#crystal meta

[terresdebrume]

I actually would love love LOVE a conversation between Charles and Crystal about their bisexuality tbh

I think they'd want to support each other but also I don't think they'd feel the same way about it, mostly because queerness was the Big Thing of the eighties in a way that (in the US and Europe at least) it doesn't seem to be the same nowaydays

Like. If Crystal is 16 in 2024, she would have been 7 in 2015 when same sex unions were legalized in the US (and 5 when it became a thing in the UK), young enough that she would probably not have realized the impact of those legislations on her and doesn't remember the time before it happened. But she was 12 in 2020 when George Floyd was killed. That's old enough to know what racism is. That's old enough to hear people talk about the case and internalize "oh, they're talking about people like me" and feel the impact of this entire conversation.

By contrast, I don't get the impression that race, especially in Europe, was as big a subject of debate in the 80s, not as a public, nation-wide conversation at any rate (if I'm wrong please let me know), but Charles was 10 when the first AIDS-related death was recorded in the UK. By 1985, there were headlines of people saying they'd kill their sons if they had AIDS, which was already "the gay disease" by then, and the crisis was still well underway when Charles died 4 years later

So like, I feel realistically Crystal and Charles would feel differently about their bisexuality, because I think to Crystal it might be secondary to the dangers and bigotry she faces as a young black woman, whereas Charles might feel like the biggest danger for him lies in people's reactions to his queerness rather than him being biracial

And tbh I think it would be really interesting to explore in fanfiction because let's face it, even if they do revive the show and give us bi Charles, that conversation is sure as hell not happening in canon

[itsoverfeeling]

crystal palace is literally the reason anything happens in the show, she's the catalyst for everything. ghosts are stagnant, they're unchanging. edwin literally says that the living are messy and it's true.. crystal is such a messy, complicated human. but conflict and messes are what instigate change and conversation. without crystal, they wouldn't have saved that little girl. they wouldn't have gotten stuck in port townsend. edwin might've never found out about the extent of charles' trauma without crystal spelling it out for him. edwin might not have reexamined his and charles' relationship. they wouldn't have resolved their afterlife problem!! crystal dragged edwin scowling and bitching into the messy affairs of the living and it was honestly for the better. say thank you crystal palace

[knightedgem]

Happy Waddle Dee Wednesday!

I've had this blog forever but mostly lurked to view art. Now I'm starting this new series on Instagram, but I thought I'd try posting over here too since this is technically my first art site.

Hope you enjoy!

[terresdebrume]

'Kay hold on, I gotta reblog again because this gifset is actually giving me a LOT of thinly thoughts

Because the Crystal in these flashbacks is arguably more like Charles' dad than we ever see from Charles in season 1! I mean, she made at least one person walk into traffic! She throws stones big enough to kill someone onto a road, with the potential of killing multiple someones! She enjoys beating the shit of a girl for kicks! She gives crippling trauma for a dude who was doing his job!

We don't see it much, and it's not dwelled on because the point of Crystal is that she's trying to be a good person now, and that's what matters most, but also pre-possession Crystal, from that short glimpse, was genuinely cruel to people around her

And I for one would LOVE to see season 2 (🤞) or a fic explore the juxtaposition of that and her (to be clear: entirely justified) reaction to the way Charles defends Brad and Hunter and his subsequent apparent murder of the Night Nurse. Like, what does it feel like to freak out at someone for killing someone in arguable defense, and then discover that you yourself are nearly* a murderer yourself?

Like, I've talked about Crystal's anger before and how it doesn't match Charles' exactly (though present Crystal and Charles both put their anger in the service of others bc, again, now!Crystal is a good person. In that way, the forced reboot of amnesia actually probably did her a bit of a service** tbh) but that was in the context of 'Charles is furious enough to go for direct murder when needed and now!Crystal isn't'*** but then!

