#in the form of advanced ep 6 watching

[janujaja]

Don't mind me I am just trynna see if I can see Tin in his PE uniform OR normal school uniform from this shot where he isn't even there.

[thekaijudude]

Have you been enjoying Arc so far or there is really nothing new?

I haven't been watching cause it feels the same thing as every new gen Especially when it comes to bring back GUBILA again.

Also Arc desing kind sucks Especially his head cause why would have a Silver body Ultra have Fucking UltraSeven type Ultra Eyes? It worked for Taiga cause his mom should be a Silver Ultra but Arc really doesn't have excuse for that.

The only thing I am hyper for is the return of Jack or Gaia since there only one guess star left

Oh I've covered my views on Arc and my views on his design extensively since we knew of the synopsis before it aired, so I'll be summarising most of the stuff here

For my thoughts on the design, in summary, he still looks ugly from the front, but absolutely RAD from the side. And he was design specifically to have a Reiwa-looking head sculpt with a Showa-looking body. It's to be expected anyways since we seem to have at least 1 series that's a homage to the Showa Era every decade so at least we got this out of the way with Arc already until at least 2030 (unless they wanna have another successor series to a showa era ultra before that)

As for series, overall as said, it's mid, even more mid than Decker was which I also explained why. Personally it's due to my personal preference of preferring series that is focused on an overall plot (which is why I really did not enjoy Blazar at all, but I digress). And Arc is obviously mainly just filler content for the first half.

To put it into perspective, before ep 14, the last time we got an update on wtf was going on with the Ooze parasites, was that it was a flashback way back in ep 6.

But as pointed out in the latest issue of the uuchsen magazine that I shared, the 2nd half of Arc will be vastly different from the first half, as shown in ep 14 and 15 where we are now back on track to the main plot (at least after the Blazar arc).

Not to mention we are finally getting essentially a 2-epsiode crossover with Blazar (technically it's 4, starting from ep 16 which I'll explain when the scans drop). I haven't posted this information yet because I'm waiting for the October Scans to drop to ill just share this first.

So imo Arc is finally getting at least somewhat interesting from here on out. Tbh I'm not really disappointed as detailed that I don't really have expectations for this series (like Decker back then) when we first found out the whole armor gimmick

But if there's a silver lining to all this, it'll probably be that TsuPro is moving on from the Blazar-Arc formula since these 2 have seen really bad drops in the Bandai sales which Bandai and FIELDS are making alot of noise about it even back then for Blazar as I pointed out in the latest financial report I shared. Tsujimoto, in his interview, even emphasised that TsuPro will be moving on from Blazar-Arc's focus on kaiju, back to the Ultras themselves, even referencing the pressure from Bandai as well. So we will finally return to getting ACTUAL FORMS and focus on the main plot for subsequent series hopefully.

(I have come across a quarterly financial report of Arc, which is still showing a decline in sales but I haven't shared it yet cause I can't confirm it's authenticity since it didn't come from 809 so stay tuned when it eventually drops)

Also, at least Arc has made advancements in terms of pushing the quality of shows forward in some ways. I did point out in every episode commentaries of certain new filming techniques and fight sequences that Arc has improved on so at least it did still improved from Blazar and will act as a foundation for subsequent series as well. I shouldnt say anymore than this until my overall series review after the final episode lol.

Thanks for the question!

[agentcable]

Law & Order Special Victims Unit Season 23 Ep. 6 "The Five Hundredth Episode"

Detective Nick Amaro returns to the Special Victims Unit after six years. He reunites with his former squad members and reopens a case to clear a convicted man's name for rape. However, this case places Benson with someone from her past, and there may be a secret from Amaro's past that causes friction with Benson. Former Captain Donald Cragen helps the squad with the case.

If you want to watch the series for yourself, stop reading! This post contains spoilers to the storyline.

Serena once told Benson not to become a cop. When Noah asks Benson about her age, she avoids discussing Serena.

At work, Amaro surprises her by revealing that he now works in forensic science, solving cold cases. He wants to reopen one of Cragen's cases from 1996. Someone who recanted his confession was arrested. Amaro is investigating the case. Crime writer Burton Lowe visits Amaro, and it turns out that he and Olivia are old friends.

In a flashback, a younger Benson tells Novak that her mother set her up with someone who wanted to marry. In the present, Burton says Serena would have been prooud. Benson explains that she called Cragen and Ian had confessed, but Ian had a concussion and was knocked out before Haley was killed. Burton believes that Ian was simply feeling guilty. Ian's mother wrote to Burton. Ian could have been released on parole, but he refused to apologize for a crime he did not commit. According to Amaro, only 15 cells of DNA are needed.

Warner provides them with the DNA kit that has been in freezer purgatory. Amaro, who is working on a biophysics degree, understands the science.

Benson speaks with Burton and discovers that her mother interfered by telling her that Burton had another girlfriend. Burton was also threatened with expulsion if he ever contacted Olivia again. Ian arrives for a cognitive reenactment, a favor from Carisi. He appears upset as he gazes out at the track. He jogs down the track, causing concern for the guarding officers. Ian remembers the night of Haley's death. It was warm and dark. He lit a cigarette, and they began kissing. He kissed her with his eyes closed. After hearing footsteps on the gravel, someone hit him over the head and kidnapped Haley. He ran home, and his parents took him to the hospital. He was so messed up that he thought he did it.

Benson recalls a flashback where she said yes to Burton because she wanted to get away from her mother. Rollins thinks Burton is still into Olivia, and that's why he's here.

The DNA evidence is inconclusive, which is of no help to Ian. Amaro suggests searching ancestry sites, but Benson considers this approach outdated despite its use of advanced technology. They inform Ian that a relative of the suspect has been found on a genealogical website. The prime suspect is the girls' tennis coach, Mr. Murray, whom Ian claims Haley loved.

During a video chat, Cragen informs Amaro and Rollins that Murray, who was a chaperone at the prom, witnessed a fight between Ian and Haley and mentioned that Haley found Ian creepy. Cragen states that Murray was not a suspect and that he had no reason to doubt his account, as Murray was like a second father to Haley.

The detectives visit Haley's mother, who has kept Haley's roo untouched since the day she passed away. Haley received tutoring from Roger Murray, who also assisted her with college planning. She informed Burton that Haley's death was not a form of entertainment and requests to be left alone.

Carisi and Amaro speak with Roger Murray, who maintains that Ian is responsible. They ask for a DNA sample to rule Ian out, pretending to agree that he is guilty. Roger's wife wants him to comply with their request.

During the interview with the police, Roger confessed that he loved Haley and attempted to protect her but failed to do so that night. He admitted to touching her corsage and arm while pulling her away from Ian, but he cannot recall if it happened on the field or at the dance. According to him, Haley was afraid of Ian, and he wanted to protect her. He admits to following Ian and hitting him with a champagne bottle because Ian was all over Haley. He requests a lawyer immediately.

Burton believes that Roger was sexually aroused by kidnapping Haley. Liv is asked how she can do this. She says it's a lot, but she spends time with her son and goes for walks. Burton wants to go on a walk with her. Burton loves New York and says his ex ruined Paris for him. She also went to Pars with an ex once. He invites her in for a nightcap, kisses her, and the apologizes. Benson didn't mind.

During a flashback, Benson discuss with Stabler how girls who grow up without fathers often develope an attraction to older men, which is something that happened to her.

Benson is in bed, and Burton is pouring a drink. Benson claims she is time traveling. Burton cannot believe that all those years did not matter. He associates them with her. Benson remarks that it was a sweet night. Burton agrees, saying that this one is too.

They begin to kiss, but Benson's phone buzzes. They kiss again, but Benson's phone buzzes once more. It's Amaro, informing her that the semen sample is a match to Roger Murray. Burton is shocked and overjoyed. It's the babysitter texting, so Benson has to leave. She promises to get Ian released and knows which lawyer to call.

Langnan is called. Carisi cannot declare Murray guilty without due process. Burton wants to testify, but Carisi wants real witnesses. Burton walks off, and Langnan warns Benson about Burton's reputation.

Cragen calls Benson. Ensure that Haley's mother attends the hearing, as Murray is attempting to dispute the DNA evidence. During the hearing, Amaro testified. Murray's lawyer praised him and suggested that the ADA was using the DNA company for publicity. Despite this, the DNA evidence was admitted. Murray expressed a desire to change his plea, but the judge informed him that it was not the appropriate time or place. Murray admitted to killing the girl and expressed remorse. Everyone is shocked.

Carisi predicts that this will be over soon. Burton is thrilled and expresses his desire to have dinner with Benson. A woman arrives and accuses Burton of rape, demanding his arrest.

Burton and Benson engage in an argument. Burton insists that nothing happened. He admits to taking her to his hotel room, but he claims it was consensual. He asks what they should do now. Benson informs him that she must recuse herself from the case and that her sergeant will contact Burton.

Andrea tells Rollins and Fin that she had forgotten about it for ten years, but the recent press coverage made her angry. She had interned for Burton's editor and they had discussed books, art, and music. She recalls being intoxicated in his hotel room, passing out, and waking up to find him inside her. She has never confided in anyone about this until now. Fin said Burton was drunk, and it may not have been consensual. The statute of limitations may have expired on this matter. Benson plans to speak with Burton and has asked Rollins and Fin to investigate Burton's employers. Rollins expresses remorse and explains that Burton groomed Andrea.

Benson retrieves a box and a glass of wine, and listens to Burton's tapes while crying. Rollins receives the tape from her and realizes that Burton had done the same thing to Benson.

Meanwhile, Andrea posted about her assault, and five women came forward, stating that Burton had done the same thing to them. Burton had sex with them in hotel rooms after offering them a nightcap. Eight or nine women felt pressured, but it was not rape.

Amaro feels used. Benson thinks Burton sincerely wanted to free Ian. Fin knew Burton was bad news. Benson tells Amaro that she doesn't want Burton's actions to overshadow Ian's exoneration. Benson insists that when she was 16 and in love, it was her choice to be with Burton. Amaro insists that Burton victimized her. Benson doesn't want to hear it.

Benson has a flashback to telling someone how her mom attacked her with a broken bottle over Burton. She walks to his hotel room and knocks. He apologizes for the awkward situation. He keeps insisting that she drinks with him. He appears to be drunk. Burton's podcast is currently on hold due to Andrea. Despite this, Burton maintains his innocence. Benson informs him that her detectives have found Andrea's story to be credible. Unfortunately, the case is beyond the statute of limitations. However, Andrea has not disclosed the identity of any other accusers. Burton admits to having slept with many women but denies taking advantage of anyone. However, Benson claims that the women are saying otherwise. According to her, the women trusted Burton and he abused that trust. Benson asserts that the women did not complain at the time. He doesn't understand his mistake and expects Olivia to defend him, but she cannot. He had sexual relations with her when she was only 16, which is considered sexual assault. Burton's statement implies that he is now a victim, but we were in love! Benson explains that as a teenager, she wanted to get away from her mother. Burton accuses Serena of being crazy. Benson suggests that Serena may have beeen trying to protect her. Burton reminisces about the sexual encounter they had 40 years ago. The question remains: will she accuse him of rape that occurred recently? What was her intention? Benson suggests that the reason for his love for her requires an apology. Burton disagrees and states that she is finished with him. She departs, and he throws his glass.

A flashback ensues of Benson's mother stating that if her father had not raped her, Benson would not exist. Benson called Amaro and left him a message apologizing. She threw Burton's tape into the river.

[gunsatthaphan]

i am about to watch y-destiny and i was wondering if you can give me a brief summary on each couple so far? i tried looking it up and i didnt really see anything but the whole summary that says its about 7 couples of the whole week and their relationship outcomes soo..

hello anon!

sure thing! I hope I'm not spoiling too much.

1) eps 1&2: TueAke

Ake want to join a boxing club where Tue is the vice coach. Tue won't let him in at first because of several disagreements they had in the past. Ake eventually joins the club afterall but him and Tue don't get along. Tue is then told to stay with Ake in his room to discipline him etc. and then things kinda spiral from there lol. (don't wanna spoil too much)

2) eps 3&4: SunNuea

Sun has a friend who is a teacher and makes him a lucrative offer one day to tutor a rich kid named Nuea. Nuea wears fancy clothes and acts a bit pretentious. He immediately starts flirting with Sun, who is creeped out at first but eventually warms up to him.

3) eps 5&6: MonTeam

Mon is a crew member for a theater play where Team is the lead actor. (I believe he's in charge of the fog machine lmao) Mon has a crush on Team who's a player and makes sleeping with people a competition with his friends. He makes a bet with one of his friends that he can “get Mon in a week”. He starts making advances on Mon until they eventually sleep together. Team unexpectedly finds himself getting attached to Mon but then his ex shows up lol.

4) eps 7&8: ThursPao

In his free time, Thurs "works" as a medium called "the Godfather" who people come to to see their future and get advice etc. He's kind of making a joke out of it until him and his friends perform a seance to summon the ghost of a boy who apparently died in a swimming pool. A ghost named Pao appears who doesn't seem to know his name, nor where he came from, but he's very sweet and he ends up helping Thurs with his Godfather rituals and they become friends. One day he tells Thurs he has to leave and the 2 have to say goodbye, despite liking each other. Thurs is sad until Pao eventually comes back in human-form. (this is the part that I didn't quite understand lol)

5) eps 9&10: PuthKaeng

Puth is a teacher and a playboy who sleeps around and has a friends-with-benefits relationship with a guy named Kaeng. The 2 sleep w/ eachother for fun but Kaeng clearly wants more. Puth insists on leaving strings unattached and eventually develops a crush on a new teacher-colleague named Payu. Kaeng keeps trying to win Puth over but it seems like he only has eyes for Payu...

(We're only on the first part so let's see how it ends)

-> upcoming couples: SatChoke, MasukTeeJia

I hope this helped you anon!

xxx

[firelxdykatara]

hello!! i just wanted to ask- i wanna do an ouat rewatch bc CAPTAIN SWANN but its pretty long and i honestly dont care for the other characters/how badly the overall writing was handled.. which are your favourite captain swan eps? anything them centered and i think ill just skip around to rewatch their romance as they did invent romance 😭😭 ty in advance <3

they absolutely did invent romance, you are right about that and i love them so much

UHMMMM as far as my favorite CS eps, here’s a roadmap of what I personally consider key eps in their journey (some of this is from memory but I haven’t done a full rewatch in a while so i’m going through the episode list as a refresher)

2x06: Tallahassee--this is a must-watch ep for any CS fan, and I really think this is the episode that sparked the fire that CS would become as a fandom. It has everything--flirtatious banter, all kinds of tension, deliberate parallels drawn between Emma and Killian’s pasts, as well as their first meeting being intercut with her relationship with Neal (which serves, especially in hindsight, to highlight just how sketchy that relationship was, and why she couldn’t bring herself to trust Killian--because the last time she felt this way about anyone, it ended horribly)

2x08 and 2x09: Into the Deep and Queen of Hearts--these episodes cover the race to the portal between Emma&co and Hook/Cora and while they don’t do a ton for CS as a relationship since they’re still enemies at this point, it lays great foundation for their future relationship development. Plus, sexy swordfight, Hook going out of his way to save Aurora’s heart--he may be a pirate, but he has standards ok--and Emma realizing Cora can’t remove her heart without her permission? Poetic Cinema

2x11: The Outsider--more of a Killian-centric episode, it shows a lot of Killian at his worst but it’s necessary for his overall character arc and I genuinely love looking back and seeing just how far he managed to come, to the point of eventually even letting go of his (very understandable) grudge against Rumplestiltskin.

2x12: In the Name of the Brother--am I including this purely for Emma&Hook banter in the hospital, and Killian saying ‘hey beautiful’ when he’s lying on the road because he just got hit by a fucking car? You bet I am. Also, go to youtube and look up ‘ouat season two deleted scene jello’, because it’s beautiful and there was a tremendous outcry in the fandom when we realized it had been cut from the episode lmao (It’s also the episode that made me start shipping Frankenwolf, which I’m still sad never went anywhere, but they had a lot of potential and great chemistry.)

2x22: And Straight On Till Morning--A few of the episodes in between have some fun minor interactions and flashbacks (and I always approve of episodes where Killian gets one up on Rumple, so 2x15 is fun for me if i ignore all the Neal bits) but the finale is where we finally get a glimpse of who Killian could be beyond his need for revenge. He didn’t have to come back, he didn’t have to bring back the bean and help the town--but he did.

Season 3a: there’s a lot of really good stuff here for Hook and Emma that is interwoven between the A plots of other episodes. I think, as far as half-season arcs go, it’s one of the best (and everything after 4a bombed hard, but I digress) But there are a few episodes that stand out if you don’t want to watch the whole season. (I recommend starting with the premier though, it was a really solid season starter overall.)

3x05: Good Form--this is the culmination of David’s poisoned-by-dreamshade arc, and is also Peak Captain Charming Bromance. Hook not only keeping David’s secret, but doing everything he can to help save him??? Poetic cinema. It also provides some crucial Killian backstory, showing how he lost his brother to the very same dreamshade. Plus, the character development--Pan offers Killian a chance to escape the island with Emma if he kills David, and instead, he saves him, refusing the deal and damn the consequences. Also also? The first CS kiss which drove the fandom WILD.

3X06: Ariel--not only to I love OUaT’s take on Ariel, but this episode has the infamous Echo Cave scene, which involves a lot of feelsy confessions and Killian being the one to tell everyone that Neal is alive and helping Emma save him despite his own growing feelings for her.....IT’S JUST A LOT AND I LOVE IT.

3x07: Dark Hallow--oh man, I’d forgotten about this episode, but it has Killian and Neal fighting over Emma, which may sound eye-roll worthy, but Emma is allowed to tear them a new one about it and it’s one of the few times she’s allowed to actually???? put her own feelings first so I have to include it here on spec

3x11 and 3x12: Going Home and New York City Serenade--these mark the end of 3a and start of 3b respectively, and it has some amazing shit like Killian vowing never to forget Emma and Emma smiling as she replies, “Good.” And then she and Henry are in New York with their memories completely altered, but Killian shows up because Storybrooke is back and in jeopardy, and he helps Emma get back to her family and her home and, much later, Emma finds out he sold the Jolly Roger to be able to do it and it’s just. It’s beautiful ok.

3x17: The Jolly Roger--there’s honestly not a whole lot in the back half of season 3 (until the CS movie) but of course anything named for Hook is a must-watch, and this is where we get the iconic line I swear on Emma Swan--which is Killian saying he’s in love with her before he even realizes it. We also find out just what he did to Ariel, and his attempts to make amends are what lead to Zelena being able to curse him, so it’s great from a character perspective as well.

The next four episodes round out the end of the season, and there’s a lot of great stuff in them--Hook refusing to get Emma to kiss him, but Emma feeling like she can’t trust him because he didn’t tell her about the curse to begin with, and then kissing him anyway to save his life regardless of the consequences.... but the only ones that are absolutely necessary are the final two episodes.

They are colloquially termed ‘The Captain Swan Movie’ for a reason, after all.

Killian and Emma essentially have an entire Time Travel adventure all to themselves, where they accidentally ruin her parents first meeting and have to fix it so that she’ll even be born, Emma finally getting into the storybook, the pair of them dancing at a ball, Killian rushing to save Emma only for her to get out of the cell herself, because “The only one who saves me is me.” Killian saying “I would go to the ends of the world for her... or time.” Finally fixing the timeline and making it back to Storybrooke and Killian feeling like he doesn’t deserve a place at the table so he doesn’t go inside, but Emma comes out to him anyway and finds out he gave up the Jolly Roger for her, the true start to their relationship...... IM CRYING JUST THINKING ABOUT IT I’M SORRY.

I personally really enjoyed 4a, the Frozen arc was one of the last good half-season arcs of the show, but a lot of people disliked it so it’s really up to interpretation. I don’t have as many Intense Opinions on this season (except hating almost everything about 4b and the queens of darkness arc), but I will say the episodes with good Killian/CS moments are 4x02 (Emma nearly freezes to death, Killian is desperate to save her, Captain Charming teamwork, my heart hurts), 4x04 (Emma asks Killian out on a real date, he tries to get his real hand back from Gold, things go massively awry and he winds up back under Gold’s thumb), 4x08 (Killian tries to save Emma from Gold’s plans), 4x11 (the 4a finale is just great in general), and then..... it cannot be overstated how much I hate season 4b, but 4x15 is the Killian-centric ep where his past with Ursula is revealed and he makes amends to her in order to get her to leave the QoD alliance and it’s great character stuff for him, and then there’s the season 4 finale.

Both parts are worth watching, if only because Deckhand Coward Hook still being a braver, more heroic man than ‘Hero Rumplestiltskin’ warms the very cockles of my heart, and of course the second part of the finale has him helping Henry to save Emma and it’s beautiful and also Emma watches him die for her and it is angsty as FUCK but gods I love it. Here’s where it gets tricky, though--my recommendation is, turn the episode off right after Emma finds Killian back in the present day of Storybrooke and they reunite.

Just turn off the episode there and skip right ahead to the s6 musical episode (Emma and Killian’s wedding ep) and pretend they got married and none of seasons 5 or 6 ever happened. >.> (Although I will say certain parts of the Underworld arc were incredibly feelsy despite how much I overall hated the season: 5x11 (the 5a finale, Killian as the dark one STILL being a better man than rumple, we love to see it), 5x15 (I am not immune to Brothers Jones feelings ok), 5x20 (emma literally takes a True Love Test trying to find a way to save killian, you don’t get more romantic than that--also Killian telling Emma to promise she won’t put her armor back up just because she lost him again??? my HEART), 5x21 (Hook does what he can from the Underworld anyway and zeus sends him back to Emma, they really just said ‘today I will invent romance’ and then Did That)

And then, yeah, just skip to the wedding. It’s beautiful, I enjoyed the music, personally, though I know musical episodes are hit or miss with most people. And if you turn it off when the last musical number starts (after the wedding ceremony, I believe) you can pretend it was the end of the show! =DDD

.....Oh my god I just rambled for years. I HOPE YOU FIND THIS USEFUL, ANON. I 100% support a CS-centered rewatch, their episodes were consistently some of the best across the entire series, and they are truly one of my favorite romances of all time.

[fishylife]

Street Dance of China S4 Ep 3

(I’m having problems with Tumblr not saving my posts...)

- Oh no people are going to start getting eliminated! :o Well, I’m still really glad that we had two whole episodes of people just dancing and having fun and getting the opportunity to showcase who they are and how they dance.

- This question just occurred to me, but where do people look when they watch dance performances? As I watched the Go Go Brothers, I was thinking to myself, “Where do I look? If I look at one of them, I might miss what the other Brother is doing!” Just my musings lol.

- I am super shallow but people tripping makes me laugh, so yes, Nelson accidentally tripping did make me chuckle. (+ Rochka’s reaction)

- Yibo and Yixing discussing the SDOC theme song. It made me laugh because the lyrics are kind of hype but Yibo and Yixing aren’t exactly the most facially expressive people lol.

- After every performance Henry’d be like “let’s collaborate!!!!!!” Han Geng finally stepped in being like aight Henry you gotta take it easy on the recruitment because we’ve literally only seen three performances. I’m still not really sure of the format of the show from now on, so I’m not sure if they form new teams afterwards.

- Yixing was so guilty about not giving Bouboo a vote.

- Rochka’s shock @ Boubou not getting four votes.

- He’s ashamed.

- I think if a dancer gets less than 4 votes, then other dancers are allowed to challenge them for a spot to advance, but whoever loses is eliminated out of the tournament, so you have to be super confident to challenge. And if a dancer only gets 1 or 2 votes, they are eliminated.

- Yibo asked Rochka why he wouldn’t challenge Bouboo and Rochka said he’d never go against his teacher/big brother v.v They exchanged hearts but then Rochka pretended to throw the heart away and crush it lol.

- While I was expecting a bit more from Bouboo, I don’t think his challenger JC Jun was better than him. JC Jun was kind of wobbly, and I think his dance didn’t match the music as well as Bouboo’s did.

- Yixing had his head down when he voted for Ibuki too, so I think he just gets nervous about voting.

- Henry wanted to say that Ibuki was like lightning but he said the word for a flashing light/disco light and Han Geng wanted to give him shit for it.

- Yixing said that he thought AC’s waacking almost felt like krump.Yixing said that if he was to collaborate with AC, AC should do the arm swing, and Yixing would do the waacking lol. I am all for seeing Yixing doing more dance styles! Not gonna lie, I think he’d look cute doing waacking.

