#i kind of like this particular episode that i felt i was fitting

[oodlyenough]

Just using a cut to spare people's dashboards the length lol:

I agree with most of this too. I didn't touch on everyone (incl. Ekko) in this post because when I started to write my s2 thoughts they were too long to fit in one post so I just arbitrarily broke it into chunks lol.

I think for all the valiant effort of the art team to include a lot of different races, body types, etc in the cast, the actual story has some issues in that regard. I don't/won't get into race a ton just because it's not really my wheelhouse, but I definitely agree that where they make cuts can be telling, whether by accident or not. Sevika MUST have had dialogue at some point in their 2-hr-finale draft that got cut, for example, it's the only thing that makes sense to me. They should have done a lot differently with Sky but they especially should not have written a Black woman into that role.

Across both seasons I felt like Ekko in particular was extremely lovable but not ... um... dynamic? as a character. Like he's just so good, at everything, good hearted and a good leader and a good inventor etc, that they didn't seem to know what to do with him storywise so he gets benched for acts at a time or not really acknowledged. Episode 7 was maybe my favourite ep of the season and I thought was good for him, but even there I would have liked to see Ekko struggle a little bit with having to leave this great timeline, or (if they'd structured the story differently) question whether he was right to go try to change time back or whatever even if it meant dooming the cities and Powder and Mylo/Claggor/Vander. (Again they just avoided this conflict by having the "good" timeline continue on without him, with an alt Ekko in his place, rather than just disappearing entirely... which works for the multiverse plotline, but means there's no real moral dilemma for Ekko or anything).

I'm less sure about the women in this particular instance because I do think Arcane is pretty dominated by female characters (which is great) and in the specific cases of Vi, Jinx and Caitlyn I don't really think the lack of screentime is the issue so much as just what they chose to do with that screentime and some of it ... not ... being very good. For most of the season it felt like Jinx was the only character consistently appearing, while others popped in for one ep per act. But they spent so much of that screentime on Isha only to kill her off and kind of shrug it away, for eg. I don't feel like things got cut from Jinx's story so much as I feel that her story just was not very good -- and mostly that's how I feel for Vi and Cait too.

The other social elephant in the room is homophobia I think. Cait and Vi being explicitly romantic is great, but having seen the awkward-as-hell China edits, the admission they got a "slap on the wrist" and had to dial down the sex scene, or even the waffling Linke does with Jayce and Viktor in interviews, I have to wonder how much that plays in. Cait and Vi can be in a relationship only as long as we can cut out or edit around their romances overseas, you know? So their relationship has to be kind of a side thing, it can't be the main story like say Catra & Adora's was, or contrast with Jayce and Viktor, whose relationship gets extremely centre-stage in the plot, but always toes the line of plausible deniability.

I am also curious why every episode is confined to 40 minutes, apart from a 50-min finale. I think even ten more minutes per episode might've helped some of these issues. I'm going to assume it was more an issue of production time/budget, because a show like this takes so long to animate every frame. But... yeah. It hurt lol.

more arcane s2 thoughts in no particular order. this is pretty negative. woops

Cait, Vi, Caitvi

despite being what initially got me watching to begin with caitvi just never ended up being my primary interest with this show, so going into s2 it wasn't like I had very well formulated expectations or hopes. I think if I had I would maybe feel disappointed? They had some nice moments, they got the kiss and the sex scene, they're clearly endgame, etc, and that's nice, but it also felt like their relationship was so ... never really the star of the show or focus of the story to the extent I expected it to be. Did they even get a big fight-together battle-couple moment in the last ep, I don't think so? I didn't find the resolution to their Act 1 breakup especially good, I think Caitlyn owed Vi an apology and Vi deserved to be angry for longer than ten seconds.

I generally feel across both seasons that Vi's pain and trauma is rarely given as much weight as other characters', I was pretty underwhelmed by Caitlyn's dictator arc after being extremely interested in it at the end of act 1...

I dunno. I hope their stans liked it and are satisfied getting to see them kiss and have sex and be together and I wouldn't downplay the significance of The Couple in Arcane being a lesbian couple. But I wasn't personally very compelled or moved by it.

Jinx

Like the above I'm not a Jinx academic by any means but I think if I were I would be frustrated by how cyclical her arc was in season 2. And no, having Silco show up to be like "it's a cycle" doesn't really justify the narrative interludes. Isha is a hard sell of a character for me because I don't ... generally want little kid characters around ... and I found Jinx (basically) looking straight into the camera to say "gee you are just like me, Powder, when I was a little kid, which reminds me of being Powder, is this how Silco felt, is this how Vi felt" to be hamfisted. But some of the scenes with the two of 'em and Sevika were cute ... only for Isha to die and Jinx to be depressed, again, and then come through the other side, again, and then "die", again. Like if we wanted to deal with depressed Jinx we started off s2 that way...

I've seen other posts by Jinx fans that articulate much better the ways in which she goes from the driving plot force in s1 and main autonomous actor to just kind of being wafted around by plot in season 2 so I won't repeat them. But I think they are right. I also question the way her mental illness was portrayed -- or rather wasn't... -- in season 2. Powder in the AU showing no sign of illness (despite baby Powder in the main timeline already having some of that going on, pre-Vander death)... I mean, sure, she's got a support system etc in that world, and one can argue we don't spend enough time with AU Powder to necessarily see it, but combined with the Isha stuff it just kind of felt like a weird message.

Sevika

I love Sevika, one of my faves from s1. I was so excited she seemed to get a bigger role in act 1 and then in the first ep of act 2. And then she never spoke again. What the hell man... like damn... really?????!? Not a WORD in act 3? I'm sure this was some of the stuff they trimmed to get that finale down to 50 minutes but god that sucks, so much, in ways a wordless shot of her in the council chamber can't really resolve. Which leads me to

Piltover-Zaun

I have to admit I don't think the class politics in s1 are as good as they were reported to be, so I didn't have high hopes, but MAN is Piltover going "hey we need cannon fodder <3 thanks" not... a reasonable resolution... especially after an indeterminate time of Piltover being EVEN MORE oppressive with Caitlyn enforcing martial law. It was sooooooooo ridiculous. Also, lol @ the show acting like hextech is solely responsible for the suffering of the undercity. If only Vi, Jayce and Viktor weren't around we'd have a equitable utopia. Sure Jan.

Sky

One of the most offensively written female characters I've seen in recent media. A spectacular, zero-effort failure from the writers. What a horrible decision to write this poor girl, a Black woman no less, and give her absolutely no characterization outside of an unrequited crush on a gay white man. In season 1 I could forgive most of it because a show like Arcane needs redshirts and it's just unfortunate they made this particular redshirt a young Black woman. There are so many other complex and developed women in the show, I thought, they can afford to have some minor ones who aren't.

But oh my god season 2. The ghost hallucination which they never even clarify as being "really" Sky or just being the Hexcore or just being his own imagination of guilt because neither the show nor Viktor give enough of a fuck to explain fhglakhdglh. Even posthumously she barely has any dialogue except to reference off-screen conversations with Viktor we never see them have and then die again. "No you won't" ?????? It is ridiculous that they wrote this.

