#let's learn from what we know

[bacchuschucklefuck]

prayer of the day:

[stagefoureddiediaz]

Something something about Eddie learning Buck will be there for him off the job, even without Chris being in the equation.

Something something about that being an important realisation for him to finally make because he’s always hidden behind his son when it comes to Buck (and his love life more generally - even Shannon in reality was for Chris not himself) but he won’t be able to this time.

Something something about that realisation being the key to giving himself permission to examine his heart and feel his true feelings.

[toubledrouble]

You know what we should bring back?

Older christianity. I mean the anti government, anti military, community based christianity. The one that cared the most about peace, equality, mercy, kindness, and radical love. The one with shared property. The one that didn't conform to society but instead existed mostly outside of it. The one where noone considered one sin worse than another because in the end, we are all sinners trying our best to be better.

[uniiiquehecrt]

Voice actors are NOT the same as actors.

It takes a specific kind of skill-set and training to be able to warp and meld the voice. It takes a certain kind of talent and dedication to hone that talent into the ability to meld the voice and invoke emotion with one's voice alone. Actors are used to using their voice secondarily to their body language and their facial expressions. It's all mirrored back on camera. They do have nuance. But it's a different kind of nuance and a different kind of training to produce that nuance.

Voice actors might get their likeness transposed on their character's design, and maybe their mannerisms might seep into the character's animation. But when it's all said and done: their presence is in their voice. They are bringing a character to life, showing that emotion in their voice, trying to keep a specific accent, drawl, pitch, tone in that voice and keep it consistent for their recording sessions.

The voice actor is like a classically trained musician who can play first chair in a competitive, world-renown orchestra. The actor (who fills the voice actor's role) is like a moot who played violin in beginner and intermediate high school orchestra and thinks they can get into Juilliard with that 2-4 years of experience.

This doesn't mean that the HS orchestra moot can't play. They can even be really good at it. Maybe they won competitions and sat first chair. But they are not in the same league as the person who's been training their whole lives and lives and breathes to hone their craft using the instrument and all of the training they've ever acquired to perfect it. They are not meant for the same roles. They are not in the same caliber. You do not hire the HS equivalent when you want to play complex music in a competitive orchestra.

Actors are not the same as voice actors.

And furthermore, actors - especially big name actors - taking the roles of animated characters for big budget films or TV pilots makes no sense anyways when - at least in the case of TV pilots - there's not a point to hiring a big budget actors anyways. That money could be used elsewhere (like paying your animators), and the talent that is brought onto the screen for X character could then be hired on to voice said character no recasting required.

I wouldn't say voice acting as a profession is in danger exactly, but it's certainly being disrespected and overlooked for celebrity clout, and this has ALWAYS been an issue. Shoot, even Robin Williams knew that much - which is why he tried so hard not to be used as a marketing chess piece for Aladdin and got royally pissed off when it happened anyways. People shouldn't go to any movie (but especially not animated films) because "oh famous actor is in it". People should go because it's a good movie and the voice acting is good.

People who honest to god think that voice actors are replaceable because "oh well anyone can voice act" or "I like xyz celebrity so naturally it'll be good" ... Honestly I just wish you'd reassess your priorities because you're missing the point and are part of the problem.

Voice Actors ≠ Actors.

[pocketramblr]

you know im thinking. im thinking maybe Yoichi wasn't even that into captain hero as an adult, but AfO kept bringing LITERALLY every conversation back to that because he decided to Be The Demon Lord and so Yoichi like, can't get an argument in unless he uses the same material so he's like 'oh my god i haven't even thought about that comic in ten years but even i know the bad guy didn't win. you should not be basing you whole identity, business model, and world destruction plan on your five-second impression of a comic book bad guy who didn't even win! also you shouldn't kill people!'

[kenmaiii]

after two years i finally draw the favorite

[siryyeet]

Oh you have complicated feelings towards Germany? Let me make 91836373 assumptions about it with my piss poor understanding of history, not listen to germans at all and then come to a horrendously bad and false conclusion on why that is! Also I think you germans should stop feeling guilty and be proud of your country again!

