#impersonate onscreen characters

[myhyperfixationisiforgot]

Young Justice was such a wild show. Like. It's based off a 90's comic by the same name. It contains exactly 1 (one) character from the source media, who they immediately change beyond recognition. It used Dick Grayson's Robin and Wally West's Kid Flash, but made Roy Harper the old jaded one. Instead of Wondergirl, they gave Martian Manhunter a niece. They invented a brand new Aqualad. A random 90's villain gets shunted into Arrowette's role, arguably gets the most compelling emotional story of the entire show, and turns out to be related to half the villains they ever meet.

They're a secret black ops team made entirely of teenagers. At one point several of them die onscreen. The martian almost murders several people. There's kind of a pseudo incest plot. There is an episode that takes place almost entirely through mandated therapy sessions.

The show does actually bring in a second character from the original Young Justice, in an episode where Artemis almost dies only to be saved by Secret, the ghost of the villain's sister (who was a member of the original comics team). In the same episode, Superboy and Miss Martian trick a classmate into thinking there's an alien invasion using a Loony Tunes character. Neither of these events are ever mentioned again.

The timeline of the show means that Dick Grayson became Nightwing at 15. They accidentally create Beast Boy because Miss Martian has been impersonating his mom. Aqualad ends up as the leader of the Justice League.

Five years go by between seasons, resulting in a completely different show. I could make the argument that Young Justice was Weisman's OC fanfiction of the comic series. Everything after season 2 is unwatchable. This is the show that got me into fandom. I adore it.

[kellyvela]

How is Joan? Is it considered successful or not?

I think it is a success.

Comments on Twitter are vastly positive. You can read some here:

The first episode won over the BBC show airing at the same time.

The papers and magazine reviews are vastly positive as well, and even the ones that are negative, about the script for example, praise Sophie's acting despite their critics.

The Daily Mail gave it 5 stars:

Collider praises Sophie with these words:

Given that the real Joan Hannington's reputation was the talk of the time, with her even being nicknamed "The Godmother," this series' mission seems to be showing an alternate side to the woman who made headlines. What was she like when not in the middle of a scheme? The TV drama is able to deliver on this by relying on a compelling performance from Turner. The actress, who has played minor roles in projects like the X-Men franchise and Netflix's Do Revenge, successfully explores multiple facets of her character in this series. Turner captures Joan's vulnerability when it comes to proving herself to social services, her motherly instincts whenever she is granted the right to visit her daughter, and her cleverness when it comes to pulling off high-risk heists.

Turner's level of dedication to the part shines throughout the entire plot of Joan, showing that she is more than capable of embracing any genre, from an action-packed Marvel production to a noir drama like this. If it weren't for the emotions she conveys onscreen beyond her lines, Joan wouldn't successfully have showcased its lead's underlying motivation of fulfilling her dream of being in a picture-perfect family. Although her actions consequently draw her away from her goal, we can believe that Joan becomes immersed in the crime world for a deeper reason.

[...] Yet, the production does function as a testament of Turner's ability to take on meaty lead roles, and the character's stunning wardrobe will surely make you wish you could steal it.

~~~

The Times gave it 4 stars:

Turner’s main achievement in this role is making the multilayered Hannington real, human and believable, not just a one-note “rough diamond with a heart”. Turner is famous for her role as Sansa Stark in Game of Thrones, but this performance is surely a career-best.

You could absolutely believe that Joan was a loving mother of a little girl and quite a hard-faced criminal. You could believe she was a woman used and abused by men, but also willing to make victims of others (wealthy “others”). That she was poor and vulnerable, but also had rhino-hide resilience.

[...] But Turner steals every scene with a magnetic performance, such as when the pervy jewellery shop manager tried it on with her and she cleverly swerved him by pretending she had “the painters in’’, or when she swallowed loose diamonds on impulse and she later retrieved them in the bathroom with the help of, er, a sieve. Let’s not dwell too long on the mechanics of that.

~~~

More from the Sunday Times:

~~~

More praise to Sophie:

As for Turner, I could watch her forever. In part, it’s her face: the cheekbones that make you think of bone-handled knives. Whether from Etam or Harrods, the clobber suits her. And boy, she can act. Hannington was a notorious shape-shifter – a brilliant impersonator – and Turner has a way with voices, layering poshness on top of light cockney just thinly enough for the audience to feel nervous, jeopardy trailing her character like Dior Poison.

She looks to me like she’s having the time of her life, and who can blame her? What a jewel of a role: a diamond as big as the Ritz.

~~~

From The Guardian:

Sophie Turner is spectacular as notorious real-life jewel thief Joan Hannington in this slick 80s-set drama. The six-parter starts with devoted mother Joan reluctantly giving her daughter up to social services after underworld bosses come for her abusive husband. Determined to get her kid back, she uses her glamour, charm and sharp mind to build a new life – starting with taking a job in a jeweller’s that specialises in diamonds.

~~~

From Radio Times, read the last part about Sophie:

~~~

More positive comments:

~~~

From Tatler Magazine:

