#first assistant director on the even episodes

[spnscripthunt-inactive]

[empty-movement]

OLD SCHOOL ANIMATION NERDS, I SUMMON THEE TO ASSIST

Hey! Vanna here! So I recently, in a rage at the loss of the end-of-series lot of production materials, bought a cheaper lot I had been curious about, and I kinda struck animation history gold with it! Try as I might to pull the whole context together, I need y'alls help accurately naming and identifying what I have!!! There are MANY MORE of these, all from the same episode, an Utena one, a LOT of Nanami, and a group shot even, all following this similar formula. But let's be honest, Vanna and Yasha wanted that sweet Touga smugness. Analysis and questions below the cut! These aren't ALL the sheets, there are ones for the face shape and sleeve also but to demonstrate. Also, fucking amazingly, I also have the storyboards for this episode, so I can even tell you the shot number is 287 ISNT THAT COOL

So Utena fans. You may or may not know, but episodes 6 and 8 had very chaotic productions, and did end up getting swapped in the end. Per Ikuhara's directory commentary in the Nozomi Blu-ray:

He makes explicit reference here to Akemi Hayashi, credited as the animation director for the episode. I can't recall where I saw it now, but I know the difficulty of drawing Touga on model is mentioned somewhere in all the production stuff I have.

Now. Here's the problem. I DON'T FUCKING KNOW WHAT THEISIWEUGWEYGF what do I callll these. My understanding is the the douga is the final line art, transferred onto the cel, and that is the only thing that you call a douga. A douga is the 1:1 match to its cels in a sequence. With an anime like Utena, it's pretty often going to be included with the cel, if you obtain one. These are douga, the final line art that creates the animation, scans donated by JadeSabre and edited into sequence. The frames are numbered in the top right, and there are no notes or anything drawn on the sheets.

Now. That is NOT what I have above. So none of these materials are douga, they are...genga? Help? (This will get wild with Nanami, where I even have a green sketch that is clearly like, VERY FIRST draft of the shot...)

What I have are the key frames, to my understanding. Meaning these represent a point much earlier in the production process. On first glance, the white sheets are significantly cleaner, but they are also so far off model they're flying along with the Voyager probes in interstellar space. They're very capably drawn, don't get me wrong, but they're clearly done by someone who is not on the Dorito face bandwagon. This is apparently pretty common? You get your initial key frame sketches (genga??) made, and then the animation direction (Hayashi??) grades your work by making messier, but more on model versions of the shots. These are the yellow 'correction' genga?

The douga of this shot are likely with the cels. There are 11 distinct cels of Touga's face (others for the sleeve), guided by the 4 key frame sketches I have here. Looked at individually, I can even see where the filled in frames struggle a bit more to be on model than the key ones, even in the final product.

So clearly, what I have are some pretty early process materials where there was a bit of a back and forth about how to draw the characters. The others I have are similar corrections, but this is the absolute most drastic one. It's like they said 'just do it like kinda shoujo and we'll iron it out later.'

The question I have is...can I safely assume these yellow correction sheets are actually Akemi Hayashi originals? Or would there have been another person in this process doing this correction work instead? Would there be a way to know who drew the original ?genga? That may not be possible to ascertain, but it would be really cool to try, since this episode was a Chaos Production, since I have the actual storyboard for it, since I now have a neat piece of context about what the Chaos might have meant. This shot always stuck out to me in the first arc, because it's true that for a lot of the first arc, Touga and Saionji look....far more like the first drafts here. The strict adherence to the Hasegawa style gets enforced later in the series, but this is an example of the exchange that needed to occur to get folks on board with what was a pretty unique art style.

PS. This is torture, the shape of these means I actually need to make two scans of each one and stitch them together, which is nervewracking when you want them to overlap properly and also you don't want to wreck your toilet paper ass production materials pressing them into the scanner bed. Also several are fucking taped together and lemme tell you, 25 year old 'clear tape' don't stay clear and don't stay sticky.

Basically, any context or knowledge anyone can impart I would appreciate a lot! I know I've got something really cool here, but I am struggling to get much clear information about it, because Google is broken.

[respectthepetty]

Ryan is a Winger

Ryan devaluing himself in The Trainee and not realizing how helpful he is because everything he does is taken for granted is Cherry Magic's Achi all over again.

Because as Ryan says that he is "no use to anyone," he hands his father his glasses that he forgot in the photo room.

He helps move boxes for his sister, and tells her where the files are located that need to be printed.

And he reminds his family to charge the camera battery.

This is a continuation from the first episode, where in the midst of trying to complete his job, he constantly helped his family members by handing them paper and taking the camera downstairs.

At his internship, he remembered exactly what the woman needed copied even though she quickly rambled it at them.

He was the only one who wrote the brief down, even though it was on his arm.

But even more importantly, Ryan answers the phone.

It's significant in that moment because Jane is being overwhelmed with calls.

But it's even more significant because Ryan is the ONLY one who noticed the phone ringing in the first episode.

And he didn't hesitate to call the technician to fix the copier.

Even though Ryan used that adorable voice to convey the message to Jane after he answered the call,

He does this again to relay a message.

This is played up for laughs, but all these moments matter because the company has a problem with communication.

The rest of the interns complain about the small tasks. They argue among each other, and even though Ryan doesn't see the issue with a monk driving a car or a smart watch being in the shot, Ryan is a team player AND he is concerned about the logistics.

While everyone is so consumed with their BIG jobs, Ryan makes sure the business still operates. He gets the copier fixed. He charges the camera battery. He refills the paper trays. He answers the phone. He assists.

And as a soccer fan, I'm going to avoid writing about Ryan Giggs, but like everyone in the show keeps mentioning, he is considered one of the greatest wingers in soccer, and wingers support the other players by protecting the sides of the field so the ball can continue moving forward toward the goal.

Without Ryan protecting everyone's weak spots, they wouldn't reach the goal.

Everyone else is concerned with the BIG picture, but Ryan is making sure that they can even get the ball moving because, as the first episode explained, even though he is working at a production company that normally executes the idea from an agency, this production house has to THINK and EXECUTE, something his peers and even their boss aren't realizing.

Ryan has already proven he is more than capable of assisting, but now he must learn how to direct others, so he can become the assistant director he was meant to be.

Because even wingers can score goals.

[mizgnomer]

Behind the Scenes of The Star Beast - Part Six

Excerpt from Benjamin Cook's Star Beast Set Visit in DWM 597:

“OK, I feel anticipatory,” says director Rachel Talalay, as she readies herself to shoot The Star Beast’s opening moments. She’s wearing the shiniest silver boots you ever did see. Cybermen would kill for these kicks. “We’re in Camden,” she offers in way of an explanation. “I had to make the effort.” “Very glamorous,” says David, but he’s even more impressed by what’s stood on the cobbles in the alleyway outside. Nestled opposite a retro glamour store and a shop that sells corsets to goths, it’s that blue police box. The air around it shimmering with magic. “It’s beautiful,” whispers David. Then a puzzled look. “Is this our TARDIS, or Jodie’s?” “It’s Jodie’s, and we’re keeping it,” clarifies a double-denimed Russell T Davies (everyone’s bringing their sartorial A game tonight), when he joins us on set. “It’s just right, isn’t it?” “It’s perfect,” says David. “Let’s shoot this puppy,” says Scott Bates, the first assistant director (or ‘1st AD’). He’s got a walkie-talkie in one hand and a berry-berry smoothie in the other (“I’m on me holidays,” he jokes). “OK, alright, if we’re all good? Turning over, please. Good luck, everyone. And… action!” Russell takes a seat behind the monitors – under a gazebo – and watches the scene play out, while humming some Murray Gold. “Gorgeous,” he says after every take. “Gorgeous! Who else could walk down an alley like that?” he marvels, as David steps out of the TARDIS and strolls off merrily towards his future. (“It’s a nicely lit alleyway,” says David afterwards. “That helps.”)

Additional parts of this set are in the #whoBtsBeast tag. The full episode list is [ here ]

With a huge THANK YOU to everyone who posted set photos

[tippenstoepens]

Prettiest Girl in the Room

part 1 - part 2 - part 3

Wordcount: 1.2k

You couldn’t hold it against Joe. As an adult woman, you knew better by now. Kisses don’t come with strings attached and just because a person kisses you, doesn’t mean they want to spend the rest of their life with you - especially if that kiss happened while both parties were drunk.

Which Joe made pretty apparent when he didn’t call you the morning after your kiss. Or the three mornings after that. Or the three months after that. All you had heard from Joe was his reaction notifications from the cast group chat when someone would send a Twitter meme made of the show. Everyone fancied one of Jackson’s character screaming “Well, you can shove your ham up your ass!” 

“Joekeery loved an image”

That’s all you got. 

You went about your life the way you always did between gigs: waitressing during the week, babysitting your friends’ kids on weekends, and sending out the odd self-tape in hopes your career wasn’t over before it had even begun. It was a nice, simple life. Not every actor was fortunate enough to afford a roof over their head in New York City, no matter how many doubles they worked. You consider yourself spoiled rotten every day. What could possibly be missing?

You didn’t date. That was probably part of the problem. That’s what made Joe’s silence ache so deeply. You wondered if it would change anything if he knew that the most action you had gotten in months before the kiss was getting catcalled in the streets. A simple kiss meant the world to celibate, touch starved women like you.

Maybe you should be the one to call him… And maybe you should crawl on your knees begging him to pay you a modicum of attention with “DESPERATE” written on your forehead in red Sharpie just to put the icing on the idiot cake. 

He popped into your mind way more often than he was welcome. At the grocery store when one of the songs he always played in the makeup trailer started harassing you over the intercom. In your kitchen when you removed fish bones from your salmon. In bed when you were trying to… Well, that’s no one’s business. 

“Guess who has two thumbs and just got renewed for a second season,” the director bubbled in the group chat.

“Oh, I love this game,” David texted. “This show. Our show got greenlit.”

It was time to shake it off. Not just for the sake of the show, but for your own sake. It wasn’t healthy to dwell so much on the past. 

On the first day back from hiatus, the producers and director had the cast sit for a table read of the first few scripts they had written. As Joe’s TV wife, you’d expect to be sitting next to him considering most of your scenes were together. Maybe you should talk to Joe and clear the air before the table read started. Yes. That’s the mature thing to do.

You arrived twenty-five minutes early - which is on-the-dot on time in the acting world. Joe wasn’t there when you arrived. Or ten minutes after you did. Or five minutes after that.The anticipation of Joe’s arrival was turning your stomach into knots. He was usually punctual. Surely, he wasn’t tardy because of you.

“Any word from Joe?” The director mumbled to his assistant. 

“Haven’t heard from him,” they replied.

You began to worry. Was he skipping out on the table read because he didn’t want to see you? Had his avoidance of you gone that far? He’d have to get over it eventually. He had a contract to fulfill. Just as you began your descent into a catastrophizing spiral, the clock struck eleven and Joe jogged into the room - beads of sweat forming at his hairline. “So sorry,” he panted. “Traffic was terrible.”

“It’s okay, we wouldn’t get started without our golden boy,” David teased. “I hear he’s up for sexiest man alive this year.”

Joe blew a short raspberry in response.

“Alright, alright, let’s get right into it, shall we? From the top of episode one.” The director chirped, no doubt relieved that he didn’t have to read Joe’s lines for him. “Interior. The Henderson bedroom. John and Jane Henderson lie in bed, covered only by their silk bed sheets. They’re snuggled up together. Post-coitus is implied.”

Say sike right now. You had never done a scene like this with Joe before. Never! The Henderson’s didn’t even have a scene like this in their honeymoon episode.

Of course this would be the first scene on the first day back after your first time seeing Joe after your first kiss. It was fan service. Every girl, guy, and person wanted to see more of Joe’s skin these days. But why did you have to be dragged into it?

You turned to look Joe in the eyes as you would have at any other table reading. Normal. This is normal. Business as usual. But it didn’t feel as easy as it was before. At first, you struggled to make eye contact and when you finally did, the intensity of his gaze made you blush a bit. Only a bit. The show must go on.

“That was amazing, sweetheart,” he scooped the line off the page and met your gaze again. 

God, the script writing was really going downhill this season, huh?

You sighed contently as the script dictated. “You’re tellin’ me!”

The whole cast chuckled.

The rest of the table read went on without a single hitch. After the ice was broken, things weren’t nearly as awkward as you dreaded they would be. The cast went through the entire table read five times before the lunch break. The first thing you did with your free time was approach Joe.

“You didn’t call.”

“Neither did you."

Fair, but not really because Joe was the one with a booming career and Joe was the one everyone tuned in to the show for and Joe was the one with most of the power in this dynamic and Joe was the one who initiated the kiss and infinitely many other reasons that he was to blame came to mind before you finally came to the conclusion that you didn’t call Joe because you were afraid of the possibility of rejection. What if you followed up only to find out that he wasn’t interested in you? Your low-self esteem convinced you that reaching out to a person like Joe was asking for embarrassment.

“So what now?” The rough exterior melted, revealing the vulnerable little girl inside that just wanted a boy to like her back.

“Well, that’s up to you,” he shrugged.

Not necessarily the answer you wanted. You just stared him down until he said more things.

“If it was just a drunken kiss, I understand. We’ll never speak of it again. We’ll keep things professional.”