[luck-of-the-drawings]

[<==PREV PAGES] [NEXT PAGE==>(not out yet.wait a year.or maybe more.imagine.]

saw alot of comments on prev pages; saying 'i HATE that mean teacher! im gonna FIGHT HIM!!' & i LOVE the energy!! it WOULD be nice. to have that catharsis. but the story of young tidestrider is Not one of catharsis. it is a story of being so small and so special and sucking so bad.

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[laminesyamal]

y’all pls 💀 the seleção has officially lost the plot

vini is an incredibly talented player but i could name so many reasons based on the rating criteria of the ballon d’or for why he didn’t win:

- his votes were split across his other club mates (this is directly m*drid’s fault for doing bad PR and also for just putting a bunch of superstars together instead of building a TEAM whose play shows off each other’s strengths—it means vini is not ABSOLUTELY INTEGRAL to the club’s success);

- he so often DOES NOT show class on the pitch—and i’m not referring to him speaking out against racism here, bc of course he fkn should;

- and… he HAS NOT BEEN A KEY PLAYER PERFORMANCE-WISE FOR HIS NATIONAL TEAM!! as a brazil nt supporter since before i came out of the womb, i can confirm that his OWN COUNTRYMEN were saying this during the copa américa.

so why is the seleção posting this saying they’re SO PROUD of him as if he saved someone’s life or something?? did they do this for neymar every year that he lost despite being one of the biggest talents football has ever seen?? 😭😭😭 like wtf is going on in the simulation rn?????

[danvillecheese]

the thing about a three way crossover is that the mml one was already so jam-packed with characters that plot points got cut and it was a hodgepodge of an episode and it was ending a story arc and also trying to squeeze in characters from pnf at the same time. imagine adding a third show full of characters to it could you even imagine the chaos

[jessicas-pi]

hear me out on this ok. ROTS AU where Anakin still turns to the dark side but that's Palpatine's problem.

So, Palpatine decides last minute that ehhhh maybe dooku could come in handy later and he doesn't encourage Anakin to kill him, and Dooku gets arrested and imprisoned in the Jedi Temple awaiting trial. (Also he didn't get his hands cut off because of uhh plot reasons?)

Fast forward.

Palpatine is encouraging Anakin towards the Dark side, tells him about Plagueis the Wise, etc. etc. But see, the thing is, Anakin is at the end of his tether, probably hasn't slept more than three hours over the past week, and has no remaining impulse control or inhibitions, and upon hearing that the Dark Side can save people from death, his first thought is, "wait a sec, we've got a Sith Lord in-house at the moment!" and he sprints out of the space opera and books it back to the temple.

Now, Dooku has been calmly waiting in Temple custody, confident that Darth Sidious will arrange his escape. But THEN Anakin barges into the cell like OMG THE CHANCELLOR TOLD ME THE SITH KNOW HOW TO KEEP PEOPLE FROM DYING AND I'M HAVING DREAMS ABOUT SOMEONE DYING AND I NEED YOUR HELP TO SAVE THEM

At which point, Dooku realizes Palpatine's plan. He's going to tempt Skywalker to the Dark side and REPLACE DOOKU. this is totally uncool.

So he's like "...who are you dreaming about, exactly?"

Anakin freezes. He can't admit it's Padme because their relationship is top-secret and he can't admit how important she is to him so he tries to think of a good fib and goes "uhhhh OBI-WAN! Obi-Wan, it's Obi-Wan, I'm dreaming about Obi-Wan dying-" and he just throws himself into the drama because now he IS imagining obi-wan dying because Obi-Wan is fighting grievous at the moment and he MIGHT ACTUALLY DIE and that's in addition to Padme dying and he's totally spiraling at this point- "pleasepleaseplease you gotta help me he's like the only father i've ever known I don't know what i'll do without obi-wan I have to save him YOU GOTTA TELL ME WHAT TO DO I'LL DO ANYTHING--"

Dooku begins to smile.

(Would stealing Skywalker out from under his Master's nose be petty? Oh, yeah.)

