#i don't think there's one thing about this episode that isn't... incredibly sad

[goodobservationshirley]

watching this episode before y'all from across the ocean are all caught up and off work was a mistake. now i don't know what to do with all these feelings

[weirdly-specific-but-ok]

for whom good omens is being written

Hey maggots and the rest of the fandom, it's the Good Omens Mascot here. Today I read a post about this tweet:

The accompanying video genuinely made me cry. And I've been thinking about this for a long while, as far back as February, when I saw a lot of conflicting opinions on what people wanted from the third season. It really is true that no matter what you do, some people will be dissatisfied. But what matters is that Neil is writing this for Terry.

And I was reminded of some paragraphs from the Good Omens TV Companion, which I'd read in Amazon's sample excerpt of the book. I know this is a long post, but I really truly do think you all need to read these, I've done my best to select only the most important parts. Here you go:

'His Alzheimer's started progressing harder and faster than either of us had expected,' says Neil, referring to a period in which Terry recognized that despite everything he could no longer write. 'We had been friends for over thirty years, and during that time he had never asked me for anything. Then, out of the blue, I received an email from him with a special request. It read: “Listen, I know how busy you are. I know you don't have time to do this, but I want you to write the script for Good Omens. You are the only human being on this planet who has the passion, love and understanding for the old girl that I do. You have to do this for me so that I can see it." And I thought, “OK, if you put it like that then I'll do it."

'I had adapted my own work in the past, writing scripts for Death: The High Cost of Living and Sandman, but not a lot else was seen. I'd also written two episodes of Doctor Who, and so I felt like I knew what I was doing. Usually, having written something once I'd rather start something new, but having a very sick co-author saying I had to do this?' Neil spreads his hands as if the answer is clear to see. 'I had to step up to the plate.' A pause, then: 'All this took place in autumn 2014, around the time that the BBC radio adaptation of Good Omens was happening,' he continues, referring to the production scripted and co-directed by Dirk Maggs and starring Peter Serafinowicz and Mark Heap. ‘Terry had talked me into writing the TV adaptation, and I thought OK, I have a few years. Only I didn't have a few years,' he says. 'Terry was unconscious by December and dead by March.'

He pauses again. 'His passing took all of us by surprise,' Neil remembers. 'About a week later, I started writing, and it was very sad. The moments Terry felt closest to me were the moments I would get stuck during the writing process. In the old days, when we wrote the novel, I would send him what I'd done or phone him up. And he would say, "Aahh, the problem, Grasshopper, is in the way you phrase the question," and I would reply, "Just tell me what to do!" which somehow always started a conversation. 'In writing the script, there were times I'd really want to talk to Terry, and also places where I'd figure something out and do something really clever, and I would want to share it with him. So, instead, I would text Terry's former personal assistant, Rob Wilkins, now his representative on Earth. It was the nearest thing I had.'

(...) As Neil himself recognizes, this is an adaptation built upon the confidence that comes from three decades of writing for page and screen. But for all the wisdom of experience, he found that above all one factor guided him throughout the process. 'Terry isn't here, which leaves me as the guardian of the soul of the story,' he explains. 'It's funny because sometimes I found myself defending Terry's bits harder or more passionately than I would defend my own bits. Take Agnes Nutter,' he says, referring to what has become a key scene in the adaptation in which the seventeenth-century author of the book of prophecies foretelling the coming of the Antichrist is burned at the stake. ‘It was a huge, complicated and incredibly expensive shoot, with bonfires built and primed to explode as well as huge crowds in costume. It had to feel just like an English village in the 1640s, and of course everyone asked if there was a cheap way of doing it. 'One suggestion was that we could tell the story using old-fashioned woodcuts and have the narrator take us through what happened, but I just thought, “No”. Because I had brought aspects of the story like Crowley and the baby swap along to the mix, and Terry created Agnes Nutter. So, if I had cut out Agnes then I wouldn't be doing right by the person who gave me this job. Terry would've rolled over in his grave.'

And, finally, this paragraph:

"Once again, Neil cites the absence of his co-writer as his drive to ensure that Good Omens translated to the screen and remained true to the original vision. 'Terry's last request to me was to make this something he would be proud of. And so that has been my job.'"

I think that's so heartwrenchingly beautiful, and so I wanted you all to read this, too, just in case you (like me) don't have the Good Omens TV Companion. It adds another layer of depth and emotion to this already complex and amazing story that we all know and love.

Share this post, if you can, please, so that more people can read these excerpts :")

Tagging @neil-gaiman, @fuckyeahgoodomens and @orpiknight, even if you've definitely read these before :)

[sparring-spirals]

Still emotional about Fy'ra Rai and Opal, actually. Thought dump time bc i. dont have the energy to cut this down effectively.

Because at that point in the episode, Opal is doomed. Not in the fun little "oh things are getting worse ;)" kind of way we'd been experiencing leading up to the fight, or even IN the fight. At that point in the fight, Cyrus is dead. Dorian and Dariax have their minds twisted, bodies clambering away from the fight. Morrighan has felt, firsthand, just how far gone Opal is, holes in her mind, her friend broken. The heartbreaking sentence of. "You can always come back." understands that she is gone already. She's lost already. Opal has forgotten Ted. Opal has forgotten herself.

So at that point in the fight, we know Opal is doomed. Us as the audience, the cast, the characters. Aabria is running through each of the other crownkeepers and it is more of a goodbye than a round of combat. Defying the Spider Queen invites death, with zero hesitation- Cyrus's body as physical evidence of that. The terms were very clearly set: You leave Opal, you let her be lost. Or you die. (Leaving Opal anyway).

and Fy'ra Rai then. Grasps the crown, understands intimately that she can break it off and it will kill Opal. (I will free you, if you want me to. We would lose you but you would not be taken). And asks, what do you want me to do. What do you want.

and Opal says, I want you to leave. (I want you to live.) and Fy'ra Rai functionally says. No. Sorry. That's not one of the options.

If you wanted to go. I will do that (your blood on my hands). If you want me to stay, I will. But I'm not going to leave you.

There was the point where Fy'ra Rai broke into the communication and I felt my insides sink because. Look. Lets be real, Aabria had already demonstrated the stakes here. The gesture would not be rewarded for the gesture alone. The Spider Queen's terms were: You leave Opal. Or you die.

And Fy'ra Rai said: no.

I don't think I'm overstepping to assume that if Fy'ra Rai had failed the intimidation check, she would have died. This entire thing hits me so hard because I think Anjali knew that too. I think Fy'ra Rai knew that too. Yes, Fy'ra Rai convinced a Betrayer God to negotiate. She carved a third option out of a non-negotiable situation. She knew what would happen if she failed and did it anyway, with no fear, no regret, no waver in her resolve. She had lost enough sisters. She wasn't going to lose anymore, no matter the personal cost. That's part of why it succeeded, I'm sure, but.

Just. Fuck me. The amount of resolve. The amount of love. The amount of conviction. "I am. A protector." You know your friend- your sister- is doomed. So no more negotiating away from that. You step to her side and you grasp her hand and say- doom me with her.

And in some, sideways way, this saves you both, at least for a little while.

Because this story is a tragedy. This ending is a sad one. We know this already. But think about- Opal, under Lolth's bidding, alone in the dark. Think about Fy'ra Rai, alive, intimately aware that she had failed to protect yet another sister.

And think about what we got, instead: the two of them, in deep darkness, danger encroaching- holding hands. Someone they love at their side. A champion. And her champion.

This is still a sad story. But it's not the same one. Fy'ra Rai stared down a Betrayer God and made her change her mind. She stared down a Betrayer God, and her love and conviction changed the nature of the story. It shouldn't have been able to. But she did.

Fy'ra Rai chose to doom 2 people instead of one, and the sheer strength of her love and will managed to save them both, at least for a little while. Isn't it funny how that works? Isn't it devastating? Isn't it. fucking incredible?

[piratecaptainscaptainpirates]

There's something that feels so...unrepeatable about OFMD, and I think one of the big aspects of that is the casting of our two leads.

Stede, especially - it would have been so, so easy for Stede to be absolutely unbearable, and we know they had trouble finding the perfect actor for him before Rhys sent in his audition. I don't think anyone other than Rhys Darby could have pulled it off, frankly. He gives Stede such an earnest air about him, and he's so expressive that you can feel Stede's self-doubt, his guilt, his anxieties, all without them having to explicitly tell us. If Taika is amazing at having eyes, Rhys is amazing at having a face. Every time I watch an episode, I notice something new to blow me away about his performance.

And that's not to say Taika isn't giving Ed 110%, either! I think Taika Waititi is a very underrated actor because he's really pretty amazing. Not a lot of actors would've been so clearly able to convey Ed's emotions and personality with a huge fake beard glued to their face, and his s2 acting is so subtle and impressive once he doesn't have to act with the beard on. He's an incredible actor - one moment that stands out to me is the two shots we get in s2e2 of Ed laying on his back sobbing. The first time we see it, it's heartbreaking. Then in the quick "I had a very rough night last night" flashback, it's sad but funny! It's the same thing but he still manages to give us a very different tone.

