#god i hope there’s a season two because they left a lot of cliffhangers | Explore Tumblr posts and blogs

the-only-ace · 3 years ago

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Hey I know you are really busy with all the request and job and all that but can you do shinee's reaction to s/o stealing their t-shirts and hoodies?? You can make them one shots of you want too😁

shinee reacts: their s/o wearing their clothes

heyyy~ i really liked this request because i personally love to do this. for this request, i want to try something new since you gave me an idea with the one-shots part. so instead of describing their reactions, i'll convey it in a form of a short story. it will still be per member! i hope you will like this one (heads up though, the posts is a bit longer than my usual shinee reacts) <3

p.s. if you guys can, kindly let me know if you like this kind of format for shinee reacts. thank you!

send in your requests here!

onew / jinki: you sighed for the nth time within just 10 short minutes. you were staring and pouting in front of your closet for you can't find the perfect clothes for your brunch date with onew. it was a hot day today and you just wanted to wear something cute but comfortable. however, it seems like your wardrobe doesn't offer that kind of outfit.

your eyes slowly traveled toward onew's part of the closet. his side was full of quirky graphic tees which you always find adorable. you don't usually borrow his clothes but you can't help but to take a peek at them and take the one that caught your eyes.

it was a white oversized shirt with a cute box cartoon drawn in front of it. you tried it on and it stopped perfectly on your thighs, making it look like a cute dress. surprisingly, it even matches the pair of sneakers you were wearing.

before you can even decide whether you were keeping it on or not, onew walked into your room. his hair a bit damp and he was only wearing a towel considering that he just took a shower.

"oh, is that my shirt?" he pointed at you.

"uh... yeah. do you mind? i just wanted to wear something that is yours." you sheepishly replied.

"no problem!" he beamed his big bright smile before proceeding to get his own outfit.

you muttered a thank you then went to your vanity to finish touching up your makeup. afterward, you grabbed your phone and wallet and placed them inside your shoulder bag.

"alright, I'm ready to go..." you trailed off as you saw what he looked like. "what the hell are you wearing, lee jinki?"

"your shirt?" he raised an eyebrow, clearly feigning ignorance.

he was wearing your favorite grey t-shirt and it looked pitiful on him, it was as if it can tear at any moment. it barely covered his abdomen and was stretched to its limit.

"no shit, sherlock." you facepalmed at his usual weirdness. "what i want to know is why... why are you wearing it?"

"i thought we were doing a thing wherein we wear each other's clothes." he shrugged as if his response should be expected.

"what? no! please have mercy on my shirt and put on your own clothes." you can't help but laugh at him as you pushed him back to the dresser.

"alright, alright! i just wanted to make you laugh and look, it worked perfectly." he playfully pinched the tip of your nose before taking off the top he borrowed. "also, you should keep that shirt since it looks a hundred--no, million--times better on you."

"thanks, love," you whispered as you wrapped your arms around his waist and pulled him into a warm hug.

key / kibum:

after the long busy months, you were finally having a girl's night with your best friends. you stood in front of the full-length mirror in your room to give yourself a final check. your hair was styled into textured waves and your lips were colored with the boldest red lipstick you can find. your nude heels matched the little black dress you were wearing. your outfit looked almost perfect and you just knew what you were missing. you quickly snatched key's gold leather jacket and put it on. ah, perfection.

this was the norm for you. your boyfriend's wardrobe was beyond incredible especially his outerwear collection and you just had to wear them every chance you can get. to be honest, key was very stubborn in letting you borrow his clothes... at first. after all the compromising, begging, and crying you made, he eventually budged and gave up. of course, it does not come for free. he practically made you sign a contract that once you stained his clothes, you have to shoulder the bill of the laundry and the shop will be chosen by him. however, if you damaged or god forbid, lost his clothes, you have to replace them. you immediately said yes to all of the conditions in a heartbeat. so far you only paid for 2 incredulously expensive laundry bills.

now, you were finally ready to leave. you walked out of the bedroom and made your way down the living room. there, key was sitting on the couch watching one of his favorite tv series.

"I'll be going out now," you announced as you grab your car keys near the front door.

"hey, hey, hey!" key clicked his tongue upon seeing your clothes. he was now looking behind his shoulder and giving you a stink eye. "is that my jacket?"

"um... maybe?" you gave him an awkward smile.

"of course, it's mine." he shook his head disapprovingly. "only i can pull that off, by the way." he sassily added.

"wow, i didn't know the fashion police was here. you should have given me a head's up, babe ." you bit back with a scoff. the last time you checked, you looked damn fine in it.

"just stating facts, baby," he replied in english.

"alright, then why don't you take me shopping then? so you can buy me a new set of clothes that will satisfy your standards." you challenged and if he said yes, you were clearly the winner.

"excuse me, i do call you 'baby' but i am not your sugar daddy. go now, you'll be late." he shooed you off.

"okay bye," a playful smirk appeared on your face. "daddy."

this made key rolled his eyes before turning his back on you. he would very much rather ignore you if you keep on acting that way.

"it's bye now, for real." you giggled as you open the door. "love you!" you called out before stepping out.

"love you too, brat." key mumbled with a small smile.

minho:

winter was approaching and the air was slowly becoming colder than usual. it was the best time to stay in the comfort of your warm home and enjoy hot cocoa with your loved ones. a perfect time to wear your sweaters and hoodies indoors. however, this was not the case for minho for his favorite hoodie was missing.

"hey, babe?" he called out from the bedroom. "have you seen my black hoodie? the one with the white writings on it."

"what's that, i didn't hear you?" you went inside a few seconds later.

and there it was, his favorite hoodie being worn by his favorite person. you looked smaller while wearing it since it was way too big for you. the hem almost touched your knees and your whole arms were lost inside the sleeves. he can't help but smile at the sight.

"nothing, i was just looking for my hoodie but it looks like i found it." he gestured at the clothes you were wearing.

"oh, shoot. sorry, i didn't tell you that i borrowed it." you hit your forehead with your palm.

"it's okay. you're free to use them anytime, anyway." he patted the top of your head.

within the last few weeks, minho noticed that you sometimes wear his clothes. it was not a daily thing though and you even asked for his permission. slowly, it became every day and he would just be surprised to see you walking around the house parading his jackets and sweaters. he didn't mind it though, he was just curious about what you do to your own clothing. also, he hoped that he still had some remaining tops for himself during the cold season.

well, guess luck was not on his side.

his eyes were staring at his closet wherein there was only one jacket left, one. you followed his gaze and you promptly felt the warmth raised to your cheeks. you were surely red from embarrassment now. you were happily wearing his clothes that you didn't have the time to count how much was left.

"oh my god, i'm sorry! i didn't--" you cut yourself off as you watched him put on the lone jacket from his dresser. "i'm sorry, i didn't notice it. i just... can't help myself. your jackets are so comfortable and warm compare to mine." you tried to explain yourself. also not to mention that they all smelled just like him.

"don't worry about it." he reassured you as he placed his arm around your shoulder. "just be mindful next time. i might end up half-naked someday, you know."

"how can you be so sure that's not my goal?" you teased before sticking your tongue out.

he laughed at your silliness and then pressed a soft kiss on your warm forehead. you decided to make a cup of hot cocoa for him as a peace offering.

taemin:

it was past midnight and it was raining cats and dogs outside. you visited taemin in his apartment for a stay-at-home dinner date but a storm came before you can even go back home. taemin then convinced you to spend the night there instead. it was not a big deal anyway since you stayed over a lot of times already. you just didn't bring your sleepover bag with you and the dress you were wearing was definitely not comfortable to sleep on.

your caring boyfriend of course promised to ease your worries. the two of you shared a warm bath after dinner and he lent you his clothes for you to change to. so that was how you ended up on his couch, fighting off sleep because the show you both were watching always had a cliffhanger ending per episode. you two needed some answers before you can drift off to sleep peacefully. it was the weekend tomorrow anyway so staying up late won't hurt that much.

your head was laying on his lap while his right hand was playing on the locks of your hair and his left one was comfortably resting on the top of your hip. his hand would occasionally rub circles on the exposed skin. as much as you hate to move from your cozy spot, you had to or else you might end up dozing off right there and then. not to mention, him playing on your hair does not help at all.

you slowly got up from the sofa as you tried to stifled a yawn. "i'll just go get some cold drink." you pushed yourself up from your seat.

you then raised your arms and stretched with a satisfied groan. your shoulders and back were sore after laying down for more or less 3 hours. you can even hear your joints cracking from stretching out. also, you felt the shirt you were wearing raised up.

taemin's shirts were not overly huge for you whenever you wore them. the hem barely covered your behind and right now you were sure that a tiny portion of your buttcheeks was peeking through the white tee. you weren't conscious about it, taemin saw much more than that anyway.

suddenly, you felt a slap across your behind which made you freeze on your spot. you looked behind and saw your boyfriend confidently leaning on the couch with his legs crossed.

"did you just slap my butt?" you inquired.

"uh-huh," he nodded with a cocky grin. "want me to spank you again?"

you frowned a little as you processed the sudden change of mood. taemin won't deny it though, seeing you in his shirts always made his heart skip a bit and his breathing ragged. you always looked effortlessly sexy in them.

"sure, why not?" you replied wickedly after a few seconds of silence.

taemin processed your answer in a split second and he hastily grabbed you by the waist and threw you on his broad shoulders. he did not forget you give you another smack on the ass when he made his way toward the bedroom, the television was completely forgotten.

#shinee #shinee reacts #shinee reactions #onew #key #minho #taemin #shinee react #shinee reaction #shinee x reader #shinee x you #lee jinki #kim kibum #choi minki #lee taemin #shinee world #shinee hoodie #shinee shirt #shinee jacket

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shaevilux · 2 years ago

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Initially I was gonna send this to my friend who hasn't seen the Midnight Club and I just assumed they weren't interested since they weren't really interested in Flanagan's other shows/didn't vibe with horror but it looks like they might watch it so I just cut the whole essay I was typing and decided to save it for tumblr anyways spoilers for the Midnight Club.

First of all I don't know anything about the book(s) this show was based on. But I do love the concept. The titular midnight club consists of the patients in this hospice who are all teens meeting up at the hospice library at midnight to tell stories (usually spooky stories). The hospice was built in the 60s and the story takes place in the 90s. No one knows how the tradition was started since none of the patients live for long because yknow, they're terminally ill. Each episode usually has someone tell a story that's a metaphor for their experience or something related to the storyteller. And the cast in the story are usually the other teens at the table.

But the last story shared in the finale... My god.

Ok first of all seeing the reviews and takes and to see a lot of people hating these 'story' segments because it takes away from the actual show. Like the stories are a waste of time and have nothing to do with the main plot?

Basically the plot is 'the new girl' with thyroid cancer came to this hospice home because she read that a patient who came here miraculously got cured and there's also history about a cult that based itself in the hospice before it became a hospice. And the new girl found a hidden basement where cult activities used to be, and she was also seeing ghosts and also seeing the wallpaper change and the lights in the corridors changing to old lanterns from the 60s so the supernatural stuff is already established. So yeah, there definitely is stuff going on that's seemingly more interesting than the side plots with everyone sharing random, disconnected stories that vaguely have something to do with the person sharing said story.

But those stories are what the show's actually about? God it's like midnight mass all over again where everyone's missing the forest for the trees. Like legit the show is called the Midnight Club and it's about this club of sick teens who sit around telling stories. Stories are everything. And that's a big thing in the show.

Like a third way into the series I realised I would be very disappointed if the new girl figures out a miracle cure or a supernatural ritual to save everyone because that's where the 'main' plot thread was headed. And I'm soooo glad that didn't happen.

Anyway back to the story in the finale. To set up that story let's go back to ep 1. Sorry it won't take long I swear. Basically we listen to a guy's story, which apparently has been going on for a while since he never ends the story and leaves it on a cliffhanger, saying: if you wanna hear more you'll have to live a little while longer. So throughout the season when he's the one sharing a story it's always just a continuation of the same story, which he concludes in the finale.

Sadly two of the kids didn't make it to the end to hear this story. One died, one left because it's found out she's fine and it was a misdiagnosis.

The new girl also had started a story that she didn't finish. And in the finale she also finished it. But the story gets too real. And then everyone else chimes in to help her finish it. And by god was choked up at that point. Sorry I'm not explaining it properly but I literally finished watching the show and I'm still tearing up thinking about that scene and the culmination of it.

Also fuck that dumb plot twist ending and setting up for the next season I hope it's actually a genius move and there's no next season.

#the midnight club #mike flanagan

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thexfridax · 4 years ago

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Wynonna Earp Boss Hopes Syfy Finale Made You Feel 'All the Things' — Plus, Scoop on One Happy Wedding Accident

By Matt Webb Mitovich, tvline.com / April 9 2021, 8:02 PM PDT

The following contains spoilers from the Syfy finale of Wynonna Earp.

After four years of protecting Purgatory with her Peacemaker, Wynonna Earp got to quite literally ride off into the sunset. And she did so while straddling a motorcycle, with Doc Holliday seated behind her.

Mind you, the two almost didn’t wind up together. Following the simply beautiful “WayHaught” wedding, Doc (played by Tim Rozon) was determined to put Purgatory in Charlene’s rear view mirror and get to living life as “just a man,” and Wynonna (Melanie Scrofano) felt compelled to stay put as Purgatory’s protector. But with an empowering nudge from li’l sis Waverly (Dominique Provost-Chalkley), Wynonna caught up to her man and professed her love, after which they decided to travel light, for the first time in a long time, and pay their daughter Alice a visit in MIracles, Montana.

TVLine spoke with series creator Emily Andras about crafting this very fine finale, at least one “happy accident” that wound up stirring many emotions, and more.

TVLINE | The finale has just aired…. What emotions do you hope the fans are feeling at this moment?

Just head-to-toe body warmth, and love, and affection, and wistfulness…. And a little bit of bittersweetness. I feel like joy has to be paired with nostalgia, so I hope they’re feeling all the things. But hopefully not hungover!

TVLINE | At what point over the years did you ever envision Wynonna and Doc riding off into the sunset?

Ahhh! I almost never even let myself envision it, you know? It’s so funny — when you start doing a show, you have all sorts of ideas about what pairings are going to rise to the top, who’s going to end up with whom, and one of the joys of Earp is that so many different things have happened. But those two characters have certainly earned the chance to try to be happy, whatever that means to them. I never knew that I would be allowed to end such a romantic pairing with the woman driving the motorcycle and the guy on the back.

TVLINE | I’m watching that final sequence and it almost feels alien, seeing the two of them head off into what I think of as “the real world.” But I also found that viscerally exciting, to see so much ahead for them.

That’s so lovely, thank you for saying that. I feel like having the world ahead of them and being such an unusual couple, I would love to see what happens next for them. I’m sure there will be lots of crazy sex and crazy arguments and crazy laughter. So, godspeed! Godspeed.

TVLINE | When throwing a season-ending wedding, what is Emily Andras’ marching order? “Above all else, this wedding has to be…”?

It has to honor to all of the characters — and by that, I mean it has to try to find a moment for every special pairing on the show, not just WayHaught. I think it’s important to pay due respect to how far Waverly and Doc have come; she never gave up on him, she always saw a better man in him — and now he gets to be the best man! Nedley (Greg Lawson) and Nicole’s (Kat Barrell) relationship, that paternal/daughter bond is so special, so honoring that was very important.

And at the end of the day, I still think the real love affair of the show is the Earp sisters, so I ended to make sure that that was honored. I really love the parallel with the pilot, where Wynonna came into town against her will and was so hungry to leave but was forced to stay. And now you have Waverly secure enough in how their relationship has evolved, that she knows Wynonna deserves to leave again — because she’ll come back.

More than anything, it was about giving every character a moment of happiness. Even Jeremy (Varun Saranga) becoming deputy chief of Black Badge and maybe finding a new date…. It was all about finding everyone a moment of potential joy, after they’ve gone through so much after four seasons.

TVLINE | Talk about the decision to have empty guest chairs laid out with the names of those who are no longer with us or didn’t make it to the wedding.

That was such a happy accident. We were on-set, it was very much in the middle of the pandemic, and we knew we were going to have a limited number of people for the wedding. But then we put out chairs so you could understand where the aisle was, and they looked really empty. So my incredible director, Paolo Barzman, who also did the pilot, and my art director Trevor Smith, pitched this idea to me. I had sort of joked about, “Wouldn’t it be cool if you had the ghosts of characters past?” In the moment, they said, “What if we hung names on the chairs?” and it was just one of those goosebump moments, like, “That’s brilliant.” So then we have people writing up these cards, rushing them out, and it’s honestly one of my favorite things. Whenever I see that Dolls chair, I just can’t help but feel things.