But then! It turns out they're both angry enough to potentially kill someone! And Crystal has to reckon with that, and decide whether or not she wants to let Charles or Edwin know about it and holy fuck this girl's head is such a mess and there's so much potential for further exploration here I love it

* I don't think we're meant to think the guy she caused to walk into traffic died. I feel like it would have been made clearer if that was the case. Doesn't change the potential for him to die though.

**Still doesn't make it okay that David did it of course, the change of heart is just a weird and probably extremely uncomfortable-to-think-about silver lining

***though if you take the whole calling Lilith to deal with Esther thing into account she's arguably up for indirect murder imo

I'm not so sure I'm totally aces as a person.

@crystal-week Day 1: Past

[asidian]

One thing I don't see talked about enough is the amazing cast of women who make up Dead Boy Detectives.

And I don't mean throw-away, there-for-the-sake-of-having-a-girl women. I mean actual, three-dimensional characters, with their own wants, goals, and emotional character arcs that exist independent of the titular ghost boys.

This is a show that runs laps around the Bechdel test in episode one and never looks back.

This is a show that's full of women who are allowed to be messy, complicated, brave, funny, scared, angry, and lash out in their pain. This is a show that's full of women who are allowed to learn from their mistakes, and grow, and change.

This is a show that's full of women who talk to each other, and support each other, and give each other advice about life.

And this is a low bar, but given the state of media today it's a big deal: there is never a single scene in this show that sexualizes a female character. A lot of action movies and supernatural shows frame the women on their cast to show off an ass, or the curve of a breast. Not here. The women are fully covered. They're framed to show their faces and their emotions, because what they're feeling is the important part. It's focused on who these women are as people and not what they can show to entice an audience.

Women in Dead Boy Detectives are heroes and catalysts who are learning to be better people.

They're earnest and clever and processing their own grief and sense of mortality.

They're complicated antagonists who have journeys of their own to walk.

They're cynical, distrustful father figures learning to reluctantly look out for others.

They're cruel and funny and vengeful and have been torn down by a world that did them wrong.

And those are only the main ladies in this cast. There are an absolute pile of supporting women who run the gamut from hilarious to heartbreaking.

I could go on for literal paragraphs about how refreshing it was to see wrongs against women treated as wrongs in the script, or how I have literally never before seen a woman turn down a protagonist romantically and not be villified for it, or how much of a breath of fresh air it was to see a woman's primary emotional arc be an arc about learning to become a better person, but my goodness, there's all that and more.

Nobody is doing it like Dead Boy Detectives, and by god, I love to see it.

[perseidlion]

Streaming in Kaos

Well, it happened. I can't say that I'm surprised that KAOS has been cancelled by Netflix. I am a little surprised at the speed at which it was axed. Only a month after it aired, and it's already gone.

That has me wondering if the decision to cancel was made before the show even aired. We have to remember that marketing is the biggest cost after production. If the Netflix brass looked at the show and either decided (through audience testing, AI stuff or just their own biases) that it wasn't going to be a Stranger Things-level hit, they probably chose at that moment to slash its marketing budget.

That meant there was pretty much no way that KAOS was ever going to hit the metrics Netflix required of it to get a season 2.

What makes me so angry about this (other than the survival of a show relying on peoples' biases or AI) is that it becomes a self-fulfilling prophecy. If you decide before a show is ever going to air that it won't be a success, then it probably won't be. If you rely on metrics and algorithms and AI to analyze art, you will never let something surprise you. You'll never let it grow. You'll never nurture the cult hits of the future or the next franchise.

Netflix desperately needs people behind the scenes that believe in stories and potential over metrics. Nothing except the same old predictable dreck is ever going to be allowed to survive if you don't believe in the stories you're telling.

The networks and streamers have a huge problem on their hands. They need big hits and to build the franchises of the future to sustain their current model (which is horribly broken.) But people have franchise fatigue and aren't showing up for known IPs like they used to. The fact that Marvel content is definitely not a sure thing anymore is a huge canary in the coal mine for franchise fatigue. People aren't just tired of Marvel, they're tired of the existing worlds both on the big screen and the small one. Audiences are hungry for something new.

