#either having the full seasons available instead of one episode a week on TV | Explore Tumblr posts and blogs

theowlsarequeer · 3 years ago

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So Dana said on a stream that it's too late for a full Season 3 of The Owl House (there are going to be three 44-minute episodes instead of the 20-ish the crew had in mind,) probably because the crew has already started working on the episodes and scheduling and stuff. However, it's not yet too late for us to possibly get a season 4 and beyond. The Owl House is an amazing show with off the charts animation, lovable and relatable characters, and A+ representation, and it deserves more than what Disney is giving it.

So many people of different ages love it (I watch it with my siblings and it's our favorite show and there's a significant age gap between me and the youngest,) and the cast and crew have obviously poured their heart and souls into every episode and it shows, so it would be incredibly sad to see it get only 2 and a half seasons.

On a slightly different note, I have heard some stuff on Twitter about some kind of graphic novel based on TOH, kind of like we got with Gravity Falls. I'll let you know if I hear anything about that.

So, what can we do to get more seasons? It's pretty similar to what we were doing before when we wanted a full season 3, except now that we're 5 episodes into Season 2, we have a little more information as to what's working and what's not.

Snail Mail is still the most effective way to persuade Disney to extend a show. This is partially because people who send letters are slightly more likely to be adults, aka people who can pay for a Disney channel/Disney+ subscription, but also because the amount of letters they get is tiny compared to the amount of notifications they get on social media. The address you send these to is: Disney TVA, 811 Sonora Ave., Glendale, California, USA. For people who can't send letters, someone might be willing to mail letters for you. I only found one person and they stopped doing it before I could submit, but if I find someone else I'll definitely tell you. If you know anyone, drop the link in the notes! Another important note: I've heard that Disney will throw out letters they classify as "hate mail," aka anything accusatory, and while I don't know how accurate this is, we probably shouldn't take chances. Explain how much the show means to you/your friends or family, say that it's a wonderful show, talk about your favorite parts, and maybe throw in some fanart if you're an artist! Also mention the queer representation if you can, because that's the part Disney was most against doing, and if they can see that people think positively of it (aka they can get money from it) they'll likely allow more, either in The Owl House or future projects.

Every time we get a new episode, the show trends to a certain extent on Tumblr, Twitter, or both. Disney execs see this. Keep posting! I might try to organize a trend event like with Infinity Train in between seasons 2 and 3 if that's something people would be interested in.

Stream the show on Disney+. I know we hate supporting the mouse, but if you have access to a Disney+ account this is absolutely one of the best ways to support the show. Season 1 recently became available in Canada, and I heard something about it becoming available in Columbia a few months ago. The first five episodes of season 2 will be available in the US on Disney+ starting July 21. (Separate Tides, Escaping Expulsion, Echoes of the Past, Keeping Up A-Fear-Ances, and Through the Looking Glass Ruins.

Petitions only go so far, but it takes 2 seconds and can't hurt. Here's 2 I've signed, feel free to add more if you know more: Petition for The Owl House Season 4 and Petition I've been spreading for awhile now

Create content! Fanart, fanfics, animatics, et cetera. This helps us trend and gives us less artistically talented fans some much-needed content. I'm considering giving 1 TOH-focused artist a week a special boost in addition to my regular art/fic reblogs but idk if my platform's quite big enough for that.

If you have Twitter, consider giving some crew members a follow. Infinity Train creator Owen Dennis has said that networks will often look at a creator's follower count before greenlighting their show, to see how much support the show would get. The crew is also filled with some very cool people who post very cool things.

Animated TV shows are the most popular they've been in a long time among teen and adult audiences, and TOH has a pretty big fanbase. I believe we can harness that power for good and get some more of the show we all love. I'll be updating whenever I get more information, and feel free to drop any petitions, information, et cetera in the notes. I'll make a separate post later to boost content creators. In the meantime, hoot hoot, let's get a Season 4.

#cody speaks #toh #the owl house

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world-of-puppets · 4 years ago

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Puppetry Lost Media

In honour of reaching 50 followers last week (now 55 followers, as of writing this) I decided to cover two subjects of great interest to me: puppetry (of course) and lost media.

Everybody online loves a good old bit of lost media. Whether it be being a part of the many searches for the media in question, or watching documentaries about them on sites like YouTube. I’ve been mildly addicted to the latter kind of content for a while. From what I’ve seen, though, there aren’t many videos or articles out there specifically covering lost puppetry. So, in no particular order, here are a couple of pieces of lost puppetry I found while scrolling through the lost media wiki.

銀河少年隊 - Ginga shounen-tai AKA Galaxy Boy Troop (1963 - 1965)

Osamu Tezuka is one of the most pioneering figures in Japanese art and animation. Starting as a manga artist in the 1940s inspired by the animated works of American studios such as Walt Disney and the Fliecer Brothers, he adapted and simplified many of the stylistic techniques of both artists to create his own signature style of big shiny eyes, physics defying hair and limited animation. A style that would go on to heavily influence the world of anime and manga as a whole.

But animation and graphic art were not the only mediums Tezuka would dabble in. Ginga Shounen-Tai, or Galaxy Boy Troop in english, was a television series that aired on the public broadcast channel NHK from April 7th, 1963 to April 1st, 1965. Running for 2 seasons with a total of 92 episodes.

The series was a mixture of marionette characters that utilised the Supermarionation marionette technique, popularised by Jerry Anderson’s Thunderbirds, and limited traditional animation. The story revolves around a child genius named Roy who leads a rag-tag group of heros around the galaxy in a rocket ship in order to revive the earth’s sun and later protect it from alien invaders.

Out of the 92 episodes that aired, only episode 67 still exists in its entirety with French subtitles, and the full episode can be found on YouTube with English subtitles uploaded by user Rare TezukaVids. According to user F-Man on the Tezuka in English forums, footage of episode 28 exists but with no audio, and episode 87’s animated segments exist without the marionette segments. F-Man also claims the reason for Galaxy Boy Troop’s disappearance is due to Tezuka not being proud of the series and having all episodes of it destroyed.

Personally, I think it’s a shame that pretty much all of this series is gone. From what I’ve seen in episode 67, it looks really charming. Tezuka’s signature character design style was adapted suprisingly well to marionettes, and the puppetry itself isn’t that bad either. I love the little face mechanisms like the blinking eyes, flapping mouths and others. It gives the puppets a lot of personality and charm. Like, just look at this old mans eyebrow mechanism and tell me you wouldn’t want to watch 92 episodes of this show;

Tinseltown (2007)

Tinseltown was a 15 minute sitcom pilot created by the Jim Henson company under thier Henson Alternative banner. The pilot was commissioned by the Logo Network and aired as part of the Alien Boot Camp programming block in 2007.

The pilot (and likely the series, had it been picked up by the logo network) features a cast of both puppets and live actors as characters. The premise revolves around Samson Kight, an anthropomorphic bull preformed by Brian Henson and drew Massey, and his partner Bobby Vegan, an anthropomorphic pig prefomed by Bill Barretta and Michelan Sisti, as they attempt to balance thier lives working in Hollywood with life as parents to thier sullen 12-year-old foster son, Foster, played by Paul Butcher. Other human characters included Mia Sara as Samson’s ex-wife Lena and Francesco Quinn as the family’s manservant Arturo.

The Tinseltown pilot used to be available on the Logo Network’s YouTube channel, but was later removed for unknown reason. Since then, the pilot has not been made available online. However the characters Samson and Bobby have made appearances in other Henson related works, such as the improv stage show Stuffed and Unstrung, where they played the role as the shows producers, and in a 2011 video on the Jim Henson Company YouTube channel celebrating Jim Hensons 75th birthday.

I find Tinseltown pretty interesting as I feel like it should be more noateable or known, considering that this is (as far as my knowledge goes) the first Jim Henson Company project featureing openly lgbtq characters as its leads, and would have been the first Henson show to do so had it been picked up. As someone who’s interested in lgbtq+ representation in creative media such as animation, I realised that there’s not many examples of canon lgbt characters in puppetry. The only ones aside from Samson and Bobby I could think off the top of my head would be Deet’s Dads from The Dark Crystal: Age of Resistance and Rod from Avenue Q. Though, obviously, there could be more I’m not currently aware of. I don’t think the Tinseltown pilot was a masterpiece or anything. After all, there’s probably a couple of good reasons Logo didn’t pick it up for a full series. But I think it be cool if either Henson co. or Logo made this available online again, if just so we could appericate it as an interesting little footnote in the history of lgbtq rep in puppetry.

With that said, considering the pilot’s obscurity and the fact that it’s main couple haven’t been used in any Henson Related projects in almost ten years, as well as the possibility that there may be legalities preventing the Henson company from releasing it such as Logo still owning the rights, it’s unlikely we’ll see the Tinseltown pilot anytime soon.

Sonic Live in Sydney (1997 - 2000)

Sonic the Hedgehog is a fictional character no stranger to multiple interpretations of him and his universe across a diverse range of media. From the more light-hearted and comedic stylings of The Adventures of Sonic the Hedgehog and Cartoon Networks Sonic Boom cartoon series, to more serious faire such as the Sonic SatAM cartoon and the Sonic Adventure videogame duology. One of the more obscure and stranger adaptations of the character came in the form of Sonic Live in Sydney, a one an a half hour live show hosted at the former Sega World Sydney amusement park in Darling Harbor, Sydney, Australia. Originally beginning as a live show with actors in meet-and-greet style costumes, the show eventually was replaced with a puppet show during its last two years.

The shows plot was set in an alternate timeline whos continuity was a mix of the SatAM cartoon and Sonic the Hedgehog 3, where Doctor Robotnik’s Death Egg crash lands in Sydney, Australia instead of Angel Island and attempts to take over before being foiled by sonic and friends. According to Phillip Einfeld of Phillip Einfeld Puppetoons, the company that made the puppets, Sega felt the costumed actor version of the show wasn’t dynamic enough, and wished to replace it with a version featuring live puppets with animatronics. Both versions of the shows plot are identical.

While Sonic Live in Sydney’s soundtrack is available on YouTube, and some photos of the show are available on the Lost Media Wiki, no footage of either the costumed actors version or the puppet show version have resurfaced. The show was closed down in 1999, possibly due to cost, shortly before the Sega World park as a whole in 2000. So unless there is someone out there who viseted the show between 1998 or 1999 who recorded the show via a handheld camera, footage of both incarnations of the show are likely forever lost to time.

On a personal note, I don’t have much to say on this one other than how gloriously peek gaudy 90s Sonic the set/puppet design is. I have no doubt finding footage of these puppets in action would truly be a silly delight to behold...

Legend of Mary (year unknown)

This one is a little different from the other entries on this list as while the film itself in its entiraty is available on YouTube for anyone to view, the information surrounding Legend of Mary, specifically its year of release, remains a mystery as of writing this.

I have mentioned the film before on this blog so I’ll keep it brief here: in summary, Legend of Mary is a short film retelling of the Nativity featuring the Rod puppets of Austrian puppeteer Richard Teschner. the video was uploaded to YouTube by user canada 150 archive. I looked up the people credited in the film and was able to find most of them, but didn’t find Legend of Mary listed in thier credits, and was unable to find the film on sites like IMDB, tMDB or Letterboxd. I reached out to Canada 150 archive asking if they had any info regarding the Legend of Mary’s release date, and after a coupe of months, they replied saying they didn’t know.

And that’s as far as I got on my search for answers, if anyone of you guys has any information regarding Legend of Mary, then it be of huge help in finding the release date.

Sam and friends (1955 - 1961)

Sam and friends was the very first puppetry television series created by Jim Henson alongside his colabarator and future wife Jane Nebel. filmed in Washington, D.C. and airing twice daily on WRC-TV and the NBC affiliate in Washington, D.C. from May 9, 1955, to December 15, Sam and Friends would mark the first apperence of Kermit (though not yet as a frog) and paved the way for Henson’s iconic and revered legacy in the realm of puppetry on film and television.

With the impact this show had in mind, it may come as a shock to some that almost half of Sam and Friends, specifically, 42 of the 86 episodes, are considered lost. With 16 existing, 8 documented, 9 known from memory, plus 8 existing Esskay commercials and 1 memory-known Esskay commercial. Some taped episodes have been shown at venues such as the museum of the moving image while others have been erased. It’s unknown if copies of these erased episodes still exist.

This post would become far to long if I were too list every episode missing from Sam and Freinds, but if your curious, the lost media wiki article has a comprehensive list of all lost episodes.

Annnd that about it for this post. This type of content is pretty different from the stuff I usually post. So I’m egar to see what you guys think about it. If you enjoyed this article, want to see more like it or have ideas for what puppetry-related topics I should cover in the future. And again, thank you all so much for helping me reach 55 followers. Your support really does mean a lot to me, and I hope you enjoyed this as a follower milestone gift.

Anyways, hope you enjoyed this dip into lost puppetry, and have a happy holiday season!

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nyerus · 4 years ago

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🌸 Updates and FAQs for Watching the TGCF Donghua! 🌸

✴️First, check out my detailed guide HERE if you want to know how to subscribe to YouTube or Bilibili!

Please read through these if you have any questions first before sending in an ask, as it's probably answered here (or the previous guide)!!! If you don't see it here, or still have confusions afterwards, then feel free to send in an ask or DM me!

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✨Important Notes/Updates✨

Bilibili is allowing non-members to watch for free! No region locks, and you don’t even need to make an account. Free watchers will be one week behind paid members. But this is a legal and free way to support the donghua if you’re unable to pay! (This actually means that you’ll be able to see the episodes faster and for free on Bilibili than you would on YouTube, because YouTube has a two week delay instead of just one week.)

Funimation is broadcasting TGCF in the US, Canada, UK, Ireland, Australia and New Zealand. These are some of the regions which are blocked by YouTube, so this is an available alternative for those who don’t want to go through Bilibili. They have also stated they will launch in Mexico and Brazil this winter.

ALL broadcasts are in Chinese with hard-coded/embedded English and Chinese subs. (I.e., they come with the broadcast itself, on top of the image. Nothing to toggle on/off, they are automatically there.) They are the exact same across all the platforms.

Please support official releases so that we can get more seasons, and high quality! This is still niche content, believe it or not!

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✨Frequntly Asked Questions✨

🔹GENERAL FAQs:🔹

1.) "Where is the best place to watch?"

I still reccomend Bilibili's native website/app over all other streaming platforms. This is due to some key points:

Bilibili's website/app gets the episode the very second they drop. There is no delay whatsoever. YouTube and Funimation have been delayed the last two weeks. It's unknown if this is just a hiccup or what, but if watching new episodes ASAP is important to you, going through Bilibili ensures you will not have to worry about any uncertainty.

Price breakdowns: Bilibili's website/app 3-month membership is $10-11 USD. Their YouTube channel's "MBBM Lv2" membership varies by region, but in many places is similar or just a tad more. In the US, the MBBM Lv2 membership and Funimation membership is the same price ($5.99 per month, or $17.97 for 3 months). So you can actually save some cash by going through Bilibili directly.

In the end, this is largely up to personal choice and comfort. Some people may find it difficult to navigate Bilibili's website even with guides and google translate's auto-translate feature. In this case, YouTube or Funimation are fine alternatives. If you also have an existing Funimation sub or plan to use it to watch other shows, then that's perfectly valid too. Similar with the MBBM lv2 sub on YouTube, especially if you want to use it to see other shows (e.g. Legend of Exorcism which is only English-subbed on YouTube).

2.) "Where do I watch for free?"

On Bilibili's website, you can watch episodes for free! You will be one episode behind paid members, but it's a legal way to support the donghua. You don't even need to create an account!

3.) "What episode will be airing when/where?"

Check out the table below for the differences in airing times. Time is 11AM China Time.*

NOTE: Funimation is technically supposed to be the same as Bilibili members/YouTube MBBM Lv2, but the last few episodes have been delayed so I have no clue.... *Additionally, YouTube's episodes have been delayed by a little bit, but they've aired the same day.

4.) "How can I support the donghua?"

Free, on YouTube: Subscribe to Bilibili's YouTube Channel, give likes to TGCF videos/clips, and leave nice comments!

Free, on Bilibili: Everyone can follow the official TGCF account and page, plus leave likes on videos. All this following stuff requires you to have passed the Bilibili quiz to unlock levels: If you are lv2+, you can leave comments and give coins to offical TGCF videos. (Log in daily to get 1 coin/day if you're lv1+!) If you are lv4+, leave a good 5-star review!

Paid: Buy subscriptions to watch the donghua! Also, merchhhhh~

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🔸YOUTUBE-RELATED FAQs🔸

1.) "What's the difference between Bilibili's YouTube Channel's MBBM Lv1 and Lv2 memberships?"

MBBM Lv2 allows you to watch the episodes on the same day as Bilibili's website broadcast.

MBBM Lv1 has new episodes delayed by one week, meaning you will be one episode behind the others. There actually is zero point in subscribing to MBBM Lv1 (unless you want to watch other subbed donghua) because you can watch the same content on Bilibili for absolutely free, since Bilibili is allowing non-members to watch TGCF one episode behind paid members.

You can also watch two episodes behind on YouTube.

2.) "If I have YouTube Premium/Red, do I still need a membership on Bilibili's YouTube page?"

Yes. YouTube premium is completely separate from the channel-specific memberships.

3.) "Are episodes simulcast on YouTube?"

While originally stated as being simulcast, there actually seems to be a bit of a delay on YouTube as of now. It's unclear if this will change with future episodes.

4.) "Do I need a VPN?"

If you are from one of the restricted countries, then yes, you'll need to use a VPN. You can still pay for the subscription as normal, and then use a VPN to watch the donghua. It will not affect payment.

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🔹BILIBILI-RELATED FAQs:🔹

1.) "Do I need to take that 100-question quiz to sign up for Bilibili or the membership?!"

No, it's totally optional! You do not need it to either watch the free episodes or to buy a membership. It's only if you want to comment and stuff. It might make you think you gotta do it, or enter a code, but it's actually not needed. Check out THIS post for more info!!! (However, you may still want to do it in order to level up and eventually leave a nice review for the donghua!)