[korvyna]

It had been a few days since the incident down at the chalet. Madness ensued following the last game, and everyone was either dead or had separated in groups. Chishiya had taken the time to leave with Arisu and a few others, though he was once again out of their closeness though by choice. He had been in this world far too long, and still was not close enough to figuring out what really was going on. He was but disappointed in truth, but such did not seep through the calm façade he held so tightly together. A blimp flew overhead. Another game was to start, and it was the jack of hearts. Chishiya wasted no time, pacing his way into the direction of which it coaxed. He wondered therein if he would find anyone whom he could build a relationship with, to get through the game easier. Typically it was every man for himself, but Chishiya knew there was strength in recruitment. After all, everyone here was damned one way or another. Moments of walking led Chishiya to what appeared as an underground cellar of sorts; it was dark, dingy and rather dirty compared to previous locations. Judging by the construction of the building, Chishiya took it for a prison building. There were already other individuals in the building as well, in fact there were a lot of other players. Chishiya had a hunch about what was to ensue, and kept himself to the corner of the room, watching everyone. @unforgivenn​

[icarryitin]

Episode 24: Trade Deal

spencer reid/gn!reader

i started this bc i was ill and feeling sorry for myself and it turned into a very not to me not if it’s you kind of vibe, mostly bc i frankensteined a couple of my favourite translations of That Scene so they could have their own version🥰🥰

series masterlist

word count: 1.5k // warnings: reader has a cold and all the grossness that comes with it, spencer is so Cute™️ it causes me physical pain

summary: In which Spencer Reid, known germaphobe, pretends he doesn’t know exactly how many pathogens have made their home in your sinuses.

It starts with a scratchy throat on a Tuesday morning.

You don’t think much of it, blame it on seasonal allergies, knock back a multivitamin - you’re not about to be bested by a cough of all things. That is, until it gets to Friday afternoon. You’re trying, you really are. Your immune system has other plans.

“You stay right there, Patient Zero.”

Rossi’s comment would be funny if you didn’t think that laughing might trigger a coughing fit that could very well be the end of you, right there in the doorway of Hotch’s office. That’d be one hell of an epitaph - too stubborn to take a sick day, choked to death in boss’s office. Hotch, at least, already seems to know why you’re hovering.

“I’m-“

“Going home, I hope.” He interrupts you with all the fondness of a concerned father. You don’t have the energy to argue, or to hold up an unaffected front. The men standing by the window soften a little as they watch you visibly deflate. Dave promises to send you his Nonna’s minestrone recipe, there’s nothing it can’t cure; right now, though, you’re only thinking about your bed.

The well wishes follow you through the bullpen, old wives tales and family cures that have never failed. JJ tells you to sweeten your tea with honey, Derek swears that a hot water bottle on your back will work magic. Even Emily pipes up from behind her germ shield, the folder held across her face so you can only see her eyes, and tells you to take a hot shower first thing in the morning - the steam will clear you out for the day. There’s a chorus of agreement, or disagreement you’re not sure. It’s a struggle to hear much over the cotton wool in your ears.

“We’ll see, with any luck I’ll die in my sleep. Love you!” You sniffle as you back out of the office, feeling all kinds of sorry for yourself, and determined to make it as far as you can without touching anything. Lest you actually start the next plague.

Spencer watches you go, shuffling backwards out of the office and turning towards the elevators. He’d elected not to add his own suggestions to the plethora of options supplied by the rest of the team. Unable to focus on much beyond just how tired you look. You’ve been fighting this thing all week, he’d passed over his own supply of hand sanitiser only that morning when you ran out. Ultimately, you put up a good fight, but there’s no cure for a virus. It just has to run its course. Just like his own feelings.

Okay, maybe he shouldn’t be comparing a virus to whatever it is he feels for you. Has felt, will feel - if there’s an end to this tunnel, he can’t see it yet.

“What about you, Spence?”

JJ’s voice pulls him from his thoughts before he can start spiralling down that particular hole. It takes him a moment to recall what they’d been chattering about before your long overdue exit - drinks, right. Yeah, that’s not happening.

“I’m busy, actually.” He shrugs, content to miss out on one night in favour of the plan currently coming to fruition in his mind. They won’t miss him too much.

“Busy? You weren’t busy when we talked about it last week.” Emily makes no effort to conceal her surprise. To be fair to them, it’s not like him to blow them off. There’s just something that’s come up, something decidedly you shaped, that’s far more important.

“Yeah, I forgot. Sorry.”

Spencer doesn’t miss the look that JJ and Emily share, he doesn’t miss the eyebrow that Derek raises in his direction. He simply chooses to ignore them.

At least the walk to your apartment is short, there’s still heat leeching from the plastic bag around Spencer’s wrist as he fumbles with his keys. You’d given him a bright pink key cap, so he’d know which one was yours, as if he wouldn’t know anyway. Eidetic or not, that���s one he would have committed to memory. The excuse had been because he was helping you out whilst you were down an arm, takedown gone wrong, you’d dislocated your shoulder. And then you’d insisted he keep it, because someone should have your spare key, and he’s the least likely of the lot of you to lose it.

He thinks you might be asleep at first, open plan living area lit only by a salt lamp and a set of fairy lights draped over your kitchen window, it’s cosy. And then you appear in the bedroom doorway, wrapped in a jewel toned blanket. The low light is forgiving, but Spencer would be able to spot the bags under your eyes from a mile away. Without his glasses.

“I brought noodles.” He says as he turns back to set the steaming bag on your kitchen counter.

“I’m so gross right now.” As if to demonstrate your point, another cough racks your body. You just about manage to catch it under the swathes of blanket clutched in your fingers, but at least he can’t claim you’re not truly disgusting in this moment.

“I don’t mind.”

You’re so set on denying him entry that you don’t even really register what he said - Spencer Reid doesn’t mind that you’re ill. He doesn’t mind. A younger, healthier version of you would swoon. You might anyway, although that’s probably the vertigo talking.

“You’ll get sick.” Your rebuttal is weak, resolve crumbling. Warm noodles do sound pretty good right now.

“Will you let me help you, please?” It’s the firmest he’s ever been with you. No room for argument, doctor’s orders. So you have to relent. Not that you have much of a choice, he’s already pottering about in your kitchen in search of bowls. As if he doesn’t remember where they are.

“Did you get me a number three?” Your voice is brighter than he’s heard it all week.

“With extra toppings, of course.”

And those extra toppings go down a treat, of course they do.

Spencer watches you carefully as you eat - usually he’d be a little more subtle about it, but there’s not a lot that could pull your attention away from the bowl in your hands. You’re cross legged on the couch, blanket bunched around your middle, happy as a clam. Something his mother would say. He wonders what else she might say, what she might think about the abandonment of his germaphobia. Convenient, probably. Diana would say it with a raised eyebrow and a sly smile, the one that’s just for him. She has always liked you.

He promises he’ll be back tomorrow, once dishes are washed and leftovers are tucked neatly in your fridge, to make sure you get that hot shower Emily mentioned. The steam will definitely help, he’s read about it. Arguing with him would be pointless. You don’t have the energy, he’d only show up anyway, and it’s kind of nice to feel looked after. Spencer’s never failed to make you feel like that. You’re far too delirious to start thinking about that, not while he’s still standing in front of you at least. So you let him tuck you into bed, let him leave a glass of water on the table, let him dote. Pretending is a comfort when you feel as awful as you do. You’re already drifting off before he’s even ready to leave, content enough in your bed with the sound of him in the other room. Just, tinkering.