“And if it wasn’t?” You murmured while making sure to avoid eye contact lest you be made a fool of for saying that.

“If it wasn’t… I’d like you to have dinner with me," he blushed. "Some time. If you… I dunno if you have free time- Well, of course you have free time, but I meant- If you want to have dinner,” he stammered and stuttered.

“I’d love to.”

Joe sighed in relief. “Great. Do you like Italian?” He smiled a bashful, closed lipped smile and it made the corners of his big, brown eyes crinkle.

“I love Italian.”

“I know a spot in the lower east side near Ludlow. Friday at eight? I’ll pick you up if you like.” God, his eyes.

The submissive in you wished he would stop worrying about what you like and make you do what he liked. The romantic in you found his sheepishness so charming.

“I’d like that,” you beamed.

Taglist: @thefrontofmymind, @bejeweled13swiftie

[lifewithdavefarts]

DaveFarts - Episode 32 “A Worthy Opponent” [Episode List] Dave is back at the warehouse and filming another short “fart porn” clip for Greg. As he keeps blasting Tom, his co-worker and fart sniffer, a masked man steps into the set…

Greatly influenced by this suggestion.

Reminder: Tom was introduced in Episode 14.

POV: Dave

Alright, just like I did last time, it’s all good.

Getting paid to fart in someone’s face? Easiest money I’ll ever make in my life.

My friend Greg, the wannabe movie director, wanted me for another fart porn film.

Yes, that’s an actual thing, this is my life now… a small part of it at least.

You know me, I’m a chill dude, though before accepting such task some months ago I wanted to make sure there were some lines that we shouldn’t cross. To be honest, however, the more I worked with Greg, the more I got used to all of this gross kinky stuff.

I mean, that sounds hypocrite, I’m aware: I’m an incredibly skilled straight farter who continuously face-farts his friend and roommate, fully knowing the he has a fart fetish, and even before that I’ve always been a proud farter, and rightfully so.

Also, I spend too much time on the Internet, so I’m well-versed in gross stuff.

With Tim, however, it’s different.

Here there are cameras, people telling me how I need to fart (seriously!), people I barely know but, truth to be told, who gives a shit? It’s just business, a business that revolves about farting, so you could say that my ass shits gold, almost literally.

Plus, I already got a Tim in my fart-victim collection: a Tom always sounded like the next logical step, the next Infinity Sniffer. You can starting calling me Thanus at this point.

So here I am, back at the warehouse, in this fake living room, wearing a pair of shabby grey sweatpants, cautiously sitting on Tom’s face. 

Tom, my co-worker and professional fart sniffer.

He was lying on this couch in the middle of the set, face up, his nose perfectly aligned with my asscheeks already.

He didn’t say a word or move a muscle: this guy is a pro for real. I still don’t know if he actually has a fart kink or not. What I do know is that I did blast him even when we weren’t working once. 

What can I say? My farts are too good to be wasted!

As of now, I sat on him and adjusted my position, spreading my legs wide, to ease the next fart out and, according to the script, “to showoff my manly bulge”. Thanks, I guess?

I lean just a bit and I effortlessly rip the first fart of the session, a natural blast I’ve been brewing for a couple of minutes. The warm gas passed through the fabric of my sweatpants and soon Tom’s face was imbued with my poisonous flatulence.

“Fuck yeah.” I said, as the loud blast kept going. “Don’t choke on that you fag.”

Hey, I didn’t write the script!

I could feel and hear Tom taking deep whiffs of that fart. I wiggled my ass in response, an improv which he seemed to enjoy, both professionally and… kinkly?

This blast lasted around 6 seconds. A good one don’t get me wrong… but you know what I’m truly capable of…

I noticed Greg from behind the camera giving me a thumbs up, mouthing my next line.

“Alright you filthy slave, you better open up.”

Tom obeyed. I leaned once again and spread my legs even wider, my anus aligning with my co-worker’s mouth.

Another home-run, another loud fart, I didn’t even need to push that much. I’m ridiculously good at this, I swear. It feels stupid to brag about farting skills but trust me, as soon as I finish ripping one of my huge farts, my body is already brewing the next one. I got a quick reload.

Tom’s face was shaking and this time, for real, he almost choked on my gas, as I felt him move. And when even Tom, who’s usually stone-cold while working, flinches, I know I did a good job.

I saw Greg talking to his assistant: he seemed angry. In that moment, behind me, the fake door of the fake living room opened without warning. Was this an unscripted moment?

I stopped farting and turned around, kind of forgetting that I was sitting on Tom’s face.

Someone stepped into the set, another man, around my age, tall and skinny. I couldn’t see his face as he was wearing some kind of black ski mask. His clothes were as casual as mine (a red t-shirt and a pair of blue skinny jeans).

He didn’t look friendly, yet the moment he saw me, he kind of froze on the spot for a few moments.

Is Greg making a farter-slasher movie all of the sudden? Not that I’d complain! Sounds camp-y enough to me.

I gave an inquisitive look to my director-friend, who promptly stopped filming.

“C-cut!” he yelled. “Alright, we got our first farts.” he said, as he walked towards me. “N-now, make room for the other farter of this session.” 

I gave him a puzzled look. “Other farter?”

“Duh!” Greg replied, as he pulled me out of the set, impatiently. “You thought you were the only person capable of ripping ass?”

Honestly, kind of?

I mean, I don’t think about farts 24/7, but I do know that I’m pretty good at it. Ask Tim.

“Are you replacing me?” I bluntly asked.

Not gonna have a fight over… farting, that’s for sure. And I’m not even mad, I was just taking those extra bucks for granted.

“Don’t be jealous.” he replied, as he let me sit next to him, next to the director himself, as if I was one of the crew.

I watched as this masked guy stepped on the couch and squatted over Tom’s head, just as the poor guy was getting used to fresh air again. I guess this is his lucky day, assuming that he does have the kink.

“Action!” I almost went deaf when Greg screamed that.

The masked guy was basically another master and he acted accordingly.

“Here you go, fag. Got something for you to taste…” 

The fart that followed was very loud and echoed in the whole warehouse. On one hand, when I’m not the one torturing a poor soul with farts, yeah, it’s pretty gross. On the other, as a man, I gotta tip my imaginary hat to a fellow talented farter. The blast was nowhere as long as mine, but holy shit.

This other “master” was way more dominant than I was, way more natural I’d say.

“If you wanted a master, you could just ask…” I whispered into Greg's ear, sounding way more flirty than I intended to be, which almost made me laugh.

“You can’t be a master like him.” he firmly replied. “You’re too nice.”

Should I be offended? I really don’t know anything anymore at this point.

“Fire in the hole!” the masked master yelled, just as he ripped another loud fart down Tom’s throat.

I admit this guy’s voice sounded quite familiar, despite his best effort at trying to sound much deeper.

“Do we know this guy?” I asked Greg. The question almost startled him.

“Uhm. No idea.”

Ok, liar ahead. Clearly we know this guy then.

I will get to the bottom of this… after I put this masked guy to his place.

POV: Tom

Fuck. 

Dave’s farts were already impressive, but this masked guy’s blasts are really hard to endure, really pushing the limits of my kink. Those farts sound utterly gross, almost wet, and they smell horribly. I like working with Dave because, among other things, his roaring ass is loud but when it comes to stench, I can easily inhale those.

This guy… I have no idea who he is, Greg refused to introduce us for some reason, but I decided to trust him: I think I made a mistake. The rough surface of his skinny jeans is almost scraping my face.

Another fart erupted right into my nostrils, renewing the already terrible stench. It smells like… spoiled milk? I don’t know, it’s nauseating, I feel like I’m drowning in a sewer. I’m always very calm and composed when I’m… working, but I wasn’t ready for this I admit it.

“You’re such a bitch, I knew you couldn’t handle it.” the man said, ripping another loud, short rip.

If this guy doesn’t get up soon, I’m probably gonna choke in my own puke.

“Alright, that’s enough, get the fuck out of here.”

I heard Dave say, walking towards us, and I was relieved.

The masked man got up, my eyes adjusting to the spotlight shining over the set. I took a deep breathe of (relatively) fresh air, but anything was better than that. 

I managed to recognize Dave’s silhouette, towering over me.

“That was cute. Now let me show how a pro does it.”

Great. I’m basically the city you see in the background of kaijū movies while the monsters fight each other. You know the city, right? The city that usually gets completely leveled by the huge creatures?

I guess that’s my role for today.

Let’s get it over with.

As I said, Dave’s farts are huge but I’d take anything over that other guy’s gas.

I quickly took more deep breaths… before letting Dave sit on me again.

POV: Dave

“That was cute. Now let me show how a pro does it.”

I don’t know who this guy is, but if he really wants to do this, a fuckin’ fart challenge, then he’s gonna get blown away.

Well, not him, rather, my good pal right here on the couch.

“Alright…” I whispered to Tom. “Get ready bro. I’m gonna rip some huge ones and act like an asshole for a bit.”

I earned a puzzled look from him. “An asshole?” he paused for a moment. “But… you’re too nice.”

Oh great, now the sub tells me how lovey-dovey I am, perfect!

I stepped on the couch, not caring how my feet was crushing Tom’s chest, and squatted over his face, my fabric-clad anus tickling the tip of his nose. As I said, I’m always brewing a big one, and having a quick cheeseburger before coming here surely helped.

Once again, effortlessly, my ass started roaring, loud and unstoppable. As I kept pushing this one out, I maintained eye-contact with the mysterious masked challenger, who could only watch haplessly as I showed him what real talent looks like.

“Open wide, fag. This is far from over.”

Tom took it like a champ, inhaling deeply for the camera -I don’t even know if we started filming again. 

All I know is that my farting skills are a sight to behold… and to sniff, in Tom and Tim’s case at least.

Ahah… I’ll never understand this gross kink, but I gotta admit, if I had this fetish, and my best bro and roommate was, well, me, I’d probably be as thirsty as Tim is. So yeah, in a disgusting way… I get it.

And just like that, 12 seconds passed. Long, but not as long as my best ones, I can do even better than this… but I play fair so, after brushing my sweaty sweatpants ass on Tom’s face, I stood up and crossed my arms, eyes glued on my rival. 

“Your move, beanpole.” 

It’s ridiculous how seriously I’m taking all of this, but I can get quite competitive.

The masked master laughed and… lied on the floor. He held one leg up… that’s a position I’m quite familiar with. Surprisingly enough, he started sucking air in, right through his jeans. That’s a great talent I gotta say, I thought I was the only one who could fart on command so easily. 

A worthy opponent, at long last!

After a few seconds, the man stood up, proud and tall and, just like I did earlier, treated Tom as if he was part of the couch, and sat on his face. His eyes glued on me, I could tell there was a smug mile making fun of me under that ski mask.

The fart that followed was quite impressive and loud, but still not as massive as the ones I’m able to produce. This guy was good, no doubts about it. I’m pretty sure Tim would fall in love with him (the thought of that made me visibly laugh, putting a dent in the menacing aura I was trying to convey).

You know what, fuck this. It’s not worth it. 

But since I’m already here, and I’m able to rip huge farts both naturally and on command, I guess I could simply… well… join the fun, you might say.

I’m sure Tom will understand.

POV: Tom

The masked guy’s fart, despite being on command, was as foul as the one before. Dave’s blasts weren’t a cakewalk by any means, and they’re still much louder, deeper and stronger overall, but whatever this guy ate was doing numbers in his stomach. He was wearing a pair of skinny jeans but he could very well be naked for how much my nostrils were burning. 

The stench of Dave’s previous farts mixed with the rotten eggs-flavored gas this guy’s anus was blowing in my face and, truly, I started to think that this was a big test that Greg set up just for me, for some insane reason. If I survive this, I’m gonna kick his ass.

After around 9 seconds, the flatulence’s loudness faded out, essentially turning into a classic silent-but-deadly.

The man raised his ass just a bit, to make sure I could breath a bit of fresh air before the next one.

I turned my head and I could see Dave approaching the couch again.

Okay, it’s the other kaijū’s turn I assume.

Funnily enough, this is actually good ne-

...

Wait.

Why isn’t the other guy stepping aside?

“If it’s a show you want, Greg, a show you’ll get.” Dave boasted.

The farter above me finally moved, but just a bit, his ass still covering half of my face, hovering over my mouth.

The reason he moved, however, wasn’t altruistic by any means: instead, he had to make room for Dave’s ass, which ended up being planted directly onto my eyes instead.

Just... just fuckin’ do it you gassy bastards.

“Hey fag, it’s your lucky day.” the masked guy said.

“Good thing you have two nostrils: one of each anus.” Dave said.

Whether they were improvising or not wasn’t important, because their asses certainly weren’t.

Dave’s ass started speaking first, erupting his deep warm gas into my eyes. Mere seconds later, the other ass started talking as well, its fart being more high pitched. The sounds mixed together like a symphony and after a few moments I couldn’t tell which anus was being louder, ‘cause they both were. 

I became part of the couch as those two asses kept crushing me, farting loudly. My face couldn’t endure that barrage of farts any longer, as the farters kept cycling between either loud series of farts, or single long ones. The stench... I felt like they were taking a shit on me, I could taste that thick gas and even guess what they ate for lunch.

It was getting hot, too hot, and I started breathing more heavily, which only meant I got to ingest more of that poisonous gas. 