It is telling that the most successful Marvel properties of the last few years have been the ones that do something different. Marvel is smart to finally pull out The X-Men because that is a breath of fresh air and something people are hungry to see more of.

There's pretty much no one behind the scenes (except for maybe AMC building The Immortal Universe) that is committing to really taking the time to build these new worlds. Marvel built the MCU by playing the long game. That paid dividends for a solid decade even if it's dropping off now. That empire was built not with nostalgia for existing IP (don't forget the MCU was built with B and C tier heroes) but with patience. Marvel itself seems to have forgotten this in recent years.

Aside from that, I think people really want stories that aren't connected to a billion other things. That takes commitment on the part of the audience to follow and to get attached to. People WANT three to five excellent seasons of a show that tells its own story and isn't leaving threads out there for a dozen spinoffs. We're craving tight storytelling.

KAOS could have been that. Dead Boy Detectives could have been that. So could Our Flag Means Death, Lockwood and Co, Shadow and Bone, The Dark Crystal: Age of Resistance, Willow, and a dozen other shows with great potential or were excellent out of the gate.

If you look at past metrics, you only learn what people used to like, not what they want now. People are notoriously bad about articulating what they want, but boy do they know it when they see it. Networks have to go back to having a dozen moderate successes instead of constantly churning through one-season shows that get axed and pissing off the people who did like it in a hamfisted attempt to stumble on the next big thing.

The networks desperately need to go back to believing in their shows. Instead, they keep cutting them off at the knees before they ever get a chance because some algorithm told them the numbers weren't there.

[shippyo]

Let's enjoy picnic together!💕

speedpaint 🤌

and tiny extra filter with ibis paint that gave this result,i think it looked pretty cool so have it too :D

[niko-sasaki-dbd]

Honestly, the ghosts can feel other ghosts theory is very well supported, and I would like to share some proof shown during the season.

In episode 1, Charles clearly felt the other ghost (the WWI soldier, Wilfred) strangling him, he also got his face covered in that black liquid after he took the cursed mask off his face.

If ghosts could be able to play the same rules with other ghosts as they do with the living, Charles could have chosen to simply pass through Wilfred and seize the knife. However, he was unable to do so.

Also, during Episode 3, when that ghost's head exploded, Charles and Edwin were covered with the pieces of his ghostly brain, so I guess, fluids are other things that have their own rules when we talk about ghost-to-ghost interaction.

Sure these are not the prettiest of examples, but they support my point just fine. And I guess, it's good information for when you're writing... All sorts of fanfiction.

[moresandmanstuff]

Dead Boy Detectives Character Parallels - Meta Analysis

I've noticed that Crystal and Niko can be viewed as parallels of Edwin and Charles, so I thought I'd post some examples in case anyone is interested.

First, there is the way they meet. Edwin and Crystal encounter someone who is in trouble, on the verge of death, and try to help as best they can. They sit with them and listen, bond over shared trauma.

The big difference, of course, is that Charles dies while Niko lives. This is not a criticism of Edwin - he was just one ghost boy fresh from Hell. It’s only by working together that the three of them are able to save Niko (i.e. the power of friendship and this enchanted jar I found).

Charles is immediately taken with Crystal and eventually makes the connection that she reminds him of Edwin. Edwin finds Niko similarly charming. I bet if he thought about it, he would figure out it’s because she reminds him of Charles. They are both stubbornly optimistic and delightfully openminded, if a bit reckless.

They impulsively pick up objects.

They are curious about the bear talisman. (Notice how the shots are different, with Niko visually trapped with it in the jar.)

They really want that Magic 8 Ball and look to Edwin for permission to take the case.

They are much friendlier with Tragic Mick than Edwin or Crystal are, which results in him giving them the magical objects that come in so handy later.

They tend to jump in front of danger when their counterpart is threatened.