But the best thing about it? Their chemistry. Ed and Stede click fucking immediately, and their chemistry sells it. Because Rhys and Taika have been friends in real life for so long, they do love each other, so even though they're acting a different kind of love, it's not a stretch for it to be believable. It's the kind of thing that you just won't get if you pick two random actors who've never met before, no matter how good they are. They're visibly just so comfortable with other and love working together, always glancing at each other and checking in and playing off each other's performance, and because they like each other so much, they're able to be vulnerable with each other in a way that really comes through on screen.

There's something so special about Ed and Stede's relationship, and their casting is so incredibly spot-on. I've never seen anything quite as all-around perfect.

[sigmalaussene]

Top ten weird ways Oswald Cobbepot gets called in Gotham

As I was rewatching Gotham, I decided to write down every name that people in the show canonically call Oswald Cobblepot aka the Penguin. It was a wild ride. Please enjoy

10. "Funny looking fellow"

(season one)

We start with a simple one. This isn't even an insult, it's just a fact. He is, indeed, a funny looking fellow. I'm pretty sure they say it more than once too.

9. "The Dapper Gangland Kingpin"

(season two)

This one it's just silly, especially since it was written on a newspaper. Just... that's weird ? Idk it's silly it makes me chuckle

8. "Yellow rat snitch"

(season one)

We start getting a little weirder. Why a rat? And, more importantly, why yellow???

7. "Stupid lame birdbrain"

(season four)

Just so mean. Especially since this scene it's his dumb husband making a room full of people chant it

6. "Golden goose"

(season one)

Right back to season one and it's incredible dialogue. This one is particularly amazing thanks to Oswald's reply to it, which was, of course: "Honk honk". I can't even start to describe that scene. It's a classic.

5. "Beaky nosed freak"

(season five)

Definitely the best nickname the last season had to offer. Like, you know that moment when a guy kills your bestfriend/girlfriend and you call him the silliest name you can think of? This is one of those times.

4. "Scaley faced bitch"

(season one)

This is the first one in the show, directly from the first episode. I am a firm supporter of calling men bitches when they deserve it, and he did, so I wholeheartedly approve this message. Adding the scaley face part just makes it more poetic.

3. "Sad little breadhead"

(season two)

This one from never fails. Imagine it delivered with the most condicending tone in the world. Just amazing. Makes me laugh every time.

2. "Fruitcake leprechaun"

(season two)

This. This is the one that started it all. It was thinking about this one that I decided that this rewatch I was gonna write down all the nicknames. I dont know if it has something to do with english not being my first language, so I don't have the background of the word "fruitcake" used as an homophobic remark, but this name is one of the funniest things I have ever heard in my life.

1. "Limping little chickenbutt second banana"

(season one)

This couldn't not be on the first place. I am obsessed with the writers of this show, i want to get inside their brains. Because like what does it mean? How did they come up with this? I need to know every thought that crossed their mind for them to write this. This is art. This is poetry. Incredible. Amazing. Absolutely insane. Kudos to the actor who played Maroni because if they gave me that line I wouldn't be able to say it with a straight face.

Bonus:

(For the fans, he is also called "the only thing Nygma cares about". Just... you know, in case you forgot)

Some recurrent nicknames are: "Pengy", "Ozzie", "freak", "cockroach", "punk", bird related names (bird/birdman, feathered friend, chicken, turkey...) and "little"/"tiny" followed by almost anything (man, friend, dirtbag, bastard, creep, twerp, freak, weasel...)

Edit: i realize i didn't mention "Major Crumblepot" and that's on me sorry guys

His haircut is described as "disco vampire hair" at one point (another classic)

He is also called "specimen", which is really funny, and "dewdropper"?? for some reason I don't remember but it was in my notes and I couldn't ignore it lmao

[rh3maji]

Lil rant abt Caine

Caine is just a lil guy, despite it all. From a design standpoint I thought I was gonna absolutely fucking hate looking at him because those chattering teeth toys make my skin crawl- but the art direction really helps make him look more appealing and whimsical than a disembodied pair of talking dentures sounds on paper.

The thing with Caine is I didn't initially like him that much after the pilot. While his interactions with Bubble were quite funny, that one episode left me feeling like he'd just end up being kinda one note or at the very least one note in a way that'd get on my nerves. Then everything changed when Pomni Wake Up Time to Go On an Adventure! attacked

The comedic timing throughout that announcement video was so fucking funny and thanks to his line deliveries and animation/model [?] upgrades- CAINE LOOKED AND SOUNDED SO ADORABLE!!

Legit it wasn't until this came out that I realized I actually could be on board with Caine as a character and it's been uphill from there. Episode 2 was better than the pilot not only comedically and visually but also in terms of showcasing just how actually unsettling Caine can be as an antagonist. Not because he's vengeful or malicious, but because he's so oblivious to how people work. His mind's always buzzing with terrible ideas and he's so so eager about these adventures, but at the end of the day he really really doesn't get the circus crew. Try as he might to include them, keep them engaged [ZOOBLE WAIT!], or even give them what they want [Exit doors] he doesn't realize how traumatic and distressing their current situation can be. The very nature of being trapped in a digital world is bad enough but it's especially rough here bc not only does its god have limited capabilities, you also are very well acquainted with him, and he can't fully understand your pain nor can he truly save you from it. He won't mourn your abstraction. He will not attend your funeral. He will not understand the distress of your arrival, nor the weight of your departure.

This isn't just sad from the pov of the circus gang, it's also very sad for Caine- not because i think he'll ever feel sad about it himself necessarily, but instead because the situation is sad. New members appear over and over, you craft adventures and games and distractions like [i'm assuming] they'd asked you to, but over and over, one by one, they abstract. They stop laughing at your jokes. They don't like you. They want you to leave them alone. It's confusing and maybe even inconvenient.

Where I'm hoping the series takes Caine is that this dissonance between Caine's intentions and the distress of the circus gang gets worse and worse and worse until something's got to give. I'm hoping that maybe at some point a character will try to sit down and talk with him and for it to either sorta get through to him but completely backfire in some form because he misinterprets what the others want from him OR i'd also be down for him to listen, but not understand any of it and proceed as tho nothing happened. I don't want Caine to come around really, it'd be interesting to see how Goose would go about having him come around to being a better host that empathizes more with humans, but personally I do prefer him to keep on keepin' on being this oblivious and eager antagonist.

My favorite Caine lines/line deliveries so far:

"You, my friend, stumbled into an incredible world of wonders, where anything can happen!…e-except for swearing."

"And here we have THE GROUNDS! Drown yourself in the digital lake, or engage in ridery at the digital carnival!"

"What do you think of XDDCC? You're right, terrible, LET'S TRY THAT AGAIN!"

"Kaufmo abstracted? Why didn't anybody tell me?"

"Bubble you can't say that"

"-ZOOBLE WAIT!"

"Why are you all just standing there?! The- The Canyon- C-Candy Canyon Kingdom needs you now!" [according to his VA, this was an actual line flub but hoo boy am i glad they use it bc it's hilarious]

"I know you guys love your NPCs, but if I start losing track of who's a human and who's an NPC, who knows...what. could. happen..."

That last line there specifically surprised me the most because up until he said that I was under the impression Caine was linked to every single NPC. I even thought he could see through their eyes if he so chose thanks to his "hundreds of all seeing eyes" line in the pilot. Him saying this here implies lots of things. Has Caine forgotten before? Is someone in the circus secretly an NPC ooooooooh~

"Who knows what could happen..."

Honestly, when Caine first said this I did immediately theorize Jax as being an NPC but now that it's been *checks calendar* three months since I watched episode 2, I don't think this is the case anymore. Jax being an NPC would be...something. Jax not knowing he's an NPC would be interesting [i like it when ppl's realities get shattered], but honestly I think this line was a way to telegraph to the audience that no Caine isn't actually all knowing. He didn't know Gummigoo was coming through that portal until he saw him with his own two eyes. My theory is that Caine is only able to teleport, create, censor, transform, and destroy the world around him, but isn't able to see all of it at once unless he tries to. I think Caine's default state is one where he only knows what he sees directly in front of him/what he himself has left waiting for someone else. And rather than implying someone in the gang is an NPC, I think that line in episode 2 was mainly implying Caine can be tricked, that it's possible to hide something from him, to surprise him even. Though I'm not opposed to an NPC we haven't met trying to join under the guise of being human, it'd potentially create some fun tension assuming the audience was given enough reason to care about them.

Jax is actually my favorite character in tadc, but i couldn't fill an entire post with things to say abt him. Caine seems to be- at least as of right now- the easiest of all the characters to try and wrap my head around. I'll probably have a lot more to say about Jax as he exists in canon as the episodes come out [EPISODE 6 MY BELOVED]

but uhhhh yeah, that's all the things i had to say abt Caine. Pls go watch/listen to the fansong Digital Land bye!

