#ensemble shows basically always have a main character

[lightfromthelostland]

If I had both polls and a large enough audience to learn things, I would love to know in what percentage of the media people consume they look at the main character and go "that one, that's My Special Man." Partially because I'm generally curious. Partially because I'm pretty sure my percentage is unusually high.

[boag]

I was a nick and disney sitcoms kid like 100% they were basically all I watched and I think one of the key differences between the disney channel sitcoms of my childhood and the nickelodeon sitcoms of my childhood is that nick shows always had super likable boy characters and disney shows rarely did with a few exceptions (like suite life). Most of the disney shows I watched just for the 1 or 2 main girl characters and for the different concepts they’d do the same tropes with like oh this one is a wizard this one’s a popstar whereas nick shows felt way more character and comedy driven in general to me and tended to have very strong ensemble casts which I much preferred to Disney’s approach of almost every supporting character being a bland blank slate of a person that they can use to drive the plot forward in whatever way. Like I can revisit Victorious as an adult and be like “omg I loved the Andre, Beck, and Robbie trio” but I will never look back on Hannah Montana and be like wow I love Jackson and Oliver KDJSJFJJDFKJS

[myfairkatiecat]

LOTR Musical Chicago Experience (according to Katie)

I GOT TO SEE THE LORD OF THE RINGS MUSICAL IN CHICAGO! As promised, here’s a blog post detailing my experience, my opinions on the characters/plot portrayal, and basically everything else I’m still rotating in my brain after seeing it last night.

Audience Member Experience

After coming in off Navy Pier and into the theater (Navy Pier was cool too but that’s not why we were there), I started seeing Lord of the Rings fans. Some people even came in costume, which was fun. As we got closer to the beginning of the show, it got harder to tell cosplayers apart from actual actors cause… the actors were just there. Walking around, greeting the people, saying hello…

The show began at seven. At about 2 minutes til 7:00, they really began interacting. Our seats were on the main floor near the center, and Bilbo Baggins came out right in front of us, asking some of the people, “Who’s here for my birthday party?” we all responded enthusiastically, and then he shouted so the whole theater could hear, “WHO’S HERE FOR MY BIRTHDAY PARTY??” Then the entire theater sang the happy birthday song to Bilbo Baggins and applauded, but that wasn’t even the beginning of the show. Hobbits were walking around playing games with the audience. I heard Frodo introduce himself to some people behind us. Rosie was carrying around what I believe was a ring toss game.

At about four minutes after 7:00, the main character hobbits began to make their way from the audience and onto the stage, while ensemble members stayed throughout the audience to create the sense of really being there with them in the Shire. The Hobbits greeted each other, gave each other hugs, and everyone started playing instruments to indicate the beginning of the show.

I wouldn’t realize it until house lights finally went off, but they were still on through the whole first number! The actors looked like they were having a fantastic time. The prologue song was a rendition of the “Now and for Always” chorus sung by the hobbits, and then Bilbo said his iconic lines at his birthday party and ended up disappearing in a puff of smoke. When Bilbo said he was bequeathing everything to Frodo, this one actor far back in the audience started grumbling and telling everyone around him that was stupid, and I’m officially dubbing that guy Unidentified Sackville-Baggins Character.

After they began to tell the actual tale and Frodo’s journey began, the house lights finally turned off, and it was like, “oh, we were hanging out with hobbits in the Shire, and NOW we’re watching Frodo’s story after he leaves,” almost like we, the audience, were in the Shire the entire time.

The characters onstage played all of the music. I wasn’t sure how I was going to feel about that when I first heard about it at the watermill, but now having seen the show performed that way, it was AWESOME. It made everything feel very homey, like a story being told around a campfire, even though the effects for the epic parts were FANTASTIC (I’ll talk about that in a later part of the post).

The characters often showed the nature of their journey by trekking through the pathways in the audience. Act two began suddenly the the house lights going all the way off as Gollum suddenly appeared up in the audience, scurrying down and murmuring in the Gollum voice. (Sméagol’s actor was amazing, by the way. Amazing portrayal. 10/10.)

The audience interaction really made it feel like you were in the story, and it was absolutely so much fun. I could tell the actors agreed.

Casting and Character Portrayal

This is the casting we saw:

With the following cast update:

As you can see, Sam’s understudy played Legolas in the show I saw. He did a fantastic job. He kinda looked like a Sam to me? But that’s probably just because I saw that in the program. His acting was phenomenal and I could tell he was having a great time with the role (especially singing Lothlorien, which, of course. Singing that song is so much fun.)

The rivalry to friendship of Legolas and Gimli was portrayed fantastically. Both characterizations were spot-on and their catfighting from the very establishment of the Fellowship was very entertaining. While a lot of the show was understandably abridged from the original plot, leaving less room for a full development of the relationship, but their journey to understanding each other as friends was beautiful nonetheless, and one of the main things that stood out to me as far as the well-portrayed character development in the show.

Sam and Frodo were phenomenal. The portrayal of their relationship, the good parts and the bad parts, Frodo’s descent as the Ring affects him more and more paired with Sam’s unwavering loyalty—that was one of the things done best about the show. Sam embodied the role, and when he grunted in determination as he picked up Frodo to carry him over his shoulders, the entire audience burst into applause. It was such a wholesome moment because of how well their relationship was done.

Arwen and Aragorn’s romance was done about as well as I could have hoped for given the length of the show and how much of the rest of the plot was going on. It was sweet and given many moments, but there wasn’t tons of development there. However, it touched on the parts that were most important to the plot, and I definitely enjoyed them.

Merry and Pippin were chaotic and played amazingly. Nothing more to say there. Just. Fabulous. 🙃

Boromir!! They did my guy Boromir justice, from his initial hesitance, to the true development of why he sees the Ring as a possibility for good, to the unwavering way he cares for his people and their wellbeing, to the way his honor remained even in his worst moment… it was really good. His death scene made me cry. Aragorn holding Boromir as he died 😭 I don’t even remember their exact dialogue but I was like wow you might as well just kill me now 😢 I went from giggling at “GIVE ME THE RING wait no I didn’t mean it I’m sorry stay with me—“ (yes that was the exact wording he used) to absolutely sobbing over his death. YOU DIDN’T HAVE TO DO THAT TO ME (they did it was in the books)

Galadriel… :/ okay so the actress was very talented. Like, insanely good. I just would have done Galadriel’s character differently, and I think she was done differently in other productions of this show. She was a powerhouse for sure, but her scrunched expressions on long notes and moments of growling and the way she walked were giving “sassy girlboss” which was fine but not really what I was expecting for her character. So… do with that what you will.

Arwen’s character was portrayed amazingly. She usually only showed up to be in love with Aragorn, which was unfortunate, but the way she was done by the actress was an absolute 10/10. She was so graceful and tender and strong-willed and beautiful and just. Arwen vibes.

I don’t even have anything to say about Sméagol/Gollum. Just… perfect. Amazing. I can’t even describe how well he did the character. Imagine Sméagol in your head and that’s him. The script also did justice to his internal conflict, which I appreciated so much!

Effects

They gave a strobe lights warning but they did NOT tell me they were going to be flashing lights right at my eyes 😭 if you’re sensitive to lights at all, just don’t go to see it. Take care of yourself.

That said, if you can handle it, it was AWESOME. During the “you shall not pass” scene, they had a black tarp waving near the ground with projections of fire on it. It created a seriously awesome lava effect. They were also flashing white lights directly into the audience during the whole thing, which I think was purposefully disorienting while Gandalf ended up disappearing.

The Shelob scene featured an ACTUAL GIANT SPIDER ONSTAGE. I mean not a live spider, it was a puppet I guess? I have no idea how they did it. But it took up the entire stage and it was terrifying. People with arachnophobia DO NOT LOOK.

