#anyway this ain't about me

[taecdimples]

So according to the Korean Time Zone, this post is a little belated. But it's still December 27 in my time zone, so I'm still celebrating Ok Taecyeon (and every day is a good day to celebrate Taec).

Taecyeon has accomplished so much this year, including the K-drama "Heartbeat", the 2PM concerts, and so much more. As a fan, I am so proud of him and I know he will continue to make us even prouder next year.

Happy Birthday to our handsome, talented, beautiful soul ❤ wishing him happiness and success in the upcoming year ❤

[licorishh]

double ?? upload ???? yeaaaahh i've gotten FASTERRrr for whatever that's worth so complementary blyla because guess what i miss them too (nobody was surprised by that)

[seventh-district]

Making Incorrect H:SR Quotes Until I Run Out of (hopefully) Original Ideas - Pt. 4 - Nuthin' but Boothill Edition

[Pt. 1] [Pt. 2] [Pt. 3] [Pt. 5] [Pt. 6]

[lanternmice]

are they... you know🏳️‍🌈

[demonkinguwu]

Vanessa Doodles before work™️

My interpretation of canon Vanessa + her w Snatcher + Someone wanted to hug he <3

[tricos-here]

on today's episode of me trying to figure out how the hell to draw my own oc's; this mob boss cunt

[b0nelessdoodles]

screw it i'm posting the other little chunk of this silly little au thing 'cause i want to and it might motivate me to idk clean it up and finish it yippee!

[bromcommie]

so I was digging through the Vast Legally Grey Junkyards of the Internet in search of better quality footage from AoU for my edits, specifically the scene with the CA FASCIST grafitti in Sokovia—which I unfortunately didn't find, but what I DID find was a bunch of deleted/expanded scenes that I didn't know/didn't care enough to pay attention to before. Which is fine. Most of it is techno babble and rushed plot setup. However. This stupid-ass ten second clip makes me literally insane. It makes me. Want to kill and maim and chew on the bars of my enclosure. And not in the sense that the contents make me oh-so-emotional, but because the potential of them could. Because what do you mean.

What do you mean those four and a half lines were cut for pacing/time when it's a ten second difference and the rest of the scene is in the film anyway. What do you mean you cut it because it didn't fit the narrative. It's literally couched in two minutes of plot it could've been so easy to slip it in there. A passing reference that would add at least a smidgen of depth to both the (already fucking incomprehensible) plot + politics of the antagonists, and to one of the main fucking characters. Like you were SO close what do you mean you cut every feeble attempt that was made to scratch the surface of Steve's character outside the whole nightmare scene we're supposed to feel so bad about what do you MEAN.

The fact that this minimal exchange—paired with that graffiti scene where Steve is confronted with the actual legacy of Captain America and what he's come to mean to people around the world and then quite physically discards the identity + him still circling back to the mantle at the end of the film anyway because he doesn't know how to do or be anything else, feels like he's too changed for this idea of a normal life that stems from before the war and the ice and doesn't know how to live without carrying that, without being useful in this one specific way—has more meat on its bones in the whole lead up to Civil War and ultimately Endgame than half of this movie's sledgehammer-over-the-head lines about home and family with Barton's kids laughing in the background or whatever like some fucked up C list hallmark movie is downright infuriating to me because like. You clearly thought about it. It passed through your head. You wrote some version of it into the scene. You shot it and edited it and watched it a few times and then you went "nah off it goes to the cutting room floor, we have enough of that. Add those seven and a half seconds to the 20-minute long, entirely CGI Hulk sequence, that we need more of. Surely that will fix the pacing issue".

Side note: this is me not even getting into the fact that, at this point in the franchise, this would have been one of the few lines we'd get of Maria actually saying something or interacting with anyone in a way that is even marginally removed (which this barely is) from simply delivering plot information. This is the only time we kinda get her view on something or even an inkling that she used to be a goddamn intelligence agent. And how that history informs her view of the situation and how it could possibly clash with Steve's own. And that woman is in every fucking movie. (Not to mention the fact that the two of them were just in a movie together, for Christ's sake, and going through something together you could pretty fairly characterize as traumatic and bond-inspiring to boot—and in AoU we can barely tell they even know each other. I mean the bar is so low and they still managed to limbo right under it.)

