#but when the thing is a found family narrative and the characters are 45-with-kids and barely 18...

[kuzcoskingdom]

you know what, as funny and iconic as the scene where kuzco pretends to be pacha's wife is, sometimes i wish they did not include it simply because maybe without that scene more people would realize that pacha is intentionally written as kuzco's father figure. or idk maybe nothing would change and people would still miss the point of the movie even without it. sigh.

[lacilou]

I'll start out by saying that I'm a 45 year old woman. I'd like to think I've learned a few things in my journey. My entire life does not revolve around every minute detail of the SPNverse and/or the actors associated with the show. I love the show. I love the characters. And I absolutely adore Jared & Jensen. Now I could just let this go and ignore it, buuuut I can't. What in the hell is wrong with people?! The pernicious, monomaniacal, fatal attraction-like zealots who have crossed a line by pushing their narrative onto the ACTORS and not the fictional characters. These actors are people, just like us. They have families, jobs, stress, kids, and car payments. They are fellow human beings. One, you do not personally know these people. Their personal lives are theirs and theirs alone. Two, your malicious desires for J2 to have a relationship that YOU want them to is terrifying. You cannot put YOUR narrative onto other people just because YOU want it to be true. These men have spent 15 years working together, starting in their younger, formative years. They grew up together. They've been through all the ups and downs we all have. Just because they act doesn't mean it's an easy job. Fifteen years of the entire scope of emotions. They started young and by the time the show ended, they had fell in love with their spouses. They had children. Their families are extremely close. As best friends, brothers who went through the trenches together for 15 years, their love language is physical.

These men love each other. And yes, I think they're soulmates. But what some of you don't seem to understand is that there are many different forms of love and diverse kinds of soulmates. This does NOT mean they are romantically linked. In my 45 years, I have found three soulmates: my husband, my best friend of 40 years, and my mother. My BFF and I absolutely love each other. We hug. We hold hands. We act just like Jared & Jensen do. We're not romantically linked. We are absolutely in love; a sister-from-another-mister kind of love.

Some of you are so vicious and mean that that it affects not just J2, but their families. You treat them like circus monkeys, making them do whatever it is you want. They give their time, their blood, sweat and tears for all of us and some of you take it for granted. There will come a time when they have both had enough of the drama, the hate, the lies, the ungratefulness that the toxic part of this Fandom spews. And then we'll all miss out. And knowing how some of you are, you'll just turn around and hate on them for doing that. Leave these memories alone. Sure, be fans. Love them, support them, take comfort in them, but don't put YOUR narrative onto them. It's disrespectful, it's dangerous and it could ruin lives. Oh, one more thing - one of you mentioned Jared & Gen's "couples vacations"...well, when you're married and in love with said spouse (and you have the money to take these extravagant trips), you take VACATIONS TOGETHER. Maybe once you find your person, and you travel with them, you'll understand why Jared & Gen take so many vacations together. Also, he works so fucking hard and is away from his family going from convention to convention that he NEEDS these trips to rekindle their love. I'm just sick and tired, and beyond baffles, with some of this Fandom. Do better. Be better people. Massive eye roll on this childish post.

Lesson to learn: Their lives are none of our fucking business. They give us so much of themselves already. To us. And what do some of us give them in return? Lies. Your narratives. Insults thrown at their wives and families. All this on a public forum!! That's cyberbullying. And it's cowardly, childish & leads to nothing but trouble.

J2 are brothers for life. I said what I said.

[been-around-seen-things]

Some Thoughts on (Racial) Identity and Media Consumption

Since lately I’ve been nodding to some ofmd meta that influenced me before I stopped lurking, I’d be truly remiss not to mention @lunaescribe’s post on Blackbeard as biracial. I was humbled to realize I’d been missing the same cues about Ed/Blackbeard’s identity as many white viewers had—despite being biracial myself! I’d been taking Taika’s presence in the role as a sort of Hamilton-esque color-blind casting. But now that I recognize Ed/Blackbeard’s mixed-race identity as canon (the casting for his parents seals the deal), it does add a very particular poignancy to me. I know well the in-betweenness and the not-quite-belonging in multiple worlds, and also the experience of having access to some of those worlds via lighter-skinned privilege (as well as how that does not always shield you). It is absolutely clear to me now how this is fundamental to understanding Ed’s character and his trajectory.

Given all this, I feel fairly dumb about missing it until it was pointed out to me, but here’s the thing: I’m a 45-year-old American. I didn’t grow up with significant POC rep in media, and certainly not biracial rep. I’m half East Asian, half MENA/SWANA/whatever (I grew up thinking I was half white, though obviously not of European descent, so idek anymore). I was beyond thrilled when All-American Girl was on TV (briefly) in the 90s, imperfect as it was, though I was not at all surprised we were supposed to pretend various Japanese Americans and Chinese Americans were part of a Korean American family, given the “all look same” of it all. I remember how excited I was when I found out Keanu was half Asian like me, but it never seemed to be part of his roles. In other words: I’m not at all primed to pick up on continuity between the background of the actor and their character, if the actor is BIPOC. Quite the opposite, actually.

I don’t need to tell anyone reading this that we have a long way to go, but I do think shows like ofmd reveal how much has changed. I appreciate not just the diversity in representation but the nuances in the narratives that are being portrayed. The way BIPOC stories are starting to be told now is so refreshing. In addition to my endless cycles of rewatching ofmd, I’m currently part way through Reservation Dogs, which is amazing. As a child of an immigrant from a majority-Muslim country, I was also deeply moved watching Ms. Marvel. That was a part of my life experience I did not see represented anywhere in media while I was growing up; getting to see parallels on TV now while watching with my kid had me bawling.

When I was younger, I didn’t actually think representation mattered, tbh. I thought I could look at anyone of any gender and any background and see them as a role model, or even that I didn’t need role models at all. But I was just taking a defiant stance because images of folks who shared my experiences weren’t available to me. Because I couldn’t look around and see aspects of my experience reflected back to me or represented anywhere. But it matters. It matters. I’m so grateful we have shows now that don’t queerbait and aren’t trauma porn and aren’t limited to one racial perspective. It’s going to be pretty much impossible to settle for anything less from here on out.

[wavebiders]

Operation: "Ignore the Shitty Live Action Winx Show and Just Rewatch the Cartoon for the First Time in Almost a Decade" part 45:

I'm Calling Fairy CPS

Avalon: *is in a scene*

Me: *kill bill sirens*

SIR STEP AWAY FROM THE TEENAGE GIRL

Oh my god I forgot she was keeping that secret! She hates lying too😟

and ofc the first time she slips up is with the wrong person even though he's an adult that she's supposed to be able to tru- this is an Avalon hate zone

"Of course I don't want to see Timmy. Why would I want to see someone who behaves like that. So illogical" "what did he actually do?" EXCELLENT QUESTION FLORA

Locket you're cute but get tf off her shoulder that's Kiko's spot

I never showed any interest in the pixies as a kid. Like I have piles of Winx merch from back then still and not one pixie related thing, and I'm pretty sure them butting in on Kiko's beloved sidekick territory is why

I mean if I'm this annoyed as an adult, I can't imagine my child self who adored Kiko a ridiculous amount(enough to name a bunny after him) handled this very well either😂

Shout-out to these losers for having no boundaries and saving me from freaking out about Bloom being in Avalon's office alone with him:

I just love the Gardenia music. That instant feeling of Home every time it plays

Ok I know Bloom's bio parents are great and she does find them eventually so what I'm seeing here is not the narrative the show is going for BUT

I really love that this ominous music started playing and stormclouds showed up when Bloom got pulled away from her adoptive parents and towards her birth parents. Big found family supremacy vibes

Also! She's much more formal when trying to talk to them! In this dub at least, she uses formal pronouns and calls them "mother" and "father" instead variations of "mama" and "papa" like she does with her earth parents. It just gives the impression that as much as she wants to find her bio family, her heart is always gonna be with the people that raised her

"Hey, come on girls leave her alone. Only the most important thing: what was your mother wearing?" I would take a million bullets for Stella of Solaria

Seriously where is my bunny boy?! He's been weirdly not as present all season but it's especially jarring with Bloom carrying Locket around the same way she did him 90% of the time in s1

Stella lecturing Bloom and calling her "Young Lady" here has the same energy as Bloom lecturing Stella and calling her basically the same thing in Miss Magix

Aww she still feels guilty about this whole endeavor even after Vanessa gave her blessing🥺 bby you can have 4 parents

Dark!Bloom already?? I could have sworn that was finale stuff. Does she stay evil that long?

Fghhdf I love this VA for Bloom more than I can say but this does not work as an evil voice she just sounds too babey still

"Should I drop him like Tecna did?" OOF

SIR STEP AWAY FROM THE TEENAGE GIRL

Stella caring gf mode we love to see it

I do appreciate even an evil version of Bloom just sharing her intentions so openly(and in the cheeriest voice bc I cant stress enough how Not Evil she sounds) Every version of her is honest to a fault

I guess in a way the still innocent sounding voice makes sense? It's really weird to watch but if she actually sounded sinister I'd be questioning how calm the characters interacting with her were. Still kinda awkward tho

It is sweet that their reactions never move away from being mainly concern for Bloom no matter how much she throws them around

Ngl I'm kinda glad she can't remember what happened

I don't know why I'm surprised no one's holding this against her. It's totally on brand for this show to have the girls be supportive of each other above all else. But somehow I still am

[4evamc]

Misha Tweets

Transcript

Ed Levine: Welcome to Special Sauce 2.0. Serious Eats podcast about food and life. Every week on Special Sauce we begin with Ask Kenji, where Kenji Lopez-Alt, Serious Eats Chief Culinary Consultant, gives the definitive answer to the question of the week that a serious eater like you has sent us.

J. Kenji Lopez-Alt: Generally, sort of like delicate leafy herbs like cilantro, parsley, basil, they tend to not be very good in their dried counterparts. Thyme, rosemary, oregano, they actually work pretty well in their dried forms.

EL: After Ask Kenji, a conversation with our guest, today in house, Misha Collins. He is, of course, an actor best known for his role as the angel, Castiel. Did I pronounce that right?

Misha Collins: Castiel.

EL: On the CW television series Supernatural, and has now written with his wife Vicki Collins, The Adventurous Eaters Club: Mastering the Art of Family Meal Time.

EL: Now it's time to meet Misha Collins. He's, of course, an actor best known for his role as the angel, Castiel?

Misha Collins: Castiel.

EL: On the CW television series Supernatural, which has had an insane run, right? It's like 2008 to 2019.

MC: Yeah, we're in our 15th season right now.

EL: That never happens.

MC: No, it doesn't. I don't know why they kept us on the air.

EL: Collins is also the co-founder and board president of Random Acts, a nonprofit organization dedicated to funding and inspiring acts of kindness around the world. He's also a published poet. Very impressive dude.

MC: Thank you.

EL: And has now written with his wife Vicky Collins, The Adventurous Eaters Club: Mastering the Art of Family Meal Time. So welcome to Special Sauce, Misha.

MC: I'm very happy to be here.

EL: So the first question I always ask, in your case it's particularly relevant, is tell us about life at your family table growing up. Your family table was not exactly traditional.

MC: That is true. I was raised by a single mom. My parents separated when I was three years old and I visited my father on every other weekend for most of my childhood, but he wasn't really a cornerstone of my upbringing. But my mother and my brother and our dog were a very tight family unit, and we lived in Western Massachusetts primarily growing up and moved a lot. We were in a new home I would say on average once every nine months or so. I think I lived in 15 places by the time I was 15.

EL: So you were like an Army brat, only you were a different kind of brat.

MC: Right. An Army brat without the parents building up a pension plan.

EL: Right.

MC: Another thing I think that an Army brat family has is a cadre possibly, of other kids that are going through the same experience, and I was generally going to a new school every year and meeting kids that were in fairly stable childhoods and who knew one another and who were familiar with the school, so I was always approaching schools and new towns-

EL: You were the permanent new kid.

MC: Yeah, with a little bit of trepidation, and trying to figure out how I could ingratiate myself to the new communities and the new schools. My mother was very eccentric and iconoclastic. She talked about the revolution a lot. I was born in 1974, and we lived through a tumultuous political time in our country, and she didn't want to have us grow up being conventional young men, so she would do things like dress me up in pink tights and paint my nails and send me off to Cub Scouts. Which I think in 2020 might actually fly, but in a working class community in Massachusetts, when you show up at Cub Scouts in the boys' locker room with nail polish and long hair-

EL: Not so much.

MC: And pink tights, you're ostracized. So, I kind of had to find a way to blend in and disappear a little bit as a kid in new schools, and I think that it built a lot of character in a lot of ways, and made me more resilient and adaptable and independent than I otherwise would have been. But at the same time, there's a certain lack of stable foundation that was challenging.

EL: I had not the same kinds of travails in my own childhood, but you do become resilient and eminently adaptable, but it also has a cost. It exacts a cost that you can't deal with as you're going through it, but you almost have to deal with it at some point in order to really resolve some of the issues that came out of it, I assume.

MC: Yeah. I'm sure you've found the same thing, but I feel like I'm a 45-year-old man and I'm still discovering things and unpacking them and repairing them, I think. There are definitely things that you take away from a childhood like that that give you real strength.

One of the things that I love about my childhood is that I know that you don't need money to be happy and you can get by on just about nothing, and that gives you, I think, quite a bit of power going into the world because you don't feel beholden to the comforts of ... I don't feel beholden to the comforts of money. I'm okay with scarcity. At the same time, I don't know that I was really terribly good at connecting with people or making friends, and I probably still struggle with that.

EL: Yeah. So, you wrote this amazing piece in The Times, and you wrote that “times were often lean, but one luxury we always had an abundance was food, even if it came by the five finger discount. My mother taught me how to steal peaches from the Stop and Shop grocery store when I was four. We were stealing from the man. It was a justified rebellion against an unjust system.”

EL: So, whoa. Okay, those sentences made me stop in my tracks. That's pretty intense. I was actually thinking about this movie, Shoplifters. I don't if you've ever seen it.

MC: Oh yeah. Yeah.

EL: Because in there the father figure, who turns out not to be the father, teaches the kids how to steal so they can eat. And so, wow. I mean, talk about that. Talk about getting conflicting messages from your mother. It's like, whoa.

MC: It's funny, because now hearing you read that, it paints a portrait of a parent who was raising children without a moral compass, and I think that was not at all the case. This was righteous rebellion. We were stealing ... We would never have stolen from the local co-op, but this was from a corporate entity, and these corporations were out to exploit the proletariat. I actually felt the exhilaration of feeling like I was part of a rebellion at that point, and frankly indoctrinated into that at a really young age. At the age of four, I was aware that it was us against them. We were the little guys and that we had a justice on our side. At the same time, it's a complicated thing to be training a little four year old how to steal.

MC: I have a very distinct memory of the fruit island in the Stop and Shop, and me grabbing a peach. This was the first time that I remember ever shoplifting anything. I grabbed the peach and then I ducked down behind the island, and my mother said, "No, no, no, no, no. You can't do it like that. You have to take it. You have to be very calm. You have to not look around. You can't show that you're distressed at all or that you're nervous, and then you put it in your backpack." Then we would go up to the cash register and we would pay for some of the groceries, so that we were distracting them, and then scoot out the door.

EL: And you just, I assume, felt that there was nothing particularly abnormal about this because you had nothing to compare it to.

MC: Right. Yeah, this was my normal.

EL: Yeah. You weren't stealing from somebody or something that needed the money, you were stealing as part of an ethos. Right?

MC: Right.

EL: As part of like, this is the way we work the system to fight the man.

MC: Right, precisely. Yeah.

EL: You also wrote, and I'm going to quote a couple of more sentences from the piece because it was so beautiful, "My upbringing taught me you didn't need money to be happy, that you didn't have to play by the rules, that the whole world was just begging to be explored. But now by the hindsight of fatherhood and from the comfort of a therapist's couch, I see that while my childhood had been rife with adventure, it also had been lonely and frightening and wanting." So you were always reconciling those two things, weren't you?

MC: I wouldn't say I was always reconciling them, because as a child I struggled at times. I felt sad and lonely, but I didn't think that it was because of my childhood.