And yet, my massive boner betrayed my disgust.

While my eardrums were getting crushed by those farts, I could still manage to recognize Dave’s fart being the loudest: the man found a worthy opponent, sure, but he still owns the crown, no doubts about it.

“And for the big finale…” I heard the King say.

Dave lowered his sweatpants, exposing his sweaty bare ass (the masked farter kept his jeans on instead), and ripped a short, yet very loud toot, drops of sweat being blown onto my face and teary eyes (for the smell).

The two remained there for a few seconds, finally in silence from both ends, letting me inhale those last particles of gas, even though I’m pretty sure my skin merged with their farts on sub-atomic level, then they finally got up and shared a high-five.

Much to my surprise, the two men then turned back to me and helped me sit down, and they both high-fived me as well.

I guess a fart master is nothing without someone willing to sniff it all.

I appreciate the respect.

The mutual respect.

POV: Dave

After taking a much-needed shower and putting my civilian clothes back on (my usual dark brown hoodie and a pair of loose jeans), I cleared things up with Greg. 

He admitted he messed up things up with the schedule, and that indeed there was another “master” audition today, but he really enjoyed our improv and filmed everything, and thus the editors are pretty satisfied with what we managed to film today.

He also told me that, indeed, the mysterious farter is “a common friend” who didn’t want to be recognized.

No hard feelings with Tom either, obviously.

Now, time to tie up one last loose end.

I went outside, on the back of the warehouse, where I knew I could find my masked rival. He was checking his phone sitting on a shabby couch, an old prop that the crew moved here after they bought a new one for the set.

Basically, glorified comfy garbage.

“Hey, fire-in-the-hole-guy! I knew I’d find you here… that’s there they put the trash after all.” I said, with a smug smile.

The man shook his head and laughed. “Greg told you?” he asked.

I walked towards the couch and sat next to him, wrapping my right arm around his shoulder.

“You thought I woudn’t recognize your beautiful eyes, Adam?” I joked, acting all flirty (and hopefully annoying).

He  punched my shoulder and took his mask off.

Indeed, it was Adam all along.

He laughed a bit more.

“I didn’t know you were working with Greg.” he said. “Finally, you can make money from the one thing you're good at!"

“Very good at.” I corrected him.

I was going to fart to prove my point, but Adam seemed worried about something.

“I kind of needed those extra bucks you know...”

“Why is everything gravitating towards farts lately…” I thought out loud.

“What was that?” he asked.

“Nothing, forget about it.” I quickly said. “Extra bucks you said?”

“Yeah, as gross as it sounds, I thought I could make some quick money out of… whatever Greg’s doing here.”

“Hey, not judging bro!” I reassured him. “I mean, I’ve been doing this for a couple of months.”

“Does Dana know?” he asked.

“Nah, I didn’t tell anyone. Not even Tim, he’d probably be jeal-“ 

I bit my tongue just in time, even though I didn’t really think he’d get jealous. I was just trying to make a joke I swear!

“Jealous?” my friend inquired. “Jealous of what?”

“…Uhh… jealous of my success, obviously!”

Adam didn’t seem too interested in the conversation anyway, luckily enough, so he didn’t find anything suspicious about my not-so-harmless joke about my roommate.

“That’s envy, not jealousy, you idiot.” he observed.

Never mind.

A few dozens of seconds of silence followed. Adam wasn’t exactly a talkative guy, and he does have a job and all, but if he needs extra bucks, maybe I could help.

“I’m sure we can arrange something with Greg.” I stated.

“Mh?” 

“Yeah, you can fart on Tom on Tuesdays, while I can do it on Wednesdays.”

We stared at each other for a few seconds before bursting into laughter.

“I can’t believe we’re talking about this.” Adam admitted.

“Yeah.” I patted his shoulder. “From great farts, come great responsibility.”

We remained there, on that smelly (not because of us) couch, for a few more minutes, as if all that fart-talk was the most mundane thing in the world.

“Doing something tonight?” Adam asked.

“Dana and Tim are out of town, so probably nothing. You?”

“There’s a good pub a few blocks from here. Care for a beer?”

“Always.” I simply said, as we both stood up, and started marching towards our new destination.

“Easy bro.” Adam said. “I’m not gonna drag your drunk ass back home.”

“I can handle way more beer than you, pal!” I said.

“Yeah, in your dreams maybe.” he replied.

“Alright. Ready to lose against me for the second time today?” I threatened him.

“Lose?” he scoffed. “It was literally just far-“ 

I cut him off by ripping a huge, natural blast, staring at him with a smug grin. The fart easily echoed in the alley and I’m pretty sure they heard it downtown. It was short and sweet, you might say.

4 loud, proud seconds.

“I’m sorry.” I said. “You were saying?”

Adam laughed in response. “Fine, you won whatever that was back in the warehouse.” he admitted. “But I’m still not gonna drag your sorry drunk ass back home later.”

You know me, I’m a chill guy, but if you tease me, I can get very competitive.

I again wrapped my arm around his shoulder: “If it’s a show you want, Adam, a show you’ll get.”

Nah… maybe I’m too nice.

The End

[letmereadinpeace4]

Love Sea episode 1 Commentary

So yesterday the first episode of Love Sea was released. After watching it, I decided to put down my thoughts and impressions. Hopefully I can keep it up until the end of the drama.

First, a few things:

I have bought and read the Love Sea novel. I will try my best not to spoil anything, but this knowledge informs my perception and my commentary. I have also read Love Sand, which chronologically happens before Love Sea, and I will spoil minor plot points if I think they can help understand elements in the drama.

There will be no Mame hate in this post, or in any other posts.

With that out of the way, let’s start:

The drama opens by separately introducing the main characters. Masahamut is diving, checking and noting damages, while Tongrak is on his way to the island, wearing the most impractical travel outfit he could have possibly worn. We learn that his stay on the island was booked by Connor Warrington, a close friend of his.

The character introduction is pretty well done. Masahamut is set up as a character who deeply cares about the well-being of the island he lives on. He is shown interacting with his friend Palm (they are not biologically related, they are senior/junior) and we get an impression of someone who communicates well with others and has a joking, playful side to him. Meanwhile, Tongrak is shown alone, even as he talks with Connor, we do not hear his replies, so we get the sense of someone cut off from other people. His outfit is also very fancy, showing his financial comfort, but also wildly impractical, showing that he is not very down to earth.

To explain who the characters are in the Mame universe, Masahamut is the best friend of Khom, who is Type’s childhood friend (from Tharntype). Khom is dating Connor, who is close friend with Tongrak. Tongrak is also a novelist, and his novels have been adapted by the movie director Aphros, who is Prapai’s uncle and the director who inspired Sky after his breakdown (not going to lie, with all those connections, I am low-key surprised that the closest we ever got to incest was Tum and Tar’s relationship).

At the docks, Tongrak is not exactly impressed with the place he will be staying at. We have it confirmed that Connor booked his stay because Tongrak’s next novel will be about the ocean (Connor my beloved I love you so much you asshole). Masahamut meets Tongrak at the docks and decide to piss him off by speaking in a Southern accent and not driving an appropriate vehicle to transport his suitcases. After Tongrak blows a fuse, Masahamut cuts him off and borrows a cargo tricycle.

This develops the characters a bit further. Tongrak shows a rather childish side and a lack of control over his emotions, while Masahamut’s confidence and capacity to adapt is set up. We also see more of his playful, “troll” side. I also like how his popularity on the island is subtly shown by having him borrow a bike from someone with no issue whatsoever. People trust him!

Tongrak immediately calls Connor to complain and demands to go home, further showing his childish, needy side. We get to hear Connor, who is mostly amused. Meanwhile, Masahamut unloads Tongrak’s suitcases with an amused expression and grabs the phone to chat up with Connor.

For more explanation about Connor and Masahamut’s relationship, they met when Connor stayed at the island for the holiday. He met Khom, who was working as Masahamut’s assistant and as Connor’s guide, and Masahamut helped Connor in his pursuit of Khom (in exchange for monetary compensation. Truly a win/win situation for everyone involved).

I love how entertained Masahamut is with Tongrak’s prissiness. He doesn’t care or take it personally, just rolls with it and takes advantage of it to troll him.

Masahamut escorts Tongrak to his room, who immediately pushes him out and ignore his offer to be at his disposal if he needs anything.

Sidenote, but I love Tongrak raging against the suitcase and later at the blankets. It is so cute, childish and relatable at the same time. I have definitely “scolded” a zipper because it wouldn’t open or the printer because it had issues.

We cut to Mook, Tongrak’s assistant/secretary, who is looking very busy and overworked. She is so far the most relatable character in the drama for me, down with the messy hair. She is called by Vi, Tongrak’s best friend, who promises to keep her busy. I love her, she is such a troll! Also a cameo appearance by Ja, which is definitely great to see! Hope he’s been well!

We cut back to Tongrak as he goes to a bar, wearing a really awesome sheer shirt and enjoying the attention he gets. Palm is his waiter, and immediately start hyping up Masahamut. We get confirmation that Masahamut is really popular both with the residents and with the tourists. We also learn that he is bi, which is great! We always love to see bi representation.

Tongrak seems pissed both at the fact that Masahamut is popular and by the fact that people would assume he is attracted to him, which he is definitely not! One hundred percent not! Not a trace of attraction here! Who cares if Masahamut is handsome anyway? Not him that’s who! And his sulking has nothing to do with it.

Next morning, we get to see how much Masahamut is involved in his community. While it may seem a bit heavy-handed, I do like that this aspect of Masahamut is so strongly enforced. It gives him a lot more depth and shows his maturity.

This mature impression is immediately countered when we see that he has a double of Tongrak’s keys and didn’t tell him. He immediately takes on the caretaker role and as he cleans up the room, we learn that Connor paid Masahamut to serve as Tongrak’s caretaker/nanny/guide/sitter during his time on the island. Is it like some kind of gift reciprocity? Masahamut helped Connor date his best friend so Connor helps Masahamut get with his own friend? I also really like the comparison of Tongrak to a cat. It suits him so well. We also have it mentioned again that Tongrak is very lonely (initially, Connor filled that loneliness void, but once he started dating Khom, he could no longer give as much attention to Rak as he used to, hence why he is trying to find a solution.)

Connor wakes Tongrak up. Not going to lie I would punch him! Do not bother me before I had my tea and breakfast! As he tries to punch him Tongrak falls on the ground, giving Masahamut a perfect view of his body.

The “seduction” scene is really well-done. You can see the switch as Tongrak finds himself in a more familiar territory and tries to seduce Masahamut by removing his robe/shirt. He really seems to enjoy having power over Masahamut, especially since the latter has annoyed him so much. However while Masahamut is admirative, he does not lose his head and starts commenting on Tongrak’s lack of body hair. You can really see the switch back as Tongrak loses his confidence. Peat acted really well in that scene!

I love how offended Tongrak is by Masahamut’s lack of sexual interest. Poor kitty got his pride hurt! Speaking of which I also love how Masahamut speaks of Tongrak like a kitty he is taking care of.

Tongrak tries to provoke Masahamut by constantly asking for a different breakfast and being picky, to no success. I always enjoy seeing Tongrak’s bratty side, especially when his brattiness doesn’t work.

Masahamut is such a troll! I love him already!

Meanwhile, Tongrak has found out a way to get Masahamut to do what he wants (to some extent). He pays him to get him to speak in a Central dialect. It really sets well the economic difference between them. Tongrak has money to burn and Masahamut will do anything for money. I love how much he doesn’t care about being bought and getting money from his clients. Masahamut is there singing “Material Girl” and doesn’t care about what anyone thinks!

I love it any time Tongrak’s more vain side is shown. The way he jumps when Masahamut mentions wrinkles. Also he is supposed to be in his late twenties/early thirties.

Masahamut offers his sexual services and can obviously see that Tongrak is more interested than he lets on. “Even if you were the last man on Earth, I still wouldn’t want you”. Oh hey! I heard a cool girl named Elizabeth Bennet say the exact same thing. I wonder what happened to her….

We cut back to Mook rehearsing her speech to Vi to not have to work as her assistant. By the way I love her shirt! As she dares Vi to call her, she answers her prayers and does so! We get to see that Mook has an itemized list of how to deal with Vi! That is some thoroughness! Anyway Vi claims a light bulb in her room is busted and that Mook needs to come and change it. I see Vi subscribes to the “pulling her hair” strategy in courtship. Meanwhile Mook is getting more and more erratic and her faces are amazing! She looks offended, outraged and confused at the same time. Also I love how messy her hair is.

“I’m a frail lead actress who can’t do anything on her own” as she sits on the ladder she used to bust her own light bub to get her crush to come to her place! I love Vi she’s such a troll! Also does she have Mook’s picture? I can’t really see well.

In his room, Tongrak is having trouble writing the sex scene and we learn he needs to have sex or to hug someone to properly write sex scenes. It really is interesting that Tongrak needs an intense physical situation to describe a romantic sex scene, because it suggests that he cannot conceptualize the intensity of the emotions involved unless he experiences a “similar”, physical sensation. It really goes with him being lonely but also suggests he never truly offered his heart to anyone.