The sound of your front door opening rouses you the next morning, just about. Just enough to raise your head from your pillow and witness the sorry sight in your bedroom doorway.

Spencer’s trying - key word, trying - to suppress his sniffles, but the red rimmed eyes and tissue clutched in his fist give him away. It’s impossible to keep the sad little smile off of your face.

“Oh no.” You reach out a tired arm to pat the space beside you. There’s enough room for the two of you in amongst the blankets, and Spencer’s so far gone that he doesn’t even argue. His shoes and bag find a home at the foot of your bed as he lets himself collapse into the nest you’ve built. Tension leeches out of his body the moment he hits the mattress.

You have to lean across him to get your phone, right arm outstretched over his back - you can feel the heat rising off of him through his sweater and yours. Fever, that’s day two. Which means he spent yesterday evening taking care of you whilst he began to feel worse and worse. Softie.

“Egg or no egg?”

There’s an affirmative grunt from where his face is buried in your blankets. Egg it is, then. You dial the number mostly from memory, elbow still resting on his shoulder blade when you put the phone to your ear. You feel a little better than you did, but dragging yourself to the front door is still probably all you’ll be capable of today. At least you won’t be suffering alone. The line rings for a moment, then clicks, and a grainy hello sounds from the other side.

“Hi, can I place a breakfast order for delivery, please?”

i’m stuck on which chapter to work on next, do we want angst or yearning or fun flirty activities????🧡

[mrinafria]

[contains spoilers]

I'm an eternal digger of good narrative techniques. A decent story becomes great in my eyes if the narrative is done right. And it's one of the hardest things to do really, since there's no one-size-fits-all rule for what technique works well with a particular story and what doesn't. One of the primary reasons I keep obsessing over Lovely Runner is its' narrative technique. In all honesty, if it had a linear, singular narrative, I would not be hyperventilating over it on a constant basis (I still would just a certain amount, because both Byeon Woo Seok and Kim Hye Yoon deserve awards for what they are doing). One reason it has managed to knock it out off the park and take the top spot in my forever-favorite list is how wonderfully well the narrative is done.

The primary perspective used in this show is Im Sol's. It's through her we're introduced to the story. Her perspective gives shape to the plot, the characters, because we learn things through her. Her perspective is absolutely critical for exposition. Without her thoughts and way of viewing things, you would never realize why saving Seon Jae means so much to her, or why she would bend the rules and bulldoze ahead when it comes to his safety (exhibit A, her leaving home on the day of the accident, despite knowing about her fate). She'd rather have him alive than have him in her life. Without her narrative, you'd think it's really all about a fan saving her idol (thanks to everyone who'd rejected the script listening to that pitch by the way, I'm grateful we have BWS and KHY as the leads because of that, I would not change it for anyone else). With Im Sol's perspective, you realize, she is not just a fan: she's an ardent admirer, a cheerleader, a well-wisher, a protector, an invisible friend trying to support her friend any way she can, someone who respects Seon Jae, sees him as an idol but also as a human, someone who wants to give back to him the same kindness, empathy and love she had once received from him over a radio call. To her, Seon Jae is first a guardian angel and then an idol, the angel who changed her view of life, made her appreciate things even amidst all that could be wrong with the world and her life. He saved her. Not just on that day at the hospital but every time she struggled and faltered since then, he was there, as invisible as it may have been. So this time, she wants to save him, no matter the price.

Then comes Seon Jae. Oof. If Im Sol's perspective gives the story its beautiful, beautiful shape, Seon Jae's perspective breathes literal life in to the body of the story. The show wouldn't be what it is today if not for his perspective. Without his view into things, Im Sol appears as a fangirl going to extreme measures to save her idol, clinging onto him like a monkey (yes I mean the poster) embarrassing the heck out of herself, making you cringe (in a good, enjoyable way) throughout. Then you reach the end of episode 2 and it knocks the breath out of you because WHAT DO YOU EVEN MEAN. It all clicks.

All this while we kept thinking Seon Jae was caught off guard and just kind enough to tolerate her antics, and maybe he'd slowly fall for her now, only to realize we were completely oblivious to a whole different side of the story. If Im Sol's narrative draws you in and keeps you hooked, making you root for her to succeed, it's Seon Jae's narrative that makes you irredeemably fall in love with them and sincerely, genuinely, desperately hope they get their happy ending together after all the storm.

And the motifs. Walking/running, for instance. I'll focus on just one scene here. I recall seeing a bts where KHY is discussing the OG 2008 accident scene, and it explains how she has to slow down, while running away, for just a moment, only to be hit by the taxi driver. Have you ever been in a situation of absolute panic, desperation and stress, then suddenly found a familiar face or a name or a thing you could connect to, and felt a wave of relief rush through you? She sees Seon Jae, a person who is calling out her name. Even if she didn't know him back then, the fact that he knew her (and that he had his uniform on), gives her a sense of safety she badly needed that moment. That momentary relief, so visible in her features, then overtakes the crippling fear she felt running in the middle of nowhere with no one in sight in the dead of the night. Her body, already exhausted beyond anything, responds to the relief she feels for those few seconds, slowing down her steps.

And that is when she is caught off-guard and hit. That also might have added to Im Sol's anger at the hospital when she is screaming at Seon Jae, her internal anguish that if only she had not paused seeing Seon Jae, and kept on running, then maybe she wouldn't be hit, wouldn't fall, wouldn't lose her ability to walk. It's one thing to have tropes and symbolic things, but it's a very different thing to know how to use them effectively so they elicit very specific types of emotions/reactions out of people. Lovely Runner excels in that. All kdramas more or less have 'things' that take on different meanings for the couples/viewers. It's the way motifs are used to narrate the story in this one that has me going back over and over again to all the episodes aired so far. These are not just their 'things', these are 'things' that drive the plot forward, tell you about their characters, their personal motivations, what they mean to each other and so much more.

This is getting longer that I intended it to be so will end with this. I feel valued when watching Lovely Runner. And I've seen people saying the same thing. It feels like they respect your critical thinking skills, and your ability to infer, so they don't spoon-feed you everything from the get-go, and you can't predict much despite it being primarily a rom-com. You'd be pulling your hair out (again, in a good way) trying to figure out what they will show next, and you will be somewhat or very far from the truth, which will compel you to think further about the story, the characters, long after an episode has aired...I can't remember the last time it happened with a drama. I love this storytelling.

[mirai-e-jump]

TV Guide, 9/6/2024 Issue ft. Kamen Rider Gavv Cast Members (translation below)

Publication: August 28, 2024

Chinen Hidekazu x Hino Yusuke x Miyabe Nozomi

Chinen: Shouma, who I play, is a young man who loves eating. He actually comes from another world, and while he's friendly, there's an elusive side to him, so if you take your eyes off him, he might end up someplace else.

Hino: Karakida Hanto, who I play, is a freelance writer who's not afraid of taking risks. During the audition, they never gave me a detailed setup for the motifs or roles we'd be playing. The only thing I knew was that one character was a glutton, and that the other was a cool character. How was the audition for the female character?

Miyabe: I play Amane Sachika, a gyaru, but that wasn't disclosed to me during the audition…..

Chinen: Really?!

Miyabe: The impression I had was that she was a reliable person. Then, during the final audition, the Director told me, "Act alittle more like an aunt from Osaka."

