#i figured i would expand the boys on film universe a bit for you!!

[ottelis]

🌈🌈🌈

send me a 🌈 and i'll write elu fluff!!

"lucas! it's here!" eliott calls from their front door, carrying a small box. 

"what?" lucas replies from their living room, looking up from his phone. 

"your book!"

lucas's heart leaps in his chest, all the breath in his lungs escaping in a relieved, joyous sigh. he jumps up from the couch, almost running into eliott. 

"let me see it!" lucas grins, accepting the box when eliott hands it to him. he studies it for a moment, his publisher's name in the corner, and his name at the center. 

"this is it," lucas says, breathless. "it's here."

"open it!" eliott urges, leading him to the couch.

lucas rips the package open, his heart beating faster and smile getting wider as it seemed to unravel in his hands. then, the book he had been writing for six years, ever since he met eliott, was staring up at him. "boys on film," he reads aloud, quietly. he studies the cover, a pastel drawing of two boys sitting on a picnic blanket. the sun is nearly setting, bathing them in gold. and there right along the bottom, reads "lucas lallemant." 

his vision becomes blurry with tears as he pulls his book out of the box and holds it to his chest, the heartbeats matching, marching towards joy. he leans into eliott, who envelops him in a hug. 

"how are you feeling?" eliott asks, ruffling his hair.

"like i'm walking on air," lucas replies, wiping his tears off his cheeks. he looks back down at the book, flipping through its pages. he smells the crisp, clean smell of the pages. he remembers how much that smell would comfort him growing up, and now, his words are written on the pages. 

he flips it to the back cover, with glowing, advanced reviews inscribed on it. but, to him, the most important part was the little note at the bottom left corner. he points it out to eliott.

cover art by eliott demaury

eliott gets tearful, too. but, he smiles and teases again. "does this mean i can read it now?"

"no," lucas chuckles. "but, if you want, you can read the dedication."

he opens it to the page he's looking for, then hands the book over to eliott. he holds his breath, watching his eyes flick over the words. 

to eliott—the moon in my sky; the love of my life.

"i could've been a little more poetic with it, but they gave me a two line limit," lucas says, nervous. 

"i love it," eliott chokes out. he kisses lucas's forehead, the tip of his nose, his lips. he grins, then whispers, "i can't wait to read it, mon amour."

[oh-ranpo]

like an ever-expanding universe.

pairing: owen joyner x reader an: so, this was sent as a request, but somehow I got out of control with it, so it ended up being longer than I expected it to be lmao I hope you enjoy! request: a pair of exes (let’s say hypothetically in the middle of filming season 5 of JatP and reader came in during season 2 as a new character and the actress is the same age as him/Savannah and they hit it off but eventually broke up) try to get the other jealous so they can get back together. disclaimer: also, I just wanted to say that in a relationship, communication is key, so while jealousy is fun to write and read about sometimes, we stan healthy relationships with open communication : ) word count: 3.5k+

“You should really just talk to him.”

You scowled at Savannah from where you were sitting at your vanity as you had been working on getting ready for the evening.

“Talk to him? After finding out that he was bringing a date? No, Savannah, I need to get even.” Savannah sighed as she shook her head and fixed her gaze on the phone in her hands.

“You two are going to drive me crazy.” You pretended that you didn’t hear her this time as you turned back to fixing your appearance. Either way, it didn’t matter what your friend said because your mind had already been made up. 

When you found out that Owen wasn’t showing up to the cast party alone, you had been hurt. Sure, the two of you had broken up over a month ago, but you hadn’t been ready to move on yet, and the fact that he seemed to be took you by surprise. Your friends tried to tell you that it meant nothing, but you channeled your devastation into indignance and all you wanted to do was make him jealous enough that he could feel what you were feeling now.

Your relationship with Owen hadn’t always been so complicated. In fact, it used to be the best one you had ever experienced. When you landed a recurring role in season two of Julie and the Phantoms, you had immediately hit it off with the blonde drummer. There was a connection that you shared that everyone around you could see, and it surprised no one when you confessed your feelings for one another just a couple of months after meeting. Three years and three seasons of the show later, you had been sure that you had found The One.

And then, things managed to fall apart.

It wasn’t like anything dramatic had happened, and when you looked back on it, you weren’t even sure what had spurred the reaction. Just, one day, Owen said that he needed some time apart, and for some reason, you had agreed. You didn’t really want to break up, but you were still fairly confident that he was your person and you truly believed that he would make his way back to you. You were both young and it could be overwhelming when you felt so much for someone so early in life. You never doubted your feelings for him, however, and you thought the feeling was mutual… until you learned about her.

Charlie swore that he had nothing to do with it when he told you, but you also knew that it was one of his friends. You didn’t blame him, of course, but that also didn’t stop the hole that had formed in your chest over how beautiful she was. Just knowing how good her and Owen were going to look side-by-side made you feel even worse. She was the reason why you had decided to go all out in hopes of grabbing someone’s attention, most of all, Owen’s. It was dumb and childish, but you were sure that it was the only way to make you feel better.

Savannah didn’t bother you about your questionable plan again, however, by the time you were both ready to leave, you had started to lose confidence in yourself. You didn’t say anything to your friend though as you still continued to laugh and chat about the night ahead, carefully avoiding the topic of the boy that you were hoping to win back. And while you were on your way to Tori’s apartment with Savannah, Owen was having nerves of his own while getting ready in the apartment him and Charlie shared.

“Do you think this is going to work?” Owen asked his friend as he ran his fingers through his golden locks anxiously. Charlie gave him a look from where he was sitting on the couch. He had been ready for a while now, but he was still waiting on his friend to show up and for Owen to make up his mind. 

“Do I think that you taking another girl to this party is going to help you get back together with a girl that you never should have broken up with in the first place? No. Absolutely not.”

Owen sighed as he leaned against the arm of the chair he was standing next to. He had thought about cancelling with Jamie for a few days now, but he couldn’t get himself to do it. He knew she was excited to go, and while he also knew that you were aware, and probably hurt by the knowledge, of his date, he had made a promise. A stupid, selfish promise, but a promise all the same. 

He knew Charlie hated the whole thing, as he had told him multiple times, but when there was a knock at their door, they both knew that it was Jamie and there was no turning back now. As Owen started towards to the door to answer it, Charlie called his name and Owen looked back over his shoulder at the brunette on the couch. 

“You better figure out a way to deal with this without hurting anyone any further. I’m serious, Owen.” It wasn’t often that Charlie got that look on his face, and Owen slowly nodded in understanding. He just wasn’t sure how he was going to manage pulling that off.

When he pulled open the door, Owen was greeted with a big smile from the brunette on the other side. He did his best to smile back, but now that all of this was really happening, he was more nervous than ever.

“Owen, you look great!” Jamie cooed as she stepped in through the door and pulled him into a hug. Owen quickly hugged her back and his eyes met Charlie’s over her shoulder. The stern look was still on his face and Owen swallowed roughly.

“Thanks, so do you.” 

It was going to be a rough night, and really, he had no one to blame but himself.

x.x.x

Your eyes couldn’t help but search the room for his face as soon as you stepped into Tori’s apartment, but it quickly became clear that Owen was nowhere to be found.

“He’s on his way. Charlie just texted me,” Madison informed you when she saw the dejected look on your face. You felt silly that you were being so obvious about it, but you did your best to brush it off. 

“Good for him. I think I’m going to go mingle a bit. See you later, Mads.” You didn’t look to see if Madison rolled her eyes like Savannah had earlier in the night before starting to make your rounds. You wanted to make sure you were having a good time when Owen finally did arrive.

There was a good mix of new and familiar faces, so you had plenty of conversation partners to choose from. You wished you could say you were so wrapped up in conversation that you didn’t notice when Owen walked through the door about half an hour later, but you always had a sixth sense when it came to him. You did try to ignore it though, as you moved a little closer to the cute new boy you had started talking to. You couldn’t quite remember his name at the moment, but that was a problem for another time.

You could hear his voice no matter where he was in the room, and while you tried to ignore it, you could tell that it was getting closer and you were having to fight every instinct you had not to look over at him. The only thing that helped you maintain your composure was the fact that every time Owen would speak, it was soon followed by a higher, more feminine voice that you were sure belonged to his date. The last thing you wanted while you were trying to work the room in a positive way was to be struck with the heartbreak you were sure to feel by seeing them together.

“YN, there you are!” Charlie called excitedly, pulling you out of your conversation with William? Or was this one David? Either way, you forced a smile onto your face as you turned to face your friend and cast mate.

“I’ve been standing in the same place all night, Charles, I can’t help it you’re oblivious,” you teased as he pulled you in for a hug, and a part of you wished that he would have remained oblivious for a little bit longer. You could tell that William, David, or whatever the cute boy’s name was, was about to ask you to dance. It would have been the perfect opening for you to try and make Owen jealous. 

When Charlie hugged you, you glanced over his shoulder to see that Owen was standing not too far away, and while he probably should have been paying attention to the conversation that was happening around him, you were surprised to see that his gaze was fixed on you. He had a drink in his hand that was going ignored, and while his date was excitedly chatting with Madison and Jadah, he seemed to be ignoring them as well.

Slowly, you pulled out of Charlie’s arms, and with one glance in the direction you were previously looking, he immediately knew what was going on. You saw his shoulders deflate a bit out of the corner of your eye as he looked at his friend and then back to you.

“You two need to talk,” he stated, and you could hear the exasperation in his voice. It was similar to how Savannah had sounded earlier in the night, and you quickly turned so that your back was now to the blonde, and you gestured towards the boy that you had been talking to before Charlie walked over.

“Well, I was kind of in the middle of a conversation when you came over so… maybe later.” You weren’t being very mature about the situation at all, and while it looked like Charlie wanted to say so, he threw up his hands in surrender and then walked away. You didn’t mean to come off so harsh, but Owen had been the one to mess everything up, so reasonably or unreasonably, you thought that he should be the one to come fix it.

Another hour or so passed, and neither you nor Owen approached one another, instead opting for a delicate dance around each other, pretending that the other wasn’t there except to occasionally share a few glances. You were trying to keep your spirits up, but anyone you would hear his date’s voice, or you would notice that Owen was laughing at something she said, you could feel your heart break more and more. Your hopes in making him jealous were fading, and you were starting to truly realize what a stupid venture it had been in the first place.

Eventually, you broke away from the third cute boy conversation of the night to head to the bathroom. You needed a moment to yourself as you could feel your emotions starting to get the better of you, and you just needed to take a breath somewhere where you wouldn’t hear Owen’s, or his date’s, voice. 

Once you made it to the bathroom, you closed and locked the door before turning to face the mirror as your hands gripped the edge of the countertop tightly. You took one, two, three deep breaths but the pain in your chest wasn’t subsiding. You took a good long look at yourself, and you wondered why you had been silly enough to think that, if Owen had broken up with you, he would suddenly want you back just because you put effort into how you looked for this one party. Your relationship had always been deeper than that, and that translated to your breakup as well. The breakup that you still didn’t understand. The breakup that you had never wanted to happen.

You didn’t know that, while you were having your breakdown in the bathroom, Owen was slowly falling apart in the middle of a room filled with people. He had been trying so hard to keep his cool all evening. However, from the moment he saw you when he stepped through the door, he knew this was all a horrible mistake. He should have cancelled with Jamie. Maybe he should have stayed home and not come to the party at all. He was overwhelmed with feelings and he didn’t know how to express them in a way that anyone else would understand. This heartache was all his fault, and it was something that he could have prevented entirely if he hadn’t been just so stupid. 

“You should go talk to her,” Jamie murmured into his ear just a few seconds after you had disappeared down the hall. The words took him by surprise as he looked over at the girl that had come here as his date. “Whatever is going on between you two… I think it deserves a conversation.” Owen’s brow furrowed as he tried to piece together what was happening. 

“I- I really don’t-“ he started, but Jamie stopped him with a small smile and a shake of her head.

“I think you do. I’ve seen the way you’ve been watching her all night – I mean, I would have to be blind not to – and I’ve also seen the longing looks she’s thrown your way as well. She’s been silently begging for you to say something, and believe me, I get it. I’ve been in a few complicated relationships before but… it doesn’t have to be complicated if you don’t want it to be. Just go talk to her.”

The guilt must have been evident on Owen’s face at her words because Jamie reached out to rest a hand on his shoulder as she gave him a genuine smile. 

“It’s okay, I’m not mad. I could tell from the beginning that your heart was somewhere else. But you’re a good friend, Owen. I promise, there are no hard feelings.”

For a moment, Owen genuinely didn’t know what to say, but Jamie gave him a gentle shove towards the hall where you had just disappeared, urging him to do as she said. This time, he didn’t need her to say anything more. The bathroom door was the only one that was shut when Owen investigated the hall to try and find you, so he took a deep breath as he walked over to it before lifting his hand to knock. 

Even though it was soft, you jumped at the sound and you quickly wiped at your eyes where tears had started to form, hoping to brush them away.

“I’ll be right out!” you called to the person on the other side, and you took one last deep breath before pulling the door open. You froze in the doorway when you came face-to-face with Owen, but it was clear from the look on his face that he wasn’t at all surprised to see you. “Oh, Owen.”

He looked nervous as his blue eyes studied you, and you could feel your heart pound hard in your chest at how close you were to one another. This was the first time you had actually said a word to him in a while, and even though he still hadn’t said a word back, you were sure now that he had sought you out on purpose.

“Can we talk?” he asked, confirming your previous thoughts. You nodded slowly, and he stepped to the side so that you could move into the hallway and then follow him farther down until you came to the doorway of the guest bedroom. He motioned for you to step inside, so that you could have some privacy you assumed, and you did just that as he closed the door behind you.

“Where’s your date?” you asked, your voice hard as the question left your lips. You had no idea what Owen’s intentions had been getting you alone, but the devastation from the entire situation was still sitting heavy in your chest, and it was hard to ignore.

“She’s, uh, she’s not really my date,” he replied, clearing his throat as he spoke. You could still hear the nervousness in his tone, and when you turned to face him again, he was rubbing the back of his neck. “Well, at least not anymore.”

Even more confusion washed over you as you stared at him, and he took a daring step closer to you.

“And why not? Did you decide you don’t have feelings for her too?” The words that were flowing from your lips now were completely fueled by the hurt that you had been harvesting over the past month, and while Owen flinched a bit at your tone, he didn’t get angry.

“That’s not- YN, that’s not why I ended things, and I hope you know that,” he murmured, his hand falling to his side as you crossed your arms over your chest. 

“I don’t know that. Honestly, Owen, I don’t even know what to believe at this point. I used to be… I used to be so sure that you were the one person I would always understand, and yet now, I feel like I barely even know who you are.” The tears had started to form behind your eyes again, and your voice got caught in your throat as you started to get choked up. Owen’s face fell at your words and you could tell they were affecting him too. Good, you thought. He needs to know.

After taking a deep breath, Owen began speaking again.

“When I told you that I needed space, it wasn’t… it was never because my feelings for you changed. At least, they didn’t change in the way you thought they did. They didn’t go away, and they didn’t get smaller… they got bigger. My feelings for you grew every single day for three years, and I thought that eventually I would reach the peak of them, but no. The things I felt, and still feel, for you were expanding like an ever-growing universe and it scared me. It scared the hell out of me because I’m only 20 years old, YN. This… this is adult, real-life stuff and I didn’t think that I was ready for that yet.”

A range of emotions washed over you as you took in his words, and you barely noticed how he moved closer to you as he spoke. It wasn’t until you could practically feel his breath fan across your face and his hand brushed against yours that you realized he was right in front of you. If you were to reach out, even an inch, you could feel him. All it would have taken was one small motion to confirm to yourself that this was all real. There was a short moment of silence that fell between you, and when he realized that you weren’t going to speak up, he continued.

“But the truth is, nothing has felt right since the day we broke up. I didn’t think I was ready for us, but really, I’ll never be ready for a world where there is no us. Seeing you here tonight and thinking that you were dressed up for someone else, and just knowing that you thought I was trying to replace you with someone else, I just…” He hesitated for a moment as he tried to think of the proper words to conclude with. “You don’t have to forgive me, because I would understand if you didn’t. But I need you to know that I love you, I have always loved you, and I will continue to love you whether we’re together or not.”

A tear slipped down your cheek as soon as he finished, and his lips turned up in a sad smile as his hand lifted quickly to wipe it away. It was an action that he couldn’t help himself from performing, and as soon as his fingers made contact with your skin, you leaned into his touch without hesitation. Even after the tear was gone, Owen’s thumb still brushed against your cheek as he seemed to be taking you in.

“I’m so sorry for putting you through this,” he added, his voice barely above a whisper. “I think I’ll always be sorry.”

You couldn’t take it anymore as you felt the full wave of relief and pure love fill you from his confession, and you leaned up onto your tiptoes so that you could close the distance between you as your lips crashed against his. Kissing Owen felt like coming home, and his reaction was immediate as he cupped your cheek with his hand and his other hand came around to rest against your lower back, pulling you closer. You probably should have apologized for how you had been acting as well, but you knew that you could do it later. Right now, you needed this, and it was clear that Owen did too.

“I love you too, Owen,” you mumbled against his lips when you pulled away a few seconds later. “Always have, always will.” Then, you were kissing him again, and all the sorrow from the evening, and the last month, was slowly lifted from your shoulders and you felt like you could breathe again.

tags: @crybabyddl​ @chrlsgillespie​ @calamitykaty​ @alexpjoyner​

[sugar-petals]

So Caro how do you like "butter"?? 😳🤔

i’ll be cranking out my media major, let's review butter stylistically. ✍️ in four aspects — sonically, visually, lyrically, and concept-wise.

sonically: 9/10. here’s an interesting comparison i found, this can be calculated by looking at the stats of a musical piece. if you want to do harmonic mixing with another bts song, seesaw (!) is the most similar to it. with the exception that it’s written in f minor but other than that, the bpm/energy/danceability is uncanny. mindboggling. in other words, two bts songs can have the same anatomy and be entirely different worlds. that’s seriously hard to pull off. talking genre, recalling that namjoon said it's a "super retro disco pop new age acoustic ballad", that description is right on 😂it gets very daft punk after 1:38, groovy, the production is quite proper. especially in the second half, it’s a firework and all transitions VERY well. what i liked less, the voices are quite meddled with and as last time, the pitch gets higher and higher so the baritones need more pressure on the voice to be heard (i salute taehyung, my mezzo would be breaking apart). it’s a miracle that rapline can handle these songs. they put a heavier bassline under yoongi’s and rm’s bars, and separated hoseok toward the end since his tone is higher so, i hear you, someone knows what they’re doing. as for the tenors, looking forward to the live rendition of the mixed register bits and the vocal runs. bts are stable like that and jk’s timbre carries the song effortlessly (as is everyone’s great english pronunciation, these guys work so hard) so they wouldn't need autotune, figure it's been added for artistic effect, the retro vibes. a bonus on the other hand, jin getting his lines, hell yes, the spotlight for him. and the arrangement of their parts in general is quite ingeniously done, that looks like the workings of namjoon’s giant brain.

visually: 9/10. the dancebreak being the highlight — this is the sexiest thing i've ever seen — we get to see some really fancy moves from everybody and the hairstyles are quite a feast. jimin and jk have been much-talked-about so i'll emphasize the extravagance of hobi's 2013 MAMA g-dragonesque neon yellow here. he’s the smooth like butter guy they’re talking about indeed, butter hair, butter attitude, butter on his plat! 😂it’s seriously good thinking to have one member embody the concept with a color so, pretty clever. making him stand out as the ending fairy and then blending in the butter logo is equally smart. they wanted to catch our eye, they achieved it. the couture: yep, fashion youtube will have a good time going through all the outfits. from tae's chanel earrings, jin’s skirt, to white suits to jackets over the shoulder. very stylish. someone put a lot of thought into it, and i'm a sucker for some gnc undertones so very cool stuff. the only (very trivial) minus i noticed, a lot of the tailoring does not exactl fit the boys’ bodies to a t, see jungkook’s or jin’s sleeves, though you can’t expect bts to have a tailor come in and fix so many outfits with so many comebacks at once. the dance, it's a compilation of many classic bts moves. i feel like it could be tiny bit more distinguished with a whopping new complex signature formation that bts is famous for in creating, then again the full dance practice isn't out and the head nodding part is quite a visual anchor. also: i noticed they put yoongi in front row a lot. someone’s shoulder is finally better again, we can prepare for some good stuff.

lyrically: 4/10. the song fulfills its function, it creates the mood, but i’m hard to please in that regard as mentioned before. why: time and again i realize that yoongi, rm, and pdogg spoil us with comforting or on-fire lyrics that hit home and are on brand. same idea as in dynamite here, we're hit with a lotta english catchphrases that we usually wouldn't hear from bangtan. it's party mode, it's the summer hit kinda writing, so yeah it does what it’s supposed to do anyway and anybody can sing along. it’s catchy and solid for sure. the 'smooth criminal/superstar/heartbreaker' idea is carried through as a red string so thematically, it's coherent at least. a lot of lines are downright hilarious with random analogies and i don't know if the writers are serious or not. they could go all the way to make it clearer that humor and braggadocio is the concept here, exaggerate it even more. you can’t always tell if it’s a parody of a ‘yeah i’m the man you all fall for me’ sentiment or if it’s 100% business. in some parts of the song it works, in others it makes less sense. where i’ve seen bts execute this well with their own writing is converse high, that’s the bar. it’s also a personal lesson for me since i write crack often, butter tells you where to put the punchlines and where to keep it neutral. a lot of it is all over the place. on the other hand, it fits right on the beat. and perfectly executed pop so i'm a bit torn. i like the ‘got that heat’ part they gave jimin. 'side step right left to my beat' is a good chorus entry as well. making light of it, every lyric works as a witty gif or tweet tagline and we'll be circulating these phrases to eternity. every line works as a good comeback in any situation of life. yoongi's verse legit made me giggle. TLDR: the lyrics are partially confusing but they blend with the music well. 

conceptually: 8/10. hit the bell for that black and white intro, that was a good idea, same with the latest teaser. and: range, darling. only in a bts video could a cotton candy jimin go from a mugshot to being the president to a basket ball court hero to going full saturday night fever to flexing his legs in less than three minutes. jokes aside: it all fits in the universe of boy with luv and dynamite so points for consistency. bts's directors have outlined a new style for sure. the worldbuilding could go even deeper, but lumpens did a good job giving us many different eye candy serves and an innovative theme that hasn’t been tackled before, k-pop and pancakes why not! there are less actual film sets (and the difference shows, e.g. in Fire or Daechwita it really gave it some oomph), but it's not really needed. butter has no requirement for an agust d-ish plotline with historical buildings and the members' looks are in the center of attention. then again, i like those details of hoseok sitting in a retro apartment at the end — cozy, i love — with a radio. once again, they could exaggerate the vintage even more, it wouldn’t take away from the idea and visuals. i wish they would’ve expanded even more on the melting butter aesthetic shots as well, although it’s neatly tied into the song so it makes sense. the lyrics really have been blended with the choreograpy theme (the side step as a central move) so i’m thinking the art direction and choreographer had quite an in-depth discussion how to create a bigger picture. as for my weakness: cuteness melts me like butter, extra points for jungkook and yoongi being adorable in their seats.

[thebrownssociety]

what’s the sibling dynamic between buster and elmyra? since elmer and bugs are married in and the looney tunes cast adopted the tiny toons cast

Thanks for the ask! Sorry it's taken so long, I was trying to tie all the threads together.

So, I'm going to include Babs in this as well, as I headcanon Bugs and Elmer adopted Buster, Babs and Elmyra together.

