#and I've said this many times before but it's one of those visual effects I wish I could do well

[canisalbus]

I have a dachshund and one day she looked at me with the sun behind her and her ears were glowing from the backlight. It made me want to draw a picture of Vasco that way! So here’s my best attempt at capturing the halo ear effect that occurred. Bonus: Vasco as a candy corn because his colors made me think of candy corn.

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[skyfallscotland]

The constant "maybe you should have re-read Fourth Wing and Iron Flame before jumping into Onyx Storm, don't blame the author for you being confused" posts are getting on my last nerve.

Stop being a pick me. Do you think we're all over here saying there were "so many people" because we're referring to Lynx & Baylor?

Sorry, I'm upsetti spaghetti. I was fighting for my life with my brain trying to remember all this in the first ten chapters, sorry I thought it was going to be important 🙃

Duke of Calldyr - short blond beard, four different consorts in four years

Duchess of Elsum - dark brows

Duchess of Morraine - high pitched voice, golden-brown skin, ruby earrings and necklace

Duke of Luceras

Queen Maraya - light brown skin, dark eyes, curly hair

Captain Anna Winshire - talkative, strawberry-blond, brown eyes

Captain Henson - female, tightly woven black braids, air wielder

Lieutenant Pugh - male, blue eyes, farsight

Lieutenant Foley - male, agrarian (plant-wielding)

General Tinery - in command of the Southern Wing

Ewan Faber - stocky, sour-faced, Navarrian Fourth Wing wingleader

Iris Drue - wingleader of Navarrian First Wing

Theophanie - long silver hair, high cheekbones and full mouth, pale skin, tattoo on forehead, beautiful, venin sage or maven

They were all introduced in the first ten chapters. Of a 60+ chapter book. This doesn't include description only characters, dragons, or places.

She did a really good job in the last book of introducing the Assembly as "silver beard" or "battle-axe", getting their descriptions stuck in our heads before we moved onto actual names and that, in my opinion, worked really well. That kind of technique can sometimes be greater than throwing a whole bunch of names in off the bat like she did with all these captains and lieutenants, especially if they're not going to be important.

Sometimes giving them a name is giving them significance—to me, it signifies to the reader hey, these people are going to be around a lot, you should know them!

I've also seen people saying "well there's a map and an index" ...these people aren't on there. The Isles aren't on the map. I have no visual for where we're going. If you're worried about spoilers, you can always put the "new" map at the end of the book for those who want to see.

I'm not 'blaming' Rebecca Yarros. She's allowed to make whatever choices she wants, it's her book, but these are choices she's made that she could have made differently, and I don't think it's kind to be calling other people idiots because you think we're all out here forgetting who Tecarus is because you only took in the surface level.

How are we supposed to know who is going to be important? We don't know where the story is going and all of this is getting shoved at us one by one in the opening chapters.

Also, as a generally nice human being, if I were on the other side of this discourse, I would have said "I'm not sure how people are so confused, what are you missing?" Not, "sorry you're too stupid to understand, maybe you should not be reading fantasy" 😃

The internet has made it far too acceptable for people to be rude to others. We're allowed to all have our own experiences and disagree. You can do that without denigrating other people's opinions and gatekeeping fantasy? Ew.

I don't dislike Rebecca or the series in general, I think she did a fantastic job with introductory world-building and introducing characters in the first two books, it's why I like it so much. The techniques she used worked. I just don't think she used them as effectively this time 🤷‍♀️

As I constantly say, if you only read it on surface level, if you're just here casually for the vibes, I love that for you! I wish I was you! But the toxic positivity can fucking go.

[likealittleheartbeat]

hey! i really enjoy your analysis of aang and zuko's relationship, and i was just wondering if you have any thoughts on this:

when aang considers what he's afraid of the most, he doesn't just see zuko - he sees the blue spirit. why do you think his fear is linked to that mask? zuko was the most amicable towards him when he put that mask on, and was hostile every other time.

Ooooh!! This is such a rich and meaty question!! And it's something I've wondered about but never dove into before.

I guess there are a couple of questions we need to explore. One, do we want to begin to analyze this from Aang's perspective or the series' themes, which, when put together, should offer us the fullest idea of what the intent might be? If we begin with Aang's perspective, then the next question we need to next ask what is Aang's view of Zuko and/or the Blue Spirit at this point in the narrative? My worry about beginning at that intimate level is that we might miss possible connections that a thematic understanding might facilitate and may, like many fandom analyses, leave it at a character level when, in fact, the characters exist to serve larger philosophical purposes, especially in a show like ATLA.

So, we'll return to those questions about Aang after we visit some questions about the broader themes here. We know for a fact that the team did a lot of research into Eastern philosophies that they had to then pack down into 24 minute episodes, preserving a surprising amount of complexity not in the words but in the actions and visuals. The 2 part Crossroads of Destiny episode is probably the most evocative of this practice. The four-way fight scene is celebrated for the way it masterfully shows character development through fight choreography. Then, Aang's crystal chamber he forms to master the Avatar State is a direct reference to a statement about pre-enlightenment in one of the foundational texts about Japanese Zen for American Buddhists, "The Three Pillars of Zen." The rapid explanations of the seven chakras with Guru Pathik might seem like a a skimming of Tantric beliefs based on the brief statements and processing, but it's another prime example the way ATLA suffuses meaning beyond the script.

What more can be said about the Earth (also called the Root or Muladhara) Chakra, then, that the show might reflect without stating it explicitly. Guru Pathik explains that the Earth Chakra "deals with survival." Is there any subject more prescient than that for our protagonist, the single survivor of an otherwise all-encompassing genocide? Other accounts of this chakra that I can find explain that it's at this chakra that one can observe that their base needs are being met--enough food, enough water, etc. There seems to be a subtle witnessing to the effects of PTSD here then. With this chakra untouched, unopened, and out of balance, Aang within his mind has been living in a state of emergency without knowing it, believing himself at a core level beyond his consciousness to still be under immediate threat even in moments of peace like his meditations throughout the opening of his chakras. "Your vision is not real," Guru Pathik points out, not to say that no danger exists for him in the world but to illuminate the immediate reality surrounding his person.

The memories and visions that flash during the sequence hint at how fear conceals deeper realities and thus possibilities. I'll start with the clip of Katara sinking away from the first episode of Book 2, "The Avatar State." The Earth Kingdom General performed this cruelty after many other attempts to force Aang into suffering to gain the Avatar State. Believing he lost another person he loved, the state was triggered despite the actuality that Katara was unharmed. The fear of her loss overwhelmed Aang, and even her safe return could not assuage his traumatic response. The Blue Spirit incident forms a striking parallel to this event, in that case. Aang felt himself helpless and in danger only to discover the opposite: the seemingly malevolent force freed him from danger. Further, that Blue Spirit Mask concealed Zuko who, by the end of the series, will be revealed (to himself and) Aang as an ally and a friend. The shadowy image of Ozai, then, connected with these two fear-inducing semblances, can be seen then as perhaps the ultimate foreshadowing of Aang's ultimate success in pacifying Ozai. Put in the context of this chakra and the other two visions, it frames the Firelord as a facade meant to induce terror and distance, when in reality, life and humanity still lay behind the horrifying megalomania.

Concerning the Blue Spirit element specifically in the series, I want to explore one more factor within the series before getting back to Aang's character relationship in this moment. Blue has a running symbolic theme within the series that seems especially relevant here since it played a huge role in a highly symbolic part of the directly previous episode, "The Earth King." As Zuko rides out his psychogenic fever induced by releasing Aang's bison and abandoning his Blue Spirit mask, he is confronted in his dreams by a blue dragon voiced by Azula and a red dragon voiced by Iroh. I felt really confused by these two would-be shoulder angels for the longest time (literally until I was sorting my thoughts out to write this) because Azula's blue dragon is the one who entreats Zuko to rest, which even in Grey Delisle/Azula's clearly threatening tone--she even ends the temptation by saying "sleep just like mother!"--seemed to be what Zuko needed to do as opposed to the red dragon's exhortations to get out. I could see how sleeping might also refer to accepting his upbringing without thought, but why blue? The layers upon layers of possible meaning overwhelmed me.

I posit that blue in the series, especially when put in relationship to red/orange, as it is in the dream sequence, the dynamic between the water tribe and the fire nation, the fire of zuko and azula (especially the final agni kai), and the energy-bending of Aang over Ozai in the finale, ought to be read as Yin (making red/orange yang). Yin is passive, retractive, and receptive, which makes the invitation to rest by a blue dragon make perfect sense. Yin is also feminine in nature, hence the association with both Azula (whose blue fire and lightning becomes especially interesting to explore under this understanding) and Zuko's mother in the dualistic dragon dream. If you know anything about yin and yang, you know that it's key tenet is ever-changing coordination of yin and yang within one entity and with relationships between entities rather than the privileging of one above another. The two dragons in Zuko's dream, while seemingly in opposition to one another, are actually seeking, like the bumper stickers say, "coexistence" of their dispositions.

Now, back to Aang's vision of fear over the Blue Spirit. The red that overlays everything is specifically a reference to the Earth Chakra, which is symbolized by the color red. But the fact that he has one fear of Katara, the pinnacle of blueness/yin in the series, dying, and another fear of the Blue Spirit, a de-flamed (read: emasculated) Zuko attacking him that are then overlayed by this Earth Chakra red, a color otherwise used to portray yang (masculinity, activeness, expansion, and repulsion) and the fire nation in the series, suggests that his fears are specifically about within holding onto yin nature (symbolized by his grasping for a disappearing Katara) without being entirely overwhelmed by it (in the image of the fear he felt as the Blue Spirit approached his imprisoned body). And all those fears are intensified when living in such a patriarchal, or yang-skewed age and society, which gets depicted through both the final image of Ozai, the ultimate patriarch within this world, and the red coloring.

I promised I would get back to the characters, and after that hopefully illuminating thematic expansion, we can hopefully get at the core of what's going on here for Aang personally and what it might mean for him to be picturing Zuko with the Blue Spirit mask as a fear. I want to put this moment into context with Aang and Zuko's relationship at this specific moment. Aang hasn't seen Zuko since he watched him cry over his uncle in the ghost town after Azula struck him with lightning as a diversion. That was ten episodes prior (and more than 6 months time if you were watching the show in real time as it premiered; May 26th-Dec. 1st). The next time Aang sees Zuko, two episodes later, they are glowering across a crystal prison cell at one another with antipathy as they're embraced (a gesture I can only remember from the fantastic black romance film Love & Basketball, and in a gay context that is clearly referencing that moment in L&B, in the Norwegian teen romance series Skam). Right before this scene, Aang readily agrees to co-rescue Zuko and Katara with Uncle Iroh despite Sokka's protestations. Nothing seems amiss with Aang, no obvious belligerence toward Zuko until he sees him. Zuko has barely seen the airbender this whole season, and the one moment they encountered one another, Zuko was attacking Aang's attacker rather than him. Why is Aang expressing anger toward Zuko in the crystal chamber then? It's a rare expression from Aang even when we look at their more antagonistic interactions from the first season.

Here's where this vision of the blue spirit Aang envisions as he opens his earth chakra might enliven his characterization and his relationship to Zuko. We get two pieces here. His attachment to Katara and the queer implications of his partnership with the Blue Spirit/Zuko. And they are inseparable.

I don't feel that I need to especially dive into the attachment to Katara since it's been a pretty big component of discourse within the fandom, both in general analysis and more specifically relating to the (literally historic) shipping wars between zutara and kataang that emerged after the series came out originally. What I'll say here is that the first vision that Aang has as he addresses his root chakra points to his fear of losing her and what she represents pretty explicitly and, as I suggested earlier, also provides its antidote in the realization that accepting/surrendering the fear of impermanence reveals its simultaneous illusion. Katara wasn't actually harmed and wasn't truly lost when the general subsumed her into the ground. Aang has to let go of her as a permanent fixture that he'll always be able to see and know entirely (not, as many have interpreted it, let go of loving her). He'll also have to let go of saving her and the world of so many others she represents, which is as much a pressure and role Katara and others put on him as Aang yolks himself to.

Part of this acknowledgement of Katara's impermanence as a living being and a romantic possibility is addressing the others in her life who pose both danger and attraction for her. Zuko embodies both of these things simultaneously. The aggressive stare Aang launches at Zuko in "The Crossroads of Destiny" can be understood through this lens. The Eve Sedgwick's concept of the triangulation of male homosocial desire between romantic rivals was one of the foundational ideas of queer theory. It's so well-established as to be a meme among the tumblr crowd. The show even references the history of these literary homosocial tropes in "The Avatar and the Firelord" as Sozin and Roku's tight-knit youthful friendship is slowly rent apart at the event of Roku's heterosexual marriage, which thus begins the imperialism of the Fire nation.

Except that Roku and Sozin aren't romantic rivals. And Zuko's obsession with Aang begins sans Katara. And, as you pointed out, if the romantic threat is Zuko, it ought to be Zuko in the Earth Chakra vision instead of the Blue Spirit? Well, those all exist because ATLA is not a tragedy for homosocial relationships, and it's hard for me to explain how groundbreaking that was.

You see, the show theorizes homosociality differently. If Aang is required to let go of Katara, he has no pivot point, no object (because women shouldn't be objects for male fodder!) to connect with and compete with a rival male, so he has to look directly at the desire of another male for him and, therefore, face the fears that he might have similar desires. I said above that the Blue Spirit is an entirely de-flamed Zuko, which I then paralleled to emasculation. One could even go farther to call it a kind of symbolic castration (Firelord Ozai losing his firebending at the end of the series certainly demands this kind of reading). These aspects ignite fears about lacking masculinity which then cause reactions, which make men avoid accepting any thoughts and behaviors associated with vulnerability and homosexuality invoked within themselves or by others.

I think Aang, in his way, is confronting these fears but not from the angle of someone raised within a homophobic or misogynistic culture. His openness to Zuko and the potential of connection to him is ripe from the first time they meet--"you're just a teenager" connects them without any intermediary. He comes to understand the rigidness of the environment he's in, though. He feels like he's being forced to choose between a yang/masculine role he plays with Katara, who at this point in the series though growing out of it and certainly not a fault of her own making still sees him as her savior and depends on him to save her and the world through metaphysical mastery and the repulsion of evil, and yin/feminine role he plays with Zuko, who finds Aang in and forces him into positions of elusion, surrender, and passivity, while requiring his compassion and forgiveness. When the Blue Spirit comes swinging his swords (read that with all the innuendos you want lol) at a shackled Aang, it's the ultimate expression of Aang's potential for submissiveness because, not only is he entirely helpless but the one who could harm or save him in that scenario is another who is not participating in the expected power of fire/yang/masculinity.

I think everything in the show says this is attractive to Aang--that he remains with Zuko immediately after their escape from the fort, that he reflects on the Blue Spirit as he opens his chakras, that a reference to the conversation that followed their escape that Zuko makes halts him in his tracks when Zuko asks to join the team. Zuko's Blue Spirit persona means a lot to Aang, a scary amount, and my point is that it's this fear of the meaningfulness of their encounter as two men who are not the masculine paragons they are supposed to be which Aang faces as he opens his chakra. As much as he wants Katara, he wants Zuko. He fears he'll lose Katara and he fears he'll lose his life to Zuko. These are the dichotomies he's tackling as he processes the Earth chakra.

