#going rogue podcast

[goingroguepod]

fuck it here's part two of "Keira Knightley/Jack Davenport Pirates Commentary bits that live rent free in my head" feat. a lot of corset talk

(i also made a podcast about the making of this film please listen to it I promise it's good.)

[goingroguepod]

dunno how else to explain this but this is every single Star Wars character vs Luke Skywalker

[lasagoofs]

i binged all of rogues! the podcast on a recent trip and had an absolute blast so here's a sketch dump of the sillies. more sketchbook stuff under the cut

[ridstler]

[bluesfreakingart]

First rogues!podcast art and it's this... Woe the idea in my head be upon ye.

[1m0g3n09]

even Spotify can tell how much of a dc geek I am.

[okaybutmakeitgayer]

“Seriously now!? One bed? What a cliched set up! I bet this was done on purpose” is such a funny line and always will be

[cr0wsink]

sum of my fave frames of the rogues! animatic

it’s slowly coming together. i’m right at the end. i’m going insane making it but it’s a lot of fun :-)

[goingroguepod]

Ok. So.

"Oh my god, no" is a great pull quote. Looks great on a tweet, great on a t-shirt, but the actually interesting thing he said is buried in the article - "That’s the absolute best version of that movie that you could possibly imagine in the time that was given.”

It's no secret that Gilroy came on after the directors cut, with a limited timeframe for rewrites and reshoots. He ended up running a lot of those reshoots and his regular editor (and brother) John also joined the edit team. They had maybe six months (less with sound mix, VFX etc). Gilroy ended up with a screenplay credit which means that he must have written at least a third of the final film. Again, came on after the directors cut. He rewrote at least a third of the directors cut. And he did the best he could in the time he had.

But the thing is, Andor is a do-over of Rogue One.

There's an undercover break-in to a secure imperial facility by a group of mismatched rebels. Cassian spends time in an Imperial prison labour camp, just like Jyn did (very briefly) in the opening of R1.

There's the devastating death of a parent, a mining city with its own culture being slowly crushed under an Imperial occupation, a career driven Imperial enemy who you kinda root for cos they're surrounded by even bigger assholes.

There's a rebel leadership divided about how much they can sacrifice on missions that might lead to nothing. The Heist crew even has a queer couple divided by one person's single minded faith and use of violence, and a key team member who is an imperial traitor.

And Cassian's central character arc in Andor is going from an apolitical survivor who only looks out for himself because he's paid the price for trying to change the system, to someone who is willing to die for the cause.

Which, on paper, is also Jyn's arc in Rogue One.

But Andor had time. It has about four times the runtime of Rogue One to actually dig deep into the characters, and to actually set-up and play out tensions in the heist and prison arcs.

And it also had time in pre-production. Time to write the damn scripts. Gilroy had time to bounce ideas back and forth with his brother Dan and Beau Willimon, stress testing the story and the episodes and the characters, then they split the scripts and wrote full arcs. In the scripting stage. Not after principal photography, like he had on Rogue One. From those scripts, Luke Hull had the time to build a full, immersive sets and worlds. Michael Wilkinson got to develop a language around the costuming. Nicholas Britell had time to write a full symphony for the score (Michael Giaccino had 4 weeks to write Rogue One's music).

So if you want to know what Tony Gilroy's directors cut of Rogue One looks like - it's Andor.

[unclegirl]

JASON TODD JUMPSCARE. (just started season 5)

[mashedpotatosinacup]

going back to my roots

[givemeureyes]

got into rogues the podcast this will be my personality for at least the next few months

[remorner]

it's hard getting into multiple things at the same time because holy shit what should i go for first

[caestusvulpes]

may god forgive me for the person I'm about to become today.

[weregoingtokillthequeen]

We just posted character profiles! Right now we only have images of two of our leads. Hopefully, we'll have the rest soon.

Lamia Ambler Age: 32 Race: Changling Pronouns: She/Her Gender: Female Height: 5'4" Occupation: Thief, Con Artist, and Escaped Convict Class: Rogue Voice Actor: Kat Walker Shea

Lamia doesn’t talk about her childhood. Her best friend, Allie, is the only person who knows what Lamia’s upbringing was like. She also doesn’t talk much about what crimes landed her in prison.

Lamia and Allie, the Dragonborn Barbarian, have recently escaped from prison. Lamia acts as the brains while Allie is the brawn. Lamia’s a con artist and thief, and she considers herself as more intelligent than most people. She’s smug and her ego is often her downfall. She likes to be perceived as tough as nails, but she’s a lot more sensitive than she lets on. It doesn’t take much to hurt her feelings.