The effects were genuinely awesome the entire show. I can’t do them justice with description, but the use of their set pieces and lights and fog genuinely made for a great stage fantasy experience.

Other Stuff

The show began right before 7:00 with the interaction as I mentioned before, and bows ended at 10:15. So the actual show was 3 hours, with a fifteen minute intermission.

The adaptation of the plot was very abridged, as I may have mentioned, because of entire the run time being the length of one LOTR movie (which is already a slightly abridged LOTR adaptation). Minor plot points/middle sized plot points were diminished in favor of major plot points and character development, which I think was appropriate for the medium. You could tell where the time skips were, of course—Frodo puts on the ring in the prancing pony and suddenly he’s been stabbed by the witchking and is recovering in Rivendell. And a lot of the plot of Return of the King that didn’t involve Sam and Frodo just vanished. But again, I wasn’t expecting a fully faithful adaptation of every plot point in three hours, and I truly believe the spirit of the Lord of the Rings was captured in this production.

Some of the best and most famous quotes were done basically word for word, which I really appreciated. I did feel like I was immersed in the world of Tolkien’s books, with a dash of the Peter Jackson movies and lots of really well composed music.

If you have any specific questions about my experience at the show, certain scenes or songs, etc, send me an ask or a DM because I could absolutely continue to talk about this show. I’m in love with it and I’m so lucky that I got to see it. If any of you get the chance, I highly recommend it!

[unordinary-diary]

Ensemble and Intelligence

Everyone in the main cast is really smart, actually. Every last one of them. But it doesn’t feel repetitive or unrealistic because they’re all smart in different ways.

Seraphina: is probably the most obviously smart. She’s capable of perfect grades, she’s a skilled liar, good at reading people and puzzling information together, and she’s really really clever. The moment that sticks out to me most is when she used clever wording to trick Nadia, the lie detector, during her interrogation in chapter 28, without hesitation or breaking a sweat. I’d argue that she’s actually the smartest character in the cast.

Blyke: is mostly academically smart. He gets good grades in school and finds the work to be easy. Beyond that, he’s also good at reading people. He’s not as good as Seraphina is, but he’s able to read his two best friends like a book, and he has a much higher emotional intelligence than I initially gave him credit for. He also uses his ability very creatively, even before his power up. A moment that sticks out to me is when Remi was secretly going after EMBER, and Blyke was able to read her and piece together what was going on, meanwhile Isen had no idea anything was wrong.

Isen: is not a high achiever in school, but he excels in writing. He is proficient at gathering, piecing together, and expressing information. He’s also the only character except maybe Seraphina who consistently makes the smart decisions (as opposed to the reckless, emotional, hasty or ill informed/advised ones). Most characters make at least some stupid decisions and mistakes, but Isen is pretty much always focused on logic and foresight. Notable moments include: being able to track down John’s records, tracking down Claire, choosing not to publish the article on fake Jokers because he knew it would exacerbate the problem, tracking EMBER’s movements and basically anything he does on his computer.

John: initially seems like a total birdbrain. He acts like a dumbass, and he gets fairly bad grades. However, it’s clear from the beginning that he’s a good strategist. He thinks on his feet well, he’s good at sizing people up, and when he chooses to, he uses his ability with incredible creativity and tact. His intelligence is largely fighting centered. However, much later in the story, after John’s suspension, we see another side of him. It doesn’t show up much when he’s acting like silly old hair gel John, and definitely not much when he’s too buried in his anger to think straight, but John is really clever. This side of John is a lot like Seraphina’s smarts— he’s good at reading people, and he’s good at putting pieces together and thinking critically. Things that come to mind are when he read Arlo like a book, (something along the lines of “But you do need help. You wouldn’t have lost your cool if you had things under control.) and when he immediately sniffed out Sera’s lies (She said she was talking to Arlo about “Safe House stuff”, and John identifies that as a lie because if it were true she would have kept Remi in the room instead of asking for a private conversation with Arlo).

Arlo: is very cunning. He’s constantly scheming and thinking five steps ahead. He makes many misguided decisions due to his naïveté and misplaced trust, but he’s also very often the voice of reason. He’s a great leader and an even better manipulator. He’s always thinking analytically and connecting dots. An example is the fact that Arlo is the only person who suspected that John was actually a high tier, and looked deeper for more info. He also provided valuable insight in the Spectre investigation, and, like Isen, often encourages others on the side of caution (advising Seraphina not to meet with Spectre, involving John with the Spectre issue, telling Remi not to go after EMBER, etc.) Now, Arlo actually does give off the impression of being stupid at times, which is something I’d like to look at. He has many areas where he acts purely on his emotions and against common wisdom, but that is something that every person does. I think the reason why Arlo’s emotion-based decisions come off as stupidity moreso than other characters is because of the image he upholds: Arlo hides his emotions, pretends he doesn’t care about anything, and portrays himself as a person who acts on logic alone. Because of this, the emotions he acts upon aren’t always immediately obvious, or the audience doesn’t perceive them as being intense enough to make him behave the way he does. Therefore, Arlo’s mistakes (namely: targeting John because he feels abandoned and unfairly burdened, and refusing to believe the authorities are EMBER because he loves his aunt) — can be mistaken for a lack of critical thinking as opposed to a strong emotion.

Remi: is probably the least smart by conventional standards, but she sure as hell isn’t stupid. She has good critical thinking skills, she’s able to come to logical conclusions on her own, and she has good leadership. She was probably the first to put together that the authorities and EMBER are connected, and she was the one to realize that the writer of the Kovoro Mall article (Terrence) had been following them (Ch. 52). Not to mention that it was Remi who came up with the idea for the Safe House. However, the most notable facet of Remi’s smarts is her emotional intelligence. Remi is very good at navigating social situations, understanding herself and others, and she is excellent at communication. Highlights include the way she handled the situation with John (being understanding of him, hearing him out and offering to help him, but without compromising her own values), and the way she expressed to Blyke that she wasn’t mad at him but rather, scared for his safety, which was a clear, concise and honest way of explaining a very intense and complicated emotion, which is difficult to do in the heat of the moment.

[olderthannetfic]

it's funny when people say "even in female-centric fandoms there's no F/F and people would rather pair up dudes!" both because I've been in several of those and that's never been the case - there's always a lot of it in any show where there are multiple relationships b/w women who matter, let alone a mostly-female cast - but i feel like the people who complain about this, you look at their fandoms and it's bunch a shows where there is technically more than one woman, and they interact somewhat, but the cast is still majority dudes. and their ships are all these rarepairs of women who barely interact. which is a totally legit way to do fandom, don't get me wrong, but it does make me wonder if some of these people are aware of what a female centric show really *is*. like you just want to lead them gently to the sailor moon or yellowjackets or madoka or killing eve or xena tags and be like, look, this is what we're talking about. and look how much of it is femslash, and how little of it is slash (even in sailor moon, with its canonical M/M couple, it's still femslash and het predominantly IME). like, i'm glad you're trying to make it happen for shows where the women are interesting but underexplored, or where they have brief glances of fascinating dynamics with women that we don't learn much of but could wonder what could have been. but when you have like 7 men in a main cast and only 2 women, you cannot be shocked when most of the fic is slash and/or het. like, avatar the last airbender is not a "female centric" show people just because it has women in it or doctor who (except mayyyyybe the seasons with a female doctor). that's not what we're talking about.

i mean, even in ensemble shows where there are women whose relationships with other women matter, even if it's not the focus and there are more men overall in the cast or an equal amount, you will get a substantial femslash fandom. it might not be the main event, but it will be there. glee was a badly-written mess of a show, but it had plot-relevant relationships between female characters. and so people were shipping rachel/quinn and santana/brittany even long before the latter couple was anywhere close to becoming canon. it was one of the biggest (and most drama-filled) femslash fandoms of the early 10s, even if the slash and het corners of glee fandom were bigger. but there was enough femslash that you absolutely could corral yourself in that corner of the fandom and ignore the rest of it. if you build it, they really will come (in more ways than one, heh)

--

Yup.