[robbie-wallis]

I need to vent about Watcher, endure it if you can

Relax, this isn't a parasocial thing, but it is a long ass post, which suits me as a long ass human.

I need an outlet to discuss the terrible business decision Watcher has made by announcing their plan to leave YouTube, and this long-forgotten Tumblr account reached from its grave to grab at my ankle.

If you didn't see their video, good for you. It's extremely cringe-worthy in its sentimentality and editing, with blurry shots, pensive pauses and obligatory sad piano.

But at least there's no f'ing Ukulele.

Although, I think we might get the Ukulele in a few months.

Even though anyone who reads this is probably familiar with what the "Ghoul Boys" have done, I feel as though I need to add a little history.

WATCHER HISTORY

You can skip this part if you've been obsessively following the shenanigans, this is for the noobs who were never a "shaniac" or a "boogara".

Shane Madej and Ryan Bergara used to work at Buzzfeed. They hosted the successful Buzzfeed Unsolved shows. In 2019 they followed in the footsteps of the Try Guys and Safia Nygaaard and left Buzzfeed to create their own YouTube channel named "Watcher".

They brought along Steven Lim, another Buzzfeed person who is most known for the "Worth It" series. This series followed Lim and his friend/s spending obscene amounts of money on obscenely overpriced and indulgent products.

Think of it as being similar to the $100 V's $10,000 Sidemen content, only without the self-awareness and British "bad lads" humor.

Notably, even the Sidemen seem to have cut back on those adventures, perhaps understanding how bad it looks when so many people are struggling to pay their essential bills.

Steven became the CEO of Watcher while Shane and Ryan continued to create and present for the new channel.

They were wildly successful by YouTube standards. At the time of their self-spanking on Friday they were close to achieving 3 million subscribers, in just 4 years, based on basically only 2 cornerstone shows. If Social Blade is still a reasonably trusted source in everything but estimating income, they were gaining thousands of new subscribers every week.

Their most successful shows were Ghost Files, Puppet History, Too Many Spirits and Mystery Files.

Ghost Files is the only one of these shows which requires heavy investment, travel, a large crew and impressive production costs. These videos are shot on-location and require a lot of work. The rest are basically Good Mythical Morning style, just the two hosts and their banter.

Aside from Ghost Files, their content could be created with 3 cameras, 2 lapel mics and a good editor.

They were massively successful, solely because of Ryan and Shane.

THE DEMISE

So, what did they do on Friday 19th April? They decided to announce the launch of their own subscription platform.

Not a Patreon for extra content, behind-the-scenes, audience interaction etc, (they already had a Patreon with 6,000 paying subscribers earning them at least $50k a month), but a bespoke streaming platform which looks like a clone of Netflix.

The cost is $5.99 a month, or $60 a year.

Comparable to Netflix.

And by that I mean the price is comparable to Netflix while the content is comparable to a 4 year old YouTube channel.

Don't get me wrong, their production quality is incredible. The quantity, however, is not.

From the end of May viewers will have to pay to be a subscriber on their own platform in order to watch their shows.

They'll still be posting their trailers on YouTube, and the first episodes of new shows, but to watch it all you'll have to pay up or miss out.

Edited to add: Variety originally reported the Watcher crew were planning to remove all their existing content from YouTube to monetize it on their own platform. It's since been confirmed they will not be removing their old content. Fans are undecided whether this was a back-track after the announcement or a misunderstanding by Variety. You be the judge.

Of course, they're entitled to do this. They are creating a product and you can either enjoy it or not. No one is entitled to see it, for free, whenever they like.

Why did they do this?

Half of the sombre video gushes about their "humble beginnings" as "struggling young guys in a big harsh world", which comes across as extremely self-indulgent and ego-stroking.

A quarter of it explains how insanely successful they've been on YouTube and how this is all thanks to the fans who stuck with them after Buzzfeed, how it's allowed them to hire 25 people, how it's given them the freedom to create what they enjoy making and what the viewers want to see, and - most importantly - how it's allowed them to increase production quality on Ghost Files.

The final quarter of the video explains that this isn't good enough, the quality isn't high enough, the finish not glossy enough, it's not "TV caliber" enough! They want more, they need more, you have to give them more, mostly (apparently) because their CEO Steven Lim wants to bring back his show where he flies around the world with his bestie sipping Champagne and eating gold-leaf-covered lobster.

In short, they want more money to make even bigger things, even though their audience never asked for that.

WHY IT WILL NOT WORK

Oh my goodness, this is going to be a ride so strap in.

I'm not a YouTube creator so there are a lot of things I do not know. Having said that, I know a little about business.

This ain't Buzzfeed, y'all

Watcher became successful because of Ryan and Shane. It was their friendship, their personalities, and the content we loved to watch featuring them at Buzzfeed, that brought us along for the ride.

The audience they poached from Buzzfeed is there for them and Ghost Files. It's not there for Steven Lim and "Worth It". His show worked under the Buzzfeed umbrella only because they had numerous sub-categories in that community to support it.

The Try Guys left and created their own channel from their Buzzfeed fans.

Safia Nygaard left and created her own channel from her Buzzfeed fans.

Shane and Ryan left and created Watcher from their Buzzfeed fans.

Steven Lim left and became the CEO of Watcher. He didn't take his audience with him.

The audience of Watcher is not the audience of "watch me fly around the word with my pal and spend $100K on hand-reared, Whiskey marinaded, diamond-encrusted Kobe steak".

And... IN THIS ECONOMY?

Steven chose to become a CEO instead of a presenter. He's missed the opportunity to take that Buzzfeed audience with him.

This is made clear by the Watcher channel itself. Their "man eats food" content rarely breaks 500K views while their Ghost Files breaks 2 million consistently.

If a million of their viewers followed them from Buzzfeed to Watcher, the other 2 million have joined them since, based almost entirely on their spoopy content.

Not only did they base their channel on this genre and format, they have distilled their audience further ever since the creation of their channel and no matter how hard they try to diversify into "man eats food" it's just not working.

This ain't Netflix, y'all

As mentioned, the $5.99 charge is comparable to Netflix and just about every other streaming platform. Only Watcher can't give you even 5% of what a competing platform can offer for that price.

Other platforms also tailor their content and their pricing based on geographical location and localized economics.

You're paying far less than $5.99 a month if you live in an economy where the median household income is $300 a month. YouTube has a global audience. Their subscribers don't all live in a stable economy where $5.99 is considered disposable income.

We don't know the numbers, but I would guess only 60% of their subscribers are based in the USA, Canada, and the UK.

Even for those who do live in a stable economy, their audience is predominantly young adults and students. Most young adults are currently facing the reality that they will possibly never own their own home, they're living day-to-day trying to budget.

They've instantly priced-out a large % of their audience.

I confidently predict that diehard fans who can't see anything wrong with this will sign up for $5.99 a month, binge watch for a couple of weeks, realize there's no new spoopy content and cancel.

They'll come back when a full season of Ghost Files has arrived, pay again, binge it and leave.

Steven Lim thinks they're gonna get $5.99 a month, every month, from thousands of subscribers. In reality they're going to get maybe $12 a year, from people signing up to binge watch what they want, then leaving.

This will then decline naturally as attention wanes during the months where there is no spoopy.

This ain't good marketing, y'all

They're going to be posting "trailers and season pilots" on YouTube.

Sure, I bet YouTube is gonna be totes okay with a channel doing nothing but trying to hijack traffic for an external site.

Posting nothing but trailers and season premiers will mean maybe one full video per month during busy seasons. That's not enough to remain relevant for the algorithm.

If 80% of those posts are also just trailers saying "leave YouTube and come here", the channel will be smacked down quicker than a crypto scam using an AI generated Elongated Muskrat.

Their channel was growing steadily, but that was with full content regularly posted. When the schedule drops off, and when most of it is considered spammy by YouTube, it's going to collapse like a flan in a cupboard.

A streaming platform needs a constant flow of new subscribers just to replace the gradual drop-off (maybe ask Rooster Teeth about that). When your global audience at YouTube is gone, where are those new subscribers coming from?

The platform is also an additional overhead. It's going to cost thousands a month to keep the servers going.

This ain't good financial management, y'all

I don't know if they've already spent hundreds of thousands of $s on Lim's "men eat food" gamble, but I suspect they have.

I know they have spent hundreds of thousands of $s on a new season of Ghost Files, flying to the UK to host live events while filming those episodes.

This means they've over-extended their finances just at the moment where they've cratered their opportunities to see a return on investment.

Just that, on its own, is enough to destroy a production company.

They do not need 25 employees any more than I need an editor and proof-reader for this long ass post.

They do not need a production studio in Hollywood any more than I needed an office to write this.

