, animated fare, movies, and foreign series that are completely filmed since they can air seasons of those to fill the time vacated by held-up shows. They’ve tentatively scheduled some shows that are regular content but I’m sure they know those are very tentative since they can’t guarantee when filming resumes.

ABC, on the other hand, hasn’t revealed any fall schedule at all if I’m correct. Which means they really are working it out at this point and don’t want to rush into making any firm decisions. Big Sky was already ordered to series so it remains. They picked up one comedy. Most of their veteran shows got renewed, a few cancelled. But not knowing when their pilots can even film:

1. They extended all the cast contracts for the remaining pilots.

2. They said in their statement that the rest are still “in contention”, not what you’d say if you are going to retool or outright pass (though maybe ABC is retooling the scripts for TSE but nothing else since nothing has filmed so they can’t recast without filming and testing for audiences first unless a table read went horribly or something).

3. If they had passed on TSE, they would’ve said it, I doubt they’d hide it. CBS firmly passed on one of its most prestigious pilots The Lincoln Lawyer and made no bones about it. Which isn’t to say TSE couldn’t be passed on but right now it hasn’t.

My guess is they are waiting to film it (and other pilots) before they decide anything. They’re holding back and taking the ultra slow approach since live upfronts are cancelled anyway so they might as well. They’ve said a few times now they intend to film their remaining pilots if possible. They want to do that first, let them test before audiences, then decide what to do and for ones ordered to series, may air in spring/summer or in another off-cycle time.

Bottom line being, I don’t think TSE is dead in the water yet. I do think in general ABC has a jam-packed schedule already but if they get an opportunity to resume filming, they’ll make some headway on this situation eventually - but of course that is the GIGANTIC elephant in the room “if”.

Also, if anyone has a direct link to the Spotted Ratings site TSE info, can you please post so I can read it? Thanks.

Thanks for the submission! You did a nice investigating work, better than Kara usually xD

I can only speculate, but i don’t think TSE is dead, but we will see?

Hope you’re having a better day *sends hugs, unicorns and naked Mon-El*

#submission #cchris nation

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bakudomaster · 5 years ago

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Pushing Daisies

Hello again everyone! It’s time for another in-depth analysis of a show that I’ve watched. This time I’ve picked a show that I have recently rediscovered - question: do you guys like pies and corpses...?

[The facts were these]

PREMISE

In the fall of 2007, a quirky little show known as Pushing Daisies premiered on ABC. Taking inspiration from all things kitsch and Wes Anderson, the story centered around Ned (no, not THAT Ned), a self taught baker specializing in pies who has the unique ability to touch dead beings and bring them back to life. As with many superheroes, his powers did not come without restriction: once touched, should Ned touch the “undeaded” once more, they would become dead permanently. Also, once Ned touches the dead, they exist consequence free for only 60 seconds before something living in close proximity has to die to balance out the cosmic scales.

A bundle of anxiety and intimacy issues on a good day, Ned uses his special skills to moonlight as a part time private investigator to help full time investigator Emerson Cod solve various murder cases and collect reward money. One day, it turns out that the case they have to solve is that of Ned’s childhood sweetheart, one Charlotte “Chuck” Charles. Ned takes a risk and resurrects her beyond the 60 second rule, meaning that someone else has to take her place in the great beyond.

Together with Ned’s waitress (and unrequited admirer), the quartet must solve mysteries, keep the secret of Chuck being alive again from her eccentric aunts and come face to face with all of their emotional issues.

Sadly, the show was cancelled before it ever took off, but more on that later on.

CAST & CHARACTERS

Lee Pace as Ned - the man with the magic touch, he owns a restaurant called “The Pie Hole”, where he makes... well, pies; what did you expect? Ned discovered his gift/curse at a young age when he resurrected his dog after being run over and his mother after she suffered a brain aneurysm. He also discovered that his powers did not come without consequence, as the cost of bringing his mother back to life was Chuck’s father dying. Abandoned at boarding school by his father, Ned grew up and opened his restaurant where he also helps Emerson Cod solve many murder mysteries for the rewards of justice and money. Due to his powers and abandonment issues, Ned has trouble opening up to anyone and carries around a great deal of anxiety. Lee Pace was previously unknown before the show, but he rightfully gained much recognition afterwards, going on to make a few bad movies before getting roles in the Hobbit and MCU franchises.

Anna Friel as Charlotte “Chuck” Charles - Ned’s childhood sweetheart and neighbor, Chuck grew up with her father, having believed that her mother died giving birth to her. Once the universe decided to claim her father as payment for Ned’s mother being brought back to life, she was raised by her shut-in aunts and never allowed herself to travel beyond the gates of her house for their sake. Deciding to break that rule, she was killed when she went on a cruise, after which she was revived the socially anxious Pie Maker Jesus. Chuck is a very optimistic and sincere girl who enthusiastically takes to solving cases. She carries around a bit of existential depression in her, what with being previously dead and all, but she cares for her family and friends very deeply. She can never touch her boyfriend again, but she’s very happy to just generally be around him. Anna Friel had a bit of a generic career before the show, but all that changed once it was cancelled. She was nominated for a Golden Globe for her work here.

Chi McBride as Emerson Cod - a jaded private investigator who believes in nothing but the almighty dollar, Emerson frequently contracts Ned’s skill to revive murder victims, ask them how they died and who killed them, solve their cases and collect easy reward money. He had a romance with one of his PI targets a few years before the series began, resulting in daughter who is now missing. He is the author of a children’s pop-up book, hoping to get it published so that his daughter will use it and come find him instead of the other way around. He does not like the complications that come with having Chuck around nor does he care for Ned’s frequent ethical dilemmas or Olive’s stubborn charms; but he does appreciate all of them in his own way. Chi McBride previously starred in Boston Public and went on to star in short lived shows such as Human Target and Golden Boy before getting a recurring role on the new Hawaii Five-O

Kristin Chenoweth as Olive Snook - a former jockey turned waitress, Olive works at the Pie Hole, lives next door to her boss and carries a very strong, yet unrequited love for our Ned. She does not take kindly to Chuck suddenly appearing and gaining the affection she had worked so hard without reward. She believes that Chuck faked her death and is locked out of the loop as to what is really going on. After some snooping around of her own, she makes firm friendships with Chuck’s aunts, Chuck herself (they even become roommates) and even Emerson. She also learns to accept that Ned will never see her the way he sees the dead girl and tries to move on. Kristin was a very well established Broadway actress before the show and won an Emmy for her role in the show’s second season. She went on to do more plays and more TV shows, with a few guest starring roles here and there.

Swoosie Kurtz as Lily Charles - a cynical and sarcastic agoraphobe, Lily was once part of a synchronized swimming duo called the Darling Mermaid Darlings with her sister Vivian. They toured all over the world before settling down to raise Chuck once her father died. She’s fond of martinis, guns and does not take kindly to strangers... or anyone for that matter. She also happens to be carrying a few secrets of her own as Olive find out and is devastated when she finds out Chuck dies at the beginning of the show. Ms Kurtz is a very acclaimed actress, having an Emmy and two Tonys to her name. She went on to star as Joyce Flynn on Mike & Molly after the show.

Ellen Greene as Vivian Charles - Chuck’s other agoraphobic aunt, Vivian was the other half of the Darling Mermaid Darlings. She’s much more compassionate and delicate than her older sister, but is lost and sad after her niece’s death. Wanting to explore the world in all senses of the phrase beyond her house, she finds herself frequently held back by Lily’s stubbornness... but is that all that’s keeping her back. She was also once engaged to Chuck’s father. Ms Greene is renowned for her role in Little Shop of Horrors (both musical and film versions).

STRUCTURE, DEVELOPMENT & WRITING

Described as a “forensic fairytale”, Pushing Daisies drew inspiration from all the 20′s right through to the 50′s. For those who haven’t seen the show, have you ever watched the Wes Anderson segment in the Family Guy episode Three Directors? You’d be surprised at how similar the setting is, even though it’s a parody. You could even say it has a very Tim Burton feel to it, and who doesn’t love Tim Burton?