Glee literally had an offline con for one f/f ship. When canon provides, by and large, fans will respond.

People are terrible about going "But I love my blorbo! Surely, everyone else should!" in contexts where basic logic will tell you that ship or character is probably not going to launch a juggernaut fandom.

[justablogger234]

Debunking the el was supposed to die/byler movement

So, if you saw my last two posts I used two articles talking about how the show wouldn't work without el and how the show was originally gonna be anthology series but the idea was scrapped. Something I've seen alot of bylers say to support their ridiculous and delusional argument is that el was supposed to die at the end of season 1 and that's why she might die in season 5. Basically saying that she wasn't supposed to die but the duffers liked her to they kept her.

While that is true that's not the only reason. Eleven is the key essential player in stranger things, the show can't work without her, she is also the main character. Yes I know its an ensemble but you always need a main character and in my opinion she has all the requirements that make a main character and she has so much story to her.

Id say after her mike and then I guess maybe the adults and then the rest (although FYI I don't consider robin or Steve main characters and I count them as supporting).

Anyway, the whole debate that El originally wasn't supposed to survive the first season and that's why byler is endgame is ridiculous. Even if she would have died originally the show wouldn't have showed the party or anyone else that we know because they were gonna show different characters.

Yeah el may have died and then mileven wouldn't technically be endgame but neither would byler because we wouldn't see them again so these byler geniuses have no ground to stand on. How could you guys be so sure that mike and will would have gotten together after season 1? There would be no evidence, and not much story, will barely had any scenes in season 1 either way

And the fact that you guys think that El needs to die just to byler can exist is disgusting and awful. I know it's a fictional ship but wow you guys need to take a good look at yourselves.

In conclusion, if El would have died in season 1 as originally planned before getting scraped because the show can't work without her then mileven technically wouldn't be endgame,

..... but then again neither would byler.

[hephaestuscrew]

Thoughts on the patterns of who speaks the episode title phrases in Wolf 359

This analysis is based on the data I gathered in this spreadsheet and summarised with graphs in this post. Basically I've been looking at which character first says the episode title phrase (i.e. the exact words which form the name of that particular episode) in every episode of Wolf 359. Go and look at the spreadsheet if you want more context.

I think we can view the episode title phrases as often expressing the key problem or question of that episode. (I might talk about this in relation to individual examples another time.) Through this lens, the consideration of who speaks the title phrase is about which character gets to frame the key issue of the episode for the listener. This doesn't necessarily mean we are meant to share that character's view of the issue, but it's why I think there is some potentially significant analysis to be done on this topic. (See below the cut...)

The proportion of title phrases said by Eiffel reduces with each season. 69.2% of the Season 1 title phrases are (first) spoken by Eiffel, compared to 46.6% in Season 2, 22.2% in Season 3, and 20% in Season 4.

This is perhaps unsurprising. Eiffel is very much the main perspective character and the primary narrative voice at the start of the series. And, as someone with unusual speech patterns, he is excellent at coining a good memorable title phrase. However, while I'd argue that he never stops being the main protagonist, over the course of the series, the narrative focus broadens away from a singular emphasis on Eiffel's perspective. This perspective shift is reflected in episode titles being spoken by a greater range of characters.

I think the decreasing proportion of Eiffel title phrases also reflects the podcast's shift towards a generally more dramatic rather than comedic tone. While Eiffel is capable of being serious at times, I'd argue that his mode of speech is particularly well suited to generating amusing unusual turns of phrase that work well within a more comedic context (e.g. Succulent Rat-Killing Tar, What's Up Doc?, Bach to the Future). As the stakes become higher and the tone becomes less humorous, characters other than Eiffel, who are more often inclined to take things very seriously, are more likely to speak the title phrases.

There's also just the fact that as we get more characters involved in the action on the Hephaestus, the opportunity to speak the title phrase is spread between more characters.

Although Eiffel is by far and away the most common speaker of title phrases in Season 1, in the first three episodes of the whole show, we get all the characters of that season represented in the title phrases. Minkowski speaks the title phrase in the second episode and Hera does in the third episode - but probably quoting a phrase from Hilbert. This gives us a good early indication that, while Eiffel may be the focal point particularly in this season, this is going to be an ensemble show and all of these characters are going to be significant.

Hilbert's only title phrase is in Ep12 Deep Breaths, in the first stage of his mutiny, arguably the only point in the show where he appears to clearly have the upper hand while acting alone.

After the SI-5 are introduced at the beginning of Season 3, we get five Kepler or Jacobi title phrases in a row, which solidifies the SI-5's presence in the show. It also highlights the fact that the SI-5 have taken over the Hephaestus and are now (at least ostensibly) the ones determining the aims of the Hephaestus mission.

In addition, these patterns might be seen to reflect the shift in the show towards a more conflict-focused tone (related but not identical to the movement away from comedy). While Wolf 359 has always been a show full of conflict, the balance of this conflict shifts with the arrival of the SI-5. For the first team, our protagonists are facing a unified team of antagonists. The potential for violence feels higher, as do the stakes. This might explain why, while we only had one antagonist-spoken title phrase across Seasons 1 and 2 (Hilbert in Ep12 - Lovelace doesn't get a title phrase while she's serving as an antagonist), 44.4% of our Season 3 title phrases are first spoken by antagonists.

The only title phrase spoken by Maxwell is spoken by her in a recording that we hear after her death. This isn't even the only posthumous title phrase spoken from the past in Season 4 - we've got one from Commander Zhang of the Tiamat as well. It's an interesting kind of legacy, an interesting way to emphasize the questions characters leave behind after death, recalling similar themes to those explored in Ep46 Boléro.

[pluckyredhead]

i really wanna know your ideal dc publishing cause seriously they could be doing so much and instead choose the absolute worst trashy choices

Lol thank you for indulging me, anon. I have thought about this EXTENSIVELY so sorry not sorry for the tusnami of opinions you have unleashed.

Before I get into the list, a few points to explain my approach:

ONGOINGS. I am a firm believer in the importance of ongoing series. There's nothing wrong with a miniseries but you can't get any forward momentum or character development with them because things keep getting reset to their baseline. Get really strong teams on your ongoings and let them develop their stories for years at a time. That's where all the legendary runs come from.

To that end, I am proposing a list of 30 books, which is a little more than 7 per week, which is roughly what DC publishes now (not including things like Sandman, Looney Tunes, etc.). They can add on as many minis as they want but will need fewer since so many more characters are accounted for with ongoings.

I am a strong believer in backup features - more value for your dollar and double the amount of characters included - so you'll see a lot of those.

I tried to balance what I personally think would be the most holistic representation of the DCU with what I believe will sell, so you're still going to see a lot of Bats. It should be understood that books without Bats are not going to be treated like throwaways like they sometimes are now. They are going to get top tier creators with long, sustained runs, just like Bruce always gets.

It will not be a publishing slate of all straight white guys from the 30s-60s.

Books with an asterisk* mean they will be kid-friendly. Not exclusively for kids, but appealing and accessible to young readers, the way Young Justice and its members' books were in the 90s. They can still include ongoing plots and queer characters and serious topics! They just shouldn't be relentlessly grim.

OKAY THE BOOKS!

Super Books:

Superman*: The lead Superman title, with a backup featuring starring Jon.

Action Comics*: Focuses more on the Superfamily as a whole, though the plot can dovetail and cross over with the main Superman book. (This is basically what's happening now.) Backup feature rotates between Kon, John Henry, Natasha, Kenan, Lois, and Jimmy.