And then there is their mutual appreciation for blunt force objects. (That crowbar definitely ended up in the bag of tricks backpack.)

Bonus shot of all four reacting to the young woman jumping from the lighthouse in episode 4. Charles and Niko immediately look away, but Crystal and Edwin watch. Edwin even moves to get a better view. Is this because they are more desensitized to violence?

Lastly, just a dialogue parallel. Edwin in episode 6 after realizing he was tricked by Monty, and Crystal in the pilot explaining that David the Demon must have tricked her.

I'm sure there are more but this is long enough already. What parallels have you noticed?

[hey-there-22]

Edwin rarely initiates touch. He touches people when that are in danger or in response to the other person touching him first, but barely never does he initiate touch out of care for someone. That's what makes this scenes so important to me:

(First and only time he is touching them)

And then there's Charles, who always initiates that constant casual and cozy contact they have. So the few times Edwin is the one starting it seem so much more powerful to me now...

And for those of you wondering about Crystal, he does touch her a few times (he touches her the most out of the others, apart from Charles), but just mainly because they are on a case and she has a life to lose or she is the one touching him, so... I didn't add her... I'm sorry Crystal, Edwin just needs a bit more time to show he cares about you in that way.

[shaylogic]

Trauma Trigger Response Mask Up Babes

[knairda]

What if Morpho Knight was in Kirby 64: The Crystal Shards?

Edit: Thank you everyone so much for all of your support on this!!! Your comments mean the world to me ❤️🧡 Stay tuned for more Kirby and N64/PS1 style stuff like this in the future.

More on my ArtStation: https://www.artstation.com/artwork/yDWGB8

[mellxncollie]

Part 1 of looking into some of the technical cinematography aspects of the show

(or, why does Dead Boy Detectives look Like That?)

(update 6/30/24: there's now a part 2! check it out here)

Dead Boy Detectives has some interesting things going on with the cameras. You probably noticed it at some point while watching the show. Whether it was the weird blurs or the sort-of-fisheye, there’s something about many of the shots that doesn’t look the way many people expect TV shows to look.  

The main reason why is because it uses an anamorphic lens instead of a spherical lens. These lenses are pretty different from spherical lenses, and the recent rise of anamorphic lenses in TV has not been without some pushback, as viewers unaccustomed to them may find the look weird, distorted, or that it pulls their focus away from the content. Whether you enjoy how Dead Boy Detectives looks or find the cinematography distracting, this post is designed to explain the different effects that the lens has on the show.

This post is very long and very graphics heavy (I made lots of gifs to illustrate my points) so the rest is under a read more.

What is an anamorphic lens and what is it used for?

To begin with, a bit of history and technical info. Say you’re making a movie at most any point before the mid-'90s and you want it to be widescreen. However, the 35mm film you’re shooting on has a smaller aspect ratio (closer to a square than widescreen). You could use letterboxing (black bars on top and bottom) but then you waste the top and bottom parts of the film, and it ends up being slightly lower in ‘resolution.’ The solution: use a lens that records the full height onto the film, but squishes the picture horizontally so that it fills up the whole film frame without any letterboxing. Then, a projector (or a computer) can stretch it out again to display the whole thing in widescreen. The kind of lens that can do that is an anamorphic lens. They've technically been around since before the 1920s but were mostly used between the 1950s and the 1990s.

Up until sort of recently, television networks broadcasted using a smaller aspect ratio that they required shows to be in, and TV shows were not given the kind of cinematography budgets that movies were afforded. Anamorphic lenses are expensive and for widescreen, so they really just weren’t used for TV shows. Instead, a spherical lens was used, which is just the standard lens you think of when you picture a camera lens. 

In the 90s, new flat/spherical film formats came out that allowed for widescreen (one of the popular ones being Super 35) caused anamorphic lenses to drastically drop in popularity. However, there has been a recent resurgence, one that you’ve probably subconsciously noticed in both film and television.