Combining the murder mystery and fantasy show genres was not new at all. Medium started up 2 years before PD; whilst Missing & Tru Calling debuted the year before that. If PD was going to be different, it needed another element to make it a success, critically at least. It found that piece by embracing full on quirkiness and adding equal amounts of emotional gratification instead of the darker themes of the aforementioned predecessors, it could carve a niche for itself in the late 00′s television market. PD didn’t serve up thumping adrenaline in any of Ned’s pies, but it didn’t need to: there were other shows who could do that better. It aimed for something else entirely, making the crime element a portion of itself rather than the whole focus.

In this sense, the show followed through with the more intellectual sarcasm starting to appear more frequently at the time (thank you Tina Fey), but tempered it with sincerity. Characters were allowed to be jaded or anxious, but never at the expense of the lighthearted atmosphere. The show’s scripts were also tightly consistent with character development, often pairing very unlikely characters for humorous or heartwarming moments. Characters also took on very familiar tropes in a very unique way - instead of endlessly pining for the pie maker who could never be hers, Olive attempted many a times to get over him, finally accepting that friends instead of lovers was better than slicing Ned out of her life completely. Emerson was a hard-boiled private eye, who wanted his AWOL daughter to find him instead of the other way around.

As with many shows airing on ABC at the time, PD carried a family secret/scandal that affected almost every character, forcing them to go to great lengths to keep it buried once the truth had been discovered. It fit in well with the general theme as opposed to the other examples who used it for shock value or to prolong viewership.

Sadly, the pie maker and his friends weren’t destined to remain on TV for long. The show was one of the victims of the 2007/8 writers strike, forcing it’s first season to end after only 9 episodes. Production resumed afterwards, however the second season only premiered an entire 10 months after the first one did, with only a quarter of the viewership. ABC pulled the plug through the second season in 2008, leaving the final three episodes unaired in the US until May 2009. Pushing Daisies was... pushing daisies - eh? Eh? Ok, I’ll see myself out.

BULLSEYES & IMPROVEMENTS

What the show gets right:

The general offbeat, yet pleasant mood

Olive Snook - for a relative outsider (she’s not part of Emerson’s PI business nor does she truly know Ned’s secret), she worms her way into all mystery related plot lines, proving herself to be a badass sidekick along the way

Speaking of Olive, she is wonderfully unique. Though she sees herself as a rival to Chuck for Ned’s love, she bonds with the previously dead girl over taking care of Lily and Vivian, even rooming with her. She also doesn’t go down the tsundere route - she’s not afraid to discuss her feelings maturely with Ned and accept her defeat in amore.

Emerson and Olive frequently team up together, even though they’re as different as night and day. Olive proves herself so competent that Emerson offers her a position at his firm should she ever get tired of The Pie Hole

The sets and cinematography contribute to the fairy tale escapism mood. I wish more shows did this nowadays

Olive’s songs, especially her renditions of Eternal Flame and Hello (Lionel Richie’s version, though I’m sure Adele’s one would be equally perfect, if not more so)

Ned coming to terms with his abandonment and intimacy issues by slowly letting people in

Jim Dale as the eloquent narrator. Never have exposition and narration been so quaint

Vivian’s delicate melancholy when she realizes her boyfriend abandoned” her and now she has to take the rose colored glasses off

Digby - enough said

The show doesn’t get much wrong, but then again it couldn’t have considering the extremely short run. Had they received a full season at least once, I’m sure the tension in the various mysteries could have been a bit tiresome. Instead, here is a wishlist of sorts:

Who Dwight Dixon really was and why he was obsessed with the pocket watches

See Ned connect with his twin half brothers a bit more

What did Chuck’s father get up to after he took off

Explore Ned’s dad character, who he was and why he abandoned his two families

A slow burner of Emerson’s missing daughter plot

Emerson’s relationship with his mother (Debra Mooney is a hoot)

Delve into more of Vivian’s anger at her sister in the last episode

CULTURAL IMPACT

PD was a critically acclaimed gem right from it’s very first episode. That continued through the 22 episode run. Unlike its peers, it didn’t chop and change plot elements to see what worked and what didn’t. It chose a direction and it stuck with it.

Many fans have expressed their desire to see the show revived, claiming injustice at the fact that it was gone too soon. I think part of why it was cancelled, apart from the production troubles it faced, was that it was a bit ahead of its time. Considering it as a whole by today’s standards, it seems something better suited to Netflix rather than mainstream TV. It was a very specific show that needed a very specific mindset to watch. It didn’t have the commercial broadband appeal that Desperate Housewives or even Weeds had.

Could it be revived today? I think it’s in a very prime position to at least be considered. Creator Bryan Fuller is currently busy with Star Trek: Discovery, but I’m sure he could find time, at least in a consulting capacity. Streaming services offer a much more diverse set of original productions, something cable and network services are struggling to keep up with - it’s an environment that Pushing Daisies would thrive in. It comes down to the cast - Lee has a quietly booming movie career, but it would be nice to see him on TV again. Both Chi and Anna are busy with other TV shows, but I could see them working this in during their inter-season breaks. Kristin has just come off a cancelled TV show, so she’d probably say yes.

Let’s hold thumbs - after all, these guys are in the business of bringing the dead back to life

WHERE TO WATCH IT

The series is available on Amazon’s Prime Video service

If Amazon hasn’t licensed it in your region, you can find episodes from various channels on Dailymotion (just search for the titles)

#pushing daisies #lee pace #ned #anna friel #charlotte charles #chuck #kristin chenoweth #olive snook #chi mcbride #emerson cod #swoosie kurtz #lily charles #ellen greene #vivian charles #bryan fuller #bring back pushing daisies #literary analysis

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serenagaywaterford · 5 years ago

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Cate fan here. Cate and Elise explained the focus on Sofie in The Guardian, and in the ABC article that asks "why is the cast so white" where they call Sofie as their "trojan horse". We fully trust Cate in handling this passion project, especially as she and Andrew, her husband, have experience with working on issues concerning refugees. This series also has the support of Rau's sister and the UNHCR. I believe they picked the best of all approaches given this project's long development period.

Good for you. “We fully trust”??? Wtf dude. Who’s “we”? Some Blanchett hivemind?Glad you PERSONALLY fully trust some actor you don’t even know (who names her son after a convicted paedophile, or just jokes about it. *shrug*). I don’t. Nor should I have to.

Why do I get messages like this every fucking time I post my own stupid opinions on this show?

Look, I am not a Cate Blanchett stan. And I especially don’t think everything any actor does is immediately blessed by God and can never, ever be criticized or have weaknesses. I literally said I am going to be patient and see how this show turns out. And me saying Sofie’s story is the least interesting is ONCE AGAIN not stating it is shit and should be erased! You people take everything so black and white.

Here is a lesson for fans: not everything is an “all or nothing” situation. When I say Yvonne isn’t a great dancer, I am not saying she is fucking terrible and should never dance–which seems to be exactly what the lot of you heard last week based on the responses I got. I just said she isn’t the best ever at something that isn’t even her fucking job! FFS. I love Yvonne as an actress and think she’s absolutely fantastic, in Stateless and other shows. But that doesn’t mean I have to say she’s fucking fantastic at absolutely everything ever or else I lose my “cool fan” points. I don’t give a flying fuck what other people think about how much of a “true fan” I am.This week I say Sofie’s story is the least engaging and I get this random shit about how great Cate Blanchett is(?) and how Sofie is some “Trojan horse”. That doesn’t even make sense!!! Have any of you (them) actually read the Iliad? Being a Trojan horse isn’t a GOOD thing. Unless I guess you’re Achilles, lol. Generally speaking, it’s this: “Something that initially seems innocuous but is ultimately bad or malicious.” Maybe be more careful with words, lmao. I think maybe they meant “conduit”, or something similar. Unless they are actually insinuating that Sofie makes everything way worse for the detainees and is part of the problem. No, they mean she’s a trigger for recognition that something is very wrong in these places and she “brings down” the system–which is all idealistic, revisionist bullshit. Cos while Rau’s story made some big waves, it didn’t stop anything. Sure, SHE got out and so did the Palmer report, which changed some aspects of detention, esp for Australian citizens... And it unearthed like 200 other cases similarly brutal, like Vivian Solon.