Chinen & Hino: Ahahaha!

Miyabe: I wondered what kind of character she'd be, but I was surprised to find out that she was a gyaru.

Hino: I was together with Hide (Chinen) during the final part of the audition, and he was really interesting. We've got so many stories. Which one was your favorite?

Chinen: There's none in particular I like (laughs).

Miyabe: I wanna hear them! (laughs).

Hino: For example…there was "A," the gluttonous character, and "B," the cool character, and the Director would assign us by saying, "Alright, next, you play role A, and this guy will play role B," but when Hide was told, "Alright, you're next," he took role A without asking.

Miyabe: Eh! (laughs).

Hino: I couldn't help but say, "This kid's a genius."

Chinen: I cringe thinking about it now (laughs).

Hino: (laughs). Still, I thought, "These are the kind of kids who get chosen." I really felt that he was different from the other kids. I guess I've been drawn towards Shouma since then. That's why when I found out at costume fitting that Hide had been chosen to play the main character I thought, "Wow! That's great! I knew it'd be him."

Chinen: "I knew it" is what I also thought about Yusuke-kun. When I actually did a face to face performance with Yusuke-kun at the audition, I thought, "It'd be very easy to perform with this person"……

Hino: (said happily) Really?

Chinen: Yeah. That's why I wasn't surprised at all when we met at costume fitting. There were countless people left, but I knew that if I was chosen, the other person would likely be "him."

Hino: (totally embarrassed) Damn. No, that makes me happy! I think that the relationship between Shouma and Hanto will gradually deepen as the story progresses, so I hope you'll look forward to that part as well.

Miyabe: What I liked about the script was that even people who seemed cheerful were complex, and they grew as they struggled with themselves. I personally found these aspects encouraging, and I hope that it'll be conveyed to the viewers as well.

Chinen: When I saw the completed first episode, I thought it was really interesting, and I felt that I presented it with my whole heart. I hope that lots of people will watch it! _

Q: What sweets would you compare each other to?

Chinen: Miyabecchi is a marshmallow. She gives off the feeling of an older sister who watches out for us and embraces us with her softness. As for Yusuke-kun, he's fugashi.

Hino: Isn't that old fashioned?! Wait, there's only a two year gap between us! (laughs).

Chinen: He's well informed, and since he talks alot with his superiors, I chose fugashi since it's a veteran of the sweets world.

Miyabe: I think Hide's definitely a marshmallow.

Hino: Right, it's so him.

Miyabe: Isn't it? He's very soft, and I feel like he could absorb an impact (laughs). As for Yusuke-kun, he's dagashi.

Hino: I guess I'm that type after all (laughs).

Miyabe: It's because there's a familiarity to him (laughs).

Chinen: Ah~ I see.

Hino: I also think Hide's a marshmallow. He's fluffy, pure, and positive. His skin is also like a marshmallow (he pokes his cheeks). As for Miyabecchi…she's both girly and not girly at all, and is also quite mature. I wonder what she'd be.

Chinen: A high quality confection?

Hino: Right. Like a millefeuille! It feels like there are many sides to her, as it also has lots of layers.

Miyabe: Ah, I'm glad~ (laughs).

[littledigits]

Random facts that may amuse you about the river episode of hilda

To be handed a script and then be like ' ok now lead your team to do the visuals' its like ,a wild experience so I want to share some of the weird things my brain latched onto .. For the door sequence, My pitch to our location and color designers was based off of a blacklight, under water themed mini-putt course I used to love when I was a kid. Just goes to show you can really pull inspiration from anywhere haha. I dont think anyone expected me to go that buck wild with it but I'm glad everyone was on board. anyway.. I lovingly called it Eugene's ' Putt Putt cave of doom ' . I wanted the doors to look kind of flat, like stage props ! The mini putt is STILL THERE BTW . look at this video. GOSH I MISS IT SO MUCH.

Anyway - It works great too because it allowed everyone to have the cooler blacklight palettes, where you can see Eugenes -true- colors. I wanted him to be duller outside of the water on purpose. Cuz hes just a lil old timey guy. A " slightly deranged Stan Laurel " , which was what i had in my pitch notes to the design team.

Heres another silly fact but we based part of the serpent off of the sarcastic fringehead cuz..look at it . its just like -AHHHHHHHHHH. It just waves its mouth infront of other fish and it looks scary but it doesnt DO ANYTHING. ( I think, biologists can correct me)

Also just in general I was vibing with the old..creatures on a map . Like. Of course we're going to give this serpent hooves. OF COURSE THIS SEA SERPENT NEEDS HOOVES. So the designers did a few rounds based off of way older illustrations.

The choice of shadow puppets was done to give Eugene an 'old timey' flavor. I really wanted him to feel more vaudeville and tap dancey - so the shadow puppets were to give him a..more modest intro. The adventures of prince achmed was an inspiration, because how old school animation can you get ! And it really backed up the use of bold colors. I wanted to save his BIGGEST performance to the end, also shout out to @castletoons who boarded this episode AND nailed the song sequence WITHOUT EVEN HAVING THE FINAL SONG?! It fit perfectly. It was fate.

oh , and if you felt a particular beetle juicey tone to this whole episode? You're not wrong ! While it wasnt on my mind when I was first working on visual concepts, our storyboard supervisor Jeff Bittle showed me this intro from the second season of the animated show. Everything zipping at the camera on this endless void ride was the perfect chaotic energy that really helped bring in that sinister tone.

UH SO YEAH I mean I could go on about some of the thought processes behind choices and stuff and honestly I dont want to get into the weeds with opening up a pandoras box on behind the scenes of hilda or whatever. But I thought this episode was a fun example to kind of share a bit of The entire team ran with this weird chaotic energy and I appreciate them so much for it. I'll always love this strange lil episode.

[gizkalord]

I've noticed newer media about tcw era anakin and ahsoka is generally more angsty and has touched more upon anakin's tough love teaching style (aka tales of the jedi ep), and this episode in particular portrays... idk, a degree of emotional unavailability on anakin's end? which is kind of fascinating because it's somewhat incongruent with their actual tcw portrayal which tended to put a lighthearted spin on things—i think it's partly because newer content is made knowing that the main fanbase has aged up, partly because the deep ins and outs of their dynamic was never the main focus, and partly because filoni's own opinions have developed over the years.

at the same time, this is also something that i've kind of suspected for a while?? anakin's whole deal is chronically bottling up his extremely strong internal emotions, so i don't think it's unrealistic that he seems distant/closed off and then sublimates those feelings into extremely overprotective actions and harsh training. which then also doubly explains why ahsoka was always so frustrated by that in earlier tcw arcs, because from her perspective, it's like he's wanting her to be super independent but then is also simultaneously overbearing.

i've always felt they've never had a "talking" kind of relationship (see: old friends not forgotten), and all of this fits with that idea. that being said, both the totj ep and the ryloth vision are set earlier in their relationship, which tracks with how i believe things improved with time as they got to know each other better, with ahsoka in particular getting a better grasp on the more unsaid things between them.

anyways, it's all very interesting and i'm glad their relationship is being shown as complex and messy, because it was!! they both cared SO deeply about each other, but their respective inability to properly communicate and open up when it mattered doomed them, especially in the setting of such a high stress/trauma situation.