2.) "I'm only able to watch 6min on Bilibili's website when I watch from my phone. Do I need the app?"

You do not need the app. Switch your browser to Desktop Mode in order to watch the video in full.

Be sure to download a browser like Google Chrome, Firefox, etc that supports this mode if your native browser doesn't allow for it.

3.) "Can I get the app on iPhone/iOS?"

This depends on if you are in a country where the app is not region locked in the app store. If you're able to download it that way, great! If not, try using a VPN and setting your region to mainland China. It may work. APKs are not useable on iPhones, so unless you know how to sideload apps onto your device, you may be stuck with the app store only.

Do note that you might be unable to pay for a Bilibili membership through the app, depending on version, but you can always simply pay through the website and then use the app as normal. It will apply account-wide on all devices.

4.) "Why are there two versions of the app?"

One seems to be the international version, which is more basic and lets you pay via GooglePay/ApplePay. The other one seems to be made for mainland China, and allows you to even buy merchandise through it (Chinese address/bank acc required). Mostly, both have to be downloaded via APK on Android. But some iOS users have reported different versions of the app being available for them through the app store (namely the int'l ver, and some have said they can use a VPN to get the mainland one).

5.) "Is there any benefit to having the app over just using the website?"

Not really, no. With the app you can buy very cute hualian themed skins for your profile, though (if you have the mainland version of the app). Plus you can save videos for offline viewing.

6.) "Do I need to enter my area code for Bilibili when signing up/in?"

NO, you do not enter your area code in the phone number field. Select your country from the drop-down list and it will automatically consider your area code. (E.g. if you're in America, select 美国 and enter in your number like 5557779999.)

7.) "I didn't get to set a password when signing up, so how do I log into my Bilibili account after being logged out?"

Use the same phone number you did to sign up. Instead of a password, you'll enter in a one-time key that is sent to your phone via text message. (NOTE: some people have reported not receiving these messages, which may vary by phone carrier!)

As mentioned above, don't include your area code when filling out your number.

Also, if you are signed in on the app on your phone, you can scan the QR code on the log-in page through the app.

8.) "How do I turn off the barrage comments filling up the video I'm watching?"

Select the little button that reads "弹" under the video:

(Website vs App)

9.) Is the Bilibili subscription auto-renewing?

No, the 1-month (¥25), 3-month (¥68), 1-year (¥168) subscriptions will not automatically renew. They are a one-time payment only!

Notice that the renewing payments all say "连续" in front of them, which means "continuing" or "successive" types of subscriptions. They are also cheaper than the one-time payment. (E.g. the renewing 3-month sub is ¥45 instead of ¥68.) Moreover, the renewing types are not even available to purchase with PayPal, afaik. You need Alipay or WeChat Pay, etc.

10.) "Can I use the app/membership to read the manhua too?"

Unfortunately, not quite! Your Bilibili account is universal, but you'll need to download the manhua app seperately and topping up M-coins to pay for the manhua. (One-time purchases, either by volume or by chapter as per your choice.)

11.) "What resolutions are available?"

You can watch up to 480p as a free member. Paid members can watch at 1080p and high-bit-rate 1080p. It's possible to chromecast it to TV, too. (I haven't tried it, but others have!)

12.) "Can I watch across multiple devices?"

Yes, you can!

13.) "Do I need a VPN?"

No, Bilibili is not region-locked. However, some particular countries may have Chinese apps blocked.... :(

14.) "I want to leave a comment/review. How do I level up on Bilibili?"

Log in daily, watch at least one video per day, give coins (attained by logging in) to your fave videos, etc! It will definitely take a while haha.

15.) "Will I be able to watch other donghua like MDZS or SVSSS with my membership on Bilibili?"

No, those two donghuas are produced by TenCent, not Bilibili. You will need either a TenCent/WeTV account, or you can watch them on their YouTube channel (free).

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🔸FUNIMATION-RELATED FAQs🔸

1.) "Is Funimation's broadcast a simulcast?"

It is supposed to be, according to their initial announcements. They seem to be having some technical difficulties, but those may be resolved soon. I suggest keeping an eye on their twitter for updates if you are interested in watching through them!

2.) "Do I have to pay extra on my Funimation sub to watch TGCF?"

No, afaik, the regular $5.99 sub covers TGCF too.

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I hope this helps out people further, so we can all have an easy time watching the donghua! And please do support it legally! 🙏

If you still need help, feel free to send in an ask!

#tgcf #tian guan ci fu #heaven offical's blessing #hob #tgcf donghua

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recentanimenews · 4 years ago

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FEATURE: Teen Humor Defies Appearances in Please tell me! Galko-chan

With so many anime series to choose from, sometimes a little extra info can be helpful for fans who are looking to prune their queues. “Cruising the Crunchy-Catalog” has your back because our goal is to connect fans with fun shows that they may have missed the first time around.

This week we're heading back to high school with a comedy series that examines both the upsides and downsides of youth as we look back on Please tell me! Galko-chan, a series that celebrates its fifth anniversary this year.

What's Please tell me! Galko-chan?

Based on the manga by Kenya Suzuki, Please tell me! Galko-chan is a short-form TV anime from the winter season of 2016 with direction by Keiichiro Kawaguchi and animation production by feel.. Crunchyroll describes the story of the series as follows:

Galko, Otako and Ojou are a trio of unlikely friends in high school with three very different perspectives. Each episode embarks on a day in the life of a trendy girl, an otaku, and a lady, as they discuss their “girl problems."

Galko is a girl with a heart of gold who loves to dress up in gyaru (gal) fashion, Otako is a sharp-tongued otaku who gets a charge out of needling her friends, and Ojou is a space cadet who is equal parts supremely confident and completely oblivious. Together with their classmates, they tackle the everyday struggles of adolescence, comedy both subtle and crude ensues.

Pastel World.

The original Please tell me! Galko-chan comics are unique in that each chapter comprises a single, full-color page of panels exploring (or ignoring) a single topic posed in the form of a question. (i.e. “Is it true that...?”)

The TV anime mimics this structure with lots of colorful keyframes and backgrounds with pleasant pastel color schemes and eye-popping abstract shapes, so it feels like a comic book brought to life. While the animation is limited and low-key, Please tell me! Galko-chan leans on the strength of its character designs as well as its strong sense of comic timing.

Teen Topics.

Anime is often contradictory in how it depicts the teenage state of being, with many series featuring characters that are either supremely innocent and unconcerned on one extreme or overflowing with torment and angst on the other. Please tell me! Galko-chan adopts neither of these extremes, opting instead for interactions that are best described as “ordinary.”

The teens in Please tell me! Galko-chan act like teens. They bicker with their friends over trivial things, they gossip about their classmates, they swap dirty jokes. Galko and company can be brittle and overflowing with emotion, but they're also compassionate, curious about where they fit in, and concerned with how other people perceive them. It's a combination of sincerity and insecurity that feels honest and refreshing for a comedy series starring teenage protagonists.

Sex and/or Education.

Please tell me! Galko-chan has a very blunt approach when it comes to comedy, and no subject is treated as taboo or off-limits. The series includes numerous gags that could be seen as vulgar comedy or toilet humor, but the topics that Galko, Otako, and Ojou explore aren't necessarily rooted in a sense of shame, so the punchlines may surprise you.

Audiences should expect discussions on subjects such as self-image, the intimate aspects of human reproductive anatomy, menstruation, sexual relationships, and even dealing with unwanted body hair. The humor is presented with more of a clinical eye than a titillating one, but viewer discretion is advised.

Tell Me More, Tell Me More.

Crunchyroll currently streams Please tell me! Galko-chan in 149 territories worldwide and the series is available in the original Japanese language with subtitles in English, Spanish, Latin American Spanish, French, Portuguese, Italian, German, and Arabic. There is currently no home video release of Please tell me! Galko-chan in the United States, but if you want more teens figuring out the tough questions, an English language version of the original manga is available from Seven Seas Entertainment.

With a sharp sense of humor and deep empathy for the troubles and tribulations of being a teenager, Please tell me! Galko-chan is a series that proves you can't judge a book by its cover. If you're in the mood for an eclectic comedy that's cool with even the awkward and unpleasant parts of growing up, then please consider giving Please tell me! Galko-chan a try.

Thanks for joining us for this week's installment of “Cruising the Crunchy-Catalog.” Be sure to tune in next time, when we check out an unusual entry from the minds of Mari Okada and Tsutomu Mizushima when we take a bus trip to a rumored utopia with The Lost Village.

Is there a series in Crunchyroll's catalog that you think needs some more love and attention? Please send in your suggestions via email to [email protected] or post a Tweet to @gooberzilla. Your pick could inspire the next installment of “Cruising the Crunchy-Catalog!"

Paul Chapman is the host of The Greatest Movie EVER! Podcast and GME! Anime Fun Time.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Paul Chapman

#Anime #News #Latest in Anime News by Crunchyroll!

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wits-writing · 4 years ago

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Ultraman Z Ep. 14: “Four-Dimensional Capriccio” (TV Review)

(Original Air Date: September 25, 2020, Director: Kiyotaka Taguchi, Writer: Kota Fukihara)

While STORAGE celebrate the advancements made with King Joe and the retirement of Sevenger, things start getting twisted about their headquarters. The culprit behind the space/time bending coming from Shinya Kaburagi, still possessed by Celebro, releasing the extradimensional monster Bullton against them.

[Full Review Under the Cut]

This episode centering the four-dimensional alien Bullton was a major point in its favor from the start. The monster had a brief role way back in episode one as the being that separated Zett from Zero but seeing it in action more directly is a blast. During my recent marathon of the original 1966 Ultraman series; Bullton’s debut, “Passport to Infinity”, was easily among my favorites from that show. (For anyone curious the official Ultraman YouTube channel, at time of writing, has also made that classic available with captions after this episode of Ultraman Z aired.) Its design as a living MC Escher painting reflected in its power to fold space/time in on themselves, using radio antennae and eggbeater looking extensions to more actively deal with anyone who tries to stop it. Bullton’s fun in a way that demands creative execution when bringing it into play.

The more general chaos Bullton causes during STORAGE’s celebration once released by Celebro leads to a litany of comedic beats that keep the episode’s tone breezy. Starting in minor ways like making most of the STORAGE staff float off the ground as they watch Bako do card tricks. Bako’s nonplussed reaction to the situation as everyone else flails about being an exemplary moment from the senior engineer. He gets a lot of fun moments in the episode, like when the engineering staff think he’ll spoil their party when he unexpectedly comes back early from his vacation, but instead he shows off a giant tuna he caught and offers it as the party’s main course. His chill vibes shine this episode between how he handles Bullton’s arrival and responding to questions about his fishing ability and magic tricks as “just something I picked up.”

Meanwhile, Juggler goes off in monster in monster form to talk to Celebro about interrupting their party. A strong scene between the former and current villains. Juggler lets Celebro know that he’s been aware of him for a while, even saying he’s “rooting for him” to get Celebro to back off of his “little pranks” this once. Though Celebro relishes the fact he executed his scheme at the perfect time. The joy he takes in that is the first distinct personality the show’s given to Celebro, who has otherwise seemed like a dispassionate figure only concerned with his experiments. The best visual gag in the episode comes when the confrontation between Juggler and Celebro ends on the alien parasite using Bullton’s power to teleport Juggler into a bathroom, exactly where Hebikura always excuses himself to disappear and be Juggler. Him reacting with a shrug and deciding he may as well take a leak while he’s there topping it off.

STORAGE’s confrontation with Bullton isn’t all antics and shenanigans, as Haruki and Yoko’s internal dilemmas get spotlighted throughout this episode in mostly small ways that get externalized as the episode goes along. While everyone at STORAGE is celebrating the success and prestige King Joe has brought them, Yoko confides in Haruki that the implications of a weapon like Joe brings with it and how it might not belong in anyone’s hands, even the “right” ones. It’s an especially stark contrast to how Yuka, being the one we see kicking off the party, celebrates “having her genius recognized” by the world at large requesting access to their giant robot technology. When they figure out the way Bullton alters the environment is connected to their subconscious desires, Yuka tells Yoko the 4D-space loop she’s caught in comes from her deep down not wanting to use Joe at all. Her having issues with King Joe as a weapon are minor in the scheme of this episode, but it’s a good thread that I hope to see more of in the future.

Meanwhile, Haruki’s thread builds on his guilt from the last couple episodes. His story in this episode seems more in line with the comedic antics going on with everyone else when Bullton first gets released. The fourth dimensional being’s powers sending him through a minor time loop. He keeps getting sent back to right before his first bite of the tuna Bako brought to the party, since he wanted to keep eating it. A nice gag in an episode full of them making what happens next have an even stronger impact. When Yoko’s able to tell Haruki to focus on what he really wants to get out of the time loop, he ends up sent back in time and face to face with Masaru Natsukawa, his father.

The deliberate contrast between the tone of this moment and the rest of the episode hit especially hard during my first viewing, since otherwise this episode continues the comedic streak of last week’s clip show. Brought back to the man he idealized growing up, he gets the impossible opportunity to have a man-to-man, heart-to-heart discussion about what he’s gone through. Keeping it vague by framing it as questions about Masaru’s job as a firefighter, Haruki gets the advice he needs to carry on doing his job without hesitation. His dad tells him about “his justice”, that you can only work to help those within your reach. Reaching everyone will never be possible, so you should never forget about those shortcomings and carry them with you as determination to always do more. The conversation’s capped off with Haruki asking Masaru for a handshake before he leaves, a flash of recognition appearing on his dad’s face as he realizes who he’s been talking to as a final touching note on the episode’s crowning moment.

When the episode gets back to the havoc caused by Bullton once it moves into the city and the actual fight against it begins, the comedic tone comes back among some gorgeous shots of widespread destruction. What else can be expected when the 4D-alien’s powers let it stay mostly still and bend space to deflects its opponents’ attacks right back at them. Though when it’s not teleporting, it does hop and roll around in a fantastically goofy manner. Haruki starts the fight against Bullton by fighting fire with fire, using Gamma Futures own dimensional abilities in a rapid back and forth. Though that apparently even match ends up with Bullton sinking Ultraman Z neck deep in the ground before rolling back and forth over the Ultra’s face. Switching over to the direct, physical abilities of Beta Smash ends up being what it takes to defeat the twisting indirect nature of Bullton as Ultraman Z manages to toss the alien into the air where it explodes.

Though the explosion leaves a lingering effect in the sky above the city, signaling that Bullton’s defeat may have had a greater purpose in Celebro’s plan. Ending the episode on an ominous note.

Between the fourth-dimensional antics that make up most of the episode and the look into deeper themes and character pathos, “Four-Dimensional Capriccio” makes a great addition to the greater arc of Ultraman Z. Outside of the central meat of the episode are some changes to the opening and closing credits’ music. The opening follows recent Ultraman tradition where the second half of a season changes over to the second verse of the song’s full version. The new ending theme, “Promise for the Future”, is an excellent high energy number sung by Tasuku Hatanaka, the voice of Ultraman Z.

youtube

Things are set to escalate quickly next time on Ultraman Z as Geed makes another return and Zett attains a new powerful form.

If you like what you’ve read here, please like/reblog or share elsewhere online, follow me on Twitter (@WC_WIT), and consider throwing some support my way at either Ko-Fi.com or Patreon.com at the extension “/witswriting”

#Ultraman Z #Ultraman #Wit's Writing #TV Review #tokusatsu #Haruki Natsukawa #Kiyotaka Taguchi #Kota Fukihara #Tsuburaya Productions #toku #tsupro

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miaa4tez · 5 years ago

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Season 3, Episode 1 or so help me god... Also available on AO3.

Finally // beautiful stranger

He sort of thought she’d maybe... say something, after everything. He’d walked home that night a bundle of uncertainty and self-doubt, but for the first time, he actually felt a bit hopeful. He and Maeve couldn’t seem to stop missing one another, and he was damn near determined that this time, it’d be different.

��

But then the weekend came and went, and he hadn’t heard from her once, and he found himself growing more self-conscious by the second. Had he been too late? Did he miss his chance for real this time? Was she really... over him?

He nearly races to school come Monday morning, a ball of nerves and pent up energy. He tries being happy for Eric as he recounts endless details about his weekend with Adam, really he does, but all he could think is whether Maeve had truly heard his confession of love and felt... nothing. That might just be the thing to do him in for good.

It takes him a few laps through the school but he finally finds her in the library, a book perched on her lap and her thumbnail between her teeth. He nearly loses his nerve, can’t help but stare at her like this for a moment - unguarded, serene - but then he reminds himself that he’s done being an asshole, damnit, and pushes forward.

“Um, Maeve?” Fucking loser. Man up.

He sees her jaw clench, her teeth biting the inside of her cheek, her eyes shut briefly before she flips a page. He hates that he elicits that response from her now. “Studying, dickhead.”

He watches her swallow and her eyes seem to be going over the same line over and over.

He clenches his hands at his side. “Can we talk?” He unclenches his fists, stretches them in the silence. “Please.”

She’s so good at masking her emotions, but he catches a slight hitch as she clears her throat, shuts her book with a definitive thud and stands abruptly. She meets his eyes, cool and steady, and he feels himself shrink under the weight of her gaze. “I’ve got to get to class.”

She pushes past him then, out the door, and for a moment he considers letting her go. Surely she deserves better than him, better than the hurt he’s caused her. But then he spies her jacket left dangling over the couch and his body is moving without his consent.

“Look I know I said some stupid things but I really think we ought to talk it out so I could tell you how sorry I am,” he pleads, her jacket draped across his arm as he strides behind her.

She speeds up, forcing him to trail after her. “Not much to talk about then, is there? You’re sorry, so that’s it. We’re good then.” She bites the corner of her thumb, refusing to turn and face him as she weaves through the halls.

“Well I just thought...” He stops short. What did he think, really? “I hadn’t heard from you this weekend,” he mutters instead.

She stops in front of her locker, flicks her eyes to his briefly, searching. He lamely extends her jacket to her and she snags it from him a touch too harsh. “Yeah well. I’ve been busy. Not everything is about you, you know.”