EL: Got it.

MC: I thought my childhood was full of adventure, and I was proud of my childhood. Up until when I was 25 I don't think I looked back on it and thought that there had been any damage done by that.

EL: Right, and that there was anything dysfunctional about it.

MC: Right. And on balance, my childhood was incredibly ... I think I had a secure attachment with my mother. My mother was there. She was loving. She never failed to convey that love to me and my brother. So she served as my anchor emotionally, and that was unfailing. But because the rest of our life was so fractured and so nomadic, she was my only anchor.

EL: Yeah, because as you said, how do you establish connections with any kids when you're moving every few months?

MC: Right, and when you're showing up at school in pink tights at a working class school you're also getting alienated by your peers, and so the other kids actually ended up being kind of frightening to me.

EL: I read your Wikipedia page, and somehow you escaped and you ended up at a prep school, Northfield Mount Hermon, and then the University of Chicago. What a narrative your life has been. How did that happen?

MC: Now that you're asking the question, I'm reflecting on it possibly for the first time. But one thing that I know happened as a result of my childhood and and partly as a result of feeling like I wasn't fitting in with other kids, is that I was a smart kid and I could win the favor of my teachers. So when I was in school, I did very well in school. It was like the thing I could throw myself into and be safe and get some accolades.

EL: Some positive feedback.

MC: And some positive reinforcement. So I did well in school, and we lived in the town of Northfield for a little while, which was where Northfield Mount Hermon is. They had a program that had been implemented from the inception of the school where local day students could get pretty much a full ride if they were in need, and we were in need, so I could go to a fancy high school for free as a day student. Then I ended up basically getting the same deal at the University of Chicago.

EL: Amazing.

MC: Yeah. At the time, I thought I was going to go into politics, so I was sort of on a very clear path. And that wanting to go into politics was also born of my childhood and of my mother talking about politics all the time, and making me and my brother very aware of the plight of people in need in our country and around the world. It felt like that was the right place for me.

EL: Yeah. Again, and this is the final sentences I'm going to read from the Times piece, because it gets us back to food. Which is, "I recently found an old journal in a box in the back of my closet, and on the page from a decade ago where I had taken inventory of the good and bad of my upbringing the word cooking is circled and underlined with urgency in the plus column, as if I was thinking that food had been the cornerstone of happiness in my youth." Elaborate on that. I mean, that's an amazing statement.

MC: I think as a nomadic family, we moved around and we brought with us what we could, and in terms of material objects, there was very little that was a through line. But we did bring with us from place to place the tradition of sitting down for family meals every night.

EL: Even if you were in a teepee or in a park.

MC: Right. Even if we were sitting on a log in the woods in the rain, we would be sitting down and eating together. There were no distractions. There was never a television on, and there was no coercion in getting to the dinner table. There was no question about it. Not because it was an edict from an authority figure, but because we all just coalesced around dinner and loved it.

EL: You needed it.

MC: Yeah.

EL: It was a permanent form of glue for the family, right?

MC: Yeah. It really was important to us. We would go spend Christmas with my mother's mother, my grandmother, and she was a cook as well, and food was a centerpiece of that family interaction. And for me now that I have kids, I notice that when I'm feeling like a guilty or absent father, the way that I most quickly show my affection and love for my kids is I just make them food. It's like the way that I know to convey to a child everything's safe, everything's okay, and I love you.

EL: Yeah. But in 21st century America, and maybe all around the world, it's hard to do that, right? There are lots of pressures that are forcing people not to eat together.

MC: Right.

EL: Both parents are working, kids are all over the place. But you obviously, I think as a result of your upbringing, it was important when you had a family and a wife that you made that same time for dinner.

MC: Yeah. It feels very important to me. I think sometimes I'm actually kind of maybe forcing my agenda of cooking on my kids. Like, "Come on guys, let's make something in the kitchen." A lot of times they want to go outside and I want to work in the kitchen, and I have to check myself and say, "Okay, we'll go play a little bit of soccer first before we get to canning the pears."

EL: Right. Because the act of eating a meal and preparing it is imbued with so much more meaning for you than it is for them.

MC: Yeah, I think that's true. Yeah.

EL: So you end up being an actor, and I'm just assuming that like all actors, you struggled for many years before you found yourself on the set of Supernatural. So, tell us in a few sentences the arc of your acting career.

MC: Well as I mentioned earlier, my intention after college was to go into politics. I interned at the White House and I got a job at NPR in Washington, DC, and I was really disappointed with what I saw at the White House, and I thought, "Oh God, I have to come up with a whole new plan here." I thought it was going to be the best and the brightest minds under one roof. This was the Clinton administration. And instead what I found was the halls were filled with people who were sycophants, whose parents had donated money to the campaign. They were all yaysayers. There was no real discourse about political ideas, which of course is actually what you need in an administration. You need people who are going to be in lock step and are going to support your decisions, but I was too young and naive to know that.

So when I saw it, I thought, "This is not for me." I thought, "I will try to find another way that I can have an impact." I think there's a lot of hubris in this, but I thought, "I know what I'll do. I'll become an actor. I'll get famous and then I'll parlay my celebrity into some sort of political influence."

EL: Oh, because that happens all the time.

MC: Right. I mean really, really completely naive, and totally full of myself. Then I moved to LA and I thought it was going to take a couple of years to attain a certain level-

EL: To become rich and famous.

MC: To be rich and famous. And it took a long time to become-

EL: It took a decade, probably.

MC: To become moderately comfortable and a C-list celebrity. But somewhere along the line I stopped thinking about that end goal of I'm on this path so that I can have influence, blah blah blah, and I just started becoming an actor, and I was just acting for the sake of acting and not for this aspirational, high-minded goal.

Then a couple of years ago we got a new president, and that lit a fire under me. It was actually during the campaign when I started to think, "Oh, Trump might get elected. Oh, this is serious," and then my C-list celebrity started to come into play and I thought, "All right, well I can use the platform that I have."

EL: By the way, I think it's at least B-minus, okay?

MC: Well you, as everyone knows, grade on a curve, so thank you for your charity. In a strange way it feels to me a little bit like it's come full circle, and now that the show's ending and after 15 seasons I'm asking the question, "Okay, how can I be of use in the world?" I don't know what's next for me. I don't know if I spend a lot of time on television sets after this or not. I'm trying to do some soul searching and figure out what I really want to be when I grow up. But that's, in a nutshell, my path.

EL: It's an amazing path, and you accomplished much more as an actor than almost any actor I know. To be a working actor and to have made some money doing it is actually an incredible accomplishment, and maybe it's to the resilience you discovered you had in your childhood.

MC: Yeah, I think possibly. I think obviously there's a lot of dumb luck that comes into play. It's not my fault that the show that I'm on has been on for 15 seasons or has the devoted fan base that it has.

EL: There are conventions for Supernatural. I notice this-

MC: We have conventions. There are tattoos with face on them. I mean, it's hard not to be full of yourself in this context. But yeah, we have a really, really devoted fan base, and it's quite remarkable to be a part of.

What was it? I think it was Freakonomics at one point. Maybe it was in the book Freakonomics, but they said that pursuing a career in acting is like pursuing a career as a drug dealer. It's very, very difficult to be one of the kingpins, to be successful in the field.

EL: Right.

MC: The odds are so bad that it takes a certain personality that's defective that wants to even pursue that in the first place, because 99 out of 100 people are going to fail at that and then you're just going to be a low level street corner drug dealer, or barely getting food on your table as a background actor.

EL: Yeah. Well Misha, we have to leave it right here for this episode of Special Sauce, but you're going to stick around and tell us all about your two terrific kids, West and Maison.

MC: We just say Mason.

EL: West and Mason.

MC: Yes, we anglicize the French spelling.

EL: And your wife Vicki, and your family collaboration on The Adventurous Eaters Club. Thank you for spending so much time with us on Special Sauce.

MC: Thank you so much for having me, and I can't wait to talk about the book.

Listen to the podcast here

[ziracona]

Who of the DBD original killers do you think would be cool to see in horror movies? What characters do you think have the most potential for a film and what do you think it should/could be like?

Interesting question! Let’s see: Lisa, Sally, Philip, Max, Evan, Herman, Anna, Kenneth, Rin, Frank/Julie/Susie/Joey, Adiris, Danny (kind of), Kazan, Caleb, Talbot, and the Deshayes.

Hmmmm. Danny would work the least well as an original product, because he’s also a Scream expy thing. And then I also don’t think Talbot would work well outside a very DbD like in-universe heavy story, because he just has so much realm context backstory.

Out of the others, they all have potential. Basically none of the sympathetic ones would work as standalone horror characters, because they just didn’t like, /do/ murders before in-realm or live horror lives. The exceptions being Charlotte, Legion, Anna, Max, and Lisa. A lot of the others are definitely interesting enough to be really cool to watch their backstory lives, just, it wouldn’t be traditional horror. Charlotte and Lisa wouldn’t be the antagonists, but they /did/ both live complex horror lives before the realm, and there’s a lot of tragic potential there. Anna, Max, and Legion are all fairly sympathetic killers, but they /did/ live horror experiences before their time in-realm, so they have potential too. Out of them, I think Anna would be the strangest to adapt as traditional horror, since so much of her genre is tragedy and drama, and a narrative from her pov doesn’t play her as living a horror story, while Max and Legion’s do. It /could/ be crazy sad and work though, especially if you say, started the film from the pov of a kid who is kidnapped by her and the family who loses the child, and then only slowly as Anna goes from this horrific thing that kills people and steals children and eats human, to a weird kidnapper mother-wannabe, does she become less a monster and more complex. Maybe then you get flashbacks. It’d be dark, though, because even if you learned her past and understood what she’s been through and why she did what she did, and she and the child form any kind of bond, and she’s temporarily happy with a daughter and full of affection, you know none of her kids ever lived, so it would have to end with the child she’s had a few slow heartwarming moments with falling ill and her working hard to make her better, keep her warm, only to return from a hunt or panicked mission to collect herbs, relieved to have found what she needs, only to find a cold lifeless body waiting. Which she cradles for hours weeping, and then goes to bury finally behind the house, and only then does the audience realize this is one more joining fourteen graves that have come before it. And god, that’s just...so dismal. Chilling.

Uhhh, Max could be really good, but I would be so afraid people would adapt him badly because mentally ill and disabled antagonists in horror like, almost without fail are disgustingly treated. So, this one gives me fear. It could be a really nice character study, slow understanding movie though, where you go from identifying with him and him being the character in a horror situation, to the monster at the end of the film killing anything who comes near him in a frenzied need to be left alone. Also a very tragic and dark film.

The Legion would be a top pick, because it’s less dark and more like, unique? As far as horror goes. You get these kids, kind of a Gingersnaps, The Craft feel horror, with character-driven and a slow build into the actual horror of it all. Things only spiral slowly, and you like and sympathize with at least to some degree the stupid shit teens by the time things fall apart and their is blood on their hands. And there’s just--so much in the air. One murder. Unplanned. Punk troublemakers that just went off the edge into something darker on accident, and never really have time to choose what this means for them as people or if they’ll come back, because they are still in the immediate turmoil of processing that first kill when the Entity grabs them all. Could be really sick. Also there’s so much sweet-tragedy to work with here, I die for it. Ahhh, and baby Jeff Johansen! --Side note: while I think a lot of these would be cool horror films, honestly, I wouldn’t make horror flicks out of any of them. The reason isn’t that they would be bad films, but that I think the ideal way to adapt dbd killers cinematically would be in like, a DbD tie-in miniseries that’s a collection of stories that gives you backstories like archives does, but does it /way/ better. Like how Overwatch does character short films periodically for lore, except longer and probably live action. Or like the Coming To America segments in American Gods before episodes/chapters that introduce characters or backstory. I fkn love that concept in media when it’s done well. I think it would be super sick, and it would be a great way to tie things into dbd while letting different killers have unique flavors and storytelling styles to their shortfilms. (Honestly, DbD as a concept could make for some /fantastic/ tv show material. I’d /love/ to adapt it. And if there /was/ a show, it would be really cool to periodically have episodes that are just character backstories before you go back to the like, over-arching realtime plot).

Uhhhh, Lisa’s would be tragic, and it would /have/ to go full story. Poor kid just living her life, to kidnapped and struggling to survive. Trying to escape. Canibalized and tortured horribly. Eventually dying and vowing revenge. All the way to twisted and abused by the Entity, doing things she never ever would have chosen for herself, for just the...the fucking wholesale tragedy of her. Honestly, if DbD had a show, she’d be a /fantastic/ choice for first or second killer to get a backstory segment or episode, because like, people new to the media would understandably be like ‘yo these monsters are all 100% evil’ but then you get Lisa and you’re like ‘Oh fuck. That was one of the creepiest, and really she’s some poor young woman who needs rescuing as much as the survivors,’ and then there’s just so much left up in the air to question--who else is like her? And who is like Danny, or Freddy? Who is somewhere in between? Great for storytelling.

Uhhh, it’d take a long time to break down how I’d adapt all of these even with me doing shortform like this so I’ll try to be brief. Let me see. Charlotte would be great horror, back to the original question, not my miniseries fantasy, because her whole life is a horror film she’s the victim in, but her situation is complex and fascinating, and she’s a kid, and it’s so tragic, but not in a pointless way. Her life was full of love and pain, but it mattered, to her, to her mom who loved her and died for her, and to the baby brother whose corpse she couldn’t stop cradling and literally carrying not just with but in her. I think you’d have to finish that heartbroken for the girl, and hoping somehow she is able to find healing in whatever time she has left.

Sally and Philip both went through awful stuff, but Philip’s is not really a subject for just a horror film--although his time in Autohaven could be. Sally also had horrific experiences at her job, but again, like Max, less excited about this one because I don’t trust many people to do a good job with an asylum story. If done well, could be really tragic. Watching her fall apart trying to care about the people who just deserve help, and falling apart being abused by the criminals kept right in the next room over. The horrific ‘treatments’, the slow influence of the Entity whispering in her head, her finally fracturing and believing so completely she is saving people by purifying them and setting them free while she smothers a young boy who trusted her to death. Devastating. And Philip’s life overall and his time in autohaven lend themselves very well to horror, and he’d be a magnificent protagonist, I just don’t think if it was mostly the stuff in America, that that’s a full-length movie. Could be a really great like 45 minute short film. God, poor Philip. He deserved /none/ of this. Uhhh, Rin’s is horrific, with her as the victim, but like Philip, there’s not a /ton/ of buildup, so short film, not feature? Also God, poor Rin. She was just a kid. Doing her best. Please, Entity, fucking stop this.

This leaves Evan, Herman, Kenneth, Adiris, Kazan, and Caleb. Out of these, Caleb would make for a really good movie, but I don’t think it would be a horror film? It’d be a drama, or action-adventure. I mean don’t get me wrong--dark drama--his life was fucked--but like, it isn’t very horror-genre. Kenneth would be super gross but he fits classic horror well so if you want a killer clown, let’s goooo, but like? It’d just be two hours of him drugging, torturing and assaulting and then killing kids, teens, young adults, adults, and old people? And like, almost getting caught but not, and then being recruited by the Entity? And there’s just...not a story in there I see very worth telling? So I’d hard pass. Gross.

Uhhhh, Herman is boring if he’s rewrite. Torture bastard but like with mad scientist vibes is more interesting, and I could dig a CIA is evil film. Only, since he canonically kills /everybody/ in the building, you’d either have to retcon, or have a very disappointing film. Because Herman can’t be the pov character if he’s mad scientist Herman--you kinda need to see that from the outside at least as like, a deuteragonist. Not that horror is always disappointing if the cast all dies--sometimes that works--but like. Given the plotline I know Herman’s life takes, I can’t see your protag being slowly mind control tortured and then eventually experimented on and ripped apart until they die Herman’s last day being a very worthwhile storyline. If you retcon the complete losses though, and have maybe a spy who is the pov character, experimented on a lot, tries to escape and is punished, maybe tries to help a friend, tries to kill Herman in retribution for what he does to a colleague, and last day, somehow finds a way to survive whatever is done to them/not end up vegetative for the rest of their life or dead? Maybe puts a plan into action and messes up a machine and gets hit with a much lower than it looks like dosage of electricity and fakes vegetative, and survives, and witnesses the Entity come and take Herman even, and the Entity notices them and is like “Okay...more free food” so you have a last minute terrified beat to shit spy trying to break free of arm restraints and escape the place before the Entity gets them. Maybe rescues someone else too? Then baybeee we got a story with a great antag! Throw in a new protag to spice it up and u got something I’d like to see. If it’s just torture man lover Herman -the mad scientist aspect, I am not super interested but it’s not a /hard/ pass. I keep this pitch, it just becomes a less interesting film.

Adiris baby, I’m so sorry I didn’t do you with the sympathetic killers you know I love you your name was just late in my list because of how I typed it. Uhhh, her life doesn’t lend well to horror, although she’s a fantastic drama or epic. I’d love to see a major focus on her in-relam in a show, but as far as this question goes, I just don’t think that’s her genre.

This leaves Kazan and Evan. Guess I lied before about not going into any detail TuT but I’ll try. Uhhh. Kazan I am just not that interested in the story of? Man goes around killing farmers brutally for no reason. It’s less horror, more historical drama, unless you take the pov of a victim who seeks revenge or something. So, like Herman, he’d need a pov character fix to make it work. But the end result I find much less compelling. I’d probably pass. It’s just not that interesting to me.

Evan. Well, he’d be a good film I think. Classic horror. Rich, privileged, conceited bastard. Even worse father. Dead mom, drama as a young man. Becomes a horrific monster and loves it, cooks workers to death in his foundry furnace for no reason except sadism, lots of kidnapping workers and forcing them into slavery for him and then horrific murder. Kinda a torture-porn leaning here if you’re not careful, but it could be a really solid flick. I don’t think any of his victims survive though, so without a retcon, it’d be a pretty damn dark one. You could have any number of pov characters that just end up burned to death, or beaten to death, or buried alive and suffocated or starved, crushed to death. You could follow Evan and just be overwhelmed with horror and disgust for the person he becomes. But it works better than some of the other dark horror options, so I’d say it has potential. Especially as a lead-in to DbD, because then it works better as a storyline, because it isn’t totally over.

Hope you enjoyed this! Again though, a lot of these could make nice movies, but I think like 45 minute episode TV show for DbD would be ideal, and they’d all make /phenomenal/ backstory short films. Even the ones that really don’t lend to standalone feature.

[metalbatandzenko]

all the numbers owo

GrCUnA gaoh god sdljhdkjshfkjsh

This is gonna get long so I’ll put it under the cut. I’m also gonna remove the ones I’ve answered already.

1. What fandoms do you write for?

OPM and AtLA. I have a Miraculous Ladybug fic, but the creator is a nightmare and I hate the way the show treats the main character (literally the creator said part of the show’s episode formula is the main character “learns a lesson” every episode: usually through humiliation) and all the characters of color so I really don’t write for it anymore.

2. What pairings do you write for?

Batarou, Mumensai, and I do general fics.

3. What is your most popular fanfic?

My Miraculous Ladybug fic. By like. a lot akfdjhlgkjhfdlkg

It’s got triple the subscriptions and bookmarks, double the hits, and more kudos than any of my other fics. And I haven’t updated since January.

4. Do you write original stories as well?

I do! I’m a creative writing major, so I do a lot of memoir nonfiction and poetry, but I also write fictional short stories.

5. What fanfic of yours should everyone have read?

I don’t think there is one! Different strokes and all. But if you weren’t aware, I’m working on an ATLA fic rn about Zuko trying to repair his relationship with Azula. Not for this fandom, but a fun fic for me because it’s a bit out of my wheelhouse.

6. What is a fandom you will never write for?

Out of the ones I’ve been in, voltron.

7. What is a ship you will never write for?

There are...a lot. For the sake of my mental well being, I will not list them. But I will say any ship between a teen and someone in their mid twenties or beyond is a no go for me.

8. Archive of Our Own, FanFiction.net, Wattpad, Tumblr, etc. which platform do you prefer?

Begrudgingly, Ao3. I have my issues with Ao3 and I think I’ve made those pretty clear (and they’ve gotten me into some hot water lmao) but it’s a good place to put fics.

10. How do you stay motivated to finish what you’ve started?

I could not tell you. I am so bad at staying motivated. Certain fics I love writing. Others feel like I’m pulling teeth.

11. What’s your longest fanfic?

Hidden Horns. By a lot. like 20k words a lot.

12. Do you want to break your readers‘ heart or make them laugh?

A bit of both, but I lean towards laughing. The world needs more light.

13. What is your planning process?

Depends on the fic. For short ones or oneshots, there really isn’t one. For longer fics, I’ll have an outline, but a lot of times I’m laying tracks as I go. If I think of a good scene or line, I’ll write it down and just keep it at the end of my doc until it comes up in the story.

15. OCs or no OCs?

OC’s only when they’re necessary for plot. For example, Madame Oshitani in Hidden Horns only really showed up because I needed a piano teacher, and I couldn’t have it be an existing hero. Outside of that, I tend to avoid putting OC’s in fics, because I find them disruptive when I’m reading fics.

16. Do you use sentence starters, writing prompts and/or fandom headcanons for your fanfics?

Sometimes! Hidden Horns was based off of this fanart. If they are, I make sure to note that in the notes.

20. Can we get a list of all of your current available fanfics?

Yeah you got:

A (Not So) Brief Hiatus-Miraculous Ladybug

Promises to Keep-OPM/batarou

Little Boy-OPM/Metal Bat centric

A Game of Chase-OPM/batarou

Not Invincible-OPM/batatou death

Someone Fun-OPM/Mumensai

Date With the Devil-OPM/Mumensai sequel

Something of Note-OPM/Mumensai

Conduct Evil-OPM/batarou

Grief and Other Intangibles-OPM/Zombiedad and CE death

Horns and Fangs Series (Hidden Horns and Fear and Fangs)-OPM/batarou

Spaghetti and Juiceboxes-OPM/Zombiedad and CE

I guess they don't like me but I never figured out why (I guess they think I don't like them either)-ATLA/Zuko reaches out to Azula

21. What’s your shortest fanfic?

Conduct Evil at a whopping 354 words.

23. Long chapters or short chapters?

They vary! Mine tend to be pretty short, like 1k-4k.

24. How many WIPs (work-in-progress) do you’ve got?

*sweats* Like 17 at least

25. How many WIPs will you finish?

Rude to assume I won’t finish all of them eight if I’m lucky

26. First-person-narrative or third-person-narrative?

Third. I hate writing in first person except for in nonfiction.

27. Do you take requests?

Kind of. If people send me an ask that I vibe with, I might write something, but as a general rule, no. I’ve been considering doing commissions though, so if you want to toss a coin to your bitcher lmk

28. I will name you three things (object — scenario — fandom/ship): write a paragraph or two!

I can’t do this one without those three kdjhflkjsdh

29. What’s more difficult? Fanfics or original work?

They’re difficult in different ways, but original is way harder.

Original work means there’s zero scaffolding to build off of except for the scaffolding you make yourself, and there’s a lot of issues with worldbuilding and creating complex and relatable characters.

Fanfic relies on a solid understanding of existing characters and dynamics, as well as the internal logic of the world. The scaffolding is there, but often times it’s stifling.

30. What writing software do you use?

Word and Google Docs fkjhslgkjh

31. Do you use beta/sensitive readers?

Nope. I probably should though.

32. Past or present tense?

Past. I can’t consistently write in present.

33. Do friends and family know that you write fanfics?

Some of my friends do. I’ve shared some with them! I use fanfic as warmup, so a lot of my writing friends know about my fics.

34. How did you find the world of fanfics?

I wrote Adventure Time fanfic on middle school and published them on an Adventure Time facebook group. They were wildly popular in the group.

36. Did you ever delete a work of yours?

I don’t think so tbh.

37. Did your work ever get plagiarized?

If it did, I wouldn’t know. But I highly doubt it.

38. Do you partake in any fanfic/writing events? (Big bangs, zines, NaNoWriMo, etc?)

No because I can’t stick to a deadline.

39. Collaborations or working solo?

I’ve never done a collaboration before.

41. What is something you don’t like about your writing?

I rely really heavily on dialogue and I’m suuuper aware of it. I think the thing is I do a lot of domestic fics, and even my story fics tend to be pretty domestic. I’m looking at you Hidden Horns

My original work doesn’t tend to lean on it as heavily.

43. Guilty pleasure tropes and scenarios?

I am a die hard found family bitch. Nothing guilty about it.

44. Does fanart of your fanfic exist?

Yes, actually. The aforementioned middle school fic got mini fancomic for the first chapter, and I wrote a Miraculous Ladybug ficlet in a fic chain that got fanart.

45. Do fanfics of your fanfic exist?

I think there might be one that was inspired by my fic, but I can’t remember tbh.

47. What fanfic of yours is truly underrated?

My ATLA fic!!! give it some love tf :/ (kidding of course.)

50. Can we get a teaser for an upcoming chapter?

Yeah, here you go:

The hero removed his coat and dropped it on the ground, where it landed with a solid “thud”.

He unhooked the holster under his arms, removed a knife from both boots, and unstrapped the machetes from his back.

They joined the trench coat in the pile.

Garou watched in equal parts awe and horror as Zombieman continued to produce weapons from increasingly improbable locations.

Finally, when the pile at his feet was large enough to arm a private militia, Zombieman stopped.

“I’ve got a pistol in my chest, but I’d prefer not to take that one out,” he said, pushing past Garou. “Feels rude to invite myself over then get blood all over the tatami.”

[metalgearkong]

The Last of Us Part II - Review (PS4)

8/14/20 ***SPOILERS***

Developed by Naughty Dog, released June 19th, 2020

The Last of Us was a game I wasn’t originally a huge fan of when it came out in 2013. Despite it receiving astronomical praise by fans and critics, it took me a couple times completing the game before I fell in love with it. What truly made The Last of Us special was not necessarily its concept or gameplay, but its storytelling and characters. The depth of the interpersonal drama and raw emotion on screen was the true core of the game, with the stealth-action, zombies, and other aspects more like icing on the cake. The Last of Us ended up being one of my favorite games of all time strictly based on execution, even if the game as a whole still isn’t perfect. 

The Last of Us Part II was my most highly anticipated game of 2020, and it feels strange to be on the other side of it finally. This game has been polarizing for fans, and as it turns out, I feel conflicted on the game as well. I finished it a month or so ago, but only now getting my thoughts written out. While some aspects are daring, jaw dropping, and gorgeous, other aspects detract from what is an unexpected story not quite living up to its potential. I respect this game more than I love it, and while I do think critics have been too kind in review scores, the exceptionally low user reviews have been far more incorrect. This is a solid, epic, deep, beautiful, emotional campaign which will deliver its money’s worth, but many contentious points will dictate how much you enjoy this blockbuster of a video game.

One of the aspects I like the most about this game is how similar the gameplay is to the original. Many people I suppose would want more change or innovation in the 7 years since The Last of Us, but personally I’ve always been a fan of sequels that retain what I like about a series. If it changes too much, it becomes too detached from what I enjoyed or got used to. Changes Part II makes are subtle, but natural for the genre and world. The player can duck and go prone in waist-high grass to conceal themselves, a dodge button has also been added, and a huge addition to combat and stealth is the addition of attack dogs who patrol with their owners. Dogs can pick up your scent until you distract it, adding to a lot of tension anytime enemy K9s are around. And yes, I found it difficult to shoot the first couple of dogs I encountered as they yelp out in pain when they get hurt or die.

Part II picks up I believe 5 years after the original. Ellie and Joel live in Jackson, the town they town the become a part of at the end of The Last of Us, and seem to be thriving in a community with food, power, and systems in place for relative safety from the outside world. The story is told in a much more chopped up chronology which I found to be detrimental to the pacing. The first game had a straightforward narrative and it worked very well, and this game has to dice up its story to make it seem more complex, but just comes off as pretentious. For example, by the end of the prologue (about a hour and a half) you play as three different characters. This leads into the strange structure of this game’s story, aside from having the linearity chopped up at times. 

The most controversial moment of the game is the moment of Joel’s death and how it occurred. While this event was not unexpected for myself and others, the manner of which he died is what’s justifiably pissing people off. A brand new character is introduced named Abby (and one of the three characters we briefly play as shortly before) and without any background or indication of who she is, brutally tortures and executes Joel in front of Ellie’s eyes. It’s not difficult to see director Neil Druckmann cackling with satisfaction of his subversion of expectations. It’s simply toying with the emotions of fans, and he has to expect and stand by any criticism he’s gotten for how this scene went down. However, this moment does make more sense as the story unfolds, but its no less a heavy handed and manipulative move for the sake of auteur video game storytelling.

Ever since I witnessed the brutal death of one of my favorite video game characters of all time, my only though was “they better justify this.” It was never “this is horrible and irredeemable, and “Naughty Dog is off its rocker,” like many people seem to have reacted. It was gut wrenching, but I knew Naughty Dog has a pension for organic characters, and in the back of my mind I knew I had to give this game its fair shot, and see if and/or how Naughty Dog justified a scene liable to piss off virtually every single fan of the original game. This is a poor spot of the game, but the structure of the game itself is, for me, the biggest issue of Part II. In the end, I don’t mind Joel’s death as much seeing the context surrounding it, although it still should have been handled entirely differently. 

Neil Druckmann proudly pulls a Metal Gear Solid 2 move, and entirely switches protagonists for a huge portion of the game (about 45%). Abby turns out to be the main character once the halfway point of the game hits. Following Joel’s death is about 9-11 hours playing as Ellie on her revenge quest to find Abby and kill her. The motivation is justified, being in the room with Ellie as she watched her father figure die in agony in front of her. Ellie’s portion of the campaign makes sense, Abby’s makes less. The structure of the story comes to a high point mid way through, where Abby and Ellie finally meet to clash. After all this build up, and around the same time of the game where the first game had its conclusion, everything halts and resets. 

We are suddenly dropped into the Abby story, showing her side of things, and why she would want to kill Joel. I do think the story directly surrounding her motivation is well done, but the problem is, a large portion of Abby’s story has literally nothing to do with Joel or Ellie. We effectively see why Abby would want revenge on Joel, but then we have to tag along on a major side journey while Abby helps a trans kid and his sister escape the cult they grew up in. I get that it helps develop more empathy for Abby as a character, but Abby’s story should have been at least cut in half to keep the overall story more focused and flowing. Many times while deep into Abby’s story I honestly forgot what the point of what I was doing is, and was getting confused on which events had happened and which hadn’t. 

Abby herself is a good character, and after all has been said and done, she is the third best character in this series so far. It’s a shame though that so much of her story is a direct waste of time, despite more of an excuse for more of the same great gameplay and set-piece moments. Empathy and perspective are the two big themes of this game. The best thing I can say about Part II is it convinced me of something I thought was near inconvincible: it made me like and root for Abby after the scene of Joel’s death. However, while the theme of the game is “all of your enemies have their own backstory,” Par II doesn’t teach us anything new whatsoever. Abby’s father was the surgeon Joel killed upon saving Ellie from the Fireflies at the climax of Part I. But Joel (and Ellie) killed a lot of random enemies in the first game, most of them players won’t even remember specifically. 

The fact that we have an entire video game showing us the perspective of one single person who wants revenge on Joel is a story that doesn’t need to be told. Any NPC we killed in the first game had family or friends who would also want revenge on Joel as well. We don’t learn anything new. This whole series is just marauder against marauder. Joel has never been a good guy, and that’s never been a secret. Joel is shown as an anti-hero even before the conclusion of the first game. It’s partially what makes him such a cool character. We only rooted for Joel because we were seeing things from his perspective. If the first game was entirely about Abby and Joel was framed as the bad guy, the results would have been the same: Abby would be our point-of-view “hero” character, while Joel was clearly the villain. Part II is not the epiphany Neil Drukmann likely wanted his audience to experience.