“In politics, the precise relationship between cause and effect is usually unclear. Some of the things that happened in the six months following the release of Cornelia Rau would certainly have happened anyway. Some, most likely, would not. What is clear, however, is that the case of Cornelia Rau shaped public opinion about the treatment of asylum seekers in a way no previous episode had. The Cornelia Rau affair taught the public that the lazy trust it had placed in government – not to inflict on innocents serious harm – was unwarranted. It was able to do this, as almost everyone immediately understood, because the person who had suffered false imprisonment and neglect was not a swarthy, dark-skinned, Islamic outsider. She was “one of us”. If, in February 2005, it had been discovered that a mentally ill Australian woman of Iranian descent had been wrongfully imprisoned, the transformative effect on public opinion would almost certainly have been immeasurably less.”

But activists and doctors are STILL fighting the Australian government over conditions and the mental health concerns of current detainees. Which is what I assume Blanchett and co. are trying to inspire reaction to? Which is a good thing and absolutely nobody is saying it’s not. I am not saying: “Sofie fucking sucks! This whole show is garbage and doesn’t have any compassion for the refugee crisis! Kill her off and just focus on everyone else!” I am saying, of all the stories, hers is the least interesting and the least relevant to the issue of detention camps at this moment (in the show, in history). Obviously. I don’t even understand why this opinion bothers people??? Like, it’s just objectively true that it’s the least relevant to the real crisis and plight of actual refugees jailed in these prisons for years on end. The Rau case happened 15 YEARS AGO. The problem right now is not what happened to her, it’s what’s continuing to happen in other centers--currently.And if you want to talk seriously about mental health issues of detainees in a fictional sense, using a character who IS ALREADY MENTALLY ILL to highlight how these refugees end up suffering serious, chronic, and sometimes fatal mental illnesses is not the best way to do it. Like, jfc, it’s just… okay, I will need 50 pages to explain why this is not the best approach if you really want to talk about mental health in detention centres. You can’t use a rich white girl who had a devastating pre-existing illness that caused her to BE THERE IN THE FIRST PLACE as your mascot for “Look, how terrible this place is! Everyone goes crazy!” She was already fucked up, she was already so, so, so vulnerable, and this made it a million times worse. The stories that are important are the healthy, perfectly capable refugees from war-torn countries that end up there for NO reason and gradually through constant imprisonment, abuse, neglect, isolation, lack of privacy, and stress DEVELOP illness, and it goes unnoticed and untreated until you have a prison full of broken people, especially children who are trying to kill themselves. And a lot of this is due to the guards and government employees who are actively awful, or merely wilfully blind.

So, excuse me, for stating that SOFIE isn’t the most important character to focus on, or the most interesting. All Sofie’s story does is highlight how oblivious the guards/officials/etc is to the mental welfare of their prisoners, and the inherent problems with the system. Which, yes, is important to a degree but if you can’t get people to care about refugees without insisting the story revolve around a white person… I just… I dunno what to tell you.

Oh, wait, am I stepping on the precious toes of Cate and Yvonne stans? Whatever. Boo hoo. I don’t care. If you’re gonna make a show about such serious issues (including the portrayal of mental illness based on someone’s ACTUAL LIFE!!!), be prepared for people to get critical about the lack of nuance and sensitivity, and the use of TV tropes. And how fucking WHITE-FOCUSED it is. Because, guess what–if it wasn’t and if Cate/Yvonne/Jai/Asher wasn’t in it–you all wouldn’t even be watching this. How about we all just admit that? It has so much attention not because of the story or the issues (that I assume Blanchett wanted to address), but because of the cast and the focus on the white people.

I do not care how much a massively privileged, white, Hollywood star has worked with refugees. That doesn’t absolve them from having bias, making poor decisions, or falling prey to tropes in their film-making. They are HUMAN BEINGS, an especially human beings that live in a very strange otherword of celebrity, constant validation, narcissism, and money. So much money. They can seem like the most grounded people ever but they are not. Anybody who’s spent even 10 minutes in Hollywood knows this. It’s a thick BUBBLE completely detached from the real world we all live in. So, quit acting like these ACTORS are suddenly experts on foreign policy, immigration, governmental processes, politics, law, sociology, economics, mental health, and whatever else. Especially not bigger experts than critics who have spent their whole lives involved in these issues. (I’m not talking about me. I’m a biologist lol.) She is producing a FICTIONAL TV SHOW to raise… awareness? I guess? To me, as of right now, it’s just using “Sofie’s” real story and vaguely touching on some of the issues. And without all that much depth either. Yet.And pardon me if I don’t really care for Rau’s SISTER’S support of the show. It’s not her sister’s story to tell. Sorry. This is about Cornelia herself. (Yes, I have read Rau’s article.) And OF COURSE the UNHCR is supportive. They are supportive of anything that helps raise awareness in a positive way. And, PLEASE NOTE: I once again never said this was a shit show that needs to be cancelled cos it sucks so bad. It does serve a purpose but I have issues with the NARRATIVE STYLE AND DECISIONS they’re making in order to do that. It has nothing to do with the actual issues.Yet. Like, I’ve said a million times and nobody seems to hear, YET. It’s only 2 episodes in and it has plenty of time to get really into the deep issues. They’ve only just brushed over them right now, so I’m happily waiting for the big pay off.

But let’s not all act like this is the first ever attempt to bring awareness of this humanitarian crisis to mainstream Australians and Blanchett is some sort of national refugee activist hero. Like I’ve said before Safe Harbour (in terms of (sometimes soapy) fiction) and Chasing Asylum (in terms of documentary) and even Go Back To Where You Came From (lol reality tv) have all attempted this, and with some stellar results. Go watch any of those and tell me what Stateless is doing that is so amazingly unique and affective. Stateless is just bringing big Hollywood names to the issue, and trying to bring awareness. AND, amazingly, guess what! It doesn’t even have to be a GOOD show to do that. It can be mediocre and still reach the people Blanchett & Co. clearly want to reach and get people thinking. That isn’t necessarily a bad thing. And me criticising little bits of the programme (like Yvonne’s dancing/accent/choice to have her speaking English all the time, or the lack of focus on actual refugee stories, ffs) is not me saying the whole thing is boring, useless garbage and a waste of time. So, y’all need to hop off my dick for two seconds and not just assume that me talking about my opinion of its small weaknesses is saying I hope your faves choke. Gimme a break. And just in case you all are still pissed off about my complaints that Sofie’s story isn’t the most important focus ever, I’ll just dump a few links here:

‘Begging to die’: succession of critically ill children moved off Nauru

Australia: Reverse Cruel Refugee Policy

'Australia is a bigger cage’: the ongoing trauma of Nauru’s child refugees

How Australia turned its back on the world’s refugee crisis

Mental health crisis in Australia’s refugee camps

The mental health of asylum seekers in Australia and the role of psychiatrists

Christmas Island detention centre’s conditions stoke tension, detainee says

Australia blocks asylum seekers held offshore from seeking medical care in the country

Nauru: MSF report shows disastrous mental health impact of Australian refugee policy

‘Someone needs to say, enough’: Mental health on Manus Island

Nauru asylum seekers’ mental health as bad as torture victims, doctors say

Nauru detention centre: Abuse and trauma reports leaked

Australia’s man-made crisis on Nauru: Breaking Women

The Nauru files: cache of 2,000 leaked reports reveal scale of abuse of children in Australian offshore detention

Australia: Appalling Abuse, Neglect of Refugees on Nauru

Australia to reopen Christmas Island detention center after defeat on refugee policy

UN body says Australia breached human rights laws and needs to review Migration Act

And yes, most of these are offshore centres (some of which have effectively closed now), but it’s not even counting the ones actually in Australia itself, many of which are still operational: List of Australian immigration detention facilities

And yeah… The unknown story of Cornelia Rau. Just as a reality check of what Sofie’s story is meant to be. It’s absolutely horrifying, devastating and incredibly sad, and not something to be glamourised or sensationalised for woke points.