Supergirl*: Why did I give Kara her own book and not Kon or Jon? Because a) DC needs more female-led books and b) I want to. The primary audience for this book is women who watched the CW show, or girls who have outgrown TTGo! and DC Super Hero Girls, NOT ADULT MEN. (Optional: Kon or Natasha backup feature.)

Bat Books:

Batman: Like the Super books, this would be the central title and focus on Bruce. Backup feature can rotate between the nine billion Gotham characters who need a home.

Detective Comics: Focuses more on mysteries/the family. Another rotating backup feature. NOTE: These backup features CANNOT star a character with their own book (Bruce, Dick, Damian, Selina, or Harley).

Nightwing: Dick sells. ;)

Robin*: Starring Damian, Tim gets a team book further down.

Batwoman: Perhaps we could try letting a queer woman write this for once? Revolutionary, I know.

Catwoman: Because she fucking rules.

Harley Quinn: Because she fucking sells.

Birds of Prey: I prefer a classic Babs/Dinah/Helena lineup but I'm flexible.

Batgirls*: If it’s too messy to have Babs in BoP and this, take her out and add Harper.

Red Hood and the Outlaws: Imagine if this book was good! In my universe, it will be.

Solo Books:

Wonder Woman

Flash: This will star Wally. Optional backup rotates between Jay, Bart, Ace, and Avery. Barry can show up sometimes I guess.

Green Lantern: Starring Hal, John, or Kyle. Whoever is the lead CANNOT also be on the Justice League.

Green Lantern Corps: Okay yes technically this is a team book. Shhh. Guy should always be on this book since he does better in an ensemble. The plot should dovetail loosely with the main GL book with an annual crossover but you don't have to read both if you don't want to. I am flexible about how to fit all the Earth GLs in (including Simon and Jessica), whether that's backup features or just including them in the GLC ensemble, but all six should always have a publishing home. Jo should get as many prestige graphic novels as N. K. Jemisin and Jamal Campbell care to bless us with.

Aquaman: Jackson backup. Please let him go back to being Aqualad and stop making everyone grow up so fast.

Green Arrow: This book is currently perfect, no notes.

Blue Beetle*: Starring Jaime, though Ted may show up to be annoying if he would like. A Booster backup is permissible.

Vixen: If they have a Webtoon they should have a comic for $ too.

Zatanna: See above.

...I'm torn between Shazam!* or Stargirl* here. I feel like they both kind of fizzled? I guess it depends on which book gets the better pitch.

Team Books:

Justice League: I mostly don't care who is on this but if it's a bunch of white guys plus Wonder Woman and either John Stewart or Cyborg as tokens, AGAIN, DC gets shut down permanently. I don't make the rules.

Justice Society: This is also not allowed to be only old white guys. I know that's harder with the JSA. I don't care.

Titans: I'm going to be honest, I'm not convinced the OG/New Teen Titans can star in a decent book anymore, since they haven't done so in two decades. But I will give them one more try. They can call themselves the Outsiders instead if that helps.

Young Justice*: They also maybe need a new name because they are all legal adults, but this is Tim's book. I'm highly skeptical of success here as well but I think the right creative team could make something really soapy and New Adult and queer work. Please keep in mind that there are nine trillion characters in the DCU who are roughly Tim's age to draw from; the "Core Four" (ugh I hate that term so much) can all be members but they are not the only members. (Cassie cannot be the only girl and it cannot be all white.)

Teen Titans*: Damian's team! I vote for characters like Emiko, Ace, and Jackson here, but I'm flexible. THE AUDIENCE FOR THIS BOOK IS MIDDLE SCHOOLERS, NOT PEOPLE WHO GREW UP ON WOLFMAN/PEREZ. Jesus, DC.

Suicide Squad: I truly do not care about this book but we need to do something to appease the edgelords.

The New Gods: I'm thinking EPIC, I'm thinking KIRBY, I'm thinking SIMONSON. Everyone talks in a serif font and it should be impossible to explain out loud with human words. It's what Kirby would want.

So there it is, there's my pitch. Again, this doesn't cover minis (Elongated Man miniseries WHEN), event books, etc., but I think it gets most of the key players on the board!

(And yes, I know I left the Legion out. I'm sorry. But not very sorry. They can cameo in Kara's book.)

[zerm2v0hg]

When I think about it, the Red Prince could've been a better Big Bad for RWBY Volume 9, if the writers writing these characters were more self-aware of HOW AND WHY Team RWBY were in the wrong and so unsympathetic in the last several volumes.

The Red Prince is bratty, entitled, immature, narcissistic, and he lashes out in destructive ways to harm those around him if he can't get what he wants under his own terms. He was expected to grow into something less vulnerable when he ascended in the face of personal trauma, but instead his trauma and lack of sufficient guidance have made him regress more than he's grown, into an even more flawed person than the one he started off as. His underlings are basically sycophants who kiss up to him and sing his praises instead of telling him what he needs to hear, making him think the whole world should bow to his word and accept that he knows better than everyone else. And like any bratty child, he always thinks he's in the right and refuses to hear otherwise.

All these things IMO makes the Red Prince a really good mirror image of how the main heroes have been acting and behaving as the show has declined up to the latest volume. The Red Prince in an alternate Volume 9 rewrite/fix fic could be a primary volume-long foil representing what Team RWBY have been up until their fall into the Ever After and what Team RWBY have to move past before they can leave.

Maybe the Red Prince could ally with Neo in a Big Bad Duumvirate, providing her his kingdom's resources and massively expanding her influence in the Ever After in her pursuit of Ruby. As for where the Curious Cat would fit into this change in the Big Bad Ensemble... either they're a more grey character or antihero in this AU, OR the reveal of the Cat's true colours is reserved for a later volume after they've successfully accompanied RWBY/J to Remnant in their quest for answers.

@dragynkeep @mylittlerwde @insaneoddball @doomalade @lucy-dont-give-a-fuck @i-hear-a-sound

[moghedien]

I am considering reading the books but I've seen it said that Rand is the protagonist of the book series and that characters like Moiraine and Egwene who are basically my favourites have significantly less to do in the books, with Moiraine being absent for chapters and chapters at times. I'm also not a big Rand fan (i love a disaster man and Mat is right there, come on) so I'm wondering would you reccomend the series to me? What are the big differences between it and the adaptation?

so #1 advice for anyone regardless of where they're at with wanting to read the books: If you're already watching the show, don't start reading the books until after this season is over. There's a lot of rearranging and changing of stuff in the books and I think that can get confusing if you're trying to consume the show and the books at the same time.

Ok so regarding Rand, yes, he's the main character and is the vast majority of the POVs in the first book. Its extremely obvious who the dragon reborn is in the book and its never really presented as a mystery. As the books go on, it becomes much much more of an ensemble type story and Rand will be almost entirely absent for long periods of time, but he's still largely the main character. but there are 148 different POV characters in the books, so its far from a Rand-only story

Regarding Moiraine and Egwene, while I wouldn't really say that Egwene has a significantly lesser role in the books (at least after the first book), Moiraine's role is definitely beefed up for the show. We don't get her POV until a few books in (well there is a very brief POV in book 1), and she's largely missing from book 2. She is a much more (emotionally) distant figure and definitely the sort of Gandalf/mentor role in the books rather than the main character. But if you like Egwene, there is plenty of Egwene content for you in the books, do not worry.