~~~

From New Zeland Magazine Flicks:

~~~

And the list continues . . . .

[tobiasdrake]

What are your thoughts on the first Dragon Ball Arc?

It's hard to go back and revisit, mainly because it's extremely raunchy towards underage female characters in a way that, as a thirty-something adult, I find deeply uncomfortable. Pretty much for the entire arc.

It's in a very uncomfortable place where it sets the vital groundwork for a lot of important Dragon Ball relationships, most notably Goku and Bulma's friendship as well as Goku and Chi-Chi's engagement. So it's not exactly skippable.

And there is a lot of good stuff in there, like Goku and Yamcha's first fight or the utter ridiculousness that is Toninjika/Boss Rabbit/Monster Carrot. ...sandwiched in between Yamcha accidentally spying Bulma's boobs multiple times and Bulma flashing the Muten-Roshi over and over so he'll give her a Dragon Ball.

Or Pilaf Oolong making Bulma wear a bunny costume for half the arc.

Or Bulma making Pilaf Oolong impersonate her and give the Muten-Roshi a "puff-puff".

Or Chi-Chi's... basically any time Chi-Chi's onscreen, and her costume design at that.

It is relentlessly raunchy towards these children.

Later Dragon ball arcs have moments, like Goku trying to barter Bulma's sexuality to the Elder Kaioshin in exchange for giving Gohan a power boost and Vegeta furiously yelling at him to trade his wife instead, not that that's any better. But they're a lot fewer and farther between. It is non-stop in that first arc.

And I'm just. Not comfortable reading that. It squicks me out.

These days, when rereading, I tend to start around the moment the boys arrive at the 21st Tenkaichi Budokai.

[elcomfortador]

I want everyone to know about Terry Sweeney, the first openly gay person to perform in the cast of Saturday Night Live.

Terry was hired in season 11, which is the 1985-1986 season — the first one where Lorne Michaels was in charge again after a five-year absence. Considering that it took until 2012 to have another openly gay person in the cast, this strikes me as being more progressive on SNL's part than I would have guessed. What's more, Terry is bringing a distinct gay flavor to his performances, which is notable considering that a more frequent face of gay America at the time was the AIDS epidemic. Take this sketch, from a Dec. 8, 1985, episode hosted by John Lithgow. Not only is the First Lady being portrayed by a drag performance, but also his version of Nancy Reagan works differently than, say, Phil Hartman as Barbara Bush, because Terry is bringing a distinct gay flair to the role that a straight performer probably wouldn't.

This particular sketch is interesting to me because Terry is essentially using his Nancy impersonation — and his platform on this TV show with a national reach — to make everyone watch him do a song and dance number with sexy back-up dancers, which is kind of a little gay boy's dream? There's not that much of a "joke" to this sketch, really, other than Nancy dreaming that she would have ever been the most famous performer in all of show business. The "joke" is that he got NBC to sign off on him doing this very gay thing on network TV.

What I especially love about this performance, however, is that it's not a pre-tape, which I feel a lot of performers would prefer, because choreographed dancing is hard enough, much less doing it while you're singing. Instead, you can see that Nancy is wearing her stage dress when she appears at the beginning next to Ronald. She's just throwing off her blazer and running to the second stage while the establishment shot of the theater is running onscreen. When she's done, she's disappearing behind her dancers and running back to the first set, to the point that Terry a little out of breath because dancing while singing is a lot of work, it turns out.

He really gave it his all.

This is all something I talk about in the newest Gayest Episode Ever, which is the first part of an in-depth look into how SNL has portrayed LGBTQ characters and themes over its nearly fifty years on the air.

Of all the eras this show has had, I feel like this one is the most off-limits to people today, just because it wasn't frequently run in syndication, it often is not included in SNL's own retrospectives of its own history, and it's under-represented in what's streaming on Peacock. But I really think there's some interesting stuff from this era, that can help us understand how mainstream audiences came to understand LGBTQ humor the way it does.

And yes, season 11 also featured Danitra Vance, who was both the first black woman to be hired into the main cast and also a gay person herself, but she was not out at the time. I'll be profiling Danitra's work as we move through the series run of SNL.

[my-mt-heart]

My weekly essay quiz:

There's nothing in terms of shipbaiting on the show so far that makes me concerned about where it's going. There's no chemistry between Isabelle and Daryl, and it's not played like there should be. Each episode has reinforced that Isabelle is a nun, that she chose her life and it's an informed decision because she used to lead a very different life. Everything she does is for Laurent. He is her raison d'être. Anna, the nightclub singer and Quinn's (I assume) bedwarmer, has a line which sums up the episode and Isabelle's emotional drive: "Women need a damn good reason to come back." There's a beat with Quinn's non-reaction to her insignificance. "Sometimes a damn good reason to stay." Isabelle has stayed (alive) for Laurent and she will go back to Quinn for Laurent.

However, the show does "borrow" Caryl/Carol beats liberally, which is cheap, annoying and lazy writing. Make Isabelle a character in her own right—Clémence could've carried the weight of this show if they'd let her— don't make her go back to her old life and her emotionally abusive boyfriend to protect her child. In 104, we see Laurent hiding from walkers underneath a sheet of corrugated steel, much like Sophia underneath the car on the highway, including the walker trying to get to him. Earlier in the episode, Daryl told Isabelle when he found out the boy was missing that, "He's a smart kid. He's running, he's hiding," but there's no urgency to his words, unlike when he was searching for Sophia.

In that same scene, when Daryl first walks into the apartment and finds Isabelle there, he asks her if she's okay. There's none of the careful tone he usually uses for Carol when he knows she's fragile; the camera is on Daryl, so we can see from his face that there are no emotional stakes on his part. Isabelle's been out searching for the kid all night and his is the first friendly face she sees, so she hugs Daryl. Judging by the body language, it's because she needs to connect with someone, anyone. The camera is still on Daryl when he hugs Isabelle back or, really, offers her some basic comfort. He's hesitant and slow in putting his arms around her and he just sort of places them there. There's no squeeze, no melting into each other's embrace. It's almost impersonal.

Sylvie asking Isabelle if she's ever had romantic feelings for anyone after she took her vows serves two purposes. One, to drive Sylvie's arc—she's the young nun who's had no other life and meets a dashing young man in the big city, so it's a standard romance trope used as a foil for Isabelle's arc. In each episode so far, Isabelle has emphasized that young people know of nothing else. They have had no options. She's lived, loved and made mistakes. Isabelle has no reason to lie to Sylvie about her own feelings when she says she was simply concerned for Daryl, not emotionally invested (at least not for his own sake). She's entrusting her nephew, a boy who means everything to her, in his care and Daryl had just acted completely unhinged when they interrogated Quinn's henchman, so whatever concern she felt was completely justified.