So, sorry (NOT SORRY) for saying Rau/Sofie’s story isn’t the most important part of this whole MASSIVELY COMPLEX thing, nor is it even close to the most interesting aspect of the crisis. I do get why they chose her story as a vehicle to unlock the issue for all the other white, middleclass Aussies (and others) watching but I still don’t think it’s the most interesting aspect of the SHOW. That’s all. I’m not saying it’s pointless to tell “Sofie’s” story, or that I don’t like it, or it’s entirely irrelevant. Just it’s not the most important thing to me.

I can’t believe I have to say this again but just so we are all on the same page:

I HAVE NO BIG PROBLEM WITH “STATELESS”. I DON’T HATE IT. IT IS A GOOD, WELL-ACTED, WELL-PRODUCED, ENGAGING, DECENT SHOW THAT IS ATTEMPTING TO TAKE ON A HUGE, COMPLEX ISSUE IN A VERY SHORT PERIOD OF TIME. I THINK IT’S ADMIRABLE THAT EVEN MORE ATTENTION IS TRYING TO BE BROUGHT TO THE ISSUE AND GOOD FOR BLANCHETT FOR PUSHING FOR IT. I JUST WANT MORE FOCUS ON THE RELEVANT ISSUES TO THIS TIME PERIOD.

What’s the point in raising awareness and putting heavy focus on something awful that happened 15 years ago and has been resolved (more or less, cos nothing is ever totally resolved in politics)? Let’s focus on the terrible shit that hasn’t been resolved yet. Acting like Sofie’s story would happen today is just so far from reality when you are aware of all the changes made and results of the Rau situation. Any criticisms I have of the show or its actors do not mean I hate the show and think it’s stupid and pointless. Just, if it was my show, I’d do it slightly differently. THAT’S ALL. But it’s not my show and I could never produce TV so don’t get all your knickers’ in a twist over my personal opinions about trivial shit. No need to come into my inbox on a weekly basis and try to school me about Yvonne, Cate, etc. I can have opinions on actors/TV shows, even if you think they’re stupid. If you think my opinions are wildly misinformed on politics/storytelling/etc, that's fair. Maybe they are. Tumblr is certainly not the best platform for me to lay out all my thoughts in a coherent way. But so far I don’t have anybody coming at me about the actual issues, just getting butthurt that I’m not kissing your fave’s ass. (Keep in mind, Yvonne is one of my fav actresses too. I’m just not insanely obsessed with her.)

God. I am turning off anon cos every week now I say anything even remotely, mildly critical of some minor aspect of Stateless I get bombarded with this kind of condescending shit from rabid stans of the actors. If you can’t put your name to it, I’m not interested in your thoughts anymore. Sorry. I’m tired. And my inbox is tired lol.

#you all act like i've kicked your puppy #and people wonder why so many people leave fandoms #this is exhausting #I LIKE STATELESS OK??? leave me alone.

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artificialqueens · 5 years ago

Text

To Build A Family (Adore-centric) 1/? - passion—victim

AN: This is the prologue for the story, more action to come! Also more chapters of Strange Love are coming (meanwhile enjoy a fluffy fic).

AU set in a period where Adore isn’t getting booked much. Female pronouns for Danny/Adore. Pronouns shift for Roy/Bianca depending on the level of drag.

PS I apologize for any formatting issues this was written & submitted on mobile

—

“YANX!” Adore’s face lit up as she opened the FaceTime call.

“Hey pussyface, enjoying my house?”

“I ran out of cheetos last night.”

“And you thought I’d have them because….?”

“I left like 8 bags in your pantry a few months ago but I guess we’ve had them all.”

“WE?”

“I miss you. Your bed was extra lonely last night.”

“Only a few more months.”

“Too long. I’m bored,” Adore whined. “All by myself, don’t wanna be, all by myself, anymore…” she sang.

“You could do something you know, meet up with someone?”

“Everyone’s on tour,” she said quietly.

“I’ll be home soon.”

“Lies” she quipped.

“Why don’t you find a baby queen to mentor? Find a mini you, or if you’re really desperate join one of those big brother programs,” Roy teased more gently than his audiences could imagine.

“Fuck all the way off,” she said, rolling her eyes. “What city are you in anyways?”

“Uh, somewhere in Spain. Jamie will tell me before I step on stage.”

Adore was quiet for a moment. “B?”

Roy wordlessly raised an eyebrow.

She chewed her lip for a moment and looked up at him, “s’ok,” she paused. “I should let you go, I’ll be fine,” she said with a small smile.

“I’ll call later?”

“Have a good show Willow.”

—

Now Roy had been joking when he suggested that Adore find someone to mentor and Adore understood that but a few days later she found that idea bobbing around in the back of her mind.

She was performing at a local festival. Instead of being sponsored by big corporations and liquor companies, small community organizations and charities, catering to people of all walks of life, lined the rest of the park. To say she was excited was an overstatement, sure it felt good that someone wanted to book her but this fucking festival? It was a joke. Rumour had it one of Nina’s drag daughters was set to perform but cancelled last minute due to sickness. She had given the organizer a list of names, and apparently Adore was the only one desperate enough to agree. Her manager had warned her that she needed to tone down her set and reminded her not to swear but god damn this was not her crowd. Gone were the bars and crowds chanting her name, arms reaching for a chance to feel her presence and boys throwing themselves at her. Today her audience consisted of a group of old ladies, some adults and many families.

“John?”

“Yeah?”

“Can you get a beer?”

“Did you see your audience?”

“Exactly.”

“YANX!” she yelled when her FaceTime call was picked up.

“Hey baby.”

“Guess what.”

“You miss me?”

“No, I mean yeah but that’s not it. I had a gig. I know it’s dumb and it was a joke but…”

“Proud of you, really. The calls are just gonna start rolling in soon.”

“They better. Anyways that’s not it.”

“Oh?”

“I bought a kid!”

“Excuse me bitch?”

“Not bought. Rent? I’m gonna rent one but I don’t pay.”

Roy just stared at her. “You’re going to need to back 5 steps up and explain.”

“At the festival there was this tent and you can get a kid to hang out with. Like you suggested Yanx.”

“Oh like a Big Brother program?”

“That’s what the tent said!”

Roy laughed to himself imaging Adore in full drag, not even day drag, singing up at a festival tent. When he had suggested that Adore find someone to mentor or teach he was mostly joking and the part that wasn’t was thinking a young queen, not someone under the age of 18. But hell this could be good for Adore, get her out of the slump she was in and do a little good for her community.

They talked for a little while longer. Roy, desperate to not make Adore more jealous, shared only bits of his tour life (what he had for dinner, how his flight was delayed 3 hours and one particularly cool fan gift).

“I wanna see it” Adore whined.

“Fine. One sec,” Roy said grabbing a drink out of the mini fridge. “Threw it in a bag here, let’s see, knew you’d want to see it.” He rummaged in his boy suitcase, “Anyways when do you meet the kid?”

“Umm I don’t know they said they’d contact me soon I think.”

“Ah here it is.” Roy said producing a perfectly done cross stitch of the ABC group, featuring Bianca in the centre with the slogan “Not Today Satan” on the top and “CAUSE I WON” below.

“Ohmggod B I love it. I look fucking hot there.”

He chuckled and turned to see his assistant walk through.

“Car will be here in 10,” Jamie said off-camera.

“I gotta go baby girl. Miss you,” he said, puckering his lips. “Keep me updated on all this,” he said.

“Love ya B. Go kill the show,” she said pressing her face to the screen.

—

Fuck. Where’s the fucking phone. Why is it so fucking loud. She stumbled out of bed, head throbbing, shirt missing but wearing a chain bra? Fuck.

“Shut up!” she yelled at her empty apartment. There it is. Going to silence the device she accidentally picked up. “Fuck.”

“Daniel Noreiga?”

“Yeah?”