They do not need to spend tens of thousands of $s on glossy graphics that appear on screen for maybe 4 seconds in one episode any more than I needed to add screengrabs to this painfully long essay.

By leaving YouTube they've lost:

Adsense revenue (which might not be much on a per-video basis but adds up with a back catalogue over years of productions)

Sponsorship deals, which allegedly contributes almost 50% of their annual revenue.

Merch sales, which is about to crash if the only people they can promote merch to are already paying per month in their smaller ecosystem.

Patreon. Why would someone pay $5.99 twice, for the same or less content?

And they've abandoned all of this for maybe a few thousand people who will probably end up paying just $12 a year when a new spoopy season arrives for them to binge.

I'm no Will Hunting, but no matter how hard I try to make the numbers work they just don't, and I don't need Robin Williams to tell me it's not my fault.

This ain't nice, y'all

Some of you are feeling like Ned's wife right now, and some of you will have no idea what that's in reference to.

Most of you will hate that I made that reference more than you hated the SNL skit.

I get it.

Maybe the worst part about all of his, from a viewer's perspective, is the dismissive nature of their sign-off.

They didn't mention the Patreon members once, not one single time in the whole video. It's like they consider the Patreon "too YouTube". They're the deformed cousin locked in the attic. They're the relative who wasn't invited to the wedding because they can't afford a Tom Ford suit. They're the colleague who isn't invited to the staff night out because they only work in accounting and no one has anything in common with Janice anyway.

These are diehard fans who were actually paying them extra to support them and enjoy a little bonus behind the scenes, and the boys didn't even consider them worthy of an utterance.

They also finished with "If you don't follow us and pay up it's been real, peace out". I'm paraphrasing, but that's basically what it was.

They spent so much of the video saying how awesome and great it was that the fans and YouTube got them to this point, but they didn't thank their Patreon members, and they ended with a blunt suggestion that if you don't follow them and pay more then you're not a real fan anyway and they don't really need you.

"Thanks for getting us here, sucks to be you, bye now!"

You made them wealthy, you helped them hire 25 people, you helped them increase production value to "TV caliber" even though you didn't ask for that, but your job is done and now you're superfluous. Only the real fans are wanted.

In the words of the great George Carlin - "It's a big club, and you ain't in it".

They're okay losing the vast majority of the people who got them here if a few thousand of those are comfortable enough to be able to pay $60 a year for a YouTube channel.

Can it get worse? Sure!

We've had a weekend to enjoy the constant heat of this bonfire and it's predictably worsened with each hour of silence from the company and its employees.

The fact that they haven't back-tracked, despite almost unanimous agreement that this is badder than the baddest thing that could happen to their company, suggests they're okay with it.

Consensus seems to be that they knew it would be this bad, and they're cool. They predicted 90% of people would scream "Boo to you good sirs! Boo indeed!" and they could still survive on the 10% who don't see a problem here.

The lack of response reinforces the narrative that they're totally fine with discarding almost their entire audience if they can just squeeze the cash they need out of whoever is left.

This ain't fixable, y'all (maybe)

Note: I don't want this to be mean, but it's going to sound a little bitchy no matter how I try to say it.

If they'd brought out the Ukulele on Saturday, or even teased Ukulele's on their socials before putting out a video on Sunday, they probably could have survived this with much hand-wringing and a little groveling.

But now I think they've grilled this Kobe steak for far too long.

They've lost 100K subscribers, and counting. The venom among Patreon members is allegedly worse than the public comments section under the video, which is startling. Dozens of YouTubers are torching them harder than a $100 crème brûlée.

People are scraping their channel content in case it's nuked.

Shane "eat the rich" Madej's sentiments over the last few years look disingenuous, to say the least. To shamelessly steal someone else's comment: "Imagine being all 'eat the rich' right before throwing yourself on the plate". He's silent while his McMansion burns down, at his own hands. "Why not!?" indeed.

Steven "I drive a Tesla" Lim's socials now make him look like a tech-bro try-hard and his use of words like "early adopter" and "soft launch" in the video only compound the belief that this was all his brainchild. He is the CEO, and that comes with responsibility and the associated blame. You can't steer the ship into the Bermuda Triangle and then disappear without looking like the bad guy.

Okay, you can disappear, but that convoluted metaphor is a mystery for someone else to solve.

Ryan "TV caliber" Bergara now sounds like an elitist who thinks YouTube is "too pedestrian" for his big plans, not big enough to meet his artistic vision. You see, he's more James Cameron, while YouTube is more like your student film club. He's grown beyond this pesky platform with billions of daily hits offering exponential growth with almost zero financial risk.

Even if they released a video today admitting they messed up big time it's still going to be hard to get the taste of this Ghost Pepper Warhead out of the collective mouth of their viewers.

This hasn't just burned their shared brand, it's singed their individual reputations among an audience upon which their careers rely.

What they should have done, on Saturday, is release a video (Ukulele or no) confessing their error. They should have announced their new platform will instead just be a bigger and better Patreon, with early access to everything, behind-the-scenes content, extra features, audience interaction etc.

They should have reversed to make clear their YouTube channel will stay the priority, their main source of revenue, but that you could get more on their own platform if you want it.

And, maybe, over time, people will pay for that. If they grow their channel to 6 million subscribers in the next 4 years there will be a couple hundred thousand of them willing and able to pay $5.99 a month for 8 years of shows, 8 years of behind the scenes content, 8 years of community involvement and regular early access to new episodes.

Maybe then they could try out their "privileged guys eat expensive food in expensive places" show and see how it does? Maybe a majority of people won't be living on the cusp of poverty by then and it won't look as tone-deaf as a 13 year old YouTuber trying to cover Jeff Buckley's "Hallelujah"? Maybe then they could hire another 50 people and make Bergara's "TV caliber" (I still don't know exactly what that means) game shows and reboots?

The clock has been ticking since they hit that "publish" button on their career ending video, but that clock is about to count down to zero and silence will permeate throughout their previously lively community.

That 1980s basement set needed someone crying in the corner, right?

The problem is, their own platform is not a terrible idea. Really, it's not the worst thing they could do. The badness came in the timing, the switch, the middle finger and the f you. They could have released this as an extra, their own Patreon alternative, waited, developed it over time into something sustainable and established.

They could still try to do that and hope this dark chapter is forgotten.

Maybe I'm wrong? Maybe Lim is a financial genius with more skill than the management of Rooster Teeth and their corporate parent company combined? Maybe this gamble will be wildly successful despite all streaming services down-sizing or just going bankrupt? Maybe they won't be back on YouTube in 3-6 months begging for views after having to lay off 20 of their employees?

I know this... if I were one of those 25 employees blind faith would not be enough to stop me from looking for another job.

I suppose this will, for now, remain... a mystery.

EDIT:

I'm not writing another essay about this, but I'm glad to see they've backtracked and made the right choice to use WatcherTV as any sane creator would - to host early access and exclusive content in addition to their YouTube channel.

Over time, while promoting it in every video, building up that trust and fan base, it can be a secure and long-term financial bonus helping them to expand their business incrementally as finances allow.

Why this wasn't the plan all along is anyone's guess. Gambling everything on this was never the sane decision.

I still think they need to scale back on costs. I still think the food content is not currently a viable source of income while being a serious drain on resources. I still think they need to stop hiring all their friends and they need to hire one person who doesn't have personal relationships with everyone there and can make the tough business decisions.

No one likes firing people, it's ten times worse when it's a friend. But this is a reality of business and just wishing it wasn't so isn't going to make it go away. It would be awesome if we could all run a business where we can hire all our friends and family, never have to rely on any outside funding, make whatever we want, make a great living in one of the most expensive cities in the world and continue to grow.

That's just not the reality.

Their apology was genuine, in my opinion. I just hope they can work out the right financial balance.

[carrotsofthepirabbean]

I will say I think part of the reason OG Kirk isn't more popular on Tumblr is because he can't be crammed into the 'If one part of a ship is the unemotional logical one the other one MUST be the bouncy himbo sparkle softboy' cliche. Kirk can be goofy and has a good sense of humor, he teases and laughs, but speaking in Lord of the Rings terms, Kirk isn't Pippin, he's Aragorn.

Which is SO much tougher for the 'must distill every variety of character into the same 5 different people' crowd on Tumblr. There isn't an 'Aragorn' slot because 'incredibly complicated' isn't descriptive enough for cliche. Like yes, he's charming, but it's the quiet sort of charming. Yes, he's a strong athlete and a fighter, but he's fundamentally a shockingly huge nerd and spends his private time reading poetry and thinking about philosophy and what it means to be a leader. Yes, he's haunted, but he has a fundamental hope that keeps shining through. Kirk's got a serious job, and he's a serious person. He's an Adult kind of adult. He's one of the last survivors of a horrific genocide. He's killed people with his bare hands.

