#it's basically 1 to 1 with the movie and they're so CREATIVE with how they portray the animated scenes on a single stage

[stopaskingme]

Further Notes on Watches

part 1 / part 2 / part 3

Tremblay

Tremblay's watch is a luxury piece. Probably a Tudor Style Fluted Bezel 41mm.

An uncommonly plain watch from Tudor. The clean face and delicate fluted bezel makes this a popular choice for people who want a luxury watch that just looks nice. it’s the newest and most expensive watch among our Conclave cardinals.

My watch friend knew he was corrupt the moment he saw the metal bracelet.

'Metal bracelets always cost more. You wear metal bracelets outdoors. If someone is wearing one indoors, they want you to notice them.’

eta: What does this tell us about his character? watch friend: nothing. He’s a basic bitch.

________________________________________

Tedesco

Tedesco's watch might be a ✨vintage 1960 Oris 671 KIF✨ (or a Clues Triomphe. We cannot agree.)

It's so generic-looking, we thought it was a Daniel Wellington at first.

A watch that one buys because of how it looks. The person wearing it hasn't seen much of the world and thinks this is what class and luxury looks like.

But then my friend clocked the bevel and alligator strap. Nevertheless, Oris is old and traditional / conservative and boring to the point of being generic. That's why it left no impression. It's devoid of character.

Oris is undeniably quality Swiss watchmaking, 'but it's easy to forget they exist because they're not creative. They don't experiment outside their comfort zone.'

My friend adds that "Anyone with a decent-paying job can save enough to buy an Oris in their lifetime. It sits somewhere above a Tissot, but below a Tudor. "

Additional note: like Tremblay, Tedesco's watch has a black dial, projecting an image of refinement, quiet confidence and charisma.

____________________________ EXTRA NOTE #1 ____________________________

Bellini's Seiko Dolce is actually swankier than Lawrence's battered Orient Bambino

The Orient Bambino is the good sourdough passed down through generations by grandma, recipe unchanged.

Seiko Dolce is that good sourdough from that one niche bakery in the cool part of the city and you can't get it anymore because it's limited edition.

Disclaimer: Lawrence's watch could also be an old model Longines; we're not 100%.

____________________________ EXTRA NOTE #2 ____________________________

Adeyemi has a watch too!

But I have to address that in a separate post because this is stupid long already.

In the meantime, please enjoy this shot of Benitez's elegant hands with his Casio watch peeking out eeeeever so slightly from his left sleeve.

____________________________ EXTRA NOTE #3 ____________________________

The watches in the movie are worn upside down

A clear example is when Lawrence tears open his toiletries at night.

If Lawrence's watch is worn correctly in the screenshot, it means he loses his temper with his toiletries at 6.30p.m.

But the scene that precedes this was so dimly lit, it had to be late at night. As late as, say, midnight...

The more obvious clue is the crown (the dial). It's facing the wrong way.

We don't know why.

I can only guess that a wardrobe assistant put the watches on for the actors and accidentally tied them as if they were wearing the watches themselves.

__________________________________________

🐢 Conclave watches part 1 / part 2 / part 3

__________________________________________

This post came to be because @purimpura, reached out to ask about Tedesco's watch ✨they even provided screenshots! ✨so this is their fault. please go give them love.

[kingofthewilderwest]

We need to start questioning the conflation of "maturity" with "increased stakes."

It's not to say higher stakes is always a bad choice. The first half of the How to Train Your Dragon book series has an endearingly whimsical, child-like feel. Hiccup's issues in the first half of book one are an obnoxious, cat-sized Toothless pooping in his helmet. The movie adaptation might have made the book and its counterpart distant cousins, but it was a thoughtful move to alter concepts to the appropriately theatrical: books and movies aren't the same medium. Hiccup riding alone on Toothless, exchanging fire blasts with a mountain-sized dragon, and losing his leg came off as well-done storytelling.

Hiccup staring at a prosthetic never happened in the book. He didn't lose his leg in his encounter with the Green Death. It was, as the creative powers behind the movie said, a result of the increased stakes. They didn't do this just to be more dramatic; they did it because it seemed that, based on how their narrative was going, this made sense. And this was a soft, quiet, shocking, breath-taking scene that instilled how good the movie handled its stakes. It gave us a reflective reaction to consequences that audiences might not have expected. This movie understood timing, pauses, quietness, narrative arc, poignance, reflection, emotion, love, and heart.

We know about the conflation of live action as "more mature" than animation. But a medium doesn't change maturity levels. We all know that's bogus, and many analyses have been given on that. Disney live actions add extraneous gunk, down to Gaston having a past relationship with war (so I've heard, from the people who actually watched the movie), and Disney giving us the sad scoop on why Belle's mom isn't around. Furthermore, lots of times, when I see the conversion of animation to live action, I notice creators feel a need to "raise the stakes" -- in line with the erroneous view of "giving maturity."

But "higher stakes" often means inserting action in place of mindful interaction. I feel today's Hollywood movies, in their treatment of "action," don't let movies pause and breathe anymore - ergo, they don't let us think. Isn't it more juvenile to actively avoid thought in favor of "hey look I made the building go boom"? There may be less "stakes" in introspection and mindful dialogue, but that's what gives it its maturity. That's how we went from Iron Man 1, with its grounded treatment of war and abuse, to the mindless high spectacle MCU is today.

Snappy one-liners or moments that clap at contemporary issues don't substitute for maturity. What can make a story mature is characters grappling with issues in a natural narrative through-line. A snappy one-liner is its own form of speedy spectacle.

We know about the conflation of "gore and sex" with "mature audiences." I believe they're right that graphic sex and gore is designed for adults. But that doesn't make it mature, and that doesn't make it the only way to target a medium for adults.

"Realisticness" isn't maturity. Per above regarding animation: realistic visuals are nothing. And if you think that putting more Debbie Downer material into your adaptation makes it more adult, you have to ask yourself why the themes that spoke to people's souls got muddled in its midst. We weren't mature enough to interact with the most subtle, nuanced, and impacting voice of the story. But hey! Look! There's more corpses, I guess!

It's not the visuals, it's not the events. It's not the "things." It's not the basic insertion of the external. Get past the superficial, get past the top layer of presentation. It's the mind. It's the ability to think. It's the ability to be still. It's the ability to be interested and attentive when something is slow or quotidian, because we can understand why that is important for narrative growth or arcs or themes or commentary on the human condition. It's the ability to know when and when not to include something. It's the ability to make resonant impact. It's the ability to be deep with your emotions or your themes. It's the ability to take what you have and grow it in a way by which we can derive something deeper.