Aang eventually opens the chakra, but that's only to say he acknowledges and surrenders his fears to a destiny and understanding beyond his control, not that he necessarily learns how to address and solve all the conundrums contained therein. We know he chooses his attachment to Katara at the end of the episode to obtain power over the Avatar state but perhaps we could've been clued into this choice by noticing he has not chosen Zuko with that initial glare Aang gives him. Aang hasn't found a way in his chakras or his heart to hold both Katara and Zuko at once, so he chooses Katara and expresses a newfound jealousy and rivalry toward Zuko (not that Zuko's at his best behavior at this point, but it's Aang who initiates the exchange).

By the end of this season, Zuko abandons the Blue Spirit mask and Aang loses his life for prioritizing Katara and a yang-centric mastery of the Avatar state. The next season involves all three of the protagonists finding more internal balance between yin and yang for themselves and accepting mutually reciprocal feelings for one another that allow them to escape the kinds of patriarchal tropes that have dominated Anglo- literature for centuries. The ability of this brief sequence to highlight so many of the series' central revolutionary themes speaks to the depth of the show and the way it invites the audience to think about rich subtext rather than pedantically hammer us with morals will just continue to be the gift that keeps giving from this show.

Thanks so much for asking! Didn't know how much I missed doing a deep dive into this kind of stuff.

[mtkay13]

Qi Ye ensemble cast poster, second edition

Yet another one of those LOL Qi Ye just has that power over me. You know the drill; more info below!

I'll go straight to the point: my main reason to draw this was because I wanted to draw the most somber, dark-looking Helian Qi possible with some dark cross-hatching effect. And because I don't want to draw a Helian Qi solo image because who the HELL does that, I had to turn it into an ensemble cast thing again. I just REALLY like to do that for Qi Ye, for some reasons!!! For a general note, first: shading was a PAIN but making a nice composition and thinking about how to make a hierarchy that both works in terms of storytelling and visual composition was fun. I also liked finding out the "color scheme" to use and I do like lineart. So, now, little notes about each character, and the obligatory name poster just so I'm sure we all know whom I'm talking about:

Jing Beiyuan: I've mentioned it before but drawing Beiyuan is like. The easiest for me, I think, out of ALL Qi Ye/TYK characters combined. He happens to have my general goto "pretty face" (which conveniently has peach blossom eyes). I'm happy with how he turned out here! And got to put the sable around his neck which makes for a nice additional touch. Helian Yi: He's easy to draw as well and I'm glad with how the guan turned out. He initally looked sideways, but I liked it better having him wistfully stare into the distance. Helian Zhao: has the exact same face as in the other, coloured poster, and that cracks me up bc that wasn't even intentional. Helian Pei: GDI I find him so hilarious. He looks so done and out of it. Shout out to all his bird as well, which, I find, really complete the look. Helian Qi: I can't possibly say that I love him as an antagonist because there's nothing to love about this literal trash, but I'm still grateful that we got some of the most rancid stuff going on in Qi Ye just because of him and I'm always here for that. He deserves the villain visual treatment, at least. He was VERY fun to draw and I tried to push that nasty grin and shading as much as possible. He turned out exactly how I wanted him to! (the shading on his face and the balance of light and shadow was a bit of a challenge, actually)

Wuxi: Again, a rather easy one, always pleasant to draw! I loved working on his hair (but complained a lot while doing so)--which I think turned out nicely. Bai Wuchang: Finally! Finally I draw him!! He had to be there, since he's like. The base of the whole Qi Ye plot. Lining him was....... a pain, but at least it looks nice.

Su Qingluan: nothing much to say--I think it's always important to have her there in Qi Ye stuff, and I put her next to Helian Zhao because of how he tried using her--but it did make me feel bad for her when I realised that. Song Ping'an: The real star of the show, lowkey, but always alert and present. Feng Xiaoshu: FINALLY. PRINCESS JING'AN. I'm sorry I took so long to draw her. I want to work on a proper design, I swear. To make up for having completely forgotten to include her in the other spread. I'm so sorry. I like how her face turned out! Liang Jiuxiao: I never, ever, EVER get enough of drawing him. Have I mentioned how much I like him? How much of a great surprise he was reading Qi Ye? How many times I've wanted to high five because finally someone is as confused as I am? I love drawing this very specific smile on him, SO satisfying. Also Bichen said he was "THE Qi Ye antagonist" and I live for that LOL Zhou Zishu: do I really need to say anything atp Jiang Xue: I'm so sorry I put Xiao Xue next to ZZS. The cruelty. But she came out really cute didn't she T_T Anyway that's it. I'm still obsessed with Qi Ye and given my current (totally secret) retranslation project I'm nowhere near done going crazy about this book.

[marscia]

On life post-grad and how I've been, where I've been

It’s been almost a year since I finished my bachelor’s degree. Funny though, I don’t miss university at all, when all I could think of before graduation was how much my life would probably feel so weird without uni. But I think I just felt so burnt out in those last few months that all I wanted was to wrap things up and move on—which I did quite easily, to my surprise. Though, despite wanting to write about my experience in terms of graduating uni and shifting to working full-time in corporate (which was quite the change of environment!) sooner, I just could not get the right words out of my system and was always faced with a blank Word document. Now that it’s been over ten months since, I’m starting to get my rhythm back.

I now work in marketing for an e-commerce website that houses international luxury fashion, beauty, and lifestyle brands. I execute and produce (mostly) video content for the website’s social platforms, mainly Tiktok, Instagram, and Facebook. A lot of people I know describe their first few months of post-grad as overwhelming, confusing, etc., but luckily it wasn’t the case for me (which I’m very thankful for). I was given the opportunity to apply for Vogue and managed to submit my writing portfolio and even snagged an interview, but after receiving a job offer from a different company that met my requests, I took it without hesitation. 

I immediately started two weeks after graduation. So far, the work environment has been wonderful. The company values work/life balance and I always get to enjoy my weekends and hours outside of work. I’m aware that this is a privilege not many people have, so, I’m extremely grateful for it. 

What really threw me off, though, was the sudden shift in where most of my mental energy goes. In university, I was always thinking in the context of theory application and research. But now, at work, I’m required to think in the context of aesthetics and what makes something visually appealing and how to effectively translate that into an equally appealing visual content. It’s a different kind of challenge; though I’d be lying if I said I didn’t miss being directly involved in academics and writing essays.

I still fall behind on some days and forget to eat lunch, or drink water to keep my body hydrated. I sometimes spend way too much time on my phone and lose what could have been a couple more hours of sleep. Reading slumps hit me more often now than it did when I was a student; because no one warns you that when you start working full-time in corporate, you get home every day, tired and socially exhausted, and most days all you want to do is close your eyes and take that nap you’ve been dreaming of since lunch. 

But I try. I’ve managed to get back into the habit of doing my skincare every night before bed. I watch Booktube to inspire me to read and lately it’s been such a big help; I’m slowly getting back into reading again. I bought a new shelf to organize the stacks of new books that have been piling up all over my room the past couple of months—now it looks so pretty standing next to my desk. Last month, I decluttered my closet to make room for new clothes. This weekend, I’m planning to buy new sheets and a comforter I’ve been eyeing for a few weeks now. I’m doing alright.

It’s comforting though, that one day you’re crying about finals and the next, you’re drinking a hot cup of tea on a Monday night after a long day at work, telling yourself that you did good and tomorrow’s another day. And you realize that no one’s after you. There’s no need to rush and everything will be fine. Things always figure themselves out, anyway.

[aspiring-holistic-otaku]

Season 3 Ramble #8 - A is for Anime(solo reprise) ver.3

Hadn't been doing the run-up posting I usually do for my rambles due to work and such but here we are!

How this ramble is gonna go is I'm gonna list my top 3 movies watched this month then top 3 series for same, AAnd now that I actually have a semi decent number of anime under my belt I'm gonna do a quick top ten of both at the end.. after that if you wanna stick around, instead of the usual post ramble ramble, I'm gonna add a bit of the recording I did with the homies, as a sort of prelude and promise that we will have that conversation in future. I really think it's an important and potentially fruitful discussion to have.

But In any case getting into the episode now

TOP 3 MOVIES 

3) Belladonna Of Sadness (1973, 1hr33m, Mushi Production)

Crazy movie. I don't think I can accurately talk about it without it sounding too wHild… I'm still gonna, but I'm gonna open with what Google says about it.

A peasant woman is raped by the local lord on her wedding night. To take revenge, she makes a pact with the Devil himself who appears as an erotic sprite and transforms her into a black-robed vision of madness and desire.

As I said.. wHild… and that's just the summary…the details of the actual movie are like…woah.. but in any case it was great, actually something that'd been on my watch list for a good long while so I'm glad I could actually finally watch it. 

Glazing over the plot which the summary does a pretty good job of covering anyways, the visuals were absolutely stunning. They're by Yoshitaka Amano, probably most famously known for his final fantasy illustrations. For the most part the visuals are done in what looks like watercolor paint, which is just wild in my mind,, like wHy?? He definitely pulled it off though which is even more crazy cause a good amount of it was done in an almost slideshow kinda way which I usually don't like but he still pulled it off…crazy…. Should be kinda obvious from the summary but moderate tw. Still definitely strongly recommend.

Small sidenote - in making this ramble I found out that belladonna of sadness is actually part of a trilogy called animerama,, so now I have 2 more old ass movies to look forward to. Hopefully they're just as good or even better…

2) Lupin IIIrd: The Gravestone of Daisuke Jigen (2014, 51m, Telecom Animation Film)

Ever since I watched my first lupin movie 3 years ago I've been locked in. In fact it was such a good watch that I've limited myself to one a year. Thankfully the trend of awesomeness has continued up to this point but enough premature glazing. 

This movie is basically centered on Jigen, as you can probably tell from the title. Just a point of clarity for those who don't know much of anything about lupin, Jigen is basically the gunslinger of Lupin’s crew. So as this is basically his movie, he's ofc facing off against a gunslinger. The title is so named because this guy, the gunslinger they find themselves up against, makes graves for his victims before killing them. Nobody's ever gotten away from him. In fact he's so good that he uses dice to decide how many bullets he'll use to take out his target. Ice cold mf.

Pretty good action from start to finish though I’m a tad disappointed there wasn't more gun-slinging, though from what I gather Jigen’s whole thing is speed, accuracy and efficiency,, so maybe a barrage of bullets wouldn't have made sense. In any case we get to see all of the crew besides goemon, dry cry as he's my personal fav but still solid. The art direction was great from all angles as I've come to expect. Not too much to say cast wise as on Lupin gang’s side there's a cumulative effect of greatness where every time you see them it's generally a continuation of past interactions, as in there's an obviously rich history there. That being said, the dynamic is still great and from what I've seen, you can pick up any of the movies and immediately love them. But anyways, on the other hand, the main villain/organization felt a bit hollow. Which is something I've come to kind of expect with movie exclusive antagonists in general. It's just a matter of time efficiency. I think when it comes to anime movies, you're generally not watching for the antagonist unless they have to do with the main storyline. Otherwise you're kinda watching to see how the protagonist will beat them in about an hour. Though I will say as far as visuals can speak, they definitely spoke volumes in that sense. Also, given the geopolitical climate we're in, I liked the villain/organization and how they were handled... trying not to spoil too much there but if you so much as peek between the lines you probably get it.. In any case definitely highly recommend.

Side note - every lupin movie I watch further solidifies my decision to get into the series… just watching the movies first for some reason…

1) Mind game (2004, 1hr44m, Studio 4°C)

Honestly,, I don't even want to speak on it for fear of sullying its greatness. It's one of those life changing before and after watches fr. This is something I'd been really wanting to watch since ver.1 when I started getting into Studio 4°C through their awesome anthologies genius party and genius party beyond.

I'm gonna default to the anilist description here which is kinda almost decent relative to the sheer phenomenal amazingness of this movie.. but I digress.. so according to anilist..

Audiences will begin to grasp what they are in for early on, as loser Nishi, too wimpy to try to save his childhood sweetheart from gangsters, is shot in the butt by a soccer-playing psychopath, projecting Nishi into the afterlife. In this limbo, God - shown as a series of rapidly changing characters - tells him to walk toward the light. But Nishi runs like hell in the other direction and returns to Earth a changed man, driven to live each moment to the fullest.

The last bit hints at the greatness of this film. Right there that small difference in speech speaks volumes in my personal world of language. It's not just a movie. It's film. 10/10. absolute cinema.

As I said I don't even want to talk about it too much because I don't think it possible to do it justice through mere words, but I'm gonna put a bit more glaze on it before I wrap up the movie list and move on to series. This movie beat out studio ghibli’s, Miyazaki directed, howl’s moving castle in the 2004 Japan Media Arts Festival. Further, this was a debut work for the director Masaaki Yuasa, who would later go on to found science saru studio. I was so moved by this movie that I've decided I will watch everything masaaki yuasa has and will ever direct. 10/10. highly recommend. end of glaze.

hm: under the dog, Mezzo forte, blood: the last vampire, 4°c (sweat punch, short peace from last time)

Top 3 Series

3) Frieren: Beyond Journey's End (2023-2024, 28ep 24m, Madhouse) 

This is something I'd been seeing around for a bit but was intentionally ignoring because for some reason I got it in my head that it was based on this sad little one shot called The hero’s party on their way back home, and I was NOT watching an entire series based on that.

In any case, in talking with my bros recently they all insisted that it was the best anime released in the past year, one of them declaring it was in his top5 all time. So I pushed past my fears and binged it all in a day. V thankful for the bros.

The story here follows an elven mage called frieren and her life after defeating the Demon King and bringing peace to the world.

As you can tell from the summary it's largely a slice of life but it has its fair share of well placed scraps. It fills a certain fantasy gap where you get that day to day rose tinted indigenous peoples’ lifestyle feel, that I think most people would want if they actually lived in a fantasy setting,, not that constantly under threat from dragons and shit usually focused on. And as I said there are some well placed fights. The pacing also felt perfect. Like I almost felt bad binging it because I could tell that once a week watch would've been REALLY good… one of the few series I don't want to read the manga for, I'll definitely be watching weekly whenever season 2 drops..

Great cast though kinda small, pretty brilliant visuals and sound direction. Very very very solid all round, what I'd call supremely balanced tbh. One of the bros put it really well in that he said he has synesthesia so everything has colours for him, and the colours of every aspect of this show came together to paint the perfect picture. Now I don't have synesthesia myself but I could definitely feel, not just see, how well orchestrated it all was. definitely strongly recommend.

2) Tengen Toppa Gurren Lagann (2007, 27ep 24m, Gainax)

Yes. It's 2024 and I’m just watching gurren lagann and you'll hear why that is if you listen in to the post ramble ramble,, but suffice to say, you can never be late to true greatness and Tengen Toppa Gurren Lagann is definitely in that category. 

Firstly I kinda watched it as a meme seeing as last ramble I focused on the supposed relationship between sacred geometry and JoJo's bizarre adventure… if that sounds crazy then you should listen to the ramble… not that it'll sound less crazy but..yh.. anyways I was vaguely aware that gurren lagann focused a bit on spirals so I tapped in for the meme. 

