#but the possiblity intrigues me
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thetarttfuldickhead · 25 days ago
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Premier League teams being approached to participate in an anti-bullying campaign and Jamie and Nate somewhat suprisingly volunteering to do a bit for Richmond together. And like that’s… nice?... but. Eh. Nate makes some sense, sure, even if his track record of treating others well has been – ahem – bumpy, but Jamie…
“Jamie bullied people,” Jan Maas is predictably the one to eventually point out while everyone else is thinking of how to bring that up. “Everybody knows that. I know that, and I wasn’t even on the team when it happened.”
“Yeah, I’m sorry, babe,” Keeley says apologetically. “It’s a really nice thought, but you do have a bit of a reputation and—“
“No, but that’s the point, babe,” Jamie says eagerly, not deterred in the slightest. “Nate and me, we know what it’s like being shit to others, yeah? So we figured, maybe we talk about that, like what made us start being shit, and what made us stop, and maybe it’ll help others figure out how to stop people from being shit? Or if you are a bully, how to fucking get your shit together and stop being a prick.”
“That’s right,” Nate agrees. He’s both very nervous and very keen. “We thought it might be a, a new perspective.” He and Jamie’s had some initially awkward but good conversations about that since Nate came back to Richmond (touching on how devastatingly easy it can be to slip from bullied to bully, the enabling silence or active support of the crowd, and learning new ways to feel big without making others feel small). Once they heard about the campaign they started talking about maybe taping such a conversation, put it out there, see if it can be of some use.
And Keeley asks them if they are sure (and Roy asks Jamie the same at some lenght) because that’s some pretty personal stuff they want to put out there, and there might be a backlash, but they’re both determined. “It’s taking responsibility, like,” Jamie notes. “Making amends, yeah?”
And of course there is some backlash, because when is there not in this loud and polyphonic world, but mostly their rather heartfelt and earnest talk is received very well.  
(This whole thing maybe also leads to Jamie and Sam actually talking about the stuff that went down when they both first came to Richmond, because for all that they’re great friends now, they haven’t ever really touched that. Hey, maybe Colin and Isaac do some soul-searching too! Lots of fun introspection for everyone!)
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poorly-drawn-mdzs · 7 months ago
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Reasons to play In Stars and Time: Canon Pronoun Warfare.
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smthaboutuss · 7 months ago
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Omg that would be absolutely brutal if Val only cared about the sexual aspect of their relationship?? 💀 I had to draw it
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mythalism · 6 days ago
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ummmm hey guys. the fade prison is.... the black city, right? the fade prison is the black city. we know that the fade prison is the black city. or at least part of the black city based on what we saw as rook when we were inside. we know the evanuris were locked in fade prison..... which is the black city. solas and lavellan are in the fade prison. solas says he is going there to study and try to heal the blight. they are in the black city together except when we see them there in the epilogue the background isn't black its......
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moonkhao · 7 months ago
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EST SUPHA as PO and WILLIAM JAKRAPATR as THAME in Thame - Po ・HEART THAT SKIPS A BEAT (2024ISH)
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carnivalcarriondiscarded · 8 months ago
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ON THE TOPIC OF BARNABY. as well as his relationship with Wally.
So. To kick this off - Riv (@funonion) and I were Speculating, and they introduced me to the johari window:
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They put Barnaby in the “facade” section, and I entirely agree. To quote them;
“So he’s Wally’s guide, right? He’s the “knowledgeable” one of the two and is always the one teaching him new things. And you know, it’s one thing if you’re just teaching him how to laugh or how to tell a joke. But.
Clown has given us two doors. One says that Barnaby understands Wally in a way the rest of the neighborhood doesn’t, and is willing to do his dirty work so to speak. The other says that their friendship was not a natural occurring thing and had to be enforced repeatedly within the show. HOW THAT’S BEING ENFORCED IS ANOTHER THING ENTIRELY but it is worth it to note.
What is Barnaby willing to keep? What is he willing to bury for his little buddy? I can’t say anything definitively yet, but the fact that I even have to ask is telling. The class clown archetype is usually used as a way to cover up for something else a character might be experiencing”
And my response, (I won’t directly quote because I have little things in the phrasing & elaboration to add / tweak );
Barnaby being a Comic Relief Character immediately raised so many alarms in my head. I love comic relief characters. They’re always so fucked up in one way or another, and Barnaby is almost certainly SO inauthentic. He’s wearing a comedy mask just as opaque as Wally’s own mask. In everything we’ve seen about him so far he’s either Teaching Wally, wisecracking/joking, or… pretty much nothing else. We got that moment of concern in audio 14-14, but that doesn’t reveal anything beyond genuine care for Wally.
Comedic characters have the best disguises. Their poker faces & ability to deflect is always top tier [and practiced], and just look at comedy-focused actors and entertainers - so many of them have severe issues, either with their mental health or life. From what i’ve observed both in that aspect & with fictional characters, they play it off & work hard to entertain/deflect [one in the same] right up until the end. Sometimes it’s a coping mechanism. Usually it’s both. If they laugh loud enough and make people think they’re lighthearted fools w/ nothing underneath, no one will look any deeper and thus they’re “safe”. 
& I’m a little suspicious that Barnaby’s red/orange/yellow spots aren’t naturally those colors. While yes, he could be (in-universe) designed that way to echo Ms. Beagle, there’s a strong possibility that that’s not it. What if he paints them to feel a connection to her, or it’s a physical manifestation of Barnaby covering up his insecurities/issues - what if it’s part of him striving to convince the world that he is what he paints himself as. 
The laidback funnyguy with a loving mom and not a problem in the world. 
And I mean, Barnaby claims to be a natural blue and I believe him! But the other colors? I’m doubtful
(I was going to include the Cast As Lil Kids Designs in this since Barnaby has all blue spots, but given how early in 2021 it was posted and how there seem to be little discrepancies from the ~official~ designs, I don’t want to provide it as evidence.)
& on the topic of Wally and Barnaby’s relationship being both real and not - disclaimer, this conversation happened before my Updated Thoughts On Them post, so there may be some minor rephrasing here from what I originally said - I’m sure that the relationship started out as inauthentic. Wally was assigned Barnaby as a best friend and technically vice versa, but I don’t doubt for a second that it became real to some extent. Clown wouldn’t treat their relationship outside of “canon” WH stuff the way that he does if they weren’t actually friends. They’ve said that Wally & Barnaby would be friends in every universe (which melts my heart <3 platonic soulmates my beloved <3), so then I have to agree with Riv. what WILL Barnaby do for Wally? I touched on this in the Milk Theory, but especially if Barnaby prides himself on “knowing Wally better than anything else”, what would Barn do to preserve that?
This relates to another conversation we had - Barnaby possibly having abandonment issues. It’s such a choice to have him of all characters be explicitly stated as an orphan. That and while every other Neighbor with a mentioned family have a somewhat large one (Howdy and his gajillion relatives, Julie and her three siblings, Poppy and her crowded tree [note: Eddie has a mentioned mother, but that info is tenuous and who knows if there are other Dears]), Barnaby has also explicitly stated that Ms. Beagle is his only family. That’s it. And farm life can’t be a sociable way to grow up, not with all the chores he must have had and how rural he might have grown up. Barnaby jokes that Home is the “Big Apple”, which could just be a joke - but jokes often come from a place of truth, and Home might be the most populated area Barnaby has lived in. Who’s to say!
Either way, Barnaby was orphaned one way or another, and I don’t doubt that it weighs on him. Especially if  his birth parents really did abandon him. That added to a possible life of loneliness… I wonder if he’s latched onto Wally emotionally, which would hit all the painful places if it turns out that my “Barnaby is more attached to Wally than Wally is to Barnaby” theory has merit. Abandonment issues could also strongly back the apparent walls he’s plastered over with circus tent fabric
Back to Barnaby & Wally: the fact that, at present, Barnaby and Wally seem to have the best disguises / strongest masks. That. looking at 14-14, i suspect that Barnaby is excellent at keeping his up, but as soon as Wally’s mask cracks, so does Barnaby’s. 
And then there’s the side of their dynamic that we could look at - it seems to be a very multifaceted relationship. The way that Barnaby genuinely cares yet in the 00 Halloween audio Wally was left off to the side and Barnaby was just “checking on him” while socializing (then again, this could be part of Barnaby understanding Wally & respecting his space / Wally wanting a break from that socialization). Barnaby is patient with Wally and yet he seems to sometimes treat Wally as his sidekick / let him fade into the background and yet Barnaby kept checking in on Wally during the 14 bug audios (this last one I could tie into the abandonment issues theory). 
Then there’s how Barnaby calls Wally kid & can tend to treat him like one despite both of them being in the same age group. The way that all of this could, in a way, relate to the infantilization of autistic people (no matter how well-meaning or unintentional) & internalized ableism. 
Note: Riv pointed out that Barnaby does seem to be doing the best with what he has, and that this can connect to the Johari Window’s blind spot / unknown. 
I do agree with this wholeheartedly! And I have to mention that - and making a Very educated guess here - the interactions we’ve seen take place in the very late 60s / very early 70s, so Barnaby’s behavior towards Wally is actually pretty fucking stellar given the time period. We can’t expect him to be perfect or do everything / say everything right. That would be boring I think! And one thing I deeply appreciate about the Neighbors & their dynamics is that they feel like real layered people, not cardboard cutouts being perfect caricatures of what people are “supposed” to be like.
Riv also presented this:
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We likely are going to reach a point where Wally asks Barnaby something that he can’t / doesn’t want to / won’t answer. And like.. Ok. This is a slight tangent but I swear it’s related! When I first discovered WH and learned the Wally basics, I wondered two things.
Are we going to watch Wally “discover” new emotions? Because he certainly has them. Clown has said that Wally only ever feels happy, and a lot of people took that to mean that Wally can’t feel anything else. I don’t think we should take that answer at face value, because. I mean. Look at the project & creator we’re talking about. Layers, guys. Indirect direct answers. I think that Clown meant that Wally only ever feels happy in the Neighborhood because he has no reason to feel any negative emotion. Everything is as it should be. Until it isn’t - and I think that’s where he’s going to have to struggle with new emotions as he encounters them through new situations/events unfolding as the “story” starts to deteriorate. We’ve actually seen this a little bit - in Wally’s record audios (i believe the chronological second to last?), the way he says “Let Me In” so insistently. That’s definitely not a positive emotion being expressed. 
How will the topic of death be handled - because it will be handled, it’s stated in the project warnings. I was wondering this even before I read the list, because I was presented with a blank slate puppet character and so went “oh fuck, this dude doesn’t know about death, does he?” Obviously I wanted to know how that would go. I want to know how it Will go! 
How would Barnaby explain emotions that Wally doesn’t know how to convey? How would Barnaby explain death in a way that Wally would understand - given that Barnaby (& all the Neighbors sans Wally) knows what death is  - and would Barnaby be willing to explain such a thing? I have a feeling we may find out.
And in a way, I suspect that if none of them know, Wally will find out himself and have to process it without help. But then again, how can something die if it was never really alive in the first place? Unless the death warning relates to human characters… I’m currently assuming it relates to both humans and puppets. 
In conclusion: Barnaby has a carefully fabricated facade, he's doing the best with what he has but it likely won't be enough, and uh. shits fucked!
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golvio · 1 year ago
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Still thinking about the stark contrast between the general grim, highly-restrained stoicism of TotK Ganondorf’s human form compared to the exaggerated, rapidly shifting moods of “Yippee! :D Whee!! :DD Wahoo!!! :DDD *does a cute little backflip*” and “YOU STOP RUINING MY FUN RIGHT NOW OR I WILL THROW A BIG DIVO TEMPER TANTRUM AND WRECK EVERYTHING!” of his Demon King form.
Guy’s pretty obviously repressed as hell, and I think that’s one of the reasons he always goes off the rails the second he gets a chance to step out of his ceremonial One Special Man role. However, the fact that what he’s repressing feels so…childish, even the violent parts…I’m wondering if the guy ever got the chance to be a child when he was actually little.
Maybe he got yelled at and punished for making simple inexperienced baby mistakes the way Zelda was because he was under similar pressure to Fix Everything and symbolically parent all his adult subjects/family members as a Symbol of Hope that could soothe their fears and anxieties on-demand. (Not to mention Buliara’s mom raised a bit of a red flag about authoritarian parenting styles being common in Gerudo military families). Only instead of just suppressing everything and standing perfectly still and quiet in public while floundering in private like Zelda did, he got extremely skilled at convincing the people around him he was the mature, unflappable, strong, comforting, and eternally available collective cultural father-figure who’d guide them out of the hard times they were trying to hammer him into.
Only…that wasn’t real personal development, only the illusion of development. He encased his true personality in the superficial shell of the sexy manly-man hero that everyone wanted him to be. The second he was able to emerge from that shell without anyone being able to punish him for it, that inner traumatized little jerk immediately started lashing out in revenge at the people who held him to such an impossible standard in an effort to finally feel in control of his own life. It’s like a former child star melting down upon entering adulthood after being denied agency and independence by the studio they’re contracted with and their financially profiting family for so long, only with magic and the forsaking of one’s own humanity involved.
That underlying theme of metamorphosis throughout the game, echoed in Kotlin’s “dream,” could’ve been capitalized on here. The people loved the shiny gold cocoon the weak, helpless larva formed, begging it to never emerge so they could enjoy its beauty forever. But he knows, he knows that if he never breaks open the shell encasing him, he’ll die before he ever gets the chance to unfurl his wings. The form they love is incomplete, shallow, temporary. He’ll die if he can’t discard it. He would rather be alive and horrible to behold than dead and perfect. The people will hate what emerges from their jewel, but in this new shape he can sting and bite back, so let them hate him.
But, also, just…could you imagine if we had a chance to meet The Cocoon and the people who worshipped it, saying how much they love their king while knowing absolutely nothing about him, only to find out he had his own “secret sanctuary” much like Zelda did? Somewhere we could glimpse the soft, hungry insect of his soul that yearned to break free? What we’d see in the pieces of his secret joys scattered around and the scratches of his notes would be something ugly, bitter, childishly self-centered, yes. But in there would also be real passion, real feeling, a real life desperate to finally live that would make the handsome shell brandishing a sword feel hollow, uncanny, and downright off-putting by comparison.
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yore-donatsu · 2 years ago
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My contribution about Ramattra with a mouth/tongue/big teeth (largely inspired by the @shadeyenova‘s work - which has also inspired  @zetomeri (their twitter))
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transingthoseformers · 5 months ago
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https://www.tumblr.com/transingthoseformers/754758695410401280/been-thinking-about-spark-merging-and-bonds-in?source=share
oh? do tell 👀
Like
Thinking about different types of bonds and how bonds are depicted in fanfiction
Some appear to be deeper than others, some appear to be inherent some appear to be created
like gestalt bonds, considering how they turn into one giant person it makes sense
There's splitspark bonds and branched spark bonds (I need to do more research on branched spark bonds, they appear to be a bit more entwined than splitsparks) but looking at tfwiki there's also miotic sparks which. Varies a bit per continuity but it appears to be the closest bond between bodies as it's pretty much the same exact person but in multiple bodies (except, in the case of Jetfire and Jetstorm in tfa)
I've also been thinking about there being a specific bond between Prime and High Lord Protector, for Megatron and Optimus angst
Of course there's conjunx / marital bonds, which I feel like vary in how connected they are from fic to fic
There's also the connection between a Host and their cassettes/symbiotes, which I've seen in fanfiction and have interesting dynamics
Hm... Looking at tfwiki, there's also binary bonding, which is explicitly between a mech and an augmented human/nebulan who becomes a weapon/component
Onto the topic of spark merging, I find it fascinating because it's so so so different than anything we experience. Sparks are complicated and unique, and the idea that they can maintain a connection even after they're no longer directly touching is interesting.
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prince-of-elsinore · 11 months ago
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damnnn Ponyboy glowed UP
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gorkaya-trava · 4 months ago
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I hope when putin finally dies I'll be the first one to make a destiel meme about it
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velvetjune · 8 months ago
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that moment when saga fights against the darkness in her mind place and opens the door to leave and it starts to pan out—showing nothing but stars just like the Night Springs intro before she appears in the dark place’s new york. Traversing the void in between worlds just like her dad. cinema!!
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randomfoggytiger · 18 days ago
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Once again, you have done a wonderful analysis. I was the person who asked about the status of their relationship in Dreamland and Arcadia. 👏 great work!
I don't know if you have been asked this before, but I am going to ask anyway.
If you were to teach a class on the Xfiles for critical thinking and analysis, how would you want to structure the course? What episodes would be your "go-to" and what aspect of analysis would be your focus? Where would be a good starting point for the uninitiated?
You offer enough evidence that the show can be used for film analysis, writing, critical thinking, argumentation, creative writing, etc., so it is very plausible to use the XFiles as a medium to get students, or just the everyday person, motivated to think in ways that they may not normally practice.
I am inspired by your analysis of the asks that you share with your audience.
I think this my answer is both simple and complex, depending on which angle you want to tackle.
Simply: The X-Files is a masterclass in failure; and I mean that quite neutrally. There were cracks embedded in the foundation since Season 1-- a lack of show bible, a lack of narrative cohesion, a lack of attention to important detail, a lack of conclusive vision despite the aspirational visions-- that deepened with each new mystery box, each new twist, each new "the truth is out there, but it's not the truth we said it was a week ago, this time it's different" bend. Even more simply put, it is a deeply broken, deeply flawed series because its premise-- a shadowy conspiracy that cloaked alien interference and abductions-- was probably never intended to be more than that. But each new idea was more tantalizing than the last; and the more the show explored new territory, the more it sketched out an inescapable map. And soon, there was no new place to run.
Complexly: The X-Files is a masterclass in failure because despite all its faults, its flaws, its frailties, its downright ham-fisted or shocking plot points, the crew's talent was insane.
Not just David and Gillian-- though their chemistry's the stuff of legends-- but Mitch Pileggi, Nic Lea, the returning and supporting actors, the writers, the directors, the costume designers, the behind the scenes people, everyone poured their heart and soul and best into this series (until Season 7, which drained everyone, on and off set, of their investment.) It could, should have been so much worse-- it could have been canceled after its first season, it could have been canceled after the first few episodes, it could have been canceled after the ending in Season 1. Yet, in spite of DD and GA's green acting, and the more fixed direction, and the odd angle or odd script moment or odd lighting choice, there was talent-- sheer undeniable talent-- that was thrown in... maybe not everyday, but most days. And even more complexly, Chris Carter-- for all the faults that can be levied at his later work or behavior towards long-time friend Gillian-- fostered that talent. He was a generous executive producer; and once he formed loyalties, he stuck to them. In all the past interviews I've read, his writers and actors and crew admired his work ethic and trusted his judgment. And, while it wasn't the best judgment to guide the juggernaut of this immense series, he handled immense, buckling pressure so well that, by and large, he passed himself and his writing off as the stuff of legends... until, of course, it inevitably blew apart and plunged downward. But that's a risk he took; and the show did incredibly well while it soared.
Putting the two together: if I were to use this show as a teaching tool, I'd divide it into segments: the MOTW and the mytharc. The MOTW is where the show shines brightest, and what it's most remembered for by the vast majority of its viewers (and the populace.) Here, I could prove what incredible talent and dedication and drive can do: what generosity and fostering of ability, what openness to ideas, what creativity pushed to its max would inspire. How Squeeze-Tooms succeeded but Pusher-Kitsunegari failed; how to handle a skeptic-believer dynamic believably; how one show contained a multitude of tones, and played with them expertly (from drama to horror to sci-fic to comic to romantic to adventure to etc.); how to sensitively (or try to) push forward an idea that needs to be solved, in our world, without choking the audience with moralistic spoon-feeding. How and why (and when) a show can do all these things in one breath and utterly embarrass itself in another (looking at you, Fight Club.) That would then lead me into my second point: what the consequences of that would look like-- scripts written the night before (perhaps even the day of) filming; actors and crew pushed to their exhausted limit; one man creating more and more and more shows-- because he doesn't trust his first one will go on forever-- instead of focusing that incredible drive and effort to cleanly outline his pet project. Lastly, I'd shift into the perfect demonstration of The X-Files's rises and falls: its mytharc How the MOTW idea existed, in its infancy, in the Pilot; that the convoluted, ever-evolving plot didn't take shape and fly until the scope of ideas grew greater and greater; how that spawned an incredible mythos (or the potential of an incredible mythos); and how that mythos, for the most part, carefully danced a line that could have enraged many different factions of society and many different points. An elegant, slimmed conspiracy, at first, that took time to highlight important issues-- government overreach, abuse of power, coercive or vindictive control-- until it devolved into trite statements, repetition instead of invention, without firmer substance. Until the writers didn't have any land left to explore, turned around, and realized they'd flown into a corner. Then they threw a smokescreen-- a new tragedy or drama onscreen-- and hoped the audience would be blinded to the trick, once again. And, ultimately, how that lack of trust in the audience was a greater sin than their ability to finish the show satisfactorily.
If I were to step back, though, I think The X-Files could prove any point you want to prove: the struggle of the artistic vs. the executive, the reality of expectation vs. creative vision, the high of a meeting of minds between an ideas man and his audience, the impropriety of expecting fan loyalty yet shoveling them slop, the deevolution of a beloved franchise through disengaged interest and floundering quality, the importance (the sheer, indisputable importance) of writing well if nothing else, etc. etc. etc. I don't think I'd get into the Chris Carter issue, though. That area of drama is locked away from all but the most interested (in my case, over-invested); and it wouldn't be productive to bring into a classroom, seminar, or what have you. Unless, of course, I were teaching psychology. ;))))
Personally, I would divide the show into its sequential leaps forward: the time Chris Carter insisted on casting David and Gillian for their chemistry; the time Morgan and Wong pitched the show's first creature episode; the time Rob Bowman insisted on trying something different while directing; the time DD started writing, then directing, under the show's tutelage; the time GA wrote out her own script and directed it; the time Kim Manners or Rob Bowman or Vince Gilligan (or Spotnitz) pushed for overtly romantic moments between Mulder and Scully; the time 1013 and the show's theme and the UFO poster and the smoking man became international iconography, etc. All of these elements echo back to Chris Carter as a competent helmsman, and showcase him (and the show) at his best. Then, I'd pivot to the creative toll: the time crunch, the stress, the media speculation, the lack of privacy or a life, the ever divided attention-- that the most glamorized years of the show were also the most brutalizing (FTF and Season 5 filmed consecutively; and back to back with Season 4.) Finally, I'd focus on the sudden tone shift, pivot, and recovery of Season 6, 7, 8, and some parts of 9; and how each of the last three seasons suffered from the same fate: fresh new mysteries, failed follow-through, and catastrophic fatalities until the writers hit the emergency "Reset" button again. And that that pattern continued, irrevocably, for a movie and another two years.
But most importantly: I'd use any scene, any episode, any season to prove that all this profound effort-- time, blood, sweat, and tears-- can create giants... and can tear them back down when the foundations crack and give way. Until, in short, the writing, the one aspect holding everything together, falls apart. And without the writing, there is no final act, there is no happy landing-- there is only a man caught in the act, reprimanding you for looking behind the curtain.
Hope this helps! :DDDDD
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sieglinde-freud · 5 months ago
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really dont like any of nowi’s vanilla game supports what if i just married her to anna
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bayrut · 6 months ago
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bookshelf-in-progress · 1 day ago
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Maybe the truth at the heart of Shadowstruck is the importance of family. Because the most compelling stories in this universe are about what happens when you tell parents that some of their children have no right to their love, care, and protection. It destroys what should be the strongest and most natural bonds of love, and that simple horrible thing leads to all the complicated problems in their oppressive society.
#adventures in writing#shadowstruck#got to thinking about this yesterday while reading something talking about the family's importance to society#maybe something about how a child is under a family's loving care until they can take care of themself#and it made me think about how both of the main story ideas that have sprung from this universe#are about someone who suffers when a father deems them unworthy of love#and that got me thinking about how 'uncle tom's cabin' turned people against slavery#largely because victorians valued the family and the book showed how slavery tore families apart#so maybe i should read 'uncle tom's cabin' just as background#but anyway if i decide to do something with the original version of 'shadowstruck'#the compelling thing is not whatever political intrigue was going to happen (which I never defined)#but the possibility that rinna would cross paths with the family that sold her into slavery#meet the younger sister who was given her name#literally her replacement#meet the father who made the decision not to kill her#but also sold her away from the house to avoid the shame that would have come#from people recognizing her as his child#i can't decide if he'd meet her in a slavery context#and have to live with seeing the life he condemned her to#or if she'd be involved with activists at this point#in a position of at least some level of freedom and safety#and he would see her as a woman with thoughts and feelings#(who looks so much like her mother)#and on some level recognize that he did a horrible thing to her#but how do you begin to go about apologizing or helping her#or in any way mending this horrible unforgivable thing that tore you apart?#the trouble about this universe (like so many of my other ones)#is that there's the potential for so many little stories and characters#that don't necessarily want to resolve themselves into full coherent novels#it gives me so many thoughts that it's hard to settle on a complete story
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