Due to her ability to shape shift into any humanoid, Lamia is able to blend into any crowd. She has the skills and brains to take care of herself. It’s just that her bloated sense of self-importance always lands her in hot water.

While on the run from the law, Lamia and Allie accidentally get caught up in a rebel group looking to overthrow the corrupt monarchy.

Abilities Shapeshifting: Lamia can change her appearance and voice to any Medium sized, humanoid creature she has seen before. The biggest downside is that she will still need to find appropriate clothing and equipment if she plans to deceive others with her changed appearance.

As a rogue, she’s good at stealth and sneak attacks. She’s highly skilled at melee combat, but she often can slip right by people without being noticed.

Languages Spoken: Common, Draconic, and Thieves’ Cant

Weapons: Crossbow, Dagger, and Crescent Moon Knife

Favorite Foods: Apples, Cakes, Sweet Apple Tart with a Caramel Drizzle, and Beef Stew with Sourdough

Yngve Omdahl  Age: 134 Race: Half-Elf Pronouns: He/Him Gender: Male Height: 5'8" Occupation: Adventurer Class: Bard Voice Actor: Caleb Fietsam

Nobody knows Yngve’s real backstory because he tells everyone something different. He goes with the flow, or he’ll say whatever he needs to in order to get what he wants.

Yngve is a bullshitter. He often tells tall tales about himself at bars and rumors about him spread like wildfire. Whenever a story gets back to him, people have usually added more to it. If questioned about it, he just confirms the new additions are true. He will “yes, and…” anything you throw at him.

While he can hold his own in a fight, he’s not nearly as tough as he paints himself to be. He prefers to talk his way out of situations. His charisma allows him to get away with it… most of the time. He also likes to surround himself with people stronger than him for protection.

Yngve is blind in his right eye. This is due to optic nerve damage after an episode of optic neuritis. The eye functions, it just doesn’t relay information back to his brain. When asked, however, he always tells a different story as to how he lost his eyesight. It takes a long time before he trusts people with the truth about himself and, by then, it’s hard to convince people he is telling the truth.

Lamia and Allie meet him in a bar and he tells them about the underwater city, promising to guide them there for a fee.

He has a debilitating fear of bugs.

Abilities Darkvision: He can see in darkness for at least 60 feet.

Fey Ancestry: He’s less likely to be charmed, and magic can’t put him to sleep.

He is a musician and comedian. His instruments of choice are violin, harp, and lute. He also plays bagpipes and he’ll happily play them to torment people around him. He’s a big fan of terrible jokes, dad puns, and anti-humor.

Languages Spoken: Common, Elvish, and Abyssal

Weapons: Crossbow, Rapier, Shortsword

Favorite Foods: Cheese and Hot Beet Soup with Fresh Bread

Art by @countslimeula

[it-may-be-dull-but-im-determined]

The sad thing is that way back when - somehow AN ENTIRE EIGHTEEN YEARS AGO - Casino Royale was that fresh fun new thing for him (just like Goldeneye was for Brosnan, and look at where that particular era of the franchise ended up).

It was a good reboot with a great cast - Judi Dench and Eva Green and Mads Mikkelson stealing every scene, and the script is pretty much a joy (that train intro scene for Vesper is BURNED INTO MY BRAIN). The action scenes are grounded and impressive - and Daniel Craig was absolutely leftfield controversial casting at the time. It was groundbreaking for a Bond film back then, and he was kind of enjoying the chance to play Bond a little bit feral and thuggish.

...It did SO well in fact that they rushed Quantum of Solace into production with a nonsense title, unfinished script and an inexperienced director who had no clue how to deal with a massive action franchise (the exact same problem Disney ran into repeatedly with the Star Wars sequels/prequels a few years later) trying to beat the writer's strike. I cannot even imagine how exhausting and demoralising that must have been to make, but I'd also say the rot set in almost immediately after Casino for the Craig era Bond. I know people love Skyfall but holy shit it made zero sense in terms of keeping the franchise going post-Craig, and the inevitable mess that followed has kind of poisoned the well for the foreseeable.

The really funny thing is that Dan Craig was just a delightful weirdo accent indie king before he signed up for Bond - the one exception was Layer Cake and that basically got him Bond. What we're seeing now post-Bond is just him going back to exactly what he would have been doing anyway (which, thank god because Logan Lucky remains one of my all time favourite films).