He buries his hands deep in his jacket pockets. He’s a little ashamed it’s taken him this long to congratulate her. “Yeah, no, of course. Sorry. Congratulations, by the way. I saw you on TV.”

The corner of her mouth turns up in the barest hint of a smile, but she ignores his attempt to meet her eyes and reaches for her Maths book. “Right. Well it wasn’t just me.”

“You should be proud of yourself, Maeve. They couldn’t have done it without you.”

If he’s thawing her at all, she won’t let on. She bites her bottom lip anxiously and slams her locker in a hurry, but he presses on, hands extending then retracting back to his pockets.

“And I just thought we could clear the air, you know. Be friends again?... I’d really like to be your friend again, Maeve. At least.” He shakes his head. This isn’t going well. “I’ve let you down and I know that. And I understand if you didn’t lis-“

“Otis.” She interrupts him, exhaling his name almost as if she’s got no energy left. He sucks in a breath and looks at her. Sees the hurt swimming in her eyes. “Forget it, okay? We’ve tried being friends but all we do is hurt one another.” She wraps her arms tight around herself, her eyes boring holes into her shoes. “I’ve got enough people in my life to hurt me. I don’t need another.”

She meets his eyes then and he couldn’t save this if he tried. He opens his mouth anyway - foolishly - but whatever he intended to say is drowned out by the class bell.

Her eyes flicker to his once more - pleading him to fight back? Maybe, but she’s pushed past him and out of sight before he can find the words.

...

She’s basically a ghost for the rest of the week, slipping through the halls in silence and keeping her eyes to the ground. She‘s forgotten how easy it was to go unnoticed in this school, and she both loves and hates how easily she slips back into it. Fleetingly she thinks that she hasn’t seen Otis once, even from the corner of her eye, and it’s not like she cares or anything - she hardly noticed, really, fuck off - but the clinic has been almost nonexistent and she’s got rent due Monday and this spat between them is really fucking with her source of income.

By Friday she’s said maybe ten words total to another human being (three of which being “Piss off, Isaac” when the wanker insisted on perching himself at her doorstep after she refused to answer his calls), but she found herself somewhat comforted by still having people around her. The fact is she hates the idea of going home to an empty trailer almost as much as she doesn’t want to be at school, so she sucks it up and makes plans to ask Aimee if they can walk home together. Thinks maybe she can spend the night there if she asks, too. God, she hates asking for things.

It’s not just Otis she’s avoiding. It’s everything. Her mom, her shitty fucking luck, the reality that of all the Quizheads, she’s least likely to get a full ride scholarship to Uni even though that’s the only way she can realistically afford to go. She knows she‘s destined for more than a shit job at the mall and a double wide with no heat, but she’s certain she was born in the wrong dimension, because in this one life is determined to fuck her over.

Her mind is a tangle of self-doubt but she’s trying her fucking damnedest to silence it all as she waits for Aimee by the school’s entrance, perched against a tree and attempting to focus on Silas Marner - she finds it far superior and the more relatable of George Eliot’s works, no wonder it took her so long to finish Middlemarch - but she’s been standing here for over an hour and Aimee is nowhere to be found. In fact, the front lawn is basically empty aside from a couple stoners and some horny couple grinding on a bench in the corner. She checks her phone, shoots a text to Aimee, waits five minutes for the three dots to pop up and when the message comes through, she feels her heart fall to her feet.

Steve wants to try hugging. Raincheck?

The sun is setting as she walks home alone, a crisp in the air that wasn’t there last week, and she’s trying to match her steps to her heartbeats but it’s proving harder than she’d like. Who says her breathing’s more ragged than usual? Sod off.

She wishes she hadn’t lent Erin her headphones - she’ll never see those again either - because she could really use something right now to drown out her racing thoughts. She focuses instead on the faded crescent moon rising in the sky, and by the time she walks onto the lot the sky is dark and the only thing she wants is to curl into a ball in her bed and not leave until Monday morning.

She sees the bag from far away, hanging from the door handle of her trailer. She looks left and right on impulse, wonders if it was Isaac before she feels certain it wasn’t. If her steps quicken, she’ll never admit to it.

She snags the bag quickly and slams the door behind her, fingers itching to find out what’s inside. Her hand wraps around a binder and she pulls it out slowly, suddenly nervous. A note flutters out with it and falls to her feet, and her jaw clenches as she recognizes the familiar scrawl.

You deserve better than all of us.

She stares at the message a moment more because she collapses into a seat at the table, binder spread out before her. She opens the first page and her throat tickles with the emotion of it all.

It’s a collection of paperwork, brochures and articles and informational pamphlets. Schools she mentioned, universities she’s named in passing conversations when she thought they were just killing time before his next session. He compiled them all by the areas of study she might be most interested, and she smirks despite herself that each school is color coded. He’d always busted her for organizing the clinic schedule like that. He’s even taken the time to highlight new places she hasn’t considered, places that offer creative writing programs and financial scholarships for independents.

She feels the smile on her lips but it’s like her brain catches up, stunned for a moment by the gesture, and she’s suddenly furious.

Who does he think he is? He doesn’t know what she needs, what she wants, what’s best for her. All he’s done since he came into her life was cause her pain, and now he’s trying to be some fucking savior for her? She snags a sweater strewn over the couch and is out the door before she even knows where she’s going. All she knows is that he doesn’t get to make some grand gesture and have her forgive him. It’s bullshit. She’s going to storm over there and tell him exactly where he can shove his fucking charity. He’s -

-standing in the middle of the bridge. Waiting for her.

Her breath catches in her throat and she absently notes that he looks terrified. There are so many things she wants to spit at him but for some reason she can’t find words just yet. He shocks her by speaking first.

“I didn’t want you to have to come all the way to me again,” he shrugs, the corner of his lip curling up just slightly.

She crosses her arms quickly, petulant as a child as she scoffs at him. But despite herself, she feels lighter standing before him. Damn it all to hell. “How’d you know I’d even come to you?” She’s trying for offhanded but knows she doesn’t manage it.

He scratches his ear and looks to his shoes. “I didn’t?” He has the decency to sound sheepish. “I figured I’d give it an hour or so and see if you called maybe.”

“Oh, only an hour then?” She deadpans. She gets way too much satisfaction from his rosy cheeks.

He cocks his head just so, offering her a half smile. “Maybe two,” he relents.

She feels her mouth pulling into a grin but she bites the inside of her cheek before it erupts. Instead she nods once and wrings her hands together by her chest. The silence sits between them and it’s colder out here than it was an hour ago.

“I’m sorry,” she hears him breath, and he must realize how quiet he said it because he clears his throat and meets her eyes. “I’m really sorry.” Louder this time, more conviction.

She can see the sincerity in his eyes and he always did know how to get to her. She nods this time, her mouth twisting in a wry smirk. “Yeah you should be,” she jokes, but it doesn’t feel much like a joke once it’s out of her mouth, and she feels the frustration seep back in. “You know, you can’t go around trying to manipulate me by doing something nice. Doesn’t work like that. You’re not charming, you know.”

Otis blinks. “Is that what you were coming to tell me?”

“What?”

“You were headed to my house, weren’t you? Was that what you were going to say?”

Her eyes widen, indignant, and the anger mounts. “Yes,” she demands. “You can’t just hurt me and expect it to all be okay just like that. It’s not. I trusted you, Otis, and you let me down. Everyone else is shit but I never thought you’d...” her voice catches and a small sob fills her chest but she won’t let it out. Refuses. Instead she stops, catching her breath and turning her head to the side as angry tears threaten to pour over. She digs a nail into her palm to stop them. She won’t let him do this to her again.

He takes a tentative step forward and reaches out for her slightly, and she finds great satisfaction when he retracts his hand, until she follows his gaze and realizes he must notice that she’s wearing his sweater. Shit.

It seems to embolden him though and he looks to her again. “I know, and Maeve, I know I hurt you and I was a dickhead -“

“Massive dickhead,” she elaborates.

“But I don’t think it’s all my fault.” He finishes.

She’s certain she heard him wrong.

“Excuse me?” She gapes, incredulous.

“We’ve been tiptoeing around each other for months,” Otis argues, arms up for emphasis. “All year, really. And then Jackson -

“Are you seriously turning this around on me?” She can’t believe him.

“No but -

“‘Cause it sounds like you are -“

“I’m not!” He insists. “It’s just that...you’re you! And I’m ME and, and we were friends. Such good friends, Maeve, and then you... And it just made me so angry that you didn’t tell me you liked me until things with Ola.... it’s just... I had no idea someone like you could have possibly liked someone like me.”

Her nostrils flare with her anger and she’s trying not to strangle him right this instant. She’s not sure if it’s because he doubted her or that he’s so fucking sure he’s right (and so what if he is a little?) “Right well it’s probably for the best you didn’t know. I’m the most selfish person you know, after all.”

He sighs loudly. “Maeve, of course I didn’t mean that.“

“It sounded like you did,” she quips.

“I was so drunk. I ate a whole roast chicken that night! And I was confused and I was trying to hurt you like I was hurting when of course you didn’t deserve it.”

He’s got her there.

She sniffles and crosses her arms, choosing to count the railings on the bridge rather than meet his eyes.

He sighs and reaches toward her, palms open. “I know I can’t take back what I did. And I know things are still broken between us. But... I like you, Maeve. I really, really like you.”

She looks up then, against her own will honestly, but he’s got his eyes closed. Either because he can’t look at her either or he’s mustering up the courage, she can’t be sure.

He rubs a hand over his face and chuckles ironically. “Hell I think I even love you. You’re brave and you’re resilient and you’re honest and you’re good. Life should have taken you out dozens of times already but you never let it. You’re too good for every fucking one of us and we just keep letting you down over and over. But I want to be there for you. I want to be the one you turn to. I don’t want you to feel alone or scared or hurt. And I hate that I’ve already done all those things but if you let me, if you give me a chance, I promise I won’t hurt you again. And I know, I know so many people have said that to you before, but I’m going to prove it. You don’t have to believe me, but let me prove it to you. Please. I -“

She’s not sure at what point in his speech her arms drop to her sides, when her brow smooths and her gaze softens and her lip drops just slightly. She feels the heat pool in her chest, warm and bubbling and even a little uncomfortable, blooming its way up her neck to her cheeks and face. And in her haze she really can’t remember when she steps forward and brings her mouth to his, soft but hard all at once, but she knows when she does that she’s never quite had a kiss like this in her life.

That is, because he doesn’t quite kiss her back.

Her lips are tingling but his body is like a statue before her, and she’s sure he’s unconscious but she can feel his heart thrumming beneath her hands atop his chest, and has she killed him? She pulls back slightly, exhaling a harsh breath, not daring to meet his eyes but seemingly incapable of putting more than an inch of distance between them. The barrier’s been broken now and she finds she’s never been warmer in her whole life. She’s about to say something, anything really, when his hands come up to cup her cheeks, coaxing her to look him in the eyes. Nerves grasp her now - it was so impulsive, she didn’t give it a second of thought before - but she has no time for them. She hears him swallow just as he pinches her chin and brings her mouth to his once more, and this is what their first kiss should have been. His lips are tender on hers and she wants to be closer to him all at once, so she wraps her arms around his waist and opens her mouth, feeling his breath on her tongue before his follows along. She was sure he’d be timid but it’s like his body is reacting all on its own, and she can’t help herself. Her lips curl into a smile against his mouth, and she nearly melts into a puddle when his thumb comes to the corner of her lip, the pad of his finger tracing the outline of her smile.

When they properly pull back for a breath, she can feel his eyes on her, blue crystals boring into her soul, and for the life of her she has no idea why she meets his gaze. She wants to look away but somehow she can’t, and he’s smiling at her and by God if she’s not absolutely fucking in love with this dickhead.

“You kissed me.” He tucks her hair behind her ear as he says it and she hates him even more. Her life will never be just hers again.

She licks her lips. “Tell anyone about this and I’ll bite your dick off. Okay mouth breather?” There isn’t the slightest trace of malice in her voice. It’s barely above a whisper.

Otis nods once, brow creased in mock seriousness. “Wouldn’t dream of it.”

“I’m still angry at you,” she murmurs, eyes fixated on his bottom lip as she grips the ends of his shirt tighter.

He swallows hard and nods. “I know. I’m still angry with me too.”

She wants to keep the banter going but she’s got no fight in her, just butterflies wrecking havoc on her stomach and fire in her cheeks. She can’t stop staring at his lips - it’s like he’s cast a spell on her or something - and then she remembers she can do it again if she wants. This is going to be a real problem, she can tell. She’s on her tiptoes when he seems to remember the same thing, and he’s wearing the goofiest smile when he brings her face to his and leans down to kiss her again.

(It might take him a few hours to calm her down after he tells her about the missing voicemail - she could fucking murder Isaac - but he quickly finds exactly how to shut her up. If they don’t sleep that night, it’s entirely his fault.)

...

Note: this was shit but I wrote it in the notes on my phone because please let them be together next season PLEASE. It’s my first tumbler post too so sorry the format is weird as shit.

#fanfic #otis and maeve #sex education #otis x maeve #otis milburn #maeve wiley #emma mackey #sex ed s2 #sex ed netflix #asa butterfield

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abigailnussbaum · 4 years ago

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Legends of Tomorrow, Season 5

I was going to write weekly reviews of this season, and then with one thing and another ended up dropping it in the spring (hey, remember when there was so much weekly TV that you couldn’t keep up with all your shows? Wonder how long it’ll be before that happens again). I caught up with the entire season this weekend, and honestly, that feels like a better standpoint from which to write about it - I think if I’d stuck with weekly reviews, I would have ended up saying the same thing week after week.

A couple of years ago, Emily VanDerWerff suggested that there is a standard lifecycle for high-concept, large ensemble, off-the-wall genre shows:

Season 1: still figuring this whole thing out

Season 2: now we’re cooking with oil

Season 3: we can do anything!

Season 4: whoops, no, we’ve gotten a bit over our skis here

Season 5: ???

Legends, I think, encapsulates this progression to a T. The show’s second and third seasons were some of the best and most exciting genre storytelling on television, but last year was a bit of a mess. That’s not entirely the writers’ fault - Nick Zano’s limited availability due to family obligations forced them to beef up the Time Bureau’s role in the season, and their desire to keep Maisie Richardson-Sellers on board even after Amaya’s story had wrapped up led them to create a character, Charlie, who had no real reason for being on the Waverider. But a lot of it was self-inflicted. The cast was too unwieldy, the Time Bureau story seemed designed to expose the thin spots in the show’s self-presentation as irreverent but fundamentally compassionate (it certainly didn’t help that the decision to rewrite Nate Sr. into a good guy was made almost at the last minute, requiring the entirely unconvincing argument that forcing magical creatures to perform in a circus act is somehow morally superior to forcing them to be secret agents), and some of the character choices felt entirely parachuted in (Zari/Nate, anyone?).

Season five, therefore, had a lot of clean up work to do, while also demonstrating that the Legends formula had more life in it than just those two transcendent early seasons. And while this is undeniably a more successful, more enjoyable season than the one preceding it (which also does a great deal to address some of the show’s structural issues, chiefly the overlarge cast), I also can’t help but notice that instead of finding new places for the show to go, what the fifth season delivers instead is a hodgepodge of story elements from seasons two and three. So we’ve got a mystical object that can rewrite reality (The Loom of Fate vs. season two′s The Spear of Destiny); a token hunt across time and space in which the Legends face off against the estranged relatives of one of their members (the totems in season three vs. the search for the pieces of the loom, Amaya’s evil granddaughter vs. Charlie’s evil sisters); a late season loss that forces our characters into a nightmarish alternate reality in which they don’t even remember who they are (the Legion of Evil rewriting the Legends’ lives to make them ordinary and unsatisfying vs. being stuck in TV shows in a world run by the Fates); which comes about because of a betrayal by a member of the team (Charlie in season five, Mick in season two) whose eventual return to the fold enables to Legends to win in the end. There’s even an abandoned, abused girl who has turned evil, and has to be won back to the side of good through the offer of true companionship and understanding (Nora Darhk vs. Astra Logue).

This isn’t exactly a bad thing - a lot of these storytelling beats cut to the very core of what Legends is and what makes it work, so it’s not necessarily wrong for the show to repeat them. And even if the basic structure is the same, Legends just keeps getting more adventurous in how it delivers that structure. I’ve already written about how well done the season’s mockumentary episode was, and the same can be said for the 80s slasher movie riff, the Mr. Rogers parody, and of course, “The One Where We’re Trapped on TV”. Like the multiple universe episode in season four, these are things the show couldn’t have done when it was just a few seasons old, and they’re proof that whatever other issues it has, Legends is constantly pushing the envelope in terms of the kind of tropes and genres it can graft onto a superhero template. That said, there’s a very real possibility that this is all the show will ever be - a standard story template, enlivened by increasingly gonzo riffs on existing tropes.

Some more thoughts on where the season worked and where it didn’t below.

THE GOOD:

I really hated the decision to make Nora a fairy godmother in season four, not least because it felt like yet another way of infantilizing her (it certainly didn’t help that it was a choice she was forced into, and that she spent the remainder of the season catering to the every whim of Gary, a character I still have very mixed feelings towards). But season five really reclaims that choice. Having Nora embrace the fairy godmother life as a way of both helping children and working through her own issues makes a lot of sense, and the character feels happier and more confident than we’ve ever seen her (certainly a step up from how gloomy she was last season). I even like the wardrobe change - once the fairy godmother dress was ditched except for specific occasions, having Nora dress all in teal is a nice touch, and certainly an improvement over her rather boring season four wardrobe. I still think Legends missed a lot in how it handled Nora last season (I will never stop being annoyed that she and Sara didn’t develop a deeper friendship, given how similar their life trajectories have been), but this was a good way of righting the ship, even in a very limited timeframe.