“This is John from Big Brother calling. We’re so excited to let you know that we’ve found a match for you.”

“Yeah what?”

“We hope you’re able to join us and your new little sibling at our welcome event next Wednesday at 5pm. Haha that’s a little joke there but we’re so excited to have you part of our program,” the man on the phone paused.

“Oh yeah I signed up for this?”

“Yes Mr. Noreiga, we have you listed and we’re very excited. We can’t tell you much about your new sibling but I know she’s great and very excited to meet you.”

“Party.”

“Excuse me?”

“I’ll be there.”

#rpdr fanfiction #adore delano #bianca del rio #biadore #to build a family #tbaf #passion victim #canon compliant

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anthony-kate · 6 years ago

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hey anica, did you hear the news about harry getting the main role for a new show? please tell me i'm not the only one hoping shadowhunters can still be saved!!

Yeah, I did. And that shit... really hurt? Like, realistically speaking, I knew that this was coming sooner or later. It’s like I always said, as long as nobody said anything or none of the main cast has a new big role, everything is possible to save this show. But now I am...

The thing is, I’ve always been honest with you all here. And I would lie if I told you, hey listen this doesn’t mean anything and the show can still be saved. Technically, yes. Because after all, Harry is only doing a pilot yet. If that is going to be a series is yet to be decided. But lbr here, I believe we all know that this is going to be a series.

I know that people now argue that Harry has always been a workaholic and he can manage various projects at once. Yes. True. But how that should go when being on a show with app. 22 eps a 42 minutes plus two CRA sequels have to be seen. And I can already see people saying now that... but Kristen Bell. Yes. But that is different. She is a main on a comedy show which not only has not this much episodes but those are also only 22 minutes eps, plus the limited mini series of 8 eps. That is different!

Again, I am not saying that all hope is lost but... it’s difficult.

Personally, what really hurt me is not the cancellation itself. Sure that shit hurt and I said it before I’ve been here before and I was probably naive to think that one day I will see the day when my fave show gets saved after all. But the way how everyone involved handled this cancellation. That’s what pissed and still pisses me off the most. From treating the whole fandom and cast/crew like garbage. Not talking. Holding 3b hostage for no reason. And all the other things that happened and where we still continued to fight. That’s what leaves me so... like fuck you all, you know?!

I think this whole mess could have been avoided with simply doing a 10-eps s4, wrap up book 6 in a nice way and part ways. Instead, we all know how shit went down.

And with Harry’s casting now... lbr, the chances are slim to non-existent. Because as I said, that show will most definitely receive an order. I still have hope that one of these dumbasses will pull their head out of their ass and save the show somehow. Preferable doing a Malec spin-off which is... like the cash cow of the show and nobody is cashing in on this which... tells you everything about this mess and all parties involved. lmao Because I don’t see a revival either here. Because, just say they will do a special 2 hours movie in like 10 years: Do you really think Harry will play Magnus when he is 47? Yeah...

At this point, I tried to kinda make my peace with it. Like I still hate Freeform with everything I have in me and I hope they rot in hell because thanks to them and holding 3b hostage, we are where we are now. And the irony that one Karey Burke was the one who cancelled the show in the first place, then went to ABC, and now snatched Harry for this new show is... yeah, how do you say it... I better leave it at this.

For now, I try to enjoy the remaining eps and especially my boys Magnus and Alec. Because I don’t let Freeform win here in destroying that for me, too. Am I bitter and sad? Sure. Am I scared to lose everything I love in this fandom and all. Yes. But I love these two and I can’t and won’t give them up. And I still hope that there is some justice in this world and that someone picks the show up and saves us from this mess and/or that Freeform will die and rot in hell in a few years. Hopefully both.

I think @amorverus mentioned something very important and reassuring today: If this is really it, at least we go out on a high note. We will see our boys happy and married. And that is, after all, way more important and nicer than to see this show going on for another 10 seasons where the writers have no clue what to do with Malec and we end up with cheating, divorces, and other messy plots for them. I believe nobody wants that. Especially when seeing how repetitive some storylines are already--and we are in season 3.

#saveshadowhunters #shadowhunters #anonymous #answered #thanks for asking!

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singingwordwright · 6 years ago

Text

Trying to break the cancellation issue down: Week 2

Okay, so tonight I posted an entirely-too-long tweet thread on this issue, in which I recapped a lot of what I laid out in my post last week, as well some things I mentioned in response to an ask yesterday, and also new questions, information, and supposition. I thought I would try to lay it out here in a slightly more coherent issue.

First, however, I’m going to put it behind a cut. Because then if I have to edit any of this information, all the reblogs will link to the edited version instead of reblogging the incorrect/out-of-date version. Then I won’t have to make any future new posts on this subject.

Please keep in mind that this is all educated guessing. None of us know what’s really going on.

To recap what I laid out last week:

@freeform doesn’t own Shadowhunters. Freeform merely “leases” the domestic distribution rights from Constantin Film, who holds the adaptation rights.

(ETA 6/16/18) Freeform, however, has exclusive rights to this show indefinitely and it goes no where unless Freeform chooses to give them up. (this is a correction as I was mistaken before in believing the distribution rights would revert to Constantin after Freeform turned down Season 4)

@netflix doesn’t own Shadowhunters either. Netflix “leases” the international distribution rights from Freeform.

The money Netflix and Freeform pay Constantin for those rights funds production of the show.

Itunes, Amazon Video and Hulu all have domestic streaming of the show as well as Freeform.

Hulu likely acquires its streaming arrangement from Freeform, as the show carries the Freeform logo on Hulu. This makes sense; Disney owns part Hulu and all of Freeform.

I don’t know if Amazon and Itunes carry SH internationally, and I don’t know if they have their domestic streaming agreement from Freeform or from Constantin. I DO know they have a different streaming format than Freeform; you buy the episodes individually or the season entirely, rather than paying for a subscription service (I don’t think the show is on Amazon Prime as part of their subscription package, but I could be wrong.)

Something to keep in mind going forward:

Freeform is a business, and it’s going to be more helpful to us to regard this stance on the issue in terms of cost/benefit analysis, rather than assuming pettiness or malice or vindictiveness. I know having a villain in this scenario fires us up and keeps us raring for the fight, and we need that energy, but ultimately it’s not helpful in drilling down to the core issues and finding solutions.

Stupidity and tone-deafness are definitely sins we could probably fairly lay at their door, however. They have clearly underestimate both the passion of their audience and the importance of this show on a societal level, and those are tragic, foolish mistakes.

Shadowhunters and Freeform: A History:

As anyone who has ever looked at leasing versus buying a car or apartment will tell you, there are certain benefits to both arrangements, but usually in the long run it costs less to own something rather than to lease it. Which means that Freeform isn’t making as much money off SH as it is off the shows that are actually Freeform originals.

Why did Freeform acquire the distribution rights, then?

Well, ABC Family was intending to rebrand as Freeform and go after the millennial crowd, and it needed some new, edgier, more adult, more diverse, less family-oriented shows than The Fosters or whatever.

They also wanted to break into the streaming market instead of going with a live-airing-only model.

A show like Shadowhunters, based off a series of books their target audience enjoyed growing up, was obviously a good bet. Especially since that audience is largely comprised of binge-watching cord-cutters.

The goal, then, was to use Shadowhunters to draw the new audience in and to have it “shepherd” less established, Freeform-original franchises by hoping the SH viewers would stick around to watch whatever was in the 9pm time slot. And that worked well for them.

But once Freeform had a number of other, original shows doing somewhat well, the “benefit” side of the cost/benefit ratio began to decrease. It’s an expensive show to produce that isn’t performing well in live ratings and whatever money they’re making off it, they have to give a hefty portion of that to Constantin Film.

The cost (at least in terms of lost potential revenue) was further compounded by the fact that Shadowhunters was occupying a very coveted time-slot, 8PM, for 20 weeks of the year. That is a massive piece of prime-time real estate to give to a show that is no longer really needed to perform the functions they once required from it.