As for differences, the main difference between the books and the show is the first book is not the first season. There are definitely elements there, but the first book is best viewed as an homage to the fantasy genre that Robert Jordan had to make a certain way to get it through publishing. Its not *bad* but its definitely a Lord of the Rings-y story that follows that kind of formula. The show made sure there was a lot more worldbuilding and future plot threads established in season 1 than there was present in book 1. It doesn't start becoming truly its own thing until book 2, imo, and it's a common sentiment where books 4 and 5 are really where it starts becoming the Wheel of Time and holding its own ground. Like as much as some people do complain about it and as much as I do like the Eye of the World, it would have made a terrible on screen experience if it were told entirely faithful to the book

So I wouldn't say absolutely to read it or not. obviously I do want people to read and enjoy the books, but its also a commitment, and if you're coming to them off of the show, its best to be aware that's its going to be different going in. You're not going to see some of the things that happened in season 1 at all, but you're going to get a much more detailed account of the story and it might give you better context for some of the things going on in the show, even if its not how it happened in the books.

So if you're ok with the fact that its different, I say try it once the season is over. If you don't want to finish it or continue on with the series, then there's no harm in trying and you can always keep watching the show even if the books aren't for you

[always-wizu-you]

Hello everyone, today I wanna talk about the people behind DanPri characters (a.k.a. their VAs/seiyuu, though they do more than just voice act). Some kind of introduction I guess.

Sorry for reposting this, I accidentally posted it when I saved the draft :(

So without further ado, let's start! :D

Seiichirou Yamashita

Nicknames: Seichi (Koba, Reiou), Sei-chan (Tatsumaru), Yamashita-san/kun (Kawai-kun, Uzawa-kun, almost everyone else) Birthday: May 21, 1992 Hometown: Hiroshima Agency: Office Osawa Some well-known roles outside PriPara: Touken Ranbu - Yagen Toushirou & Aizen Kunitoshi Horimiya - Toru Ishikawa Twisted Wonderland - Ace Trappola

Shougo's voice actor, the most normal one among WITH in a glance. His voice is generally low-to-mid tone, but he's also good at voicing mischievous early-teen boys. Seichi chose to be a voice actor because he's always loved acting, but he actually longed to be an actor. However, he sees voice acting as the most realistic path for him.

Seichi debuted from 2012, but it wasn't until 2016 that he started getting main roles. A year later, he got the role as Shougo. When he found out about PriPara stage play, where the main casts' VA also act on stage, he basically told the director that "If there's a stage play for DanPri too one day, I'm available (wink)". And yeah, that dream was no longer a dream, as he got to be Shougo's actor on the stage play.

Role in WITH: Tsukkomi (the "normal one")

If you watch them enough, you'd know that Kobatatsu and Reiou are known to be fooling around while Seichi reminds them to behave. He gets them to be back on track in radio shows, free talk sessions in lives, etc. However, according to Koba and Reiou, he's actually more carefree than it seems, and sometimes went out somewhere on his own without notice. In some fan reports, Seichi's often seen to be the one being doted on the most, and Koba-Reiou admitted through a Q&A session that he's the one that feels like the youngest despite being the tsukkomi.

Tatsuyuki Kobayashi

Nicknames: Kobatatsu (fans/almost everyone), Ta-tan (Seichi), Tatsuyuki (Seichi) Birthday: April 21, 1989 Hometown: Chiba Agency: avex Some well-known roles outside PriPara: King of Prism - Ace Ikebukuro Twisted Wonderland - Cater Diamond Paradox Live (Stage play) - Satsuki Ito

Asahi's voice actor, literal personification of bright morning sunshine on stage. He's actually more of a singer and stage actor than voice actor. He started his career as a singer after winning the 7th Anisong Grand Prix in 2013. You can see some footages of it on Youtube (here's the digest of his performances). After debuting as a singer, he also started acting on stage plays since 2016.

Kobatatsu's career as a voice actor started in 2015, and Asahi is his first non-nameless supporting role. His voice is generally mid-to-high, and he's good at playing cheerful, happy-go-lucky characters. Seichi said that Kobatatsu has a habit to talk in childish voice outside from work.

Role in WITH: Main performer + co-mentor(?)

Due to his background, he's the most experienced stage performer among WITH members. And because of that, he became the "main dancer" of WITH, especially during their early days. He also helped the other two on learning choreographies (e.g. Tick-Tock Magical Time for their first solo event) and on performing in general. Seichi and Reiou said that they learned a lot from him during the rehearsals of their stage play.

Reiou Tsuchida

Nickname: Tsuchi (Tatsumaru), Reiou, Tsuchida-san Birthday: January 6, 1993 Hometown: Hokkaido Agency: 81produce Some well-known roles outside PriPara: Ensemble Stars - Tsukasa Suou VS AMBIVALENZ - Taiyo Haruno & Subaru Takaya

Koyoi's voice actor, one of the funniest guys in the industry. He started his career as voice actor in 2012, but he doesn't have that much leading roles yet. He has quite distinctive voice, but it's pretty versatile. Reiou started becoming more well-known after voicing in Ensemble Stars in 2015, and he got the role as Koyoi in 2017.

Although he seems so unserious, he's actually very multitalented. He's good at imitating other people's voice, drawing, making stories, singing, and so on. Reiou even drew WITH members on their birthday back in 2020 (here's the link: Shougo, Koyoi, Asahi). He started working on his own manga since 2023 and self-publishing it on his Twitter.

Role in WITH: Ghost-director

I've written about how Koyoi's past story was developed from Reiou's idea, but that's not the only thing he contributed to WITH's back story. He proposed many ideas for WITH Stage as they rehearsed, e.g. the dance battle scene between Koyoi and Shinya and DARKNESS SOUL duet scene with Shinya. The director originally asked him to do Koyoi's solo song on that part, but Reiou felt that it'd be more fitting to involve Shinya more.

He also came up with a concept for Quest Milky Way performance during their #IIZE Tour in 2019. Reiou asked the audience to light up their penlights in their own color instead of WITH's members, because WITH were going around the galaxy in that song, and the penlight colors represent everyone's colors as the "stars" (idols) in the galaxy.

Kentarou Kawai

Nickname: Ken-chan (Seichi), Kawataro (some fans and DanPri members), Tono (Uzawa-kun), Kawai-kun (almost everyone) Birthday: April 7, 1997 Hometown: Tokyo Agency: Japan Music Entertainment

Shinya's voice actor, a newcomer who debuted in 2019. He focuses more on being an actor than voice actor, so his only role as a seiyuu is Shinya so far. He's especially close with Uzawa-kun, often goes out together and even invited Uzawa-kun to his family's home. Some fans called the two of them "Tarotaro" (from Kentarou and Shoutarou).

WITH members often praises Kawai-kun as a very earnest, polite, and hard-working kid. He's also a certified sword-fighting actor, and showcases his fighting skills through videos on his SNS accounts (example here). Among all DanPri casts, he's the one that often holds streaming to interact with fans via Instagram Live.

Shoutarou Uzawa

Nickname: Uzawa-kun (almost everyone), Taroumaru (fans) Birthday: January 22, 1997 Hometown: Chiba Agency: 81produce

Ushimitsu's voice actor, also a newcomer who works in the same company as Reiou. He has mid-to-high tone voice. He's voiced many supporting roles in anime, movie dub, and games. Before working under his current company, he was under Japan's children theater company.

Uzawa-kun is a Pretty Series fan, and he was really excited to get the role as Ushimitsu. He's also the one who played Adopara the longest (or, rather, the only one who really played it) among DanPri casts. He's really close with Kawai-kun, but due to the long stage play rehearsal, he used to call Kawai-kun "Tono" (Master) everywhere, even when they meet outside work.

Tatsumaru Tachibana

Nickname: Tatsumaru Birthday: April 21, 1991 Hometown: Fukui Prefecture Agency: Stay Luck Some well-known roles outside PriPara: The God of High School - Mori Jin Aoashi - Eisaku Ootomo Kabukicho Sherlock - Toratarou Kobayashi

Mario's voice actor, an experienced stage actor who started his career as a voice actor in 2019. His natural voice is mid-to-high and sounds mild. He started acting since the age of 10, joining his father's theater company and performing with traveling troupe. He became the theater company's chairman in 2010-2015 before deciding to reside in Tokyo and work there.