I already mentioned this in the episode review, but watching the rest of the season really cemented my admiration for how quickly the show embeds Behrad into the crew, and makes it feel as if he’s always been there. That’s all the more impressive given that Behrad doesn’t really get an arc in season five. Most of that storytelling energy goes to establish Zari 2.0, and Behrad is, of course, absent for much of the latter half of the season. And yet he feels almost instantly like a fully-rounded character who is integral to the show, so much so that you’re heartbroken by his death (and convinced that it will be rolled back, even though Zari could easily take over his superpower). That’s really excellent work by both the writers and Shayan Sobhian.

I was a bit nervous when Zari 2.0 was introduced, because replacing a heroic, cool-girl-coded, nobly self-sacrificing character with a version of herself who is extremely femme-coded and obsessed with things like fashion and social media is the sort of move that is ripe for easy misogynistic point-scoring in the guise of feminism - of course the Zari who is good with machines and eats donuts is superior to the one who has a perfume line and spends hours in the bathroom every morning! But the show very quickly established that Zari, though certainly not without her flaws, is awesome in any guise, and it did so without trying to change her into “our” Zari, eventually even establishing that they are two completely different people, each with a right to exist (though not simultaneously, unfortunately). I get why the show didn’t keep both Zaris around - it would be asking a lot of Tala Ashe to play two characters, much of the time against herself, not to mention a production nightmare - but I appreciate that it didn’t decide that Zari 2.0 was the lesser version. (Also a nice touch: Behrad, though obviously fond of Zari 1.0, doesn’t think of her as “his” sister, even though to us she’s the “real” version of the character.)

Similarly, I wasn’t quite sure what to expect when Ava moved to the Waverider full time - obviously, it would be an improvement on her playing a tinpot fascist at the Time Bureau while the show pretended that this wouldn’t really bother Sara, but at the same time Sara and Ava are both so similar in their functions and abilities that I worried they’d step on each other’s shoes. Instead, the show leaned into their differences and made the season about Ava finding her place as captain of the Waverider, a role she fills in very different ways than Sara while still doing a good job at it. It also allowed her to expand her point of view a little - bonding with Zari 2.0, or reaching out to Astra, both things that would have been outside of her comfort zone in the past. Obviously, this is setup for Ava taking over as captain in season six now that Sara has been abducted (though I hope not for very long - Legends isn’t Legends without Sara), but good on the show for taking the time to bring Ava to a point where she’s ready for this, and in a different way from Sara.

And speaking of looking ahead, the show takes the wise step of thinning out its cast. Personally, I would have kept Ray, Nora, and Mona and written off Constantine and Nate (and possibly also Gary), but either way, it’s good that the writers realized their cast was getting unwieldy. I was concerned, for example, that the show figuring out what to do with Charlie and giving her an elaborate backstory was a sign that she would stay on, but instead she leaves once that story is resolved. And I think that in an earlier season, Astra would have been positioned to stay on the Waverider after the end of the season, but instead she’s clearly a one-off character, who goes off to live her own life once the show has brought her story to a satisfying conclusion. (This also, however, means that Legends has written off two black women in a single season, not to mention Mona, and in fact has only one WOC main character remaining; I hope that’s something season six addresses.)

THE BAD:

I realize that I am very much in the minority on this, but I’m sorry: John Constantine does not belong on Legends of Tomorrow, and certainly not as a main character. Season five feels, in fact, like a perfect demonstration of this simple truth. The early parts of the season feel like two different shows, the Legends show and the Constantine show, that happen to have some points of intersection and shared characters. And even once those storylines converge, it’s notable how John’s quest for the Loom of Fate very quickly becomes Astra’s quest for it, and then Charlie’s, and how they both feel more grounded in that story and more affected by it than he was. What it comes down to, once again, is that John Constantine is a character who can’t change, and putting him on a show that is all about change and growth can’t help but feel unsatisfying for both the character and the show. Season five tries to suggest that change is possible for him - he finally comes clean with Astra and make a real apology to her; he admits that his pursuit of magic has cost him relationships and a chance at happiness; he reaches out to his friends when he thinks his life is about to end; he even quits smoking. But the character just doesn’t have that much give in it. To be John Constantine, he has to be the cynical, arrogant, self-destructive fuck-up we’ve always known. On a show like Legends of Tomorrow, that can work in small doses, but not as the main character that Constantine has been positioned as.

Though I’m glad that the show figured out something to do with Charlie before writing her off, the similarities between her story and Mick’s can’t help but shed a light on how poorly thought out this character has been, and how much her season five story is parachuted in. When Mick betrays the team at the end of season two, it’s barely a season after they’d put him off the ship for being perennially untrustworthy, leading to him becoming their nemesis. They only take him back out of pity for the decades of torture he suffered, and sympathy for the loss of his only friend, Captain Cold. His betrayal is a direct outcome of those cracks in the relationship - he does it because he wants to live in a world where he hasn’t been hurt or hurt others, and where his friend is still alive. When he changes his mind at the end of the season, it’s a culmination of two seasons of character growth, the realization that holding on to the pain in his life is worth it if it means he gets to keep the friendships he formed on the Waverider, and to continue to grow as a person - as expressed by his choice to put Snart back in his timeline, where he will become a better person (and eventually inspire Mick to do the same) but will also die. Charlie’s very similar storyline just doesn’t have this kind of depth. Neither her heel turn nor her face turn feel particularly earned, and a lot of that has to do with the fact that it took the writers so long to figure out who this character even was.

For a season of Legends, this was an awfully heteronormative stretch of episodes. Sure, Sara and Ava are still center stage, and that’s fantastic. But every other romantic relationship in the season, and there are quite a few of them, is a straight one. You might blame this on the fact that season five is a housecleaning season, wrapping up dangling storylines like Ray/Nora or Nate/Zari. But even the new characters like Behrad or Lita express only opposite-sex attraction (I guess Astra never demonstrates a preference). I mean, if you give John Constantine two different love interests in a single season and they’re both women, surely something has gone terribly wrong?

And speaking of John Constantine’s love interests, is putting him together with Zari meant to make the old her’s romance with Nate look organic and true to the characters in comparison? Because I can’t think of another reason for it. Do not want.

THE UGLY:

Words cannot express how much I hate the Damien Darhk episode. Not all of it, obviously - the Mr. Rogers riff, as I said, is pretty good (and pays off handsomely later in the season), and pretty much all the Ray/Nora stuff, especially the moment where she realizes she’s not going to lie to her father about the man she loves and the life she’s chosen, are golden. But it is simply mind-boggling that after two seasons in which Nora was firmly established as the survivor of a lifetime of abuse, Legends takes an entire hour to not only rehabilitate Damien, but pretend that he was always a loving father who just made some mistakes. For crying out loud, the man fed his daughter to a demon in order to gain power for himself. It was always an interesting wrinkle in his character that he clearly saw himself as a loving, protective parent, and was even capable of some level of self-sacrifice on Nora’s behalf, but I had assumed that the show realized this was at least partly a self-serving lie. To discover that we’re actually meant to think that one act of sacrifice cancels out a lifetime of abuse is nauseating. I wanted Nora to stand up to her father, but as a victim calling out her abuser, not a loving daughter trying to renegotiate a relationship with an overprotective parent. It certainly doesn’t help that the episode features inexplicably popular wedding story tropes, such as the groom asking the bride’s father for permission to marry her, or the father trying to keep the couple from physical intimacy before the wedding, which are gross in any context but especially so here. I suppose in the end it’s all worth it to be rid of Damien once and for all, but I was squirming with discomfort and rage throughout the entire episode.

#legends of tomorrow

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canonicallysoulmates · 5 years ago

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SPN SDCC 2019 OPINIONS

Right now some of you are probably wondering why the fuck you're seeing a post about SDCC when it's September and the answer to that is that I did not have a computer when SDCC happened back in July so I couldn't make this post then, trust me I would have preferred it if I could have, and why am I even bothering to make it when so long a time has passed? Cause I said I was going to and as I've stated in the past I was going to watch the panel and some interviews anyways and share my opinion so I might as well make it into a proper post. Or at least try to, this turned out a little over the place. Now, originally, back in July, I was thinking of doing something like I had done last year meaning a massive post full of spoilers and info available but as you can guess from the title of this post that did not happen this is because of two reasons: 1) I feel like there was less info than there was for s14, to be fair like I said I didn't have a computer during the time and I wasn't on SM a lot so it's entirely possible that there was a bunch of info and spoilers that never made their way into my very limited radar. 2) September is ending, the s15 premiere is literally around the corner, I don't have the time necessary to go through any and all news and info and spoilers about s15, and to be very honest I don't have the patience either. So this post is going to be just my opinion on the panel and on some of the things that were said in SDCC interviews, there are still timestamps and some transcripts and all the interviews I talk about plus the panel are linked at the end in their entirety. I watched 4 interviews for each person on the panel with the exception of two people, I did not watch any of M. Collins interviews, I also didn't watch any of Berner's interviews I was going to but Dabb, Singer and BuckLemming test my patience enough as it is. Also I want to keep this post brief so I'm only talking about things that really stood out to me. Standard disclamer applies that these are all just my opinions and you might not agree with them.... SDCC 2019 Panel I don't have much to say about this panel, most of it was everybody talking a bit about the legacy of the show, there wasn't really any info given about s15 and in that regard, I am a bit disappointed, I wish they had used the panel more and found a balance between talking about the legacy of the show while also incorporating info about the final season. But I can understand why they would do something more subdued. The only things that stood out to me was Dabb trying to make what I hope is a joke about the ending of the show pleasing only 30% of people and bringing up GOT, regular which I'm not gonna comment on cause I want to keep this post general but those who know know 😉, should go without saying that my heart broke all over again seeing j2 cry over the show ending 💔 And I cannot go without mentioning Dabb's intro to the panel cause it fucking killed me, he must have written it himself 😂 "our next guest very first job on tv was writing for supernatural, after eight seasons in the trenches he ascended to the coveted position of showrunner. Armed with genius talent and deep respect for the characters and stories he's beautifully shouldered the shows vision for the past 3 seasons and now leads us bravely forward on the shows final chapter" [TIMESTAMP] Interviews

Let's talk about Chuck, everybody seemed to be on the same page about this, they all gave similar answers when asked about it which is a nice change of pace usually they all give different answers but to me it seems like they, once again, dug themselves into a hole they don't know how to get out of and are trying to back out of it, like in one of the interviews Lemming says at one point Castiel will point out to Sam and Dean that whether or not it was god playing tricks on them they would have come across the same crossroads and they are the ones who made the decision about which direction to go not someone else ("cas will point out to them weather it was god playing tricks on us or us doing it ourselves out in the world we would have met the same crossroads or they would have been different crossroads but whatever crossroads we would have come across we made a decision whether to go right or left no one else did that to us" [TIMESTAMP] ) which to me sounds a hell of a lot like free will. And look, everybody has a different interpretation or views on what free will is, I, personally, think free will has nothing to do with whether or not someone/something puts an obstacle in front of us it has to do with whether or not we're the ones who decide how to deal with it meaning that someone/something doesn't make the choice for us. So to me what Lemming is talking about is free will which is what supposedly Sam and Dean never actually had, to be fair it's possible that scene won't happen or that explanation won't be given or it'll be something different but at this point I wouldn't be surprised if it turned out that it was all a test by Chuck and when Sam and Dean go to kill him or something he'll be all 'surprise! you passed your mission is done now you can have peace'; I also wouldn't be surprised if Dabb&co do what they usually do and ignore things after the first three episodes until the mid-season finale and the finale. But hey, maybe they'll prove me wrong, and do something really interesting and complex...not gonna hold my breathe for it though. Since I already mentioned Lemming there was something she said that irked me, she was asked about the shows influence/impact on sci-fi shows and stuff, I'll leave a link so you can see the whole thing point is she was talking about early seasons and said: "....we really worked on the physical nature of horror and the psychological results of that, but that takes you just so far as a writer then you sort of realize we have to write about personalities and psychologies of the people living in that horrible universe, so you end up once again revisiting what drama is..." This irks me. Look I'm not a horror buff, so perhaps it's not my place to talk and to be fair maybe this is not the way she meant to come across and I'm probably alone in this but the way she talks about horror at least in this particular answer comes across to me as somebody who doesn't understand or respect horror. I don't really know how to properly explain myself but her going "but that takes you just so far as a writer then you sort of realize we have to write about personalities and psychologies of the people living in that horrible universe, so you end up once again revisiting what drama is" to me this come across as somebody who doesn't know or understand that you can write personalities and the psychology of people and still be horror. Still stay in that genre, without going into drama territory like horror is so much more than just jump scares. I don't know maybe it's that I'm so tired of everything being put in what I consider outdated boxes of either comedy or drama. Or that I'm tired of horror being shoved into drama's box. Or horror being shoved into a box where it's just gore and jump scares and if it's more than that it's a drama or artsy horror or classy horror or some other bs people say when they don't wanna admit they like horror. Or maybe it's the fact that Eugenie Lemming of all people is the last one that should be saying this when with the exception of ONE episode she and her writing partner don't actually explore personalities or peoples psychology. Or maybe it's the fact that the early seasons where this show was more horror it explored personalities and the psychology of the people in that world way better than the later seasons, even though the later seasons have moved into drama territory and have moved away from its horror roots! Anyways I'm gonna leave a full transcript here plus the timestamp so you can go and get full context, this was just something that like I said irked me: "when the show started the mission was to do an hour horror film every week, and really pay attention to the elements of what made horror horror and really put a lot of money into production and make it look good i think we didn't really break ground- yes there were some scary things and special effects in prior shows but we really approached this and build up a post production community, we really worked on the physical nature of horror and the psychological results of that, but that takes you just so far as a writer then you sort of realize we have to write about personalities and psychologies of the people living in that horrible universe, so you end up once again revisiting what drama is love between brothers betrayal between family members, hope dreams promises honor deceit and you do all that- so that can be in every genre it's just packaged as a very classy horror genre..." [TIMESTAMP]

Let's move on to Buckner, he, unsurprisingly, said a lot of things that made me roll my eyes, like he said romance might make an appearance which why??? that's not the point of this show, and: "that's one of the more exciting aspects of this season is that it's actually covering new turf instead of just doing the things that ave worked for us and just going out on a high note actually it's going to be quite experimental" [TIMESTAMP]

Do I even need to point out why this is a dumb ass approach to handle a shows last season? Speaking of dumb asses...Dabb. He got asked if Sam was still psychic he answered: "No, since Sam decided to stop drinking demon blood his powers have gone away, unless he picks it [demon blood] up again" [TIMESTAMP]

Sam had his powers before he got addicted to demon blood, he got his powers when he was a baby because of Azazel, ffs we saw him use his powers in an episode! In season 2! Before the demon blood addiction! He drank demon blood to enhance the powers he already had; it would have made more sense if he had said something like Sam burned his powers after what happened in s5. Sucks that we might never see Sam with powers again but with Dabb behind the wheel it might be for the best.

Now you’ve probably noticed that so far I’ve made no mention of Jared, Jensen or Alex and that’s because with the exception of Jared and Jensen talking about the ending nothing stood out that much to me and as for why I don’t talk about the ending it’s cause I don’t have much to say, Jensen said it took some time but he’s ok with the ending now, Jared that he was ok with the ending they had planned but that it might change and I am both comforted and concerned by their words; even though I didn’t talk about them I am going to link to the Jared and Jensen’s interviews I watched, I personally really enjoyed Jared’s (I love the way he answers questions ❤), sadly I forgot to save the links to Alex’s interviews but if I might try to find them and add them.

So there it is my edited down opinions on this year’s SDCC, if you read this whole thing, thank you. If you read it and didn’t agree with any of it that’s ok, this is as I said just my opinion.

Links:

SDCC Panel

Lemming Interview 1

Lemming Interview 2

Buckner Interview

Dabb Interview

Jensen’s Interviews:

Interview 1

Interview 2

Interview 3

Interview 4

Jared’s Interviews:

Interview 1

Interview 2

Interview 3

Interview 4

#you can tell i lost some steam at the end that's because i am tired af #anti bucklemming #anti andrew dabb #do i even make sense in this post? probably not #mine #incredibly late opinion post about #spn sdcc 2019 #one of jared's interviews might be repeated cause i lost the original link and had to go off my history #there are most definetely tags missing but i am too tired to care #i was going to include jared's analogy that ending this show is like putting down a pet but it's gonna get its own post

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takaraphoenix · 6 years ago

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Let’s talk about character death for a moment.

Because I’ve been thinking about One Piece all day long. And for me, personally, One Piece will always be king of character death.

But before we go into that, let me clarify some things about character death.

I’m not a fan of character death. I don’t want to see characters I love die. That being said, The Thing (show/movie/book/whatever) does not exist to please and make every viewer happy and feel fuzzy. Especially when it features heavy action elements, character death is kind of a very important element and tool.

Nowadays, character death is kind of... a joke.

No one stays dead anymore. When a character dies, the viewer very often isn’t even under the illusion that this character might be dead in the sense of “gone forever”, which death kind of should imply. Instead it’s more of a “Well, how/when are they going to bring them back?”.

In Shadowhunters, for example, Jace dies for a full three minutes of screen-time before being brought back from death. They could have milked this for some suspense and feelings by killing him off in a cliffhanger for the season - not EVERYBODY has read the books before watching the show, you know. You could have pretended that he stays dead by killing him off in the season finale and waiting with the “Oh, I’d like to have him back, please” for episode one of the next season, to keep the viewers on their toes as to how and when the character will be brought back.

Sebastian. Killed off, immediately summons his mom who promises to bring him back.

And even on the slim off-chance that a character is killed and actually stays dead - Jocelyn Fray - it is not really... handled.

She’s been dead for a little more than a month now. That is no time at all. Yet when Clary had the angel summoned, bringing back her mother and only good relative doesn’t even cross her mind. It’s not like Jocelyn’s death has been years ago and she is well-settled with never seeing her again. It’s only been a handful of weeks now. I find it highly unrealistic that she got over losing her mother that quickly.

Luke too. The supposed love of his life died a bit over a month ago but he’s already flirting up the next woman. Like. Where’s the grief-period...? I’m not saying he ought to wear black and mourn for the rest of his life, but... more than two months, maybe?? You spent twenty years loving this woman. Somehow, I feel like that should have a longer grief-period and a harder impact than chatting up a woman after not even two months.