[persephone-ransom]

idk if i already made this its own post for the holidays but it tis the season........

[epickiya722]

So I'm looking through the comments of this one video about the reveal about Wasuke being the reincarnated and this comment actually put me in my feelings.

Like??? Nah, it's too early for me to cry right now.

[revvethasmythh]

So I went and watched all the possible endings, and it confirmed something I had been thinking, which is that the redemption ending choice is, perhaps, the most immediately regretful one--but that they all come with some form of regret. In the redemption ending, Rook has to knowingly deny themselves the catharsis of retribution (should they desire it, which, at least for me it felt difficult not to) in order to offer Solas one last, painful chance to do the right thing. That willful denial of your own catharsis feels like an immediate regret. Giving Solas the opportunity to pursue atonement might very well be the best choice all around, but it is also incredibly painful to offer that to someone who has done so many terrible things (not a small amount to you personally). Why does he deserve another chance? Especially when so many dead (including a beloved mentor) lie in his wake? Which, I suppose, is the point: he doesn't. But you offer it anyway and it SUCKS ASS, because how could it not?

I don't know how this plays with other story choices (a sacrificed Davrin or a Harding who embraced her anger, for example), but within the context of my own choices, I can imagine an immediate satisfaction to either tricking or fighting him--especially the trick ending, where you can actively name drop Varric--but it feels like the sort of thing that would feel worse as more time passes. Once you've calmed down and are able to ask yourself if that's what the people you've lost really wanted. Varric, in Regret Superhell, didn't want vengeance. He just wanted his friend to walk a better path. And Harding always believed there was another chance for anyone, so long as you kept reaching a hand out for them--even when it sucked ass. So the redemption ending feels like a sort of indignance, an instant regret for not doing worse, for not getting comeuppance, for being forced to eschew satisfaction (related: I wonder if the Inquisitor feels those things as well coming out of this ending, considering how long they've lived under the shadow of Solas' actions). Conversely, the other two endings feel like an immediate satisfaction, because you got to trick the trickster with all the wits Varric taught you, or because you finally got to punch him in the face and it felt really good. But I feel like those endings would come with a creeping regret, something that sneaks up on you later, especially when remembering the fallen and what they would have wanted you to do. Ultimately, because of that, it feels like no ending is devoid of regret. Which I suppose, is rather thematic.

[godnectar]

showered, getting sleepy + entering chilling mode, and now 'm somehow fighting the urge to ramble + shitpost abt yandere santa, dilf ver. 🥴

[nobodysuspectsthebutterfly]

I read GRRM’s interview regarding book vs show canon and I thought the way he was approaching an adaptation of his own story, and fiction as a whole, was very interesting. I do wonder though - does the concept of having a separate show canon kind of become like a cop-out? Because in that case, any TV/film adaptation can just decide to change the plot as they see fit and go “oh, well, that’s our canon, the book is a different canon.” Doesn’t it cease to be an adaptation after a point, or at least become a loose one? In the HotD context, a lot of the changes being made I actually quite like because I can see them fitting in the canon, because there’s nothing suggesting otherwise.

But say, Sansa marrying Ramsay (or, alternatively, the moment that show was dead to me) we can say with absolute certainty did not take place and will almost definitely never take place. D&D knew that too but they went ahead with it anyway; it’s not quite like the Scarlett example where it makes no difference to the story because this change does. I feel like the whole point of adapting written words into something visual loses some of its sanctity if we just accept TV changes a whole separate canon, as opposed to simply a change made by the writers (good change or bad change is up to personal opinion).

I have followed your blog for almost a decade so I’m really curious to hear your thoughts on the subject.

GRRM's "Scarlett example" -- his question of "how many children did Scarlett O'Hara have?", because in the book Gone With the Wind she had three, one with each of her three husbands, whereas in the movie she only had one -- has been his go-to when asked about the difference between book and show canon since at least 2012. Or to quote him from 2015,

How many children did Scarlett O’Hara have? Three, in the novel. One, in the movie. None, in real life: she was a fictional character, she never existed. The show is the show, the books are the books; two different tellings of the same story.