Malec_Immortal over on Twitter posted a pretty astute (if somewhat vitriolic) series of tweets about how you can identify the timeframe when Freeform made the decision to stop investing so heavily in Shadowhunters. YouTuber Trini did a side-by-side comparison of the effort the Freeform Twitter put into promoting s2 and the effort they put into promoting s3 and it couldn’t really be more blatant.) Now, maybe they might have continued with the show had season 3 performed better in the live ratings, but it’s obvious they were all about reducing their cost while trying to glean what dwindling benefit they could from it.

I think it’s clear that Freeform was still promoting the show up through August, at least, because the cast’s appearance at SDCC was an obvious investment that doesn’t appear to have been used to promote any other Freeform properties (though perhaps a few Disney ones) but by NYCC in October, it’s obvious that they had slotted SH into the role of mentor/veteran show whose primary purpose was to pull in viewers for Freeform’s other, wholly owned properties.

Perhaps if SH had performed well enough in live-airing views to justify a continued investment, Freeform wouldn’t have wanted to reduce their episode order for season 4, but that didn’t happen. At that point, the cost of continuing with a full 20-episode season outweighed the benefit. They tried to negotiate for a reduced season order, Netflix wasn’t happy with that, and now here we are.

Where does that leave us?

Freeform got the drop on everyone in terms of setting the narrative for this whole thing. They blamed it on Netflix for yanking out of their distribution deal and leaving Freeform holding the bag. In truth, however, it appears the only reason Netflix pulled out is because Freeform violated an agreement by demanding a shorter season for s4.

Which makes sense. Of course Netflix would want more and Freeform would want less; this show has always performed better on streaming and internationally than it has on live television.

I think it’s clear that somewhere along the way, Freeform (while not abandoning its streaming emphasis) has reverted to considering live-viewing ratings in its considerations. An obvious example is Beyond. Beyond performed well enough in its first season (shepherded, as it were, by Shadowhunters) to get a second season, but a large part of its success was the fact that it was dropped all at once for streaming-on-demand. For whatever reason, Freeform decided that wasn’t profitable and went to a different model for season 2, and Beyond performed abysmally and got the axe.

Unfortunately for us, they’ve been applying the Beyond-season2 model all along, which means Shadowhunters hasn’t been performing as well either by their calculations (though a great deal of that is down to reduced marketing and just using the show as a vehicle to promote other, Freeform-original properties.

For all that they claimed it wasn’t about the ratings and was “purely economical” you can’t divorce the economics of a show from the ratings if you’re using a live-air-viewing model. They needed that coveted 8pm timeslot for something that would be more profitable. They could have moved SH to a less valuable time slot, but then it wouldn’t make them enough money to earn back what they were spending on the distribution license (which funds production.)

Yeah yeah yeah, but what does this mean for the show getting picked up?

To put it frankly, our biggest obstacle here on multiple fronts is season 3b. Specifically, it’s the fact that Freeform has pushed 3b back to Spring of 2019. That is screwing our efforts over, big time.

These are episodes that are already in the can. The final cut of 3x20 has been produced, according to Todd Slavkin. And these are episodes that Freeform owns and still hasn’t aired.

No one is going to want to acquire this show until 3b has aired. (Assuming Freeform is willing to let anyone acquire it.) Which means no one is going to want to acquire it until Summer of 2019. And we probably wouldn’t get season 4 until spring of 2020 at the earliest.

I can’t think of a single other show that has been canceled with half the season still month away from being aired like this. And if it has happened, it probably wasn’t picked up by anyone else (if at all) until after the season was done.

Look at it this way. It’s obvious from their CEO’s tweets that Constantin would love to see the distribution rights pass to someone else (probably Netflix.) Netflix may even be willing to pick them up (if Freeform is willing to sell,) considering that who Constantin’s CEO tagged in his tweets.

But what happens to those 10 episodes that are in the can? Whoever picks the show up has to wait until Freeform is done airing those eps before they can begin marketing, and probably even filming.

Maybe someone would be willing to pay Freeform for those eps, but that’s highly unlikely. What new network wants to start a show mid-season like that? And would they even be willing to pay enough for Freeform to recoup their losses on production AND potential losses on advertising? A new network will want the story to be in a place where new viewers who have never seen it before will be able to tune in and quickly pick up on what is going on, and considering the cliffhanger S3a left off on, that’s...not something anyone EXCEPT Netflix (or maybe Hulu or Amazon, who already have the previous episodes in their libraries) would want to pick up. That pretty much rules out...every other network.

Furthermore, again, the show has always done best streaming. Odds are good that ONLY a streaming service is going to want the show.

Some questions we need to ask:

Will whoever acquires the show be paying Freeform to “adopt” their distribution license, or will Freeform’s distribution license lapse and a new license need to be negotiated with Constantin? (ETA 6/16/18: we appear to have an answer on that.)

Also, CAN Freeform even get out of the plan to film/air the 2-hour finale at this point? The contract has probably already been negotiated. Unless they somehow have an option to back out of it, they’re committed.

So, it may be that they HAVE to make that episode. Which probably won’t begin filming until season 4 would have begun filming, probably around August. Which probably means the earliest they could air the season/episode is in January and we would HAVE to wait until spring/summer of 2019 before anyone else can pick up this show. IF they’re willing to pick up this show. If potential buyers see interest has waned because of the long wait and general frustration and disgust, they’re not going to want the show.

Will potential buyers even be interested if the show has run out of book-based material? The 2-hour finale is supposed to wrap up the final book of the series, and while our main concern is that 2 hours won’t be enough to do all that material justice (especially with any non-book-based plotlines also needing to be resolved.) Any future seasons would, in essence, be a spin-off using the same characters. Can Constantin even do that with the adaptation rights?

So what do we do?

I’m not saying we should stop fighting, not at all, but I’m saying we need to conserve our energy because this is going to be a very long haul. It’s a situation that is messy and complicated beyond any other show that I’ve ever heard of being cancelled and picked up by another network. We very likely won’t see any fruit from our labors until after 3b and the finale air, whenever that may happen. I think with the negative publicity we’re generating, Freeform may find it useful to get us out of their hair sooner rather than later, but the time required to produce the finale ep is an issue there.

We really need more answers to know how to most effectively apply pressure to get the show renewed. Our best bet for getting those answers is the same place we’ve gotten the information we have so far; interviews and articles. Some media outlets are already latching onto this story (and largely supporting us, or reporting that we’re not going away) but we need to keep making this A STORY in order to get them to report on it (and hopefully use their access to get more answers than we have.)

HOWEVER I could be wrong about any or all of this. OUR BEST BET IS TO CONTINUE BEING LOUD. DO NOT STOP TRYING TO GET THE SHOW PICKED UP.

#shadowhunters #SaveShadowhunters

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fuckyeshermajesty · 7 years ago

Link

Moments after declaring herself fired, Ginnifer Goodwin shouts across a massive war-room table to her longtime Once Upon a Time costar: “Lana, this is your last week!” Her charming real-life husband, Josh Dallas, chimes in: “Yeah, you’re fired after this week.”

Lana Parrilla, one of the few remaining series regulars left from the show’s seven-season run, smiles back at her costars, able to appreciate their use of comedy to mask the sadness — two days later, the Vancouver-based show would wrap production on the series finale. Though able to share a laugh with her cast mates now, Parrilla says she was basically inconsolable when she found out that Once was coming to an end.

“It’s taken me a good, solid month and a half to get to this place,” she tells EW on set during the final week of production. “I was pretty angry at first, when the show was canceled, and very depressed and sad about it.”

But the show’s actual ending, she says, is beautiful, and brings the ABC fairy-tale drama full circle to the pilot, both emotionally and physically. (Although it’s not without challenges for Regina, who has a few last sins to pay for before series’ end.) Two days after EW was on set, Parrilla later notes, the actress would deliver the final line she spoke as Regina — though not necessarily her final line of the series. “Until we meet again.” It’s not goodbye, she says, but left open-ended, much like the show is left in the series finale. Below, Parrilla reflects on her OUAT journey:

ENTERTAINMENT WEEKLY: As you’re in your final days of production, how do you feel about saying goodbye to this character? LANA PARRILLA: Oh, gosh. I’m really proud of what we’ve created over the last seven years. I have loved Regina’s arc over the years and how far she’s come as a character and as a person, how much she’s grown. I feel very complete with her, I feel like she’s reached her happy ending in this episode. I am ready. It took a minute to get to this place, it took some time to get to where I am right now, which is content with the decision. I accepted it, and it’s time to move on.