Not to mention the part where the show just opted to completely ellipse the grief-sharing between father and daughter. Luke and Clary addressed Jocelyn’s death in passing.

And it was mainly just used to fuel a tiny bit of Alec angst - but really only a tiny bit because he literally completely stopped being guilty about it right after he tried to kill himself over it. And while the suicide attempt was mainly the demon, it still rooted from his deeply seated guilt for having killed Jocelyn. But after that, it was kind of just... done.

Jocelyn’s death was all in all completely horrendously handled.

And horrendously handled death is kind of what brought me to this topic, as I had just recently ranted about Kevin Can Wait and how they just fridged the female lead because they didn’t know how to further the plotline but also added a time-skip of a year to assure no grieving will happen and we can move on to the “fun part” again.

That’s the two big bad Hollywood ways of handling character death.

Either you avoid handling it by just... bringing the character back to life.

Or you avoid handling it by simply not having the characters grief and deal with the death.

Both of those are awful options.

Look at Marvel. Avengers was kind of a movie you walked into expecting no real major stakes - there was just NO WAY they would actually kill off an Avenger during the very first team-up movie.

But they killed off a secondary character very effectively.

And by Coulson not actually being a character anyone was close to, you got to avoid the grieving process. Yet still the movie made that death impactful, gave it meaning and an appropriate reaction.

...I am still intensely salty that they fucking retconned it out of existence by whatever the fuck they did to justify that TV show. Like. I genuinely don’t care for it and it absolutely ruins the rewatchability of the movie for me because now when Fury goes drama queen over Coulson’s death, I just shrug and go “Meh”, knowing full-well he is still alive.

Prior to the retconning bullshit, it was a really good and effective way of adding stakes and feelings.

And that is what character death should be.

It adds stakes to a situation. Knowing that your protagonists are not invincible. That something can actually happen to them. The “no one is safe”-principle.

It’s why I absolutely adore the Percy Jackson and the Olympians series.

It had stakes. I spent hours crying over the final book, because Rick Riordan put the effort into making you grow attached to characters like Ethan, Charles, Silena and Luke. You cared about them, their deaths were not throwaway lines, they were impactful on the reader, the story and the characters in the universe.

He gained a shit-ton of respect from me for that book. Genuinely.

Granted, he lost all that respect with the sequel-series where he did the literal opposite and just did not kill anyone. Oh, yeah, nameless, never-before-appeared characters in throwaway line-mentions, a failed comic-relief death for Octavian and the “No worries, we spent the whole entire fucking book setting up the Death Cure”-death of Leo. It was pathetic and insanely boring.

There was absolute emotional detachment toward the final battle, while in the original series, I could not put that book down reaching with bated breath as some of my favorite characters died or risked their lives respectively.

After Beckendorf blew up, when Silena sacrificed her life, all bets were off. I could not stop reading. I had to know. Had to know if Nico and Clarisse and Thalia and Percy would make it out alive of this series. What other twists would come. It was incredibly engaging, both plot-wise and emotional.

That is what character death should do. Make a situation feel real. Make it feel emotional.

It’s one of the many, many reasons why I love and always will love Buffy the Vampire Slayer.

Oh yeah, sure, this show is like the OG sinner of “Oopsie daisy, brought back from the death”-protagonist and it was ridiculous on that behalf.

But even Buffy’s death had impact.

Dawn, who started stealing and acting up because she did not know how to deal with her feelings and her frustrations. The utter... loss.

Spike fucking a robot, because the woman he loved was gone. But also Spike working with the Scoobies, Spike being an anchor for Dawn and being there for Buffy’s orphaned sister.

The utter despair of Willow trying to bring Buffy back.

Literally the only plotline of an entire season is them dealing with Buffy’s death. Buffy included. It’s not just “Oops, dead - aaand we’re back online!”. There is grief, heartbreak, confusion, the... “What now?”.

Even as real consequences as how to pay the fucking rent with the “woman of the house” dead.

And it’s not even just this “We will literally dedicate a whole entire season to this character death and it will ACTUALLY work and be brilliant”.

The Body remains one of the best episodes in TV history to me, as it deals with the death of Buffy’s mother, because it is... mundane. It’s a normal, human death and it’s... normal, human griefing.

Or... even smaller things. Kendra. She was only in literally three episodes. She wasn’t a big character. Yet even seasons later, Buffy still had Kendra’s stake, the stake that meant so much to Kendra and you were reminded that Buffy is still thinking of this dead friend. It wasn’t just a one-off character who was shrugged off and discarded.

That’s how you should handle character death. That’s how you make it work.

And now back to where all of this started.

One Piece.

Because there is actually a third option available on the “Death doesn’t matter” scale, aside from bringing them back from the dead and just not having characters deal with the death.

Simply not killing anyone off to begin with.

It’s usually the anime go-to thing, but also typical for cartoons. Generally, the animated medium where violence is hilarious and did you see how this Normal Human just walked straight through a wall and should technically now be dead? Hahaha.

Yeah. That.

One Piece used to be one of those.

In fact, One Piece went out of its way to show you just how ridiculously many characters survive ridiculously deadly situations in the Impel Down arc. We were reunited with so many characters that I genuinely had thought had just died an off-screen death in conclusion to the prior battles.

And then my favorite character died.

Died and stayed dead.

In conclusion to a story-arc that literally reintroduced a handful of characters I thought had died, making me feel even surer that this all would be fine. That Luffy would be on time to save his brother’s life, that they would leave, together, reunited.

And then they killed Ace off. Actually, on-screen, fully. Dead.

I cried for months over this death. It was intensely impactful.

For one, due to the world-building so far that has set it up that no one really dies. All actual character deaths laid in the past - being shown in flashbacks. But no one ever actually died from a battle-wound. Crushed by an entire fucking building? Shrug it off, dude.

This... inversion of an “avoiding death”-trope can make a character death intensely effective, because it really does hit you out of left field then.

But it wasn’t just that.

Luffy’s reaction to it was so intense and real and deep and argh, I cried so much. So, so much. And I was so angry about this. Stopped watching/reading for a solid two years of grieving period for myself.

I’m not good when you kill off my favorite character.

And I gotta admit, I have never really managed to get back into it since Ace’s death. I think that’s less due to the death and more due to the time-skip. I didn’t like that at all.

But yeah, it was hella effective and well-written.

So, in overall conclusion, what I want is for them to stop with the cop-out deaths.

If you don’t have the balls to actually kill your characters off, then don’t fake it either, because it’s uncreative, uneffective, boring and annoying.

Kill them off or don’t, there can’t be an in-between, the in-between has become an overused trope at this point.

And when you kill them off, fucking deal with it and have your characters deal with it too.

#Character Death #Phoe's Random Show Rants #Writing

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aion-rsa · 3 years ago

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Star Trek: The Rise, Fall and Rise Again of Planet of the Week Storytelling

https://ift.tt/3hF2eED

It’s 1964, a couple of years since President John F. Kennedy announced that the USA was going to land on the moon. It was also the year that saw ground-breaking science fiction anthology series The Twilight Zone come to an end. The series had become a household name by telling self-contained, high concept stories written by leaders in the genre. Not just the endlessly talented Rod Serling, but names like Charles Beaumont, Richard Matheson, and Ray Bradbury. It also starred up-and-coming acting talent such as William Shatner, Leonard Nimoy, and George Takei.

As well as bringing talent to the field, The Twilight Zone was also notable for using science fiction allegory as a way to talk about political and social issues that advertisers and censors would otherwise not touch with a ten-foot pole.

In steps Gene Roddenberry, with a concept he describes as “a wagon train to the stars.” His opening pitch is “Action – Adventure – Science Fiction. The first such concept with strong central lead characters plus other continuing regulars.” In other words, fitting neatly into the niche left by The Twilight Zone, while bringing with it the marketability of a recurring cast.

The heroes of this series, the crew of the S.S. Yorktown, would visit alien planets, but not too alien, as Roddenberry himself points out:

“The “Parallel Worlds” concept is the key…

…to the STAR TREK format. It means simply that our stories deal with plant and animal life, plus people, quite similar to that on earth. Social evolution will also have interesting points of similarity with ours. There will be differences, of course, ranging from the subtle to the boldly dramatic, out of which comes much of our colour and excitement. (And, of course, none of this prevents an occasional “far out” tale thrown in for surprise and change of pace.)”

At which point Rodenberry probably noticed he liked the sound of that split infinitive. The purpose of the “Parallel Worlds concept” was to make “production practical by permitting action adventure science fiction at a practical budget figure via the use of available “earth” casting, sets, locations, costuming, and so on” but also to “keep even the most imaginative stories within the general audience’s frame of reference.”

An excerpt from Gene Roddenberry’s “planet of the week” pitch

In that opening pitch, which you can find at the Ex Astris Scientia fan site here, Roddenberry drops a number of potential story pitches. Some of them, like “President Capone,” would eventually find their way into episodes of the series. Others, like “Kongo,” which promised a race-switched portrayal of “the Ole Plantation days,” perhaps thankfully never materialized.

The idea of visiting a different planet every week allowed the show to keep telling “Twilight Zone-ish” anthology stories, while maintaining a recurring cast, in the same way a detective show could feature a different murder every week. It also meant, at a time when syndication was an important part of any show’s income, that episodes could be shown in pretty much any order without confusing the audience.

The series was successful, then less successful, then cancelled to the upset of a collection of vocal hardcore fans.

It spawned imitators. Blake’s 7 and Space: 1999 were darker, weirder, and more British than Star Trek, and more tied into their own long-term narratives, but both still featured plenty of stories where the characters arrive at a planet and encounter weird stuff. Battlestar Galactica, while trying very hard to be Star Wars, was also no stranger to the planet of the week.

Roddenberry tried to relaunch Star Trek a few times. First as Star Trek: Phase II, then an unrelated series called Starship, then a movie, until eventually striking gold with Star Trek: The Next Generation.

The Next Generation

After an, admittedly, rocky start, The Next Generation took the Star Trek concept further than ever before, and over seven series elevated “planet of the week” to almost a philosophy procedural. Over time, it did things the original Star Trek could never do, introducing character arcs and long-term storylines, such as the Borg, or Data’s growing humanity.

Even in the show’s Writers’ Bible, we can see how the Star Trek concept has been refined. It specifically lays out “We are not buying stories which cast our people and our vessel in the role of “galaxy policemen” and “We are not in the business of toppling cultures that we do not approve of.” It also narrows the focus. No more “Earth where Rome never fell” stories, instead, saying “Plots involving a whole civilization rarely work. What does work is to deal with specific characters from another culture and their interactions with our own continuing characters.”

Star Trek: The Next Generation “The Masterpiece Society”

In its planet-of-the-week stories it hit some of the old stand-bys, such as The Planet Where There Is No Crime But The Only Sentence Is Death, or Racist African Stereotype Planet, in admittedly not classic episodes, but also gave us stories such as “The Masterpiece Society,” which not only gave us a look at a hypothetical world where everybody does the job they are born for, but also asks uncomfortable questions about how the Enterprise should interact with these cultures, a theme we see prop up again in “First Contact” (not the movie) and “Who Watches the Watchers?“

It also gave us “The Outcast,” an episode that, while it’s dated extremely poorly, was at least trying to address the prejudices of the time (and may have done so more successfully if Frakes had got his wish of the gender-neutral alien love interest being played by a male actor).

Star Trek: The Next Generation was an enormous success, and success breeds imitators.

The Planet of the Week’s Golden Age

Red Dwarf started out as an entirely different sort of beast to Star Trek, replacing military and scientific heroes with chicken soup machine repairmen, and space adventures with bunk bed comedy that just so happened to be set aboard a spaceship. But as the series developed they would encounter waxwork museum planets, psi-moons that replicated your inner psyche, planets like ours but everything runs backwards (later remade as Tenet), and a world where everyone was Arnold Rimmer.

The mid-nineties to early noughties were a golden age for planet of the week TV.

Star Trek: The Next Generation itself would inspire several spin-offs, including Star Trek: Voyager and Star Trek: Enterprise, as well as Star Trek: Deep Space Nine (which we’ll come to later).

The movie Stargate was spun-off into the TV series Stargate: SG-1, using the film’s premise to make a planet of the week series that a) saved money on expensive spaceship footage – until they decided they wanted to do that anyway – and b) handily explained why all the alien cultures looked extremely human. That series itself would eventually spin off two other series and a handful of TV movies.

Farscape took the Planet of the Week setup and decided to get real weird with it, taking full advantage of the creativity of the Jim Henson Creature Workshop to give us aliens that were far more than a funny-looking forehead, and storylines that were far more complex and messy than the clean cut Star Trek universe would typically allow. At the same time, while planets of the week weren’t a rarity, Farscape’s episodes would frequently bleed together into overarching single plotlines. Sliders, meanwhile, would abandon spaceships entirely, taking Roddenberry’s original “parallel worlds” pitch to its logical extreme.

Even Gene Roddenberry’s unused ideas were being mined for potential ideas, with Gene Rodenberry’s Andromeda giving us a series about a Definitely Not The Federation Starship getting thrust into the future to discover the Definitely Not The Federation has fallen and the galaxy is in disarray (an idea that might sound extremely familiar to modern Star Trek fans).

But while space shows were in a boom, two shows in particular were already adding twists to the formula that could spell doom for the Planet of the Week.

Bringing the Strange New Worlds to You!

As The Next Generation was getting ready to end on a high, two series were closing in on a way to replicate its success. There is some debate about how much these two creative teams arrived at the same solutions in parallel, or if there was some cross-pollination, but either way, the thinking was the same.

Q’s Return on Star Trek: Picard Season 2 will Follow “Significant Trauma”

By Joseph Baxter

Star Trek Picard Season 2 Teaser Trailer: All the Easter Eggs & References

By Ryan Britt

The most expensive thing about planet of the week shows was, basically, the planet. You could creatively reuse props and costumes, but each world needed its own backdrops, scenery, alien makeup, and more. What if you could do Planet of the Week but without the planet?

And so we saw Star Trek: Deep Space Nine and Babylon 5 emerge. Instead of a spaceship, the setting was a space station, and instead of visiting a different planet every week, the adventure would come to them in the form of alien visitors and clashes among the native alien populations of the station.

The station brought with it other implications as well. No longer would the characters be able to fly away at the end of the episode, never thinking again about the chaos they left in their wake. These characters would have to live with the consequences of their actions, with the effects returning on them again and again.

Both Deep Space Nine and Babylon 5 started out with storylines that seemed like fairly straight forward Star Trek-style fare, but over time these long-term plotlines would build up. Both space stations soon found themselves facing a mysterious new threat, and the outbreak of a galaxy-wide war.

As the necessity for one-and-done storylines fell out of vogue, writers felt more freedom to produce these ongoing storylines.

These series, alongside Space: Above and Beyond paved the way for yet more serialised storytelling in the form of a new, rebooted Battlestar Galactica. This version was no Star Wars knock-off, and had no interest in planets of the week. While it was set on a fleet of ships, Battlestar Galactica was less interested in the planets those ships were flying by than in the relationships between the people aboard those ships, and their battle with the pursuing Cylons.

The cast of Babylon 5

At the same time, a feeling was spreading that bobbly forehead aliens looked a bit silly, and stories became decidedly human centric. Firefly straddled the gap between episodic and serialized, in much the way Joss Whedon’s Buffy the Vampire Slayer had done before it, but every character in it was human, and every planet (or often, moon) they visited was a human colony, more often-than-not, a desert one with a decidedly Wild West aesthetic.

Star Trek: Enterprise became the first Star Trek since the original to get canceled, and the first not to have a successor series immediately lined up.

By 2010, the only series about spaceships visiting alien planets was Stargate: Universe, and even that show was more interested in the inter-character drama among the ship’s crew than in the planets they were popping in on along the way.

Even J.J. Abrams’ new Star Trek movies were less interested in strange new worlds, than in preventing attacks on Earth. Star Trek Into Darkness climaxes with Spock having a fist fight with someone on the roof of a rubbish truck in a really quite modern-looking San Francisco.

For a while, spaceships just weren’t something you found on TV. In 2014, the only space TV show on air, Ascension, turned out to actually be about a bunch of people who only thought they were on a spaceship, but were actually in a massive simulator.

Space Gets Cool Again

Then Abrams got the job that, frankly, judging from his Star Trek movies, was the one he had wanted in the first place. He got to make the new Star Wars movie. It came quickly in the wake of the heavily Farscape-aesthetic wielding Guardians of the Galaxy (Ben Browder, Farscape’s John Crichton, would later say “When I met James Gunn, I introduced myself and he said ‘I know who you are.’ And I said ‘Yeah, I thought you did because I saw your movie, bro.’”)

Around the mid-2010s, there seems to be a tipping point, where people finally have their fill of the post-apocalyptic and are suddenly very keen to get back to space.

In TV land James S.A. Corey’s The Expanse novels were being adapted into a TV series in an attempt to create the fabled “Game of Thrones in space.” That was quickly joined by the more cheap and cheerful space-bounty-hunter series, Killjoys, and space reformed-mercenary series, Dark Matter.

But with the exception of The Expanse’s protomolocule, we had yet to see many aliens on TV, with less interest in exploring alien worlds than in space crimes and interplanetary/stellar scale politics and warfare.

In 2017, when Star Trek, finally, returned to the small screen, we were given a series that involved less traveling to previously unexplored alien worlds, instead giving us a long-term plotline about the Federation’s war with the Klingons.

And yet old-style Trek stories were starting to make a comeback. Seth MacFarlane’s The Orville was marketed as a space spoof akin to a live action Space Family Guy, or something in the mould of Galaxy Quest. What viewers actually got was a remarkably faithful homage to the Star Trek of the nineties. Over two seasons it’s given us planets where the female gender is outlawed, where everything is decided by social-media vote (an extremely “successful white male comedian who’s worried about getting cancelled” form of social commentary), and a planet where everyone born under a certain star sign is put in camps. It’s a series that might not quite reach the heights of the stories it’s aspiring to be like, but it is clear about the sort of stories it wants to tell.