As anyone can see, the graphics and performances of Part II are incredible. While the story and structure are nothing too special (because it ruins its great moments by long drawn out heavy handed moments), at least the game itself is engaging to play and is gorgeous to look at. Growing up in the Pacific Northwest myself, and the game mainly taking place in Seattle, I enjoyed being totally waterlogged throughout the entire experience. If the story isn’t depressing enough on its own, the weather will certainly get to you. The core characters themselves are portrayed extremely well via motion capture and voice acting as well. I’m wondering why Neil Druckmann didn’t just make a Netflix series beings he is clearly so focused on the character’s interpersonal relationships. This is especially true for Joel and Ellie once again. Side characters are well acted, but have less of an effect on the core story, which is a huge tragedy when so much effort was clearly put into bringing them to life.

There’s no doubt Naughty Dog accomplished their specific goal in making you as depressed as possible. To be honest, it reminded me of some of my favorite books about stories of conflicting emotions and ending on depressing notes. Even though Part II is far from perfect, it’s still a juggernaut of a single-player game with amazing graphics, acting, responsive gameplay. I like the ways it proved me wrong on stuff I thought was unchangeable, and for that, it has my deep respect. It may not be for everyone, not even fans of the first, but if you come at it with an honest open mind and let yourself drop your ego enough to take in this entire story, I think it’s a daring piece of media that might age very well in time.

7/10

[always-la-belle-epoque]

hi what is mash and why do you love it so much because i need to know if i need to love it too thanks

Hello, anon! It took a bit because I wanted to put time into my answers, so here you are! 

What Is M*A*S*H: 

M*A*S*H is a tv show about doctors/nurses stationed at a Mobile Army Surgical Hospital (M*A*S*H) unit on the frontlines of the Korean War. The show focuses on the medical staff as they desperately try to save the lives of young soldiers. Many of the doctors are draftees and they are faced with trying to cope with the horror of a war they want no part of and that is the absolute antithesis to their professional calling. They fight against death every day, struggle against military bureaucracy, and try to keep their sanity. Often that deep stress is released in humor, practical jokes, and wildly unmilitary antics, but the true costs and realities of war are never treated lightly. I’ve never seen another show that can make me laugh so hard and then turn on a dime to make me cry just as deeply a second later. The show is a beautiful examination of human nature, heart, found family, loss, helplessness, despair, exhaustion, humanity, and hope,. 

M*A*S*H ran for 11 years, from 1972-1983 and the finale, Goodbye, Farewell and Amen, is still the most-watched television broadcast in history (the NYC sewer nearly faced collapse because people would all flush the toilet at the same time during commercials, and the streets were totally empty of cars as over half the country, 150+ mil people, watched the finale live together all at the same time. Can you imagine?!). Plus, it’s been in continuous syndication for 45 years which is impressive. M*A*S*H is for all generations, it resonates far beyond the era in which it was made, or which it was made about.

Why Do I Love M*A*S*H So Much (in general):

I don’t think there is another show out there in the history of the world that has written such narratively wonderful, deeply moving character arcs. I don’t know if there’s another show out there where the characters grow so much from their relationships with one another. Or a show that depicts masculinity in such a healthy, tender way. It is normal on M*A*S*H for male characters to: Cry. Hug. Tuck each other in. Hold hands. Perform emotional labor. Actively listen. Dance together. Sleep with teddy bears (and not have it be a joke). Admit they were wrong. Change and grow from being wrong. Etc, etc. 

And while Major Margaret Houlihan is the only female lead, her character arc is the most beautiful of any character I have ever watched or read. The show doesn’t start out particularly feminist, but it definitely ends that way (both male and female characters evolve here and it’s wonderful). And if more tv shows had characters half as complex as Margaret Houlihan, tv would be a whole lot more interesting, and women would be a whole lot farther along toward equality, imo. 

Why Do I Love M*A*S*H So Much (the personal): 

I was 15 or 16 when I started watching M*A*S*H. I was going through a very dark time in my home life. But my Mom would usually have M*A*S*H on while making dinner or just after. It was their weird time of day where it seemed like a truce between us. Sometimes I’d even sit all 5’8 of my gangly teenage body on her lap and we’d just watch like that with her arms around me (which given that things were darkly terrible the rest of the time it was like being a small kid again in a way I really needed). We’d talk about the characters. We’d talk about the stories. We both loved Margaret Houlihan (it’s interesting that Margaret has the most valuable traits I learned from my Mom - things I like most about her and am grateful she taught me despite all the bad stuff). 

Soon I was racing home after school and jamming in a blank VHS so that I could record each ep. I’d cross reference between tv guide and IMDB to try to see if any eps that I hadn’t seen yet would be on so I could record them for my collection. I made an elaborate cataloging system because they weren’t shown in order! And some eps were shown only rarely!! (I’m only 28, it amazes me that this was how things were not that long ago lol). 

Anyway, the DVD box set came out and I saved up alllllll my $ for it. Thank goodness, because then I got sick and for a few years the M*A*S*H characters were the most consistent and truest friends I had. The show is deeply personal for me. I can watch it over, and over, and over. It makes me laugh, and weep, and cheer. It’s like having friends. Like having family. 

Should You Love M*A*S*H too?

I want you to love M*A*S*H. I want everyone to love M*A*S*H! And M*A*S*H holds up. It’s still radically progressive. It’s still - in this time where North Korea is a frequent headline, where we have a government we do not trust, in a world where we have been at war since 2001 - deeply relevant. 

Here’s the thing though: it was made in the 70s, about events in the 1950s, and this is 2019 tumblr-land. You’ve all read the roasts about lack of critical thinking skills on this website and ability to contextualize, and those posts are unfortunately not wrong. And the world has changed - and changed for even better than what was, at the time, truly radical! Even terms that were the liberal, pc term in the 70s have changed now and are not liberal or pc anymore which for the 2019 watcher might raise eyebrows. But the show is extremely pointed about calling out racism, homophobia, sexism, military fetishism, colonization, etc. I think maybe the only other show I can think of that goes so hard at dogged and relentless political call outs would be One Day at a Time. So I feel protective of M*A*S*H because in 50 years maybe we will look back at ODaaT and say yikes about certain things, though that feels crazy to say now. 

If you do want to watch, here’s my advice (pull down your pants and slide on the ice (sorry, omg M*A*S*H jokeee)): 

Do not start with S1. Start with S4, or S5 even. For one thing, there are some cast changes at the start of S4 so you get intro-ed to everyone again in “Welcome to Korea pt 1 & 2” and “Change of Command.”  It’s a really good starting point to see a lot of characters on the brink of change. Don’t get me wrong, I still really love S1-3 but the characters haven’t grown yet. I love going back because I know them so well, but if you’re just meeting them, I recommend getting to know them in the middle of their journey, watch them evolve, and then go back and see where they started. And I think Col. Potter/BJ really elevated the tone of the show.

Because M*A*S*H is an older tv show, most people who love M*A*S*H never watched the show in order because we could only watched it in syndication! And you don’t really need to watch in order! In fact, CBS had the final call for episode order so sometimes even the air order is different than the writing, filming, intended order. Also, because they had 11 years of content over a 3 years of war, the show itself isn’t chronological. Due to probability (there are just more Potter/BJ eps) I saw more S4+ eps when I was first watching the show so again that’s my newbie preference. Now that it’s on Hulu (and remastered OMG) it might be tempting to watch in order, but really do recommend skipping around or at least starting later in for sure. You’ll learn context as you go (recs below). Then once you get the characters and their arcs it’s suuuuper fascinating to watch in order. 

 Fight me: Is everyone bisexual on this show??! Yes, yes they are. This is where I go full 2019 tumblr-brain, lol, but looking back I think it’s one of the reasons I loved it before I understood myself. It’s gentle, tender, pretty wavy. Alan Alda’s Hawkeye Pierce is, like, arguably canonically bi, like I even wonder if he was intentionally written/played that way on the dl. It’s pretty blatant?? And don’t even get me started on Margaret Houlihan. Godddddddd. 

 On that note, and maybe you will fall over, but Margaret and Hawkeye are my actual, #1, forever OTP. Which is weird for you, dear readers, I’m sure, as I run a v strict wlw blog and I’m very proud about that. But broken people who heal and change and grow because of the other is my tea, jam, and bread (”crackers and jam! too bad!” ;) ),  and so far the writing of other characters and relationships hasn’t a hope of even coming into the range of depth these characters have (obvs not just wlw ships, all other mlw ships are The Worst as well, we’re all doomed, why does tv suck). But anyway, I would take them over any ship any day of the week goombye (but also….shipping Margaret is kinda like….not the point of Margaret Houlihan). 

It’s worth noting that M*A*S*H has a character named Maxwell Klinger who wears a dress to try to get out of the army via a Section 8 (previously known as a “psycho”) discharge (remember lgbtq was still classified as a mental illness, smh). Obviously, this is potentially triggering. And, obviously, not okay in today’s world. To me the show does call out that it is the policies/laws/politics that are crazy, not Klinger. I think there are still some fairly modern ideas in his portrayal in that anyone who treats him like he is crazy, or is disrespectful, is very pointedly shown to be bigoted/an antagonist. Klinger is excellent at his job, brave, loyal, true, and that’s all anyone who is a protagonist cares about (and I do think they try to show to the extend they could during the time it aired that even if Klinger were not doing it for a discharge, they would respond the same way). Fwif, imo, Klinger isn’t played as a one note joke for wearing dresses, in fact, to an extent, he does wear them utterly sincerely. He loves, deeply loves, clothes and fashion because loving something gives him something to live for. It becomes his passion, not a gag. The gag is that Klinger will do anything to get out of the war through any available loophole he hears about (having an imaginary pet camel, eating 10 sausages in a single day, eating a jeep, trying to get into West Point aka join the military to get out of the military), etc. His comrades in arms treat him very sincerely and are very protective. Early on, a jeep comes in with wounded and Radar pulls Klinger away from the blood, “careful, you’ll get your dress dirty” in the most serious, sweet way. Col Potter is always very serious and sincere about telling Klinger when one of his dresses is a fav, and Klinger positively glows. When Klinger has to trade his dress collection to local women in exchange for shelter for the wounded during a bug out, Col. Potter, regular army in his 3rd war, tells Klinger (who is in tears) that it’s the finest act of bravery he has ever seen (and he means it). When Margaret desperately wants to look pretty and Klinger pulls out one of his best frocks and helps her dress in it - Margaret who grew up in combat boots wanting a crew cut - it’s pretty emotional (and I bawl when he gives her the wedding dress, goddd). As for Klinger himself, he’s one of my favorite characters. He has the biggest heart and I love him (and yes, I might feel differently if I had a different life experience than I do - that is why I’m flagging this as something that might not be for everyone, or might be trigger - because history already is triggering, and not everyone might be as moved by him as I am).

If you’re a 30 Rock fan you will know the star Alan Alda as Milton Greeen, Jack Donaghy’s father, and if you love Beauty and the Beast you will know that the actor who voiced Cogsworth is a major (lol pun) character in S6-11! But that’s all crazy to me because they are always M*A*S*H, first and forever, and always in my mind! I can’t believe they’re all in their 80s now, or that so many of them have passed.  :( They are truly my whole heart, my family, my home. 

If you do want to watch, recommend you start with the following eps (omg this list is long but it feels so short):

Welcome to Korea pt 1 + 2 (s4)

Change of Command (s4)

Aid Station (s3)

Death Takes a Holiday (s9)

Carry on, Hawkeye (s2)

Bug Out pt 1 + 2 (s5)

Dear Sigmund (s5)

Period of Adjustment (s8) *my first ep ever :,)

The Bus (s4)

Sometimes You Hear the Bullet (s1)

Tuttle (s1)

Crisis (s2)

O.R. (s3)

5 O'Clock Charlie (s2)

The Nurses (s5)

The Interview (s4)

Movie Tonight (s5)

Abyssinia, Henry (s3)

Hepatitis (s5)

Your Hit Parade (s6)

Peace on Us (s7)

Eye for a Tooth (s7)

Old Soldiers (s8)

Life Time (s8)

Stars and Stripes (s8)

Hey, Look Me Over (s11)

There’s a million more things I could say about the show. I feel like I haven’t summarized it justly. If anyone wants to chime in with why they love M*A*S*H, what your fav ep is, etc, please do :)

[thankyougotham]

Here’s an article that Film Daily wrote about Nygmobblepot. If you’d like to see them write articles about other relationships, you can contact them on Twitter and make a request. They’ve been very supportive of Gotham in general, so follow them if you’re on Twitter.

“Gotham is an innovative show based on DC Comics characters and produced by Warner Bros.  The Batman origin narrative helped us rapt viewers understand how our favorite heroes (Batman) and villains (The Joker, Penguin) came to be. It also cast a light on just how Gotham City became the wretched crime-filled cesspool we all know & love.

As the fandom knows, we’re so behind the mission to Save Gothamthat it hurts, but today we’ve decided to take a break from all the activism and talk about love. Here’s why we and the Gotham fandom ship hard for Nygmobblepot, and why these fantastic felons are anyone’s perfect gateway into Gotham for people on the fence about the show.”

Sample Quotes from fans: 

Mr. Millicent Cordelia

Both Ed & Oswald were transformed by love. They made sacrifices for each other & always ended up back together. They deserve, and the fans deserve to see this relationship respected as a romance on a server that understands it’s the 21st century.

Merc

Honestly because they’re both idiots and they really deserve each other.

Zoe Tomorrow

They’re two individuals who’ve spent their lives mistreated and misunderstood. They are the only ones who accept one another wholeheartedly. Together they’ve learned about trust, sacrifice, forgiveness, and love. And no matter what they always find a way back to each other.

#PenguinSpinOff

Excellent chemistry between them, and a fun, fresh take on these old, iconic characters. They’re like peanut butter and jelly: fine on their own, but especially delightful together.

Rachel

For one, they “really are meant for each other”! They’ve been through so much and have hurt each other so many times but they’ve managed to overcome it. They have a strong bond, would do anything for each other, and somehow they always come back together!

𝕫𝕖𝕝𝕝𝕒

These two men grew up misunderstood and overlooked, and learned to use that to grow. they have risen together, and make an excellent team. they have both admitted to being stronger together, and their fates always become intertwined. they’re destined to be together.

Angela

While I’m not the biggest shipper of Nygmobblepot, I do care for their happiness and for the fans who do ship them. My ship is Batcat. They are best friends as kids & love each other deeply. They always want to protect each other. They are family.

LongLiveGotham #Gotham | #SaveGotham

Nygmobblepot has a long, complex history that reveals both the best and worst of these 2 characters. They have grown and learned much from the relationship. They deserve to be on a server that allows them the freedom to be a romantic couple.

Jenny i love my girlfriend

they are two men who have been abused and undermined their entire lives, but see each other as equals. they have certainly had their ups and down, but they always come back, better and stronger than ever. they understand each other more than anyone else ever has.

(not to mention how groundbreaking it would be to have two characters who have been historically heterosexual be in a romantic relationship)

Hale | 45 Days Till Neo

I’m down for anything with dear Oswald- his chaotic energy is a joy to watch, especially when it’s messing with other character such as Edward and Jim.

Scheming Minor

I am going to say something different in lieu of semantics. Technically in a sense when you get to the details they really are one of the few villain pairings portrayed in a “healthy” relationship in the Batman fandom. They progress, accept and move on; never stagnating. I included the healthy relationship chart to prove a point. Each one of those slices can be seen over the course of Riddler and Penguin’s relationship in Gotham– more so when we reach season 5. Their entire journey is about respect. Adding one more thing – Riddler has traditionally been coded as queer and flits with tentative bisexuality, meanwhile Penguin is known as a womanizer but has rare moments of ’what if’ regarding men. Gothamis one of the few Batman shows that follows through with M/M content.

kebu loves Oswald

They are both extreme individuals, but they fit together perfectly. Both are complex characters that went through life unaccepted by everyone which shaped their desire for more and their paths to becoming supervillains, so when they met it was the first time they found their equal and were accepted by someone. Their paths have been intertwined ever since, and whether they’re together or at odds, they’re always the most significant person in each other’s lives. But even though they ended up appearing together, we didn’t actually see them get “officially” together. Their story has yet to come to a close.

Riz || Professional Mr.Penn promoter

A very complex relationship that cannot be concluded in a spawn of a cut off season like it was. They have had a long journey and a perhaps even longer one before them. Their lowest and best have been shared together and they’re the one person who understand the other fully.