(Emotionally unstable men don't make for good love interests if you're looking for a happy ending and Isabelle is far from naïve.)

Speaking of the interrogation scene, the misogyny is so strong. The captured goon speaks about Isabelle (to her) in much the same way Ed spoke to Carol, echoing whatever mean streak keeps Quinn alive and breathing. Isabelle is an obsession, a possession he wants. Daryl doesn't understand a word that's said because it's all in French and Isabelle doesn't translate that she's being called a whore. (The translation offered onscreen is "slut," but the word used is "putain.") Daryl loses his shit on the guy, but it has nothing to do with anything going on in the scene (because he doesn't understand 90% of the conversation) and is just out of character. He's calculated and brutish, telling a story about "Jimmy, the runt of the neighborhood and incidental pig sticker," which seems intended to scare the other guy, but he doesn't speak much English, beyond "she very bad girl," so what's the point if it's lost on him anyway?

The "battered wife" ambiance is coating everything in this episode. I've mentioned the pervading misogyny before, but it's not solely in relation to Isabelle. Anna, too, is used (and pretending like she has agency) and Sylvie is young and unworldly, she should be getting an "how to stay safe in the real world" talk from someone who knows it's not all butterflies in the stomach.

Nothing about this show (so far) is butterflies in the stomach.

France/Paris is pretty. The second unit does some fabulous work in all the episodes I've seen. Cinematography is top notch. The set design and the VFX are not. It feels like the set dressers might come from stage or maybe studio set productions (like sitcoms) where you have limited space and all props need to be arranged to maximize visual angles. There's a strange feeling of corridor design in all outdoor sets, much like a janky computer game with low resolution textures. Buildings in the distance are all a blurry soft focus, so we won't spot that the kudzu and the decay either look painted on or pixelated. The green screen is an immersion breaking corneal abrasion and the Eiffel Tower does some gravity defying feats.

DD is supposed to be an arty action adventure, I guess...? I think Norman was going for an "elevated," more European feel to the show, like what you'd see produced on local TV in continental Europe, but they'd need European writers who won't cram the show with every trite cliché Americans might assume is true of France. Zabel (and his crony Richman, who only get jobs by handing them to each other) write somewhat campy/soapy drama, with a bent toward white man's history and copious biblical references, so action scenes aren't in the wheel house of either man and every single fight scene has been cringe worthy.

If Norman and/or Nicotero wanted "something completely different" from the flagship show, the showrunner would still need to have seen TWD to know what they're subverting and to keep the characters in character, so we don't end up with the toxic mess that seemed to sum up much of Daryl in the episode.

[SF]

Thank you for all of this 🙏 Hopefully people find it helpful. I only watched a 10s clip of Daryl talking about Jimmy and it was enough to upset me. Daryl didn’t sound like himself at all. This is not an art project, it’s a TV show based on a character with some of the best development in history. Story matters. Voice matters. Continuity matters. Why does nobody in charge seem to care? (That’s rhetorical).

[muppetjackrackham]

I posted 1,368 times in 2022

That's 1,368 more posts than 2021!

149 posts created (11%)

1,219 posts reblogged (89%)

Blogs I reblogged the most:

@karamelcoveredolicity

@succsessions

@melis-writes

@bisexualwvtson

@sinistermushrooms

I tagged 1,303 of my posts in 2022

Only 5% of my posts had no tags

#austin butler - 180 posts

#elvis 2022 - 148 posts

#al pacino - 97 posts

#succession - 66 posts

#lion.txt - 54 posts

#answered - 52 posts

#elvis presley - 36 posts

#doctor who - 31 posts

#goncharov - 31 posts

#the godfather - 29 posts

Longest Tag: 140 characters

#whereas the waiter was literally just an accident n the crime had more to do with the fact that kendall fled the scene (in a state of shock)

My Top Posts in 2022:

#5

See the full post

55 notes - Posted July 28, 2022

#4

after seeing ash’s response to this post i want to talk for a second about the subject of elvis and impersonation vs portrayal.

elvis impersonators have been around almost as long as elvis himself, with the first impersonator being a man by the name of carl “cheesie” nelson from texarkana who, in 1954 who performed his own renditions of “that’s alright, mama” and “blue moon of kentucky,” and even got to perform onstage alongside elvis that same year. since then, elvis impersonators have been a staple of american pop culture—with a notable presence in las vegas specifically—but it’s not exclusive to america. simply put, ash is right; elvis is one of, if not THE most impersonated pop culture icon in american—and rock n’ roll—history.

there are a few notable portrayals of elvis onscreen: elvis (1979) directed by john carpenter (often touted as the best portrayal of elvis), elvis and nixon (2016), more of a comedy film above all else but still one of the more notable portrayals of elvis in recent years, bubba ho-tep (2002) starring bruce campbell as elvis, the elvis miniseries from 2005 starring jonathan rhys meyers (who bears an uncanny resemblance to elvis) and of course the most recent film starring austin butler, just to name a few. this is not a comprehensive list by any means, but are (to me) the most notable attempts at bringing elvis to the small and silver screen respectively. i can��t speak to every portrayal of elvis ever that exists in media (and i haven’t seen elvis and nixon in a very long time) but i can speak to austin butler, kurt russell and jonathan rhys meyer’s portrayals in particular when it comes to just the performance aspect of elvis, which is where immitation vs portrayal really comes into play for me.

JONATHAN RHYS MEYERS

by all accounts and purposes, jonathan rhys meyers was practically tailor made to play elvis presley

i mean honestly.

unfortunately i made the mistake of watching the miniseries after i had already seen austin butler’s performance and it was. not good lmao. i think for the time it was quite good, but it very much comes across as someone trying to imitate elvis versus actually inhabiting him as a person and making him come alive (also as an aside i know we tend to clown on tom hanks for his portrayal of the colonel because of how he sounds but at least he’s not boring lmao. if randy quaid’s version is more accurate then this is really gonna bite me in the ass but my god no one can ever accuse tom hanks of being boring in elvis 2022), particularly when he’s dancing. there was such a fluidity to the way elvis moved and it comes off very disjointed by comparison.

KURT RUSSELL

See the full post

56 notes - Posted August 4, 2022

#3

this is my one (1) contribution to the iwtv fandom

70 notes - Posted November 8, 2022

#2

See the full post

101 notes - Posted August 10, 2022

My #1 post of 2022

tom sturridge could do edward cullen and robert pattinson could do morpheus 

168 notes - Posted August 7, 2022

Get your Tumblr 2022 Year in Review →

[writingrosesonneptune]

Pelican Queen/Rain Summoner Content Warnings

This list will update periodically as we get to characters to whose storylines new warnings will apply.

Behind a cut in order to hide spoilers for anyone who doesn't want to see them. Also, the lists will get long.

If you would like to be warned if something specific comes up, let me know and I will confirm / add to the list if that content is present.

In the Prequel:

Early on:

References to war

Xenophobia and Nationalism

Domestic Abuse (offscreen child beating, implied murder of a spouse)