This is IMO one of the most sensible ways for an author to look at adaptations of their work (even if I have gotten rather tired of GRRM using the Scarlett example specifically, pick something different George, we've seen it before lol). There is book canon and there is show canon. They are different parallel universes. They're separate canons because they contain changes made by the writers, and also because the very process of moving from the written word to visual media must involve some kind of change.

And this applies to all adaptations. That's why I brought up X-Men comics vs the Fox X-Men movies vs the X-Men cartoon (original 90s and 2024's '97). For example, there's 4 different versions of the Dark Phoenix Saga between those canons, at the very least. Wait, sorry lol, I forgot the Ultimate canon version. And the various in-comics alternate universe versions. And god knows when they finally bring the X-Men into the MCU they'll probably do yet another DPS there too. And that's only one of many storylines that are radically different between the various canons.

Or look at the various Interviews with the Vampire. Is the new tv show "not an adaptation" because its Claudia is a teenager rather than 5 years old as in the book or portrayed by an 11 year old as in the movie, thus resulting in extremely different relationships and a reshaped plot? (Among many other changes?) No. IWTV has book canon, movie canon, and show canon.

And I can't speak that well about Transformers since it's not a major fandom of mine, but go take a look at their various continuities if you want some more perspective about just how very far the meaning of "adaptation" can stretch.

Or hell, look at Stephen King, where among his many many many adaptations, some of which just barely resemble the original text, the only one he sued to have his name removed from was The Lawnmower Man, because they literally used an entirely different story and just slapped his title on it.

And then there's the movie Adaptation, which is a wildly meta-adaptation of the non-fiction book The Orchard Thief (it's a story about the process of adapting that book and involves a fictional version of the writer, the screenplay writer, and an entirely invented screenplay writer's twin brother)... and it was nominated for Best Adapted Screenplay for multiple film awards (and won a few times), and the original writer even said it kept to the book's themes.

Suffice it to say, HOTD has a long, long, long way to go before it could ever "cease to be an adaptation after a point". Changing the timeline to make Alicent and Rhaenyra the same age, or doing Blood & Cheese differently, do not even compare to what some book-to-visual media "loose adaptations" have done. Even GOT, as wildly terrible as their non-book storylines could be, both their changes to the text and after they had no actual text to work with, never became a "loose adaptation". Certainly it became a less than faithful adaptation -- and let's be real, it always was unfaithful for both themes and the essential elements of so many characters -- but it also always was a remarkably accurate adaptation of the whole span of Westeros (in geography and breadth of characters) and the general (not specific) book plot. (Consider previous attempts at adaptation that GRRM rejected, such as a single 2 hour movie, or eliminating Jon and Dany for being "irrelevant", or only making a Jon movie with none of the other storylines, etc.) Which is why, when GOT was different (and awful) it was such a betrayal, like a zombie or evil alien wearing the skin of your best friend or beloved child, and worse, that this twisted lookalike was the only version millions and millions of viewers ever saw and believed to be true.

But again, this just underlines what GRRM has said. "The show is the show, the books are the books." There is book canon and there is show canon. They are separate things. Parallel universes -- very close parallels, often touching in many places, but sometimes they're quite different. Sometimes the differences in adaptation enhance the themes of the original canon; sometimes the author may even consider certain adapted characters (Shae, King Viserys, Helaena) to be better than his original canon; sometimes you know there's only those tricky NDAs (and payments of lots of money) that prevent him from expressing his disappointment in more ways than dropping the Sansa TWOW preview chapter only days before the release of GOT S5. But perhaps if we're lucky, maybe one day we'll have yet another parallel canon to compare to the others.

[somanywords]

me: knows that the lyrics needed enough syllables to fit the music

also me: showcasing davey's character growth not only by having him turn slowly blue-colored and dress more casually, but ALSO by having him pick up the trend of absent nicknames and give the first nickname to the guy that gave him this new window into a life of freedom and friendship AND no one else uses jackie, marking it as something totally new made up by davey, just for davey, a new step in his growing up, in his life as a newsie, in his relationship with jack, is pure GENIUS

[kanerallels]

(rant incoming)

[morelikesin]

"Welcome t' Paradise, dolly - what're ya fixin' for? I make a mighty fine sex on the beach; I make good cocktails, too."

-

Two versions of one piece because I'm nothing if not two things: indecisive, and head over heels for this dog in heels.