Maturity is critical thought and well-conducted, appropriate responses to content of any kind.

As DeBlois tells Empire, the move to live-action brings a different emphasis to How To Train Your Dragon; a new heft, both physically and emotionally. “It’s so dialed-up in terms of stakes — having a fully credible, photo-real dragon stomping around trying to kill him,” the director says.

And maybe that DeBlois quote is taken out of context. Maybe there's more going on than that one sentence conveys. Maybe Empire is making their own erroneous assumptions. But "so dialed-up in terms of stakes," isn't, on its own, a good appeal. The animated movie already dialed things up - and knew when to include or not include something. A live-action that imitates the visuals of the animated movie exactly, as if no independent thought has been done to its unique adaptation, to the pros and cons of the medium, to what a independently-presented story needs and doesn't need... It has to make you wonder: how many conflations of "maturity" are going on?

How long are we going to keep making our own conflations?

[incorrect-green-lantern-quotes]

So I was watching Overly Sarcastic Production's video on the MCU's Phase 1, and there's a whole section of it where Red and Blue discuss how Joss Whedon throws out most of the characterization of Steve and Tony from their solo movies and flattens them into dumb jock and snarky genius, respectively. I've linked to the start of that segment below but definitely watch the whole video it's great (OSP always is)

Anyways, when Red uttered the sentence "Tony has to be the coolest Biggest Dickus on the screen at any given time" it hit me like a sack of bricks that this is basically how the Batfamily is written in the most popular Tumblr fanons.

Like all those posts where the Justice League finds out about the Batfamily or how Batman is the only responsible adult in the entirety of DC Comics and thus parents his fellow superheroes? It's the smarminess of Whedon's Tony cranked to the max and applying it to Bruce and his kids until they're covered in a layer of snarky superiority

And just as the simplified version of Tony from the Avengers is elevated at the expense of Steve being flanderized into meathead jerk, the rest of DC's characters are dumbed down. Superman has become a himbo, Green Arrow and the Lanterns are loudmouthed idiots, and speedsters can barely function because they're ADHD stereotypes.

Now, I'm a little inebriated but my working theory is that this is at least partly because the MCU during its Phase 1 was an absolute juggernaut on Tumblr. So like a decade ago, wayyy before Whedon's creative decisions overstayed their welcome, some people saw the surface similarities between two billionaire genius philanthropist superheroes who use tech to fight crime and started writing Bruce Wayne as the Tony Stark of DC.

And just like how the MCU's character-driven approach was dropped in favor of uniformly quippy bathos, the Batfamily on Tumblr has calcified into being a pack of needlessly smarmy dick-measurers (pun intneded?)

[nitewrighter]

YAYY!! Im glad you liked KDH, Mun!!! :Dc

Worst thing about the movie for me is that it was so short and didnt get time to flesh out the other characters. Like the deal with Celine and Rumi's parents, the other Saja Boys and more Bobby!

Yeah I'm seeing a lot of people wish it was a series and lowkey, same. I could see it as like... 12 15-minute episodes, each one having their own song, and when you put them together they make a whole album. As it stands the whole movie adds up to like, an LP, and while a series would be twice as long, since you have *two* KPop groups, you'd have plenty of song concepts to explore, or you'd even be able to have songs from the previous hunter groups in the past, like the Sunshine Sisters. I think because the movie was so focused on the Zoey+Rumi+Mira trio, that was able to keep it still cohesive as a feature film, though. But yeah I loooove Bobby. I'm a big fan of the "Band Manager is the band's #1 Fan but is also beholden to the seething tide of fans and demands of a record company" characterization. I just think it's really refreshing because in so many American music biopics, the band managers are almost always painted as parasitic and predatory or cramping the band's style when it's like, an insane amount of work goes into that job. I also like how it's basically inferred that they're able to keep their demon hunting a secret from him because he gives them a crazy amount of creative control in their performances. "Wow you had special effects in that concert! I guess I can worry about that with budgeting, later!"

[11queensupreme11]

hiii queen, just curious, how did you came up with all the percy kid's names??? (they're so cool btw, especially Nemokles lol)

I'M HAPPY TO ANSWER THIS!!! percy had a lot of fun naming her babies. she named her babies after someone she was close to, sea-related characters that she liked from her childhood, etc.

i actually had many ways to come up with the names:

number one: the easiest, straight up naming some percy babies after someone close to percy. either by keeping the name the same (ex: luke) or finding a name with a meaning related to the person (ex: anthonius -> wisdom -> percy babies with names related to wisdom, intelligence, etc.) or finding a name that can have the person's name be used as a nickname (ex: salione -> nickname "sally")

number two: also super easy. straight up naming some percy babies after a character she liked (ex: sebastian, named after sebastian from the little mermaid).

number three: instead of straight-up naming them after a character she liked, i named some of the babies in a way that i could use that character name as a nickname (so like #1). (ex: eudorios -> dory). for psammaraia (perpollo baby) tho, it was super hard cuz no ancient greek female name has the word "sand" in it, so i looked up "ancient greek female names related to sand" that way, she could be nicknamed "sandy" after the spongebob character 😭

number four: i based their names off of the vibes i got from their pics lol. like "oh this character looks mischievous, so i'll look for a name related to mischief!". then i'd go to deepseek and type up something like "give me a list of original old nordic male names related to mischief" and it'd give me something like flærnýr which means "new deceiver" and i'd go with that (ex: flærnýr, the poki baby).

number five: i based their name off of the domains. instead of getting inspired by the image, i'd randomly make a domain for them first and THEN decide on a name based on it. maybe one of the percy babies is a flower goddess so i'd search up on deepseek "give me a list of original celtic female names related to flowers". (ex: faylina)

number six: related to #1! remember damasen and iapetides? i wanted percy to name her babies after the two people she went through tartarus with, so i had to get SUPER creative with the names cuz it's super specific. i googled a breakdown of the name iapetus and the "iaptô" part of his name means "to wound/pierce" and i decided to keep that part of the name and just find a suitable suffix. the suffix "-ides" means "descendent of", so i just combined it and made "iapetides" meaning "descendent of the piercer" (perpollo baby). i did the same with damasios (percades baby)!

number seven: getting creative lol. basically like #6 but instead of naming them after a person percy knows, it's a character. by then, i spent so much fucking time looking up ancient greek names that i actually memorized some of the suffixes so i was able to make up my own "ancient greek" name ausgfaufv. i badly needed a name that had "nemo" in it, but it was so fucking hard cuz "nemo" is not ancient greek. but then i remembered the name herakles, which means "glory of hera". the "-kles" part means "glory of", so i literally just tacked on "nemo-" and BAM "nemokles" (percades baby) was born. percy named her son that cuz it means "glory of nemo" as in THE SUPER CUTE FISH FROM HER FAV MOVIE but the literal translation is actually "glory of no one" adhfhahsidg 😭😭😭😭😭

[lol-jackles]

I hope you enjoyed chasing those windmills 😁

I have read that Jared and Jensen are repped by different agencies, Jared is with UTA and Jensen is with Gersh.