Child Death

Onscreen Violence

Plague

Brief Disrespect to a Chosen Name (ties in to cultural differences)

In the first book:

Early On:

References to War

Alcohol

Xenophobia

References to Child Death

References to a Plague

Character Deaths

Imprisonment

Drowning/Near-Drowning

Anxiety, Depression, PTSD

Impersonation, Abduction

Body Horror (of a fantastical variety)

Plant-Based Horror

Corporal Punishment

(MAJOR SPOILER BELOW)

Execution of an Innocent Party

* In general, overly graphic scenes are left 'offscreen' in this series. They are instead alluded to, fade to black, or are described loosely / in dialogue when present in canon.

[sshbpodcast]

Doublemint, Doublemint, Doublemint Trek: Doppelgängers in Star Trek (Part 1)

By Ames

This week, it’s just me, myself, and I as A Star to Steer Her By is having a 2-for-1 sale of all the doppelgängers, imitators, shapeshifters, and other character duplicates on Star Trek. Whether it be a mistaken identity, an existential crisis, or some kind of cloning accident gone wrong, leave it to science fiction to turn the art of the soliloquy into a dialogue. But giving actors the opportunity to act across from themself makes for such a fun sight gag, depending on how well the compositing holds up.

We’re not even including all the mirror universe doubles running around (that can wait for another day), and this is still going such a long list that I’m going to have to break it into two posts because we get progressively looser and looser with the definition of doppelgänger, so check out batch one below and listen to our replicants on this week’s podcast episode (discussion at 1:08:06). Check out Part Two here! What can we say: two heads are better than one.

[Images © CBS/Paramount]

“The Man Trap”

We start things off really early in the canon with the very first released episode of TOS, when the technology to show duplicates on screen wasn’t there yet. Some clever cuts, scene transitions, and never having the M-113 creature in the same shot with the person they were impersonating certainly helped. We love us some salt vampire, so it’s a good way to start the show off with a lot of shape changing!

“The Enemy Within”

Certainly one of the most infamous double-Kirk instances (and there are a lot!) is in the Jekyll-and-Hyde allegory “The Enemy Within,” in which the captain is literally duplicated and forced to reunify himself. Again, we’re mostly treated to a TON of watching Shatner and his stunt double, but there’s a brief moment when we have our first onscreen pair! We’re Captain Kirk!

“What Are Little Girls Made of?”

Yet another double Kirk just two episodes later, and still not the last time either. The composite work to get two Shatners in the same shot is the most extensive yet, when the android copy of Kirk is created, and you know what? It’s not bad! This episode gets two Kirks up!

“I, Mudd”

Next season, we get a ton of doubling up when we go to Mudd’s planet of androids. While most of them are just twin actors to make things slightly easier, we definitely get a whole ton of Stellas! Harcourt’s got another thing coming because we know there are at least 500 copies of his nagging wife, all ready to tear him a new one!

“Whom Gods Destroy”

We’re back to multiple Kirks when Garth of Izar proves he can shapeshift into anybody he wants. This episode is epic for its over-the-top Shatner acting, but also deserves some praise for a Kirk-on-Kirk fight scene that holds up pretty well!

“Yesteryear”

You’re going to see a handful of character doubles caused by meeting oneself during a time travel incident in this list, and the first (but not the last) involves meeting oneself as a child. Young Spock remains oblivious about the identity of his cousin from afar who’s trying earnestly to amend the timeline broken by those fools playing willy nilly with the Guardian of Forever.

“The Survivor”

You’d think that using the animated medium would allow for more scenes that would be unfeasible in live action filming, but alas. When it should be intrinsically possible to have a whole bunch of Kirks running around when our Vendorian friend takes on his shape, we never get them in the same shot! What a waste of the whole format (you know, like that whole series).

“The Infinite Vulcan”

Somehow, the very next episode in the animated show gives us exactly what we want. Two Spocks who interact and are in the same shot together. Sure, one of them is a giant for no particular reason, but that’s at least doing something new and different with the animation that we couldn’t do on the original show. And I’m counting that giant Apollo scene from “Who Mourns for Adonais?”

The Motion Picture

Sure, the original Ilia is killed by the time we see her replacement in probe form, but it’s still a duplicate. And this duplicate is just like the real thing, even down to her eye moisture, as is pointedly shared with us if only to make us cringe even harder.

The Undiscovered Country

One final double Kirk to get out of the way, as the final of the TOS movies introduces us to Martia, a chameloid who can take on other beings’ shapes, including for our final Kirk-on-Kirk fight which is always a bowl of fun.

“We’ll Always Have Paris”

If you thought that was a lot of Shatners, get ready to see a ton of our Enterprise-D heroes throughout The Next Generation. Let’s start things off with a season one banger, with a time hiccup that makes the crew keep running into themselves from a few seconds out of sync.

“Datalore,” “Brothers,” “Descent”

Data’s brother Lore may be his own character and is treated as such, but also being portrayed by Brent Spiner gives him the advantage of getting to pretend to be Data pretty much every time we see him, so I’m lumping all these together. And how can we fault the show for giving us as much onscreen Spiner as it possibly could, as we’ll see when we get to the more spoiler heavy batch next week?

“Where Silence Has Lease”

The Nagilum doubles in this generally meh episode sadly never get to interact with their counterparts, but just come in and talk to Picard while in disguise to try to trick him into stopping his plan to self destruct the ship. There was some level of trickery afoot, so I’m mentioning it in this exhaustive list.

“Time Squared”

Here’s what we’re all here for though: dumb Picard. This episode gets to contain lots of great camera trickery and compositing to get two Picards in one shot, but one of them is there just to make acting hard for the other one. Or vice versa? It’s a little confounding, but it just makes me wonder so long after we covered the episode on the podcast: What did they do with the body?

“Up the Long Ladder”

The clone half of this episode is outshined by the absolutely bananas little Irish village half. But when you get past the chickens and utter thirst for Riker from that plot, the violation of having a bunch of people clone you without your consent is downright disturbing! I don’t blame Riker and Pulaski for wanting them dead, but boy, could this have been explored more and felt less like an afterthought in a way too busy episode!

“Allegiance”

Another double Picard, since captains probably get the most duplicating throughout their series, even more than O’Brien somehow. In this one, Picard has been captured because his abductors are testing some of humanity’s traits, while they take his place (and shape!) on the Enterprise to test the crew’s limits and how far Bev will go with him.

“Second Chances”

While many episodes that duplicate people through various means (the transporter, pretty often) effectively undo their work by the end, “Second Chances” has some lasting effects in that our second Riker, who IS in fact another Riker, gets to stick around and muddy the waters in his later episode and in some books. It’s a great concept but doesn’t get explored as much as it could; what I mean to say is Farscape does it better.