The next day, Tongrak is working on his novel, looking extremely cute with his round glasses, while Masahamut is waiting. He soon gets bored and starts reading what Tongrak is writing. I wonder if the sex scene he reads out is a random scene that was written especially for this or if it was taken from another of Mame’s novels. I cannot place it.

Anyway Masahamut is bored of it and takes Tongrak on a boat to show him around. I love how Masahamut gently scolds Tongrak and tells him to sit properly so that he doesn’t fall, causing Tongrak to sulk. It sets up their future dynamic. Also Masahamut don’t scold the kitty! He’s a city kitty and has never been on the sea before.

Tongrak is called by Mook and doesn’t hear her well. Yeah in the middle of the sea it is a lost cause. Masahamut decides to take a dive while Tongrak is on the phone, causing him to panic. I actually agree with Tongrak here! For safety reasons Masahamut should have warned him.

Tongrak freaks out and starts crying. Masahamut tries to reassure him by poiting out that he’s fine but is unsuccessful. I love how he takes the freak out seriously and only reaches to touch him after Tongrak has been unresponsive. Tongrak scolds him and Masahamut reaches out to hug him and apologize. I love the light little kiss on the forehead and how Tongrak slowly accepts Masahamut’s hug.

Afterwards, Tongrak is embarrassed about his crying episode (don’t worry baby it happens to the best of us) and plays the shy Victorian maiden when Masahamut moves to remove his shirt as if he didn’t wear a sheer shirt in public two days before. Masahamut offers to show him the good stuff, and just like Tongrak I was not thinking of clams when he said that! Again, I love how confident Masahamut is! He is aware of his charm and sees well the effect he has on Tongrak. The episode ends with them still on the roof of the boat.

Overall I really enjoyed this episode. It was a good set up for the characters and I love the atmosphere they created. I look forward to seeing more of it.

[maybe-boys-do-love]

The Trainee, Episode 10: Direction

Take a break from the discourse around the couples to appreciate the references to directing in this episode! From the literal meanings to directions in life.

We open on Ryan's dad directing Jane's photoshoot. lol. You fix those clothes, Ryan ;) And Jane, give us a smile like your falling head over heels for someone.

2. Then we get Pah (making friends with every single person at the office, as usual) directing the front desk assistant (I haven't caught her name and she's not on the mydramalist or imdb cast and crew list) to a spot for lunch. Then we have the accounting manager come in and show us how her and Pah's relationship has grown. The scene reminds us that Pah, since early on in the show, has demonstrated incredible relationship building skills--a necessity for any director. And these relationships come to a beautiful fruition in this episode.

3. Tae, on the other hand, emerges as a directionless ghost, jump-scare appearance and all! Heartbroken and provided with downtime by his department for the first time during his internship, he has no idea what to do with himself.

4. Pi and Ryan are seemingly talking about the controversial Todd Haynes film, Joker, from 2019. If you're either knowledgeable about the Batman franchises or interested like me in trying to figure out why the writers chose this film to include as a conversation point, you'll realize that Harvey Dent was not in Joker. He was, however, in The Dark Knight in 2008, directed by Christopher Nolan. This mix-up between the movies seems intentional when we look at the theories of directing and humanity the show is exploring, which I'll expand on in number 5! In Joker, we get a depiction of a single misunderstood victim genius who takes out his suffering and any failures of his art on others and inspires other people who feel hurt and misunderstood to do the same. In Dark Knight, we have the day saved thanks to a collective group of people's refusal to harm others despite threats that others will be forced to harm them, and, as far as Harvey Dent, his reputation is preserved despite his failings because of the hope it can bring others. The comparison sets up a comparison between the individual heroes and villains versus the collective, which is a really important comparison to ideas the show explores about directors (and is just really important in general theories of direction like conversations about auteur theory, etc.). Note that Jane says in this ep that he doesn't like hero movies...

5. We then see Judy directing Ba Mhee on how to correct her typo on a document. She's checking over a draft before it goes out, like a good director ought to, but Judy's direction of Ba Mhee, of course, gets taken up as a motif and major sticking point for their dynamic in this episode as it encroaches into personal time rather than just work. We have witnessed that outside of work, Ba Mhee is actually quite capable and eager to play the directing role.

I want to point to the specific typo mistake that read "God Pick" instead of the company's name of "Good Pick," though, because it seems to refer to one view of a director's role. Alfred Hitchcock explained, "...in fiction film the director is god; he must create life. And in the process of that creation, there are lots of feelings, forms of expression, and viewpoints that have to be juxtaposed. We should have total freedom to do as we like." So this moment of direction gives us two references, for the price of one!

Even more, it presents us with the theory of auteur Directors, that the show has been actively engaging with through the whole series. Does the director have a god-like power to pick and choose what they want their work to be without any input from others? Do individuals, as directors of our lives, get to pick and choose what we create out of them without others' input? To both answers, the show has emphatically replied, no! The studio is not called God Pick, it's 'Good Pick.' The director, just like each of us, is working on communicating with a whole massive team of people to bring a certain vision of theirs' to life within quite constrained limits. From budgets to time, from client desires to our own insecurities, we do our best to be good knowing that mistakes will be made and we can pick up and keep on going.

6. Baimon, the director of the studio, instructs Pie on some of the grunt work of directing. He's been presented as so flighty in the series, so it was nice to see him getting down to business in this fashion. That business, however, was printed upon the backs of some big emotions, which I think, in addition to being a funny little gag about Jane and Ryan's hidden relationship, is a beautiful metaphor about the combination of emotional and logistic work that directors, especially, are tasked with performing. A vulnerability lies under each shot and camera angle.

7. Idk if this was intentional, but the choice to show sticky-notes as the art department's current medium for this scene reminded me of directors story-boarding with sticky notes. It's also the moment Tae is encouraged to make an attempt at directing himself and providing his direction to his relationship with BaMhee in a way that's considerate of her desires.

8. Baimon directs Jane and Ryan in another intimate scene lol. He's staging them, referencing the storyboard, checking the camera, doing all the director jobs! And, of course, instead of a perfect god, he makes a mistake with the very basics of left and right that his intern corrects for him, and this mistake is not used by the show to signal to us as the audience that he's incompetent. It's to show that the people with 'big' dreams, visions, careers, or awards are not more special than those who choose to do the small tasks in life. Directors are the first job Ryan lists to Jane when talking about adults with special talents that he feels like he's supposed to aspire towards. Jane asks Ryan "Why must people want to become something big?"

There's also a development in Ryan and Jane's performance here. They're playing and improvising in the scene. It's a nice development for them as character and a sweet commentary on directors allowing actors to perform with some flexibility. Based on what I've read about Gun and Off's development as actors and a pair, their characters' development in their different stand-in moments almost seems like a commentary on Gun and Off's growth as a performing pairing, but that's just a fun stretch. Really, I'd say it's more representative of the growing comfort of actors in film work.

9. How could I not discuss one of my favorite sequences in the show (right up there with BaMhee's chase scene)?! Pah has been amassing a crew of comrades at the studio throughout the series, and I knew it was building towards something. I stated during the first shoot when he was a part of Unit B that I could see his arc leading him to becoming a director because he was just so good at befriending and organizing people. And here's where he becomes the director! Not through his personal auteur vision, but through his communication with others!

I had been imagining this plot development in some fashion for a while. Getting it would've satisfied me. Great comedy for me, however, is about seeing a well-constructed set-up pay off for a better value than you could've expected. The Alfred Hitchcock quote above comes from a portion of an interview about plausibility in fiction and his films. He ends the quote by saying, "A critic who talks to me about plausibility is a dull fellow." The moment Pah slid off his sling, The Trainee leapt out of the realm of plausibility it had meticulously built to give us a stratospheric pay-off to the joke it had been building for 9 episodes. And it was a joke grounded in the deepest themes of the show, praising every creator and assistant working in the background of this show and all the shows we love. It made my heart so full. It presented a democratic vision of a director's role (in a country where people continue to need to fight for their democratic values). And, it did it all while making me laugh.

10. Despite all the people running this scene and Judy giving Ba Mhee so much direction in the workplace, it's Ba Mhee who finally gets to realize her direction in life here. Notably, she's let go of the big overly romantic dreams and visions. She's come to appreciate and understand the importance of the seemingly mundane aspects of her relationships, the day-to-day jobs of directing one's life, and she's directing Tae to commit to this direction, too. Directing involves paying attention to the small things, the communication, and the people who help make them meaningful.

There's a beautiful transition between Judy's conversation with BaMhee and Tae's where they fade into one another exactly, letting us know in some ways that Judy and BaMhee could've had a conversation and started growing and finding a direction together, too. The problem as BaMhee points out is not finding an exact right fit. She just still has feelings for Tae, which would make developing a relationship with Judy more challenging. It was mature and honest, and that precious little fade let us know the show saw the possibilities for BaMhee to love them both. Has a film cutting choice ever been so bisexually coded???

10. It's a cute little reversal that our final scene is one of the first steps in directing: the concept stage. We also get Jane's appreciation, not only for Ryan's ideas here, but for all the things Ryan does at his family's business that align with the same kind of work happening in a production house. It sets the two of them on equal footing, disrupting this fantasy of the film industry and the class systems that could divide them. And Ryan's other insecurity about feeling too immature and un-adult to compare to the people at the office, which is a another division that might separate Jane and Ryan (HOW OLD IS JANE!?!?!?!) also got a dressing down ;) during this episode. We're getting ever closer to Ryan feeling ready to direct his own life!!!

[dropthedemiurge]

Aaah, this was one of the best episode of The Trainee (and certainly the most heartwarming episodes out of all Episode 11 in BLs xD)

🥺🥺

List of the most adorable details:

Pah still bejng the heart of all interns and encouraging communication and teamwork

Bamhee thinking and planning future for herself (and I bet she and Judy will be amazing best friends at least)

Tae making sure he shows affection for Bamhee enough and doesn't lose himself only in work, we cheered

Pie's CUTEST reaction to having her idea be chosen (and the fact that all the small intern tasks they did actually were important and paid off) her squeals and attempts to contain joy aaah

Even Ryan loudly claiming what he wants + changing other people in smallest ways (such as teaching them how to treat paper)

50% of this show is a promotion of Recycling Paper lol

Insecure Jane backstory, he looked hot in every scene but the vulnerability made him seem so different from start episodes aaah love it

Jane losing the sparkle and his ambitions, forced to master staying in the shadow until a random kid that doesn't know anything showed up and cheered him up to be confident in himself and helped break out of stagnation

Ryan encouraging Jane! Saying not being chosen doesn't mean you don't deserve your spotlight at all! This little sunshine ball of a kitten outpouring love in "scariest and coldest person on the team" no wonder Jane got overwhelmed and kissed him right there and then, I would too

Btw who on earth looks SO GOOD in denim shirt and denim pants? Off reminding me that he was in my original lineup of Thai BL actors I feel in love with many years ago because of his visuals

He's gonna fight for Jane's reputation as he has been doing from the very beginning but damn I want to see Jane tearing Nine apart for using the wrong idea

Also when he stormed out of the room with very annoying pressuring ex and crazy harrassing client without enduring and playing along like he's been doing in shadows, it was Jane's first step to stand up for himself and direct his own life

And Ryan was the one who gave him the needed boost (you could say, he did a great job assisting him heh)

I love love love credit small knowledge scenes, I wish more shows done that, that's cute, I love learning new things

And I love editing and lighting and fashion department of this series, why is it so perfect I could stare at every shot for hours and it gave me insane amount of warmth. Not enough people watch this show tbh, GMM directors need to all watch it and learn about good production tbh

[docgold13]

Batman: The Animated Series - Paper Cut-Out Portraits and Profiles

Baby Doll

Marion Louise ‘Mary’ Dahl was an actress who featured in a very successful situation comedy early in her career.  Dahl was born with systemic hypoplasia, a rare endocrine disease that prevented physical growth.  Even as an adult, she appeared no older than a toddler.   

While her time in the roll of 'Baby Doll' on the show ‘Love that Baby’ garnered Dahl fame, she found getting subsequent acting roles to be extremely difficult.  She wanted to play serious and adult roles, yet her size and recognizability caused casting directors to disregard her.

Over time, Dahl’s anger and depression intensified to the point that she descended into an unhinged rage.  Feeling that the only time she was truly happy was on the set of 'Love That Baby,' Dahl set about abducting the various actors and producers of the show in a desperate, crazed effort to recreate the show. Her ultimately plan was to set off an explosion that would kill her and the entire cast, allowing them to be together forever.  

Batman and Robin investigated the disappearance of the various actors.  With assistance from news reporter, Summer Gleason, Batman was able to identify Dahl as the prime suspect.  Batman tracked down Dahl and rescued her hostages.  

Dahl herself fled to a nearby fairground, hiding inside a funhouse.  There she encountered a hall of mirrors with one of the distorted mirrors showing what she might look like had she been able to grow into an adult body.  

Realizing it all to be fake, just as her life and character was, Dahl shot out all the mirrors before breaking down and weeping.  Batman comforted her until the authorities arrived to take her into custody.  

Actress Alison LaPlaca portrayed the troubled Mary Dahl, first appearing in the ninth episode of the second season of Batman: The Animated Series, ‘Baby Doll.’ 

[agentofteamvaliant]

Musicals Aren't Supposed to Have Encores | Luke Dunphy x fem!reader

Based on season 4 episode 14 of Modern Family: "A Slight at the Opera."