Spock wasn't bowled over by how bright and shiny and cuddly Kirk was. Because underneath everything, there's a fundamental sadness and loneliness to Kirk, and a simmering possibility of rage that most people would consider Abnormal. And Spock shares those qualities, though for different reasons. The thing that really shakes Spock (besides Kirk's iron sense of loyalty) is that there are times where KIRK is more coolheaded and professional than Spock is. In everyday terms, Kirk is easily and confidently emotional in a way Spock was always taught was a weakness, but when the shit hits the fan Kirk gets this shine of cold, calculating, James Bond-like brutality/practicality that not only meets Spock's Vulcan control, it will at times go PAST it. Surviving that genocide gave Kirk access to both a level of iron-willed 'do whatever is necessary to live no matter what' and a level of genuinely bloodcurdling rage that, when death is on the line, reads sometimes like a Vulcan on steroids. In a battle-type situation Kirk has absolutely looked at Spock and snapped like 'for god's sake, control yourself', and that is some whiplash a Vulcan doesn't just get OVER.

At the very start OG Kirk is already both wildly famous for and frighteningly good at being a commander, better than Spock is by miles, which forces Spock to confront his self-hate fueled 'Vulcans are better' prejudices over and over again until Spock has a starry-eyed admiration for Kirk that knocks him so hard into love that Spock's teeth rattle. Kirk isn't Some Soft Boy that grows on Famous Vulcan Spock against his will. Kirk is the most talented Starfleet officer in generations- He's Horatio Nelson, except not an imperialist asshole. Spock is (at first) just Some Science Guy who managed to nail one of the most coveted jobs in Starfleet.

Like, what is Tumblr going to do with a Kirk (who is supposed to be the bouncy soft boy half of Spirk) who looks coldly at an alien who is killing people and without hesitation goes 'I am a military man, we have a mission, we don't have time to understand motivations, kill that thing' and calmly walks off? And then Spock, (the unemotional logical one) is the one going after him going 'please, this is a thinking creature, it could be scared or hurt, think of its feelings, at least let me try to talk to it'. And like, the big lesson of the episode is KIRK being convinced by Spock to care more and be more empathetic?

Like, that's not some shit Tumblr can fit into its 'five acceptable personalities for every single ship ever'. There isn't a category for 'one is the logical one and the other one is the guy in charge on the battlefield that the men point their swords at while yelling "to the king!"'

But, it does make me a bit sad, because god, the relationship between Kirk and Spock is unique. Because Kirk is SUCH a freak. If there's a fictional personality grouping Kirk is a part of it's like Kirk, Chris Evans' Captain America, Aragorn, and nobody.

I super agree! AOS Kirk fits the bill more for the ship dynamics tumblr focuses on (and I do really love Chris Pine's performance, not half because it was what introduced me to Star Trek in the first place), but I do find TOS Kirk more intriguing because he has such layers. He's scarily competent, youngest captain in Starfleet and it's not like you get in that position by being a sunshine flower boy - he's got a streak of cold practicality that, yeah, is super apparent in Devil in the Dark. But he's also warm, loving, and physically affectionate with his closest friends, professional with his subordinates and his duties, calculating with his enemies, and overall an exceedingly intelligent individual who does not take his position and responsibilities lightly. And in terms of his relationship with Spock, it was all those things that drew Spock's respect and interest, and not (checks notes) his being a "bouncy himbo sparkle soft-boy". He's just a wonderful character <3

[verosikastrikerstellaexcuser]

helluva boss really wants to whoobify stolas but like he was introduced as a rich guys with a race fetish. i cant look back on that

'you think so lowly of me' my ass. dude that is stuff ppl have said to me to manipulate me

Yeah this is it. People can go on and on justifying Shitlas and they can retcon the scenario all they like they can say oh but Blitz stole the book, oh but childhood friends!!!11 which ironically made it worse because it means Blitz was purchased for a day to be entertainment for Shitlas despite very much not wanting to be. That literally means even as children their relationship was founded on... a transaction for Shitlas' benefit. They can say but Shitlas is sad and lonely, but Shitlas is repressed, but but but.

It doesn't matter. Imps in hell produce all the food, sustaining the rest of hells population including those upper classes very beings, and yet they are treated like shit. They're disadvantaged in doing stuff like starting their own businesses and are seen as just "the workers that do icky stuff I don't wanna do" by people like Shitlas.

Shitlas went ahead and fetishized that. He specifically fetishizes that they're physically smaller which is incredibly demeaning - and hes still at it well into season 2, saying shit like "get fucked little one" about the lawyer imp in Oops (S2 E6).

Idgaf if Blitz tried to steal his book. Blitz can't easily start a business of his own because hes an imp in the first place. Shitlas chose to use Blitz's difficulty to get sex out of him all while disrespecting him and fetishizing his race and the fact that hes a smaller being. Blitz was clearly uncomfortable at that fact and wished he would stop doing it, especially outside of their agreed upon times on the full moon. But no matter what he said or how he resisted, Shitlas all throughout season 1 kept saying and doing weird fetishizing shit outside of their agreed upon times and Blitz could do nothing to get him to stop all the fetishy comments and everything. How are we supposed to ignore and let all of that go and see them as just "both being equally in the wrong"? It doesn't make sense.

No wonder Blitz had was so angry and let him have it in the latest episode. He was exactly right, Shitlas does think he can treat Blitz any way he wants because hes smaller and less important, because Shitlas has been using him as a fetish toy. This isn't some minor fuck up on Shitlas' part. This is a long sustained pattern of behavior that has not properly been addressed or apologized for. This is having a fetish for an impoverished and oppressed race of people and then hurting someone to fulfill of your fetish and gratify yourself.

Contrast this with the latest episode and how Blitz treats Moxxie. Moxxie has expressed he feels harshly treated by Blitz and seems to have a desire for more positive feedback about what hes doing right to be expressed. The show hasn't been great at how its addressed this but in this episode Blitz compliments Moxxie's shooting as they get back to their headquarters. Blitz took in Moxxie's words and has changed his behavior accordingly. He's so much better than Shitlas in every way and I'll die on that hill. He does fucked up shit but not to the level of Shitlas and is far more capable of change and growth. Shitlas just self victimizes, cries at others criticizing him, and dances around the things he's done wrong. Yet the fandom is in a hate spiral against Blitz for being mad at having his species/race and class constantly fetishized. Boooooo!

[tuliprambles]

We're only two episodes into season 2B of Helluva Boss and it's already on track to be so much better than the first half of the season was.

I love Helluva Boss as a whole, but to say its quality is inconsistent would be an understatement. Season 2A could not keep a consistent tone to save its life. The best episodes of 2A were the ones about Fizz, not the ones related to the main characters of the show. The less I say about the Millie focused episode, the better (no I don't remember the episode's name and I don't care, it can go fuck off).

I was dreading Full Moon as much as I was hyped for it. It very easily could've been completely mishandled for how hyped up it was, and I think we all knew that. They knocked it out of the park though, it felt like a return to form episode. The ending stinger was also absolutely incredible. That argument was long overdue and it played out pretty much how I expected it to. The VAs give it their all and the characters are written so so well.

Apology Tour might be the best episode of the whole show honestly. I love when a show is willing to take its time and let emotions sink in, and this entire episode is that. Stolas is my favorite character in the show but I love how flawed both he and Blitzø are, it makes them so interesting. This episode is all about Blitzø recognizing his flaws and how his actions affect people, but Stolas isn't off the hook. He still does bad things and the show doesn't pretend he's some innocent sad boy or something.

We've got some genuinely great tension and drama going here, along with FINALLY bringing antagonists from season 1 back into the plot, instead of just dicking around like 2A liked to do. I should say again 2A is mostly really good! Its funny, and the characters are likeable, fun to watch. It's just tonally inconsistent and doesn't know how to mesh drama with comedy very well.

So uh yeah I hope the rest of season 2 follows how these two episodes have gone. I know Ghostfuckers is going to be a more lighthearted silly episode, but I'm fully on board with that as long as what happened in these episodes isn't just forgotten about.

[partywithponies]

There seem to be some serious crossed wires in the BBC Ghosts fandom right now. No-one who's mad about the people criticising the finale even seem to understand what the people criticising it are even criticising, and are claiming people are just mad they didn't get the ending they wanted, or that people just don't like sad endings.

While meanwhile everyone criticising it that I've seen isn't criticising the major plot points, they're criticising the writing, the fact it was rushed, the fact the episode was weirdly paced and not very funny and felt tonally different from a normal episode, and the fact that no matter how much logical sense the decisions made make in universe, it's incredibly clunky writing to have two episodes with entirely different conclusions one right afer the other. It's gonna be SO jarring when future people watch the show and go immediately from one episode to the next with no gap.

Don't like sad endings??? Me?? You think I, the six idiots fandom's number one Bunny and the Bull fan, don't like sad endings? If anything it wasn't sad enough. I wanted death and devastation. I love tragedy. I love weeping and heartache. I love seeing characters die onscreen. But I would've accepted any ending, as long as I thought it was well written. And I simply didn't. I didn’t hate it or think it was the worst thing ever or that it ruined the whole show, I just thought it wasn't a very well written or well made episode.

And that's okay. It's okay for people to like it. It's okay for people to absolutely love it. And it's okay for people to not like it. And it's okay for people to absolutely hate it. But right now people seem to be responding to arguments people aren't making and ignoring the arguments that people are.

[mayasdeluca]

Well here we are at the end. It feels incredibly weird and surreal that this is the last time I'll be doing a reaction post after an episode. I think it will really sink in months from now when the show really doesn't come back but honestly I'm feeling so many different emotions right now and it's because of the episode and also just because of knowing this is the last of everything.

I feel like this finale episode really summed up my whole experience with this show. They'll do some things really well and some things that really just make you question why on earth did they think that was the right choice. Stuff that makes you so frustrated because they just get in their own way and could be doing things that isn't wasting the potential of real magic.

It feels like Maya and Carina were never able to really shine and be highlighted in the way they could have been. They shied away from the true chemistry and connection and love story that they had instead of embracing it. As soon as they would get some focus, they had to give it to someone else or insert someone else into the storyline. It was like they couldn't give the queer women too much for whatever reason. This has been a pattern since their relationship started so I'm sadly not surprised it ended the same way.

I get they had a lot to fit in so I wasn't expecting everything to happen like I envisioned. But they really didn't pay off the cliffhanger in any way. All this speculation about Maya quitting her job, all this worry about how she'd be freaking out about being near death and realizing she could lose the family that she finally has, all these possibilities about her getting injured, having some smoke inhalation, Carina being worried tat she'd have to raise their children alone and practically none of it gets addressed? Carina doesn't even find out that Maya was in that situation? We don't get to see them hug in relief as soon as they see each other? Maya doesn't even make a comment about how she thought she was going to die and lose everything she finally has? Again, didn't expect all of this, but not even a little of it?

And then instead of Maya being the one to collapse from smoke inhalation after being surrounded by an insane amount of flames, it's Andy...because of course Andy would have to be the focus. She's Captain, it's her station, they all had to come together to rally around her. Because it was already too much for them to worry about Maya for the first two minutes of the episode. We couldn't have Carina even come across Maya while she was in the field (what exactly was the point of that then? Delivering babies is a Maya and Carina thing)

I enjoyed the scene of Carina telling Maya she was pregnant. I love that it paralleled their proposal scene and we got the great camera spinning kiss like in 4x14. But again it's like we just have to be satisfied with the bare minimum and that's it. That was our only glimpse really of present Marina in the last episode. The way they did the flashforward scenes was super confusing and choppy in my opinion, not really knowing if it was the real thing at first or just what these characters were envisioning. (And don't get me started on how Maya and Carina's visions only included becoming mothers).

I don't know how to feel about Maya being Captain of 19 again honestly. Andy being Chief was...an interesting twist because I wasn't expecting that either but it always felt like 19 was Andy's station so why did they get away from that already? The whole series led up to that moment. Why couldn't Maya have her own station? I do love that her shirt had Deluca-Bishop on it though.

Will always be grateful that the show gave us Maya and Carina. What Danielle and Stefania did with these characters both separately and together will always be special. But part of me will also always feel a little sad and bitter about what could have been if they really embraced Marina as the main couple of the show and didn't let double standards get in the way and just let them be the bisexual loving wives that they are. So many missed opportunities and it's a shame.

Sending love to everyone feeling all types of things after that. It was a lot and I'm here for anyone who needs to vent. ❤️

[welcometothejianghu]

Hey, you! You should watch Hikaru no Go!

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: Hikaru no Go/Qi Hun/棋魂.

Based on the manga of the same name, this drama is the Chinese live-action adaptation of a story about a boy who plays Go, the spirit only he can see who teaches him how to play Go, and all the friends and enemies he meets along his journey to become a good Go player.

...Wait, no, come back. I swear it's more interesting than that makes it sound.

What it is, is a character-driven tale of a charming young boy who, among a bunch of weird and wonderful people who love him, grows up to be a charming young man.

(You see how his shirt says SWEETIE CUTIE? That is because he is a sweetie cutie.)

It's a sports manga, so you've got Training Montages and The Big Game and all sorts of tense moments like that. But there's also lots of fun, gentle plotlines that are equal parts tearjerking and heartwarming. It is incredibly written, act, and produced, and I can't believe that it's not more popular, because it's so good.

Here are five reasons you should watch it:

1: GAAAAAAAAAAAAAAAAAAAAY

Word of Honor is merely the second gayest thing I have ever seen a c-drama do. Hikaru no Go is gayer by an order of magnitude.

I think the way they got it past censorship was by saying, oh no, this isn't gay, it's just a sports rivalry! But come on, what do you mean sports rivalries aren't gay, have you seen how all those Canadian and US hockey players keep marrying one another? This is that. This is the tale of two boys who've been in love since they were seven figuring out that they've been in love since they were seven.

(And speaking of seven-year-olds, the kid casting is amazing.)

I mean:

This is an actual still from the show.

So is this.

So is this.

These are not taken out of context. The context would make them gayer. That's how gay they are for each other.

But you know what the best part is? They're not the only pairing. And I don't just mean this like, oh, here's two other cute boys, you can imagine the times they kiss -- I mean, the show itself has its own ships! Ships you wouldn't expect! Intergenerational gay Go solidarity!

Now here's the catch: You have to wait for it. But oh boy, the payoff had us clutching our heads and screaming as quietly as we could because it was after midnight and we were losing our minds.

That last episode!! You have to see it to believe it!!!

2: EMOTIONS!

Bring the tissues. There are parts where it was kinda hard for me to watch because I was sobbing.

Because it's a sports manga, there are lots of triumphs and tragedies. Not everybody can make it to The Big Game. Not everybody gets to live out their dreams. Sometimes you try your hardest and it's not good enough. Sometimes you play your best and you still lose. Some people have to give up on what they love. Some people who were there with us at the beginning don't get to make it with us to the end.

What really makes it is that the show sits with its emotions. Events will affect people's emotional states for multiple episodes to follow. People who have sadness don't just snap out of it. Loving someone doesn't automatically fix them. Shit's hard!

Of course, this contrast makes the triumphs even more wonderful. I will tell you that the show has a happy ending, but not always the ending you would expect would have been their happy ending. It is overall an incredibly uplifting show. You'll need tissues for that, too.

3: (Nearly) Everything Is Pretty Dang Normal

Part of what I mean by that is that while a lot of the actors are real pretty, they're also done up in ways where, like, if you met this person on the street, you would think, this person is pretty! and not, what the hell fancy-ass magazine cover did you just step off of?

Look at these normal goobers:

There are two exceptions to this. The first is Chu Ying, because he is a ghost energy being from the distant past, and ghosts energy beings from the distant past get astonishing eyeliner.

The second is Fang Xu, because his actor, Han Mubo, is an actual idol. Congratulations on your face, sir.

However, I also mean that the story is delightfully mundane. Sure, there's that one supernatural element to it, but everything else is just a regular story about regular people who have regular human problems. There are characters who disappoint their parents and mentors, struggle to pay their bills, try to balance school and extracurricular activities, have crushes, argue with teachers, flake on responsibilties, get lost in the woods, and do some pretty normal human things. Nobody's avenging anyone or trying to slay anything. It's just people being people.

It's even a bit of a period piece -- the show starts out in 1997, then jumps forward to the late '00s, so everything's just charmingly slightly outdated. Damn, I love everybody's flip phones.

4: Actually Good Television

Okay, if you like c-dramas, you know they can be ... janky. Episodes sometimes end practically in the middle of sentences. CG leaves much to be desired. Obvious cuts and last-minute overdubbing really stand out. You can tell where the censorship mandates got in there and started mucking around with things. That kind of jank.

This show feels different. It feels like someone thought out each episode, start to finish, and then created each piece to fit that vision. Every episode even has a title and beautiful title card. They start and end in dramatically logical places. The cinematography isn't anything particularly artful or experimental, but it's solid and clean and lovely. (And if you're sick of shows so dark you can't see them, you've got no worries here.)

The CG in the show is unobtrusive, and most of it is spent making Chu Ying subtly transparent.

There are a bunch of secondary characters, but to me that never felt overwhelming. Most of them are interesting, three-dimensional characters, no matter how short their screen time is. And while there definitely could have been more female characters, the show itself is pretty open about how sexism in the Go world means that it's mostly a boys' club -- and the ladies that are there are great.

In short, this is a show you can show to people who don't have c-drama brain and thus are less inclined to overlook some of the more cringeworthy aspects of their productions. I bet that your Average American Television Enjoyer Who Can Handle Subtitles would have no trouble getting into the groove of it, which I imagine could be very useful for those of you who have people you'd like to watch c-dramas with, except you don't feel like stopping every five minutes to apologize for one thing or another.

5: Better Than The Source Material?

This is the point where I have to admit that I myself have never read the manga or seen the anime. I came into this with only the vaguest familiarity with the source material. I can only tell you that the live-action drama is good; I can't swear that it's better.

However, @jianghootinandhollerin can speak to this comparison more authoritatively than I:

When I was 20, Hikaru no Go (manga) was my favorite thing, the primary obsession, the source of multiple livejournal themes, custom winamp skins, and a fanfic where Hikaru got a go stone stuck up his nose. Because of this deep love in my history, I was dubious about a live action version and the changes it made, but hey, turns out, those changes were exactly what the 20 years older version of me needed. This version of the story benefits so much from having the full, completed story to work from from the outset. The manga didn't know where it was ending when it started, but this show got to, and the story gets to be richer and the characters' stories get to be deeper thanks to that. And also, very importantly: everyone is older and much, much gayer.

Look, I understand if "but it's not the original manga/anime" is a dealbreaker for you. There are adaptations of things I can't watch because no matter how good the end product may be, I'm going to hold it against it that it's not the source I'd rather be seeing, and that's not a fair standard. That's fine. It happens.

But if you can, give this a go (pun unintended). It does not replace the original thing; it is a different take on the same idea. And yeah, it's one that really speaks to me here, on the other side of forty as I am. Maybe I would have missed it at twenty, but the person I am now really respects its attitude that while Being The Best is all well and good, it is not the only thing, and it is absolutely not more important than being yourself and doing what you love with the people you love. Sometimes you peak and can't advance anymore, so you become a teacher, and you know what, that's better than okay, that's actually pretty great. (Do I overidentify with Bai Chuan? Listen: maybe.)

Have I convinced you to watch it yet?

You can watch it on iQiyi, or you can watch it on iQiyi's YouTube channel. I hope you love it as much as I do.

[that-ari-blogger]

Efficient Writing At Its Best

Is it me, or is there a noticeable jump in quality in No Princess Left Behind? As in, the animation budget seems to double between episodes, the cinematography is stellar, the humour is incredible. And the writing itself becomes so much more enthralling.

What gets me about this jump is that She Ra and the Princesses of Power was already a fantastic show. Each element I mentioned above is already firing on all cylinders. You would think that this show cannot improve any further, but in this episode it does.

Promise is lauded as some of the best She-Ra has to offer. And don't worry, I will get there. But No Princess Left Behind is my favourite episode of the show by far and one of my favourite episodes of television. This is the episode She Ra stops being merely an incredibly well-made show, and starts to become art.

Let me explain.

SPOILERS AHEAD

First up, format. This episode is a prison break and both a condensed monomyth and a miniaturised tragedy. None of these things make it great on their own, that's not how writing works. But they are written with incredible nuance derived from character, setting, and the intersections of those tropes.

A prison break is a self-explanatory story structure. A character is imprisoned and either doesn't want to be or has allies who don't want them to be. In the case of the external help variation, as with this episode, the plot functions as a medicine journey with the object of significance being the ally on the inside. (A medicine journey is just a journey to a place to retrieve a thing).

Monomyth is another term for the Hero's Journey. And there are two things about this that need to be understood: The Hero's journey is a set of guidelines, and the Hero's Journey is fluid. By which I mean, the format of the monomyth isn't set in stone, and if a story doesn't follow the specific set of rules you have found, that's not a fault.

In essence, the Monomyth is a set of common events that link multiple stories. Originally proposed in Joseph Campbell's A Hero With A Thousand Faces, the format has been changed over time through interpretation and through people leaving out Campbell's... biases (Misogynistic is an understatement for this guy). The form I am most aware of includes elements such as crossing the threshold, the darkest hour, and the metaphorical death and rebirth, all of which this episode hits in quick succession. If you want more details about the monomyth, I advise reading Campbell's book, or this article by Owlcation. TedEd also has a neat video on the subject.

A tragedy is the most well-known story type. Or rather, you say tragedy, and people generally get what you are talking about. It's a story with a sad ending. But there is more complication than that. Beginning in Ancient Greece, a tragedy is a way of experiencing powerful emotions in a safe environment. Loss, pain, hope, joy. A tragedy is a rollercoaster and is an incredibly good way of achieving that effect. To the point where stories that aren't tragedies (Like She-Ra) are frequently written as them and subverted at the last possible moment. OSP has a video going into detail, but in the interest of this analysis being shorter than a Tolstoy book, the words to understand are these:

Hamartia - Fatal flaw

Peripetea - Reversal of fortune

Catharsis - Emotional release

Bear these in mind because these are situational, and I will be talking about how in a moment. The point is this episode is incredibly efficient at showing each character's strengths and weaknesses and having them affect the plot. Each character has some moments to shine, and that final gut punch is caused by the characters' mistakes. Thats why it hurts, because it was both unlucky and inevitable.

Mermista and Sea Hawk steal the show for me, for completely opposite reasons.

I have always believed, somewhat falsely, that the most well written scenes are those with less dialogue, because the rest of the acting can speak for itself. The minour acting and surroundings can shine if there is less dialogue to distract. Mermista is an example of this, but also an example of why this belief is wrong.

Mermista is the queen of subtlety, with so much emotion and meaning being portrayed by so little. She is exaggerated, sure, but she is a lot more subdued than the entire rest of the cast. What she does have, is expression. In the sewer scene, her head is the only thing visible, and she has more character on display in twenty-two seconds than Swiftwind has in the whole series. She doesn't even speak.

But when Mermista does speak, there is something fascinating happening here. Mermista's lines are saying a completely different thing to her animation, actions, and even the inflection of how those lines are delivered. Mermista goes out of her way to put up a facade of not caring, but she is remarkably affected by her surroundings and the people around her.

For example, despite herself, she grows attached to Entrapta, and gets excited when they work as a team. But I find this gesture so much more revealing. She tears up. But instead of crying, she quietly turns away and dries them. Mermista's Hamartia is also her greatest strength, her distance. She is pragmatic, but she pushes herself too far away to help.

Meanwhile Sea Hawk is a TTRPG bard. This isn't even subtle.

For those who don't know, in DnD and Pathfinder, a bard is a charisma-based class that plays support most of the time (although you can build it in whatever way you want, this is how the class is designed). This means that they often end up as the party face and the glue of the group. There is a prominent live show in which a Bard leaves the party, and it shows off my point exactly.

Sea Hawk is easily the most charismatic character on the group, a fact he uses in a really interesting way. For one, he's distracting. His fast talking keeps Scorpia from being a problem for the group, and in every fight he is in in this episode, his primary role is to distract or annoy his opponents. He doesn't deal much damage, but he keeps himself as a piece on the board that gets on people's nerves and gets them to make mistakes.

Sea Hawk's constant babble is doing another thing for the group. He's reassuring and comforting. His number one priority at all times (successfully or not), is to keep everyone's spirits up. Sea Hawk is a master of inspiring. And would you look at that, DnD and Pathfinder have that as a core ability (Bardic Inspiration and Inspiring Performance respectively).

So, what is Sea Hawk's weakness? His optimism. I don't mean this as "optimism is foolish", I mean that Sea Hawk's hamartia is, much like Mermista, his greatest strength. Sea Hawk is always looking forwards, always keeping the group moving. When someone stops, it doesn't occur to him to look back until it is too late.

Glimmer and Bow are similar characters to each other, and it is in how they react to stress that that is shown. Both are resilient, but where one is resourceful, the other is relentless.

Bow is a simple character, in comparison to everyone else. Psychologically and physically. He doesn't have powers that can be restricted or that can get him out of trouble. What he does have, is his mind. Bow is clever and resourceful, and he works out a way of getting the right information while imprisoned so that the group doesn't have to work on that later.

Bow thinks big picture, once again his greatest strength and greatest weakness. He can strategize really well, but he doesn't expect the little things. Like Adora's surrender, or like the tiny detail that he overlooks: Entrapta likes robots. It's so small and so natural to him that he takes it for granted.

Glimmer's fatal flaw is obvious already. It's her stubbornness that got everyone into this situation, and that directly causes the end result. This is Glimmer's fault. But Glimmer's stubbornness isn't always a bad thing.

"It's a shame the toll this rebellion has taken on your family. First you loose your father and now..."

"She-Ra will stop you."

"There is no She-Ra!"

Shadow Weaver is a character who specialises in messing with people's minds. She enjoys control, and routinely underestimates the power of determination. To her all those around her are weak willed. But say what you want about Glimmer, the one thing she is not, is weak willed.

I love the line above because it is the first time anyone has managed to actually annoy Shadow Weaver. By this, I don't mean the same type of annoyance as Catra is to her, because I don't think Shadow Weaver cares about her enough to be truly angry. What Glimmer does here is win on Shadow Weaver's home turf.

Shadow Weaver tries to demoralise, and Glimmer blinks away tears, looks her square in the face, and remains stalwart. That's why I think Shadow Weaver shouts here, she's furious, and she can keep posturing, but Glimmer has won this little exchange.

Even with the reveal of the sword, I think its clear just how much Shadow Weaver is rattled, and I think this little exchange is the reason for her actions later on in the series.

This is also on display here, as once again, Glimmer's raw determination and stubbornness blindsides Shadow Weaver, and it's telling what provoked this. Glimmer is protective of her friends first and foremost. And here, Shadow Weaver pushes too far, and the power of friendship prevails.

It's a minour moment of the theme for the rest of the series. Love, whether romantic or platonic, will overpower anything.

And finally, there is Entrapta. I don't think I need to explain what her strengths and weaknesses are. She's not hiding either.

What's important to note about Entrapta is that she is the convergence of the plot threads I mentioned earlier. The tragedy is her story, and this episode focuses in on that.

Her death scene is so powerful because it is so unfair, and so inevitable. It's quick, and unavoidable in the moment. Thie is the moment when the cost of this war finally sinks in. Yes, things happen later on, but it cannot undermine the gut punch that is this scene, and the final few moments of this episode.

Peripetia is the reversal of fortune, it is the moment when all of the Hamartia comes crashing down and everything thereafter, and the tone changes. In Romeo and Juliet, this is the death of Tybalt (Spoilers).

Here, the Peripetia is the moment when Emily gets stuck, and those flames. It's the look in everyone's face as they realise what has happened and that brief shot of Entrapta's expression before. And it is that infernal siren.

Catharsis meanwhile is the moment of relief, or setting out those emotions. Catharsis is technically not a part of the story, it happens when you stop watching and reflect.

But this episode offers you time to wind down. That brief shot of She-Ra turning back into Adora is powerful not just because of the music, but also because of how empty it is. There is no closure here, and the audience doesn't get it either. The episode ends on this:

Final Thoughts

I didn't even have time to talk about Catra. She doesn't really do much here, but that scene with the sword is a nice bait and switch. Shadow Weaver is evil, all the characters are at their best and their worst simultaneously and I think that is quite cool.

Oh, and Perfuma. She has an extremely restricted worldview of what teamwork should look like, and Entrapta doesn't fit into that, hence the conflict. I think Perfuma learns to change slightly but doesn't get much time to do so in this episode.

Next week I'll be taking a look at The Beacon, so stick around if that interests you.

Previous - Next

[theflyindutchwoman]

Tim Bradford finishes what he starts. I haven't finished training you yet. No. You haven't.

| ANATOMY OF A SCENE - CHENFORD EDITION 2.13 - Follow-up Day

Let me preface this by saying this is one of my favourite moment ever. Actually, all the scenes we got between Tim and Lucy in Day of Death, Now & Then and Follow-up Day were absolutely incredible. This one is no exception.

The way these two bring out the best in each other was in full display in this episode. The reason Tim was able to find this genius solution was due to Lucy's insistence that he think outside the box and use his bag of subversive tests and tricks. When he started doubting, she pushed right back at him. They just complement each other so well. They've become each other's biggest cheerleader.

Which brings us to the rest of the scene, with Lucy finding out that Tim turned down a promotion just so he could keep training her. The way he acts so casual, as if it's a normal occurrence, is mind blowing. I'm not even sure he realises the magnitude of his gesture. Back in Manhunt, when he decided to take the sergeant's exam, he was at a turning point in his life : he was getting divorced, Isabel in rehab, and he was trying to challenge himself. Judging from his reaction earlier in the episode, I'm pretty sure that when he signed up for the exam, he assumed he'd have time to finish Lucy's training. Moving to a new station and becoming a sergeant then would have been the perfect opportunity to start afresh. But that's the thing, a lot has changed in-between. This promotion comes at another pivotal point : Lucy is still recovering from everything she went through with Caleb. Tim was already keeping tabs when she was riding with Nyla for a couple of days, I can't imagine him leaving her in the hands of a brand new TO he doesn't know while being in another station. This is just as much for his peace of mind as it is for hers. As Nyla told him, Lucy needs to be able to feel safe again : bringing a new (and unknown) element in this equation might not be what's best for her. And if there's anyone who knows a thing or two about craving for some constants, how comforting they can be, that's Tim. His final decision reflects how Lucy's well-being is his priority for now. But this is also for him : she's slowly but surely becoming his person and I don't think he was ready to leave her behind, even only professionally. Almost losing her is also still fresh in his mind...

There's just so much love in this scene. Whether it is of a romantic nature, that's up for discussion - I'm not sure Tim or Lucy would know the answer. But it is present and palpable nonetheless, right down to their body language. It's a bit bittersweet at first, with Lucy looking elated and sad at the idea of Tim getting promoted and leaving. But the second he tells her he's staying, she's beaming and bouncing on her feet, before reigning it a bit. Just like in Grey's office. I doubt she's ever had anyone in her life who supported her that much and put her first in such a way. She's the definition of sunshine and cuteness here - no wonder Tim's completely powerless. Speaking of him : the way he's directly looking at her lips when he tells her he declined Grey's offer… like sir, this isn't how you're supposed to look at your trainee. And let's not forget how for a second it looks like Lucy was reaching for his hand while walking away. The man turned down a promotion and he's looking perfectly at peace and content with this… If that's not love, I don't know what is.

[cambrioleur]

Random observations on this season (updating)

(SPOILERS, OBVIOUSLY)

Episode 1

I don't think we've ever seen Assane do a genuine fourth-wall break before

OK so Claire has a last name now

Assane really expected that he could just show up and Claire would just fall at his feet

I'm surprised Benjamin is just allowed to continue working at his shop

This feels better-edited than Parts 1 & 2

Name a more iconic duo than Belkacem and failing constantly (she really doesn't listen, does she)

Episode 2

Philippe Courbet sighting

NEVER invite Guédira to a funeral lmaooo

Hang on I'm just now realizing that Juliette is at this funeral, too (she's standing in the second row behind Benjamin and Claire and honestly doesn't seem too upset about Assane's "death")

I like how in the flashback Babakar tells Assane that he reminds him of his mother and then it turns out she was a criminal

This seems to be around the time of Raoul's birthday again; he really can't catch a break on that

Episode 3

New shipping war just dropped: Guédira/Belkacem vs Guédira/Fleur

That bit where Claire was outright begging Benjamin to tell her Assane was alive and he couldn't...that was sad

But then it was followed by Benjamin doing the "uhh my FRIEND just died" act with Belkacem which was funny

This gang of thugs is trying a little too hard tbh

Assane's disguise in this episode is fucking terrible lol

The basketball coach disguise, on the other hand, is the only time I've genuinely thought he wasn't recognizable

Episode 4

Ironically that coach persona is probably the best parenting Assane has ever done

Claire? Doing things that are vaguely cool?? That feels illegal. Also, she looked so proud of herself for swiping that book, lol

Betraying Benjamin was certainly...a choice on Assane's part ("everyone disliked that")

This episode is going to devastate the show's Tumblr fandom

Episode 5

Assane trolling the shit out of Guédira will never not be funny

These 1998 flashbacks are pretty dark actually

Honestly the way Claire got that reveal out of Benjamin was very well-played on her part

Guédira out here looking like present-day Ringo Starr with that disguise

Aww look at Assane playing the matchmaker for Guédira and Belkacem, heh heh

This is easily one of the funniest episodes

Except Benjamin is straight up not having a good time -- it looks like he got beaten up in prison

Episode 6

Actually, now that I'm thinking about it, I'm not totally sure Benjamin knows that Assane betrayed him. It's possible he just thinks that he fucked up with the bracelet and then missed a cue in the maze

"Pasta with ketchup" jesus fucking christ Claire that sounds horrendous (although I'm guessing the only reason they did that was because of the ketchup-bottle reveal)

Assane really has Claire's number because he's now seduced her twice under two different identities

IDK whether or not Raoul has figured out that the coach is his dad but it's funny that he still seemed to be shipping it either way

It's nice that we get to see Claire's more playful side in this season, like her messing with Assane by acting really flirty with "Alex" after she realizes they're the same person

INCREDIBLE casting for the younger and older versions of Keller tbh; they easily look like they could be the same person

Episode 7

What a nice family reunion...it would be a shame if something happened to it...

The flashbacks are significantly darker than the present timeline this time around

Guédira finally got to arrest Assane, good for him!

The scene at the train station with the letter from Assane to Claire sort of reminds me of the ending to A Tale of Two Cities, which I had to read for AP prep a while back

Oh look, Hubert Pellegrini is back

So they're CLEARLY setting up another season with this ending

The choice of people to show on the montage there was interesting, lol

I could see a Juliette antagonist arc happening tbh

Maybe Assane's mom isn't all she seems either

And what about Benjamin? If he turns against Assane the viewers are going to lose their minds