(But it would also be very, very satisfying.)

---

Obi-Wan calls in to a council meeting to report his defeat of Grievous, but before he can say so, Mace announces that Dooku has escaped and the Sith Master has been killed.

Silence falls between the eleven councilmembers (eleven, not twelve, because their newest one is conspicuously absent. Obi-Wan wonders just what Anakin's up to now. Honestly, that boy will be the death of him.)

Obi-Wan clears his throat.

"...indeed," he says, trying to handle the shocking news with composure. "Well... at least we're down to one Sith, now."

Another awkward pause.

"Yeah, about that--" Mace begins.

[shadowlink720]

apropos of absolutely nothing in particular, here is a reminder to glaze and nightshade any images you post. glaze protects your images from mimicry, while nightshade poisons the information that the "training" tools get from the image

there is a web version of glaze if you do not have a system with enough gpu to run the program, and cara is an (in beta) art hosting website that is strictly anti-ai and has web glaze integrated into its site

[bacchuschucklefuck]

the never stop blowing up vhs is where cute twinks go to get harmed

[tallochar]

I keep turning this concept in my head but I can't manage to write it satisfactorily so here I am, setting it out in the wild:

Tim Drake being alerted that Batman INC is something that is in the planning stages of it happening (maybe by Lucius, maybe by Tam, who even knows, look he was CEO for a while and someone is worried about Bruce Wayne about to go public with Batman INC and they get in touch with him) and going to Bruce and refusing to let him do this.

Because Bruce is needed in Gotham and Batman is needed in Gotham, and while Dick is doing a great job and no one will convince Tim of the contrary, that's not Dick's job. It's Bruce's.

(Who also has a son who just got his father back and if anyone knows what it would mean for a son who lost their father to get that father back when you know it's not going to happen... well lets say Tim has Opinions about this [and while he might not get along with Damian all that well yet, they are in that neutral state where Damian is like a cat observing things and studying dynamics and Tim has always been able to work with people he doesn't like or even trust much, so he's not going to punish the kid over whatever's went down between them.])

And besides, let's be real here Bruce, if you want a Batman that can go around the world and pull together teams and make them cohesive and knows what it's needed to be a successful team of young / upcoming young heroes, that's way more Dick than you yourself. Would be preferrable if he was allowed to do it as Nightwing, but the point still stands.

Just ... Tim pow-wowing with Bruce over the whole sitch and convicing him to back down. Not abandon the project, Tim knows that will not happen no matter what Tim does, but trusting it to Dick, who is way better with both younger people and people skills in general than Bruce.

(Which actually is not meant to separate Damian from Dick, Dick can come in from one assignment to the next and check on Damian and this is not the time it was when Tim was growing up, they have communications all over the globe now, Dick can phonecall and videocall Damian as many times as he wants and check on him as often as he wishes, but if Batman INC is happening, and it will happen because Bruce has decided it will, then Tim can only do damage control over this)

And possibly Bruce leveraging Tim staying in Gotham (which, joke's on Bruce, Tim was going to do that anyway, but sure he'll "concede") and possibly "asking" (ordering, let's be real here) Tim to help train Damian (which Tim isn't enthusiastic about but fine, he'll make it work as long as Bruce has his back), for multiple reasons.

A bit because Bruce sort of feels guilty that Tim was kicked out of the Robin role (Bruce HAD promised it would be Tim's until Tim decided otherwise, [which I don't think Dick knew about and even if he had, the situation still had been what it was, to be fair to Dick]) but also Bruce doesn't quite know what to do with Damian (and it wouldn't be the first time he's trusted Tim to teach young heroes / guide someone in a vigilante role) and also he both wants Tim to be there with him (he's missed him) and needs him there with himself (Tim the emotional regulation parentified wonder!).

And then shenanigans from there.

[camgoloud]

award for most devil’s sacrament moment of the year goes without a doubt to this morning when my coworker (delivering presentation) (screen projected onto wall in front of me and god and everyone) opened a new tab in google chrome and in the number one spot among the collection of icons for frequently visited websites was. the ao3 logo