Like Kawai-kun, he's also a certified sword-fighting actor, in addition to specializing in playing as a female on stage. His career as a voice actor is still quite short compared to his acting experience, but he's been climbing up in popularity and started getting more main roles. Among all DanPri casts, he's the closest with Seichi due to having voiced as main characters in a series together.

Oh, and he also has a youtube channel, although it doesn't seem to be that active lately.

[markantonys]

Seeing a few arguments that while s2 is the stronger season it's also less coherent/cohesive narratively and thematically than s1. In the sense that s1 had a specific goal of them getting from point a to point b, so s2 feels messier for some people cause it was more complex in the amount of plot threads being covered. I do wonder if some people are feeling that way cause they adapted two books rather than one and not enough time to cover everything? I don't necessarily think it's bad that some plot threads aren't resolved though cause that's something that happens in the books too, plots and character arcs spanning multiple books (and it's not like the books are cohesive all the time either so it is on brand for WoT 😂)

people deigning to praise an aspect of s1? now that is a fresh take! i get where they're coming from (it's undeniable that s1 has a much simpler & more straightforward plot structure than s2 because it basically is just 1 plotline for the whole season rather than several different concurrent plotlines). but it's just the nature of WOT, and of many ensemble stories, that we kick off with a small contained story and expand it more and more with each installment. numerous plot threads all over the continent is a hallmark of WOT! so if it's show-onlys making this complaint, fair enough, but if it's readers, they do not have a goddamn leg to stand on because this is literally what WOT is and has always been.

and i think s2 was still pretty cohesive. most of the arcs follow the basic structure of "characters start off dealing with the consequences of s1, learn more about their powers and encounter new threats, and head to falme for their own reasons that ultimately all end up coinciding with each other." rather than "every main character shares the same objective for the season", the story of s2 is instead "every main character has different objectives which all end up intertwining with each other". that's a cohesive story too, just a different format than the one s1 told!

and the vast majority of plot threads were resolved, with only a few left hanging because of course you need to leave some hooks to get viewers to come back next season.

moiraine & lan bond arc: resolved

rand accepting his duty as the dragon reborn: immediate arc resolved, but with a continuation teed up for s3

egwene overcoming impostor syndrome and learning to stand on her own two feet: resolved

perrin hunting for the horn and learning more about his wolf powers: immediate arc resolved, but with a continuation teed up for s3

mat proving to himself that he's a good person and a loyal friend: resolved

nynaeve breaking her block: not resolved, but teed up to be a major focus of s3

maybe the difference is that for a lot of these arcs, the objective is something internal (character undergoing growth) rather than something external like a quest, as was the case in s1. perrin is the only one who's like "i need to accomplish this specific external thing" in 2x01 (retrieving the horn), maybe moiraine too with her research, whereas the others have a series of smaller external goals (for example mat: escape cell -> get to cairhien -> go with rand to help egwene -> escape kidnapping -> help friends) with their overarching season-long goal instead being an internal one (that they aren't aware of; it's the narrative's goal rather than the character's). but, again, that's just a different type of story structure, because either way, the narrative does have coherent season-long goals that it's working towards and ultimately resolves.

but what especially makes s2 feel cohesive to me is the thematic aspect of it! every single storyline deals with at least one of the following themes and many of them more than one: isolation vs. togetherness, power & helplessness, control & leashing, duty & responsibility, and probably a bunch more if i were to think about it for more than 30 seconds (these were just the Top S2 Themes that immediately jumped to mind). there is a very very strong Thematic Cohesion across all the plot threads in s2, so i'm surprised to hear that anyone feels otherwise.

(as for 2 books in a single season, sure, there wouldn't have been time to tell 2 books in 1 season if that's what the show was trying to do, but it isn't. instead of saying "okay the first 4 episodes are TGH and the next 4 are TDR", the show put TGH & TDR in a blender and distilled it down to a single season's worth of story per character, and there WAS enough time to cover that 1 season's worth of story.)

[goodluckclove]

A Very Very Muppet Christmas Movie Deserves All the Hate it Gets, and Maybe More Actually

Okay so someone said I can talk about this so I'm going to talk about it. Spoilers I guess? For a shitty Muppets movie?

This got long. Fuck.

I have seen, at this point, every Muppets movie aside from Muppets Oz. I couldn't really rate them in order of best to worst like other online sites do. I like The Muppets. Even the movies that didn't touch my heart like Muppets Treasure Island I still found fun and enjoyable. My favorite will always be the original movie from 1979, but I found all of them to be comforting and enjoyable.

Until this one. This one is bad. A Very Very Muppets Christmas Movie was so immediately bad on every level. It is the first movie I've seen in some time that actually made me angry.

A little context for those who haven't seen the movies. Muppets movies fall into two categories that I'll call Muppets Lore and Muppets Theatre. In Muppets Theatre you get a loose retelling of some classic story where the cast is primarily Weird Felt Perverts - think Christmas Carol, Treasure Island, Wizard of Oz. The Great Muppets Caper isn't technically based on source material but I'd put it in this category since they're playing characters.

On the other hand, the Muppets Lore movies focus on the origins/misadventures of the Muppets as an ensemble. Think the original movie, as well as Muppets Take Manhattan, Muppets in Space, and the two reboot films.

Muppets Haunted Mansion is technically both a Muppets Lore and Muppets Theatre film. It's also. I wouldn't say bad, but it - it's weird to talk about. It does canonize that Gonzo's worst fear is dying alone - which, like, yeah. That tracks.

Anyways, A Very Muppet Christmas (I refuse to keep using the full title), though it does heavily draw from It's a Wonderful Life (but badly), is primarily a Muppets Lore movie. The basic plot is that the Muppets, who by now are well-known for producing shows out of their own Muppet Theater, lose their venue. This devastates Kermit, driving him to believe that the lives of his friends would be better if he was never born. He gets to see this alternate reality, realizes it's apparently way worse, and begs to go back. He does, the theater is saved through randomly being declared a historical site, and everyone's happy forever.

I don't know where to start with this. Let me break it up.

They Had The Same Message For a Like 30 Years At This Point How Did You Fuck it Up This Badly

So a majority of the Muppets Lore movie focuses on the central theme of chasing your dreams. The main cast are all performers (barring Scooter, who seems to be the entirety of their tech crew. Kermit also directs and writes. I think Doctor Honeydew is a war criminal but no one talks about that.) with aspirations of making a living doing what they love. They make mentions of fame but are pretty loose with what that means. Miss Piggy is the only cast member who explicitly wants mass amounts of stardom.

The rest appear content with being career artists. Rowlf is chill wherever there's a piano. The Electric Mayhem prefer their jam rock but seem fine playing any gig with an audience and also probably a plug for hard drugs. In a lot of Gonzo origin appearances he's actually working a separate day job and just shoots himself out of cannon as a hobby. The major draw in the original depiction of their dreams (for me at least) is that it really does paint them all as people who would be doing their art anyway regardless of whether or not they Hit it Big. They push for fame, they try again and again to find an audience that appreciates them even when most of them don't, and it works out in the end. They get rewarded for the effort their dreams push them commit to - what Real Life, Non-Muppet Artist wouldn't at least acknowledge how that's cool to see?

I think this is why a Lore Muppet movie doesn't really work when it depicts The Muppets already being successful. The reboot worked for me because it took place when they were all major celebrity figures past their prime and mostly forgotten (except for Rowlf who I think was on so much Oxy that he didn't realize they were famous). When the movie focuses on their career the fame is a better goal than a starting point.