How do these agencies rank in Hollywood and what criteria does an actor usually use to choose which agency to work with?

Also, Jared appears to have one rep. (Jason Heyman) and Jensen has three (Alexander Yarosh, Bob Gersh, and Leslie Seibert). Does it mean anything that Jensen has more reps?

I know nothing about how these agencies work (obviously) but am interested to know what the difference is.

I found this information on IMDb Pro, I can’t figure out how to link it I’m sorry.

Those windmills turn out to be faster than they look. Who knew.

The "Big Three of Hollywood” talent agencies are :

Creative Artists Agency (CAA). The biggest and most influential agency in town known for their A-listers and sports clients. Recently bought ICM, an agency mostly known for representing high-tier showrunners/writers like Shona Rhimes, so they're known for (sometimes infamous) packaging bundle. Many agents have left CAA to go to UTA.

William Morris Endeavor (WME). A merge between two agencies in 2009 created another powerhouse agency and upped their game in events management.

United Talent Agency (UTA). Probably the most adaptable agency that includes news broadcasters and comedy clients. UTA likes to boast they represent the "most watched and celebrated actors in film and television".

The 4th position (X) is a battlefield of competing mid-size agencies looking to possible merge: Gersh Agency, A3 Artists Agency, Paradigm Talent Agency, Agency for Performing Arts (APA), and Verge Agency. Then there are the boutique agencies.

Actors choose the agencies based on the work they want to do i.e. commercials, modeling, or television/movies. Some boutique agencies specialize in children actors so there are age ranges to consider. Talents send in submissions of headshots, resume, and cover letters. As an actor grow, they move to bigger agencies, usually with submissions. In-demand actors generally don't send submissions to the Big Three Agencies, the agencies go to them.

Jared was originally represented by CAA and Jensen was originally represented by WME.

Jared's agent, Jason Heyman, was poached by UTA during a "midnight raid" in 2015 through 2019 and Jared decided to go iwth him to UTA while Melissa McCarthy stayed behind with CAA.  Heyman went from a high post at CAA to a partnership at UTA, so for him it’s a promotion.   

Jensen either left or was dropped by WME and he signed onto Gersh in 2014, who also represents Danneel. This was probably the best move for him because at WME he was always given to newbie agents (basically interns) to handle his career.

Actors can be repped by more than one agent or agencies in order to handle their brand in different markets as well as minimizing conflict of interests.  I’ve known actors who had 3 agents: one for voice work, another for commercial work, and a third for tv/film - maybe that's why Jensen has 3 representatives in one agency?   Then there are actors with just 1 agent for the same things but in different markets, maybe that's why Jared has 1 agent that we know of.

[paradoxspaceheater]

terms of address ranked by how sexy they are

(for the sake of brevity i'm avoiding titles that go before a name, this is for these terms as standalone addresses. i'm also only including english language titles for now)

miss: 3/10 USUALLY miss is incredibly unsexy however if used as a marker of rank it's hot af. don't @ me.

mister: 1/10 makes you sound like a victorian orphan. just say 'mr lastname' that's much sexier.

master/mistress: 6/10, often sexy but it gets overused enough to sometimes be very unsexy or cringe. also pops up in a chattel slavery context sometimes which is depressing and uncomfortable and not sexy.

sir/ma'am: 7/10 generally quite good, can give military or like... subjugation or servitude vibes which can both be very sexy. sometimes it can just be weird/uncomfortable though.

doctor: 5/10 ehhhhh it's fine i guess.

father/mother: 5/10 the family vibes are weird but the religious hierarchy is undeniably sexy. bonus points for 'mother superior' or 'holy father/mother'.

my lord/my lady: 10/10 no notes the 'my' especially is so... you want to fuck them so bad.

prince/princess: 7/10 pretty good but 90% of the time you're better off going with 'your highness'.

my prince/princess: 9/10 the 'my' just adds that little special something. i still think 'your highness' is spicier though.

my king/queen: 8/10 can be higher or lower depending on the exact relationship involved, but generally there are just so many good options for royalty that this isn't always the best. it IS however very very intimate which is always a plus.

sire: 9/10 one point docked for it being the same as a word for 'father' but otherwise yeah it's hot. gives somewhat bowing and scraping advisor energy which we love.

your honor: 7/10 it CAN be very sexy if used right however there are so many unsexy judges out there they bring it down a bit.

your excellency: 8/10 i like this one a lot in theory but in practice it tends to get applied to a lot of smarmy bastards who are just not my type so ??? still sexy but i can't rate it any higher than this.

your highness: 9/10 it's very good HOWEVER some people think it is acceptable to call the reigning monarch 'your highness' and in that circumstance it is not sexy so i am forced to dock one point.

your majesty: 9/10 i like it a lot but docked one point for being a little basic. it's just overused not every monarch has to be 'your majesty' you can have a little creativity.

your grace: 10/10 on top of the generally impeccable vibes the implication that the person with this title is meant to be graceful is really spicy both when they do and when they don't live up to that. and yes, you CAN call monarchs this, as well as dukes/duchesses.

your eminence: 10/10 i love eminence... honestly i'm not really sure what rank this is used for but it's sexy regardless i think.

your [other virtue]: i can't actually rate this since it obviously depends on the virtue chosen however as long as it's not something overly cheesy it's hard to go wrong. the more unreasonable to live up to 24/7 the better. should usually be 8/10 or higher if you put some thought into it.

your [negative attribute]: 0/10 sounds like a barbie movie villain. just stop.

no title to someone who by all rights should be referred to by title: 3/10 i like this when done well but a lot of the time people are just like 'intimacy isn't possible when you're using a title so they HAVE to drop it'. which is boring and unsexy. having a repressed character who has consistently kept to propriety drop the title at a significant moment can be very hot if done delicately and sparingly. but so can turning the title itself into a term of endearment!

using the wrong title: 1/10 you've ruined the moment. the only time this is acceptable is if the slip-up is justified for the character in universe eg. they were thinking of someone else, the person they're addressing just got promoted or demoted, they're doing some kind of weird roleplay thing, etc. in that case like 9/10 actually that's hot.

[seirindono]

two questions.

one, HOW DOES ONE COMIC/STORY BOARD??

IM OBSESSED WITH HOW YOU DO IT ITS SO BEAUTIFUL

two, HOW DO YOU SO IT SO FAST( that’s question is more just me being super impressed oh my goodness)

you’re very good😳

Aw, sweet, a board question *puts on serious glasses*

Ok, bring it on anon.

So, the first thing to ask yourself when starting a comic, as I see it, is what type of board are you dealing with. Webtoon? A4 pages? 4 panels? There are many ways to go about it, and each involves different processes. For example, pages will allow for more superfluous scenes, whereas the webtoon format has to be super succinct because of the reading direction. I personally think that's the main reason I do pages, among other advantages: •narrative density •variety •Tumblr-friendly format

There are quite a few disadvantages too but you have to go through the process of trials and errors to really find out what suits you best!

Then there's the ambition of the sequence you're boarding for. And it goes from 1. how used I am to boarding this kind of sequence/drawing these characters/setting and backgrounds, to 2. is it an emotional sequence? Dialogue-heavy? Or more contemplative?

It changes the way you work and how you should approach your board! For example, in TMS, the very wordy chapters (4 and 5 for ex) generally called for simple and narrow framing. Of course, you don't want to bore the reader so you can spice things up to match the characters mood and reactions once in a while, but you have to bear in mind that the sequence aims to provide dialogue and information = the text bubbles are key and WILL take a lot of place. So let them.

( then again, it's all about pacing and balance. A page full of dialogue and one with too much happening are equally hard to read and boring to do)

Only dialogue, simple squares, no compostion, the focus is on Mel's reaction

On the other hand, parts 7 and 8 are all about action and atmosphere! This makes for wider and more varied shots!

They're fighting, things are going fast so why not use a single line to show many actions! They're still basically squares and rectangles but the pacing is totally different!

Or why not give the action a full page to really show its sheer impact

You can also split things, with a zoom or small time gap, depending on if it's a gag or if you want to put the focus on a reaction. Here, the asymmetry helps reinforce the unstable, jerky aspect of the scene. The situation is getting out of hand, and visually, the pages are affected too.

Now, these are case-by-case examples. And I never work on my pages separately.

For context, this-

-is the "first" board I did for part 8.

The drawings are very small and frankly difficult to make out, but the intention is what matters at this point lol I have the script (very important) next to my canvas, and I scribble the pages one after the ither. This allows me to see if the actions flow well, if the compositions are varied and also whether certain passages are too long or too short in regard to their importance. Which scenes can be merged? Removed? Toned down or if they deserve more bite?

This is a really fun and creative part but, I'll say it again, made a lot easier with a solid scipt. And I'm talking about a text document with clearly defined dialogues (or at least outlines) and actions.

I can't really explain how to write a script, it really depends on your work flow and how confortable you are with writing, but it's too important to just rush through it. No matter how much it changes before, during or after your finish boarding (cuz you gotta break your own rules sometimes and you'll often realize some things don't work as well once you put them on paper/sometimes art block can be resolved by writing the scene and just taking the time to imagine) but it's still your one guideline.

Aaaand, that's about it.

Other than that, I can only highly recommend reading lots of comics, Webtoon, books, watching movies, paintings, illustrations, animatics or listening to music, to inspire you and expand your own "personal library of references". Professional or not, anything your find inspiring and well executed. Boarding is at its core, telling stories. No art skill involved, just pure subjectivity. At the end of the day, it's all about squares, rectangles and bubbles so you gotta work on your creativity. The rest is gut feeling!

Constantly ask yourself how to tell this story, and how you want to tell it. How this sequence should be perceived? What do you need to show to make pages and pages of words appealing and interesting.

Be patient, be bold. Start with easy stuff to get some confidence if you need to. Accept that "boring" pages are smt necessary and that it's up to you to build up tension for a scene to really pop. Try new ideas and be ready to scrap many of them, the result will be worth all the work!

Now, concerning the "fast" part, I'm flattered but I personally think I'm super slow xD You prbly get that impression bc I finish the whole chapter before posting it, but behind the scene, I'm just working at a very regular pace.

Thank youuu anon ♡( ◡‿��� )

[lakemojave]

Mojave reads X-Men: X-Men #1, X-Men #2, and Tales of Suspense #49

That's right gang, I'm finally sitting down and reading some comics. Now I've attempted to read a manga or two in my life, I've read some tintin comics in the library as a little kid, I've read an Alan Moore graphic novel in my day, but never have I actually read a serialized, long running comic series like this. I have very limited vocabulary for talking about comic books, and my experience with superhero media is pretty much limited to movies and shows. I have never read or critiqued a comic book of any kind.

Now I should say that even though I don't really give a shit or fuck about superheros, I do have a favorite superhero, and it's none of the X-Men. I do have a place in my heart for the caped crusader, so why am I not reading every single batman comic ever written? Well you see, the reason is simple. If I read a batman comic, even if it's a bad one, I will be distracted by how much i already like batman. I will probably learn a thing or two about batman, but I won't really be properly immersed in the comic-reading experience if i start with somebody I already enjoy.

So I'm excited for this! I'm basically going in blind, except for some passing knowledge about the over-arching themes of these characters and season one of X-Men '97 (a fantastic show that you all gotta watch). Now I know some reading guides online will recommend that you skip some stuff, but I wanna challenge myself to do a completionist review of this whole series. For an artistic medium that I don't know shit or fuck about, this may be a long commitment, but this is gonna be a fun way to do it.

If you wanna follow along with me, I'll be basing my order based on the reading guide from this website here:

Now for the review!

X-Men #1

This one is really fucking stupid.

In this first issue, we meet our X-Men and learn their powers through a goofy ass training scene, Jean Grey arrives, then they defend a military base from Magneto, and that's about it. It doesn't do enough to establish what exactly a mutant is, but it does establish the X academy as a safe haven for mutants where they can learn to be superheros, and how Magneto wants mutants to rule the world. There isn't much nuance here yet, but these motivations will echo down throughout the entire X-Men saga.

The designs here are particularly undercooked compared to the more modern iterations, but I do like that Professor X has always been a bald dude stuck in a chair. Magneto's imperious personality is established here as well, but the X-Men themselves are mostly just rough sketches of the idea of people. We're not gonna get into the family drama soap opera nonsense for a little while I think.

(Also my favorite part of this panel is how you can't tell cyclops has a visor and it looks like it's just a guy. With two eyes. Which is, by definition, not a cyclops.)

I also adore how whimsical this first issue is. The fighting is very cartoonish and everyone says what they're thinking out loud. I dunno if that's just how comics tend to be or if this is a product of the age, but I actually find it really endearing! I have a fondness for this era of comics where you could pick up a batman off the shelves and see a panel of him shooting and killing his enemies with a mosin nagant, or that infamous panel of superman melting a dagger with his heat vision and slurping up the molten metal.

Also, poor Jack Kirby. You can tell by the homogenous designs and Magneto's crooked ass eyeballs that he was very overworked in this period. The superhero team composition here is definitely less creative than the Fantastic Four for instance, which was running at the same time and will crossover with our reading list a few times.

Though my favorite panels from this issue are right here:

I'm sorry if the difference in time between your two panels is "Exactly fifteen seconds" then you don't need a text box explaining it.

Either way, while this first one isn't very good, I was really entertained. I'm really looking forward to immersing myself in this period of the art form and learning a thing or two about this franchise!

X-Men #2

That's right baby. We're gonna be in stupid town for a few weeks.

In this issue, a new evil mutant attempts to take on the X-Men and realize his loosely sketched evil plan for world domination and such. This guy, The Vanisher, has teleportation powers so fast that none of them can lay a finger on him. With his X-Men's reputation on the line, Professor X himself has to step in and use his psychic powers to vanquish The Vanisher and his army of goons on the White House lawn.

We learn a lot of new things about the X-Men in this issue; one, that Charles is a snitch for the FBI; two, sometimes the X-Men will just randomly start fighting each other almost completely unprompted.

Oh yeah also they call Jean Grey "Marvel Girl" in this run. I don't know why, ya just gotta deal with it.

The Vanisher basically has Goku instant transmission, allowing him to teleport literally anywhere he wants in an instant. In his master plan to steal US Army secrets and rule over humanity, a bunch of random low level goons just start worshiping him cause he's just that awesome. Like they're not even getting anything out of serving him, they just love this freak.

God could you imagine the alternate timeline where The Vanisher is the X-Men's arch enemy instead of Magneto? I think I would've canceled this series early if that happened.

Needless to say, this one is also insane. Like whenever the X-Men need to go anywhere, they rely on the goofiest modes of flying transportation that I've ever seen.

This one is also pretty dumb, but I can't say I had a bad time reading this one too! I think the first one was more interesting, seeing the prototype for such an all time comic villain, but this fight against the Vanisher is just a straight forward good time.

Tales of Suspense #49

Here we have our first ever crossover! In this comic, Angel accidentally gets nuked by Iron Man during a weapons test. The radiation makes him turn evil. Iron Man has to stop him.

This is the goofy bullshit I crave. There is no explanation for why any of this happens. Angel suddenly swears his life against all crime fighters and tries to make friends with the evil mutants. Iron Man talks completely different than I'm used to in this modern MCU era (plus his identity actually is secret!) Although the other X-Men do show up in this one, It is so strange to me that the first X-Man to make it into another series is one of the most forgotten characters of them all.

Oh man they just. They just don't make em like this anymore.

I do like that the X-Men as characters are starting to settle into their personalities. Angel's the boyscout, (normally,) Iceman is a little shit, Beast is a funnyguy, and Jean is a woman. Cyclops is still a little undercooked, but in terms of actual art I think I like how he looks in this style better than anybody. It helps that the art is getting ever so slightly better issue by issue.

But I also love that there's like. No backgrounds. It's crazy that in these early comics they just frame characters in a blank, colored void. I have no idea where these guys are right now.

The writing is still hilarious. Like everyone in these comics just says whatever they're thinking out loud. If these comics weren't written for little kids I'd make a big stink about it, but I just find this so endearing.

Eventually Iron Man does the thing where his power runs out and he falls to the earth in the middle of the fight, then Angel comes back to his senses, possessed by the instinct to save him. As he flies away, good ol' Anthony Edward Stark gets a call from Professor X saying that some day he hopes that the Avengers and the X-Men will one day fight alongside each other...as allies! And from this day forward, they'll never fight again!

Um. Ignore that.

See y'all with more soon!

[lizardsfromspace]

Okay, this is the conclusion to my posts about Sophia Stewart. I'll never do something like this again

Everything I've posted is from her own book or her web presence btw. That's all I'm drawing from and if anyone tells me any information about her they gained any other way I'll block them immediately so uh, don't

Towards the end she reveals some of her other pitches. By showing she copywrote sequels to the Matrix and Terminator

Lots of strange details here - she wrote The Matrix 4 in 2000? They didn't even start filming The Matrix 2 & 3 until 2001. Also, we can see in this book that her pitch has nothing to do with The Matrix or Terminator, but she claims she wrote direct sequels to both?

(Her explanation for how both very different films are ripping off her work - a 1:1 copy, she claims - is, hilariously, that The Terminator plagiarizes it front to back, while The Matrix plagiarizes it back to front. What?)

But also she didn't write it. She registered copyright on a synopsis for The Matrix 4. She has concepts of a plan for a Matrix 4.

The book ends with a pitch for another...she calls it a book, but it's a movie pitch? And this, too, is just a synopsis for some grand epic series, light on detail of character and plot and heavy with lore and rants (in this case, primarily about God and Adam & Eve). Of course her exhaustively long but barely sketched-out epic movie pitch has a prologue, which is also full of Christian-tinged Ancient Aliens pyramid power woo.

Sophia Stewart is unimportant, bc she represents a class of writer. Writers who have Ideas. Who have outlines and plot points but no real story, bc they never write it. But they think just having Really Good Ideas is enough - that you should get credit for coming up with a good idea for a story, regardless of if you make an actual story out of it. They're a "writer", but they never write. Despite this they often have a deep case of Dunning-Kruger, churning out outlines that leave out basic details like "what happens in the climactic battle" and the personalities of characters while insisting that an inability to author anything shouldn't keep you from being praised as a genius author

If that type of person is lucky enough to have money, they become a studio executive or tech guy, both professions awash in the uncreatively creative, or they hire ghostwriters. If they're not, they become the type of person to file spurious lawsuits under the misapprehension they own basic plot concepts. It's the "I coulda made the majors!" of writing, except, you know. Baseball players who didn't make the majors still actually played baseball at some point. I assume from now on all those types will just pump their outline into ChatGPT and try to sell the gunk it slops out and then claim they 'wrote' it so uh, uhhhhhhhhhhhh

The only reason I made these posts was discovering the conspiratorial angle to her work, bc who cares if a major studio has to deal with a spurious lawsuit? That was the part that actually sucks. But also, she does a lot of press: profiles on news websites, podcasts, that documentary was even made by other filmmakers, who actually make films. It's persisted from blogs and chain emails all the way to podcasts and TikToks. All of this uncritically spreads her story, but I also have to ask: how many actual African-American science fiction writers do those platforms profile? How many of them get documentaries made about their work? How much air is being sucked out of the room by the decades long misinformation about the "true" creator of The Matrix? And why is that misinformation so persistent when it takes a trivial amount of effort to find out it just isn't true? It feels good to support the underdog against the big studio, but in this case it just isn't true.

The sad truth is a lot more Hollywood plagiarism cases look like this than are real exposures of wrongdoing, but people tend to accept them at face value since they feel like a little guy taking on a corporation, though in reality it's just two writers suing each other. Take The Holdovers case, where people immediately turned on it, but if you look into it, the two scripts have very little in common, and the accusing writer makes odd claims like a human character in The Holdovers being a ripoff of a billboard in his script.

Or look at Groundhog Day, which was accused of plagiarism by Richard A. Lupoff, writer of the story "12:01 P.M.". The two stories have nothing in common besides a time loop; in Groundhog Day he's reliving a day, in 12:01 PM he's reliving an hour. Groundhog Day is a romcom, 12:01 P.M. plays it for horror. Groundhog Day never reveals the source of its lop but it's clearly fantastical in nature, 12:01 P.M. is explicitly science fiction. In Groundhog Day he escapes the loop, in 12:01 P.M. he never does. You can't deny Lupoff felt personally slighted, but at the end of the day, a world where a writer could own the concept of time loops would be a dystopia where creativity and art would die.

But even though they were wrong, The Holdovers & Groundhog Day cases were based on real works of writing that existed. They were based on a real, if misguided, sense of violation from the writers. But in this case, we have a mere outline of a story with not even basic similarities to the stories she's claiming are a 1:1 copy of her work, and decades of media appearances based on exploiting a community college media student's mistake in 2004. Anyway seems bad

[rascalentertainments]

Hey! Finally decided to write out a few questions I had about Wish Granted, so here they are.

⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️

Who’s your head canon voice for WG!Flazino? You may have already said in another post but I couldn’t remember. (UaS!Flazino’s is Milo Manheim, if you’re curious.)

On that note, how do you think WG!Magnifico and Amat would react to Flazino being prince and the biological son of UaS!Manuel and Amaya?

What other Disney movie do you think you drew the most inspiration from, if any?

Do we get to see an actual wish ceremony in the story? If so, when?

Lastly, any hints towards the ending?

⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️⭐️

It’s not a lot, but I’m kinda late to the party so most of the good ones have already been asked. Hope you’re doing well <3

HIIIII! I'm so sorry I'm late to this! Been finally designing the villains, and working, so I had to try and make time for this!

I briefly mentioned it in Chapter 1, but that was so long ago, lol. 😆 WG!Flazino is voiced by Josh Keaton! He's actually been in a few Disney projects, including the voice of Young Hercules! Chose him because he has a voice that fits his range of emotion from stressed out, to snarky, to genuinely trying his best. Plus he has a great singing voice. (Also, LOVE your voice for UaS!Flazino!)

2. On one hand, they'd applaud them for getting their Flazino under control with little to no hesitation or resistance. On the other, they're appalled that UaS!Royals even HAD a kid! WG!Magnifico and Amaya don't plan on having heirs, they want to stay in power longer than humanily possible, so they need all the magic they can get.

WG!Amaya would share a few spells that can UaS!Amaya to spy on UaS!Flazino when he's out of sight, or even spy on any possible traitor in the kingdom. (And they'd exchange tea recipes) Their respective pets would get along as well.

UaS!Magnifico would get along GREAT with WG!Mags. They both want the power of a star, and WG!Mags actually succeeded in getting a taste of that power. I can definitely see them going on and on about how hard it is to keep their Flazino's in line. Only, WG!Magnifico would slightly respect UaS!Flazino more for being a royal and not a peasant like WG!Flazino.

3. Hercules, big time! In fact, Wish Granted is part of an homage to the Disney Renaissance movies, where they just had super creative films one after the other! Hercules is actually one of my all time favorite Disney films, and Star's personality and strength is heavily inspired from it! Hell, a LOT of the humor is similar to Hercules, especially in Magnifico! (Plus I have a superhero story in development where is a combination of Wish, Hercules and Superman.)

4. Yes, actually! 😂 I didn't realize I NEVER showed one in the beginning. Oh my gosh, I'm embarrassed….

So it'll be shown during the set up for the finale! Once the royals gather up the people to make 100 wishes, they take in another newcomer to demonstrate their power. (So 101 actually!), it'll basically show what will become of the Hamlet when their wishes are taken. Magnifico plans to just eat them all and kill them on the spot if Asha doesn't give up Star.

5. I'll give you HINTS!!

Thanks so much, @snackara! I'd love to get more questions from you when you have them! They're so fun! 😁

I'll tag you guys in case you want some more lore here! 😉

@oh-shtars @signed-sapphire @chillwildwave @tumblingdownthefoxden

@your-ne1ghbor @ishadow246 @spectator-zee @kenihewa

@uva124 @annymation

[blade-ranger-301]

Sorry about the bots!! I have the same problem on my main and side blogs. 🥲

So here is a normal question for ya! What are some of your favorite Blade HCs?

Ah glad I'm not the only one. They're so annoying 😭

And thank you for the ask! Means a lot and I'd love to be able to interact with others about our OC's and headcanons

I have a few of my own personal HC's for the angry helo 🚁:

- British. Despite the Planes 2 film being set in the US (I'm assuming), I'm writing my own fanfiction which is basically my own version of the film with added OC's, and it's set in the UK JUST for the sole reason that I can write Blade as a Brit 🇬🇧 (I have another post that support this lore: land, fire statistics, etc)

If Blade was British, he'd be from Northern or North-Western England 🏴󠁧󠁢󠁥󠁮󠁧󠁿 He's got that vibe in him: Typical working-class, an unmatched taste in humour, down to earth, sarcastic, takes no shit, stubborn and incredibly stoic (especially this), and I would imagine he would swear.. a lot

I think another reason why this is fun for me is that I can show other non-UK followers what the UK is really like. None of that London aesthetics shit. Idk how others view my country but whenever you look at ✨️UK aesthetic✨️ pics online, it's either London or cute little countryside cottages. A lot of photos and posts on social media perceive the whole of the UK as one big "London" island. Blade is none of that, and I think it'll be fun to see what he brings to the table 🇬🇧

- another HC is that he's best friends with Bravo and Echo. I've not yet explored how he meets and befriends them

- Blade occasionally drinks on the job. Not intense drinking, but Maru would definitely make him a glass or two to prevent him from going on a rage induced murder spree on everyone when he's in one of his bad moods. It's even hinted in the film when Maru sarcastically replies to Cad via radio "Oh, he's out back sipping a Motojito". So Blade's definitely having a few cheeky mojito cocktails on the sly whilst on duty. Maybe that's why he's sometimes so calm and chill in the movie XDDD

- The biggest HC I'm exploring is a big self-insert in Blade's past. Nick is alive so there's a reason why he leaves filming, but he's dealt with another traumatic experience in the past.

For the entirety of 2024, I've been dealing with the aftermath of a best friend breakup. In all 24 years of life, this is probably the worst BFF trainwreck I've experienced to date. That person is also a member of the LM community (not here) and have since replaced me with a new best friend also in the LM community. So this year I've been processing the up's and down's in my mental health. It's been 1 year since it happened, and I'm still not the same and it still affects me, but I've survived and maybe I've come a long way since but it doesn't feel like it - but I'll keep on trudging forward *keep calm and carry on Brit energy 🇬🇧✨️*

I'm planning on Blade going through the same 'best friend betrayal' ordeal because I think that maybe this will help me in some way. Due to this event, Blade will be affected badly and will become depressed, withdrawn, melancholic and angry, and will actively isolate himself from his team and others. When my heli OC Toni comes along, she'll have a hard time earning his trust, but with time, patience and Maru's help, she will eventually break through his shell and he'll be a much happier character in future and they'll become a couple.

I'm not sure how the timeline and scenes will pan out, but I use quotes to take notes and ideas for now, but I struggle with motivation and creativity often. But I'm going to get the Planes 2 fanfic out the way before I can worry about this one XD

But anyways thank you for letting me ramble and I hope you all enjoyed the read ☺️

[miimo96]

Oh y'all KNOW I had to talk about this, I don't know about you but I am absolutely excited to see what DC has in store for us in the future with these 2 shows, finally Green lantern is getting the recognition he deserves because ever since the green lantern movie back 2011, nobody really cares or even tries to touch green lantern and instead treats them like a joke or the effing plague, which is really a shame because they're one of the most creative and interesting characters in all of DC,

like between talking place in space and having a roster which basically represents all sides of the damn emotional spectrum, they're never really given that much attention aside from only having 1 cartoon series and a few animated projects here and there, which really sux in my opinion, because they're lore and concepts are so interesting to me that I really wish we saw it more, I'm hoping that this show will be good considering DC knows how to cook when it comes to animation and not really movie's, (unless you're batman, we'll have to see in July but as of now, not really) but also because this will be in the same universe as My Adventures with Superman, which is already a win for me considering how GOOD that show was ^^

Judging from the synopsis it looks like the show will be featuring Jessica Cruz as the main Green lantern, which sounds however a part of me really wishes that they had gone went with Kyle rayner since he's such an underrated lantern and not that many people know about and seeing his journey from going to green to white lantern would've been such an awesome thing to see, I hoping we'll get to see more iconic lantern characters show up and probably help train Jessica like Hal Jordan, John Stewart, guy gardner, killowog and maybe even Kyle rayner, considering you need a lot of training to use that damn ring 😅 I'm also hoping the design for her will be very similar to the one from DC Superhero girls considering that design is just really good and I absolutely just love the little green streak in her hair when she goes lantern mode, it just adds a little bit of extra flavor if ya know what I mean, I'm hoping to see a lot of lantern Villains also show up because GL actually has a suprising amount of rogues in his roster like Atrocious and the man hunters but I'm pretty sure whatever they do it will be absolutely good, it's great to see the impact that MAWS has had and I'm really excited to see what they do next.

I also really can't wait to see what the people at DC have in store for us when it comes down to this Starfire tv show because aside from being 1 of my favorite characters in Teen titans as well as one of my mains in injustice 2, she never really gets that much attention aside from always being associated with the titans, so I'm really interested to see her backstory played out and adapted for modern audiences to see,

I'm hoping the cast and animation will be good considering the absolute TRASH we've had for the past decade *cough, cough, Teen titans Go, cough cough* like don't get me wrong I loved the colors they used for and characters in that show but that series was NOT Teen titans, however I do hope they go with a similar approach and use bright eye catching colors for her, ESPECIALLY since it would be a GOOD contrast between her and her sister Blackfire and would fit really well with the overall theme of space and the Cosmo's, judging from the logo it looks like it could be really good but we'll have to wait and see when it comes out, but lemme know what you guys think, are you excited for these shows or not really? I know I am ^^

[meshaamem-li]

imagine how much more vibrant and varied our animation industry could have been if large monopolies like Disney would have spent $20m on 10 films instead of $200m on 1 soulless cashgrab.

seriously. Wish had a budget of 200 MILLION dollars, and for what? a sorry excuse of a story that feels like it's been written by AI? if Disney divided the money across multiple creators and let them pour actual passion into their art, we could have so many more animated films of different genres and for different audiences.

the average movies I can find that aren't a large disney production are usually made on like a $30-60m budget, but Song of the Sea was made with a $7.5m budget, wolfwalkers was made on an $11m budget, and the nightmare before Christmas was $24m. Your Name was only $5.5m!!!! so it's not impossible to make good films on lower budgets.

I'm not saying "don't pay your artists" or limit creativity, but there's no reasons to waste 200 fucking million on a movie that has no soul when there are millions of artists and storytellers who are just itching for their story to be told. not every movie has to have groundbreaking hyperrealistic animation, you can actually make really good and unique animation without it being this fucking expensive! (while still paying your fucking animators because they're fucking amazing and deserve a much higher wage than the Industry standard)

it's like.... why they putting all their money on like 1-2 films a year when they can make at least double that amount and they'll still look good??? why are they not giving any room for experimentation with lower budget films and instead relying on soulless cashgrabs that appease the general audience of parents and doesn't treat their young viewers as people with taste? take more risks!!! bring some variety to the medium!!! this 200 million film could have been 4 50 million films!!! you are a multi BILLION dollar corporation, you have the resources to make multiple films at a time, and not all of them need to be the most amazing and visually appealing movie of all time!

yes, movie production is complicated and requires a LOT of people and a LOT of time, and costs a LOT of money, but animation evolved a lot over the years, and we're at a point where indie animators can make a solid short film basically by themselves at home and it would look much better than anything that was made 30 years ago because the tools we have now are much more powerful and accessible.

[brian-in-finance]

Inside Written In My Heart’s Blood • Part 3 of 3

🧵Outlander_Starz: This episode, we once again see the juxtaposition between the more rigid British standards versus the more freeform look of the Continentals.

While the British are *supposed* to be all buttoned up, that hasn't necessarily been the case for our poor William lately (much to his superior's chagrin), who has really been going through it over the last few episodes.

As well as putting his costume through the ringer, Charles Vandervaart has three wigs in order to play William: a tidy wig, a riding wig that won't fall apart as he's galloping, and an untidy wig. I'd say the untidy wig is seeing a little more use lately...

The first time we saw William earlier in Season 7, Part 1, he felt the need to become a soldier, the need to be like his father Lord John. But he was a young man-quite fresh-faced and innocent. Then, he was very proper about the regulations of his uniform, keeping it clean and pristine.

But then he discovers unrequited love and discovers his parentage and heritage, a very up and down journey, so his uniform has to show his adventures. His costume has been broken down, made filthy, and cleaned up and repaired, deteriorating as the story carries on. — TRISHA BIGGAR, COSTUME DESIGNER

🧵Outlander_Starz: William found himself in quite a sticky situation this week and Charles Vandervaart was fully committed to making it all look realistic, much to his discomfort.

I remember talking to Joss Agnew, the Director, about how in a lot of shows, you see people that are just handcuffed or have their hands tied. You always think, “He can get out of that. That's easy."

We wanted to make sure I absolutely could not get out. I was gagged. I had a bag over my head. I had chains on my arms and legs... It was a very interesting day. I don't think I'll ever wear a gag again-that was not my favorite thing in the world. — CHARLES VANDERVAART, WILLIAM RANSOM

🧵Outlander_Starz: The time travel magic ✨ facilitated by the laird's desk felt like classic Outlander.

The desk, which had been covered with a velvet cloth in earlier seasons, now had to send messages through time. To create a design that looked good in both the 20th and 18th centuries, Set Decorator Stuart Bryce said: "We came up with something slightly rococo... A lot of cabinetry in those days did have secret compartments. They were so clever. The ingenuity of the design in the 1600s and 1700s is inspiring."

🧵Outlander_Starz: Before Bree finds that fateful letter, she pulls a book by the late Frank Randall off the shelf. Here's a detailed look at that book...

🧵Outlander_Starz: Roger and Buck have been on quite the epic side quest this season.

For their looks, the team took the clothes from their previous travels and let them get dirtier as the episodes progressed. Same for their hair and make-up. Said Designer Ann McEwan, "They're outside all the time, so we weathered them up. We broke up Roger's beard line so it's not so carved-he's not tidying himself up. Buck's wig was left to go untidy. He was quite an untidy character when he arrived, so he's not too changed."

🧵Outlander_Starz: Few characters have had quite the transformation Buck MacKenzie has, and most of that comes down to the talented Diarmaid Murtagh, who helped bring Buck from enemy to beloved family member.

Diarmaid Murtagh, who plays Buck, is so good. We had approached Graham MacTavish to play Buck, trying to continue what we had started at Alamance, and unfortunately Graham's dance card is very full.

But actually it turned out well because we discovered Diarmaid. It's basically like a buddy movie this season with Buck and Roger. They're so talented together. — MARIL DAVIS, EXECUTIVE PRODUCER

🧵Outlander_Starz: That's all I have for you this week. Hear more from the cast and creative team over on YouTube and don't miss the epic season finale January 17 on STARZ.

Inside Written In My Heart’s Blood • Part 3

Threads 🧵

Remember… as well as putting his costume through the ringer, Charles Vandervaart has three wigs in order to play William.

[pubbamoon]

Hello there! How are you doing? Hope your having a wonderful day!!! Sorry to bother, I was wondering if it's okay, could I please ask your thought on this. Currently I'm really having a difficulty on if I should become an actor, musician or businessmen.

My question is based on my chart which one of these careers do you think is the one for me?

Thank you so much!

Hello! It's totally okay to me to read your chart in he context of your career path. Sorry for my later response, I was busy doing Destiny Matrix chart readings to other people. Let's just get into the topic!

The first thing I'm going to interpret is the money line of yours. So, your money line is the 5-19-14 code, combining the number 5 (The Hierophant), number 19 (The Sun) and number 14 (Temperance). If you search on the internet about it, you'll probably hear that this mentioned code (5-19-14) is called "Millionaire code". So, having the 5-19-14 code in your money line might indicate some kind of success in your profession. I often see people with number 5 (The Hierophant) in their chart working as a singer of being influential at any point. Number 19 (The Sun) may also indicate creative type of profession, but also owning a business, since The Sun card basically represent creativity. Number 14 (Temperance) might indicate balanced approach your duties in your work environment. Temperance card might also suggest success in leadership positions or in creative fields. Number 22 (The Fool) placed on the right side of your chart might also be significant for your career path and finances. The Fool represents spontaneity and freedom, so in this case, you may choose some professions that might seem unconventional.

I wanna also interpret the numbers on the upper side of your chart, representing your talents and gifts. The Magician (1) here shows that you might be naturally good at multitasking and doing everything at once. Justice (8) signifies you natural ability for diplomacy or exceling in roles. I often see many actors having Justice card (8) on their Destiny Matrix chart, maybe because actors excel their roles in movies or series by acting what they're actually not. The Chariot (7) shows that you might se discipline and ambitious person who strives for your goals.

So, I think that your Destiny Matrix chart has answered your question. It makes sense why you want to be actor, musician or businessman. Your money line shows potential career as a CEO or in creative fields. And if your are in a right environment, I think you have a potential to succeed. Good luck and I wish you a lot of success in you near future.

Best regards, Paky McGee