To summarize the lengthy anilist summary,, In a far away future, mankind lives underground in huge caves, unknowing of a world above with a sky and stars. yada yada yada blah blah blah Simon, Kamina, Yoko, and the small yet sturdy robot, Lagann, journey to the world above and find that the surface is a harsh battlefield, and it's up to them to fight back against the rampaging Beastmen. Pierce the heavens, Gurren Lagann!

Again I'm gonna fall back on the words of another of my bros from the session, I think he had it in his top 10 or 5,, but he said he considers gurren lagann to be a perfect starter anime in that it perfectly showcases almost everything the medium of anime has to offer. Action, comedy, philosophy, slice of life, amazing cast, brilliant visual direction, solid sound direction. etc. the term “starter anime” gets thrown around a fair bit and I usually think it's a rubbish term because of how insanely diverse the medium is and how specific different individuals tastes can be,, so like to say this or that anime is a good “starter anime" never made sense.. but when he said it, that was the very first time I actually thought it made sense..

Definitely super highly recommend, a recommendation to pierce the heavens if you will.

1) Akiba Maid War (2022, 12ep 24m, P.A Works)

Gotta say it was a tough call between this and gurren lagann but it won out for 3 reasons. #1 it's shorter, and that's not a lazy pov, I just personally tend to give more ratings to shorter series in general because I think being able to do something amazing in a short amount of time deserves more props than doing so in a longer span of time. personally.. #2 it was FUNNY. AS. FUCK. I'm coming to realize that when it comes to anime specifically, comedy may be my favourite genre. I can't quite put my finger on why but I think it has to do with how far animation as a medium can push physical humor.. idk.. lastly… idek why I felt the need to justify all this…it's my list… but lastly,, and most importantly. maids. enough said..

The story here follows the dealings of different maid cafes in the town of Akihabara. I say dealings because in this show the maids basically act like Yakuza, having turf wars, extortion rackets and drug trades(just a point of clarity for those who've never heard the term, you've probably guessed but Yakuza are basically Japanese gangsters). In any case this is all under the table as they pay off the police and act the usual cutesy part in front of civilians. That may be a bit of a spoiler but a gif of it was going around a lot last year i think,, with this one maid gunning down a bunch of other maids and it was made to look like an idol rave with the glow sticks and everything + the “twist" if you can even call it that happens in episode 1 so it's not like some major turning point spoilers + "wars” is literally in the title, so with all due respect, you can bite me.. 

In any case, as I said this shit was funny ASF, mainly because of the opposing imagery of maids and yakuza they somehow pulled off perfectly.. like I can't begin to explain how crazy it is to see maids cussing each other out with the most obscene language, fighting it out in the craziest brawls, then turning around and going “welcome home master”. 

Fairly small but very strong cast, all funny in their own unique ways from the hardened criminal type to the frightened newbie. the visuals were great, sounds direction solid, I really really loved the op and ed, cause they just perfectly matched the shows energy. Kinda episodic for the most part but that fit the crazy, “you'll never guess what happens next” energy… Just great overall like wow.. a bit surprised I haven't seen it around more but I realize comedies don't tend to get that much ratings on release, if they do get attention it's further down the line as a “hidden jewel".

But in any case yes. 10/10. definitely highly recommend. please go watch this. have a good laugh, give thanks for life and go see the beauty of the world.

hm: Flying Trapeze, Goodbye Mr. despair (from s2)

Top 10 Movies (no order)

A Silent Voice, Memories (anthology directed by katsuhiro otomo), One Piece Movie 6: Flower Island, Tokyo Godfathers, Mind Game, Ocean Waves, Nausicaa Of The Valley Of The Wind, Sword Of The Stranger, the Lupin movies (just watch all of them lol), Maquia: When The Promised Flower Blooms

hm: Words Bubble Up Like Soda Pop, Animatrix, GITS Innocence, Wolf Children, Princess Mononoke

Top 10 Series (no order)

Tengen Toppa Gurren Lagann, Akiba Maid Wars, Nichijou, Hyouka, Mononoke, Sonny Boy, Tatami Galaxy(all spinoffs, movies, everything.), Steins;Gate, Dorohedoro, Angel Beats, Durarara!!(all seasons)

hm: Baccano!, Pluto, FLCL up to Progressive, Cowboy Bebop, chainsaw man

[chasingshadowsblog]

Review: Better Man - Something Beautiful

Title: Better Man Directed by: Michael Gracey Written by: Simon Gleeson, Oliver Cole, Michael Gracey Starring: Robbie Williams, Alison Steadman, Jonno Davies, Stephen Pemberton, Kate Mulvaney, Carter J Murphy, Raechelle Banno, Frazer Hadfield Music by: Robbie Williams Choreography: Ashley Wallen Visual Effects Team: Wētā FX Visual Effects Supervisor: Luke Millar Production Design by: Joel Chang 

"It might be cabaret but it's world class cabaret and I'm the fucking best at it. Fuck yourselves."

There are fair comparisons to be made between Better Man and Elton John's Rocketman. Both draw on fantastical elements to depict the experience of sudden and extreme fame. Rocketman does so through colourful, high-octance musical sequences and the image of the singer shooting up into the sky like the rocket man he sings about; Better Man is more rooted in reality but depicts its subject matter - the musician Robbie Williams - as a CGI chimpanzee.

Williams has spent his life, it seems, hiding his anxieties behind a 'cheeky monkey' persona but it is not to this that the ape-suit refers, i in his own terms Williams has always viewed himself as "unevolved" compared to those around him and it is this idea that saves the the CGI chimp from being a gimmick and makes it a unique and engaging stylistic choice. It takes all of ten minutes to get used to the CGI chimp and after that ten minutes it's difficult to imagine a human face and body in the same role and it is not so difficult to see the human being behind the chimpanzee eyes. After that ten minutes, the effect is almost invisible. It helps that none of the other characters allude to the fact that they are talking to a chimp. There is no wink and nudge; Williams' story is told with sincerity, making his presence as a chimpanzee and the film's energetic musical numbers - a Take That montage that jumps and flips around Regent Street, a delicate sequence in which he falls in love with Nicole Appleton, and an unexpectedly violent scene in which Knebworth Stadium is turned into a gladiatorial arena where Williams battles past versions of himself - seem utterly natural.

While the ups and downs of Williams' career aren't so different to sudden fame and cocaine blues depicted in many a musician's biopic, the commitment to the stylistic punt pays off totally and utterly. The schtick will - hopefully - put curious bums in cinema seats but the heart-felt sincerity in which the story is told will keep them there. Williams and director Michael Gracey took a massive risk and it absolutely works. There is a magic in Better Man, in Williams' words and Gracey's committed directing, that somehow, combined, make the emotions in the film more heartfelt and stronger than they would have been had Willimas been merely a man.

Other bits:

I've only written two reviews so far this year and they both reference Elton John and Rocketman so I think I should be expecting a cheque in the post soon

Good evening everybody! My name is Robbie Williams. This is my band, and for the next two hours, YOUR ASS IS MINE!" - bruh

all the song and dance sequences were outstanding - it needs to be said, it needs to be SHOUTED

that She's the One number was so beautiful

again, the absolute commitment to the bit that this film did is really what made it for me. I kept expecting, after his rehab, that he'd turn into a man, but I like the insinuation that even after sorting himself out, Robbie Williams still sees himself as a chimpanzee

"I'm gonna be fucking famous!" "Shut up, you tit." "Oh, fuck off Glenn."

Alex Godfrey's review is brilliant and captures everything that was so brilliant about the movie: https://www.empireonline.com/movies/reviews/better-man/

I wasn't a huge fan of Robbie Williams when I went to see this - I liked some of his songs but his peak as a musician was somewhat before my time - I enjoy music biopics and this one caught my interest as a bold and cool way to tell this kind of story, but consider me converted I'm absolutely sold on his music now

the Relight My Fire setting was so good and effective in conveying how overwhelming it must be as a musician to face that scale of an audience and venue

I realise that it is probably not his story to tell, but I would have liked if the film had been more explicit bout the fact that Nicole had to get an abortion because her producer wouldn't let her have a baby. It made me think of Sinéad O'Connor, who refused to get an abortion and how she is probably a minority among the many women who have been treated this way. I think it would have been a good opportunity to at least shine a light on the issue in a conversation or argument about it, even if they didn't want to dwell on it for the entire film

fucking Oasis

[sabrinatvband]

Notes on Comic Art #3: Dynamicism [again]

I've recently been devouring Tim Eldred's writings. Eldred is not a very famous artist, but you're almost certainly familiar with his work. He's been a storyboard artist and / or director on Extreme Ghostbusters, Avengers EMH, Teen Titans (2003), and every Spider-Man show beginning with TNAS, as well as many, many other shows.

But before primarily becoming a board artist, Eldred worked in the comics industry. He did a lot of work on anime/manga-inspired comics, and was a staff artist at Malibu Comics for a few years.

One of the many odd-jobs he did in his career was create art for a few of those Christopher Hart "how to draw X" books you've probably seen. Don't worry, Eldred has credibility; he thinks the books are shit and he only accepted the work to make ends meet. But he thinks an example of good comicbook storytelling that he did for one of Hart's books mostly holds up, if you ignore the writing Hart added around his examples.

I recommend you read Eldred's post about this first, and then come back around here to read my own commentary.

An entire book drawn like this first example would eventually start to feel like those comics laid out by Jim Shooter. Shooter's comics are a many notches above this, but the effect of having few dynamics would basically be the same.

Eldred says he constantly saw direct downshots in pages from beginners during portfolio reviews. I don't think Eldred is lying, but the weird thing is that I can't recall ever seeing a direct downshot in a comic. I guess it's because none of those beginners ever got published. Either way, I do agree that it's an awkward, mechanical angle. There might be an occasion where it's the correct choice, but I can't imagine when that might be.

Anyways, Eldred was trying to make a point by having these pages use six panel grids; he's implying they're boring. I think Hamm's rebuttal to this POV is the best one I've ever read:

Varying the size and shape of panels or their points-of-view doesn't "add drama," it adds visual interest. And narrative is more important than visual interest. Some of the most gripping comics have mostly same-sized panels: Watchmen, V, Toth's work, much of Los Bros Hernandez, not to mention most comic strips.

You can also throw in Steve Ditko, Jack Kirby, and many other gold / silver age artists. The Dark Knight Returns is built using a sixteen panel grid.

There are many other things that can be said about this "worst" example, but my final comment is that the first, fourth, and sixth panels of the first page, and the first panel of the second page, are all completely fine. I'd even argue that there's nothing really wrong with the third panel of the second page. The big problem with most of these panels is that they lazily flatten objects that could've had depth, mostly cars, and I don't really see that problem in the ones I mentioned [aside from 1-4, but that's appropriate].

Here's what Eldred calls the "intermediate" example. Something we start to see here is figures breaking out of panels. Once again, Jesse Hamm has something to say:

Panel borders are a symbol that helps the story move swiftly and clearly. Like punctuation. Each time you break them, letting figures or objects jut out of them, you slightly erode their effectiveness. You can break them occasionally to good effect…but broken often, they lose power, and it looks gimmicky. Be judicious!

I think all of the panel breaks across these two pages are not only completely superflous, but they're also actively detrimental to the artwork. Especially the one in the second panel, which makes the left side of that panel feel more tangent-y than it would otherwise.

I have a lot of problems with the following quote from Eldred:

The big panel in the center is what I later learned to call a “three-quarter downshot.” I learned the term once I made the jump into TV animation and found out that (like the direct downshot) it was a common default angle for storyboards. Everyone used it without understanding what a cliche it was. You almost never see it live-action filmmaking, for example. Once it was beaten out of us, we all learned how to find better alternatives. But until you get that training, you just think of it as a helpful way to convey geography.

Once again, I don't doubt that some people in the storyboarding world think that the "three-quarter downshot" is bad. But it's perfectly fine for comics. There are two reasons you don't often see this kind of shot in live action filmmaking:

-It requires either a crane or a cameraman moving onto a building. One of those things is expensive, and both of them eat up a lot of time, which is always in short supply in filmmaking.

-Because live action filmmaking is live action, our eyes are always being bombarded with a lot of information. It takes too much time for a viewer to spot the relevant figure in a three-quarter downshot composition, and so it's mostly useless in live action.

In comics, budget is not a problem, and time works differently so a reader can have a second to discover where the relevant figure is standing. There are some comics, like RoboCop vs The Terminator, that would've been served quite well by a few three-quarter downshots, because they don't do enough to convey geography.

It's worth mentioning that the first example uses 12 panels to convey what the second example conveys in 9. I haven't said it outright yet, but aside from the panel breaking stuff, I do think the second example is better than the first.

Anyways, here's the "advanced" example:

Whenever I see a book dominated by compositions like this, I always make the same mental note: I'm not reading this. The actual mental note is more of a This artist lacks discernment and this is visually incoherent, but the end result is that I'm still not going to read it. My eyes immediately glaze over; it's too much work to parse the tilted panels and constant panel breaks. Everything is cranked up to 11 and I have no time for any of it.

Canted angles work just fine when the composition is canted while the panel borders are normal; that's easy to understand. But I don't enjoy this Gene Colan-type stuff. This is why I've never read Spawn, or a lot of newer manga.

While I was reading Eldred's post, I kept expecting him to say something to the effect of "You should mix and match stuff from these different levels, because the loud 'advanced' example is not always appropriate", but he never says that. Maybe he just didn't think it needed to be said?

What are the lessons here? Sometimes good artists give bad advice, and sometimes people can try so hard to be cutting-edge and smart that they get in their own way.

Let's look at one last thing, a similar demonstration from How to Draw Comics the Marvel Way. There are a lot of things that can be said about how much of the advice in How to Draw Comics the Marvel Way is destructive, but let's just ignore that larger discussion for now.

Obviously the left page is the boring, non-Marvel page, and the right page is the Marvel page. Notice how much more dynamic the Marvel page is without changing the panel grid, or breaking any borders. Dynamics, in many cases, really does come down to using high or low angles and creative blocking / composition. And, once again, there are instances where some of the panels on the left page might be more desirable than compositions on the Marvel one; context is key.

Varying the size and shape of panels or their points-of-view doesn't "add drama," it adds visual interest. And narrative is more important than visual interest.

[starstruckpurpledragon]

So while converting my cassettes to digital there are some things I can't fix. Audio data loss obviously is one of those. Places where the audio drops on one side or the other (or both) of the stereo output. Thankfully haven't run into too much of that. Sherry (The Four Seasons) has a little at the start, but it's partial loss on one side of the stereo output so it's not bad.

There's also garbled distortion noises - have a little of that at the end of Roll With it (Steve Winwood) where it sounds a bit like funky for a second or two.

Given the age of the cassettes, I was expecting unfixable things like that. But thankfully nothing's hit the point of being un-listen-able. Which is great.

That said, there are some things I can fix. Quiet recordings can be amplified - so far I've been mostly satisfied with Audacity's auto detection of how much a track can be amplified without messing it up. Only been a couple of times I've quibbled with it.