[ploppythespaceship]

Please Watch My Adventures with Superman

This show is just so delightful and manages to capture the essence of Superman in a way a lot of adaptations just don't quite get. If you've ever been curious about Superman, if you've ever felt Superman is too boring for you, or you just enjoy a fun superhero story, I highly recommend checking this series out.

The first season has ten episodes, and the second season has just aired its third episode. In the US, it's available on Adult Swim and Max.

What It's About

If you aren't familiar with Superman, he's an alien -- the last survivor of planet Krypton, sent to Earth as an infant where he was found and raised as Clark Kent. Being an alien, he has extraordinary powers which he uses to lead a double life as a hero. This show focuses on a core trio of Clark, his girlfriend Lois, and their friend Jimmy, all of whom work at the Daily Planet newspaper.

Clark Kent / Superman

One of the main reasons this show works is it understands that Clark is Clark, first and foremost, and Superman is his disguise. Clark is a big friendly nerd. He's a huge sweetheart who cares so deeply about the people around him and the planet that adopted him.

This version of Clark is starting out very young (early 20s), so a lot of this story is about him just figuring things out. He's gradually learning the truth about his origins, the extent of his powers, and how best to be a hero -- all while grappling with the fact that he isn't human and his people of origin may in fact be a massive threat to Earth.

Clark is voiced by Jack Quaid, which you might not expect to work well, but he honestly nails it.

Lois Lane

Lois is loud. She's ambitious. She's intelligent and quick-witted. She doesn't take no for an answer. She has jumped off a building to prove her point -- twice. She is an unstoppable force of nature, and this show refuses to dumb any of those traits down.

But above all, she's kind. She wants to use everything she can do to help people. Her relationship with Clark is also everything you could ever want from a Clois dynamic.

This version of Lois is Korean-American, and voiced by Alice Lee, who does a phenomenal job.

Jimmy Olsen

Jimmy is Clark's best friend and roommate. This version portrays him as a supernatural/paranormal vlogger, running a web series called Flamebird. He's easily excitable, very passionate, as well as one of the most dedicated friends you could ask for.

Following in the footsteps of several previous iterations of the character, this version of Jimmy is African-America. He's voiced by Ishmael Sahid, who's just perfect in the part.

Why It's Great

The characters are all fun and interesting in their own right, while also having a great dynamic with each other -- as duos and as a full trio. And because the characters are shown as being very young and just starting out, they're very relatable. Additionally, every character feels very true to the spirit of their comics counterpart, despite taking a lot of liberties with the specifics.

There's a great cast of villains so far -- Livewire, Task Force X, Mxyzptlk, Parasite, Silver Banshee, and plenty of others that I don't want to spoil. They've also been teasing some really interesting stuff for the Kryptonians, which is noticeably different from any previous adaptations I'm familiar with.

The show is very anime-inspired, giving it a distinct flavor from other Superman adaptations. The creators are clearly having a ton of fun with it. Classic Superman villain Mxyzptlk, who's typically shown as an imp, now looks like he just walked out of a Dragon Ball episode, in an episode called "Kiss Kiss Fall In Portal."

It's also the same animation studio as The Legend of Korra and Voltron: Legendary Defender, who do excellent work. The character designs are unique while still fitting the characters perfectly. I particular love Clark and Superman's designs -- they've struck a balance between making sure he's big and muscular while also retaining a certain softness to his appearance. The fight scenes are fluid and dynamic. It all just works.

[orange-fresh]

I feel like the scene where G and E were trudging away from the asteroid belt made me realise how young all of the moons actually are. Mf Ganymede and Europa felt really, hurt just hearing they cannot be invited.

Ganymede's "FINE! I didn't wanna join your club anyway" followed by his rejected face felt like.. a child experiencing being excluded.

Yesyes!! Europa tried to immediately comfort Ganymede by thinking of making a club, with just the two of them, which was so goddamn adorable oughf. It's like her way of saying "if they won't include you, I will instead. I care about you" and that makes me feel so soft you guys..

Europa out of the two is clearly the more level-headed and mature one, it's so good to see that she's kind of handling Ganymede's little tantrums a lot of the time/pos (when I say "tantrums" I mean cute fuckin fits I love it when characters express themselves so simply, like a child would muah muah kisses)

I haven't finished watching the episode because my YouTube lagged out but!! This scene in particular was really adorable and I appreciate thisss mnsmsmsn

Yeah!! Give me them cues straight out on the plate. I love to see clear body language and undertones this is so fuckin yeah

[bowtiepastabitch]

Let's talk costuming: Avaunt!

So I think we can all agree that Aziraphale looks his most traditionally angelic in the Job minisode, no? In fact, all of the angels' costuming increases in drama for this particular episode. This is, obviously, a very deliberate choice on the part of wardrobe, so let's discuss.

On a technical level, the biggest thing that stands out to me about this fabulous robe is the draping. Oh, the draping. It feels like a classic angel 'fit because on a very fundamental level, it is. A lot of what we think of as angelic draws on Renaissance artists' depictions, with flowing robes, fluffy wings, and glimmering halos. In art from this era, there is a strong attention to detail on the natural flow of fabrics that makes Renaissance sculpture so breathtaking, such as here: (The Ecstasy of St. Teresa, Bernini, 17th century CE)

It's this ability to make solid marble look like fine silk rippling with movement that leaves such a strong impression in my mind when I look at these kinds of works.

In painting, too, there is a similar effect. Something about the material culture of the Renaissance really lent itself to this style, perhaps fueled by the rise in new textile luxuries that occurred in vaguely the same period. This is seen especially strongly for angels, such as in the sculpture above, and in this painting: (The Annunciation to the Virgin, Botticelli, 15th century CE)

There's a stark contrast between the dress of the two figures. The virgin Mary is no less ornamentally or expensively dressed, but her style is rather minimalistic next to the angel's voluminous robing. It paints a very clear impression of angelic dress, and the designers for Good Omens would have been aware, in at least a small way, of the art history precedence for such a thing.

The poof of the sleeves, the tucks down the front, the little belt with the train tucked in, the gathers, the weight of the fabric, everything about this robe is constructed to carefully recreate the rather fantastical imagery of renaissance art. It's not necessarily an easy texture to nail down, given that the artists themselves had no concerns of gravity, comfort, or the way it would look in actual 3d motion, while our brave costumers were dealing with all three as well as a budget, time constraints, and the constant consideration that white fabric just gets dirty so easy.

Here's some of the other angels as well, so you can see how theirs reflect those same dramatic themes.

And then, of course, when costuming a show you have a second question: What does this mean for our character? Or rather, we know how, but WHY did they make him look so traditionally angelic?

Well, thematically, the Job minisode centers around Aziraphale's struggle with being a good angel and Crowley's struggle with being a good demon. Aziraphale is learning how to be an angel that follows along with heaven as far as we can, and he's so terribly torn up about it. He spends a lot of his time fretting about doing what's expected demanded of him, even if perhaps he doesn't believe it to be the right choice. Natural, then, that he should look the part of the perfect angel whilst sorting out these ethereal woes.

Crowley even draws attention to it himself, giggling a bit at the suggestion that Aziraphale, with his fluffy hair and flowing angelic garb, could possibly become a demon. And it is a rather silly mental image; the garment itself would be comically silly in really ANY other context at all. In the same manner, his performance of angelic archetype borders on excessive:

He's trying so desperately hard here to be the angel he wants to and is supposed to be. He's dressed the part, he's using his big scary angel voice, but deep down he's clinging to an identity that doesn't quite fit.