Warnings: None? Two eighth-graders kiss a few times... does that need a warning?

Word count: 2,052

Summary: Luke and Y/n step up to new roles in "The Phantom of the Opera" performance their middle school is presenting. Cam doesn't know what to do when the audience calls for an encore at the end of the show.

A.N.: Notes vs notes became a very hard thing to keep track of while writing this. Because I had notes, as in musical notes that you sing or play. And notes, as in theatre notes, directions as to what to do, and ideas of what needs to change. The struggle of being both a music kid and a theatre kid is real.

------------------------------------------------------------------------------

"What do you mean Genevieve is sick?" Cam exclaimed to the girl's mother over the phone, "First our Phantom falls ill, and now our Christine? Does the world think our theater department is filled with actors?... No, of course, I'm sorry. I hope she feels better soon."

Theatre never goes exactly as planned. You're bound to have bumps along the way. Cam was prepared for that. He had backup props and backup lavaliers. What he hadn't prepared for was for both his Phantom and his Christine to get sick.

Having already found and lost hope in having Luke play the Phantom, Cam felt he was running low on ideas and patience. So, he turned to his assistant director/stage manager: Y/n.

"Well, Y/n. What do you think?" Cam asked.

"About which?" she replied, "We've got a couple problems right now."

"Either. Any. All. I don't know," he was obviously at the end of his wits.

"I think that you should show Manny the video you have of Luke so that he can see what you want him to be doing," she offered.

"Alright," Cam agreed, calling Manny over to watch the recording, "And what about Christine? I hate to say it, but Genevieve was the only soprano we had who could--"

"Luke has to do it," Manny cut in, before rushing off to undo the damage he had done.

"Well, that solves that problem," Y/n said cheerfully.

"I doubt any of them even know all the words, let alone the right notes, the right timing..." Cam trailed off, "Luke could you run 'The Phantom of the Opera,' please?"

"The whole show?" Luke asked, surprised.

"No, the song," Cam clarified with an exasperated shake of his head that looked much more like Mitchell's mannerisms than his own.

"Uh, sure, yeah. I don't know my cue without Christine's part, though."

"Y/n, could you sing Christine's parts until I figure out a replacement?" Cam requested turning to her.

"Well, I don't normally... but I guess I could... I do know the words, and the notes, and the timing and blocking... Sure." She replied.

The two walked over to the piano to practice. Y/n hadn't gotten more than four lines in when the whole theater was staring at her. Cam realized that maybe his Christine had been hiding in plain sight just like his Phantom. Her vibrato was perfect. Her voice paired perfectly with Luke's. Y/n and Luke looked up shocked when the entire ensemble came in perfectly on cue to find that Cam was conducting them like a choir. Y/n smiled at Luke, as they turned so the entire cast was rehearsing together. When they got to the part where Christine climbs up in notes, everyone's jaws hung open. Y/n herself was a tad surprised at how cleanly the notes came from her chest. Sure she loved to sing. Sure she had practiced this entire musical what felt like a million times. But to hear it in a theater. To hear how creepy her friend Luke could sound, perfectly portraying the Phantom. To hear the song all around her. It felt unreal. Especially when she got to the E6. She knew that for Genevieve they had lowered it, but she also knew that she could hit it. So, she ditched the note Cam had given the original Christine and chose instead to follow the regular notes of the song.

"Y/n," Cam started once the song was over, "You need to play Christine. Your voice is perfect. You know all the directions I gave. You understand what I'm trying to do with this show. Please, we need you as Christine."

"Okay, okay," she replied quickly.

They were very lucky that the costumes, which had been brought in for different actors, fit Y/n and Luke almost perfectly. Everything after casting Y/n had been rushed chaos. She had called her mom to bring her a pair of white heels since the original shoes didn't fit. But she neglected to tell her mom why she needed the shoes, simply insisting that the show sounded amazing and her family just had to come. Standing backstage, Y/n and Luke were talking while she used safety pins to shorten his cape. They didn't exactly have a replacement stage manager after all and she had offered to continue with both roles.

"You look really pretty," Luke commented as she stood up and handed him his pinned cloak.

"Thank you," she replied, a slight blush creeping onto her cheeks, "you should wear suits more often, you look quite dashing. I'd lose the mask though, your face is too cute to be covered."

Now it was Luke's turn to blush. He knew that Y/n was good at flustering people, of course he did, they had been best friends for years and she was his long-time crush, but he had never found himself on the receiving end of her flattery.

"Hey!" She called out quietly to one of their castmates, "That's not where that prop goes. Go put it on the prop table where it belongs."

"You know we're supposed to kiss, right?" Luke asked when Y/n turned back to him.

"Yes," she answered, "Poor Genevieve and Marcus, do you think that's why they're both sick? They had to kiss so much in rehearsal."

"Oh yeah, poor things, they had to kiss someone over and over again," he said, sarcasm dripping off every word.

"Careful," Y/n chided, "I'll kiss you over and over again."

"Like that's a threat," Luke snarked, before remembering who he was talking to, the confidence leaving him at once, "--I mean, we should probably practice at least once. Just, so we're on the same page. Know what to expect."

"Hmm, probably," she said slowly, before grabbing his hand and pulling him toward her.

Y/n kissed him gently, sweetly. And then it was over, and Luke decided he would do whatever it took to be able to kiss her again.

"Alright," Cam called, all the actors gathering around, "Uh... Luke, Y/n if I could talk to you for a moment after we're done. Alright, everyone, this is going to be great, there's nothing more we can do at this point. I know we've had a few hiccups, but I think we've come out stronger. So, good luck. Just, don't think about the audience. Be loose, speak clearly and enunciate, and have fun. Break a leg!"

When he had dismissed everyone else, Y/n and Luke walked over to Cam.

"Ah, good," he began, "I just want you to know how proud I am of you. And I wanted to make sure you didn't have any questions. Last minute confusions?"

"Nope," Luke said.

"None," Y/n confirmed.

"Good, good. And the kiss, I know we didn't talk about it. You're both alright with it?"

"Yep."

"Yes. We made sure to go over that with each other. We're on the same page. We know what to expect," she clarified, smiling at Cam, before looking at Luke with what he swore was a smirk.

"Wonderful. Then I'll go introduce our show, and we will begin," Cam said before leaving with a flourish.

The show was going perfectly. The audience was already captivated and they were only five songs in. When the iconic opening notes to "The Phantom of the Opera" began to play Y/n could feel people shift in their seats. She felt the pressure to perform the song well but didn't find herself nervous. One glance at Luke told her he felt the same way. Hearing how their voices melded together perfectly, Y/n was filled with giddy happiness. She couldn't have really explained it, but it pushed her further. When she began her climbing notes they were even stronger than they had been earlier.

They had taken an intermission between the two acts, and Y/n was enjoying some lemon honey tea, while a speaker next to her played "Something to Believe In" from Newsies. Luke was sitting in a makeup chair, across from her with his own cup, fidgeting as prosthetics were being applied to his face. In between taking sips of tea, the two were softly singing along to their favorite musical number, causing the poor kid trying to do Luke's makeup to continuously snap at him for moving his head.

"And if I'm gone tomorrow"

"What was ours still will be"

"I have something to believe in"

"Now that I know you believed in me."

Out in the audience, Haley had arrived during intermission and was now entering the theater with everyone else.

"I left the house as soon as I got your text," Haley exclaimed to Alex, "I can't believe Luke is playing the lead!"

Backstage, Cam called quietly: "Curtain's up again in five! You're doing great, y'all!"

Finally, they were reaching the end of the play. Alex was clinging to Haley's arm, practically holding her breath. By that point she had all but forgotten that her brother was playing the Phantom, having become deeply invested in the story. Not until Christine was standing, turning the Phantom to face her, did Haley lean over to Alex to whisper: "Can you believe that's Luke?"

Then, Christine kissed him.

"Oh my gosh," Alex exclaimed lightly to her sister, "They like each other."

"Who?" Haley replayed, "The Phantom and what's-her-name?"

"No, Luke and Y/n."

"Oh, yeah, duh. They have for years."

Then, Christine was kissing him again.

The curtain came down and then raised again, leaving the cast to bow. They led the audience in applause to the sound crew, the lighting crew, the musicians, and then Cam who joined them on stage. The curtain went down again, but the audience's applause didn't die down with it, rather it picked up. A few parents in the audience called for an encore, and soon the entire theater joined in.

"We don't have an encore," Cam quickly whispered to the cast, "Musicals aren't supposed to have encores. But they seem to really want one, does anyone have anything?"

"We do," Luke said, looking at the girl next to him.

"We do?" Y/n questioned, her eyebrows raised.

"Sure, 'Something to Believe In,'" he told her, before turning to Cam, "From Newsies."

"Are you sure?"

"We know the whole thing by heart," Y/n assured him.

Cam walked out in front of the curtain.

"Well, ladies and gentlefolk. You asked for an encore, so an encore you will receive," as Cam spoke, Manny ran to tell the pianist what the encore would be.

Cam continued, "But first, I'd like to thank my terrific cast for getting over humongous hurdles, especially my incredible leads, who only stepped into their roles today, having previously not been a part of the cast, but the crew. And who, just now, pulled an extra song out of their hats, like theatre magicians,"

He looked at the pianist asking, "We're ready?"

The pianist confirmed he was, indeed, ready.

"This is 'Something to Believe In' from Newsies," Cam said with a smile, before walking off stage.

The curtain had risen again, revealing that the mobile set pieces had been removed. There stood Luke and Y/n, the former of which had changed slightly: he had ditched his suit jacket, rolled up his sleeves, messed up his hair, and was standing so the audience could only see the normal side of his face. Their plan was to run the scene from first line to exit, and that's exactly what they did.

Sitting in the audience, Alex and Haley quietly squealed to each other. For years, they had been having monthly movie nights, just Haley, Alex, Luke, and Y/n. And each month, they watched one of four movies. Newsies being one of those movies. They had often joked that Y/n was like Katherine, joining another family. And each time "Something to Believe In" would start, someone would say it must be one of the best love songs ever, and the rest of the kids would agree.

Boy, did the two actors have fun with it. The nudging, the kiss. The playful looks turned to silent flirting. Everything they wanted to do in their own lives, and the song required all of it. When the curtain lowered for the final time, the audience erupted in cheers. Backstage, Cam ran to Y/n and Luke, engulfing them in a hug only a proud director/uncle could give.

I don't own Modern Family or any of its characters/plots. I don't own The Phantom of the Opera or any of its characters/plots/songs. I don't own Newsies or any of its characters/plots/songs.

[jujumin-translates]

[A3!] ★ Main Story | Act 15 - Painful RE:bake | Episode 1 - Picaresque Once More

Ali Baba: “Alright, now, let’s set off to the fantastical paradise oasis!” 

*Applause*

· • —– ٠ ✤ ٠ —– • ·

Tenma: Thank you very much!

Yuki: Thank you so much.

Muku: Thank you so much!!

Misumi: Thanks, everyone~!!

Kazunari: Thanks for watching~!

Kumon: Thank you~!!

*Applause*

· • —– ٠ ✤ ٠ —– • ·

Banri: …

Banri: (...Damn, they really are incredible.)

Banri: (It’s our turn in Autumn Troupe next.)

· • —– ٠ ✤ ٠ —– • ·

*Footsteps*

Banri: …

Izumi: There you are, Banri-kun.

Izumi: Good work with the finale. You were a huge help as the assistant director.

Banri: Good work to you too, Director-chan.

Izumi: Following Spring Troupe, Summer Troupe sure had a lot going on during their rehearsals…

Banri: I’ve leveled up in schedulin’ thanks to that.

Izumi: Your experience as assistant director has definitely gone up, Banri-kun, but Summer Troupe was also a “challenge” because of all of them gaining more experience.

Banri: If things had been how they were back durin’ their debut, we never woulda made it through the performance. Each of ‘em took on a challenge and did a great job bringin’ that experience back with ‘em.

Izumi: It’s Autumn Troupe’s turn next.

Banri: Yeah.

Banri: …If I keep up with the rehearsals as assistant director, I can already imagine how things are gonna look on openin’ day.

Banri: But with Spring Troupe ‘n Summer Troupe… Both on their openin’ days and durin’ the finales, their performances were even more movin’ than they were durin’ rehearsals.

Banri: They’ve already taken several steps towards the New Fleur Award.

Banri: Maybe there’s just some kinda power up on stage at MANKAI Theater or somethin’, but…

Banri: I really felt the significance of ‘em performin’ a continuation of their debut performances after each of ‘em has grown so much as actors.

Izumi: Yeah… I think the sequels have affected the troupe members more than anyone thought they would.

Banri: I was also pretty impressed by how Summer Troupe was “challengin’” each other to achieve their own dreams since they usually get along pretty well with each other.

Banri: Even Muku ‘n Kumon stuck to goin’ to that harsh workshop.

Izumi: You don’t want to lose to them, do you, Banri-kun? Autumn Troupe is a group of competitive people led by its leader.

Banri: Yeah, we’ll grow just as much as Spring and Summer did. I’m sure that’s what the rest of ‘em are plannin’ on doin’.

Izumi: I thought so.