It really does make A Muppet Christmas fall apart immediately. They run the risk of losing their theater if they don't make the money to pay rent? They're famous. They're on talk shows. There's a statue dedicated to the joy Kermit brings to the world. I do not accept this to be a universe where they can't get another venue immediately. I wouldn't be able to accept this as a universe where they're both successful performers who sell out every show and also almost broke, if not for the fact that I can think of like four Muppets off the top of my head who probably generate a new court case against them every year. Legal fees.

They had one scene where Kermit calls a bunch of mid 2000s celebrities and none of them want to guest for the Christmas show. That works in the reboot where Kermit does the same thing only to find that most of his old contacts are either retired or dead. In this one? It's nonsense.

No, Really, You Fucked it So Bad

In every Muppet movie that focuses on following your dreams, that message is paired with maddening levels of determination. The Muppets, mainly Kermit, do not give up. All his friends ditch him while he's trying to get their musical produced on stage? He's gonna work a minimum wage job and keep looking for producers so he can get that venue and perform with his friends. His career is kind of over but he runs the risk of losing the studio that served as a landmark for the legacy he made with the people he loves? Fuck it, cross-country road trip to get the band back together.

He's trying to make a name for himself but there's a entrepreneur who runs a frog legs restaurant and, after being unable to hire him as a spokesperson, sends a paid assassin to kill him? That's less important than making the Big Audition in Hollywood!

So when being faced with losing the Muppet Theater in A Muppet Christmas, Kermit stays true to his character by giving up immediately and abandoning his friends to die alone in the snow.

Like I get it, you're doing the It's A Wonderful Life thing but you can't make Kermit do an explicit suicide attempt. But the film establishes he is fully frozen and unresponsive when his Religiously Unspecified Celestial Guardian finds him, and that is WAY more disturbing than having him jump off a bridge in my mind. It's just so bleak holy fuck. And this happens immediately. First fifteen minutes of a movie that inexplicably starts in the middle and Kermit slinks off to die.

It's not earned at all. He didn't fuck up to the extent for this to make sense. We find out later that the money was lost because he gave it to Fozzie to give to the bank and Fozzie loses it. Kermit then becomes convinced that he ruined all of his friends lives because of this.

Like it's a common thread to depict Kermit being the lynchpin that moves the ensemble forward. He's the guy with the plan, so it makes sense story wise to take that character and get him to a point where he's out of ideas. Only we never see him really try anything? He makes no attempts that fail before he falls into despair. He sits on the sideline and when things don't go well he's like "I fucked it" and loses his will to live. When people say Kermit is a boring buzz kill this is the Kermit they must be imagining.

All the Characters are Bad Here

The major crux of the film is seeing how the ensemble would live without Kermit, who inexplicably thinks he ruined their lives in a way I still don't understand (Did he take out a bunch of loans in their name? What happened???). The intention is to show that their lives are better for having him in them. This, for some reason, looks like the following:

Gonzo: talented street singer/musician, maybe implied to be homeless?

Fozzie: pickpocket, apparently. Why? Bullshit

The Electric Mayhem: Irish step dancers I guess

Scooter: go go dancer. Living his best life.

Sam the Eagle: nightclub enthusiast. Seems fine.

Statler and Waldorf: I could be wrong but it did really look like they were depicted as a gay couple

Rizzo: I - actual rat? Rat actor? Non-sentient rat? I don't really understand what was happening there.

Miss Piggy: I thought they were going the path of having her give up on acting and become a crazy cat lady (not good but fits the era) but apparently she's a phone psychic who uses a Jamaican accent and wig. I guess Kermit is the only person keeping her from race baiting - which I can believe.

So my issue with this is that it's fully inconsistent to all of their characters. If you wanted to show how their lives would be worse without Kermit, it's very easy to do so using the aspects of their personality depicted in like 40 years of media. I think the issue comes in the fact that the obvious downfalls aren't really fitting for a kids movie, which is probably why Jim Henson didn't go there. But I will right now! Here is my take:

Fozzie: super bigoted comedian. He doesn't realize his audience are racists and he doesn't really get the jokes but he's happy people are finally laughing

Gonzo: drug mule

Miss Piggy: probably got famous but not though acting and she's trying to pretend like that's just as good

Rizzo: pays Gonzo be his drug mule

The Electric Mayhem: long dead. Either OD or murder-suicide. Maybe Animal lived but he's absolutely in prison.

Statler and Waldorf: divorced because they never got to bond over their mutual hatred of live theater

Scooter: still in technical theater but he gets treated like shit and probably has a drinking problem

Sam the Eagle: full-on Nazi. Obviously.

There's a plot there in showing what the muppet ensemble would be like without their director and biggest cheerleader. It's just that the depiction in the movie we got was so far removed from what they were like in the present reality that it didn't - like, without Kermit, Gonzo would've learned how to play the guitar? Huh? The only thing that's keeping Fozzie Bear from doing petty crime is making vaudeville theater? Fucking how? Based on what?

It doesn't work as a Muppets story and it doesn't work as a Wonderful Life reference because there's really not anything real that proves that Kermit is the thing that kept this from happening. Except for Piggy doing phone blackface. I can see him having to have that conversation with her a lot.

Anyways, it sucks. The framing is bad, the guest stars are weird (Joe Rogan and Matthew Lillard?), and the one song for the film is awful. Kermit's emotional arc is nonsense and the film fails to see that the point of the ensemble is that they're better and happier together, not that they're all useless and miserable without their leader.

Brian Henson did an important thing taking over for The Muppets after his dad died. He did a lot for the way the movies he wasn't involved in production wise - he worked on the rig that allowed Muppets to appear to ride bikes. This is his life and his dads legacy and it's clear - at least at one point - he valued continuing it.

But yeah this movie was awful. Near incoherent. It's like fanfic from someone who's only research was doing a Google image search of The Muppets. Christ.

[denimbex1986]

'Christopher Nolan has a knack for wrangling impressive ensemble casts for his films, but he really outdid himself with his 3-hour historical epic Oppenheimer. Even if the World War II biopic didn’t include the frequent Nolan collaborator Michael Caine, the stacked ensemble is filled with a terrific ensemble of veteran Hollywood stars, Academy Award-winning performers, underrated character actors, relative unknowns, and a few former box office titans that have seemingly disappeared over the last decade or so. It wasn’t that long ago that Josh Hartnett was the marquee lead of films like Lucky Number Slevin and Black Hawk Down, but his star power has seemingly evaporated, as some actors can only maintain the same level of success for so long. However, Hartnett has always been a more interesting and complicated actor than the roles that he was given at the beginning of his career. Hartnett isn’t just in the middle of a major comeback; he basically steals Oppenheimer with one of the most nuanced supporting performances.

Why Is 'Oppenheimer's Ernest Lawrence So Important?

Oppenheimer is told in non-chronological order, in what has become a hallmark of nearly all of Nolan’s films. While Hartnett doesn’t play a significant role in the black-and-white sections that show the confirmation hearings for Lewis Strauss (Robert Downey Jr.), he is instrumental within the main storyline focused on J. Robert Oppenheimer’s (Cillian Murphy) studies at the University of California in Berkeley, where he first conceived of much of the technology that ended up becoming critical within the Manhattan Project. The sequences in Berkeley aren’t just where Oppenheimer unlocks part of his genius, but also where he falls in love with his second wife Kitty (Emily Blunt), and makes a community of friends for the first time. It is during this period that he works hand-in-hand with Hartnett’s depiction of Ernest Lawrence; having an outsider’s perspective on Oppenheimer’s work was necessary for this sequence to function.