(You'll notice in this shot the distinct difference between his and Crowley's dress on the level of silhouette as well as color. We see this a lot from the two of them, but with the points I made above it felt worth pointing out in this particular scene)

Here at the end, as he's coming to terms with the cracks in his heaven-given identity, his robe is largely in shadow, blurring out its startling whiteness. We do not see him dressed this way again. (He continues to wear white, obviously, but from here on out his style of dress mimics the human trends of the time rather than that classical angelic imagery)

[feral-sylki]

The way Loki and Sylvie’s attitudes towards each other grows along with their attitudes toward their Lokihood is something I’ll forever be insane about. Like, the way we start off with the TVA’s angle and the whole ‘superior Loki’ thing, which Mobius uses to access Loki’s particular issues when it comes to self worth, to motivate him to track down Sylvie bc “this variant is better than you, and you can’t take it.” Loki has long felt like he must compete for any modicum of worthiness, and so it slides into his attitude right alongside his pre existing issues. He adopts it, and even repeats it to Sylvie when he meets her; he tells her of his exploits, of his going undercover and earning their trust, and demands, “I think that makes me the superior Loki, don’t you?” This, then, is the attitude he approaches meeting a new Loki under at this stage of the story: comparison, competition, superiority. And interestingly, Sylvie does a bit of this too, “here I was worried they’d found a better version of me” and all. Where did she get it from, and how much of it does she buy into? Is she using it to needle this TVA Loki because there have been others who came before? Questions without clear answers, but the very fact it’s there at all is quite fascinating.

But yes. Sylvie. Meeting Sylvie challenges this mindset. We are introduced to her side of things, which includes her vehement rejection of the identity. Loki’s reaction to her “don’t ever call me that”, initially focusing on “what, tech-savvy?” because her next words “No, a Loki,” and the venom in her voice takes him totally by surprise. His reaction is utterly fascinating. He narrows his eyes, juts his chin out, confusion and question written all over his body language. The idea of competition and a hierarchy among himself and the other Lokis fitted into the pre existing issues his raising instilled in him; but this, this total rejection of identity? Well that echoes more closely (for this Loki especially, who is coming directly off New York and all that led up to it) his very recent trauma as regards his true identity as a frost giant. Episode three is our major introduction to Sylvie and focuses greatly on her assertion of her individuality, and the way this mirrors Loki’s own journey leading up to this stage. Loki, too, violently attempted to reject the part of his identity that, when it was revealed, suddenly caused him a great deal of pain. Not that that means that being a frost giant is a bad thing to be; in much the same way that being a Loki is not a bad thing to be, they have each been taught hatred of the self. Loki was raised in Asgard, and absorbed a very negative idea of the Frost Giants (“what, that I’m the monster parents tell their children about at night?”). Sylvie’s status as a Loki is part of what ruined her life. The self loathing that they have both developed for themselves is a shared root

They become significantly less aggressive with each other as they spend more time with each other, mutual (or semi mutual) curiosity giving way to genuine affection as they both slowly deconstruct the issues they have associated with their identity. Sylvie opens up to Loki after travelling the apocalypse with him, when they think they’ll die by the lake on Lamentis. “Do you think what makes a Loki a Loki is the fact that we’re destined to lose?” An offering, an olive branch of sorts, to the other Loki across from her, peaceably, if sadly, acknowledging their shared identity, and their shared pain. And Loki responds in kind, choosing to reassure her, “No. We may lose. Sometimes painfully. But we don’t die. We survive.” And this touches Sylvie deeply; she reciprocates. Loki is famous for his silver tongue, but Sylvie is a very touch oriented person. She reaches over and touches him, with gentleness, exactly where the frost giant that revealed his true identity to him grabbed him. And this moment, in what they give to each other and see in each other, is a turning point for both of their attitudes towards themselves

Immediately following this, we’re brought back into the TVA, and the old adages are reiterated: notably, the moment when Mobius is trying to get a rise out of Loki and brings up the ‘superior Loki’ shenanigans, commenting that “I would have bet on her, but that’s what makes a horse race.” Now obviously this takes place in a scene where Mobius is deliberately needling Loki, and has also conveyed news of Sylvie’s (fake) death. But amidst it all, this line, and the look that crosses Loki’s face. He hears it afresh, and it is as if it is the first time he’s fully considered how insane that rhetoric is, how divisive, dismissive, dehumanising. No longer does he take pride in the competition. No longer is there satisfaction for him in the winning of the TVA’s game. “Her name was Sylvie,” is all he says, and with it, he forces the recognition of her personhood, in a system that views her as just another variant, one of thousands.

On and on, until they reach the stage where it is a positive affirmation “You do! Because were the same!” as this shared identity is an intrinsic part of their relationship to each other and their mutual love for each other, both as individuals separate from themselves and also as variants of themselves. But just as they are both Lokis and this shared identity is one they’ve both come to accept and respect as not a thing to be loathed or levelled up but a simple thing that is, so are they separate people who have lived separate lives. “Why aren’t we seeing this the same way?” is a heartbreaking line because she has finally after all this time been willing to open her heart to another Loki like herself, and through loving him come to love herself and her identity. They’re the same. But they’re not. And Loki’s heartbreaking return, “Because you can’t trust and I can’t be trusted” is acknowledgment that whilst they share a root and a soul, their lived lives diverged long ago and shaped them into very different people.

But regardless of the beautifully painful ways this falls out in the season one finale, they can never go back to how it was before they met each other. They are irrevocably changed, in how they see themselves. And that’s beautiful

[a-mossy-amethyst]

if trans stuff/gnc stuff is up your alley i am very fond of the post-coma name scene. What if John had decided that instead of being John, he wanted to be Jane? I enjoy the softness and humanity of it all.

Jane Doe rights!

Some of the dialogue is from episode 5 as this is meant to be an alternative version of the name scene

“So, what have I missed?” Arthur asks.

The entity pieces together what to tell him first. He’s been in a coma for a month, and it feels like so much and so little has happened at the same time.

Their focus should be on Amanda Cummings. Arthur was already talking about her before it cut him off.

But the entity spent a month alone with no one but a kind nurse to keep it company. And the name she, without realizing, gave it has been stirring at something in its mind.

It decides to pry open the topic gently. “For one thing, they don’t know who you are.”

“No?”

“No. I thought maybe they would piece together the missing driver from the car accident a ways away from here.” It pauses. “... You’ve been John Doe for the past weeks.”

“Oh.”

“It’s…” How does it explain?

“What?” Arthur asks.

“It’s actually interesting,” it says, stalling for time.

“Well, how so?” he prompts the entity to explain.

“The nurses, one in particular… she comes in to check. She always says, ‘Good morning, John,’ and, uh…” it trails off.

“What about it?”

The entity flexes its hand, testing the joints. It’s stiff. At first, it used to drum its fingers against the bed to entertain itself, but after so long it started drifting away from this body. The only times it came back to it was when Lilly visited, and it avoided moving so she didn’t freak out.