TVLINE | But Mercedes (Dani Kind), to be clear, is still with us.

She’s just out, like, being her best vampire self. She’s out being an amazing vampire, yeah. I still have that spinoff if you want to help me sell that!

TVLINE | If anything caught me a bit off-guard, it was us getting a song from Rachel (played by Martina Ortiz-Luis).

The thing about Martina is that she is a phenomenal singer. She is the anthem singer for the Toronto Maple Leafs — so she’s quite a star here! — and she was on Pilipinas Got Talent back in the day…. It seemed like a waste to not have someone with such an exceptional voice perform! And what better song to lay over the necessary wedding montage than a WayHaught classic (Fleurie’s “Wildwood”), the song that was playing the first time WayHaught kissed. It’s a bit of an Easter egg for those hardcore WayHaughters!

TVLINE | I don’t think anyone would have ever felt like a “Dark Angel Waverly” detour was missing, if you hadn’t spent time on it the episode prior. Why did you feel it was important to go there during one of the final hours?

The truth of it is that honestly we’ve been balancing the spectre of whether we were going to have a Season 5 or not. When we started breaking Season 4 two years ago, we were looking down the barrel of about 24 episodes, so [when you get half that] you’re like, “What are we going to keep, and what are we going to pitch overboard? What can we live without learning about?” I would argue that this idea of Waverly having a darkness inside of her did have to be highlighted after four seasons. I completely agree that in a perfect world I could have done eight episodes of Dark Angel Waverly, exploring that and seeing it come to pass. But if we ever get more story, I don’t know if Waverly has complete control over that part of herself. I dont think it’s “gone.” If Nicole puts mayo instead of mustard on her sandwich, who knows what’s going to sprout out!

TVLINE | I mean, if only to see what other outfits Dark Waverly has.

As long as she keeps her thigh holster, she’s ready to go.

TVLINE | Looking back at these last few episodes, what are you most proud of?

‘m so proud of this cast. It’s so boring, but God, just to see them grow and thrive and shine…. performing comedy and emotion, seeing their commitment to the show, and the feelings…. It’s just been such a joy to see such an amazing group of people get their due. They really are that wonderful, off-screen as well.

I’m also pretty happy — in this day and age, and despite all the fights the show has been through — that if this is the end, I feel like that’s a pretty nice finale, a pretty good topper on the cake. I feel like the fans will feel like they went on a journey, and they left the characters in an interesting, good place. And look, that’s really rare in TV, to end your story the way you want. How can I be anything but grateful, at the end of the day?

TVLINE | When I was writing my tweet the other morning, I wanted to call it a “very fine finale,” but I worried you’d think I was saying it was only “fine.” But it was a very fine finale!

No, you have to keep me hungry! You get to challenge me, Matt. Listen, I just didn’t want to risk…. I’m the queen of 75 cliffhangers, but I feel like the fans have worked so hard for us, for so many years, that it was more important that they got closure, just in case. But there’s always another demon, there’s always another thing to trigger Dark Angel Waverly. There’s always more story, but at least you have this, no matter what.

TVLINE | And if some network or streamer does ride to the rescue, would there be something that brings Wynonna and Doc back to Purgatory? Or might a Season 5 be without the two of them?

Look, the show is called Wynonna Earp, so you need Wynonna Earp. She’s still the champion, she’s still got the magic gun and the best hair on the show — sorry, everyone else!

There are a couple of unresolved issues. We still have Eve, who we kicked out the the Garden very early in the season, and who can kind of shapeshift; she could take on the appearance of any one of our characters! That would certainly throw a wrench in the works in Purgatory. There are a million different reasons to bring Wynonna back, to help out her sister.

TVLINE | And lastly, was there anything you had to cut or just didn’t have room for, or any returning cast you couldn’t fit in?

Oh, tons. But look, you kind of hit the nail on the head earlier. I’m always striving to be better, and some stuff at the end felt a little rushed, with Dark Angel Waverly. I think if it hadn’t been a pandemic, there would have been more people at that wedding. I would have loved four more episodes to round the bend there. But look, that’s Wynonna Earp, man — perfectly imperfect! So that’s what we did, and what a ride it’s been. The ride of a lifetime for me.

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shadowed-dancer · 3 years ago

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My Thoughts on the New MHA Opening and Ending

I have thoughts, and I will share them because oh boy if I don’t get this out I’m gonna explode

Vague Spoilers for the manga (up to chapter 258 and vigilantes) because I discuss the upcoming arcs, but I don’t discuss any major plot points in detail. Still, proceed with caution if you’re anime only

Keep in mind, this OP and ED will cover the Endeavour Agency Arc and the MVA Arc, so I will be judging them accordingly.

First, the OP

This is a good OP... in theory (that’s going to become my catchphrase for this post). It’s nice to look at and flows pretty well, but my biggest problem is that it doesn’t do it’s job. An OP is supposed to be a sort of... summary (?) of the Cour it plays for. That means any cool plot points, emotional beats, and important characters should be featured in some way, shape, or form. We’ll talk about that more later, but first let’s discuss the music.

The song is really good. I have a feeling it will continue to grow on me as I listen to it more often, but yeah my first impression is that the song sounds great. My only complaint about the music itself is that it ends kind of abruptly (I noticed this is the JT opening too). The previous openings used to have a bit of instrumental to “play us out” and lead us to the end card, but this one feels like it ends very suddenly and unnaturally.

As for the visuals...

Yeah alright I’ll admit, the visuals are stunning... in theory. I appreciate the variety in backgrounds and colours, it makes the OP really interesting to look at. This was actually one of my biggest problems with the JT Opening, it all took place on the training grounds, so there was no variety (everything was metal tubes with a blue sky, with only 3 shots set somewhere different). I appreciate the style of this OP.

But like I said, that’s only in theory, as in, through screenshots these are all pleasing to look at. The pacing of this OP is wild, and I truly don’t know who to blame for this.

That sunset shot above? It lasts approximately 12 seconds, zooming in every few to make it seem like something is happening (when in reality it’s still the same poses, angles, etc). While there’s nothing wrong with a nice, drawn out shot, it becomes irritating when compared to the pacing of the rest of this op.

At the 41 second mark, we are given the shot above. It has flowed directly from the previous sunset scene. We still have not moved away from the image of the trio (aside from the opening shot and the title card) yet we’re approaching the halfway mark of the OP.

The next shot is the MLA, which lasts about 5 seconds. Ok, perfect. Not too long, but also not short enough to be confusing. It cuts away a little fast once the dude on the far left appears, but does anyone actually know who that is? No, seriously, I’m asking. I don’t remember his name and he’s not on the wiki, so I can only assume he’s not important. Therefore, it’s not all that bad if the shot cuts away shortly after he comes into frame. The audience is able to take in the scene without having to pause...

... And then the problems start

While this shot is fine in theory, it pans up fast and cuts away quickly. You know how hard it was for me to get this screenshot? Really hard. You want to know why I struggled so much? Because, due to the timing of the cut and the way it pans upwards, it’s almost impossible to pause on Dabi’s face. I literally had to go frame by frame to get it, because he’s in shot for so little time that naturally pausing is guaranteed to miss him.

When watching this in real time (without pausing) the cut away makes you feel as if you missed something because “something was there, I just couldn’t register what because now it’s gone”. Unlike Compress, who wears a very colourful coat you can recognize the entire time, Dabi’s pants are more blended into the background.

It also doesn’t help that this shot is literally composed to draw your attention away from Dabi until the last possible second. Due to framing, your eye is naturally drawn to the brightly coloured Toga in the foreground, making it super easy to miss Dabi in the back (until, of course, his bright face appears and contrasts against the background, drawing your eye just in time for the scene to change, leaving you to wonder who or what you missed).

I know this sounds like nitpicking, but this shot is the only group shot we get of the League, and is also the start of a seriously weird trend for the villains in this OP getting the short end of the stick.

Anyways, then we get what I’ll call “The Carousel Shot” in which every Class 1A kid shows up and poses dramatically, as if they were on a carousel. It’s a lovely sequence and I really enjoy watching it but... why is it in this OP?

Seriously, this is a genuine question. Class 1A barely shows up in the Endeavour Agency Arc, and NONE of the students are in MVA. This sequence (not counting the three boys at the end) lasts 8 seconds. Why is this much time dedicated to characters who are barely in the arc? (Unless Studio Bones extends their work studies into fuller plot lines which oh my gosh please don’t do that, or if they do, do it quick).

We then get what I call the “Oh God I Blinked And Missed Everything” sequence, which lasts 3 seconds (not including the longer, moving shot of Shigaraki at the end) and features NINE INDIVIDUAL IMAGES, none of which are related to each other. Not only is this 3 images per second, but the fact that they are all unrelated means you can’t even use previous information to fill in the blanks.

What do I mean by that? Well, imagine if I show you 9 images of various pro heroes posing. If I play that in 3 seconds you’ll absolutely miss some of them, but as long as you catch some you’ll still get an idea of what I’m trying to show to you. Your brain is able to fill in the gaps that “I recognized 4 pro heroes, therefore the rest must have also been pros” even if you didn’t register every single frame.

That doesn’t work if every frame features a completely different subject. The shots in this sequence vary so widely that it’s impossible to find a through line. Some feature multiple characters, some feature one, some are closeups, some are super far away, some are character’s we know, others are characters we don’t. It’s impossible to get a solid read on what you’re being shown.

Now, again, there’s nothing wrong with these super quick shots... in theory. The problem comes from the fact that these shots are the only indicators for some of the major themes that will be explored during this Cour (like Twice’s growth and young Shigaraki).

That being said, let’s move away from criticism and talk about speculation, because hidden amongst this sequence are two... interesting images.

This All Might one is very reminiscent of the shot in Chapter 257, where Aizawa and All Might have a conversation while staring up at the stars. However, this is technically the start of the “War Arc” (or the “prologue”, if that’s what you want to call it), so this might indicate that we’re going to get farther into the series than a lot of us guessed.

(Many people suspected we’d get to that cliffhanger at the start of the season (if you read the manga you know the one), but after seeing the pacing for JT a lot of us assumed we’d be lucky to even finish Endeavour Agency. It seems we’re back to the cliffhanger now though lol).

This is another really interesting shot because it’s indicative of Shirakumo, meaning we might get to see Aizawa and Mic confront him some time this Cour (this also makes sense, since this confrontation technically happens before that All Might scene I mentioned in the previous paragraph).

But the cat specifically is a really strange addition. That cat is named Sushi and, correct me if I’m wrong, but I don’t think Sushi is ever mentioned in the main series. I think he’s only in Vigilantes.

This might just be a little Easter Egg for Vigilante readers, but I’m personally hoping that they’ll add at least a few Vigilante shots in there to really tug at the heart strings. I’d say I want a whole Vigilante episode but I don’t think they have the time (unless they really cram MVA, which I do NOT want).

I don’t have much to say about the last bit of the OP. The action shot between the 3 boys was nice, and it follows the sort of narrative through line they established from the early shot of them sitting at the sunset. I also like the shot of Endeavour fading in to replace All Might, even if it’s very simple.

But I want to talk about an overarching problem I touched upon earlier in that villain shot: the way the villains are handled in this OP.

This is a good OP... in theory. The problem is, it doesn’t represent half the arcs in the cour! Every shot of the League is so rushed that you can barely register that they were on screen before they’re gone.

I have no idea how many Episodes Endeavour Agency will take, but I’d assume 3 (4 if you count the Christmas episode). 12 episodes for this Cour minus 3 for Endeavour Agency = 9 episodes left. If we truly do get the prologue for the War Arc (and if we assume it’s only 1 episode) that leaves us with 8 villains episodes.

8/12 episodes (aka two thirds of the Cour) will likely be about the villains. And yet they’re pushed to the background so hard in this OP.

I want to dream, and I want to believe that this OP is going to magically change when MVA starts. The song fits super well, and I can imagine like an inversion of the OP but from the Villain side! Wouldn’t that be neat? Imagine right after the “it’s alright” part Shigaraki just freaking decays the title card... oh man that would be so cool. But, alas, I highly doubt they’d do that.

Side rant, but you know what was so fun about MVA in the manga? It’s that, for 21 chapters, we leave the kids behind and the villains become our protagonists. Suddenly Shigaraki is the one we’re rooting for, suddenly we’re learning backstories for everyone, and suddenly we find ourselves just as attached to the villains as we are to the kids. It’s an inversion that’s SO RARE to find, and I think many people (myself included) were hoping it would be reflected in the OP.

A big part of being the protagonist means featuring heavily in the OP, and a lot of us just wanted the villains to get that honour, even if only once. As is, the OP still treats them as the antagonists when... really they aren’t. Not right now, at least.

So yeah, final thoughts on the OP are that it’s good, it’s just not very representative of the arcs it’s supposed to cover. If this was just for Endeavour Agency, I’d say it’s actually really cool, but if we assume that this is what will play for the Villain Arc, then it simply doesn’t do it’s job. And it makes me sad to say that because, again, this OP is really well done.

If I had to rate it? Hmmm

If Studio Bones actually grants my wish and creates a different visual for the Villain Arc (while using the same song) and then this version only plays for the Endeavour Agency Arc and the War Prologue? I’d give it an 8/10. It’s really good, but it could use a few more elements that are clearly derived from the Agency Arc (ahem, Todoroki siblings).

But if this is the OP that will play for the entire Cour? a 6.5/10. It’s nice, but it’s not representative of one of the arcs it’s going to cover. And, unlike other arcs like Pro Hero or Summer Exams, the villain Arc is so important and takes up so much time that it honestly feels like a bit of a disservice.

Now for the Ending

I want to say that I appreciate how soft this ending starts. This cour will likely feature a lot of episodes that end on... heavier themes, and I think the sight of peaceful, falling raindrops is the perfect way to let the audience process their emotions before starting the ending in earnest.

The song itself is very nice, and I like that it’s a bit slower than the more recent endings.

(Side note, but the FUNNIEST moment in the entire series is when Sir Nighteye dies because it’s so emotional and everyone is standing around his bed in his heartwrentching silence, only for the ending to come BLARING IN out of no where. If you forgot how jarringly hilarious it was, go listen to the Eri ending and tell me that’s not the funniest thing this series ever did. Anyways yeah I’m glad that’s not gonna happen this Cour).

This ending is a bit all over the place in terms of it’s visuals, but honestly I think it works. Most endings usually have a theme tying them together (all the Class 1A girls, a fantasy AU, old photographs, planning a party, etc) but this ending’s theme is a bit harder to identify.

That being said, I think it’s just supposed to show everyone going about their day. It’s calm, it’s peaceful, and it’s just very sweet to think about

I like this shot. Actually, scratch that, I like this whole sequence. I enjoy anything that allows Class 1A to chill and have fun.

Hawks is featured quite heavily in this ending which, fair. He’s pretty important in this arc.

I really love the shot where Endeavour immediately switches to Hawks, I thought that was a lot of fun, and very good symbolism on how Hawks wants to be like Endeavour. I also love all the shots of Baby Hawks, because it’s adorable.

Something about this shot is just so cute. It’s the little domestic things like waiting for a bus that make this ending feel... idk the word, real? It shows a side of the characters that we’ll never see in the episodes, but we know have to exist.

Like yes, of course the kids have to wait for the bus. We never see it, but of course there are those moments of quiet. Agh, I love it.

The villains also make an appearance and I’m very happy about that (I’d love to see more of the villains just chilling around, I think they deserve it). I kind of wish they weren’t sitting in a dark room for the sake of being edgy, since I think it would be nice to see the villains just... sort of existing, but honestly it’s still a nice shot. I also like how this shot sort of mirrors the first one with Class 1A (someone coming in while everyone else is sitting and waiting for them).

That being said, as much as I love looking at Dabi and his stupid face (affectionate)... why is Dabi the one getting the closeup?

Mind you, endings don’t need to be connected to their Cours (they can be, like the Eri one, but they don’t have to be). But this ending does seem to be connected to the arcs it intends to cover, given all the Hawks appearances, the boys wearing their work study scarves, etc.

So, I ask again, why Dabi? Out of the six League members, we learn the backstory for four of them in this arc (Shigaraki, Toga, Twice, and we very briefly learn about Spinner). The only two left out are Dabi and Compress.