How does it feel to have the story come full circle? It was so beautiful. Yeah, it does. And it’s in the same location. I’m happy for her. I know everyone’s been waiting for Regina’s happy ending and no one really could define what that is, and no one really knew what it was going to look like, and nor did I. I think once Robin died, it was really hard to foresee another love in her life. There was just so much time invested in that relationship, even though it was somewhat short-lived for a relationship, because you would hope it’s forever. But I’m happy with where her happy ending is at.

Can you talk about what it means to have a strong female character like Regina, who is flawed, in our current era? I think Regina is a very hopeful character because she’s so flawed and complex. And human beings are, life is hard. It comes with lots of challenges and lots of decisions and choices that need to be made by oneself. Following Regina’s journey over the years, we’ve seen that she’s made some mistakes, but she picks herself back up, she has support from loved ones and friends, family, and she doesn’t really walk through life alone. I think she’s an inspiration to many, including myself. I’ve learned so much from her.

I think she’s reached levels, at times, I am still trying to aspire to get to, and in some areas I’ve surpassed her, so I think she’s such a positive character. I’m fortunate to have been able to portray her for seven years. I know for sure that our audience has learned a tremendous amount from her. Some who have followed in her footsteps, some who are still trying to reach her level and have found her to be a huge inspiration. I feel honored to have played her all these years. I will definitely miss her, even though I am ready to hang my hat, I will still miss her and she’ll always be a part of me.

What do you think it was about Once that made it last this long? I think our stories, our characters’ journeys, our love for one another, their fervent fight to be better humans and to love and protect one another. This show is about hope, but it’s also about family and friendships and love. That is something that’s very positive. This show is very positive, and that makes me sad, that something so positive that’s on television is being taken off the air when we need it most. So it does break my heart in that regard, but like I said, it’s taken me a good, solid month and a half to get to this place. I was pretty angry at first, when the show was canceled, and very depressed and sad about it. But we keep saying here, “God, it feels like the end of senior year in high school.” It’s actually longer than that, because we’ve been here for seven years, and we’ve spent a lot more time together than anyone in high school ever spent together.

What do you think Once’s legacy will be? I think it was a show about hope, and dreams, and inspirations, and that growth is possible, and to never give up.

What’s the most poignant fan interaction you’ve had? A fan once said, “The reason why I love Regina is because she showed me that good can come from broken,” and that always stood out. I met her at a movie theater, this girl, who is working there, and that’s what she said to me, and that always really stuck with me. I think the show really resonates with my fans as well, especially Regina’s fans.

Can you talk about the importance of sending a message that everyone can get a happy ending? Yeah, I think the importance about that is just really striving for something bigger and greater, never giving up, and just reaching as high as you possibly can go, which is a good goal to have, just to have dreams and aspirations, and to kind of set a standard, or a bar for yourself. I think it’s very motivating, it keeps people moving in an upward direction, which I think is very positive. And out of that, my gosh, so many things can actually come out of that — so many positive things can come out of that.

Do you have a new affinity for fairy-tale characters after living in this world for so long? Oh yeah, for sure. I was never a crazy fairy-tale fan growing up. I liked my fairy tales, I liked mermaids, sirens, but I liked the ocean life, I love ghouls and goblins, and I love supernatural things, but fairy tales, I liked reading them as a kid. But I see the positive message and the mottoes and the lessons that can come out of them. And so I think I would definitely carry those fairy tales forward in my life.

What’s been your favorite Regina moment? Probably the moment when she finally accepts her dark self, the Evil Queen, as part of her.

Anything you wish you would’ve done differently on the show? No, actually, not at all. I’m really proud of what I’ve created with her. I feel like she was such a colorful character. I worked so hard to bring so many layers and complexities to her, and a lightheartedness, and a cuteness at times, a mother who was strong but vulnerable, and a woman who falls in love and gets her heart broken. I feel like I’ve done so much with her that if we continued, I’d be like, “What now do I do?” If it were to ever continue, I’m sure we would figure that part out, but I’m really proud of what I brought to this character.

How would you describe the finale and how it compares to the past six finales that we have seen? Well, it wraps up a lot of storylines, and it feels like there’s a closure on a lot of things — everyone’s journey and where they’re trying to aspire and get to in their lives, i.e. Gold/ Weaver/Rumple [Robert Carlyle], where he’s headed, there’s some closure there. It’s actually quite beautiful to see what happens with this character, it’s quite moving. And the same with Regina. I think the last seven years has been: What is her happy ending going to be? And she gets there. And with Zelena’s character as well, in my episode that I directed, in episode 17, there’s a bit of a happy ending for her. So it feels like all these characters are wrapping up. With Colin [O’Donoghue], Hook’s character, we get to see two versions of Hook. And we already know one is happily married with Emma and baby. Now with Wish Hook, he and Alice have been, over the season, really trying to come together and be father and daughter, so it’s just really nice to see how all these storylines are wrapping up. It’s just different because it’s the last episode. So it’s different not only creatively with these characters, but it’s different for all of us actors who were working on it. For the crew, every day it’s scarier and harder, and it’s harder to say goodbye, and not really knowing what happens next. And are we going to see each other again? I hope so.

What can you tease of the show’s final battle against Wish Realm Rumple? I mean, Wish Rumple is as evil as he could ever be. He is the darkest version of Rumple we’ve ever encountered. He wants to take away everyone’s possibility of a happy ending. That’s disheartening, and so hard to go up against because he’s extremely powerful. Collectively, we’re all trying to figure out how to take him down.

What’s next for you after OUAT? We’ll see. It would be nice to take some time off for a minute. Obviously we’re keeping our eyes open for the next project. I think what I want to do is just go home. I miss home, I miss my family, my friends. It’s been a long time being away from home. I’ve been homesick for seven years. I’m really looking forward to seeing some of my best friends and getting to know all of their babies, their 2-year-olds, their 3-year-olds, their 4-year-olds, their 7-year-olds. I’ve missed a lot over the years. I’m excited to spend some quality time with all the people that I’ve loved my whole life.

[Editor’s note: The following was asked when EW spoke with Parrilla again Tuesday night, ahead of a screening of Friday’s penultimate hour.]

When we talked on set, you said you were angry when you found out the show was ending, but now that you’re done filming, do you feel a sense of closure? Yeah, I was super-upset. But now I’ve had some time with it, and I have to accept what it is — can’t really change our fate. But yes, I’ve come to terms with it, and now I have to look at the positive of it and what we’ve created over the last seven years. When I meet the fans and see how much this show has changed their lives for the better, I’m just so happy. Seven years is better than two, it’s better than five, so I’m really proud of us. Yes, at first I was gutted and angry, but now I celebrate all the hard work that we’ve done to make this show what it is today. I love it, and it will always be a part of my heart.

#ouat spoilers #lana parrilla #once upon a time #regina mills #spoilers #natalie abrams #press #s7 #721 #722

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latinalesbi · 6 years ago

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The good trouble account doesn’t even follow the moms or boys lol so much for the family

Yes, they tag Sherri and Teri in posts. They are such users.

Anonymous said: Cringe at some of the fans of the show I really do. On twitter for the 1st time in ages Joanna baits them. BB has gone quiet thank god. They’ve all moved on people. They got bored of writing for the moms-never really knew what to do with them s3 onwards. They wanted Maia front and center that’s evident, the spin off was their idea. The amount of new characters on their new show means money wasn’t the real issue. They’ve moved studios to cut costs. They gave up on Teri and Sherri thats the truth.