M/M relationships in media and tvshows especially is a rare breed. Even more is the concept of the big chance to make two comic characters and made an entirely new spin on them by being brave enough to make them queer, Oswald perhaps within the asexual spectrum at that. Ed as a tormented, abused soul who struggles with his own identiy and perhaps sexuality.

There is really so much to say, which is exactly why there need to be more to tell the rest of the story.

Vero

While Ed fights with the dichotomy within himself, he’s always felt the most whole when he’s been all-encompassed by Oswald’s world and care. Oswald found compassion and acceptance for all the parts that Ed thought were not loved. They are twin souls that deserve a longer story.There’s always been a complexity to both of them, and they understand the extremes that have made them into the people they are. There is no desire to change the other, only bring out the best in one another and a comfort shared that’s so important.

madi

I feel as though they have stories that extend beyond what Gothamwas able to show through their 5 seasons. Especially with the 5th season being half of its normal length. They mean so much to me, and so many others, and I would love to see even more of them (1/2)

(2/2) and to be able to see Gotham’s depiction of Ed’s backstory, an explanation for the whole Isabella fiasco (like how is she even possible) and a plot line where Ed saves Oswald. We haven’t had any of those since s2/early s3 and I need that in my life. I miss them so much.

Evan

Not only off the charts chemistry, but near similar backgrounds also. Both Ed & Oswald were abandoned by their parents, and had to fight the world their whole lives. Then brought them together and they’ve been unstoppable ever since.

Suzy Dakroub

Because they have the best character development and bond I’ve ever seen on a show! They both truly have no one but eachother. For villains where it’s rare to see compassion and love, these two have it for each other and it’s so wholesome and sweet.

Frothy

it’s the first LGBT representation in such a major franchise on TV! it was taken from us once, twice, but there won’t be a third. i will produce season 6 in my basement with tze and my best friend if i must

Warrior_Of_Loyalty

REPRESENTATION!!! Seriously, there’s nothing quite like it. Oswald and Edward deserve a wedding and a musical episode to go with it. Because, if Arthur’s teacher can get married on TV why not The Penguin and The Riddler!? Please!! Make it happen!

𝕻𝖊𝖓𝖌𝖚𝖎𝖓 𝖎𝖓 𝕷𝖔𝖛𝖊 ||

Because they are two characters who have been physically and emotionally abused most of their lives, and even after all of their hardships and turmoil, found love and trust and safety in one another

Azura Lynn Paulin

Because they never got to become a real couple on screen and they deserve to have that chance at happiness

MamaDev

Their chemistry, specifically between Robin Lord Taylor & Cory Michael Smith, is incredibly entertaining and heart warming to watch. It makes my whole day, of not, week better when I see them interacting on screen. FOX did not do them justice by keeping them in the closet.

Queen C

Because their story is FAR from over. Cory and Robin’s skills and chemistry shouldn’t be squandered. We had 5 years of their story buildup and got crapped on in the final episode, and I deserve my #BisexualRiddler!!!

Bandi [Gotham/Good Omens Spoilers] #SaveGotham

Nygmobblepot truly is such an interesting ship. As singular characters they are great, but together, they shine. They’re complex, damaged characters and take comfort in each other. Their journey is a long, painful one, but they deserve and compliment each other. It makes sense.

Anders

They are truly self confident with each other, anything becomes possible. They don’t need any cane.

They have each other.

Mae

they just have such strong chemistry and are so much better together than apart. their relationship constantly evolved throughout Gotham, becoming the main driving force for their individual developments too and… they were just made for each other okay

Tam Loves Kris @ Resting in Home

I see a lot of myself and my partner@MisterPenguinin the#Nygmobblepotship and I feel that their relationship is very well developed with lots of ups and downs and it’s fate that they are both meant for each other.

Kat Shade

With all of the characters that had amazing chemistry on Gotham, the main three had to be nygmobblepot, wayleska, and babitha. Nygmobblepot have been through so much together, and besides how revolutionary and amazing it would be for a show based on two previously heterosexual characters in a homosexual relationship, they simply work amazingly together.

[nozomijoestar]

Transcribed and formatted for readability the master thesis between me and @wlwclem​ on the nuances to NaraTrish together and as individuals being why we love it and respect it not being CompHet- we spent way too much Big Brain Energy on it to not share 

tw: brief mention of F-Slur when giving an example on toxic masculinity being bullshit, sexuality is briefly discussed in a non sexualizing way and in no graphic detail

*insert IM TRISH KIN BUCCIARATI joke here*

epickinnienaranciaYesterday at 11:45 PM

JDDBSJDBD YES bc ofc she gotta be Reassuring but at the same time his Himboism Knows No Bounds One of the lines in EoH u can give her is “Go get me an Italian Vogue magazine too while you’re at it” and I’m like. Queen

nozomijoestarYesterday at 11:46 PM

JDHDHDF BDE Narancia whipped Narancia stands no chance

epickinnienaranciaYesterday at 11:46 PM

OH FOR REAL one of HIS victory lines is something about getting all the stuff for her lmao And this is like even if she isn’t in the battle, Always Thinking Of His Queen

nozomijoestarYesterday at 11:50 PM

Trish decides to test the limits of this and his ability to recognize them by asking for impossible or nonexistent items/feats and when he continues to try for her without question she realizes she has too much power and must restrain it fjdjjdjfjf Can't turn into Dad

epickinnienaranciaYesterday at 11:51 PM

JDBDBSJS The color palette changes while she has an inner monologue while she watches him try to make her happy

nozomijoestarYesterday at 11:53 PM

"Oh my god Bucciarati was right...he's too loyal for his own good I need to stop even if it's a little fun"   Meanwhile Narancia: growing more and more frustrated with himself for perceived failure to someone he loves

epickinnienaranciaYesterday at 11:55 PM

She stops for the most part but does it every so often bc it’s cute

nozomijoestarYesterday at 11:56 PM

Lucky to have a freak like dat I feel like the only thing that can counter this self defeatism Narancia can get (bc his younger childhood...ofc he's fucked up and anxious and paranoid abt not being enough or abandoned) is Trish having to open her own repressed self up and love the shit out of himLike those reassuring lines she has in EoH and her moments in the anime/manga Bruno fucking does it as his father figure and Narancia admits it gives him strength

December 19, 2019

epickinnienaranciaToday at 12:04 AM

Yes, he feels like he has to prove his worth and like he’s worth having around otherwise he’s useless, i def feel like he would not like talking about the stuff that happened in the past with everyone bc he would feel ashamed and stupid or st, he needs to be told You Are Enough and her to open up too so they can lean on each other

nozomijoestarToday at 12:12 AM

Honestly no jokes for a second I feel like this is also abt breaking toxic masculinity bc it's fucking Italy in the early 00s just out of the 90s...it was RIFE rifer than even now with that shit like in much of the world then too, the idea that a boy becoming a man and men in general need to strictly follow dumbass self harming rules

 especially abt not opening up and only having real priorities for earning money, honoring family, and procreating as much as possible whether it's marriage making a family or "having sexual conquests" in promiscuity, anything outside of this bullshit image can't be tolerated and you might as well be a woman or "a fag" if you don't assert some fictional narrative of trying extremely hard to have power in everything bc that's all that matters is the ridiculous idea of Alpha Males applied to humans 

Narancia being a 80s- 90s kid with the childhood he had did not give him much fighting chance at all in this context and time period  esp just bc he happened to be born with a dick and thus saddled with these harmful expectations society made that could've only further repressed his recognition of not beating himself up and his own emotional needs on top of EVERYONE ever betraying him Where was he supposed to go? He can't go anywhere unless he meets Bruno

epickinnienaranciaToday at 12:18 AM

yes i agree..... like, males being looked down upon for opening up, being societally forced to shoulder the burdens and “man up” and just deal with it and fix everything. And then already having a toxic support system with his “friend” betraying him and his dad Sucking Major Ass, all he’s been taught is deal with it but hasn’t been given the tools to know how, and if Bruno didn’t meet him he honestly would be so stuck, what person (esp in that time period) is going to go out of their way to help an uneducated young male?

nozomijoestarToday at 12:20 AM

Even if it tragically ends with his death in canon I feel like the time he spent with Bruno's bois, Giorno, and Trish was huge in making some of that crack little by littleBc he has moments where you see how sweet he actually is, his "real" personality if you will underneath all the unresolved anger when he's with ppl he sees love him and give him hope When Giorno said No One Is Going To Hurt You Anymore that just made me cry harder

epickinnienaranciaToday at 12:23 AM

Yes! Like, ofc he gets angry, has unrepressed rage and reactions to things, he hasn’t had any type of emotional support in SO long and it’s not like it’s 100% fantastic in that regard with buccigang (which don’t get me wrong they are family but they are still in an aggressive gang and go off and give each other lots of shit)-YEAH AND THE FUCKIGN PLANT GROWING TOO IM

nozomijoestarToday at 12:25 AM

Trish is legit I think the one person aside from Giorno who would treat him without even the gang's aggressiveness Narancia is my fav in VA even if Bruno is the best written VA character bc he's me, this kind of shit in my life is why I developed PTSD undiagnosed since my childhood that only kept getting worse until only this year have I gotten any true help I know exactly how he feels 

Esp when you think your whole life exists to serve others never yourself NaraGio shippers I see y'all argument even if I don't follow it tbh, Gio was again the only one besides Trish to consistently care for Nara in day to day and when he was in danger and esp during the Clash and Talking Heads fight Gio was the one dude present like No Narancia It's Ok Please Tell Me What's Wrong You're Clearly Stressed

epickinnienaranciaToday at 12:31 AM

yeah although i haven’t experienced it i can still empathize and try to understand, i think there’s so many layers of protection and walls that most people never truly look past it to see the root cause or true self YES that fight was so frustrating bc they were all like Narancia stop being an idiot when something was clearly wrong and he was obviously in distress!!

nozomijoestarToday at 12:32 AM

Also Gio was the only one who first asserted that No, Narancia did the right thing in fighting Formaggio

epickinnienaranciaToday at 12:33 AM

Yes and with that whole interaction the gang often uses Narancia as the scapegoat essentially and just give him shit for every little thing without trying to understand his POV

nozomijoestarToday at 12:33 AM

The Clash fight tbh I feel was an ass pull set up to give Narancia his big bad ass loyalty proving moment even if it's a great fight that beginning part is...only the Trish and Gio interactions rly make sense fjdjdjI wish him and Giorno hung out more or I guess more like talked more bc you can't rly hang out when you're getting assassinated every day hfgdg

epickinnienaranciaToday at 12:36 AM

Yeah hdkdb, even with Fugo, even tho he found him and brought him to Bruno, he still calls him a dumbass, stabs him with a fork and shit, and then with Mista even tho I feel like they are Like Bros, he destroys Narancia’s radio for no fucking reason and also has a pattern of taking shit Narancia paid for without paying him backI def agree with that, I feel like Giorno interactions were lacking in that there really weren’t many one on one meaningful things so it’s hard for me to grasp his personal headspace and relationships a lot of the time

nozomijoestarToday at 12:37 AM

However to be a little more fair to the Bucci gang the manga version has Narancia trying a lot lot more to get their attention in logical ways that unfortunately Talking Heads completely ruins, he tried writing to let them know what was happening and TH warped the text into him saying vulgar things bragging abt his dick being a powerful Stand

epickinnienaranciaToday at 12:38 AM

Yeah I was gonna add I wasn’t sure if the manga had other stuff, tbf

nozomijoestarToday at 12:38 AM

I think this is also Shounen Tropes of the 90s at play too the "child" character was often written as the comic relief dumbass Narancia suffers it so it does add a layer of Not Good to his relationships The trope still exists tbh Anime cut out him writing I assume bc it's too sexual It's already pushing it having him whip it out and piss in front of everyone jfhdhd

epickinnienaranciaToday at 12:41 AM

Yeah you right, it’s like the i want it to be that deep meme, like Araki obvi doesn’t have him only as comic relief but if he delved into his character more there would’ve been so much more that could’ve been done and shown YEAH DJDBDJDJF I WAS SURPRISED THT WAS ANIMATED

------------------------[ CUT INTERMISSION ]-----------------------------

nozomijoestarToday at 12:51 AM

Ok but to get back on track with where I was trying to go even opening this all up is how it's critical to NaraTrish in a mutually beneficial way

nozomijoestarToday at 1:01 AM

Nara is no incel he's a King obvs but he is also at heart a confused scared kid uncertain of anything in the world beyond what's closest in his grasp and without someone actively believing in and validating him he can't fully achieve awareness of healthy dynamics and even the problems within the ones he already has with his gang and Bruno- Trish doesn't have to babysit him and be the stereotypical The Woman Only Supports And Gives Up Her Body bc thats never her and couldn't be her and Narancia wouldn't make her that way bc even when he kinda touches on that (giving in a bit to the idea that men are the main protectors of women) when he gets too fixated on wanting what he thinks is for her wellbeing he does snap out and acknowledge he's wrong bc 

Trish by her independent nature and tremendous Will proves those stereotypes are bullshit, not even factoring in their first meeting as already making a huge impression on his beliefs of what girls can do- Trish knowing how to challenge him by staying true to herself yet having the compassion to help someone suffering and with fewer chances from birth than she had would not only win him over but give him something even Bruno can't, self sustaining confidence, bc Trish isn't part of a chain of command, she's just a girl in love with a boy who wants him to be happy and that concept while foreign to him for so long once it kicks in he could actually learn to build himself For himself and For someone who wouldn't use him for some greater schemes or dirty work, 

I love Bruno ok he's one of the best characters in anything ever but his flaw in his ability to help motivate ppl is tied to that fact that he's bringing them into a dangerous strict order of command to Serve not entirely in a place/way that lets them just be themselves and realize organic loving relationships with anyone and themselves SO

epickinnienaranciaToday at 1:05 AM

they’re healing...... being shown love without a position of authority or any obligations is so powerful for his growth

nozomijoestarToday at 1:25 AM

That all being said, Everything Trish does he's paying attention to, she keeps him alive during the Grateful Dead fight not because she needs him to serve for a cause ( a cause might I add even Bruno the near saint he is was ready to let Nara go right then and there for bc death is in the job description) but because she doesn't know him well yet and shit he even swung a knife at her when they first met over who was in the bathroom, but he's a person suffering and in pain and to let him die even if it's Expected Of The Mission is garbage to her even if she respects Bruno down the line as a father compared to fucking evil Diavolo,

 Trish constantly goes out her way to do these things for Nara bc Trish instinctively knows he's the most vulnerable mentally and her sense of compassion and justice (likely something Donatella made sure to instill in her before her death by cherishing Trish and spoiling her even as a single mother) will not stand to not help someone when she could've- and he reciprocates it even if in disbelief bc he can tell This Person Is Safety, This Person Is Like Me Yet Not, A Better Me I Want To Be, by the time he's about to die someone with his fragile mind was actually gaining conviction about taking control for himself on his own terms and he would risk even those chances to defend the person who actually helped him arrive there (along with Gio) in the first place, 

I think by the end of his life he rly did love her or start to, it being romantic or not is up to individual interpretation to which you know I'm in the romance camp, point is he found someone who truly taught him strength without him fully realizing it and did so without belittling him, if anything instead treating him only with love and kindness and patience (not being a door mat for him, but like, not treating him like ass like everyone else has their moments of either), I think anything Trish asks of him, this is all why he's so willing to do it on top of feeling deep  empathy, I've written in my character notes as well that like this goes even further to sex being one of the most intimate things there is, like I kno we jest and jape abt Teens Doing Dumb Shit bc we're clowns 

but the sheer vulnerability you have to have esp in a first love situation to be willing to go through with that for the first time ever takes a lot of trust and courage, aspects I think Trish was able to give him and would solidify in asking something seen as so important for many people from him, the headstrong Trish wants to be vulnerable for him and the slowly confidence boosted Narancia wants to accept that faith and trust and love and exchange it with his own of the same for her, it's not horny teens 100% it's two hurt but hopeful kids on the verge of having to be adults wanting to find another piece of identity in how they are with someone else, obvs it will forever be offscreen bc pedos deserve to be skinned alive 

I just feel that the components that would fuel them to do something teens try to do to feel more adult and bc hormones are a lot more based in growing maturity than pure lust, I think this is what I fully mean by Writing About Teens Exploring Love And Sexuality; Not Fetishizing And Reveling In Showing The Act Itself Especially For Disgusting Titillation, I think this and not explicitly writing the sex are the difference between child porn and creating realistic characters

epickinnienaranciaToday at 1:36 AM

Yeah, it is going to sound like a dumb take but the topic of sex and sexuality itself is not inherently sexual, by which I meant it isn’t the focus — there’s SO much more to it and in this case especially it can be like the ultimate sign of love, trust, intimacy, compassion, trying to make your way as a teen through a harsh world, like I can go on. Nasties Dont Interact but the shying away from the mere mention of it in a non-sexualized context is unrealistic. 

 Yes The Grateful Dead fight i 1000% agree is so important in both his personal growth and the development of their relationship, I think it’s an important parallel that he is dumbfounded about her going to such lengths to keep him alive without the sense of duty/obligation versus Trish’s feelings and outbursts of confusion on why Bucciarati and his gang even cared about her, protecting her to the point of death being on the line.(edited)

epickinnienaranciaToday at 1:44 AM

all these elements of complication and similarities between their characters is why ive gotten so passionate about both them and their relationship (whether romantic or platonic it’s really fucking strong and good), the story of two kids making it through adversity, learning to unshoulder their burdens and lean on others, the Found Family™️, and learning and growing together is just so much more fucking deep and complex than the mainstream bs that exists. 

now im not any type of elitist hipster but esp in male and female relationships portrayed in what feels like basically fucking everything are just like CompHet Bullshit and they’re together bc They Are Just Supposed To Be (not to mention the toxic masculinity culture within that where the women barely have character arcs and are just seen as objects anyways) But what I’m trying to say is that in this the relationship is real and it feels earned in a way that just isn’t there in so much other media out there(edited)

nozomijoestarToday at 1:48 AM

Honestly if we tweak this just a lil more this is basically Guts and Casca One of the greatest and saddest romances ever written

epickinnienaranciaToday at 1:48 AM

i still have berserk bookmarked just haven’t gotten around to reading yet

nozomijoestarToday at 1:48 AM

If VA was a Seinen it's p much Berserk In Italy Also big brain...galaxy brain...everything you said was a fact signed sealed and delivered(edited)

epickinnienaranciaToday at 1:51 AM

Wow we’re actually in sync and using the brain cell to its fullest extent tonight

nozomijoestarToday at 1:51 AM

When I say she's his world and he's hers this is what I mean, not comphet hdhdhfhYEAH HFHDG

epickinnienaranciaToday at 1:52 AM

(also my phone autocorrected “and” to “ANF” bc of twdg..... it also sometimes changes it to “AMD” bc I work in technology. My Phone Knows My Interests Are More Important To Me Than One Of The Main Parts Of Speech. Iconic)YESSSS they’re just SO GOOD there’s so much to articulate!

nozomijoestarToday at 1:55 AM

She was his Queen, and god help anyone who disrespected his Queen

epickinnienaranciaToday at 1:55 AM

JDBDHE SHIT THE FUCK IP DKDBEBDJFBBD

nozomijoestarToday at 1:56 AM

Buy my silence $8000 a month

[keysmashchronicles]

my history in phandom and fandom

I’ve always been an avid reader. If I’d have been born twenty years later than I was and grew up in a time when every kid has tablet or a phone, that need for stories might have been filled by TV or other formats instead, but in my childhood years it was all about books, and visiting the library as often as possible. I often daydreamed about the characters in books the books I read, mostly egocentric thoughts of what it would be like if I were to somehow find myself in the stories I was reading. What would it be like to have them as my friends, to be part of those adventures? Of course, in typical Mary-Sue fashion, it wasn’t the real me that I imagined in those daydreams, but some idealised version that was cleverer and funnier and prettier and of course, someone all the other characters either envied or adored.

As I got older, and we moved beyond the stage of just having one TV in the house, my obsessive nature shifted to include TV shows as well as books. The first show that really caught my imagination was Dawson’s Creek. I loved it, the over-articulate teens with all their angsty problems heightened by their hormones going haywire, going through mental health issues and struggles with sexuality and of course, the classic love triangle. I couldn’t wait to tune in every week and catch up on what was happening in Capeside.

I’m not sure how it happened, but one day I was online on our cranky old computer and stumbled across some Dawson’s Creek fanfiction. I was amazed, and fascinated, and also terrified that someone in my family was going to walk in and catch me reading it. But I read every story on that website, and then started looking for more. I couldn’t believe there were other people out there like me, people who didn’t just watch a TV programme and then forget it about it until the following week.  There were others who thought about the characters in a TV show so much, it was almost like they became real. People who wanted to analyse every aspect of the relationships the characters had on screen, and also take these characters off into plots and stories and worlds that were nothing like what actually happened in the show, imagine them in endless different scenarios and see them experience every kind of emotion and think about how they’d react. People who wanted to write or read over and over again about the same characters because they found more and more to discover about them every time they did.I had found my happy place!

Over the years, the obsession with fanfic remained, but the focus of it shifted.I’d go through a cycle – discover a new fandom, immerse myself in it for maybe a year or two, then slowly lose interest. There would be a period where I wouldn’t read fic for a while, maybe 6 months or a year, and then all of a sudden, a new show would capture my attention and I’d be off and running again.

After my interest in Dawson’s Creek had run it’s course, the show that took its place for me was Buffy. As I recall, I had only watched a few episodes here and there and then a writer I was already reading started to post Buffy fics. I read a couple and realised that there must be much more to this show than I’d thought if it was inspiring such good writing. I think that obsession must have lasted a good 3-4 years, one of the longest I’ve had.  There was just so much good stuff for writers to work with - a whole cast of interesting well-developed characters, the good vs evil narrative, the endless possibilities of spells and demons and alternate universes and origin stories and the threat that the world might end at any moment….the list goes on. And also, there was the smut  - I’d read a fair amount in my previous fandom, but Buffy fics took it to a whole other level (this by the way being a major cause of the confusion I had when trying to work out my own sexuality - how can I be asexual? Have you seen my AO3 history???)

After that came the West Wing, followed by House, followed by the other behemoth of my fandom life, Sherlock. With all of these, although I read a hell of a lot of fic, that was always as far as my involvement in fandom went. I didn’t feel the need to join any fandom communities, in fact I don’t really think I would have known much about where or how to get involved if I’d wanted to. In the early days, the fic I read was on fan-hosted sites, with the aid of webrings to help you discover other authors. Then for a long time it was fanfiction.net, livejournal and finally AO3 where I read most of my fic today.

So how did I get into phanfic? In the aftermath of Sherlock series 4, it felt like my engagement with fic in that fandom came to a bit of a stop – there wasn’t really anywhere much to take the story in terms of canon, and a lot of people felt that the whole Eurus plotline had been kind of a jumping the shark moment. For myself, I’d got to that stage where it felt like there was nothing new under the sun. I was feeling the fatigue that always eventually came when I’d overread a fandom, and no matter how hard I’d try to find something to interest me, nothing seemed to capture my imagination any more.

I left the fic alone for quite a while, turning mostly back to traditionally published media – I dipped a toe back into Sherlock fic on occasion, read a bit of MCU here and there but nothing significant.

Then one evening in June 2019, I was scrolling through Twitter when I decided to check what was trending and saw a name I didn’t recognise – Daniel Howell. I had no idea who he was, but lots of other people were clearly very excited by something he’d done, so I thought I’d have a look and find out why. Usually when this happens, it turns the person is either on a reality TV show or plays sports of some kind,  but on this occasion I saw the words ‘YouTuber’ and ‘coming out video’ and it piqued my interest. The only experience I really had of watching YouTubers was through my step niece, when she’d had an obsession with Miranda Sings and we’d watched a lot of her videos together, including collabs, so I knew a few names but not much beyond that.

I clicked on Dan’s video, fully expecting that like with most random clicks, I’d watch for a minute or two before getting bored and looking for something else to occupy my attention, but that didn’t happen. The video was incredible and I was absolutely transfixed for the whole 45 minutes. I thought it was brilliant - the deeply personal story that was being told, the humour, the well-thought out and confidently delivered arguments – I don’t think I’d ever seen anything like it. As someone who had come to identify as asexual and panromantic but not until they were in their late 30s, and who was (is?) still in a place of trying to understand what that meant in my life, it was also hugely resonant to me on a personal level, helping me to realise the unacknowledged but damaging internalised acephobia and homophobia that I was still carrying with me.

I went to Dan’s channel and watched some of his videos, then was curious about that guy named Phil that he’d mentioned, so I watched some of his videos too. I came across the first PINOF and was completely charmed by it, by their rapport and silly humour and how they clearly felt so comfortable just to muck about and be themselves.

For a while I was happy just going through all the content on their channels. It didn’t really occur to me to look for fic until it was referenced in one of their videos. Up until then, RPF had really not been my thing – I’d seen some fics written about the actors who played characters in my various fandoms and I’d avoided them because it had made me feel uncomfortable about what they’d think if they saw them. I’d also scrolled past a lot of 1D and BTS fic when browsing on AO3 tags and to be honest, had had a pretty snobby opinion about it.

But having heard Dan’s story, and then seen dnp’s obvious connection in their videos, I was curious to see what the fans’ take had been on their relationship, and also to see what was being written about them now that Dan had come out. I looked to see if there was anything about them on AO3 and bam! There it was, my next fic obsession had grabbed hold of me and there wasn’t anything much I could do about it!

Since then, I’ve not only read a ton of fics, but even had a go at writing a few. It’s painful because they never come anywhere near the standard of the fics and writers I really admire. I have the desire to want to write well, but also a complete lack of the patience and dedication it takes to develop the necessary skill. But for the first time I didn’t let that stop me from publishing a few fics as I realised I was really writing for myself, to have an outlet for thoughts and ideas that had been going around in my head, and if anyone happened to read it, that was just a bonus.

Then through reading the Seven Basic Plots, I realised that what I’m more interested in at the moment than learning to write fics myself is to come to a greater understanding of how they work, and what exactly has been fuelling my fic obsession for over 20 years (wow....that was weird to think about! Such a long time!)

So that’s my history in fandom, and in phandom, and explains why reading a book about the nature of stories and their purpose made me immediately think that I wanted to examine those ideas in relation to something I know and love – phanfiction.

the seven basic plots // 1st plot - overcoming the monster

[drsilverfish]

A Pearl of Great Price - 14x13 Lebanon

Well, Supernatural’s 300th episode was SO affectingly emotional. And beautifully so.

But what exactly is up with that magic pearl in 14x13 Lebanon?

Continuing my meta series on the Jungian themes of S14 (have I mentioned how much I LOVE S14?) I’m going to talk about the significance of the Baizhu, the heart’s desire granting pearl of the episode, as the pearl of great price. 

In particular I’m going to talk about the pearl as holding special significance as the object which permits Dean to confront (and make peace with) the ghost of John Winchester. The pearl helps to move on Dean’s psychological haunting by an internalised construct of his father, which has oppressed and repressed him for so long  - part of the Jungian Shadow-work of the season. 

So, why was a pearl the magical object chosen to grant Dean’s wish-of-the-heart, thus altering the time-lines to resurrect John Winchester?

Pearls have significance in the Bible as metaphors for Heaven, because of their beauty and value...

In Revelations, the gates of Heaven are made of pearls, hence the pearly gates. And in the parable of the pearl, the “pearl of great price” is commonly interpreted to represent Heaven:

”Again, the kingdom of heaven is like unto a merchant man, seeking goodly pearls: Who, when he had found one pearl of great price, went and sold all that he had, and bought it.”

— Matthew 13:45-46,

King James Bible

So, the pearl grants Dean’s wish for what he had long imagined as a kind of Heaven - his original family, Mom, Dad, Sam and himself, all together again. 

But, as with most wish stories (and I’m sure @prairiedust​ will be writing a great meta about fairytales and wishes) - be careful what you wish for is the maxim here.

Because Dean finds that the price the pearl exacts is too high. 

If they accept the world the pearl has delivered, he and Sam will, eventually (as the timelines course correct) no longer be hunting together. Sam will be a lawyer and a kale-eating motivational speaker (a hilarious nod to Tom Cruise’s dick character in Magnolia) and Dean will be on the FBI’s “most wanted” list again. They will be separated. Neither will the brothers have the gift of their mother’s return, because Mary will never have been resurrected by Amara. Additionally, their adopted Nephilim son Jack will not exist, because Lucifer (presumably) will remain in the Cage. And finally, Castiel will not have escaped his endless obedience mind-wipes in Heaven, thanks to his transformational encounter with Dean, starting with the raising of the elder Winchester from perdition. Instead, Cas will stand at that dick-in-Heaven functionary Zaccharia’s side, and will neither know nor love the Winchesters. He will still belong to Heaven (and not to Dean). 

So, the pearl can be understood as the pearl of great price, because the price the pearl requires is simply too great, and the “Heaven” it offers is a false one.   

Dean chooses (with Sam’s full assent) in the end, all the pain, all the suffering of his and Sam’s lives, including his 40 years in Hell and Sam’s agony in the Cage with Lucifer, because that journey has brought them to who and where they are now. Dean chooses the found family that their journey has brought, not the (impossible) fantasy family of his boyish imaginings.  

JOHN: (to Sam and Dean): “And now you live in this secret bunker, with an angel and Lucifer’s kid?”

later....

JOHN (to Dean): “I guess that I’d hoped eventually that you would… get yourself a normal life, a peaceful life, a family…”

DEAN: “I have a family.”

(And oh boy is that ever the kind of conversation that happens between a hetero-normative parent and their queer kid - but that’s another meta).

However, there’s more, because as well as representing too great a price, and a false Heaven, thanks to its Biblical associations, the wish-granting pearl in Lebanon also links to the season’s Jungian themes. 

A pearl has also (I argue) been chosen by Dabb and Glynn as the episode’s wish-granting object, because of that object’s connection to alchemy. 

Jung’s key interpretive understanding of the mystical pseudo-science of alchemy, is his revelation that the transformation of matter in medieval alchemical texts can be understood as representative of the (potential for) the soul’s psychological journey towards greater self-actualization. 

“The alchemical operations were real, only this reality was not physical but psychological. Alchemy represents the projection of a drama both cosmic and spiritual in laboratory terms. The magnum opus had two aims: the rescue of the human soul and the salvation of the cosmos. What the alchemists called ‘matter’ was in reality the [unconscious] self...”

Carl Jung in Speaking: Interviews and Encounters ( p228) (in a 1952 interview with Mircea Eliade).  

Here is one of the earliest printed books on alchemy (originally 1546, by the reputed alchemist Bonus Ferrara, but translated into English, as here, in 1894):

You can actually read a copy of the translated text itself here:

https://archive.org/stream/newpearlofgreatp00laciiala/newpearlofgreatp00laciiala_djvu.txt 

The “pearl of great price” is another name for the “Philosopher’s Stone”. On a material level, in alchemy, this is the supposedly mystical and magical substance which could turn base metals like mercury into gold. So alchemical texts, like Bonas’ one above, read in part as weird chemistry recipe books. But, on a metaphorical level, this chemistry was understood (in Bonas’ book and elsewhere) as analogous to the soul’s journey to God:

“The Sages represent the Stone as bearing the same relation to the metals which is borne by form to substance, or, soul to body.”

Jung takes that Christian interpretation of alchemy (made by correspondence of the world below with the world above) and transmutes it into a psychological one. For Jung, the alchemical work is the work which psychoanalysis can assist a person with - the work of facing and integrating with one’s Shadow self.

My previous series of meta on S14 and the Shadow is here:

http://drsilverfish.tumblr.com/post/180906003584/the-shadow-14x08

http://drsilverfish.tumblr.com/post/181122764984/14x09-the-spear-jungian-decoder-ring-edition

http://drsilverfish.tumblr.com/post/182299438269/jung-and-deans-journey-towards-self-integration

http://drsilverfish.tumblr.com/post/182486474324/ouroboros-in-prophet-and-loss-14x12 

So, how does the episode’s pearl of great price (aka the Philosopher’s Stone, aka the mystical substance which makes possible the soul’s journey to God, aka, according to Jung, that which makes possible profound psychological progress) happen for Dean, in particular, in Lebanon (given that he was the one whose wish the pearl granted in the first place)?

Well, Dean has been running from an internalised psychological construct of his father, a haunting by John Winchester’s ghost, if you will, for a very long time.  

The opening sequence to 14x13 Lebanon is key in recognising this. Because one of the flashbacks we get is to 14x04 Mint Condition, in which Dean confronts the ghost of “Hatchet Man”. 

Here is the 14x13 Lebanon flash-back at the start of the ep. Dean, with the axe:

confronts the ghost of the comic store owner, animating the life-size model of “Hatchet Man”:

As my meta on Mint Condition made clear at the time, 

http://drsilverfish.tumblr.com/post/179735406854/batman-vs-superman-connection-and-conflict-in 

the episode, “...invites us to see Stuart’s conflict with the ghost of his father-figure, the comic store owner, as a mirror for Dean’s conflict with the ghost of his own father, for whom AU Michael (in the narrative arc of S14) acts as a mirror (AU Michael = John Winchester = Dean’s own internalised repression via the metaphor of Dean’s “drowning” possession by Michael).”

That the psychological construct of the ghost of John Winchester has been a very repressive internal construct, for Dean, is further symbolised in S14 both by Dean locking AU!Michael in a closet in his mind AND by the Ma’lak box Dean has built and has been intent on locking himself inside for all eternity.

Just to re-emphasise this, the opening sequence of 14x13 also shows us AU!Michael once again banging on the doors of Dean’s mind-closet:

Dean repressed a lot of himself in order to be a “good little soldier” for his Dad, in order to try and be the parent for Sam that his Dad was manifestly failing to be, and in order to embody the kind of (straight) masculinity he thought his father approved of. 

So we can think of John in 14x13 Lebanon as partly representing the opportunity (at last) for Dean to confront that internal “ghost of John Winchester”, i.e. for Dean to confront a part of himselfL

When Dean is able to hear his father tell him he is proud of him, when Dean is able tell his father, out loud, that he loves him, when Dean is able to tell his father that he has a found family that includes Castiel and Jack, when Dean is able to tell Sam out loud (as a result of his encounter with his father) this:  

DEAN: “Look, we’ve been through some tough times, there’s no denying that, and for the longest time, I blamed Dad. I mean, hell, I blamed Mom too, y’know, I was angry. But, say we could send Dad back, knowing everything, why stop there? Why not send him even further back, and let some other poor sons of bitches save the world? But, here’s the problem? Who does that make us? Because I gotta be honest. I don’t know who that Dean Winchester is. And I am good with who I am...”

that is Dean being able to tell himself all those things:

I am proud of you

I love you

I have a “found family” whom I love

I am good with who I am.

Jung tells us that the more we run from the Shadow, the more its terrifying haunting power over us grows. It is only when we turn and confront it, and embrace it (as the repressed parts of ourselves) that we can achieve psychological growth. 

As I said in my meta last week on “The Riddle of the Sphinx” in 14x12 Prophet and Loss:

“The Jungian solution, which the S14 narrative is offering to the metaphorical Riddle of the Sphinx, is, to turn around and embrace the Shadow-self (the parts of oneself one has repressed) and in so doing, to evolve - to become more fully human.

http://drsilverfish.tumblr.com/post/182482293379/the-riddle-of-the-sphinx-14x12-prophet-and-loss

The pearl of great price in 14x13 Lebanon, in symbolising the transformative alchemical power of the Philosopher’s Stone, has enabled Dean, in confronting and embracing the ghost of his father, to undertake some powerful Shadow-work. Shadow-work that will, eventually, help him to defeat both the repression locker in his mind where AU!Michael resides and the eternal repression locker represented by the Ma’lak box. 

[showbizchicago]

Interview with Pulitzer Prize Winning Playwright TONY KUSHNER

Known for his groundbreaking works including the Pulitzer Prize-winning Angels in America and the Olivier-awarded Caroline, Or Change, Tony Kushner has become one of the most prolific playwrights of our generation.  I sat down with Mr. Kushner who was in Chicago to receive the Chicago Tribune Literary Prize as part of the Chicago Humanities Festival. MJR:Let’s talk about The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, a new work that you developed at the Guthrie Theatre in Minneapolis this past year.  How did the concept come to fruition for you? TK: The way all ideas come about. I had been thinking for a very long time about writing it a play that dealt specifically with LGBT issues and I had also been thinking of dealing with Marxism onstage in the Perestroika era. I’ve always wanted to do something about American Marxism or American Communism specifically so all of that came together when Joe Dowling asked me to do a new play for the celebration that the Guthrie did of my work. They performed Caroline, Or Change and 5 short plays last spring. MJR: Speaking of Caroline, Or Change, the Chicago production mounted by Court Theatre won four Joseph Jefferson Awards including Best Musical was an unequivocal success.  Tell us about your partnership with Jeanine Tesori during the development of Caroline. TK: Jeanine is an amazingly talented composer. In my opinion the best composer writing for the theatre living. I am enormously happy and consider myself very fortunate that we hooked up. I never enjoyed working with anyone as much as I enjoyed working with Jeanine. We’re currently working on a new piece together. MJR: Story-wise, Caroline, or Change explored your upbringing in Louisiana. What was the process of transferring a semi-autobiographical narrative to the musical stage? TK: Well of course Caroline is a fictional character. The character is loosely based on the woman who worked as a maid for my family when I was a kid. It was actually dedicated to her.  She just turned 80. There are episodes and certain details in the play that are absolutely from my childhood. I grew up in Louisiana. But the piece is not autobiographic in any kind of reliable sense. The character of Caroline is some degree based on but many of the details of her life are different.

Jeff Award Winner E. Faye Butler in CAROLINE OR CHANGE MJR: As a playwright, what was the most challenging component of musicalizing text to propel a narrative? TK: I wrote the whole thing before I started working with Jeanine so in a way it was like writing a play. It was in a loosely rhymed and metered verse. To some degree it’s like learning a new language because there’s a lot about musical theatre that requires very specific skills that I do not have. I have very little experience working with the form. So I was guided to a great extent by Jeanine and by George Wolfe . But there was a lot that I had to learn about how to construct a moment with music. Caroline is essentially an opera, it’s through-composed. We were both learning a lot while we were doing it. I’m working with Jeanine now on a new piece and I’ve already begun things I didn’t know. In some ways Caroline was easier than most of the plays that I’ve done because it was so much more collaborative. Once I had written a libretto in the first draft I began to work with Jeanine very closely; I wrote the words, she wrote the music with much overlap. We went through every word and every note very thoroughly. I had to learn a very different tempo in terms of how to do re-writes because if you’re doing a musical and you exchange a line, that changes any of the music. And in previews you’re dealing with giant and very cumbersome machinery, and orchestrations. The singers have to learn the music which is a very different process than just learning a new line so it was complicated. MJR: The musical spurred quite a reaction here at Chicago’s Court Theatre. Have audiences received the show differently in varying parts of the country? TK: I actually haven’t seen it in the South yet. It’s been done in a few places including Lake Charles. Everywhere that it’s been done it’s been very successful, people have responded with great enthusiasm. It was a big hit in London, it won the Olivier award. It’s done very well everywhere. Certainly there are times when it’s felt very different. Jeanine and I came out to see it in Chicago right before the election, right down the street from the Obama house. That was certainly a different kind of feeling, kind of an electric and exciting feeling to be let into the Court in the anticipation of the election. Last spring when it was at the Guthrie it was interesting to see the play post-Obama. Obviously the line when Noah says Caroline is the President of the United States meant one thing 45 years ago. Now when there actually is an African American president in the United States it has a slightly different quality. That’s true for most plays today; the surrounding context changes in locale and time, and they become different.

MJR: HBO has been showing Angels in America for the past month. That dramatic sequence was groundbreaking for several communities. How do you think LGBT issues have shaped theatre in the past two decades, and how has theatre informed the community? TK: Well I don’t think my play . I think that one could say that with Larry Kramer’s The Normal Heart.   It coincided with relating to the AIDS epidemic for our community. Angels in America came around later. I have no idea what Angels did or didn’t accomplish beyond the fact that it’s a good play. And that’s the most I ever hoped for. The question of the relationship between LGBT politics and theatre is an interesting one. Obviously an enormous number of people who work in theatre are from the sexual minority area and community. I think there’s a reason for that. It’s where we’ve been contributing to theatre in percentages disproportionate to our percentage in the normal population. And I think that on one hand it’s the case that communities of the oppressed very often find a home in the theatre because people who are oppressed learn the difference between what something seems to be and what it actually is; irony, which is an important ingredient in the theatre, the shaking of reality- these are all things that are part of the everyday life of everyone who has a lived experience of oppression. So I think it makes sense that we would be found in greater numbers in the theatre. Theatre is always very quick to respond to moments of social crisis because it doesn’t take any money or particular organization of capital  to make a play. You just find a good writer, actors, director, and a theatre willing to do it and you can put together a play about any subject fairly quickly, certainly much more quickly than you can with most instances of film or television. Theatre is always a good quick response. It is also the place that we go to in order to grapple with social issues of real moment. If you allow Angels to be anything other than a good play, it allowed for a moment in the early 90s at the end of the first chapter to provide a public place for mourning the people who had died in the phase of the epidemic. It was also way of celebrating the end of the Reagan era; there was a great deal of release when Clinton beat the first Bush. We thought, however incorrectly, that we had closed the door on the nightmare of Reaganism which was a pernicious ideology that appeared at the same time as the AIDS virus. So I think that the play was about those things, connected to those things, and provided a public opportunity. MJR: You just finished wrapping up a new screenplay on both the life and work of Abraham Lincoln for Steven Spielberg. What provokes your interest in this particular era of our nation’s history? TK: I worked on for the last three years. We’re working on moving it into the next phase. It’s the time period where every tension and every unresolved conflict in American history prior to the Civil War came to a boil, and eventual explosion. Everything that this country is struggling to become emerges from the crucible of the Civil War. I think Abraham Lincoln, in my opinion, is inarguably our greatest president and one of the greatest people that ever lived- just a completely remarkable figure. I am tremendously interested in him and in his era. MJR: Your stage works are inherently both dialogic and dialectic in form. What keeps your interest in film as a narrative medium, especially since it is often one that focuses on the monologic story? TK: I think film is an extraordinary medium. Many great works of art in the 20th century were created by filmmakers. I feel that’s it’s more narrative driven than theatre, it’s certainly more all-encompassing kind of illusion. I think it doesn’t play as much as theatre does with questions of illusion and reality. To a certain extent I feel as though film is a degree more isolating, it’s perhaps less of a communal experience, though certainly the thing that all the audience’s attention is focused on does not respond to what the audience is telling it. It’s the same from one showing to the next. Obviously there are some stories that cannot be told onstage that can be told on film, there’s just a mathematical question of how many individuals can be reached by a film or television show as opposed to theatre. For me there’s a certain pleasure in surrendering the absolute authority; a playwright in the theatre has, if nothing else, the authority that comes from property ownership. I own the play, I rent the play to the producers, directors, and actors to perform, but it’s mine. When people get together to do a play one of the only common grounds they have to stand is the script. In film, it’s much more the director. The playwright doesn’t own his or her own words. It’s interesting to me and in some ways enjoyable to hand that authority over to somebody else and to be one person among a number who is working to create this final product, but not the person who finally has the decisive say in what it’s going to be. I’ve gotten to work with a few artists I admire enormously Steven Spielberg, Mike Nichols…that’s been thrilling. I got to watch both of them make a movie and I’ve learned a lot from doing that. MJR: You’ve noted before your concern of reducing characters, specifically individuals like Lincoln, into dramatic figures. Do you employ a different approach in humanizing characters for the stage as opposed to a screen medium? TK: Hamlet is a dramatic character, but there’s no reduction in Hamlet. I could think of a dozen film characters as rich as any human being could be. Lincoln is a genius on the level of Mozart or Shakespeare and it’s very difficult and possibly impossible for someone who isn’t a genius to come to any kind of understanding of how Lincoln did what he did. I think that it’s probably impossible for us to know those things. To try and create a dramatic device that is going to deliver the secret of Lincoln’s inner genius or the secret of how Mozart wrote the Requiem or how Shakespeare wrote Hamlet is kind of nonsense. You can’t do that. These are leaps of the human imagination that are so vast and so extraordinary, and rare, that they’re really in a certain sense immeasurable and incomprehensible. What we have is the consequence which is somewhat immeasurable and incomprehensible. There is no one who will ever say everything there is to say about Hamlet, it’s infinite as much as any human creation can be called infinite. I don’t feel that there is any necessary for dumbing down or reducing my ambition as a playwright because I am writing a screenplay. I feel that I can write characters that are just as rich onscreen as they are onstage. There are certain requirements that the forms have that are very different; language is different, the way you construct a character for a script that hopefully many different people will use or perform is different than when you’re writing a script for a director for one movie. So you have a sense that what you are doing is much more for a specific moment.

Tony Kushner, Jeanine Tesori at Court Theatre's CAROLINE OR CHANGE. MJR: Tell us about your process of developing a new work for stage production. TK: I don’t feel that I ever get inspired to do anything. Various impulses come at me during the course of a day just as they came at anybody. I read stories or I remember things that I’ve seen that seem of interest to me because I’m a playwright, that’s my job. I take note of those things and I write them down. If something that I’ve seen or been intrigued by sticks around, I’ll start to wonder if there is something in it that might become a play. If I feel clearer and clearer about why it’s interesting to me- whether it be a person, image, or event in history- I’ll start to keep a separate notebook about it and start to think of what could come as the basis of a play. You mull over five or six things at a time and for one reason or another one of them will the surface. MJR: Do you often find yourself become reclusive during this process? TK: I certainly try to . You should. It’s a good idea to do that. It’s always a mistake to not make that kind of time, but it’s one of the hard things about being a playwright. Part of our time is spent in rooms with a lot of people. Isolation is hard for everybody but for some people it’s easier. If you can’t handle isolation you certainly should not be a novelist or a poet. Playwrights I think in general have a tricky balancing act to do between providing material for the excitement and electricity and sexual heat of a rehearsal room-also the fun and terror of being in the theatre with an audience- and being alone in a room. When I’m really deep in the first draft of a play or screenplay I become slightly antisocial. It’s very hard to talk to people, to be out in the world. I think that everybody who writes experiences this to some extent. You have to kind of smooth your skin away and become available to becoming other people, so you lower boundaries and you remove skin and you make yourself slightly less well-organized than you are in everyday life. It’s hard to go out in public that way. I think it’s easier if you can get the play done in the first draft and then resume your public life; otherwise I think you feel sort of unpresentable and you probably are .  Read the full article

[unexpectedreylo]

The Straight Dope On Galaxy’s Edge

I went to Disneyland Aug. 7-10 for my birthday because where else would I rather be than in the GFFA?  

It’s amazing!  It’s like a Ralph McQuarrie painting come to life.  Even though it is “set” during the ST, it tries to have a little bit of something for every Star Wars fan.  And maybe even for your friends and family who aren’t into it as much as you are.

Don’t believe the hype that it’s not doing well.  Disneyland has had annual passholder blackout dates to keep attendance below crazy levels and while overall attendance is down 3% (probably due to fears of massive crowds as well as higher ticket prices),  I can safely tell you that there was a great deal of interest in Galaxy’s Edge by attendees.  On Thursday and Saturday, everyone made a beeline for it just as the park opened in the morning.  I was doing the Griswold family dash to Wally World myself, power walking the best my middle aged/out-of-shape self could as kids and teenagers went past me.  Requiring reservations for Oga’s Cantina and Savi’s Workshop (where you build the lightsabers) prevented hellacious hours-long lines for those attractions.  Smuggler’s Run has had waits as long as three hours over the course of the summer.  It reached its 1 millionth rider in mid-July.  On Thursday, the longest I wait I saw was 80 or 90 minutes and that was on a weekday blackout date.  The section of the park was busy both Thursday and Saturday mornings.  For what it’s worth, it seemed like half the people at Disneyland overall had some kind of Star Wars t-shirt on.  It was like a Celebration with rides.

Attendance isn’t the only metric.  What really matters is whether people are spending money there and I can vouch that people were buying.  The lightsabers are $200 a pop alone.  There were merchandise I wanted to get but weren’t available, such as the japor snippet necklace and the Rey vest (sizes XS-L were sold out).  White kyber crystals are still sold out.  I saw signs everywhere limiting certain items to one per person.  People were packing the cantina and all of them got drinks.  Ronto’s Roasters did pretty steady business.

Just bear in mind that parks play the long game and it probably serves Disney’s long term interests to allow paying attendees and not just local APs the chance to experience Galaxy’s Edge.  Hell crowds would just make people angry they spent all of that money and couldn’t see or do a thing.

Now, here’s where I’m going to dish some advice to those of you who are planning to go either to the one in Anaheim or at WDW.  The WDW version is at Disney’s Hollywood Studios, so some of this won’t apply to the Mouse House East but I think a lot of it will.

Tip #1--Your best bet is on a weekday, first thing in the morning as the park opens.  If it’s an AP blackout date, that’s even better.  Remember, Disney is like con...you don’t come to sleep.

Tip #2--Stay at a Disney hotel to take advantage of Magic Hour.  I know, I know, they’re $$$ while there are many cheaper alternatives but if you really want to beat the crowds this is the way to do it.  Galaxy’s Edge will not be accessible during Magic Hour (at DL it’s just Fantasyland that’s open) but you can start lining up at the ropes in front of Frontierland and Adventureland.  While GE at DL has three entrances, they will send you the looong way through New Orleans Square and Critter Country when the park fully opens.  If you’re at WDW, stay at the Art of Animation, Caribbean Beach, or Pop Century resorts...they’re the ones closest to Hollywood Studios though you’ll still have to take the Disney bus to get there.  (The Swan and the Dolphin are on Disney property but are NOT Disney resort hotels, so no Magic Hour.)  

Another perk to staying at a Disney hotel now is that as part of our travel package we all got free exclusive Galaxy’s Edge lanyards with a pin!

Tip #3--Ladies...I think with the exception of the First Order boutique and the cosplay items, I liked the a lot of t-shirts and stuff for kids more than the ones for adults!  So if you are on the small side, you might be able to fit in the bigger kids’ wear.  For instance I got a great Black Spire hoodie for $40 at Jewels of Bith...the adult hoodie was like 20 bucks more.  My mom liked it so much she got one for herself and my niece.  Note:  the merch you buy inside GE don’t say “Galaxy’s Edge” or have Star Wars logos.  If you want those, you’ll have to buy them in the regular Disney stores.

Tip #4--Oga’s Cantina.  Reservations are required so as soon as you plan your trip, go on the DL/WDW app and reserve right away.  I think now you can reserve up to 60 days in advance...if not, definitely 14 days in advance.  You are NOT guaranteed a seat.  You are given an area to hang out in (at the bar, at a table, or at a booth) and you are to remain there.  You can’t run and grab a booth for instance if a party leaves.  Your limit is 45 minutes and two drinks.  I will say though that service is fast (I guess most drinks are pre-mixed) and in our case, we didn’t even need to stay the entire 45 minutes.  I got the Cliff Dweller (I don’t drink) while my brother got whatever they call the beer and my dad got the teal-colored “white” wine.  My older niece got the blue milk with the Bantha cookie.  She gave rave reviews for both.  The younger niece got the stuff that came from the creature tank.  It sounds gross but she liked it.  There are no restrooms inside the cantina btw.  

Tip #5--Savi’s Workshop.  Again, reservations are required and they should be made as soon as possible.  The lightsabers are $199 and you pay when you check in.  The day I went they were running behind, so while my reservation was at 3:00, I didn’t actually get in the building until like 3:30.  The process takes about 20 minutes.  You are ushered into a shop and there’s a whole narrative and everything.  The “gatherers” have harvested scrap metal and kyber crystals and crafted lightsaber parts.  Based on the “theme” you selected at check in (stuff like “power and control” or “peace and justice”) you are given trays with parts to choose from and a crystal (blue, green, purple, or red).  Your guides are in character and sometimes it’s all earnest af, but then again so are the movies.  I found it surprisingly easy to put these together.  The “gatherers” put the blade in for you then you step forward, turn on the switch, and yay, you got a new lightsaber!  You get to wave them in the air and stuff.  On the way out you are given a free sheath bag to put it in.  If you don’t want to lug your new lightsaber on a plane or have to check it in, you can have it shipped home for $17 at the First Order boutique (though I don’t know if other stores will do it for you too).  

Tip #6--Smugglers’ Run.  The best time to go on the ride, since to date there are no fastpasses, is right when the park opens.  Thursday morning at 8:10 a.m. had the shortest wait, 15 minutes but I pretty much walked right onto the ride.  The next best option is going single rider, which is what my brother and I did the second time we went on it.  It was about half the regular wait time.  Have your camera ready to get that chess table photo op because you will get called right away for your “boarding group” (assigned with a color).  Two pilot, two shoot, two “engineer.”  The light up buttons make it easy to figure out what you have to do but accuracy is tough.  I piloted the first time, shot the second time.  The good news is I did not crash either time.  Which is miraculous.

Tip #7--Other food and drink.  Unfortunately I didn’t get the opportunity to eat at Docking Bay 7 or Ronto Rosters.  I’m told the breakfast wrap at Ronto Roasters is phenomenal.  Don’t expect typical Disney fare in Galaxy’s Edge; the closest it comes is the Star Wars popcorn.  No galactic churros or Mickey ice cream pops here.  In fact an in-character cast member and Chewbacca were really curious about our churros when we went into Galaxy’s Edge on Saturday.  My younger niece even tried to give Chewie a piece to try, LOL.  What you can get is blue milk and green milk.  We got one of each on Thursday to try.  Both were better than the notoriously sweet butterbeers at Wizarding World of Harry Potter.  Tasty and refreshing on a hot day.  But I kinda think we all leaned more toward the blue milk.  In fact the nieces insisted on another round of blue milk when we returned on Saturday.  You can get the Aurebesh label soda and water at a variety of stands and at Docking Bay 7.  (Maybe Ronto Roasters too.)  They’re pricey but everything at Disney is 30-50% more expensive than they would be anywhere else.  And the Aurebesh bottles make for low cost souvenirs.

Tip #8--Characters.  Chewbacca and FO stormtroopers were around quite a bit.  I saw Vi Moradi twice and Kylo a couple of times (Chewie and Kylo get treated like rock stars), but I totally missed Rey.  My parents saw her though.  Characters here do NOT sign autographs, something my nieces found out the hard way when they tried to get them from stormtroopers.  LOL.

Tip #8--Dok-Ondar’s Den of Antiquities.  This is where you buy your holocrons and loose kyber crystals (only with purchase of a holocron).  They were still out of white crystals so I bought a red one.  When you put a red crystal in your Jedi holocron, Yoda warns you about the dark side.  Bonus:  the kyber crystals you buy here can be put in your lightsaber from Savi’s Workshop.  So if you buy both a holocron and a lightsaber, make sure you get a different color crystal for each so you can switch them around!  Here you’ll find a lot of Jedi cosplay, Leia cosplay, and the headdress Padme used in AOTC as part of her peasant disguise, among other goodies.  The stained glass portraits of Leia and Queen Amidala were stunning but they were kinda big and 95 bucks apiece.  They had a set of ceramic busts of everyone’s favorite mother-daughter duo for $55 but I didn’t feel like lugging those around at the time.  For older Star Wars fans, this is probably going to be your favorite store.

Tip #9--Other merchandise/shopping.  The First Order boutique is located right next to Kylo’s parked shuttle and across from the “milk” stand.  The Resistance has two carts at the entrance in front of the (unopened) Rise of the Resistance ride.  I kinda like that the underground Resistance is on the “outskirts” of the outpost while the conquering FO is right there in the center of town.  Makes sense for the narrative.  Savi’s and the store where you can build a droid (no reservation necessary...this was a hit with kids) are next to each other.  Everything else is in the marketplace in a series of smallish stalls.  Keep an eye out because nobody has signs.  (Note:  layout might be slightly different at WDW.)  

Tip #10--Wear a hat and sunscreen.  The marketplace is the only area in GE with shade.  The rest of it is out in the sun, so be prepared because in CA it’s easy to get a sunburn and in FL, it’s easier still.  Bring a rain poncho if you’re at WDW because of those hit and run thunderstorms.  

Tip #11-- You don’t have to be a passive tourist.  Some cast members get into it more than others but you’ll get more out of Galaxy’s Edge if you play along.  As Star Wars fans, you’ll get the lingo (for instance they do call kids “younglings” and talk about money as credits) so that’s no problem.  When you’re inside of Galaxy’s Edge you can go on the DL/WDW app and activate your “datapad” and scan stuff at various locations.  My brother did this with his phone while we were poking around and you can earn rankings and stuff within the different factions.

Overall I think what Galaxy’s Edge is now is just the beginning.  Rise of the Resistance opens this winter at both parks and from what I’ve heard, more attractions and shows are in the works.  Personally, I’d love a hair braiding station where you can get your hair done like Leia or Rey or Battle of Geonosis Padme since that’s probably her easiest style!  I want a Reylo night time show!  But it’s absolutely worth visiting as it is.  You can easily spend half the day or longer there, depending on how much you want to do.  Few Star Wars or Disney experiences will ever top entering Galaxy’s Edge, huffing and puffing from having to go up and down hills, hearing the music over the loudspeakers and the cast members and various characters coming out to wave hello to everyone.  Even the stormtroopers.  I felt like I’d just finished the Batuu 5K!  And then seeing everyone gawk at the Millennium Falcon in front of Smuggler’s Run.  

[theresidentnews]

Sweater and Jeans: Michael Koras

Jacket, T-shirt, Pants and Sneakers: Valentino

Sweater: Calvin Klein

What lead you to pursue a career in acting? Did you have an “aha” moment when you realized that this is what you wanted to do, or was your desire to act present from the start?

Storytelling. Using it as a medium to illustrate new ideas/places was super powerful to me as a kid and I’ve always been drawn to it. Initially, I wanted to direct. My mother encouraged me to take film classes as a teenager. That’s when I popped in front of the camera on a friend’s short. It was a moment I haven’t forgotten. I was instantly hooked. I also found a responsibility and purpose within in. When I was growing up, people of color often didn’t see characters who looked like us in films and TV, and neither did our families, even though a big part of narrative engagement is imagining yourself in the protagonist’s shoes. But when we watch our reality reflected on TV or in film, our potential becomes limitless. The ability to tell your own story and to be heard is the very thing that moves our culture forward. That is how we can ultimately escape those limited and often inaccurate portrayals minted in the stone age and surpass them.

You’ve played a lot of unique characters throughout your career. Would you say that you bring a piece of yourself to every role you play?  Is there a character with whom you have most identified with, or one that you found most challenging to relate to? 

I try to bring some of myself to the roles I play. I think to be authentic to an experience we’ve not encountered ourselves, pulling from the world around us is key. There are two characters in particular that stand out for me. Hassan Kadam in THE HUNDRED-FOOT JOURNEY was a role that didn’t come with the resistance for a person of color to play the protagonist. The story is about a young chef who immigrates to France from India after his mother dies. I think the film encourages folks to go beyond their limits. Hassan was quiet and introverted — not qualities I can readily related to, but the story inspired as well as pushed me. In 90210, I played a character suffering from a terminal illness. Raj was a simple but real portrayal of a young Indian-American guy in California. The response to character was profound. Here was an Indian teenager included in an iconic American brand without typical stereotypes. He wanted to live his last days fearlessly.

Shirt: MSGM

What attracts you most to a role? 

The character and his point of view on the events happening around him. If the role challenges me to think differently or it scares the shit out of me, I’m in. 

A lot of people would consider your breakout role to be The 100 Foot Journey. Was there a definitive moment in your career when you thought, “Yes, I’ve made it”?

I knew it was a big deal, a life changing ride. I couldn’t have asked for a better experience. Steven Spielberg, Juliet Blake and Oprah Winfrey and everyone at Dreamworks / HARPO put it together. They really supported the film. But that feeling of “I’ve made it” can’t be taken literally. I think making it means something different to everyone. For me, making it might just be the ability to contribute to our business in a way that pushes those in power to think differently; to be courageous storytellers. I think to do that we have to keep making our own stuff, we work together, we unionize. We show folks that our stories have real value and make money. I think making it is the ability to pursue exactly that. The Hundred-Foot Journey opened that door for me.

You’re currently a part of The Resident. What’s it like working on a medical drama? What’s the biggest difference between this character and those who you’ve played in the past?

I was attracted to the role because Devon had a huge journey to embark on. In a series, it’s exciting to play a character that has somewhere to go — a blank canvas in some ways. He starts off as a resident right out of med school. The sky’s the limit for this dude. It may not seem revolutionary for me to play an Indian-American doctor. It might seem ordinary, but that’s exactly why it’s important. Devon is what the American dream looks like, to me. He’s from an immigrant family, graduates top of his class with hopes to heal people and change lives. To me, Devon stands out from other roles because he is so carved into the culture of today’s America — an Indian doctor. Children of immigrant parents occupy medicine in a big way. I want Devon to represent a piece of that. He is sometimes a hero, he’s fallible, he’s impulsive, he’s cocky and when he gets it wrong, people die. The stakes are huge.

Anytime there’s a cab driver on screen, it’s imperative he be played by a South-Asian. But most of America’s TV Doctors are actually non-Indian, and I realized that’s not what a modern American hospital or medical school looks like. In the US, South-Asian doctors outnumber cardiac ICUs and overwhelm medical schools. People say, “what’s wrong with stereotypes? In real life, there’s truth to these stereotypes, and don’t you want the world to feel real on TV?” It is true that some of the leaders in medicine like Atul Gawande, Siddartha Mukerjhee, Sandeep Jauhar are all Indian. So to move the needle, this idea must extend to our heroes as well. That is the only way this works. Yes, Devon is brown and he won’t be hovering in the background without a perspective.

Sweater, Shirt and Pants: Valentino

Coat: Michael Kors

Coat: Michael Kors , Glasses: Timberland

Sweater: Michael Kors, Shoes: Valentino

You’ve recently gotten into directing. Is this something you’ve always wanted to do, or a more recent ambition? 

Always. Directing Fifteen Years Later was a passion I’ve wanted to exercise for a while. It was one of the most awesome experiences I’ve had. Acting and directing at the same time is wild. I loved all of it and tried to be aware of which hat to wear when. I wanted to craft a story from start to finish. This one in particular I could speak to since it was personal for me. The story is based on real events from friends and an experience I had over 15 years ago. It talks about bias and violence in a post-9/11 era. Racially motivated crime towards people of South Asian, Sikh, Arab and Muslim has seen an undeniable resurgence since 45’s presidency. Terlok Singh, a Sikh deli owner from New Jersey, was recently stabbed to death at his store. According to Dr. Simran Jeet Singh, Senior Religion Fellow for the Sikh Coalition, this was the third attack on a Sikh in the last three weeks of the incident.

My hope is that Fifteen Years Later can shine a light on communities who face this type of profiling and violence. It is a look at an epidemic holding our communities under fire. We partnered with Vigilant Love, 18MillionRising, and White People 4 Black Lives and hosted a panel in LA. It sparked a discussion about race, identity, policing and our law enforcement.

You recently had a son! Congratulations! What is it like being a dad? Does this give you a new perspective for future roles? 

100% It is a profound relationship. Children teach us more about ourselves than we could ever know. You reflect, discover, prioritize, problem solve and ultimately learn how to quiet the noise and be present. As a new dad, you’re learning about things you’d otherwise know nothing about. It’s impossible to get too comfortable because the minute you think you have it down, an inevitable curve ball hits you in the face! It’s also why representation is so important. We want our youth to feel embedded in our culture. We want them to feel visible and given our sociopolitical landscape it’s more important now than ever. My hope for him is that he exercises compassion and gratitude, that he understands the difference between strength and weakness, and that he respects the voice of other people.