At the same time, planet of the week stories were coming from another unexpected direction, in the form of Rick & Morty. From its Purge Planet episode (that directly references Star Trek’s own ‘Red Time’, to the culture of civilized facehuggers, one thing Rick & Morty excels at is taking a big idea, playing with for the length of a story, and then putting it back in its box.

So while Star Trek: Discovery was followed up by the equally plot-arc-heavy (although extremely welcome) Star Trek: Picard, perhaps it wasn’t surprising that the third new Star Trek spin-off was an animated series written by Rick & Morty writer Mike McMahan.

Despite being a comedic take on the franchise, Star Trek: Lower Decks still feels more like “old” Star Trek than its franchise-mates. It features a big orchestral theme tune and an opening credit sequence with the ship flying past various planets. Its plots involve rescuing ancient cryogenically frozen colony ships, space zombies, extremely crystal-themed planets, and massive alien trials that actually turn out to be surprise parties.

Star Trek: Discovery, meanwhile, seems to have been taking the long way round to its planet of the week roots. Its second season gave us a look at the culture of Commander Sarus’ home planet (along with some very dodgy prime directive violations) and a planet of humans abducted from Earth’s World War III. Its third season saw the Discovery thrust into the future to discover the Federation has fallen and the galaxy is in disarray, allowing us the peculiar pleasure of seeing a Planet of the Week episode where the planet in question was Earth. Now that Michael Burnham is a Captain, and the ship is reunited with the remnants of the Federation, we may actually see some actual exploring next season.

Even Star Wars, which has never really been at home in this particular sub-genre, has given us The Mandalorian. Despite the ongoing plot, every episode of the Star Wars series features the Mandalorian (I refuse to remember his actual name) riding into town on a new planet with a drastically different biome and inhabitants, having an adventure, and then riding off perpendicular to the sunset.

And now we come full circle. Because as well as its own sideways edging towards Planet of the Week stories, Star Trek: Discovery has also introduced Captain Pike, the Captain of the USS Enterprise introduced in Star Trek’s original pilot. He, his first officer “Number One”, a new Spock (the third, if you’re counting) and their much shinier looking Enterprise NCC-1701-No-Bloody-A-B-C-or-D proved so popular with fans that they have been given their own series.

The description of Star Trek: Strange New Worlds sounds… familiar.

Executive producer Henry Alonso Myers describes it as “We want to do Star Trek in the classic mode; Star Trek in the way Star Trek stories were always told. It’s a ship and it’s traveling to strange new worlds and we are going to tell big ideas science fiction adventures in an episodic mode. So we have room to meet new aliens, see new ships, visit new cultures.”

It sounds like a pretty good idea.

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12 Secret Redbox Codes to Get FREE DVDs, Blu-Rays & Games

Maybe you’re old enough to remember going to the video store to rent a movie for the weekend. Although your town probably doesn’t have a video rental store anymore, there’s at least one Redbox machine in its place. Although Redbox codes are the most popular way to watch new movies for free, there are many ways using Redbox benefits your wallet.

Your local Redbox kiosk is no longer exclusively for renting new release DVDs. There are also Redbox codes to save money on Blu-Ray and video game rentals too. And, Redbox continues to continuously roll out new features so you can finally ditch your cable plan and even your current movie streaming plans too!

Finally, Redbox is a two-way street when it comes to making money. While many people pay Redbox to rent movies and games, you can turn the tables and make Redbox your ultimate side hustle.

Try These Redbox Codes to Rent Movies for Free

Some people use Redbox to rent new releases and stream on-demand content on another platform. Even though you’re not paying movie theater prices, movie rentals can still add up.

There are several codes you can try using to get free Redbox DVD rentals. Other codes can help you get discounts on Blu-ray and video game rentals.

Most of these codes can only be used once and are linked to your credit card or email address. For the rental to be free, you must return your rental the next day by 9:00 PM local time to avoid the next day rental fee.

Most Redbox locations are in high traffic areas, you can easily drop your movie off on the way to work or sports practice, so it’s easier to return the movie by 9 PM than you think.

12 Free DVD Rental Codes

Most Redbox codes are for DVD rentals. These are the cheapest and most common rental which means more codes. Some of these codes can work at any Redbox kiosk, while others are location-specific for a particular store or restaurant.

These codes should work at any Redbox kiosk:

BREAKROOM

DVDONME

DVDNIGHT

REDBOX

RENTONME

Input these Redbox codes when you’re at a specific store or restaurant. For easy reference, the codes follow the name of the store.

HEB Grocery: REDBOXHEB or RDBOXHEB

McDonald’s: DVDATMAC

Sonic Drive In: DRIVEIN

Walgreens: DVDATWAG or WALGREENS

Wegman’s: DVDATWEG

If you can use all of these codes, that’s 12 free movie rentals!

Text Redbox Codes to 727272

Texting the following codes to 727272 can help you score a free movie rental too. For these codes to work, you will first need to text SIGNUP to 727272 to join the Redbox Text Club. The club is free to join and you might even get a free rental just for signing up!

Once you join the club, you can begin texting these codes to get a free or discounted rental:

GAMEKIDS (Free one-day video game rental!)

APPNOW

DEAL

FREEBIE

MOVIE

MOVIE TIME

PUSH

As a Redbox Text Club member, you might occasionally receive other free codes via text message to use. These promo codes only work on the day you receive them so you will need to act quickly.

Join Redbox Perks

The Redbox Perks loyalty program lets you earn points for every Redbox rental or purchase. For example, you earn 100 points per night for every DVD rental and a free rental costs 1,500 points. You will earn more points for Blu-ray and video game rentals.

You will earn reward points with each rental:

DVD: 100 points per night

Blu-ray: 125 points per night

Games: 200 points per night

On Demand: 75 points per purchase

Your rewards points can be redeemed for one-night DVD, Blu-ray, or video game rentals.

Periodically, Redbox may send you an exclusive code via email for free rentals and other discounts too. Loyalty has its benefits!

Get Two Free Redbox Rentals When You Join Redbox Perks

The real reason to consider joining Redbox Perks is the opportunity to get free DVD rentals during your birthday month and when you initially join the club.

By renting at least 10 movies a year, you also qualify for complimentary Blu-ray upgrades and triple points earning days. Even if you don’t rent 10 movies a year, you still enjoy the free birthday movie every year.

As a Redbox Perks member, you can also get additional discount codes for renting multiple movies or games at the same trip.

Tip: Check out our list of over 150 free items on your birthday to go with your free birthday movie rental!

Visit the Redbox Website for Price Drops

Sometimes, discounts are in plain sight. Redbox has several scrolling banners advertising their current promotions. One banner might let you rent an on demand movie for only 99 cents! Most on demand movies cost $1.99 for older movies and $4.99 for new release.

These price drops help you save money on rentals and purchases without using a rental code. You only have to complete the purchase before the promotional period ends.

Scour Your Entertainment Book

If you like to visit restaurants or local attractions, an Entertainment Book can pay for itself every single year. A book only costs $12 and it includes more than 75,000 coupons for local and national companies. The Entertainment Book can help you save money on movies and has included a “Rent One, Get One Free” Redbox coupon in previous editions.

Buy Discounted Redbox Gift Cards

Another backdoor way to get free Redbox movies is to buy discount Redbox gift cards. Search for Redbox gift cards on Gift Card Granny. The savings can help you watch movies for free when you don’t have a code to use.

You can also use discounted gift cards to save money on other online and in-person purchases too including restaurants.

Use a Redbox Code Sharing Site

This option isn’t as surefire as the other suggestions, but it can still be worth a try if you’ve already used the other codes mentioned above.

When you’re ready to checkout, visit the Redbox Reddit thread to see if anybody is sharing their unused codes. These codes are single-use only so hopefully another user left a comment to say it’s been redeemed so you don’t waste precious seconds.

As a way of paying it forward, Redbox Perks members will share the codes they don’t use so they get used by someone else. The codes can be for a free movie rental while others are for a discount.

If you’re a Reddit user, please do other visitors the favor and leave a comment so they know the code has been used.

The Latest and Greatest from Redbox

Maybe the last time you used Redbox was when you could only rent DVD movies. Now, they offer Blu-ray and video rentals plus on demand streaming. You can even buy used movies and games from their kiosks too!

If you haven’t realized it yet, Redbox has come a long way from its humble origins in 2002.

Rent DVDs and Blu-Rays at Local Kiosks

Redbox is probably the best place to watch new release movies. Although streaming sites like Netflix or Hulu get some new releases immediately, it usually seems like you need to wait an eternity for many new titles to become available.

With Redbox, you can get virtually every new title immediately. You still need to wait for the movie to reach DVD, $1.75 a night is a fraction of the price you’ll pay for seeing it in theaters. With the Redbox codes mentioned earlier, it’s possible to see the movie for free!

If you prefer a high-quality picture, Blu-ray rentals cost $2 per night. Redbox offers many titles in Blu-ray, but still has a higher availability in regular DVD quality. At select locations, Redbox is also beginning to rent 4K movies too which is more advanced than DVD or Blu-ray.

To get the exact release dates of upcoming titles, visit the “Coming Soon” menu.

Rent Video Games

It’s also possible to rent video games on a nightly or three-night basis for these three platforms:

PS4

Xbox One

Xbox 360

Redbox is also renting Nintendo Switch games in six cities in the United States. You can expect this number to grow as their Switch game library grows.

You can see when Redbox will add new title by clicking the “Coming Soon” button.

Play an Entire Video Game for Only $7

Three-night rentals are the best value and perfect for games that only require a long weekend to beat and have minimal replay value. Most new video games cost $60, and you can pay $7 for a three-night rental. You play the game and save $53 in the process, that’s a win-win no matter how you look at it.

Maybe there’s a serious gamer in your life that blocks off a long weekend to play an entire game from start to finish. Refer them to Redbox so save some dough and maybe you can share a gift code too!

Most video game players probably have a large collection of games they paid full price to buy only to play through once. With Redbox, you no longer have this problem of overpaying for games that collect dust after the first week of gameplay.

Stream Movies and TV Shows On Demand

Cord cutters rejoice! One of the newest Redbox features is streaming movies and tv shows on demand. If you don’t benefit from a monthly streaming plan, Redbox’s a la carte digital rentals is an excellent alternative.

TV shows must be purchased on a per episode or complete season basis. Single episodes cost $1.99 and an entire season usually runs $17.99. Because you own the tv show, you have unlimited playback capability.

Movies can either be rented or purchased in standard definition (SD) or high definition (HD). If you choose to rent, the title remains in your library for 30 days. You have 48 hours to finish the movie once you begin watching it. It costs $4.99 to rent a new release SD movie compared to $1.75 to rent the DVD.

On-demand movies can be the more cost-effective option if you can’t return your DVD within one day and you want to save gas money.

It’s also possible to cancel your Netflix subscription by using Redbox on demand too. Instead of paying a monthly subscription, you only pay for the content you want to watch. If you don’t watch a lot of tv, spending a few dollars is a lot cheaper long-term than $10 a month for unlimited streaming you don’t use.

Rent Older Titles for $1.99

Redbox is known for their new releases, but the one downside is that you cant rent older movies that are kiosks. With the brand-new Redbox On Demand feature, you can stream the films you can’t find at your closest kiosk. If your kiosk is “sold out” of the most popular new release, you can also stream it for movie night too.

There are films from almost any decade that you can stream on Redbox including modern 90s classics like Speed or My Cousin Vinny. You can search their video catalog by typing the name of the movie into their website search bar. Their catalog is surprisingly large and will make you rethink your current $10 monthly streaming subscription.

This option can also be cheaper than the $5 movie bin at Walmart too. If you don’t want to clutter your house with movies you only want to watch once, Redbox On Demand is your new best friend.

Purchase Used DVDs

Redbox only stocks new releases at their kiosks. Because new movies are constantly being released they need to sell their older titles to make space.

You might choose to rent from Redbox because you only watch most movies once. If there’s a movie you want to watch again, you can purchase it for $8.99 at a local box for the DVD or Blu-ray.

This option can be cheaper than buying a brand new title from Walmart or Best Buy and paying $20 just to get an unwatched copy. If you don’t care about having the original DVD case or being able to tear off the shrink wrap, buying your movies from Redbox is another crafty way to spend less on entertainment.

You can browse the selection on the Redbox website in the “Movies for Sale” button. After choosing the title you’re interested in, find a nearby box to pick up your title.

Buy Used Video Games

Just like Redbox sells older movies to make room for the newest releases, it’s also possible to buy used video games for $14.99 or less. These games might not be the newest releases, but certain games are timeless and can be played repeatedly.

Instead of paying full price, you wait and scoop up a bargain. It’s that simple! Because new games cost $60, getting the same title used can save you a lot if you enjoy video games.

Download the Redbox App

To save time and get exclusive Redbox codes, you should download the Redbox app. In addition to free rentals, you can also watch on-demand programming in the app. You can also find your closest kiosk and reserve movies in advance.

Android app

iOS app

Use the Redbox Alexa App

It seems like one of the latest digital trends are Alexa apps. If you have an Amazon Echo, you can download the Redbox skill. Once your Alexa device has the skill, you can say, “Alexa, open Redbox.”

Alexa can research new movies and games to decide what you want to watch or play tonight.

This app is still relatively new and doesn’t have as many capabilities as the mobile app, but you can expect future improvements.

Making Money with Redbox???

The first two sections show you all the ways you can watch movies or play video games with Redbox, but this section shows you how to make money with Redbox.

Redbox is constantly hiring full-time and part-time employees. Part-time positions are available across the entire United States because Redbox has kiosks in nearly every American city.

If you need a job with flexible hours so you can take care of the family or go to school in the other hours of the day, Redbox provides many opportunities that help you make money without working a traditional, rigid job.

Restock Redbox Kiosks

Fairies don’t magically restock the 41,500+ Redbox kiosks while you sleep.

As a part-time side hustle, you can work as a Field Support Representative to restock the kiosks in your local area. You will use your personal vehicle to maintain your route. Some of your responsibilities include:

Maintain adequate inventory in each assigned machine

Keeping records of movies you remove and deposit

Perform basic repairs

Provide customer service to store owners and customers

Input information into a computer database

You must also have a vehicle with 50 cubic feet of storage space and the ability to life 50 pounds. This can be a perfect side hustle if you don’t want to be stuck in a cubicle and you like being active. Redbox also requires you to live within 10 miles of a Redbox kiosk.

Open positions are listed at Redbox Jobs. In case you’ve seen somebody stocking a Redbox kiosk before, their journey started by applying online.

It’s also possible to find other part-time Redbox jobs too if you can’t commit to being a Field Support Representative at the moment. Some of the other possibilities might include working in their warehouse or customer service department.

You know your strengths, so pursue the path that’s best to make extra money while having fun!

Buy Redbox Gift Codes

Giving away freebies is a creative way to attract new customers to visit your business or website. Even if you’re thinking about starting a blog, keep this idea in your back pocket to build your audience.

A unique idea might be having a Redbox codes giveaway where people gain entry by joining your email list, following you on social media, or referring friends to follow you too. Digital gift codes can be purchased for DVD, Blu-ray, or video game rentals in five code increments.

You can give the gift codes to one winner or split them between several contestants. No matter how you cut it, people get free movies and you get more people interested in your brand.

Redbox also offers gift cards that you can give as a gift for a personal friend too. Their eGifts can be given for business or personal reasons.

Get a Redbox Kiosk For Your Business

If you already own a successful business, you might consider getting a Redbox kiosk installed. To be honest, the application process is quite rigorous but well worth it.

You will need to have at least 15,000 weekly visitors and you need to have a prime real estate location. If you meet these two basic qualifications, you can contact Redbox and ask them to install a machine at your place of business. Make sure you include your weekly traffic numbers to ensure your query gets considered.

Redbox currently has 41,500 kiosks across the country. A few years ago, there were only 36,000 kiosks! Redbox is still a growing company and your storefront might be their next kiosk home.

A Few Random Facts About Redbox

Maybe you use Redbox on a regular basis or you’re on the other side of the spectrum and have only seen their red machines and never rented a movie.

It doesn’t really matter how many times you use Redbox each month, there are many ways to watch movies for free.

Right now Redbox has more U.S. locations than McDonald’s and Starbucks combined? It’s true! Redbox currently operates more than 46,500 kiosks across the United States.

There’s a good chance there’s a Redbox kiosk at your favorite grocery store, restaurant, or pharmacy. If you haven’t used Redbox in a while, here’s their current prices for kiosk rentals:

DVDs: $1.75 per night

Blu-Ray: $2 per night

Video games: $3 per night

You won’t pay a monthly subscription and you only pay for a rental based on the number of nights you rent a movie or game. Redbox can be cheaper than renting the same on demand movie from your cable provider, and it certainly costs less than going to the movie theater.

Summary

Now that you know where to look for Redbox codes, it’s time to start using them to watch free movies. With a constant opportunity to watch free movies, you may truly never have to pay for a movie rental again!

We Need Your Help!

If you have tried any of these codes and they no longer work OR you found some new ones, please share them with us in the comments below so we can keep this updated for everyone! Thank-you!

12 Secret Redbox Codes to Get FREE DVDs, Blu-Rays & Games published first on https://justinbetreviews.tumblr.com/

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darcyfarber · 4 years ago

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12 Secret Redbox Codes to Get FREE DVDs, Blu-Rays & Games

Finally, Redbox is a two-way street when it comes to making money. While many people pay Redbox to rent movies and games, you can turn the tables and make Redbox your ultimate side hustle.

Try These Redbox Codes to Rent Movies for Free

Some people use Redbox to rent new releases and stream on-demand content on another platform. Even though you’re not paying movie theater prices, movie rentals can still add up.

There are several codes you can try using to get free Redbox DVD rentals. Other codes can help you get discounts on Blu-ray and video game rentals.

Most Redbox locations are in high traffic areas, you can easily drop your movie off on the way to work or sports practice, so it’s easier to return the movie by 9 PM than you think.