“A Fistful of Datas”

You’d just expect an episode about Data and the holodeck merging a little would have just a ton of Datas running around, and you know what? Needs more Datas! Sure, we get a handful of them, even in the same scene, and Brent somehow rocks a drag look, but if you’re gonna tease us with a fistful of our favorite android, then give us a whole fistful!

“Parallels”

Now we definitely get a whole fistful of Worfs in “Parallels,” when multiple dimensions start interacting with each other, including a super scruffy Riker who just wants out of his Borg-infested universe. This one gets some extra credit for its clever premise and a plot that’s unusually followable despite all the physics.

“Firstborn”

As if one Alexander isn’t enough, we put him in the room with his older, time-traveling self in “Firstborn.” Sure, it’s not like it’s a second version of the same actor playing across from themself, but it’s definitely a double character. And despite all the time traveling we do on this show, there’s less acting with yourself from another time than you’d think!

Nemesis

Oh boy, this asshole is back. Shinzon is a clone of Picard. Ish! Sure, Tom Hardy isn’t a literal copy of Patrick Stewart (his loss), but a clone is a clone, as this movie seems to want to force that fact down our throats. There’s also another double-Spiner when we meet Data’s dopey little brother B4, but do we need another screengrab of multiple Brents?

Yes. Yes, we do.

“Visionary”

Come Deep Space Nine times, there’re even newer ways to get the same character on screen with themself, starting obviously with Miles! “Visionary” is one of those time travel episodes that’s on the cusp on being too smart for its own good. Think about it too much and it falls apart, but we’re so excited by how many Mileses get killed that it’s AOK.

“Whispers”

And we’re not even done killing off different versions of Miles, this one a replicant who has no idea he’s not the real deal! It’s a good time watching the perfect copy that was made of the chief, right down to the way his wife treats him like a stranger and the existential crisis he has that is just so typically Miles O’Brien.

“The Adversary” et alia

I’m gonna just lump all the times we see Changelings running around in other people’s forms all over Deep Space Nine into one item in this list, mostly for my own sanity, and just partly because there’s almost never a way to prove who is or isn’t a Changeling in the background of any given scene. And as this Changeling pretending to be Bashir in “The Adversary” says, “We’re everywhere!”

“Doctor Bashir, I Presume?”

There’s another good double Bashir in “Dr. Bashir, I Presume?” and not only does it make for a good sight gag (holoBashir walking into a wall over and over again never fails to crack me up!) but it also drives the plot forward when daddums, whom we discussed in our Trek parenting post recently, somehow mistakes a vacant-eyed husk of a being for his flesh-and-blood son. Maybe Richard Bashir does belong a few rungs lower on the list…

“Children of Time”

Sadly, we never see Gaian Odo, who got winked out of existence because his love for Kira outshone a whole population of the crew’s descendants, in the same room with the Odo we’re all familiar with. Normal timeline Odo spent the whole episode as a goo stuck in a breadmaker, so we really only got to know a version of him who got to make a Tuvix-level decision that not enough people give him shit for.

“Time’s Orphan”

If we counted the Spocks and Alexanders of different ages in “Yesteryear” and “Firstborn” respectively, then you’d better believe we’re gonna count feral Molly from “Time’s Orphan,” another time traveler who pops out of some kind of whatzit and meets themself as a child. All of them succeed in preventing their bad futures from happening, though Molly did fully expect to go live in the woods for the rest of her life.

“Treachery, Faith, and the Great River”

We’d be remiss not to mention some of the best clones in all of Star Trek: the Vorta! We see a number of Weyouns throughout Deep Space Nine, but we get the most of them in one place in “Treachery, Faith, and the Great River,” with two of them activated at the same time. The more Jeffrey Combs, the better, I always say!

—

We’re at our image cap and only halfway through the list we came up with. Sorry, I did NOT expect there to be quite this many instances of character doubles in Trek, and that’s totally on me. Of COURSE good science fiction is going to make its characters confront themselves to learn whatever the lesson of the week is. Of course.

And our lesson of the week is we need another week, so check back to find out how many more changelings have infiltrated our ranks, keep following our Voyager watchthrough on SoundCloud or wherever you get podthings, double your fun on Facebook and Twitter, and remember: we’re everywhere!

[guytheporn]

Homemade Porn Sites

There's no spot like home, isn't that so? Particularly on the off chance that you are banging your sister like you are slamming open a ready watermelon and sniffing your grandmother's undies while she's hectically importuning the holy people to show kindness toward your corrupt soul. In any case, we should keep pervy stuff like that to the side and spotlight on this specific class page.

In this way, hand crafted filth is very much like you would anticipate that it should be. The class is famous and getting considerably more in this way, as people in general progressively needs to see genuine novices in real life, as opposed to experts whose onscreen jokes have become flat and redundant.

You don't have any of that old and dreary issue with natively constructed fap material. It feels incomprehensibly genuine and the characters are ordinary individuals who appear as though they could be your neighbors and companions and watching them fucking is practically similar to keeping an eye on yourself getting it done. While a few natively constructed XXX characters truly do attempt to impersonate what they have seen on Homemade porn sites and such, their freshness and relative honesty continue to sparkle forward and that can be a somewhat strong chicken stiffener assuming that you get my meaning!

Obviously, natively constructed muck is much of the time low quality, with the entertainers undeveloped, the hardware moderately crude and comprising of a cell phone or camcorder, the filth frequently shot in a rush and enduring a couple of moments, best case scenario, and the fuckers included not having any hint as to legitimate lightning strategies or how to empower ideal sound quality. Things are improving however, and there are some hand crafted pornography cuts whose quality and fapping potential can astound the ruler of wankers in the sky. In any case, the credibility of hand crafted muck's generally engaging, as opposed to their quality.

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    What Types Of XXX Categories Can I Find On Homemade Porn Sites?

    Indeed, individuals sure love to fuck and for the most part favor doing that where nobody can see. I can't help thinking about why! In any case, people are getting bolder nowadays. In this way, increasingly more of them are picking to film themselves eating grab/butt hole and jumping into grab/butt hole with erect faux pases, toys or digits, and these recordings either get spilled or are deliberately delivered on the net and make it to our download envelope.

    Like I recently said, individuals love to fuck and that implies you will find each conceivable classification while searching for hand crafted filth that gives your faux pas a steely trademark! HomemadePornKing for instance has classes like Petite Girls, Wife Porn, Wet Pussies, Mouth Fuck, and Gorgeous Babes, SubmitYourFlicks then again has College Sex, Sex Tapes, and Solo Masturbation.

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Dear PornGuy, Why Should We Rely On You For The Best Homemade Porn Site Reviews On The Planet?