Yes, this officially makes Joanna the worst one. How she gonna tell a FAN that if she raises 30 MILLION dollars, she’ll produce the show. Bitch please. SHUT Up. She makes me so angry. They went along with whatever Freeform wanted. It’s so sad. They didn’t want the older lesbians and that’s a fact. These women weren’t sleeping around getting down with multiple women and they weren’t young things (yeah I am looking at you Bold Type and their male gaze), Freeform had no room to make a couple like Stef and Lena, front and center.

Anonymous said: If only they had realised the storm their decision would’ve caused both Fform and the creators of the fosters. I think had they realised their new shows cloak & dagger etc would do as badly as they have they would have sanctioned a season 6. In fact I’m sure. They need the viewing figures. If the creators really wanted to go down the line of the spin off they could have run both show concurrently, that would’ve appeased every1. Like Blackish and Grownish do now Wonder if that idea ever came up?

I think maybe you are right. Grownish came in like a hit, and that’s around the time they announced cancellation, but it’s clear now: Freeform show suck. No one wants to watch this network. The Fosters was a product of ABC F and Freeform hated it for that.

Anonymous said: Roll my eyes at people on twitter telling us we should support this new show as The Fosters was a family and fam supports fam. Dear lord they don’t seem to get the fact that this so called family behind the scenes betrayed each other. They negotiated behind the back of Teri Sherri and the guys and left them blindsided by the decision. Bradley Peter Maia Cierra and Joanna were all complicit in that. Their ‘family’ lost their jobs whilst they not only kept theirs but no doubt got pay rises. Asses!

Anyone who wants to sell me that shit, can go fuck themselves. What a waste of energy. This wasn’t a family, this was a job, people got fucked over, I want to see the backstabbers crash and burn.

Anonymous said: It was the Callie show for the past two seasons. Literally everything that could happen to a person happened to her lol! They didn’t really have a use for the other characters anymore. The only reason they are bringing Cierra -Marianna on board for the new show is that they are good friends in real life. I really believe that. Can’t believe they are producers too, the former cast must have been shocked at that. It’s like a double kick in the balls.

I agree with that and that’s why this real life friendship has an end date. It will always be Maia and guest. If production money is all she cares about then maybe it will last. However, if the limelight she seeks, then she will be disappointed.

Anonymous said: I loved the first few seasons of The Fosters. It was so family orientated. I loved the relationship between Stef and Calli it was what I wished for if Im honest. The show became too political for me at the end, they lost a little of what made it special.

I’ve said it before, the Trump election ruined the country and specifically this show. I needed escapism, ok. Is that ok to say? This show was built on that fantasy of a life. Suddenly, everything was about Trump even though on their timeline, he hadn’t been elected. They should have left the fosters alone and made a political show elsewhere.

Anonymous said: Thought of watching Good Trouble every week and who is Callie going to save next urgh!They’ll be lots of new young, good looking characters, lots of sex no doubt which is funny considering the moms were barely allowed to touch towards the end. The creators zoned out. They wanted this new show, probably preferred writing for the girls etc. If you read articles at the beginning of The Fosters in 2013 they were so enthused about Stef and Lena, excited to talk about their stories, its worlds apart.

Well Bradley got divorced and clearly didn’t believe in marriage anymore. He bought himself a young boyfriend and everyone got bored of stef and lena, except the audience. Sadly. It also shows how fake they are. They are actors selling a product. Ultimately, they didn’t really care, they just thought that’s what the network wanted to hear then.

P.S. Just don’t watch troubled shows.

Anonymous said: They harp on & boast about their social justice storylines and how this will continue when the real injustice happened on their show in front of all of us. They kept the 2 straight characters and let go the 2 older women who happened to play lesbians and their gay son. These were the characters that had the most social impact & brought the most awareness to the show at the beginning. They gave people hope and a feeling they were being listened too. It’s so sad tptb seem to have forgotten that.

And their stupid show’s tag is going to an invade a rightfully political tag about a black activist. People looking for this will bump into white savior callie. This isn’t progressive, it’s the typical erasure that happens to lesbians.

Anonymous said: The thing that has arisen, if that’s the right word 😂 is the huge love everyone has for Sherri and Teri and their characters Stef and Lena. They truly made a difference to people’s lives. That will never change no matter what the powers that be decide is best for themselves and their network. Maybe Callie and Marianna stories on this spinoff will be worthy but it will never compare to the real affect Teri and Sherri had on so many people. They’re loved universally and that will never go away. X

History will tell, and no one will remember Good Trouble. No one.

Anonymous said: Famous in Love might not be cancelled after all now. What a joke. Could you imagine how much they are paying Bella Thorne, the ratings are shit and yet they are considering keeping it on the air yet cancel the Fosters, the highest rating show? They just want to keep Marlene King sweet no doubt, she’s got her PLL spinoff coming. It’s all trash, the network and the creators of the Fosters. In a few years time the Fosters will still be talked about, maybe then they’ll appreciate Sherri and Teri.

It was. Thank god. Next, Bold Type and next cancel the network.

Anonymous said: If it was a money thing why didn’t they just skim down the amount of guest characters they brought in and go back to family stories? There were so many new characters every week we couldn’t keep up & made the show feel disjointed, we didn’t have any loyalty to them. Getting rid of the boys and the moms will have saved them money, yes, they’ve moved studios too so that’s a cost cut. But then they’ve cast a load of new characters for the spin off and made the girls ep’s. Something isn’t right.

It was not a money thing at all. They want to say that but it’s not. It was about older women and how Freeform can’t sell that. Or rather, about how they don’t know how to sell it.

Anonymous said: Don’t worry peeps. They will realise their mistakes. The Fosters was the family. When that started to be phased out we stayed around honestly due to the connection we’d built with the characters and the those that played them. You don’t build that loyalty up overnight. They didn’t think about the fans, if they did they’d have known dumping some of the cast and picking others was a non starter. Go out on a high as the family you began with, that’s what they should have done. Everyone or no-one.

Exactly. I think the good feelings would have remained if they hadn’t betrayed the family. Now things are tainted.

Anonymous said: They thought we’d all continue to watch. The apathy towards us as fans is staggering. Unless they manage to generate a whole new sector of viewers which they won’t, their ratings are going to suffer hugely. They will lose so many of us. Some will be intrigued by the first ep, after that and realising the rest of the cast are really no more it will slide off. They created and had something special, this spinoff tarnished it for me.

The thing fans aren’t really a thing to these people. The noise people make on twitter is completely just that for them, background noise. That’s why I enjoyed when someone ruffles their feathers. When truth comes close to home, they react. If Freeform knew how to create a hit, they would have done so by now. The Fosters was successful because of the fanbase it had built from the ABCF days. Hours of politics, the law and callie. No thanks.

Anonymous said: If their idea of family is to forsake their fellow cast then who’d want to be a part of that? Sellouts pure and simple, money over ‘family.’

That’s it. Nothing else.

Anonymous said: I watch the ratings for shows, it was odd to me when the decision was made. The Fosters at that point was their highest rated show both live figure and the delayed viewing. And yes most def their most stable show. Sirens had since done well. Grownish dropped, Cloak & Dagger, started well-ish but then dropped. The Bold Type has always been low and Famous in Love- terrible. Last season it always beat Shadowhunters too. That show had a big international deal to be fair. Really strange decision.

And yet they canned Shadowhunters. If there was a show I could believe had some weird cult following online, it would be that. They didn’t care either. I don’t know what Freeform is aiming for. Race to the bottom with them.

Anonymous said: My thinking: Teri and Sherri had the highest salaries. Fform knew the ratings were good. Thought Maia and Cierra with their social media following were popular and therefore could lead a show thus save money by getting rid of Teri and Sherri and it wouldn’t affect the ratings. They didn’t realise the demographic of audience was vast. People watched the show for a variety of reasons. They should have done some polling before making the decision, would have been clear pretty quick. Amateur network

I don’t know. They made maia and cierra more money as producers then they would have with The Fosters. It’s almost as if those 2 were the problem with money. They were demanding so much, the network couldn’t afford to pay anyone else much. The network is trash. I will live to see it die.

#Anonymous

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