Having a name sounded nice. But not necessarily that one. Part of it wanted to keep it for Lilly’s sake, but it doesn’t quite fit. Like a puzzle piece that matches its color scheme and looks like it should be a part of it, but just doesn’t have a spot for itself.

The entity was grateful for Lilly giving it a name. It just wishes it was one it liked more.

“Well, I like having a name.”

“What do you mean?” Arthur moves his limbs one at a time, probably testing them like the entity did its hand. “You want to be called John?”

“No. I want to be called… something.” It didn’t know.

“Okay…” Arthur says slowly. “Did you not like John?”

“I guess not.”

“How about other ‘j’ names? James, Jack, even just Jay-”

“No, no, you don’t understand,” it snaps, because none of those are right.

“Alright, so not ‘j’. Um… what about Robert? Or Nathan, or Alexander?”

The entity huffs. “You aren’t getting it.”

“No, I’m afraid I’m not,” Arthur retorts. “You said you wanted a name, but not John. I’m sorry I can’t list every name in existence on the spot. I just woke up from a coma, as you said. I’m still adjusting.”

It sighs. “Sorry, Arthur,” it says sincerely. It doesn’t mean to upset him so quickly, but he just isn’t getting it.

How does it explain better? It’s not that the names Arthur listed were particularly bad, they just weren’t right. Not like…

“I like ‘Lilly’ more than I like ‘Arthur’.”

Arthur stills. “What the hell is that supposed to mean?”

The entity groans. “I’m trying to explain.”

“You’re not doing a very good job of it, then. I feel rather insulted. Is ‘Arthur’ so bad a name?”

“That’s not what I meant!”

“Then what did you mean? I can hardly be called Lilly, that’s a woman’s–” he abruptly cuts himself off.

“What?” it snaps.

“Oh.”

“Just spit it out, for God's sake!”

“Ah, well, it's just…”

“Jesus Christ, Arthur, what–”

“Would you… prefer a woman's name?” Arthur tentatively asks.

The entity pauses. Was that the problem? That “John” was too masculine for whatever it was?

“Like what?”

“Oh- um- John Doe is the name for unidentified males, and the female version is Jane Doe, so what about Jane?”

The entity twirls the name around in its mind. Jane Doe. It would still be an homage to Lilly, and, more importantly…

It felt right.

“Jane.”

“Y-yes,” Arthur nods, Jane’s vision bouncing with the movement. I'm sorry if I'm wrong, it was just a thought, ignore me–”

“No!” it cuts him off. “Jane is good. My name… is Jane Doe.”

Arthur sighs in relief. “It's a nice name. I'm glad I can call you something. Does that mean you're a she, then?”

“What do you mean?”

“Well, Jane is a woman's name, so I thought you'd go by 'she’ as well.

“… Was I wrong?”

Jane hesitates. It doesn't sound like a bad idea.

“No, I think it's fine.”

“Right. Okay. Thank you for telling me.”

Jane thinks if she had a body, she'd be smiling right now. “Thank you for helping.”

[100gayicons]

When Norman and his twin brother Orman arrived in Hollywood in 1962, the handsome young men were immediately cast in Loretta Young’s new TV series as her twin sons! The duo were rechristened Dack and Dirk. The two were virtually identical, with the exception that Dack had a mole on his left cheek.

After Loretta Young’s show was cancels, the brothers appeared in episodes of various other TV shows. Then in 1967, brother Dirk died in an accident (hit a drunk driver). Later others would speculate that Dack’s addictions to alcohol, drugs, and sex were how he dealt with the grief over his brother’s death.

While Dack Rambo was never a major star, he worked consistently, in part due to his good looks. Later he would talk disparagingly about his own career:

“I think I wanted it for all the wrong reasons. I wanted it to be rich and famous. When you go at it from that point of view, it's never going to be really satisfying. ... And I didn't think I was particularly good. I thought I was pretty lucky."

Rambo privately identified himself as bisexual, but like other actors of the era, publicly he remained in the closet.

"It's not something you run around announcing.”

He would describe his sex life as "spicy" and admitted that he never practiced safe sex:

"I've been in love with women and I've been in love with men. And I think, depending on the particular time in my life, {the attraction} was stronger in one area than another. It's kind of the essence of a person that I've been attracted to. Whether it turned out to be a man or a woman was kind of immaterial."

In 1985, when Patrick Duffy decided to leave the show “Dallas”, Dack was hired to become Victoria Principal’s new love interest. This was the same year that Rock Hudson was cast as Linda Evans’ love interest in the rival show “Dynasty”. Subsequently when Hudson’s illness with AIDS was revealed, viewers wondered whether Hudson could have infected Evans when they kissed on the show.

This added scrutiny on gay actors impacted Dack. He never shared an on screen kiss with any of his female co-stars on Dallas. He also noticed that his role began to shrink because he was suspected of being gay.

"I knew there were whispers going on behind my back. Either 'He's gay,' or 'He's this or. . . .' And I thought, 'What the hell did I do?'

Dallas costar Ken Kercheval told Dack he admired him for being able to work on the show despite the homophobic flack from the crew. And it didn’t help that Dack and series star Larry Hagman didn’t get along. Rambo recalled:

“I didn't really fit into the mold of what (Hagman) considered male or macho. It was just very clear to me I wasn't going to be part of the family."

Rambo left the series in 1987 after 51 episodes.

In 1991, he was cast as Congressman Grant Harrison in the daytime soap opera “Another World” as a young man running for election as a senator. On the morning of his 18th episode, Dack received a call from his doctor telling him he tested positive for HIV. He went to the sent and completed his scheduled scenes for the day. In his last shot, his “father”, played by David Hedison, doubted his commitment to the senate race, asked him, “Are you ready to give that up?”

A prophetic questions… with his work done for the day, Rambo went directly to the production office and quit the show.

Dack described his feelings at the time:

"I was scared. I felt a lot of anger and a lot of rage. And actually wanting to die. But all those things were short-lived."

After discussing the diagnosis with his mangers, he decided to go public. A week later, Rambo released a statement announcing that he had the AIDS virus would devote himself to working on AIDS education and research. He is the first well-known actor ever to make such a statement. He said:

“Going public was like freedom to me…. I thought I would just go public with it, and suffer the consequences. Well, there were no consequences to suffer. In all the reaction I got literally from around the world -- the letters that came in, the telegrams, the phone calls, from people I knew, people I didn't know -- there was not one negative. I was grateful. I really knew I had done the right thing. Everyone was calling me, commending me on my courage and my bravery. I mean, you don't feel that at the time. But when you hear those words you think, 'Gee, maybe I've done something right."

Dack Rambo died on March of 1994, at the age of 52 of complications from AIDS.