    All things considered, you could say I am dependable as fuck since I am the PornGuy and I end up breathing, eat and live pornography destinations. No doubt, all pornography destinations and not simply custom made ones unendingly captivate me and I can go through hours delightedly wandering through the contributions of one or the other pornography site, enthusiastically stamping areas of interest, things that need improvement, and stuff that should be commended.

I could fool around occasionally yet I am one serious fucker with regards to auditing everything pornography destinations and hardly any can show improvement over I can. I give you both the great and terrible news without glossing over anything and you can either acknowledge what I need to say or go on an outing to the closest railroad and check whether a moving fuck with a speeding Amtrack may be something you can achieve!

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    And You, PornGuy? We Ever Gonna See Your Homemade Smut In This Lifetime?

    All I need to say on that point is that the sky is the limit. I'm not promising anything by any means but rather never say never.

    In any case, none of my fans and perusers understand what I resemble. Thus, regardless of whether I was to shoot a hand crafted flick on my iPhone and let it stream all around the net, there's zero opportunity any of you would realize it was me. For hell's sake, I very well could follow through with something like that so I can flaunt that I got fans who fap to my stuff! That would be a definitive flex!

In any case, on the off chance that you are pausing your breathing while at the same time standing by to see me and my sugar rabbit fucking like hares at a nerve-wracking pace, better see that your will is exceptional!

PornGuy, Do You Have Any Words Of Advice To Anyone Thinking Of Filming and Posting Homemade Stuff?

    Without a doubt I do. It's obvious you, most importantly, need to take note of that the web will always remember. That implies you better not even consider shooting and delivering a custom made pornography cut except if you are extremely good with individuals wanking to it for eternity. What's more, when a clasp is delivered, getting it erased from the net is inordinately difficult, for the most part since people like me with a natively constructed obsession try downloading stuff and intermittently transferring it since we can.

Obviously, you can go the mysterious course by ensuring you and your accomplice's passage obscured on your clasp, however that won't help a lot on the off chance that your companions coincidentally find your video and out you. In this way, don't shoot and delivery a clasp except if you are prepared for the aftermath.

What's more, the following point I need to pressure is that there's little opportunity that custom made pornography clasps will make you rich and well known. So don't do it since you need to get seen and turned into the following Bill Gates. All things considered, do it since it causes you to feel quite a bit better and on the grounds that your realizing that individuals all around the world will watch and wank to your substance going to put a poo eating look favorably upon your face for quite a long time!

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I'm finished taking. Thus, better bookmark this page on the grounds that you all are in for a treat with the custom made pornography destinations I have arranged for survey!

[starberry-cupcake]

A couple years back I went on a rabbit hole of reading the Star Trek fanzines of the 60s and 70s (gold mine of fandom history) and in T-Negative #19 (from 1973) there's an amazing essay by Ruth Berman on Nichelle Nichols and her input for the development of Uhura's character and the impact it had at the time. I'll screencap and transcribe a few bits but here's the whole issue with the essay, in case anyone wants to read it, it's fascinating and I highly recommend giving it a read.

Image Text Transcriptions:

The fact that Uhura was such a character is probably due mostly to Nichelle Nichols. The producers tended to hang back in developing and using the character, even as late as the opening of the second season -- D. C. Fontana once told me that as script supervisor she had tried to put Uhura in command of the ship while all the other regulars (except Ensign Chekov) were away, in Robert Bloch's "Catspaw", but wasn't allowed to do so; the producers promoted semi-regular Lt. DeSalle to Assistant Chief Engineer for the purpose of having him outrank Uhura. Roddenberry did not include a communications officer among the proposed regular characters in the "Format", and Uhura did not appear in either of the pilot episodes. The role that Roddenberry and the rest of the production staff had in creating most of the characters is indicated by the mention of details of their past histories in the "Writers Guide", but there are no such details in the account of Uhura. The mention of Uhura's singing in the account makes it clear that it is a description of Nichelle Nichols's portrayal of the role, not a summary of Roddenberry's ideas about the character. The only detail which does not derive directly from performance onscreen is a mention of her ability to "do an impersonation at the drop of a communicator". The conversation with Spock in "Man Trap" quoted above was Nichelle Nichols's addition to the script, according to the article on her in TV Guide ("Let Me Off at the Next Planet", July 15, 1967): "The canny miss Nichols has already finagled an increase in her dialog quotient as communications officer. Her lines have run to such emotionless phrases as 'All hailing frequencies open, sir' or 'This frequency is open, Captain'. Once in exasperation she blurted out: 'Mr. Spock, if I have not say 'Hailing frequency open' one more time, I'll blow my top! Why don't you tell me I'm a lovely young woman?' Her ad-lib improvisation was instantly incorporated in the script". The use of Uhura as a character strong enough to stand up to assorted menaces was also due to Nichelle Nichols, according to the same article. She had complained that "TV doesn't know how to use women. We're a fill-in"....Producer Gene Coondemurs: "I thought it would be ungallant to imperil a beautiful girl with 20-foot snaggle-toothed monsters from outer space". But excecutive producer Gene Roddenberry is coming around: "We're thinking about taking her down on the planets next season. Maybe we'll have wardrobe make her an appropriate costume for planet wear". Uhura never got the "appropriate costume" for it, but the rest of the idea was carried out. In the second season she went on three landing parties and made significant contributions to them ("Mirror, Mirror", "I, Mudd", and "Gamesters of Triskelion"), as opposed to the first season, when she had played an insignificant role in two landing parties ("Squire of Gothos" and "City on the Edge Forever").

Nichelle Nichols really makes Uhura's character, she is so intensely charming

[tobiasdrake]

Back in the real world. With a bucketload of remorse.

Shinigami's as bad as Amaterasu. I hope we get to kill her in the end.

Honestly, Martina, I don't know why you aren't going to shoot us anyway. It's not like you care.

Last chapter, we got away because Halara beat the shit out of everybody. I have absolutely no idea what's staying your hand this time around. Even if Kurumi is innocent, you still have us dead to rights on breaking into an all-girls' school and impersonating a high-ranking officer, specifically you. Why is that water under the bridge?

You're seriously not even going to clap us in handcuffs and drag us away? It's all fine?

You have no fucking idea, Desuhiko. Yuma's bearing the weight of tremendous injustice, almost as bad as what Amaterasu was going to do.