Tsuzuru: Ughh. I’m all for Arisugawa-san complimenting my scripts, but I really can’t deal with him when he gets drunk and starts sobbing while he’s talking…

Banri: Good work.

Izumi: Welcome.

Tsuzuru: Is this the directors’ cast party? 

Banri: Somethin’ like that.

Tsuzuru: I was actually looking for you two, so this is perfect. I’ve finished writing the script for the sequel to Autumn Troupe’s debut, but--.

Izumi: You’re done already!?

Banri: Ain’t that like your fastest time yet?

Tsuzuru: I knew we would be doing a sequel to Picaresque, so I’ve been planning it out for a while now…

Tsuzuru: And I didn’t get any requests from you guys other than for it to have a lot of action, so it was pretty easy for me to just get going on it.

Tsuzuru: Basically everyone said that the Picaresque characters are supposed to just be free and live as they please.

Banri: But still, you got it done like way too fast. We’ve still got forever until the performance yet.

Tsuzuru: I just wanted to write the continuation of Picaresque as soon as possible.

Tsuzuru: I was curious about how the debut performance characters were doing now too. 

Izumi: Things were pretty rough back during the debut.

Tsuzuru: I remember back when Autumn Troupe first formed, you let me observe one of their rehearsals to help me think up the script.

Izumi: I remember that.

Tsuzuru: It wasn’t just how Banri had been chosen as leader that helped me come up with the whole buddy thing, it was how Juza asked to have a major role in the play too that helped me with it.

Izumi: I told you that if we put Juza-kun, who had the strongest feelings about the play, on center stage, the whole play might’ve been transformed.

Tsuzuru: And that’s exactly what happened… You said that it was Juza’s growth that created a burning heat right in the middle of Autumn Troupe.

Tsuzuru: I was influenced by your stance of believing in the feelings of the actors and entrusting the roles to them, Director. And as a scriptwriter, I really felt the meaning of leaving the roles in the care of the actors.

Banri: Just how much did you talk about behind our backs?

Banri: Hyodo was nothin’ more than just an amateur back when we started rehearsin’ the fundamentals. I can’t believe you let Hyodo take all that shit on… Seems way too risky to me.

Banri: Seriously, Director-chan…

Tsuzuru: …But that’s what’s great about her.

Banri: You’re right. That’s our Director-chan.

Izumi: Back then, the company had nothing but all the troupe members we had gathered. No track record, nothing…

Izumi: That’s why all I could do was trust and leave things to him. And doing so got us this far, so I think doing that was a great decision!

Izumi: And I know that what I’ve been doing hasn’t changed since.

Izumi: Generally speaking, the most important thing is keeping an eye on the actors. Think about what kind of feelings you want them to be putting into rehearsals and into plays.

Izumi: Keep giving it your all to try and understand them. That’s what I believe is important.

Banri: You’re damn right about that. I dunno know if I’ll ever be able to beat you in terms of believin’ in people, though, Director-chan.

Tsuzuru: Banri actually admitting defeat, that’s rare to see.

Izumi: I’m proud of you.

Banri: Aight, now keep an eye on us Autumn Troupe guys as best you can, sound good?

Izumi: Of course.

Tsuzuru: We’re leaving it to you.

Banri: Yeah.

Banri: (...“Picaresque Returns”.)

Banri: (I’ve never been so moved in my life. A continuation of our debut performance… I can finally live in the world of Picaresque again.)

Banri: (I’ll give this to Autumn Troupe first thing tomorrow… There’s still a lotta time left, but I’m gonna have to set up a training schedule and then see what we can do from there…)

Banri: (...It’s about time for me to meet up with that guy too.)

[ Next Part ⇢ ]

[imaginariaextraordinaire]

Came for the above. Stayed for what's below.

Episodes 11 and 12 of Midnight Romance in the Hagwon are a treasure. The writing and direction are terrific for the way they show Seo Hye-jin at her lowest as well as how she recovers. Chef's kiss for the scene in which she invites Assistant director Wu and Director Choi for dinner. Also, what a fantastic arc for Pyo Sang-seob, who ends up having the best kind of professional rivalry and friendship with Seo Hye-jin (no one could have guessed this was coming considering the first couple of episodes).

I wasn't looking forward to the humbling of Seo Hye-jin — perhaps my least favourite romantic trope — especially since she's been such a joy to watch in the early episodes when she's at the top of her game. Love her friendships with Ms. Nam and Attorney Cha. So having enjoyed all that, I was ready to feel grumpy when Seo Hye-jin would have to fall from grace (because how else can you do a 16-episode drama, even if it is one of those slow, slice-of-life beauties). Except so far, writer Park Hyung-hwa hasn't so much cut Hye-jin down to size as much as shown her learning from her defeat. I really felt her when she told Lee Jun-ho that what he was saying effectively made it seem like her life's work has been pointless. At the same time, I also felt for Lee Jun-ho, who is able to hold his ground and make the point that he doesn't agree with Hye-jin's style of teaching even though he is inspired by her. This is writing that is alert and sensitive to ageing, competition and all the complicated feelings that come with maturing.

[centrally-unplanned]

FLCLick Noise - Archival Scan

We should be a go!

[Internet Archive Link]

FLCLick Noise is a book published in 2010 that is a deep dive into the production of and creative influences that went into the 2000 anime FLCL by Studio GAINAX. Framed as a conversation between FLCL director and series lead Kazuya Tsurumaki, and FLCL character designer Yoshiyuki Sadamoto, the two creatives watch the show together and record their thoughts episode-by-episode, alongside a prologue and a “bonus track”. It is in Japanese, with primarily text and screenshots from the show for use as conversational reference, though there is some art as well (almost all of which is available elsewhere).

FLCL is pretty infamous as a show for its free-wheeling compositional style and loose production process; everyone involved was able to throw in visual ideas, dialogue, plot concepts, and so on. Additionally, FLCL slots pretty clearly into GAINAX’s “Otaku commentary” oeuvre - it is very much anime, *extremely* anime, it would be ludicrous to suggest otherwise; but in addition to being anime it was also a vehicle for the creative team to put in ideas and influences that they believed the anime industry was not utilizing at the time, such as its rock-album concept soundtrack or its josei/seinen manga inspired-character designs.

It is this backdrop that makes a book like FLCLick Noise simultaneously more valuable for understanding FLCL than most other shows, and even possible to exist in the first place. Much of it is fun asides, many of the creative decisions are personal whims, but there is so much to those whims that it is worth reading a book about them. If you want to answer the question “why does FLCL exist the way that it does”, this book will answer that question in more detail than any other source will.

Alas this is a complex and large book - I will aim to translate it someday, but I cannot guarantee neither the timeline nor the quality of that translation as I am by no means a professional in that regard. If you want to get a sample of what the book contains, anime-youtuber-extraordinaire Hazel quasi-coincidentally just released a video essay on FLCL that has an entire section on this book and its contents (I learned of this book from her tweeting about it during research for the video, so the timeline is not pure kismet). If you want the highlights and so much more, it is an amazing video. Meanwhile, I do hope to post a “raw text” version of the different sections somewhat soon, to assist those who do want to read it themselves and would find that would help with the translation.

As always, I hope this is a valuable addition to the ‘akashic record’ of 90’s-era anime history, and gives something special to the FLCL-heads out there like me.

(I'll tag @flclarchives for the two-for-one this week, if they don't mind! And I apologize for the scan quality here - I wanted to do it non-destructively, as this is not a large print run book, which meant my typical flatbed was a no go and the new overhead setup I used was a comedy of errors. Fortunately this is a book about reading text, and despite the errors it's all perfectly readable.)

[latoyalestrange]

THE FOOL

p. pascal x f!oc

Masterlist | Playlist

Summary: They’re finally wrapping on the season with just a few scenes left to film. One of them being the most anticipated moments of the season; when Naela and Pedro’s characters give in to their deepest desires on camera.

Words: 2.1k

Warnings: Mentions of cheating, filming an explicit scene and horknee Pedro!

Taglist: @marvel-sw-lover , @lokislittle , @red-red-rogue , @babukat , @joels-darlin

comment if you want to be added to the taglist!

CHAPTER FIVE — CHARACTER DEVELOPMENT

The last episode. All of their training and hard work had led them to this moment. For this scene, they’d spent a few hours with instructors on how to be safe in a helicopter. Javi and Lucia were meant to be chasing one of Pablo’s accomplice’s in a helicopter, and the production team made sure they followed all of the protocols and procedures.

It was all pretty easy, keep your limbs inside and know how a parachute works just in case. The only part Naela disliked was the outfit.

Pedro covered his mouth as his eyes landed on her, trying to mask his chuckle. She was trying to tighten the straps on her vest but they were already as tight as possible. Her face twisted with frustration.

“What?” She looked down at the bullet proof vest that hung off of her, the heavy headphones almost slipping off of her head as she did so. She quickly straightened them and folded her arms. Boyd turned at the sound of Pedro’s laughter and smiled along with him.

“I’m sorry, I’m sorry.” Pedro took a deep breath.

Boyd rolled his eyes playfully. “What he means to say is you look beautiful, Naela. But I’m gonna go ask for a smaller vest, okay?” Even he couldn’t help it. He started chuckling as he finished and walked away. Pedro gave her an adoring smile as she pouted.

“Okay, I’m sorry. It’s an adorable look on you. How can I make it up to you, Naela?” He stepped toward her, and the familiar sense of tension started to build in her stomach.

“You could start by writing a ten page apology in MLA format,” she joked. He instantly burst into laughter, throwing his head back.

"Yes, ma'am. I'll have it done by the morning." She chuckled, and there was a short pause. His eyes lingered on hers as he smiled adoringly at her. Her worries about the scenes they would need to shoot later crept back into the front of her mind. Not only was she scared to be riding in a helicopter for the first time, she would be filming her first explicit scene, and with Pedro Pascal of all people.

She didn't have time to dwell on it though, because Boyd returned with a smaller, but still a ridiculous-looking vest. Pedro approached as well to assist her in tightening the straps. Once it felt secure, she held up an awkward thumbs up and Pedro patted her on the back.

Ugh. What was he doing to her? Flirting with her every chance he got and then knocking her down a peg with a damn pat on the back? It wasn't the first time Pedro had done something incredibly neutral, either. It would sometimes be an awkward side hug, or a comment about "friends" or even just a lack of intensity during one of their many interactions. Either way, every time it stung just as bad as the last. Why did he have to work her up, make her think they had something, and then in the next breath, make her wonder if he felt the same at all. Was it intentional? God, the things she would do to be able to see inside his head for even a second.

The helicopter that was dormant the entire time next to them suddenly began to start up, startling her out of her negative thoughts. The director shouted some directions that Naela could barely hear over the whirring of the blades in the wind. She followed Pedro and Boyd into the helicopter, along with a cameraman in the passenger seat and the pilot. Boyd took the farthest seat, but Pedro hesitated as he watched her climb in.

"You get in the middle instead, just in case." Naela realized they had turned their headsets on, hearing Pedro's smooth voice clearly. She nodded, happily accepting every ounce of special treatment he gave her. It was a little tight between the two broad men, but Naela didn't mind one bit. Crew members handed them their stage weapons from outside of the helicopters and soon they were lifting off into the air.

Naela could honestly say her first helicopter ride was a success. It was a little nerve-wracking, practically hanging out of the door to pretend shoot at someone, but she felt safe with everyone with her and the straps holding her inside. She could tell she looked badass doing it too. She didn't feel the same way when they landed, however. She lasted a only a few seconds before she had to run to the other side of the helicopter to empty the contents of her stomach. Luckily Pedro helped her feel less embarrassed by telling her the cameraman looked like he was going to do the same the entire time they were filming in the air.

They took a minute, just sitting in the AC and drinking water once they got back to the studio lot. Pedro sat with her the entire time, chatting and getting her anything she needed. Once she felt well enough to eat, they joined the others for lunch at the group of tables they set up inside.

Still feeling a little queasy, Naela picked up some fresh fruit and cheese slices from the charcuterie board. Once she grabbed a water bottle for herself, she made her way over to the table Boyd, Joanna, Pedro, and Paulina were sitting at.

Naela was mostly quiet, other than answering a few questions and butting in on occasion. She barely touched her food and hoped everyone would believe it was because she got sick earlier. Honestly, after thinking about what scene they were scheduled to film next, she felt like she had to throw up all over again.

Pedro hung back once the others started trickling away to take a break or prepare for their next scene. They sat in silence for a moment as he finished his food.

He sighed, “So.” Naela chuckled after a second, happy he broke the awkward silence.

“So,” she mimicked him.

“We should talk about the next scene we have to do, Naela.” He crumbled up his napkin after wiping his mouth.

“Yeah, I guess so,” she responded nervously, shifting in her seat next to him.

“I want you to know that if at any point you feel uncomfortable, just say the word, and I’ll stop. Even though it’s not real, it can be…intense sometimes.” He looked her directly in the eye, and she could feel the seriousness in his words. “I don’t care if the crew has anything to say about it. We’re not doing anything you don’t want to do.”

She nodded, feeling a little more relieved. “Okay. Thank you.”

He just smiled warmly at her before pulling himself up out of his seat and extending his hand out to her. She took it graciously and followed him to the costumes trailer.