But, also, clicking noises. I will eventually (probably) go back and fix the clicking noises on the song Nature Boy (Natalie Cole) because I do like that song. (There's just... so many... clicking noises in that track though.) I'm still in the process of figuring out the repair related effects Audacity offers but I have figured out the spot repairs. They're just... tedious especially if there's a lot of little clicky noises.

So you identify a click noise one of two ways. You listen, hear the click, hit pause but the song has scrolled too far past the click, you gotta scroll back. Zoom in on the click noise and carefully highlight only that spiky section since the spot repair only works on tiny sections less than a second long. Go to the effect menu and hit the repair option. Watch the spiky click noise smooth out into something that matches better to the sound pattern around it, which basically erases the click or at least blends it into the background well enough that most people can no longer hear it. Zoom back out.

However, clicks are mostly pretty obvious in the visual representation of the song. While the quieter clicks are hard to pick out either way, it is a lot faster to just scroll through the song and zoom in on any spiky spots that look out of place. At what is, for me, a reasonable zoom out everything looks spiky to some degree but the spikes that are most likely clicks tend to stick out a *lot*. I still have to zoom in and verify that it's definitely a spiky little click noise - some of the ones I wasn't sure of at a zoom out would indeed resolve to be perfectly normal parts of the song pattern when zoomed in on - but I'm apparently not bad at identifying clicks even in the middle of the louder sections of the song.

While not as clicky as Nature Boy, there were a lot of clicks in the Intro/Belle track at the start of my Beauty and the Beast cassette. But after a tedious amount of scrolling through and keeping an eye out for clicks (occasionally listening to see if it was really a click, but usually just zooming in to visually check a questionable spot because that's faster), I have eliminated all the loud clicks and the majority (if not all) of the quiet clicks. After playing it all the way through before exporting the track to mp3, I was really pleased with how it sounded compared to the first play through I did.

Effort? worth the outcome, I do think. But, yeah, that track took a loooot longer than tracks usually do since typically all i can really do is amplify it a bit. Hopefully the whole cassette won't need this much effort.

[7grandmel]

Todays rip: 10/03/2024

Character Select BGM (KFAD2 Mode)

Season 4 Episode 1 Featured on: SiIva Direct Presents

Ripped by deogenerate, New Guy Visuals by Harmony Friends, deogenerate, dante

Requested by delilahs-pumpkin-patch! (@delilahs-pumpkin-patch)

Today's rip was requested for coverage on the blog due to one very simple reason. Because for all the coverage I've done on the King for Another Day Tournament in Season 4 Episode 1 with rips like Thank You, Everybody!, Unhealed and NIGHTMARESCAPE 〜Unrestrained HyperCam 2〜 (Final Boss Phase 2), there's one part of the project that I've effectively ignored entirely up until now. Indeed, though the excitement of the tournament itself, and its post-contest celebrations in Season 4 Episode 2, are both remembered very fondly, there's a period surrounding the tournament that's yet to be covered. We've covered this story's middle, its end, and its epilogue - now, its time to discuss its beginnings.

I've said before that Season 4 Episode 1 is kind of defined wholly by the tournament event itself, but given that it only took up around 2 months of actual channel time that may come off as a bit strange. That's because, much like the video game series that most directly inspired it, the King for Another Day Tournament did an incredible job in maintaining hype up until its release though reveals and trailers. These being the reveals of, of course, the new contestants - with a roster size doubled from Season 3's King for a Day Tournament, it left 16 characters to be revealed piecemeal in the buildup to the event. Channel creator Chaze the Chat described that he wanted Season 4 to be the most unpredictable and surprising Season yet, and we of course saw that outside of KFAD in rips like Sex - Steve Harvey and the entirety of Chain of Memories II Day - but the way the character reveals were done also played part in this element of surprise! The rip of today, Character Select BGM (KFAD2 Mode), is one of many other rips that contain a secret character reveal trailer within - hidden in the sea of normal channel uploads, these secret character reveals would be shown only to those who truly kept an eye out on every rip the channel uploaded.

Better yet, all these trailers were hidden at the very end of rips - and just like Chaze the Chat had warned, there was no telling what to expect from these rips even if they contained character reveals (shoutouts to Stronger than Mr Krab for being actually deranged). It was the hunt for the character reveals that made me click on rips like Character Select BGM (KFAD2 Mode) to begin with back in the day, as I have little to no connection to rhythm games like REFLEC BEAT VOLZZA, and yet it absolutely paid off in just how solid of a rip this is. This is a no-nonsense quality rip across the board, a high-octane melody swap medley with an energetic and fun sound derived from the source track. Creatively yet seamlessly, it begins by including themes relating to the Christmas Comeback Crisis such as The Noble Haltmann and Wood Man's theme, before pivoting to focus on music broadly categorizable as ones more known within Japan's online remix communities - including music featured in other rhythm games, but also music such as that made by Yosuke Yasui. In effect, Character Select BGM (KFAD2 Mode) was just about the perfect rip to reveal Rhythm Masters in, as a perfect blend of SiIva's own set of jokes and the potential kinds of rips the contestant itself could offer.

Excitement for KFAD was in the air for most of 2019, and it was through rips just like this that said excitement was maintained. And even though I myself lacked the connection needed to rhythm games to really have their reveal and place in the tournament hit home, experiencing that reveal in the way the channel did kept me excited all the same.

[popculturebuffet]

Thomas and Friends Retrospective: The Magic Railroad: The Workprint Cut (Comissioned by Lachie V)

Previously on this blog:

Also I may or may not have reviewed a bunch of Thomas the Tank Entine, cumilating in a look at the disasterous theatrical cut which you can find my barely coherent thoughts on that barely coherent film here. We haven't gotten the results back from the lab yet.

The Theatrical cut is so legendarily wonky I just.. coudln't leave it at that and feel like I gave the film a good shake. So I took on the arduous task of watching an unfinished workprint that I erronously said last time was on the blu ray. While the blu ray has some scenes from this version, the full workprint was leaked seperately and god bless those who did as it gives us something of a look at what this film was supposed to be. So join me under the cut as I see what this film WAS and if what it was was any good.. or at least comprehensible. After the nightmare of that last review i'll settle for "Makes sense from point a to b" that's the state we're entering this review at people. You've been warned.

The workprint of the Magic Railroad is interesting. This is the first workprint i've ever seen and thus the first i've ever covered on this blog. For those unaware, as I was before I googled it, a work print is an unfinished version of a film, with effects, adr and the soundtrack largely missing. So it was fascinating to see just how many pieces of the film, even things as simple as a line that LOOKED on screen are put into place after the fact. Film Editors don't get enough credit.. plenty of blame when it's earned but not enough credit and this made me respect them all the more.

That said watching a prototype of a finished film i'd seen.. was a lot. It seems easy, the effects just aren't there right? Well it's not just visual effects: it's SOUND effects. The only sounds are either ADR from the various crew member and anything on camera. And said ADR is not from the actors yet but various voices i'd never heard before and also Britt Alcroft. It's fair and I don't blame the cut for it, this wasn't MEANT to be viewed by anyone but editors. It's just hard on my autisim: whlie i'm functional and can handle sensory changes normally in a film, having there be no sound where their clearly should be in a lot of places... was just weird. I KNOW why it's not there, and usually my mind fills in the gaps but for some reason here it just felt extra off when an explosion or heavy digging happened with no sound. It's just this freaky effect and it took some time to get through it as a result, not helped by me only realizing what was really throwing me off towards the end of the film.

I can't recommend this cut as a film.. because it's not finished nor was it intended to be a finished product. It's not really something for bad movie night like it's theatrical cousin. As an interesting artifact of this film and Thomas as a whole though, I am delighted it exists as it fills in a LOT of the gaps and is complete enough I can judge what aspects were cut by their own merits.

Let's start with the big one, the most infamous and curious of the bunch: PT Boomer, played by Doug Lennox who realizes exactly what kind of film he's in and hams it up accordingly. Boomer is one of the films big bads... and was almost entirely cut from the theatrical cut, with only one brief scene that was redubbed, a scene so plot important and load bearing I forgot it even happened.

PT Boomer is all about

Wanting to make profit off things. That's.. about what we get. Seriously we have two seperate scenes where one of the kids asks Billy then Stacey about boomer.. and they just say essentially "He's greedy and wants to buy everything" without ever clarifying who he is, what he does for his BUISNESS, or what his goals are beyond "profit off a magical lady train he broke in the past." I am so sad he got cut as while he woudln't of made the film much better, he is so bad it's good glorious: even in this his plans literally boil down to

KIDNAP MAGIC LADY TRAIN FOR REVENGE

?????

PROFIT

It's still not much above Disel's plan that just replaces kidnap with kill and profit with "become train king". It is funny though and gives this guy a leg up.

The most we get is his backstory with Burnett, Lily's grandpa who gets fleshed out considerably in this version. In the original his backstory was just "diesel nearly killed this train I found and my wife never got to ride her" which is prettty damn thin and even before the workprint cut I could tell something was missing.

The actual backstory is still as thin as a sheet of paper covered in bacon grease, but it's at least.. something: He swored to take her on a ride but before he could Boomer, who had also wanted to bang Lily's grandma but lost out to burnett because well evil I guess, found her and threatned burnett if he didn't let him drive the train. He ended up driving too fast, making this a dramatic version of that trampoline scene from community.

I've tried not to use youtube videos as the thumbnail takes up the link but it really is just this exact moment but with trains and a dead wife.

We also get a minutes long montage of Burnett dancing with his wife. it adds nothing to the plot and is one of the cuts i can absolutely see why it happened. We also get a scene of Stone and Lily having dinner where he says I don't like trains.

Another change as a result is that the big cave scene with Patch.. is towards the end. In the thetrical cut we get 80 gallons of train expoision while the workprint at least plays it as a mystery: a whistle is heard in the mountain and instead of finding out what it is seconds after we hear it, it's played up the whole film. IT's a much better fit and I question why this was changed at all.

That also goes for Boomer. I went back and checked and. .he's not really IN the movie that much. He shows up, meances a bit, hams it up and leaves. He spends most of the film either trying ot find stone, buy shining time for some reason, which makes mr conductor's visions of an apocalypse make far more sense, and the rest trying to dig his way to the hidden railway then blow everything the fuck up when that dosen't work out. Keeping him in.. really wasn't going to hurt the film and I don't really buy reports "he scared children". The evil brother of the attention all gamers guy isn't going to be in any child's nightmares.

Cutting boomer also makes the non lily or coked out conductor characters feel more suplerfous as it turns out the original cut had way mroe for them to do. Not a lot, but still more. Patch has a horse.. which WAS in the theatrical cut but I did not notice. Probably because he's also lacking his sweet cowboy hat... it's like taking away knuckles cowboy hat from the sonic ova: you take away the source of his powers. Billy likewise gets a scene with boomer and a scene getting a warning. He still dosen't DO much but I feel bad for clowning on his actor last time: Russel Means is actually a wonderful billy replacement. He's not as good as Tom Jackson is in the role, but he's still pretty neat but in the theatrical cut he's there for all of two seconds and seemed a lot stiffer. That was really the editing's fault not him as he has billy's laidback charm and wise nature down pat. Stacey also gets an extra scene, though she still got PLENTy in the theatrical. Cutting this plot was unfair to the actors involved and their screentime and especially douchey to Doug Lennox, who put in a great performance. .that got cut entirely.

To my shock though the mass cuts... really aren't responsible for the film being pretty hard to parse. The workprint cut IS legible at least as a few confusing bits are explained: instead of wanting to kill all trains disel wants to conquer them, and he's unaware Lady is connected to the magic, meaning he GENUINELY dosen't realize he dies if he destroys her. So instead of stupid his plan comes off as dangerous and just the right amount of sinister for a preschool film instead of

We also get clarifcation on the "My Universe" thing. The narration for the work print still referes to it as mr. conductor's universe.. but they actually explain what the hell they were saying with that: The various mr conductors built this universe. Granted

Unlike the theatrical though, I can at least accept that answer: the mr conductors do have godlike powers and it makes Mr Conductor speaking with authority on his power loss possibly killing him less ass pully: it makes sense they'd pass this shit down through generations and makes sense Mr C Junior wouldn't know it as he's a fuckwit.

It makes the film less maddening.. but it dosen't change the fact this new lore is just kinda jammed in there, a square train in a round station house. The lore still dosen't make a ton of since even for a film for small children, and again thei rparents and possibly older siblings still have to watch it with them so why punch down. All punching down did was get parents to cave and go take their kids to see X-Men or Pokemon 2000 instead, both much better movies. Especailly pokmeon 2000. Fuck I really need to cover both of those don't I.

It also dosen't explain simple shit like "Why does lady tie the two universes together" and "after being in a coma for so long why is magic just fading now". It's still at the end of the day an overcomplicated mess that creates it's own weird lore never to be used again that no one vibed with because even for the stupid train children show it was baffling instead of fairy tale style like they were going for.

The other scenes cut are far more understandable: that dance scene I mentiond went on to long and we get a brief prologue of Lily in the big city and the reason behind the fire escape line. It's.. nothing we honestly needed mostly Mara wilson wistfully starring outside a train.. which is adorable but dosen't really move the plot along.

So that leads us to the final cut and the final change worth talking about between versions: the voice actors. Like with boomer the executives tried overcorrecting to test audience complaints. They dont' like one of the villians? Cut him out entirely. They don't like the voices for some of the characters? replace the bitches! Yeah originally Thomas was voiced by John Bellis, Percy and James by Thomas UK narrator Micheal Angellis, Splatter and Dodge by Patrick Breen, and Disel 10 by Keith Scott.

Unlike with removing boomer I get most of these edits: Unlike boomer I completely buy that D10 scared children as Keith Scott's voice for him is terrifying.. though the terror is undrecut by the adr version of him sounding like Lumpy Space Princess. It's a great voice and I feel bad for Scott.. but it is a bit too scary> Granted they coudl've just.. worked with him to find another voice as they had before (He tried a russian voice before this that was apparently even creepier), so it's shitty they fired him and everyone here instead of simply recasting them or giving them something else.

LIkewise I love MIcheal Angellis and having him voice cameo was a good idea.. but they shoudl've had him do Henry instead. His voice works when he's narrating every character.. but I get why having an old gentleman voice for Percy and James, both younger engines dosen't quite work. Granted unlike with D10, where his replacement got the tone better, making Percy and James small children dosen't fix the problem. Their youthful not 8. Stupid Train Children is not that literal a term.

Thomas on the other hand.. was fine: he sounded youthful, had a nice plesant voice and I honestly prefer it over the final cut voice with Eddie Glenn. Glenn isn't bad.. but Bellis just got the character better. Splatter and Dodge are also way better and the film does a far better job conveying thier reluctant minon status and making them humorous foils to dissel.

So all in all the Work Print version is a better film.. but only by comparision. It has some good stuff that was cuts and the edits done were mostly moronic but it's still a film that alternates between boring and WHAT THE FUCK. it just explains more, which helps with the latter

The Magic Railroad in either film is a film that tried to cram way too much shit in. It tried so hard to escalate thomas to save the world level shit when that just .. dosen't scale with either Thomas and Friends or Shining Time Station. Both are about small scale problems in small slice of lifey places: a cozy british isle and a whimsical train station. Their biggest issues are dickheads like Disel and god emperor or schemer. You could've had thomas go on a treasure hunt to save the rail way or shining time or both. Maybe Schemer is trying to buy the failing railway. I mean if their going to go with the skeezy buisness douche cliche at least make it the guy you already have who would defintely do that if he could. Give him Boomer as a boss if you want. It keeps the tension, the two worlds element and mr c going back and forth as he could've taken Mara Wilson to shining time to go on the hunt to save the station. Give her an attachment to it. Make Burnett stone a conductor. You don't have to throw everything out, but simply lowering the stakes would've made this a more coherent film. I"m not sure how GOOD it woudl've been bu tit would've been a better Thomas Movie, a better shining time movie and something people would've actually wanted to see.

Instead it's a mess that changed Thomas as a whole, with Britt's failures here leading to her stepping down and eventually the company being purchased by HIT. But more on that another time for now we can put this train to bed. These reviews have been exausting as I don't want to be negative but these films, both cuts, are hot garbage. one just makes more sense. Hopefully if the proposed thomas film goes through they get it right... until then all we're left is a mess of what could've been and alec baldwin on cocaine.

Next Time: Turns out there is one as we have a new plan. I'll be covering season 6 sometime later this year, season 7, then teaking a break while Lachey figures out the rest of the schedule and I cover venture bros seasons 4b- the end. Thanks for reading

[mooremars]

Camelot 2023 Act 1 ramblings about the music and book and also the visuals again because turns out 3,000 words wasn't enough.

I cannot possibly recommend anyone actually read this because it is so absurdly, comically long but I needed to get some feelings out. Also it's in two parts because apparently Tumblr has a maximum character count and I hit it.

Overture

• Firstly, female conductor, we love to see it

• I love overtures and entr'actes and this show's is so good

• Shoutout to the orchestra

• I have never experienced a bad Broadway orchestra but still doesn't mean they do not deserve serious praise

• Does just the instrumental of Camelot make me very emotional and think about fundamental human goodness?

• Yes, this show did its job

• The end of the If Ever I Should Leave You part is just permanantly in my brain as the part during bows where they point to the orchestra

• Whatever the music that plays as everyone starts walking onstage is epic

• The vibe is set and I'm ready

Act 1 Scene 1: A hilltop near the castle at Camelot

• I've said it once and I'll say it one thousand times, I am obsessed with the way they've used the space in this show

• I love that they can walk up the back of the stage, I love that they have the stairs in front, I love that they've got so many exit and entrance points

• Sorry to the actors who probably had to do a lot of running around but it was fun for me

• As much as I like spectacle, I don't inherently prefer it over this kind of more minimalist thing

• But I do feel like they did a good job at conveying scale and drama even though the set is extremely minimal

• "I have the exact same amount of information that you do" just immediately starts the show off on the right foot

• This is a new take and I was here for it instantly

• And such a funny way to deliver a ton of exposition, this will be the first of what will become the prevailing theme of my rambling which is I adore Sorkin's writing beyond measure

• Merlyn's delivery drenched in sarcasm for every line is perfect and we clearly see where Arthur gets it from

• Specifically "do you know what calamity means?"

• But also "things in England are changing too fast"/"words that have never before been spoken"

• Establishing Sagramore in a funny way that becomes so serious by the end

• We jump right into the Sorkin dialouge rhythm and it feels so right

• There's the perfect amount of everyone overlapping each other and finishing the other characters' thoughts

• And also the jaunty music when most of the guards leave, like I don't exactly know why it sounds like that since it doesn't fit but I love it anyway

• I know it's part of at least the movie's score but like to me it's still strange, I've been calling it clown music in my head

• The difficulty finding the king exchange and also the pheasant hunting exchange are so funny and set the tone so well

• Can you see I'm attempting not the write out every line of dialouge?

• But also I love that we get this little build to Arthur to wonder what the hell is going on with this guy

• Because if you're me, you've come into this show with basically the association with JFK and that's it

• So I had no clue and was curious

• The knights have like mostly terrible points but Sagrimore's delivery of "snear all you like but five minutes ago we were at war with that girl's county and tomorrow I'll be swearing an oath to protect her with my life"

• He's not wrong

• The knights are so good, the actors are perfect

• Every bit of casting is inspired and those three are no exception

• "Arthur get the hell out of the tree"

• Again with no context, the tree really got me

• "Hiding, I'm obviously hiding" - I am instantly in, the delivery on this line is so funny

• Okay fine I was in from the way he said hello, also a hilarious delivery

• My roommate brought up immediately how effective it is not to have him do a British accent and how it again just makes Arthur relatable - genius

• Whatever voice he's doing is a perfect choice

• Also young Arthur is so much the right choice it's staggering to me that they ever did it any other way

• They thread the needle so perfectly of Arthur being young but not in a way where he's like an incompetent child

• Which I feel like is actually how some of the other versions with older actors still managed to come off

• But this Arthur is just young and trying

• "My mouth disconnects from my brain"/"I've witnessed that"

• As like a character note, I love that exchange but I also was worried this was gonna be what it usually is, which is a male character who cannot treat a woman like a human person

• But no, Arthur has absolutely no problem with that, his mouth only disconnects from his brain when he's trying to confess feelings and that is 1000% more endearing

• "Years of tutoring in philosophy and law, why didn't you ever teach me about love and marriage?"/"You're not marrying for love and there's nothing about it that can be taught."

• To which my roommate that I dragged to see this twice and who has just been forced to talk about this show with me, maintains that perhaps you could maybe convey that relationships are about communication

• That lesson might've helped just a bit

• "You're not marrying for love" like Merlyn is trying to warn Arthur and he sure did not listen

• "They should be reading" Arthur babe they literally can't, it's the Middle Ages

• Also the establishment of no magic is so deftly handled

• Arthur complaining that people think that dragons are real and you get exactly what this world is

• I love that I Wonder What the King is Doing tonight becomes his noble king music

• Also I just absolutety love any time anything has a recurring musical theme it just lights up some part of my brain every time

• The yelling of "he's scared" and all of the subsequent lyrics in that spot is again hilarious and just very good characterization

• Also the delivery of the slaying a dragon part whatever that singing accent is I love it

• Actually the way he sings all the parts where he's imagining what other people are saying

• The other characters have a lot of songs that are gorgeous and require some incredible vocals and songs with fun lyrics and fun performances but not at lot of them get to infuse this much personality and character into the songs through just the delivery

• Don't know if that's from the original or not but it's one of my favorite characters introductions I've seen in a bit

• From what I've seen this is definitely an escalation of previous versions and I adore it

• He's so annoyed, he hates this shit so much and he's so funny

• I mean also lots of credit to the lyrics because they are obviously very funny

• I love this song a lot

• Arthur's "shhhhit" when he realizes that he's managed to run into his future wife

• The multi-layered complication line, so quintessential Arthur

• The contrast between the gorgeous Julie Andrews channeling singing and Genny's brashness in her movement and dialouge

• Like obviously that's already in the lyrics but the book and direction just stretches it

• Everyone knew Phillipa Soo was going to be perfect and she is

• A lot of my strongest impressions are about Arthur

• Because I had no idea who the actor was and because in the limited amount of adaptations I'm familiar with of this whole story, Arthur is the bad guy or a good but extremely boring guy

• But I knew going in that I was gonna love Guenevere and Phillipa Soo even if I've never seen her on stage before

• So it was unsurprising

• Like my expectations were sky-high and she's so talented in every way and the writing for Genny is so good that she exceeded them anyway

• And she's so damn funny

• Obviously the whole rescued in the wood bit is already just a good joke and I'm honestly impressed with how funny the original songs are

• I am a sucker for the thing in stories where we know what's going to happen because they've been told so many times

• When they have a character say something the audience knows is foreshadowing

• "Cause a little war" is what I'm thinking of in this moment but there are tons and every time it's a hit with me

• The delivery of the clause one bit is perfect and her backing Arthur into falling on the bench and then just turning around and back to angelic singing

• The turnaround from the aggressiveness to the extremely soft and feminine singing is brilliant

• "The more knights slaughter each other, the fewer there are to slaughter the rest of us"

• The exchange about the dowry still being in the carriage

• Their deliveries are so funny

• They immediately bounce off of each other perfectly

• And Genny not even escaping with the dowry she's supposed to be using to buy her freedom, amazing

• "What is power uuuused for? That is a very interesting question."

• Genny just immediately knocking Arthur's socks off

• Trying to write out some of the word deliveries he does is so hard but there are a few that absolutely kill me

• They've known each other for five minutes and they're already having a debate

• "I've known kings, I'm daughter of a king so marrying a king doesn't have the same allure for me that it apparently has for you"

• She just speeds through those words at the end and it's great

• "They run to here" is another bit of hilarious delivery but I also love the contrast it sets up between Arthur trying to be kingly in a way that doesn't fit versus later when he does it his own way

• I could listen to them go back and forth saying why for ten minutes

• Genny's incredulousness when he says the weather

• I can't remember but I think she's walking away and then just turns to stare at him in absolute confusion

• Like he's so ridiculous that she can't help but engage

• I did a quick bit of intermission math and we know this takes place seven months before the Lusty Month of May which is obviously happening in May

• So Arthur is literally singing to Genny about how there's no winter until December while at best - assuming the one month later and six months later are rounded up - it is snowing at the absolute beginning of November

• More likely October

• No wonder Genny thinks he's full of shit

• His improv did not pan out

• This is a joke for me, thank you Aaron Sorkin

• Do love that canonically, Arthur is in fact singing the song Camelot - that he just made up in a panic - what a dork

• Genny's little interjections of skepticism are all so funny

• Also just instantly establishing her as someone you love

• She's perfect

• But my favorite is "my escape is time sensitive, do you understand that?"/Arthur still singing/"no he does not"

• These actors are both hilarious, the amount of stuff required of musical theater actors continues to blow my mind

• Like not only to do the whole singing, dancing, and acting thing but then you have to convey it to a whole theater but also not overact to the people up close and be able to do comedy and drama how

• I was in practically the back row up top and not a good view but extremely close (like seeing the actors spit close) on the side for the under 35 tickets and then also in very good seats and the performances by literally everyone never felt too much or not enough

• "Are there any other people in these woods you could recommend?"

• Also this moment which is the cutest thing you've ever heard

• Do I remember exactly what happened? No. But do I know it was adorable? Yes.

• "And we have poets in France"/"Oh yes of course... But do you?"/Genny angrily naming French poets/"Understood" and he's already singing again

• The entire performance of this song and especially getting her to sing along, so charming in the most annoying way

• But also she's sort of into it which is cute

• I do see on YouTube that there was a bit more to this French poets discussion which was probably right to cut but I am delighted to find literally anything new

• Sidebar

• I have been known to have issues with staying present when I watch things and not letting my mind start wandering. And one of the reasons I knew Camelot was good the first time was that I was totally engaged the whole show. But the last time, I did have the one moment where a thought popped into my brain during this song that completely threw me out of it

• And that thought was "this Barbie has taken a carriage ride to hell" after Genny says that line and like why brain?

• (For the record Genny and Arthur are both Barbies. They are everything. Lance is just Ken. Perfecting his body and soul is his beach. He is Kenough. Arthur and Genny have a terrible day every day. Lance only has a terrible day if Arthur and/or Genny look at him.)

• (I believe I have come up with a combination of words that have never been spoken before and perhaps a genuinely new opinion on a thousand year old legend)

• (In a bad way)

• Anyway

• The pure chaotic comedy of the knights finding Arthur and Genny freaking out is not something I can articulate but I adored so much

• Phillipa Soo is stealing the whole show in this one

• Does Genny come out of her hiding spot with her mouth wide open before she gets on the ground or am I misremembering?

• "We call that a sin of omission your majesty"

• With no remose "oh we call it that too"

• "Were you never going to tell me?"/"No I was going to get to it"/"When?"/"After I told you about the weather"

• Not a single bit of remose again

• I don't have anything to say, I just think the exchange is very funny

• I love not making Arthur any kind of royalty, he is truly just some guy

• Like I'm reading The Once and Future King and Arthur's lineage is so weirdly complicated and I just don't care, I like him as some guy

• "He discovered he didn't have his sword because I left it at... a house, that doesn't matter, that's my fault"

• Now that's a line that is funny on time one and fills you with dread afterwards

• The most exasperated "I was just going to borrow it for the day"

• Something about the delivery of "when I opened my eyes the square was filled with people shouting god save the king"

• Like Arthur never actually says out loud that he didn't want to be king but Genny gets it right away

• "I see you now, you're just a boy wearing a crown you never wanted sitting atop a throne two sizes too big"

• Just an absolute cutting response but Arthur doesn't take it that way at all, he's so earnest

• She reads him to filth but it doesn't even rattle him, he just takes it because it's true

• Gorgeous writing in what she says and his response

• "But provenance has put us both here, both of us highness and want it or not we are commanded to wear that crown and to grow into that throne"

• Chills, the delivery is outstanding

• We finally get King Arthur

• And Genny being convinced, all it took was one genuine moment and she's ready to engage

• Then Arthur again just taking so passionately about what he wants Camelot to be

• No wink, no sarcasm, no shame

• This show is unabashedly sincere and optimistic and I love it

• Genny falls in love with Arthur, I fall in love with Arthur, Genny falls in love with Camelot the idea, I fall in love with Camelot the show

• Everyone including the audience and Arthur were already in love with Genny for Phillipa Soo reasons so there's no moment for that one

• I feel like the trope-y thing would be to have Genny be a cynic here but no, she's just as much of an idealist as him

• She put up a little front of cynicism at the beginning but as soon as she gets the option of hope, she's choosing it instantly

• "Or you can stay. And together we may discover if power might be harnessed as a force of good"

• Like he's instantly treating her as a partner in this endeavor

• And I Wonder What the King is Doing Tonight playing under it so beautifully and then the seamless musical transition back to Camelot is so perfect

• I am music stupid so I wish I had something to say about it but your songs have got to be tight to flow that way

• "I don't know if I'm worthy" also just a heartbreaker

• We don't really get to hear anything about Genny's life in France but she's clearly very opinionated and competent and I wonder if besides the whole wanting romance and adventure thing

• She also had an idea of what the life of a queen is like

• After all she's the daughter of one

• And she didn't imagine having this kind of role in actual ruling and doesn't know whether she can live up to this ideal that Arthur has set

• Like maybe she thought the only way she'd get to impact the world was knights killing each other over her or being the cause of a war, at least that's something

• But now she has a chance at more and she's grabbing it

• Genny singing the reprise is so beautiful thematically - it makes me a little teary just watching her instantly be like I see your dream and understand it and I want to be part of it but via some of the best singing maybe ever

• Such an amazing recontextualization from the original

• I've seen little clips of this reprise from 1961 and this one just feels warmer and more meaningful because it's about the ideals and not them confessing love at first sight

• And somehow more romantic

• They're instantly established as a team who share intellectual and philosophical similarities

• To so quickly convey that and make it believable

• It not only cements their relationship but makes them characters you root for

• And then the sounds of people coming in as soon as or maybe even before they get to finish singing together, like it's their world and they're falling for each other but there's no time, they're king and queen now and that will always supercede their relationship

• Also something about the moment when Arthur introduces her to the court just also really gets me

• "She's nice... some of the time"

• It's cute how smitten he is with her, all of her, immediately

• "Something about her makes me want to be a better king" (so Arthur is actually capable of expressing a romantic thought, don't get used it it)/"She's very attractive"/"Oh she is but it's not that"/"Arthur"/"Well it's not just that"

• I love the way they flip the speech Arthur gives Genny from the original about not feeling like a king until now meeting her

• But now that they've actually gotten to know each other a bit and it's after she's agreed to stay it actually makes sense here

• I do also love that even though he can't manage it to Genny's face, he does feel completely comfortable expressing his feelings about her to Merlyn

• The "oh she is" is so cute, he's so excited

• The music under his conversation with Merlyn before he starts just monologuing, very ominous

• I'm obsessed with it

• "We finally have peace" is another line delivery that I just need to sit and think about

• The joy of it, the relief

• Again the idea that Arthur has been a king at war this whole time

• Merlyn mentions, as part of a joke but still, almost as soon as we meet Arthur that he's fought armies

• He's not optimistic about the world because he hasn't seen conflict

• He's more determined because he sees what it does

• Channeling best man in all fiction Waymond Wang this is how I fight energy and that's very my shit

• Very much my shit might be a slight understatement

• It might not be surprising to learn that Arthur is my favorite thing about this show, they revamped this character so well

• So much of my life was spent in the media age of male anti-heroes and I love that we've returned to a point of male heroes

• Arthur idealistically talking about how they can finally start making Camelot for everyone and Merlyn walking off stage while the ensemble sings I think the part from the cut song and I assume some new stuff that's very Medieval church music

• So so good

• "What do I do next?" so eager and then just the emotional drop-off to his scared little boy when it becomes clear what's happening "Merlyn?"

• Stunning performance

• I think Arthur falls to his knees at some point but I'm already doubting

• The "what the hell do I do now?"

• Perfect scene ender

Act 1, Scene 2: The King's study - one month later

• The transition music between scenes is always good

• It's gonna be a struggle not to just quote this whole scene

• "Arthur, please call me Arthur" is so desperate like he has no one now, no actual human connections to him as a person instead of a king now that Merlyn is gone

• And then asking what she was called back home, he wants connection so badly

• And probably he still feels guilty for taking her from her home to be his wife

• "I was a royal princess, I didn't have friends"

• Well there is a reason they're both terrible at relationships

• I also love the way Phillipa Soo says Arthur in such a stilted way at the beginning of this scene and it becoming more natural every time she does it

• Genny telling him he's not attending to his duties with enthusiasm like she is not the least bit afraid to challenge the king a month in

• Love to see it

• Arthur's "I beg your pardon" when she asks about cortesans and the look he gives her

• "My father kept his women, his extra women, in their own wing of the palace. Where are yours? Might they cheer you up?"

• Genny the proactive problem solver

• Also something about the way she says extra women makes me laugh

• "I don't have extra women, I'm a married man. You were at my wedding" perhaps one of my favorite deliveries and lines in the whole show

• Genny's point of view in this scene is very interesting

• Like she does bring up that it's his legal right instead of dropping the whole thing and that's a choice

• Does she think he's lying about not having cortesans and reminding him that she is legally obligated to be cool with it so to be honest?

• Or is she just baffled by Arthur and his choices because this is a normal thing for a king to her?

• Or maybe since she already has feelings, she's trying to balance her own expectations to not get hurt?

• Possibilities

• "I'm aware of my legal right in that regard and I assure you I have no intention - oh my god - no intention of exercising it"

• Specifically the delivery of oh my god but the whole thing, he is so offended

• "And making the world into Camelot, are you abstaining from that too or will men at honor continue to plunder villages and take, rape, and kill whatever they please?"

• Genny

• Genny you are a hero

• She's so smart and fierce and unafraid to stand up to Arthur

• "I didn't make the world"/"You make a part of it"

• Arthur being so defensive and Genny calmly holding her ground

• She's taken to her new role so well

• And then Arthur admitting he doesn't know how to proceed without Merlyn, I love the way he builds trust in her in this scene

• "What would he say?"/"He'd say my god you're the slowest student anyone's ever tried to teach"/"Well I can convincingly say that"/"It's good that you mock me, kings should be mocked from time to time, it brings people pleasure. But for the record it's no fun for the king"

• Genny sounding so pleased with herself, Arthur getting out another sarcastic response

• Also what a lie, it is fun for him

• Mocking each other and public policy are their love languages

• "He once explained why but I got distracted because a white tailed eagle flew right by" with the most excitement and boyishness

• And then starting to go off on a tangent about eagles

• Never change Arthur

• I just think it's sweet the way she redirects him because she's fully committed herself to the idea of Camelot and her role in it

• "Pace freely at your own pace"

• Another brilliant line and delivery

• Channeling some Mary Poppins here

• Genny getting Arthur to think is so good

• "You had to pace and comcentrate to arrive at that?"/"It's hard to imagine why your country was willing to part with you"

• The proposition/resolved structure of this scene is very good

• And also that he starts with this pessimistic tantrum about human nature and Genny guides him back on track

• It's a great relationship moment but it also lets Arthur have some struggle and lets Genny be for Arthur what he was for her in the first scene

• Arthur collapsing on the floor and muttering "extra women" like wow he cannot handle being thought of as not a good person

• "That's it?"/"Wait"/"I wasn't going anywhere"

• Her being on the floor with him, gently pushing him

• He can't even maintain cynicism for more than a few minutes

• Them building the idea of the round table together, this is peak romance

• I can't just quote this scene in its entirety but every moment of it is a delight of them passing ideas back and forth

• "Isn't it also about the law?"/"It is"

• A standout delivery

• I love when they're working out the wordings like they make each other better

• "The law will be the stone upon which this rock - the rock upon - wait the church?"/"Have mercy"/"The law will be the rock upon which this church is built"/"Nothing can be more important"/"Nothing can be as important"

• This is what I love about Sorkin's writing

• The way that he has characters discuss ideas

• Like everything is an exciting discovery

• There's no singing in this scene but it has so much rhythm and is so compelling when in another writer's hands it would be boring and forgettable

• I broke out a chunk but it's so dense there are so many words and I love each one

• Genny counting down to his return, she already knows him so well

• Again I am trying not to type out every line

• I think they both yell for the page but I'm actually not sure, either way they are so excited and yelling something

• The new book has done so much to deepen their relationship, I adore these idealistic little nerds

• Arthur cannot contain himself

• His attempt to cool things down for himself by taking his hands off her face and then "you were very helpful, thank you"

• Smooth

• Convincing

• Definitely professional and platonic

• Truly do not know how Genny does not realize he's in love with her at this point but she sure is not gonna get better at that

• "And I suppose France too"/"I know that hurt"/"A little bit" and then he laughs it's adorable

• They're both so giddy here

• "Arthur I did already know that about you, that you were a decent fellow"/"I'm glad"

• They're in love. They are so in love.

• Arthur has taken on Genny's tone for the word inspiration when he talks to the knights

• "You've invited the French" every time Sagramore says it, it's just as funny

• "We may not be born equal"/"We are not sire" (with so much contempt)/"So our laws will make us equal" (with no room for disagreement)

• The immediate conflict

• And we see Arthur being a king and taking a hard line which we don't get to see much in this show and I love it

• "What about God's laws?"/"Not. Our. Jurisdiction" like are we sure this is not actually from the west wing

• I'm internally cheering when I hear it, I love this line far too much

• It's funny but also authoritative and kingly

• I get that some people do not vibe with Sorkin's style and that's fine but I very much do

• This show is so for me it's kind of incredible it was not made with that purpose

• A Sorkin character who would love Sorkin's work, I just adore it

• And according to the funniest line from any review I read, also has Sorkin's haircut

• That just lives in my brain because it's funnier than any piece of media criticism I will ever hear

• The knights already dissenting is very good but also that they don't fully agree yet with each other

• They build it in immediately and that's such a good choice, it makes every escalation feel totally plausible instead of the knights just easily falling for Mordred's bullshit

• Dinadan quoting Plato's ideas and saying how they're the well-educated people who should be in charge is great

• I love that the knights get to be characters and have thoughts

• Their constant vacillating between loyalty to the king and loyalty to the power structure they benefit from

• One of my favorite running tensions

Act 1, Scene 3: The countryside outside of Camelot - six months later

• The performance of C'est Moi is so funny

• Going 100% immediately

• Jordan Donica was just as perfectly cast as everyone else

• The lyrics are so funny and then he is just so loud

• His little whispered "C'est Moi" after the second verse while posing is so much funnier than it is on the cast recording

• "Had I been made the partner of Eve/we'd be in Eden still" is my favorite lyric

• The scream on clean destroys me

• Lance is always at a 10 and he's so delusional, I'm obsessed with him

• There's so much loud breathing in this performance which I love

• And whirling his sword around the stage

• "Beware enemies of Arthur do you hear me beware, from this moment you answer to me" while Arthur is literally unconscious behind him, this is comedy

• "You raised your sword to me"/"Oh I was saying hello"/"I did not know that"

• Lance is not sorry at all and it's hilarious

• He's just on another planet compared to everyone else and I love it

• Also Arthur so pure, just seeing a random person and trying to say hi

• Like you're the king of the country, you do know many people are not exactly going to be friendly, right?

• "I honestly thought I was more recognizable to the French"

• "Have you changed your Francs to English shillings?"/"Why?"/"This man's face is on money"

• Arthur subtly trying to tell Lance what's happening but the word subtle is not in Lance's vocabulary

• "I'm underwhelming in person"

• Says the man that keeps making French people instantly fall in love with him in the woods

• "My security detail... right in the nick of time"

• "I beg your majesty to forgive for me for by forgiving me I'll suffer even more"

• Lance is screaming the whole time

• I don't know how he does it

• "But my strength comes from purity of spirit"/"What was that?"/"Purity of spirit, my personal relationship with the almighty, he favors me"/"I'd keep that to yourself"

• I can't write it out but this

• And this is about to have to switch out for the rest of the show so like even more screaming somehow

• He's so funny, it isn't reasonable

• Also love that his language is the least modern of them

• It fits

• Seems like some of his lines come directly from the original book and it works amazingly

• "Be a faultless example to children" is another iconic delivery

• Also Lance asking for a mission, incredible

• He just plays everything so straight and it's perfect

• Like not a single acknowledgement of the ridiculousness of this character

• Arthur will literally get a concussion to avoid a social function, relatable

• "Until you came along and whacked me in my head"/"AND FOR THAT I BEG YOUR HARSHEST PUNISHMENT"/"Nope, nope, we're not going back to that"

• Yes the all caps is necessary, Lance is always speaking in caps, if he lived in a time a cell phones all of his texts would look like that

• And Arthur's tone when he responds

• When Lance starts singing again and then Arthur just says nope so many times

• This is their whole relationship

Act 1, Scene 4: A park near the castle

• This scene is just a magnificent Phillipa Soo showcase that we have been blessed with

• Like she is just so talented and I am blown away

• There's a reason Lusty Month of May is the song they have the most out there

• "The birds and the bees with all of their vast/amorous past/gaze at the human race aghast" is my favorite and she does it so perfectly

• Also the intro music just exactly captures that buzzy spring feeling

• My roommate and I both had the experience where the first time we saw the show, none of the music stuck with us

• And then the second time, all of the sudden it burrows into your brain

• This burrowed first because of course, it's so vibrant and lovely

• The original music is so good and somehow the transition from the more modern dialouge into the songs is seemless

• Genny has two missions: justice for all and bringing sex to England

• Look there's none in her own marriage and she needs an outlet, make those people kiss, it's all you have

• Genny's so fun and adorable in this song and it's perfect and I have no notes

• I'm just gonna go watch the today show performance and bask in it, this is the most classic Broadway musical sequence in the whole thing

• I love the idea that she's inviting all these normal people in and the beginning of the knights absolutely hating it

• "Be right quieter"

• And when they refer to Genny as a guest in the country

• The original is very and everyone loves her and I love that there's this tension where the people with power don't like her but everyone else does

• They say all the quiet parts out loud in this scene

• The show needs the knights so badly to show the discontent growing over time

• But they still respect tradition enough to enforce respect for the queen on Pellinore

• "I've only lived here a short time"/"Oh and you're already the queen, well done"/"I really had nothing to do with it"

• "Full of youth he was but brooding over problems that would confound Solomon. Ever met him your majesty?"/ "Constantly, he's my husband."

• With such affection ahhhh

• "You must be Morgan Le Fay... oh how he'd go on about the loveliness of Morgan Le Fey, her unsurpassing beautiful"

• Genny getting emotionally slapped in the face, it hurts so much

• The first crack in their relationship because they couldn't talk to each other...

• "I'm glad that nice young man found a nice young lady"

• Why does this make me feel things?

• I love the royal music every time

• "As you were everyone, pick grapes, eat flowers, or uh the other way around"

• Arthur and Genny's little catch up about Pelli is very cute, we don't get to see them be cute for a while after this so I just want to appreciate it

• Lance having no social awareness and continuing to make proclamations while Genny could not care less and is actively trying to speak to someone else, brilliant

• Genny and Arthur just waiting for Lance to stop talking after she keeps being interrupted and then Genny rushing out her lunch invitation and Arthur rushing out his response

• Arthur immediately wanting to run ideas by Genny, she is crucial to the development of Camelot and it's very much not a secret

• Arthur's "uh oh" when Lance is doing some casual misogyny

• "That sounded like a friendly exchange of pleasantries"/"It was not"

• No fucks for Genny today

• I wish I could one day know the translation of Genny and Lance's friendly exchange of pleasantries

• "Who would serve as the standard?"/"Oh certainly not me your majesty"/"See no hubris"/"My standards are much too high"/"Dammit Lance"

• "Have you achieved perfection milord?"/"Please say no"/"Of course I haven't your majesty"/"Good"/"Refining the soul is an endless struggle... but physical perfection"/"No"/"Yes"/"Go back to speaking French"

• "And in your quest for spiritual perfection have you considered the value of humility?"/"Ah something we should all consider. In fact let's take two minutes of silence to consider the value of humility."

• The dialouge between the three of them is so funny in this scene

• The ship is sinking and Arthur is just there with a tiny bucket while Lance and Genny keep creating giant new holes

• Genny calling Lance a jackass is both hilarious and also so valid

• "She already has an affectionate nickname for you"

• We have officially reached the beginning of the end, well we had some nice moments

• Like imagine if Pelli didn't start going on about how in love Arthur was with Morgan and then Arthur didn't show up with his new best friend who immediately implied women were too stupid to engage in government

• Genny was having a no fucks day and was probably ready to do a stupid thing and maybe that stupid thing was her husband

• A true tragedy

• "And with humility I"

• Dinadan's line deliveries are so dry and good

• And Genny's laugh

• "And whom will the three of you want to impress?"/"We want to impress the king too."/"Ah yes English men"

• I love the knights, they've all got their own little comedic touches in this song

• Gaslight, gatekeep, girlboss Genny

• Take Me to the Fair is a masterpiece

• I don't know what constitutes a hot take about this show because there are 5 people talking about it

• But my hot take is that as much as Lusty Month of May is a brilliant and amazing song

• This is actually the Phillipa Soo tour de force

• Her fake crying is so good

• There are so many good flourishes in the singing

• Same thing I feel about I Wonder What the King is Doing Tonight, Phillipa Soo is just enhancing every line with her hilarious delivery

• Also this sound

• Sagramore is always operating at 50% more intensity than the rest of the knights and it's perfect

• Him having to be held back by the other two when Genny sings to him

• It's involuntary at this point that I turn my head back at French during this verse

• His very loud delivery of "I swear to you the challenge will be met"

• "Sirrrr Liiiiionel"/"Ma'am"/"Ugh"

• And when she gives his chest a little slap after "and young du Lac"

• Perfect

• And her laugh-cry at the end of Lionel's part

• Their faces when she touches them are also just very confused and funny, she is not good at this

• I love when the knights are singing together, bringing up Lance really has wrapped them around her finger

Act 1, Scene 5: The King's study - the night before the tournament

• "You know that it's your move right?"/"I did not know that. I'll need to alter my strategy now"

• Honestly so relatable I suck at chess, Pelli is the best

• "If we're to care about justice, we need to care even more about injustice"

• Just a good little Sorkin nugget

• Pelli refusing to understand any of Arthur's ideas, excellent

• "Do I understand that you intend to be history's first king to yield power?"/"Oh now you're catching on"

• I do just love Arthur so much

• And the delivery of "she wrote what you just read"

• He's so pleased to inform Lance that Genny's writing treatises about justice

• Pelli's smug little "it's your move" like that's correct, no one is allowed to not respect women in Arthur's study

• "He's had you in checkmate for an hour and a half"

• Arthur's patience is astounding, Lance should be taking notes while he's perfecting his spirit

• "Would you like to play me or do you ever do anything but perfect your soul?"/"No I also perfect my body"

• Again just perfect deliveries and honestly so much respect to the new book for making Lance even more irritating but eventually more human too

• I am not dragging Lance, this is a compliment

• Just the way Jordan Donica plays it completely straight without being able to detect sarcasm is hilarious

�� "The arrangement I'm in is called a marriage, having some fun would be called treason. And finally I hate his breathing guts."

• Setting up the consequences we know are coming with a little joke, I like it

• "Well be sure and give us clear skies tomorrow when you're arranging things with god tonight"

• Savage, I don't like most of the original dialouge but we had a winner with this one

• Her delivery just elevates it

• "No one could refuse your wish"

• The gall of Lance to say that like that in front of Arthur like he is shameless

• "Why do you have to bait the man?"/"I dislike him, I thought I was making that clear"

• Genny is so relatable

• Their first fight and Arthur's already insulting the French, I'm not sure why he thought this was going to go well

• Arthur trying to delicately ask Genny to withdraw her permission from Dinadan

• He's trying to have this conversation as her husband and not her king but Genny is not even having it a little

• Genny explaining that she already gave permission for all the knights is so funny

• I know they're basically the original lines but ya know, sometimes Lerner nailed it

• "It will seem to the entire court as if you are rooting for his downfall and championing his defeat."/"The only reason it will seem that way is because I'm rooting for his downfall and championing his defeat."

• "He's going to embarass those three. These are not men who take well to embarrassment."

• Like Arthur already knows exactly who his knights are

• He knows that they don't exactly match up to his ideals

• The delivery on "will you withdraw your permission" is also spot on like Arthur is ready to exit this conversation right now

• Also on "if I do will you forgive me"

• Like he knows that's not happening

• "Not as long as I live, no"

• Perfect riff on the original book's line

• Arthur doing some investigating on Genny hating Lance like he knows before she even does

• Ouch

• And then him starting to get frustrated when she's not answering like babies' first fight is not going well

• "Because he needs to be brought down to earth... literally not metaphorically"

• Like she has yet to be wrong

• "Merlyn never taught me how to handle a woman"/"You didn't read the book?"/"There's a book? No I can see from your face that there's not a book. Though maybe in France they would have published something, no I can still see on your face"

• We love a Genny dripping with sarcasm moment

• And Arthur being an idiot nerd

• He's so so stupid

• Another one of my truly favorite lines and deliveries, he is so excited that he completely forgets he's mad at her for a second and then pouting when he realizes

• "If the king wishes me to withdraw my permission, let him so command... nope, then I will bid you goodnight"

• The aggressiveness on her daring him to command her is so much

• Perfect

• I love her nope, a little power play

• Because she knows he won't and he knows he won't and she's happy to remind him of that they both know that and then leave

• His silence is doing so much work too

• Damn this scene is good

• "And before I go to bed as a gesture to Lancelot and to you, I'll pray it's over quickly"/It will be"

• They're so mad, I love it

• "There should be a book"

• Grumbling sullen Arthur is very funny even if How to Handle a Woman is lowkey the worst song

• And Arthur's worst impulse, which the narrative knows because it plays under him talking about vengeance and what he's entitled to later

• Like they do a good job recontextualizing it but it's still not the best

• Just hearing him sing the word threaten is kind of jarring, I cannot even slightly imagine this Arthur even thinking it once

• In my opinion they should've just cut it, I'd gladly take more Sorkin dialouge instead

• I do appreciate the way they scaled back this music in the rest of the show

• Because it's all over the second act of the movie, Arthur and Genny's theme if you will

• Like even during their last conversation

• Because they're not the love story so their theme isn't really a love song

• But then here, they play it under Arthur's worst impulses at the end of act 1 and banish it which is so smart

Act 1, Scene 6: A grandstand - the next day

• The music coming into this scene and when Arthur and Genny show up, again fantastic

• The outright hostility between the knights and Lance, they turned it so far up in this version

• Pushing him down and shit

• I love Athur and Genny showing up and getting to see them actually be king and queen and have their over-the-top outfits and crowns in this and the last act 1 scene because it's so removed from who they are the rest of time

• Arthur's speech at the beginning trying to glorify them not having the tournament and how great losing is and having to be stopped by Genny

• He's trying so hard and his speech is not good

• The fact that she basically tells him to stop and his response is fine like I think he forgets that he's actually in charge

• I love a sword fight

• The movement, the drama, the loud clanging...

• I am but a humble girl raised on the Pirates of the Carribean movies

• Dinadan being a dick before the fight with "and now for your lesson sir"

• The way Lance knocks the sword out of Dinadan's grip and makes him pick it up before defeating him, such an asshole move

• I truly can't tell if Lance has just such a superiority complex that he doesn't realize what parts of his own behavior are making people dislike him or he's just so stuck in his toxic little mindset that he doesn't care if people hate him for it

• I kind of feel like Lance is so into his specific notions of the world that even he doesn't really know why he acts the way he does

• "Dinadan seemed very inspired by your kerchief, should we continue?"

• "You know he almost had him, right up until the moment he never stood a chance"

• Their fight being played out by proxy while Arthur makes snide comments and they give each other looks is good shit

• Sagramore's scream, he's always going so hard

• The fact that Arthur fighting instead of Lionel is new for this

• Genius

• So good

• The dialouge around it is good too

• The temptation to just transcribe the whole thing is so strong

• Commanding Lance to pick back up his sword like damn

• I love seeing this new side of Arthur

• He can and will fight and he's good at it

• "I know what a damn baguette is"

• His little bit to Lance about it just being about morale is very good

• But also he can see what's going on even if Genny can't so is it?

• The fact that he may well have won the fight if it wasn't for a cool bird, what a man

• Fun fact about me, I didn't even see the bird or realize that's why he got distracted until the last time

• He and Genny are like very much not in a good place this moment but he will let it slide to point out a bird

• Arthur's fall is very good

• Can you tell I think this scene is also very good, I've only written it like twelve times

• The fact that they're letting people fight with swords and there isn't a doctor for 12 miles, amazing planning by everyone

• The bit of everyone thinking Arthur was dead and him sarcastically correcting them is amazing 100% of the time

• "He put life back into him" is just consistently hilarious

• "I'm not wanted here Arthur"

• With the most heartbreaking delivery

• Aw we finally see Lance have some shred of being an actual person

Act 1, Scene 7: The castle terrace - on the evening of the same day

• I Wonder What the King is Doing Tonight intro-ing into this scene

• "Well you got me there" being screamed is perfect

• Pelli sensing that something is bothering Arthur, their relationship is very sweet

• Pelli describing the way Genny and Lance were looking at each other, what a shit stirer

• "It may be the only way to get him to stay"/"Maybe it's best if you let him go"/"Let him go?"/"Maybe it's best"/"Why is that?"/"Well...You said yourself, morale"

• Like she's trying to protect them but she won't say it

• For obvious reasons

• But it's confirming what Arthur already suspects

• And just drawing them further apart

• Another great her silence is doing so much work moment

• The entire telling Lance he's being invested discussion is so intense

• So much anger simmering in Arthur that can't help but come out in the line deliveries in the beginning

• Genny refusing to engage and turning her back to the whole thing

• "I'm sure he'd like to hear it from another child of France"/"This is my country now"

• Oh boy I love this exchange

• Like she's trying, she's trying so hard

• And I don't know what the fuck Arthur is thinking with that one, in what way could she possibly respond that's not going to be bad for him?

• Arthur leaving them alone like whyyyy

• And then Arthur giving Genny back her bloody kerchief, fuck

• All is very much not forgiven here

• "God dammit Pelli, I wasn't dead"

• Genny making it clear she does not believe Arthur was dead, I appreciate that she's also very clear on the fact that their world is not magical

• I wonder if Lance does think he willed Arthur back to life

• Probably

• "Don't ever say it out loud. Neither of us can ever say it out loud"

• This was another straight up gasping in the theater moment

• The entire conversation between Genny and Lance is so good and tense

• And the delivery on that line just feels like getting punched in the gut

• Phillipa Soo is amazing

• I love that she won't let them say it, that she's fighting it

• And the way she cuts him off, the way she makes him agree to not say it

• This is the intense love she wanted and it doesn't need to be said which is exactly what she needed to feel from Arthur but didn't get

• Also Lance just trying to confess his feelings the first second he can is just such an interesting character choice

• Like the truth is his purity of the soul bluster doesn't hold up to the slightest temptation

• He's ready to betray Arthur the second he leaves the room

• It's all a front

• Not intentionally, like he believes the things he says he believes

• But he can't keep to it

• I think he's so drawn to Arthur because Arthur actually has the qualities he's proclaiming define him

• But I don't even think Lance knows any of this about himself

• At least not until later

• He's just impulsive

• Which is I think what makes him an interesting character to me but also makes his motivations hardest to decipher

• Before I Gaze at You Again is such a stunning song

• And watching Phillipa Soo just emote for the whole time

Act 1, Scene 8: The great hall - on that evening

• All the music that starts this scene is brilliant

• "I'll never disappoint you"/"I know"

• I just...

• Like we the audience know but also the characters sort of all know and they are determined not to let it happen but that only makes it happen anyway

• Ugh those lines are a little nothing but they're everything

• I have the YouTube clips of Richard Burton's version of this and it does just indicate how well they've modernized

• Theater has changed so much so the pacing of 1961 compared to this is kind of fascinating

• This is also actually the writing I think is the best from the original and it is so fascinating to compare the two versions which I'm sure someone has done and I want to read it because there is so much to say

• It's so bold to close act 1 with a speech instead of a song

• I had no context coming in so they had me in the first half, I wasn't sure if this was Arthur's turn into the villain moment

• Once again I'm just like pointing to the whole speech and yelling how good it is

• Whoever decided this belonged on the cast recording is my personal hero

• This is just on my normal spotify playlist and as long as I'm not reading, I will not skip it

• But I love the idea that in the original book Arthur starts out by declaring his love for Genny and Lance and in this version it's like he's actively talking to the audience to defend himself

• To say he's not some stupid optimistic kid, that he sees everything we have

• Comes out swinging

• I can't explain how much "proposition: I am not a befuddled king" shook me, I was ready for shit to go down and I love it as the opener to this

• The pause before "whom they love", the sadness in it

• "And she didn't choose whom she married"

• Like Arthur can never get rid of that guilt

• The push and pull of this entire thing where he will try to make an argument with himself that everything is fine but the bitterness keeps seeping in until there's no rationality left

• Trying not the write out the whole thing but the rhythm of it, the pacing, this performance is spectacular

• The way the audience startles when he starts screaming

• Like he's having his back and forth rational debate with himself and finally we see him lose that control

• And it is the good shit

• I can't explain how much I came in with no context for this show and how much this completely threw me in the best way

• We're finally a glimpse of what's happening inside Arthur's head, to see the way he's been holding so much back from everyone else

• I love that he's still yelling at Merlyn, not exactly sure what I want to read into that, I feel like there are a few lines of thought

• "Am I not entitled to a man's vengence?"

• Perhaps my favorite line in the first half

• Every line is sort of my favorite but I guess let's settle on this one

• Because the original is "I demand a man's vengence"

• And same sentiment but entitled is so much more toxic

• Like the thing about this magic-less universe is that Arthur wasn't destined for some greatness and so he pulled the sword from the stone

• He wasn't owed something, he didn't deserve it, it just happened and he chose to rise to the challenge

• And this is the first moment he's decided he might be entitled to anything

• And then he does a 180 into deserving nothing

• "Proposition: I'm not a man, I'm a king"

• Like wow so much to unpack psychologically there

• I mean he and Lance have very much the same problem of trying to suppress their own humanity but the reasons are so different

• When Arthur switches into his idealistic mode and they start playing I Wonder What the King is Doing Tonight because he's being kingly, literally gets me every time

• The entire thing is so good, I love the second half so much

• "I wasn't trained for this"

• I love the running theme of Merlyn training Arthur in all of these important skills but never teaching him how to handle emotions and relationships and uh maybe he should have

• There were perhaps some limits to Merlyn's wisdom that set Arthur up to fail

• Because he's been king since he was barely out of childhood

• He never got the chance to have normal, equal relationships where he could figure shit out

• So instead he just pushes it all down because he's not wrong in that he doesn't get the luxury of following his emotions

• I love every second of this scene

• I love every line, every delivery, every movement

• Like it is a hard ask to make an actor just walking around the stage monologuing compelling in a musical and this is so so compelling

• Just on the whole of this show, I don't know that I've ever been so blown away by a stage performance as I was watching Andrew Burnap and this scene is just a perfect encapsulation of why

• Whatever he's in next, I will go

• Okay real talk something about this man's face just renders it unrecognizable to my brain so more than likely I'll see something and be like wow that person was amazing, who was that and then it will turn out to be him

• I say specifically because I happened to be watching Under the Banner of Heaven the whole time I've been having a Camelot obsession and how did I find out he was in it? I happened to see his name in the end credits four episodes in...

• But anyway I will at least try to know whatever he's in next so I can go on purpose because this performance is living in my brain and I don't think it's leaving

• I do make fun of previous versions of this show for casting people who are clearly not musical theater actors in this role but actually I do think casting actors who do straight plays does add so much as long as they aren't terrible at singing

• All of which to say again that I do think this was some of the most perfect casting I have ever seen

• Basically the statements you can tell Andrew Burnap is not a musicals person and you can absolutely tell Phillipa Soo and Jordan Donica are absolutely musicals people

• Are both extreme compliments to the people that decided on this casting

[acaplaya-musings]

VoicePlay Visuals - what I got wrong (and other cool BTS stuff) (part 1/3)

So for those of you who still are unaware, I'm currently a member of VoicePlay's Patreon (and Geoff's too) (just for a few months), and I've been having an absolutely great time so far, especially in now having access to Behind-The-Scenes (BTS) content of each of VoicePlay's videos!

However, as I was whizzing through the BTS stuff, I was thinking about my VoicePlay Visuals posts, and about some things I said that weren't entirely true - whether I said something I believed to be correct that wasn't, or whether I simply made a wrong guess. I wanted to share my newfound knowledge with all of you (which is fine btw, people share this sorta stuff in the comments section of reaction videos all the time), but I didn't want to go back and edit a bunch of posts or reblog a bunch of them to add addendums, so I thought I'd do a sort of "addendum compilation" instead! (In three parts, just to keep these not too long). I'll also share some stuff where my guess was right, and additional interesting things I didn't originally know/notice. And you don't have to read a bunch of my previous VoicePlay Visuals posts before reading this (and I won't be mentioning every single post/video anyway), but if you wanna find the original posts I refer to, they're linked in each title.

Part 1 below the cut!

This Is Halloween: "I don't really have anything to say about J's full transformation, but it would be unfair of me to not include him as well, and it's definitely a very impressive costume. Almost like one of those rubbery fully-covering-the-head costume mask things, but like it's his actual face?" - I was pretty close! For the "full Wolfman" look, J was wearing a special prostethic face/mask thing, specially sculpted to fit his face, with just his mouth/chin area left uncovered! - Additionally, Eli's fake chin prostethic thing actually also goes up and over his cheeks, making them look puffier and making them look puffier and "blending" it all together more effectively. - And bonus fun fact: It was apparently Earl who carved all those pumpkins, except for like one that was done by Geoff 😁

Bang!: - Found out what leopard-print article of clothing Layne was wearing! His belt is leopard-print, apparently! (Okay, I can't actually take credit for this one, someone in the comments of the BTS pointed it out and I took their word for it as I forgot to look myself, lol) - The place they filmed the video really did have all those cool backdrops, and so many more, split between two large rooms! - J was the one who got to throw the giant rubber duck at Layne 😝

Butter: "Geoff is looking at his phone, Layne is taking selfies on his phone!" - Not quite! They were both filming! (At one point in the video anyway). The footage they took got included in the BTS video, it's great 👌 - Also the reason the height difference between Layne and Eli in the group shots doesn't look quite as stark as in something like the Wicked Medley is because here Eli was standing on a short wooden box or something like that, not even kidding 😂

Halo Theme: "Those shoes are definitely cool. Who was wearing them, I wonder?" - It was Scott! - Also when that blue pulsating light thing landed on Scott's shoulder in the video (the "red team! blue team!" bit), there was actually a blue light being shone on him from the side to get the proper lighting effect. - (Also did you know that Rek Dunn (whom the video is dedicated to) used to help film some of the BTS content? I realised when I was watching the BTS for the Panic Medley that he was the one holding the camera and talking to the guys for some of the clips)

Wicked Medley: "Love the giant clock backdrop, very cool" - Yeah, turns out the whole background is one giant flat backdrop, and it took like 4 hours to full set up! Man!

"I adore Emoni and Rachel's makeup looks in this one." - The makeup looks even better in natural light! - All VoicePlay videos are filmed after the audio of the covers has been fully recorded/completed, obviously, duh. Often the vocallists will be properly singing at least some of their parts during videoshoots, but the audio all gets dubbed over for the final product. Rachel was purely lip-syncing in this video, because she had lost her voice! Thankfully/obviously it happened after she had finished recording her vocals, but she still did a great job of making it look "realistic" in the actual video.

The Dragonborn Comes: "Apparently what Cesar is wearing is like legit chainmail or something and was fairly heavy. Go big or go home I guess?" - Yep, it weighed 20 pounds apparently (approximately 9 kilograms). In between takes, Cesar would often just lie down on the floor on his back to try and rest/not have to feel so much of the weight, rip - The metal-looking gloves were real as well - they came coated in some sort of anti-rust oil that had to be wiped off prior to filming - And yeah Layne's hair really was a vibrant blue - I'm guessing Rick did it with coloured hairspray or something.

Part 1 // Part 2 // Part 3

[hotpocketcasserole]

Thoughts on X Files so far...

There really aren't many shows that I get super invested in anymore these days. I think because of work and the lethargy that comes with getting older and unhealthier, my brain has sort of rewired itself to only be able to tolerate youtube videos. Mostly commentary and narration channels.

Like, I rarely sit down and watch movies anymore because I could easily watch a twenty minute Cinema Snob or Ryan Hollinger essay on the movie. On the one hand, those sorts of reviews give a deeper analysis of movies and shows and give me different perspectives that I hadn't considered before. On the other, it's my lazy way of consuming media without putting 90 minutes into it. And when I do, I find myself playing a game on my phone or scrolling tumblr.

I have sort of found myself doing that with the X Files but I'm trying to make more of an effort to pay attention. Some episodes can be a bit slow but I know I ought to be making more of an effort.

That said, it feels so natural to get into this show. Not just because I've already watched the first three seasons about a dozen times but because it really is just a good show. There have been other shows that I really struggled to get into or keep up with and I wondered why that was.

I've tried watching similar shows like Hannibal or Mindhunter. I enjoyed them a bit but found myself getting burnt out after a season or even a few episodes. They were beautifully shot, well written, very well acted. And yet I quickly fell out of love with Hannibal and I lost interest in Mindhunter after about five or so episodes.

I think it might be because these shows took themselves too seriously. To me, they lacked the range of emotion. They were too dour, too despondent. The visuals in Hannibal were extremely artistic and lush but ultimately too depressing. No one seemed to have much humor about anything and everything was focused around murder and cannibalism. It was very similar with Mindhunter. It was a fascinating story to follow along but I came away from each episode in a deep funk.

The X Files can be a dark show, both in content and in visuals. I think I watched a special feature on a DVD where one of the show's creators joked about how the show seemed to mostly take place in the dark. They'd come to the set and all the lights would be off and they'd think it was closed but actually they were just getting ready to start filming!

But I think what separates X Files from these other shows is the fact that there is a balance of light and dark. Mulder and Scully have a good professional rapport with one another. As they grow as characters, they're starting to care more each other, about how they're feeling. Mulder expresses concern for Scully a few times on particular cases he knows affect Scully on a personal level. They go out of their ways sometimes to help one another. They even joke and smile with one another!

I'm still only three seasons in but I'm already hooked because I can see the broad range of humanity in these characters. Not just Mulder and Scully but the supporting characters as well. There are funny moments, tender moments, heartbreaking moments. And having those only makes the intense moments even more suspenseful. Even though I know the show goes on for several more seasons, I still cling to the edge of the sofa when they're in danger.

That's what sets this show apart from most other shows for me. Even with some bad acting, even with it's cheesy TV special effects, it's still an effective and dynamic show. It's story telling and the relationship between Mulder and Scully.

Feel free to disagree or tell me if I'm wrong, these are just some random things I was thinking about lately while watching the show.

Also, Scully is always a mood:

[chipsncookies]

ngl I am kinda looking forward to the Ultraman guy thoughts compilation and a brief summary about him. You talking about Ultraman definitely sparked my curiousity. I saw Ultraman briefly mentioned in a few manga when I was young so I was aware of it before but now I'm getting curious but I'll wait a bit more. I don't even know where to start.

The results have been compiled here! Please take a look!

For you guys who want to know who this character is, he's Ultraman Blazar from the latest Ultraman series! He is a warrior of light who's taken the duty of protecting humanity from kaiju and alien attacks 💪

If you're unfamiliar with the Ultraman series, it's a science fiction tokusatsu, meaning they use live action special effects. Commenters who mentioned kamen rider and power rangers/super sentai got it close since those are also tokusatsu. Fans of one usually enjoy the others too.

Like i said, the basic premise is ultraman, an extraterrestrial being comes to earth to defend humans from kaiju or aliens. They usually disguise as humans when not fighting, or they have a human host who can call them out when the earth is in danger. When the time comes, they transform into Ultraman.

This series is very old, it started in 1960s. So it has so many entries, where fans have grouped them by the era they were released (showa ultramans, heisei, reiwa etc). Some of the entries are in similar continuity, while others not.

I grew up watching some of the series so I'm already familiar with it, but I've been out of the loop for years and just got back into it, and im already confused, so i understand how you feel when you said you don't know where to start.

However, I think if you're curious and want to start watching, it doesn't hurt to watch the original series, Ultraman. It's available on YouTube. The effects might look outdated (it was the 1960s after all) but a lot of fans think the story holds up to this day. It has 39 episodes. It's the foundation of the series, and many plot beats & kaijus/aliens that appear in it will reappear/remixed in later series, so if you watch this you'll recognise them.

If it's too long, you can watch Shin Ultraman, the movie that came out last year. It's based on the Ultraman series i mentioned above but condensed into 2 hours. I haven't watched it myself but fans seem to like it and i heard it did well in theatres. The only downside(?) is the ultraman and kaijus are cgi so you're missing the tokusatsu experience. If this is your preference that's great but this is the only entry that uses fully cgi ultraman

I mentioned these first because they're a fresh start of the ultraman experience. Other series especially recent ones tend to feature other ultras/characters as fanservice, and I don't want to overwhelm you, but if you're interested there's nothing wrong with checking them out. A lot of them are available on the official YouTube channel with subs and some with dubs unofficial means also available

I'm currently watching Ultraman Blazar, it only has 5 episodes as of now but I'm really enjoying it a lot. In my biased opinion i find the story so far enjoyable for adults and children.* Also I think the visuals are some of the best in recent entries.

*I forgot to tell, ultraman is a series directed to kids, so it can be silly goofy at times and heavy on the toy selling, but some entries can be more dark/mature than others. Shin ultraman is more mature for example.

So yeah!! Ultraman is a really old series and it has become a pop culture in Japan and many places in the world (but somehow not america?) i think if you watch this you'll start seeing its influence on other shows (yes, including pokemon!). If you're curious about other ultraman you can take a look at the list of ultraman here and see if there's any you like. This series is big so it can be overwhelming but I'm sure you will find something you like! I hope you'll enjoy it! 🫶🫶🫶💖💖

Edit:

[colorguardsweetheartblurrsgirl]

Hey...Been a while (My Bad)

Merry Christmas, Happy New Year and Happy Holidays everyone!!! I know I'm late to the party, life's been kinda CRAZY BUSY Drama and stuff happened. Didn't have time to breath. I did want to post art for the Holidays, art I originally planned for last year. Didn't work out, Wil make eventually, as I love the plan still I set out to make last year and want to still create it. But some new stuff in life that effects schedule was new to me and the exhaustion it brought I wasn't used to. Things seem a bit better so I'm hoping to get back in the swing of it. Starting classes for a month soon so I will have a little less chaos and more time to work on art and stuff hopefully when that happens. (We'll see, prayers all the same)

So, been working on 1st Few chapters, cleaning up. Wanted to know for if you guys wanted me to post favorite lines on occasion. I know I've talked about it before... But maybe set a schedule of every other week or something to share. Like maybe share first lines? Let me know! #stry

~~~

In the meantime, while art has been slower, I have still been working on story bits (so much so I've had days I've tired myself out and wanted to work on other things. But I still have the drive for it. I just give myself occasional break cause you know you don't want something to be a chore when creating. It was more working on some chapters technical stuff which was the chore as it sometimes is. Seems more so when you have it pretty set in stone but have to fix little things that are annoying). I've also been dreadfully stretching out writing out the full outline, I have a form of it in my document (and a terribly built early version from the early days of this fix revolving around the first several chapters events).... However, due to having it fully thought out now I'm at the point I'm hammering nearly 24/7 in my head that while I want to work on art or more story writing I need to sit down and do this. As a visual and do it learner I know for me I need to more so get several printed paper laid out and write in order the outline (not timeline, but that to eventually I've got a very old draft from the early days of the timeline as well. But I need to work on that after too)... So yeah... Just something I'm procrastinating on that despite having the Outline fully or "mostly" fully embodied for the 3-6 books (with all that happens in books 3 or what likely is 5 & 6 I realize it could end up becoming 7 books, but I'm trying to not say that just yet)... But yeah, i have the main things figured out and mostly all events of Book 1 & 2 (most likely it will be Books 1-4 figured out) all the major events have long been in stone for all the books it's just the puzzle pieces of where certain things go and the figuring out battles that is the main thing of the later books not fully visualized ubt story beats are already in stone for the later ends I just realize some may be added to help flesh things out in the later books. Yeah, some reason the one piece of this story that's a chore is getting myself to sit down and do the outline, money isn't a issue at the moment. Though i have some house work that is why some things have been stalled. It's just one of those funny bits I can't get myself to do, despite creating continually for it...

So yeah, really part of me stalling has been trying to get myself to sit down and do what I need to do as a writer instead of relying on the road map in my head (cause I don't want to mess up). That said, lately due to a family member who has connections wanting to read the first few chapters. I've been really working on getting the first five chapters and the Overture (I decided due to length and as it fit better for the story the Prologue is more called the Overture) as I make many references to songs and other reasons. Just like the epilogue (which I long have written and last year I reworked and rewrote, I told my mom what the epilogue entails without reading it to her, as she doesn't want to read any of it till it's created my parents and larger family have been heavily supportive including my friends of me finally setting out to write my first original series... But she literally cried when I told her the ending and the epilogue which I call Before Curtain Bows (and something else that is a stage reference, i grew up on the stage so it's kinda fits to call these such for me and how the story is titled literally spelling out story I kinda pay homage to how they used to be told as if on stage).

Anyways, I know I said I wouldn't do any more long updates. BUt I felt since it's been a while I would. I hope to post more art stuff soon. Unrelated to what I was working on for a while (also to my friend waiting for the birthday gift, I decided to hold it till this birthday so you'll see it in a few months which allows me to work on it a bit more along with other things since it became slightly bigger then I expected it to be while working on it on and off).

Also with the "Recent Business" in my life, it kinda recently inspired me to make just a short, non scheduled Henry Stickmin Collection short random comic with the characters of THSC in a similar place and shenanigans inspired by my experiences in said place. I'll give you more info in the Update 0.5 comic I hope to post and get finished soon. Like I said was to busy to work on anything. But hope to get some of this up soon. I also have a update to my last post where I outlined it and added more details so I'll be posting that (I wanted to see if I can use my scanner but that rooms blocked off by boxes right now gotta figure out a way to navigate it to do so).

Anyways, that's all from me on updates....

Here's a sketch from the 0.5 Update to prove I'm doing stuff other then technical stuff on the novel portion.

THIS WILL BE DIGITILIZED LATER... just rough sketch dump from back when I made this little idea.