- Ye Yin’s performance was really nice! The music was unique and the way he danced, with the tap dance and folk-like elements really suited it.

- Rochka said he wants to know Ye Yin more and said they also have the same smile.

- Xiao Jie said he’d never battle Ye Yin but he got peer pressured by the captains into freestyling to Ye Yin’s self-produced song lol.

- To show face, you know? The entire time he was like “but this doesn’t count, okay?!!!!” since he wasn’t actually challenging Ye Yin, and it was just for funsies.

- The judges were a bit troubled by Xiaoming’s performance because at the end, he was supposed to fall but his fall wasn’t coordinated with the sound effect in the music. Xiaoming was like yeah, it’s pretty difficult but I’m hoping that my challenger wouldn’t be able to get it too and Yixing was laughing his goose laugh. But Xiaoming was eliminated with zero votes in the end.

- Kelo and Uwa had a horror mental hospital-themed dance which was interesting. Kelo said it was based on a nightmare he had as a child.

- Yang Kai wasn’t impressed though. He said he’d performed something similar with Liangliang before. He felt that Kelo and Uwa were performing but not really dancing. I can see where he’s coming from. Kelo and Uwa got three votes.

- Xiaohai ended up challenging them. He used the wheelchair too but like...somehow his expression just makes us unable to not laugh.

- I think he did really well considering he’d only heard the music once. And he returned to the wheelchair at the end of the performance lmfao

- Apparently when Xiaohai was looking up at the beginning, he was asking Li Yulong (who I assume is the person in charge of the music) for music cues but Li Yulong just laughed at him lol.

- Yibo basically said that Kelo and Uwa’s performance felt a bit abrupt in the story telling side, and that there weren’t really highs and lows to their performance.

- Rochka was talking crap about Bouboo behind his back and Yibo tattled which resulted in Rochka getting whacked in the face.

- Zyko taught Yibo and Rochka how to do his fancy leg moves.

- Yixing talking krump with Auju. Auju was like you’re really good for someone who’s only been learning for a year, but then Yixing was like, I practise 6 hours a day and Auju was like ?!?!

- Zyko + Henry (with Henry’s infamous “getting down while playing violin” move)

- Poppin’C introduced himself, saying he was from Italy and Switzerland, and Yibo and Yixing were thinking of all the things from Italy they knew. Yibo was like “...Valentino Rossi...” and Yixing was like “....pizza.....” These two spacey twinks istg.

- Anyway, Poppin’C’s performance was nice. Not only were his moves clean and impressive, but he also expressed the lyrics through his dance.

- Rochka fanboying over Poppin’C’s dance :P At one point, the lyrics were about hearts, and Poppin’C did some moves where he made a heart and Rochka here is saying how cute it was.

- Poppin’C said he missed his daughter and everybody’s like ?? a baby??? :3 :3 :3

- Also, I saw Uwa in the audience, so I think that the eliminated contestants get to continue watching.

- Poppin’C said that before, he was more fierce, but now that he has a daughter, he’s a little smoother and sweeter :3 Also he was describing that the singer’s voice in the song made his skin feel like chicken and everybody was like ??? Luckily Yixing saved the day lol. In Chinese, goose bumps are called “chicken pimples” or something like that.

- Bozi was next. In his introduction, Bozi said he was from Guangzhou, and maybe that’s why it sounded like so many people in the audience were pronouncing 波子 in Cantonese.

- Eleven said something very interesting about B-boys. He said that in their profession of dance, they don’t fear b-boys who can do tricks, but they fear b-boys who can listen to music. I think it’s a reference to the fact that b-boys are often doing their own thing and disregard the music, which makes sense. Sometimes b-boys are closer to gymnasts because they are so focused on the spins and other really athletic moves they do. But because their moves are so difficult, they sometimes don’t move to the music which is supposed to be the point of dancing.

- Bozi passed with 4 votes. And he did a bit of krump at the beginning, which Yixing admitted he fell for haha. Bozi said that Eleven helped him choreograph that part, so it’s Eleven who knows Yixing well >3

- The director asked Bozi who he thought his biggest b-boy rival on the show was. Of course, we all thought he was going to say Lil Kev, but he ended up saying Xiaoji and Xiaoji was like ?? me?? Bozi’s reasoning was that he’s more troubled by dancers with a different style from him because he doesn’t know how to beat them. From the small clips they showed, I think Xiaoji has a more animated style, whereas Bozi is more serious and reserved.

- Acky-san cheering on MT Pop lol. (”Embarrassing dad at baseball game” mode activate)

- MT Pop has really impressed me in the competition so far though. The way he moves is so cool and creative. I think he purposely goes for a kind of...monster vibe? Like he often has this creepy smile on his face lol. He’s not only dancing, but he’s using popping techniques to change how he moves entirely, including simple things like walking or how he turns his head. I think MT Pop is my favourite contestant.

- He said the monster from Pan’s Labrynth inspired this dance. So I guess I was kind of right that he does draw inspiration from monsters and other creatures.

- Low key mad at Han Geng for not giving MT Pop his vote lol. Geng-ge said he wanted to give someone a chance to challenge. Of all people, why MT Pop?? I don’t want him to goooo.

- Henry wanted to try doing the voiceover for the challenger and Han Geng indulged his overdramatic ass.

- Baby Dolphin challenged. He had some cool moves at the beginning, but I think he fell apart a bit towards the end, based on the judges’ reactions (as we didn’t see the full performance). Plus, I think MT Pop’s approach to dancing is just too unique and interesting to eliminate at this point.

- Kabamba had an interesting performance that had African and Latin influences, with big and energetic movements. Tianci challenged but he went with a general hip hop approach which did not suit the music at all. (I looked up Kabamba. Her name is Latrice Kabamba, but she also goes by 林珊娜 on her social media, which is why she’s sometimes called Nana on the show).

- Acky-san was repeating everything that people were saying around him. Stuff like jiayou!! and other words of encouragement. Dianmen who was sitting next to him was just lol’ing.

- Ma Xiaolong was performing to a song called 棋 and this word usually refers to any kind of board game. Ma Xiaolong’s first moves looked like he was putting pieces on a board and you just know that kind of stuff draws Yixing’s attention right away.

- I think Kenken’s style of dance is the kind of dance that the general public would really enjoy. Whereas some kinds of dance don’t really appeal to people who aren’t into dance, I think Kenken’s kind of dance will attract both the dance-conscious people as well as those who aren’t. I definitely got that vibe from him in the dance that he choreographed, and also his individual performance.

- Not even gonna question this. Perfection. Rochka catboy here we go.

- Okay, I agree with Colin’s performance not making the cut. Based on his introduction, he was supposed to be a popping expert, but his dance didn’t showcase that. His dance was more of a contemporary dance piece, but while we’ve had performances similar to that, his choreography didn’t stand out in comparison. After his performance he had a bit of a cry. Yixing mentioned that it was hard to judge because of the emotional aspect. But admittedly, this emotional stuff is usually the reason why I don’t like competition shows. It was revealed that Colin had lost his grandfather. Now, I’m going to sound cold, but I don’t like it when sob stories are brought in, because it makes us feel bad when we don’t like a piece of art that comes from very pure intentions. Yixing’s reasoning for not giving a vote was that he felt that the emotions overshadowed the dance, which is a problem because this is a show about dance. Han Geng’s reasoning was that he felt that the skill level could have been better. Yibo was quite moved by the performance, and I think that’s why he gave his vote to Colin.

- We got a preview for this week’s hotpot show.

- Yixing and his emotional support giant cup

- Lots of laughing (including Yixing laughing) which is good for the soul

[magicalgirlsandcerulean]

Ep. 10's blog post

This blog post, with Hori's second entrance, is dated 15th June 2021. Spoilers below, as always!

Notes before we begin:

For those of you who didn't check out ep. 9's blog post, see tweet 2 on that for more info about one of the characters of the day.

Due to the unintended delay on this post, I've tried to translate more completely than usual and that caused the release of this post to be postponed by another day...Sorry. Even still, consult the actual post for proper placement of emojis, coloured text etc.

This time, just for efficiency's sake, I skipped a lot of the honorifics because Hori refers to Takara, Tina and Tsumahara as -san. I've only left it in for "Balle-san" (a one-off) and when other people refer to Hori as "Hori-san" (as opposed to when Hori calls himself "Hori" with no honorific).

Also, an advance note that you'll probably want to cry when Hori pulls out the crying kaomoji. (I wanted to cry at two points when he did, at least.)

CR translations were used where I could chase them up.

Post title: バリバリのバリの禁忌其の拾！

The Very Vigorous Taboo No. Ten! [T/N: バリバリのバリ (baribari no bari) has some obvious repetition in Japanese, so I had to try convey that in English as well, even though small!Takara is more "working hard" than "vigorous". The final "bari" is a Hakata dialect thing - we already know Hori is from Fukuoka, so that fits. I had to translate the title because this phrase appears later on.]

皆様、お世話になっております。

Everyone, thank you for taking care of me. Fairy蘭丸〜あなたの心お助けします〜で雅楽代 寶 を演じております、堀 曜宏と申します。

I am called Akihiro Hori, who voices Takara Utashiro in Fairy Ranmaru ~We Will Help Your Heart~. 又の名をジャガイモ堀堀です、本日は何卒よろしくお願いします。

Also known as "Potato Digging Hori", please kindly take care of me today. [T/N: "Potato digging" = jagaimo hori, so "potato digging Hori" = jagaimo hori Hori. It also makes reference to the ep. where the kids dug up potatoes.] 禁忌其の拾『快楽』熱かったですね！！！

Episode 10, "Hedonism", was passionate, wasn't it?!!! 今回は寶さんの二回目のお当番回ということで、本編を見返しながら楽しめるような感想を主観ですが、勢いと共に書かせて頂きたいと思います。

This time was Takara's second focus episode. Although we see [elements] that recur from the original story [ep. 5], the impressions we are able to enjoy are subjective and so I will write with fervour. 開幕は女王チームとの密談からSTART!!

We START by opening the curtain on the queen team's private talk!! [T/N: "Queen team" = Queen + Houjou (+ sloth).] シリウスについて女王からせっつかれている寶さん。

The Queen is pestering Takara about Sirius. 座長…誰の台詞が麩菓子じゃい！！！！

Leader...whose lines are fugashi!!!! [T/N: Fugashi are a type of Japanese sweet. There are sweet potato fugashi, so I assume this is either a typo or a pun on a similar word. If it's a pun, the word is likely to be おかしい (strange, suspicious, unbecoming).] [T/N 2: The line below suggests "leader" (zachou) = Ranmaru, so this sentence would be referring to Sakata.] でも生配信で話している時の堀からは想像できないと思いますが…実は普段の堀は、どうやら寶さんの女王様に対する話し方くらいのらりくらりでみんなと通話しているらしく、このシーンをみんなで見てる時、ざちょ「堀さんだ」草「堀さんだねぇ」なんて言われながらみんなに笑われておりました。

However, while the stream was happening, I couldn't imagine this, but...to tell the truth, the way I usually speak to everyone is like Takara's non-committal way of speaking to the Queen, so when everyone saw this scene, the leader [Sakata] went, "That's Hori-san," and Kusano went, "That's Hori-san, isn't it?" without saying anything and so everyone laughed. 電話が切れた後の豊穣さんと女王の会話から、寶さんのお父上が夭聖界にとって如何に大事な存在だったかがわかります。

After the call was cut, we learn how important Takara's father is in the fairy world from Houjou and the Queen's conversation. そんな豊穣さんからの厚い信頼に応えるように、どこかのお姉さんへお誘いをかける寶さん…

While proving worthy of Houjou's kind confidence, Takara is asking a girl out somewhere... お相手の名前、ayakoさんって面白い名前だなぁと思ってたら、堀気づいちゃいました。[T/N: The source text, as you can see when you pause the ep. at the right time, is meant to say "[at sign]yako", but the at sign was tripping the "mention a user" function in Tumblr, so I had to swap it out with a lowercase A where it appears in this post.]

His partner's name is "ayako", which I thought was an amusing name. これ、あやこって読むんですね！！！（アハ体験）

This is read "Ayako", isn't it?!!! (a-ha moment) そしてはい、きました、 バリバリのバリのショタカラさん！！！！（人間体）

Also, we got to see him, the very vigorous sho-Takara!!!! (human form) [T/N: Literally "we got to see him" was "[he] came", LOL.] [T/N 2: Sho-Takara = shota (prepubescent boy) + Takara.] あまりの可愛さにコメントも騒然としましたね。

There was an uproar in the comments that he's excessively cute. 回想シーンでは以前も登場した、弁護士さんと寶さんの関係も明らかになりました。

The relationship between the lawyer, who's appeared before this flashback scene, and Takara is also made clear. 弁護士さんも元夭聖、しかも寶さんのお父上とただならぬ関係だったみたいです。

The lawyer was also from the fairy world and had a strong relationship with Takara's father. 幼い寶さんは弁護士さんからどんな風に人間界の生き方を仕込まれたんでしょうか…

What sort of way of living in the human world did the very young Takara learn from the lawyer...? 半裸シーツで肌に傷をおった姿のショタカラさんが、窓の外を見上げながら「いつかきっと… 」と呟く様子にその壮絶さを感じます。

The half-naked and wounded sho-Takara, looking out the window and whispering, "Someday, surely..." [gives off a] heroic feeling. [T/N: I couldn't use the CR quote for this because that's translated more in context, as just "someday".] 寶さんのエセ関西弁は、この弁護士さんに仕込まれた影響だったんですね。

Takara's fake Kansai accent is acquired from the lawyer's. そして現代に戻ったと思ったら、 飛んで火にいる子猫ちゅわん！

Also, when we think we've returned to the present, a kitten jumps into the flame! [T/N: This translation builds off the CR version of the line, "Like a kitten to the flame!"] 今回の依頼人、ティナさんの登場です！！

This time's client, Tina, appears!! 「ちょっと何言ってるかわからないんだけど！」

"Oh, please! That's the stupidest thing I've ever heard!" 寶さんこの時のっけから飛ばしまくっていたので、堀はこの台詞がツボに入って笑いを堪えるのが大変でした。

Takara, at that time, couldn't help but send her flying from the beginning and it was difficult for me because I was trying not to laugh - there was "tsubo" in my lines. あいも変わらずスマートに名刺を渡すも、「世界で一番惚れてる男のところに連れてって！」とピシャリ。

Even after [Takara was] as smooth as ever and [handed] over the business card, she refused with "Take me to the man I love most!" [T/N: The word for "smooth" here is literally "smart", but "smart" doesn't seem to have the right connotations.] …どうやら今回の依頼人も、一筋縄ではいかないみたいです。

...apparently, this time's client seems very straightforward. 『快楽』ﾁﾘﾘﾘﾝ

"Hedonism" *ring ring ring* 寶さんはティナさんをお子さんのお迎えに連れて行き、そのまま2人を仕事場へと送り届けます。

Takara brought Tina to her child and, without a pause, brought those two to [Tina's] workplace. 仕事場ではみんなでティナさんのお子さんをあやしていたり、同僚の方のティナさんのダンスへの信頼に、思わずいい職場だなぁと感心する堀でしたが。。。

At the workplace, everyone comforted Tina's child and Tina's colleagues had confidence in her dance, so I admired, without thinking, how good of a workplace it was... そこに現れる父親、妻原さんですよ！！！！！（ﾌﾝﾇｰ‼︎）

Then the husband, Tsumahara, appeared!!!!! (Barbarian!!) [T/N: There is no confirmed reading of this name, so it might be "Tsumabara".] 前回のうるう回の久二さんも相当でしたが…勝るとも劣らない圧倒的なそれ…っ！！

He's equivalent to last time's (Uruu's episode's) Kyuji...but [Kyuji] overwhelmingly compares favourably to that guy...!! お子さんの顔も見ずにお金をせびるのみならず、ティナさんの一張羅のコートまで…！！

Not only does he demand money without seeing his child's face, but he also goes as far as taking Tina's one good coat...!! ちょっと申し訳なさそうにして受け取るのがまた、なんかもう…っ！！

The fact he looks a little apologetic as he receives it is just...!! だのにティナさんは、頑張って稼がなきゃって…″家族″のためにって(′つω；｀)

Despite this, Tina must try her hardest to make money...for her "family". (′つω；｀) その言葉は、お子さんに対してだけじゃなくて…うわぁああああ！！！

Those word aren't just for her family...uwaaaaa!!! 次のカットで妻原さんは貰ったそのお金をギャンブルに突っ込んでました（遠い目）

In the next cut, Tsumahara pushes the money he received into gambling. (distant eyes) この時の寶さんのモテポイント、 「姉さん、そろそろ出番でっせ」は何も見なかったように落ち着いて投げてあげて、 それでも見られたくない所を見られちゃった、というニュアンスが返ってきたら 「こういうことする俺、格好ええやろ？」と冗談まじりに茶化しながら優しさを渡す。

This is the time Takara is popular. He says, "Dearie? I think you're on." He calms down and gives up as if he never saw anything, but even still, after he returned [from seeing her exchange with Tsumahara] with a nuance of "he saw what he did not want to see", he would joke gently, "Aren't I cool for doing this sort of thing?" and poke fun at himself. この機微がモテる大人のテクニックなんですよ…！！

This subtlety is a technique popular with adults...!! 見てくださってる男性の皆さんにも是非取り入れていただきたい…なぁみんな！！？

Any men watching should certainly take in this [advice]...yeah, everyone?!! 堀は後十年は修行させてください(′・ω・｀)

Please train me [in the art of love] for another 10 years. (′・ω・｀) はい、一方BAR Fは今日もカレーです。

Yes, at the same time, there's curry at Bar F today too. 前回のラストが熱い…！展開だっただけに、皆さんあれからどうなったのか、眠れない夜を過ごされていたと思います。

The conclusion last time was intense...! I'm sure everyone had a sleepless night wondering what happened after that development. 何気なく水をうるうくんに渡す焔くん 、 何気なく焔くんを気遣ううるうくん、 照れながらも返事をする焔くん、 嬉しそうな蘭丸樹果バックン。

Homura, who's casually giving water to Uruu,

Uruu, who worries about Homura,

Homura, who blushes while responding,

Ranmaru, Juka and Bakkun, who seem happy. てぇてぇが過ぎてぇ堀は平身低頭（てぇとう）ですありがてぇ…ありがてぇてぇ！！！！

They're excessively precious and I was prostrating myself, thanking them...thanks, precious!!!! [T/N: Hori slurs several of his words in this sentence, typically てぇてぇ = toutoi (precious/noble), 平身低頭 = heishin teitou (prostrating oneself) and ありがてぇ = arigatou (thank you). He then combines てぇてぇ and ありがてぇ, hence "precious".] それから所変わってお出掛け中の寶さん、 いつも通りキスのおねだりを茶化しながら交わしていきます。

Then, in the meantime, Takara was out, as always, begging for kisses and teasing a woman. 聞こえないくらいの声で憂うように、「わいが欲しいのは、なんやろなぁ」とポツリ。

In a voice that can barely be heard, he mumbles, "I don't know what I want..." この台詞は後の展開にも効いてくる凄く大事な台詞なんですが…。

This line is very important in terms of later developments... コメントで「（カレーには）ナンやろなぁ…」って書いた人怒らないから正直に言いなさい（ﾋﾟｷﾋﾟｷ）

In the comments, there was a person who wrote, "I don't know what (curry) I want..." - please say who you are, I won't be mad *veins snap* Aパートおしまい！

That's the end of the A part! ブログでもCM入ります！情報いっぱいだよ！

This is a blog, but I'll still insert ads! There's a lot of info! ・山野ホールでライブします！（9/18だよ！）

- The live show at Noyama Hall! (On the 18th of September!) ・特典盛り沢山のBD、DVD発売します！（第1巻は６/16発売！）

- The BD/DVD is being sold, with lots of bonuses! (1st BD/DVD sold on the 16th of June!) ・キャラソンアルバムHEAVENS DOOR発売します！（同じく6/16、遂に艶歌が全部聞けるよ！）

- The character song album HEAVEN'S DOOR is being sold! (On the same day [as the BD/DVD], the 16th of June, so you can finally hear the whole enka!) てつえーさん「Nice Pole Dance…ﾀﾞﾝｽﾀﾞﾝｽ」（ええ���エコー）

Tetsuei [Sumiya]: "Nice pole dance...(dance dance)" (nice voice echo) Bパートいきます！！

To the B part!! 開幕ティナさんのキラキラポールダンスからスタート！！

The curtain opens on Tina, who starts with a sparkling pole dance!! お子さんを膝に乗せて馴染んでいる寶さん。

The child, who's on the lap of and [now] accustomed to Takara. お子さんのママ～！の声、可愛いですねぇ(´,,･Д･,,`)

The child's cry of "Mama~!" was cute, wasn't it? (´,,･Д･,,`) やはり彼のためにも、家族の為にも頑張るというティナさん。

Of course, Tina will try hard for his sake, for the family's sake. 自身の生い立ちから、家族という存在をいかに大事にしているかが伺えます。

From his own background, we can see how much he values the existence of his family. 5話の寶回の時の依頼人の恵夢さんもやはり家族のために身を粉にして働いていましたし、今回のティナさんも…。

From episode 5's Takara episode, the client, Emu, also worked assiduously for her family, so this time's Tina also... 寶さんにも金鋼族の復興のため、寶さんのため、痩せ細った体で自分の食べるものすら譲ってくれたお母さんという存在がいたからこそ、家族のために自分を犠牲にして頑張る方に複雑な思いを抱いてしまうのでは無いでしょうか。

In order for Takara to revive the Metallum Clan, for Takara's sake, Takara's mother even gave over her own food and it is precisely because of that that she became a victim of trying hard for the sake of her family and that's why Takara has such complicated emotions, is it not? しかも今回はその″家族″が不義を行っているなんて…。

Moreover, this time, this time's "family" is unjust... そしてそして！！！！！

Also, also!!!!! お待たせしました！銭湯ノルマ達成ですありがとうございます！！

Thanks for waiting! Thanks for fulfilling the bath quota!! この時流れてきた「みんなストローは持ったかァ！！」ってコメント、爆笑しました。

At this time, the comment that came about was "Everyone's holding straws!!" and so there was uproarious laughter. [T/N: It's not clear if there's just one person laughing or many, hence the intentional vagueness.] ですが今回の銭湯の中身はすっごくシリウス…じゃなかったシリアス。

However, this time's bath [scene] is amazingly serious...not (Sirius). [T/N: Hori inserts Sirius's name at the end of the sentence as a pun on "serious", so if it seemed like the translation said "serious, not serious", I did my job.] みんなの顔を眺めながら、豊穣さんと交わした特命の話を回想していきます。

After we gaze at everyone's faces, we go to a flashback scene where [Takara is] given his directive from Houjou. その中には女王に内密の話まで…そんな重たいものを背負いながら、寶さんはみんなに毎日カレーを作っていたんですね。

In that it's to the point it's kept a secret from the Queen...Takara makes curry for everyone everyday while burdened with those heavy things, huh? でも、これまで毎日みんなでカレーを食べて、銭湯に入って、愛著を集めて、日々を過ごして。

However, until now, every day everyone's eaten their curry, gone to the bath, gathered attachment and spent their days [together].