In the last 10-15 years, TV has been given larger and larger budgets. Additionally, the rise of streaming services and the use of phones and computers to watch shows rather than actual televisions has meant that networks have started allowing wider aspect ratios, paving the way for anamorphic lenses to begin to be used for series. 

The history of these lens’ usage means they’re associated with a ‘cinematic’ look. They have a lot of characteristic effects that are not really ‘natural’ and depending on the viewer, this either enhances the experience or detracts from it.

Lots of recent series have been embracing these lenses (to varying degrees of success), including The Witcher, Sandman, Shōgun, Narcos: Mexico, The Mandalorian, Andor and Chilling Adventures of Sabrina. Doctor Who also started using anamorphic lenses at the switch to the 13th Doctor, so that may be a good reference point. For some of these, it’s a very subtle look, for others, the lens choice is glaringly obvious and overdone (I’m looking at you Sabrina), and sometimes, as is the case with Dead Boy Detectives, it’s really obvious but it remains an effective and compelling choice. 

Why use an anamorphic lens in the 21st century when you could just use a spherical lens?

Anamorphic lenses create a look that some filmmakers desire, whether for their associations with a more cinematic look or their sometimes unusual quirks. In a film and tv world filled with spherical lenses that are nice, clean, and precise, anamorphic lenses introduce some irregularity and character. Making an informed decision on what kind of lens to use can enhance different themes of the work. 

I want to briefly bring up Moonlight to illustrate this point. Go watch the trailer if you haven’t seen it, and you’ll probably see some parallels with the cinematography of Dead Boy Detectives. There’s less of the ‘radial’ look, but otherwise, there’s a lot of the same kinds of things. Moonlight uses an anamorphic lens and it makes the whole thing look dream-like, nostalgic, and a bit like we’re getting into the character’s heads. To me, it indicates that the story is being filtered through people. We’re not detached from the characters, observing them. The story we are watching is personal, emotional, and necessitates intimacy. 

Dead Boy Detectives really benefits from the same visual effects. This is not because it enhances a dream-like or nostalgic quality, but because in the context of the show, it makes it look a bit otherworldly, magical, or otherwise supernatural. Additionally, the constraints of the lens means we get lots of focusing in on individual characters, with nice long looks at their faces allowing for more reflection on their dialogue and reactions.

So, here’s 5 different effects of anamorphic lenses to point out to you all. Starting with the one that allows us to easily identify that anamorphic lenses are being used in the first place.

You’ve probably heard of bokeh before. It's the way the lens renders the direct sources of light that are in the background but out-of-focus. You can see in this shot of Jenny how all the string lights are not circular, but elongated. On a spherical lens, these would be round.

In this next shot of the Cat King, the candles around the floor are all those elliptical shapes. Additionally, lots of other details in the background that aren’t from direct light sources also have an elongated shape. This is sometimes called waterfall bokeh.

Finally, check out this shot of one of the cats. Not only are the lights in the background irregular and elongated, but if you look to the left where the ‘horizon’ line is, there's a series of elliptical shapes where the light hits the edge of the docks.

The bokeh effect is one of those things that just happens because of the lens, and makes it pretty easy to identify that an anamorphic lens is being used. Unlike some of the other effects I’ll mention, I don’t have much to say about how this does or doesn’t add to the visuals.

Breathing is how the field of view changes when you refocus to a subject closer or farther from the lens. While spherical lenses also breathe, there’s a much more distorted look to the breathing that occurs with an anamorphic lens.

Lets start with this shot:

You can see how much the frame widens when the focus shifts from the jar of coins to Jenny. It affects the edges much more than the middle of the frame. Here’s the same shot, but with some of the features outlined (forgive my messy outlining, I used my laptop trackpad) so you can see the movement.

The frame widens when the focus goes from the foreground to the background. It appears like the whole shot is being stretched apart horizontally and compressed vertically.

However, it also does the reverse, narrowing as the focus moves from the background to the foreground.

(also in that last shot of hell, notice how the two points of light in the background elongate into those oval bokeh once they are no longer in focus)

Breathing is a very dramatic way of refocusing, and it forces us to pay attention to different things. In the shot of the Night Nurse, we have a light but the important thing after it turns on is not the light but the reaction that the people have to the cause of the light. In that shot of Niko and Edwin, it’s telling us: listen to Niko. In the shot of hell, it’s not letting us forget what the characters are running from. 

The next effect is the lens flare. You can get a lens flare from a spherical lens too, but anamorphic lenses typically generate strong, horizontal flares. A spherical lens would typically create a more radial flare, with multiple lines shooting out in different directions from the light source like rays from the sun.

We see these all over the show, sometimes they’re very prominent, such as in these shots with obvious light sources:

And sometimes they're a bit more subtle. Take this shot of Edwin, Charles, and Crystal on the dock:

While the lens flare at the top of the frame has a clear source, there’s a bunch of other horizontal lines cutting across near the middle and bottom half of the frame. These likely come from light sources outside of the frame.

Some directors, cinematographers, and other creators really like anamorphic flares. Others don’t. For a show with so many dark scenes that have colorful and dramatic lighting, the lens flares seem to enhance this. They are also a constant reminder of the interaction between the lights and the camera, kind of a fingerprint of the production. Sure, they make it seem more ‘cinematic,’ but I think they also ground us in the physicality of the production. (Kind of ironic given the lack of physicality of the main characters, and also you could consider the flares themselves to be the ghosts of the lights and the camera!)

Barrel distortion is where we start getting into why exactly the show looks the way it does. This is basically a subtle fisheye effect. Because of the squishing and stretching of the footage, anamorphic lenses have more distortion than spherical lenses, and it is strongest around the edges. 

You can see it most clearly in shots that have lots of vertical lines. They are relatively straight in the middle of the frame, but the closer to the edges, the more they are warped.

Looking at that shame shot of Niko in the bathroom, I have set it to stop at 3 different spots. Pay attention to the shape of the edge of the door.

At the start, it’s curved outward, like an open parentheses: (

Then, in the middle, it’s a vertical line: |

Finally, as the door passes all the way across the frame to the opposite side, it curves inward, like a closed parentheses: )

Again, notice how the lines in this shot of the Lost & Found Department change as they move from the outside towards the center. The door has an outward bulge at the beginning but becomes more 'normal’ shaped as it gets further away.

Anamorphic lenses can also have a pretty shallow depth of field and it’s used a lot in this show which is why we get a lot of those centered close-ups, and why we get that ‘radial blur.’ 

The center of the frame is where the actors are least likely to be distorted, meaning its easiest to have just one character in the dead center (pun intended). With a shallow depth of field, the background is out of focus, and since the actor is in the center, the background gets the most affected by the barrel distortion, leading to the sense that the background has been radially blurred. 

This blurred background with a strong, centered foreground really makes objects in the foreground pop. We are then able to really focus in on different objects and characters. It brings immediacy and intimacy. Here, we have nothing to do but consider Charles. He isn’t speaking so we must consider his reaction to what’s being said. 

Also, the further a character is from the center of a shot, the more they are distorted, such as Edwin and Charles in this still:

This kind of distortion definitely lends a more unnatural look to the shots, which definitely supports a show about ghosts and the supernatural. If the subjects are able to see things in our world in a way the viewers cannot, then why display the physical world the way we see it?

Finally, we have focus falloff. This is (like some of the other effects) a distortion that occurs around the edges. Here, the focus decreases the further from the center of the frame even if they’re all about the same distance from the camera.

In this shot of the Tongue & Tail, the sign 'Butcher Shop’ is clear and legible. But imagine if that sign was up in the top left or right corners, where things start to get blurry. We probably wouldn’t be able to read it.

It's also visible in this shot of Edwin. Not only does the floor get blurrier the further you get from the center, but you can see how the rope is less in focus in very top and very bottom of the frame.

The falloff (combined with the barrel distortion) is how we get the really unique dream-like look of the Edwin and Niko scene on the roof in Episode 8. (If you’re having a hard time spotting the falloff here, look at their legs)

When you start looking for falloff in this show, you start to see it everywhere. It’s easiest to spot in the corners of shots, but you can usually see all the way around the edges.

Look at the corners of this still of Edwin, or the way the top and bottom of Niko’s rent envelope aren’t as clear as the middle of it.

Or in this still, look at Charles’ jacket. The arm closest to the center has a much more defined line between it and the background compared to the arm closest to the edge. 

This blur definitely is one of the more noticeable effects in the show, and it’s good at focusing our attention on the center of the frame. It guides the viewer exactly to what we should be looking at. We get tons of centered shots in this show because of this and the barrel distortion. 

The falloff makes the show look softer and artistic, sometimes painterly or impressionistic. More than any other effect, the falloff is what makes me feel like I’m watching a dream or a vision. It puts us into the sensation of being fully immersed in a story.

I would argue that all of these effects (but especially the last two) not only enhace the supernatural aspect of the show, but they help us fall in love with the characters. They focus us on their faces, and encourage us to reflect on their motivations, reactions, and thoughts. The lens is telling us that we are not to take things at face value. It’s not letting us forget that there are multiple people and multiple stories involved, that things are blurry around the edges, and that things are not perfect and clean-cut. 

-----------

Sometime in the next week or so I’ll be working on part 2, where we’ll take a closer look at the cinematography of Edwin’s flashback to 1916 in Episode 1. It's posted! Read it here.

I really wanted to highlight the work of the cinematographers, Marc Laliberté, Craig Powell, and Pierre Gill because it’s clear that there was so much care and intention put into every aspect of this show. 

I’m so glad fans of this show are really embracing the work of different crew members, like the work of costume designer Kelli Dunsmore (and if you somehow haven’t seen @captainfantasticalright's posts about the costumes and other aspects of the show, please go check them out right now. My roommates and I have a kind of 'stop everything, new costume analysis dropped' attitude towards their posts, and their approach to show analysis was definiteily an inspiration for this)

If you want to read more about anamorphic lenses, the article Why ‘Shogun’ (and the Rest of TV) Is Slightly Out of Focus in The Ringer is about Shōgun and the rise of anamorphic lenses in TV (Marc Laliberté also worked on a few episodes of Shōgun) and it's a great place to start.

Finally, I want to first thank @skyvoice for these tags on one of my gifsets for semi-inspiring this post (I was already considering making this but these made it into a reality).

[every-moment-a-different-sound]

Ok so the moment in Episode 3 after Charles meets Monty for the first time just won’t leave my brain. I’ve seen a bunch of posts about how Charles is jealous in this moment, and I 100% agree.

But I also think he’s being a bit self-destructive and feeling somewhat abandoned here as well.

He’s just spent the night trapped in a loop reliving his trauma. From Charles’s perspective, he’s just spent the night not being able to save a family from abuse. He wasn’t good enough to help them- at least that’s how I imagine it would feel to him.

They’re walking back from the Devlin house, not even inside the Tongue and Tail yet, and Edwin starts flirting with talking to Monty. When Monty talks about it being a perfect morning to do an astrology reading for him, Edwin glances at Charles, and Charles instantly starts talking to Crystal to give Edwin privacy for his chat with Monty. But Crystal says that the murder loop drained her so she’s going upstairs, and the moment everyone’s backs are turned Charles just looks so sad.

Charles watches Edwin and Monty talking for a moment, clearly seeing that Edwin’s enjoying himself, and pulls this face.

I think it’s jealousy, but I think it’s also that after the night he’s just had, he wants comfort. He wants his best mate. But Edwin’s too distracted by Monty and Crystal’s tired, and I don’t think Charles knows how to ask for comfort, or feels that he deserves it. Again, from his perspective he’s just spent hours failing to help people that are going through the same abuse he did; why would he deserve comfort?