I can only assume they chose Dabi because he’s constantly in contact with Hawks, and therefore that makes him important? If the OP told us anything, it’s that Bones values the Endeavour Agency Arc over the Villain Arc lol...

... Oh my gosh please tell me that’s not actually the reason Dabi is focused on here BONES WAI-

Anyways, the ending comes to a close with Hawks watching over the kids and Endeavour. The relaxing time is done, it’s time for work studies.

Overall impression? It’s great. It’s hard to screw up an ending, so as long as you have something pretty on screen, it’s wonderful.

I’ll give this a 9/10

#bnha #bnha season 5 #dabi #keigo takami #bnha season five #katsuki bakugo #shoto todoroki #mha season 5 #mha season five #bnha op #bnha opinions #izuku midoriya #bnha hawks #ok to reblog #actually yes please do reblog if you found this interesting #I worked hard on it

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lokiondisneyplus · 3 years ago

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Director Kate Herron calls from her childhood bedroom. She's staying at her parents' home in Southeast London for the summer, having spent the past year apart due to the pandemic and directing her latest series, Marvel's Loki. "It's so surreal seeing the show go out," she says over Zoom, "and being in the room that I was last in as a teenager."

Loki's first three episodes have seen the God of Mischief (Tom Hiddleston) team up with Agent Mobius (Owen Wilson) and the all-powerful Time Variance Authority to track down a fugitive Variant of himself: A female Loki that goes by Sylvie (Sophia Di Martino) who's set on blowing up the Sacred Timeline and, with it, the MCU as we know it.

"My dad, bless him, he was never into Marvel before, but now he's obsessed with it," she says. "When I got the job, he started watching his way through the films, and he's got all these different YouTubers that he now watches for theories, and he tries to get spoilers out of me. He's like, 'What does it mean?!' and I'm like, 'Dad, I can't tell you!' It's very sweet, but very funny."

Now, with three episodes left of the season, she's bracing for their first family viewing experience. "I might not be able to, though. I might be like, 'You have to watch it by yourselves and then we can talk!'" she laughs. "Wait to hear the Loki theme and be like, 'Oh, I can go downstairs now.'"

In the meantime, Herron fielded all of ET's midseason questions about making Loki's bisexuality canon in the MCU, flexing more of his magic than ever before and why Sylvie isn't really Lady Loki or the Enchantress.

We are halfway through the season. Outside your parents, how has the reaction felt so far?

It's been amazing. We had these big ideas in it -- like, about free will and good and evil -- and wanting to [know that] if we're going back in with Loki because he's so beloved, that it's going to be a good story for that character, but some fresh terrain. I think the response has been pretty joyous and it's just so fun seeing what people are liking, what people's theories are. I couldn't be more happy, to be honest.

Being someone who appears pretty online and active on social media, how deep are you going into reading what people say and diving into those theories and all that?

I definitely read a lot of them -- I don't comment on them -- but I used to love Lost and Game of Thrones, and I was on Reddit, commenting, like, "Ooh, maybe it means this or means this," and I think that's the fun thing with our show, right? Our fans are so smart and it's fun seeing what they're getting right and what's not right but is very interesting. The Easter eggs they dig up are always amazing to me. Some of them we put in there, and I'm like, "Well, let's see..." and I'm like, "Oh, they found it!" So, it's really fun tracking it online. It's very weird directing something where you know every frame will be [screen]grabbed by some fans because they're looking for stuff.

I loved your tweet about why it was important for you to confirm that Loki is bisexual in the show. Not really reveal -- because he's bisexual in the comics -- but make that canon. Talk to me about having those conversations with Marvel.

I think it was something very important to everyone. And I felt like, OK, how can we acknowledge this? We have aspects of the story that are there, so how do we build this into the story so it feels earned in the moment? I didn't want it to feel like we were just wedging something in, but we had this beautiful scene where these two characters are being really raw and really honest about who they are, and I was like, "Well, it is a part of who he is and who they are." For me, talking with Michael [Waldron] and Bisha [K. Ali], it just felt like it was the right moment for that line. This episode is really beautiful for me, because it's these two characters getting to know each other, so in that sense, it felt like the right place for that conversation to happen. And I thought it was done really beautifully by the writers.

Obviously, like I've said, it's very personal to me, and I said it was a small step in some ways -- because obviously, he's just talking about it -- but in the bigger scale of things, I'm like, oh no, it's massive actually. If I saw that when I was 10, it would be really big for me. It's been really nice getting comments from people online. Some people were like, "It helped me actually talk about how I feel to my family and helped me come out." And I thought, "Well, if it helped one person do that, then it's worth it."

This is the MCU's first lead character who is openly queer. Did you know that? Were you aware of how big a milestone this would be?

Yeah. Well, in some senses, yes, and in some senses you're never sure, right? Because [Marvel is] so secretive about all their other projects. [Laughs] For me, I was like, I'm telling Loki's story, it's a part of who they are and I just want to acknowledge it. It's canon in the comics and if we can make it canon in the films, that would be amazing. When I came on board, I was like, if there's a way to do this, it would mean a lot to me and, I'm sure, a lot of people. But it was very welcomed, and I think we're all very proud of how we did that.

This may be getting into spoiler territory that you aren't able to talk about, but acknowledging one's sexuality is one important part of representation, seeing it play out through relationships is another. Can we expect to see any further exploration of what it means for Loki to be bisexual in this show?

I'm trying to think how to answer your question. [Laughs] I would say in our story, this is how we acknowledge it. But I hope that that paves the way for deeper exploration.

We're halfway through the season. What were your biggest goals in these first three episodes?

I think the biggest one was obviously, the Loki we're with in this story is on a completely different path, so it was tracking his character in the sense that he basically sees this amazing arc that the other Loki had gone on across the MCU movies, he sees that he reconciles with his brother, but that wasn't him in that moment. He's watching a different version of himself. But seeing that moment and seeing that he has room for growth and change is really interesting with our Loki, because he's in a very different headspace. So, it was tracking, what's familiar about this character from the Loki that we've seen over the last 10 years go from villain to antihero? And what is going to be completely different and completely different sides to this character that we get to now dig our teeth into? That was something really important to me and to Tom and the writing team, and it was really fun unpacking that and what his identity means.

The other challenges, honestly, were just setting up the TVA, because it's outside of time and space and giving that a grounding and a reality and making that feel like a whole new exciting corner of the MCU. That was a big responsibility, and I was really excited by that. And then you have the bigger arc of the story, but you also knowing it's going out weekly on TV. So, how are we going to track this week by week. Where are we leaving the characters and what are we leaving for the audience? Something we always thought about was we knew there'd be discussion week to week, so it was like, "Where are we going to give them certain bits of information across the show?" We wanted to provoke conversation and discussion about even just things like free will, you know?

I will say about the TVA, I'm basically a human Miss Minutes stan account. I think she's the baddest bitch in the MCU. I watch every Miss Minutes fancam that pops up on my Twitter feed.

She's incredible! What I love about it is that she's in our first episode and she actually used to come out of the presentation that Loki watches -- she came out on the screen -- but it was too crazy. We were like, "OK, we can't do that in the first episode. We'll do it in the second episode!" But what I love about her is that we're seeing the TVA through Loki's eyes and it's, like, the status quo, right? And if our status quo is a Southern-talking, Roger Rabbit-style clock, the show is going to probably get quite weird. I think that's what I love about her. And obviously, Tara [Strong] is awesome. Yeah, Miss Minutes is a lot of fun.

You talked about exploring who Loki is and could be. He's always had an arsenal of powers, but in this series, you really get to explore and define what his power set is. What were those conversations like?

That was something else, coming in, I was so excited about. We have six hours of him, let's see some more magic. Because across the comics, he's super powerful, and for example, in the last episode, that's what was so exciting to me about that, the oner at the end of episode 3 was that I've seen a lot of oners but I haven't seen one with magic. So, I was like, let's put loads of magic in there! We get Loki using his telekinesis and his magic blasts and then also Sylvie, as well, and her powers.

For me, it was exciting getting to bring those in in a way that pushed the story forwards. Because I get it, when he first lands in the TVA, they can't use magic, so I know if I was watching, I'd be like, "What? No magic?!" But I think that's the fun thing is, we still have three episodes to go and also it was fun to put him on Lamentis and see him using his powers in different ways. It was definitely something important to me and the team, was to get to show a little bit more of him. But across the films, you can only do so much. Now we have six hours, so it felt like, of course we have to delve into that more.

I don't know if you saw this on Twitter, one of my favorite reactions to episode 3 was someone tweeted a screenshot of Sylvie screaming and her hands glowing and wrote, "she did the meme!!"

[Laughs] That's great!

We've now officially met Sylvie, and we're starting to piece together that this may be sort of a hybrid character of Lady Loki and Sylvie Lushton, the Enchantress. Are you able to confirm that you pulled from both to create your Sylvie? Or is that something that's to be further revealed?

I would say there's more to be delved into. One thing I would say is, like, she's different to the comics. Like, she's a unique character, but obviously, there's things that have been pulled from. I think for her character, she's on the run and she's called Sylvie and she's dyed her hair. The blonde that we associate with Sylvie is played in that sense, but it makes sense for her character within our story. But I would say deeper than that, yeah, there's more to be revealed about her character to comes.

The main thing I would say is: Lady Loki in the comics is a very different character to our character, obviously. I love that character and I think she's got a very different journey. But our Sylvie is a female Loki, in that sense -- because in episode 1 and 2, they know it's a Loki they're tracking -- but I think that's part of the discussion. It's almost like Loki -- as in Tom Loki -- he's like, "Wait, how much of my life have you got? Who are you?" And I think that's the real question is, who is she? So, we will discuss that as the show goes on. Why does she not like being called Loki? What's her past? Where did she come from?

Tom and Sophia have such great chemistry, but how challenging was it for you and Michael and Sophia and the writers to create a character that essentially has to match up with our Loki, who's had however many films to become the fan-favorite character that he is?

It starts in the writing. Because she's a unique creation, and that was exciting and I was intrigued where they were pulling from with the comics. I was like, OK, that's cool. Beyond that, I think it's casting it. Sophia is an incredible actor. I've worked with her before. She has this fire in her and she brings this amazing vulnerability to all her characters, but she's also, like, so funny. It's just, so many of these things she always brings, I was like, they're so Loki. So, I was like, "We've got to get her to read!" And we were just all blown away by her read of it.

She definitely can hold her own. That's the other thing, as well. I know her, and I was like, she will hold her own. I know she will. Because she's going against Tom's Loki and that's such the fun thing about them. Even just on the train, where it's the end of the world and Loki's solution is, "I'm going to have a party and I'm going to have a drink. I'm going to have a lovely time." And her solution is, "I'm not going to have a glass of champagne, thanks. I'm going to focus on the mission of getting off the moon." Those little differences is what's quite fun about them to me. How are they different, and how are they the same?

Was there something you got to do as a director in these first three episodes that you had never done before that you were especially excited or nervous or both to tackle?

I suppose so much of the show, right? Because I've done a lot of drama and a lot of comedy, but they were like, "Here you go! Here's the reins to this massive, genre-driven piece where you have to set up a new corner of the MCU and you're going to have this beloved character." There was a lot to carry. But I'd say in terms of something I was excited about, only because Kevin Feige was teasing me, when we filmed the big oner at the end of episode 3, I was really inspired in the writing, because it sounded like you were really with the characters. I love doing long takes anyway and I remember thinking, "Oh man, this sequence feels like the one that we should do as this oner," because I want the audience to feel like they're with Sylvie and Loki in this moment, and it's also a moment where you finally start to see an apocalypse and it feels more real, because you're seeing the horror and the terror that's going along with that.

For me, that was exciting, but the really cheesy bit that made me so excited is they had these foam rocks that fell on people, but it felt like real movie magic to me. I was so obsessed with the rocks. I was like, "Oh my god. This is like real, big Hollywood filmmaking." And I remember Kevin Feige was like, "You can take a rock home, if you want," and I was like, "Oh my god!" So I have this rock. It's in bubble wrap now, and I'm going to unpack it when I move into my place. But that's probably honestly the most excited I've ever been. [Laughs] I was just so excited by the rocks. Oh, and also, I remember when we were at Roxxcart and Tom gets thrown into those robo dogs, I was obsessed with the robo dogs. He was like, "I think this is the happiest I've ever seen you." So, those are my favorite moments on set. The foam rocks and the robo dogs.

Somebody's going to come into your flat in the future and there's going to be a shelf with just a rock and a robotic dog on it.

Mhmm! And I'll be like, "Yeah, guys, I did something." [Laughs] They'll be like, "What is this...?" But the foam rocks are genuinely amazing, because they look like real, heavy rocks, but they're so light. I was so fascinated with them. I was so excited. I made a lot of low budget stuff before this, so it was a big deal to me.

My favorite part of the first three episodes is the Kate Berlant cameo. How did that come to be?

Basically, I love comedy and my producer, Kevin Wright, does as well, and we were trying to think of people that could be fun. We've got Josh [Fadem] in episode 1, and that was a miracle. I just spoke to her about the part and was like, "This is a very small role, but if you're interested, you're very talented and you're so funny." And she was like, "You know what? That sounds really fun. Renaissance faire? Yeah, I'll come do it." So, it was very kind of her to come down and do that for us. She's so funny, man. She's so funny.

Do you let her riff at all?

We did. We have a lot of alts and a lot of very extended bits of her talking to the Minutemen. I think there's one where she talks about a bird show at the faire. She's so funny. I was very flattered and grateful that she did that for us.

I'm going to start the #ReleaseTheKateBerlantCut campaign. I want a whole episode of her alts. Or she can be the new Stan Lee and cameo in every MCU project. Before I let you go, if you had to choose one word to tease these upcoming three episodes, what is that word?

Hmm. I thought of one word, but then I'm like, it's spoiler-y, so I can't say that. [Laughs] Oh, one word. Exciting? I have to say "exciting," because I can't say the other one I wanted to say!

#Kate Herron #Loki #interview

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gra-sonas · 3 years ago

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Chris Hollier serves as showrunner for The CW’s hit series Roswell, New Mexico. The show first premiered back in 2019 and is now heading into its third season. Season 3 premieres on July 26 and new episodes will continue to air Mondays at 8:00 – 9:00 PM. Roswell, New Mexico was already renewed for a fourth season as well!

I spoke with Hollier about all things season 3, the one year time jump, getting renewed for another season, which episode he’s most excited for fans to see, the show’s relationships, which new duos we’ll see on screen, and so much more! Keep reading to find out everything he told me.

First off, we ended season two with a big cliffhanger. So how can you tease and set up how the premiere is going to kick off and and resume from that? Chris Hollier: Well, I think much like you said, we have to at least answer that question, we left him on; “howdy, partner” is quite a way to go out. So, we got to get our partners involved there. Then I think by the end, I want to tease out that much like in life, you don’t always know the best response right then and sometimes it takes a little time, and we gave our character some time to really evaluate all of their decisions with the jump, but also romantically.

The show will be doing a one year time jump; what made you decide to go this route, and is there a character that you were most excited to apply this to and see where they would be a year later? Chris Hollier: I think that what we try to do is honor the decisions of people that age, which what I mean is sometimes you don’t know, you need distance and perspective for things, even if they’re good. You need to knock that against something, you need to go after the dream that you said that you want and stand in it for 10 minutes to realize, is this really where I want to be or should I jump ship before it gets to be too late? And time just does that to you.

Which of the characters’ storylines do you think after the time jump is going to shock fans the most? Chris Hollier: Is going to shock fans the most? Interesting. I think ultimately throughout the season, what Liz realizes about herself is going to be a journey that they don’t quite expect; that as it gets up and running, it’s going to feel as the episodes roll on, and she is growing and running through a gauntlet to push her to places that I bet she never would have said, “this is what I want to do, say, and be,” in seasons one and two.

What can you tell us about the relationships? Chris Hollier: What I would say is they’re on the poster; what I would say is also what we want to do is when we look at Max and Liz, we always look at them as two sides of the same coin. How are they the same? How are they different? But like two sides of the same coin, they are linked together in ways that you cannot pull them apart. So, we put that up on its feet to explore really what does that mean? It doesn’t mean that you end up loving that person or sometimes it means like this is the only person for me, and we put that larger question to them to really decide like, “Are we gonna make a go at this or are we better apart?”

Congratulations are in order as well because the show has already been renewed for a season four and season three hasn’t even premiere yet. So what was your reaction when you heard the news? Chris Hollier: I found out on set– quick funny story, I called the two people that like, make the show with me there on the ground, my line producer and my producer/director, and I said, “I’ve got a problem that only the three of us can fix.” They said, “Oh no, what is it?” I said, “They’ve given us 13 more.” So, the greatest thing that I got to do though was go down when they announced it to tell the crew that all of their hard work meant something and that we can continue to employ all these families that I love, during a pandemic, which meant a lot to our entire Roswell group. We make the show together. I truly believe that and so that was the best moment for me is to say, “They’re responding to what we’re doing, they want more of it, and we all get to find a way to be together, even though times are crazy.”

You brought us to our next question because you all filmed this season during the pandemic, and that is such a huge accomplishment. What was it like filming with these insane circumstances and then finally wrapping? Chris Hollier: The biggest thing I think it did for sure is that I think when you watch it for the most part, you’re not gonna feel that. We made that decision again to like– we didn’t even know where the world was gonna be by the time we got to a premiere date; we didn’t know who was going to be president, you know? We had to look at all of that. What I would say the biggest thing that it changed were some of our protocols of the closeness that people could be and I mean that like when it comes to kissing and fighting. I feel it really made us look at telling a story, leaning into telling a story more like a romantic comedy where it’s about longing, rather than necessarily like being together. So we leaned into romance as a way to bolster some of the things that our hands were tied with a little bit.

If you could do a crossover between Roswell, New Mexico and any other CW or Warner Bros. show, which would you pick? Chris Hollier: Oh, that’s funny. I think I have to go back into the Plec universe, where I came from. We gotta mix them with the vampires. Aliens and vampires, I’m ready.

Well, going off of that question, which characters would you be most excited to see interact from those universes? Chris Hollier: I would love to see Hope Mikaelson meet Liz Ortecho. Or Hope Mikaelson and Rosa might be a good pairing; I bet those two could get into some trouble. A little science, a little magic, what could go wrong?

If you could create a tagline or phrase to get fans hyped for season three, what would you pick? Chris Hollier: I would say that this season is a crossroads moment for all of our characters. They’re going to have to make the next huge decisions of their life, and the villain that shows up is forcing all of them to redefine who they are as people and their relationships with one another.

Are there any themes that you’re excited for fans to see in this upcoming season or is there any sort of message that you hope to give them with the season? Chris Hollier: I would say almost as a reaction to everything going on the world last year, while we made this, that we saw a lot of stories of people trying to divide people. We were drawn to ideas about how you’re tested to do that and how you still come together. So, these are stories about how there are always people and always ideas that will try to divide us, but a real hero, really good people stand up and find a way to still bond with others in that time.

Are there any memorable moments that when you look back on filming the season now that you’re preparing for the premiere, that really stick out to you as a nice memory from the experience? Chris Hollier: There’s a nice memory where there was a moment in the middle of the season, around episode seven, where a lot of our characters on the show were all in one space together and that’s something that doesn’t happen. That’s also something because of COVID, we started off this season like we can’t really even do that. So, there was a moment where we’re all standing outside and we were gonna blow something up, everyone was there and there was a great energy that we were doing it safely, together.

Is there a favorite dynamic that you enjoy creating and seeing come to life on screen? Chris Hollier: Let me answer it this way, for this season, we looked at characters on our show that never had scenes together and we found ways to put people together in ways that we never have. We looked around like Max and Alex have never had scenes together. So, we found ways to put them together. Rosa and Michael have never had scenes together, so we found ways to put them together. That was most fun and it added a level of joy to all these actors who started to realize like, “Oh my god, I love this person off screen. I get to act with them now!” So, it gets everyone invested.

Lastly, is there an episode that you are most excited for fans to see? Chris Hollier: I think that episode eight is a highlight for me, it’s a Maria heavy episode. It’s an episode that a third of it takes place in people’s minds. I think that’ll be fun. I’m excited for where we’re going near the end with some of the crazy places that the show ended up in that I promise fans won’t see come episode one. We really just pushed what we could possibly do and how to get there; we continually, especially, I’d say the last half, wrote ourselves into corners that we couldn’t see the way out of, when we did that episode. So, I think that’ll be challenging for the audience to have to come back like, “How do they get out of this?”

#chris hollier #rnm cast interviews #rnm spoilers #rnm 3x08 #roswell new mexico s3 #long post is long

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steve0discusses · 4 years ago

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S5 Ep 14: So If You Put a Fraction Into a Duel Disk, the Card Explodes

We left on quite the cliffhanger last episode, so I’ll fill you in:

I did not get the haircut.

Like I seriously considered getting a Zigfried for a cool 3 or 4 minutes there, but then I decided to wait a couple of days and I basically forgot.

But, back to the arc finale, Seto has decided to walk, not run, to the Kaiba lab in order to fix the virus rapidly eating his entire company.

I just want to point out that Zigfried went through a LOT of work to get Seto Kiaba to go “uggggh” turn around, and pretend to calmly walk away. I’m used to Seto losing his nut kind of a lot and blowing things up but this season he’s like “be chill be chill be chill” so that the entire world doesn’t think he’s a spaz on TV.

And little aside about Seto’s design choices here, I fell down a hole of interior design videos, and can I just say: apparently these wood frame things on the wall are back in style? Good on you, 2002(3?) Seto Kaiba. Don’t think that current designers are painting them purple but...we’re halfway there to Yugioh fashion.

Meanwhile, Pharaoh decides to remind everyone that these stakes are hella low. The worst that happens is that Zigfried deletes the plane that Yugi needs to fly home...which would be an impressive virus.

Like it’s hard to tell if Yami even has a solid concept of “capitalism” and whether or not he cares about or understands the makeup of Seto’s company (which up till now has operated like a small country and not a business...which is a little more Pharaoh’s understanding. Either way...hard to tell if Yami would shed two tears for the loss of Kaiba corp.)

And, despite what I say in the caps, I feel like Leon and Zigfried are the first villains we’ve ever had that Yugi and Pharaoh didn’t unintentionally disclose that they are 2 people to. Zigfried and Leon are just...completely oblivious to how effed up Yugi’s bean is. They think that’s just a normal kid and lol no dudes...y’all got distracted by Seto Kabia but you have a literal Egyptian God just hovering around in the background and dating 3 people by accident.

Like when the show shelves the main storyline, it is very funny how it’s all “And we’re gonna put the Pharaoh crisis on hold--just put a pin in it. No one will notice this child is two nervous wrecks stitched together” and then Yugi and Yami just kinda hold it in and watch all patiently until it’s their turn to get off the bench.

(read more under the cut)

In the giant computer tower, Seto Kaiba shouts out a string of orders and numbers, admired the many sonar detector looking windows open on every monitor, and then sat down at his desk to like...check the firewall, I guess?

The virus is past the firewall. It’s um...it’s inside the firewall, pretty sure that was the point, but youknow, it’s a kid’s show so they’re just throwing out computer stuff that has no meaning to the writers of this show.

Mokuba thinks fondly of how Seto Kaiba has never screwed him over (which I mean...maybe not on purpose, ((except for that one time he did screw him over on purpose to get Gozaburo Kaiba to accidentally give Seto Kaiba the company, but you could say that was a grander scheme that he knew Mokuba would see through, which...)) but Seto certainly has screwed Mokuba over accidentally. At least once.)

And meanwhile, Yami fixes everything through card shenanigans.

So here’s the shenanigan this episode: I don’t go over cards here but this one requires a limited amount of explanation.

So every round the golden castle deletes half of Yugi’s cards. So he was like...I’ll just draw down to one card. They can’t delete half a card...so that means the card must delete one of the two cards on the field which means it must delete itself.

...which is like the closest Yugioh will probably ever get to abusing a glitch to do a speedrunning tactic like GDQ.

Anyway, like I stated in the title: there are no fractions allowed in Yugioh. If you do that to your priceless one-of-a-kind card you got from winning one of Pegasus’ murder tournies, it will irreparably bust the card.

I’m sure at least one of you will correct me with the proper way to insert a fraction into your duel disk. Cuz like...as I say multiple times so we never forget, I barely pay attention to this card game and I’m just flying by the seat of my pants.

I want to say Seto and Mokuba were in the hacker chairs for like...3 minutes maybe before they realized “oh...Yugi fixed it...” and walked the half a mile back to the duel arena.

and also, as I’m looking at Seto’s glasses here, I just realized...all of Kaiba’s team wears sunglasses all the time. Inside, outside, night, or day...

They haven’t outright said this...but what if those aren’t sunglasses?

Is Roland and that other Roland wearing fancy cyber glasses? They are, right? Because they wear them indoors?

Damn, they can’t take a piss without being on call with Kaiba Corp, can they?

Now the problem is...Yugi played all of his cards (he has two in front of him face down, but none in his deck) and after milling himself, this means he’s now basically a sitting duck for Leon to take the title of “King of Games.”

Leon insists that he defend whatever scraps are left of his card honor and not duel a person who is carrying no cards and Yugi was like “COME AT ME BRO THIS IS THE ONLY WAY I KNOW I’M ALIVE.”

He didn’t even have to do a horror on Leon, he just...played cards good? I skipped it, I’ll be honest, but overall Leon’s card honor was...saved? Maybe? I mean he also go destroyed when his competitor had not a single card in his duel disk so...

...Leon will have to work on his card honor off screen because he’s pretty well humiliated at this point.

But stumbling onto the playing field like he’s half dazed/daydrunk, Zigfried is like “You forgot I already won, bastards!”

Which is when we find out that Zigfried’s “delete all” virus failed to press “enter” and deleted basically nothing. Just like when my Mom attempts to send something in Gmail but doesn’t press “Send” and tells me that Google is down and broken.

Sorry my bro has informed me that he ALSO has had to help my Mother locate the “Send” button and I just...I know she absolutely did that but I’m in denial that this Riddle of the Sphinx has happened to her multiple times.

Honestly, the pep talk we get from Leon at the end to cheer up his bro was a whole lot of “we will pick ourselves up and we’ll do better next time. Together.” and sure you can translate that as “we’ll be honest next time” or you can translate that as “next time we will be not nearly as obvious about inserting a virus into their computer until it is done doing the job, bro.”

Just like Dartz, we didn’t really get a whole lot of retribution or closure when it comes to Zigfried. But, unlike Dartz, Zigfried didn’t do too much murder, so I guess this is fine. He tried to cheat in a card game...

...and I guess tried to delete Kaiba Corp but youknow...

...people let him have that. The police saw the ticket of “this man tried to delete Kaiba Corp” and they just...didn’t arrest him. The judge saw that ticket and didn’t put out a warrant. They just let Zigfried have this, almost like “better luck next time, ya?”

And then Roland clocked out for the day and went home, thus ending this arc.

Look at all these characters, most of which we never saw duel even one card.

We also got one shot of Mai for some reason although she was not in this arc.

AAAHHHH. Every time I’m like “the show is done screwing geography” we get another freakin geography spook!

But we went back to California in order to get a scene of these guys in an airport to get a flight to Japan...

which means Rex and Weevil just...were they shipped home by the Kaibas? Because way to ditch getting arrested by the American Government, hot damn. They are...literally terrorists who destroyed a Caltrain in a plot to kill everyone in the world so like...really surprised Rex and Weevil are in public...but maybe all the FBI were dead at the time so they just didn’t know?

Meanwhile, Duke has to go back to Death Valley and call a tow truck for his car, RIP.

I sure hope he got PTO during this stunt and isn’t going home to a pink slip.

I’m not sure of Dukes life or anything going on with Duke. I’m sure the thing about Serenity is him joking because we have all forgotten about that girl by this point...but also...is Duke...still living in the Tenderloin? The crime rate is very, very high and the ground isn’t solid, so it will liquefy if there’s an Earthquake, but it is one of the few places in the Bay Area that doesn’t light on fire every year. He has that going for him.

I just really hope Duke moves out of the Tenderloin one of these days, he needs a better life.

Meanwhile, Rebecca does one last crime.

This is like a post-epidemic reaction to a hug, but in 2002(3?).

I don’t think I’ll miss Rebecca too much. Wanted to like her more, but she was under-utilized, like most of the characters on Yugioh. Not even just talking girl characters here--most characters on Yugioh are super under-utilized, just Tristan Wallflowers doing nothing, but also being selectively OP as hell about very specific things they never, ever need to do.

Speaking of the devil:

Yugi...just saved his entire company...

But Mokuba is just has to make sure to make it seem like they owed Mokuba and not the other way around. Just in case.

So off they go on this massive plane. It’s probably more to do with the length of the trip as to why the plane is so big but also...

This plane is overcompensating.

But before we analyze that, lets close the book on Seto Kaiba’s very short therapy arc. Overall, it was a nice distraction, but I can see why people call it a filler arc, as it really doesn’t affect...anything going on in the major plotlines, which makes me think it could have been a movie or a game or something. But overall, it’s not bad, it’s just not what you’d expect if you were a Western audience.

Like I’m preaching to the choir, but typically, Western stories are entirely plot focused, and so our arcs always give or take away from that plot. But in a Eastern story arc, it may instead be character focused, where the climax is a character evolving or coming to some sort of cathartic realization, which this arc was, in a big way. We still had some plot, because this is a Shonen, but overall it was about characters, and specifically whether or not Leon and his bro would reconcile or change--which they did.

We did get to see a little more growth on Seto in that he...didn’t go bonkers and hallucinate during a card game. It’s been a while since we’ve had him not do that. Seto was very chill this arc, which makes sense, it was a very chill slice of life arc for everyone involved.

So, next we move on to the next one, which bro has informed me...is

still not Bakura.

According to Bro, the next arc didn’t even air in the Japanese version of the show? Like he’s got a lot of spicy Yugioh headcanons so he could be wrong (He did tell me that he thought that Zigfried was Seto Kaiba’s ex boyfriend when he saw this as a kid which...that sure is a way to interpret this arc, and it probably wasn’t just my little brother who went down that thought tube there...)

(Bro Note: To be fair, I didn’t watch much of this arc as a kid.)

But he says the next arc was originally a movie. But they released it in the States as episodes to be part of S5, just to put more episodes in there. Which, if he’s correct, makes it seem like we’re getting like the Mulan 2 experience kind of shoved in between this arc and the next

But um..

according to bro it has virtually no card games.

.......

I’m so used to only capping 10 minutes an episode, what?

Anyway, until then, here’s the link to read the rest of these from the start in chrono order:

https://steve0discusses.tumblr.com/tagged/yugioh/chrono

I’m kinda itching to do a Season Zero, it’s been a hot minute--so those take a little longer to do, especially since I need to go to a different site I haven’t...checked out yet...I’ll be back...eventually? I just know that at some point in Season Zero they fight it out with yo-yo’s and I want to see it.

#yugioh #yu gi oh #ygo #S5 #Ep14 #Seto Kaiba #zigfried von schroeder #leon von schroeder #Yugi Muto #Joey Wheeler #Tristan Taylor #Mokuba #Tea Gardner #Duke Devlin #Rebecca Hawkins #recap #photo recap #episode recap

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vaguely-concerned · 4 years ago

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The Mandalorian Chapter 14 reactions: HOLY SHIT THAT WAS AWESOME BUT ALSO I’M CRYING edition

- the good good din characterization is back after all the weirdness last episode!!!! that soft way he says ‘no, no, I’m not mad at you’? THAT’S din djarin, he would not be fucking impatient with his son having just been informed and seen for himself that he is terrified, go away mr filoni I know you’ve got all of canon memorized but you don’t get this lol. this feels much more right in how din being conflicted and still thinking he should give the baby away for his own good plays out too

honestly every line of dialogue for him in this one was perfect I was just whispering ‘I love this awkward clueless wonderful man just doing his best’ to myself any time he said anything. “...does this look Jedi to you?” sir I adore you more than words can describe

- we got din chuckling. asjdklfhsdkafghsdafsadhjkfsdahjkfh. fskahfksjad. side note: I can’t believe my joke post about din desperately trying to Force home school the kid with the one (1) jedi trick he knows about and the baby being delighted by it over and over anyway -- listen to his expectant excited laugh when din takes the ball and sets up the game!!!! -- was canon all along. and then the baby & mando music kicking in when he gently put the silver ball into the baby’s hands again and tells him he’s special (because he IS special. to din)? hmng. hmmmmnnnnn

they opened on the height of softness so we would all crumple under the weight of the rest of the episode and that was very mean of them in a way I sincerely appreciate

- nothing to see here... just a dad trying to walk through the literal manifestation of the unassailable underlying forces of the universe to get to his baby again and again........ the desperation in that, the love, the foolhardy devotion................... shit

- okay so I might be a dumbass, but I’d never noticed this before -- the silver ball has a blue spot on the top, like so:

and in addition we get the room where the baby goes full darth grogu (I have to laugh so I don’t cry okay) on those storm troopers, and there’s a red light in there dominating the room (and it did even more in the concept art):

in star wars blue means light side and red means dark side (it’s very sophisticated that way), meaning the visual storytelling here is that there’s a battle for the baby’s soul and gideon and all his nonsense (and the trauma bb’s been through in the wider sense) is pulling towards the dark, while grogu and din’s connection leads him towards the light. just... the image of the baby looking at his own reflection in the symbolic representation of his relationship to din? the way children find their sense of self through being safely reflected and held by their caretakers? god help meeeeeee I will go in there and fistfight gideon myself for disrupting that in any way

the smaller light seems to be blue too, like there’s still the presence of light even if it’s dimmed and small in that shitty horrible room, which is a change from the concept art!

- FENNEC SHAND SURVIVED BITCHES!!! I even called that she’d be back with new shiny robot parts back in season 1, could not happen to a cooler lady, I hope we get more backstory and interaction from her the next episodes -- sounds like she’s basically sworn herself to boba’s service in gratitude for saving her life, I wonder if that’s a cultural thing of whereever she comes from? does she live aboard slave 1 now too?? because that would be hilarious and amazing, it must be like two strange cats trying to get used to sharing the same space

- everything I could ever hope for about boba fett in this series came true, they went down the much more interesting and nuanced route with jango and boba’s identities as mandalorians, he looked cool as fuck and made din as a character shine rather than overshadowing him... amazing beautiful yesss

(I did 100% not anticipate just how ‘cool uncle boba here to help you fuck shit up’ he was going to be but I am delighted to get it anyway. uncle points deducted for getting someone to point a gun at the baby, but the main point still stands lol)

the power and brutality of his hand to hand fighting too... a w e s o m e , I enjoyed the action scenes a lot in this one

- they even recanonized him actually wearing jango’s armour. what more could I ask for. I’ve had confused parent & child feels about these two since I was like eleven and here we fucking go again. and jango fighting in the mando civil wars too!

- so I’m grieving the razor crest (and I always will be, rip you magnificent jalopy, always in my heart) but also there’s the grim satisfaction that my reading on it was sort of true -- it is (...was. oh god it’s going to take a while to sink in huh) a symbol of din’s self and life, and at this point when they take the baby it tears everything else to pieces. the only thing that’s left in the ashes is the beskar and the thing that connects him to the baby. and there’s... a strange solace in seeing that that’s all he needs to keep going? he’s fucking obliterated from orbit but he still has his love for the baby and the beskar and that can keep him going until he finds something new, everything else can be replaced?????? weirdly healing, though he is probably going to have a solid breakdown at some point after they get the kid back (shut up they are getting the kid back) and the cold distant fog lifts

also this scene/shot feels like it carries some Meaning, doesn’t it? I’m on record several times saying I never want din to be mand’alor and that’s still true, but there’s something about the framing of this and the way boba looks at him that’s like... hm. I’m not sure I have the words for it. there’s something heightened about it, anyway, for a moment he looks like something mythic there in the wreckage

(something I would be much cooler with is our clan of two growing a little bit and those new people rallying behind him, actually, that might be neat. imagine if a force user does show up for the baby and gets adopted into the clan somehow??? so many possibilities.)

- from the way he picks up the silver ball... din djarin is on his way to straight up murder some people huh

I think part of what reassures me about this scene is the music -- this mando flute is not distant, is not beaten, is not despondent, it’s clear and determined and strong.

I love this. I love when we get explicit baby POVs, it makes it feel so real and intimate and... like home. (I especially loved baby’s point of view inside the razor crest, which just made me tear up again. baby lost the closest thing he’s had to a home in a long long time on top of it all. everything is suffering)

Emotionally Significant Thumb Grabbing tm; the show

- din djarin looking for the ‘on’ switch on a magic rock fhsdakjfhsadlfhsdjah I can’t breathe

“Well, this is the seeing stone. Are you. Seeing anything?” fsafkdsajhfsa sdhfksjalhfkjsdahfkjsdhf

- the energy around the baby as he’s, in ahsoka’s words, ‘choosing his path’ is blue, and the force sort of works across time and space, right?? so there’s definitely still hope for our lil green bean to not have to come up with a really dumb unsubtle sith name for himself, as is regrettably yet delightfully tradition. darth babbu should never come to pass (I do like how they’re interrogating the normal dark/light side dichotomy in this series, seeing as this is a literal baby who can’t really be responsible for that stuff himself yet and has such capacity for both.)

- listen. listen, the way din says ‘can you please hurry up’ with no sarcasm or real impatience whatsoever, more like a harried worry, to his force-meditating son as he jogs off to make sure no one’s trying to kill them. is hilarious and also YES this is what the character is!!! weirdly and incongruously polite under stress sometimes and with a slightly odd reaction pattern to things!!! he’s not just quiet and badass, he’s a little strange sometimes and it’s so good!

- a friendly opening volley warning shot from boba there

also din uncertainly asking BOBA FETT if he’s a jedi... now this is the dramatic irony I’ve been looking for haha

I guess neither shand nor boba actually know din’s name after this either. baby you gotta start introducing yourself at some point it gets real confusing when there are two mandos on screen

oh the long weary sigh going through din’s frame when boba says he wants ‘the armour’ and he thinks it’s just someone trying to peel the beskar off his corpse again. sorry the galaxy’s so shitty dad

- “But fate sometimes steps in to rescue the wretched” is a killer line well done mr favreau. I like that boba actually offers din a good deal as well and seems to intend to deliver on it from how things are going.

- din using his beskar-covered bod to cover someone he’s fighting alongside!!! literal moving cover haha. also I love fennec’s costume design

- I don’t know where din got more whistling birds from and I don’t care, it was really cool haha

wow haha um so anyway --

(cue all the ‘who wore it better’ with cobb vanth’s ‘spiderman’s first home made costume’ look on one side and ABSOLUTE UNIT DADDY boba fett on the other side posts lol)

- aaaghh the music almost like a stunned desperate fluttering heart beat as din watches the razor crest be destroyed

- for someone who has willingly worked for them in the past boba sure sounds less than thrilled about having the empire back in any capacity

- oof the deadness in din’s voice when he says “The child is gone”. ooooh no that got me h e l p

- guessing next episode is at least partly a ‘gathering old allies and preparing the assault’ step before the grand finale, then! they cannot go for the season ender cliffhanger with this, I will fucking riot. anything can be up in the air except baby and dad being separated, I will not allow it

it would be very funny if the force user baby called out to comes stumbling into the middle of all this like the troy entering the room with pizzas meme too

- the music in the darth grogu scene is partially a dark mirror of the baby & mando music :’( is nothing in this world sacred

also from how he reaches out for it baby might have used a light saber before in the past with the jedi? ngl the idea of baby wielding the dark saber not when he’s all grown up but in like two episodes -- with all the chaos a toddler holding a laser sword would involve -- is all that is keeping me sane here

‘liable to put an eye out with one of these’ well gideon you sure have doomed someone to lose an eye with that one, here’s to hoping it’s you, for full dramatic payoff

he is a deliciously smug awful force with great musical cues tho, you have to give it to him

- okay so this

is obviously awful and horrible and it makes me so sad... but it is undeniably also very very very funny in how it’s framed. you know what? after all this bullshit baby grogu can have a little dark side tantrum, as a treat, we’ve all been there right

(forget finding a jedi, we need to go out there and find a child psychologist who can help him deal with this without adding the fear that he’s on the path to become a two foot tall evil space sorcerer to the mix Y_________Y)

- rip the razor crest except for the second time :’’’( gone but never forgotten

- the last thing din tells the baby is “I’m gonna protect you; I’ll be back soon”. and I hope that stays with the kid somehow and that it actually comes true, that din will be back for him as soon as humanly possible and all this pain and fear can be repaired. ggggghhhhh my emotions are too big for my dumb human body

#star wars #the mandalorian #the mandalorian spoilers #the mandalorian meta #okay I'm gonna have to. go take a calming walk or something after this haha

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popculturebuffet · 4 years ago

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Star Vs Tom Luictor Retrospective Detour: Skooled!

Dedicated to Jessica Walter 1941- 2021

Welcome back all you still mourning people to Prince of Wishful Thinking, my Tom Lucitor Retrospective... or at least a detour from it as I need to cover the Meteora arc to cover Divide/Conquer properly. When we last left off with Star she and Tom were going closer, but both are taking a break this time. We’ll get back to them in April... oh will we get back to them in april. For now we’re back to Meteora who I forgot was ABSENT for a while. not forever, but while her parantege, the cover up related to her and all of that has been vitally important, Meteora herself vanished after Monster Party and hasn’t been seen till now. But i’ts a good storytelling engine.. it ratchets up tension for her inevitable return, and gives us time to find out what happened with her and let that sink in.. granted i’td also be the last time it sunk in but I can dunk on the series decline later... I still have season 4 episodes to cover after all. So join me under the cut as we get the welcomed Return of Henious, an unexpected hero.. and Ponyhead because this series clearly hasn’t hurt me enough. And as usual for my Star Vs Reviews, i’d like to thank one of my Best Friends @jess-the-vampire for her insight on this episode. It’s always welcome and she always manages to find something I didn’t think of .

So we open at Saint O’s with Ponyhead returning to the school, having previously run it post rebellion before leaving because.. I don’t know. She probably got tired of being a leader, and out of universe they needed her to be around star more. Look the series has far more important things it never explained and never will, not explaining why a recklessly irresponsible asshole left a position of authority and responsibility I can let slide.

She’s come for brunch but things have changed... the school is still a warm, free environment for princesses to better themselves and party hardy, no longer an oppressive brainwashing gulag run by someone who as it turned out was horribly brainwashed herself.. it’s just now it actually has rules and structure.

It now also has an actual leader, Princess Patty Arms who showed up in the school’s previous appearance this season here and.. that’s it. I think she showed up in the background of the original st o’s episode. And it’s a shame because she’s a really fascinating character. No really she’s calm, dosen’t take Pony’s shit, and while a brunch exam SEEMS like a waste of time... it really isn’t. A good meal can loosen up a dignitary and some rulers have sticks up their keisters about things like this, so being able to do it just right can win them over. It’s still a touch ridiculous but given the world of star is a touch ridiculous to start with, it works.

Pony naturally leaves in a rage over this especially when no one backs her up.. but soon the School has bigger issues and we get to why we’re actually here: Meteora is back. And while she has changed, now having grown larger and stronger, easily scaling the wall, she still wants payback and we get a damn fine battle sequence as the princesses all unite against their former tormentor. It’s also sad in hindsight.. because as Jess pointed out to me almost NONE of these characters show up again. And I only added the almost because Penelope is in there. They all seem interesting, the setting of ST O’s itself is interesting, and the idea of a school for princesses of various types is a cool idea. I’ts something the show could’ve come back to to see how they bounce back from this attack.. but like most cool background elements in the show they forget about it. It was intresting to see the schools slow evolution from horrible nightmare to princess ran utopia and like many things coming up it feels like a lost opportunity.

That being said the fight is awesome, with Meteora proving to be a juggernaut in strength and outplanning her enimies, having brought an overide switch for the robots (Patty reprogrammed them to work for the school) and having them throw their hearts/ power sources as bombs. It’s a damn fine sequence as she finds way after way to keep going, with a now restored rasticore helping them simply portal in.

Pony meanwhile.. is hiding , as Patty find sout when she finds her, and Pony assumes this is about her... though for once i’ts not JUST ego.. but because she was one of the two who started the uprising at the school in the first place and THE person who tossed her out. We also get a nice character moment as while Pony tells patti she still hates her.. she puts the princess behind her when Meteora approaches. She may be a selfish twit whose massively unlikeable.. but she has a good heart.. and not just the one she keeps in a jar she got from one of her boyfriends.

But Meteora has more important buisness and finds her way to the depths of St. O’s.. where we meet the Schools namesake and her adopted mother a robot played by tress macneile.. another thing the series never bothered to care about as where did these robots come from and why?

Turns out Meteora came to find out her own personal history, with the remote from before used to find the real dirt.. and what we find .. is heartbreaking as we slowly journey back through Meteora’s childhoods as Henious.. and it’s fucking heart breaking with Tress voicing her younger versions, hence why I didn’t use this as the jessica tribute as while walter’s good in the episode, she isn’t given much.

We see her as a teen, forced to hide her tail and insulted over it by her mother.. and it only gets worse as when her cheeks glow as a kid St. O tries to wash them off and we get the poor child desperately begging that “she can be better”

We do finally get the answers Meteora saught as we see Shastacan dropping off the baby meteora, calling her “Henious”.. which St. O took as her name. Proving the spiderbites minus penelope’s dickishness is indeed genetic and why I have no sympathy for the prick getting eaten later... and hopefully globgor will do an encor with penepople’s parents. Here’s hoping.

So Meteora now knows she’s the rightful queen, and decides to go take it back.. though Pony does try to stand up for her friends... and while we don’t see it hte next episode confirms she got her horn ripped the fuck off. And this horribly traumatic injury.. is magically fixed via 3d printing next time we see her after an episode grappling iwth it instead of having pony deal with not having a horn, or her prostetic not giving her magic powers again. Because this show again really likes to leave good ideas out to rot in the sun like that package of hamburger I left out in the sun yesterday. And I actually had a reason there: I need a lot of Racoons for an elaborate scheme involving a map to tex cruz’s house, a used apache helicopter and a bulk order of tiny parachutes.

We do get some payoff to things though, as Henious comes on to rasticore who not so politely rejects her for being nuts.. before it’s revealed Gemini, her loyal servant is also a robot and she uses his heart to blow up rasticore and take the arm with her... which is ALSO never brought up again. Seriously this episode is so full of loose ends i’m suprised it just dosen’t end with Zuko asking his dad about his mother. Gemini’s death is genuinely tragic as his last words are “If you wanted my heart.. all you had to do.. was assssskkkkk”. God damn. So with that Meteora heads out to reclaim her birthright.. no matter the cost.

Final Thoughts on Skooled!: This one is decent.. but like the last episode I covered, the lack of payoff off for almost anything here, excluding the Meteora plotline and the Pony thing which instead got a BAD payoff, is really starting to rear it’s ugly head as the series greatest weakness. Yes bigger than the romance plot. And given that romance plot after this season can be best discribed as...

youtube

The show just.. forgets a good chunk of things happened to keeep things chugging along. It sets UP plots, what happens to st o’s from here, buff frog and a small caravan of monsters leaving forever, the message from shastacan, who built the st o’s robots, and on and on.. but it never PAYS them off. It dosen’t care to. It just does things so the plot can move but never bothers to think about the fucking consequences. It just gets more and more irrtating to think about as other shows throughly DO: Amphibia has the fact the characters get into shenanigans become a commented on running gag and something they grow past, and everything that happens matters. Every episode of Owl House builds on the foundation of the previous episodes. OK Ko dosen’t forget one episode had the characters not be able to turn back into humans and implies their wearing human costumes for the rest of the series. Which is fucking weird, but it was their memory. My point is other shows around the same time or right after didn’t magically forget things happened for convience sake. While it’s OKAY to loose some things in the shuffle, it happens to the best of us, it’s not okay to do it SO fucking often and with no clear care for the audiences desire for payoff. The show just ignores what plot points, like the huge cliffhanger of Star telling marco how she felt at the end of season 2, it dosen’t care about till it needs them and ignores the ones it never does. You can’t just.. bring shit up like it’s important and then try and forget it ever happened. People remember stuff, we are NOT stupid. KIDS are not stupid. When I was younger I REMEMBERED things that happened on KND, Danny Phantom, Xiaolin Showdown, TMNT 2003, because those shows, which are from decades ago, knew I would and trusted even if I missed something and was thrown off i’d tune in for the quality.

And in an age of streaming and more story based tv you can’t just.. ask kids to act like something they saw didn’t happen because your fucking lazy and frankly YOU never should have. Kids deserve better, my niblings deserve better and frankly the adults your clearly also writing for.. deserve better. This episode is eh, but the problems it represents are so fucking worse.

Next time on tom. If you thought I got angry towards the end of this one, just you wait. Next time i’ts Booth Buddies. Yeah.. yeah that one. Stay tuned.

#star vs the forces of evil #skooled #lilica ponyhead #meteora butterfly #gemini #rasticore #patty arms #rat princess #penelope spiderbite #saint olga #saint olgas #disney xd #disney plus #disney channel

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actualbird · 4 years ago

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Opening Line Tag Game :DDD

Rules: List the first lines of your last 20 stories (if you have less than 20, just list them all!). See if there are any patterns. Choose your favorite opening line. Then tag 10 of your favorite authors!

was tagged by @dont-offend-the-bees!! thanks for the tag, newt!!!! ur dghda fics holds a special place in my heart even though ive sailed away to fandoms afar.

well, here’s the first lines of the past 20 fanfics i posted onto my ao3, starting from most recent going back!!

When he gets home, Signora is leaning against the door of his apartment. (something like a death wish, Genshin Impact)

It’s a somber affair, when it’s time for Azhdaha to fade away. (it's a hard rock life for us, Genshin Impact)

Azhdaha is born into a world of darkness. (you give me miles and miles of mountains, Genshin Impact)

It starts with one of Jean’s many romance novels. (what's inside? that's causing this malfunction, Genshin Impact)

Ajax didn’t think about it much, before. (i forget the difference between seduction and arson, ignition and cognition, Genshin Impact)

The ceremony is a small affair. (if it was important, we would have remembered, Genshin Impact)

He wakes up alone, shaking and bathed in darkness. (our endless and impossible journey toward home is in fact our home, Genshin Impact)

Kaeya doesn’t have baby pictures— what with the whole abandoned by his birth father at the ripe age of six at the doorstep of a winery tycoon shebang—but ever since he did get adopted, Crepus Ragnvindr took basically a million pictures of his two boys through every single year of their life. (angry react, Genshin Impact)

How strangely time passes; sometimes it soars like a feathered sliver in the sky, hopeful and free. (it's time to leave and turn to dust, Genshin Impact)

Thankfully, Charles is the one manning the bar when Kaeya gets to the Angel’s Share tavern. (ain't i the best you had?, Genshin Impact)

Life as a Fatui grunt isn’t as fabulous as the Snezhnayan rumor mill makes it out to be. (we don't even have dental..., Genshin Impact)

Here’s the thing: Childe’s career was going fucking great. (put your hands on me, Genshin Impact)

In the beginning, there was a land that was left by the gods to rot. (take this cup away from me, Genshin Impact)

Childe is in a domain hunting down intel when things go a bit fun. (taste of poison paradise, Genshin Impact)

Everybody in Pelican Town knows of the new resident, but knowing anything substantial about him is something else altogether. (a fullered blade and a scalpel, Stardew Valley)

Ronnie’s known for quite a while that Harvey is, well...endowed. (baby, you got lucky cause you're rocking with the best, Stardew Valley)

Ronnie has always been different from other people. (legend has it that the moss grows on the north side of the trees, Stardew Valley)

Spring comes, as it always does. (that's what seasons do, Stardew Valley)

The universe lurches. (just enjoy the show, Polygon Cyberpunk Red)

It comes in stages, not all at once. (not quite 20/20 vision, Hades)

can you believe these past 20 fics were ALL posted this year???? I WROTE 20 FANFICS IN 5 MONTHS....ON GODS THIS PANDEMIC HAS GOTTA END, SKJDFHKJSDF.

anyway //steeples hands. some patterns ive noticed as i put this list together

i almost always use the first sentence to establish either setting or premise. i guess i do this because, personally, when i enter a scene, the first thing i want to know is what im supposed to be physically experiencing or what im supposed to be emotionally focused on, if that makes sense? i need to Know!!!!! which means that my first lines honestly, in my opinion, are a bit boring akjfkbjfkjbfd. i gotta set down the bedrock or else everything else will be wobbly!!! i write my fics like i construct a fuckin jenga tower, i swear akjfbakjsf

something i do keep in mind with all my first lines is the very simple yet integral rule: a sentence’s purpose is to do what it needs to do, but also to make the reader want to read the next sentence. this, i guess, is why nearly all of my first lines feel like a cliffhanger. thats on purpose because what i want to do with my first line is get u to keep reading. in a sense, my first lines are working triple time. they 1) do whatever it is they need to do for the story, 2) establish setting/premise, and 3) push you onwards to the next sentence like a baby sea turtle waddling to the ocean.

related to “triple time” but that was something i learned from a brutal fiction professor who was wonderful and intelligent! but also made me shift out of the fiction track in college HAHA. his basic belief was that sentences cant just be doing One Thing. you’re going waste a lot of time and a lot of words and lose your reader, if you go at things like that. sentences have to multitask. i am very aware of this with opening lines...

and last but not least, all these opening lines undoubtedly suck on their own HAHKJBKDFJDJF

i....dont think i have a favorite opening line of all of the ones i listed tbh. like i said, all my opening lines, on their own, dont exactly Wow, so im lukewarm about all these haha. i think....this is indicative of me having to step up my opening line game......

//jazz hands. anyway theres that! and as for ppl to tag, i am notoriously shy when it comes to writer tag games, but im breaking my shyness to tag @listentotheshityousay and @theinternationalacestation .

no need to do it if u dont wanna, friends!!! jus know i adore yalls’ writing so very very much

#tag game #long post #fic directors cut

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agentmarymargaretskitz · 4 years ago

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Upon thinking about it more, I do want to say that I was absolutely NOT disappointed with Buck Begins. It was really good! Oliver Stark and Jennifer Love Hewitt and the actors who played the younger versions of them were all amazing!

I also 100% read Buck as being bisexual in the episode. He was absolutely flirting with the guy at the bar! And a bi person is still bi even when they're with someone of a different gender, I would never claim otherwise! I'm bisexual myself, I get it. I was just hoping for it to be explicitly stated in canon is all. Or even if they didn't use the word (like most network shows don't), they they would show him having a fling with a guy or something! I just want Buck to be canonically bisexual so bad, and it felt like a huge missed opportunity.

I just... felt more emotionally from the prior episode. The "Love me anyway" line from 4x04 absolutely broke me. I wish I had felt more from Buck's emotional state in the factory fire. Like I said, I think the lack of reaction from the other characters when the explosion happened. I felt robbed of Bobby and Chimney and Eddie's reactions. If you look closely you can see the fear in their eyes, but... I was hoping for a little more.

(I was also not expecting any sort of a big reaction from Eddie like lots of fans were, because that's just not who he is. There was just almost nothing shown, which was disappointing.)

Thr firefam having his back was peak poetic cinema and I will forever be grateful for that moment.

And I *know* things were different because of Covid. I just... even trying to de-hype it in my mind going in, I ended up feeling a bit disappointed.

Maybe it's just because Chimney Begins was so amazing and I can't help but compare the Begins episodes? Even though I'm trying not to... god I wish I could love it the way so many other fans did!

Also, Nurse Omar is my new favorite side character. I loved how invested he got with Buck's life! And he seemed like the only person who Maddie could actually call a friend at the time. And how he desperately tried to get her to leave Doug, but he couldn't force her to, so he just supported her however he could. He was great and I was glad we got to see him.

I guess I'm just sick of the reminders of Doug. He existed, of course he would be mentioned in the flashbacks, but I didn't want to keep seeing the reminders of what he did to Maddie. Hopefully he can stay in the past now.

So over all, I did like the episode. It just felt a little lackluster compared to some of the others, but none of that is on the actors. They were all incredible. It's more on the writers and the editors.

Maybe it will be more impactful upon rewatch once the season is over. Maybe they'll come back to some of these plot threads and keep addressing Buck's emotional state.

I'm still holding out for a Buddie "we need to talk" cliffhanger at some point. Is there a patron saint or god for bisexuals? Because we need a serious prayer circle 🤡🤡🤡

-Quarantine Anon

Those two knocked it out of the park. I watched the episode over my lunch break and was screaming into my hands for so much of the time.

I did not mean to go off in an angry bisexual rant (the LoT fandom has left some marks on me) and I’m sorry about that. Maybe there was some stuff that gave more hints that got left on the cutting room floor? (Whoever is doing editing, we need to talk about those cut tiny scenes!) And it may be a network thing too. IDK.

“Love me anyway” was absolutely heartbreaking and it’s hard to top. Massively hard. There might have been some self projection going on with me watching the factory fire, I dunno. And if we weren’t in a pandemic, maybe we would have seen more reaction without the masks. Plus, yes- good point on Eddie.

That moment- showing what family is- that is gonna stick with the fandom for so long. I expect to see it in the next 118 firefam gifsets.

Chimney Begins was a goddamn masterpiece of hope and pain and I still remember how it tore me apart. Maybe Buck Begins will be better with age? Who knows?

Omar was awesome and I fell in love with him. I’m kinda sticking with an idea that he was so happy when Maddie didn’t come into work after she ran away because she’d finally ditched Doug.

Doug is a tough subject. He’s a part of history, but one people want to forget. It’s hard to watch that shit.

Maybe we should fight the editors for the cuts?

YES A BUDDIE ‘WE NEED TO TALK’ MOMENT!!! Does Apollo or Dionysus count for the bisexual protection? Lady Gaga? IDK. But imagine that happening before hiatus and then something again that’s definitely A THING by the end of the season.

#ask box #anon #quarantine anon #911 #911 spoilers #evan buckley

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travllingbunny · 4 years ago

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The 100: 7x10 A Little Sacrifice

After The Flock - the show’s weakest episode in a long time - and an unfortunate hiatus after that episode, A Little Sacrifice helped get season 7 back on track. It’s one of the best episodes of the season: it was exciting, things finally happened - a lot, we got a big revelation about what the endgame is likely to be all about, there were fights, an attempted mass murder/genocide (what would a season of The 100 be without those?), some really good character work, and the first major death of the season.

Yes, Charmaine Diyoza was not a main character. but after being introduced as a villain in season 5, she has grown into one of the most memorable and interesting characters on the show - in large part due to Ivana Miličević’s charismatic performance - with a complex and morally ambiguous characterization and backstory (which I really hope to maybe learn more about one day in the prequel flashbacks? Please?). She has been one of my favorite characters since season 5, and I loved her development and her relationship with Octavia, her mother/daughter relationship between her and Hope, her past fights to protect “expendable” prisoners and her S7 attempts to find peace and renounce violence, and hope (!) that at least her daughter will get to have a different and better life where she wouldn’t need to resort to it. She became a (not so little) sacrifice for the better future we saw her dreaming of in season 5 in that conversation with Kane - maybe that dream is something we will see the new generations live in the series finale?

The one thing I wasn’t too happy about (I was OK with the lack of Bellamy cliffhanger since we got him in the promo for 7x11 right afterwards) was that Clarke did not have any more screentime than in the other recent episodes. But, especially on rewatch, she had some great subtle little moments.

You know what is not subtle? Sheidheda. He’s finding new ways to be completely OTT. This time he can finally stop pretending to be Russell, so he gets a makeover, more in tune with the...interesting Grounder fashion styles, chews the scenery even more, and then - thanks to Madi - he loses an eye (just as he did during his original lifetime), getting closer to his season 6 Emperor-like look, though he’s missing a cloak this time. He also doesn’t have enough facial hair to twirl his moustache, but he actually hisses at one point. This part of the episode was, this time, really fun and intense, including a really good fight scene and some really emotional and important moments for Indra, Madi and Murphy, but doesn’t need much analysis and doesn’t require attention on rewatch.

I’m still not sure how/if these two storylines will connect. But I can see a thematic connection of sorts: Sheidheda is the embodiment of the worst parts of the Grounder culture, with the worship of violence and power and killing all those who oppose you; and not just that - he’s all egotism taken to the extreme, the kind of “wild beast” as Anders would despise, but in this case, he would actually have good reasons to. On the other hand, we have the Disciples with their sterile white rooms, order and the propaganda of the abnegation of self in the favor of the collective, and dreaming of “transcendence” instead of trying to get back to the “old ways”. But they really come off as two sides of the same coin: both ideologies are about worship of and subjugation to a leader, both believe violence is the solution, and both are against love and see it as a danger.

Brand new opening titles - these opens start with a shot of Sanctum and end with the Bardo Stone Room with the Anomaly Stone - and guess what makes a cameo near the end of the credits? That’s right, Earth. I was starting to think that any return to Earth won’t happen, but now I’m not so sure.

Sanctum

The episode opens with the immediate aftermath of Shady’s massacre of the Faithful. We see Madi’s friend Rex (that’s his name according to the credits) - the Sanctum boy who offered Madi’s other friend, the null boy, to play soccer - mourning someone, probably his mother. This scene had to be there so we’d feel some sympathy and sadness over the deaths of the Faithful rather than just be relieved they’re (mostly) gone. One of the wounded ones is Jeremiah, the same guy who developed deep gratitude for Murphy for saving his son. Although the Faithful have been very annoying, I do feel a tinge of sympathy for this guy, who’s so clueless that he never understood he had any agency in what happened to his son and seemed really convinced it was all about the will of the “gods”. He now asks Murphy to take care of his son when he dies, but Murphy insists he will not let Jeremiah die. (Trey, the annoying a-hole who was brainwashing Jordan, and used to act as the leader of the Faithful, is credited in the episode but I didn’t see him anywhere - so I have no idea if he’s among the dead, or he survived and was in a deleted scene.)

Madi has a really nice mini arc in this episode. She already had PTSD from her experience and possession by Sheidheda in season 6, so she is absolutely terrified when she learns he is back, and when he threatens her in a really creepy way. Excellent acting by Lola. Later, after being comforted by Murphy and joining the survivors,she shows strength in comforting Rex for his loss; and in the end, overcomes her fears and risks her life to save Indra.

Not that it matters, but Sheidheda’s real name is Malachi. (I’m still gonna keep calling him Shady.) We learn that when he recites the lineage - the names and clans of all the previous Commanders, which we know from S3 is a Grounder custom for a new Commander to do. Of course, we only get to hear some of the names in the middle (a couple of random Commanders called Maffei kom Boudalankru - the Rock Line and Kemji kom Trishanakru) and the end, when he mentions Lexa and Madi. The show wasn’t going to spoil the prequel by revealing the names of early Commanders,

The fight itself was really intense and maybe the best Grounder-style duel in the show (yes, I prefer it to the 3x04 one, which involved too much showmanship to look as a real death match). Shady is obviously going to be there for a while and things aren’t going to get so easily resolved, so he wins and is about to kill Indra - who refuses to kneel to save her own life - but just as he’s about to kill her, Madi finds the courage to come as the Big Damn Hero at the crucial moment, pluck out Shady’s eye and save Indra’s life. But then as he is about to kill Madi, Indra decides to (metaphorically, since she’s lying and about to pass out) kneel in order to save Madi’s life. Indra’s arc with Shady has come full circle: this may finally make her understand her mother’s choice and realize she was unfair to her. She grew up blaming her mother for agreeing to kneel to Sheidheda and considering her “weak”. The battle had been lost, her father was already dead, and her mother made the best possible decision and wasn’t just saving herself but her daughter, too. Otherwise, as we see in this episode, Shady would have ordered the daughter to be killed, too, after the mother - as he thinks children of the people he killed should also be eliminated so they couldn’t pose a threat and seek revenge.

That last order even shocked Knight, who may be having some second thoughts about the awesomeness of “Sangedakru’s greatest champion” (but this doesn’t mean he won’t keep obeying him). Penn and the other Trikru guy we know, who are loyal to Indra, reluctantly knelt when Indra asked them to.

Madi, Rex and the other Faithful (including Jeremiah, who has indeed survived) have gone into hiding with Murphy and Emori - and hiding at the abandoned reactor. We didn’t see Jackson, but i’m sure he’s there. (Sachin is a guest star and must skip some episodes he’s not really needed in.) So now we’re finally reached the part of this storyline where Shady is in power and our heroes are the resistance. And Murphy is now, with Emori, a part of a power couple protecting these people and taking care of them (who would’ve expected that back in season 1?) - much like we’ve seen Clarke and Bellamy do over the seasons - even though most of the same people resented them for being fake Primes just a few hours earlier. Maybe they’re finally starting to get a clue and feel respect and gratitude to people who are trying to save them just because it’s a decent humane thing to do, rather than for being self-proclaimed “gods” who participated in their murder, oppression and exploitation.

Bardo

After 4 episodes, Clarke, Raven and Miller finally left the Stone Room! Yay! Jordan and Niylah stayed in it, and as it turns out, Jordan has a much more important and interesting role to play by reading the Anomaly Stone, while Niylah’s role in S7 has been to be exposition machine for Grounder history and have bad one-liners while Miller has the good ones. I’m glad there was no prolonged “OMG are they really brainwashed and on their side?” misunderstanding, as Clarke and the rest of the group, after learning about MCap from Gabriel, quickly realized that Octavia, Echo and Diyoza are only pretending, since they haven’t blown the secret that Clarke doesn’t have the Flame.

Speaking of one-liners, Miller’s “Get the flock out of here” really made me laugh out loud.

Callie is known as the Pramfleimkepa - the First Flamekeeper - which should mean she was never a Commander (I imagine that would supersede the position of the Flamekeeper or at least be as worthy of mention). I was afraid for a moment that Niylah had given the game away when she told Cadogan that - but fortunately, he didn’t understand what it meant, as he never knew that Becca called ALIE 2.0 “the Flame”.

Gabriel and Cadogan have a long conversation over dinner (or breakfast or lunch of whatever) about Earth before the bombs and Cadogan’s beliefs. The two of them are one of the few remaining humans who knew life before the apocalypse. (After Diyoza’s death in this episode, the only other people left from that time are the Eligius prisoners in Sanctum.) But while Cadogan is chronologically ‘older’ than Gabriel, as he was a Millennial, while Gabriel was born a couple of decades later, and because Cadogan has technically been alive for thousands of years on Bardo - Cadogan spent most of that time in cryo (same as Diyoza and the other prisoners). Gabriel is the real Old Man - at least 260 years old, having lived and experienced all those years. We learn a bit more about Gabriel’s background - that his family were from Colombia and his grandmother was poor, making him a “self-made man” - another contrast between him and the love of his life Josephine (which makes their season 6 parallel to Clarke/Bellamy even more perfect). Gabriel is the go-to-guy this season for having conversations about the worship of false gods and trying to challenge the Disciples’ beliefs. Cadogan, again, denies that he’s a cult leader (sure), reveals he doesn’t believe in God, and claims he doesn’t consider himself one (he sure doesn’t mind being treated like one, though). Instead, he claims his purpose is for everyone to “transcend” and become like gods - though he doesn’t really explain what that would consist of, and he also doesn’t offer any explanations as to why there is supposed to be a “Last War” and who the enemy in that was is supposed to be. Seven episodes have gone by with the characters talking to the Disciples, and no one has ever asked that question: who is the enemy? I guess they don’t even know that, they just think that, when they type in the code, they will learn who the enemy is and the war will begin, for... reasons? He also adds some BS about “this life” being unimportant compared to afterlife. (Now, to be clear - I actually do believe in the afterlife in general (though I don’t know in which form), but I really, really hate it when religions make the afterlife the focus and treat the life we actually know and are sure we have as less important, use it as an excuse to teach people to accept any sort of crap in their lives and not ask for more instead of living their lives to the fullest and trying to build something worthwhile in this life.) Gabriel is less than impressed with Cadogan, and challenges him by pointing out that “You can’t fight a war for the soul of the human race with an inhuman army” and that a life without love, individuality or freedom is pretty worthless, but Cadogan has the afterlife as a ready excuse, even though that doesn’t really answer the question.

The most important revelation that we finally get in this episode is that Cadogan has most likely mistranslated and completely misunderstood the ancient Bardoan text that he’s based his entire belief system on. And his mistake was in large part due to confirmation bias - he saw what he wanted to see, even though the idea of ending wars and violence by starting and fighting a war is absurd. (Niylah, for once, has a good line, when she points out that every major war is supposed to be the “last” but it never is.) Jordan’s interpretation - that it is really about a test that the species needs to pass - makes a lot more sense. Not a literal test - I really can’t imagine the show introducing some kind of godlike “higher beings” - but, I think, something that will require the characters to use all their strength and moral sense and all the experience they’ve had and wisdom they may have gained, to find the best solution to save the human race and rebuild the civilization, hopefully into something better (and it’s really not too hard being better than the mess of tribalism and constant wars and conflicts we’ve seen on the show). I don’t know what this will be, but the words “the orb becomes like a star” make me thing of a natural phenomenon.

It’s also cool that it was knowledge of the Korean language that helped Jordan decipher the text - proving how helpful it is to be familiar with multiple languages and cultures and how much it expands one’s way of thinking. Do Disciples speak any languages other than English? They seem to foster cultural uniformity, so probably not. (it’s also confirmed now that Monty was half-Korean on his father’s side - Chris Larkin is Korean, but the actress who played his mother, Donna Yamamoto, is Japanese, so I assume Monty is half-Japanese.)

If you doubted that 7x09 flashbacks were a waste of screentime, we get a confirmation early on that Echo has just been pretending to be loyal to the Disciples, while plotting revenge all the time, when she kills a Disciple and saves Hope from being sent to Skyring. This plot could have continued straight from 7x07, when Echo’s Azgeda ritual was strongly hinting that she’s out for revenge. (And yes, the writing in 7x09 was just that clunky as I feared - of course that Chekhov’s WMD that Levitt mentioned for no reason would be used in the very next episode for someone to try to kill all the Disciples in another Mount Weather parallel.)

A tiny bit of info about the Disciples - a Disciple addressed Hope as “Seeker Diyoza”. I don’t know if that’s a title for those trying to reach Level 1 or something else.

Hope, with her usual anger and impulsiveness, reminiscent of how Octavia used to be once, and her naive black and white views, is all for revenge-genocide, too, in spite of Octavia’s and Diyoza’s disagreement. Her mother tries to, again, teach her the lesson she tried to in 7x07, that she should turn to love instead of violence and killing (which carries a lot more weight when it comes from someone like Charmaine Diyoza rather than a hippy): “I know what it's like to kill innocent people for a cause, and I promise you, it's not gonna fill that hole in your heart. Only we can do that.” But Hope retorts that “There are no innocent people here”, echoing Nikki’s words to Nelson that “There are no innocent people at the end of the world”. It’s not that Hope doesn’t have a point that everyone in Bardo is a part of the society that’s been kidnapping and torturing her family and that stole her childhood, but collective responsibility is a concept that only works in terms of moral responsibility, not as an excuse to commit genocide because you’ve decided that everyone in the other group is evil and the “enemy” and deserves death. Some people have compared it to Maya saying “None of us is innocent”, but I don’t think this comparison works, because that line changes the meaning entirely depending on whether you are holding yourself and your society morally accountable for its failings and complicity in crimes against humanity, or if you’re using it against others, in order to justify hate and commit crimes against humanity.

Even though neither Clarke nor Octavia had huge screentime in this episode and may not have done anything big (like Diyoza sacrificing herself and saving everyone, or Jordan figuring everything out), they had some wonderful, subtle little moments that spoke volumes:

I loved the hug between Clarke and Octavia - where Clarke said her condolences to Octavia and then Octavia said them back, letting Clarke know she knew what Bellamy meant to her and that she is grieving just as much. (”I’m sorry, Octavia” - “So am I”)

Raven and Miller exchanged a wordless look - probably because of how awkward it was for Miller to see Octavia again. Although these 4 people all go back to season 1 (and it was the first time in a while they were in the same room), for Miller it’s been just a few weeks since she was Blodreina and he was her follower, and the last time they saw each other (in season 6), he yelled at her that he’s not following her orders anymore - which was about him struggling with his guilt and seeing her as an embodiment of it. But for Octavia, it’s been over 10 years and a huge character development, which Miller doesn’t know about. But they had no time to go over it - instead, she just hugged him and asked him to hug her back, and he did.

When the group went to find Levitt - still tied up and bloody after Echo had tortured him and killed two Disciples in front of him to force him to tell her about Gem9, the WMD that can destroy everyone on Bardo (he must be really traumatized one - Clarke obviously immediately realized what was going on when she saw Octavia come to check on Levitt, going by the look on her face, and her look when she turned to go and the others went after her, while Octavia was still there -as if saying "I realize you need a moment with this guy, but don't wait too long". Although Levitt looked disappointed and shocked that Octavia didn’t untie him, she was really doing what was the most reasonable way to try to protect everyone - the priority was to stop Echo from killing all the Disciples, which would include Levitt, but also to stop Levitt from alerting Anders, which he would’ve done, because Octavia also wanted to save Echo and her people. It doesn’t mean she doesn’t care for Levitt, but she’s not the 17 year old girl who’d go: “I just met you but you’re immediately the most important person to me and I’m going to prioritize you over everyone I know”.

And then we get to the final and most dramatic scene of the episode... Echo’s attempt to commit genocide out of revenge, while Octavia, Clarke and Raven tried to talk her down.

Octavia tried to reach Echo by, again, talking about their shared grief over Bellamy, as she did in 7x07, but again, it did not work - because Octavia and Echo, and Clarke and Echo, are different people, who grieve in different ways and think and act in different ways. It doesn’t mean that any of them are grieving more or less than another one - but their responses are very different. Octavia - this mature Octavia who is more able to empathize with others and doesn’t react with impulsive violence as she used to - responded by trying to reach out to others who were also grieving for Bellamy, Echo and Clarke, and validating their grief, too. Clarke reacted - after the initial shock and grief - by sucking it up, as she does, in order to take care of the others, and focusing on saving the people Bellamy loved, telling Raven “We do this for him” and focusing on saving Octavia and Echo. Echo, on the other hand, reacted destructively and violently and by killing people for revenge and then plotting genocide as revenge for 3 months. This is the only way she knows how to process grief - she’s never known a different way, as I’m sure Azgeda weren’t known for compassion and sharing feelings. When Bellamy was grieving Clarke in season 6, she asked him “When do we attack?”, because that’s what she expected him to do, too. She’s also lost because she hasn’t lost just a boyfriend, but a leader and anchor in her new post-Praimfaya life, and because she had made saving Bellamy her mission she was waiting to fulfill during the 5 years on Skyring. If she had carried out her plan, I’m not sure she’d know what to do with herself. (I don’t know what it says about the mindset of us, humans of 2020, that so many fans have decided that Echo’s way of grieving is the superior one and the one that shows that she loves Bellamy the best. It certainly doesn’t show anything good.)

Octavia’s next argument - that there are many good people on Bardo she’d be killing - was even less successful, as Echo threw her relationship with Levitt back in her face, pointing out that he stole her memories, talking of him as one of their enemies, and then even saying: "Way to honor your brother's memory!" Echo came off as very judgmental here, and more than bit hypocritical - after all , she personally almost killed Octavia twice, and Bellamy started trusting her and dating her on the Ring, after she had given them both far less reason to trust her than Levitt did. Levitt actually took a risk and was helping her against Anders just out of his feelings for Octavia, while Echo only helped Bellamy and others after she was exiled and had to in order to survive. She seems to value forgiveness only when it’s others forgiving her (”Who knows more about forgiveness than us?”), even though she never expected them to and was a bit shocked that they did.

Clarke then tried to use her standard “This is not who you are” plea, but it didn’t work with Echo, since Clarke doesn’t really know Echo, and the words felt empty. There really is very little reason for Clarke to think this is not who Echo is, except for her tendency to assume Echo must have changed for the better because she’s Bellamy’s girlfriend and Bellamy loves her (see their conversation in 5x12). Clarke also tried to use her own experience - as she did with Raven earlier in the season - telling Echo that “a choice like this” would haunt her forever (of course Clarke would bring up MW, it always goes back to MW for her), but Echo rejected that comparison and, for a moment, channeled me by pointing out that Clarke’s motivations were to save her people, while Echo’s are purely revenge. Which was, however, a strange argument in context - pointing out that Clarke’s reasons were much better and she had no choice but to kill all of the Mountain Men or let them kill all of her friends and family, while Echo wasn’t achieving anything good and could just save all her people and not take revenge on the Disciples. But Echo seemed to be telling Clarke that they different, and she cannot assume that Echo will feel the same way about mass murder Clarke does.

Then Clarke finally brought up Bellamy, pointing out that he would not want a genocide to be committed in his memory. I don’t know how anyone who’s watched the show for 6 seasons could disagree with Clarke. But Echo did. What’s more, she yelled "You have no idea what Bellamy wanted!" in a really angry, resentful way. It felt personal. I don’t know if Echo has felt romantic jealousy of Clarke over Bellamy - she has sure kept it close to her chest - but it certainly felt like some kind of possessiveness, like resenting the idea that Clarke was as close or closer to Bellamy and knew him better. In any case, this was a moment of extreme dramatic irony - because we know (and really, Echo should know as well) that Echo is the one who doesn’t seem to know, or is simply ignoring, what Bellamy would have wanted and who he was. And she should know. She was there when he talked down Riley from killing Roan, telling him “War made me a murderer, don’t let it do it to you too”, she was there when Bellamy refused to kill 283 prisoners in cryo sleep and said “Clarke didn’t die for us to go back and make the same mistakes”. And she was there when Bellamy was grieving Clarke but decided not to take revenge for her death - not even by killing the man who murdered her, Russell - but to try to honor her memory by doing what she would want and surviving and keeping their people alive. Which directly contradicts Echo’s statement that Bellamy would be doing the same she is if one of them (Clarke, Octavia or her) were killed. Does she really not know him? Most of the time they spent together were in a time of peace and boredom with just 7 people on the Ring. She seems to be projecting her own ideas and views and character into him.

Then Raven went on to agree with Clarke (but Echo did not resent her for saying it), pointing out how Bellamy has grown and changed and that the post-season 3 Bellamy certainly would never do that. I was slightly annoyed when she said that Bellamy of season 3 may do that - but to be fair, she did say, “maybe”. Now, season 1 or season 3 Bellamy was certainly angrier and more prone to black and white thinking when it came to enemies, and he may very well have agreed to kill all of the adult Disciples if he thought they were likely to be a threat to his people (which is what he did when he agreed to help Pike kill Lexa’s army), but he sure wouldn’t agree to kill any of them just for revenge, or to kill children and non-combatants (the one time he did it was MW, when he and Clarke knew there was no other way to protect their people from being horrifically killed, and he hated it and was haunted by it then). Nevertheless, that’s a minor thing as the point of Raven’s speech was the way Bellamy has grown and developed. Echo hasn’t really changed, certainly not as much as Bellamy wanted to think in S5. Is there still time for her to change?

In the end, love did save the day - but it wasn’t Echo’s love for Bellamy, it was her non-romantic love for Raven and Raven’s for her. Raven calling her a sister only helped pave the way - but she had to actually threaten to stay there and force Echo to choose between killing Raven and giving up her revenge, for Echo to finally stand down. The fact she did shows that maybe there’s still hope for her to change and give up revenge and violence for things like friendship.

But then Anders had to appear and ruin everything, He could have just tried to arrest the group, rather than threatening them and giving them speeches about how he despises them for being “beasts raised in the wild”. (I’ve wondered many times since 7x05 is Anders is supposed to be smart or a complete dumbass. He was definitely a dumbass.)

Diyoza took charge, as the most experienced and tactical one, and almost. And then Hope was again being her impulsive, angry, out of control self - Anders is always the person most likely to set her off - killing Anders (which I wouldn’t mind) but then also making her own attempt to commit genocide. (It’s funny that the four Disciples just froze and did nothing while all of that was happening.)

What happened then was both a heroic sacrifice and one of the best and most heroic death scenes on the show, a fitting ending for Charmaine Diyoza (even a visually beautiful death in a creepy way, as Diyoza turned into a crystal statue), with her final message to her daughter to be “better” than her in the future - and a heartbreaking loss for Hope, who has just been punished by the narrative/fate for her devotion to violence and hate and attempt at genocide, by causing her own mother’s death. She was obsessed with revenge for her lost childhood and the fact her mother was taken from her - instead of focusing on the future and what she still had. I’m sure that Hope will survive to the end of the series, and will have to question herself and change. She still has Aunty O to help her and be her family.

As we’re approaching the endgame, the show here made an obvious point about violence, hatred and revenge and having to give up those things - not for Anders’ unemotional duty to the collective, but for love and compassion/

Rating: 8.5/10

#the 100 #the 100 7x10 #a little sacrifice #the 100 season 7 #charmaine diyoza #clarke griffin #octavia blake #gabriel santiago #jordan green #indra kom trikru #indra #john murphy #madi griffin #sheidheda #emori #bill cadogan #hope diyoza

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d-criss-news · 4 years ago

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Three months after launch, Jeffrey Katzenberg and Meg Whitman’s short-form service Quibi is entering its first awards season.

As the nascent platform, which is still finding its feet with subscribers, kicks off its debut FYC campaign, Deadline has assembled a virtual roundtable of creators and stars to explore how it lured Hollywood A-listers to the second screen, what they really thought of it when they first heard about it, the creative process, the importance of owning their own rights and how they see things going forward.

Joining us were Darren Criss, co-creator, songwriter and star of musical comedy Royalties, Nicole Richie, creator and star of irreverent comedy Nikki Fre$h, Cody Heller, creator of Anna Kendrick sex doll comedy Dummy, Veena Sud, creator of dark thriller The Stranger and Nick Santora, creator of Liam Hemsworth action drama Most Dangerous Game.

DEADLINE: What did you think of Quibi when you first heard about it?

Nicole Richie: I went in there and I had a general with them, not really knowing what I was going to make. Separately, I was kind of preparing to do this comedy album without the show around it and I sat with [Jeffrey Katzenberg] and talked to him about the platform and the idea that it was for these in between moments, and that it’s quick bites, it’s ten minutes or less, and it was something that, I found it very smart and pretty exciting. I’ve done short-form before so I definitely felt like I could do it. There’s a lot of young creative people there and I was very excited to work with them.

Darren Criss: Just like everybody else in the industry I’d heard about Quibi. Obviously, anything that you know, Jeffrey Katzenberg attaches himself, my ears kind of perk up. So, I’d been aware of the concept. I think the specific idea of short form was never something that I thought ‘I have to make short form, nor was it, oh my God, that’s the worst thing ever’. For me, what excited me about Quibi, much like Nicole said, was the fact that it was this new thing. I always gravitate towards the renegade kind of out-of-box thinkers and I always think it’s an exciting opportunity to try something.

In many respects, it is the Wild West. So, when you’re shooting stuff you go, man is this going to fly, do we do it in this aspect ratio, how do we edit this, what is the precedent here, and in the lack of precedent I think for a lot of people that is actually kind of a scary thing where you say ‘We don’t know what works and what doesn’t work’, but for me I actually look at it as a really cool thing because you’re like, ‘Wow, fuck it, shoot it, ask questions later’. We get to decide what the thing is or not. I really was excited by that, it’s a really kind of fresh kind of community of people that are with the company that just got me excited about doing something in a new way.

Cody Heller: I had a weird evolution of Dummy (left) becoming a real thing, it was kind of a twisty journey. I had just written it as a script to get me staffed on other shows years ago and then I had a general meeting with Colin Davis who used to work at TBS and I actually had it set up to be a short form show at TBS, when they were attempting something like 15-minute late night programming thing with edgy stuff. So, I had written seven 15 minute episodes and then the whole block at TBS died. I was devastated but I was already working on this other show on Showtime, so that’s the way it is and I moved on.

Then like a year later you know, I kept in touch with Colin because he’s just a cool dude, and he gave me a call and he said ‘I left TBS, I’m at this new place, you never heard of it before because it doesn’t exist yet. It’s called Quibi. I hope you don’t mind, I gave all your scripts to Jeffrey Katzenberg and he loves them and he wants to meet with you next week’. It was just like the most surreal experience, like I went in and met with Jeffrey and he was quoting lines from these insane, very raunchy scripts, and he just got the show. It was so exciting and cool to have this older Jewish gentleman totally grasp and get what I was going for. That was just so exciting.

Veena Sud: I felt when I met with Jeffrey that what he was talking about was nothing short of potentially revolutionary in how we look at content, from the vertical screen obviously, but also how people would look at our storytelling, and what device they would watch it on. I thought about how radically different our relationship is with these things we walk around with in our hands than it is with the screens that we watched you know, in our homes or in the theaters. The device itself allowed for potentially a very different experience in content, which was really, really interesting to me.

Nick Santora: Well, my initial reaction was ’What the hell is this?’ I went to meet with Jeffrey, like it seems everyone else on the call did and he’s a very impressive guy, and he’s full of energy, and full of enthusiasm. It was coming off this Most Dangerous Game being a pilot for NBC that didn’t go, and he said, ‘Listen, can you basically add a hundred pages to this and blow it up?’ When he was talking about the ten minute segments I just had a feeling what I wanted to write would work really well for that because you just needed a cliffhanger or a twist or a turn about every nine or ten minutes. I worked on Prison Break and that show was bananas, and every commercial break was a massive cliffhanger and every episode out was an even bigger cliffhanger so I said, ‘I’m going to have to do this 15 times and I thought I could I don’t know if it would have worked better anywhere else. I think it really worked well in the Quibi format because, I call it Pringles entertainment, you just pop one in your mouth every nine minutes.

DEADLINE: How was the actual process of writing, producing and editing in this way?

Nick Santora: The writing for me was the same, I just needed to make sure that organically that every nine to ten pages there was an oh shit moment that would make people want to watch the next episode. The prep was very different because I had to work very closely with my director to make sure that in addition to filming it the way we would normally film something for network television or any television that didn’t have a turnstyle device, we had to have three cameras rolling at all time and we had to make sure and prep for the shot based on the location, based on the actors, based on what was going on in the scene, that the vertical and the horizontal would both have something very interesting to fill the frame. We always had a third camera running to catch the vertical, especially when you’re doing action and we have guys you know, jumping off of boats onto bridges and stupid shit or crazy shit like that, you want to make sure you’re getting it in the frame if people are turning their phones in either direction.

That was challenging and really fun though, and then editing was effectively the same if I’m being honest, it’s just that you had to do a vertical pass and edit the entire thing for you know, for a vertical turnstyle watch. But that wasn’t that big of a deal because it all comes down to making sure you’re editing it in a way that’s visually interesting and tells a good story. The prep was where it was most different for me, where we had to basically say, this is going to basically be two different movies, one vertical and one horizontal.

Veena Sud: What was so fascinating for me with The Stranger, directing it as well, was having to think really radically in terms of not thinking about vertical and horizontal as separate entities. I really wanted to have one monitor. Looking at two monitors or three monitors is really just kind of out of my wheelhouse. I like to look at one thing when I’m directing and focus on performance mostly. So, I had to have something baked in that would allow me to have that freedom to be looking at the actors versus, ‘Are we getting the shot?’. One thing we talked about extensively in prep, which was radically different because of this is, how do you service this story and allow the audience to feel what they would feel on a bigger screen and not feel less? What I mean by this is, if you hold a phone vertically you’re automatically losing east and west, right?

We looked at other shows that had tried to do vertical framing and very quickly started to think this is going to be a disaster unless we come up with a whole other aesthetic approach to this. So, really quickly, instead of thinking east and west in terms of the screen, think of north and south, and think of A to Z. Think of infinities, think of the depth of what you’re looking at. Think of going as deep into the screen as you possibly can in a way that maybe traditionally you wouldn’t think of when you have a landscape you know, when you have that aspect ratio. So, that’s why we had people moving, that’s why we’re always leading and following for the most part, that’s why all the environments were constantly changing, and we were looking for infinity lines constantly when we’re shooting and prepping. So, pushing the aisles of a grocery store closer together so that as the actor moves through them you would see left and right in a way that you know, traditionally you would not see if you were shooting that type of aspect ratio.

Darren Criss: Obviously for the three comedy weirdos here, the medium services our genres in very, very different ways than to Nick and Veena. I was really impressed with the way that they utilized what might seem a limitation in storytelling. I noticed it consciously. I wondered how they were going to fill all of the big action stuff in here. Yes, there is this aspect ratio thing, there’s the short form, you’re still applying the same rules that you would apply to if Katzenberg told all of us ‘I want a three-hour movie’ but if it was just that, if your idea is good enough, if you’re dexterous enough as a storyteller, you can kind of kneed the dough to fill in the space that you’re given. People have thought of really cool ways to maximize their narrative within this very specific box and that variety of nuance is such an exciting thing and the fact that that’s possible in such a fresh way is like something not to be ignored.

Cody Heller: We’re all just so fucking talented [laughs]. With [The Stranger and Most Dangerous Game], I did find myself wanting to experience both versions, so I want to rewatch in the vertical just to see the difference and experience it both ways. That is different than my experience because for me I really did just kind of center frame everything, like I shot everything in one big square and then just had demarcations on the video village screen. Because I had this show where literally it’s mostly one character and then a sex doll, most of the time they’re close enough together that it’s not really an issue, but the only times I would really notice it would be establishing shots. It was such a fun challenge to rise to and I loved the experience.

DEADLINE: Do you think these shows could be made anywhere else and if not, were you aware of that while you were making them?

Cody Heller: I don’t think I could have made this show anywhere else. I think my show, in particular, blends itself so well to ten minutes because I think if you made it a half hour you’d have to really go into [B] stories, which I think for my show it just works better as a smaller piece about Cody and Barbara. Quibi was so supportive and gave me so much artistic freedom that I just cannot speak highly enough of their whole team. They give really good notes that makes it so much better.

I really loved the challenge of taking on something new and the turnstyle thing was exciting. One thing that was super cool that I didn’t think of while I was shooting but noticed during the editing process, was because Quibi has to be ten minutes, it can’t be more than ten minutes but it can be less than ten minutes, and the episodes don’t have to be uniform in length, that was very liberating in the edit stage because then I was able to say this scene that I thought was so funny on the page, it didn’t really play as I thought and it’s not necessary to the story, let’s just cut the whole scene.

Nicole Richie: Cody mentioned having the A story and the B story on a television show and just having it be the A story, it does feel very intimate. I do feel like a B story on your phone doesn’t really work because when you are watching on a phone, you really do want to be locked in to that story, and from a comedy perspective, I love the jokes, but I’m very conscious of the breath after the joke, letting people digest that. With a show like Nikki Fre$h you know, only focusing on two people and then the music video, I was able to shoot that and give the jokes a moment. I can’t see this show living anywhere else.

Darren Criss: I think ideally anything that you make is so good in that particular mode of communication that you simply cannot imagine it anywhere else because the meal has been cooked so well. But I don’t want to shoot myself in the foot if somebody would like to make a five-movie franchise deal with Royalties [laughs].

I don’t think this could have existed anywhere else in any other format simply because I don’t think anybody else would have taken a chance on what we were doing. That is one of the valuable parts that I kind of glazed over about Quibi is that they’re really creator forward and really empowering a lot of the creators. It sounds like we all had a date with the Great Oz [Jeffrey Katzenberg]. I’d like to think it could exist in other places because I’d like to think our idea is malleable enough to fit in other places, but it comes down to the belief system and the support from someone in Jeffrey Katzenberg’s shoes.

DEADLINE: Have you had any feedback in terms of whether people watched in one go or in short bursts?

Veena Sud: It’s been anecdotal and it’s been both. Some waited for the whole thing to drop so they could watch it all in one go, because that’s the muscle that we’re used to as Americans now, with all the streaming devices. The most fascinating feedback were people who watched it day by day and feeling their growing anxiety and their growing desperation for the next hit. That was fascinating because while I was cutting and shooting simultaneously, you could feel that growing kind of addictive nature of something that’s less than ten minutes long and that does have cliffhangers built into it. It’s pretty fascinating to see how the need for the next, and the next, and then next grows over time.

Cody Heller: I binged The Stranger and I think if I had to wait each day I’d probably would have had many panic attacks every day. It would have been such a different experience, and now I am curious and kind of wish that I had experienced it that way because that’s so fascinating.

Can I just circle back to one thing that we were talking about before… Nicole, you made a really smart interesting point about the phone and it being this personal thing. For me I was one of the early ones to shoot and I didn’t know at the time that it was only for your phone. I thought that you were going to be able to also watch it on your TV, so I wasn’t really aware of that and then when I found out later during post-production I was kind of bummed since I thought that especially for comedy and especially during corona, like people love to laugh together. I was happy when they decided to add the possibility to your TV feature because I love nothing more than going to the theater and laughing with people. You can’t do that during Corona but at least you can be with family members or whoever we’re quarantined with and watch something together.

Also, I just want to say one other thing, Nicole Richie, you seriously, like could be in a Christopher Guest movie.

DEADLINE: Quibi’s rights position is that you can retain the IP and after two years repackage these shows into long form versions if you want to. How important was that for you and have you thought about that since you made these shows?

Nick Santora: I’m in the process of dealing with that right now. We have a potential buyer very interested in doing Most Dangerous Game as a feature film, and it was a big selling point to me because I just intuitively thought I could take those ten-minute segments and work with the composer to smooth out some of the musical cues, get the establishing shots that we would need to act as bridges and in just a matter of weeks with some minimal effort, turn it into a nice hour and fifty-minute movie that would play really well. There’s a fair amount of interest and I think we’re going to be successful in selling it. It was a selling point to me because you know, you want as many people to see your work as possible, and I think it’s great that Quibi gives you the opportunity to just turn it into another platform and see if it can be successful there. I’m interested to see how it plays out.

Darren Criss: I think for everybody it’s sort of a no-brainer deal. If anything, it’s sort of a brilliant way to incentivize the creator to deliver the best shit humanly possible because it’s a money back guarantee. Having this deal, I kept asking what’s the catch here, like this simply cannot be the case. I was so grateful frankly for the set up that was given behind our deal that, aside from just personally wanting to make something great, I was incentivized to make this really as kickass as humanly possible for the hand the fed me.

Veena Sud: What I found so fascinating about the idea of retaining the rights to what I create, even in its modified form, is this discussion has not been around since the 70s and United Artists. It’s the radical idea that we, as creators, get to own the thing that we create, which is revolutionary and beautiful. Katzenberg introducing it into the ecosystem of our industry is something that needs to be talked about and will be resisted being talked about certainly, but let’s talk about it. Let’s use this wonderful incentive that he provided us as artists to come and play in a sandbox that hasn’t been tested as a way for we, as artists, to start talking about that we should own the rights to what we create.

Darren Criss: One of the things that Jeffrey said on the first rollout of introducing Quibi, like maybe two years ago, was saying up top that this is the single handedly most disruptive time in the entertainment industry’s history, and so structures like Veena’s talking about are being kind of thrown out the window and everyone’s kind going, wait a second, things don’t need to be like this.

I mean, right now people are considering this with the very nature of how Coronavirus is making cooperate structures reconsider their rent on buildings. We are reconsidering a lot of old things that we say, ‘Wait a second, this was maybe not the best thing’. I think we all know what I’m talking about on a much more social scale. There are a lot of things that are happening where, I think the renegades again are stepping forward and saying ‘This is fucked, why don’t we think of a different way that can empower us in a way that can really service the things we’re making in a more fruitful way.

The very question of you asking ‘Was it a good thing that you get your thing back in two years?’, that’s crazy that that gets to be a causal question. It’s an amazing thing and of all the things I think are really great about Quibi I would hope that it starts this conversation and this precedent for fueling creative in this way, and not just for the selfish sort of economic notions that I get out of it, but empowering creators can only be a good thing. I’m very careful with that because I don’t want to sound like a maniacal egotist, but there’s so many things that really incentivize positive things about content when it’s done in this structure.

Cody Heller: I mean I just can’t wait to own it again so that I can sell it to Disney+ [laughs].

—

DEADLINE: Darren, you were making Royalties at the same time as Hollywood. Would you want to do more Royalties?

Darren Criss: Yeah [but] hopefully I don’t have to do them all at the same time. I certainly echo what Cody was saying and I feel like anybody in a creative position is definitely hypercognitive of following those same principals. Having an opportunity to look at systems in different ways, in a way that can benefit so many people, is an exciting thing. It’s not, ‘Oh crap, how am I going to pull this off?. It’s like, okay, cool, let’s get all the people involved that we can to make this something really special and more beneficial for everybody involved. I mean look, we’re a whacky, zany comedy about writers that write goofy songs. That is sort of an ever-green game. There is a big pile of funny little puppies in the pen that I really want to give a home. That if there is a second season it’s giving them a place to go because we had to earn those ideas.

The hardest thing about a first season is establishing an audience’s trust, knowing your way around your actors and how the things going to look. It’s not until the second go that you kind of get to roll up your sleeves and go, alright, so here’s what we can really do, now I know what I’m working with. I really look forward in getting to do anything in a second season simply because now I’ve watched other people’s shows, I’ve seen how my show functions on this thing, I’ve seen how people react to my character’s and my jokes, and the songs, I now want to see if I can make those things that I threw out the first go, but hey, that is not up to me, that’s up to Katzenberg.

#darren criss #deadline hollywood #nicole richie #cody heller #veena sud #nick santora #royalties #royalties press #deadline roundtable #press #july 2020

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