And also the weight of having to listen to this fucking parasite mouth off.

...what's your hunch, Desuhiko? No, for real, I'm genuinely interested to hear what Desuhiko thinks happened in there. It's certain to be wildly off-base and I could use something to lift my spirits right now. Y'know, after we just murdered three teenagers for being victimized.

Okay, but be specific. Please, describe your interpretation in great detail! I need the lulz right now. Badly.

No! Come back! ENTERTAIN ME!!! Goddammit.

Great. Now I'm left alone with the obligatory love interest whose only character trait is "very nice". Y'know, like most obligatory love interests.

Yep. You can see it all from here. A beautiful skyline, the bright pink glows of the city, and the huge neon sign that reads "ARE YOU SHIPPING THIS YET?"

Yes, Kodaka. I understood what you meant when you gave Shinigami 500 lines going, "UGH, I HATE YOUR NEW GIRLFRIEND SO MUCH!" And Desuhiko another 500 lines going, "CONGRATULATIONS ON YOUR GIRLFRIEND!" You've been very unsubtle about the fact that we're meant to be shipping this.

People complain about "LGBT romances forced down your throat" any time a gay person happens to exist nearby. But whenever a male and female character that the writer wants you to ship are together onscreen, every five seconds inundates you with stuff like,

That's what forcing a romance down your throat looks like. I actively hate when designated M/F couples are onscreen together because every character around them suddenly turns into a Romance Cheerleader. They do everything in their power to assure you that this is the most romance ever except, like, actually write romance.

In the end, I just don't think "LOL Let's go on a date!" is tonally appropriate after the extremely dark resolution we just experienced. Then again, I guess that sort of mood whiplash is psychopop in a nutshell. Our hands are covered in blood; Let's go check out the pretty sights!

We've certainly executed people less deserving in the Mutual Killing Games, to be sure. It just hurts.

[zevranunderstander]

dragon age inquisition pissed me off because it had a good premise. or, it could have had a good premise, but like, they really made the worst choice for everything ever. for two games, mages were oppressed by the templars and now, with the end of dragon age 2, this turned into an actual civil war. the protagonist could have had the choice between 2 origins, mage or templar, and would have to navigate the conflict in a way with a band of people from both sides where the templars have to realize how they are actually in the wrong. this could have been a cool way to show how maybe templars are indoctrinated into a specific ideology, too and humanize them in a way that is not the “both sides have pros and cons” way.  or the story could have been about a mage underground who wants to join in the fight. they could have been really bold and told the story from the templar’s side, where you play as brutal enforcers of the law and are faced with how you are probably not a good person. but instead of anything interesting they chose a neutral, super-powerful, for some reason religious organization as the main characters. which, well, it could be worse, but it’s such an impersonal position in the conflict.

then, they decide to start the game with peace talks between both sides, which means that they skipped towards the end of the conflict and the game actually takes place in a stage of the war where the conflict isn’t all that extreme anymore. which, again, not the ideal choice, but that is still something you can tell a story with.

"at least dai is about the conflict they built up for two games, though, right?”

*well*, for one quest you can choose, if you want to side with the mages or the templars (in a situation where it makes NO sense to ask the templars) and sometimes you have encounters with hostile mage or templar npcs (like in all other dragon age games). Oh, and the side you don’t pick in that one choice, that really only serves as flavor and gives you *one* different quest, gets corrupted by some random demon man that crawled out of a DLC no one played and who for some reason is the villain in a game that should have been about the civil war happening right now.

the idea that there is a threat that forces mages and templars to work together, despite being mortal enemies right now could have been so interesting, too? the world is ending, but does that mean the mages have to go back into servitude because the templars refuse to work with them otherwise? you are the fucking inquisition, in this game there could have been a plotline about disbanding the templars. anyways, the plot isn’t really that the world-threatening evil guy forces both sides to find a solution to the conflict, the plot is that a world-threatening evil guy appears, while there happens to be a conflict off-screen (and sometimes, for flavor, even on-screen) the villains goals have NOTHING to with the civil war either. like, i didn’t even remember his actual motives, I had to google them.

The. villain. could. have. been. Anders. Imagine if it was Anders. Like, imagine that journey. You meet him in a dlc as a grey warden who believes in the good in people, somehow and you see him become more bitter and angry over the course of dragon age 2, where you play a full game watching him become the person that blows up a church and starts a civil war. and now he’s the villain of this game. Like, it’s lowkey ridiculous to me that he doesn’t even fucking appear onscreen. Like, you are telling me the guy who blew up a church for his rights just went into hiding instead of becoming the face of the mage rebellion, lmao, okay.

Even if they went with the setting of Inquisition and set the game after the peace talks, I would do it in a way where Anders led the mage rebellion for a while, gained a huge following, but now, as there are peace talks happening, Anders is seen as too extreme, by both the templars and his own people, because now that negotiations are happening they don’t want to be seen with the Guy That Literally Blew Up A Church. And like, the mage rebellion splits in two and is weaker than before and the templars want to use this weakness to continue the war without having to agree to a treaty. Anders then leads the more radical mage-rebellion group that doesn’t cave in at the first mention of peace talks and some of them are in it for the freedom, like Anders himself, and some are in it for revenge. And you are playing as someone who is supposed to deal with them. Like, I want to empathize that this shouldn’t be a game where you are unquestionably the Good Person in the conflict and I really would not want the final fight to be one where Anders goes full Abomination Mode™ as you fight him (and if that was an option that would be one of the worse endings for the game). Like. A game where you have to evaluate if you want the war to go on to support Anders’ side or if you want to end the war, despite the mages only making a fraction of the progress they could have made. Even if Anders wasn’t the villain there could have been a billion good villains. you know who would have been a great villain? Cullen! Cullen could have regretted siding with Hawke, after he lost everything and was thrown out of the templar order and now comes back as some unhinged mage-killer, literally i made that up in 2 seconds. The actual inquisition could have been the villain for all I care!

The plot of dai also fucking sucks and all quests except for Wicked Eyes And Wicked Hearts aren’t really that good and the gameplay sucks too etc. etc. but one thing i especially hate as a choice they made is the companions. yeah, they’re charming and cool, but NONE of them play an interesting role in the ongoing conflict the game keeps ignoring. the game really made a mage who is super pro-circles, a mage from a country where there are no circles and a guy who crawled out of the woods and has no opinion on circles that really matters your three mage companions. like, not a single rebel mage. and cullens writing just sucks, let’s be real, this man is never confronted with ANYTHING he ever did in his life and instead in this game, the writers want you to feel sorry for him due to a plot point they just made up? (also samson and cullen REALLY should have switched places in this game)