So he just walks off. No parting words to Edwin. He just leaves.

[asidian]

I've talked a little about how desperate Charles is to please the people around him, but even more heartbreaking, I think, is how hard criticism seems to hit him.

After the case of the Lighthouse Leapers, Charles is at an absolute emotional low. Fast on the heels of the Devlin house, he's been forced to relive his trauma in real time, and when he acts to protect himself and Edwin, he's met with what he perceives as condemnation from the people he's closest to.

He's an absolute mess, here. As he reveals in the next episode, he's busily beating himself up because he doesn't think he's anything like a decent person.

And then we get this tiny little exchange that says so much in just a handful of seconds.

It's possible that the comments from Edwin and Niko here aren't meant as criticism at all. Certainly Edwin at least is usually much sharper when he wants to be. Here, he almost seems to catch himself; as soon as we see Charles' reaction to the first comment, he's quick to add that they're happy with a satisfied client. It's as though he realizes just a second too late how Charles is going to take that and makes an effort to soften the blow.

And then Niko chimes in, and Niko seems to be commenting more on what a disaster the night was all around, rather than pinning blame. But interestingly, Edwin seems to realize right away how it's going to go over with Charles; his smile just disappears as soon as she adds the "I guess."

And look at Charles' face here.

This boy is absolutely certain that they're telling him what a bad job he did.

This is 100% the reaction of someone who's spent his life with everything being his fault, scrambling to make it better so that his father didn't hurt him.

[honestlyijustfindhersocharming]

Incoming tangent about why Dead Boy Detectives is so important to me.

I found Dead Boy Detectives late, and I found the DBDA fandom even later. I'm not one to watch shows, especially not new ones. Even more so, I'm not one to watch supernatural horror, or any horror for that matter. Movies and shows seem like such a big time commitment to just sit there and do 'nothing' during, but Dead Boy Detectives intrigued me.

Once I started watching the show, I fell in love. Between the representation of POC actors throughout the cast, the sense of humor, and the mysteries I felt like I'd found a show that I could get invested in for the first time in a while. As the show progressed, I found myself invested in this story of loneliness, self-acceptance, and friendship.

Internalized homophobia is something that is very personal to me. I've struggled with it throughout my life, especially given the fact that I'm queer and non-binary. Watching Edwin go through a moment of "Wow, I can like boys" because of Niko's support (a friend, not a love interest) was so healing to me. Normally it feels like queer acceptance is a result of love in media, not a result of platonic support, so having that journey be a result of Niko was honestly amazing. Throughout the show, Niko's support is invaluable to Edwin's self-discovery, something that I can relate to as my friends were the ones who truly supported me through my queer journey, not potential partners.

Dead Boy Detectives' emphasis on platonic friendships is riddled throughout the show though. Niko and Edwin's Scooby Doo movie night was an example of how friendship can inspire people. Crystal's want for her mom to accept her brought Niko to a place where she felt like she could try to write to her mom again. Edwin and Niko's time together brings them to a place of deeper connection, meanwhile, the romantic pairing of Charles and Crystal spend time kissing instead of thinking about or discussing their problems.

And then the confession scene. This was the scene that got me into Dead Boy Detectives, and it's the scene that's been my lifeblood since. Of course, the confession itself is wonderfully written and the actors are so talented, but what hit me the hardest was how when Edwin says I love you the first time, Charles says it back without any questions. That simple "I love you too" was enough to make me consider this show one of my favorites of all time. Yes, Charles and Edwin are ultimately the core 'love story' of the show, in my opinion (They're positioned like Orpheus and Eurydice constantly and it drives me up the wall with my Hadestown hyper fixation added to it). But the importance of their friendship trumps everything else, and the emphasis on that platonic connection is so important to me.

This has been a giant ramble, and likely incoherent, but the tldr; is that I love Dead Boy Detectives with all my heart. It's such an important show for so many reasons and I will not shut up about it until Netflix decides to renew this damn thing.