家族として一緒に過ごしてきたみんなの顔を見回した時の寶さんの顔は、優しさに満ち溢れた顔でした。

As family, when spending time together and looking around at everyone's faces, Takara's face is full of affection. この時の「楽しい時間は長く続きまへんな」という台詞。

At this time, there is the line: "The fun times never last, do they?" 寶さんのみならず、堀自身もF蘭の最終回の近さを意識しておりましたので、言葉にした時に込み上げるものがありました。

Not only Takara, but I personally realised F-Ran's final episode is near and so, while I'm bad at putting this into words, [emotions] welled up inside me. そして明らかになる妻原さんの別の家族の存在。

Then, it becomes clear Tsumahara has a different family. ティナさんと妻原さんの会話が始まります。

Tina starts a conversation with Tsumahara. もうここの妻原さんのクズっぷりが真骨頂！！！

Already, the Tsumahara from this [point in] time's true worth is basically scum!!! ティナさんがあまりにもあまりにも可哀想で…

Tina is really, really unfortunate... 「お前も俺を見捨てるんだな！！」

"So, you're abandoning me too!!" あんた、別のところでも同じようなことしとったんか…？

Aren't you the same, even though it's from a different perspective...? 絶望のあまり、倒されたゴミ袋の上で笑うしかなくなってしまうティナさん。

Without much remorse, Tina has no choice as she's left collapsed on the rubbish bags and Tsumahara laughs. そこに夭聖は現れるんです…！！

Then, the fairies appear...!! 「美人さん、お持ち帰りしてええか？」

"Lovely lady, might I walk you home?" ほんと、全人類言ってみたい台詞トップ5にランクインする台詞です…！！

Really, that's going to rank in the top 5 lines that all of humanity wants to be said to them...!! チャイルドシートを携えたいつもの車でティナさんの話を聞く寶さん。

Takara listens to the story of Tina, who's always carrying a child seat around with her. 「わかってた、利用されてるだけって」

"I knew...some part of me knew he was just using me." 「なのに、あいつがポケットに手を入れた時にさ、指輪かなって思ったんだよね」

"But when he reached into his pocket, I honestly thought it might be a ring." 「笑顔で溢れるあったかい家庭、作りたかったの」

"I wanted to create a happy family, full of smiles..." この台詞が悲痛過ぎて…。

These lines are too sorrowful... 堀は最初、思わず拳を握りしめて返す台詞をかけてしまいました。

I, at first, clenched my fists without thinking at these lines. ですがこの時、製作陣から、何より真摯に優しさを向けてあげて。

However, this time, I felt sincerely affectionate for this cobbled-together group. 頑張っている人は報われるんだよ。ってティナに伝えて欲しい、というディレクションを頂いて。

I received the direction that I should convey to Tina, "Hard work will be rewarded!" このシーンの台詞は寶さん自身の言葉で、その思いが乗らなきゃダメなんだと何度もトライさせていただきました。

This scene's dialogue is in Takara's own words and I had to try repeatedly to convey his thoughts on it. 「あなたの心、頂けますか？」 から大自然の流れでジャ…変身の時間だぁーーー！！！！！

After "Could I take your heart?", the scene changes and...it's transformation time---!!!!! 思わずナイスバルク！と声をかけたくなる惚れ惚れする筋肉。

Without thinking, I was charmed by [Takara's] muscles and wanted to call out, "Nice bulk!" 画面いっぱいに広がる肉体美と拳、地面をぶっ壊しながらあげる名乗り。

The physical beauty of his body and fists filled the screen, he broke the ground and called out his name. 格好よさが臨界点突破して美しいに昇華しとるんですよ！！！！！！！

His coolness has broken through the critical point and sublimated itself into beauty!!!!!!! 妻原さんはティナさんとあんな会話をした後だというのに、 魂が昂りながら「夢も愛もどうでもいい」なんて曰いながらギャンブルに興じていらっしゃいますねぇ…。

Tsumahara, even after he had that conversation with Tina, happily spends his days gambling, arousing his spirit as he says, "What do dreams and love matter?" バレさん、技を借りるぜ…！！

Balle-san, I'll borrow a technique of yours...!! ふざけんにょ！！！！！

Stop screwing around!!!!! [T/N: reference to Balle-san's ep. 9 post] そして始まる艶歌、五話もそうでしたが、歌詞が今回の話とのリンクして、絵の美しさも合間って没入してしまいます。

Then the enka begins - it was in ep. 5 as well but the lyrics are linked to this episode and I was immersed in the beauty of the visuals for a moment. 早くフルで聴いてほしい！！！皆様、是非HEAVENS DOORを！「愛の勘定」も勿論ですが、みんなの艶歌をフルで聴けばストーリーとのリンクが増して、よりグッと来るはずです！！！

I want you to hurry and listen to the full version!!!! Everyone, please listen to HEAVEN'S DOOR! There's "Payment of Love" of course, but if you listen to everyone's full enka, you'll [be able to make] links with the story and it will hit you in the feels!!! 艶歌が終わり、ドアが開けば今回のヘブンズ空間はまるで屏風の中に入ったかのような和風の世界。

After the enka ends, the door opens to this time's Heaven's Room, which is a Japanese-style world quite like that on a folding screen. そこに雷神と雷神を模したかのような敵が現れます。

Then, enemies that look like the well-known thunder god and a thunder god's imitation appear. [T/N: referring to Raijin] 毎回のことですが、ヘブンズ空間も本当に趣向を凝らしてあって…ど緊張のバトルシーンのはずなのに、思わず堀の魂も昂ってしまいます…！！！

It happens every time, but these Heaven's Rooms are really ingenious...there should've been a hugely nerve-wracking battle scene, but without thinking, my spirit was unintentionally aroused...!!! なんと今回の鍵穴にはティナさんとお子さんの2人が！

What? This time Tina and her child are both behind the keyhole! なぜわかったノルマに愛らしい声が混ざる日が来るとは。

I never thought I'd see the day where a charming voice would be mixed in with the "What? I got it!" quota. そしてもう一方の鍵穴からは妻原さんの極悪な声が…

Also, in the other keyhole is Tsumahara's heinous voice... 「人はなあ！快楽には勝てねぇんだよ！」 「酒！タバコ！セッッッ！！薬物！！特にギャンブルはなぁ！！」

"A person can't conquer their hedonistic tendencies! The pleasures of drinking! Smoking! Sex! Drugs! And gambling especially!!" [T/N: Hori censors the word "sex" by "stuttering" over the final syllable but CR doesn't, so I've sided with the latter.] 座長が現場で ハッキリ言ったぁーーー！！！ってツッコんでたのを覚えていますw

"The leader put it clearly at the time--!!!" I remember joking. ですが、言葉のパワーはもうネタの領域を超えた、狂気の世界のそれです。

However, that is a mad world where the power of words is beyond the realm of stories. その言葉に促されるように敵から酒の玉攻撃が、 そしてもう一方の敵からはヤニの煙の攻撃が。

With those urging words, the enemies send bubbles of alcohol and then from the other side comes a tobacco smoke attack. この時のうめき声のディレクションは、堀くん今○○kgの重りが乗ってるよ！！ と言われながら、体にそれに合わせた負荷をかけるように声を出していました。次の日筋肉痛になりました。

At this time, when the direction, "Groan and pretend you have a __ kg weight on you!!" was given, as I shouted, it was like a corresponding load was being added. The next day my muscles hurt. なんとか持ち堪えた寶さんですが、 「なら、これならどうかしら…」 その言葉と共に現れる寶さんのお母さんの幻想。

Takara's able to hold out somehow, but then an illusion of Takara's mother appears with the words, "Well, what will you do?" 前回もうるうくんのお母さんと焔くんのお父さんが現れましたが、まさか今回は寶さんのお母さんが…。

Last time, Uruu's mother and Homura's father appeared, so surely this time Takara's mother... しかもこんな形で痩せ細っていないお母さんの姿を見ることになるなんて…！

Furthermore, to see his not-so-skinny mother in this form...! あの優しかった声で、こちらに攻撃をかけてきます。

This is the attack that's given with that gentle voice. 押し倒されて首をしめられる寶さん。

Takara is being held down and strangled [by his mother's illusion]. この時の台詞の色気も相まって、まるで2人が繋がっているような…

Coupled with the sexiness of the dialogue at this point, it's as if the two are connected... 更に畳み掛けるようにチェリーの入ったグラスから液体を口に含み、そのマッマ寶さんの口に流し込みます。

Furthermore, as if pressing for answers, Takara's mother uses her mouth to pour liquid into Takara's mouth, from a glass with a cherry in it. 苦しさのあまり悶絶絶叫する寶さん、これは先の妻原さんの「酒、タバコ、セッッッッ、そして薬物」それらの快楽を暗喩しているのでしょうか。

Is Takara, who's about to scream and faint in agony, [being subjected to] metaphors for hedonism Tsumahara was mentioning earlier? そしてシリウスの登場です。

Also, Sirius appears. す○ざんまいのポーズって言うのやめーや！！！

Stop doing the Su___zanmai pose!!! [T/N: referring to the dude who stands with his hands outstretched from Sushizanmai] しかし今回の句には堀は思わず確かに…と頷いてしまいました。

However, this time I couldn't help but nod and say, "Indeed..." 人は何故ほんの刹那の快楽のために沢山のものを犠牲にしてしまうのか…

Why do we sacrifice so much for a fleeting moment of pleasure? むしろ刹那だからこそ、それを追い求めてしまうのかもしれませんね（哲学）

Rather, it's because it's momentary that we chase it and seek it out? (philosophising) 苦しみながらも、「俺が欲しいものはこんなんじゃない」と懸命に耐える寶。

Even in agony, Takara eagerly bears it [and says], "This isn't what I want." しかしそれも、「あなたが欲しいのは、母親からの豊満な愛情でしょう？」と、肥大化した幻想に押しつぶされる寶さん。

However, in addition to that, the illusion becomes fat [with the words], "What you want is the full-bodied love of your mother!" ニコニコのタグにもありましたが、確かに快楽要素全部乗せプレスは重い、重すぎます。

As the tag on Nico Nico said, it is true that all the hedonistic elements being pressed are heavy, far too heavy, イきかける寶さんですがなんとか力を振り絞り、幻想を押しのけます。

Takara is about to have the life choked out of him, but he comes to his senses and pushes the illusion away. しかしそれが最後の力だったのか、体が動かず追撃をかわせそうにありません…！

However, that was the last of his strength and so he's not able to move...! これで終わりか…と思ったその瞬間ですよ！！！！！

This was the moment...I thought it was the end!!!!! 最高に勇ましい掛け声と共に焔が敵の攻撃から寶を守ります！！

With a shout, Homura, who's the best and heroic, comes and protects Takara from attack!! そのまま蘭丸とうるうが雷神と風神を倒し、樹果が 「オン・アユス・ヴァルタ！」の掛け声とともにペロキャンを振って寶さんを回復してくれます。

Similarly, Ranmaru and Uruu bring down the thunder gods and, with his tongue stuck out and his lollipop, Juka yells, "On ayus valta!" to heal Takara. ここ、さいっっっっっこうに熱かったです！！！！！

This was the most intensssssssssssssse [moment]!!!!! 寶のピンチに駆けつけるファミリー達、初めての全員集合、初めての共闘！！！

This is the first time they've [run to Takara's aid and] fought as a family when Takara was in a pinch!!! 台本を読ませてもらった時は、遂にきたか…！くらいの興奮だったんですが、 現場でこのシーンを録った時、こーすけの「はぁあああああ！！」って勇ましい声が聞こえてきた瞬間、鳥肌がブワァーって！体がカァーッて！熱くなったことを強く覚えています。

When reading the script, I was exhilarated to the point of going, "Finally, they came!" and now that this scene is recorded, I strongly remember the moment Kohsuke [Tanabe] valiantly can be heard going, "Haaaaaaaaaaa!!" I got goosebumps from the passion. 蘭丸とうるうの声も頼もしくて、樹果のたからぁ～！って呼び声に癒されて。

Trustworthy Ranmaru and Uruu, and Juka healing Takara by calling out his name. こんなに頼もしい仲間達が揃って、負けるわけがないですよ！！！！

With trustworthy friends like these, you won't lose!!!! この後の飛び上がるシーンも、月を殴りつけるシーンも、高まったボルテージを思いっきりぶつけさせて頂きました！

After this is the flying scene, the moon-breaking scene and I was able to use my heightened [emotions] to the fullest! [T/N: Hori calls his heightened emotions "voltage".] そしてGO TO HEAVEN!!!!!

Then, GO TO HEAVEN!!!!! 「またすっからかんかよぉ～！」なんて言いながら、トドメを刺された時の勢いで手持ちをオールインしてしまう妻原さん。

Tsumahara, for some reason, said, "I'm broke again?!" as he's finished off while playing everything he has with an all-in due to his leftover momentum. [T/N: the all-in in poker] ティナさんの「寶さん、あなたと結ば��たかった…」

Tina: "Takara...I wish we could've been together." 依頼人からこんなに純粋に好意を向けられるなんて…寶さんも罪な人ね。

The client has this kind of pure affection [for him]...Takara's also a wrongdoer, isn't he? ですがそれは叶わない、ティナさんもわかっているからこその過去形なのでしょうか…。

However, that can't be granted, since Tina understanding him is now past tense, isn't it...? こんなにも切ないワンシーンなのに、もう1人の堀が「あなたと結バレッタ裕…」って囁いてきてもうダメです（現在朝4時）

In this one heartrending scene, too, another Hori whispers to me, "You and Yutaka Balletta ..." but it's already no good (currently 4 in the morning)

全てが片付き、夭聖体のみんなが寶さんに声をかけてきます。

Everything's wrapped up so everyone calls out to Takara. なんだよお前ら、ちくしょー、まじで、お前ら…(′つω；｀)

What the hell, everyone, damn, really, you guys... (′つω；｀) しかもうるうくん、「僕たちは、ファミリーなのだから」それってさ、焔くんのことも、みんなのことも引っくるめて″ファミリー″なんだよね…？

Yet, Uruu goes, "We're family, in case you've forgotten." That means Homura and everyone are 'family', huh...? 万感の思いを込めて「サンキュ」と一言だけ返す寶さん。

Takara returns that with a single word full of emotions: "Thank you." 寶さん、あなたの欲しかったものって、きっと…

Takara, what you really want is certainly... そして後方家族面の蘭丸、その視線の先には様子を見ていたチルカが…。

Then, from behind Ranmaru, Chilka, who was watching him out of the corner of his eye... かつて愛していると言っていた蘭丸に対して、「Go to Hell!!地獄に落としてやる！」と言い残してその場を去ります。

As opposed to [when] he said he loved Ranmaru in the past, he leaves as he [yells], "Go to hell!!" …何故和訳してくれたんだ…。そこに不穏な空気が残ります。

Why did this Japanese translation come up? This left a disquieting atmosphere. [T/N: Hori translates "Go to hell!" (ENG) as "Fall into hell!" (JPN).] 豊穣さんの「いいファミリーになりましたな」

Houjou: "They've become a fine family indeed." この一言、嬉しかったなぁ。

I was happy with this one brief comment.

第一話の時、「君たちは今からファミリーだ」 なんて言われて戸惑っていた5人ですが、今では声を大にしてファミリー蘭丸って叫べます。

In episode 1, he says, "From now on, you are family," leaving the 5 of them bewildered, but now they can yell about how they're "family Ranmaru". いや、ファミリー蘭丸ではないけどね！？山本さんのプリティミス（伏線）だけどね！？笑

No, not "family Ranmaru"?! Is this a pretty mistake from Yamamoto (foreshadowing)?! (LOL) [T/N: This is referring to Bakkun's VA Kazutomi Yamamoto. Also, yes, it does say "pretty mistake", but it's likely to be "printing mistake".] そんな中改めて十訓を厳守させよと戒める女王。

In that [part], the Queen once again demands rigid adherence of the 10 Laws. あのような過ちとは…過去の因縁はまだ根が深そうです。

A mistake like that... it seems that past fates are still deep-rooted. そしてここからが怒涛の展開ですよ皆さん。

Then, everyone, the surge in developments [happens] from here. なんとあのシルク・ドゥ・マーズから合格通知が届いたティナさん！

Tina's somehow received a notification of acceptance into Cirque de Mars! 相当頑張ってきた努力が遂に実って、ニューヨークから熱いラブコールをかけられています。

The hard work she put in has finally pulled off and she's receiving passionate calls from New York. 喜んでいたのも束の間、そこに現れたのはなんと妻原さん！！？

It was a short moment that she could be happy, and then, who would arrive but Tsumahara?!! あんたって人は、懲りずにまだティナさんに…と持ったらなんと勝ちすぎちまったから命を狙われている！？

He's still trying to teach Tina a lesson, but...he won too much and they're gonna kill him?!

それもしかして、GO TO HEAVENされた時のオールインで…！？

On top of that, what about the all-in from the GO TO HEAVEN...?! すっからかんかよォー！！じゃなかったのかよォー！！

He's not broke anymore?!! 費用も全て持つから連れて行ってくれ、なんて、うーん、ティナさんとしては助かるけど…。

He'll come along, pay for everything and, yeah, sorta help Tina out...? まぁ、イケメンだからいっか……よくないわい！！！！

Well, he's handsome...but no!!!! [T/N: reference to ep. 5] 改心して今度こそ家族になるのか、それともニューヨークでまた悶着を起こすのかはわかりませんが、なんにせよティナさんとお子さんの先行きが明るくて良かったです。

I don't know if the family has reformed properly or if they're going to New York to quarrel again, but Tina and her child's future is bright. その様子を微笑ましく見ていた寶さんの元に、一本の電話が。

After seeing the smiling child's face, he receives a call. シリウスの事を伝えていた弁護士さんから、大変なことがわかったぞ、と。

The lawyer uncovered some [information] about Sirius and it's something unbelievable. 女王の過去や！と言いながら見せた一枚の写真には…、 あ、あ、あ、あ、あアイドルユニットぉ！！？

"...the Queen's past!" he says as we're shown a photo of an...i-i-i-i-i-idol unit?!! かつて一大ブームを巻き起こした、ウィンタートライアングル。

Winter Tri-angels, who created a sensational big boom in the past. シリウス！？ベテルギウス！！？プロキオン…？

Sirius?! Betelgeuse?!! Procyon...? シリウスとベテルギウスは恐らく…でも姿が…！？

Sirius and Betelgeuse are probably...but that form is...?! そして女王の過去というのは、この写真とどう関係してくるのでしょうか…。

Also, what does the Queen's past have to do with this picture...? 女王の過去や、チルカと蘭丸の確執、夭聖界のことや、寶さんの言っていたもう一山、更にここに来てまた新しい謎が…！！！

The Queen's past, Chilka and Ranmaru's antagonism, the fairy world, all the stuff Takara said - on top of that, another mystery...!!! 本編もいよいよクライマックスに向けて、盛り上がりが止まるところを知りません。

At last, we're approaching the climax of the main story and I don't know if [the tension] will stop rising.

いよいよあと二話ですが、最後までみんなで大騒ぎしていきましょう！

Finally, there's two episodes to go, so let's get really excited until the end! Fairy蘭丸～あなたの心お助けします～ 次回『憎悪』もお見逃しなく！！というわけで、禁忌其の拾『快楽』堀の感想ここまでとなります。

Don't miss the next episode of Fairy Ranmaru ~We Will Help Your Heart~, "Hatred"!! That's it for my impressions on Taboo No. 10, "Hedonism". ここまで長い文章に付き合って頂き、ありがとうございました！！

Thanks for keeping me company [as I write] these long sentences!! 余談なんですが、大体メインキャストは一緒に録るんですが、この回の収録は実は堀が1人ブースに籠って先に録られた皆様の声を聴きながら台詞を当てておりました。

As a side note, usually the main cast would record together, but this time, I was alone in the booth, listening to the voices of those who recorded before as I added my lines. 収録が終わってからブースのドアを開けて、 誰もいないだろうなぁ、と思ってフッと休憩スペースを見たら、 なんと5 to HEAVENのみんなが残ってくれてて、映像が流れるディスプレイをずっと見守ってくれてて、 こっちを向いて堀さんお疲れ！とか、メッチャ汗だくじゃん！とか笑いながら言ってくれて。

When I finished recording and opened the booth, I looked at the rest area, thinking no one was there. Surprisingly, everyone from 5 to HEAVEN was there, watching over a video display. They turned to me and said things like, "Good work, Hori-san!" and "You're so sweaty!" so I laughed while I talked. その瞬間、堀の頭の中に寶さんのサンキュ。のシーンがリフレインして、 なんかしどろもどろになるくらい嬉しかったです。きっとあの瞬間は忘れられないです。

In that moment, the scene where Takara says, "Thank you," played again in my head and although I was [in a state of] confusion, I was happy. I will surely not forget that moment. はい、余談終わり！笑

Yes, I'm done with my side note! (LOL) 話が進むにつれて、SNSで#F蘭丸であげてくださってる実況や感想、ファンアートや、写真など、盛り上がっているのを実感しております。

To continue the conversation, use #F蘭丸 on your real-time impressions, fanart, photos etc., which will give a real feeling to your excitement. そしてそれを見ている時、堀��スマホを握りしめるくらい嬉しくなります。

Also, when I see those, I become so happy, I grasp my phone tightly. いつもF蘭を応援して下さり本当にありがとうございます。皆さんの声が僕らの力になります！

As always, really, thank you for supporting F-Ran. Everyone's voices will be my strength! 引き続きFairy蘭丸を応援の程、何卒よろしくお願いいたします！！！

Please kindly take care of me as you continue to support Fairy Ranmaru!!! このブログ書くの頑張ったからな！

I tried my best with this blog [post]! 読んでくれてメチャクチャ嬉しかったからな！

Thanks a lot for reading! 雅楽代 た～から！役の堀曜宏でした！

This has been Akihiro Hori! who plays the role of Ta~kara Utashiro! スネークバァーイ！🐍

Snake-bye!🐍 [T/N: "Snakebite Hori" joke.] ワイの魅力、皆にも伝わったかな～？

Takara: Did I convey my appeal to everyone~?

Update: Fixed the note regarding "Yamamoto". Thanks, @blankie-greenie-anon.

Update 2: Missed a sentence, improved a sentence and fixed some pronouns and other minor things.

Update 3: Improved a sentence.