For her peace of mind, it was only Pedro, the director, and the bare minimum camera and audio crew. It still felt like an entire audience as she sauntered out in her robe that covered her mostly exposed body, other than a thin nude thong and pasties. So, essentially, she was naked. She continuously told herself how grateful she was to have this opportunity as she was getting ready. As expected, she was doubting those thoughts in this moment.

Pedro was sitting casually on the bed as the crew made the final adjustments to the lighting and setup. He gave her a reassuring smile as she approached him, her arms wrapped around her midsection like a shield.

“Still nervous?” She nodded, feeling a smile creep back onto her face once she noticed his attire. She really had no reason to be embarrassed as he was sitting in front of her with the smallest nude breifs she’d ever seen. She forced her eyes to focus on his face.

“Okay, now remember,” Tom, the director butted in as he stepped forward. “You were just out celebrating taking down one of Escobar’s allies. The excitement reels the both of you in even though you agreed to never do this again.”

Pedro nodded, “It’s bad for work, but I don’t care.” He looked directly at Naela as he said this. Damn.

“Yes, exactly. You’re too lost in eachother to care about the rules. Take a second to really get in the moment.” He backed away, making sure they understood before returning to the chair behind the screen. Pedro pulled himself back onto the bed and positioned himself on his knees, facing the headboard of Lucia’s bed. Reluctantly, she approached the side of the bed as a member of the crew helped position the blanket around Pedro’s waist.

“Ready?” He looked up at her with a sincere and comforting smile. She nodded, taking a deep breath before slowly untying her robe. Pedro instinctively grabbed the blanket behind him and held it up, covering the crew’s view as the silk slipped off of her shoulders. Her arms instantly wrapped around her waist, feeling the cold air all around her. She didn’t hesitate to slip under the covers with him as the camera was positioned parallel to their bodies. She watched, looking around at everyone as they looked into the camera’s and their feedback on the screens for the director.

“Hey, look at me.” Pedro was looming over her now, his muscles flexing as he planted his hands on either side of her.

“Don’t pay attention to them. Just breathe,” he instructed. She could barely hold eye contact and she had no idea what to do with her hands.

“Okay, angle looks good…Pedro, can you lift her legs up a bit?” Tom projected across the set. Pedro looked at her before answering, waiting for her permission. Her chest still heaving with anxiety, she oblidged and wrapped her legs around his waist.

“Okay, great, now bring your chest closer, Pedro.” He sighed, letting his head fall.

“You’re sure this is okay?” He asked, concern in his brow.

“Yeah, yeah, it’s fine. Promise.” Naela mustered up the best smile she could as she looked up at him.

“Okay…” With that, he slinked one arm under her waist and with the other, he planted his forearm next to her shoulder. She could feel the warmth from his bare chest on her skin, making her feel much less exposed. Their faces were inches apart now as they waited for more instruction.

“That’s perfect, just give us one second…okay, season one, episode 12, scene 28, marker…and action!”

Suddenly, everything felt so real. She was in the same mindset as Lucia. Every kiss, every touch felt meaningful, even though she knew they were not. She was in the moment and she wished so badly that she could have this in real life. The way Pedro sounded, the way he spoke to her was divine in a way that she could never describe. His voice sent goosebumps across her skin.

At the same time, she knew it was wrong. So wrong. She’d never even thought about cheating on anyone, but now she wished she was. She wished she started four months ago when they met.

If she were honest with herself, she knew her relationship with Josh wasn’t going anywhere. He was still in the college mindset, not taking his career seriously and spending most of his free time partying or playing video games. He consistently gave her the absolute bare minimum when deep down, she deserved to be treated like a princess. That was exactly how she felt with Pedro.

So, no, Naela didn’t feel bad. In fact, she felt incredible. Although she wasn’t getting any relief, per se, she was absolutely drunk on the feeling of their clothes hips gyrating together. Their moans were almost too convincing as the camera closed in on them. Knowing they were nearing the end of the scene, Pedro forced her wrists on either side of her and planted a passionate kiss on her lips for a big finish. She wouldn’t have known the director called cut off Pedro hadn’t withdrawn himself back onto his knees, making sure she stayed covered. His chest was heaving as he looked down at her with an unfamiliar expression on his face. He almost looked annoyed…or hungry?

“Here,” he whispered as he leaned over the edge of the bed, grabbing her robe. He handed it to her beneath the blanket and tried his best not to watch as she wrapped it around herself again.

“Thank you.” She smirked as she noticed his hands blocking her view below his waist. She decided not to tease him verbally, but she did feel like it was necessary to sway her hips with purpose as she walked off to the dressing room.

Flirting isn’t technically cheating, right?

reblog if you made it to the end!

[guster-animations]

KR Gotchard Producers Roundtable PART 2

producer minato gave me a hard time with this one. if you see any problems, please tell me in reblogs/dms/asks/whatever

TOKU TRANSLATION MASTERPOST HERE

this was done for the henshindex wiki! join today!

Kamen Rider Gotchard TV Series Finale Commemoration Toei Producers Special Symposium (Second Edition)

“Kamen Rider Gotchard” will soon reach its climax!

With that, we are delivering a Toei producer symposium like usual, split into three parts. Furthermore, the first and second volumes will be released one week before the final episode airs. The three-part talk totaled up to over 30,000 words. The participants are, of course, Producer Yosuke Minato and Assistant Producers Daigo Matsuura and Kaho Miyashima. In this second volume, we mainly discussed the inside story on the first half of the battle…!

Act 5: 1st-2nd Cool Summarization

TTFC: I can say that Gotchard is the result of you young producers sincerely bringing answers to the views of “adults”.

Minato: That was when I suddenly realized that the big veteran Keiichi Hasegawa is on our side. That was amazing. It’s not a bad thing to be young. I thought that his aging halted 30 years ago because of changing from art staff to scriptwriter.

[Footnote: After being an assistant director and on art staff, Keiichi Hasegawa made his debut as a screenwriter in Tsuburaya Productions’ “Ultraman Tiga” (1996). He was also involved in “Tiga” as filming set staff until the middle part of the show.]

Hasegawa already has a fair amount of achievements, and it seems like his core is that his surroundings don’t change what he says. However, at the same time, he is also flexible. While communicating during preparatory meetings, he can switch over to going “Oh, it’s this way!” with ideas. That flexibility was very helpful.

Harashima: For me, episode 5 was my first time being in charge of casting the guest actors. That was the pro wrestling episode of all things… (Laughs). But this one also had many guest characters, and I thought whether I did well would be pretty essential, so even though I consulted with Director (Katsuya) Watanabe, I pulled it off in my own way. Even so, it was very troublesome to find who I would ask to play the role of “Koichiro Asahi”.

[Footnote: Masanori Machida, who appeared in “Gotchard”, is a big veteran of the acting industry, boasting of an over 60-year career since childhood. His appearances in tokusatsu works are also numerous; in “Ninja Hattori-kun + Ninja Kaiju Jippou” (1967), he was also responsible for Hattori-kun’s suit actors (multiple times). It’s actually been 43 years since he last appeared in the Kamen Rider Series. Koichiro Asahi re-appeared afterwards in episode 47 too!]

We were able to get Masanori Machida to appear, and after seeing the footage, Hasegawa sent me an email saying, “That was an incredible casting choice”. I made sure to save that email to look at when I’m having a hard time.

Minato: That’s true, you were in charge of episode 5, and then episode 6 too. Shogo Amo was a good choice for Boruto Namarizaki.

Harashima: I didn’t know Mr. Amo had appeared in “Mashin Sentai Kiramager” (2020) and “Avataro Sentai Donbrothers” too (Laughs). And yet both of those appearances were for episodes directed by Watanabe’s team. Not knowing that, when I asked Director Watanabe, “How about this person?”, he said, “That’s Amo!”. I immediately said, “Sure. Let’s ask him.”

Matsuura: Amo was good in “Kiramager” and “Drive”, but he was even better as Boruto Namarizaki this time. He gave a performance that made it hard to believe he was the same actor as in his last two works. At the same time that I thought, “Wow, he’s still a great actor,” Director Watanabe could tell that Boruto would be performed well if it were Amo.

Minato: I think that episode’s script from Hasegawa was good too. Bolt was truly a heel (bad guy) typical of Hasegawa works. Moreover, I’d wanted to see Hasegawa and Director Watanabe working together for myself. They were together for a year in “Donbrothers” and I really wanted Director Watanabe to participate in Gotchard, so one of my aims was to have him work with Hasegawa. That was realized in episodes 5-6, 13-15, and the endgame episodes 44-45. The first one, episodes 5-6, was especially interesting during the script phase, but those were episodes that I think were “changed” in such a way because of the guest casting, the synergy, and even more so, the direction. It had an effect.

Matsuura: It complements itself a little, one cool episode… The structure up to maybe the Kyoto arc was decided before the show started airing. The scripts for those were mostly finished too. Since we had calculated which forms would appear in what order and the like, we weren’t making that part of the show while looking at how the audience reacted. We wanted to do it that way from the start. We were making each episode having already decided what would be done and seen in it. Though there was trouble because there were a fair amount of things we should have done or weren’t easy to explain.

Matsuura: In the early days, episode 4 was profoundly memorable to me. That was the first one where we fully depicted the relationship between Hotaro and Rinne. I wondered if it would be easier for everyone to enjoy “Gotchard” if they watched this episode. But, on the other hand, I was worried if the path we took properly conveyed Hotaro’s goodness. Hotaro is the type of protagonist who makes sure to “listen” to the thoughts of others more than he shares something himself. We also included the point of “a supportive protagonist” and “passivity”. Personally, I think we need more people like him in this day and age… It was for exactly that reason that I wondered if he would be hard for present-day viewers to relate to. In other words, he’s not “easily understood”, isn’t it flashy? At that point, we were already coming to like how Hotaro was, but I worried about if audiences would feel the same way about him. The next pro wrestling episode… I think WrestlerG’s episode (episode 5) was full of showiness, and that was structurally good.

Minato: (Hiroki) Uchida finally had time to write in episodes 7-8, and moreover, that was the first two-episode arc, so we aimed to gamble with Uchida’s specialty style. It’s a story of the protagonist and a young guest character coming together.

Matsuura: Then, 9 and 10 was a school trip arc filmed in Kyoto. That was Director (Ryuta) Tasaki’s second time going up to the mound after the first two episodes of the show.

Minato: Myself, I strongly wanted to make Gotchard also a school drama, so at an early stage, I decided to “do these (episodes 9 and 10) on the Kyoto location as a school trip”. That’s why I basically left episodes 5 and 6 to Harashima, and 7 and 8 to Matsuura; I was focusing on helping with preparations for the location shoot. Then we had to make the scripts for those episodes… Hasegawa specializes in dark stories, and if we did that, it would go in that profound direction. At that time, the person who said during meetings that the appeal of “Gotchard” is its cheerfulness was Matsuura.

Matsuura: The back-and-forth exchanges around that had a structure to them. But my thoughts regarding Hasegawa, who I’ve socialized with for a year, were only “Keiichi, I’m sorry about this” (Laughs). “Gotchard” was our first time working together, but naturally, I knew his name before then. Now, I respect him a hundred times more than I did then. Well, it’s not that I didn’t respect him before (Laughs). I said it before, but even though he’s a big veteran, the way he thinks is young. I don’t know if “young” words are appropriate or what, but he always listened to what a youngster like me had to say, and he would adopt the ideas if he thought they were good. He would say, “I seeeee!” with genuine excitement… I have no idea if he’s always been like that (Laughs). He’s accumulated various experiences, and I know what he’s like now, but the Hasegawa I spent a year with was truly someone I can respect. That’s why a person like me could always talk nonstop about my cocky views without hesitation. I’m very grateful for that. I was also able to give many opinions in the script meeting for the Kyoto location episode too.

Minato: Because Hasegawa and Uchida’s unique characteristics are different, as the side that orders materials, there were parts where it was easy to go, “Hasegawa would fit here,” or “Uchida would be good for this one”. Then Akiko Inoue joined, but she also liked to write scripts that have personality. When ordering for Inoue, I deeply wanted to know her writing style, and I only came across an “Akiko Inoue Script Episode” from “GeGeGe no Kitaro (Series 6)” (2018-2020) that she had participated in.

[Footnote: In series 6 (97 episodes), Akiko Inoue was involved from episode 6 and onwards, and authored fourteen episodes in total. Incidentally, responsible for episode 1 of series 5 among others, Keiichi Hasegawa also participated in series 6, starting with episode 56 in the second year of broadcasting. He has written nine episodes for the franchise.]

Then, whichever episode she did would be very interesting. She’s very good at making use of the writing styles for people and societies, and yet, she also depicts things that are like human love flowing down. Of course, since it was “Kitaro”, the original work itself is amazing, but I also felt the power of her own writing. What I first asked her to do was Majade’s TV debut episode (episode 19) where what she would do had been decided, so there wasn’t much room left for Inoue to write with freedom, but from the next moment I asked her to do something, around episodes 22-23, she quickly showed her personality. I only ordered her with the information that “a Chemy called Zukyumpire appearing” and “a story where good intentions about love go wrong would be nice”, but she did more than I asked her (Laughs). After that, we were surprised again by Inoue with episodes 36 and 36, but what I really felt a reaction to in the beginning was 22 and 23.