Ernest Lawrence was an incredibly influential figure in Oppenheimer’s life. While he’s not someone that Oppenheimer often looks up to and idolizes like Neils Bohr (Kenneth Branagh) or Albert Einstein (Tom Conti), Lawrence represents the sort of man that Oppenheimer could never really become. Hartnett depicts Lawrence as a man of great importance, intelligence, and class that also has a relatively normal social life and shows an ability to adjust to the stresses within his life. Lawrence encourages Oppenheimer to find a balance within his work, but it becomes obvious that it’s not possible for someone with his capacity for genius. It creates an odd tension between them; Lawrence feels both resentful and sympathetic for his friend. Oppenheimer’s inability to simply “turn off” his brain and focus on something other than his work may end up making him more historically important than Lawrence, but it negates any sense of accomplishment or happiness he may feel.

Josh Hartnett does some really outstanding subtle work with his performance, as there’s an interesting dichotomy to Lawrence’s feelings about Oppenheimer. He’s not resentful, as he and Oppenheimer are able to get along and share much in common due to their shared experience in nuclear research. Lawrence is someone who can communicate with Oppenheimer on an intellectual level about the groundbreaking studies that are being done, but he’s not capable of reaching the same next-level conclusions. Lawrence is well-educated and knows what he’s talking about, but also acknowledges that it’s not his name that the world will remember. It was almost a bit of reflective acting on Hartnett’s part as if he was acknowledging that he was no longer the same star who had led Pearl Harbor to its box-office success two decades prior.

Ernest Lawrence Is Important to the Politics of 'Oppenheimer'

Christopher Nolan isn’t necessarily known as a “political filmmaker,” but while his films aren’t necessarily as overt as the work of directors like Oliver Stone or Spike Lee, there are strong anti-war, anti-escalation themes in The Dark Knight, Dunkirk, and Tenet. Oppenheimer is definitely Nolan’s most overtly political work to date, and Lawrence is instrumental in unpacking the film’s complex understanding (and criticism) of the decisions that Oppenheimer made on behalf of his country during his lifetime. At first, Oppenheimer’s relationship with Jean Tatlock (Florence Pugh) is nothing more than a passionate romantic affair, but it's Lawrence who explains the danger that being involved with the socialist political movement at the time that they are in. Lawrence has his personal feelings about the rising Communist movement, but he worries that Oppenheimer’s mind could be distracted when he’s working on studies that could literally change the way that mankind observes the world.

The political differences between Lawrence and Oppenheimer are fascinating, and Hartnett does a great job of showing Lawrence’s conviction in his belief and handling the dense political dialogue. It’s fascinating that Lawrence’s political beliefs aren’t delved into that deeply other than his expressed desire to keep all discussions about the socialist movement out of the classroom. Lawrence tells Oppenheimer that he considered himself a patriot, but he also wants the University to be an institute of science, and not a hangout spot for a potentially dangerous movement to begin. He and Oppenheimer begin to grow further apart as a result of this, but they still share a mutual understanding of which events transcend their own personal beliefs. Both men react with the same surprise and fear when news of Adolf Hitler’s invasion of Poland breaks.

Josh Hartnett does a great job of showing Lawrence’s empathy for Oppenheimer. While he understands that a traditional celebration isn’t necessarily something that Oppenheimer would enjoy, there’s a friendliness between the two men that continues after General Leslie Groves (Matt Damon) whisks him away to work on the Manhattan Project. Lawrence refuses to report incriminating evidence on Oppenheimer during the government’s investigation, and the two are able to shake hands at the end of the film. That’s more than Oppenheimer can say about Edward Teller (Benny Safdie), whose pro-nuclear beliefs created too much of a divide between them.

Josh Hartnett is in the midst of a much-needed comeback, and it’s great to see that Oppenheimer gave him such a nuanced role to execute. While it may have taken a while for him to finally get the chance to work with Nolan, his performance is one that is essential to show what made Oppenheimer tick on both an intellectual and personal level.'

[justmenoworries]

some thoughts on the Transformers One trailer in no particular order

I've seen some comments complain about the goofier tone but I'm actually all for it. This movie seems to be aimed at younger audiences. Even the most serious Transformers shows weren't doom and gloom all the time and the jokes I've seen so far are pretty good

Not sure how I feel about this being an ensemble movie. The taglines seem to emphasize that this is a story about how D-16 and Orion Pax became Megatron and Optimus Prime respectively, so I'm kind of worried Elita and Bee are either going to take time away from these two that would have been direly needed to flesh out D-16, Pax and their relationship or phase into the background making their inclusion uneccessary altogether

Also not sure how I feel about Orion being the adventurous one while D-16 is more cautious and passive. It's always been a pretty big staple of Optimus' and Megatron's history that they rose up against the caste system together but grew apart due to differing views on how to go about changing the system with Megatron leaning towards the more violent route while Optimus was all about peaceful negotiation. If this version of D-16 doesn't see an issue with how they're treated and doesn't want to explore the world outside that's basically telling us that Orion was the sole leader of the eventual revolution. If that's the case, wow, that's a massive disservice to Megatron's character

this is more petty but I wish the main cast wasn't just all future Autobots. I'd have loved to see a younger Starscream or Soundwave be part of the main group. Someone to take D-16's and later on Megatron's side in the inevitable argument

Heck yeah, Quintessons as the main antagonists! I've been wanting these guys back for years, they're way underused

I love the designs, the overall rounder bodies effectively convey that these characters are on the younger, more innocent side and the facial features manage to be distinct enough you immediately know who's who. The transforming-fights look pretty well-choreopraphed, maybe even on Transformers Prime level

the voice cast does a good job so far. that tidbit where Orion's tone becomes deeper and he almost sounds like the Peter Cullen version of Optimus? Chills. Hope we get this level of performance the entire movie

this movie seems to tackle the caste system on Cybertron pre-war and a Quintesson invasion at the same time. I'm gonna be honest, that doesn't sit right with me. It implies either that the workers are eventually going to be granted rights merely because they were useful during the war or that they sanded the edges off the caste system to make it more condescending parent than actively oppressive regime so more focus can be put on the invading Quintessons as the overall bad guys. both aren't options I'm all too keen on

would love to hear what y'all think!

[stupidphototricks]

(Disclaimer: I've mostly watched Whose Line is it Anyway UK from the 90s, but I've seen a fair number of the Drew Carey episodes and a few of the Aisha Tyler ones. And I do love this show unconditionally.)

I completely understand the point of view that a lot of Whose Line is homophobic, especially shows from the earlier days. But I want to explain something.

Yes, none of the main cast was queer irl (though some guests were), or at least not out at the time. Yes, basically they played being gay for laughs. There are a few reasons for this that I think aren't entirely invalid:

As a predominantly-male ensemble, there were inevitably scenarios where a guy would have to play a female character and/or the romantic interest of another guy, such is improv.

Even when there were female players in the show, the male players weren't as physically comfortable with them as they were with each other. There must have been dozens of times that two of the guys kissed (and also the Josie/Caroline boob grab is a classic!), but was there ever a M/F kiss at all? [Edit: Yes. Yes, there were several apparently. But it was definitely less common!]

As a live(ish) show, they reacted to audience response, and the audience always responded very enthusiastically to the "gay stuff" so they went there a lot, that's show biz.

So here's the thing. Although maybe not everything they did is unobjectionable by today's standards, I think it was an important step at the time toward queer representation. Even if none of the actors was queer, this show still played holy hell with gender roles in a way that hadn't really been done before on mainstream TV, at least in the US. And audiences were there. For. It.

This was a time when you hardly ever saw a same-sex kiss in a normal primetime TV show, but it would happen in this show, and the cheering would bring the house down. The "gay stuff" was funny, it was supposed to be, but it was more than that. People wanted to see it. People wanted it to be out there in mainstream media. The jokey, silly premise let it get past the censors, but once it was out there, it did something else. It normalized. I really think it helped pave the way for better representation.

(Which now lets us look back on those old shows and think how cringey they were. But that's one way to measure progress, is what I'm saying.)