[tfw-no-tennis]

beast warhrerhbjgdsf

ok so at the end of the beast wars opening when they go ‘BEAST WARS’ the end sounds all garbled so its like ‘BEAST WARGHISHUDFBJKSFNS’ its really funny

so we’ve watched more beast wars!! woohoo

we've watched thru ep 21 now wrow

I continue to really like this show despite the cgi continuing to be painful

I like the characters and plots a lot...it feels pretty episodic rn but there's a throughline of character development and dynamic establishment that keeps things fresh

plus, new characters!! blackarachnia returned offscreen right after she left I guess, so she's here now...I like how she like immediately has her own agenda and isn't loyal to megatron (or tarantulas, who had a hand in her creation) 

and tigatron!! what a cool dude I love him. he’s so chill, and I like that he’s into nature and stuff, that's awesome. he is super epic and I feel like he’s saved the maximals sooo many times lmao. for some reason I feel like he’s eventually gonna be like ‘no I'm gonna go be one with nature sorry guys bye’ and leave the cast - specifically if we move the setting to space/cybtertron later in the show I feel like he’d stay on earth. that's just my hunch tho idk 

and airazor!!! she is super cool, I like her design a lot. cool bord lady...the maximals definitely needed someone who could fly other than optimus (which, why can he fly, he’s a GORILLA). and airazor is dope, I hope she sticks around

also the pods are a great way to introduce new characters and create conflict - all the eps w/the pods have had great tension, and I like that the good guys don't always win (like when the predacons got a pod to make blackarachnia, and later inferno)

ah yes inferno, that was a fun one - I liked how he was more ant-like and that translated into him trying to protect the pod, calling it ‘the colony.’ he’s so massive for some reason which is kinda funny. also ruth and I both hate that he flies around with his spinning ant ass. cursed 

also ruth implored me to include the fact that we’ve been calling scorponok a beta cuck bc he’s just such a loser hbvjakhdsfnaks

on that note its sooo funny to me that literally all of the predacons aren't really loyal to megatron, w/the exception of scorponok, who isn't very useful anyways. like, we start the show off with dinobot defecting like IMMEDIATELY and all the other predacons are trying to take over or undermine megatrons authority constantly. he doesn't seem to care that much tho which is funny. I feel like they spread out the megatron-starscream dynamic from g1 throughout like all the predacons lmao 

also megatron is so funnyyyyyy I love him lmao. he’s so dramatic, he’s like a theater kid but more advanced - like a classically Shakespearian play actor. 

and I find it funny that megatron like, barely ever leaves the base?? he just kinda chills out there and sends his underlings to do stuff, which they’re almost never successful at accomplishing. I feel like megatron has participated in like 3 fights this whole time and almost never actively participates in the plot, unless the plot is taking place at the predacon base. I wonder if he’s busy plotting or something...

also ruth and I both noticed that the characterizations kinda changed around a little from the beginning, like rattrap being less mutinous, optimus being more understanding, etc; which tbh seems to be a bigger Thing in 90s/2000s cartoons (that is, the whole ‘not having the main cast’s characterizations nailed down at the beginning of the show’ thing)

ok what else has happened...I find it super funny that there's been TWO episodes where megatron tries to reprogram a maximal in some way to give the predacons an advantage, and both times it backfired spectacularly. like, didn't he learn from the first time!? 

the starscreams ghost ep was WILD omg. also I saw that that ep was up next and I was like ‘oh we should watch the g1 s3 ep where starscream is a ghost bc there might be important context we’ll need’ and ruth was like ok fine and then we watched it AND IT WAS SO BAD. MY GOD

like, we watched a fair amount of g1 before starting beast wars, and I’ve watched a couple s3 eps (which, I know s3 isn't as well regarded as the pre-movie stuff, but I guess I must have watched some of the better eps bc they weren't like THIS), so i knew this ep probably wouldn't be very good...but we were NOT prepared for the level of badness we were presented with vbahdjkfhbahsjkdf

I mean maybe we were missing in-show context, but also we just had no idea what was going on the entire time basically. the entire episode was so wack. the only takeaway I had is that octane and sandstorm are dating

anyways enough about g1. the beast wars starscreams ghost ep was actually good, I missed g1 starscream, that iconic bitch...none of the predacons are quite on his level in terms of sheer legendary bastard energies

I liked that blackarachnia was like starscreams protégé, complete with her betraying him at the end lmao 

also idk if this is something we’re supposed to know from the beginning, but ruth didn't realize that beast wars megatron and op aren't g1 megatron and op and she was like :0 when that was kinda revealed this ep - idk if that's a spoiler or not but I already knew that going in lol 

oh and the part where op said ‘LETS MAKE THIS A DOUBLE DATE’ and busted dinobot out of the cr chamber? Gay™

oh my god and that ep where the maximals were stuck in beast form and like, reverted to their animal instincts was...sure something vbhajdkfsnbskjf that was a lot 

it was like a much more goofy version of the stuff in animorphs about the characters being influenced by their animal morph’s instincts (which was almost always presented in an absolutely horrifying manner)

but yeah we have 6 eps left in the season (!!!) which we’re looking to finish soon, I’ll probably make another post for those eps and s1 in general woohoo

[gffa]

‘Star Wars: The Clone Wars’: Dave Filoni Discusses the Final Eps and George Lucas’s Ongoing Mentorship [x] A long time ago in a galaxy where Disney didn’t have its own streaming service, the future of “Star Wars: The Clone Wars” seemed bleak. The fan-favorite animated series, which centers on the conflict that helped shape much of the franchise’s mythology, was effectively canceled when Lucasfilm was acquired by Disney in 2013. Though a sixth season eventually made its way to Netflix, the series was axed before several of its key story arcs were resolved, throwing future tales of spunky Jedi Ahsoka Tano, clone troopers Rex and Cody, and the series’ myriad of other characters into doubt (though Ahsoka and Rex would appear at a later point in their lives in the series “Star Wars: Rebels.”) It took six years, but longtime fans will finally get their long-awaited sendoff when the seventh and final season of “The Clone Wars” kicks off on Disney+ on Friday, February 21. IndieWire recently spoke to supervising director Dave Filoni about the series’ evolution, his role in the expanding “Star Wars” television universe, and crafting a story about the philosophical (and frequently literal) battle between good and evil while keeping things accessible for audiences of all ages. The most immediate difference longtime viewers will notice going from Season 6 to Season 7 is the show’s graphical upgrades. Filoni and his team had ample time to hone their talents and make use of new technologies while creating “Star Wars Rebels” and the results are apparent. While technological advances haven’t simplified the development of “The Clone Wars,” new tools have made it possible for the series’ animators to expand the scope of its action scenes to live up to the galaxy-spanning conflict the show derives its name from, according to Filoni. “It wasn’t simple, it’s not like we just go down and turn the ‘Clone Wars’ machine on again,” Filoni told IndieWire in an interview. “Some things get easier, but you’re pushing the boundaries in other ways. You find ways to be more efficient and achieve things with the number of clones we could put on the battlefield, while some types of effects and rendered textures have also changed. Overall, it’s not easier, but there are more possibilities.” One thing that hasn’t changed is the ever-present challenge of crafting a meaningful story when most viewers already know how things end (spoiler: Things don’t turn out particularly well for the Jedi Order at the end of the Clone Wars). “The Clone Wars” takes place between Episodes II and III of the Skywalker Saga, and though it features plenty of original characters and story threads, the series still needs to fit into the continuity of the franchise’s films. The final episodes of the “The Clone Wars” are less a continuation of Anakin Skywalker, Obi-Wan Kenobi, and Padmé Amidala’s stories — though they’re still key parts of the series — and more an opportunity to wrap up the arcs of fan-favorite characters such as Ahsoka Tano and Rex. For Filoni, “The Clone Wars” has always been less about what happens in the eponymous conflict, and more about why things played out how they did in other “Star Wars” media. For example, Darth Maul’s arc has already been wrapped up in “Star Wars Rebels,” but his return in “The Clone Wars” Season 7 gave Filoni and his team the opportunity to delve into the nature of evil and the Dark Side of the Force by contrasting the character with the machinations of Darth Sidious, the franchise’s chief big bad. “I began making ‘The Clone Wars’ right after ‘Revenge of the Sith’ came out and you didn’t know at that time that Anakin had a Padawan, or that Maul was alive, or anything about the personal nature of the clones,” Filoni said. “What happens in the end for these characters? Maul is an instigator for many of the things that happen and we learn things about him that tells us more about the perception of evil and the workings of Darth Sidious.” The series has featured plenty of recognizable characters over the years, while its various arcs fleshed out a dizzying array of obscure “Star Wars” characters and locations. “The Clone Wars” had several plot threads, including episodes that would’ve focused on Darth Maul, that were cut short due to Lucasfilm’s Disney acquisition. Some of these storylines were incorporated into Season 6, while others were released in the form of novels or comic books (such as the Asajj Ventress-focused novel “Dark Disciple”). Plot details about the unfinished arcs were eventually released online, but at the time, it seemed unlikely that they would ever see the light of day on the small screen. “The Clone Wars” Season 7 will finally resolve some of these unfinished arcs, starting with “The Bad Batch,” the season’s first episode. “The Bad Batch” kicks off a multi-episode arc and focuses on an unconventional clone trooper squad of the same name as they team up with Rex, Cody, and Anakin on a dangerous mission to save one of their allies. It’s exciting, kid-friendly viewing, like a Saturday morning action cartoon with particularly high production values, and full of venerated characters, equipment, and locales. In other words, it’s “Star Wars.” Though the franchise has continued to expand and evolve since franchise creator George Lucas sold his company to Disney, Filoni said he still endeavors to keep his “Star Wars” projects in-line with Lucas’ vision and noted that he still occasionally discusses series concepts and other ideas with Lucas to ensure that “The Clone Wars” and other projects are faithful to the franchise’s mainline films and ideologies. “We still talk and if I’m stuck I will bug George for ideas, because he is the canon,” Filoni said. “He created it and I respect that. One of my jobs and purposes is to keep things as intact to what George laid down as possible. It is for kids — George would always say that over the years — but the beauty is that everyone can watch and enjoy it if you get the show right.” As for Filoni, his career has continued to evolve alongside the “Star Wars” franchise. He began working on “The Clone Wars” 15 years ago (Season One premiered in 2008) and never expected the “Star Wars” gig to last more than two or three years. Since then, he’s created the aforementioned “Rebels,” and directed, wrote, and produced two episodes of “The Mandalorian,” the first live-action “Star Wars” series and a key factor in Disney+’s massively successful launch (Season 2 will premiere on Disney+ in October).

[monster-closet]

The Things We Carry

Chapter 1  |  Chapter 2 is up!

Pairing: Younger Mando x badass female OC

Summary: Takes place 15 years before The Child and plays with the hints dropped by Xi’an, Qin and Ran about Mando’s past during ep. 6. Imagines what Mando might have been like as a young man, maybe looking for fulfillment outside of The Way - while fielding Xi'an's advances and trying to crack the cold exterior of a female OC who urges him not to abandon his vow.

Ratings/Warnings: General, for now. 

Words: 2.2K

Notes: This is a super-slow burn with plenty of angst. Hope you enjoy!

Pronunciation of OC's name, Solveig Riis: [soul-vay reese]

Read this and more chapters on AO3

“Mando!”

Ranzar Malk. Fifteen years later, and here he is, much stouter than before and with even more hair. It doesn’t take the Mandalorian to use his binocs to see that Ran, who is only seven years older, has aged poorly, huffing toward him with an unsteady gait.

Ran brings him around to the others – a smug human called Mayfeld and a hulking Devaronian named Burg. They bluster, gloat and insult, which only makes the Mandalorian seethe contempt beneath the helmet. Ran hasn’t changed a bit: He’d always been a sweet talking bastard whose approach to life was “slam spice and hope for the best.” Not to mention always surrounding himself with the lowest of the low. In fact, the Mandalorian wonders if Ran hasn’t had one snort too many in the years that have passed.

A droid appears and Mayfeld introduces him as Zero, their pilot. The Mandalorian's entire body tenses. If he wasn’t on the run and so low on credits, he’d excuse himself right now.

“I thought you said you had four,” he growls.

Then he hears it. Her voice. Syrupy, angry and bemused all at once.

“He does.”

The Mandalorian turns to see the familiar blue-skinned Twi'lek twirling a knife and looking like she hadn't aged a day. He hadn't expected her to be here, for all her past talk about leaving Ran's outfit. But here she is. Had she stayed on all this time?

"Xi'an," he rasps.

“Tell me why I shouldn’t cut you down where you stand?”

The Twilek slashes her knife through the air, landing it just below his throat. The Mandalorian doesn’t move. He knows this game too well.

“Nice to see you too.”

Xi’ans face splits into a laugh.

Beneath the armour, the Mandalorian stiffens, the sight of her brings up feelings of guilt, disgust and anger. He keeps a careful watch on those slippery hands. He is wiser now to keep his distance. The rest of them continue quipping about Xi'an and Mando's rumoured past. Accused of being broken-hearted by the Mandalorian’s departure so many years ago, Xi’an sidesteps, sarcasm spewing from every word.

“Oh I’m all business now. Learned from the best.”

The Mandalorian knows exactly what she's talking about, but he acts as if he doesn't.

"If you’re done your reunion,” Ran says, pulling Mando away from Xi’an, “There's someone else from the old crew that's here." Ran ticks his head toward his right.

The Mandalorian follows the gesture. Then, he sees her.

A woman steps out from the shadows like she has done in his dreams for fifteen years. But this is real.

He feels as though all air has been sucked out of his helmet. She was attractive then, but she has grown even more striking since. This day has gone from bad to worse.

Ran ushers the newcomer to their circle, her face implacable as she shrugs off the portly man’s hands. Her expression is flat, without emotion or expression like the first time he met her all those years ago. Perhaps she has not changed much, he thinks.

They look each other over in silence.

"Riis," he says, finally.

"Mando."

* * * 

The Mandalorian remembered the first time he saw her. And it was a meeting just like this.

After leaving the Fighting Corps of his clan, he had set out looking for a purpose beyond what his people taught him. Of course, he’d never told his Buir this; he had been grateful to him and the Mandalorians for taking him in. It had been ten years since he’d sworn The Creed, which was easy to do then, as eager as he was to belong. But now, at 23, he had questioned it more times than he wanted to admit. And although The Way eliminated the need to question his purpose, he still wondered what his place was among the Mandalorians. He still wanted to know what life with his parents would have been like if they’d lived. Thinking about them still hurt; it angered him that he couldn’t let his past go and be the Mandalorian his Buir wanted him to be. And he hated himself for it.

He had met Ran at a seedy cantina on Savareen where he was looking for his next job, the last one having been a mindless position as a rich man’s bodyguard. Ranzar Malk, as he was called in full, was a heavy-set human, about thirty years old, with a long, rectangular face and a distinct, very large halo of curly hair. They became acquainted after getting into a cantina fight with a couple of goons looking for trouble. Afterwards, the loud and boisterous Ran offered him a place on his team, where he promised more exciting work and better pay.

The Mandalorian, with no other opportunity, took the offer and had taken the Razor Crest to the coordinates Ran had given him. Now he was here, at Ran’s outpost, being introduced to his crew.

While Ran was running his mouth, Din took a preliminary sweep of the others. There were two males: one Nikto, the other a Twi’lek. They looked like common space scum and dismissed them entirely. Another Twi’lek, a female, glowed blue in the fluorescent lighting of the hangar. She was balancing a dagger on her fingertip and looking up at him, she smiled – a mouth full of sharp teeth. He noted to be careful around her. They were young, like him, save for the Nikto whose age he could not tell. It was a rag-tag crew to be sure, but he knew working with them would be different. They were not Mandalorians, after all. Those with whom he had fought alongside followed the same code, upheld the same standards of honour. And this is why he’d left the covert. He wanted to test what he knew in the outside world, to scrape steel against steel, and see if The Way would hold true. Then he would know if it was all worth it.

Concluding his assessment of the crew, the Mandalorian was about to bring his attention back to Ran when something lit up in his HUD. A heat signature? He turned it off and peered into the shadows. To his surprise, he made out the form of a young woman sitting stone-still, partly concealed by a tall stack of crates.

Beneath the helmet, the Mandalorian frowned. It irked him that it took the HUD to pick up her presence; no one had ever escaped his notice. Strange, too, was the way the woman was staring back at him unblinking and challenging. Her eyes had caught his, even if she didn’t know it. And not once did her face flinch or bare any emotion, still as she was, like a statue.

Perhaps joining this crew would be more interesting than he had thought. A non-Mandalorian, her face like a mask. But her body, tensed and coiled, announced: I’m ready. Had this been in his covert, he would have taken this as an invitation for an introduction by friendly combat. But, she was not Mandalorian, and he was told that outside the covert, starting a fight with a stranger was not an advisable way to make new friends.

Pity, he thought, as he followed Ran away from the crew. He regretted not having had the chance to introduce himself.

* * *

That night, while the crew was having third meal, the Mandalorian watched the group more carefully. Because he had already eaten in his quarters, he had seated himself in an empty corner with a clear view of the galley. It was to be expected that Gorgo, the biggest of them, was always dominating the room physically, while the other, the Twi’lek male named Qin, used his sardonic humour to cut the other one down. Then there was his sister, Xi’an, who slithered between them all like a snake, and the quiet one, whose gaze had challenged him in the docking bay – the one who went by a single name: Riis.

She was now sitting alone in the corner opposite him, cradling her supper between her arms. Her attention was absorbed in a handheld data pad while she ate, displaying nothing on her face again but an expressionless mask. It was brighter in the galley than where he had first seen her, revealing almond shaped eyes and high cheekbones set in an angular face, across which was sprinkled a few freckles. Her hair, framing her face, was black and hung like a curtain around her shoulders. She couldn’t have been more than 19 or 20.

A flash of blue, and the female Twi’lek seated herself diagonally from him, blocking his study of the enigmatic Riis.

Xi’an.

“Well,” drawled the Twi’lek in a sing-song, her smile all teeth.

The Mandalorian tilted his helmet slightly. After a silence, he volleyed her words back. “Well, what?”

“A Mandalorian,” she said.

When he said nothing, she continued. “Thought your kind was the stuff of bedtime stories: ‘Watch out for the big, scary Mandos. They’ll steal you away if you’ve been bad!’ ” she pantomimed claws with her own sharp nails. The Mandalorian remained still, listening. “Or, as the legends say, ‘Feared and deadly ones, warriors . . . with honour!’ ” She moaned the last word dramatically, exhaling it toward his visor.

It didn’t faze him that this Twi’lek had just mocked his kind. He had been warned that outsiders would insult and provoke him because of the armour, because of who he was.

“This is the Way,” was all he said.

Xi’an snickered. “The Way,” she parroted. “And this,” gesturing to his armour, “is also ‘The Way’?”

The thought of The Creed led him down a path of memories. He answered offhandedly, “It is the core of who we are.”

Xi’an’s mocking voice interrupted his thoughts. “The core, you say? The armor, it’s just a shell. The core, who you really are, is underneath all this Durasteel.”

“I’ll admit, though,” she continued when he remained silent, “you are quite the sight.” She licked her red lips, appraising him with her eyes.

The way she looked at him was intriguing. No woman from his covert had looked at him like this before, obviously because he could not see their eyes. His mouth went dry, and he felt his heart beating too hard, too fast. Still, he remained stiff and motionless even as Xi’an leaned in.

“C’mon,” she hissed. “Let’s have a peek.”

The boldness of such a request made the Mandalorian scoff.

Suddenly, there was a sharp blade between them. Xi’an held a small knife to his chest plate. She cocked her head, her lips curling into a vicious smile.

“Maybe you need some help,” she purred, before deftly prying the sharp tip under the chest plate, holding it between two of his ribs.

There was a heavy silence as others in the room turned to watch. The Mandalorian didn’t move, but he felt his blood searing through his veins, white hot. Any attempt from another to remove his armour was seen as a capital offense.

Swiftly, he seized her wrist and twisted it fast and hard. Xi’an’s face contorted in pain as she released the blade, giving the Mandalorian the opportunity to snatch it with his other hand. He was now edging the knife on the soft, blue skin of her throat. This insolent Twi’lek - it would be so easy to run the blade across . . .

“No thanks,” he rasped, controlling himself.

“My apologies,” Xi’an simpered. “Of Mandalorians, I’m very ignorant. I have lots to learn,” she said with mock innocence.

The Mandalorian kept the knife pressed against her throat. Xi’an was breathless, staring up at him with big, wide eyes. It was as though she was enjoying it. He gazed down her exposed neck – so much skin – down to the plummeting neckline of her shirt. He swallowed silently, then pushed her away.

“A Mandalorian’s armour is sacred,” he said reclining back on his seat. He turned the knife, balancing it on two fingers. “It is never to be removed by another.”

“So it never comes off?” she asked, pointing to his helmet.

“In public, never,” he repeated.

“ ‘Never’ doesn’t sound like fun.”

“This is The Way,” he repeated.

Xi’an crossed her arms and blew a raspberry. In response, the Mandalorian folded up her knife and handed it back to her. She grudgingly palmed it and settled back against her chair all while attempting to look nonchalant and relaxed like a well-fed Loth-cat.

“Don’t tell me you’re another stick-in-the mud,” she said, gesturing at Riis. “What’s a girl gotta do for some fun around here?”

From across the room came the other woman’s voice. “I know,” They looked up to see Riis approaching, her face as inscrutable as before. She tossed her data pad to Xi’an. “Do some kriffing work,” As she was nearly out of the galley, she added, “And consider flirting without knives. Maybe.”

If Riis had turned around, she would have seen Xi’an’s face colour a deeper shade of blue and the Mandalorian tilt his helmet with a scoff.

---

Mando’a Translation: Buir - parent, guardian

---

Hope you enjoyed this first chapter! There are many more to come.  Let me know if you want to be added to my taglist.

I’m rather new on tumblr so forgive me if I don’t figure out how to interact with you, lol. Geez, I feel old.

[bearded-shepherd]

I have been wanting to Watch the Midnight Gospel for a while, but when I heard it was about death i kinda flicned a bit. Im fine with it as a concept in shows/movies but does it involve anything about graphic deceptions of suicide or abuse (specifically child abuse and animal abuse)? Also on the same trigger note, does it showcase anything medical like an ER or psych ward or needles? Thank you in advance!

It does talk about death a lot and other things like spirituality, meditation, forgiving oneself and others, funerals,etc; however I’m not going to be light on this, it does showcase death, violence, giving birth, and other nsfw stuff.

Even if it’s in cartoon form, I know some people will still feel bothered by those sort of things (so Im saying this to everyone).

No child is harmed in this show from what I’ve seen( but there is a lot of stuff happening in every scene, so someone correct me if I’m wrong)... scratch that, I would like to give caution about a certain father character from ep.6 for those who have strict and overbearing parents.

Most of the animals in this show are hybrids or sentient humanoid sort of people and those humanoids do die. The show doesn’t touch on suicide nor does it showcase it. It mainly showcases background characters murdering each other.

To be truthfully honest, you dont really have to watch watch the show because most of the content is through the interviews between the characters. It’s the conversation that’s the backbone in this show. So if you dont want to look at that sort of stuff, you can listen to it instead, you’re not missing a lot.

But if you still do want to watch the show, still be cautious, i’m not 100% right on everything.

[apparentlynotreallyfinnish]

hi!! (pls feel free to ignore this ask, I don’t mean to be a bother or anything). I was wondering if you knew what year christy got her head injury?? I’m asking cause I’m now watching the eb video and am trying to form a sort of timeline in my head to make sense of it all. link mentions the time around easter when he says he “doesn’t think he can go in there” and how it was about a year out from the injury. thanks in advance ☺️

Hi! In Ask Science Mike’s podcast ep 180 Christy is a guest and talks about her injury. She says (around time 6:55) that it happened August 2016.

[dragonofyang]

Let’s Voltron! Ep 175 Transcript

The full transcript of the podcast Let’s Voltron! episode 175 with Donya Abramo as a guest interviewing JDS and LM below the cut. Feel free to use this for all your citation and referential needs.

@leakinghate @crystal-rebellion @felixazrael @voltronisruiningmylife

Vrepit Sa!

[Intro music]

MM: Welcome Voltron fans! This is Marc Morrell, your host for Let’s Voltron! the official Voltron podcast. We’re excited because we have a great interview today. We haven’t talked to these people since the season came out, since season 8, so, we’re excited. I have to bring on my cohost Greg Tyler, welcome Greg.

GT: Hello, Marc Morrell. Hello listeners and fellow Voltron fans across the universe. This is a really, really fun podcast because we have some really awesome guests.

MM: And I also have another guest that I wanna bring on. So, all the way from the other side of the pond, in the UK, welcome Donya Abramo. Donya, welcome.

DA: Hi! It’s really nice to be back again.

GT: Awesome, it’s great to have you back with us again. How are things going with Hypable?

DA: Really good! Yeah, picking up a couple new shows. So since Voltron went off the air, I’ve picked up a few more animated shows, so I’m now covering She-Ra, The Dragon Prince, and I’m also doing my usual everything Marvel. Literally everything Marvel, which, considering there are three movies now in quick succession that’s keeping me busy.

GT: No doubt.

MM: Yeah, Marvel has a pretty heavy spring coming up, don’t they?

DA: Oh, just a little bit, yeah.

[laughter]

MM: Well, it’s exciting to have you on, and I’m-I’m really thankful that you were able to do this even though it’s really strange time of the morning for you right now.

DA: Yeah, it’s actually really interesting, ‘cuz usually this would be 2 a.m. for me, but because you guys have saved daylight already, it’s actually 1 a.m.

MM: That’s awesome that we timed that just perfectly.

DA: Yeah.

GT: That’s right. Who do we have to thank for that? Ben Franklin? I think he knew you were going to be on this podcast hundreds of years later.

MM: Alright, so why don’t we bring on our very special guests, what do you say?

GT: Let’s do it.

MM: Alright. Coming all the way from California--from the other direction--we have the showrunners of Voltron: Legendary Defender Joaquim Dos Santos and Lauren Montgomery. Welcome guys.

LM: Thanks.

JDS: Hey guys, thanks for having us.

MM: [laughter] So great to have you guys on again.

GT: Yes, welcome back.

LM: Yeah, well, we’re glad to be back now that Voltron’s all wrapped and we can kinda talk about it on the whole. No more of this, uh, kinda shifty “we can’t tell ya” stuff.

JDS: [faintly] Right.

MM: That’s right.

GT: Yeah, you were last on when we recorded our fifth anniversary podcast, which was released on the season 8 drop day, so you know, obviously we couldn’t do spoilers during that recording, so now we can, uh, spoil in reverse.

[laughter]

LM: There you go.

MM: And we have another person on with us, so Donya you’re able to ask any questions any times you want. Is that okay?

DA: Yep. [laughter] That would be fine.

GT: Would you like that opportunity, Donya? [laughter]

DA: I don’t know, might be nice.

[laughter]

LM: I think Donya wants to take a nap.

[laughter]

GT: Yeah, so we started recording at 9 p.m. Eastern, it’s 6 p.m. Eastern in LA, and 1 a.m. in the UK, right?

DA: Yep.

GT: Alright, so we got a three-year time-jump in there, just like on Voltron. [others laugh] Er, not quite three years, just a little shy.

JDS: Yeah.

MM: These are decaphoebs.

GT: There you go.

JDS: That’s right.

GT: So, uh, real quick before we dive into the meat and potatoes of this, all those Altean time units - did you guys just know them off the top of your heads, or did you have to look those up all the time?

JDS: Oh--

LM: Oh, yeah, I had no idea at any point. I think those were all made up by the writers. All I ever knew was “ticks” and then everything after that, I was like, “Um…” I would just kinda have to go to the writers and be like, “Which one is a week? Which one is a month?” I eventually got “decaphoeb” which is a year, right?

GT: Yep.

LM: And then we assumed “phoeb” was kind of, like, generally a month.

GT: Right.

JDS: Right, “phoeb” was-was one-one quadrant of the year.

LM: Yeah, and they had a whole thing where it was like “movement”, which, I don’t even know if that was just a day or week--

MM: It’s like a week.

LM: Okay--

JDS: Wow, okay, see you guys definitely know better than we do because we were-

LM: Yeah.

JDS: “Movement” means something totally different to me, it’s like-like a bowel movement.

LM: Bathroom talk, right there.

[laughter]

LM: But yeah, I honestly, I don’t know. What was a day? Do you guys know?

MM: “Day” was a “quintant”.

LM: Alright, yeah! That’s right.

JDS: That’s right, a quintant.

LM: All these Coran lines are popping back into my head.

JDS: Yeah.

GT: Yeah, I remember Lance saying he wasn’t born yesterquintant. [laughter]

JDS: That’s right.

LM: Awesome.

GT: Alright, so Voltron is over, the two of you have moved on to, uh, other projects. Is there anything you can say about what you’re working on right now?

JDS: Uh, not really.

LM: No.

JDS: Other than it’s very cool and fun and we’re-we’re--

LM: Yeah.

JDS: --you know, very excited.

LM: It’s just the lay of the land. It’s kinda how animation goes. You make a thing, then you move on to another thing, and you make a thing.

JDS: Yeah.

LM: But, uh, but yeah.

GT: We’re excited for the next things, whatever they are. [laughter]

LM: Awesome.

MM: So, in preparation for talking to you guys tonight, um, I had gone back and listened to a lot of our previous conversations and everything just to make sure that, uh, anything that we had gone over before, uh, if there was something that we wanted to recapture or re-talk about or something like that we could bring it up tonight. One thing that I remember from going over all of this, we had done an interview with Andrea Romano.

JDS: Mm.

LM: Mm-hm.

MM: And she told us a story about when you guys pitched her the idea of you guys joining for this show. So do you guys remember that-that time? And it was basically where she said, “Okay, pitch to me, you know, what it is that Voltron’s all about and what it is that you wanna do with it.”

LM: Oh, gosh.

JDS: Boy, I… Yeah.

LM: So long ago! You’re asking my memory to do things it does not usually do.

JDS: Yeah, I mean-I mean I think-I think it’s safe to assume that we were probably begging and groveling on some level just to get her on board because we knew how awesome Andrea is, so there was probably a bit of that.

LM: There may have been a little bit of, you know, delirium from some hard working late nights but, uh, but yeah I-I remember the day she came in, I remember we sat in a room and that’s literally all I remember.

MM: So you don’t remember what you told her about what Voltron really is?

LM: Did it involve robot lions?

JDS: Did it involve teamwork? And did it involve, you know, friendship? I’ll bet, Marc, I’ll bet you know.

[laughter]

GT: Well I don’t remember either, so.

MM: I do know that it was a bunch of young people that under, you know, unforeseen circumstances come together and find these robot lions that form Voltron and it’s this giant robot that is formed by these five robot mechs. And along the way they, you know, find out that they’re basically the defenders of the universe. And they have, you know, they have to work it out as a team, and they have to work together, and they have a lot of adventures where they have to go up against the bad guys.

LM: That sounds about right.

GT: That’s a great pitch, Marc, I think we should make a show based on that, what do you think?

[laughter]

MM: Yeah. Well, the thing about it is-is Andrea remembers saying to you guys, “How did this ever work? How did it ever become popular?”

LM: Yeah, I-I think that’s something that probably people would say about 90% of the stuff I watched as a kid. I mean, I grew up on some--like Thundercats--like, and they’re just human people and they look kinda cattish, and then one guy was in-in a cryotube that cracked and then he came out a man. Like, I don’t know, how did that work? We watched that stuff anyway.

GT: And don’t forget “Snyarf! Snyarf!”

LM: Yeah! So, I mean, you know, Care Bears, they’re just little colorful bears with pictures on their tummies and they shoot rainbows out of their tummies. Like, I’m down. I don’t know if everyone’s down, but I’m down. So yeah, I think it was just something that captured our imaginations as kids and stuck with us, and so when it came time to, you know, to-to have it redone through DreamWorks, we wanted to kind of channel our love for the property into something that would maybe be a little updated to what our tastes were more like today versus what our tastes were as children, if that makes sense.

MM: Okay. So at that time did you know it was a 78-episode contract?

JDS: Yes.

LM: Yes we did. That was probably one of our biggest lies. You know, sadly. We try not to lie too much, but I’ll tell you, I’m gonna blow-blow the whole industry up right now: if an animated show tells you they don’t know if they have a second season, they probably know they have a second season.

JDS: That’s right.

LM: There’s a really good chance they already made it, and you know, so, where we always have to tell that, like, “Well, we hope people watch it and if they like it, well, maybe. We’ll see!” But it’s such-it’s such a lie.

JDS: The way it works, you know, is we have to make these things so far in advance for them to even make air, uh, that-that second season is either picked up or-or in production or midway through production or… yeah.

LM: Yeah, and I think there’s always just like, uh, that desire to, you know, be able to break that news. I think for-for whoever handles that kind of PR/internet traffic side of things, like, we want to be able to announce the next season and they’re like, “Okay, that’s fine, whatever.” W-we’re just making the show.

GT: That raises an interesting question. Do you have to be--and I know this is gonna sound silly--but do you have to be trained when you join a new project? Or are you so accustomed to the way this stuff gets marketed that it’s second nature to you now?

LM: A little bit of both.

JDS: Yeah.

LM: I think, like, upfront, so, um, I-I’ve always been, I guess, a little more truthful than I should have sometimes in my earlier projects. I made a, uh, movie through Warner Brothers. It was called Batman/Superman: Apocalypse, but it was about Supergirl. And they didn’t call it Supergirl, they called it Superman/Batman: Apocalypse.

GT: Right.

LM: And so when people would ask, I would be like, “Yeah, they had to put a big boy name on it ‘cuz they didn’t think a girl movie would sell.” And then I would get my PR guy and say like, “Hey, hey Lauren, you’re not supposed to say that.” And so, uh, I had to kinda learn, you know, sometimes you need to be a little more positive? [laughter] But, you know, hey man, sometimes people need to hear the truth.

JDS: But I’d say also specifically to Voltron, like it was pretty un-unprecedented in terms of like, an animated series of its kind getting picked up for that many episodes right off the bat, so… I mean we always joked that it was, like, the worst-kept secret ‘cuz I think Playmates at some point had, like, toy fair, like, put up a thing saying “78 episodes guaranteed!” and I think Tyler maybe said it because he hadn’t been told not to say it on some radio pod--some radio show. So it was like the worst-kept secret but it was also pretty interesting ‘cuz we were like, like one of the only shows that I know of that got picked up for that many episodes--

GT: That is amazing.

LM: Yeah.

JDS: --right off the bat.

MM: So, did they want you to write a story that only had a 78-episode arc, or did they tell you “there’s always an opportunity if this gets really big that we could have more”?

LM: I think--I don’t know--like at the time we were told 78 episodes, and that was it. And I think, like, maybe there--er, in our minds--like, if the thing was just, like, gangbusters, then there was a possibility for more, but I think what they actually learned over the process of making a 78-episode thing is that 78 episodes is a whole lot of a thing.

MM: Right.

GT: Oh yeah.

LM: And then, the-they’d actually made close to that of some other shows and realized that they really don’t need that many episodes. No, not every show has a serialized story and can maybe go that far, but for us, yeah. I think-I think ultimately when they started to kinda realize those numbers, it was like, “Alright, 78 episodes, that’s good enough.” And we were always planning for the 78 anyway, so uh, like honestly if they’d given us more we would’ve been like, “Uh… What’re we gonna do now?”

JDS: It’s funny, you know, we-we sort of, like, had this-this, you know, loose structure of sort of, kind of, where this story could go, but at some point you know, the show and the characters, they just kinda take on lives of their own to some extent and you-you zig where you thought you were gonna zag, a-and you know, the thing kinda goes where it needs to, so it’s like you… I remember we were, sort of, excited about the fact that like, hey we can like--and we did to some extent set some things up that could pay off later, but there was other stuff that we just-it was just kind of going and we were just on this-this production train, you know? We were like, “Oh wow, this-this thing is happening.”

MM: So, had Tim Hedrick, at the beginning, had he written out anything like a story bible that would kinda say “this is what’s gonna happen at the beginning”, “this is, like, a hazy middle area”, and then “maybe this is the end”?

JDS: No, our bible was about as loose as you’ll find. It was basically just to kinda pitch the show in its concept. So there was no… we would talk in meetings about maybe where we thought the characters’ arc would go.

LM: Yeah, I mean we had character arcs that we ended up, you know, having to completely adjust through--during the creation of the show because of, you know, whatever note here or there. So, like, we would have, like, some characters we thought we knew where they were going to end up that didn’t happen, and some characters we didn’t really know at all and then that just kind of solidified as it went through.

JDS: Right.

LM: And then, uh, a-and I’ll say, we really didn’t know--I’d say the biggest things we knew was we wanted Zarkon, kind of, for the first arc, and Lotor for the second arc, we didn’t really know, like, what we wanted for the third arc yet.

JDS: Right. That sort of started to present itself later.

LM: Like, and we had some, like, weird ideas that, like, never felt really personal, and then we kinda realized Honvera/Haggar was kinda the most--you know, the character who’d been with us the whole time. And uh, it was--and I was happy ‘cuz, you know, I like it when female characters can be involved in good ways and bad ways.

JDS: Yeah.

MM: Did you ever feel like you needed to, you know, give a certain complexity to those villains with always the chance that they could be somehow redeemed near the end?

JDS: Uh, I mean, I think we just like the idea of complexity in the villains, like, just-just generally and that came from, uh, Avatar but I think solidified on Korra. Uh, you know, when you look at a character like Amon or you look at a character like Zaheer, like, there were aspects of those characters that I totally agreed with.

LM: Mm-hm. Yeah, we also liked the idea not every, like, villain gets to be fully redeemed. Like, maybe there are things that are a little too bad to come back from. I think because we had worked on Avatar and Zuko was such a huge thing and he was such an awesome character, we didn’t want to immediately make everyone Zuko who was like yeah, and ultimately everyone becomes a good guy in the end.

JDS: Right.

[Hosts make noises of agreement.]

LM: So we wanted to, uh, to just have that door open.

JDS: But we also just didn’t want to do the mustachioed villain that’s just, like, a villain for villain’s sake so it was, we were playing this middle ground.

LM: Yeah, where you have characters who are doing bad things and you can kinda explain how they would get to that point.

JDS: Right.

LM: And ‘cuz that’s just, honestly that’s just a fascinating thing for me. Like I enjoy kinda studying what events would have to happen to get this character who you think would never do this thing, what would have to happen to push them to do that thing. That’s just something that I find incredibly interesting and love exploring, but uh, you know, hey man, shit gets crazy.

JDS: It does get crazy.

[Hosts laugh]

DA: Was there, um, was there a character who you were absolutely certain that their story was going to turn out a specific way that just flipped and went the, like, in the complete opposite direction to what you were expecting in the course of just figuring out the story?

JDS: I mean, you know, I-I think the big one for us was-was Shiro. You know, we’ve sort of talked about this publicly, we were orig--the original creation of Shiro was to set Keith up as the leader.

LM: I mean he was essentially our Sven. You know, we just changed his name from Sven to the original.

JDS: But we were going to keep him around a little longer than Sven lasted.

LM: Yeah, that was our whole thing was, like, “Okay, we still want to kinda do that Voltron thing where this character leaves the show, but we don’t wanna make--we don’t want him to feel disposable, we want him to feel like a super important character.” And then that kinda ended up kicking us in the butt because then the execs were like, “This is a super important character! You can’t, you can’t--”

MM: Well he became Space Dad.

LM: And it’s--and you know it’s--they were really just kinda channeling, I think, the love that they ultimately knew the fans would have for that character because he ended up being such a huge fan-favorite and, you know, we really can just thank the writers for that because they made sure that he did not feel, uh, you know, expendable.

JDS: Like, like, sort of expendable and--and also, like, you know, on one hand he fills a potentially boring space, which is, like, yeah, the leader/soldier/hero guy, and they very much made him not that, and, you know, that’s I think a perfect example of like, uh, a story point that just evolved on its own and sort of took a direction that we couldn’t have foreseen but we were-we were ultimately super happy with.

LM: Yeah.

MM: With knowing that Shiro was going to be sticking with you throughout the-the rest of the show, did you ever think of going back and telling us what his childhood was like, or who his parents were, or anything like that? He was one of the few characters who we really didn’t get that kind of a backstory on.

JDS: You know, we had originally a flashback pitch, uh, that showed Shiro I think with his family at a young age. It just, it became not as important to tell as some of the other aspects of his life, but also we had a lot of other familial backstories with the other characters that we wanted to cover.

LM: Yeah, and--I think, yeah, some of Shiro’s backstory just ultimately felt a little bit repetitive. I’m sure we could’ve, like, looked into it more and tried to find a way to make it stand out from the other characters, but ultimately when you’re, you know, moving at breakneck pace and trying to make these stories just happen, you know. I wish we would’ve had more time to sit there and-and really make every part of every character figured out 100%.

JDS: Yeah.

LM: But, when you’re moving so fast and you’re, “Okay, we have this, it feels like it’s stepping on the space for this other character, okay get rid of it.” Move forward. And that’s--that’s just kinda how these-these shows happen.

JDS: And it’s-it’s the same way that we, you know, we would sort of run in. With this many characters in a show, we’d often run into the thing where it’d be like, season 2, the big, sort of, the loudest aspect from the fandom would be like, “Oh, this character isn’t getting enough screentime.” And it’d be like, “Okay, we got, you know, this many episodes, we got this many characters, we’ll get to ‘em, but there’s only a certain amount of time.” And that’s all while juggling all the production craziness of, like, having three or four shows in production at a time.

MM: Yeah, I remember asking you at the end of season 6, uh, where was Matt? [laughter]

JDS: Yeah.

LM: Yeah. Well, Matt, actually, was--he started to become a little bit of a casualty of the availability of his voice actor because, uh, Blake was so hard to get into the studio, we literally found ourselves just writing him out of episodes.

JDS: Yeah.

LM: Like, and-and it was sad because I-I was really excited that we’d gotten Blake, um, and I was a really big fan of him from Workaholics, but he’s busy. He’s a busy actor, and so I think I had always wanted Matt to be a little more involved, but hey when you can’t get the actor in you just, you know. It--I guess you either have to get a sound-alike and we never really liked having to do that because it never sounded alike.

JDS: Right.

[laughter]

LM: So, uh, so yeah, he kinda--we ended up kinda crutching a ton on Sam, which I think was not at all expected.

JDS: Right.

LM: Because Sam was always kind of--his head was definitely on the chopping block, of like, “Hey, do we wanna give Pidge some sort of, like, she had a success with Matt, do we wanna give her, like, a failure with Sam?”

GT: Right.

LM: And then, like, I had no clue how-how integral he would become to that final Earth season, so it’s--I guess it’s good that we didn’t just axe him.

JDS: And it-it’s tough, like, it’s-it’s, you know, we call it, like, stunt-casting sometimes, but that’s-that’s the risk you run with, you know, hiring actors that voice-acting is not their, like, their main profession--

LM: Like their main bread and butter.

JDS: Yeah, like that’s--

GT: Like Norman Reedus.

MM: Steven, like Steven Yeun.

LM: Yeah. And Steven, he really bent over backwards to make himself available for us, but even-even with him we ran into a couple episodes, like, I think-I think we even, we’ve talked about it there was one episode, the game show episode!

[Hosts make sounds of understanding]

LM: Well you’ll notice in the beginning Keith sounds really groggy for no reason, and we literally just couldn’t get Steven in to re-read that line. It was like, “Alright! Well, this is going through.”

MM: “He’s just groggy.”

LM: “That’s production! Sorry.” It’s, you know. But hey man, sometimes that’s the fun of it. You can watch that episode and be like, “Oh, that’s one of the problems with making a TV show on a fast schedule.”

JDS: Right right right.

GT: So one of the things--and this is of very minor importance by comparison to character arcs--but one of the things that I noticed over a lot of Voltron merchandise: the tie-in books, uh, the toys, was all this stuff about each Paladin being a guardian spirit of this or that or what in the other, and the lions were labeled that way, too. What happened with that stuff?

JDS: This is where our, like, you know, our-our producing minds and our consumer/product, sort of, minds, uh, uh--

LM: Diverge.

JDS: Yeah. Where we sort of, like, grew apart. We sort of went divergent from each other. And, you know, early on I think that was a pitch that we got when we had, like, meetings and I think had we, I don’t even know how to say this--

LM: Yeah, it was--it was something that was not really in our original pitch--

JDS: It was--it was pitched to us from, like, the consumer/product standpoint, like, “Hey, this would be a good thing to latch onto.” And it just wasn’t really something that we were--

LM: Yeah, I think there were symbols that they really liked that they wanted to use in some of the consumer products, and like we’re all for it--

GT: Yeah, like different lion logos or whatever?

LM: --but we-we couldn’t really, like, it wasn’t inherent in our story and we struggled to find a way to work it in, and ultimately I think we just kind of came--we knew, like, we had voiced our opinions on the symbols. We weren’t super fond of the design, we’d done some designs to fix ‘em, and they had, kind of, just, I guess--

JDS: They had already moved along with their designs and so it was just--

LM: --and so we didn’t really want to work them into the show, just ‘cuz we didn’t feel like they could adhere to the aesthetic we’d created. And so we’re just like, “I’m sorry, it’s gonna have to be, like, a weird offshoot point”. So, you know. But it’s a lesson to learn that, uh, I wish we had control over everything in the show, but we don’t, and there’s other offshoots with the consumer products, and-and they kind of work in their own little bubble and we work in ours, and we try to meet up to--as best we can--to make things work.

JDS: But it doesn’t always work.

LM: Yeah, I mean we worked the lion upgrades in, like, that was asked specifically for the toys, and we found a way to, you know, get those into the show and make them feel kinda natural. But we couldn’t do it with everything.

GT: Right.

MM: There was a 3D-VR experience called Voltron VR Chronicles--

JDS: Yeah.

MM: --and that first episode that came out was called “Seeds of Corruption”. It was a Lance-focused episode, and they had said there would be more episodes coming. Did you ever hear what happened to that?

JDS: I think, yeah we were-we were, like, sorta peripherally involved, uh…

LM: I mean, yeah, they showed it to us along the way, and it was really cool to see it take form. I-I just don’t, I don’t know, I know that there were plans, they had like a story arced out.

JDS: Yeah, I think ultimately, a lot of it just comes down to if that-that was like a-a rip-roaring success, you would have absolutely seen more, but I think maybe,I don’t know, maybe-maybe there just wasn’t support because it didn’t-it didn’t get the numbers that they needed.

LM: Yeah, I don’t know how many Voltron fans have, like, the full VR/PS--

MM: Right.

LM: --VR setup. So it’s kinda--sadly I think it’s kind of a niche sale and I think when you’re marketing to something that’s-that’s not really, like, globally, massively accepted yet, maybe it’s a little harder to really get a big return on your investment.

JDS: I’d say V--like, I’d like to know exactly, sort of, on a-on a-on a bigger scale--like, VR in general. I’m excited about it still from, like, an artistic perspective, but I still haven’t quite seen, you know, the promise of-of all the things that were, like, supposed to be happening right now.

GT: Yeah, what’s the killer app, right?

JDS: Yeah, and I’m-I’m going back all the way to Lawnmower Man, guys, come on.

GT: Yeah.

JDS: Got our rig, while we’re spinnin’ around.

MM: What we need is a place called The Oasis like in Ready Player One, where we’re all connected and we can watch Voltron episodes completely in 360 degree immersion.

JDS: One day.

LM: There you go.

[laughter]

GT: Yeah, I’ve often wondered how that’d even work. To have full 360 degree immersion, how do you make sure you’re looking where you need to look as the story unfolds around you?

JDS: Right. That’s the big question.

MM: They cue you to look in certain directions to make sure that you’re following along with the story, but it also gives it an opportunity, if you are-are really interested in looking in a different direction, then they might have alternative options like Choose Your Adventure type things.

GT: Yeah, that’d be really tough to write in a-in a effective way, I guess--

MM: Right.

GT: --as a story. But getting back to-to-to what you talked about with the consumer products and all that good stuff, I mean, to a point it boils down to this Voltron not being creator-owned but rather a licensed property. And so I was wondering how would you--how might you compare and contrast Voltron with licensed properties you’ve worked on in the past such as various DC characters, G.I. Joe, and-and whatever you might have in the hopper right now. How would you compare and contrast Voltron with those others?

JDS: Uh, I mean, well, it’s interesting, like, I think Voltron is unique in the sense that it’s still--I don’t even know if it’s, like, owned by World Events--but it’s still, they still very much have, like, a say in the creative direction of it so that’s-that’s one aspect that we found unique, uh, even when producing the show. But I think it’s also, it was this property that had kind of, you know--I know you guys have been carrying the torch--but kinda gone away for a while, right?

GT: Oh, absolutely.

JDS: So we were kind of coming up with a lot of this lore and this backstory on our own. We were obviously using stuff from, you know Go--Beast King and Voltron, but it was unique in that it was just gone. So I think it was off people’s radars for a while, whereas like the DC stuff that we worked on, like DC’s been around the whole time, you know? People kind of know what to expect, they know generally who the characters are, what their personalities and backstories are, so it was--it was unique in that, like, we were, like, kind of reintroducing this and in a sense, it absolutely isn’t creator-driven but I think we got, sort of, put into, like, a, uh, a creator position on it.

LM: Mm-hm. And we were thrilled to be able to do it. We were thrilled to be able to bring, like, our vision to this show and I mean, essentially it almost felt like we were kind of almost recreating it, like, in our own little way. Whereas a lot of the times when I worked on a lot of the DC stuff, like, you know, I was never recreating Superman, I was just telling a story in his world, you know, with that character. And there was always, like, a very specific set of rules as to what that character could and couldn’t do. We could never really break that mold. But with Voltron, we have a lot of freedom to remake these characters how we felt we wanted them to be for the story, so I mean that was really great. I personally never worked on something that, I think, was gonna have such a large, kinda, consumer products, um, push behind it. I had mostly worked--a lot of the DC stuff was just kind of--

MM: They were just stories, right?

LM: Yeah, they were stories, they were one-offs, they were--they kind of, they expected--they knew, like, they were going to go to the specific kind of comic book fan market and-and that was it. It was just kind of like, “Here’s one piece of art that’s out there, enjoy it or don’t enjoy it.” And then Voltron had so much more around it, the whole franchise and, like, how this was going to play out in other departments. It wasn’t really just us there to, kind of, make the decisions.

JDS: It was the first time we had been in so many meetings with so many other departments that were, like, pitching us their vision for Voltron, which, you know, sometimes it was like, “Okay, that’s kind of a neat concept,” and sometimes it was like--

LM: “We’re not doing that.”

JDS: “We’re very scared about what we’re seeing right now.” Like, how do we nicely tell these people we’re not gonna do it?

LM: I feel we’ve told the--I think we’ve told this story before of, like, how many times we got asked if Voltron could talk.

JDS: Yeah.

LM: Yeah, they just really wanted to make a little, a helmet that, you know, you talked in the helmet and then your voice came out and it was Voltron’s voice. And I’m like, “I’m sorry, he’s not--it’s a robot! It doesn’t talk!” But--

MM: You got him to talk in “The Voltron Show”.

JDS: Exactly.

LM: Yeah, that was our wink-wink.

JDS: That was the total nod to that moment.

LM: All just so they could sell Voltron helmets. Just kidding.

[laughter]

JDS: There was a lot--it was a lot--it was a lot of coordinating beyond, you know, beyond uh, a scale we had seen before. And we were coming off of Korra, which was literally just, like, “Make a story. There is nothing tied to this beyond a story.”

LM: Yeah. And it was cre--you know, Bryan and Mike’s creation and then they got to make their own artistic vision there. And so, yeah, going from that and then coming to Voltron where we very much had to, kind of, play game with the studio and we were, like, 100% understanding of that going into it. But yeah, it’s a different part of the industry and you just, you adjust, and it’s just part of your profession, your career, and as a professional you-you figure it out and you make it work.

JDS: Right.

GT: Okay.

MM: Did you guys have any sense for inclusion, in diversity, in representation, all that you kinda wanted to bring into the show even when you were starting out?

LM: Yeah.

JDS: I mean I think that was--the idea was to-to make the characters, you know--you know, the original Beast King obviously was a bunch of Japanese characters which was, you know, totally appropriate for its time and, uh, you know I probably think Sven was probably the bad version of trying to, like, give these characters divergent voices in the, uh, in Voltron.

LM: But yeah, I mean, we always knew that we wanted to feature, like, a diverse cast as much as we could. Yeah. For us, our story was always our story, and within that story we wanted to be able to feature as much diversity as possible.

JDS: We never made it, like, the focus. They were just characters that happened to be from different, different backgrounds, but, you know, the Earth that we had sort of conceptualized was kind of more of a united Earth where everything was blended anyway. So it wasn’t, you weren’t going to get, like, a ton of, like, accents or the sort of trademark, you know, things when shows are bringing in diverse characters. It was just like, “Yeah, that’s Lance! He’s Cuban. That’s Hunk.” You know what I mean?

LM: And a lot of those things we never even really mentioned in the show, they would maybe make a little reference to it, but I think people didn’t know Lance was Cuban until Jeremy went out and said it. And then people didn’t really know Hunk was Samoan until Tyler went out and said it. For us, it was just like, “These are our characters.” And we maybe had these ideas of who they were, but the show didn’t center around their ethnicity, the show centered around how they deal when they fight this war.

JDS: Right. It was more personality-centric than it was anything else.

DA: With that, because obviously it becomes very difficult in terms of, like, with diversity--especially in animation because it’s in its infancy almost in terms of branching out and also being able to represent different areas--was there ever a time where you thought you actually wanted to make it more explicit who they were and where they came from and their backgrounds to, sort of, just to make it more, kind of, like, obvious where they’d all come from? Or was it always just you were going to allow that-that breathing room, that space for people to kind of look at these characters and maybe take a piece of them to sort of represent themselves? Like was there more of, like, an openness that you wanted to take with that diversity or was there ever, like, specifically in your head that you wanted to try and say more about it but the story just didn’t allow?

JDS: Yeah, I mean, well, there was little cues, right? So there was, like, an episode where Lance sort of said he missed Veradero Beach, and like, he sort of, you know, we had like small little homages to it. I think, you know, for us the big one obviously was Shiro, and we had a different story planned for Shiro. And when we explained his backstory and-and, you know, we were showing he was, you know--this wasn’t ethnic diversity--but we were trying to have some representation with-with LGBTQ+, and that, you know, we might’ve been pushing a little too early, too soon, for where maybe the-the studio or the industry was-was comfortable at the time. Um, and so obviously we-we had to divert that story. But I think we didn’t want to put too much import on anyone’s ethnic background. We wanted them, we wanted people to be able to find what they found appealing purely based on-on-on character, on-on the content of the individual character’s character. So it was-it was vague, we-we, you know, and it wasn’t intentional, it just, it wasn’t a focus of ours to make it overly explicit that they were--you know, Keith. Nobody knows where Keith landed in terms of anything.

LM: Yeah. It’s always, it’s-it’s tricky because the thing that you risk I think by super nailing down a character, is you can make one group really happy, but then you can also exclude a lot of other groups. And we-we wanted to--we would’ve loved for everyone to be able to be represented but couldn’t have, like, a million characters in this show, like, with large talking roles to feel like everyone really got their due. So what you oftentimes have to do is realize you have to create these characters and hope that people can see themselves in them. And sometimes the more--I mean it even happens with story, and like some of our crazy space magic stuff: the more you nail it down and explain it, like, kind of, the more the magic is taken out of it. And I’m not--I don’t want to say that’s for every situation ever, I think, I hope that everyone gets explicit representation somewhere, somehow, and hopefully in the coming years there will be so much representation across the board that no one will ever feel left out because they’ll be able to see themselves somewhere. But this, you know, we just had one show and a limited amount of characters to do it in, and so I think we didn’t want to nail down every one character so specifically to make anyone feel like absolutely “you are not in this cast”.

JDS: Right.

MM: So, out of all the characters, who did you feel had the most obvious representation other than Shiro?

LM: Huh, I, uh, I guess I would just say, just, Lance because Jeremy said he was Cuban and everybody was like, “He’s Cuban!” You know, it was a celebration, but I mean beyond that I know, like, I think Pidge was, like--we wrote in the bible that she was Italian, but like, that was never really, like, a thing ever--and I don’t even know if I would fully categorize her as that.

JDS: I wouldn’t.

LM: Yeah, I think that we really didn’t super nail down much of anyone.

JDS: Yeah, I mean, we just, you know, just tried to create a cast of characters that visually you could tell were from different backgrounds.

LM: It’s tricky ‘cuz there’s just, there’s--sadly there’s a nasty part of fandom out there where people will say, “You can’t cosplay this character unless you are specifically, like, the exact look of that character.” And we just don’t-don’t always want to give fuel to that sort of fire.

JDS: We want everybody to be able to find something that they appreciate and that they can latch onto about the character of all our characters.

MM: Okay. Like, I was thinking, like, Ezor and Zethrid. They kinda looked like they ended up together.

JDS: Sure. Okay.

MM: Okay.

LM: Oh, you want to talk about that?

JDS: You know, we’ve sort of talked about it in-in the past. We’ve-we’ve talked about it in-depth in the past. There was specifically with LGBTQ representation, I think there was a line within the studio and within the industry as a whole when it comes to shows of this type, which are sort of, like, traditionally marketed to be, like, boys toys, action/adventure, 6-11, which are, like, kind of these-these buzzwords that-that go out when you’re creating these things, um, where, like, characters on the periphery are fair game to some extent.

LM: They’re less-scrutinized.

JDS: They’re less-scruti--yes, less-scrutinized.

LM: Especially in a, in a boys toys, uh, show, if they’re female characters, they’re definitely less-scrutinized.

JDS: There’s just less import put on them in terms of they’re gonna sell a million toys. Um, and that’s--

LM: That’s a sad reality.

JDS: That’s a sad reality. And one, I will say that on a positive note is changing. And I truly believe that, like, we’re entering an age with animation and IP, if you look at something like Overwatch--

MM: Right.

JDS: --you know, which we, again, we sort of used as, like, this, like, barometer when we were pitching out storylines to the executive branch and-and at that time it was like, “Well, that’s a video game, and that’s meant for teenagers,” and that’s--you know, they were looking for-for reasons for us to not to divert or to change course. And you know all-all within, like, from sort of a business perspective you can kind of see it through that lens and go like, “Okay, but I mean, guys, this isn’t really a big deal.”

MM: You just made a show for all ages, right?

JDS: We made a show for all ages, but we were broaching subject matter for, you know, for kids to sort of, like, you know, maybe think about. And that’s something that we hang our hat on, I mean we did it on Korra I think really, really well and I think Mike and Bryan were-were pioneers with that and-and-and taking an IP that allowed its audience to age up with it. So we were sort of hoping that the audience had been on for long enough that they were like, evolving along with the show. But, you know, maybe we pushed a little too hard too soon. I think Ezor and Zethrid were clearly not, you know, uh, characters that were, sort of, front and center enough for the studio to, uh, to have any worry about.

LM: They weren’t quite the characters that, I think, they were kind of hanging the franchise on, so, uh… And that-that’s the thing is like, you’ll get a lot more freedom with some kind of side characters than you will a lot of times with the main characters.

GT: Yeah.

JDS: Keep in mind, guys, like, the other reason, you know, that Shiro stuck around was because he was the soldier character that was meant to sell a ton of toys. So it was like, “You can’t kill this guy because he’s like our, he’s our Optimus Prime. He’s our Duke. He’s our, you know, Liono, he’s our main guy. He’s our, you know, He-Man.” And, you know, that’s from a business perspective, like, if you’re sort of, like, looking at this thing without any, like, sort of social structure around it, like, it’s-it’s an ugly truth that sort of presents itself. That’s, by the way, part of the reason we wanted to use him as, like, the leader that sort of, like, allows the other character to sort of fill that position and rise up. It be-it became a, uh, uh, a strong throughline for Keith’s character to live up to his potential, and we did that to some degree, but we had to adjust the story.

MM: Yeah, well you had them saving each other constantly throughout the course of the series.

JDS: Yep, and it was, hey, it was one of those changes we, like, think totally, like, helped the show, so it’s...

LM: Yeah, it’s part of the job.

JDS: It’s part of the process.

LM: When you get a change, like, you know, you don’t just just kinda stomp your feet and storm off, you just, you try to make the best story you can, so ultimately when we get the note “Shiro has to be in-in the show and--forever”, then we don’t just be like, “Well whatever, we’re just gonna write him out of these episodes and treat him like-like nothing.” No, we’re gonna find a way to make his story still very important to the show and we’re also going to find a way to not disservice Keith and just make him--I mean he could’ve been season 1 Keith the whole series, where he just barely does anything, but we didn’t wanna do that. We always had, um, you know these ideas of him rising to be more, and so how do we service both of those characters? And we just kinda had to roll with the punches and-and hope that we were able to do so in a satisfactory way.

DA: So was that a huge thing, like the-the perception from the, sort of, toy companies of him being, like, this really stereotypical macho, kind of, symbol? Was that a huge reason why you kind of started to subvert that? Or was that idea always in your head, or the back of your mind for what you wanted Shiro to be around the time when you found out, like, he wasn’t going to be leaving the show? Like, when did that shift and when did he start to shift into the character he then became further down the line in terms of, like, showing his disability representation, but also you know, the queer representation as well? When did you start to, like, try to fold that in to kind of, like, subvert that macho hero perspective?

JDS: Uh, I mean, you know, I think the subversion, that’s like an aspect of it. We-we absolutely, you know, sort of knew we wanted to work in, you know, queer representation into the show. It was just, for us it was a matter of when and we knew we had to, like, try to--I don’t know--ingratiate ourselves, make sure that we were doing the show that the studio was happy with before we broached it because we knew it was a big deal, uh, for the studio and kind of for this genre of show.

LM: Yeah, and-and specifically in this genre, like, there are things that I-I’d always hoped we’d be able to do with the show that I definitely didn’t put in the bible ‘cuz there’s this kind of unspoken rule where if you push too hard too fast, you’ll probably get a no. But if you prove to them that you can make them a good show, and then you ask for it, like, once you’ve proven yourself, there’s a better chance that you’re gonna get a yes.

JDS: Yeah, you’ve sorta got a track record behind you.

LM: And so, like, I had, you know, always had these ideas of like, what if this-this macho guy was actually queer? That was about the time when I came across the bury your gays trope and I realized, “Oh, that’s not something we wanna do.” I knew what we needed Shiro to do in the story--which was we needed him to kind of exit the story--and so it was like, “Okay, well, you know what, let’s not do the representation through Shiro, let’s find it in another character somewhere down the line. We’ll move forward with this story.” And so then when that--

JDS: And this is still when we were still under the assumption that Shiro was not going to be in the show.

LM: Yeah, this was literally, like, development before we were even full-time in-house at DreamWorks working on it.

MM: Mm-hm.

LM: When, you know, we come in, we’re working on the show, and then at some point we get, y-you know--

JDS: The mandate.

LM: The mandate that, like, he’s gonna stay alive and that’s when we started thinking, “Okay, well then, we can--some of the things we’d taken off the table we can actually do again.” So we weren’t necessarily working them in hardcore from season 1, but I mean you’ll notice that, you know, Shiro isn’t, like, wink-winky eyein’ at any ladies, he’s always just a very respectable man. We knew his, I guess his sexual orientation was not something that needed to be explored in the first season, so it left that door open to us.

JDS: But yeah, I mean, I-I think the important thing was that, like, even in our original pitch in which, you know, Adam wasn’t part of the Galaxy Garrison, and-and doesn’t die in Earth’s invasion and all that sort of thing, like, the idea was to show representation but not--i-it didn’t affect Shiro’s character in any way. He didn’t-he didn’t act any differently, he didn’t fall into any of the tropes that you would, you know, in shows like I had growing up, like, a show, like, you know, for instance like Three’s Company where it was like, “Oh, Jack Tripper is pretending to be a gay man, so anytime Mr. Roper comes up he’s acting super effeminate.” Not that there’s, you know, anything wrong with acting effeminate, but it was its own trope. Shiro was sort of, like, bucking-bucking that in our eyes.

DA: So with that, obviously, you know the story changed with Adam and Shiro from what you originally envisaged. When in the development stage, like, when did you get the go on that? Like, when did you get the yes? Was it when, like, was season 7 all wrapped? Was it already done? Was it already, like, in the show and then you had to, like--

JDS: Yes. Here’s the weird thing, right? So this is--I’m gonna give you a very, very loose sort of fast and dirty breakdown of how it went down. So, we had a pitch for Adam and Shiro. It made it all the way to, like, storyboards. It made it through premise, through script, through storyboards. It got storyboarded, it was like a day out from shipping. And then, you know, we got called into a conversation where we were told we couldn’t have Adam and Shiro in a relationship. So we’re sort of in this weird position where we’re like, “Okay, well, let us pitch you, like, a version where, like, maybe they’re not saying things that are so explicit,” and maybe, you know, we can adjust the dialogue. So we pitched that back, and that sort of got rejected again. And at that point we were a little confused because, you know, Overwatch was out, and-and Steven Universe was obviously taking off, so we were sort of pointing at those things and-and we were getting pushback because it was like, “Well, you guys aren’t creator-owned. This is a show that’s, you know, more boy-centric, like, 6-11.” And I know this, it-it sounds horrible, but these were the excuses that we were hearing back.

MM: But by that time you had known who your audience was, right?

JDS: You know, we did, but-but the marketing machine that’s behind a show, like, those millions of dollars are spent and are going in a certain direction. And for us to, like, and… they’re millions of dollars, like, so from a company perspective, like, we were making a show that was diverting from maybe its original purpose. And that’s me, you know, sort of just looking almost from the outside in as much as inside we were. That-that’s all we could sort of take away from it. So we were given-given, like, notes on how to revise the scene, we salvaged as much of the staging as we could, so like the original version had a lot of the staging the same, but they were in an apartment and not in the Galaxy Garrison lounge, and you know, Adam was changed to be like a flight partner and so, you know, make it very much like a Goose and Maverick relationship. That got produced. That got made, the entire season got made, and we were well into making season 8 when the door sort of squeaked back open, um, and at that point I want to say Shiro was at least in development. And I think--She-Ra not Shiro. She-Ra. She-Ra--within, uh, within the studio, and I think the studio was just, sort of, beginning to sort of open its eyes to-to the possibilities of there being representation in their shows and there not being a huge backlash, a huge public backlash, for it. So they said, “Hey, maybe you can revisit that scene.” Adam’s, you know, fate was already sealed at that point, unfortunately. And so we had this decision. Do we revise the dialogue and have some level of representation versus no level of representation? And we had to make that decision really quickly and we decided to do it, hoping that confirming a character, being able to say that publicly, would, you know, make some in-roads and at least open more doors in the future for shows of this kind. And you know, obviously things turned out the way they did. We were very aware of-of the trope of bury your gays, but we thought that this was, uh, uh, a more important step to take. I think, we’ve said it before, like, our biggest, you know, regret was going to Comic-Con and making--

LM: Yeah, we--and, though the problem is we worked in animation a long time. We’re very used to that idea of, like, some progress is progress, like, small steps, like, you know, like... I’ve been--I’ve been campaigning for, like, more female involvement. I got two ladies in a main cast of seven, that’s-that’s nowhere near equality, but I was doing, like, backflips because, you know, every--any other time it could’ve just been one token female. We’re used to kind of those baby steps and and taking what we can get and appreciating it. We can’t expect the public to understand that, and that was where we kind of lost sight. We thought, uh, our excitement w-would, you know, I guess, somehow--

JDS: Carry through.

LM: --carry through and-and I think it was kind of like a snap back to reality, for me for sure, just realizing, oh yeah, like, we’re the people who’ve been in, you know, like, the pitch-black room for five years, and then we get, like, one window cracked open. And then someone comes over and is like, “Why are you in this pitch-black room, this sucks.” We’re like, “No, no, no, that window that’s cracked open this is the greatest room ever!” Like, you know, it’s-it’s sadly we’ve been, I guess, a little… our views have been skewed.

JDS: But I-I-I would say this, too, that, like, if given the choice again, I-I d-I don’t know what the right answer is. Like, I wanna say we’d make the same decision again because it’s the choice of confirming a main hero character, or nothing at all, like, that’s kind of the position we found ourselves in.

LM: Yeah.

JDS: Obviously, guys, if we could learn from this, and, like, go into, like, Voltron 2.0, or go into, like, next show 2.0, the assumption is that you would-you would have that built into the character from the get-go, and you would-you could--everybody would be on the same page.

LM: Yeah. You would-you would get signatures so no one would change their minds.

JDS: Yeah, it wouldn’t be a thing that y-you sort of had to, like, wait to ingratiate yourself to the studio with, and all that. So--but I think, I think we’re getting to that place. I think the industry is getting to that place. It sucks for us personally that we had to take lumps along the way and we wish we could’ve done things better, but, um, and in our case--and in that situation--it was sort of like…

LM: Yeah, we made the only choice we had to make, and we hoped, uh, that it would mean something to someone.

JDS: Yeah.

MM: Alright, so, you guys had a lot to deal with there. You had a marketing machine that was marketing to a different audience. During the course of you working on the show, DreamWorks had been bought out by Comcast, so Universal became y-your parent company, right?

LM: Yeah.

JDS: Yup.

LM: Yeah.

MM: So there were things that happened that--there were deals that were already made through DreamWorks when it was just DreamWorks, and now there were changes being made as a result of Universal coming in. So there were a lot of hands in the till--I’m sure there were a lot of people that gave you notes during the course of production and everything--and you had to take it all into consideration and still come up with the story you wanted to tell.

JDS: Well, I mean that’s kind of the case on any show. I mean, this was a lot because we were such a product-driven show, but-but as a showrunner, when you’re working on existing IP, that’s kinda par for the course. This was another added layer on top of that, obviously, we were broaching subject matter which, like--again, in, like, Steven Universe, I think Rebecca’s said that she dealt with her own version of this and that was on a creator-driven show. And Korra was obviously able to broach the subject matter at the very, very end of the show, but that was not--that was not the understanding of the show, you know, while it was in production, that was something that happened at the very end. But again, we were in a-in a unique situation in that, like, you know, we were-we’re working on this IP that-that is, it’s not our thing. The other element that we had to contend with, you know, Lauren and I had this moment where we kinda, like, were like, “Is this something we, like, walk away from?” And that’s not really on the table either because we had a crew there. Because we had, honestly like, investment in the quality of the show that we made up to that point, and to sort of hand that over to somebody else, it was just--

LM: Yeah, it’s just a matter of, you know, there’s the obvious way where you ask for a thing and, you know, you don’t get it, you get mad, and you leave. But we’re, I think, just much more accustomed to just as-as professionals, you ask for a thing, you don’t get it, you try to make the best of what you’ve got and you find a way, like, I’m sure there’s a version where it’s so dire and so awful that it’s nothing near the show that you wanted it to be and then you-you walk away. But we felt like we could still send the correct messages. Like, even if, if we ended up with, like, a hard no, no representation situation, we could still at least try to send positive messages through the body of the show if it weren’t through an individual character’s representation.

JDS: Right. I-I think our-our big lesson, too, was, like, “go all in or go nothing at all”. Is that our takeaway from this, or, you know it was just a lot to learn from the entirety of the experience, so it was-it was a big stew. There was a lot of moving parts. And that’s not to take away from-from anybody being, like, hurt or even worse, you know, offended by, like, how things shook out. We’ve learned from everybody’s reactions on this subject matter in particular, but it was--that was the truth of our circumstance.

MM: Okay.

GT: When you guys, uh, were researching Voltron, I mean obviously the two of you had seen some of Voltron back in the day, but when you were researching this IP--which had been more or less dormant for quite a long time--how did you go about doing that, aside from watching the show? Did you, you know--for example, you know, the pilots’ uniforms didn’t match the colors of their lions. Was there some research involved in figuring out what was done back then and how you wanted to address it in the new show? Something like that?

LM: A lot of it we just kind of followed our gut. Like, we definitely, I know I watched the old show, I watched Beast King GoLion on Crunchyroll of all places and just got myself refamiliarized with the show. One of those things that was always kind of confusing to me was, like, the differences of the pilots’ uniforms. And we looked at, like, comics and-and other, kind of, shoot-off material that had been done for Voltron and they had, I think even Voltron Force, they kinda changed the colors of the outfits to match the lions, but you know, that was, I think just, you know, me, I know my personal opinion and, you know, Joaquim feel free to jump in if you have differing opinions.

JDS: I agreed with you ‘cuz we did it.

LM: We did it! Like, I, I had always imagined, like, I think because as a kid I had, I had attached the characters more to their colors than to their specific lions, and in my kid brain I didn’t even realize, like, I had to kind of relearn that, “Oh, the red guy’s in the black lion, not the red lion. And the blue guy’s in the red lion, not the blue lion.” Because I know the pink girl’s in the blue lion, because that’s the one thing I remember. And so, when I would see, like, the comics had changed their outfit colors, it always felt weird to me, ‘cuz I, I had identified those characters so strongly with their colors. And so we kinda came up with this storyline that ultimately, you know, we liked because it progressed the characters, it didn’t keep them--we didn’t wanna be the-the show that did everything kinda like, nothing ever changes, everything stays the same through the whole show. And so this idea of the characters starting in one lion and then progressing to the next, but keeping their, their original colors and then ultimately in my happy child nostalgia place getting us to the original, like, Voltron line-up was something that, I don’t know, I was really excited about.

JDS: Yeah, I mean it was, it was a cool way to sort of, like, you know back into the familiar for, like, old fans, um, but I think that’s the really unique thing about Voltron in general. It’s such, I mean you guys are-are well-versed in it, but for a-a vast majority I’d say of the fans that grew up watching it when they were kids, it’s this foggy show that you had, sort of these, like, big pillars that you could latch onto in terms of what you remembered about it, but putting all those things together didn’t always necessarily make sense, so… I mean I remember at some point even when we were, like, in the early days of, like, making the show, I made this huge, like, mistake talking about Shiro and Sven and it was... I remember both Lauren and Tim correcting me like, “No, dude that just wasn’t the case” and I was like, “Really?”

LM: Yeah, like, Joaquim at one point he was like, “What, Sven wasn’t in the black lion?”

JDS: And he wasn’t and it was like, “No,” and I was like, “Really?” And I’d already done the research and I’d somehow again sort of undone and gone back to what my child brain remembered.

LM: But yeah, I mean, even looking at that old art, when you look at Sven’s outfit, he has, like, the black outfit and he has this gold trim.

JDS: He’s got the gold trim, man!

LM: He feels like he should be the leader. But it’s like, he’s got that special gold trim that no one else has, but it’s just kind of a weird thing.

JDS: But he was also kind of emotionally, like--

LM: He was kind of like, you know--

JDS: --kind of the big brother. I don’t know.

LM: He was--Keith was your standard kinda 80’s hero/leader guy, but, I mean Sven was the one who, like, put his life on the line to protect Lance, and so he was always the guy that I respected a ton. And I just appreciated that character.

JDS: He’s just, he’s just--yeah, exactly.

GT: Yeah, that makes sense. And another example--and I’m not just listing that as, like, the thing, but another item--I mean, clearly Voltron’s design was revised. One thing that disappeared was the emblem on the-the chest with the cross, which you know, you know, there in GoLion, there is an implication that there may be some, uh, western cultural impact on the planet Altea just through some of the gestures in the earlier seasons wherein the presence of a church on the planet and things like that. Was the thought to revamp this design, was it just to give it its own, its own distinct look? Or was it, was it sort of looking, “Wow, what is this here for? Does this-does this symbol mean anything in this new version of Altea where these lions are made from a comet?” I mean, I-I’m just curious as to how some of that kind of stuff--not just the uniforms, not just the emblem, but those sorts of things--as you look at the old stuff going, “Hm, what can we use, what can we discard?” You know what I mean?

JDS: Well, I mean, I think there’s the want to avoid sort of, like, the-the inherent, sort of, religiosity of it all.

LM: Yeah, well, like a huge part of it is just as we’re creating this story, we’re making an Altea that Earth doesn’t know about so no Earth symbolism should really show up over there. We kind of had to just jump the shark with lions because we’re like, “How do they know what lions are?” I don’t know. Nobody knows.

JDS: Hey by the way--no--but we pitched an idea.

LM: Did we?

JDS: We did. Where, where, uh, we show Alfor on, like, his sojourn and it was like, we show Alfor on his sojourn to, like--

LM: I think we were trying to, like, have some sort of time-travel, or-or was it, like--

JDS: No, it was like we see Alfor doing cave paintings on Oriande or something like that--

LM: --like he saw cave paintings that were lions or something, I don’t know.

JDS: --but he saw the mythical creature on Oriande and that gave him the idea--

GT: The guardian?

JDS: --to make their likeness. But we also pitched a really bad version where it was, what was it? It was like, I forgot what it was, like they go to Earth and they see, they see a lion, a real lion, and they go like, “Oh my gosh! It’s a,” I don’t know, “it’s a mythical whatever whatever!” And they’re just like, “No that’s just a lion.”

LM: Yeah, I don’t know I just think--

MM: I’m glad it wasn’t five yelmores.

[laughter]

JDS: That’s right.

GT: Oh my.

LM: I tried to pitch like, the hoobajoob idea that the comets, they’re like lions with trailing manes and I think Tim just looked at me like I was on some hippie shit.

[laughter]

JDS: But a lot of that stuff, I will also say is just kind of the randomness of how, like, these shows were created back in the day. I don’t think any of the creators of the original Beast King GoLion put, you know there was obviously thought put into it, but I think sometimes it was like, “That’s just cool” or “that’s western iconography that we find appealing, let’s put it on there,” you know. A-and working within that or-or sort of figuring out what to keep and what to lose, you know, we lost Voltron’s lips ‘cuz it creeped us out, like, cool in the show. He looked kind of Egyptian, you know?

GT: Yeah.

JDS: So… yeah.

GT: Yeah, that makes sense. A-a-and you’ve just mentioned cave markings, which leads to another question I had which was a story point in the very first episode, or the first, the pilot showed that there were cave markings in the hiding spots of blue, yellow, and green lions at least, if not also red wherever the heck it was. But Keith had been studying the markings and-and they told stories about a blue lion and had clues about an arrival, and-and it seemed like that night might have been when the arrival had been foretold, and of course on that night Shiro crashes to Earth. So what were the thoughts about who made those cave markings and when?

JDS: Yeah, I mean, so this is where we get a little loosey-goosey. Um, but, you know, I think the idea at the time was, like, you know, civilizations rose up and fell around, around the lions and-and those were sort of the remnants of-of maybe, I don’t know, maybe somebody interfaced with the lion on some level and could, could figure it out? We-we kept it super loosey-goosey. The same thing that, like, the most loosey-goosey of it all was, like, going into Keith’s shack and the frequency lining up with the, with the formation of the rocks and the mountains. That was--

GT: Yes, Fraunhofer lines.

JDS: --none of that makes any sense. It was just visual tomfoolery.

LM: The long story short is we tried to work something in there, and then we got, like, focus-test notes that was like, “Kids are bored, make this scene shorter.”

JDS: Yeah.

LM: And then we cut out a ton of stuff and it ended up being like, “I got these vibes, and then you landed.” And then we never went back, a-and yeah.

JDS: We had, we had a kind of thorough explanation for, like--

LM: We tried. We did.

JDS: --but it was, even that was still loosey-goosey and anytime you’re putting, you know, a suspect board up and you’re tying things with-with red string, like, good luck. I don’t know. That’s all I got to say.

GT: That makes sense to me. [laughter] The answer is “because.”

JDS: Yeah.

LM: Yeah.

GT: That works, that works.

LM: I would’ve loved to be able to have everything figured out on, like, a Star Trek level, but I’m telling ya right here--

GT: I’m work-I’m working on that, Lauren. I’m really working on that.

JDS: Much in the same way that we had to work around the loosey-gooseyness of the original series, maybe somebody will have to take these things, these wacky ideas and just make sense of them.

LM: Yeah maybe someday, someone will, like, fix our mess up.

GT: Ah, you didn’t mess that stuff up. It’s fun stuff that just gets me thinking, worldbuilding and all that stuff.

DA: So, obviously when you went into the epilogue in season 8, I’m bringing it back to, like, the Shiro and Adam thing.

GT: Yeah.

DA: After the response to season 7 and then moving into season 8, when you did eventually get the sort of “go ahead” to move into the epilogue and show Shiro getting married, was there ever a consideration that potentially Adam may not have died? Was there ever a consideration that you could have brought him back, mostly because with the chaos of, like, the war when you got to, uh, was there ever in the back of your head a thought that you might be able to revisit that original storyline a-and bring that back too and end that way?

MM: Can I suggest something?

[The others make noises of assent.]

MM: Okay. You brought back Daibazaal and Altea, so if they could come back, couldn’t Adam come back?

LM: Well, I-I’m gonna an-answer Donya’s bit first, I think the-the issue that we ran into was we had basically made this whole story on Earth where, you know, it was, the whole story was made, kind of, without us really having access to, to that relationship. And so bringing Adam back when he was essentially killed off as a straight man, it was not something that we had any need to do during our time on Earth. And so I think to bring him back at the end would’ve--in our story minds--just kind of, uh, brought up those questions of where was he that whole time. You know, “Why-why didn’t he show up in the rebellion?” sort of deal. It just seemed like it was a pretty far jump to go.

JDS: I will say this, too, like, as much as the door squeaked open on how we could revise the dialogue between Shiro and Adam, you know, I think to, to speak to some-some of the fandom’s complaints even about that scene was that the dialogue wasn’t necessarily explicit even in our revision. And that was, you know, due to, like, what we could and couldn’t say, uh, between the two characters. So even though the door was open, um, it was, it was squeaked open, um, and by the time fan reactions started coming in we literally had, like, a month left at the studio. A-and this is-this is just, like, the sad truth of it. So when the studio realized that we’d all collectively stepped in-in a huge mess, you know, th-they put the ball in our court and said, “What do you want to do?” And we said, “We would love to be able to confirm on-screen a-and make it very explicit and, and also play to the fact that Shiro was able to find happiness and was able to sort of find that balance that, that even in the Adam and Shiro, uh, storyline he wasn’t able to kind of find.” So that’s how we, that’s how we arrived there, I think, to if we were to introduce Adam, it would have left… I don’t know. I’m thinking of it purely from a story perspective, like, we would’ve had to have an epilogue that almost ran an entire episode long to, sort of, see him survive the wreckage and then… I don’t know. I-I-I don’t know. I-It wasn’t, it wasn’t something that came to our heads. So to answer your question: no, we didn’t really think about it because in our brains Adam was-was gone.

LM: Yeah, and to answer your question, Marc, it--this was never directly featured in the show, but our-our kind of personal logic when we were making out that scene of Allura making the sacrifice and kind of rebirthing some of these planets. Our-our thought was she was able to, through, through her actions, give life back to any planets that had been taken, kinda, before their time. To give back to that land, that quintessence-kind of-formed landmasses. And so any planet that had, kind of, died because it lasted its life cycle didn’t come back, but Daibazaal met a premature death. Altea did, even Olkarion. Like those planets would come back, but we kind of drew the line at souls. She couldn’t necessarily bring back a lost soul. That just seemed a little too god-like for us.

MM: So did that include any planet that had its quintessence removed by the Komar?

LM: That includes the moose planet!

MM: Oh, wow!

JDS: Moose planet makes a comeback.

MM: Okay.

JDS: But none of that is to take away from, sort of, like, you know, the seriousness of-of the question that you asked, Donya, because you know, look even, even in crafting that epilogue, like, i-it was done at the end, it was done as an--as an appeal to this amazing fandom that we garnered over the course of the series that we knew was there from-from, especially from working on Korra, but we just didn’t know it was going to be--and I think the studio definitely didn’t know it was gonna be--so prominent. So, we wish, believe me, had our original story, sort of, been told the way we had initially, you know, conceived it with Adam, and he wasn’t shown dying in a-in a battle, you know. We’ve discussed where we could’ve taken that story, you know, with like Veronica returning with the rebels and then Adam being part of that and there being a reunion, but like, it’s like weirdly armchair-quarterbacking something. Some of that that never took place.

MM: Mm-hm.

JDS: So it’s tough for us to kind of reconcile those two things. There’s a ton we would’ve done differently had we been given the opportunity, but we tried to make the most of the opportunities that were given to us. And that’s kind of where we landed on that.

MM: I know you guys probably haven’t listened to our, our episodes, our podcasts, right?

LM: Um, not all of them.

MM: Okay.

JDS: Yeah. I definitely listened to some of the key ones.

LM: I’ve been off the grid for a little bit for the past few months, so, uh--

JDS: Yeah, we disappeared.

MM: Okay.

LM: Been trying to get some, uh, some house, house stuff done, so my internet has been on and off.

MM: Alright. In response to what happened with Allura, I had an idea that there was a concept that was established at the beginning of Beast King GoLion that there was this goddess or queen of the universe and I was thinking, you know, that Allura had made this sacrifice, had brought back all the realities, had brought back Daibazaal and Altea, and basically saved the universe. This sort of makes her, you know, on a new realm. She is sort of the keeper of the stars, the caretaker over all realities. And it seems like a role she would’ve assumed at the end there, especially since we saw the lions going to her silhouette. She basically risked everything to bring back all those realities. I was just wondering, when she said goodbye to Lance and he got those Altean markings, is it possible that she left a piece of herself on Lance so that if Voltron ever needed to return, she could return as well through leaving, like, a horcrux of herself on Lance?

JDS: Uh, I mean, horcrux is the first I--I don’t even know what that means.

LM: That’s a Harry Potter thing.

JDS: Oh. Okay. Sure.

MM: It’s that Harry Potter thing where Voldemort had split himself up into seven different objects and as long as at least one of those objects was still intact with the horcrux, then he could come back.

JDS: Cool.

LM: I like all of that, and I’m gonna say you need to pitch it to whoever makes the next Voltron.

JDS: Yeah. I think the big thing was that, was we were just trying to leave, you know, with, with as much as we wanted the sacrifice to resonate in terms of what it means to give yourself to a cause, I think that post-credit scene was very much that, was the door being left open to, you know, the symbols glowing, to Lance feeling a sense that Allura was out there, to the lions going out.

LM: That she was somehow speaking to him through the lions.

JDS: Yeah.

LM: And then the lions leaving to, you know, whatever reason. If it’s told them their job is done or if it’s to go do something else, and then ultimately we see them heading toward that Allura-shaped nebula. Like, I always kinda had the story in my head was that her quinessence was ultimately kind of reforming and coming back together and we don’t know how long it’ll take, but one day, ideally, Allura would be reborn and the lions would be there to pick her up.

JDS: And I’m gonna pitch this here for the first time.

LM: Okay.

MM: Okay.

JDS: The lions go to the nebula, they merge with the nebula, become a sort of vision-like Allura deity being that comes back and we’ve got a mega-robot Allura godlike supercomputer--

LM: Yeah, and then she is Space Angel, which I think is what you were trying to say.

JDS: Exactly, she becomes Space Angel.

MM: Okay. You guys also mentioned that you pitched an ending that might’ve included some of the main characters being killed off.

JDS: All of them.

MM: Yeah.

LM: Well, yeah, well, just in, you know, in that, uh, very Voltron-like teamwork scenario, we always liked that idea of that ultimately Voltron the robot was a weapon and that it was a very powerful weapon and that all--so much of this war was basically came about because of that weapon and Zarkon’s, you know, looking for that weapon, he wants this power back. And the idea of if they take that weapon off the table will the universe be a better place? And so in ultimately having to make the sacrifice that they would have to make, they would also be, you know, taking that weapon off the table. And honestly, like, in doing that, when you have all of the characters kind of exit at the same time, it just kind of leaves the door open for anyone with an imagination out there to immediately write them all right back into the story at any point if they just want to boink ‘em out of, you know, wherever it is we sent them.

JDS: Yeah, I’m thinking of Infinity War. Uh, but you know, I’m also--it, it’s funny, like as we talk about this stuff, and we sort of, like, make comments off the cuff and say, like, “Yeah at one point they were all gonna die,” that’s not to, like, take any of the import of what that means to, like, a fan watching it or people who’ve invested their time in the show. Literally, like, when we’re in the writer’s room, everything is on the table. Um, so we-we-we talk about, like, all options.

LM: Yeah.

MM: So there was, was there a happy ending option?

JDS: That, that was something--I mean I’m sure there was an option where it was like everybody lived and everything was happy a-and Lance and Allura had a baby, or, you know, whatever. We wanted to make a show that ultimately demonstrates that there are consequences. As fantastical as the show gets, as crazy as the show gets, that there are consequences and that sacrifice can be meaningful. So, I don’t know about you guys, but like, I know I’ve lost people that are very important to me in my life. The lessons they taught me live on through me and live on through my, my child now, like I pass those lessons onto my child. That’s an important message, you know, and that’s an important concept for people, I think--especially kids--t-to understand. It stinks to lose somebody, but it’s important to honor their memories.

MM: You solidified that pretty much in “Day 47”. One of your storyboard directors from Studio Mir, Seok Jin Jang, you paid tribute to him in “Day 47”. That was really cool.

LM: Yeah, yeah, we lost Seok Jin during the production, um, it was amazing, he actually got to work on every episode up until the very end and it was incredibly unfortunate that shortly after, you know, he finished storyboarding that last episode he was taken from us. And it-it affected us all pretty badly, and the directors specifically--because they had worked so closely with him--and he was just such a shining light of happiness and positivity. He was so unbelievably talented, that when we lost him we just felt like we’d-we’d lost something that we were never going to get back, and that, you know, the world had kind of been robbed of this amazing human being, but, you know, we don’t get to, to write that story, that’s life.

MM: Mm-hm.

LM: And so we could only do what we could do, which was move forward and hopefully pay him some sort of tribute and know that he lives on through the amazing, you know, work that he put into this show.

JDS: And I mean, he really did. Some of, some of the key moments that you remember from the show are directly, you know, his doing and his point of view on how the story would unfold visually.

MM: Mm-hm.

JDS: And honestly, his memory, like, it-it’s cliche to say it, but his memory, you know, can live on through the art because he affected the show and everybody who worked on it so positively.

MM: Right.

GT: That’s very cool. Obviously Voltron: Legendary Defender is very character-focused, moreso, I think, than the prior shows, certainly the original, where, you know, they always form Voltron, they always slash up the robeast, they win, end of story. It was very common. Uh, in this show, where we’re focusing very heavily on individual characters and the bonds that each Paladin has with his or her lion, was it hard to write scenes with Voltron itself, the robot?

LM: Well, yeah, I think you can see he-he didn’t come out unless we really needed him. Like, and he really only came out to kind of, like, fight things. Because ultimately, the robot hims--I say “himself” but it’s a robot--doesn’t have a personality, so there’s not really, like, character stuff to get from that robot. And, you know, it’s all about the pilots that are inside of it. And so, you know, we can definitely, like we know how to handle, like, those characters and to do those fight scenes inside of Voltron with those characters, but, but if we were just to make a show about a robot kinda running around, it, I think we would--it would be a struggle.

JDS: Yeah. And he’s, you know--ultimately he became the symbol of teamwork and so we-we tried to, like, set Voltron up as a symbol for the universe to kind of rally around. But yeah, I mean, you know. I wouldn’t say it’s tough, it’s just, it wasn’t--it didn’t become our fallback every single episode. We were more trying to tell, you know, character pieces. But, that’s also, y-you know, a path that can potentially get a bit divergent from the intent of, you know, where the show was originally being marketed towards.

GT: Oh, I see. Yeah, I was just, I was just curious because obviously, you know, you’ve got all these characters with all these character arcs, the main story arc, and all these different threads, and then, I-I mean in tha--in the context of that, I mean I’ve loved Voltron obviously since the original and all that, so you know, for me to say, you know, this sounds kind of silly, but i-in the context of the show being as deep as it often was, I just wonder if it felt sometimes like, “Oh, yeah, we better form the robot now.” [laughter] As a writer, you know what I mean?

JDS: There’s that, there’s other stuff that, you know, sadly as we were dealing with-with fallout from, like, disappointed fans over, you know, certain storylines not coming to pass, o-or things not happening, uh, from a character perspective the way they would want. Sometimes things like, you know, Voltron and the Atlas merging got totally lost in the noise of that and we--I will scream to the heavens to this day that, like, that was awesome. Like, they became a super-robot, like, come on people! Let’s give recognition to super-mega-ultra--

LM: Z-zenith, I mean, you haven’t used “zenith”.

JDS: Zenithtron. Yeah.

LM: But, uh, yeah, I mean we, we--at our hearts, they were more ships than they were characters, but we take great pride in our ships. We love the castle, we love the Atlas, and we love Voltron and the lions. The lions became, we kind of tried to make them into slightly more character-like with their abilities and--

JDS: Their personalities, yeah.

LM: --yeah, have personalities, but that was something that was-wasn’t, you know, in every other version of the show. That was something that we kind of threw in there for our show. And, uh, but we always try to respect it and love our ships as much as we could because we actually appreciate that stuff, too. We appreciate good design and interesting things and, like, you know, like, I frickin’ love the SDF-1 with all my heart.

GT: Oh, yeah.

LM: So, uh, you know, it-it definitely doesn’t talk and definitely doesn’t have a personality, but I appreciate whenever that ship is on the screen.

JDS: And it’s a symbol, it’s a strong symbol.

LM: Mm-hm.

GT: Mm, yeah. And I am totally enamored with the Castle of Lions. I love, love the original the original design, and I think I told Christine Bian when she was on the show that the Legendary Defender version is the only version since the original that I’ve absolutely fallen in love with. It’s just a gorgeous design.

JDS: Aw, that’s awesome.

LM: That’s amazing.

MM: I wish we could’ve had a Castle of Lions toy! [laughter]

LM: Yeah!

GT: Yeah.

[laughter]

GT: Back to consumer products. Give me a spaceship toy!

LM: Let’s get some LEGO Ideas people on that! But, uh, but yeah, there was always a concern, I think, in the consumer products side of like, how, how the scales would never match. You would have to make the Castle the size of a small building to make it actually to scale. But we’re not super sticklers on scale, I would gladly just had a really cool light-up, frickin’ sound-making Castle of Lions.

JDS: Just make it a ship. It’s a ship. It’s like a Star Destroyer. There are Star Destroyer toys out there.

LM: Yep.

MM: Yeah. That there are.

GT: Sure.

MM: Well, I’m curious about the release schedule of the different seasons. I mean, certainly the first 26 episodes came out 13 and 13, then the next 26 episodes came out in 6 and 7 episode batches, and then Netflix went back to 13. Do you know any reason why the, you know, the first change went to the smaller seasons and then why things went back to 13?

JDS: I don’t think we know the exact reasons other than, you know, it’s sort of emerging technology, streaming, especially at the time when we were still making the show, a-and and Netflix was trying to figure out who the audience actually was and all that. They were, they were just trying to play with different models, so…

LM: Yeah, a-and a lot of it’s just kinda trial and error and experimentation. I think they’d released some 13 episode seasons and I remember specifically them saying they wanted, kind of, they wanted, I think, more awareness of Voltron year-round, so if they could release episodes. There was even one-one pitch that we kind of chuckle about where they were like, “What if we release one episode every two weeks?” And we were just like, “That’s just like being on TV! What are we doing?”

JDS: Yeah, that’s just network TV, man!

LM: Like, this is streaming! The whole point is you can, like, release a batch. So, you know, they played around with it, it wasn’t ever anything that affected our production schedule. We were always just making these shows at a steady clip, and so we’d get a lot of questions about that, about, you know, “How did it affect production?” It never did. It was really just a matter of when they, kind of, chose to upload them to Netflix and in what numbers.

JDS: Yeah, it didn’t affect the production, but it affected us having to then choose, “Okay, well this feels kind of like a natural break time,” or “this feels kind of tent-poley” where you could leave on this moment, but they weren’t always the natural places we intended for.

LM: Yeah.

GT: Okay, that makes sense.

JDS: Yeah. But they-they’re figuring it out, man. I mean--

LM: Yeah. Clearly they figured something out, ‘cuz then they put us back to 13, so what’s up.

MM: Yeah.

[laughter]

MM: One thing I wanted to ask before you guys go is that there’s this petition out there that was signed by, like, over 30,000 people.

GT: Jesus.

MM: Uh, asking if there was going to be a-an alternate version of season 8. Is there such a thing?

LM: No.

JDS: No.

MM: Okay.

LM: Sorry, guys, we don’t have that kind of time or money.

JDS: Yeah.

MM: Right.

JDS: And you know, I mean, look. We made the best show that we could make under the circumstances given and, um, to serve an alternate ending, I’m guessing it would be to address, uh, Allura’s sacrifice and--

LM: Or Shiro.

JDS: --Shiro, or maybe, yeah, or maybe there’s-there was, like, the thing that you pitched, Marc, where maybe Allura undoes everything and everything resets. Er, I-I don’t know exactly what it would be. We heard all manner of--and again, Lauren and I tried to stay off of social media just-just to not deal with anything negative that was coming our way--like, we obviously heard people’s concerns, and took that very seriously, but we heard some conspiracy theories that there was an alternate cut and there was this, that, or the other. And I hate to burst any bubbles and this will probably only lend to more conspiracy theories, but there is no alternate cut to Voltron.

GT: That’s okay.

MM: There’s basically a Voltron version of the Kobayashi Maru, it’s-it’s an unwinnable scenario.

LM: Uh, pretty much. That’s pretty--we made the show that we believed in to the best of our ability, and you know--

JDS: And within the parameters given.

LM: --you can like it, you can not like it. And-and that’s it.

JDS: And that’s perfectly fine. There’s-there’s--that’s totally fine. Everybody can still get along in the world, and, you know. It’s all, it’s all good. We-w-we, we did what we could.

MM: We’ve been reviewing season 8 episodes. So in each of these podcasts we’re doing, we’re reviewing season 8 episodes and we’re finding that a lot more people, you know, like revisiting these episodes with us and some people, you know, talk about some things that-that maybe they didn’t agree with, but overall it seems like when you take it episode by episode, things are a little bit better than they had originally perceived.

LM: I mean that’s good to hear. I would hate for, like, one moment that someone disagrees with to, you know, I guess put a negative wash on everything because ultimately a lot of people worked really hard and put an awful lot of love into this show.

MM: Yes they did.

LM: I mean, that’s just kind of how--I mean that’s how we do it. We work hard, we try to make the best shows we can--that’s all we can do--and then we put them out for people to, to love or hate and to judge as they see fit. And that-that is up to them, and they are allowed to do it. But that’s kind of, that’s kind of where it stops.

MM: Yep. I gotta tell ya, out of all the Voltron versions, I like Voltron: Legendary Defender the best, so...

LM: Oh, that is high praise! Thank you very much!

JDS: Coming from an expert such as yourself.

MM: It’s based on my ideas that, uh, if I was to pitch another Voltron show I really would work off of Voltron: Legendary Defender’s characters because you built such an incredible universe, all these worlds, all these different, uh, types of, you know, alien races, and everything. Just an amazing thing, the Voltron Coalition, the Galra… Just… it’s very deep, very rich, and, uh, you know, thank you to y-your character designer, y-your props and background supervisors, and your color supervisors, your special effects and your sound people, and your music people, and all of your animators, and it’s just, wow. Incredible job.

JDS: Yeah. I mean, everybody came together to do, uh, I think something-something that hopefully, like, can-can be looked on in-in some years and people can-can still find appreciation and, and we’re just happy to have been a part of an awesome crew.

MM: Oh, definitely.

GT: Yeah, I want to second, I-I’m, I totally love Voltron: Legendary Defender, I mean I, you know for a-anyone to say they liked absolutely every aspect of any show, I can’t imagine that ever happening with any show. But I just love the show, it was, uh, i-it was very obviously made with a lot of love, a lot of talent, a lot of skill, and a lot of this found-family that we see in the show, in the fiction itself. So thank you both, and to everyone who worked with you bringing this show around, it’s just, it’s been a lot of fun.

LM: Awesome.

JDS: We appreciate it, yup. And you guys were totally paid to say that, so right back atcha.

[laughter]

GT: Oh yeah.

MM: Yeah, I don’t think people realize we don’t get paid for anything.

JDS: Yeah.

[laughter]

LM: Yeah.

GT: Donya, did you have anything you wanted to say?

DA: I mean I’ll just reiterate--

JDS: A-and Donya, if you want to end on a question, too, that’s fine as well, like--

DA: That’s okay, um, I mean I can always follow up with you on, like, anything, I feel like.

JDS: Alright.

DA: I don’t want to keep you too late. Um… [laughter] And you know how I get when I start asking questions.

JDS: Sure, rabbit hole.

DA: Yeah, basically. But yeah no, I do want to reiterate that because covering Voltron, and obviously I got on-board, like, on season 2 because I think when season 1 came out, I, I was, like, caught up in some stuff and I was away and basically didn’t pick up immediately, but it really has been almost a life-changing experience for me, as well. And I think without that, and without, like, everything that came with it, like I’d be in a really different place, I think, than I am right now. So it has been, like, such a huge part of my life for, like, the last few years and especially, like, quite formative in terms of, like, where I was because, like, I turned 30 as like it was coming to an end, or close to an end, and it just, like coincided with, like, this weird switch and change in my life, as well, and there are pieces I’ve written, like coinciding with the show that had, like, hit really emotional personal beats that are, like, that’s always going to be a part of my life now, so it’s just… yeah. I guess, just thank you for that because without it, I think the last two years of my life would have been very different. And there are people that I would’ve never met without it, like, you know, Marc and Greg included, you know--

GT: We love you, Donya, you are the best.

MM: Yeah.

DA: Yeah, I love you, too. Um, you know, there are people that I reconnected with in my life, friendships that I reforged that had sort of come back around because our paths crossed again because of Voltron. So, like, in, like, big ways and in little ways, like, it’s like, really altered, like, the course of my life in some ways. So it’s, uh, I’m always going to be very, very thankful to that and to, like, everything that you’ve done over the course of the show as well with, like, being so gracious with your time and everything with, like, when-when the show was still in development and, you know, talking to me, a-and even talking to Marc and Greg as well and everyone involved in covering the show, like, you gave so much of your time, even just outside of the production of the show just to talk through everything, so, yeah, thank you.

JDS: We appreciate you guys, and again, like, the show helps bring people together or has helped bring people together or forged new friendships, that’s like, the best case scenario for us.

LM: Absolutely.

JDS: If it’s made people feel good, if it’s made them learn things about themselves, then that’s all we can ask for, like, you know. Uh, that’s, like, the best reward.

LM: It really is, and on a completely, like, completely selfish note: I just like that you let us kind of talk about the stuff that goes into making the show, guys. I mean I know I’m a person who enjoys listening to the commentaries and listening to, like, the behind-the-scenes stuff, and so for any of the people out there that really enjoy that, you guys have-have gone out of your way to bring people who are involved in this show on and ask them questions about that and get some of that knowledge out there. A-and some of that stuff is just interesting to people.

MM: Yes.

JDS: And you guys do it because you love it.

MM: Yes we do.

JDS: And that, I think, is, is another thing that people really have to, like, appreciate. It’s done out of love because like you said, you guys aren’t seeing any--

LM: You don’t get any kickbacks.

MM: Nope.

JDS: Yeah, you’re not getting kickback.

DA: Yeah.

JDS: Uh, but it’s, uh, you know, without you guys a show like this could easily go unnoticed. But you guys, you know, you talk about it. You, you get people thinking about things, so, we appreciate ya.

GT: Thank you.

MM: You have no idea just how many people have been inspired to be better people as a result of this show. Th-there’s, you know, tons of artists who we spotlight that say they became better artists as a result of the inspiration of doing Voltron fanart. Cosplayers who became better cosplayers as a result of doing Voltron cosplay. Writers, you know, fanfiction writers and other types of writers that had, you know, gotten better at their craft as a result of working on Voltron fanfiction or something like that. So in many, many ways you have inspired people to be better and to come together in a way that they’ve never come together before.

JDS: That’s amazing. That’s… amazing. That’s, uh, something that we can take with us to the end, um, and, that we will, we’ll, you know. You don’t realize it sometimes when you’re in the thick of it, when you’re in the middle of it, but when you get a little perspective on things and you, sort of, take the long view, this is definitely a pillar of, uh, not only our careers, but, uh, of our lives and we can, you know, have an appreciation for everything you guys did and everything the fandom did, and everything the studio and our coworkers, yeah our crew, did. That, that will stand the test of time.

MM: Yeah. So thank you.

JDS: Thank you guys.

LM: Thank you.

GT: Thank you both so much.

MM: And can we ask you to do it just one more time?

JDS: Sure.

LM: [laughter] For sure. Hey, this is Lauren Montgomery.

JDS: Hey, this is Joaquim Dos Santos.

LM: And you’re listening to--

JDS and LM: Let’s Voltron!

[outro music]

[alexthegamingboy]

Toonami Weekly Recap 10/20/2018

Attack On Titan Season 3 EP#09 - Ruler of the Walls: Erwin justifies his decision not to evacuate Orvud District due Abnormal Titans targeting populations and decide to instead lure the Reiss Titan into a trap, with the first line's cannonfire having little effect while Eren punishes himself for being too weak, just being influenced by events around him. The Reiss Titan eventually reaches the wall, its face and chest having eroded from crawling for miles on the ground. The Scouts then implement their own plan; Eren assuming Titan form and plunging several barrels of gunpowder into the Titan's gaping mouth to destroy its body while the others quickly destroy the fragment holding Rod before he regenerates. Historia succeeds in killing Rod, seeing some of his memories before the explosion throws her into the city street. Historia recovers from her fall and formally introduces herself to the gathered civilians as the true ruler of the walls. Back at the Reiss estate, his group having all died in the cave-in, a dying Kenny recalls events in his past before being found by Levi. While Levi notes Kenny's fatal injuries, the older man reveals to have acquired a syringe of Titan serum.

JoJo’s Bizarre Adventure: Diamond is Unbreakable EP#09 - Yukako Yamagishi Falls in Love, Part 2: While looking for a way to escape, Koichi manages to find a nearby payphone and uses Echoes' ability to trick Yukako into contacting Josuke, which clues him and Okuyasu in on their location. As Koichi attempts to survive Yukako's fury until Josuke arrives, Echoes suddenly evolves into a new form, Echoes Act 2, which can turn the sound effects it writes into real actions when touched. Yukako endures several counterattacks from Koichi's new Stand ability, but she is literally blown away onto a nearby cliff, which gives way underneath her. Just as Yukako falls towards some sharp rocks below, she is saved thanks to bouncy sound effects already placed their by Koichi, turning them into harmless springs. As Koichi reunites with Josuke and Okuyasu, Yukako gains an all-new admiration for Koichi, who had saved her despite everything she had done to him.

My Hero Academia EP#23 - Shoto Todoroki: Origin: Izuku and Todoroki begin their match. Izuku, while still trying to win, is attempting to get Todoroki to use his left side so they can both battle at their full power. As Todoroki fights on, more of his past is revealed through flashbacks. He remembers his mother saying it was okay to use his left side because he wanted to be a hero. So Izuku fights Todoroki who is using both sides. Cementoss and Midnight attempt to stop the match before the two deal their final attacks but to no avail. Izuku is thrown out of bounds and Todoroki moves on.

Black Clover EP#43 - Temple Battle Royale: Yami is forced to watch the fight with Gifso. He reveals that his warrior mages are ranked as Intermediate Magic Knights while most of the Bulls are Junior Magic Knights. Yami smugly watches as Asta, Luck, Magna and Gauche each defeat their opponents in seconds, shocking Gifso and reducing the mage team to 5. Gifso reveals his 3 strongest mages would rank as Senior Magic Knights and will surely win. Charmy is put to sleep by her opponents Lullaby Magic, reducing the Bulls team to 8. Magna and Luck team up against another mage. Asta also runs into a mage who fights using swords. The mage, named Kiato, reveals the High Priest is his grandfather and if he defeats Asta he will be allowed to leave the Temple and pursue his dream of becoming a famous dancer. Noelle runs into the Lullaby mage who turns out to be Kahano, whose dream of becoming an idol is also dependant on defeating the Bulls so her grandfather will allow her to leave. As she is Noelle’s friend she insists on fighting fairly. She tries to put Noelle to sleep with her lullaby, but Noelle protects herself with her water shield. As they fight Noelle’s attacks all miss. Kahano tells Noelle she has had perfect control of her magic all along, the only reason she keeps missing is because she unconsciously wants to avoid hurting people. Noelle realises this is true and decides she must fight to win. Asta struggles to match Kiato’s graceful sword style and changes his own style to match it. Vanessa defeats her opponent by trapping him in a web of magical string, leaving the mages with only 4 members to the Bulls 8. The mage facing Luck and Magna is revealed to be Gio, the High Priests Son. As he duels with Luck and Magna he is suddenly crushed beneath a powerful spell as Vetto the Despair arrives with 4 Midnight Sun mages to steal the magic stone.

Hunter x Hunter: The Chimera Ant Arc EP#116 - Revenge × And × Recovery: Face to face with Pitou, Gon can't hold back his rage and urges the Chimera Ant to fight him. Realizing that Pitou is willing to sacrifice itself to protect Komugi, Killua attempts to calm down his friend down with no success, but in the end, Gon gives one hour for Pitou to treat Komugi in exchange of accompanying him to meet Kite and help him recover his senses.

One-Punch Man EP#10 - Unparalleled Peril: The Ancient King of the Terror Lizard Clan appears and Tatsumaki is sent to deal with him. After a short quarrel, Tatsumaki sends a meteor from outer space to destroy the monster. At Bang's dojo, Bang tells Saitama and Genos, who were called there by Bang to learn some moves, about how his former best student, Garo, went wild and defeated all of his other top students. Suddenly, a Hero Association member comes and informs the heroes that an emergency has been declared and all S Class heroes have been called to a meeting. At the association, Saitama meets Atomic Samurai, an arrogant S Class hero, and the other S Class heroes, Puri-Puri Prisoner, Metal Bat, Tanktop Master, Flashy Flash, Watchdog Man, Superalloy Blackluster, Pig God, Drive Knight, Zombieman, King, Child Emperor, except for Metal Knight and Blast, who are absent. Sitch, a member of the associations, starts the meeting by telling the heroes that the emergency would be perilous and even with their skills, there is no guarantee of survival. Also, the great seer, Madame Shibabawa, had died while becoming agitated and choking on a cough pill because of a coughing fit while predicting the future. Sitch mentions that Shibabawa's predictions have always been 100% accurate, be it monster attacks or natural disasters. Before she died, she left a note. The note read "The Earth is in trouble", alarming the heroes. He warns the heroes to prepare for a fight in the next 6 months. Just after he says this, the HQ is attacked by the Skyfolk led by Sky King, who are quickly slain by Melzalgald, a member of an alien race called the Dark Matter Thieves. An alien spacecraft then proceeds to destroy City A, causing a large number of casualties as their alien invasion begins. Just as Melzalgald is about to kill some City A civilians, Iairon, a student of Atomic Samurai, arrives and engages him in battle. Saitama encounters the alien ship and advances towards it. Meanwhile, Melzalgald proves to be a challenge for Iaian and causes him to lose his left arm before Atomic Samurai intervenes, saving his student. Melzalgald regenerates and the heroes' attacks seem to cause no damage to him. Then, Metal Bat, Bang and Puri Puri Prisoner arrive. Puri Puri Prisoner enters Angel style and attacks Melzalgald. Elsewhere, the other S Class heroes discuss how to bring down the ship. As they offer differing views, Genos notes that Saitama has already entered the ship and slain a large number of the aliens. He comments that there is no evil that Saitama is unable to defeat. Saitama encounters Goribas, an alien, bragging how to defeat him. But is slain, as Saitama punches at everything and continues to destroy the ship, wondering where the boss might be. At the end, Boros is seen on his throne.

Samurai Jack EP#04 - Jack, the Woolies, and the Chritchellites: Jack helps free the Woolies from the tyrannical Chritchellites. In return, the leader of the Woolies bestows his wisdom upon Jack.

Samurai Jack EP#05 - Jack in Space: After accidentally exposing a colony of scientists seeking to escape Earth, Jack trains as an astronaut to protect them from Aku's robots.

Mob Psycho 100 will premiere on Toonami this Saturday at 11:30 PM.

[basicshadowhuntersstuff]

This week in Shadowhunters news, updates, sneak peeks, and behind the scenes. All the stuff you need to stay up to date.

Official Promotion

301: On Infernal Ground sneak peeks: Malec scene via GLAAD, Clace.

New poster featuring Lilith, Clary, and Jace.

Shadowhunters In The News

Advanced review for 301 On Infernal Ground: Pure Fandom.

TV Line (article): Shadowhunters Premiere Sneak Peek: Will Clary and Jace's Secret Keep Them Together... or Tear Them Apart?

TV Guide (article): Returning Spring Shows: Where We Left Off.

Hidden Remote (interview): Kat McNamara talks being an official Shadowhunter, new weapons and Clace training stunts.

TV Insider (interview): Katherine McNamara Teases a 'Bloody-Good' Season 3.

SYFY Wire (interview): KATHERINE MCNAMARA ON SHADOWHUNTERS SEASON 3, HOPE, AND A LITTLE HELP FROM HAMILTON.

TV Guide (article): Shadowhunters Mega Buzz: Clace Could Be Headed for Trouble.

Teenplicity (article): Lola Flanery makes her mar on TV. 

BSS (interview): Alberto Rosende Talks Shadowhunters Season 3.

Twitter & Social Media Stuff

Lilith has taken over the Shadowhunters TV accounts for Hell Week leading up to the premiere of season three. Here are some highlights: Hell knows my fury. So will you., Welcome to the Church of Talto, My followers are many, photo of Anna Hopkins as Lilith, Death was only the beginning, Your pain will be over soon, Nowhere is beyond my reach, Together we’ll usher in a new dawn, What a precious boy, Bring me my virtuous disciples, One of my many forms (photo of Anna Hopkins as Lilith), What would you sacrifice for me?.

“Gotta stay focused!” Alberto (Simon) shares a behind the scenes photo of himself on set of season three.

“We’re ready. Are you?” Kat (Clary) shares a behind the scenes photo of herself and Dom (Jace) on set of season three. [1]

“My pal @EmeraudeToubia on a roll.  Literally.  #directorintraining” Matt Hastings (director) shares a behind the scenes video of Emeraude (Izzy) on set of season three.

“Fangs in advance for watching the #ShadowhuntersSeason3 premiere 3/20!” Matt Hastings (director) shares a behind the scenes photo of Alberto (Simon) from season three. [2]

Stefanie Terzo (hair & makeup) shares a photo of Harry (Magnus) in the hair and makeup trailer.

Ariana Williams (Madzie) shares a behind the scenes photo of herself and Harry (Magnus) from season three.

“Time to get your lips touched up” Brian Hui (hair & makeup) shares a behind the scenes photo of Kat (Clary) and Harry (Magnus) from season three. [3]

“Hate to rune your day...” Steve Byers (Underhill) introduces himself to the Shadowhunters family by sharing a behind the scenes photo of himself with runes.

“narcoleptic or cell phone? 3 days!!” Stefanie Terzo (hair & makeup) shares a photo of Dom (Jace) getting ready for a scene.

“Mother is getting impatient.” Brian Hui (hair & makeup) shares a behind the scenes photo of Anna (Lilith) from season three. [4]

“Can't wait to meet you all! 3 days. 💅😈” Anna (Lilith) shares a behind the scenes photo of herself from season three.

Stefanie Terzo (hair & makeup) shares a behind the scenes photo of Lola (Seelie Queen) from season three.

Brian Hui (hair & makeup) shares a photo of Alberto (Simon) hanging around on set.

Kat (Clary) shares a behind the scenes video of herself and Isaiah (Luke) on set of season three.

Brian Q. Miller (writer) tweets: “Look all's I can say about #Shadowhunters 320 is that hot dogs are used as an olive branch“.

Aisha Porter (writer) tweets: “In honor of #HellWeek I would like to tease the fact that Ep 3016 will be a hellishly delicious episode. Sound about right @AmandaMRow? 😈”.

Joshua Butler (writer) tweets: “Can I say how excited I am about the existence of this episode? #NoReason #JustAFanboy #WinkWink PS: @RuelleMusic is amazing.”.

Todd Slavkin (showrunner) tweets: “8 series regular actors who bring it every scene in every episode”, “7 stops on the Idris tour bus”, “6 action scenes we'll never forget”, “5 people you're going to meet”, “4 Clace moments in premiere will make you gasp & leave you breathless with tears of joy & sorrow”, “3 special words Magnus will say to Alexander”, “2 people who are friends now, but are destined to live a life of deep love together“, “The alpha has seen better days. His champagne high doesn't last long thanks to curious Ollie. But his love for his daughter carries him through. And he also finds a... different kind of love @isaiahmustafa crushes it #packman #difficultdecisions”, “Working on a very special halloween episode with @dswim and we are wearing a shit-eating grin on our face. @TayMals we salute you #isitoctoberalready #wehaveourpumpkin #allhallowseve”. 

Darren Swimmer (showrunner) tweets: “Random Season 3 snippet of dialogue: “You are a MORGENSTERN...”.

In Other News

Jade was nominated and attended the Canadian Screen Awards with Alberto, Kat, and Dom. Here are a few highlights: Photo of all of them via Jade’s instagram, video of Jade on the red carpet.

Harry has signed on for Mike Gan’s new thriller “Plume”.

Isaiah will appear on Inside of You podcast with Michael Rosenbaum.

From the Archives - here’s another #tbt pic! Matthew Daddario and Kat Mcnamara at the @ShadowhuntersTV #NYCC 2017 press room via The Workprint.

Nuno De Salles (trainer) celebrates St Patrick’s Day by sharing photos with some of the cast: Dom, Kat.

[takeeachdayonebookatatime]

Triple f day [flashpoint fanfiction friday]

(In a heartbeat)

Part 4 (Extra caffeine)

Staring sam and jules featuring the team

Ps I am just a fan and found most of this medical info on google and made up/exaggerated some of it for the story.

Greg : pov I went to the coffee shop before work and got everyone coffee. Sam wanted a mocha one, ed likes a dark roast, wordy like regular coffee, and spike likes medium roast, jules loves the double double cream no sugar but since her injury she is only allowed to drink decaf so that is what I got her the guy was in a rush.

Jules : pov the coffee tasted so good it was definitely not decaf. I told Sam and after 5 minutes he was super nice and let me finish it. I bet he called dr scott before he said yes. The day was coming along great no hot calls. So we worked out, did some restocking and repelling which was fun. I had a headache so a member from team 3 handed me some Excedrin migraine relief. We also did some close quarter combat training and sparring 30 minutes later and I had to pee. Sam followed me saying he was concerned because my heart rate was elevated. I told him maybe the coffee did it.

Greg : pov sam phone was beeping and he said it was because jules's heart rate was elevated he followed her to the bathroom to make sure she was okay 5 minutes later and we heard a commotion over our coms/mics. Sounds like something is very wrong with jules. Me and the rest of the team ran over as fast as we could.

Sam : pov. After Jules peed she said she feels funny. I manage to catch her before she Falls down. I lay her on the floor while the rest of the team arrives. I start to check her vitals. when all of a sudden she starts Jerking, and is having some form of convulsions she is also crying out loud before losing consciousness. Greg has winnie call the medics her pants are also wet. Even though she just peed. I put her in the recovery position. While on the phone with the medics I tell them her symptoms and medical history.

Ed. Once the medics arrive she starts to come to but seems confused after returning to consciousness. The medics give her some oxygen and put an iv in her arm. Sam told them her vitals and how her heart rate is elevated; they said this type of episode is usually triggered by something.

Wordy : pov they asked sam if she ever had a seizure before and asked for a walk through of her day which he did. It was so scary seeing her on the floor like that.

Sam: pov i told them her coffee this morning was wrong it was regular not decaf and she also had a headache. They said the coffee could have caused it but they were not sure she would need more tests at the hospital. The medic could not give her anything except the anti seizure meds.

Since they thought it was a type of seizure. Her heart rate was still elevated. The medic also asked what type of headache stuff it is she took, I said it was Excedrin migraine relief. He said a side effect of the medication for people with heart problems. Is fast heart rate since it has two much caffeine, and on top of that the coffee had a lot of caffeine. They loaded jules into the ambulance who was still kind of out of it. They gave her some fluids in her iv. They also attached her to a heart monitor. Dr Jeff was waiting for us at the ER in Trauma bay 2 he performed an ecg ultrasound to make sure her heart was okay. He said everything looks the same. He also wanted an eeg done so he called neurology. They told him they could do one in 20 minutes and then do a brain scan if that was okay. The neurologist was waiting up stairs for us so he could perform the test since it was kind of important. Jules who was still out of it a little was put on the bed the nurse attached the leads on to Jules's head. And the neurologist started the test monitoring her brain waves, 40 minutes later and he has the results. He says having a headache affects your brain waves and showed up on the test, same with the coffee. She would need to be retested to make sure it is the caffeine that caused this episode because none of the usual stuff triggered a seizure in her. Her brain scan came back good. After Dr Jeff intravenously gave her some meds to lower her heart rate. She was moved to the icu after being in the waiting room for a while the team came over to visit it was now 6. I ate some food and jules was also more alert now and asking what happened I told her everything.

Jules : pov

Sam said I had a nonepileptic seizure at work. They think it was the caffeine that caused it. I was monitored all night. The next morning I was told Dr Jeff had scheduled me for a Electrophysiology Study this morning, I was wheeled in the ep lab and put on a bed then the nurse injected a sedative into my iv to relax me. The nurse also gave me a shot of local anesthetic to numb the area, and cleaned it. The cardiologist Dr Jeff made a small needle puncture into my arm and blood vessel with a small straw-sized tube called a sheath. It was inserted into my artery/vein then gently guided several specialized EP catheters into my blood vessel through the sheath and advanced them to my heart. The video screen showed the position of the catheters. I started to feel some pressure but Jeff said that was normal at the sheath site. He sent small electric pulses through the catheters to make my heart beat at different speeds which felt weird. He was trying to see if a fast heart rate triggered my seizure. The special catheters picked up and recorded my heart rate. Dr Jeff said the fast heart rate right now is not triggering a seizure so that is a good sign. After I was moved to the recovery room. I slept most of the day. Sam said the hospital food is gross. Dr Jeff took off my oxygen mask in the afternoon.

Sam : pov jules ate her usual food for breakfast, lunch and dinner the team came by to visit after shift I told Greg she has an eeg tomorrow to see if the caffeine caused it. Ed said Donna filled in for her today and she would also be tomorrow. The dr let jules watch a movie before bed. It was the next day today and her eeg scan jules was so nervous. They put a bed next to the chair I would be sitting in with jules at the first sign of anything wrong she would be transferred to the bed. In the neurology suite, Dr Jeff had set up all of the heart monitors for jules. I sat down and he started to hook her up to the heart monitors and he also gave her a regular coffee. She was laying in my lap since it was comforting to her. The neurologist started to attach the leads to her head and he made sure the wires were out of the way. 1 hour later and nothing happened other than her elevated heart rate. They decided to try the Excedrin migraine relief even though she did not have a headache. 30 minutes later and the monitor is starting to go off on the eeg machine, they managed to move jules to the bed in a few seconds before the nonepileptic seizure hit she is crying out loud and jerking around the neurologist managed to inject anti seizure meds in to her iv and the convulsions stop before she loses consciousness. He turns her into the recovery position. She is all wet so a nurse cleans her up. 2 minutes later and she is starting to come out of it she is a little confused again. The nurse puts an oxygen mask on jules. The neurologist takes her for another brain scan and dr jeff gives her medication to help lower her heart rate. Later on Greg comes by with the team to ask how her test went and I tell him everything. They stayed for a couple of hours. Dr Jeff wrote on her medical file to never give her Excedrin migraine relief when she has coffee in her system. It caused her to have a seizure because of her heart condition which elevated her heart rate to go too high.