[gizkasparadise]

final leg of a journey to love thoughts!! (eps 35-40). this got so gd long so under a cut it goes. spoilers, of course:

PLOT STUFF/PACING

pacing for the plot definitely got shredded in the last chunk, which is a damn shame because otherwise i've been finding the pacing pretty much perfect. eps 35-37 in particular felt like they could have been like a 10 episode arc. ep 38, which mostly dealt with wu palace politics, should have been cut or streamlined imo and more time given to the characters we've actually been riding along with the whole story. by the time we get back to the pregnant empress, prince danyang, the first prince whose name i dont even remember, and the prime minister, i do not care about any of them and i think this subplot was simply just trying to fit too much shit into one bag

that said, this show still let the emotional moments hit and breathe and linger. i love the grief for the fallen liudao comrades as we go, as well as the less heavy but still emotionally important moments like yang ying and tongguan bonding over their upbringing. and we got a wedding /;3;/!!! for this show, the relationships and characters matter more than the storyline so im not mad about anything at all

side note: it's so gd millennial to have a story about a bunch of 30 something year olds who want to fake their deaths and retire into obscurity but instead they go and die for a boss they hate

CHARACTER STUFF

this show consistently brought a lot of depth to its side characters (and side side characters!!). i said it in an earlier post, but it bears repeating that even someone like deng hui i didnt expect anything from, but he got such good development and writing that he became a stealth fave. his dying words essentially being "dude, quit fucking around" ? iconic.

i didnt like tongguan as much as everyone else, so im pretty meh about everything regarding him. the attempt to force-wed ruyi was tonally really weird and didnt make sense (i assume there was some cuts made surrounding it). but LOL at him reusing all the outfits and decor immediately for his wedding to yang ying. baby duke, you tacky motherfucker. i ultimately think yang ying deserves better than him, but the good thing is that she knows this, so she'll be able to hold her own and then some entering into this partnership

shisan really was the heart in a lot of ways--the mom to yuanzhou's dad for the liudao. i was not expecting him to break my heart the way he did, but the fact that he held both qian zhao and sun lang as they died and then tried his best to remove yuan lu from harm and saved chu yue and was just very much a nurturer all the way through got me. his character couldve been cheap comic relief but the writing + performance really elevated him into one of the (imo) most memorable wuxia characters. his line wondering who would get to behead his beautiful skull!!! and how his mantra was always that he was going to drink the best wine, see the most beautiful women, and make the best of friends and he dies having lost the ability to see and having just had wine in memory of qian zhao, yuan lu, and sun lang. like. shut up!!

ruyi and yuanzhou were both so great and they're gonna be the drama OTP to beat forever. i loved the gender reversals, that they both were so respectful of each other, and that they also felt very mature in how they handled things and communicated. they were really interesting characters both together and apart and that's always a win-win. they had a schroedinger's ending where it's not super clear if they're alive or dead (i interpreted it as the latter), but what's kind of beautiful is that either option is satisfying to me. if they both died, they're reunited and with their comrades and the story is truly about the journey and the meaningful short connections we have. if they both survived, it's a bookend with the beginning where they each faked their deaths to escape. A+

COSTUMING

i gotta just separately mention the costuming for this show because it was 15/10. the textures, shisan's accessories, the way red became integrated with yuanzhou's wardrobe and blue with ruyi's. the details on the liudao name amulets!! SO GOOD. i love when characters' clothes tell a story on their own

overall i just really loved this drama it is probably my favorite wuxia ive seen so far! it's gonna be in my brain for awhile lol feel free to send fic prompts if you've made it this far :'D

[bingqiv]

Saw your post about the Doctor's outfits this series and yeah! It's fun to have him change every now and then but every episode is way too much. The Doctor always has An Outfit that's their signature look and it feels so odd not having that immediate recognisable signature. It's such a Thing that we've had scenes of quite a few Doctors picking their outfit post-regeneration.

Even if we look at someone like 12 who changed fits pretty frequently there were always core design elements that remained consistent across the board, so it felt like a cohesive look. His silhouette was basically always the same even when there was a change.

Besides, the Doctor's always been kind of out of place and larger than life so having one outfit sets them apart from everyone around them. As well as being a very good way of distinguishing between each incarnation and giving them a unique identity. Especially as the outfits themselves often give some indication of the kind of Doctor this particular regeneration will be.

Weirdly I think the outfit thing felt most glaring this most recent episode because the Doctor wasn't in it much. We got a whole wardrobe change just for that? I also feel like Ruby has carried over consistent design elements between costumes more than he has...

you’ve literally summed up my thoughts perfectly!

each doctor had a look that stayed somewhat consistent through their run. they had changes throughout their run but it still harked back to their initial fit.

they only introduced a second reoccurring costume for tennant’s doctor during season 3 and even that was just a colour change of the suit, tie and converse. it’s still identifiable as the tenth doctor. even during the 60th anniversary, tennant’s costuming was still very much in line with what ten wore.

with smith’s doctor, they only changed up his costume after the ponds left in season 7. but even then it still has the core elements that defined his costume (and era). they kept the bow tie, kept similar material for the jacket and kept similar boots. it is the same costume just spruced up a bit.

then you have capaldi. they kept a similar colour scheme amongst his different wardrobe changes and kept the silhouette of his jacket the same.

now if we take a look at the different costume changes that gatwa has had over SIX episodes. there’s been no real constancy (there was an attempt with church on ruby road and space babies that hasn’t followed through with the rest of the season). the costume change makes somewhat sense during devil’s chord (if you ignore the fact that the previous two outfits had sixties influences and would’ve made sense in that era). but i just don’t get why had to deviate with entirely different costuming for boom, 73 yards and dot&bubble. especially when the costume that his earlier promo photos had were so cool (the leather coat and striped shirt) and they could’ve had the blue shirt that was worn in space babies as an alternate costume.

i just don’t know why they’ve decided to go down this route since the doctor has always had a defining look that has followed through their seasons. whittaker’s doctor has such little variation in her costuming (which for all the complaining people had was very much a doctor outfit).

and you’re bang on with ruby having a more defining look than the doctor which is an interesting choice that rtd has made. especially as this season only has 8 episodes and we have at least one more outfit change ahead with the regency episode. i just hope they pin down a look for the doctor next season.

[gogojetters]

I’ve always found the way the Go Jet Academy is structured to be really fascinating, especially in terms of the focuses- or really, the lack of them. Canonically speaking, there are only 5 (Pilot, Sport, Engineer, Strat, Ecology), and that already doesn’t match up with the much wider variety of staff we see on-campus, as well as the studies and teachings going on. So I wanted to take a crack at expanding upon the idea a little bit, by changing one factor- broadness.

The names used for the GJA tracks are never really consistent- Lars’ focus has been listed as engineering and mechanics in different places, and Foz’s has gone from “genius”, to “science”, depending where you look. Not to mention, the pitch bible also calls Lars a botanist, while in s3 Tala is introduced as an ecologist. So what’s the fix? Changing the wording, because technically, canon never actually defines these boxes, and how tight or broad they are.

Instead of hyper-specific roles, my pitch is that each colour of uniform indicates a “track”- a broad group of studies, each of which revolve around a particular topic. Each track links back to the Academy’s goal, of learning about the Earth, and helping to preserve it. This allows for two cadets to be under the same track, but studying two different things, kind of like a “major” system !

I also wanted to add more tracks alongside the original ones- there’s no way the Academy doesn’t teach more, and these are just some of my ideas for other fields of study, as well as their associated colours and logos. Some of these tracks come from the fact that we see teachers for them, others felt like a natural fit for the academy based off of canon context, and episodes.

All of these ideas and concepts are free to use ! If you repost this graphic, just be sure to tag me (:

This is a surface level dive into some of my ideas revolving around the academy, it’s education system and the tracks, so if you’d like to hear more, please do let me know !! I’ll post a more in-depth explanation of the system itself, as well as each of the 11 tracks if enough people are interested !!

Bonus transparent version of the track info plaques because I think they’re pretty cool (: