#low quality for comedic purposes

[lictvison]

Silly little guy

[m-s-justice]

life or bath for dry Richtofen

[secretmellowblog]

One of my favorite Deeply Pathetic Javert Things is how often he puts on a big show of loyal bootlicking self-martyrdom only for no one to even notice. I love it when a long-winded description of Javert haughtily martyring himself for the unjust government he worships is followed up with a short comedic note about how literally no one even sees him or cares. Things like:

Javert, who, bound to his post, had not so much as moved his head during the whole of the attack on the barricade, and who had gazed on the revolt seething around him with the resignation of a martyr and the majesty of a judge.

Marius had not even seen him.

And

Javert bestowed a respectful salute on the mayor, whose back was turned to him.

The mayor did not look at him, but went on annotating this docket.

And

On entering he bowed to M. Madeleine with a look in which there was neither rancor, anger, nor distrust; he halted a few paces in the rear of the mayor’s armchair, and there he stood, perfectly erect, in an attitude almost of discipline, with the cold, ingenuous roughness of a man who has never been gentle and who has always been patient; he waited without uttering a word, without making a movement, in genuine humility and tranquil resignation, calm, serious, hat in hand, with eyes cast down, and an expression which was half-way between that of a soldier in the presence of his officer and a criminal in the presence of his judge, until it should please the mayor to turn round. All the sentiments as well as all the memories which one might have attributed to him had disappeared. That face, as impenetrable and simple as granite, no longer bore any trace of anything but a melancholy depression. His whole person breathed lowliness and firmness and an indescribable courageous despondency.

At last the mayor laid down his pen and turned half round.

“Well! What is it? What is the matter, Javert?”

And then my favorite one:

“This man was at the barricade,” said he in a low voice and as though speaking to himself. “He is the one they called Marius.”

A spy of the first quality, who had observed everything, listened to everything, and taken in everything, even when he thought that he was to die; who had played the spy even in his agony, and who, with his elbows leaning on the first step of the sepulchre, had taken notes.

Javert spends the hours before his death pointlessly “taking notes” he expected no one to ever receive, solely because it’s what the government ordered him to do and he has no purpose outside of licking boots and following orders.

And there is something really compelling about that, in contrast to characters like Thenardier and even Jean Valjean?

Thenardier and Jean Valjean act overly conciliatory and submissive to their “social superiors” while in public, and then secretly express resentment for them in private. Jean Valjean will speak politely to a cop like Javert in public but calls him “that Javert who has been annoying me so long, that frightful hunting dog” in private. Thenardier will praise the wealthy bourgeois “Leblanc” when he has no other choice but threaten and torment him the moment he has the power to do that instead.

But Javert is an authoritarian who is completely earnest in his bootlicking. He doesn’t just worship his superiors to their faces; he continues worshipping them when he’s alone. He salutes them respectfully even when their backs are turned.

Javert bestowed a respectful salute on the mayor, whose back was turned to him.

In the one moment where Javert believes he’s acted out of resentment—daring to outwardly express and act on his personal negative feelings for a superior, by accusing Mayor Madeleine of being Jean Valjean — he confesses his crime immediately and tries to force “Mayor Madeleine” to fire him for what he sees as a horrific unforgivable offense.

When there’s no one else around to police Javert’s behavior, he polices himself. He forces himself into this state of constant, unending, horrible, pathetic, bootlicking deference to a government that does not value his life and never will.

[mailjeevasfan]

hi! love your work <3 can i request some headcanons about living with matt and mello (together) it can me romantic or platonic, i dont mind either way ! tysm :)

that pic came out so low quality for some reason

thank you so much :’) i tried to do a mix and include a little bit of romance for each but i’d say it’s mainly general/platonic. i reaaaaally self indulged here

-matt and mello x gn! reader

༺♡༻

living with matt and mello hcs ❦

matt

-messy asf. he doesn’t do it on purpose but he’s just so unorganised and has a messy room and just causes chaos wherever he walks. that being said, he does know where everything is which pisses mello off SO MUCH. mello also routinely berates him for his mess

‘matt, what the hell is this on the counter?’

‘umm… the end of a cigarette?’

‘WE HAVE FUCKING ASHTRAYS FOR A REASON.’

-he is probably the one who is at home the most. he doesn’t like going outside, he just sits in and plays video games or watches tv. he only does anything productive if he reaaally has to

-that being said, you have to drag him out sometimes to avoid him getting too depressed from just sitting doing nothing for days. if you can’t motivate him then mello will gladly accept the challenge and come through without fail.

-matt is deeply appreciative of how thoughtful you and mello are, as roommates but also as friends. how well you know him, how easy it is for you to see what he needs when he’s at his lowest. once, (probably when he was drunk) and falling asleep on your chest, he expressed this out loud for the first time and you almost wanted to sob at his words. he comes off as someone who’s always so casual and sometimes maybe even awkward, so hearing this was a shock but a good one.

-if matt isn’t sleeping or sitting on the couch playing video games, he is probably lying on the floor or just doing weird shit. i can imagine mello coming home and just seeing matt doing a handstand against the wall, watching something (5 minute crafts) on his phone on the floor.

-dyes his hair often and changes up his look very frequently, so very often you find yourself following the smell of cigarettes only to the open bathroom door and find matt looking like patrick bateman due to him washing off his hair dye in the sink (cigarette still lit in his mouth, it’s basically a party trick at this point)

-whenever you have to go out he drags you back to bed and holds you as tight as he can with a smirk on his face

-whether you’re a smoker or not, you often light his cigarettes for him and it ends up being a much more intimate gesture than you anticipated. mello tells you to get a room

༺♡༻

mello

-he’s out of the house the most between the three of you but that’s kind of a given. lots of work to do you know being in the mafia and all, that kind of casual stuff…

-idk where i’m going with this or how to even explain it any more, but he always makes a conscious effort to keep alcohol in the house at all times like he is always just coming home with a bottle of something

-has lots of cool rock/metal posters in his room and when he’s not in his usual leather clothes he’s wearing band tees (u and matt steal them frequently and he pretends to be mad)

-honestly i want to say (solely for comedic effect) that he absolutely despises the smell of cigarettes in the house. you’ve never seen desperation like the kind mello exhibits when he begs matt to PLEASE SMOKE OUT OF A WINDOW.

-there is 100% a designated cupboard that is full to the brim with chocolate. all the same brand, flavour, type, whatever. literally everything. it’s all identical.

-when he’s feeling down about messing something up, even if it’s the smallest thing, he gets really really emotional and will immediately go to his room. he probably doesn’t cry often unless it’s angry tears but he doesn’t want even his most trusted people to see him like that. however you always know what to do, you leave him be but then convince him that he should let out his thoughts later, in a kind way of course. matt also helps him to feel better at times but you’re definitely there to bring him his chocolate and give him lots of hugs and kisses. he doesn’t speak too emotionally, but i can imagine a very soft ‘thank you’ after you help him

-blasts metal at 9am. no further comments

༺♡༻

both/all three of you

-matt cuts mello’s hair and mello occasionally dyes matt’s. matt gets so into it he thinks he’s a little hairdresser. they’ve also given each other piercings, they have about a 40% success rate. they’ve offered to give you one but you very politely decline. you always have to supervise in these situations because god knows what is going to happen with these two

-it is extremely common to have mini sleepovers in each others rooms. this is another thing that matt just gets a little TOO into, he wants the full shabam. he’s looking for matching pyjamas, chick flicks on the tv, endless snacks, and pillow fights. by that i mean he just starts relentlessly beating you and mello with a pillow without warning

-matt likes to shake you and mello awake at an ungodly hour and declare that you are going for a drive. he never actually plans anything for these drives, sometimes you don’t actually do anything but you enjoy them nonetheless. however it is extremely hard to get mello out of bed at a time he hasn’t decided on.

-you do the cooking, purely for everybody’s safety. mello likes to think he’s gordon ramsay but he fucks up the most basic things. matt is just a natural hazard with most things

༺♡༻

[lanzhans-resting-bitchface]

Language learning with media tips and recs for Mandarin

Once you've started to approach conversational level (or before then if you can't wait) a great way to build familiarity is watching shows in the language you are learning. But if you are still fairly new to the language there can still be a big gaps here, so I am sharing what's worked for me.

General tips

If you haven't already, I highly recommend adding two plugins to your browser: a speed controller and a dual subtitle plugin.

A speed controller is great for slowing it down when they are speaking too fast to process.

And while it's not great (for language learning purposes) to rely on native language subtitles, it's one way to enjoy watching a target language show and not have to engage so much of your brain (work and life can be draining) while still getting some benefit via exposure to culture, the sounds and (with a dual sub plugin) the words.

I use Chrome (yuck, I know) and the plugins DualSub and Video Speed Controller . There may be better ones out there, but I enjoy these. Dual Sub also has a " Chinese learning" option, which adds the pinyin as well, but I find it's not super reliable, not sure what I am doing wrong.

Also, side note: use Netflix in the browser for dual sub, if they have the subtitles you want.

Mandarin targeted tips

Watching shows produced in your target language is great practice but it can be hard to find sometimes, or expensive. The two best free options are YouTube and Viki, which come with their own pros and cons.

Youtube

Pros

If you search any show you want with "English subtitles" you are likely to find it

Accessible to anyone, I don't think anyone is unfamiliar with youtube

Cons

Grainy crunchy quality as expected

Subtitles are often in the video instead of as a subtitle file, so they are often also poor quality

You may or may not find a video with Chinese (simplified or traditional) subs as well

Rakuten Viki

Pros

Extensive collection of shows in mandarin

Chat function

Cons

Don't always have Chinese subtitles

With free version, ad breaks can sometimes be a lot

Chat function

Honestly I like the Viki chat, which is timed comments that you can toggle on or off, but as with any chat functionality, the comments vary wildly and can get a little unhinged (whether that's a pro or con is in the eye of the beholder).

Show Recs

Ok now the real reason for this post: an excuse to gush about my favorite shows lol.

The Untamed

Probably needs no introduction, but as my first cdrama it will always hold a special space in my heart.

Sales pitch: a very fun cast of characters with acting I really enjoyed (but sometimes on the cheesy side) and motivations I could understand, even if I disagreed with them. I don't think I truly hate any character in this show, even the annoying ones I enjoy mocking at least.

Vibes: epic historical fantasy drama with humor and angst and tragedy

Disclaimers: not everyone enjoys the acting as much as I did, many people dislike the deviations from the source material (including the censorship), regular drama pitfalls (pacing, cheesiness, etc)

Where to watch: Available on US Netflix or on Viki (although low quality unless you have a paid subscription)

My Uncanny Destiny

My favorite drama to date.

Sales pitch: an extremely funny satirical take on cdrama tropes, I laughed through pretty much all of it. Has very progressive themes for the setting and handles them well (but humorously). The main couple's dynamic was fantastic.

Vibes: comedic historical drama with depth

Disclaimers: I personally think it is a lot funnier if you are at least passingly familiar with cdrama tropes as the premise of the show relies on flipping these (esp gendered ones), a fair amount of potty/gross out humor (but not all of it), the writing does drop off a little towards the end

Where to watch: viki

God Troubles Me

For the animation fans

Sales pitch: an animated show that is also really great for learning more about modern Chinese culture, I love the light hearted humor and ridiculous characters in this. While there is a loose overarching plot dealing with gods and monsters, it's actually very much a slice of life show

Vibes: cozy fun comedy

Disclaimers: while it's a great way to learn about Chinese culture, that can also be one of the biggest hurdles to engaging with it, especially if you are not very knowledgeable yet (like me!). Because it assumes the audience is already familiar, some jokes/details/plots may be confusing.

Where to watch: US Netflix.

[sam-drakes-stupid-aviators]

Hehehehehehe I just made this.

I downloaded the clips at a low quality on purpose for both comedic effect and also because it took like and hour and a half because I have shit download speeds.

[autolenaphilia]

Beneath a Steel Sky

Beneath a Steel Sky is a point-and-click adventure game, developed by Revolution software and released in 1994.

It is set in a dystopian cyberpunk future, where cities are ruled by corporations and what lies in-between is a wasteland called The Gap. The player character is one Robert Foster, a child who lost his mother in a helicopter crash and was instead raised by an aboriginal tribe living in the wasteland. His adopted tribe is destroyed by security forces from the nearby Union City who kidnap Foster and bring him to the city.

The world of Beneath A Steel Sky is a dark one, inspired by the then-popular cyberpunk genre. Union city is a polluted dystopia ruled by the eponymous corporation. The manual explains it has dispensed with things like “labour representation and social benefits”. Instead there is a severe class stratification, with people’s station determined by their “LINC status” (named after the supercomputer that controls the city) which is basically a social credit system. This status determines where you get access to the city’s three levels, with the poorest ironically living at the top level and the richest at the bottom. A low enough LINC status means you get to work near a nuclear reactor without a radiation suit.

Yet the game doesn’t feel depressing, because the writing handles pretty much all of this with comedy. It is mostly a black comedy game, and a genuinely funny one, thanks to the excellent dialogue writing by Dave Cummins. he game’s criticism of corporations and capitalism don’t feel heavy-handed (even if they are obvious) because it is all delivered in the form of dark satire.

This satire of corporate capitalism hasn’t dated at all, even if things in the rest of the game has. People still use VCRs in a future city controlled by an evil A.I, for example. The dark comedic tone helps in general smooth over the game’s use of what is now cyberpunk clichés. For example, the game has of course a psychedelic virtual reality, accessed via an ethernet port straight into your brain, called a Schriebmann port. It works because the game acknowledges that it is kinda silly. Foster jokes that he needs one of those ports like he needs a hole in his head, and the other character Anita answers that it is literally a hole in the head. He eventually gets one installed by a delightfully over-the-top surgeon, who wants Foster’s testicles in exchange, and is meanwhile casually doing open-chest surgery on a person who is still conscious. It’s all very funny and makes the game’s storytelling work in a way a straight take on this trope would not. And it furthers the story’s theme of humans being made into machine parts both figuratively and literally to serve some dubious greater purpose.

It is just a fun and well-written game overall. I have to especially praise Foster’s sarcastic robot sidekick Joey. You carry around a motherboard with “his unique personality” on it, and can switch it from robot shell to robot shell, and Joey’s transformations are a large part of the game’s humour. He is a funny and loveable character, and a stand-out.

The game does a serious plot-line too, and it is testament to the quality game’s writing that it manages to shift tone convincingly, partly because the comedy is rather black to begin with. The game’s gallows humour about its dystopian world is able to convincingly turn into horror. I won’t spoil the game’s finale, but it treats a theme that was earlier treated jokingly in a more dramatic fashion and it just works.

And while I mostly described and praised the game’s writing so far, I think the gameplay is rather good too, and outstandingly kind to the player by early 90s adventure game standards. The puzzles generally make sense and are not that absurd, and while you can die easily there were no dead-ends that I could find. In fact the deaths are often rather funny, and it is from situations that a clever player can avoid. I especially love the death that comes from opening the door to a nuclear reactor without a radiation-shielding suit. It’s both funny and fair because it’s such an obviously stupid thing to do. I saved beforehand and did it only because I wanted to see what happened, and got rewarded with a particularly amusing death animation.

The game used Revolution software’s virtual theatre engine, which enabled NPCs to move of their own accord across screens following a rudimentary AI. They actually move across screens even when the player character isn’t there. Characters and objects also occupy space, and the player characters and the NPCs can’t stand on the same spot. It was probably very impressive for the time period, and does still make the world feel a bit more alive. Granted, their simple walking patterns are sort of noticeable and in practice you have to sometimes wait for them to show up. For example, to get Foster’s robot sidekick Joey to go up or down an elevator with Foster, you have to wait until he enters that screen. His AI is programmed to make him follow Foster around from screen to screen, but he does so slowly in a meandering fashion. That means you can move Foster across multiple screens in a quick amount of time, leaving Joey a few screens behind, and you have to wait for him to catch up.

The presentation is fine, especially for the time. The game’s art was done by comic book artist Dave Gibbons (of Watchmen fame), and while the game itself is pixelated, it’s rather nice pixel art. The animated cutscenes that introduce and end the game are granted kind of clunky, but Gibbons’ art is nice. I highly suggest you find a scan of the comic book version of the opening cutscene (it is included with the GOG version at least) to appreciate it in full.

The comic book inspiration actually influenced the game’s subtitles in a weird way. These have random nouns written out in ALL-CAPS quite often, like anglo-american comics often have. The game was apparently meant to feel like an interactive comic book.

I don’t know if Beneath A Steel Sky really suceeds at that, but it is damn fine adventure game, and one of the best cyberpunk games I’ve played. And recommending it today is easy, because it is nowadays completely free. The game and its source code was generously made freeware in 2003 by the developers. The release of the source code enabled it to run in emulation via SCUMMVM, enabling it to run easily on most modern systems. It can be downloaded along with SCUMMVM from their website, it is also available from GOG and Steam also for free. And since it is from 1994, even very low-end computers from today can run it easily.

It’s a really good game, and you can easily play it for free, what more can you ask for?

[spaceorphan18]

Glee Musical Retrospective: Hair/Crazy in Love (Hairography)

Sung by: New Directions Original Artist(s): from Hair Soundtrack/Beyonce feat. Jay-Z

Hey! I'm back! I promise I didn't forget about this project, I just needed to take a step back for a moment. I'm actually really enjoying doing the in depth dive on all the music - it's been pretty fun.

Anyway... oof. This one. This is kind of a precursor to Run Joey Run - in which it is supposed to be /not good/ in a comedic way and, well, falls a little flat. Or maybe I've just seen it a hundred times now? But unlike Run Joey Run (or, say, Push It) it just doesn't have the repay value as some of those other 'bad' performances.

Story Analysis

It's funny - Sue says to Will, later on in the series, that he must have been really tired when he came up with this number. And I kind of wonder if the writers had a moment where they were just... tired. Not every moment in a tv show is going to be the best - and this whole number screams -- this was an interesting idea at the time but maybe didn't work exactly how we expected it to.

The purpose of this number is very straightforward. It's about looking (and I suppose sounding?) crazy. I mean, I can see how it felt pretty ingenious to find a Beyonce song that featured the lyric: "Got me looking so crazy right now" over and over again. And then to mash up with a song about hair... I mean, I can see how the writers thought this was a brilliantly stupid idea when they came up with it.

The 'comedy' I suppose is supposed to be from all the hair swinging around and the ridiculous choreography where the kids are literally just swinging their heads around and prancing around the room. I don't fully get the purpose of the weirdly, overt sexual component of the girls all jumping on a guy and, like, fake humping them. But it did add another layer of crazy onto the already bonkers performance.

[As an aside - the fact that Will came with all of this -- including a moment where the guys are mimicking anal to the girls -- is just, ick. I'm glad he feels shameful during the whole performance. Shame on you, Will. Shame.]

But really - the full purpose of the song is to show how all the hair and the ridiculousness can't really mask a bad performance. And how real music comes from your heart -- a message that will be amplified when the deaf choir sings Imagine next.

Interestingly - there's a whole other tangent to go down about how music has many purposes, and how a there's a place and time for low quality, club music -- and not every single musical number needs to be a genius work of art, but I digress.

Technical Thoughts

Okay. First I want to start off with the fact that this is barely a mash up. There are a few moments where the lyrics of 'Hair' are thrown in, but it's so far removed from the original that when I finally heard the original for the first time, I couldn't believe it was the same music. I get why on paper it makes sense, I do - but I think losing one song nearly completely into the mash up doesn't make it all compelling. And one of the reasons mash ups are so fun is the way the songs complement each other. I'll have to keep an eye out for it - but this might be one of the weakest mash ups the show does.

Vocally, it's not bad at all. Interesting fact - I guess Cory and Mark were supposed to be leads on this, but they gave it to Kevin instead. I agree with that decision - Kevin has a much better pop and hip hop voice and can handle back up Beyonce songs way better. Mercedes is on lead - which is great for the song. Amber Riley sounds fantastic on this, and I'm glad to see that even within early season 1 she's already really working on her voice and it shows.

My one kind of, idk, eye-roll? is the that Glee is still trying to go for realism, and that it's the kids who are creating all the music. But it's fairly obvious that the music is all put through a synthesizer or auto-tuned or whatever or mixed in a way that gives it a more electronic sound. I'm not sure if it's done out of time -- or because they wanted to sound like the original -- but nothing about this performance sounds like a show choir. (Oh - and my usual obligatory comment about how it sounds like they doubled the tracks on the back up vocals again.)

But... despite the choreography being insane - Glee rarely compromises when it comes to sound. At the end of the day, they still want to sell music and make money off it, so it's always going to sound good. (Mostly - there are some exceptions - and boy will I get there :D)

vs. The Studio Recording: It's the same song. Not really anything to comment on. Though - I'll say without the distraction (ha) of the visuals, you can appreciate Artie and Mercedes's vocals more.

vs. The Original Version (Crazy in Love): Other than adding some lyrics from Hair into a few places, they didn't stray from the original arrangement. I can see how the choreography was influenced by the music video, too. But there's a huge difference between the stylized music video full of professionals - and the Glee kids. And yes, I get that it was somewhat intentional for the comedy of the moment and the purpose of the scene but... eesh.

vs. The Original Version (Hair): I linked the 1979 version, because I find it fascinating. You can see some slight influences in choreography -- the way the prisoners are throwing themselves around - feels a lot like the way they incorporate the throwing themselves around in the Glee number.

Also - what even is this musical?? I mean, I read the synopsis -- as a rock musical set in the 60s. It seems absolutely wild, but the song is really catchy, and I kind of wished they had just done this number. Granted, out of context it would make even less sense, but still. Also, I'm kind of fascinated by how hair is seen politically, but that's really getting off point...

Also going to link the 2009 Tony Awards performance (Here) because I wonder if there was influence here, too! I'm sure it was somewhere in Ryan Murphy's head.

[poobit]

its funny because anyone who has a keen eye on commercial art from everywhere in the world thats not like , idk upscale american city, you would know that everywhere you look you gonna come across stolen , traced, unsourced , bootleged art, mishmash of other pieces, bad res transparent render of an actual videogame render taken from google , shein sold coloring books full of janky traced anime girls from random artists both old and new, cheap art is what it is, cheap, a janky low res duty of the 60% of the human population that will always be like "i can just do it myself!" (which is a very human thought) , copyright and quality be damned, those people were never, ever, gonna pay you, its not about soul of the art of whatever, bootleg is an art itself, a dubious one , i think it matters when big companies do this while exploiting workers, its my actual concern.

but i think the art of a bad janky ass bootleg graphic is full of comedy.

AI art should be ENTIRELY for comedic purposes thats my verdict.

[gyaata]

Vlogging for Businesses – An Interactive Method to Drive Traffic and Boost Revenue

Vlogging, short for “video blogging”, is the practice of creating and sharing video content on the internet, usually through social media platforms such as YouTube or Instagram. Vlogs can cover a wide range of topics, including personal stories, travel, cooking, fashion, beauty, and more.

The earliest vlogs were often raw and unpolished, filmed with low-quality webcams or camera phones. But as more people started to vlog and audiences grew, vloggers began to invest in better equipment and production values. Some of the earliest vlogging pioneers, such as Ze Frank and Lonelygirl15, helped to popularize the format and set the stage for what would become a thriving online video community.

History of Vlogging

The history of vlogging can be traced back to the early 2000s, when the first video blogs or “vlogs” were created. The term “vlog” is a combination of “video” and “blog,” and refers to a type of online content that is created and distributed in video format.

The popularity of vlogging really took off with the rise of YouTube, which launched in 2005. YouTube provided a platform for vloggers to easily upload and share their videos with a wider audience. In the early days of YouTube, many vloggers created content that was focused on their daily lives, similar to a traditional personal blog.

Over time, vlogging evolved to include a wider range of content, from travel vlogs and beauty tutorials to comedic sketches and political commentary. Today, vlogging has become a major part of the online content landscape, with millions of people around the world creating and consuming vlogs on a regular basis

One of the keys to successful vlogging is the art of storytelling. As with any form of content creation, a compelling narrative is essential to engaging and retaining viewers. Vloggers must be able to weave together their experiences, emotions, and insights into a coherent and captivating story that resonates with their audience.

Vlogging, or video blogging, is a powerful tool for businesses to connect with their audience and create engaging content. It involves creating and publishing video content regularly, usually on a specific topic or theme.

Here are Some of the Latest Vlogging Trends

Short-form Vlogging

Short-form vlogs have become more popular now with creators posting videos that are less than five minutes long. This trend is driven by the rise of social media platforms like TikTok and Instagram Reels, which prioritize short-form video content.

Vlogging with a Purpose

More vloggers are using their platforms to bring attention to social and political issues. This type of vlogging can include discussing climate change, advocating for social justice, or promoting charitable causes.

Interactive Vlogging

Interactive vlogging involves asking viewers to participate in their vlog, in some way. This may involve voting on a poll or leaving comments with suggestions for the next video. This type of vlogging can help in building a stronger sense of community among viewers.

Collaborative Vlogging

Collaborative vlogging involves teaming up with other vloggers or influencers to create content. This trend can help vloggers expand their reach and bring new perspectives and ideas to their content.

Travel Vlogging

Travel vlogging typically involves showcasing exotic locations, trying local cuisine, and exploring different cultures.

Vlogging with Drones

Drones are increasingly being used by vloggers to capture stunning aerial footage. This trend is especially popular in travel vlogging but can also be used in other types of vlogging.

Immersive Vlogging

Immersive vlogging involves using virtual or augmented reality to create an immersive experience for viewers. This trend is still in its early stages, but it has the potential to revolutionize the way we consume vlogs.

Food Vlogs

Food vlogs are videos that focus on cooking and eating. These types of vlogs are popular among viewers who are interested in food culture and culinary arts.

Beauty Vlogs

Beauty vlogs are videos that focus on makeup, skincare, and fashion. These types of vlogs are popular among viewers who are interested in beauty trends and tips.

Educational Vlogs

Educational vlogs are videos that aim to teach viewers about a particular subject. These types of vlogs can cover a wide range of topics, from history and science to language and culture.

Q&A Vlogs

Q&A vlogs are videos that allow the vlogger to answer questions from their audience. This type of vlogs can be a great way for viewers to get to know the vlogger on a deeper level.

Over the years, vlogging has continued to evolve, with new trends and styles emerging all the time. Some vloggers focus on producing highly produced, cinematic content, while others prefer a more authentic, “fly-on-the-wall” approach. Some vloggers have even turned their channels into full-time careers, earning money through sponsorships, advertising, and other revenue streams.

Can Vlogging be Used as a Social Media Tool by Businesses?

Vlogging allows businesses to showcase their products or services, share industry knowledge and expertise, and create a more personal connection with their audience. It can also help businesses build their brand, increase their online presence, and ultimately drive more traffic and sales.

To get started with vlogging for your business, there are a few key things to keep in mind.

1. Define your Niche

Decide what topics or themes you want to focus on in your vlogs. This will help you create content that is targeted to your audience and establishes you as an expert in your field.

2. Plan your Content

Create a content calendar that outlines what topics you will cover and when. This will help you stay organized and consistent with your vlogging schedule.

3. Invest in Quality Equipment

While you don’t need to spend a fortune on equipment, investing in a good quality camera and microphone can make a big difference in the overall quality of your videos.

4. Keep it Authentic

Vlogging is all about creating a personal connection with your audience, so it’s important to be authentic and genuine in your videos. Be yourself and let your personality shine through.

5. Promote your Videos

Once you’ve created your vlogs, be sure to promote them on your website, social media channels, and other marketing channels. This will help you reach a wider audience and drive more traffic to your website.

Overall, vlogging can be a valuable tool for businesses to connect with their audience and create engaging content. By following these tips and best practices, you can create compelling vlogs that can help you build your brand and drive more traffic and sales to your business.

Vlogging Can Help Businesses Improve Online Presence, Drive Traffic and Boost Revenue

In conclusion, vlogging has become an increasingly popular form of online content creation in recent years. As social media and video-sharing platforms continue to grow, vlogging has become more accessible to people around the world. There are several trends in vlogging that have emerged in recent years, including daily vlogging, travel vlogging, and lifestyle vlogging.

Vlogging has now become an increasingly popular way for businesses to connect with their audience and promote their brand. By creating video content that is engaging, informative, and entertaining, businesses can reach a wider audience and build a more personal relationship with their customers.

Vlogging allows businesses to showcase their products or services, share behind-the-scenes footage, and provide valuable insights into their industry. Additionally, vlogging can help to establish a brand as a thought leader in their industry, increasing their credibility and authority.

By consistently producing high-quality video content, businesses can boost their online presence, and ultimately drive more traffic to their website, leading to increased sales and revenue.

[adamwatchesmovies]

Petey Wheatstraw (1977)

While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...

As long as there have been cult movies, there have been delusional filmmakers who’ve thought “Hey, I can do that on purpose!”. It never works. Something incompetently made in all earnestness like Troll 2, The Room, or Shark Attack 3: Megalodon is miles away from a film that deliberately tries to look shoddy. Petey Wheastraw, the Devil’s Son-in-Law lives somewhere between the likes of “The VelociPastor” and The Human Tornado. It’s got some genuinely funny moments and some unintentional hilarity. The rest is a lot of untalented people sleepwalking through a film production.

After learning “Kung Fu” from his mentor, Petey Wheastraw (played as a baby by Clifford Roquemore II, as a young boy by Danny Poinson and Rudy Ray Moore as an adult) swore he’d never bow to anyone - living or dead. Now a successful comedian, he's asked by his rivals Leroy and Skiller (Leroy Daniels and Ernest Mayhand) to postpone his show so they can make the money required to pay back their debts. He refuses. Scared the mobsters they owe money to will ice them, they decide to assassinate Petey. In Hell, he's offered a deal by Lucifer (G. Tito Shaw): he can return to Earth to enact his revenge if he agrees to marry the devil’s daughter once he’s done.

Rudy Ray Moore playing a successful comedian who “knows” martial arts", gets with the ladies and speaks almost entirely in rhymes? Are we sure this isn’t another Dolemite movie? It might as well be. The only thing that separates this picture from those is the supernatural element but that wouldn’t have been much of a stretch for The Human Tornado. While Rudy Ray Moore’s filmography isn’t exactly known for its brilliant performances, well-written scripts, convincing stuntwork, production values, or any sort of quality, this represents a new low, primarily because it doesn’t feel like anyone is even trying.

The martial arts fight scenes are pathetic. Wheatstraw’s opponents patiently wait on the sidelines until it’s their turn to pretend like the punches and half-hearted kicks collide so they can fall over and go to sleep. To be fair, it's what you'd expect from Moore's filmography. More disappointing is the relative absence of comedy. In the past, his films have always found a way to crowbar a proxy of his act into the running time. Not today. There’s an all-too-short monologue at the beginning, and that’s it. This means the film’s best joke isn’t delivered by our hero; it’s by the murderous comedic duo who can’t afford to see him succeed.

Actually, Wheatstraw’s status as a hero is debatable. I know the Devil’s the Prince of Darkness and all, but in this movie, at least he’s honest. He offers Petey a simple deal: marry my daughter in exchange for revenge. It isn’t like Petey’s being tricked into the union, it’s what he signed up for. Of course, since she's ugly, Petey wants to worm his way out of the agreement asap. His idea is so dumb it’ll convince everyone watching that this is a bad film.

Faced with the prospect of matrimony with a monster, Petey decides to trick the ultimate trickster. His plan? Grab some random wino on the street, knock him out and pass him off as himself “in a profound state of meditation” with the help of some clothes and a convincing mask (so in movie terms, having Moore play him). By the time the drunkard wakes up, Petey and his friends will be long gone.

Where do we begin? Firstly, damning some poor soul to the wife you agreed to marry doesn’t make you likable. Second, how stupid does he think the Devil is? Third, where is he planning on going? Lucifer is a supernatural being. He’ll find you without much difficulty. Fourthly, how convenient that one of Petey’s close friends happens to be an expert makeup artist. If he didn’t have this skill, we might’ve had to use the magic pimp cane he’s been using to enact his revenge by transforming men into dogs, making objects levitate, manipulating people like a puppet master and more. It’s such bad writing it might be funny elsewhere. Here, it’s the final straw.

Petey Wheatstraw makes the mistake of thinking it knows what made Moore's previous two cinematic entries “successful”. Its attempts to be funny rarely work, which makes it a chore to watch. You’ll be doubly disappointed if you see this after Dolemite and The Human Tornado, which felt genuine in their efforts. If this was the first of Moore’s filmography you saw, you wouldn’t even make it to the end before shutting it off. (June 18, 2021)

[ohyeahben10]

This is low quality for comedic purposes I swear guys

[fatimajpeg]

can you rank all these disney villians from most to least camp. with one sentence for each on why.

chronological list copied from wikipedia

Evil Queen(Snow White and the Seven Dwarfs)

Chernabog (Fantasia)

Queen of Hearts (Alice in Wonderland)

Captain Hook (Peter Pan)

Maleficent (Sleeping Beauty)

Cruella de Vil(101 Dalmatians)

Ursula (The Little Mermaid)

Jafar (Aladdin)

Scar (The Lion King)

Hades (Hercules)

Dr. Facilier (The Princess and the Frog)

1 - Ursula

She gets top spot cuz she’s based on the drag queen Divine. All the other disney villains are queercoded yeah but it’s the most explicit with her imo. Little Mermaid in general is such a sweet film that had a lot of queer people work on it (Howard Ashman <3) and they definitely camped Ursula up on purpose.

2 - Cruella De Vil

I mean her whole concept is so camp. An evil rich lady who wants to skin puppies for their fur. That’s so over the top and delightfully evil. Her look is stunning as well. Cruella was also based on another Camp Icon, Tallulah Bankhead. Old hollywood in general is considered camp now but Tallulah was camp even back then.

(imo both Ursula and Cruella are the campiest because they take what society deems abhorrent like self-centred independent women and just take it up to 100 on the cartoonishly evil scale)

3 - Captain Hook

Guy’s got beef with a 12 year old lol. He’s also over the top evil and the audience laughs at him instead of being scared for the most part. He’s a silly pirate and overall pretty campy.

4 - Jafar

While i do have my issues with Jafar, he’s pretty Campy. He’s practically a caricature of a greedy man and has a lot of fun being evil. He’s very camped up.

5 - Chernabog

Wow literally a perfect camp villain. Even though his appearances are very theatrical and over the top, there’s still an imposing and scary quality to it all. Very horror-esque camp i love it <3

6 - Maleficent

A classic over the top evil Disney villain but wow she’s so graceful! Nothing about her is comedic imo but she does the maligned witch thing so good. An evil woman doing evil things, that’s camp!

7 - Queen of Hearts

Alice in Wonderland is just plain weird and nonsensical (this is a good thing) so in theory she should be up way higher but idk i feel like the others have a better camp legacy. She’s an over the top homocidal queen like ofc that’s campy. Idk i feel like everyone after the first 2 can be interchanged.

8 - Evil Queen

she’s the first to do it! But maybe it’s cuz she was first she wasn’t as camp as the others. But even though she’s low on the list doesn’t mean she’s not camp! She’s been a camp icon for yearsssss.

9 - Scar

Scar’s probably the 2nd most queercoded villain after Ursula. And while “be prepared” was deliciously evil and campy, i don’t think any of his actions later on were enjoyable to the audience. He’s definitely a camped up Shakespeare antagonist but idk if he should be placed higher.

10- Dr. Facilier

Smooth talking witch doctor (with a great look). He’s the best classic Disney Villain we’ve seen over the past 30 years. but his overall campiness? hmm i’m not so sure it’s that high

11 - Hades

I feel so bad for placing Hades last because he’s one of my personal faves but again, comparing to the others, is he really that camp? Ik you might think he can take the Evil Queen or Maleficent’s spot but those two have such a rich legacy that Hades hasn’t had. He’s goofy and has tons of fun, but sometimes you can feel him winking at the audience. Ursula does that better and with more extravagance so 🤷🏻‍♀️

[hellsvestibule]

A lot of artists will be like “excuse my shit doodles this took me 10 minutes” and it’s often something that would take me days or at least a shit ton of other less passable warmup doodles to draw which is annoying bc it often feels like they’re lying, and if not it’s often like, still being self depreciating about the amount of effort they put into the picture, or the amount of effort it took to gain the level of skill where decent sketches come that effortlessly to you, and you insult your art on the off chance someone is like wow! That’s shit to you?? You’re so talented! Meanwhile my doodles, while I admit they are expressive in an endearing way, are often honest to god shit, like, hands drawn backwards if at all, very wonky proportions, chicken scratch quality lines. And it still probably took me way longer to draw than it would take another artist of similar skill. But I can’t even bring myself to be like “sorry about my chicken shit sketches” bc like no! I will not apologize or be embarrassed that not all of my art is good, especially if it’s just for comedic purposes or the draft of something that will take literall weeks to finish. It doesn’t always have to be great, and I don’t have to apologize for putting ugly low effort things out into the world, You Will look at them and hopefully that will help you develop a further appreciation for how much effort it takes me to make things that don’t suck, cuz I’m not gonna pretend like good art comes effortlessly to me, all that does is discourage people who are trying really hard to achieve the quality they’re at and still don’t feel good enough. Don’t listen to artists like that for real. work at your own pace

[marvelousmatt]

It’s Never Too Late to Enter Garth Marenghi’s Darkplace

By Bethy Squires@BethyBSQU  APR. 19, 2022

Looking for some quality comedy entertainment to check out? Who better to turn to for under-the-radar comedy recommendations than comedians? In our recurring series “Underrated,” we chat with writers and performers from the comedy world about an unsung comedy moment of their choosing that they think deserves more praise.