even aside from mages and templar characters. sera could have been the same person, but she’s super pro rebellion and actually doesn’t want the war to end until the mages have all the rights they deserve and that is the reason she clashes with the rest of the group so much. the iron bull could have been a mercenary who was hired to fight for the templars, but has second thoughts about it now. blackwall could have still been a deserter but a templar deserter. Varric of all people should be on one side or the other. Either he supports Anders and made up his mind that Anders was right or he completely denouces Anders and does not want his name associated with him at any cost. Instead, Varric writes books in this game and meets some girl no one cared about, while all of his friends are presumably fighting a in pretty drastic conflict.

and even the storyline they chose, the one that mainly focusses on lyrium, had so much potential and they, again, used 0% of it. first of all, you really can’t just end a game on the verge of a world-defining civil war and then start the next game like “actually, remember that one questline in the last game about a small statuette from the deep roads? THIS is what we will make the story about instead”, but even aside from that, red lyrium was absurdly scary in dragon age 2. da2 created so much horror with a tiny red lyrium statuette and dragon age inquisition asks the very relevant question of “what would happen if a generic demon man from a dlc no one bought would put this truly evil substance everywhere? like, everywhere all over the ground.” and the answer the game has to this question is pretty much “nothing, apparently”. like, the game evokes zero emotions with this, there is no real horror to what red lyrium does it’s for all intends an puposes a Stone That Turns People Evil™, and there is a guy who has an evil army of evil red lyrium zombies, which he made out of the armies of the (way more interesting) civil war that is going on. like, i genuinely find that choice offensive. they deadass took a better plot and made the characters into zombie soldiers for some RANDOM GUY, when they could have been having an actually interesting conflict.

i could go on about this forever, i just want to conclude that im super angry about this game

[dragonflavoredcake]

Movie ratings are so funny

At one point basically every animated movie was slapped with a G rating, no further questions, because it was for kids and therefore a general audience program

Which is how The Great Mouse Detective (one of my favorite movies) got a G rating in 1986 despite featuring

a young child seeing her father being mauled and kidnapped from where she’d been hurriedly hidden in a cabinet

protagonist firing a gun onscreen

an antagonist actively manipulating a protagonist by threatening the protagonist’s small child

a cabaret show with strippers, who are some of the only singing characters

drugged drinks

a protagonist being visibly intoxicated due to aforementioned drugged drinks

a bar fight

a henchman being visibly intoxicated, saying something stupid while drunk, and getting killed for said stupid statement (despite being too drunk to understand that he’s in danger) as a few other henchman watch in horror and then mourn his death

several characters smoking onscreen

a male character dressed in drag to impersonate a protagonist who was kept hostage

multiple characters tied up and gagged

While nowadays basically everything is rated PG or PG-13 for “fantasy violence” and/or “rude humor.” Seriously, Finding Dory has a PG rating for “mild thematic elements.” Oh how times have changed

[edoro]

through a lengthy series of events i ended up going to peek at the rules and regulations for the zine coming out centered around everybody’s favorite body horror genocide grandpa and like

(i am being rude under the cut here)

okay my personal feelings about how trying to excise the incest from Belos’s backstory and onscreen actions is just kind of willfully ignoring a huge amount of subtext that heavily informs his motivations and interactions with several key characters (and also, frankly, is just flat-out denying the type of abuse that we are literally told and shown he subjects Hunter to on-screen, like, emotional/covert still counts guys!) just because You Think It’s Icky (which is in fact kind of the point) aside

how the actual entire pirouetting fuck are you going to write anything meaningful about Belos as a character whatsoever if your works aren’t allowed to depict, imply, or explore any kind of discrimination?

the man is a literal Puritan colonist! he is the fruit of the tree of white supremacy! he, like all children born to white settlers in the ‘new world’, only exists in order to perform cultural terraforming (through incredible acts of violence, both personal/direct and impersonal/systemic) on the native inhabitants of the land in order to create a forcibly clean slate for future white settlers to inhabit and shape to their will!

him doing this to the canon setting is the literal plot of the actual show

this man is so profoundly bigoted that he went to a new world and invented a new type of bigotry to do a genocide about! he created a completely novel form of discrimination to impose on people so he could try to wipe them out as a species, and he nearly succeeded!

what part of his character, motivations, backstory, or actions is anyone supposed to explore without touching on those themes? if you take away “the entire motivating force of every single thing he’s ever done in the canon material”, what are you fucking left with?

anyway this is why ultimately everything these types of people create is the artistic equivalent of a soda left open at room temperature for six hours, because they’re so concerned with making sure their fiction is Righteous And Morally Sound that they’re too afraid to actually engage with anything nuanced or meaningful or actually say anything about the characters in question

[the-overthinking-chair]

happy 44 for fun to this beautiful man aka

Steve's onscreen brother and offscreen bestie

Josh's onscreen cousin and occasional chaos twin

present store clerk, lemonade seller, and occasional Santa elf

Milli and Geo's beloved guardian robot

CatRat

the guy in the dam Aloy had to rescue

Mr. Reese from detention

the eyepatched warden in Minecraft

Michael and Danene's military brat #2

Casey's little brother (afaik they had a little sister as well but I forgot her name)

Jacqueline Ribas's supportive spouse

Sasha and Jones's awesome dad

Jen Mize's middle school crush

Angela Santomero, Traci Paige Johnson, and Jennifer Twomey's common denominator when it comes to voice casting characters outside Blue's Clues

Interlochen alum remembered fondly by his teachers

film/TV/game actor, voice talent, Shakespeare freak, storyteller,

Casey Kasem and Christopher Walken impersonator

somebody's queer awakening

Donovan

[manyimaginativemuses]

@ashortdropandasuddenstop @slicinggazelle

“Are they serious?!” Lestat cackled out loud, watching the new tv show inspired by Louis’s book flash across his screen, “First of all, our fangs are not retractable, secondly I did NOT meet Louis in the 1900’s, thirdly this is complete and utter horseshit!” He watched the godawful facsimile of himself parade around onscreen and he wanted to vomit.

“Gazelle, can we sue for impersonation? Or defamation of character at the very least?” Lestat called out to Stacee’s wife, unaware if she even heard him over his own bitching.