#i own all of them on dvd and yet they are my most streamed tv shows :)

[scienter]

Ohhhhh. So many great movies added to Netflix this month: Mean Girls, The Breakfast Club, Groundhog Day, Hook, The Spider-Man Trilogy, and The Ring.

Doesn't matter that I own each and every one of these on DVD or VHS. 😂 I'm still excited to see them on Netflix.

[theygotlost]

good afternoon here's my big rant on my pet peeves for subtitles in movies and tv

This is a post that I’ve thought about making probably for years now but never got around to. I might add more later if I realize I’ve forgotten any

When it comes down to it, the purpose of subtitles is this: to reflect exactly what the audience can hear, precisely when it can be heard. If you fail to do this, your subtitles are bad and you should feel bad. Although I don’t have concrete examples for most of these off the top of my head, I promise I have experienced them all firsthand at least once.

-> Watch for spelling and typos. Obviously.

-> Syncing issues.

This should go without saying, but the captions should be synced as closely as possible with dialogue and sound effects. Subtitles that are out of sync are worse to me than no subtitles at all. They’re unbearably distracting and I have to turn them off. I’m fortunate enough that I can keep watching without them, so imagine how frustrating this is for someone who needs to keep them on no matter what.

-> Jumping the gun.

This is basically an example of out-of-sync subtitles that are slightly too fast, but it gets its own category because it ruins the viewing experience in its own unique way. In particularly dramatic scenes, actors will often draw out their lines or pause between phrases. Captions sometimes fail to reflect this by displaying the entire sentence all at once, allowing the audience to read what someone is about to say before they actually say it, which deflates all the dramatic tension of the scene.

-> Phantom captions.

This one is less self explanatory, but it’s kind of similar to syncing. Sometimes there will be significant intervals of time between lines of dialogue, especially after a scene ends and a new one begins. The interval may include music, sound effects, or complete silence, but what I’m calling a “phantom” is a caption that stays on the screen after that last line of dialogue is delivered until the next line is spoken. I don’t remember what I was watching, but there was one that was glued to the screen for SEVERAL MINUTES over what was supposed to be an atmospheric break between scenes and it drove me nuts. In my experience this happens more often with older subtitling for DVDs and some old videos and less with modern streaming. 

-> Straight up spoilers.

Sometimes, a character will speak whose true identity has not yet been revealed to the audience. If I’m not supposed to know the character’s name yet, don’t just… tell me right there in the captions whenever they say something. Descriptors like “disembodied voice”, “man”/”woman”, “mysterious figure”, etc. will suffice.

-> Lack of musical descriptors.

It usually helps to describe the genre or emotion of the music that’s playing rather than just writing [music] or 🎵. That being said, if there is a song playing that’s particularly well known in the mainstream, I think it’s useful to actually include the name of the song. This one I do have a concrete example for: in Arrested Development, Gob always blasts The Final Countdown during his acts. But the captions on my DVDs for the show always describe it as [stagy pop]. Like yeah I would say that song is some pretty stagy pop, but I think a lot of the humor comes from knowing that it’s specifically The Final Countdown by Europe because it’s such a perfectly corny selection that Gob would make.

Another musical failure is not transcribing pertinent lyrics. If the song is playing in the background, then that’s understandable and it can be kind of distracting if there’s dialog happening on top of it because the audience isn’t actually meant to be paying close attention to the song. But if the song is front and center, like for a musical number or montage, then the lyrics can be pretty important. Last year when I watched Arcane on Netflix with my family (a recent, high budget production from the biggest streaming platform ever), the show had the nerve to write [man rapping] over a musical sequence. Imagine if all subtitles ever just said [person speaking] for the entire movie.

-> Affectations.

If a character starts using a silly voice or accent, or if the sound of their voice changes in any way, describe that. If the audience can hear the difference, the subtitles should reflect that difference. And they should reflect it informatively and accurately; for example, don’t just say [mock accent], but specify [mock French accent]. 

-> Paraphrasing.

I don’t even know why this is an issue, but it’s alarming how many times the subtitles just… straight up don’t match what the characters are actually saying. It’s like the transcriber was forced to write all the captions from memory, so they kinda sorta say the same thing, but the wording is different and some sentences or phrases are missing. When I brought this up with my mom she theorized that the transcriber was working off the script for the movie because hey, that’s all the dialogue already written down, right? But it completely fails to account for revisions, improvisation, or actors delivering their lines even slightly different than how they were originally written.

And last but certainly not least, one of the biggest offenders in bad subtitling…

-> [Speaks foreign language]

If someone says something in another language, please, for the love of god, do not just write [speaks foreign language]  and call it a day. Specifying the actual language is an improvement, but this descriptor only works if the audience members are truly not meant to know what’s being said (which is sometimes the case). If a character is only saying a single word or phrase in another language, transcribe it. As in, write down the actual words that they said. If you don’t speak that language, find someone who does. You are insane for transcribing a character saying “hola” or “abuela” in an otherwise English sentence as [speaks Spanish] (real examples I saw respectively in Rango and JANE THE VIRGIN. THERE’S SO MUCH SPANISH IN THAT SHOW). 

If the audience is supposed to know what someone is saying in another language, English subtitles will usually be hardcoded. DO NOT, UNDER ANY CIRCUMSTANCES, LET THE CAPTION SAYING [SPEAKS FOREIGN LANGUAGE] COVER THESE UP. This is actively impeding understanding, not helping it. Jesus christ

* Please keep in mind that I’m not deaf or hard of hearing and I don’t have auditory processing disorder; I almost always watch movies and tv with subtitles whenever the option is available because it helps me absorb information better. If I don’t even strictly NEED subtitles and these are issues for me, I can only imagine how much more difficult it is for those who rely on them more heavily. I invite you to add your own perspective!!

[mayalaen]

my server vs netflix

Long post for a few mutuals who asked about this 🏴‍☠️

Netflix (according to the geeks on server forums -- so this could be off a bit) has individual servers that hold about 100TB of data each, and Netflix claims they have around 18,000 servers worldwide.

Netflix has about 3000 movies and 1800 TV shows available in the United States at any given time. It varies in other countries, but is similar.

This is my server below (pen for size comparison and purple sticky note covering the super bright blue light that bores into my brain)

It's got 5 drive bays, and right now I have 60TB of storage space in it (meaning it's just a little smaller than one of Netflix's servers), and only 37TB of which is currently used. I can easily expand with add-on bays once I fill up the 60TB.

I currently have 4470 movies and 862 TV series, all with closed captioning that I've curated and about 100 of the TV shows have bonus scenes and specials included.

My server cost me about $2700: $1200 for the 5-bay box and the rest was spent on hard drives over the course of 2 years -- 5 inside the server and 6 backup drives. I bought good drives when they were on sale.

I spent another $300 on a range extender for my house so mom and dad could watch in their bedrooms without interruption.

My home internet costs $50 a month and I'm able to serve friends and family in the US, Canada, Europe, and Australia. It's not always accessible (sorry Australia and your shitty internet), but it's up most of the time.

I never take movies/TV shows off of my server, and all the TV shows have their original DVD soundtracks, so nobody has to worry I'm going to remove their faves or ruin soundtracks.

I take requests from anyone, adding it when I find it with no judgement on content.

I don't charge anyone for using my server, and yet I'm paying less than I used to for internet and streaming services.

My payments for internet and streaming for my business and two family houses (Charlie's house and my house) used to be $900 A MONTH ($450 of it was the business internet because ISPs gouge businesses even though the internet usage at the shop is less than home).

Just before I quit Cox Internet, they were about to raise the cost and my new total would've been $1000 per month.

My monthly payments are now $220 for internet service and streaming services. So within just a few months, the server paid for itself.

I still have YouTube TV, Netflix x2 (one for each house), Hulu, and Discovery+.

I'm not saying the average person can set this up, but I want to make it clear that streaming services aren't the mysterious, unknowable magic that people think they are.

They're just servers (hard drives) with data on them and a good internet connection.

Anyone can set up a home server. You don't need a $1200 box like mine. Even an old computer/laptop or single hard drive will work.

A brand new 2TB good-quality hard drive that could hold about 1000 movies or 60-80 TV series would only cost $60 plus another $29 for a basic enclosure/case. (I bought mine from NewEgg for backups)

I use Plex as my media server program. It has a free version and a paid version. I bought the lifetime pass on sale for $90. It goes on sale 2-3 times a year. There are other programs out there too, including Kodi, which has a Netflix skin so it looks like you're using Netflix.

Plex and other programs like it already have a huge library of metadata, so I didn't have to create my own cover art or fill in any other information other than title & year for movies or title + season + episode number for TV shows.

Careful naming of files and sorting in properly-named folders is all you need to have this:

It took me about 3 months to download and organize most of the movies and TV shows in between working and taking care of my home/family. Now I update the server once a week and it takes about 2 hours a week to download/update new TV shows and movies.

I wasn't able to torrent when I had Cox Internet, but the new $50/month ISP doesn't give a shit. Even so, I use a VPN, which is $9 a month just in case they ever decide to get touchy about torrenting.

The server does regular maintenance on itself, and I have backups of everything.

I realize not everyone has the tech skills to set something like this up, but even if one tech person in the family or circle of friends has the ability, they could serve around 60 people.

The most I've had streaming at one time was 10 separate people watching different things, and my server handled it with no problem.

Others on the server forum claim they've maxed out around 25 people simultaneously watching, but 60 people is the number suggested because not everybody will watch at the same time.

Streaming, as it currently works, does NOT support anyone related to the creation of TV shows and movies.

Hopefully this will change, but even if it does, that doesn't change the fact that I can easily support creators myself by buying their DVDs, merch, going to cons, and donating to them or their projects directly.

Right now, pirating movies and TV shows doesn't hurt creators because streaming services and big studios are the main villains, and if all you did was donate $5 to your favorite TV show/movie, you'd be giving them more than if you streamed their content as many times as you wanted each month on a big streaming service.

I have movies and TV shows on my server that aren't even available from content creators anymore due to greedy CEOs and execs who dump their content for tax breaks.

If more people switched to using their own servers, MAYBE it would scare the greedy assholes into paying content creators what they deserve, but in the meantime it's a great way to enjoy content that was created to be shared and to support the creators.

EDIT: I need to add that streaming a TV show/movie as much as possible in the first few weeks of the release date DOES help the show get renewed and the movie execs are more likely to buy future movies, so please stream as much as possible then to help content creators. After that time is up and the streaming service moves on, then it's totally fine to pirate.

[anotheruserwithnoname]

Wishful thinking

It's no secret that the powers that be are moving away from allowing us to keep copies of TV shows and movies on our bookshelves. While of course there are still many TV shows and movies being released to DVD, Blu-ray and 4K, these days - especially if a series is made for streaming - it's getting rarer to get a permanent media release.

Which is sad for collectors of certain performers or TV shows. For example, the first two seasons of The Orville, which aired on Fox, are available on disc. Season 3, which aired on streaming service Hulu, is unlikely to get the same treatment; with it likely being that show's final season, that means people who want discs of the whole series pretty much need to bootleg their own.

Of course there are exceptions. The current generation of Star Trek series, despite being made for streaming, are still reliably getting disc release (even the cancelled Prodigy).

And in some parts of the world, you will still see even streaming shows released. Jenna Coleman's The Serpent got a DVD issue in the UK because it aired on the BBC. Here in North America, where it was on Netflix, no release is expected. The Cry was out on DVD in the UK within a couple weeks of its BBC broadcast; in North America it was streamed so we had to wait more than a year.

So I don't have a lot of hope at seeing Wilderness getting a release on DVD or Blu-ray (despite a recent article about deleted scenes teasing of them maybe appearing on a DVD). Likewise, with the confirmation that Klokkenluider is going to streaming in North America, and strong hints Jackdaw will likely do the same, I don't really have an expectation of finding either film in my local Walmart (unlike Victoria, Me Before You, Doctor Who and even The Cry).

BUT, then came the news that, despite being a Netflix series, The Sandman Season 1 is scheduled for DVD release next month. And then, just a few days ago, I was in a DVD shop and saw a set (a steelbook, yet) for Marvel's Loki Season 1 - the first time I've seen a Disney+ series on disc. (I have since learned that some of the Disney+ Star Wars spinoff series like Andor and Mandalorian are also getting disc release)

So I guess never say never. Though I have no illusion that Wilderness is at all on the same level as a TV show based on a famous comic book and what is arguably the most popular TV series to date based on the MCU, and, well, Star Wars, the fact permanent releases for streaming have not been completely abandoned has given me a little hope that one day the Jenna Coleman Library (except for Room at the Top; we don't talk about Room at the Top LOL) might one day be complete.

[associationaccount]

It's wild actually, to see the world change around you.

My elementary school still used overhead projectors but by the time I went to middle school we had a smartboard. As a child I had loads of little casettes for my audio books and my most cherished posession was a CD player, now I use Spotify. Most of my favourite movies were on DVRs except for the newest one - that was a DVD. Now I don't even really watch movies anymore, but if I wanted to I could just stream them.

There are barely any photos of me as a baby and the ones we have were shot on film, yet every step my siblings took was documented with camcorders, digital cameras and now phones. I typed my first documents on an Windows 98 that was old even then and now I have a gaming laptop at home and work in software development. They all have cloud strategies...

My first car was a twenty year old Toyota and I wrecked it in a crash. It barely had ABS. The one I have now is ten years old - with AUX and CD but no assisted driving and full of tactile buttons. My parents bought a new one and all it has is touch...

As I grew older I started to resent the futuristic, sleek designs that are forced on us so often now. The concept of perfection as a whole is now unappealing to me now. I don't want sleek and modern anymore, I want it to be real.

I want to feel something when I press a button and I want to hear the computer powering up. Maybe I like that I have to drive my car on my own, without a million sensors and cameras and touch screens that don't even work half the time. If I enjoyed chalk dust at school and staticky TV screens at home - what then? I don't necessarily want it back - I just don't want to lose it.

we were the liminal kids. alive before the internet, just long enough we remember when things really were different.

when i work in preschools, the hand signal kids make for phone is a flat palm, their fingers like brackets. i still make the pinky-and-thumb octave stretch when i "pick up" to respond to them.

the symbol to save a file is a floppy disc. the other day while cleaning out my parents' house, i found a collection of over a hundred CDs, my mom's handwriting on each of them. first day of kindergarten. playlist for beach trip '94. i don't have a device that can play any of these anymore - none of my electronics are compatible. there are pieces of my childhood buried under these, and i cannot access them. but they do exist, which feels special.

my siblings and i recently spent hours digitizing our family's photos as a present for my mom's birthday. there's a year where the pictures just. stop. cameras on phones got to be too good. it didn't make sense to keep getting them developed. and there are a quite a few years that are lost to us. when we were younger, mementos were lost to floods. and again, while i was in middle school, google drive wasn't "a thing". somewhere out there, there are lost memories on dead laptops. which is to say - i lost it to the flood twice, kind of.

when i teach undergrad, i always feel kind of slapped-in-the-face. they're over 18, and they don't remember a classroom without laptops. i remember when my school put in the first smartboard, and how it was a huge privilege. i used the word walkman once, and had to explain myself. we are only separated by a decade. it feels like we are separated by so much more than that.

and something about ... being half-in half-out of the world after. it marks you. i don't know why. but "real adults" see us as lost children, even though many of us are old enough to have a mortgage. my little sister grew up with more access to the internet than i did - and she's only got 4 years of difference. i know how to write cursive, and i actually think it's good practice for kids to learn too - it helps their motor development. but i also know they have to be able to touch-type way faster than was ever required from me.

in between, i guess. i still like to hand-write most things, even though typing is way faster and more accessible for me. i still wear a pj shirt from when i was like 18. i don't really understand how to operate my parents' smart tv. the other day when i got seriously injured, i used hey siri to call my brother. but if you asked me - honestly, i prefer calling to texting. a life in anachronisms. in being a little out-of-phase. never quite in synchronicity.

[inkedbydave]

In the spirit of sharing favorite personal headcanons about Ty and Kit, my own favorite (with some personal history attached, I guess) is that Ty not only loves the Sherlock Holmes novels but also enjoys ITV’s The Adventures of Sherlock Holmes, where Sherlock is played by Jeremy Brett.

Jeremy Brett is one of those old-school British icons of media—slightly underrated in the grand scheme of Hollywood—who dedicated most of his career to the role of Sherlock Holmes (he died quite young, unfortunately).

I grew up watching Sherlock (and I still keep up the habit every Sunday morning! Saturdays are for The Great British Bake Off, and Sundays are for Sherlock—hehe, you can stream it on ITV for free!). I absolutely adore Jeremy Brett’s portrayal of Sherlock. In my opinion, it is the most accurate adaptation of Sherlock Holmes ever brought to screen. Brett famously had a “Sherlock Bible” on set, detailing all of Holmes’s mannerisms, eating habits, laughter, how he crawled over footprints—everything. He became utterly obsessed with the role, immersing himself in it for over a decade. To the point where he approached the role with a similar intensity to Heath Ledger’s commitment to The Dark Knight. Despite the obsession, Brett loved and adored the character deeply.

Interestingly, he was also one of the first stars in British media to come out as bisexual, which makes his legacy even more remarkable.

So, I like to imagine Ty loving and savoring this TV show (there are 4–5 seasons, I believe), and cherishing Jeremy Brett’s performance. I can picture him receiving a special edition box set of the DVDs as a Christmas gift and being over the moon about it.

Anyway, what do you think? I’d love to hear your well-researched take on this headcanon! :)

I haven't seen the show yet but you absolutely convinced me to do so man, i love you

I think Ty would absolutely love some of the Sherlock adaptations out there (personal add on: it would be Kit who introduces him to some of them since Ty usually reads instead of watching stuff)

edit: I looked at a few summaries and reviews of the show AND I ABSOLUTELY AGREE WITH YOU, TY WOULD ABSOLUTELY LOVE THIS ADAPTATION

btw friendly reminder that if anyone feels comfortable enough to drop me a dm or something in my ask box, please do.

I'm friendly and i love talking to people, about anything really so feel free to text me!

[magnhild]

list of cool lgbt+ media i like that maybe you guys should give a shot if you haven’t

i’m defining ‘lgbt+ media’ as ‘media that features an lgbt+ character/several lgbt+ characters in some prominence’. anyway here’s a list of stuff i like that you guys should definitely check out if you’re looking for new stuff to watch/read/play!

note: if you think a piece of media is ‘missing’ from the list, it’s either because i haven’t experienced it for myself, or have left it out intentionally for personal reasons. please don’t comment on this with ‘oh but you missed spop/supergirl/steven universe/ect.’. this is just my personal recommendation list and you’re free to make your own!

the legend of korra; fantasy, animated tv series

there’s a very small chance that you’ve yet to watch this, but i’m adding it just in case. the titular character and her eventual girlfriend are both bisexual, though, sadly, this relationship does not become canon until the very end, due to nickelodeon’s limitations at the time. still an enjoyable watch regardless, and the follow-up canon comics focus a lot more on the characters’ relationship. doesn’t seem to be available for streaming at the moment, but you can buy it through amazon or apple. also dvd. or just pirate it idk, up to you.

the rise of kyoshi and the shadow of kyoshi; fantasy, novel series

if the series itself has an overarching title, i’m not aware of it. we usually just call them ‘the kyoshi novels’. like lok, is set in the atla universe, but is set long before both animated series’. the main character is bisexual and ends up in a relationship with another woman about halfway through the first book, meaning we have plenty of time to enjoy their relationship. also a good read if you’ve ever wanted to see a more serious and brutally realistic take on the atla universe. the first book can be found in physical or ebook edition in most bookshops, though the second may be harder to find outside of the us due to covid complications.

ikenfell; fantasy, indie video game

a cute little indie rpg game with mystery elements. literally every named character is lgbt+ in some way, including lesbians, gay men, bisexuals, and nonbinary characters, including a neopronoun-user. the game is also very disability friendly and has a ton of accessibility options. it is sadly over all-too-quickly- i finished it within a day. can be found through the nintendo eshop and steam, and i think there’s a physical copy out now too.

the owl house; fantasy, animated series

again, it’s unlikely that anyone reading this hasn’t watched at least some of it, but it’s definitely worth a mention. with two of the three main characters being bisexual- including the focal character- another significant character being a lesbian, a fourth being nonbinary, and probably more to come, it’s the most lgbt-focused work to come from disney. unfortunately, this also means that the show has been cut short of its full potential, with disney cancelling it and not even allowing a complete third season, because it wasn’t a good ‘fit’ for them. i wonder why :/ can be found on disney+.

wings of fire; novel series, fantasy

while the first and second arcs of the series have very little lgbt+ characters, the one that exist being limited to minor or background characters, the third steps up by introducing a lesbian main character and her girlfriend. even without the lgbt+ characters earlier on, the series is still a really enjoyable read for anyone who enjoys animal fantasy. it’s also far better-written than warrior cats, if you were curious. has an animated series in the works. can be found in physical, ebook, or audiobook form just about anywhere that sells books.

adventure time, fantasy, animated series

yet again another one i highly doubt people haven’t watched, but still worth a mention. two of the main characters are wlw, though hints of this don’t begin until around the 4th season. several episodes and arcs focus on their relationship and hint at the two being exes, and they are solidified as canon in the finale. a few spin-off comics also tease or outright feature the relationship, though the canonical status for said comics is dubious. their biggest focus came in the form of a 40-minute special, obsidian, that was released in 2020. i believe it can be found on hbo max.

camp half-blood chronicles; fantasy, novel series

consists of three separate series’, the first of which being the well-known percy jackson and the olympians. while the books’ first gay character is introduced in this arc, he does not come out until the next, heroes of olympus. the handling of this is questionable in some areas, but it was notably one of the first first examples of an lgbt+ character in mainstream childrens’ media, coming before even the legend of korra’s final season, and still meant a lot to people. the third series, the trials of apollo, steps things up significantly, with the main character being bisexual, more focus on the aforementioned gay character and his boyfriend, and a few more lgbt+ characters as well, including having a main character from the previous arc being revealed as lgbt+. probably helps that the author began taking criticism from lgbt+ readers into consideration, and hired sensitivity readers. an upcoming book seems to potentially be the most lgbt-focused book in the series, and is being co-written by an lgbt+ author. can be found in physical, ebook, or audiobook form just about anywhere that sells books.

magnus chase and the gods of asgard; fantasy, novel series

written by the same author and set in the same universe as the camp half-blood chronicles. while having less lgbt+ characters than the latter series (mostly due to only having three books compared to 15), the two featured are prominent. a main character introduced in the second book is genderfluid (potentially being the first in mainstream childrens’ literature), and winds up becoming the love interest of the titular character, whose attraction to her regardless of gender points to him being bi or pan. slightly soured by the fact that the series is not nearly long enough, and it doesn’t seem likely that we’ll be seeing these characters any time in the future. there are also two other main male characters who seem to be basically married but aren’t canon?? for some reason?? can be found in physical, ebook, or audiobook form just about anywhere that sells books.

rwby; fantasy, animated web series

another series by rooster teeth, though probably the tamest of their works (that said, it’s still for older audiences than your average cartoon). has the largest number of lgbt+ characters of any media on this list (a total of nine so far), in part due to a generally large cast size. two of the four main characters are wlw (one is bisexual, the other is not yet specified), and there are several other lgbt+ characters of varying importance, including a trans character played by trans actress @kdinjenzen​. some of these are confirmed in the main series, while a few others are confirmed through side novels after the fall and before the dawn, and it’s been confirmed that there are more to come. oh, and did i mention that you can watch the entire series so far for free on rooster teeth’s website?

and that concludes my list! again, if there’s a piece of media that isn’t on here, i’ve left it off for a reason. some i just haven’t consumed, some i have personal reasons for leaving off, some for both of those reasons. please feel free to make your own if you want to promote those ones!

anyway though you for reading and please considered checking some or all of these out!

[aeonmagnus]

Happy 20th Anniversary Robots In Disguise!

This year, and today in particular, marks the 20-year anniversary of Transformers Robots in Disguise airing in the United States.  This was the official English language dub of the Japanese show Transformers Car Robots, which aired in Japan the year before.   This show and it’s accompanying toy line were a big shift in the Transformers brand and affected how things moved forward in the new millennium.  It was also a big influence on me and this website in it’s early years, so both the brand and TFW2005 may not be what it is today without it.

We hope you will read on after the break to check out our celebration of Robots in Disguise on it’s 20th!

Intro

The following is not a comprehensive article on the show proper, but rather a trip down memory lane from my personal perspective.  It was a period of change in my life, in the fandom, in the brand, and in the world – all happening at once.  Robots in Disguise was smack dab in the middle of it all and I think that’s why it still resonates with me all these years later.  For a deeper dive into the world of Robots In Disguise you can check RIDForever.info, a site I maintain just about RID and Car Robots. The 2021 updates are here, and the 2017 round of updates are here.  I’d also suggest checking the TFWe issue all about RID over on the 2005 Boards.  Now, onto today’s festivities…

The Show

RID, and yes I say RID as if it is the only RID.  If you must reference that other RID show and it’s off-shoots, refer to it as RID 201x, thanks. 😊 RID aired during the Fox Kids programming block on a Saturday morning, with additional episodes set to air each weekday during the afternoon hours.  Instead of stretching the show out over the course of 30+ weeks with only a new ep each weekend, they were going to blaze through it non-stop.  By the end of the first week, we would have been 7 eps in.  That however hit a big roadblock due to 9/11 just three days later.  While some local markets did air the episodes, many larger city networks, and especially east coast markets, stuck with news coverage.   Many of us did not catch the early episodes on TV the first go around.  In addition, several of the episodes got pulled from TV due to depictions of buildings being destroyed and other similar visuals which understandably could upset children that just experienced 9/11.  So right off the bat, the new millennium and new era of Transformers were dealing with a new reality.

The show, for those that don’t know – was a weird one-off in Transformers history.  We had G1 and then the G2 remixes for a bit.  Beast Wars came on the scene and ran all the way through 2000 with it’s successor – Beast Machines.   During the Beast Wars era – Japan did a couple of their own Beast Wars shows, non-CGI extensions of what we saw in the US.   Their market wasn’t quite ready for full CGI so they stuck with traditional anime.  When Hasbro decided to continue Beast Wars into Beast Machines, Takara went a completely different way – a traditional animated show which brought back Autobots and “Decepticons”, mixing them in with the beasts.  They focused the toys on a couple new and complex molds, then filled the rest of the line with repaints of previous toys.  Old 2nd tier Beast Wars toys, G2 Laser Prime, and even some Generation 1 molds in the form of the Combaticons got new life as new characters in this show, capped with the biggest TF of them all at the time – a repainted G1 Fortress Maximus, now Brave Maximus.  It was the prototype for what the Transformers brand did for years to come – repainting old toys into new characters.  Universe, Classics, Botcon, and even some Generations runs used this method to give us some great toys in the 00s.

While there is a very complicated and long explanation for how every single Japanese show is one continuity, to someone casually starting with Car Robots it was a refresh, a new story, a new arrival on Earth.  The Autobots vs the Predacons, and eventually the Combatrons/Decepticons. It was a hard cut from the last 5 years or so of CGI Beasts.  Hand drawn traditional animation featuring vehicle Transformers.  It wasn’t G1, but many of the folks who grew up with G1 were just getting out of college around this time.  They were rediscovering their childhood love of Transformers through Beast Wars, flea market finds, raids on their parents’ attics and basements, and for the internet savvy – imports of Japanese reissues from Takara.  It was a perfect storm of nostalgia; a return to Autobots and Decepticons was welcomed by kids and adults alike.

RID and TFW2005

In the years leading up to Car Robots, I was just getting into the internet, coding, design, some digital music, and all the possibility that came with it.  Beast Wars, especially when it hit Season 2/3 and the inclusion of G1 lore, really got me focusing on Transformers again as a hobby.  I eventually combined the two newfound hobbies into one and Transformer World 2005 was born.  At no point did I ever think it would last 20+ years and take over my life in the way it did.  I started the full version of TFW2005 around April 2000, with some starts and stops before that.  That was right around when Car Robots started airing in Japan.  Through the magic of 56k internet, I was able to connect with folks in Japan and get them to send me VHS tapes of Car Robots.  Really nice, high-quality tapes too, I still have them hehe.  To the younglings reading – try to picture this: no youtube, no video sharing. The concept of streaming anything did not exist yet. Napster and the eventual peer to peer stuff hadn’t fully kicked off.  Plus, we were all viewing the internet on giant computers in our rooms at the speed of 1x on your phone.  Less than 1 bar 3G mobile speeds today.

Yes, someone recorded episodes from TV to video tape over there, did that a couple weeks at a time, then physically mailed them across the world to me, who then got them on the internet.  Can you imagine waiting weeks to watch an episode of TV the size of a twitter profile avatar?  Crazy.  Uploading a full episode to the internet was a big pain in the ass, not easily done.  I decided to get a converter that allowed me to plug my VCR into the computer and encode the tape into digital format.  From there, it was reduced using Microsoft’s WMV technology so that the episodes were about 5 MB each.  30 minute episodes at 5MB each. Dimensions – 176 x 144 pixels.  4k video today – 3840 x 2160 pixels.  You can imagine that video looked like crap.  But we didn’t care – we were blown away.  Old school animation, vehicles, some cool Japanese anime vibes, it was what we as G1 fans kinda had in the back of our heads on what Transformers should be in a new era, and we were seeing it.  Most of us had no clue what they were saying or what was going on.  Also didn’t care.  I still to this day think CR/RID is better like that.

So one of the first things TFW2005 did on the internet was provide these super small windows into Car Robots and what was going on in Japan. It helped get US fans hyped up for what Transformers could be. It got us wanting the toys, and importers bringing the Takara toy line over were moving serious product.  It helped swing Hasbro, who was planning to return to Autobots and Decepticons again down the road, to move that schedule up.  Instead of running Beast Machines until 2002 and then starting what we now know as the Unicron Trilogy, it was cut short.  Robots in Disguise as a toy line and show came over in 2001, ran fast and hard for a year with non stop releases, got extended because it did so well, and then faded into the Universe line of repaints.  The new millennium of Transformers was here and Robot In Disguise kicked it off with a bang.

Wrap Up

As we all continue with collecting Transformers now, regardless if you tagged into the fandom during G1, Beasties, the Unicron Trilogy, the Movies, or just yesterday – let’s take the time to give Car Robots and RID some props!  It set the tone for what the new millennium of the brand would be.  It gave us some toys ahead of their time.  It solidified the repaint as an accepted thing in the hobby. And it gave us one crazy 39 episode run of TV that’s still a fun ride 20 years later.

For those that would like to learn more about RID and Car Robots – I still maintain a Robots in Disguise website that archives everything I have or came across.  There is a lot there if you want to go on a tour of all the awesome Car Robots and Robots In Disguise era stuff.  Check it out at RIDFOREVER.INFO! FIYAH!

Let us know what you think and remember from the good old days of RID on the 2005 Boards here!

Epilogue

If someone over there at Hasbro is reading – can someone please figure out who owns the rights to the show in the US market and then get it out on DVD in full, finally?  Work all that funky licensing stuff out (if there is any) and get it done.  The US has never had access to it via an official release.  Maybe get it up on YouTube like G1?  Something.  Announcing plans for that before the end of 2021 would be a nice 20th anniversary tribute.

[somanyerikas]

Nostalgia sells - or does it? About BBC’s rehiring of a previous showrunner for Doctor Who as a marketing strategy

All, right, this is the one where I deal with my issues about RTD’s rehiring from the standpoint of BBC’s business strategy . Brace for passive agression, swearwords, brief history of british television and numbers. So, so many numbers.

Allright, so I already wrote a post about my problem with RTD’s (re)hire from the creative standpoint (it’s here in case you’re interested), but hey, I can bitch about it all I want, but we all know what caused the BBC to make this decision, right? You’ve heard about it for sure. The Dropping Ratings. You’ve read about it on so many posts, lots of them probably oh-so-gladly conflating this fact with their own opinion about the deteriorating quality of the show. (Don’t worry, we’ll get to that.) So Obviously the execs at the Big BBC Quarters needed to do something about it, and what better way to go than rehire a guy who’s run at Doctor Who is a warm childhood memory for so many in it’s fanbase? After all, it’s what we’re seeing nowadays: from Star Wars return to wave of 80′s nostalgia to every old blockbuster star doing a comeback, there is but a single conclusion - nostalgia sells.

Or does it?

Part One: Moving with the change; or very much refusing to.

Let’s start this off with some facts about the ratings for Doctor Who. (Well, I warned you there’s gonna be numbers, didn’t I. Stick with me, I’m going somewhere with this I promise.) In it’s beginnings, in the sixties and seventies , the series flown high, averaging a viewership from 8 up to 10 million viewers per season. Collin Baker’s series 17 brought in a record of 11.21 milion viewer asses in front of a good ol’ TV screen, real champagne opener here. But, as it happens, things were downhill from here. During the eighties, the rating started dropping steadily, reaching an all-time low of 4.15 milion couch-warming bottoms in 1989, the last season of the classic era. 

Years passed, 16 of those years to be exact, and here comes our saviour RTD. Under his wings, the revived series premiered, bringing in over 10 milion viewers to the premiere episode of season 1, Rose. A viewership this high did not last for long, but still, RTD’s seasons averaged between 7 and 8 milion viewers per season, which seemed pretty respectable. But then, as the story likes to repeat itself, not unlike the bbc execs just did, along came the decline again. Ever since 2010, the ratings began steadily dropping again, from 7.95 in 2010 to 5.46 in 2017. Then DW experienced an unexpected peak in 2018 with the premiere of Jodie Whittaker’s first season, which averaged 7.96 viewing asses, but then continued the dropping trend on the next season, averaging 5.40 viewing butts.

So what went wrong?

You see, part of the reason that Doctor Who was bringing in such great viewership numbers in the 60′s and 70′s, was that, to put it simply, BBC did not have much competition. Or, to be exact, only had one competitor. ITV was literally founded in order to break BBC’s monopoly over British television. But in the 80′s, with the launch of Channel 4 and Sky, the british viewers had more and more options to choose from. So logically speaking, they no longer had to watch BBC’s programming just because there was nothing else on. There was more and more new programes to boredom-watch. And here’s something y’all need to know about the tv industry: the boredom-watchers, the casuals? That’s the most important demographic. As hard as it might be to swallow, us hardcore fans, forum dwellers and Ao3 gremlins, we’re not as big of a group as we’d like to think. Loving fans are important to the tv execs as providers of word-of-mouth advertisment, but the real numbers come from the casual, everyday viewer who will just put on the next episode cause the other one was kinda fun I guess. Or more fun than the other options, anyway.

And this is why, by the way, when someone is conflating low viewership with the show Dissapointing The Fans, they’re full of shit. I’m sorry, but we’re really not that much of a force here, definitely not enough to make such a big impact on the numbers. Another factor, that some of you probably noticed already, is that the numbers I’m quoting are from british tv only, while the online fandom is very much international, so our opinions matter even less to the british execs, I’m sorry again, hard pill to swallow I know, but true nonetheless.

But I digress. So, to sum up the previous paragraph, Doctor Who’s viewership decline in the 80′s was the effect of the changing landscape of the TV industry, with which the BBC struggled to come to terms with.

Sound familiar?

Let’s move on to the 2010′s, shall we?

2010 was is actually a good marker of a year to choose, because it marks one important thing that begun a big change in the industry. This was the year in which Netflix expanded their services overseas, from being a DVD rental company to providing VOD services. Over the next decade streaming services grew in importance, from being an add-on to your cable TV that you didn’t really want but they were throwing it in for cheap, to very much self-sustainable media services you might very well buy instead of buying the cable. And if you look at the numbers for Doctor Who viewership declining over the last 10 years, that’s precisely what’s been happening. It’s not that people don’t want to watch Doctor Who on tv, they don’t want to watch tv in general. Do you know what was the most popular channel in Britain this year? Can you guess? Fucking Netflix that’s what. It’s just slowly-yet-steadily ceasing to be the way we use home entertainment anymore. Again, not much to do with the audience approval, because for that matter, let’s see about the specific episodes that saw the spikes in viewership. 

Rose, which i mentioned at the start of it, was for the longest time the unquestionable queen when it comes to viewership, at 10.81 milion. The next episode, The End of the World, pulled in 7.97 - almost 3 millions worth of lost viewer-butts in one week? Is it because it was so much worse than it’s predecessor? No, it simply did not have the smell of Newness, the Event You Must See, and as such brought forth less of the casual viewers who were simply curious about The New Thing. The next season followed the similar formula, peaking at the premiere, when the marketing was at it’s strongest, going down during the season, sometimes rising slightly for the finale, sometimes not. The most popular episodes are, of course, the specials - yet again, the vibe of The Event To Be Seen worked here, but one more thing working to their advantage is they often aired in spaces between seasons, serving as both a long-waited Crumbs of Content for the fans, and the basically stand-alones for the casuals. Do you know what the single most watched episode of revived DW is? No, it’s not Tennant’s goodbye with the role (yeah I know, I thought it had to be that as well). It was Voyage of the Damned, between seasons 3 and 4. The perfect standalone for the casual watcher. And last but not least, you know one more special feature that brought, maybe not as much, but definitely more than expected? The 1996 movie Doctor Who, with 9.08 million. Again, a perfect standalone.

But the standalones aren’t the only way to grab the viewership. The currently-highest viewing non-special episode of DW? The Woman Who Fell to Earth, Jodie Whittaker’s introduction. In 2018 no less, in the year when the streaming was the ruler supreme, this episode brought a whooping 10.96 million buts to the good ol’ TV again. Let me reiterate: this episode brought in more viewers than Rose did in 2005, while having WAY more competition and way less favorable circumstances of release that RTD’s debiut did. Not only that, it managed to bring on some numbers for the entire season as well, not as good of course as the premiere (because again, the Event vibes faded), but still brought a better average than the last six seasons did. (Again, let me reiterate: more than the last SIX seasons. More viewership than any series since 2010, since the Streaming Wars.) So clearly, this must be the way, right? Catering to this Weird New Trend, that saw directors notice there do in fact exist other actors than white men, that surely brought in some profit, even Marvel does it now, right? Out with the old, in with the new!

Part 2 The Deceitful Charm of Nostalgia

Well, it turns out the whole Doing New Things deal didn’t work out that well after all, now did it? The second season penned by Chibbnal averaged 5.40 milion, that’s 2.5 million drop from the previous one! It must mean it didn’t work, right? Well, yes and no. As much as the refreshment of the formula as simple as Let’s Put A Woman In It absolutely worked for one season, it very visibly did not hold up for longer. An Event-Episode is something that can still happen on TV, Event-Series? That’s pretty much reserved for streaming now, if you think about it, and it’s honestly kind of a miracle that Series 11 did as well as it had. Two consecutive Event-Series on network tv? Flat out impossible. 

So how to make those ratings great again? How to get those butts in seats of the Good Ol’? Well, the execs of the BBC have a plan for that. They brought in a devouring beast, and it’s name is: Nostalgia.

Without a doubt, there is a number of people who feel nostalgic about RTD’s era of Doctor Who. It’s a lot of people’s fond childhood memory, or the series they started with, and judging by the numbers, there should be quite a lot of them. So the new plan, as it appears, is to get to those who maybe lost interest in the show and lure them with the promise of the thing That Is Totally Like The Thing You Used To Love, Remember? (This is why I don’t actually think that RTD will be allowed to do anything new and interesting, that’s not what they hired him for. And that’s why I think this is bad from the creative standpoint.) So there are two questions here: One, will the people be lured? And two, for how long?

Nostalgia as a marketing strategy is something that you’re probably sick of seeing already (I know I am). But it has very much been effective on many levels, especially the eighties-baiting, Stranger Things style, can bring a new IP up to relevance. But what about old IP’s that want to have a comeback? 

It’s kind of dificult to find another TV show that I could compare to Doctor Who. Most series that have been running for that long are mostly soap operas, that operate on slightly different rules, and are also targeted to a different audience. So as much as the movie series is still not exactly the best comparison, when I think about a big IP, campy sci-fi, family-oriented (at least in theory) on its path back to relevance, I think about Star Wars, obviously. The Force Awakens gambled on that nostalgic feeling and won big, but the next two movies, while still financially successful, were nowhere near the astounding success of the first one. And that’s because - you guessed it - it created the Event You Must See again, The Great Comeback, but merely two years later, the comeback became old news. So what we can gain from that is that nostalgia can create an Event as well as a new trend, if not better. But the question remains: how long will that last?

That is, after all, the main difference between a movie franchise and a TV series in the traditional, network TV sense of the word: movie franchise must bring in the viewership every year or two, and TV series must bring in viewers every week for at least two months. Is RTD’s Nostalgia Vibes enough to provide for that?

I’ll say this: I’m absolutely certain that the 60th anniversary will be very popular. I still don’t think it will break any records because, as I’ve been trying to explain for this whole post, it is not 2007 anymore no matter how much the tv execs would like it to be. But ironically, the almost-certain success of the special is the very thing that could undermine the effect of bringing their precious Nostagia Boi back onboard. Remember, the first Event Episode is The Big Oof. That’s the one that gets asses to the Good Ol’, if anything ever does. After the first big event one, that’s the point when things start going down. They’re wasting their Special Event Boi for something that already would be an event, dear fucking gods, I hate your plan and I would still execute it better. Either have RTD be the Anniversary Guy and then hire someone new, use that hype and keep it going, OR have RTD come in after the anniversary, then at least you get the Event Effect for the premiere of his first return season. Fukin’ amateurs.

But even if they did that, here’s the thing: do you think that the people who departed from the show years ago actually want to watch another three to five seasons of The RTD Show? I mean, I’m sure the thought warmed some hearts, for sure. A number of people will definitely gladly watch the anniversary, probably the first few episodes of the first return to the basics, but after that? In the world when, due to streaming, they have an easy way to revisit the actual thing they’re nostalgic towards? I honestly don’t think so. And you’re not really gonna get many new people by going back, if that nostalgia factor isn’t there. And then there’s casual viewers, the backbone, as we established. And here’s the thing: lots of those people don’t even know who the current showrunner is, cause they’re not Terminally Online like we are, and the second thing? Lots of those people ARE JUST NOT WATCHING NETWORK TV, IM SORRY GARRY. They’re just. They’re just not. I don’t know how to spell it out better. Even my mum has netflix now. Your biggest base is in another castle mate, gotta get moving and gotta get moving quick, cause here’s another thing: all the nostalgia in the world will not do SHIT for you if your target, people who were kids/teens when the RTD era was airing, PROBABLY DON’T EVEN HAVE A FUCKING TV ANYMORE CAUSE THEY MOVED OUT OF THEIR PARENTS FLAT AND LOTS OF YOUNG PEOPLE JUST DON’T BOTHER. Just. I’m sorry but you’re trying to resuscitate a decade-deceased corpse there buddy. It just won’t work. The times have changed and you gotta swim or drown, and it’s just not gonna be 2005 again, no matter how hard you pretend it is. It’s not your content it’s your business model. Just push more marketing for your iplayer or whatever, focus on streaming as your primary not your secondary cause that’s just what it is now, and maybe don’t rely on the viewer-counting systems of the yesteryear to evaluate your business. Or else you’re gonna get stuck sacrificing the creative growth of your show for a marketing strategy that probably won’t even fucking WORK.

There, I got it of my chest. Feel free to reblog, and also: you somehow got to the end of this, congrats! I’ll make numbers nerds out of y’all yet.

[thiscastielhasflown]

day three of day two of j&kcreatorfest (with @expectingtofly)— prompts: movie night or baking dean just wants to watch brokeback mountain in peace and cas is there to enjoy the emotional roller coaster ride. (2.1k) [does contain spoilers of the movie's plot, you have been warned]

"Okay choose — Midnight Cowboy or Brokeback Mountain?"

Cas looks directly at Dean who is standing in front of him holding two DVDs and smiling wide with eagerness. To celebrate and commemorate their first Pride Month official out together, both collectively decided to watch a different LGBTQ+ themed movie every night during June (if at all possible).

Rather than the Winchester/Leahy family's normal Tuesday night movie routine, Sam and Eileen were more than willing to change up their usual viewing schedule — even helping to prepare and order movies unavailable to be streamed. But sadly this night coincided with their short weekend getaway trip up to Donna's cabin for a needed change in scenery from the bleak walls of the bunker. No matter how good the movie choice was going to be for those nights, nothing compares to either couple getting some alone time together.

Cas and Dean are left alone to watch a movie in the newly renovated 'Dean Cave' — now including a larger sectional couch (to fit everyone more comfortably), an LED monogrammed neon light of Dean's nickname from Cas, 'Titan', along with new pictures hung up from a recent family photoshoot, and a new stereo sound system all set up by Dean earlier that day.

While Dean was busy with that, Cas was in the kitchen trying out a homemade sourdough pretzel dough recipe — made with his own fermented starter — along with a batch of double-chocolate chunk brownies with lines of caramel crisscrossing across the top as their movie viewing snack for the night.

"I thought we were watching the Trixie Mattel documentary."

"I know we agreed on that, but I'm more into a gay cowboy sort of mood tonight. You feel me?"

Cas blinks, "I haven't felt you yet."

"Cas, it's a figure of speech. Stay on track. Which one do you want to watch?"

"Isn't Trixie a gay Western icon as anyway?"

Dean hesitates, "Well, I would say not exactly. Maybe because of her music style and love for Dolly—"

"Parton, we've listened to her music before," Cas interrupts.

Dean smiles, "Yes we have. We've listened to Trixie too. So I guess it depends on who you ask if they’d categorize her as a modern gay Western icon in the drag business. We're sidetracked, please just pick one."

"Okay, sorry. How about the one with the happier ending."

Dean pauses to think, "I don't think either end up happy."

"Then the one where someone doesn't die."

Dean pauses again, "I...do believe someone dies in both of them."

"Then what are the differences?"

"To be honest, there really aren't that many," Dean laughs it off, "They both take place within the same 1960s setting, even though Brokeback was made in 2004. There are two main male characters in both, who aren't close in the beginning but end up so by the end. Um. The biggest difference is that Brokeback actually takes place in Western-type locations, where Midnight Cowboy setting is in New York. Is any of this helping in your decision process?"

"To be honest, not really," Cas stands up from the couch and adjusts his shirt, "Well, you go ahead and make the final decision, okay? Let me go grab the pretzels and brownies from the kitchen while you get it set up. Want a beer?"

"Yes, please. Can you bring extra cheese sauce too?" Dean answers.

"Of course, nacho or cheddar?"

A sparkle glazes over Dean's eyes as he looks at Cas, a smirk making its way across his lips, "How about both?"

"Sure can," Cas leans in to give Dean a kiss on the cheek, brushing his hand up against the other man's shoulder, "Be right back."

Dean watches Cas walk out of the room with a smug look on his face, admiring his love before bending down in front of the TV console and turning on the DVD player to give it time to boot up. He looks back and forth between either movie case, still unable to pick one over the other. Sighing, he ends up picking Brokeback Mountain, knowing deep down that Cas would most likely end up enjoy watching it more.

As he stands back up holding the DVD player remote in his hand, he hears the sound of Cas walking down in the hallway near the mancave’s door. They've been together so long at this point, but even the slightest presence of Cas will still make a butterfly giddiness erupt inside of Dean.

"Right on time as always," Dean puts down the remote after pushing 'play', grabbing the plate and beer held out to him by Cas.

He holds it up to his nose and breathes in the mingling smells of delicious food, "You really outdid yourself on this one."

Cas blushes from the compliment before pulling his own plate closer to him, breaking off a piece of the brownie and slipping it into his mouth, "Glad to know you approve."

Dean winks and takes a bite of his own, letting out a tiny moan of satisfaction from the taste, "Did you put sea salt in this?"

"I'm surprised you noticed, it was one of my secret ingredients I added in. Thought it would go well with the caramel."

"Your intuition was right, this is delicious," Dean takes another large bite and lets the flavors melt over his tongue.

At this point in the movie, Jack and Ennis sit at the bar drinking together, getting the chance to have the last bit of freedom before heading up to the mountain to work. This reminds Dean of the many times he's shared a drink with Cas before they assumed the worst would happen, losing each other. Yet those moments have now become ones he'll never forget.

The soft touch of a hand against his face pulls Dean's eyeline from the movie, Cas reeling him into a deep kiss, their lips melding into each other creating a familiar yet comfortable feeling.

Before letting anything escalate Dean pulls back and faces his head back towards the TV, reaching up to wipe off his bottom lip softly, "Watch the movie, you're going to miss a good part."

Cas pulls away and pouts, giving him one last peck on the neck before returning fully to the boundaries of his seat.

Dean turns his head back again to Cas and reaches out for his hand, weaving their fingers together, "Hey don't do that, all I wanna do is watch the movie. We can do plenty of that later."

"Fine, fine," Cas mocks, grabbing a piece of the soft pretzel and dips it in the cheese, shoving it in his mouth with a hint of annoyance.

They manage to in silence to watch the movie a little longer before Cas speaks up again, "So...what exactly is going on?"

Dean clears his throat, "Well, Jack and Ennis got their orders to go up to the mountain to go work with the sheep and they're still trying to get used to each other. Testing out the ropes, trying to work together as a team."

"Are you sure they fall in love? They definitely don't very seem into each other at the moment."

Dean takes a sip of his beer, "Love happens in mysterious ways Cas, just like us. It is never as easy as we think, especially when two people don't really get along, to begin with."

"We got along just fine, what are you talking about?"

The only thing Dean does when he hears Cas make that statement is laugh, downing another large gulp of his beer.

Cas tilts his head, "Why are you laughing?"

"Your memory must be skewed now that you're human. Don't you remember threatening my life multiple times? Trust me, you and Uriel were a couple of dicks for the majority of that early time."

"I've changed a lot since then."

Dean smiles and squeezes Cas' hand, "We've both changed a lot. Us, being here like this, is the ending we both deserve. For them, it was much harder of a situation. Their free will isn't as fluid as the ones we take for granted."

"You're not telling me—" Cas sits back with wide eyes, trying to formulate the future plot points in his head.

"I'm not going to spoil anything from the movie, you're going to have to watch it yourself to find out yourself," Dean mimics zipping his lips and turning a key to lock it, "My lips are sealed.”

A sudden vibration erupts from Dean's back, shoving his hand into it and pulling out his phone to see Sam's picture contact picture lit up (from a drunken Halloween night dressed up in a Chewbacca costume, minus the head, with a herbal cigarette dangling between his lips), swiping to answer, "Hey Sammy, what's going on?"

"Hey-uh-hi, are you busy right now?" Sam asks in a mildly frantic tone of voice over the phone.

"Well—" Dean signals to Cas to pause the movie, "It is movie night like you know, but I can talk. Everything going okay?"

"No, yeah, everything is fine. Do you know how to treat a spider bite?"

Dean coughs slightly in surprise, "Are you telling me you already managed to get a spider bite?"

Cas, overhearing the conversation holds a hand up to his mouth to help suppress the giggling he's unable to prevent himself from doing.

"Yeah, um, neither Eileen and I can remember if it's supposed to be a cold or warm compress."

Dean shakes his head and lets out a chuckle, "Did you just drunkenly call me, to ask me, how to treat a spider bite less than 24 hours after leaving here?"

"Yes Dean, do you have the answer or not?"

"Go get some ice and makeshift ice pack. For the swelling. Any other questions?"

Sam pauses not answering right away, Dean hears the sound of rustling and clanking of ice in the background, "No that should be it. Thank you."

"Yep, you're welcome. Bye," Dean hangs up before Sam can say anything else.

"I'm sorry for all of the distractions tonight Dean, I really am. I know how much you wanted to watch this movie," Cas puts a hand on his shoulder, slightly massaging at the tense muscle underneath Dean's favorite Led Zeppelin shirt.

"It's fine Cas, we can stop the movie if you want. Maybe pick it back up tomorrow?"

"Why can't we continue watching it? If we have to pause again, then we pause again. Anyway, you have me interested in learning what will happen.”

“Alright, we’ll continue.”

Thankfully, no one else bothers them for the rest of the movie. Even when Cas was confused in certain sections, he reminded quiet and attentively watched, quickly becoming attached to the characters and the blossoming (and losing) love between them. When the credits begin to roll, Dean looks over to see Cas crying, tears streaming down his face, and biting on his bottom lip to possibly contain his emotions.

"Cas, what's wrong?"

"The jacket...Jack was the one who took the jacket that Ennis thought he forget on the mountain. He took it and kept it for all those years. And now...with Jack gone..." Cas leans in towards Dean, who wraps his arms around his shoulder in comfort, pressing little kisses on the top of his head. He lets Cas cry, holding onto him tight.

When Cas feels ready enough to pull away, Dean reaches up to wipe the tears from his cheeks, "What’s wrong Cas?"

"It just reminds me of us. When you kept my coat, the symbolism of keeping an article of clothing when your loved one is gone. In this case—" Cas sucks in a deep breath, bottom lip quivering, "Ennis lost Jack, his soulmate. But no matter how many times you've lost me, I've always come back. I wish that could have been the same for them."

"Oh, babe..." Dean pulls Cas into a kiss, strong and supportive, "They got to share their love while they could, and even though things could have been different, that was the ending destined for the."

"Why couldn’t they have ended up together?"

"Just how their cards were played, nothing we can change about it.”

Cas sighs, rubbing away his remaining leftover tears, "This really is a goddamn bitch of a unsatisfactory situation."

Dean can't help himself from laugh out of happiness, "That was a pretty good usage of that phrase, glad to know you picked up on it."

"Oh, it's going to be my go-to now, along with 'I wish I knew how to quit you’."

"Sounds to me like you liked the movie. Well, I do have an idea," Dean stands up from the couch and reaches for Cas' hand, pulling him up to a standing position, "How about we go start something? Sound good to you?"

[blackswaneuroparedux]

Anonymous asked: Have you watched Lupin? What did you think? (And are you a fan of the books or other adaptations of the character?)

The short answer is yes, I have seen Lupin on Netflix. Overall I enjoyed it so long as I suspended my disbelief at certain things.

Unfortunately it took being struck down by Covid and being bedridden for me to actually to binge watch the whole series. So I was behind the curve when my friends, French and those outside of France, started to talk about it around me. I had to beg them not to give away spoilers until I had seen it all.

It did surprise me that it won rave widespread reviews outside France because usually French drama series don’t travel very well outside of France. I’m sure even Netflix had no idea how successful it would be for them. I’m sure being in Covid lockdown had something to do with it. In any case I don’t begrudge its success as it’s well earned.

However I wasn’t too surprised that within France itself the French reviews were decidely mixed and divisive. The critic at Le Point painfully hit the nail on the head when he wrote, “Le plus gros défaut de l'ensemble reste la pauvreté des personnages, tous unidimensionnels, caricaturaux et aussi épais que du papier à cigarette.“ - loosely translated as, ‘the biggest flaw of the whole thing remains the poverty of the characters, all one-dimensional, cartoonish and as thick as cigarette paper’.

There’s a growing amount of good French stuff on TV and streaming services but a non-French audience will not have had the chance to have seen all of it yet. I can think of any number of French television drama/dramedy/cmedy series that are much better than Lupin with better plots, characters, and even a truer perspective of French society and even modern day France (Dix pour cent (Call My Agent!), Le Bureau des Légendes, Engrenages, Baron Noir, and Paris Police 1900). But you would be hard pressed to find anything that comes close to Lupin just for the sake of something fun to watch during the Covid lockdown.

What makes the current generation of home made French television series so interesting is how much of it is a reflection of France’s own anxieities about itself and its role in a increasingly English speaking dominating world. In a funny way it sees itself as defiant plucky Asterix fighting off the Roman American cultural hordes from totally invading their Francophone culture.

For sure, it has societal and racial issues stemming from its colonial legacy and issues of immigration and integration (France has the largest Muslim population in Europe). However it seems to want to ‘resolve’ these issues through the almost sacramental adherence to French secularist ideals rather than American inspired ideas of social justice and equity. There’s always been something very admirable about the French - from the time of General de Gaulle and perhaps before - always swinging from snooty ambivalence to outright antipathy towards the influence of American culture ‘americanising’ French culture (no to Walmarts or fast food chains for example).

Is it any wonder then that Netflix’s ill-conceived American series ‘Emily in Paris’ was widely hated and mocked within France for just perpetuating those lazy American tropes of Paris and French culture?

Personally I know Francophile Americans, long resident in Paris, who were frankly embarrassed and spent a lot of time apologising to their French friends. I have one American friend who has told me that she was so mad that she would have blind folded Emily and shoved her hard in the car boot and drive her all the way to the poorest of the banlieues in the grimey crime saturated suburbs of Paris - Seine-Saint-Denis came to mind - and dump her preening arse there. She would slap her and tell the spoilt entitied brat to make her own way back home - you know, to her spacious apartment in one of the most expensive arrondissements of Paris that of course(!) any American intern working for French marketing firms can afford.

I digress. My apologies. Watching this God awful show gives me PTSD.

Onto Lupin.

Thankfully Lupin doesn’t try to play to non-French tropes of what Paris is or isn’t. It does skim the surface of current discontents within French culture and society (race, class, power, and money) but ever so lightly so as to not get in the way of just spinning a good crowd pleasing yarn. It invites you to have fun and not to think too much. I have to be honest and say I enjoyed it as long as I suspended my disbelief here and there.

Lupin refers of course to the character Arsène Lupin, the French gentleman thief who stole jewellery from Parisian haute bourgeois and aristocracy at the turn of the century. Lupin, as written in the novels and short stories by Maurice Leblanc between 1905 and his death in 1941, was the archetypical anti-hero, a Robin Hood who stole from those who deserved it but kept the loot himself. He was often portrayed often a force for good, while operating on the wrong side of the law.

Lupin never really made much of an impact outside of France as he had within France where is revered with many French film and television adaptations. In England, we already had a Lupin type character in the form of A.J. Raffles, a cricket playing gentleman thief with his aristocratic side kick, Bunny. E.W. Horning’s stories of Raffles’ daring heists proved to be quite popular with the British public when Raffles first appeared on the scene in 1898. And even later Leslie Charteris’ The Saint took over the mantle from Raffles as the gentleman thief/adventuring Robin Hood.

I think Hollywood tried to introduce him to an English speaking audience (legendary actor John Barrymore even played him) but he didn’t really take off and eventually they found their gentleman thief archetype in Sir Charles Lytton aka The Phantom (played by David Niven and Christopher Plummer) in the Pink Panther movies. So Lupin never got the English audience he deserved.

I first got wind of who Arsène Lupin was when I was growing up in Japan as a child. As strange as it sounds Lupin was big in Japan especially after World War Two. The Japanese did their own take on the Lupin character using Japanese actors and plot lines but it was Lupin.

I don’t know how exactly but I remember watching these scratchy DVDs of these Lupin inspired films. I think it was one of my parents’ Japanese friends who was mad for all things Lupin and he had studied French literature in France. Jogging my memory I now recall these black & white films were done in the 1950s. One starred Keiji Sada and the other version I remember was with Eija Okada (he was in Resnais’ classic film, Hiroshima Mon Amour) as Arsene Lupin called (I think) Kao-no Nai Otoko. I didn’t understand most of it at the time because it was all in Japanese and my Japanese (at the time) was pitiful, but it looked fun.

There was even a Japanese manga version of Lupin which was called Lupin III, - so named because he was the grandson of the real Arsène Lupin.

The 1960s manga series spawned generations of TV series which I do remember watching and finding it terribly exciting if somewhat confusing.

It was French expatriate friends whom my family knew that introduced me to the real Arsène Lupin. They had a few of the books authored by Maurice Leblanc. It was in French so I read them to improve my French but enjoyed the story along the way.

I also remember them showing me scratchy episodes of the 1970s Franco-German TV series ‘Arsène Lupin’ with the monocle wearing Georges Descrières in the lead role. It was a classical re-telling of the adventures of the aristocratic gentleman-burglar and very family friendly viewing. I don’t really remember much of it to be honest.

It was some years before I actually started to read more of the Maurice Leblanc’s novels and short stories collection. I have them all now. I was a teen and I remember being stuck in a snowed in a Swiss Alpine chalet and with nothing else to do but pull out a few dog eared books from the bookshelves belonging to our French host and read to pass the time.

I read Les Dents du tigre, Arsène Lupin vs Herlock Sholmes, and Les Huit Coups de l'horloge and thoroughly enjoyed them in the original French. I was already reading classic detective and mystery novels (Sherlock Holmes, Poirot etc) so it was natural to read the adventures of Arsène Lupin.

I haven’t got around to reading all the novels and short stories but I have read most of them and I enjoyed them all immensely. In the same way Conan Doyle, through Holmes and Watson, manages to conjure a convincing picture of late Victorian and early Edwardian England, so Leblanc manages to give us a taste of Belle Epoque France through the eyes of his suave gentleman-thief, Arsène Lupin.

Indeed it's a lot like reading Sherlock Holmes in that you're always trying to figure out how he did it, but the difference is that you are rooting for the bad guy. You can’t help but be drawn to this gentleman thief who is charming, comic, playful, and romantic and generous. Lupin is not an intellectual puzzle-solver but first a master criminal, later a detective helper, who maintains his curious ethics throughout his adventures. In this regard he is very much the anti-Sherlock Holmes; and I wasn’t disappointed when I actually read the story where Lupin faces off with Holmes himself. Brilliant!

I’ve also seen the 2004 French movie with Romain Duris in the Lupin lead role and it also starred the majestic Kristin Scott Thomas and the sexy Eva Green.

It was a decent adventure flick and it was a clear confluence of different Lupin novels (The Queen's Necklace (introducing Lupin's childhood), The Hollow Needle (where the treasure is the macguffin of the story), The Arrest of Arsène Lupin (the gala on the ship as a backdrop) and Josephine Balsamo, (one of Lupin’s most memorable opponents in the The Countess Of Cagliostro).

Romaine Duris, a fine classical actor, was I felt miscast because he didn’t have Lupin’s levity of wit and be at ease within himself. I love Duris in his other films but in Arsène Lupin and even in his other film, Moliere, he seemed ill at ease with the role. Perhaps that’s just me.

The latest Netflix adaptation (or reimagining to be more precise) is a welcome addition to the world of Arsène Lupin.If you don’t over-think it, it’s bags of fun.

Omar Sy is immensely likeable. Sy is a deservedly a big star in France - he won the best actor César for “The Intouchables,” an international hit - and has played forgettable secondary characters in big-budget American special effects movies (he was Chris Pratt’s assistant in “Jurassic World” and a minor mutant in “X-Men: Days of Future Past”). It was reportedly his desire to play Arsène Lupin, whom he’s compared to James Bond (“fun, funny, elegant”), that led to the series, created by British writer George Kay. And it is on his charm that the series largely, though not entirely, rests.

So the basic story revolves around a jewellery heist. Sy plays Assane Diop, a first-generation French-Senegalese man in contemporary Paris. A collection of Lupin stories, a gift from his father - whose undeserved fate Assane set himself to avenge in long-delayed, Count of Monte Cristo style upon a criminal tycoon - has made the actual Lupin books a foundation of his life and profitably illicit career. This fan-ship goes as far as borrowing practical ideas from the stories and constructing aliases out of anagrams of “Arsene Lupin,” a habit that will attract the interest of a low-level police detective (Soufiane Guerrab as Youssef Guedira) who shares Assane’s love of the books. (That the detective also shares an initial with Lupin’s own adversary, Inspector Ganimard, is possibly not a coincidence.)

Among the many comic delights of Lupin, is an unspoken one. Time and again, the show’s hero, master thief Assane Diop is able to slip into a place unnoticed, or by assuming a minor disguise that prevents witnesses from providing an accurate description of him to law enforcement.

Why is this funny?

Because Omar Sy is six feet three (and, since most actors are short, seems even taller), is roughly as wide as soccer pitch, and is memorable even before he flashes his infectious million-Euro smile. This is not a man for whom anonymity should be possible - even allowing for racial bias in a majority-white country, Assane would be memorable and distinctive - and Lupin seems cheekily aware of this. Like the various incredible sleights of hand Assane deploys to pull off his thefts and escapes, his ability to be anyone, anywhere, is treated more as a superpower than as something even the world’s greatest criminal would be able to pull off.

At one point, when he’s slated for a cable news appearance as a much older man, we learn that Assane is also a master of disguise. The revelation of this skill arrives with a wink in the show, and it feels pointless to ask where he learned it, or how he affords movie-quality latex and makeup. Or rather, asking the question feels wrong.

We know this is impossible, the show seems to be asking its viewers again and again, but isn’t it so much fun?

The performances and the production - it has that particularly European filmic quality of feeling natural even when it gets stylish - keep the series warm even as the plot is made up of incredulous contraptions that require everything to go right at just the right time and for human psychology to be 100% predictable. Its physics are classical rather than quantum, one might say, and like the world itself, which becomes more curious the deeper you peer into things, it is best handled along the surface. You do not want to take too much time working out the likelihood of any of this happening. Just go along for the ride.

Somehow, though, it all works because Sy is so magnetic and charming that questioning plot logic feels wildly besides the point. Though he never looks appreciably different in his various aliases (including one ill-conceived live-TV appearance done under old-man makeup and a thick beard), he changes his posture and voice ( if you watch it in French that is) enough to allow for the willing suspension of disbelief, in the same way that any lead actor as Superman has to do when playing Clark Kent. But Sy and the show are at their strongest when Assane is just being his own Superman self, utterly relaxed and confident in his own skin, and so captivating that his ex-partner, Claire, can’t really resist him despite ample reason to.

If Assane seems practically perfect in every way, he is not perfectly perfect. His most obvious failing is that his criminal shenanigans and revenging make him less than reliable in his daily life, affecting his relationships with ex-partner Claire (Ludivine Sagnier, whom non-French audiences might recognise from “The Young Pope” and “The New Pope”), who despairs of his inability to show up on time to see his son Raoul (Etan Simon). Like Sy, Sagnier brings a lot of soul to her part - though onscreen far less, she’s as important as Sy to the series’ success - and the two actors have great chemistry. Also impressive and key to creating sympathy are the actors who play their flashback teenage selves, Mamadou Haidara and Ludmilla Makowski. Really, you could do away with action elements and build a series around them.

This is a pity because Lupin often fumbles its emotional reveals in other parts - the story of Diop being torn between his job and his family feels like wheel-spinning, rather than genuine emotional intrigue.

Soufiane Guerrab is wasted in the Young Detective Consumed by the Case role and spends most of this season pinning colour printouts of book covers to cork boards and getting waved off by his colleagues, who are all blinded or otherwise hampered by careerism.

But to my mind the weakest link is the villain himself and his daughter. Veteran actor Hervé Pierre hams it up as Hubert Pellegrini, a business tycoon who is the patriarch of the Pellegrini family. He just comes across as animated cartoon villain with no character depth (think moustache twirling Russian villain, Boris Badenov, in the Rocky & Bullwinkle cartoon shows). He just emotes anger a lot without any nuance or hint of complexity.

Even Clotilde Hesme who plays the daughter who is unaware of her father’s criminal tendencies is miscast. For the record I adore Clotilde Hesme as she one of France’s most talented classical actresses (that non-French outsiders will not have heard of). She is a classically theatre trained actress and is one of the best stage actresses of her generation that I have ever seen. I’ve seen her in plays where she is just mesmerising. She has said before that she’s more comfortable on the stage than she is on the screen. And when she has been on screen she still has been a powerful presence. She’s actually won a César too. Here in Lupin, she seems to have no agency and looks bored with nothing really to do.I really hope they give her more scenes in the next part of Lupin.

The series is at its best when following Diop enacting his plans, and when revealing each one from a different vantage, making us privy to every moving part like a magician revealing his secrets. The show captures the momentum of a clockwork heist, the tension of sudden obstacles and the ingenuity of improvised responses, with thrilling precision (especially in “Chapter 1 - Le Collier de la reine,” directed by Now You See Me’s Louis Leterrier).

Lupin is also politically incisive when it wants to be; it brings to mind Ladj Ly’s Oscar-nominated 2019 film Les Misérables, which adapted the broad strokes of Victor Hugo’s novel about the 1832 Paris Rebellion, and modernised the story by focusing on the police brutality faced by non-white Parisians.

Lupin opens with Diop disguised as cleaning staff and entering the Louvre after-hours, alongside dozens of forgotten, anonymous non-white workers as they pass by “La Liberté guidant le people,” Eugène Delacroix’s famous painting of the July Revolution of 1830 which replaced France’s hereditary rule with popular sovereignty.

Before any semblance of plot or character, Lupin centres broken ideals and promises unkept (without giving too much away, the show’s primary villain has much more nationalistic view of French culture and history which merely adds to a cartoonish caricature than a complex character). The rest of the episode is about valuable jewels once owned by Marie Antionette - one of the most recognisable symbols of wealth and extravagance in times of extreme poverty - which are put up for auction by the Pelligrini family, and bid on by other wealthy collectors with bottomless purses and no sense of irony.

Granted, beyond this auction subplot, explorations of race and class are largely limited to individual interactions, but the show continues to refer back to (and implicitly comment on) its source material in ways that wink at the audience. An elderly, unassuming target of Diop’s schemes seems like an unlikely victim at first - Diop, though he acts in his own self-interest, usually displays a moral compass - until this victim reveals the colonial origins of her wealth, immediately re-contextualising the ethics of the situation, in a manner that Leblanc’s stories did not. (The show is yet to apply this lens to Arsène Lupin himself, who Diop treats with reverence, but that’s a secondary concern since Lupin is entirely fictional in-world).

Barring some nagging structural problems - like cutting to flashbacks when things are getting exciting, or epilogues that feel ten minutes too long - Lupin mostly works. It plants a few personal seeds early on, which it keeps hinting at without fully addressing, but by the time its scattered elements come into focus, the show finally figures out how to weave them together, and delivers a mid-season cliffhanger that renders many of these flaws irrelevant.

Lupin manages to have fun even with an antiquated premise - the story of a suave con-man who charms his way through high-profile robberies - while adding just enough new spin on the concept to feel refreshing. Omar Sy may not have much to work with, but his alluring presence makes Assane Diop feel like a worthy successor to Arsène Lupin.

Lupin isn’t going to win César, BAFTA, or Emmy awards, or even turn heads for its ability to develop tertiary or even secondary plots or characters - that doesn’t really matter. You’re there to see a difficult hero be difficult and heroic - everyone else is there to be charmed, vexed, or eluded by them. Sy’s performance bounds off the screen, and is almost musical. He floats through scenes like he glides over the roofs and through the back alleys of Paris; he outmanoeuvres his foes with superior literary references and sheer athleticism. He is irresistible and also good at everything he tries, even kidnapping.

I would encourage anyone to watch Lupin for a fun care free ride. But the only caveat I would make is watch it in the original French.

If you don’t know French then put on the subtitles to understand (that’s what they are there for). The real crime is to watch this (or any film or television series) dubbed in a foreign language. It’s disrespectful to the actors and film makers and it’s silly because it’s comical to watch something dubbed over.

Please watch it in the original French.

Then go and read the books. You won’t regret it.

Thanks for your question.

[sailormoonandme]

Where to start with Sailor Moon?

From time to time I’ve seen people ask about how to get into Sailor Moon or how they might introduce it to someone else. 

As such I’ve made this to (hopefully) help people out.

Introduction

So first of all you should know that the official name for the over all franchise is ‘Bishoujo Senshi Sailor Moon’. This can (and has) been translated a few ways, but the current official name is ‘Pretty Guardian Sailor Moon’. Basically everything connected with Sailor Moon carries this full official name, but for the purposes of this post I’m just going to shorten things to ‘Sailor Moon’.

Moving on,  there are in fact different versions of the Sailor Moon story, even putting aside the various attempts at translating the story into different languages. Each version is best viewed as its own entity, sort of how there have been various versions of Sherlock Holmes that exist independently of one another. 

For the sake of simplicity, I’m going to mostly keep this post to the original Japanese iterations of Sailor Moon, albeit from the point of view of an English speaking audience member.*

The main versions of the Sailor Moon story are as follows:

1) The Manga

The manga iteration of Sailor Moon began around late 1991/early 1992. It includes around 50 chapters, a handful of side stories and a prequel manga of sorts called Codename: Sailor-V. There have been several different English translations of this material over the years. However, my personal recommendation would be to experience the story through the ‘Eternal Editions’. These are easily available in print and digitally. As of this writing Codename: Sailor-V is scheduled to be collected in at some point in 2021, thus collecting all the manga stories.

2) The 1992 anime

This is the most famous iteration of Sailor Moon and loosely adapts the manga to the point where it is its own entity. It spans 200 episodes across five seasons, with each season being given its own subtitle. E.g. season 2 is referred to as ‘Pretty Guardian Sailor Moon R’. Additionally there were a handful of shorts and specials connected with the anime and three films. I have already compiled a watch list for the show that I hope will help you navigate everything.

Like the manga, there have been multiple efforts to subtitle the show into English, particular among fan subbing circles. However, the easiest way to watch the show with English subs is to do so via a streaming service (last I checked it was available on Hulu and Crunchyroll) or to purchase the DVDs and Blu-rays from Viz Media, although you can also purchase them digitally on Amazon.com too.

3) The musicals

 On and off since 1993 there have been stage musicals produced for Sailor Moon. If you ever see the term ‘Sera Myu’ being used by fans (or even official sources) understand that it’s shorthand for these musicals.

The musicals are based chiefly upon the manga and the original anime, although with some original embellishments here and there. The degree to which a musical cuts closer to the manga, or the anime or does something all its own varies from one production to another. I’m not very well read up on the musicals I must admit, but it is to my understanding that each production exists independently from one another beyond at times carrying over cast and staff members. In essence there is no particular order you need to watch the musicals in. However, if you want more info on the musicals see the below EDIT, which is more well informed than I am.

To my knowledge, (which is limited in this particular case) all the musicals have been filmed but there has never been any kind of official English release for them. There have however been fan subbed efforts made for all of them. 

4) The 2003 live action TV show

In fan circles this show is referred to as ‘Pretty Guardian Sailor Moon’ or ‘Pretty Guardian’ or ‘PGSM’. This is because it was the first piece of Sailor Moon media to bear that particular English translation of ‘Bishoujo Senshi Sailor Moon’. Basically if you see ‘Pretty Guardian’ or ‘PGSM’, understand it is referencing this show.

The show exclusively adapts the ‘Dark Kingdom’ storyline, the first storyline in every version of Sailor Moon. The show was made in a similar vein to shows like Kamen Rider or Super Sentai and the latter’s American adaptation, Power Rangers. However, it also incorporates elements of Japanese soap opera dramas too, original elements that were never in any version of Sailor Moon beforehand and many different spins on the plot points that had been covered before. 

To my knowledge, like Sera Myu, no official English release for this show exists, but English fansubs are out there somewhere. If you manage to find the show then you should watch the various episodes and specials in their original broadcast order. For this Wikipedia is your friend. 

5) Sailor Moon Crystal

Sporadically since 2014 a new Sailor Moon anime has been in production. This new anime cuts much closer to the original manga (although it still makes some changes ) than any other version of Sailor Moon. As of this writing, the show has yet to be completed and still has material from the manga left to adapt. The show is available to watch with English subtitles from the same sources as the original 1992 anime, including DVDs and Blu-Rays from Viz Media.

Like the original anime, Crystal’s story arcs and seasons have gone under different names. The first two seasons/arcs are officially just called ‘Sailor Moon Crystal’, whilst the third is explicitly titled ‘Sailor Moon Crystal Season III’. In place of a fourth season two films, Sailor Moon: Eternal Part 1 and Part 2, were produced. As of this writing, the Eternal films have yet to have any kind of English release. To make your life easier, watch this show in the order of the original air/release dates. Just remember the Eternal films are to be viewed after Season III.

Which version should you start with?

Whilst that is how the franchise breaks down, it is not the order a Sailor Moon newbie should try experiencing it in.

My personal recommendation would be to begin with the original 1992 anime and then move on to any of the other versions from there. This is because the original anime is aimed at a younger audience and was incredibly influential on basically every other version of the story. 

However, if 200 episodes or more is too intimidating for you, then simply check out the manga. It’s far shorter, skewed a bit older and tells a concise and complete story. 

And if you are still apprehensive then I’d highly recommend watching the first Sailor Moon film, Sailor Moon R The Movie. This is a very good film unto itself but it is a microcosm of the characters and themes that define the franchise as a whole. If you dislike this Sailor Moon just isn’t for you. 

P.S. If you are simply dead set against subtitles then you should know the original 1992 anime and Crystal have in fact been dubbed into English by Viz Media. In fact, the first four seasons of the original anime, along with the first three films, have two English dubs, variously produced by DiC, Cloverway and Pioneer. These dubs were made in the 1990s and early 2000s and are currently not legally available anywhere. 

*Things get more complicated when we consider that even in Japan there have been updated and altered versions of the Sailor Moon manga, anime, etc. We aren’t going to worry about that in this post though. They exist and maybe someday you might be inclined to check them out, but you know...baby steps...

EDIT #1: The following information comes from https://euribear.tumblr.com/

Just something I want to add on about the Sailor Moon Musicals.

If you see a musical with the word Kaiteiban (revision) at the end of the name, that means it’s a revised version of the previous musical. Things added or taken away, different cast members at times, etc.

Also, there are three musicals (technically four) that have a continuous storyline. Starring Miyuki Kanbe as Sailor Moon, Last Dracul, Transylvania no Mori (and its Kaiteiban), and Death Vulcan should be viewed in order.

The Bandai era of musicals were from 1993 to 2005.

The Nelke musicals started in 2014 and there was one each year for five years. One musical for each arc of the manga.

There are also the NogiMyu. These are musicals that solely focus on the Dark Kingdom arc and they star various members of the pop idol group Nogizazaka46.

There were two teams of cast members for the inner senshi for both years, 2018 and 2019. The same story overall, just different actresses.

There was also Pretty Guardian Sailor Moon The Super Live. My personal favorite, this was a musical performed only a few times. A couple of days in Japan in 2018 and then once in Paris in 2019 and then in Washington D.C. and later in NYC. I got to see this in person on one of the three showings in NYC. A dream come true. Unfortunately, this was never recorded, though they did release an instrumental musical album of the show.

[acespec-ed]

Hi!! So I recently started wondering if I'm somewhere on the ace spectrum but I'm not sure yet.

I don't tend to look at people and think sexual thoughts, even attractive actors. Seeing them without their shirts isn't much more exiting than with the shirts. Sex seems interesting in theory, but actually doing it feels like something outside the realm of possibility. However, I'm not sure how much of this is because I'm a minor who isn't acquainted with many people my age who I could be attracted to. Is this something that often changes with time?

I also haven't experienced a crush in a long time, but again, I'm not sure if this is only because I don't know that many people.

Do you have any thoughts? Thank you!! :)

It sounds like you could be!

I'm assuming you're in high school. I went to a public high school in a major city, so it's possible your school doesn't have as many students as mine did. However, even with all those students around, my friends rarely had crushes on any of those students. Out of everyone at that school, I only had a crush on one of the teachers- and I get crushes often enough to pass for an alloromantic. What I'm getting at, is you could go to a school bigger than the one you're at and still not find anyone attractive.

However- surely you've been exposed to a lot of media? Especially nowadays, with internet celebrities on top of band members and actors and sports players. Plus easy access to seeking out new media. When I was a minor, the internet was still new. There was no streaming. If you wanted to watch something, you turned on the TV. What you watched was limited to whatever shows/movies were on. Don’t want to watch anything that’s on? Either pop in a DVD or find something else to do. Obscure films/music? You had to go to a specialty store and hope they had it there. (Piracy was also an option, but not everyone had access to that method.)

And even back then, with limited exposure to anything not mainstream, almost all of my friends had a celebrity crush. And I overheard plenty of people outside my friend group gush about their celebrity crushes as well. In that time period where you were limited to box office hits and cable TV, all of these students were still able to have their special celebrity crush. Some of them were shared, but they were still present.

You're growing up in a world where it's piss easy to discover new music, movies, and TV shows. Surely, with all these band members and actors you have stumbled upon, you would have found one you'd have a crush on, right? At the very least, you would've thought someone to be "sexy."

There's times where I've gone on youtube and go down a rabbit hole of discovering new bands. And you know what? Almost every time, I come across a music video with someone I find aesthetically attractive enough to look that person up. They rarely turn into proper crushes, but still. Surely if I were fully allosexual, I’d also find that aesthetically attractive person sexually attractive, right?

Hell, I got into wrestling because my boyfriend kept having it on in the background, and I found a couple of the wrestlers attractive enough to develop major crushes on! One time, he showed me a random wrestling match that he was telling me about and I ended up with a crush on one of them. That’s three crushes from just watching wrestling! 

Unless your parents/guardians are heavily restricting content, or you just aren't into films and music, if you're not finding one single celebrity sexually attractive, there's a good chance you're on the ace spectrum. At most, you could be demi. But I can’t tell you what you are.

You specifically mentioned people your age. Like I said, a majority of people I hung out with found all of these older men attractive and it was rare for any of my friends to get a crush on someone we all knew. I had one friend who regularly got crushes on guys her own age (along with older men), so of course minors still get crushes on minors. But I think it’s common for minors to develop crushes on older people (celebrities, teachers, etc.) instead of people their own age. I’d consider a case like that to be “typical.” But if you’re not even finding older people sexually attractive? That gives me ace vibes.

It could still change with time- I didn’t experience (confirmed) sexual attraction until I was 21. And even then, I consider myself gray ace. Something similar could happen for you, but if it takes that long, there’s a good chance you’re still some brand of acespec.

This ended up waaay longer than I intended, but to sum all of this up: If you feel comfortable with an acespec label, if you feel like it describes your experiences, if you feel like it's a useful description of yourself, you are more than welcome to use it, regardless of age.

[locktobre]

I wonder if Netflix really screws up and ends up /having/ to shut down, if Mattel will either make their own streaming service, release everything straight to DVD again like in the past, or try to sell the show/movies they make onto real TV 🤔

They still do put things on dvd. Dreamhouse Adventures and Dreamhouse Adventures: Go Team Roberts are both out, I bought them recently. (For completion, mainly.) I got them on amazon but idk if they're elsewhere. Princess Adventure and The Lost Birthday aren't out on dvd yet as far as I'm aware but we'll see what happens there. Same for BCBD and BITT.

That all being said, mattel should not make a streaming service. I have said this for years every time this is brought up. That is an insane thing to even want. They do not have or produce nearly enough content for it to be worth it, not even if they put together all the Barbie movies, LitD, MH movies, EAH movies, HWBF5, etc. Not even if they put it all together would it even be remotely worth your money. For the money you would spend on a streaming service each month, you could VERY EASILY buy Barbie movies, either on dvd or digitally. You SHOULD do that if you want to watch them frequently. I saw a 10 dvd set at walmart a couple days ago for $19.96, that's less than $2/movie and puts you almost a third of the way to having all the movies (if that is your goal). Do that instead, it is a much better way to spend your money.

If netflix goes down, I feel like mattel will just... shop their content elsewhere, I'm sure some other streaming service would pick it up. My guess would be Paramount+ bc that's where Nickelodeon stuff ends up, and Barbie movies have aired on Nickelodeon before, so there's clearly already a business relationship there. (The upcoming MH movie will also end up there.) And I feel like mattel is comfortable with stuff going to streaming nowadays (and eventually dvd) and doesn't care too much about actually being on tv, bc I mean kids are being raised on ipads now, not tv so much. It just makes more sense to focus on that.

I kinda WISH mattel would aim for actual tv, just bc it might inspire them to hire actually competent writers like most cartoons nowadays, but they've regressed and are refusing to take their media seriously anymore so I doubt that'll happen lmao.

[b1tchplanet]

how to pirate shows and movies: a dumb bitch’s guide

I've been getting some notes on this post about how to pirate shows & movies, so I figured I’d make a better, text reader-friendly version. 

drink up me hearties yo ho

ye olde megacorporations got ye down? want to see the yoda baby without havin’ ta sell yer soul to The Mouse? i got space for ya on deck. join me hardwerkin’ crew, and we’ll sail the seas of entertainment, free from the ir’n fetters of brand loyalty!

Welcome to my pirating tutorial! You should be able to follow this if you have basic computer knowledge. Fair warning, I’m not an expert on anything, but in fact, a dumb bitch.

1. Buy a VPN service. VPNs basically temporarily change your IP address. You need a VPN so you don’t get cease and desist letters from your internet provider. Idk actually what happens if you don’t “cease and desist” but probably better not to find out. There are free ones out there, but they’re all shady. I paid for 16 months of Express VPN for like a hundred something.

2. Buy an external hard drive. Unless you’re planning on keeping only what you’re currently or soon to be watching on your hard drive, you need more space because video files are big. I bought a 5 TB external hard drive for a hundred something and named her Big Terra. That’s hopefully more space than I’ll ever need.

2a. Quick word on external hard drives. They come in HDDs (hard disc drives) and SDDs (soft disk drives). HDDs have little spinning disks in them and it makes them way easier to break, so if it’s knocked off a table while it’s running it’ll probably be toast. SSDs are way more stable and usually slimmer, and dropping them isn’t a death sentence, so they’re better. BUT HDDs can hold more shite, and for some reason SSDs skyrocketed in price in January 2020, and they were more expensive to begin with. Big Terra is an HDD and I just have to be very careful with her.

3. Download a torrent client. A torrent client is a program that can open and use torrent files, I guess?? The one I downloaded was qBittorrent.

3a. Megan, what’s a torrent? I barely know lol. Torrents let you download files faster, because other people have pieces of that file and they’re sharing them on the torrent client -- that’s called “seeding.” 

3b. Why do torrents exist? Can’t we just download MP4 files of movies and shows? Yeah, but 1) it’s a lot slower and 2) most sites that host those files (aside from being saturated with malware porn ads) get taken down by the Internet Police.

3c. Why are sites that host torrent files not taken down by Internet Police? Idk. Maybe I’ll get back to you.

4. Find the stuff! PirateBay is the most popular and the only one I’ve tried to use, but there are other sites like it. Not everything you look for will be on there. IDK how to host torrents yet but maybe I’ll pay it forward when I learn how and host files on Pirate Bay or something. 

5. Is this morally bad? Fam I love a good analysis. I majored in English. Maybe I’ll write a paper analyzing this question. The short answer is not really. Like refilling your cup with soda when you paid for water at McDonald’s. It’s not honest and maybe don’t do it because people will look at you weird, but you’re costing some rich asshole like .00007 cents so don’t worry about confessing it to your priest. 

6. What is the long answer? I told you I’m not an expert. The money you spend buying DVDs doesn’t go to any of the actors or people who created the movie/show, it goes to the distribution company. And money you spend on a streaming service goes to the streaming service, who then decides how much they want to pay a distribution company for the rights to their movie/show, and same with cable TV. [I’m actually just assuming by the way, that this is how the flow of money works. Someone fact check me, but this is logically probably how it works.] The distribution company is who pays for all of the hard workers who make shows and movies. So logically the distribution company needs to make a shitton of money in order to support these projects. That’s where your money comes in, and it jumps through lots of hoops and eventually makes it to the distribution company. However distribution companies are giant corporations and they do much, much, much better than just break even. They make a shitton of profit that ends up in some billionaire asshole’s pocket. That’s the person you deprive of money. 

7. But Megan, that’s how all capitalism works! Sure is. 

8. But Megan, if we don’t line the pockets of rich assholes who own streaming services who in turn line the pockets of rich assholes who own distribution companies, how will those companies be motivated to make movies and shows? That’s capitalism, baby. Movie profits are complicated but a big portion of it comes from the box office/movie theaters and merchandising. And I’m a bitch that loves a movie theater. I collect the ticket stubs. Go to the movie theater sometimes to support the rich assholes who support hard-working cast & crew of a film. Shows are a different animal and I don’t really know shit about how their profits are made, except it’s probably mainly advertising, streaming rights, and merchandising. In that case, since you’re not paying for ads or a streaming service, line the pockets of the rich assholes who support the show by buying merchandise.

9. But Megan, aren’t you just making excuses? I mean maybe. I never claimed to be a genius or perfect. But honestly torrenting isn’t that different from a public library - someone originally has the files, and people are sharing them with each other and no one is making money. We’re all out here trying to live and make ourselves happy by watching some cool shows. If you’re worried about the moral quandary of not paying for this stuff, make it a point to support local artists and independent filmmakers, because those are the real people who aren’t making any money.

Thanks for reading! Good luck on your pirating journey!

[fromthecouch]

I have always watched too much tv - an introduction.

A personal history of my relationship with the small screen.

My grandparents, who were my main parental figures growing up, didn’t work 9 to 5s. My grandfather worked as a bus driver for the Chicago Transit Authority, for over 20 years. His schedule often fluctuated. My grandmother worked as an expeditor for architectural firms. She made her hours and often came home later in the evening. For a significant part of childhood and all of my adolescence, I spent a lot of time alone. Sometimes I would go to my friends’ homes after school or my younger cousin would stay for the evening; however, from 3:00 PM-8:00 PM on weeknights, my main source of connection to other humans was through our living room television, the screen of my family’s desktop, and the pages of fiction.

It was not until recently that I learned of the term ‘latchkey kid.’ I had been watching the A&E Freaks and Geeks documentary on Amazon Prime when I noted the phrase. It had been used during an interview portion of the documentary when one of the production team members used it to describe Bill Haverchuck. The documentary cut to a scene of Bill, one of the show’s “geeks”, sitting in front of a television, laughing hysterically, with grilled cheese and Entenmann’s chocolate cake on a TV tray. The interviewee recalled their childhood similarities to Bill —the experience of a latchkey life. I was immediately intrigued and paused the documentary to turn to Google.

Freaks and Geeks, Episode 14: Dead Dogs and Gym Teachers

The search brought me to the Wikipedia definition, listed as “a child who returns to an empty home after school or a child who is often left at home with no supervision because their parents are away at work.” I reflected more in-depth on this and found myself assessing my relationship to fiction and how it raised me.

I have always watched too much tv. I used to read voraciously. I would buy random ‘pre-viewed’ DVDs from Blockbuster and played them in rotation until I got my hands on a new batch and a new rotation started. My grandparents often enabled my habit as a reader, yet I would go through books too quickly for my family trips to the library or Borders to keep up. Most of my planned reading for the week would be completely consumed by the end of the night on Tuesday or Wednesday, so the rest of my weekly time alone, I would turn to watch things.

At a young age, I viewed watching television as infinite. Since it was before the era of eBooks, there was a limited number of hours that my books could sustain me for each week, but television would always be there for me. I watched everything — movies, children’s shows, reality television, teen dramas, daytime television, sitcoms, documentaries, sometimes even infomercial channels. Fifth grade is when I truly became in awe of all that the small screen had to offer. My grandparents had upgraded to the premium package on Comcast. We went from a few dozen channels to having HBO, The N, Discovery Kids, multiple channels of MTV, channels that played history docuseries around the clock, the Filipino variety show channel, and so much more.

As a kid, film, literature and television was how I got to know the world. When I was a teenager, I more actively started to engage with what I was watching and reading. Fiction helped me dream of what I wanted for my life. How I consumed television and film during those years laid the groundwork for who I am as a person now. That was also when I had begun to use fiction to feel less lonely, to escape from the pressures of turbulent home life, to relate to my peers. I had curated a group of friends that also had independence thrust upon them at a young age. Watching tv with each other over the phone and renting films to watch together on the weekends was a big part of how we related to one another — the common interests that bound our friendships, as mutual indoor kids. My high school years also coincided with Netflix’s shift from delivery rentals to mainly streaming, which allowed us to consume a new set of content, in an entirely new way. With adulthood approaching, we segued into the era of series binge-watching.

I was diagnosed with panic disorder and major depression when I was in my sophomore year of university. It was around that time that I became more cognizant of the way that I used television and film as coping mechanisms. Sometimes they served healthy coping mechanisms, sometimes they became more like distractions, and numbing agents. Whatever the case, I sometimes doubt that I would’ve gotten through some of my lowest times without the fictional characters, places and storylines of my favorite shows.

In 2017, I struggled with some chronic health issues, nothing serious, but very debilitating. It took me a year to stabilize. At that time, I hardly saw my friends. I had to quit my job and was unemployed for a full year, living with my boyfriend’s family in an unfamiliar suburb. I was too ill to hold down a full-time position. I was always in pain. I entered the longest depressive episode of my life, which made reading, my first love, feel daunting. I also struggled with a lot of vestibular migraines. The aftermath of those lingered for days and sometimes left me in a fog that made the words on a page feel painful.

I still had television though. On my worst days, I often only had the bandwidth to make doctors’ appointments, eat oatmeal, and rewatch television series I had already seen. The Chinese Restaurant episode of Seinfeld made me smile when I otherwise felt numb. Buffy the Vampire Slayer made me feel resilient when I felt incapable of basic human functions. Daria made me feel understood when I felt completely isolated from my peers. 

Seinfeld, Season 2 Episode 11 The Chinese Restaurant

On my better days, I could venture into a new series, which involved more attention. I mainly consumed television rather than movies for the most part, as I didn’t like having my time spent with characters and plots to feel limited. (The major exception to this was the MCU, due to the span of central, interconnected plots.) With access to Netflix, Hulu, Amazon Prime and HBO plus, I found television to again feel like my main connection to other people. When I felt like I didn’t have anyone else, I had Mr Robot, Atlanta, Glow, Mozart in the Jungle, Westworld, Stranger Things, Game of Thrones, Black Mirror, Big Little Lies, Insecure. When the pain from my migraines, GI issues, ovarian cysts, and mundanity of my newly “sick” life made me feel terrible, watching the fictional lives of others helped me escape. Watching these fictional lives, helped me feel like I was surrounded by others and living their lives with them when my own life felt on pause and isolated.

In 2018, I was fortunate enough to get on a successful diet and medication combination that allowed me to stabilize my health, move back to the city, reestablish my friendships, and resume my career. Even so, I still have more mild depressive episodes. I still get medical flareups. I am still a normal person who occasionally faces conflict, as that is just life. When I’m in those darker places, television is often both a distraction and connection that helps me recalibrate. Now here I am, at my current age of 27, and I still depend on fiction to be there for me.

Once the COVID-19 lockdowns and restrictions started in March of 2020, I, like everyone else around the country, found myself limited in social interaction. I maintained some level of relatedness to others through my cat, my boyfriend, group texts with friends, and my Zoom work meetings. Yet, television was again a big part of how I related to the human experience. Television persisted in reminding me of what life was like pre-pandemic and what it could be in the future. It has helped me keep boredom and restlessness at bay. Through this time, I’ve found myself watching many series that I would have never watched otherwise. I have also found myself analyzing the series that I watch more thoroughly and with more curiosity than I had the capacity to in my youth and during my time of medical distress.

This year was also the first year that I have started writing for leisure, since high school. Being so online over the past year, I’ve often found myself with many thoughts to collect, package cohesively, and express, yet I’ve felt very limited by the current platforms I often interact with. I often feel like I cannot articulate meaningful thought on platforms like Instagram and Twitter, which are limiting by word limit and social media norms. My newfound revived interest in writing has often collided with my enthusiasm for television, film, and pop culture, more broadly.

It may be true that I watch too much television. It may also be true that television was one of my first true friends and in many ways an extra parental figure. I want to move beyond watching too much television. I want to openly explore television, what it means to me, what it means to the collective, and examine the things that we love to watch or have loved to watch with a critical lens. That is what I hope to express on here.