#and i wouldn't have a problem with this facet of his mysterious character

[cecenyss]

constantly thinking about the fact that reginald hargreeves was revealed to be an alien and then it’s just never mentioned again. there’s some weird shit in his brain at the end of season 3 but that’s it. that’s all. man’s just a fucking alien and that’s normal i guess.

[novelmonger]

Sorry, i know this is a bit random, but i recall you wrote ages ago that Carol Berg helped you get over disowning Robin Hobb as your favourite author (did i get that right?), and being familiar with both authors myself, I couldn't help but wonder what’s the story there? :) (just discard this if it's something very personal)

Ohhh, impressive memory! Yeah, I don't mind sharing, if you'll forgive me for being a little dramatic about the matter...and long-winded ^^'

(To be clear, the only Robin Hobb books I've read are the Farseer Trilogy, Fool's Errand, and The Golden Fool. The only Carol Berg books I've read so far are The Spirit Lens and The Soul Mirror.)

I was first introduced to Robin Hobb when my brother gave me the Farseer Trilogy when he went off to college, a year before I did the same. That was a very weird and stressful in-between sort of year, one where I really needed some other world to escape to, so I utterly devoured that trilogy.

Assassin's Apprentice, especially, really grabbed my imagination (and is the one book of hers I still have on my shelf). In many ways, it's the kind of story I hope to be able to write one day. It's high fantasy, with magic and kings and queens (and eventually dragons, but not in that particular book), but it feels very grounded. It doesn't brush aside some of the more sordid aspects of medieval life, while not making everything feel grungy and ugly like some grimdark stories I could name. There is ugliness, but there is also beauty - in realistic measures that makes the world feel like one that actually exists somewhere.

I also loved how deeply emotional Robin Hobb's writing was. I immediately felt like I was living under Fitz's skin, feeling things as he felt them. It's not rare for me to cry when reading a good book, but there were several scenes where it really struck me hard and I just sobbed my heart out. (I'm particularly thinking of the last scenes with Smithy and Nighteyes, as well as Fitz saying goodbye to Burrich in...I think that was the third book?) A lot of fantasy in general, and especially the books I'd been reading around that time, were much more plot-focused, so even when the worlds were cool and the plot was engaging, I wouldn't get hit with emotion that strongly. Robin Hobb really stood out in that regard, because while her stories have intricate plots, they're also intimately characterized. I don't think there was a single character in that series who felt flat.

Besides that, Fitz is a very sympathetic character, especially in the first book when he's just a kid who doesn't fully understand what's going on - and I've always had a thing for lonely little boys. And then there's his animal companions! Nosey! Smithy! Nighteyes! (Oh my word, Nighteyes alk;djfsdlkjf) And I also really liked a lot of the human secondary characters, especially Burrich, Kettricken, and Verity.

But more than anyone else, my favorite character, at least from the second book onward, was the Fool. He was so kooky and weird, so mysterious, so multi-faceted. One minute he seems almost half-witted, the next he rattles off something truly wise. And certainly by the end of the Farseer Trilogy, I adored the way his relationship was unfolding with Fitz. It seemed like everything I've always wanted and so rarely seem to find: two men who trust each other with their lives, who would die for each other, who aren't afraid of telling each other that they love each other, without even a question of romance.

Well. If you've read the Tawny Man trilogy, you might be able to guess some of where this is going.

I think my main problem was identifying too closely with the writing. I didn't just say, "Robin Hobb is my favorite author!" or "Robin Hobb is my writing role model!" It was like...because I recognized multiple very important things in her writing that I also wanted to achieve in my own writing, I went beyond simply trying to learn from a master and skipping ahead to assuming that she would craft her stories the same way I would in ten, twenty, thirty years. Like the only difference between us was time and experience, like we had the same values and the same ideas about characters and stories.

(To draw a contrast, I would now say that my primary writing role model is Brandon Sanderson. I really admire his worldbuilding and the way he crafts compelling plots and interesting magic systems but also does really well with making characters interesting and realistic, so I can enjoy a breathtaking plot and also sob my heart out in the emotional scenes. And I also really like the way he writes romances. But while I know there's lots I can learn from him, we write very different stories. I don't really have any aspirations to write epic fantasy with huge, sprawling casts and intricate magic systems. I'm much more interested in smaller, standalone stories that focus on just a few characters who might not even be saving the world. So it's much easier to read his books and go, "Wow, that was awesome! I have so much to learn from him! But I would never have written XYZ that way.")

Looking back, I can see a lot of red flags that should have jolted me out of this weird way I was reading Robin Hobb, things that should have clued me in much earlier that it wasn't just that Robin Hobb is a much better writer with ages more experience than me, it's also that we have very different ideas of how to handle a story and its characters. If I'd noticed sooner, maybe I would have been able to just enjoy her books for what they are instead of imagining that they were something else and then getting sucker-punched when I couldn't deny the truth any longer.

One indicator was Robin Hobb's stance on fanfiction. She took her rant down from her website, so I suppose it could be that her opinion of fanfiction has changed, but she's still on the forbidden list on FFNet, for whatever that's worth. Anyway, my point is simply that anyone who ever felt that strongly against fanfiction is clearly not someone who sees eye to eye with me on everything XD

Another interesting point is how, now that I've put several years between me and these books, I see how kind of...excessive Robin Hobb could be with all the horrible things that happen to her protagonist? Don't get me wrong, I love angst and whump probably more than I should, and it made for some really dramatic and nail-biting plots because it was clear that she wouldn't balk at going so far as to permanently maim Fitz if she thought the story called for it. Worse than that, she kept on tearing away everyone he loved in one way or another. There is so much pain and darkness in these books, and Fitz always seems to come out the worse for it, despite all of his efforts. If I'd been writing the stories, I would have given him a bit more of a break here and there ^^'

More to the point, though, is the way Robin Hobb handles romance. I knew from the second book (when Fitz is actually old enough to have romantic entanglements) that I did not care for her romances whatsoever. I don't think there was a single romance in any of the books I read of hers that I whole-heartedly liked without any reservations. (Kettricken and Verity came closest, but we hardly even see them together, and then there's that whole thing with Fitz....) Content-wise, they're not the most graphic scenes I've flipped past read, but the way Fitz never fails to make the absolute worst choices when it comes to romance, and the way he never fully commits to any of his romantic partners...like, I get it (at least sometimes), but I don't respect it.

Normally, I wouldn't keep going with an author who puts so much sexual content into her stories, even if it's not usually described in much detail. I would have gotten fed up with Fitz's dumb romances...but I really liked everything else about the books, so I persevered. Even if Robin Hobb's romances were crap, at least she was doing a really good job at making me care about all the other relationships. At least she was doing something I'd so rarely seen, with Fitz and the Fool's close friendship. There was no drama there. No dumb misunderstandings or stupid choices.

Until there was.

When I got to a certain scene in The Golden Fool, where rumors abound about the Fool's sexuality and Fitz finally confronts him (for the second time) and is like, "There's nothing romantic going on between us, right???" I was crushed by the Fool's response. I was waiting for another scene kind of like the one in...Assassin's Quest, I think it was, where he asks a similar question and the Fool's answer is basically, "Why does it matter? I love you, that's all." Instead of that, the Fool's response leads Fitz to understand that the Fool is in love with him (I don't have the book anymore, but I seem to remember the line going something like, "I love you in every way possible."), and he handles it as well as Fitz ever does, which is to say, terribly.

That was the moment where everything came crashing down. I don't know, maybe no one will really understand why that was such a big deal to me, but it was like all of a sudden I couldn't fool myself anymore, and I saw that Robin Hobb was taking the relationship in a direction I never wanted it to go. I wanted it to be the one uncomplicated relationship Fitz still had. I wanted it to go without saying that they loved each other, but not romantically. In that moment, I realized I didn't care what the answer to the mysterious things about the Fool's identity was. I didn't care if the resolution of it all ended up being that the Fool was a woman after all, or that he's some kind of androgynous or hermaphrodite creature, or that he ended up being a dragon or a fairy or anything else. I didn't care what the answer was, because I didn't want them to ask the question in the first place.

It was the weirdest feeling. Like...usually, if I make it past a certain point in a book, nothing short of a graphic sex scene or something truly horrible will make me stop reading it, even if I'm bored and don't care anymore. I usually at least want to see how things end. But when I got to that scene of this series I was deeply invested in, that had made me cry and smile so many times...all of a sudden, I didn't care at all. I didn't care if everybody died horrible deaths. Because the magic was shattered, and suddenly I was looking at letters printed on a page that I didn't much care for, rather than a vibrant world passing before my eyes.

So I kept Assassin's Apprentice, because I still think Robin Hobb is an excellent writer, and that's the one book in the series that doesn't have any romance for Fitz to screw up. But I sold all the other books, and have never felt even the slightest urge to read any more of her writing.

At long last, this is the part where Carol Berg comes in! I don't remember how long it had been since I disowned Robin Hobb as my favorite fantasy author, but at one point I picked up The Spirit Lens. I don't know if you'll agree with me or not, but I noticed a lot of similarities to Robin Hobb's stories. The way Portier hides in plain sight but is the one who really gets things done in the kingdom. The way the fantasy is magical and interesting, but still very grounded, paying attention to things like the workings of the court and such. The exquisitely horrible torture Portier suffers.

But most of all, my favorite character, Ilario de Sylvae! 8D The second he came on the page, I sat up straight, feeling like I'd just heard a familiar voice. Not necessarily because of his actual voice, but his character is so reminiscent of the Fool! Pretending to be a foppish rich boy who faints on couches at the sight of blood, only to reveal he's actually very serious, very skilled, and has a heart of gold. He comes through for his friends in the nick of time. He cares deeply for Portier, especially, but there's not a hint of romance between them. (At least, not in the two books I've read. I picked up on what might be some hints as to his sexuality, or at least the hints of questions, so if that becomes a thing in the third book, I guess I'm wrong about this. But so far I don't see any of that between him and Portier.)

So it's really interesting, because I was so enamored with Robin Hobb's stories, just blown away by the sheer emotion, but while I've enjoyed Carol Berg so far, I wouldn't say she's in my top five or anything. I think she's an excellent author and I really do love her characters, but I don't think they've made me cry so far. And yet, reading The Spirit Lens kind of healed the wound left by The Golden Fool. I'm not expecting Carol Berg to write the story exactly the way I would - in fact, I don't think I would ever get to the point of writing that particular story! - but that frees me to just enjoy a good story well told. And I can see echoes of Fitz and the Fool in Portier and Ilario, without any of the qualities that aggravated me so much. Like I can finally get the resolution I didn't realize I still needed.

Anyway, that's my story! Hopefully I didn't bore you to tears! I'd love to hear your thoughts on the two authors.

[xplrvibes]

Tell me your theories on sam and Colby's laundry habits - or cleaning habits of any sort really. Heck, throw jake, johnnie, nate, and anyone else in there as well. I am all in for light hearted anything right now!

Oh, my opinions on their laundry habits are that they have none 🤣.

This got really long, so I put it behind a cut. This is a fun discussion everyone, and not meant to be taken seriously, so just remember that!

The laundry thing started on here a few years ago mainly because we noticed that Colby wears the same black tank top every single day of his life, like a cartoon character. So that got us all thinking - is he a) constantly doing laundry, b) never doing laundry and just using broke college student methods like rolling his clothes up in dryer sheets or wearing his clothes in the shower so they can get all soapy and "washed" that way, or c) does he secretly own 6,500 black tanks and he just constantly throws them out when they get dirty and pulls a new one out?

This then sort of evolved into wondering how he handles his $1,000+ dollar designer clothes - is he having that stuff dry cleaned (and if so, are the tank tops being dry cleaned as well, is this man a GTL'er?), or is he just throwing this stuff into the wash with all his other shit and just hoping for the best?

And then THAT led us down a path of "well, maybe they do their laundry together (snc) cause they do everything else together, so why not," which led down a path of imaging Sam having to micromanage Colby's laundry folding habits, cause you know Sam is a man who matches all his socks up meticulously and organizes them in his drawers by colors and sock sizes, while Colby probably just throws all his shit on the floor and does the old grab and sniff before putting 'em on.