So to understand this we've got to go back to after Tiny Toons had finished filming in early 1992. By that point the kids were all 5 years old and had basically formed a tight-knit group. They were also at the stage in there development when they were starting to expand a little bit beyond what their official characterisation was.

So, take Montanna Max, for example, although he was still hot-headed, obsessed with money and greedy [and those traits would never go away] he was now learning that his friends [and particularly the adults] weren't going to put up with his screaming at them all day and not sharing anything and that if he wanted to remain friends with them he was going to have to change his behaviour at least a little. The rest of the toons would accept what he was created as, but they wouldn't accept him using that as an excuse to act completely out of order.

Buster and Babs upon finishing filming were both enrolled in a two-year long course which was basically going to help them adjust to not being a protagonist anymore. It's a course that every protagonist of a TV show, or a film, does after the completion of there first show, and it basically helps them come to terms with the fact they are not the centre of the universe. The reason for this is because it's been accepted and realised that it's very hard for a toon who's had there entire show revolve around them to suddenly not have that anymore and be sent out into the world of Toons where most Toons don't care.

As a genreral rule in Toontown, unless you've achieved the fame levels of Bugs Bunny or Mickey Mouse, or are associated with them, no one really cares what film you were in. So Anna and Elsa are treated like goddesses in Toontown because, there film was really successful and they're seen as really good characters, contrast that with Princess Aurora [who's film was a box-office bomb at time of release, I believe] who is more respected and liked because she's royalty and she's really nice than because her film was successful.

In short, unless your film is massively successful at time of release, you're just another toon and the two-year course helps protagonists come to terms with that. There are positives as well, it's not all 'you're nothing now'. The toons work on their individual skills and how they may be transferred to other things. [Babs's impression are so good, for instance, that even if Tiny Toons never got rebooted, she'd still have a really good shot at becoming a Toon Impressionist, if she wanted to. Buster's flexibility and ability to 'read' other people means he'd potentially be good as a nurse/doctor/police officer or just a role that's with the public.]

While Buster and Babs were doing that Elmyra spent time with Bugs and Elmer and practiced her toon powers while benefiting from the individual attention being given by her dads. [Just a note, there is a two-year course for villains as well that was introduced in the 60's that helps them to...not be so villainous, but you have to meet a certain level of 'badness' like Maleficent OR Evil Queen to get in there and - obviously - Elmyra doesn't meet that requirement.]

So, back to the actual ask, Buster, Babs and Elmyra moved into Bugs and Elmer's 5-bedroom mansion shortly after filming ended. It was decided they would each have there own room, which they decorated to there own preferences [Elmyra's is very VERY pink]. So this relieved some tension, because Babs HATED the idea of sharing a room with Elmyra. [Elmyra, for her part, was happy about the idea and cried buckets when she was told it wouldn't be happening.]

At first Buster didn't really get on well with Elmyra at all. Over filming he'd kind of managed to build her up into the 'oh, help me, it's Elmyra' figure, and although he knew she was largely harmless, he still didn't like her. Her 'baby-act' and need to be constantly supervised also grated. This was the same for Babs.

Elmyra, at first, adored the idea of living with Babs and Buster and had visions of dressing them up all day in 'cutesey-wutesey outfits'. It may surprise you to know, that Buster and Babs did not WANT to be dressed up in outfits, cute or otherwise, and had no issue anvilling her to get the point across. This led to tears on Elmyra's part and frustration on Babs and Buster's.

This did eventually mellow out though, due to a couple of things, firstly - Bugs and Elmer's determination to teach Elmyra how to handle her new brother and sister properly [and vice versa for the bunny's]. Secondly - because Elmyra did have regular session with Doctor Scratchensniff every week during which they worked on 'how not to strangle animals when you hug them.' among other things and thirdly because Buster and Babs realised things where not all sunny for Elmyra.

That sounds really ominous, but what I may is that a few of you may have remembered that Elmyra actually had a family when she was on the show. A physical one, not just 'mentioned' parents like Buster. [Babs had a mother who was shown, but Babs's mother is a sufficiently flat characters, that if she doesn't have Babs in the house she assumes she's at school. It doesn't matter whether it's snowing, the middle of the school holidays or the middle of the night, as far as 'Mrs Bunny' is concerned, Babs is at school.]

It was decided after Tiny Toons ended that Elmyra should continue to see her 'designed' family [the family she was designed to have] at the weekends. Friday afternoon she walked home/would be dropped off by someone at her designed parents house and she would stay there until Sunday night until she was returned just after dinner. [So Elmyra would miss dinner with Bugs and co]

This worked for a little while until it got to when Elmyra was going into Grade 1 and Elmer realised she was always doing her homework when she got home. Her parents weren't helping her. In a rather tense conversation he asked Elmyra's designed parents if they would help her do her homework. They promptly replied that the homework was to difficult for 'there little baby' and she should be given something age-appropriate. It was during that discussion that Elmer discovered her 'parents' thought she was 4 years old.

Even by Toon standards, this was a warning flag and Elmer promptly excused himself and ran the conversation by Doctor Scratchensniff because the fact Elmyra's parents didn't seem to recognise the fact that A} her designed age was 12 and B} she was actually 6, not 4 - was concerning to say the least.

Now. Normally D.S. doesn't get involved with this kind of thing because otherwise he'd never do anything else, but as Elmyra was already a patient of his and he decided it wouldn't do Elmer/Bugs any good if they challenged Elmyra's parents themselves, he decided he better have a word with them herself.

He had his word. And they seemed to understand. Scratchy went back to Bugs and Elmer and told them they didn't have to worry, that Elmyra's parents understood her designed age was 12 and that she would get older and mature above that [hopefully]. Bugs and Elmer [particularly Elmer] were suspicious about this at first, but Elmyra came back from her parents having had her homework done and with tales of having done exciting things during the weekend. She was also - they noticed - being given age-appropriate things to play with and this lasted...until she moved up to middle school.

Elmyra moved up to middle school a year after Buster and Babs did, which meant they weren't in the same class. However they were in the same house and it became noticeable that Elmyra didn't seem very happy. Specifically she didn't seem very happy with the idea of going to her parents house at the weekend and was somehow even less happy when she came back.

Bugs and Elmer had noticed this and tried to ask her what was wrong, but she refused to tell them. Buster didn't really want to get involved - he felt it would open a long, emotional conversation he didn't really want to have - but when Elmyra came home one day in tears and he was the only one in the house it fell to him to deal with it.

Turns out Elmyra's parents did not like the fact she was in middle school. They thought the schoolwork she was doing was to advanced for her [it was perfectly acceptable work for her grade and she was doing well with it] and her mother in particular was concerned because Elmyra had started Noticing Boys. This did not fit with the notion they had that she was still a little girl who spoke in a babyish voice and called everything 'cuddly-wuddly' despite the fact that Elmyra herself was doing her best to drop the 'cuddly-wudddly's' [unfortunately she still had to keep the babyish voice] and asking that her parents maybe not buy her games and stuff that were clearly designed for a child under 10.

By this point all this had been going on for a few months. Buster - after calming Elmyra down and running the situation by Hampton - told there dads what was going on with Elmyra and they took matters out of his hands.

Doctor Scratchensniff paid another visit to Elmyra's parents with the intention of explaining to them, gently and tactfully, why they needed to change the way they were treating Elmyra because it was risking damaging her and no one has a clue what was actually said in that meeting, but the end shot was that Elmyra no longer saw her parents on the weekend. She could contact them again at 16 if she wanted to, but until then it was in her best interests to stay away from them.

You all may be wondering why I'm going into so much detail about Elmyra's circumstances, and that's because I feel it's necessary to understand the siblings dynamic. Buster, Babs and Elmyra - up until they were about 11 - only spent Mon-Thurs as a proper group. During that time they anvilled each other, teased each other and tried to actively avoid each other [or rather Buster and Babs tried to actively avoid Elmyra when she was at her most annoying] They also played games together, struggled through school-work together and dealt with there annoying parents together. They became a pretty effective sibling team.

Buster and Babs - despite being created to have a crush on each other - came to view each other as adopted siblings and remained close. They laughed together, joke together and messed with people together.

Babs and Elmyra go shopping together, they talk about stuff together - 'stuff' being the subjects of romances and Life in general that perhaps Buster wouldn't want to be a part off - they get on pretty well actually, mainly because they have a good few things in common and on Elmyra's sensible non-complete-moron days they can even have deep conversations about politics and the world in general as well as analysing TV shows and fangirling over there favourite characters.

Buster and Elmyra are a bit of an odd paring. On Elmyra's smart days the two of them can be quite devious and can throw adults for a loop easily. On her less smart days Buster just tries to stay out her way. The things with Buster and Elmyra is that he basically thought of her as an annoyance for the first 5 years off his life. When he was adopted by Bugs and Elmer and found himself now living with her he was essentially banned from insulting her to harshly. ["No anvilling at the dinner table, Buster!"] But part the issue was that Buster was jealous because Elmyra had another family she got too see and he didn't. He knew that Bugs and Elmer were his official family and it was great to be adopted by his mentor but he couldn't help a pang of envy every time Elmyra got in the car to go to her parents house.

And then the breakdown happened with Elmyra when she was 11 [Buster and Babs knew her parents had had a few problems with her before, but didn't know the exact details, To be fair not even Elmyra herself knew the exact details. Elmer had the conversation away from her and then the rest of it was kept away from her. The only thing she was told was that her parents would now be helping her with homework when she went to them at the weekend.] and Buster realised that Elmyra's home life was not a bed of roses and he made a conscious effort to not be so short with her and to be more patient in the way that Babs seems to be able to do effortlessly. [Babs's realised pretty quickly after they all started living together that Elmyra wasn't going to change and decided that rather than fight it she was just going to embrace it. She was hoping that Elmyra would go away after Babs played 'dress-up' with her, but it just made Elmyra like her more. After a couple of months - and a conversation with Bugs - Babs realised that Elmyra literally just wanted someone to spend time with and dress up. But it was more the spending time than the dressing up that Elmyra liked. They managed to work out a system where Babs would let Elmyra dress her up and do her ears, if Elmyra would give feedback on Babs's impressions and watch comedy tapes with her.]

Going back to Buster, it took a while and, while he and Elmyra are never going to be 'best friends', Buster eventually realised she wasn't that bad and started to enjoy spending time with her.

Elmyra, for her part, has made a conscious effort over the years to not hug her siblings [or any other cute, fluffy creatures for that matter] to tightly, dress them up against their will, or chase them round the earth till they just give up. She still hugs and does like going shopping [or 'grown-up dress up' as Babs calls it] and will chase them to give them a hug if she's having a particularly stupid day or thinks they look upset, but the main thing is that Elmyra is trying.

Very very trying.

[holyhellpod]

Holy Hell: 3. Metanarrativity: Who’s the Deleuze and who’s the Guattari in your relationship? aka the analysis no one asked for.

In this ep, we delve into authorship, narrative, fandom and narrative meaning. And somehow, as always, bring it back to Cas and Misha Collins.

(Note: the reason I didn’t talk about Billie’s authorship and library is because I completely forgot it existed until I watched season 13 “Advanced Thanatology” again, while waiting for this episode to upload. I’ll find a way to work her into later episodes tho!)

I had to upload it as a new podcast to Spotify so if you could just re-subscribe that would be great! Or listen to it at these other links.

Please listen to the bit at the beginning about monetisation and if you have any questions don’t hesitate to message me here.

Apple | Spotify | Google

Transcript under the cut!

Warnings: discussions of incest, date rape, rpf, war, 9/11, the bush administration, abuse, mental health, addiction, homelessness. Most of these are just one off comments, they’re not full discussions.

Meta-Textuality: Who’s the Deleuze and who’s the Guattari in your relationship?

In the third episode of Season 6, “The Third Man,” Balthazar says to Cas, “you tore up the whole script and burned the pages.” That is the fundamental idea the writers of the first five seasons were trying to sell us: whatever grand plan the biblical God had cooking up is worth nothing in face of the love these men have—for each other and the world. Sam, Bobby, Cas and Dean will go to any lengths to protect one another and keep people safe. What’s real? What’s worth saving? People are real. Families are worth saving. 

This show plugs free will as the most important thing a person, angel, demon or otherwise can have. The fact of the matter is that Dean was always going to fight against the status quo, Sam was always going to go his own way, and Bobby was always going to do his best for his boys. The only uncertainty in the entire narrative is Cas. He was never meant to rebel. He was never meant to fall from Heaven. He was supposed to fall in line, be a good soldier, and help bring on the apocalypse, but Cas was the first agent of free will in the show’s timeline. Sam followed Lucifer, Dean followed Michael, and John gave himself up for the sins of his children, at once both a God and Jesus figure. But Cas wasn’t modelled off anyone else. He is original. There are definitely some parallels to Ruby, but I would argue those are largely unintentional. Cas broke the mold. 

That’s to say nothing of the impact he’s had on the fanbase, and the show itself, which would not have reached 15 seasons and be able to end the way they wanted it to without Cas and Misha Collins. His back must be breaking from carrying the entire show. 

But what the holy hell are we doing here today? Not just talking about Cas. We’re talking about metanarrativity: as I define it, and for purposes of this episode, the story within a story, and the act of storytelling. We’re going to go through a select few episodes which I think exemplify the best of what this show has to offer in terms of framing the narrative. We’ll talk about characters like Chuck and Becky and the baby dykes in season 10. And most importantly we’ll talk about the audience’s role, our role, in the reciprocal relationship of storytelling. After all, a tv show is nothing without the viewer.

I was in fact introduced to the concept of metanarrativity by Supernatural, so the fact that I’m revisiting it six years after I finished my degree to talk about the show is one of life’s little jokes.

 I’m brushing off my degree and bringing out the big guns (aka literary theorists) to examine this concept. This will be yet another piece of analysis that would’ve gone well in my English Lit degree, but I’ll try not to make it dry as dog shit. 

First off, I’m going to argue that the relationship between the creators of Supernatural and the fans has always been a dialogue, albeit with a power imbalance. Throughout the series, even before explicitly metanarrative episodes like season 10 “Fan Fiction” and season 4 “the monster at the end of this book,” the creators have always engaged in conversations with the fans through the show. This includes but is not limited to fan conventions, where the creators have actual, live conversations with the fans. Misha Collins admitted at a con that he’d read fanfiction of Cas while he was filming season 4, but it’s pretty clear even from the first season that the creators, at the very least Eric Kripke, were engaging with fans. The show aired around the same time as Twitter and Tumblr were created, both of which opened up new passageways for fans to interact with each other, and for Twitter and Facebook especially, new passageways for fans to interact with creators and celebrities.

But being the creators, they have ultimate control over what is written, filmed and aired, while we can only speculate and make our own transformative interpretations. But at least since s4, they have engaged in meta narrative construction that at once speaks to fans as well as expands the universe in fun and creative ways. My favourite episodes are the ones where we see the Winchesters through the lens of other characters, such as the season 3 episode “Jus In Bello,” in which Sam and Dean are arrested by Victor Henriksen, and the season 7 episode “Slash Fiction” in which Dean and Sam’s dopplegangers rob banks and kill a bunch of people, loathe as I am to admit that season 7 had an effect on any part of me except my upchuck reflex. My second favourite episodes are the meta episodes, and for this episode of Holy Hell, we’ll be discussing a few: The French Mistake, he Monster at the end of this book, the real ghostbusters, Fan Fiction, Metafiction, and Don’t Call Me Shurley. I’ll also discuss Becky more broadly, because, like, of course I’ll be discussing Becky, she died for our sins. 

Let’s take it back. The Monster At The End Of This Book — written by Julie Siege and Nancy Weiner and directed by Mike Rohl. Inarguably one of the better episodes in the first five seasons. Not only is Cas in it, looking so beautiful, but Sam gets something to do, thank god, and it introduces the character of Chuck, who becomes a source of comic relief over the next two seasons. The episode starts with Chuck Shurley, pen named Carver Edlund after my besties, having a vision while passed out drunk. He dreams of Sam and Dean larping as Feds and finding a series of books based on their lives that Chuck has written. They eventually track Chuck down, interrogate him, and realise that he’s a prophet of the lord, tasked with writing the Winchester Gospels. The B plot is Sam plotting to kill Lilith while Dean fails to get them out of the town to escape her. The C plot is Dean and Cas having a moment that strengthens their friendship and leads further into Cas’s eventual disobedience for Dean. Like the movie Disobedience. Exactly like the movie Disobedience. Cas definitely spits in Dean’s mouth, it’s kinda gross to be honest. Maybe I’m just not allo enough to appreciate art. 

When Eric Kripke was showrunner of the first five seasons of Supernatural,  he conceptualised the character of Chuck. Kripke as the author-god introduced the character of the author-prophet who would later become in Jeremy Carver’s showrun seasons the biblical God. Judith May Fathallah writes in “I’m A God: The Author and the Writing Fan in Supernatural” that Kripke writes himself both into and out of the text, ending his era with Chuck winking at the camera, saying, “nothing really ends,” and disappearing. Kripke stayed on as producer, continuing to write episodes through Sera Gamble’s era, and was even inserted in text in the season 6 episode “The French Mistake”. So nothing really does end, not Kripke’s grip on the show he created, not even the show itself, which fans have jokingly referred to as continuing into its 16th season. Except we’re not joking. It will die when all of us are dead, when there is no one left to remember it. According to W R Fisher, humans are homo narrans, natural storytellers. The Supernatural fandom is telling a fidelitous narrative, one which matches our own beliefs, values and experiences instead of that of canon. Instead of, at Fathallah says, “the Greek tradition, that we should struggle to do the right thing simply because it is right, though we will suffer and be punished anyway,” the fans have created an ending for the characters that satisfies each and every one of our desires, because we each create our own endings. It’s better because we get to share them with each other, in the tradition of campfire stories, each telling our own version and building upon the others. If that’s not the epitome of mythmaking then I don’t know. It’s just great. Dean and Cas are married, Eileen and Sam are married, Jack is sometimes a baby who Claire and Kaia are forced to babysit, Jody and Donna are gonna get hitched soon. It’s season 17, time for many weddings, and Kevin Tran is alive. Kripke, you have no control over this anymore, you crusty hag. 

Chuck is introduced as someone with power, but not influence over the story, only how the story is told through the medium of the novels. It’s basically a very badly written, non authorised biography, and Charlie reading literally every book and referencing things she should have no knowledge of is so damn creepy and funny. At first Chuck is surprised by his characters coming to life, despite having written it already, and when shown the intimidating array of weapons in Baby’s trunk he gets real scared. Which is the appropriate response for a skinny 5-foot-8 white guy in a bathrobe who writes terrible fantasy novels for a living. 

As far as I can remember, this is the first explicitly metanarrative episode in the series, or at least the first one with in world consequences. It builds upon the lore of Christianity, angels, and God, while teasing what’s to come. Chuck and Sam have a conversation about how the rest of the season is going to play out, and Sam comes away with the impression that he’ll go down with the ship. They touch on Sam’s addiction to demon blood, which Chuck admits he didn’t write into the books, because in the world of supernatural, addiction should be demonised ha ha at every opportunity, except for Dean’s alcoholism which is cool and manly and should never be analysed as an unhealthy trauma coping mechanism. 

Chuck is mostly impotent in the story of Sam and Dean, but his very presence presents an element of good luck that turns quickly into a force of antagonism in the series four finale, “Lucifer Rising”, when the archangel Raphael who defeats Lilith in this episode also kills Cas in the finale. It’s Cas’s quick thinking and Dean’s quick doing that resolve the episode and save them from Lilith, once again proving that free will is the greatest force in the universe. Cas is already tearing up pages and burning scripts. The fandom does the same, acting as gods of their own making in taking canon and transforming it into fan art. The fans aren’t impotent like Chuck, but neither do we have sway over the story in the way that Cas and Dean do. Sam isn’t interested in changing the story in the same way—he wants to kill Lilith and save the world, but in doing so continues the story in the way it was always supposed to go, the way the angels and the demons and even God wanted him to. 

Neither of them are author-gods in the way that God is. We find out later that Chuck is in fact the real biblical god, and he engineers everything. The one thing he doesn’t engineer, however, is Castiel, and I’ll get to that in a minute.

The Real Ghostbusters

Season 5’s “The real ghostbusters,” written by Nancy Weiner and Erik Kripke, and directed by James L Conway, situates the Winchesters at a fan convention for the Supernatural books. While there, they are confronted by a slew of fans cosplaying as Sam, Dean, Bobby, the scarecrow, Azazel, and more. They happen to stumble upon a case, in the midst of the game where the fans pretend to be on a case, and with the help of two fans cosplaying as Sam and Dean, they put to rest a group of homicidal ghost children and save the day. Chuck as the special guest of the con has a hero moment that spurs Becky on to return his affections. And at the end, we learn that the Colt, which they’ve been hunting down to kill the devil, was given to a demon named Crowley. It’s a fun episode, but ultimately skippable. This episode isn’t so much metanarrative as it is metatextual—metatextual meaning more than one layer of text but not necessarily about the storytelling in those texts—but let’s take a look at it anyway.

The metanarrative element of a show about a series of books about the brothers the show is based on is dope and expands upon what we saw in “the monster at the end of this book”. But the episode tells a tale about about the show itself, and the fandom that surrounds it. 

Where “The Monster At The End Of This Book” and the season 5 premiere “Sympathy For The Devil” poked at the coiled snake of fans and the concept of fandom, “the real ghostbusters” drags them into the harsh light of an enclosure and antagonises them in front of an audience. The metanarrative element revolves around not only the books themselves, but the stories concocted within the episode: namely Barnes and Demian the cosplayers and the story of the ghosts. The Winchester brothers’s history that we’ve seen throughout the first five seasons of the show is bared in a tongue in cheek way: while we cried with them when Sam and Dean fought with John, now the story is thrown out in such a way as to mock both the story and the fans’ relationship to it. Let me tell you, there is a lot to be made fun of on this show, but the fans’ relationship to the story of Sam, Dean and everyone they encounter along the way isn’t part of it. I don’t mean to be like, wow you can’t make fun of us ever because we’re special little snowflakes and we take everything so seriously, because you are welcome to make fun of us, but when the creators do it, I can’t help but notice a hint of malice. And I think that’s understandable in a way. Like The relationship between creator and fan is both layered and symbiotic. While Kripke and co no doubt owe the show’s popularity to the fans, especially as the fandom has grown and evolved over time, we’re not exactly free of sin. And don’t get me wrong, no fandom is. But the bad apples always seem to outweigh the good ones, and bad experiences can stick with us long past their due.

However, portraying us as losers with no lives who get too obsessed with this show — well, you know, actually, maybe they’re right. I am a loser with no life and I am too obsessed with this show. So maybe they have a point. But they’re so harsh about it. From wincestie Becky who they paint as a desperate shrew to these cosplayers who threaten Dean’s very perception of himself, we’re not painted in a very good light. 

Dean says to Demian and Barnes, “It must be nice to get out of your mom’s basement.” He’s judging them for deriving pleasure from dressing up and pretending to be someone else for a night. He doesn’t seem to get the irony that he does that for a living. As the seasons wore on, the creators made sure to include episodes where Dean’s inner geek could run rampant, often in the form of dressing up like a cowboy, such as season six “Frontierland” and season 13 “Tombstone”. I had to take a break from writing this to laugh for five minutes because Dean is so funny. He’s a car gay but he only likes one car. He doesn’t follow sports. His echolalia causes him to blurt out lines from his favourite movies. He’s a posse magnet. And he loves cosplay. But he will continually degrade and insult anyone who expresses interest in role play, fandom, or interests in general. Maybe that’s why Sam is such a boring person, because Dean as his mother didn’t allow him to have any interests outside of hunting. And when Sam does express interests, Dean insults him too. What a dick. He’s my soulmate, but I am not going to stop listening to hair metal for him. That’s where I draw the line. 

 Where “the monster at the end of this book” is concerned with narrative and authorship, “the real ghostbusters” is concerned with fandom and fan reactions to the show. It’s not really the best example to talk about in an episode about metanarrativity, but I wanted to include it anyway. It veers from talk of narrative by focusing on the people in the periphery of the narrative—the fans and the author. In season 9 “Metafiction,” Metatron asks the question, who gives the story meaning? The text would have you believe it’s the characters. The angels think it’s God. The fandom think it’s us. The creators think it’s them. Perhaps we will never come to a consensus or even a satisfactory answer to this question. Perhaps that’s the point.

The ultimate takeaway from this episode is that ordinary people, the people Sam and Dean save, the people they save the world for, the people they die for again and again, are what give their story meaning. Chuck defeats a ghost and saves the people in the conference room from being murdered. Demian and Barnes, don’t ask me which is which, burn the bodies of the ghost children and lay their spirits to rest. The text says that ordinary, every day people can rise to the challenge of becoming extraordinary. It’s not a bad note to end on, by any means. And then we find out that Demian and Barnes are a couple, which of course Dean is surprised at, because he lacks object permanence. 

This is no doubt influenced by how a good portion of the transformative fandom are queer, and also a nod to the wincesties and RPF writers like Becky who continue to bottom feed off the wrong message of this show. But then, the creators encourage that sort of thing, so who are the real clowns here? Everyone. Everyone involved with this show in any way is a clown, except for the crew, who were able to feed their families for more than a decade. 

Okay side note… over the past year or so I’ve been in process of realising that even in fandom queers are in the minority. I know the statistic is that 10% of the world population is queer, but that doesn’t seem right to me? Maybe because 4/5 closest friends are queer and I hang around queers online, but I also think I lack object permanence when it comes to straight people. Like I just do not interact with straight people on a regular basis outside of my best friend and parents and school. So when I hear that someone in fandom is straight I’m like, what the fuck… can you keep that to yourself please? Like if I saw Misha Collins coming out as straight I would be like, I didn’t ask and you didn’t have to tell. Okay I’m mostly joking, but I do forget straight people exist. Mostly I don’t think about whether people are gay or trans or cis or straight unless they’ve explicitly said it and then yes it does colour my perception of them, because of course it would. If they’re part of the queer community, they’re my people. And if they’re straight and cis, then they could very well pose a threat to me and my wellbeing. But I never ask people because it’s not my business to ask. If they feel comfortable enough to tell me, that’s awesome.  I think Dean feels the same way. Towards the later seasons at least, he has a good reaction when it’s revealed that someone is queer, even if it is mostly played off as a joke. It’s just that he doesn’t have a frame of reference in his own life to having a gay relationship, either his or someone he’s close to. He says to Cesar and Jesse in season 11 “The Critters” that they fight like brothers, because that’s the only way he knows how to conceptualise it. He doesn’t have a way to categorise his and Cas’s relationship, which is in many ways, long before season 15 “Despair,” harking back even to the parallels between Ruby and Cas in season 3 and 4, a romantic one, aside from that Cas is like a brother to him. Because he’s never had anyone in his life care for him the way Cas does that wasn’t Sam and Bobby, and he doesn’t recognise the romantic element of their relationship until literally Cas says it to him in the third last episode, he just—doesn’t know what his and Cas’s relationship is. He just really doesn’t know. And he grew up with a father who despised him for taking the mom and wife role in their family, the role that John placed him in, for being subservient to John’s wishes where Sam was more rebellious, so of course he wouldn’t understand either his own desires or those of anyone around him who isn’t explicitly shoving their tits in his face. He moulded his entire personality around what he thought John wanted of him, and John says to him explicitly in season 14 “Lebanon”, “I thought you’d have a family,” meaning, like him, wife and two rugrats. And then, dear god, Dean says, thinking of Sam, Cas, Jack, Claire, and Mary, “I have a family.” God that hurts so much. But since for most of his life he hasn’t been himself, he’s been the man he thought his father wanted him to be, he’s never been able to examine his own desires, wants and goals. So even though he’s really good at reading people, he is not good at reading other people’s desires unless they have nefarious intentions. Because he doesn’t recognise what he feels is attraction to men, he doesn’t recognise that in anyone else. 

Okay that’s completely off topic, wow. Getting back to metanarrativity in “The Real Ghostbusters,” I’ll just cap it off by saying that the books in this episode are more a frame for the events than the events themselves. However, there are some good outtakes where Chuck answers some questions, and I’m not sure how much of that is scripted and how much is Rob Benedict just going for it, but it lends another element to the idea of Kripke as author-god. The idea of a fan convention is really cool, because at this point Supernatural conventions had been running for about 4 years, since 2006. It’s definitely a tribute to the fans, but also to their own self importance. So it’s a mixed bag, considering there were plenty of elements in there that show the good side of fandom and fans, but ultimately the Winchesters want nothing to do with it, consider it weird, and threaten Chuck when he says he’ll start releasing books again, which as far as they know is his only source of income. But it’s a fun episode and Dean is a grouchy bitch, so who the holy hell cares?

Season 10 episode “fanfiction” written by my close personal friend Robbie Thompson and directed by Phil Sgriccia is one of the funniest episodes this show has ever done. Not only is it full of metatextual and metanarrative jokes, the entire premise revolves around fanservice, but in like a fun and interesting way, not fanservice like killing the band Kansas so that Dean can listen to “Carry On My Wayward Son” in heaven twice. Twice. One version after another. Like I would watch this musical seven times in theatre, I would buy the soundtrack, I would listen to it on repeat and make all my friends listen to it when they attend my online Jitsi birthday party. This musical is my Hamilton. Top ten episodes of this show for sure. The only way it could be better is if Cas was there. And he deserved to be there. He deserved to watch little dyke Castiel make out with her girlfriend with her cute little wings, after which he and Dean share uncomfortable eye contact. Dean himself is forever coming to terms with the fact that gay people exist, but Cas should get every opportunity he can to hear that it’s super cool and great and awesome to be queer. But really he should be in every episode, all of them, all 300 plus episodes including the ones before angels were introduced. I’m going to commission the guy who edits Paddington into every movie to superimpose Cas standing on the highway into every episode at least once.

“Fan Fiction” starts with a tv script and the words “Supernatural pilot created by Eric Kripke”. This Immediately sets up the idea that it’s toying with narrative. Blah blah blah, some people go missing, they stumble into a scene from their worst nightmares: the school is putting on a musical production of a show inspired by the Supernatural books. It’s a comedy of errors. When people continue to go missing, Sam and Dean have to convince the girls that something supernatural is happening, while retaining their dignity and respect. They reveal that they are the real Sam and Dean, and Dean gives the director Marie a summary of their lives over the last five seasons, but they aren’t taken seriously. Because, like, of course they aren’t. Even when the girls realise that something supernatural is happening, they don’t actually believe that the musical they’ve made and the series of books they’re basing it on are real. Despite how Sam and Dean Winchester were literal fugitives for many years at many different times, and this was on the news, and they were wanted by the FBI, despite how they pretend to be FBI, and no one mentions it??? Did any of the staffwriters do the required reading or just do what I used to do for my 40 plus page readings of Baudrillard and just skim the first sentence of every paragraph? Neat hack for you: paragraphs are set up in a logical order of Topic, Example, Elaboration, Linking sentence. Do you have to read 60 pages of some crusty French dude waxing poetic about how his best friend Pierre wants to shag his wife and making that your problem? Read the first and last sentence of every paragraph. Boom, done. Just cut your work in half. 

The musical highlights a lot of the important moments of the show so far. The brothers have, as Charlie Bradbury says, their “broment,” and as Marie says, their “boy melodrama scene,” while she insinuates that there is a sexual element to their relationship. This show never passed up an opportunity to mention incest. It’s like: mentioning incest 5000 km, not being disgusting 1 km, what a hard decision. Actually, they do have to walk on their knees for 100 miles through the desert repenting. But there are other moments—such as Mary burning on the ceiling, a classic, Castiel waiting for Dean at the side of the highway, and Azazel poisoning Sam. With the help of the high schoolers, Sam and Dean overcome Calliope, the muse and bad guy of the episode, and save the day. What began as their lives reinterpreted and told back to them turns into a story they have some agency over.

In this episode, as opposed to “The Monster At The End Of This Book,” The storytelling has transferred from an alcoholic in a bathrobe into the hands of an overbearing and overachieving teenage girl, and honestly why not. Transformative fiction is by and large run by women, and queer women, so Marie and her stage manager slash Jody Mills’s understudy Maeve are just following in the footsteps of legends. This kind of really succinctly summarises the difference between curative fandom and transformative fandom, the former of which is populated mostly by men, and the latter mostly by women. As defined by LordByronic in 2015, Curative fandom is more like enjoying the text, collecting the merchandise, organising the knowledge — basically Reddit in terms of fandom curation. Transformative fandom is transforming the source text in some way — making fanart, fanfic, mvs, or a musical — basically Tumblr in general, and Archive of our own specifically. Like what do non fandom people even do on Tumblr? It is a complete mystery to me. Whereas Chuck literally writes himself into the narrative he receives through visions, Marie and co have agency and control over the narrative by writing it themselves. 

Chuck does appear in the episode towards the end, his first appearance after five seasons. The theory that he killed those lesbian theatre girls makes me wanna curl up and die, so I don’t subscribe to it. Chuck watched the musical and he liked it and he gave unwarranted notes and then he left, the end.

The Supernatural creative team is explicitly acknowledging the fandom’s efforts by making this episode. They’re writing us in again, with more obsessive fans, but with lethbians this time, which makes it infinitely better. And instead of showing us as potential date rapists, we’re just cool chicks who like to make art. And that’s fucken awesome. 

I just have to note that the characters literally say the word Destiel after Dean sees the actors playing Dean and Cas making out. He storms off and tells Sam to shut the fuck up when Sam makes fun of him, because Dean’s sexuality is NOT threatened he just needs to assert his dominance as a straight hetero man who has NEVER looked at another man’s lips and licked his own. He just… forgets that gay people exist until someone reminds him. BUT THEN, after a rousing speech that is stolen from Rent or Wicked or something, he echoes Marie’s words back, saying “put as much sub into that text as you possibly can.” What does Dean know about subbing, I wonder. Okay I’m suddenly reminded that he did literally go to a kink bar and get hit on by a leather daddy. Oh Dean, the experiences you have as a broad-shouldered, pixie-faced man with cowboy legs. You were born for this role.

Metatron is my favourite villain. As one tumblr user pointed out, he is an evil English literature major, which is just a normal English literature major. The season nine episode “Meta Fiction” written by my main man robbie thompson and directed by thomas j wright, happens within a curious season. Castiel, once again, becomes the leader of a portion of the heavenly host to take down Metatron, and Dean is affected by the Mark Of Cain. Sam was recently possessed by Gadreel, who killed Kevin in Sam’s body and then decided to run off with Metatron. Metatron himself is recruiting angels to join him, in the hopes that he can become the new God. It’s the first introduction of Hannah, who encourages Cas to recruit angels himself to take on Metatron. Also, we get to see Gabriel again, who is always a delight. 

This episode is a lot of fun. Metatron poses questions like, who tells a story and who is the most important person in the telling? Is it the writer? The audience? He starts off staring over his typewriter to address the camera, like a pompous dickhead. No longer content with consuming stories, he’s started to write his own. And they are hubristic ones about becoming God, a better god than Chuck ever was, but to do it he needs to kill a bunch of people and blame it on Cas. So really, he’s actually exactly like Chuck who blamed everything on Lucifer. 

But I think the most apt analogy we can use for this in terms of who is the creator is to think of Metatron as a fanfiction writer. He consumes the media—the Winchester Gospels—and starts to write his own version of events—leading an army to become God and kill Cas. Nevermind that no one has been able to kill Cas in a way that matters or a way that sticks. Which is canon, and what Metatron is trying to do is—well not fanon because it actually does impact the Winchesters’ storyline. It would be like if one of the writers of Supernatural began writing Supernatural fanfiction before they got a job on the show. Which as my generation and the generations coming after me get more comfortable with fanfiction and fandom, is going to be the case for a lot of shows. I think it’s already the case for Riverdale. Correct me if I’m wrong, but didn’t the woman who wrote the bi Dean essay go to work on Riverdale? Or something? I dunno, I have the post saved in my tumblr likes but that is quagmire of epic proportions that I will easily get lost in if I try to find it. 

Okay let me flex my literary degree. As Englund and Leach say in “Ethnography and the metanarratives of modernity,” “The influential “literary turn,” in which the problems of ethnography were seen as largely textual and their solutions as lying in experimental writing seems to have lost its impetus.” This can be taken to mean, in the context of Supernatural, that while Metatron’s writings seek to forge a new path in history, forgoing fate for a new kind of divine intervention, the problem with Metatron is that he’s too caught up in the textual, too caught up in the writing, to be effectual. And this as we see throughout seasons 9, 10 and 11, has no lasting effect. Cas gets his grace back, Dean survives, and Metatron becomes a powerless human. In this case, the impetus is his grace, which he loses when Cas cuts it out of him, a mirror to Metatron cutting out Cas’s grace. 

However, I realise that the concept of ethnography in Supernatural is a flawed one, ethnography being the observation of another culture: a lot of the angels observe humanity and seem to fit in. However, Cas has to slowly acclimatise to the Winchesters as they tame him, but he never quite fit in—missing cues, not understanding jokes or Dean’s personal space, the scene where he says, “We have a guinea pig? Where?” Show him the guinea pig Sam!!! He wants to see it!!! At most he passes as a human with autism. Cas doesn’t really observe humanity—he observes nature, as seen in season 7 “reading is fundamental” and “survival of the fittest”. Even the human acts he talks about in season 6 “the man who would be king” are from hundreds or thousands of years ago. He certainly doesn’t observe popular culture, which puts him at odds with Dean, who is made up of 90 per cent pop culture references and 10 per cent flannel. Metatron doesn’t seek to blend in with humanity so much as control it, which actually is the most apt example of ethnography for white people in the last—you know, forever. But of course the writers didn’t seek to make this analogy. It is purely by chance, and maybe I’m the only person insane enough to realise it. But probably not. There are a lot of cookies much smarter than me in the Supernatural fandom and they’ve like me have grown up and gone to university and gotten real jobs in the real world and real haircuts. I’m probably the only person to apply Englund and Leach to it though.

And yes, as I read this paper I did need to have one tab open on Google, with the word “define” in the search bar. 

Metatron has a few lines in this that I really like. He says: 

“The universe is made up of stories, not atoms.”

“You’re going to have to follow my script.”

“I’m an entity of my word.”

It’s really obvious, but they’re pushing the idea that Metatron has become an agent of authorship instead of just a consumer of media. He even throws a Supernatural book into his fire — a symbolic act of burning the script and flipping the writer off, much like Cas did to God and the angels in season 5. He’s not a Kripke figure so much as maybe a Gamble, Carver or Dabb figure, in that he usurps Chuck and becomes the author-god. This would be extremely postmodern of him if he didn’t just do exactly what Chuck was doing, except worse somehow. In fact, it’s postmodern of Cas to reject heaven’s narrative and fall for Dean. As one tumblr user points out, Cas really said “What’s fate compared to Dean Winchester?”

Okay this transcript is almost 8000 words already, and I still have two more episodes to review, and more things to say, so I’ll leave you with this. Metatron says to Cas, “Out of all of God’s wind up toys, you’re the only one with any spunk.” Why Cas has captured his attention comes down more than anything to a process of elimination. Most angels fucking suck. They follow the rules of whoever puts themselves in charge, and they either love Cas or hate him, or just plainly wanna fuck him, and there have been few angels who stood out. Balthazar was awesome, even though I hated him the first time I watched season 6. He UNSUNK the Titanic. Legend status. And Gabriel was of course the OG who loves to fuck shit up. But they’re gone at this stage in the narrative, and Cas survives. Cas always survives. He does have spunk. And everyone wants to fuck him.  

Season 11 episode 20 “Don’t Call Me Shurley,” the last episode written by the Christ like figure of Robbie Thompson — are we sensing a theme here? — and directed by my divine enemy Robert Singer, starts with Metatron dumpster diving for food. I’m not even going to bother commenting on this because like… it’s supernatural and it treats complex issues like homelessness and poverty with zero nuance. Like the Winchesters live in poverty but it’s fun and cool because they always scrape by but Metatron lives in poverty and it’s funny. Cas was homeless and it was hard but he needed to do it to atone for his sins, and Metatron is homeless and it’s funny because he brought it on himself by being a murderous dick. Fucking hell. Robbie, come on. The plot focuses on God, also known as Chuck Shurley, making himself known to Metatron and asking for Metatron’s opinion on his memoir. Meanwhile, the Winchesters battle another bout of infectious serial killer fog sent by Amara. At the end of the episode, Chuck heals everyone affected by the fog and reveals himself to Sam and Dean. 

Chuck says that he didn’t foresee Metatron trying to become god, but the idea of Season 15 is that Chuck has been writing the Winchesters’ story all their lives. When Metatron tries, he fails miserably, is locked up in prison, tortured by Dean, then rendered useless as a human and thrown into the world without a safety net. His authorship is reduced to nothing, and he is reduced to dumpster diving for food. He does actually attempt to live his life as someone who records tragedies as they happen and sells the footage to news stations, which is honestly hilarious and amazing and completely unsurprising because Metatron is, at the heart of it, an English Literature major. In true bastard style, he insults Chuck’s work and complains about the bar, but slips into his old role of editor when Chuck asks him to. 

The theory I’m consulting for this uses the term metanarrative in a different way than I am. They consider it an overarching narrative, a grand narrative like religion. Chuck’s biography is in a sense most loyal to Middleton and Walsh’s view of metanarrative: “the universal story of the world from arche to telos, a grand narrative encompassing world history from beginning to end.” Except instead of world history, it’s God’s history, and since God is construed in Supernatural as just some guy with some powers who is as fallible as the next some guy with some powers, his story has biases and agendas.  Okay so in the analysis I’m getting Middleton and Walsh’s quotes from, James K A Smith’s ���A little story about metanarratives,” Smith dunks on them pretty bad, but for Supernatural purposes their words ring true. Think of them as the BuckLeming of Lyotard’s postmodern metanarrative analysis: a stopped clock right twice a day. Is anyone except me understanding the sequence of words I’m saying right now. Do I just have the most specific case of brain worms ever found in human history. I’m currently wearing my oversized Keith Haring shirt and dipping pretzels into peanut butter because it’s 3.18 in the morning and the homosexuals got to me. The total claims a comprehensive metanarrative of world history make do indeed, as Middleton and Walsh claim, lead to violence, stay with me here, because Chuck’s legacy is violence, and so is Metatron’s, and in trying to reject the metanarrative, Sam and Dean enact violence. Mostly Dean, because in season 15 he sacrifices his own son twice to defeat Chuck. But that means literally fighting violence with violence. Violence is, after all, all they know. Violence is the lens through which they interact with the world. If the writers wanted to do literally anything else, they could have continued Dean’s natural character progression into someone who eschews the violence that stems from intergeneration trauma — yes I will continue to use the phrase intergenerational trauma whenever I refer to Dean — and becomes a loving father and husband. Sam could eschew violence and start a monster rehabilitation centre with Eileen.

This episode of Holy Hell is me frantically grabbing at straws to make sense of a narrative that actively hates me and wants to kick me to death. But the violence Sam and Dean enact is not at a metanarrative level, because they are not author-gods of their own narrative. In season 15 “Atomic Monsters,” Becky points out that the ending of the Supernatural book series is bad because the brothers die, and then, in a shocking twist of fate, Dean does die, and the narrative is bad. The writers set themselves a goal post to kick through and instead just slammed their heat into the bars. They set up the dartboard and were like, let’s aim the darts at ourselves. Wouldn’t that be fun. Season 15’s writing is so grossly incompetent that I believe every single conspiracy theory that’s come out of the finale since November, because it’s so much more compelling than whatever the fuck happened on the road so far. Carry on? Why yes, I think I will carry on, carry on like a pork chop, screaming at the bars of my enclosure until I crack my voice open like an egg and spill out all my rage and frustration. The world will never know peace again. It’s now 3.29 and I’ve written over 9000 words of this transcript. And I’m not done.

Middleton and Walsh claim that metanarratives are merely social constructions masquerading as universal truths. Which is, exactly, Supernatural. The creators have constructed this elaborate web of narrative that they want to sell us as the be all and end all. They won’t let the actors discuss how they really feel about the finale. They won’t let Misha Collins talk about Destiel. They want us to believe it was good, actually, that Dean, a recovering alcoholic with a 30 year old infant son and a husband who loves him, deserved to die by getting NAILED, while Sam, who spent the last four seasons, the entirety of Andrew Dabb’s run as showrunner, excelling at creating a hunter network and romancing both the queen of hell and his deaf hunter girlfriend, should have lived a normie life with a normie faceless wife. Am I done? Not even close. I started this episode and I’m going to finish it.

When we find out that Chuck is God in the episode of season 11, it turns everything we knew about Chuck on its head. We find out in Season 15 that Chuck has been writing the Winchesters’ story all along, that everything that happened to them is his doing. The one thing he couldn’t control was Cas’s choice to rebel. If we take him at his word, Cas is the only true force of free will in the entire universe, and more specifically, the love that Cas had for Dean which caused him to rebel and fall from heaven. — This theory has holes of course. Why would Lucifer torture Lilith into becoming the first demon if he didn’t have free will? Did Chuck make him do that? And why? So that Chuck could be the hero and Lucifer the bad guy, like Lucifer claimed all along? That’s to say nothing of Adam and Eve, both characters the show introduced in different ways, one as an antagonist and the other as the narrative foil to Dean and Cas’s romance. Thinking about it makes my head hurt, so I’m just not gunna. 

So Chuck was doing the writing all along. And as Becky claims in “Atomic Monsters,” it’s bad writing. The writers explicitly said, the ending Chuck wrote is bad because there’s no Cas and everyone dies, and then they wrote an ending where there is no Cas and everyone dies. So talk about self-fulfilling prophecies. Talk about giant craters in the earth you could see from 800 kilometres away but you still fell into. Meanwhile fan writers have the opportunity to write a million different endings, all of which satisfy at least one person. The fandom is a hydra, prolific and unstoppable, and we’ll keep rewriting the ending a million more times.

And all this is not even talking about the fact that Chuck is a man, Metatron is a man, Sam and Dean and Cas are men, and the writers and directors of the show are, by an overwhelming majority, men. Most of them are white, straight, cis men. Feminist scholarship has done a lot to unpack the damage done by paternalistic approaches to theory, sociology, ethnography, all the -ys, but I propose we go a step further with these men. Kill them. Metanarratively, of course. Amara, the Darkness, God’s sister, had a chance to write her own story without Chuck, after killing everything in the universe, and I think she had the right idea. Knock it all down to build it from the ground up. Billie also had the opportunity to write a narrative, but her folly was, of course, putting any kind of faith in the Winchesters who are also grossly incompetent and often fail up. She is, as all author-gods on this show are, undone by Castiel. The only one with any spunk, the only one who exists outside of his own narrative confines, the only one the author-gods don’t have any control over. The one who died for love, and in dying, gave life. 

The French Mistake

Let’s change the channel. Let’s calm ourselves and cleanse our libras. Let’s commune with nature and chug some sage bongs. 

“The French Mistake” is a song from the Mel Brooks film Blazing Saddles. In the iconic second last scene of the film, as the cowboys fight amongst themselves, the camera pans back to reveal a studio lot and a door through which a chorus of gay dancersingers perform “the French Mistake”. The lyrics go, “Throw out your hands, stick out your tush, hands on your hips, give ‘em a push. You’ll be surprised you’re doing the French Mistake.” 

I’m not sure what went through the heads of the Supernatural creators when they came up with the season 6 episode, “The French Mistake,” written by the love of my life Ben Edlund and directed by some guy Charles Beeson. Just reading the Wikipedia summary is so batshit incomprehensible. In short: Balthazar sends Sam and Dean to an alternate universe where they are the actors Jared Padalecki and Jensen Ackles, who play Sam and Dean on the tv show Supernatural. I don’t think this had ever been done in television history before. The first seven seasons of this show are certifiable. Like this was ten years ago. Think about the things that have happened in the last 10 slutty, slutty years. We have lived through atrocities and upheaval and the entire world stopping to mourn, but also we had twitter throughout that entire time, which makes it infinitely worse.

In this universe, Sam and Dean wear makeup, Cas is played by attractive crying man Misha Collins, and Genevieve Padalecki nee Cortese makes an appearance. Magic doesn’t exist, Serge has good ideas, and the two leads have to act in order to get through the day. Sorry man I do not know how to pronounce your name.

Sidenote: I don’t know if me being attracted aesthetically to Misha Collins is because he’s attractive, because this show has gaslighted me into thinking he’s attractive, or because Castiel’s iconic entrance in 2008 hit my developing mind like a torpedo full of spaghetti and blew my fucking brains all over the place. It’s one of life’s little mysteries and God’s little gifts.

Let’s talk about therapy. More specifically, “Agency and purpose in narrative therapy: questioning the postmodern rejection of metanarrative” by Cameron Lee. In this paper, Lee outlines four key ideas as proposed by Freedman and Combs:

Realities are socially constructed

Realities are constituted through language

Realities are organised and maintained through narrative

And there are no essential truths.

Let’s break this down in the case of this episode. Realities are socially constructed: the reality of Sam and Dean arose from the Bush era. Do I even need to elaborate? From what I understand with my limited Australian perception, and being a child at the time, 9/11 really was a prominent shifting point in the last twenty years. As Americans describe it, sometimes jokingly, it was the last time they were really truly innocent. That means to me that until they saw the repercussions of their government’s actions in funding turf wars throughout the middle east for a good chunk of the 20th Century, they allowed themselves to be hindered by their own ignorance. The threat of terrorism ran rampant throughout the States, spurred on by right wing nationalists and gun-toting NRA supporters, so it’s really no surprise that the show Supernatural started with the premise of killing everything in sight and driving around with only your closest kin and a trunk full of guns. Kripke constructed that reality from the social-political climate of the time, and it has wrought untold horrors on the minds of lesbians who lived through the noughties, in that we are now attracted to Misha Collins.

Number two: Realities are constituted through language. Before a show can become a show, it needs to be a script. It’s written down, typed up, and given to actors who say the lines out loud. In this respect, they are using the language of speech and words to convey meaning. But tv shows are not all about words, and they’re barely about scripts. From what I understand of being raised by television, they are about action, visuals, imagery, and behaviours. All of the work that goes into them—the scripts, the lighting, the audio, the sound mixing, the cameras, the extras, the ADs, the gaffing, the props, the stunts, everything—is about conveying a story through the medium of images. In that way, images are the language. The reality of the show Supernatural, inside the show Supernatural, is constituted through words: the script, the journalists talking to Sam, the makeup artist taking off Dean’s makeup, the conversations between the creators, the tweets Misha sends. But also through imagery: the fish tank in Jensen’s trailer, the model poses on the front cover of the magazine, the opulence of Jared’s house, Misha’s iconic sweater. Words and images are the language that constitutes both of these realities. Okay for real, I feel like I’ve only seen this episode max three times, including when I watched it for research for this episode, but I remember so much about it. 

Number three: realities are organised and maintained through narrative. In this universe of the French Mistake, their lives are structured around two narratives: the internal narrative of the show within the show, in which they are two actors on a tv set; and the episode narrative in which they need to keep the key safe and return to their own universe. This is made difficult by the revelation that magic doesn’t work in this universe, however, they find a way. Before they can get back, though, an avenging angel by the name of Virgil guns down author-god Eric Kripke and tries to kill the Winchesters. However, they are saved by Balthazar and the freeze frame and brought back into their own world, the world of Supernatural the show, not Supernatural the show within the show within the nesting doll. And then that reality is done with, never to be revisited or even mentioned, but with an impact that has lasted longer than the second Bush administration.

And number four: there are no essential truths. This one is a bit tricky because I can’t find what Lee means by essential truths, so I’m just going to interpret that. To me, essential truths means what lies beneath the narratives we tell ourselves. Supernatural was a show that ran for 15 years. Supernatural had actors. Supernatural was showrun by four different writers. In the show within a show, there is nothing, because that ceases to exist for longer than the forty two minute episode “The French Mistake”. And since Supernatural no longer exists except in our computers, it is nothing too. It is only the narratives we tell ourselves to sleep better at night, to wake up in the morning with a smile, to get through the day, to connect with other people, to understand ourselves better. It’s not even the narrative that the showrunners told, because they have no agency over it as soon as it shows up on our screens. The essential truth of the show is lost in the translation from creating to consuming. Who gives the story meaning? The people watching it and the people creating it. We all do. 

Lee says that humans are predisposed to construct narratives in order to make sense of the world. We see this in cultures from all over the world: from cave paintings to vases, from The Dreaming to Beowulf, humans have always constructed stories. The way you think about yourself is a story that you’ve constructed. The way you interact with your loved ones and the furries you rightfully cyberbully on Twitter is influenced by the narratives you tell yourself about them. And these narratives are intricate, expansive, personalised, and can colour our perceptions completely, so that we turn into a different person when we interact with one person as opposed to another. 

Whatever happened in season 6, most of which I want to forget, doesn’t interest me in the way I’m telling myself the writers intended. For me, the entirety of season 6 was based around the premise of Cas being in love with Dean, and the complete impotence of this love. He turns up when Dean calls, he agonises as he watches Dean rake leaves and live his apple pie life with Lisa, and Dean is the person he feels most horribly about betraying. He says, verbatim, to Sam, “Dean and I do share a more profound bond.” And Balthazar says, “You’re confusing me with the other angel, the one in the dirty trenchcoat who’s in love with you.” He says this in season 6, and we couldn’t do a fucken thing about it. 

The song “The French Mistake” shines a light on the hidden scene of gay men performing a gay narrative, in the midst of a scene about the manliest profession you can have: professional horse wrangler, poncho wearer, and rodeo meister, the cowboy. If this isn’t a perfect encapsulation of the lovestory between Dean and Cas, which Ben Edlund has been championing from day fucking one of Misha Collins walking onto that set with his sex hair and chapped lips, then I don’t know what the fuck we’re even doing here. What in the hell else could it possibly mean. The layers to this. The intricacy. The agendas. The subtextual AND blatant queerness. The micro aggressions Crowley aimed at Car in “The Man Who Would Be King,” another Bedlund special. Bed Edlund is a fucking genius. Bed Edlund is cool girl. Ben Edlund is the missing link. Bed Edlund IS wikileaks. Ben Edlund is a cool breeze on a humid summer day. Ben Edlund is the stop loading button on a browser tab. Ben Edlund is the perfect cross between Spotify and Apple Music, in which you can search for good playlists, but without having to be on Spotify. He can take my keys and fuck my wife. You best believe I’m doing an entire episode of Holy Hell on Bedlund’s top five. He is the reason I want to get into staffwriting on a tv show. I saw season 4 episode “On the head of a pin” when my brain was still torpedoed spaghetti mush from the premiere, and it nestled its way deep into my exposed bones, so that when I finally recovered from that, I was a changed person. My god, this transcript is 11,000 words, and I haven’t even finished the Becky section. Which is a good transition.

Oh, Becky. She is an incarnation of how the writers, or at least Kripke, view the fans. Watching season 5 “Sympathy for the Devil” live in 2009 was a whole fucking trip that I as a baby gay was not prepared for. Figuring out my sexuality was a journey that started with the Supernatural fandom and is in some aspects still raging against the dying of the light today. Add to that, this conception of the audience was this, like, personification of the librarian cellist from Juno, but also completely without boundaries, common sense, or shame. It made me wonder about my position in the narrative as a consumer consuming. Is that how Kripke saw me, specifically? Was I like Becky? Did my forays into DeanCasNatural on El Jay dot com make me a fucking loser whose only claim to fame is writing some nasty fanfiction that I’ve since deleted all traces of? Don’t get me wrong, me and my unhinged Casgirl friends loved Becky. I can’t remember if I ever wrote any fanfiction with her in it because I was mostly writing smut, which is extremely Becky coded of me, but I read some and my friends and I would always chat about her when she came up. She was great entertainment value before season 7. But in the eyes of the powers that be, Becky, like the fans themselves, are expendable. First they turned her into a desperate bride wannabe who drugs Sam so that he’ll be with her, then Chuck waves his hand and she disappears. We’re seeing now with regards to Destiel, Cas, and Misha Collins this erasure of them from the narrative. Becky says in season 15 “Atomic Monsters” that the ending Chuck writes is bad because, for one, there’s no Cas, and that’s exactly what’s happening to the text post-finale. It literally makes me insane akin to the throes of mania to think about the layers of this. They literally said, “No Cas = bad” and now Misha isn’t even allowed to talk in his Cassona voice—at least at the time I wrote that—to the detriment of the fans who care about him. It’s the same shit over and over. They introduce something we like, they realise they have no control over how much we like it, and then they pretend they never introduced it in the first place. Season 7, my god. The only reason Gamble brought back Cas was because the ratings were tanking the show. I didn’t even bother watching most of it live, and would just hear from my friends whether Cas was in the episodes or not. And then Sera, dear Sera, had the gall to say it was a Homer’s Odyssey narrative. I’m rusty on Homer aka I’ve never read it but apparently Odysseus goes away, ends up with a wife on an island somewhere, and then comes back to Terabithia like it never happened. How convenient. But since Sera Gamble loves to bury her gays, we can all guess why Cas was written out of the show: Cas being gay is a threat to the toxic heteronormativity spouted by both the show and the characters themselves. In season 15, after Becky gets her life together, has kids, gets married, and starts a business, she is outgrowing the narrative and Chuck kills her. The fans got Destiel Wedding trending on Twitter, and now the creators are acting like he doesn’t exist. New liver, same eagles.

I have to add an adendum: as of this morning, Sunday 11th, don’t ask me what time that is in Americaland, Misha Collins did an online con/Q&A thing and answered a bunch of questions about Cas and Dean, which goes to show that he cannot be silenced. So the narrative wants to be told. It’s continuing well into it’s 16th or 17th season. It’s going to keep happening and they have no recourse to stop it. So fuck you, Supernatural.

I did write the start of a speech about representation but, who the holy hell cares. I also read some disappointing Masters theses that I hope didn’t take them longer to research and write than this episode of a podcast I’m making for funsies took me, considering it’s the same number of pages. Then again I have the last four months and another 8 years of fandom fuelling my obsession, and when I don’t sleep I write, hence the 4,000 words I knocked out in the last 12 hours. 

Some final words. Lyotard defines postmodernism, the age we live in, as an incredulity towards metanarratives. Modernism was obsessed with order and meaning, but postmodernism seeks to disrupt that. Modernists lived within the frame of the narrative of their society, but postmodernists seek to destroy the frame and live within our own self-written contexts. Okay I love postmodernist theory so this has been a real treat for me. Yoghurt, Sam? Postmodernist theory? Could I BE more gay? 

Middleton and Walsh in their analysis of postmodernism claim that biblical faith is grounded in metanarrative, and explore how this intersects with an era that rejects metanarrative. This is one of the fundamental ideas Supernatural is getting at throughout definitely the last season, but other seasons as well. The narratives of Good vs Evil, Michael vs Lucifer, Dean vs Sam, were encoded into the overarching story of the show from season 1, and since then Sam and Dean have sought to break free of them. Sam broke free of John’s narrative, which was the hunting life, and revenge, and this moralistic machismo that they wrapped themselves up in. If they’re killing the evil, then they’re not the evil. That’s the story they told, and the impetus of the show that Sam was sucked back into. But this thread unravelled in later seasons when Dean became friends with Benny and the idea that all supernatural creatures are inherently evil unravelled as well. While they never completely broke free of John’s hold over them, welcoming Jack into their lives meant confronting a bias that had been ingrained in them since Dean was 4 years old and Sam 6 months. In the face of the question, “are all monsters monstrous?” the narrative loosens its control. Even by questioning it, it throws into doubt the overarching narrative of John’s plan, which is usurped at the end of season 2 when they kill Azazel by Dean’s demon deal and a new narrative unfolds. John as author-god is usurped by the actual God in season 4, who has his own narrative that controls the lives of Sam, Dean and Cas. 

Okay like for real, I do actually think the metanarrativity in Supernatural is something that should be studied by someone other than me, unless you wanna pay me for it and then shit yeah. It is extremely cool to introduce a biographical narrative about the fictional narrative it’s in. It’s cool that the characters are constantly calling this narrative into focus by fighting against it, struggling to break free from their textual confines to live a life outside of the external forces that control them. And the thing is? The really real, honest thing? They have. Sam, Dean and Cas have broken free of the narrative that Kripke, Carver, Gamble and Dabb wrote for them. The very fact that the textual confession of love that Cas has for Dean ushered in a resurgence of fans, fandom and activity that has kept the show trending for five months after it ended, is just phenomenal. People have pointed out that fans stopped caring about Game of Thrones as soon as it ended. Despite the hold they had over tv watchers everywhere, their cultural currency has been spent. The opposite is true for Supernatural. Despite how the finale of the show angered and confused people, it gains more momentum every day. More fanworks, more videos, more fics, more art, more ire, more merch is being generated by the fans still. The Supernatural subreddit, which was averaging a few posts a week by season 15, has been incensed by the finale. And yours truly happily traipsed back into the fandom snake pit after 8 years with a smile on my face and a skip in my step ready to pump that dopamine straight into my veins babeeeeeeyyyyy. It’s been WILD. I recently reconnected with one of my mutuals from 2010 and it’s like nothing’s changed. We’re both still unhinged and we both still simp for Supernatural. Even before season 15, I was obsessed with the podcast Ride Or Die, which I started listening to in late 2019, and Supernatural was always in the back of my mind. You just don’t get over your first fandom. Actually, Danny Phantom was my first fandom, and I remember being 12 talking on Danny Phantom forums to people much too old to be the target audience of the show. So I guess that hasn’t left me either. And the fondest memories I have of Supernatural is how the characters have usurped their creators to become mythic, long past the point they were supposed to die a quiet death. The myth weaving that the Supernatural fandom is doing right now is the legacy that will endure. 

References

I got all of these for free from Google Scholar! 

Judith May Fathallah, “I’m A God: The Author and the Writing Fan in Supernatural.” 

James K A Smith, “A Little Story About Metanarratives: Lyotard, Religion and Postmodernism Revisited.” 2001.

Cameron Lee, “Agency and Purpose in Narrative Therapy: Questioning the Postmodern Rejection of Metanarrative.” 2004.

Harri Englund and James Leach, “Ethnography and the Meta Narratives of Modernity.” 2000.

https://uproxx.com/filmdrunk/mel-brooks-explains-french-mistake-blazing-saddles-blu-ray/

[p1harmonyofficial]

[📰] P1Harmony Interview | EUPHORIA.

By Aedan Juvet

When we initially met P1Harmony in the fall of 2020, the six-member South Korean boy band promptly revealed themselves through a new, unexpected idea of creativity. Now, they’re back with a second EP to show a more comprehensive sound.

At the beginning of their unity, the group hit theaters prior to the studio, with a cinematic experience that constructed a fictional universe around their identity, P1Harmony to familiarize fans with what they had to offer. Their debut of work was showcased through a film lens, before the group was prepared to launch their fusion of pop music, R&B, and rap, making the K-pop talents fulfill the precise artistry standards that many company-signed South Korean artists have refined.

On the heels of their album late last year, the group has readily fought to prove themselves, earning over 20 million views between two videos and a handful of respectable nods at the Seoul Music Awards in categories with other heavy hitters. Having found their niche, the group is now ready to present DISHARMONY: BREAK OUT to the world, and as a sophomore endeavor, there’s a newly discovered conviction from the charismatic members of P1Harmony.

On the new album, the group has returned to their rap and R&B merger, expanding their display of confidence on the lead single “Scared” with a strikingly effective balance of chaos and clarity. Though it can be easy to get distracted by all of the new exciting facets of the industry, P1Harmony’s return finds focus by overcoming any rookie-haze, shown through a series of new radio-friendly releases that still feels ingrained in originality. Opposite their aggressively produced single is something like a more R&B-focused “If You Call Me.” The song paints a picture of P1Harmony’s diligence for storytelling through their discography ― this particular track details difficulties of commitment. On its own, the song proudly announces its spellbinding range to listeners, driven by a sultry chorus without a single weak spot in the three and a half minutes.

On tracks like “AYAYA,” P1Harmony embraces a bit of an edge, or there’s the effortlessly confidence-inspiring “Pyramid” embodying an opportunity to let loose. The overall union of songs on DISHARMONY: BREAK OUT paints a picture of what the album could be like in a live setting, and that’s largely a culmination of all of the group’s interest in taking risks. That same fearlessness towards pushing your limits is what keeps any musician adapting, growing, and expanding in their catalog, which in ways is put on display in this expansive story from P1Harmony. That pure courageousness in the studio isn’t always the easiest path for an artist to take, but for a group like P1Harmony, there’s an obvious respect for discovering what their collective strengths are, and what the future could be.

With a new album out, and having time to reflect on the sophomore release itself, we spoke to P1Harmony about their favorite tracks, confidence, and experience the progression of their maturity for the first-year artists.

If your first album was a way to introduce you to the world, what would you say was your goal behind DISHARMONY: BREAK OUT?

KEEHO: Through this album, we wanted to express and share a positive message with our listeners and our P1ece! [official P1Harmony fandom]. Our second EP, DISHARMONY: BREAK OUT, is mainly about not being afraid of anything, gaining confidence, and being more vocal; it’s also about “breaking out” of the things that are holding us back and moving forward with our dreams!

JIUNG: With this album, I want to give a voice to those who have been silent and help build their confidence so they can walk the path they want.

INTAK: I want a lot of people to listen to our album and find us to be different from other groups, and that we have our own distinctive style.

JONGSEOB: If our debut album introduced us to the world along with our opinions about systematic problems and social issues, then our second EP is about finding solutions to those problems, and why “breaking out” and having your own voice is important. Our goal is to make this message clearer through this new album.

“Pyramid” feels a lot like a song that has some confidence to it ― was there a certain inspiration that helped you create that song?

KEEHO: I think we wanted it to be super grand and loud. I get inspired when I watch a very captivating movie and passionate songs help me build my confidence. I think we made this song with the conviction that we are the best!

JIUNG: I think we wanted to give that majestic and solemn vibe that comes from an enormous amount of confidence. I think that’s why the song has a cinematic sound and powerful lyrics.

INTAK: The word “pyramid” was enough for me to be inspired; I just kept drawing pyramids in my head while writing the lyrics.

JONGSEOB: While I was writing the lyrics for this song, I had pictured a pharaoh and the sphinx in my head, so I think there are a lot of words like “crown” or “top” in the lyrics. When I’m writing, I tend to hold onto one main keyword and build lyrics around that keyword.

“If You Call Me” was probably my personal favorite, and it has a really nice slow, R&B vibe to it that shows off a new side to the group. How did that song come together?

KEEHO: In our first album, we had a song that all six of us worked on, which was ‘That’s It.” So, this time around we felt like we needed to add a song that we all worked on again so that’s how “If You Call Me” came about. I like and listen to a lot of R&B and so do the members. We all thought we needed something more chill and serene since the album is packed with high-intensity tracks.

THEO: I tried to express what I felt [empathy] during a certain time when the members and I volunteered for charity work.

JIUNG: First of all, thank you for selecting this song as your favorite! The first time we had a meeting about this song,  we discussed and confirmed the general narrative, message, and what the song would like. There were so many ideas that were being tossed around, but we, as a group, made the final decision to do something that sounded different from all our other tracks, which were all aggressive and high-powered. We wanted to find new ways of expressing the same message, and since most of the songs are about prosecuting the bad and criticizing injustices to make a better society, we also wanted to convey altruism.

SOUL: It’s really a song that includes every members’ thoughts and melodies.

JONGSEOB: It was the first time we designed our own melodies. We all came up with a melody for the song, and then picked a melody line that we all thought fit the best. It was the first time we’ve worked like that and would love to continue making music this way together.

We also have “AYAYA” and that’s a little edgier, and I’m already envisioning some excellent choreography to pair it with ― is there a song that you’re most excited to perform for fans in the coming year?

KEEHO: I think personally for me it’s “Scared.”

THEO: I think “Pyramid” and its choreography is really charismatic, so I hope we get a chance to perform it at least once for our fans.

JIUNG: I want to show “Pyramid” as well. The choreography is very artistic and beautiful and fits the solemn vibe that the song carries.

JONGSEOB: I personally would like to perform “Pyramid” as well, because I really enjoyed performing the choreography, and I also think it’s a great song so I think it would be nice to show the full performance.

From the first few seconds of “Scared,” it’s apparent that you guys wanted to create something different and unique, which works considering “don’t be scared” is a lyric itself! Do you feel like you’ve grown more comfortable in trying different combinations of styles?

KEEHO: I was always comfortable. We always work with an open mind and like to experiment with a lot of different musical styles and sounds, and I’d like to keep making music that way!

THEO: I think we are comfortable with trying new things because we are so close and are always openly sharing our ideas with each other.

JIUNG: I’m not sure if I can say it was comfortable, but I’ve gotten used to figuring out how to deliver our message by experimenting with all kinds of musical styles and genres. There are so many ways to express our thoughts. We don’t want to be confined to one particular style, so we are always exploring and try to make music that sounds unique and sophisticated.

INTAK: I think I’ve gotten pretty comfortable, sharing my ideas and working together as a group to create music.

SOUL: Me too!

JONGSEOB: I’ve gotten comfortable, too.

Of all of the tracks, is there a song that you’d say has a majority vote as the group’s personal favorite on DISHARMONY: BREAK OUT?

KEEHO: I would say”If You Call Me” and then “AYAYA.”

THEO: For me, it’s “AYAYA!” The melody is catchy, and it has an uplifting vibe.

JIUNG: I think it’s “AYAYA.” I always sing this song out loud whenever it’s on in the dance studio or in our car. We also had discussed this song as a group and thought it was the most addictive track on this album.

INTAK: My personal favorite is “End It.” I think it’s the second-best track (after “Scared”) that delivers the message of this album.

SOUL: I like the powerfulness of “Scared.”

JONGSEOB: I think “AYAYA” since it’s been selected by the majority of the members. I also think it’s a feel-good, energetic, and addictive track,  so it’s one I listen to it a lot as well.

What was the biggest change that you went through in between album releases as a group?

KEEHO: I think we definitely matured. I mean, of course, we are still very young and still have a long way to go, but we learned a lot in the last few months. We all wanted to show our fans everything we’ve prepared and that motivated us to become more mature and refined.

THEO: I think we got more comfortable being on stage and have more ease when we are performing and doing our personal or personal gestures [individual signature dance move].

JIUNG: I think our teamwork has gotten better!

INTAK: I think we matured, gotten more confident, found more ease, and made improvements.

SOUL: I think we matured a little bit, and I definitely agree that our teamwork has gotten better.

JONGSEOB: I think we gained more conviction as well as confidence in ourselves and as a group.

What would you say was the song that changed the most over the process of making this album in particular?

KEEHO: It’s “Scared” and “If You Call Me.” I think for “If You Call Me” there were a lot of edits and changes because we all worked on it together.

JONGSEOB: I think we had the most edits for “Scared’’ since it’s our lead single.

JIUNG: Yeah, “Scared” had the most changes. Since it was our title track, we wanted it to be flawless and therefore, made tons of changes and edits during the album-making process.

Looking back at the process of crafting this release, what would you say the most satisfying moment was?

KEEHO: It’s definitely the moment when we finished “If You Call Me,” we worked on it for so long and even gave up a couple of times in the middle of the process, but we pulled through. We put so much effort since it was our first project together as a team, and so it was that much more meaningful and satisfying when the song was completed.

THEO: I think it’s when we see ourselves on stage performing what we’ve practiced really hard for.

JIUNG: I was filled with pride and satisfaction when we finished recording the entire album, and album and heard the final outcome for the first time.

SOUL: I was really satisfied when the actual album came out!

JONGSEOB: I think the process of us evolving as a group and feeling like we’ve achieved something together is when I felt the most satisfaction.  

Make sure to check out DISHARMONY: BREAK OUT now, along with the music video for their new single “Scared.”

[loopy777]

Nickelodeon gives you the task of writing a series based on Korra's earthbending successor with no limits on what you can do. How would you write his story?

Interesting that you say “his.” There’s no rule that the Avatars have to alternate gender, but at this point the fandom assumes it so much that I’d just go with it to avoid controversy.

Anyway, I’d probably turn Nickelodeon down if they wanted me to write Korra’s successor. I have no interest in the future that seems to be getting established in LoK. I want the franchise to stay in the past forever; there’s more than enough room, and I’d even be open to throwing away the concept of “canon” to tell stories that might merely be in-universe legends.

But, I’m going to try to answer the question in good faith. If I was a professional television writer/producer, and my career depended on saying yes to this and trying to do a good job, here’s what I’d do:

Working Title: The Last Avatar

Our star is a poor Earthlands boy. The Earth Kingdom collapsed years ago, Balkanizing into a bunching of struggling nations divided up haphazardly among various tribes, local cultures, and convenient geographical groupings. Our Boy is an Earthbender, but he hasn’t pursued any official training because it’s largely a waste of time and money. Instead, he’s been working his way through an education, learning about robotics and spirit-energy, because demand is high for that knowledge. He repairs old robots for spare money, and even has his own glitchy assistant -- who can transform into a van -- who he likes to trash-talk to show his love. He’s a huge nerd.

Actually, the only reason he can defend himself with Earthbending at all is because of a classmate and friend who’s passed on her own lessons. This girl is one of seventeen young adults who currently use the Beifong name. She’s a Metalbender using her ability to innovate with circuitry, very interested in technology and business, but she also values some of the old ways and thinks Bending is an important part of Earth culture that should not be ignored.

Our Boy knows he’s not the Avatar because the Avatar is a super-famous influencer, activist, pop-singer, and advertising icon. She lives in the Fire Nation and has green hair. You should picture Hatsune Miku for her. There are bigger celebrities, and none of her movies have been huge hits, but the Avatar still has enough culture significance that she was born famous and has managed to stay in the news.

By the way, Fire Nation culture is dominant. All the best stuff comes from the Fire Nation. Their movies, television, music, and video games are popular all over the world. Their technology is better. Their quality is life is better. They have the best doctors, the fastest internet, bigger apartments, the most prestigious schools, and the best jobs. Immigration is limited by law, in order to maintain their high quality of life.

The United Republic and the Water Tribes have seized some former Earth Kingdom territory, so their influence has expanded. The United Republic invested heavily in technology, and they’re now a dystopian cyberpunk nightmare with a government that just does whatever its corporations say. The president of the United Republic is a position that rich men use to become richer. The Water Tribes are a lot better, having managed to transition to a constitutional monarchy and maintain something like a balance between life and technology.

Note that I didn’t say “spirituality and technology,” because the two are one. All technology is spirit-powered. Spirits can meld with the internet. Spirits can inhabit robot bodies. Spirits and humans meet in abstract Virtual Realities where the difference between the two disappears.

And all of this orderly chaos is set to collapse when Our Boy accidentally Firebends during a dangerous action moment. He and Beifong Girl realize he might be the Avatar. But Hatsune Miku has demonstrated command of all four elements. On separate occasions she’s been seen and filmed Earthbending, Firebending, Waterbending, and Airbending, sometimes two at once. So how can Our Boy also do that?

Beifong Girl urges him to contact the Air Nation and the descendants of Avatar Aang to find out. Except, when he does with her family’s help, Dual-Benders -- warriors using two different elements -- try to kill him. He’s been betrayed by the Air Nation- and possibly the Beifong clan. His friend helps him get away, but she isn’t sure she can trust her family. They both go on the run, not sure what to do.

The mystery of what’s going on will drive the whole series. Here’s our cast:

Our Boy: The true Earthbending Avatar, completely untrained. He’s a poor nerd thrown into the deep end of a global conspiracy, but fortunately he has a robot who transforms into a van, so at least he has transporation.

Beifong Friend: Our Boy’s best friend. Not a love interest. She’s the youngest Beifong cousin, an Earthlands patriot who wants to raise the former Earth Kingdom out of its divided state using technology. She’s also far too gentle for her family of power-hungry vipers, but she’s still a great Earthbender and will become a Metalbender warrior before the end.

Fake Avatar Hatsune Miku: An artificial biological/spiritual construct of the Red Lotus, able to Bend two elements at any one time by swapping out a set of four spirits (all of whom are intelligent, devoted solely to her, and have different personalities), and the center of a conspiracy that she’s the Avatar. The Red Lotus built her and are using her to advance their plans. She joins the hunt for Our Boy, officially decrying him as a Disciple of a Vaatu cult trying to destroy humanity. However, she eventually begins to have thoughts of her own and resent how she’s used and abused as a tool rather than a person. She becomes our Deuteragonist, going rogue and having her own journey and arcs that intersect with Our Boy. Depending on fandom reaction, she might becomes Our Boy’s love interest, but might also become just another friend. She eventually frees her spirit friends, giving up all Bending powers.

Water Sage-Candidate: A young man who is training to be a Water Sage/Shaman. He’s a new-age hippie type who distrusts technology but likes people and spirits, wanting everyone to be nicer and more supportive to each other. He’s suspicious of what’s going on with this supposed Vatuu cult, despite his master (a Red Lotus infiltrator) telling him to trust in the true Avatar. When Our Boy and his friends come to Water Tribe territory, he joins up with them to help expose the truth.

Air Detective: An Airbender, a master detective and manhunter, who has been tasked with helping to track down Our Boy. It turns out she’s honest and completely ignorant of what’s really going on, so as she hunts Our Boy, she realizes the greater conspiracy at work- one that seems to have set its sights on the Air Nation back during the height of Avatar Korra’s influence. She’s older than the main cast and largely separate from them, but she does spend a lot of time with Fake Avatar Hatsune Miku and becomes something of a mentor to her. She struggles balancing Airbender ideals and her own cynicism about humanity, and is probably the best fighter in the story.

The Red Lotus: Our villains. They have infiltrated every level of every government in the world, and have figured how to replicate what Raava did with Wan- use a melding between spirits and humans to swap out Bending powers. They have managed to get up to a human/spirit combo being able to actively use two at a time, but they’re hot on replicating the full Avatar experience. The idea is that they eventually want to give everyone full Avatar powers, ruining the office of the Avatar and empowering everyone with the strength to topple governments and businesses. Any single person can knock over a building and kill thousands. And for those who are incompatible with the melding process and explode- well, those are necessary losses. Red Lotus foot soldiers will often have, as one of their two elements, Firebending.

Red Lotus Traitor: A NonBender history nerd from a Red Lotus family. The more he sees as he’s initiated into the family business, the more horrified he becomes, but he successfully manages to hide it- which is good, because recruits who balk tend to wind up dead in ‘accidents.’ When Our Boy comes to the Fire Nation, he and his friends encounter the Traitor, which brings them to the Red Lotus’s attention, but the Traitor finally breaks free and gets the group out, joining them.

Boss Red Lotus: The leader of the Red Lotus. A NonBender. She and her family -- siblings, a father or mother we can maybe tie to a character in LoK, and maybe a kid or spouse -- are running the whole show and have inherited the plan that the Red Lotus are executing. What separates Boss Red Lotus is her personal investment in Fake Avatar Hasune Miku. She thinks of herself as Miku’s mother, and has become more interested in creating a higher form of life than merely giving humanity Avatar powers. She grows more obsessed when Miku goes rogue and commissions a more advanced clone.

Fake Love Interest: A love interest for Our Boy who is a little bit weird and a little bit cool, very pretty in a vaguely gothy way, and fond of bugs. This is actually Koh in disguise as a human, and the romance doesn’t work out. It will be awesome, trust me.

The bulk of the series is Our Boy and his growing group of friends tooling around the world in their robot-van, chased by Fake Avatar Hatsune Miku and the Airbender Detective, slowly uncovering the Red Lotus conspiracy and eventually rising up to save the world with the help of everyone who isn’t evil. The setting is dark and inspired by science-fiction, and there’s a theme of rediscovering the past, but the past doesn’t always hold the solution. Sometimes, the past merely contains the mistakes that led to today’s problems. The redemption of the world usually comes from getting in touch with the culture of the past, and mixing that with the wondrous new technology available today.

The ending I’m envisioning is a kind of embracing of the Red Lotus’s plan, but a non-destructive form. Everyone gets all four elements, but no one is killed by it, and the power level is completely normal. The Avatar, though, is the sole person to be able to Energybend, and it’s this role -- being able to explore the limitless potential of humanity -- that makes the Avatar important going forward. The significant Red Lotus are all sucked into hell or the Fog of Lost Souls or something, except for those who die outright, with the rest being rehabilitated.

Romance will be downplayed, aside from the fakeout with Koh, but if any of the recurring characters show some chemistry, there’s room to develop it. The Fake Avatar Hatsune Miku should be designed to be the audience’s tortured, angsty, badass waifu.

The next level of development for these ideas should come from the Concept Artist team, especially focusing on the weapons used in this setting. This will be followed by a more detailed revision by me with major plot points, and then going to the writers’ room for development of the first season. Entire characters or concepts may disappear or be added during that time.

Merchandising should emphasize the Tron Lines on everyone’s clothing that glow when Bending. Also, the Robot Van can be expanded to a whole line of transforming robots toys, although the word “transform” should not appear in any official material. We see video games as a major licensing opportunity, with a possibility for “canon” stories set in the same time period, intersecting with the cartoon’s main plot. To this end, final character designs should perhaps be modeled on voice actors, so that face scans or motion capture can be employed for AAA video game appearances.

And that’s my pitch.

[vkelleyart]

Hi!! Do you have a rec list of your favorite lgbtq novels? I’ve been wanting to read a lot more, but I don’t even know where to start. Any suggestions from followers would be great as well! :D (I already have Red, White, and Royal Blue on hold at my library)

Hello there! Oooh, this is an excellent ask. I’m gonna do my best here to give you the rundown of LGBTQ+ novels I’ve read and enjoyed, including quite a number of graphic novels as well, as those speak directly to my field of interest for obvious reasons. (I’m hoping to expand this list quite a bit…)

Ones I’ve read:

Carry On by @rainbowrowell: Because of course. Rainbow’s smart/ hilarious dialogue and heartfelt narrative shines in a subversive homage to the Harry Potter series in which two boys destined to kill each other fall in love instead and save the World of Mages. I’m obsessed. :)

Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Sáenz: There are simply not enough words to describe how much I loved this book. Benjamin Alire Sáenz’s prose reads like poetry, and as a Latinx person, I felt so many of the themes in it very deeply. It chronicles the deepening friendship and love between two Mexican American boys in the 1980s, and one of the aspects about the book that impressed me most was the way it depicted a loving, supportive family dynamic around the queer protagonists. The book wrung tears from my eyes. Highly recommend.

Will Grayson, Will Grayson by John Green and David Levithan: This is the first LGBTQ YA book I’ve ever read and I loved. It’s about two boys with the same name (one gay, one straight) whose stories are connected by way of a fabulously confident and charming gay bloke named Tiny. It’s romantic and funny and very creatively executed seeing as each author assumes the voice of one Will Grayson (they alternate chapters).

Simon vs. The Homo Sapiens Agenda by Becky Albertalli: This book was adapted to film, but I highly recommend reading the novel, as Simon’s narration is endearing and funny (and at points, heartbreaking) as he grapples with coming out before a classmate outs him as part of a scheme to blackmail him. This book flew by; there was so much angst happening, I couldn’t wait to find out what was going to happen. And of course, there’s the romantic mystery at the heart of Simon’s story: who is “Blue” and will Simon ever get together with him? 

Kiss Number 8 written by Colleen AF Venable, Ellen T. Crenshaw (Illustrator): A smartly written, beautifully drawn and hopeful graphic novel about a young girl coming to terms with her queerness in the midst of Catholic High School drama. The dialogue alone makes this worth it. Deals with not only sexual orientation/coming out but features a transgender plot line as well. When I finished it, I felt uplifted.

Prince and the Dressmaker by Jen Wang: This graphic novel reads like a subversive Disney fairy tale. It centers on the relationship between Prince Sebastian who secretly moonlights as a fashion icon named “Lady Chrystalia” and his best friend Frances, whom he hired to design his fabulous dresses. I actually read it to my son, and it inspired wonderful conversations about gender fluidity, gender performance, and of course, the power of love to transcend all of the above.

Bloom by by Kevin Panetta, Savanna Ganucheau (Illustrator): Another graphic novel drawn in a manga-esque art style about Ari and Hector, two boys working a bakery together and finding friendship and love in the time they spend together creating confections. It’s light and fluffy and predictably delicious.

Check! Please by Ngozi Ukazu: This is the softcover omnibus of years one and two of the popular webcomic of the same title. Its protagonist, Eric Bittle (”Bitty”) is a pie-baking former figure skater-turned-collegiate hockey player, and his eventual relationship with the team captain is nearly as charming as the hilarious and familial dynamic of everyone on the team. Read it for laughs and a feel good love story. 

Other highly recommended books on my To-Read Queer Lit List:

Red, White and Royal Blue by Casey McQuiston (Currently Reading)

Weak Heart by @basic-banshee/Ban Gilmartin (Currently Reading)

The Song of Achilles by Madeline Miller

The Raven Cycle (series) by Maggie Stiefvater

Laura Dean Keeps Breaking Up With Me by Mariko Tamaki

Anyone have others to add to the list? Give us your recs! ❤️

[joealwyndaily]

Sometimes the best Christmas presents are the ones we don’t think we need; a new Christmas Carol, for instance. Indeed it may be indicative of a certain unappreciated vacancy around the Christmas tree that in discussing the BBC’s new version of the Dickens classic both its director and leading man refer back to The Muppet Christmas Carol made way back in 1992.

“I was sent the script,” admits Nick Murphy, best known for directing the Rebecca Hall ghost movie The Awakening, “and my first thought was, ‘For God’s sake! The Muppets! They nailed it. What’s the point?’ ”

Joe Alwyn, who plays Scrooge’s clerk Bob Cratchit in the BBC three-parter, has meanwhile posted a trailer on Instagram with the caption: “Hard to fill the shoes once worn by Kermit. But I tried.” The self-deprecation was quickly “hearted” by the singer Taylor Swift, who is the actor’s girlfriend and who will be watching the mini-series with Alwyn and his family in London in the final days before Christmas.

There is nothing wrong, of course, with The Muppet Christmas Carol. It is probably in most people’s top three adaptations of Dickens’s masterpiece (alongside, I would say, Alastair Sim’s 1951 version and Scrooged). Its endurance does suggest, however, that it may be time someone did something a bit more serious, a little darker and a touch more grown-up with a tale that excoriated Victorian neglect and associated Christmas with the relief of poverty for ever more.

And this is exactly what Nick Murphy has achieved with a bracingly fresh script by the Peaky Blinders creator Steven Knight. Guy Pearce’s Ebenezer Scrooge is still a “squeezing, wrenching, grasping, scraping, clutching, covetous old sinner”, but since Pearce is only 52, there is rather less of the old. At the end of the novel, Dickens wrote that “ever afterwards” — that is after Scrooge’s Very Bad Night — “it was always said of him that he knew how to keep Christmas well”. That is rather more of an achievement when, as in this version, you may have 40 Christmases, rather than a couple, left to you.

Equally remade is Cratchit, who in Alwyn’s incarnation is far from the bashfully gulping frog thanking his master for granting him Christmas Day off before scampering back to Miss Piggy’s fleshy arms. Although Alwyn grew a rough beard for the part, his is also the best-looking Bob Cratchit you have seen. As the actor and I talk at the Picturehouse Central cinema in London, I find him as mesmerising off screen as on.

“Bob is trapped by Scrooge,” Alwyn says. “He’s abused by him. He’s not treated fairly. He’s there only because he has to be. He’s treated like shit.”

I’d say there’s a definite feeling in their shared scenes that Bob might just snap and hit Ebenezer over the head with a poker. “That was the intention. He’s at breaking point. He’s pushed right to his limits and Scrooge, I think, relishes winding him up. All Bob can do is hold his ground and fight back as much as he can — but he isn’t such a sap in this version.”

Scrooge and Cratchit’s relationship so much resembles an unhappy marriage that the niggling, bitter exchanges invented by Knight, with very little reference to Dickens’s dialogue, resemble Steptoe and Son rewritten by Strindberg. The easy contrast would have been with the Cratchits’ poor but happy marriage, but this too comes under scrutiny. There is an acknowledgment of the challenges a disabled child can bring to a household, and it is somehow emphasised by Tiny Tim being played by Lenny Rush, an extraordinary young actor, aged ten, who has a rare form of dwarfism called spondyloepiphyseal dysplasia congenita, the same condition as Warwick Davis.

“It really mattered to me that nobody was photo-fit,” Murphy says from a studio where he is dubbing the last episode. “Bob Cratchit is always a winsome, put-upon nice guy and the Cratchits themselves represent this idea of an ideal, working-class, lovely family. So we looked into their relationship on the page and there seems a genuine tension between Bob and his wife. Things are hard. It isn’t easy to have no money and a disabled child, and they lean on each other and they’re not straight with each other and there is a genuine antagonism between them.”

Knight has written into the narrative a family secret that connects the Cratchits to Scrooge. The secret belongs to Mrs Cratchit, played by Vinette Robinson, whose part is greatly expanded; indeed, the novella does not even grant her a first name, although the Muppets, and other adaptors, opted for Emily.

“Inevitably the secret begins to surface and cracks appear in the family,” Alwyn says. “Something has to happen. I think what Steven has done is take the story and drill deeper. He hasn’t taken too much liberty. It’s not bending the truth too much from what Dickens would have wanted. Or I hope not.”

Murphy insists that worthwhile adaptations of classic texts should be “edgy” and have “a good bite to them”. “If you absolutely don’t want any variation from the book then I strongly suggest you sit in a corner at Christmas and read it again. But if you want to see it used as a prism through which we can see a broader and slightly different subject explored, then this one’s for you.”

Alwyn’s performance is part of the iconoclasm. “Joe’s instinct as an actor is always to push away from the obvious and into ambiguity,” Murphy says. “He’s very quietly spoken. He’s not brash at all. He’s a gentle, intelligent guy, but he just simply wasn’t interested in fitting a Dickensian cliché.”

“I’ll take that,” Alwyn says when I pass on the compliment, having not considered his technique in such terms. He is 28 and would probably accept that he is best known for two facts: the first is that he is Taylor Swift’s boyfriend; the second that, aged 25 and with no professional acting experience, he won the title role in an Ang Lee movie.

He is from north London, the middle of three sons. Their father is the television documentary-maker Richard Alwyn, renowned for making The Shrine about the public reaction to Princess Diana’s death.

“He was away a bit,” Alwyn says. “He made quite a lot of films in Africa when I was growing up. He was often in Uganda, Rwanda at one point, South Sudan. So he’d come back with stories and artefacts from all over the place. He made a great documentary in Liverpool during the World Cup about two kids on an estate growing up there.”

His mother, Elizabeth, is a psychotherapist. So, I say, although his family were comfortably off and he was sent to the fee-paying City of London School, he knew something of other people’s lives?

“All different kinds of people, all different kinds of stories,” he says. “Obviously, she couldn’t share them with me in the same way that Dad could, but both their jobs take an interest in other people and are about how to empathise, understand, and listen to stories and tell stories. I suppose it’s not a million miles away from an actor’s job; listening to other people, understanding them, trying to tell stories.”

I ask about the contemporary political resonances of A Christmas Carol. I cite the wealth of certain members of his profession and of Swift’s. Only the other day I have read that she has a private jet so she can visit Alwyn on a whim. He promises me that 99.9 per cent of what the press write about them is false, and this is an example.

I ask if he finds it embarrassing.

“Find what embarrassing?”

The disparity between the amount some people earn and the wages of workers in, say, Amazon fulfilment centres.

“I saw something in The Guardian the other day, I think, saying that the top six richest people in the UK accumulate the same amount of wealth as the poorest 13 million. I think that was the figure,” he says.

And politics today?

“It’s bigger than Scrooge, but it’s the same thing amplified; not being able to see beyond yourself, building walls, cutting yourself off from other countries. If there was ever a story to counter that, featuring someone who epitomises that and then who remembers who he is as a human being, it is A Christmas Carol.”

Unlike the young Dickens, Alwyn was not a boy to stand on a table and sing and dance. As a child he auditioned to play Liam Neeson’s son in the Richard Curtis film Love Actually, but didn’t get it. He harboured ambitions to act, but pursued them only later at the University of Bristol, where he took plays up to the Edinburgh Fringe. One night he acted before an audience of one: the writer’s mother. Undeterred, he went on to the Royal Central School of Speech and Drama, joining the scramble at the end to find an agent. Weeks later, his new agent rang to say that Ang Lee was working on a new film, Billy Lynn’s Long Halftime Walk, and wanted to see an audition tape.

“I got some mates to film me in a lunch break and then my dad filmed another scene, and we got a call that night saying, ‘He wants to meet you this weekend. He’s saying, we’re going to put you on a plane and take you out of school. Come for the weekend. Learn these scenes.’ ”

As Billy, a young US Marine fêted for killing an enemy assailant in Iraq, Alwyn was painfully believable; a virgin solider returning home to be exploited for an act that had devastated him. The film did not do well, mainly because it was shot at a hyper-reality frame rate that few cinemas had the technology to show, but Alwyn was on his way.

“Things only evolve by change and people taking risks,” he says. “And Ang Lee is someone who I admire for that. None of his films are the same. Maybe thematically they draw on the same things, but he’s always pushing the boundaries.”

The same can be said for A Christmas Carol and, even more, about Yorgos Lanthimos’s The Favourite, in which Alwyn appeared alongside Emma Stone and Olivia Colman. It applies less so to his other recent films, Mary Queen of Scots, Boy Erased and now Harriet, a faithful biopic about the slave liberator Harriet Tubman in which he played a slave owner’s son. What he has managed to do consistently is work and learn from some seriously good actresses — Colman, Stone, Saoirse Ronan and Cynthia Erivo. “I know. I am targeting them,” he jokes.

I tell him my daughters have insisted I ask if he minds Swift writing songs about him (whole albums, actually, but check out London Boy if you are in search of a little cringe). “No, not at all. No. It’s flattering.”

Does it matter to him that the press — it’s a bit metatextual this, I admit, for I’m probably doing the same thing — make it obvious that they are as interested in his girlfriend as they are in him? “I just don’t pay attention to what I don’t want to pay attention to,” he explains tolerantly. “I turn everything else down on a dial. I don’t have any interest in tabloids. I know what I want to do, and that’s this, and that’s what I am doing.”

The boyf, described only the other day as “mysterious” in one of those tabloids, is no mystery at all. He knows what he wants for Christmas, and it is the career he is already forging.

A Christmas Carol begins on BBC One at 9pm on Sunday

[thebalancewentwrong]

Why Steven Universe Future feels off (WARNING: BIG POST)

(This post was made when only the first 4 episodes were out)

Table of contents:

1. Intro and explanation

2. A new show

3. So much to do in such little time

4. The end of arcs

5. The plot?

6. Other little bits

7. Conclusion

1. Intro and explanation

So I want to make it clear before I dive into this right of the bat that I honestly truly love Steven Universe with all my heart. It is easily my favorite show of all time and has influenced and affected me in so many positive ways beyond just enjoyment of the show.

That being said I (and the person I was watching it with) felt that something just felt a little... off for Steven Universe Future. It just didn’t feel quite right, and didn’t grip me nearly as much as as the original show or the movie. Now maybe it’s because of my experience in both film and writing and my desire to understand what makes my favorite things tick, I couldn't just let it go and decided to really dig deep into what it is that makes it feel so different and I think I figured out some of the reasons as to why.

I haven't seen too many people talk about it on here and though that maybe it was just me. Most people on here seem to enjoy the show with no problems and if that's you then great! please don’t let me take that away from you, just ignore this post and move on if you don’t want to see me dig deep into it, I honestly hate being a fun killer/ buzz kill on these things but I asked a few days ago if I should make this post and a couple of people said they were interested so here we are.

And yes I know this post is excessive but I have a lot to say on the matter, also understand this is not a post bashing on the show or calling it “bad”, it’s just an insight into what makes the show tick and how it differs to the original show (and the movie)

With all that being said, let’s jump into the first major thing.

2. A new show

Ok, so this one kind of goes without saying, but yeah Steven Universe Future is a new show. It’s not season 6, it’s a new show and as a result I think it’s only natural for the creators to want to try and emphasize that fact by giving it a different feel.

They accomplish this with a lot of subtle things but I think that it’s likely done intentionally in order to differentiate itself from the original series. Now do I think it was a good idea to change the overall feel of the show in order to separate it form the original? ehhhh not exactly... It would make more sense if it really was a different show, but you literally can’t understand anything that happens in SUF without watching the original show in almost it’s entirety, so eh.

That being said you could argue they wanted to try a new feel just to mix it up after working on the original for so many years and I guess I can get that.

This is a fairly weak point overall, however I wanted to start with the lighter stuff before getting into the big bois.

3. So much to do in such little time

Again, this one may be kind of obvious for some but it honestly feels like that some of the episodes either really should have been longer or deserve to have a whole arc around them.

I’m talking especially about ‘Rose buds’ and ‘Volleyball’. Both of these episodes feature some pretty heavy themes and ideas that in the original show could easily be the focus of an entire 4 episode long arc each.

But here they have put everything into just the one episode, cramming it all in and constantly hitting us with big ideas and surprises. Not saying the episodes are paced badly, just that I think that these ideas really could have and perhaps even should have had way more time to be explored and expanded.

For example in ‘Rose buds’ there are so many moments that could easily be their own episodes if given the chance:

The ‘Zoomans’ learning to pilot the zoo

Greg and Steven reuniting with the Zoomans

Bringing the zoo to earth

The Zoomans reacting to earth

Freeing the Rose Quartzes

Greg reacting to the Quartzes

Pearl reacting to the Quartzes

Do you see what I mean? they could each be an episode in the original show, but here it’s all just one episode and as a result it feels like it goes by too fast, we don’t get as much time to react and take it all in, to absorb it all. Instead with it all being in one episode it weirdly devalues these moments as just an almost throw away one off episode.

It’s still a good episode, don’t get me wrong but I really do wish that the concepts within it were given more time to breathe.

4. The end of arcs

Ok, now we are getting into bigger stuff. So tell me, did Amethyst and Pearl seem a little different to you? Almost a little too... complacent? Like they didn’t quite react the way you would expect them to? Well that’s because of their character arcs.

In a story, character arcs are very important to making characters interesting and likable, It’s essentially the transformation from what the character was like at the beginning to what they become at the end. Typically through these arcs, characters confront their weaknesses and issues, they tackle their flaws and eventually overcome them.

Now the character arcs in Steven Universe are amazing and I love them, but they have one problem: they are done.

The things is, by the end of ‘Change your mind’ the main crystal gems and even Steven to an extent had been through so much and had confronted all of their biggest flaws and demons that they all just completed their arcs and ended the story as their best selves.

Then in the movie they do something super clever by reverting them all back to default and we get to see how far their arcs have taken them and how much they have changed, it’s simultaneously a brilliant way of addressing their arcs and tying into the theme of change and growing stronger, it’s honestly inspirational from a writing perspective for me.

But then we get to future... where they don’t get the novelty of being rest to zero here, instead they have continued on from where we left them as their perfect selves.

Now I’m happy for the characters, it’s really nice to see them all happy living their best lives, but having flaws as I said helps the characters be relatable and continually interesting, but they really don’t address them here, as... well they’re over it.

Again, in ‘Rose buds’ our old Pearl would have absolutely freaked out at the sight of the Roses, or probably be really mentally scared and messed up... but not here. Here she has gotten over Rose, and while she is still made uncomfortable by the Roses, she is nowhere near as messed up as she could have been once upon a time. It’s nice to see her change so much but it feels off to us now, that’s not how the Pearl we knew would react, and that’s why it feels weird.

5. The plot?

So this is the biggest bit that honestly bothers me the most because I’ve seen other media do the same things and it’s upsetting to see Steven Universe fall into it but, as of right now Steven Universe Future does not have a plot.

I know, I know, that’s a crazy statement to make but hear me out. A plot is an incredibly basic thing that helps bring everything together and to get audiences invested. A plot is essentially made by a goal, the goal does not need to be complicated, it just needs to be something that drives the story along.

In Star Wars, the plot is essentially for the heroes to stop the Empire, It’s pretty broad but it’s still a plot and a goal for the heroes.

In infinity train the main character wants to get off the train and get home.

In JJBA: Golden Wind, Giorno wants to become the boss of the mafia.

In Steven Universe (original series) Steven wants to learn about his gem powers and the crystal gems want to defeat and bubble all the corrupted gems.

And in Steven Universe Future, Steven uh he’s trying to uh... live.... life...?

See what I’m saying here? There is no goal, there is no plot, the story hasn't really started yet, we as an audience don’t have much to hold onto story wise to keep us invested.

“But what about Steven’s new pink powers?” I hear you say. While yes this will very likely tie into the main story at some point, as of right now it’s just a plot thread waiting to be picked up. The main thing is that none of the characters are really following that thread right now, it’s just a thing that’s kind of happening while other stuff is going on.

Imagine if instead of just going “huh cool a new power!” Steven actually went out of his way to pursue this now power and find out what it is, giving him a goal. Or hell even telling the crystal gems about it and giving them something to do, then you can say with confidence that:

‘Steven Universe Future is about Steven trying to find out about his new powers”

Simple as that, but unfortunately as of right now this is not the case.

Like the episodes wouldn’t even have to be all that different, it would just help to know that we had an overall goal in mind and the rest could carry on as usual, just like it has many times in the show.

I am 100% confident that it will become a plot point, but as of the first 4 episodes so far it hasn’t been properly established yet and as a result the episodes feel like they are missing something, it just feels like a slice of life story, but with really intense and interesting ideas, and ultimately, just feels off.

6. Other little bits

This next part is just a list of little random things that are ultimately inconsequential and don’t deserve their own points but might contribute into the overall ‘off’ feeling of the show.

The music does not quite feel to have that Steven Universe charm (Idk about this myself I’m not a music person as much as the person I watched it with who pointed it out.

No musical numbers yet (again a small thing but you think there would be one by now?)

Voice acting a bit off? (could just be me but that sound a little strange, as if they have a new voice director (maybe they do idk))

Garnet, Amethyst and Pearl (they haven't really all been in a scene together yet which feels weird as they always used to be together)

Some character models seem off (probably just me but sometimes characters like Pearl just seem weird in some shots idk)

Steven isn’t quite as jovial? (this is likely intentional for where is character is going, but it’s important to point out as it’s intentionally made to make the viewer feel off about him)

There is likely more that I might add later.

7. Conclusion

So these are the reasons I’ve found that Steven Universe Future might feel a little off from the rest of the show (and movie) It’s entirely possible that you won’t agree with me on anything here and that's fine, these were just my findings and an attempt to rationalize why I feel this way about the show.

Please believe me when I say I want nothing more than for this show to be just as good as the original show if not even better because I honestly love the SU franchise so much. That’s why I made this post, because I want it to be the best that it can be and these are the things that I feel might be holding it back.

Honestly so many of these things are easily addressable and very likely will be! Although my personal prediction is that the actual ‘plot’ won’t properly start until the end of episode 10 as the description for these episodes seem like they are going to be along the same lines as the first 4 eps.

Either way I will be happily watching as the new episodes come out as nothing can stop me from loving Steven Universe at this point, the show has already done so much for me and I will forever love it for that <3

[monkey-network]

Good Stuff's Best of 2019

WARNING: Just wanted to say cheers to you for making it through another year. I send you best wishes for next year to be fruitful. Thank you, take care out there, and enjoy. (Best of 2017) (Best of 2018)

Dedicated to Russi Taylor, John Witherspoon, Rip Torn, Tartar Sauce, Caroll Spinney, Peter Matthews, and the many of KyoAni lost in the arson incident. You all did wonderful; rest in peace.

Welp, I figured the last year of this decade would be the most chaotic one by far, then again everything peak after 2012. As for now, I am counting down the best cartoons/animations/comics I’ve seen and loved this year in no particular order other than #1. Same rules apply: No sneak previews of future projects, no repeats, and this time anything goes.

Runner Ups: Superman Smashes the Klan, Marvel’s Aero, Infinity Train, Enter the Florpus, Amphibia, Mao Mao: Heroes of Pure Heart, Helluva Boss, Meta Runner, Lego Movie 2, Forky Asks a Question

Anyways, Badda boom bang whiz, let’s do this shizz...

10. Super Mario Bros GT

Nostalgia can be quite a mystery, especially one that can come out of nowhere. Super Mario Bros Z kicked so much ass as a kid that now, it still frustrates me to this that it got a cease & desist from Nintendo, even the reboot from the same person couldn’t last long. But the gods have offered a slight miracle in the form of this new spiritual successor that has heart and soul put into every pixelated frame. There is much to celebrate with Youtube animation, where many say it’s dying due to the algorithm and all of the site’s corporate bullshit, but it’s stuff like this which helps me understand why we should celebrate. Against all odds, channels like Smasher Block willfully put their works out their for the people and continues to because on top of getting a little dough, it’s what they want to do.

9. DC SUPER HERO GIRLS (2019)

Awwwwww yeah, this is She-Ra and the Princesses of Power done right. Diverse female squad, each given a quality screen time to truly shine (Beecher especially) on their which makes the episodes where they’re all together feel earned and joyous to watch. Certainly reminds me of Friendship is Magic, which is coincidental since they were created by the same woman. I’d like to think this and MLP G4 were the answers to Faust’s cancelled project Milky Way and the Galaxy Girls where multiple personalities collide to one extraordinary superhero team of girls capable great feats that are lifted from their insecurities or drawbacks. And on top of this being a fun series to kick back to all around, it’s a comforting, somewhat aspiring thought to consider.

8. JOKER

I am somebody that rarely goes to the theaters to watch a film; you have to hook my tight just for me to even think of buying a ticket, no less plan to. But honestly, Joker was worth the hype, the ticket, and the fact that it wasn’t the incel uprising that buttfuck normies tried to make it out as. It’s lower on the list because in thought, there definitely could’ve been some tweaks to the dialogue and a couple scenes that I felt didn’t work in the long run. But really, this movie to me worked because of the escalation that leads to a cathartic climax and ending that left me in actual tears. I don’t give a shit if it “doesn’t fit”, having Frank Sinatra sing the film's credits put me in shambles. Joaquin Phoenix was phenomenal as Arthur, and this movie felt authentic in its many details. This is definitely up there with my favorite comic book films of all time. Good thing, too, Spider-Man was taking up most of that shelf.

7. TUCA & BERTIE

This series being what I can’t help but say is a spin-off to Bojack Horseman, a show I respect, was enough to pull me into watching it. But it being like Bojack where it’s tight-roping between a bouncy comedy and a grounded drama was what kept me around for more. It is a damn shame this was cancelled after one season (while 13 Reasons Why gets FOUR seasons like what the fuck), because while this did feel enough like a complete series, I was certainly interested for more because I really enjoyed it all. I have my issue with a couple choices in the show, but I am sure this series would’ve addressed them later down the line. I can see why some women would find this personally endearing, it felt like the personal stories of actual people, and it deserved better. Either way, I enjoyed this series and I recommend it just as much as Bojack.

6. PRIMAL

Genndy Tartakovsky is that kind of cartoon creator where you feel he’ll go beyond if you give him the right amount of space. He’s not a perfectionist like John “Dirty Diddler” Kricfalusi, but with things like Hotel Transylvania and Samurai Jack, he certainly has proven to have the range in animation where you know how he plays. Primal showcasing his noted skill in dialogue-less storytelling and dynamic action scenes, able to convey everything clear with its ruthless yet careful protagonist and his dinosaur friend, all on top of the most luscious backgrounds. This is a series that definitely feels like Genndy’s taken what he’s used from his previous works and putting it together for a brutal yet passionate look at the prehistoric life. He truly brought us an adult series to enjoy and to look forward to more in the coming year.

5. SPINEL

Bet you didn’t expect a character to be on this list, eh? Spinel is the best thing to come out of Steven Universe in general; makes me wish she was in a better movie. The crew certainly did their darndest to make her not only an enjoyable and connectable character through and through, but a very versatile character that the fandom could take in any which way. Call it corny, but Spinel perfectly represents SU as a whole: a lovable goof that can certainly mean business but deep down is deserved of a hug because of what she’s gone through. Wish she had a more satisfying resolution in her respective debut, but really it’s the balance between those three elements mentioned that makes Spinel almost eternally wonderful.

4. MOB PSYCHO 100 II

As someone that doesn’t like reading, I’m a firm believer that the best animations or visual medias elevate the writing to a memorable degree; the visuals hook to the point where you want to think about what you saw and how it was conveyed. Mob Psycho 100, for two seasons now, does this in spades where Studio Bones throw them bones in animating one of the most dynamic animes of the modern era, providing the writing and characters a proper chance to flex its muscles. The characters are especially what makes this and MP100 as a whole work so well, the story being about a boy learning to be more sociable as well as emotionally stronger all while helping others understand maturity and empathy. For more on this, I recommend Hiding in Public’s video(s) on Mob. But with the animation, Bones was able to provide a sense of impact and immersion to the moments that matter, not making it an overstimulating mess, and putting some respect on ONE’s webcomic art style. 

3. KLAUS

Hands down, this is a great Christmas movie. Take away the animation and you have a charming, wanna say ground and authentic, story about the makings of Santa Claus. With memorable and likable characters, a nice escalation in terms of the plot, and moments that are/can be so satisfying, they can bring you to tears. A couple overdone tropes in the road that doesn’t make this the most perfected story, but those sincerely minor compared to everything else that makes this story the best. Now. Add in the animation, and you have a gold, nay a platinum animated story of the year where the visuals definitely enhance the story to a degree where they’re undoubtedly inseparable. The visuals alone is enough to check this movie out and it’s eye-opening when you learn of how it’s all done. Klaus is a film that did it’s job and then some, and I hope this will be well remembered as a classic holiday film for it deserves that status.

2. BEASTARS

I’ll be fair, I’m mostly referring to the manga and not the anime but since the anime premiered this fall, it counts. Because be it the anime or the series overall, Beastars has such well intricate world building all while offering a little something for everyone (violence, romance, slice of life). The story is well paced and even when we aren’t focusing on the main characters momentarily, Itagaki is surprisingly able to make every supporting/side character we come across memorable in their own way; like I said before, the city is much a character in this story. Oh yeah, and the mangaka is the daughter of Keisuke “Grappler Baki” Itagaki, that in itself is a treasuring bit of trivia for this. Everything about Beastars is enticing and Studio Orange certainly helped in giving this series more of a following.

1. GREEN EGGS & HAM

Well, well, well. Guess Netflix is three for three in terms of bringing its best foot forward among its few steps back each year. The best term to describe this series is surprising. Surprising that this is a Dr. Seuss story that got expanded a 13 episode series, that has fleshed out characters, fun hijinks, an easy story, lovely emotional, more quieter moments... on top of being 2D hand drawn animated. I mean, what else is there to say? Green Eggs and Ham is to Dr. Seuss what Seven was for Final Fantasy, what Friendship is Magic was for MLP, what watermelon was before a nice menthol cigarette. This definitely took the top spot because to me, it was able to bring many good elements from the previous entries and knot it all together into a well kept bow that I never knew I wanted until now. I’m genuinely glad this show got to exist the way it is and I am hoping, praying, that the second season keeps that momentum up.

That leads us to the actual number one which is

1. STEVEN UNIVERSE FUT-

Total Dramarama is now the two time World Heavyweight Champion, babey. Will 2020 give us a quality contender? Will the streak last another year?

Stay tuned, and always seek out the Good Stuff.

[grim-on-the-darkside]

George Lucas involvement in The Clone Wars Series

This subject is being talked about by some here on Tumblr, so I thought I’d break open my Star Wars Quote files and share what I could to facilitate others who are already in discussions about it. I hope this aids them in that.

That said, Ohh boy, here we go. =]

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

"This series [Clone Wars Series] at least to George is NOT EU, it is a part of Star Wars as he sees it. I think if anything there was a period where Henry [Gilroy] and I had to learn exactly what it took to be a part of George Lucas’ Star Wars, and tell the Star Wars story his way. We had to learn how to look at the Galaxy from his point of view and let go of some of what we considered canon after we found out the ideas were only EU." ~  Dave Filoni 2008

----

"This is Star Wars, and I don't make a distinction between [The Clone Wars] series and the films." ~ George Lucas, SciFiNow, October 2011

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"The TV series is exactly like the movies, exactly. I mean, you can see it in the clip. It’s basically just the movies only with cartoon characters. It’s basically a dramatic series, there’s a lot of action, a bit of humor." ~ George Lucas, 2008 Interview about the Clone Wars series.

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

One of the main characters in the feature film, a 90 minute introduction to the series that hits theaters August 15, is Anakin's teenage Padawan, Ahsoka. Lucas said:

   "[With Ahsoka] I wanted to develop a character who would help Anakin settle down. He's a wild child after [Attack of the Clones]. He and Obi Wan don't get along. So we wanted to look at how Anakin and Ahsoka become friends, partners, a team. When you become a parent or you become a teacher you have to become more respnsible. I wanted to force Anakin into that role of responsibility, into that juxtaposition. I have a couple of daughters so I have experience with that situation. I said instead of a guy let's make her a girl. Teenage girls are just as hard to deal with as teenage boys are."

~ George Lucas 2008

https://io9.gizmodo.com/george-lucas-spills-all-about-clone-wars-at-skywalker-r-5033398

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"I get all my information on the Clone Wars from him. [George Lucas]"

"I can pitch him ideas and say 'lets do certain things', but at the end of the say he will say 'yes' or he will say 'no', and than that is the way it's gonna go."

~ Dave Filoni, 2019

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"The importance of The Clone Wars that cannot be understated is that it was the last huge expansion of the Star Wars universe that came directly from George Lucas." ~ Pablo Hidalgo

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"Star Wars: The Clone Wars is the biggest education on how George Lucas saw his Universe. Over 44 hours of his storytelling compared to the 13 hours or so he spent in live action."

~ Pablo Hidalgo 2018 https://ibb.co/ryvk5K2

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

DAVE FILONI: The First Time George Lucas Talked About Ahsoka https://www.youtube.com/watch?v=VAjnLseHQwA

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"In discussions directly with George, he was very adamant about Jango not being Mandolorian, which is the entire reason that scene existed that moment. To have that specificity that Jango was not Mandolorian at least not to Mandolorians."

~ Dave Filoni, 2019 https://www.youtube.com/watch?v=H6p9sM7OLFk https://ibb.co/WgCGf1X https://ibb.co/Y2wLHd0

FROM THE FILONI FILES: In the season 2 episode of STAR WARS: THE CLONE WARS, Mandalorian prime minister Almec made the claim that Jango Fett is not a Mandalorian warrior. This info stunned many fans who always assumed he was pure Mando. Many claimed Almec was lying, others claimed it was a cover-up. This topic came up a few times during our conversations with Dave Filoni. In this compilation, Dave addresses the issue and sets the record straight.

https://ibb.co/x7j5BhK

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This of course resulted in massive retcons of the Expanded Universe version of Mandolorians. This wasn't on accident, this was intentional on Lucas part because he was pissed at some of the liberties and things people in the EU were saying that went against the agreement in allowed the EU to come into existance at all.

Seperate Universes. This wasn’t figurative, this was meant literally, and Lucas said it over and over. Plus he found out they were using the term  'canon' in reference to EU things, and that was a massive no no. Only his direct works were canon. This went against the agreement he made with Howard Roffman, who really didn't keep his side of the bargain officially. They were essentially lieing and being deceitful about the EU's standing. That whole Canon Tier, that wasn't a policy, that was the filing system Leland Chee used for the Holocron. It was only used by Lucas Licensing. It was all a big shame to make people think the EU had more standing in the SWs than it did by the legitimate agreement. Roffman was concerned that if people knew it was a separate universe and it wasn't canon that they would be less likely to spend their money on it because 'it didn't count'.

Roffman couldn't get Lucas to agree to it being one universe, he tried over and over again, but Lucas wasn't having it. This was behind closed doors at the time of course, Roffman comes clean about in a live broadcasted interview with a studio audience when taking questions.

They couldn't get Lucas to budge, and Lucas didn't really care about the retcons he might cause, and there was a lot of fighting over it. But, of course, Lucas was the boss and it was his final say. This had been ongoing thing, it wasn’t something happened overnight.

That's why you have accidental retcons of major story lines, opps... He says what is and isn't canon, no one else.  People weren’t following the guidelines he set, and he had been a pretty good sport about it overall. Again, this wasn’t overnight. It built up over time.

There’s some speculation about the specifics, but that there had been many angry words said, back and forth in the background. Roffman and Lucas apparently had a lot of loud conversations.

“So we would have very interesting skirmishes because we had a bunch of stuff that became to the fans pretty much canon [Head-canon] about what happened after Return of the Jedi, what different places in the galaxy were called, lots of different things and if he was proposing to do something in the prequels that contradicted that we would have long debates which usually ended at least after the first session with "I don't care this is what I'm doing", but after he 4th or 5th session sometimes "Alright 'maybe' we can change it this way."

~ Howard Roffman, 2017

[I’ll be sharing more very important quotes from that Interview with Howard Roffman soon.]

A great deal of the time, Lucas wouldn’t budge. The Mandolorian Storyline in The Clone Wars being one such example of that.

This resulted in Karen Traviss losing her mind over the Mandolorians Lucas made in canon, and she was saying she wouldn't go along with it because they were 'changing canon', which is totally untrue, but she made some public statements about it

"Please also be aware of one basic fact - all writers for a franchise have to follow official canon. You can't go off and do your own thing, or else the book won't get approved and printed. It's that simple. So please don't keep asking me to carry on in the old canon, because I'm just not allowed to."

Karen Traviss EU Author, 2009.

[This is what insanity looks like when you write it down. - Must follow canon, but wont let me carry on in the old Canon? Earth to Karen, please respond. The EU wasn’t canon!! ]

So Lucas shot back thru his head writer on the Clone Wars series, Henry Gilroy whom himself had been an EU author in the Clone Wars comics before being tapped for Canon Clone Wars series who responded, although not directly to her, but in response to her being unwilling to go on and leaving over it.

"It is unfortunate that [EU author Karen Traviss is] moving on because [of] her opinion that canon is being changed. I guess the big problem is the assumption that her work is canon in the first place.  After working with George on The Clone Wars series I know there are elements of her work that are not in line with his vision of Star Wars.."

~ Henry Gilroy, The Clone Wars series Head Writer/ EU Author [Comics] 2009

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

To Lucas, the entire Saga is about Anakin Skywalker/ Darth Vader, of course he was going to be heavily involved in the Clone Wars series, Anakin was one of the major reoccuring characters in it, that's Lucas pride and joy. But I digress....

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

“For me and my training here at Lucasfilm, working with George, he and I always thought the Expanded Universe was just that. It was an expanded universe. Basically it’s stories that are really fun and really exciting, but they’re a view on Star Wars, not necessarily canon to him. That was the way it was from the day I walked into Lucasfilm with him all through Clone Wars, everything we worked on, he felt the Clone Wars series and his movies were what was actually the reality of it all, the canon..."

~ Dave Filoni 2017

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"In the same interview, Dave Filoni said that George Lucas told him, that the movies and The Clone Wars television series, were the only thing Lucas considered canon." https://en.wikipedia.org/wiki/Star_Wars_expanded_to_other_media

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"That’s one of the biggest debates in Star Wars, what counts? *The idea of what is canon? When I talk to George I know that he considers his movies, this series and his live-action series canon." ~ Dave Filoni, SW:TCW 2008

-----------

"I always think of the research you speak of as what I knew about the EU before I took this job. As I stated above, working directly with George changes the way you see the EU and everything in it."

~ Dave Filoni 2008

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

What do you think about Star Wars: The Clone Wars not following the continuity established previously in books and comics for the timeline between Episodes II and III? Could all those events that are being unfolded ever be folded into a coherent timeline? Some time ago you started a podcast related to The Clone Wars, will there ever be new episodes?

"As far as continuity, I see The Clone Wars as being no different than the arrival of the prequels in 1999. We fans knew that those movies would be a representation of the true Star Wars universe as imagined by George Lucas, and in some cases, it would not perfectly match the stories told by Expanded Universe authors. So, we had to unlearn all we had learned about the Mon Calamari being discovered by the Empire, about Boba Fett being Jaster Mereel, and about the Republic having a standing military.

I think with each episode, we start to get a better understanding about what the real Star Wars universe is like."

Pablo Hidalgo 2010

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"There's this notion that everything changed when everything became Legends. And I can see why people think that. But, you know, having worked with George I can tell you that it was always very clear -- and he made it very clear -- that the films and the TV shows were the only things that he considered Canon. That was it.

"So everything else was a world of fun ideas, exciting characters, great possibilities, the EU was created to explore all those things. But from the filmmaking world I was brought into, the films and TV shows were it". ~ Dave Filoni speaking about working with George Lucas

This is the actual video of when Dave Filoni said the above quotes during an interview on 'The Star Wars show' [41.40 mark] https://www.youtube.com/watch?v=hcNXPNXOv2A&t=16s

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"What George did with the films and The Clone Wars was pretty much *his universe ,” Chee said. “He didn’t really have that much concern for what we were doing in the books and games. So the Expanded Universe was very much separate." ~ Leland Chee, 2017 - SYFY WIRE

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“Lucas’ canon – and when I say ‘his canon’, I’m talking about what he was doing in the films and what he was doing in The Clone Wars  – was hugely important. But what we were doing in the books really wasn’t on his radar.”

–Leland Chee, 2018

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Pablo Hidalgo on Lucas and the EU being separate Universes. https://i.redd.it/3fpbkocr43q01.png "He [Lucas] only considers his movies and TV projects as his universe, and told the Clone Wars writers to only worry about those."

[That really says it all.]

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“The most definitive canon of the Star Wars universe is encompassed by the feature films and television productions in which George Lucas is directly involved. The movies and the Clone Wars television series are what he and his handpicked writers reference when adding cinematic adventures to the Star Wars oeuvre. But Lucas allows for an Expanded Universe that exists parallel to the one he directly oversees. […] Though these [Expanded Universe] stories may get his stamp of approval, they don’t enter his canon unless they are depicted cinematically in one of his projects.”

   -Pablo Hidalgo, Star Wars: The Essential Reader’s Companion, October 2nd, 2012

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"Canon is only what's on the screen. - Episodes I-VI, TCW and what's to come." Pablo Hidalgo, 2013 - https://ibb.co/S0fYM7q

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“Working on ‘Clone Wars,’ it was always canon.” ~ Dave Filoni

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[Orginal commentor] - "Some facebook site just posted a "Bring back GeorgeLucas" petition....wrong on so many levels. With Ep. lll & TCW he went out ona high."

[Pablo Hidalgo]   "Why would he ever come back to these folks? All that love and goodwill from the internet.=]"

[Second commentator] - "I remember the EU fans in the early-mid 00's trashed George endlessly, and now they act like he's their savior."

[Pablo Hidalgo] - *"And yet we are following his model of regarding the EU vs. his canon. Weird."

[Second commentator] - "Well they get the false impression that George was a big EU fan and stood by it."

[Pablo Hidalgo] - "Where do they get this stuff? =] It's like his last 3 movies and six seasons of TCW didn't happen!"

https://ibb.co/Q9GXSbd

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Q: Hi Mr Chee! I’ve got a question about continuity – are all the various different media of Star Wars (the films, TCW, the video games, the EU) intended to form a single universe, or is the EU intended as a parallel, alternate universe (like, for example, the different continuities between the various Batman comics and films)? I realise that fans tend to each have their own personal preferences, but I was wondering what the official Lucasfilm company policy regarding this was? Many thanks!

"The dual universe question comes up often. I know George Lucas has mentioned it being two universes, but that’s not how I see it. His vision is definitely not beholden to ours, but ours is definitely beholden to his."

Leland Chee 2012

[Nabbed!!! He was still talking his 'singular universe' garbage the week before heh]

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“Star Wars continuity, even EU continuity, does not rest on my shoulders. Our licensees submit product directly to either our editors or our product development managers. The Holocron serves as a tool for them to check any issues regarding continuity, and after that, if the editors or developers have any questions, they pass it along to me to check for continuity. At the same time, I am constantly on the lookout to make sure that any new continuity being created gets entered in the Holocron. With regard to the the films and The Clone Wars, I am not involved in continuity approvals though I have often been asked to provide reference material.”

~ Leland Chee

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"..at the end of the day there is a difference between what you see in the Star Wars films and TV series and what you see in those books." ~ Dave Filoni 2012

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These are pretty much all about the Clone Wars series, and him working with Lucas on it.

DAVE FILONI: George Lucas's Origin of "Mandalore" https://www.youtube.com/watch?v=4yCjKTHjE0I&t=270s

DAVE FILONI: Is Jango Fett A Mandalorian? https://www.youtube.com/watch?v=fPw08Bimr0Y&t=80s

DAVE FILONI: Working with George Lucas on The Clone Wars https://www.youtube.com/watch?v=qaq8jRVtfnQ

DAVE FILONI: Incorporating Mandalorians Into The Clone Wars https://www.youtube.com/watch?v=whHJc3jX2AE

DAVE FILONI: Learning Star Wars from Lucas https://www.youtube.com/watch?v=zG_yLWLdDdQ

[This one is interesting, *if I remember it correctly* in this one he tells the story of how he and Henry Gilroy and Lucas were speaking and Lucas was telling them how things work and he told them that "He was teaching them how to make Star Wars for when he was gone".]

DAVE FILONI: Ahsoka vs Vader Duel Breakdown https://www.youtube.com/watch?v=196kd-UvGEM

DAVE FILONI: Growing Up With Star Wars https://www.youtube.com/watch?v=xB0tMecj51s

Dave Filoni on Ashoka vs Vader and Midi-Chlorians - https://www.youtube.com/watch?v=rBKQfbN7Vaw

These are just some of them, there are alot more and even in ones where it doesn't specifically site Lucas in the title, he comes up in all of them at certain points and talks about working with Lucas on the Clone Wars, so if your interested in this subject, it really pays to listem to all of them, they're facisinating insights and you learn so much about so many things both in story and out of story, some really good stuff.

They're call ins for Rebel Force Radio, They interview Filoni constantly, theres a ton of of them on Youtube. This should get you started and than you can go from there on your own if you were interested and hearing more. Really good stuff.

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

There’s a lot more, but I think this should serve as a good example of just how pervasive Lucas’ direct involvement in the Clone Wars series was.

Lucas loved it. He saw it exactly like the movies in terms of importance.

[thelazyeye]

oh okay, internet famous Losers, like they're all youtubers and insta famous kids doing really different stuff around the nation, what do each of them do? who connects with who and how?

Ooff I love this idea. I used to be moderately into youtube people. Mamrie Hart anyone? She cracks me the fuck UP. Anyway this got super long so its under the cut. I hope you enjoy anon! Thanks for sending something it!!

Okay. Here we go. 

Richie 

is a youtube personality. Duh. He started out vlogging and his Voices and somehow his channel picked up. He writes comedy bits, does personal blogging, and tests his voices. 

When he was starting out he had a bit where he was a weatherman that had multiple personalities (Voices) and it got insanely popular. He received some backlash due to the offensiveness of the bit and has since retired it, but references it from time to time to credit his fame. 

Now he focuses a lot on his comedy routines and improv acting with other members of the community. He does challenges from time to time as collabs as well

People are super invested in his personal life (bc people seriously get like that with youtube people) and started speculating about his sexuality. It took him a few years to address all the rumors that he wasn’t straight and how he was probably dating this youtuber or that youtuber. 

Eddie 

is an LGBT Activist that has a youtube channel as well (think Laci Green but LGBT and not sex ed, though he does do sex ed work)

He got his start when he was in college. He became the president of the LGBT club. He wanted to reach a large number of students and he figured the best way to do that would be youtube

The entire club helped him out. Every week he would have another club member on the channel to talk about their sexuality and experiences

It didn’t get big at the school but he got lowkey noticed by the HRC after about 6 or 7 videos. He was contacted by a social media manager on the team to commend him on his work

From then on out he started to work harder on his videos, including more in depth information and he included links to more resources

Eventually, his videos started to rack up views from young LGBT kids thanking him for his channel

He started to collab with famous LGBT youtubers (troye sivan, hannah hart) and that’s when he really blew up 

Bill 

actually got his start on Vine. He mastered the art of the 6 second story and when the platform went down he migrated to youtube, snapchat, and twitter. He’s got profiles on almost every social media platform and he’s written a couple of webseries, as well. 

His first webseries (pre-vine) focused on comedy. He and some college friends got together and wrote the script/acted it out. It wasn’t very big but the following for it had a cultish feel. 

It blew up after he became famous on vine

After that, he started writing more webseries and partnering with other youtube actors

He wrote and completed two successful comedy webseries before he got bored of it. He decided to make the jump to horror work 

Think Marble Hornets

He ended up getting a scholarship to a film school and has been working on becoming a movie director ever since

His youtube work is on a hiatus but he still posts blogs and updates of his life. He’s active on Snapchat and Twitter the most. He still does dumb, funny shit from time to time and tweets out very random jokes

Stan 

is an adventure youtuber. He travels all over the world, seeking thrills and exploring nature. His videos usually have some kind of educational component but they’re always entertaining. Stan has explored the Savanah and Rain Forrests, he’s sky dived and scuba dived. He’s done a lot

He has a side channel for his love of birds because how can I not throw this in here?

When Anti semites started showing back up in the world Stan started to dedicate more of his channel, and his other platforms, to Judaism. He’s uses his popularity and fame to educate people and create awareness around the issues Jews face

As a result, he blogged his Birthright to Israel. It was a weeks worth of videos, some candids that he just uploaded on the whim, and some he took the time to edit. They were adventurous, educational, and full of his personal journey

Stan has also faced a lot of backlash for his involvement with the jewish community. He voices this in his videos. To combat the threats against him, he recruits other members of the youtube community to collab with and talk about issues. He makes it fun. He’s cooked Jewish foods, celebrated Jewish holidays, and had fun discussions with other personalities. 

Bev 

is a famous fashion designer and makeup artist. She got her start on Instagram, posting her designs and outfits that she created. Sh started young. Like 15 years old. As she grew up and went to school, her fashion instagram grew. People got to see her skills improve and they watched as she turned into a teenager designing clothes in her bedroom to a design student to a professional

She gives fashion tips to people and her favorite hobby is making posts that help girls and boys create fun, new, and exciting clothes out of what they already have in their closet

She firmly believes that you don’t need to have money and status to dress well. She wants fashion to be accessible. 

She started a youtube channel out of request from her followers. She got a lot of comments about her makeup and she started to do makeup tutorials there (Think Sailor J)

People really started to see how funny she was, then. She would always throw little bullshit videos onto her story but this was the first time she posted video content that didn’t disappear after 24h

Her youtube is not nearly as active as her instagram. That’s where you can find all of her content

She is also a vocal activist against child abuse on her insta. She frequently donates to various organizations and she does it very publicly. She runs clothing drives for those in need and has even hosted makeover days for young girls whose families can’t afford good clothes/makeup. 

She has recently expanded her fashion designs to male clothing, promoting Non Binary, Trans, and other identities in her lines. She says “Clothing has no gender” and pushes that despite advice to lay low on the issue. 

Mike

is a super unlikely case of internet fame. His instagram is composed almost entirely of his farm animals. He really didn’t think he was going to get famous from it. He just loves his farm so fucking much

The first half of his internet fame just consisted of pictures and videos of his animals. Namely, his dog Mr. Chips and his cow, Barely. They were best friends and Mike posted pictures of them napping together, playing together, and helping him run the farm

Once he started to gain an unreasonable about of followers he would pepper in posts that were educational. He talked about the importance of farmers, the work that he does, and how he maintains his animals. He worked to debunk a lot of myths about farming and really promote the work that he does. 

He still posts a lot of videos of him with his animals being all cute, but he uses his activism to reach large numbers of people at a single time. 

He also promotes healthy eating on his instagram. He talks about balanced diets and how to moderate sweets intake. 

Eventually he talks about working out (because Mike Hanlon is ripped sorry I don’t make the rules) and helps build an all around healthy lifestyle for his following. He kind of accidentally becomes a life coach of sorts. Motivation, healthy living, and cute animals. 

He has no idea how it happened but he doesn’t regret a single minute of it

Ben

is a singer! This sweet old mother fucker started out on youtube when he was 16. He bought a Ukulele and started writing love songs for the girl he was pining after

We all know that one mother fucker who owed a Ukulele in high school

His voice was like velvet, though. He wasn’t popular enough for anyone to really see it so he didn’t get teased in high school for it. His first couple videos got only a handful of views

What kick started his fame is a cover video. When he decided he wanted to do an acoustic cover of Lady Gaga’s Love Game

He did it on Ukulele

It ended up being such a fun and unique cover of such a popular song that he got noticed. Like. The video fucking blew up. He ended up getting over 5 thousand views overnight and the number just kept growing

Ben ran with it. He covered other popular songs (I Kissed a Girl, Viva La Vida, So What, etc) 

He blew up so hard and fast that people started to notice his original works

He got noticed by a label and signed the summer after he graduated high school

His first album was a love album because it’s Ben come on

He doesn’t have much of a social media presence after his youtube channel. He has the mandatory instagram and twitter that all famous people seem to have but they’re fairly inactive

Collabs

Richie and Bill

Richie and Bill were the first to collab with each other. Richie acted in Bill’s first webseries and it built a friendship that lasts a lifetime. 

The two of them do stupid youtube challenges with each other whenever they’re in the same city

Bill used to guest on Richie’s channels and play improv games to help both of them work on their comedy. They always turn out ridiculously funny and normally involve some level of alcohol

When Bill lost his younger brother in a car accident (sorry georgie dies in like every single universe) Richie flew out to see Bill and spend time with him. The two of them filmed a vlog together where they talked about the loss and then they both donated to anti drunk driving campaigns and urged their followers to do the same and never drive drunk

Richie and Eddie

They met for the first time at vidcon when they were first starting out. Richie was already pretty big but Eddie was working on his following. They hit it off immediately and they filmed a video for Eddie’s channel that focused on Eddie debunking stereotypes surrounding the LGBT community. Richie added a tasteful comedic flair that brought in views and he taught Eddie that things don’t always need to be serious 100% of the time

They kept in loose contact after that, always meeting up at vidcon and filming a ridiculous video for Eddie’s channel

2 years later, Richie reached out to Eddie and asked him to film a video for Richie’s channel

He wouldn’t tell Eddie what it was until they were in front of the camera, but Eddie readily agreed. He loved working with Richie. He thought he was fun and witty

When they got in front of the camera Richie revealed that he was bisexual and that Eddie’s videos helped him learn about bisexuality and come to terms with it

They spent the video talking about Richie’s journey to self acceptance, why he decided to come out, and Eddie’s knowledge surrounding sexual identity development. The video ended up being 15 minutes long and had the highest comment numbers Richie had ever seen. Not every comment was positive, but he took the experience in stride and started doing little bits of advocacy here and there for his and other channels 

Richie and Eddie end up dating, but not for a long, long time after that video when they’re both living in LA and well established in their youtube careers. 

Bev and Mike

An unlikely combo for an unlikely youtube star! Bev and Mike do a collab that focuses on self esteem and loving yourself!

Mike gives health tips and Bev gives fashion advice, but both of them talk about the importance of self worth and how external image means nothing if you don’t love yourself first. They both talk about their own journeys. 

The collab starts because Bev finds out about Mike through insta and she ends up contacting him about wool. They partner up business wise and Mike helps provide wool for her fashion line while Bev promotes his farm work. 

They don’t do many intentional collabs after they one, but they do show up on each others stories and in pictures together very frequently. The two become best friends

Ben and Bev

They don’t collab. But they do get married. 

They meet through the fame and bustle of L.A. Ben’s music career makes him end up at the same Gala as Bev, where they’re introduced to each other. They hit it off immediately, connecting with their childhoods and such. 

They date for 3 years before Ben proposes via Flash Mob and song written just for Bev

Bev loves the song so much she insists Ben release it. It becomes a Billboard hit

Eddie and Stan

Stan finds himself in NYC where Eddie lives and he reaches out to do an educational collab on LGBT politics in the Jewish community. 

He takes Eddie rock climbing and the two film the video with go pros. 

Eddie is terrified at first and it makes for a funny introduction but he eventually gets his bearings and the two of them scale a cliff together, talking about issues and getting to know each other. 

Stan and Richie

Eddie introduces them after the Coming Out Video. 

They collab as frequently as they can

They do ridiculous shit and Stan films Richie’s commentary. Its hilarious

They have a natural chemistry and they feed off of each other. Stan didn’t know he was a funny guy until he met Richie. Then it just kind of came out of the woodwork. Richie really highlighted Stan’s eccentric sense of humor. 

Everyone

Richie and Bev are childhood best friends

Eventually, they all end up meeting. They don’t really film videos with each other. Sometimes there’s a vlog that includes more than two of them but very rarely are they all in the same video at the same time. 

It happened intentionally once. It was chaos. Everyone was drunk. The video had to be edited so severely that it was only 1 minute and 30 seconds

They do however show up in snapchats, insta stories, and pictures as a group. By the time they’re all 30 they’re very, very good friends

[vacantbloodbones]

The Disappointing Crimes of JKR

so it’s 2 am and I have a fight to finally get home (i’ve been MIA for a while because I needed a vacation tbh) THIS IS A LOOOONG ONE, YOU’VE BEEN WARNED! but on one of my flights I finally got to watch FB2 and it’s taken me a while to gather my thoughts. Like, I knew the disappointing confusion I was signing up for... I had seen SO many YT reviews on the film and from HP fans to just FB1 fans had gathered their opinions... and it was all negative...  So I had my apprehension going into watching this (thank fuck it was free) and I’ve got a lot of my own opinions to say... So if you are aware of myself, you know that I actually loved FB1 and how the flow and characters went. Genuinely, I think as a stand alone film it was actually a good, comprehensive piece of story and film; you had exposition, build up, character development, tension, climax and fallout/outro/conclusion...  So, what went OH SO WRONG in FB2, in my humble-ass opinion?  Well, lets get into this adventure with me, pals... stick with me as I rant my good ol’ heart out, grab some snacks, a drink, maybe some liquor of choice (in my case).  In the beginning, there was... well, absolute confusion??? For an entrance into a film, especially a franchise that has a previous film, I firmly believe there needs to be SOMETHING that explains and ties the previous entry to the latest one... Especially since this series hinges on a handful of characters (Newt, Tina, Credence, Grindelwald, and Queenie + Jacob) and to just throw us into Gellert’s VERY confusing transfer to Europe’s Ministry to answer for his crimes... The intro threw me off; there’s a time jump and there’s an extreme LACK of having our previously established characters development and fallout from the first film being EXPLAINED so we (audience) can make a connection to this next entry.  Like, Credence’s survival (yes, I’m well aware of the deleted scenes that were actually supposed to be shown at the end of FB1 according to Yates...) because we don’t get to connect the dots on screen of HOW and WHY Credence and his Obscurus survived with the additional information of his Obscurus being HANDLED (like, wasn’t the premise of the previous film the urgency of how this THING was going to KILL him and EVERYONE in NYC?), him finding his adoption paper, getting to Paris and into a travelling circus (which, also... makes no sense??)... We’ll put a pin on that for a bit here...  Also, Tina and Newt’s relationship; we really are left wondering how and why they are even romantically involved as the first film established them as strangers to mutual friends at the end... Something that should’ve been shown on screen could’ve been Newt choosing to continue his Beasts studies and books over staying and risking himself being in America for his love interest, Tina. Again, put a pin on that for now...  But instead, I just felt the into to the film was as vapid as JKR’s writing when she simply just doesn’t care for CONTINUITY and actually making sense of ANYTHING.  But nnnooooo, we just get an hour and a half of meaningless exposition and threads that aren’t even expanded or given closure to...  Gellert putting Abernathy as his doppelganger really pissed me off, because we never are shown an inkling as to WHY Abernathy chose or perhaps had always been on Gellert’s side (could’ve even expanded on the idea of Abernathy playing a role in Percival’s capture/implied death in the first film)... Even Seraphina doesn’t mention or show ANYTHING about their most powerful wandless wizard being GONE... he was SOMEONE alive and WORKING in MACUSA for a substantial amount of time... that had connections, powers above anyone, and obvious trust and influence to Seraphina... which also begs the question, why is there such a heavy emphasis on Gellert using his wand magic, when he had been using wandless while impersonating Mr. Graves?  Now, to get into another huge issue; character development continuity: How did the time jump from the intro give us very DIFFERENT characters than the one’s we had been introduced, learned to love/hate be turned into vacant shells of all their development?  Like, I’m sorry but what in the actual FUCK did JKR do with Queenie’s character? She seemed like a genuinely sweet and subtly powerful witch that used her gifts to her advantage... to this, desperate, powerless, and lost character? The Queenie we were shown had a sparkle for adventure and curiosity that gradually came to admire Jacob and truly was heart broken when his memory was erased--to kidnapping him, putting a love charm against his will, and forcing him to go to London with her? She acted the very opposite of who she is and she seemed to have strong morals to stand by her sister’s side, help no-maj’s out, and using her powers for what she felt was right.... To being hapless in Paris, because she wouldn’t own up to her kidnapping and using magic on Jacob against his will, and then DECIDING to JOIN Gellert’s very VAGUE AND STRANGE CULT.  Newt seemed more like a confused boy the entire installment with flashes of him and his abilities with connecting to beasts, thrown into this second installment as a reminder that “fantastic beasts” is in the title of the movie...  Also the broken up dialogue; I DIDNT GET A SINGLE STRAIGHT ANSWER IN ANY GODDAMN CONVERSATION HELD BY ANY CHARACTER! like WOW for a two hour+ movie I got ZERO dialogue that made me go ‘ahhh i get it now!’ no, everyone was running away from each other like a grade-school gym dance.  Jacob was still, sort of, Jacob... but he and Newt’s friendship didn’t feel authentic in this film as it did in the previous. The banter (or lack thereof) was kind of just a callback to me of saying ‘ahahaha, dont you remember Jacob being funny in the last movie????? well look at this funny moment thats totally not needed!’  EVERYONE AVOIDING EACH OTHER FROM MISCOMMUNICATION LIKE THEYRE TEENAGERS REALLY MADE THE ADULT TONE OF THE LAST FILM JUST FALL FLAT... I had screamed internally every time some interaction happened and then someone RUNS AWAY! like, aren’t they adults??? even HP films has young TEENS being more accountable and willing to talk than every adult in this MOVIE.  Lets get into Gellert’s confusing vague cult of reasoning; Gellert’s wishes and aspirations and him killing people and children to comparing his reasoning that he will stop WW2 with his hookah skull... just didn’t make sense, I’ll also add that Gellert’s LACK of character really just pissed me off, like, Voldemort wasn’t revealed until waaaay later and even when he was a face on the back of someone’s bald ass head; made a more CONVINCING and REASONED character with his motives. Gellert just seemed like a casual shit disturber and running a murderous vague cult because Albus won’t do shit and he knows it... He’s like an angsty teenager that never got had someone sit and hug it out type deal. Also, the way he treats his followers and the lack of showing HOW he got so many followers; like, I’m sorry but how did this angsty man-baby get followers???? Oh, right, he used his words that... AGAIN, fall goddamn short even when we FINALLY got to see his “gathering” and “speech” that was so hyped for almost 2 hours... It didn’t make sense to his reasoning or why he was acting out IMHO.  Alright, now let’s get to the character introduction... or really, half-assed intro to the many people I COULDNT CARE FOR... Expect my personal surprise with Theseus, we’re introduced to a man that seems more compelling and complex than Gellert (seriously tbh). Somehow we’re led to believe a guy who constantly (as we’re shown) to reach out to Newt that HES the one making their relationship complicated? When it becomes apparent that Leta and Newt are the two with complicated history and Theseus loves them both deeply????? Enough that he just stands back knowing damn well Newt and Leta have a past but he’s secure in his relationship between all both people he just wants them all to get along. Now, I get that Theseus wants Newt to be an Aura, but we’re also shown he has his reasons to help Newt (ultimately); Theseus showed more character development than ANYONE in this ENTIRE MOVIE (well Albus is second in this) but him CHASING HIS BROTHER TO GET ANSWERS is somehow ‘BAD TEMPER’ according to Tina... like really, almost all the female characters were lacking level-headed sanity purposely written by JKR so I would resent the characters I had grown to actually like???? Nagini is just thrown into the plot as a mother-like figure for Credence but Credence is displayed as some selfish man-child, he can’t reason with Nagini and it leads to their strange relationship ending with Nagini feeling betrayed. And then there’s Leta and her over-played storyline to be cut short by her sacrifice that literally didn’t do anything for the plot but make me want to punch a wall because Theseus is left with a broken heart and a brother who will ditch him in a minute to talk to Albus...  There were other characters that were so lacking in development that if any or all of them died, I felt like I could still sleep like a baby knowing that JKR had made such shitty vapid characters and lack of development, I felt NOTHING for practically everyone. Albus, Theseus, and Queenie had the most emotional complexity but even then, I’m giving them kudos because everything else was lacking so much I clung onto whoever threw an emotional fit first.  The whole dynamic between Albus, Gellert, and Credence really just angered me. Red herring the entire premise of Credence wanting to know his identity so DESPERATELY he was willing to join Gellert’s vague emo posse of a cult, only to be revealed as not a Lestrange (which we had been hyped tf up to know) as, instead, THE BRO ALBUS AND NOBODY IN THE HP UNIVERSE APPARENTLY KNEW OR WAS EVER EXPLAINED JUST WHY ALBUS’ BABY BROTHER IS ON A BOAT TO AMERICA (i’M GUESSING THIS EXPOSITION WILL BE EXCRUCIATINGLY TOLD ONLY TO BE SOME OTHER LIE AND BAM CREE IS DEAD)???? But YES lets not elaborate on the queer baiting of Credence, Albus, and Gellert... JKR just wanted to hype us up for nothing and all of Credence’s development and complexity is summed up to ‘lol ur a dumbledore, cree’ really is a slap to the face. Albus being trapped a majority at the school was a half-ass way for us to not have Albus confront Credence to get him to fin d his answers at Hogwarts... Lets be real.  But basically, everyone wasn’t themselves, people we were introduced to were flatlined or placed in stereotypical tropes, and every exposition turn was a red herring thats never elaborated on or concluded... the lack of goddamn comprehensive dialogue, and we got queer baited by the ever infamous JKR....  and my final take: WHERE THE FUCK IS PERCIVAL GRAVES?????  So, this was my long-ass ranting about this movie and why I probably watched it for the criminal reasoning to hurt myself and be disappointed in the end... Was i surprised? NO.  Am I going to watch the next installment... maybe... just for closure to this epic failure of a second installment.  Thanks for making it to the end, I hope this was less painful than the actual film. 

[rkxsungwoon-blog]

☆ MGA5 EPISODE THREE; JULY 11 #5008 HA SUNGWOON ; FT. NA JAEMIN ( duos ) performance: easy by wheein ft. sik-k ( rearranged ) ( 0:07 - 2:07 ) ; line distribution

he’d never precisely forgotten how nerve-wracking waiting for the results of each round of the mgas could be, but sungwoon is still surprised by the sheer depth of his anxiety as they await the judges’ pronouncements. too much is at stake; he’s worrying for four peoples’ survival instead of just two. maybe he’s doomed to feel this twisted up and scared for as long as the rest of his friends are in this competition alongside him, but he’s willing to endure it if it means they can stick together for a while longer.

though idly, sungwoon wonders if it would be easier if he were eliminated and watching the episode air in the comfort of his home. would he feel this nervous, this jittery as the ceos announce names—some of them familiar, some not—of those who won’t continue on in each category? would he feel sick looking at the faces of those who’ll be leaving today, guilt threatening to eat him up because he made it when they didn’t? would that be better?

(his heart says no, he’s meant to be here).

beneath mild disappointment that none of empty enigma placed in the top 3 of their individual skill categories is immense relief that neither were they bad enough to be cut at this stage in the competition. daniel’s survival is the most important of them all. despite his early switch from singing to rapping, sungwoon couldn’t shake the worry that this might be it—but it’s the switch that saved him, in all likelihood. sungwoon commends daniel for realizing he’d have a better chance at making it through doing something he was confident in, as opposed to the very skill that got him eliminated last time.

joohyun’s elimination hurts, even if it’s not entirely unexpected. the stumble was costly, and though sungwoon doesn’t like it, the judges’ assessment is fair. he just hopes she isn’t taking it too badly. it’s sobering to realize that the previous season’s contestants are beginning to drop one by one as well; he wonders if it’s a matter of overall skills not being up to par or just a lack of improvement. or is it simpler still—a lack of star power? sungwoon can’t tell, and that worries him.

but with the announcement of the next episode’s mission, he’s forced to switch gears. duos, he thinks, squaring his shoulders. different from last year, sure, but not bad. he can work with duos. part of him can’t help but hope that he gets paired with one of his friends, but that would be… vastly unfair. woojin and kenta deserve better than his dance skills, but sungwoon thinks he could do something exciting with minhyun or daniel. they’ve worked together enough that sungwoon trusts them.

of course, the universe isn’t that kind. sungwoon gets paired with na jaemin instead. he knows very little about the kid himself—and he is a kid, as if sungwoon wasn’t feeling old enough in this competition already—or what he’s capable of, though he remembers jaemin performing an original song he enjoyed. their introduction is a bit awkward and formal, but they eventually settle on a time and place to meet the next day to plan their performance without much trouble.

sungwoon doesn’t know what to expect out of their partnership, but he hopes at the very least, they’ll pull together a performance to be proud of.

-

the awkwardness persists.

jaemin has a makeshift studio they can practice in, which sungwoon is grateful for. he’d offer the empty enigma practice space were it not for the possibility one of the others might be using it as well. it hits him for the first time that—well, he’s competing against his friends, that whatever he and jaemin put together is a secret only the two of them should be privy to. anyone else discovering what they’re planning to perform could give them a potential edge in the competition—or at the very least, screw sungwoon and jaemin over.

(sungwoon trusts his friends would not resort to sabotage. he does. but he’s also competitive as fuck—there’s no we in a competition).

so he heads to the address jaemin provided after his shift at the pastry shop is over, armed with a box of leftover goodies, also known as whatever they didn’t sell that sungwoon could rescue from his coworkers’ clutches. he’s hoping the food will break the ice somewhat between them. who doesn’t love a good pastry? but he figures out soon enough that expecting a couple of (admittedly delicious) fruit tarts to set the stage for them to work well together is being overly optimistic.

jaemin isn’t rude or arrogant or a dozen other horror stories wrapped up in a deceptively benign package. he’s just a little on the quiet side. sungwoon can manage quiet—he’s lived with woojin for long enough that he knows how to curb his own exuberance to match the energy. however, jaemin also doesn’t fuck around when it comes to music. their first argument (professional disagreement?) happens because of their wildly opposing opinions, and neither jaemin nor sungwoon are willing to back down. 

stubbornness runs through sungwoon’s veins in spades, sure. he’s less used to dealing with it in other people. while they eventually compromise and come to an agreement regarding their performance, sungwoon ends up under the impression that jaemin hates him for the first couple of days of the week.

and—truthfully, sungwoon isn’t the easiest person to work with either. he knows from the album prep that he can be a bit much, but it comes from a place of passion. jaemin is the same way; sungwoon can see it in his eyes when they practice together, and in the care he takes while working on the arrangement for their song. it’s admirable, and recognizing that jaemin cares just as much as he does finally bridges the gap between them and puts them on the same page.

jaemin is a good musician in every sense of the word. sungwoon wishes he had even half of his talent. he may not know a lot about rap, but even he can tell jaemin is skilled. and when it comes to rearrangements and remixes of songs, sungwoon can see how much thought and effort he puts into every single one. it’s not mindless playing around for him. the fact that jaemin is just as invested in perfecting their performance as he is gives sungwoon hope for the round.

they keep in close contact until filming, practicing together every single day. jaemin sends him snippets of revisions he’s made to their arrangement constantly, sometimes tiny things sungwoon can only hear after putting all his focus into listening, but every bit of it is important in ensuring they’re prepared for d-day.

by the end of it, sungwoon is, to his surprise, pleased to have been paired with jaemin in the end. the experience may not have been smooth sailing all around, but he feels like he’s learned a lot from his partner in the short time they’ve worked together. they’ve reached a good point, not only in their teamwork but in their performance as well, and he prays their synergy will shine through on stage.

-

seats are assigned for the day’s filming. sungwoon is both relieved and disappointed; he was hoping to sit with his friends and feels a little lost at the idea of not being able to lean over to whisper his comments into their ears or slip his hand in one of theirs when the nerves get too bad. but—at least he’s away from the distracting presence of those around him in the last round.

minhyun is still near enough that sungwoon throws him a quick smile as he takes his seat next to jaemin and surreptitiously wipes his clammy palms on the underneath his thighs. “nervous?” he asks, attempting to look unconcerned. it comes out as more of a grimace instead, but jaemin seems alright in sungwoon’s eyes.

it’s… odd to think how unused to singing with other people he still is. how unused to sharing the spotlight he is. squall is larger than life by necessity; he eats up the stage by himself. sungwoon is not an explosive, expanding, all consuming star. he wants to be someone who enhances others, who shares his glow rather than devouring everything in sight. but jaemin is a star on his own, and they’ve worked so hard this past week to ensure they work in tandem and not against each other. sungwoon has to believe they’ll perform equally as well today.

the competition is fierce this round. they’re sixth to perform, but the people before them pull off some truly spectacular stages that have sungwoon applauding hard enough to turn his palms red. when it’s finally their turn to get up there, he gives jaemin a double thumbs up and a smile brimming with confidence he doesn’t fully possess. “let’s get it done!” sungwoon chirps. it’s their time to shine.

they’d decided to coordinate their outfits for the performance because appearances matter, and they stand together as a polished duo up on stage. their introduction is similarly polished and cheerful—“we’re your lucky stars, sungwoon and jaemin!” as sungwoon goes on to explain, “jaemin is the brains of our team, which makes me the brawn.” a grin dances on his lips as he lifts one arm and flexes (well, makes an attempt) to punctuate his sentence. “brawn-to-be, i guess.” letting his arm fall back to his side, he continues. “we’ll be performing easy by wheein—but with our own spin, courtesy of jaemin. we hope you enjoy!”

sungwoon emphatically believes in giving credit where it’s due, and jaemin deserves that much even though it’s cumbersome to say. he gives the younger boy and encouraging smile as they take their places and the first notes of their pre-recorded acoustic rearrangement fill the stage.

sungwoon raises the mic to his lips and vocalizes for the first part, letting the vibe of the song flow through him. it’s a little more playful than his usual fare, almost cheeky in its lightheartedness. the words are both meant to be taken seriously and yet not at the same time; he feels like it’s meant to be an admonition, though not a stern one. it’s like when you try to tell someone something important but so so with a smile or a just kidding! at the end, as if naked, frank honesty is terrifying. and it is, most of the time.

넌 다른 생각할 때 그 표정이 너무 뻔해 난 다 알 수가 있어 it’s not an ordinary day

눈치가 빠르지 않더라도 넌 너무 알기 쉽게 보여주니 잔인하네

날 긴장하게 만드는 예민함도 가슴을 찌르는 너의 솔직함도 왜 내게만 해당 돼 it’s too unfair

initially, he was a little unsure about singing a song originally meant for a female vocalist, but sungwoon knows he won’t get anywhere without taking some sort of a risk. but they’ve rearranged it into a male key, though it’s still not entirely easy to sing. sungwoon is confident enough in his abilities that he’s not scared of attempting it by any means. he knows he can pull it off.

i’m not easy 난 그런 거 싫어해 좋게 맞춰준 거지 널 더 좋아한 거지 이미 내 마음도 변해가네 너에게 가둬둔 날 꺼내 벗어날래

he makes eye contact with jaemin as he sings, naturally turning towards him during the chorus, taking the opportunity to ad lib some high notes and dip into his falsetto as the occasion arises. they play well off each other, their synergy coming across in the ease with which sungwoon gives way to jaemin’s rap verse following the chorus—he sings it’s not easy right at the judges, then shifts to let jaemin have his turn in the spotlight.

too late too late you’re so stupid stupid no way no way it’s not easy

sungwoon’s head bops along to jaemin’s verse. his delivery is smooth and works well with the song; neither of them overpower the other during their parts. most importantly, in his opinion, they’re having fun performing together. the whole song is a labour of love, from their rocky beginnings to their comfort with each other now. he wants to show that progress, that growth from nothing into the duo they are now. he feels like he and jaemin have been performing together for longer than merely a week; they navigate the stage well together, their energies matching, and their facial expressions on point as they interact with and react to one another up there. 

i’m not easy 난 그런 거 싫어해 좋게 맞춰준 거지 널 더 좋아한 거지  이미 내 마음도 변해가네 너에게 가둬둔 날 꺼내 벗어날래

it falls to sungwoon to end the song with a refrain of the chorus. it’s his final chance to demonstrate his skills, so he builds up into a powerful high note before softening his voice, almost trailing off on the last line so his voice fades out along with the notes of the song. in that moment, he hopes more than anything that both he and jaemin survive this round. sungwoon isn’t sure anymore about who deserves to survive and who doesn’t—not after last week—but what he wants is for them move forward. he doesn’t want to be the reason jaemin’s mga dreams come to a premature end. 

because it’s sink or swim together—and sungwoon will doggy paddle to the shore with jaemin in tow if he has to. 

once they’re off the stage, sungwoon pulls jaemin into a one armed hug. “it’s been great working with you,” he says sincerely, his voice hoarse with the effort of keeping his emotions at bay. “and if we don’t—uh, no. we will pull through.” if he says it out loud enough, maybe he’ll even convince himself of it. "i just wanted to say that you’re my rapper one-pick from now on,” he continues. "and i hope we get the chance to perform again together. let's meet in the finale, yeah?" 

sungwoon's still dreaming big, but he takes comfort in the knowledge that jaemin has the skills to make it. and if nothing else, he's glad he got the opportunity to learn that much. 

[richardarmitagefanpage]

Richard Armitage sharpens his skills starring in Wolverine podcast

Richard Armitage shines as Wolverine in Marvel’s Wolverine: The Lost Trail podcast. Here, he explains how he portrayed one of comics’ most iconic heroes.

Richard Armitage plays incredibly tough characters, which made him the perfect fit to portray perhaps the toughest hero in comics: Wolverine. The Berlin Station star lends his voice to Logan in Marvel’s Wolverine podcast, which is now in its second season on Stitcher Premium.

In Wolverine: The Lost Trail, Logan returns to New Orleans only to discover that several people are missing, including someone close to him. Working with a boy whose mother has also disappeared, he sets out on a quest to find them—and find out the truth about what happened to them.

It’s the first Marvel scripted podcast, and it’s an excellent role for Richard Armitage, who always commands attention whenever he steps into a role. Even though audiences can’t see him, he has so much presence that he’s just as intense and visceral and badass as Logan is supposed to be.

How did he pull it off? Armitage spoke to FanSided about returning for The Lost Trail, taking on such a well-known character, and his previous Marvel role that audiences might have forgotten about.

FanSided: How did you originally get involved with the Wolverine podcast? Was there something in the character that appealed to you?

Richard Armitage: I was approached by Marvel to voice Wolverine. I was really intrigued about the new technology being employed—the multi-directional microphones and the physical nature of the recording— but the most appealing aspect were the absolutely brilliant scripts. It’s always about story and character for me, and these episodes reveal more and more as they move forward.

FanSided: Logan is a character who’s already had many different portrayals, and years of comic history on top of that. How did you figure out your approach to playing him?

Richard Armitage: I embrace the previous iterations, but I think it helped that I wasn’t that familiar with the history and origins of this character, so it was with a clean slate that I began. From a personal perspective I looked into lycanthropy; it’s something I touched on years ago, as I’ve always had a fascination with characters who are shedding their skin, or fighting to keep something at bay within them.

In Logan’s case, the animal is clearly close to the surface. I think the connection between the human and the animal is something we can all experience particularly in moments of extremis. Because this is an audio recording this has to be found in all aspects of his voice—the struggle, the pain, the release. The inner howl.

FanSided: That’s one wonderful thing you bring to the podcast—you have a lot of prior experience in audio dramas. Were there any similarities between your past audio work and this project?

Richard Armitage: This is like no other audio role. Usually in book recording or even a radio play, the movement has to be restricted to prevent and unwanted ambient sounds. With Wolverine, it’s essential. It’s actually everything—the scenes are acted out as if we were creating a film. It’s a three-dimensional audio picture. For The Lost Trail this is incredible. I knew that the required soundscape for the bayou—the heat, the water, the insects and the wildlife—would be extraordinary.

FanSided: Did the format of the project impact your work? Did you have to prepare for the Wolverine podcast differently than you would a live-action role like Berlin Station or Strike Back?

Richard Armitage: To be honest, it’s exactly the same, apart from the lack of attention to what I wear to record. Although having said that, the footwear was really important to find some physical weight for Logan. And I was always in a leather jacket; I think we can hear it creaking.

I did have to slightly break my voice to get some rough depth for Logan’s; that tends to come through the extensive workload, but for day one I did work with a bit of a hangover. Then Logan was off his face out in Japan, calling Maureen after some heavy self-flagellation, manifesting itself in sinking his sorrows at the bottom of a whisky bottle so—method I guess!

FanSided: Like any good second season, The Lost Trail expands Logan’s universe further, including the introduction of new characters like Gambit. What’s been the most fun for you to play with this season?

Richard Armitage: I really loved all the work with Marcus, played by Rodney Henry. We had a lot of fun and it was brilliant to see Logan challenged by a kid, who he goes from wanting to swat like an annoying fly to really caring about. There is a heartfelt journey for these two.

I loved the work with Bill Irwin also, and the concept of an augmented reality in the illusory world Wyngarde creates. We had long conversations in the studio about the state of our politics and the warping and bending of the truth. Wyngarde’s world took on a weary relevance.

I also got a kick out of working with Bill Heck, who plays Gambit, possibly my favorite character. I think there is a whole road movie with Logan and Gambit.

FanSided: That’s another special thing about this podcast, is how well cast both seasons have been with people like Bill Irwin, Ato Essandoh and Tony nominee Celia Keenan-Bolger. Do you get to record with your fellow cast members and collaborate as you would on a live-action project?

Richard Armitage: Yes, every day gave a new gift in the form of a new group of great actors. It’s the best part of this process. Everyone had a great time and there were some extraordinary performances. The voodoo seance with Karna Eyestone, played by Lizan Mitchell, was spooky, electric and ancient. I slightly hyperventilated during that scene and fell truly under her spell.

Also the death of Bonnie Roach, played by Blair Brown, eaten alive by a crocodile, was something to behold in studio. Lots of incredibly committed actors doing what they love.

FanSided: You’re already familiar with being part of a big property and playing a big character, with your role in the Hobbit films. So was the experience of playing Logan somewhat easier for you?

Richard Armitage: No matter how big something gets, it’s always about the details. The bigger the movie, the smaller the details that matter. With Wolverine: The Lost Trail, it’s about the heartbeat of this character. From the first series of phone calls, where we try to create an edited journey of decline to open the story, to the hallucinations of a captured animal in chains, a reality created only in the mind of the prisoner.

It threw up a lot of internal questions about the restrains and restrictions we put upon ourselves. I love the breath of this character—the tiny flutter of a growl in the back of his throat. So even when resting this man is a wolf, and if you lean in, you can hear him always ready for the kill.

FanSided: You were already a part of the Marvel Cinematic Universe, when you appeared in Captain America: The First Avenger as an assassin. How has it been to now segue into playing not only a Marvel hero, but perhaps one of the most popular heroes in Marvel history?

Richard Armitage: It’s an honor. I was very lucky to play Heinz Kruger in Captain America, but there was always a sense of regret that he had to die so soon, when there was an interesting character to explore further. Wolverine is a gift of a role, if only to be heard for now. Maybe I’ll get the chance to expand a role for Marvel which combines all of the things I’ve gathered on my own personal journey into the field.

But I still feel one of the best moments we recorded, was in the first season when Logan is running with the wolves. I saw it and felt it as clearly as if we were making a movie. I’m very proud that we can be part of the Marvel Universe, but in a different, rather less explored sphere. I hope we get to explore some more.

Wolverine: The Lost Trail is available now on Stitcher Premium. For more information on the Wolverine podcast, visit the official website.

Via FanSided