12 Free DVD Rental Codes

These codes should work at any Redbox kiosk:

BREAKROOM

DVDONME

DVDNIGHT

REDBOX

RENTONME

Input these Redbox codes when you’re at a specific store or restaurant. For easy reference, the codes follow the name of the store.

HEB Grocery: REDBOXHEB or RDBOXHEB

McDonald’s: DVDATMAC

Sonic Drive In: DRIVEIN

Walgreens: DVDATWAG or WALGREENS

Wegman’s: DVDATWEG

If you can use all of these codes, that’s 12 free movie rentals!

Text Redbox Codes to 727272

Once you join the club, you can begin texting these codes to get a free or discounted rental:

GAMEKIDS (Free one-day video game rental!)

APPNOW

DEAL

FREEBIE

MOVIE

MOVIE TIME

PUSH

As a Redbox Text Club member, you might occasionally receive other free codes via text message to use. These promo codes only work on the day you receive them so you will need to act quickly.

Join Redbox Perks

You will earn reward points with each rental:

DVD: 100 points per night

Blu-ray: 125 points per night

Games: 200 points per night

On Demand: 75 points per purchase

Your rewards points can be redeemed for one-night DVD, Blu-ray, or video game rentals.

Periodically, Redbox may send you an exclusive code via email for free rentals and other discounts too. Loyalty has its benefits!

Get Two Free Redbox Rentals When You Join Redbox Perks

The real reason to consider joining Redbox Perks is the opportunity to get free DVD rentals during your birthday month and when you initially join the club.

As a Redbox Perks member, you can also get additional discount codes for renting multiple movies or games at the same trip.

Tip: Check out our list of over 150 free items on your birthday to go with your free birthday movie rental!

Visit the Redbox Website for Price Drops

These price drops help you save money on rentals and purchases without using a rental code. You only have to complete the purchase before the promotional period ends.

Scour Your Entertainment Book

Buy Discounted Redbox Gift Cards

You can also use discounted gift cards to save money on other online and in-person purchases too including restaurants.

Use a Redbox Code Sharing Site

This option isn’t as surefire as the other suggestions, but it can still be worth a try if you’ve already used the other codes mentioned above.

As a way of paying it forward, Redbox Perks members will share the codes they don’t use so they get used by someone else. The codes can be for a free movie rental while others are for a discount.

If you’re a Reddit user, please do other visitors the favor and leave a comment so they know the code has been used.

The Latest and Greatest from Redbox

If you haven’t realized it yet, Redbox has come a long way from its humble origins in 2002.

Rent DVDs and Blu-Rays at Local Kiosks

To get the exact release dates of upcoming titles, visit the “Coming Soon” menu.

Rent Video Games

It’s also possible to rent video games on a nightly or three-night basis for these three platforms:

PS4

Xbox One

Xbox 360

Redbox is also renting Nintendo Switch games in six cities in the United States. You can expect this number to grow as their Switch game library grows.

You can see when Redbox will add new title by clicking the “Coming Soon” button.

Play an Entire Video Game for Only $7

Stream Movies and TV Shows On Demand

On-demand movies can be the more cost-effective option if you can’t return your DVD within one day and you want to save gas money.

Rent Older Titles for $1.99

This option can also be cheaper than the $5 movie bin at Walmart too. If you don’t want to clutter your house with movies you only want to watch once, Redbox On Demand is your new best friend.

Purchase Used DVDs

Redbox only stocks new releases at their kiosks. Because new movies are constantly being released they need to sell their older titles to make space.

You might choose to rent from Redbox because you only watch most movies once. If there’s a movie you want to watch again, you can purchase it for $8.99 at a local box for the DVD or Blu-ray.

You can browse the selection on the Redbox website in the “Movies for Sale” button. After choosing the title you’re interested in, find a nearby box to pick up your title.

Buy Used Video Games

Instead of paying full price, you wait and scoop up a bargain. It’s that simple! Because new games cost $60, getting the same title used can save you a lot if you enjoy video games.

Download the Redbox App

Android app

iOS app

Use the Redbox Alexa App

Alexa can research new movies and games to decide what you want to watch or play tonight.

This app is still relatively new and doesn’t have as many capabilities as the mobile app, but you can expect future improvements.

Making Money with Redbox???

The first two sections show you all the ways you can watch movies or play video games with Redbox, but this section shows you how to make money with Redbox.

Redbox is constantly hiring full-time and part-time employees. Part-time positions are available across the entire United States because Redbox has kiosks in nearly every American city.

Restock Redbox Kiosks

Fairies don’t magically restock the 41,500+ Redbox kiosks while you sleep.

Maintain adequate inventory in each assigned machine

Keeping records of movies you remove and deposit

Perform basic repairs

Provide customer service to store owners and customers

Input information into a computer database

Open positions are listed at Redbox Jobs. In case you’ve seen somebody stocking a Redbox kiosk before, their journey started by applying online.

You know your strengths, so pursue the path that’s best to make extra money while having fun!

Buy Redbox Gift Codes

You can give the gift codes to one winner or split them between several contestants. No matter how you cut it, people get free movies and you get more people interested in your brand.

Redbox also offers gift cards that you can give as a gift for a personal friend too. Their eGifts can be given for business or personal reasons.

Get a Redbox Kiosk For Your Business

If you already own a successful business, you might consider getting a Redbox kiosk installed. To be honest, the application process is quite rigorous but well worth it.

Redbox currently has 41,500 kiosks across the country. A few years ago, there were only 36,000 kiosks! Redbox is still a growing company and your storefront might be their next kiosk home.

A Few Random Facts About Redbox

Maybe you use Redbox on a regular basis or you’re on the other side of the spectrum and have only seen their red machines and never rented a movie.

It doesn’t really matter how many times you use Redbox each month, there are many ways to watch movies for free.

Right now Redbox has more U.S. locations than McDonald’s and Starbucks combined? It’s true! Redbox currently operates more than 46,500 kiosks across the United States.

There’s a good chance there’s a Redbox kiosk at your favorite grocery store, restaurant, or pharmacy. If you haven’t used Redbox in a while, here’s their current prices for kiosk rentals:

DVDs: $1.75 per night

Blu-Ray: $2 per night

Video games: $3 per night

Summary

We Need Your Help!

If you have tried any of these codes and they no longer work OR you found some new ones, please share them with us in the comments below so we can keep this updated for everyone! Thank-you!

12 Secret Redbox Codes to Get FREE DVDs, Blu-Rays & Games published first on https://mysingaporepools.weebly.com/

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atypical60 · 5 years ago

Text

It’s been a tough week at work. There’s a monthly project that I’ve taken on, and in all honesty—it’s the cause of frustration and stress. Nonetheless it has to be done.

My eyes. They burn. They hurt. I’m seeing triple! I’m so stressed!

And that’s what happened this past Thursday. And it rained. No! It freaking poured. Add to the rain, thanks to daylight saving time, the sky was dark when I left the office and my commute home was treacherous.

Add rain, darkness and glare to this mess. And me driving one mile an hour! But at least I had the Christmas music on!

I don’t even want to think about what those who were driving behind me were thinking because when driving around the bends and curves, I must’ve been going five miles an hour. Then there’s the glare from oncoming traffic (I have non-glare glasses. There’s still glare). And the bozos who drive at twilight with their damned brights on.

Yeah. This is me all bent out of shape because oncoming traffic lighting is too bright!

Suffice it to say, when I arrived home, I broke down in tears. Night driving is very challenging for me due to my horrific eyesight and I cannot change my work hours.

Let’s just say I wasn’t in the best of moods. And leave it at that.

It’s kind of a bitchy story…..

And so, I was too spent to sit downand write a blog post. I was too stressed to do much of anything.

All I wanted to do after dinner was to relax and watch a TV Show. A particular TV Show.

Ok. So I don’t have a reclining chair. But I did want to chill and watch TV!

I just wanted to watch “The Righteous Gemstones”!

After a taxing day and a horrific drive home, I can relax and have a good laugh by watching this show!

Earlier in the week, my daughter, Oona, called me to extol the greatness of this HBO series.

She said it was the funniest show ever and that Bonaparte would love it because it broaches the subject of religion. Now understand. Both of us were born Roman Catholic. I’m still very-much into my Catholic roots. Bonaparte is not.

As a Catholic, I’m not particularly fond of priests but the nuns…I love these women. Two of my aunts were nuns and The Sisters of Mercy taught me. I honestly love the nuns!

However, we are not fans of the religious extremists. Evangelicals top that list. Anyway, the description from HBO’s site is below:

You had me at John Goodman!

This comedy series tells the story of a world-famous televangelist family with a long tradition of deviance, greed and charitable work. John Goodman, Danny McBride, Edi Patterson, Adam Devine, Cassidy Freeman, Tony Cavalero, Tim Baltz and Greg Alan Williams star.

And the sons! Adam Devine from Pitch Perfect!!

The Father, The Sons, and the Holy Spirit! I’m blessing myself already!

This show is right up my comedic alley. And considering all the political garbage that I’m subjected to every night –a leader with no moral compass, I welcome a show that’ll make me laugh.

And music about the evils of Satan are included! I’m shook!

And as we settled upstairs in our comfy bed, me in my toasty pajamas nestled between Bonaparte and Chippy, I anticipated an evening of fun and laughs.

I was already smiling–but it was to be premature…

That did not happen.

What ensued, however, was an hour-and-a half of frustration, anger, cursing and threats to Verizon Fios and HBO!

That’s correct. My happiness quickly evolved into distorted frustration..

Remotes, yes, the plural. Remotes in hand, we headed to “On Demand.” First off, the Verizon Fios On Demand is challenging and a great pain-in-the-ass. The process to even get to the show you want takes at the least, fifteen minutes. And that’s when you know what you want!

And these are just the master bedroom remotes. There’s more downstairs and on the ground level of our home!

You have to press the “On Demand” button on the remote. And then you have to wait for On Demand to load.

On Demand. It should be renamed “On Anti-anxiety Meds”!

Then once there, you must choose a particular category. Sounds easy—right? Wrong because the friggin’ remote either jumps categories or a window for movies automatically pops up that you can exit out of.

Really? Trying to watch your damned TV show is giving ME anxiety flashes!

So, after about ten minutes, we reached the “Premium” channel category and started to peruse through the never-ending sea of offerings of the Home Box Office. When we finally found The Righteous Gemstones, all frustration was gone because, by now, both of us were eager to watch the first episode.

Thank you Jesus. I was finally going to see The Righteous Gemstones. Or was I?

And then the frustration really began to hit us. The series just ended it’s first season (it has been renewed for a second). With that, you would think this series would be readily available for viewing. Well……it is but you have to pay!

So wait. We gotta PAY to watch this? We already DO pay…

Yeah. PAY! We already pay over $100 a month for Verizon Fios and for HBO. And we’re supposed to pay extra to view this series? From a premium channel that we pay for from a provider we pay for?

Lots of naughty language from both of us. Me, cursing in English, and Bonaparte saying very naughty words in French came next.

Actions speak louder than words so I flip to bird to both Verizon Fios AND HBO. Actually I got loud too!

A few moments later Bonaparte’s eyes lit up. He reached for yet another remote. This time it was the Roku remote. I don’t even want to think about what he paid for the Roku service but he went through a series of clicks and another screen popped up.

WTF? Where’s HBO? Where’s HBO NOW and HBO GO! Gone to hell I suppose!

This time with “HBO NOW”. It occurred to me that we probably received HBO NOW with our monthly subscription. We did not. We tried entering passwords and usernames to no avail.

Truth. I want my HBO NOW!!!

Then I realized we must have HBO GO; a service provided to HBO Subscribers.

The problem lies therein that we couldn’t reach anyone from HBO or Verizon to help us. The wait was over a half hour.

It was at this time, I nearly ended up in a straight jacket. After a taxing day, all I wanted to do was watch a damned TV show to make me happy. I wanted to smile. I wanted belly laughs. I wanted entertainment.

All I wanted was to be comfy in my pj’s, watch a TV show and have a happy laugh!

Instead I went to sleep exhausted from anger and frustration. My hysteria fatigued me. Where my husband is the calm one, I’m the crazy person. And trust me, I went to sleep a madwoman!

Yes. I’m the crazy lady. Thank you Verizon and HBO for my insanity!

And that’s what frustrates me. Everything these days has a price. Subscribing to a cable provider isn’t enough. You need the premium channels. Subscribing to a premium channel isn’t enough. You need to pay more if you want to watch a newer show.

It’s all about the Benjamins. Mo’ money. A Cable subscription isn’t enough. A premium channel isn’t enough. They want more and I bring home less.

Network TV sucks. Comedies are contrived and way too politically correct for my taste. If you want something along the lines of Norman Lear, you need cable. Network TV is for those who are easily offended.

Maude. Where are you? Network TV needs you back. God’ll get you for that! Oh how I miss great network TV!

A simple evening at home is no longer simple if you want to watch TV. I’m better off reading a book.

Perhaps I need to read The Count of Monte Cristo again. After all, it was entertaining and juicy and full of revenge!

Is it these times we live in? Technology, as great as it is, can be daunting and frustrating and cause for high blood pressure. Even the simplest of things, like setting a clock in your car can be difficult. It isn’t just TV. One of my sisters sent me this video the other day. I’ll tell you, no matter how many times, Bonaparte and I watch this, we bowl over from laughing so hard.

It’s so stinking funny and rings so true at the same time. Here it is for your entertainment. And if you are easily offended by naughty language please do NOT watch this. He drops the “f” bomb so if you are offended, this isn’t for you. I’m giving you fair warning. If you can relate to the frustrations of remotes, electronics, digital items and so on, you will be laughing at this guy and at yourself. Here goes!

youtube

As I said before. I’m better off reading a book. A novel if you will and not a manual!

All I Wanted To Do Was Watch “The Righteous Gemstones”. Is That Too Much to Ask??? It’s been a tough week at work. There’s a monthly project that I’ve taken on, and in all honesty—it’s the cause of frustration and stress.

#Humor #Frustration #HBO #The Righteous Gemstones

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digital-strategy · 6 years ago

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http://bit.ly/2WzXtyR

We are weeks away from the last episode of the last season of Game of Thrones. Expect dragons, death, and dismemberment — and eyeballs: HBO says more than 38 million people watched the first episode of its blockbuster’s final season (about half on regular TV and the rest streaming or on-demand) and those numbers seem sure to rise with the body count.

In the days before the internet, that audience size wouldn’t be remarkable. In 1986 — when TV viewing was basically confined to ABC, NBC, CBS, and the newly launched Fox Network — the top 10 TV shows routinely averaged tens of millions of viewers per episode. The Cosby Show alone averaged 30 million households per week — a full third of the TV-watching audience.

NBC’s The Cosby Show was the highest-rated show in the US in 1986.

NBC/NBCU Photo Bank via Getty Images

Now, of course, we have many more choices about what we want to watch each evening, and the audience has splintered accordingly: This year, the top 10 broadcast TV shows average between 6.6 million and 11 million viewers on live TV.

That audience has been declining for years, but the people who made and sold TV shows didn’t seem to worry about it, with good reason: Even if the audience for individual shows was dropping, people were still paying for the networks that delivered those shows, because they didn’t have a choice. For most people, watching TV meant buying a bundle of channels from a pay TV distributor like Comcast. And pay TV distributors sold the same bundles to everyone, regardless of what they actually wanted to watch.

Now the bundle, the crucial piece of the TV business architecture, is going away, too, despite the best efforts of the Television Industrial Complex to keep it around. As the bundle breaks up, TV viewers will have more choice about what they watch and what they pay for, at least in the near term. And it is having a profound effect on the companies whose business model depends on that bundle.

If you’ve ever paid for cable TV, you know what the bundle is, even if you don’t think of it as such: Leichtman Research Group says you pay an average of $107 a month for an average of 214 channels, no matter how many of them you watch.

The upside for consumers, beyond simplicity, is access to a dizzying array of TV. The downside is that you don’t want that array: Most Americans only watch a sliver of the channels in their package. The downside is even worse if you don’t care about sports, because live sports and the channels that show them are the most expensive part of your bundle: Disney’s ESPN channels alone account for $9 of a bundle; throw in other networks like Fox’s FS1 and local sports and that total easily passes $20 per month (and upward of $30 a month in expensive media markets like New York City).

For years, the conventional wisdom about big TV was that the bundle wouldn’t budge. That stayed true even as the internet began to give people the opportunity to watch TV in unconventional ways, like downloading individual episodes of Lost from iTunes — or, more worryingly for the TV guys, to simply not watch at all, and spend their time on the internet’s infinite number of free options.

And for years, the conventional wisdom seemed correct: Even as TV viewing declined, the number of households paying for TV bundles remained constant. Then suddenly, it wasn’t: Since 2012, the number of households subscribing to pay TV bundles has dropped by 10 million viewers, to 89 million, and is falling every month: AT&T alone lost another 800,000 subscribers in the first three months of this year.

TV networks are still catching up with the times

It took the TV guys several years to acknowledge the change but they eventually did, via two major announcements less than a year apart: In November 2014, Time Warner said that it would start selling HBO to anyone with a broadband account — no pay TV subscription required. A few months later, in August 2015, Disney CEO Bob Iger acknowledged that his ESPN network had suffered “some subscriber losses” as pay TV customers cut the cord or looked for bundles that didn’t include ESPN.

In case both of those events now seem like commonsense water-is-wet announcements, understand the context: Selling HBO a la carte over the web, was a major shift for Time Warner, which had traditionally relied on distributors like Comcast and Charter to market HBO to their customers, almost always by attaching the service to a bundle. For years, Time Warner management had insisted there wasn’t a market for people who wanted to buy HBO but didn’t want to pay for traditional TV. (Three years later, HBO’s broadband-only option had more than 5 million subscribers.)

And for years, ESPN, which was able to charge distributors more for its channels than any other TV programmer, had been the most valuable part of Disney, in large part because it was impossible to imagine a world where ESPN wasn’t in every TV household. Now, Disney was acknowledging, ESPN wasn’t a must-have for everyone — and that people were either not signing up for pay TV or seeking out hard-to-find pay TV options that didn’t include sports.

Disney CEO Bob Iger introduced his upcoming Disney+ service during the company’s Investor Day event on April 11, 2019.