Matsuura: I kept saying from the side, “Zukyumpire in live action is difficult, so can’t we do it another way?”, but a person named Akiko Inoue and a person standing here named Harashima conspired together, and I definitely couldn’t try to stop (Laughs).

Minato: Oh, come on, everyone and their energy was amazing in that episode. Even though we think about production in various ways for the difficult work, I expected that we could more or less compromise and say “It’s good if we make it this far!”, but the filming site really won’t give up either (Laughs).

Matsuura: For example, when Zukyumpire possessed Sabimaru, Sabimaru would always become a different emotion, and try to sing the song with “Everyone’s heart I zukyun, zukyun…” I was proposing that it would end up structured like a Super Sentai “filler episode”. It was interesting for the audience to see a Sabimaru that was different from normal, too. However, the young lady Akiko (laughs) didn’t give up there.

Minato: She was very particular about the idea of “Zukyumpire himself intentionally appearing as a human”.

Matsuura: While midway through it, I thought, “Well, it’s good that I’m not in charge (of the casting) myself”, and said afterwards for Harashima to do her best. No, of course I’m kidding.

Harashima: Firstly, Akiko’s pilot was interesting. That and another thing—when I looked at “Gotchard’s” audience analysis data at that time, it was sufficiently reaching the original audience of the C-group (Children/Kids group, ages 4-12), but more than that, the T-group (Teenager group, ages 13-19) and F1-group (females aged 20-34) were looking a little weak. Here, I thought about how I could bring about a character that seems to appeal to the said groups. I’m really glad we got Taro Yamanaka to appear.

Minato: Yamanaka was decided. and I told Director (Kyohei) Yamaguchi that we should push Zukyumpire and Yamanaka in this episode. So, if you rewatch episodes 22 and 23, there are many scenes we shot inside the Oizumi filming site to cut costs (Laughs).

TTFC: But Zukyumpire was right after Kamen Rider Valvarad’s debut arc (episodes 20-21), so when I think about it again, January and February were putting up a big offense.

Minato: Also as a connection between past and present, Mr. Minato became an enemy, the base called the Alchemy Academy was taken, and the “Kitchen Ichinose Alliance” was active for a while… I had decided that for that series of events, episodes 26-27 would be directed by Tasaki’s team, after episodes 23-24’s (Takayuki) Shibasaki group. I made the season with a lot of excitement.

TTFC: Then, from the spring break period, the episodes broadcast up to early April were a lot of “breather” episodes.

Minato: When we welcomed in Director (Kiyotaka) Taguchi, it was right during that (episodes 28-29).

Act 6: “The Dark Sisters” Secret Story

TTFC: With this, Director Taguchi has now taken part in all of Japan’s “Three Big Tokusatsu Series” (Ultraman, Kamen Rider, and Super Sentai) as a director.

Minato: Actually, I approached Director Taguchi before I did Akiko Inoue. With various conflicts, I knew we wouldn’t have enough directors at some point. So I foresaw that development. Rotating directors isn’t a mechanical process; If we did that, it would be too much. For every director of a story, I would think in the same way as I do for casting guest members, and pick them based on the contents of the episodes. So while looking for what timing would suit Director Taguchi to come in, Director Taguchi himself was pretty busy, and it was hard to find a good spot in his schedule. If his schedule was more open, I might have asked him to do a pair of single digit episodes early on. I was contacting the director frequently, and what I thought he “might be good in” was episodes 28-29. It was also an episode that was just after a big development had ended. When I called the director, I first asked, “What kind of things do you want to do?”. I remember that I started by talking about “which Chemies remained”. And then it became “The Great Yokai War” (Laughs).

Matsuura: I thought with Director Taguchi that the image of monster movies and the work of “Kingdom of Light” was still strong, but when I call on him, he seems to like “GeGeGe no Kitaro” and the works of Mr. (Shigeru) Mizuki too. And since Akiko Inoue happened to have written for “Kitaro”, they got excited about doing a “ghost” story arc (Laughs).

Minato: Well, he had directed with Toei before in “Mashin Sentai Kiramager”, so I thought that he should direct in a different way from “Kiramager” since this is the Kamen Rider series. So, Otojiro Sato, “Gotchard’s” second assistant director… he also had experience filming for the Ultraman series, so we asked for his “favorite Taguchi work”. He had liked “The Love” (episode 6) from “Ultrazone” (2011).

[Footnote: A love story connecting Alien Zalab (Voice: Tomokazu Seki) and the widowed woman Omoya (Mitsuko Oka). A sudden and distinct episode to be broadcast in the short-story-focused “Ultrazone”.]

TTFC: He has great taste…

Minato: I watched because I hadn’t seen it, and it turned out to be really good. I discovered that atmospheric dramas like this are the director’s specialty, and I think that reflected on the story of episodes 28-29 too. Toshie Negishi also appeared then, in the role of Renge’s grandmother.

Matsuura: Ms. Negishi was the role of the protagonist’s grandmother in “Ultraman Arc” (2024). Actually, her shoots for “Arc” came before “Gotchard”.

TTFC: That’s been a pattern recently.

Matsuura: There was no aim to have this be “Gotchard’s” specialty. There are benefits to filming early (Laughs). The child actor Soto Osagaki, who we got to appear as a guest actor in the Saboneedle episodes (episodes 7-8), was filmed in the V-Cinext “Kamen Rider Geats: Jyamato Awaking” before, but his role in “Gotchard” ended up airing first as well (Laughs). Ayane Kinoshita from the next episodes, the Kyoto location ones (9-10) was the same way. TTFC’s “Ninja Sentai Kakuranger Part 3: Mid-Life Crisis” was filmed first, but before that even went up on streaming, we got her to come back for more “Gotchard” episodes (9-10, 44-45) (Laughs).

TTFC: Director Taguchi came back to help with Sabimaru’s focus episodes, 42-43, and results-wise it seems like he became the “director in charge of the older students [Renge and Sabimaru]”…

Minato: But episodes 28-29 weren’t originally intended to be Renge focus episodes. It’d been decided that it would have a “grandma character”, but not whose grandma it would be. We’d already had focus episodes for Rinne and Hotaro, so it was a difficult point, and then it became “wouldn’t Renge fit?”. And then there were talks of her grandma living in Kansai since Renge uses the Kansai dialect (Laughs). At any rate, the episodes turned out good, so when we asked him to do two more afterwards, it was easy to say, “Please do Sabimaru this time.” In the beginning, the aim in appointing Director Taguchi was from a place of wanting to expand the work’s worldview, so I think there was good synergy with him focusing on Renge and Sabimaru.

TTFC: Since we did the older students’ episodes, I want to touch on the Dark Sisters; weren’t they created because Hasegawa was in charge?

Minato: That’s right. At first, since it’s “a story where they search for Chemies”, we didn’t want clear enemies to be there yet, so there was a period where we were fumbling around for something in that direction. But when Hasegawa formally joined and looked over the plan, I received a comment that “it’ll become hard to understand which way the story is facing”. So I started to think about the creation of an enemy for Hasegawa. What appeared from there was “the Dark Sisters”, but because only three people would appear as enemies at the start, I thought, “this is a new approach”. So, at that time, Hasegawa fit very well with the drama “Dr. Chocolate” (2023)…

[Footnote: Created by Yasushi Akimoto. Ryo Aoki [played Kento/Espada in KR Saber] played a regular cast member who is a police detective, and Kokoro Aoshima [played Tsumuri in KR Geats] was a guest actor in episode 6. A favorite even with TTFC, Akira Shinomiya [played comedians in various KR media] was a guest actor in episode 3 while participating as a “comedy duo”.]

The premise is that its heroine is a ten-year-old genius surgeon. It was Hasegawa’s idea from the start that the eldest sister of the “Dark Sisters”, Atropos, would be played by a child actor. So when it became time to look for Atropos in auditions, I was able to come across a talented person named Itono Okita. The third daughter, Lachesis, is the incredible Alisa Sakamaki, who we met at auditions for the main cast members. Lachesis’ presence was one that I thought was valuable, so I asked her. The middle daughter, Clotho, was a brutish character, so a person who could fight is the best option. When speaking with Director Tasaki, he said, “What about Kanon Miyahara?”. Now the names had already been decided. Especially at the start, it felt like I would wonder when they would die (in the show) every time I read a script, but Hasegawa, at a point where there is a “creator” of the Dark Sisters, was always saying, “All of them will survive until the endgame!”. On the other hand, I was constantly worrying, “What will happen in the endgame?”. “However it’s done, it will look pitiful. We can’t avoid that.”

TTFC: In the midst of that, to have Lachesis and Spanner, Atropos and Rinne, and Clotho and Hotaro team up, the “teamwork” between the three sisters and three Riders was born.

Minato: The three sisters weren’t just Hasegawa; Uchida and Inoue, as well as all the directors, depicted them well. Right, I was saying to Director (Koichi) Sakamoto that “We’ll definitely ask you when the schedule is free” from an early stage, but his first words regarding that were, “Please let me film Kanon (Miyahara)!” (Laughs).

TTFC: That was definitely implemented in episodes 32-33.

Minato: That’s correct. It was decided to have Kamen Rider Legend finally appear in the TV series, and it became that we asked him to make the buildup to that more exciting. I asked Uchida to do the script, and it was an episode where he really got to shine. Clotho got more action scenes compared to the other sisters, but hadn’t been delved into as a character that much. Uchida was able to come up with a situation where the two of them, as “rivals”, are able to cooperate for a moment, while firmly summarizing the small connections between Hotaro and Clotho up to that episode.

TTFC: I think it’s because of Uchida cooperating with you from the planning stage, Minato.

Minato: Uchida gave me comments from the standpoint of series structure for the episode scripts that Hasegawa and Inoue wrote. Like, “Couldn’t this part be connected to this one in a previous episode in this way?”. He gave useful suggestions within the minimum necessary scope while never erasing the personality of Hasegawa and Inoue’s writing, so it was always helpful. I think the fact that Hasegawa and Inoue had as much freedom as possible to write with probably caused Uchida trouble. The early-on episodes 7-8 and the endgame episodes 42-43 might have been when the “Uchida World” could expand. But because episodes 7 and 8 had so many components put into it, 42 and 43 too, there was an aspect of Uchida World and Taguchi World’s Gotchanko, so with the process of letting Director Taguchi do what he wanted, he had to adjust a fair amount of things…

Act 7: A Well-rounded “Adult” Cast

TTFC: With Kanji Ishimaru (Fuga Kudo), Yoko Minamino (Tamami Ichinose), Saki Fukuda (Kyoka Edami), and Kenta Kamakari (Glion), everyone in the “adult cast” is magnificent.

Harashima: Ishimaru and Minamino had a sense of stability, of security. They were there until the end, and I am very grateful for that. Saki Fukuda herself liked tokusatsu works herself, and she would say, “It’s fun!” whenever I went to meet her. She was an important person for Spanner while performing too, but I think it was good for (Yasunari) Fujibayashi to be able to act alongside her. From Fukuda’s standpoint, there were many times she was together with young cast members other than Fujibayashi, but it seems like she put a lot of work into helping him. Fukuda didn’t say it herself whatsoever; however, we should put care into the things that can’t be seen, and I’m grateful for it from the bottom of my heart. There was also a “Mr. Minato and…?” scene at the end of the summer movie, and it was wonderful. Being an “older sister adult” character, there are places where she overlaps with Sumiko Kozawa from “Kamen Rider Agito” (2001).

Minato: I think that was a little of my inspiration at the start.

Matsuura: Well, I should have her eat barbecue and gulp down beer from a mug, then (Laughs).

Minato: No, it’s because she was asking for parsley at the ramen cart (Laughs). But, “Gotchard” became a work with many female regular cast members. That wasn’t intended at all, and moreover, I have a feeling that there aren’t too many women in the audience.

Matsuura: The Dark Sisters are certainly raising the numbers (Laughs). But really, there was nothing that made me uncomfortable, and it’s just the trend of the times. Now, it’s the aforementioned last moment of the summer movie, but for Fukuda, even in the TV series, she had been thinking, “Kyoka and Minato could perhaps…”, so when there was a chance, she brought that nuanced acting into it. Even so, (Rikuto) Kumaki is more stubborn and doesn’t get on at all. I don’t think he realizes that (Laughs). The truth is that, and the fact that he played with so much force in Director Tasaki’s summer festival scene. Kumaki himself is a very warm and cozy person.

Minato: That’s true. I hoped for it to be like “Avataro Sentai Donbrothers” (2022)’s Tsuyoshi Kijino… (Hirofumi) Suzuki (plays Kijino), where we would get him to show his immense “acting ability” as a character from the Alchemy Academy, and stimulate the growth of the new cast members, but Kumaki wasn’t “that type”, not in a bad way. He would just enjoy being with everyone if those members were around (Laughs). But, I’m glad it’s that way. If anything, I think a good balance was struck when Fukuda joined later on, and it became an incredible team over the year. Now for Kamakari; Glion.

Matsuura: Kenken (Kamakari) helped a lot too. I think this is a hot topic right now, but in scenes like the one where Glion comes to “Kitchen Ichinose” in episode 49, when I read the scripts for them, I already thought, “I want to see this!”. And because Kamakari recognized that this was a highlight of the show, it became a truly good scene. I think that scene was created specifically because he was Glion. At the same time, wouldn’t he have not been performed that way without Kamakari?