This was a whole long-running, multi-faceted conspiracy over here throughout the height of the pandemic 🤣.

Anyway, the only thing we ever got a clear answer on was that they use Tide, apparently. The rest is still a mystery. 🤷‍♀️

As far as their other cleaning habits? From what I can tell, Sam is far more concerned with having a clean abode than Colby is (which I believe was a bone of contention between them when they first moved in together in LA). Sam seems to like things to be tidy and to his liking, and doesn't seem happy when someone messes it up. Whether he actually does any cleaning himself is debatable - I'm willing to bet they have regular house keepers coming in on a weekly basis to clean the common areas and stuff and let's be honest, they never use the damn kitchen anyway, so that's not a problem 🤣.

But yea, of the two of them, I think Sam is closer to being the neatfreak. I think Colby is respectful of common areas, but I think he's a person who isn't all that concerned about his room (unless he's got someone coming over thay he wants to impress).

Now, that being said, I think Colby values his privacy a lot and does NOT like people touching or moving his shit, so I wouldn't be surprised if he "cleans" his own room. But yea, I don't much see him as a neatfreak, but more of a person who is meticulous about his routines, habits, and where he wants things to be and how he wants his space to be.

Jake and Johnnie, I don't know as well (or at all, really) but they seem to throw a lot of food at their walls, so I hope they're cleaning or theyre gonna get roaches and rats hardcore 🤣.

[jsaarts]

Chamber of Secrets might not be most people's favourite, but it is the most quintessentially Harry Potter book in the series

- A Defense

This is reddit post I made which I thought I'd share here based on the positive response it got.

I'll admit that even for me, I don't find it the most interesting in terms of plot. But I do happen to love it more than most of the others.

For a long time I couldn't figure out why. Then I realised that it was because of what that book contains and how the sum of it is like an almost perfect archetype or seed for the whole series.

Chamber of Secrets still has the whimsy and novelty feel of Philosopher's Stone without the Wizarding world being new to us.

It introduces a new location other than Hogwarts just like the other books.

It includes a confrontation with Voldemort, even if in the form of a memory. Something which the third and sixth book lack. Not only that but having Voldemort appear on the back of Quirrel's head was a unique and clever twist and manifestation. By having Voldemort appear as a memory in the diary it does the same.

Chamber of secrets also includes a vision of the past which play an integral role throughout the series. In particular with the Horcruxes in book 6. Not only that but the vision Harry sees in the second book is from a Horcrux.

Chamber of Secrets also sets groundwork for the wider conflict of the series both in terms of the Horcruxes and in regards to blood purity and the founders of Hogwarts.

Harry is also mortally wounded in this book (basilisk venom) but is revived by the living embodiment of resurrection (the Phoenix). Foreshadowing how he will eventually overcome death and the main villain of the series.

In this book we are introduced to the Sword of Gryffindor. Without which Harry couldn't have defeated the basilisk and gone on to destroy Tom Riddle. Likewise without the sword in the seventh book, Neville wouldn't have killed Nagini, thus making it possible for Harry to destroy Voldemort, whom he refers to once again as Tom.

Ginny is also involved in Harry's life for the first time. And though the romance is for now oneside, it isn't later. But she will aslo grow to become more important than just a romantic interest.

Another important character and facet of the wizarding world that we are introduced to is Dobby and house elf slavery.

Chamber of secrets also includes Harry being perceived as suspect and distrusted by others, not to mention the first example of how corrupt and abusive the Ministry is. Along with the first obvious Death Eater, Lucius Malfoy.

Harry's soul-bond to Voldemort is also hinted at, in that he feels like the diary belongs to an old friend, and that they both share the ability of talking to snakes. Not to mention the whole theme about Harry worrying he's in the wrong house. And that ultimately it's our choices that define us. Not our houses and other such things.

Who can also forget poly-juice potion which plays an important role in the series, and is the reason why book four can even happen and Voldemort was able to resurrect.

We are even introduced to the Burrow which will be the home Harry needed and the bonds formed there will be important to the rest of his life.

Despite not having a sorting ceremony, the whole process of sorting and the hat itself are still very much involved in the story.

In terms of a mystery, it incorporates one of the best and most memorable twists in the series. Both in terms of plot and execution (the anagram of I am Lord Voldemort).

Much more could be said, but this book more than any other, carries with it what Harry Potter is all about. Even though Deathly Hallows crowns the whole series as an end to the arcs, certain important elements to the general feel of Harry Potter are missing from it (for example Quidditch and having a normal year at school).

Chamber of Secrets contains in some form or another the main beats of the series, which can at times be more absent from the other books (like a strong element of rivalry with Malfoy which is not really present in the fourth and fifth where he is more a nuisance than a perceived or actual problem, or an important plot point like the second, third or sixth book).

I'm not saying that Chamber of Secrets is the best story or best told, but it's the most quintessential in my opinion.

Edit Note 1: Chamber of Secrets so cleanly follows the formula of the first book, that it's the last of its kind.

The third book has no Voldemort.

The fourth book has no Quidditch

The fifth book ends on a tragic and sombre note

The sixth does not have a confrontation with Voldemort

The seventh diverges the most from the others

I'll admit it's harder to make the case against the fifth book when compared to the second. Since they are closer in formula than the others. But I think a deeper analysis would still hold the main thesis of the second book being more quintessential.

[salvatoreschool]

'Legacies' EP Brett Matthews Teases How Characters Face Their Demons in Film Noir Episode (Exclusive)

It's an episode you do not want to miss!

Titled "There's a Place Where the Lost Things Go," Thursday's Legacies sees Hope (Danielle Rose Russell), Josie (Kaylee Bryant), Lizzie (Jenny Boyd), MG (Quincy Fouse) and Rafael (Peyton Alex Smith) transported to a fabulous film noir world.

In order to deal with all their recent traumas -- including Kai Parker's return and a black magic-filled Josie -- Emma (Karen David) makes them participate in a group simulation where they confront their conflicts head-on or risk the game's consequences. However, like most situations, things don't go as planned and the students come face-to-face with something they never imagined.

ET caught up with executive producer Brett Matthews, who also co-wrote the episode with Mark Ryan Walberg, where he shared the inspiration for the episode, why Professor Vardemus (Alexis Denisof) has returned and teased if there could ever be something more between Hope and Rafael.

ET: What was the inspiration for this episode?

Brett Matthews: It really goes back to a class I took in college at Wesleyan University... Film noir is a genre that will stay with me forever and is something very near and dear to my heart that I never really thought the right opportunity would present itself in this way to explore. I'm really glad it did. It's like an itch I had since I graduated college that I finally got to scratch.

What will surprise fans most about it? Is this a one-off episode or how will this push the narrative forward?

We don't really do one-offs. We do a lot of format break episodes, but we only do them when it's really the best way to explore the characters' journeys and the things that all of our characters are going through as they come to a head. A format break episode or a special episode will do that better than a conventional one. That's when the time's right. So absolutely we are telling this episode because it's where our characters are at coming off of [episode] 12 and 13, and really traumatic events. It's a group therapy exercise that kind of goes awry. It always starts and ends with the characters and they got us into it and the discoveries and revelations that they experience in the film noir world will come to influence them on the other side, when we're back to our normally scheduled program.

Is there a reason everyone has their distinct characters in this episode? Is there more than meets the eye with their film noir roles?

Yeah, everybody is sort of at a point in their emotional journey for the season, where they have some things they have to face, and the therapy sort of puts them in a role which allows them to make the discovery that their, sort of, person needs to learn from, move on and process. Film noir is a really good fit because it has all these tropes and archetypes and it was really fun. Mark Walberg and I, who I wrote the episode with, who's our script coordinator here, really got those characters into those different types based on where they are coming from and where they were headed for the rest of the season. That's really the "why" of who's the movie starlet, who's the gumshoe and who's this. I got to say, it was really fun to put Quincy Fouse's MJ sort of front and center in an episode. That was a really neat opportunity. We really enjoyed to be able to do that.

We see Alexis Denisof's Professor Vardemus back, I thought he was gone? Am I wrong? What's his role in this?

[Ryan] Clark took Vardemus' identity at the beginning of the season and [this episode] sort of gives us the answer to where Vardemus has been this whole season, which is his mind has been locked in the therapy box and his body has been stowed in the school. And inadvertently, the kids end up setting him free and we finally look forward to getting to know the character of Vardemus as Vardemus, and not someone pretending to be him. [We will learn] who he actually is, a scholar with a bit of an edge, who's lived a really interesting life, but has a really great amount of knowledge to share with Alaric and other educators at the Salvatore School. We just really love Alexis and what he did with the character, so we're excited to begin exploring this new facet and get to know the actual Rupert Vardemus.

So he will be sticking around for more episodes?

Yeah, we hope so. We obviously have a lot of characters to service and that's always the hard part about running a television show, there's never enough time. But Vardemus is just a character [we love], and Alexis is one of the kindest, most professional actors you hope to work with in this business. [Creator] Julie [Plec] and I really love what he's doing and he is a character you will see pop up here and there, and we would love to explore more in the future.

Landon is not in this episode, but we see Rafael and Hope together. How much tension is there between them and is this foreshadowing them getting closer in the future?

I think that Raf's takeaway from this episode is that he is part of a very deep mystery that disturbs him and that he needs to get to the bottom of, and obviously feels uncomfortable enough about it that he is lying to people about it. And so, that is sort of what's forefront in Rafael's mind, but he does have this deep relationship with Hope and a super neat and profound relationship with Landon. Both of those characters will help him unwrap and get to the bottom of, and hopefully solve, the situation he's found himself in.

We've seen Josie, Kaylee Bryant, just come out of her shell this season, from a sweet, kind and shy girl to this badass, evil villain. How has it been working with and getting that dynamic range from her?

Kaylee is a wonderful actress and it's not real hard. Dark Josie really makes a lot of sense because it's just that repressed part of the character she usually plays. Josie is a selfless character and puts others above herself, and I think it's a very human thing to have that part that says, "What about me?" or somebody always putting off their own wants and desires, and that often comes to a head and people often snap. That's a little bit of what she's going through. So I think for her it's probably a little more hand and glove than it would be for somebody coming from the outside in because our actors really do inhabit their characters and live in their skin year-round in a way another person doesn't. I think it made a lot of sense to her and then to translate that to the physicality and the surface menace of it all. I think she's doing a great job with it.

How was the cast's reaction when they saw this script for this episode and started getting into their wardrobe?

I think they always enjoy the format break episodes because they allow them to really just do something fun and exciting, and I feel like the whole crew feels that way about it as well. Like Julie said, when I gave her the script, she's like, "They're not going to know what film noir is," and I said, "Well, I don't know if it's that large of a problem." But we did pull a couple landmark film noir episodes that we thought really encapsulated the genre and everybody watched them and did their homework and very quickly, whether they had prior experience with the genre or not, understood what it was and really gave it 110 percent, as did our director Mike Karasick. But the cast, like they usually do, gave it their all and made it shine. I'm sure it was fun for them because of wardrobe and they got to be in another world for an episode and those are always fun for everybody.

Will fans get to see another themed episode like this in the future?

We'll have another one or two over the course of the season. We're doing a really big, exciting musical episode this year, as we try to do one every year. So we're working on that one now and that's something that sort of revisits our history as a franchise. We're very excited about that. So you can definitely look forward to that one and seeing all your favorite characters singing and dancing and all that good stuff.

Last question, both Ian Somerhalder and Michael Malarkey told ET that they would love to work on Legacies. Ian wanted to direct an episode, while Michael wouldn't mind reprising his role as Enzo. What are your thoughts?

I love both of those guys! They are part of our family and like we say to all our members of our family, the door on Legacies is always open. All they gotta do is give me a call and I will certainly, always take that call. I'll always be interested. In terms of characters, you want to make sure that you have enough, you know, like, Vampire Diaries and The Originals, they had their own endings. So just on a character level, it's always a case-by-case basis to make sure that they're respecting the integrity of our cast, but god, if there's a way to do any of those things, we're always inclined to do them. It's just the people you know and the relationships you form and that makes up for the long hours and all these things. We're very lucky people to have worked with so many wonderful, talented artists and we would love to work with them all again in the future.

Legacies airs Thursdays at 9 p.m. on The CW.