Walt Disney Media Center

Now Disney, like every other big TV programmers, is facing a dilemma: How do they give customers the thing they want — the ability to pay for the shows or networks or packages of networks — while continuing to sell the things Disney would prefer they buy? The answer differs from network to network, but most of the solutions are some sort of half-measure: Find a way to make some stuff available outside the bundle while keeping most of the must-have stuff inside the bundle.

Take, for instance, Disney’s recent blockbuster announcement of its Disney+ streaming service: For $7 a month, it will give consumers many of Disney’s most valuable properties, like Marvel blockbusters, Disney’s most-loved animated movies, and, courtesy of its Fox acquisition, The Simpsons.

But none of that, for now, involves taking anything outside of Disney’s core cable properties, like ABC or the Disney Channel — and, most crucially, ESPN. Disney is selling an ESPN+ streaming service for $5 a month, but that is explicitly not an ESPN replacement — it’s an ESPN add-on for die-hard fans of niche sports like Italian Serie A soccer and college lacrosse. If you want ESPN, you need to subscribe to a ... bundle.

Just about every other network is experimenting with similar attempts to sell extra content to consumers on the internet while keeping their core stuff locked inside a bundle. AMC Networks sells its Shudder streaming service to horror fans. But anyone who wants to see its zombie blockbuster series The Walking Dead needs a pay TV subscription. Comcast (which is an investor in Vox Media, which owns this site) is going to launch its own streaming service next year; expect that one to feature TV shows it has already run on its conventional, bundle-bound TV networks.

Other programmers have experimented with keeping the bundle but shrinking it down a bit: In 2015, for instance, Disney worked with Dish Networks to launch Sling TV, a service that gave subscribers access to a small bundle of channels, most notably CNN and ESPN, for $20 a month. So if you were a news and/or sports junkie, you could buy two of your channels, at a discount, and ignore the rest.

The Sling TV display booth at the 2017 Consumer Electronics Show (CES) in Las Vegas, Nevada, on January 7, 2017.

Frederic J. Brown/AFP/Getty Images

It’s easy to see why the networks want to keep the bundle intact: They are much more likely to generate more revenue from a fixed package everyone has to buy instead of letting people pick a handful of things they care about. There’s a line of argument that says consumers must want it, too: Witness the moves by the new group of “skinny bundle” streaming services, like Hulu, YouTube, and DirecTVNow, which initially offered slimmed-down packages of pay TV but have been adding more networks to their core packages over the last year (while raising prices at the same time).

But interpreting TV distributors’ moves to bulk up their bundles isn’t a sign of strength for the bundle — it’s a sign of weakness. While Sling, Hulu, and other internet TV services grew quickly in their first few years in the market, that growth has come to a halt in the last year at around 4 million subscribers.

This makes sense, because while those offerings provide some advantages to traditional TV bundles — they’re easy to buy, don’t require specialized hardware, and they’re also easy to turn off — they’re still a ... bundle.

Adding additional channels is an attempt to restart that growth, by convincing someone who didn’t subscribe to YouTube TV to sign up because the Food Network is now available on YouTube TV. It’s theoretically possible.

Much more likely, though, is that people who were interested in subscribing to a smallish set of TV networks will be less interested in paying more money for a larger group of channels. Tease that out a few years and it spells real trouble for the Food Network and a very long list of TV networks that have camped out on your TV grid — whether you wanted them or not.

The internet is coming to eat their lunch

Every day that the TV networks keep their bundles intact is another day for the internet to undermine the bundles. Some of that comes through direct competition: Netflix remains quite disinterested in producing live TV and sports programming, but short of that they have a little bit of everything — just like your old cable TV subscription. And CEO Reed Hastings is selling his version of a bundle for $13 a month. He has 149 million subscribers and counting.

Netflix CEO Reed Hastings delivers a keynote address at the Consumer Electronics Show (CES) in Las Vegas, Nevada, on January 6, 2016.

Ethan Miller/Getty Images

Then there’s indirect competition for attention: Facebook would very much like to draw viewers to its TV programming instead of NBC’s, but in the end it doesn’t matter to Mark Zuckerberg whether you’re watching Red Table Talk, Jada Pinkett’s Facebook Watch show, or flipping through blouse pictures on Instagram — it’s all time spent on Facebook.

Meanwhile, note that Amazon, Apple, and Google, given all their wealth and resources, aren’t yet directly attacking the cable bundle but rather nibbling around the edges: They’ll sell you HBO subscriptions, just like traditional TV bundlers, but they aren’t selling standalone programming of their own with any real force — yet. That could change in the next few years: Both Amazon and Apple are spending billions on programming designed to reach very large audiences, though it’s unclear whether either company wants to sell them as standalone video services or as giveaways to complement their real businesses.

Add all that up and here’s what the future looks like for TV watchers. Strike that — it’s not the future, it’s right now: Many more options for consumers to buy subscriptions to things they like — some Netflix here, some HBO there — and many options get an enormous amount of stuff for free, or seemingly free, via tech giants like Facebook, Google, or Apple.

A white walker from HBO’s Game of Thrones on display in Berlin, Germany, on May 13, 2015.

Jens Kalaene/Picture Alliance via Getty Images

Does all of that replace everything that’s in the bundle? No, but it doesn’t have to, because you didn’t want the bundle to begin with.

Maybe you wanted a few specific things. Mostly you just wanted something to watch. Now you have it, and you can have it for a fraction of the cost: HBO plus Netflix will set you back $28 a month. Feel free to add in Hulu, and even an Amazon Prime Video subscription — if you’re not already paying for Amazon Prime itself, which offers its subscribers video as a free giveaway — and you’re adding another $15 to $21 a month.

Now you have more TV than you could possibly watch, for less than $50 a month, and we haven’t even gotten to the free stuff yet. The only people who will feel truly left out here — besides people who work in the Television Industrial Complex — are the ones who want to watch live major league sports or live news from traditional TV networks.

But in many cases, even that gap can be filled with the purchase of a cheap digital TV antenna, which will give consumers access to anything shown on a broadcast TV network. And if that sounds like too much work (or too old-school), don’t underestimate the power of free TV. A whopping 20 percent of broadband-only households say they’ve bought an antenna recently.

Is this the end of megahits and prestige series?

Hardly. Note that Game of Thrones comes to you via a TV network that has already broken free of the bundle — those tens of millions of people who watched “The Battle of Winterfell” this week were already paying AT&T to watch a network they care deeply about.

That won’t change when the bundle goes away — which is why streamers are splashing enormous sums of money on their own attempts to create Game of Thrones-like blockbusters. Amazon, for instance, is reportedly going to spend more than $500 million on a Lord of the Rings prequel.

But it does mean that there will be enormous pressure on networks and programmers who make stuff people are only moderately interested in — or that can be replaced by cheaper/free alternatives. (This explains why Altice, the fourth-largest cable operator in the US, just paid $200 million for Cheddar, a digital news network with a very modest audience: It is betting it can use it to replace CNBC and other high-cost TV news operations down the line.)

It also means there will likely be a course correction for some of TV’s most expensive programming costs, like sports rights: That $9 a month for ESPN could get much, much more expensive when we move to an a la carte world, and the paying audience for ESPN drops from 86 million people to … 70 million? 60 million? 50 million? Those remaining customers will either have to pay upward of $20 or $30 a month to make up for Disney’s drop in subscriber fees, and/or the sports leagues that charge Disney billions will have to accept smaller fees for their games. Maybe some of both.

This is scary stuff for the TV guys, which is why they are trying very hard to keep the bundle alive as long as they can: Picture the Winterfell defenders taking on the hordes this week, and the Hound’s moment of clarity: “You can’t fight death!”

But this isn’t life or death — it’s just TV and the internet, and choices you and I get to make about how we spend our time and money. The bundle can’t die soon enough.

Correction: This post has been updated to clarify that Altice USA and Altice in Europe are separate companies.

Recode and Vox have joined forces to uncover and explain how our digital world is changing — and changing us. Subscribe to Recode podcasts to hear Kara Swisher and Peter Kafka lead the tough conversations the technology industry needs today.

via Vox

#IFTTT #Feedly

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eichy815 · 6 years ago

Text

Fall Fusion 2019 (Fox)

In another month, ABC, CBS, NBC, Fox, and The CW are slated to unveil their primetime rosters for the 2019-20 network television season. Adding an unprecedented complication, this year, is the unresolved standoff between the WGA (Writers Guild of America) and ATA (Association of Talent Agents).

NBC and Fox announce their fall schedules on May 13, followed by ABC on May 14 and CBS on May 15. Bringing up the rear will be The CW on May 16.

The “bubble shows” for this season, which most likely won’t know their fates until May: Blindspot, The Village, The Enemy Within, Manifest, A.P. Bio, and I Feel Bad on NBC; For The People, Whiskey Cavalier, The Fix, Single Parents, and The Kids Are Alright on ABC; Madam Secretary, Bull, Ransom, Instinct, Life in Pieces, Murphy Brown, FAM, and Happy Together on CBS; The 100, All-American, Roswell New Mexico, and In the Dark on The CW; and Lethal Weapon, The Gifted, The Orville, The Passage, Proven Innocent, and REL on Fox.

So, as I’ve been doing for the past several years, here is the roster I have dreamed up for the broadcast networks when the Big Five trot out their autumn slates in a few weeks. I also include potential backup plans for the spring months, depending on which TV series fail or succeed.

When a show is picked up for the fall, it usually gets a 13-episode order – which can then be extended (usually via a “Back-Nine” order), if the show performs well enough. Some freshmen series fall short of receiving a full 22 episodes (usually with an 16- or 18-episode order). If the show stays far enough above the network’s average in terms of ratings and demos (the estimated number of viewers between the ages of 18-49, who are coveted by advertisers), it will most likely return for the following season.

As for the series that are held over to be midseason replacements: they usually get 13-episode orders, as well. Sometimes, a program that looks like more of a gamble might only get picked up for 6, 8, or 10 episodes instead. If those shows attain a significant audience when they step in to fill gaps anytime between November and May, they may also find themselves on the next fall schedule.

There are yet other TV series that are intended to be “limited series” or an “event series” – airing for a finite period of time during one predetermined juncture of the year – similar to many original cable television shows intentionally designed with shorter runs. Fox and The CW have gradually transitioned to more of a year-round format for their programming, and ABC, CBS, and NBC should follow suit over the next two or three years. For this reason, we may see more of the broadcast networks “time-sharing” different programs within the same time slots as they transition from winter to spring to summer and back to autumn.

After all, there are a limited number of available time slots on the primetime schedule. With the frequency of limited-run “event programming,” we should expect to see less of the traditional model where one solitary series occupies one specific time slot for nine months of original programming (followed by three months of reruns).

(All times are Eastern/Pacific; subtract one hour for the Central/Mountain time zones)

(New shows highlighted in bold)

Featured network for today’s column…

Fox

Sunday

7:00 – World’s Funniest (fall)

8:00 – The Simpsons

8:30 – Richard Lovely (with possible Back-Nine)

9:00 – Family Guy

9:30 – Bob’s Burgers

Thomas Lennon’s hybrid comedy, Richard Lovely, would be a perfect fit in-between The Simpsons and Family Guy. If Richard Lovely bombs really badly, its time slot can be turned over to single-cam freshman Adam & Eve...or, the 9pm hour could temporarily house reality programming (with Family Guy and Bob’s Burgers time-sharing the 8:30 slot).

Monday

8:00 – 911 (fall/spring) / The Resident (winter)

9:00 – Deputy (with possible Back-Nine) / The Passage (winter or summer)

911 would pair well with Stephen Dorff’s new crime drama, Deputy – with both of them running in tandem for autumn and spring “pods” (assuming that Deputy earns itself a back-order of episodes). The Resident would check in the week after 911 airs its fall finale, and could even run double-episodes throughout the winter if it receives another 22-episode order. Another option would be for either the new reality competition Flirty Dancing or Season 2 of The Masked Singer to be paired alongside of The Resident once 911 and Deputy take a joint four-month hiatus. In that scenario, The Resident would likely finish out the remainder of its season during May, June, and July.

The Passage is in an interesting situation, since its Season 1 finale left it creatively in a place where it might work better airing for one or two more years as a 10-episode “event series.” This may also be a better fit as summer programming (ala Wayward Pines) than in the winter or spring. Another option would be for The Passage to move over to FX or FXX, where it could organically finish out a pre-ordained miniseries-style run.

Tuesday

8:00 – Last Man Standing

8:30 – Geniuses (with possible Back-Nine)

9:00 – The Cool Kids

9:30 – Patty’s Auto (with possible Back-Nine)

WWE Smackdown! will most likely displace Last Man Standing and The Cool Kids from Fridays to Tuesdays (ironically, Last Man Standing’s original time slot on ABC). By placing The Cool Kids at 9pm as an anchor, Fox can try out two new sitcoms couched between these solid performers. Geniuses, a blue-collar family sitcom, would be compatible with Last Man Standing; on the other hand, Patty’s Auto, a sitcom about an all-female mechanic shop, sounds offbeat enough that it could work well alongside The Cool Kids.

Wednesday

8:00 – Empire (fall/spring) / The Orville (winter)

9:00 – Star (fall/spring) / neXT (winter)

Empire and Star would continue to be paired together. However, when both of them temporarily break during the winter, The Orville can lead off the night for a third season. Leading out of The Orville would be sci-fi crime thriller neXT.

Thursday

8:00 – Thursday Night Football (fall) / MasterChef Junior (spring)

9:00 – Thursday Night Football (fall) / Lovestruck (spring)

After football ends, MasterChef Junior could return and lead into the romantic dramedy Lovestruck – featuring Rachel Bilson, Andie MacDowall, and Kathleen Turner, which unconventionally sees the entire season unfold over the course of one wedding day attended by its characters.

Friday

8:00 – WWE Smackdown

WWE Smackdown! arriving here in the fall will mean that Fridays are already spoken for.

MIDSEASON: The Resident (22 episodes), Masterchef Junior (13 episodes), Flirty Dancing (13 episodes), The Orville (13 episodes), The Passage (10 episodes), neXT (13 episodes), Lovestruck (13 episodes), Adam & Eve (8 episodes)

LATER THIS MONTH (APRIL 2019)

The Amazing Race (CBS)

Life in Pieces (CBS)

The 100 (The CW)

Bosch (Netflix)

The Son (AMC)

Cuckoo (Netflix)

Tales (BET)

Cobra Kai (YouTube Premium)

Top Gear (BBC America)

The Protector (Netflix)

She-Ra and the Princesses of Power (Netflix)

Deep State (Epix)

MAY 2019

The Bachelorette (ABC)

Animal Kingdom (TNT)

Elementary (CBS)

Marvel’s Agents of S.H.I.E.L.D. (ABC)

iZombie (The CW)

Lucifer (Netflix)

Sneaky Pete (Amazon Prime)

What Would You Do? (ABC)

Beat Shazam (Fox)

Archer (FX)

Good Witch (Hallmark)

MasterChef (Fox)

American Ninja Warrior (NBC)

America’s Got Talent (NBC)

Bill Nye Saves the World (Neflix)

Chrisley Knows Best (USA)

Our Cartoon President (Showtime)

Southern Charm (Bravo)

Good Bones (HGTV)

Fleabag (Amazon Prime)

The Rain (Netflix)

Secrets of the Zoo (National Geographic WILD)

She’s Gotta Have It (Netflix)

Vida (Starz)

Pure (WGN America)

Property Brothers (HGTV)

JUNE 2019

Instinct (CBS)

Fear the Walking Dead (AMC)

Big Brother (CBS)

The Handmaid’s Tale (Hulu)

Celebrity Family Feud (ABC)

Pose (FX)

The $100,000 Pyramid (ABC)

The Wall (NBC)

Claws (TNT)

Masters of Illusion (The CW)

Match Game (ABC)

So You Think You Can Dance? (Fox)

Whose Line is it Anyway? (The CW)

Queen of the South (USA)

Good Trouble (Freeform)

The Affair (Showtime)

Younger (TV Land)

Food Network Star (Food Network)

Orange is the New Black (Netflix)

GLOW (Netflix)

Big Little Lies (HBO)

Queen Sugar (OWN)

Luther (BBC America)

Abstentia (Amazon Prime)

Yellowstone (Paramount)

Riviera (Sundance)

Rosehaven (Sundance)

JULY 2019

Bachelor in Paradise (ABC)

Stranger Things (Netflix)

The Terror (AMC)

Lodge 49 (AMC)

Hollywood Game Night (NBC)

The Wall (NBC)

Dateline NBC (NBC)

Power (Starz)

Suits (USA)

Killjoys (SyFy Channel)

13 Reasons Why (Netflix)

Harlots (Hulu)

AUGUST 2019

Preacher (AMC)

Insecure (HBO)

Ballers (HBO)

The Sinner (USA)

Shahs of Sunset (Bravo)

SEPTEMBER 2019

American Horror Story (FX)

BoJack Horseman (Netflix)

The Deuce (HBO)

OCTOBER 2019

The Walking Dead (AMC)

Below Deck (Bravo)

Ray Donovan (Showtime)

Van Helsing (SyFy)

Mr. Robot (USA)

Andi Mack (Disney Channel)

Shameless (Showtime)

The Man in the High Castle (Amazon)

NOVEMBER 2019

Outlander (Starz)

DECEMBER 2019

Running Wild with Bear Grylls (National Geographic)

Fuller House (Netflix)

Alexa & Katie (Netflix)

Marvel’s Runaways (Hulu)

Homeland (Showtime)

Impractical Jokers (TruTV)

JANUARY 2020

Future Man (Hulu)

Star Trek: Discovery (CBS All Access)

Baskets (FX)

Grownish (Freeform)

Grace and Frankie (Netflix)

High Maintenance (HBO)

Schitt’s Creek (CBC)

FEBRUARY / MARCH 2020

Good Girls (NBC)

Silicon Valley (HBO)

Scream (MTV)

Barry (HBO)

APRIL 2020

Brockmire (IFC)

Killing Eve (BBC America)

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