A lot of high-concept comedy comes out of the Edinburgh Festival Fringe. When it comes to The Mighty Boosh, Fleabag, and basically any British show that confuses an audience, you can thank Edinburgh. 2004’s Garth Marenghi’s Darkplace is one of the most unique shows of the bunch. Created by Matthew Holness and Richard Ayoade, Darkplace is the fake ’80s supernatural-drama brainchild of horror writer, “dream-weaver, visionary, plus actor” Garth Marenghi. Played by Holness, Marenghi’s show is like if Stephen King’s trailer for Maximum Overdrive got six episodes.

Holness-as-Marenghi opens every episode explaining how the show he and Dean Learner (Ayoade) created in the ’80s was never shown on television until now. You can see why: Darkplace is full of shitty lines delivered terribly amid ugly sets with laughable special effects. Marenghi’s lead character, Dr. Rick Dagless, M.D., is the most glaringly obvious self-insert character since Malcolm & Marie. But that’s all intentional: Holness, Ayoade, Matt Berry, and Alice Lowe are some of the most gifted comedic performers of the aughts, and the show is pitiably awful on purpose. Before you feel sorry for these people for making something this bad, the show cuts in talking-head segments, in which the cast espouses the most pompous, prejudiced, and sometimes legally actionable opinions. It’s MST3K meets The Office. Which is perhaps why Stephen Merchant is such a fan.

Merchant and Ricky Gervais loved the 2000 and 2001 Garth Marenghi stage shows so much that they actually cast Holness as Simon the IT Guy. The admiration was mutual because the Darkplace crew asked Merchant to play an ill-fated cafeteria worker in episode two of its series. But he doesn’t just cook chicken. Merchant now stars opposite Christopher Walken in The Outlaws. Co-created by Merchant and Elgin James, the show follows a group of people sentenced to community service who come together when they’re thrust deeper into Britain’s criminal underbelly. Merchant discussed Darkplace, Berry’s “extraordinary voice,” and visiting Stonehenge with an Academy Award winner.

When did you first encounter Darkplace?

I was at the Edinburgh Festival when it was a theater show. I went to see it several times, and I was so entertained by it. I thought it was so funny. I loved Matthew Holness and Richard Ayoade, the two guys who created it. I don’t think it ever really got the plaudits and attention that it deserved at the time. But I get a tweet or an Instagram message about it almost every day. People are still discovering that show and watching it.

Can you tell me what it was like to first see the show in Edinburgh?

It was unique, really. One of the pleasures of that festival is seeing something fully formed that you’ve never encountered before. Normally when we see stuff on TV, it’s been filtered; some of the edges have been polished off. But [at Edinburgh], you’re seeing something in its raw, purest state. I’m sure the people who saw Fleabag in its formative stages felt the same way.

It seems like the Edinburgh model helps things come out as more singular products. The higher-concept stuff gets through more over there.

So many great comedy performers, particularly in the U.K., have come out of that Edinburgh festival or have found their voice in that environment. It runs for a month. Every possible nook and cranny — every room above a shop — is turned into a theater space, and you don’t need a lot of money. I did an Edinburgh show when I was in university, and I think we had, like, 14 people come through the door in four weeks. But what you’re discovering is how to work with an audience, small as it may be, and how to work with other people. And there’s no pressure. You’re sort of in the dark, left to your own devices. Some people pop and break through — they have their moment, get some attention. And lots of other people use it as a development opportunity, try new things. No idea is outrageous enough or strange enough. And Garth Marenghi is a great example of that.

Vulture has a very strong affinity for Matt Berry. What was it like seeing him for the first time?

Well, Matt is one of those people that, because he has that extraordinary voice, he almost seems like a caricature or a cartoon. His voice is so rich and extraordinary that when you’re talking to him, it’s otherworldly. I think what Matt has is that thing a lot of great comic actors have: He’s handsome, but not quite handsome enough to be a leading man. There’s something about him that almost seems like he was drawn by a cartoonist. Everything I see him in, he creases me up. I don’t know if you’ve seen him as Toast.

Oh yeah.

He’s so innately funny, but he plays it all with an earnestness and a sincerity. It’s so unique. There’s no one else like him, really, as an actor or comic performer. He’s so versatile. He can sing and everything. He’s kind of extraordinary.

If you could cast Matt in anything, what would you want him to be in?

It would be quite fun to see him as a Bond villain. I could see him in a lair, stroking a cat with that extraordinary voice. And I’ve always wanted to play Q, so maybe I could be in it, too. I don’t know who’d play Bond in that version, but that would be fun.

Darkplace is so good it wins over people who aren’t usually fans of cringe-watching or making fun of bad art. How do you feel about “so bad it’s good” content more generally?

Obviously, Marenghi is setting out to seem bad when it’s actually done with great skill. Generally, I’m not a fan of the sort of “so bad it’s good” because there are so many good things I haven’t seen. Why would I waste my time watching bad stuff? Although I remember when I was younger being completely enthralled by Plan 9 From Outer Space, which has become sort of ubiquitous now as “so bad it’s brilliant.” But that was a truly extraordinary piece of bad cinema.

I think anyone who’s tried to get into this business knows how hard it is to make anything — and to do anything good is even harder. So even now, I admire anyone who’s got something finished. I find it hard to be sneery about something because I know how hard it is to get anything done.

But with Darkplace, the little documentary asides puncture any admiration or empathy you could feel for these guys — because they are saying the worst shit imaginable.

That’s the great thing about the Marenghi character: the gap between how they want to be perceived and how they are being perceived. His pomposity and self-aggrandizement is such a great comic convention. And then to see the fruit of his labors, this farcical horror show that’s born from his brain, it’s a great conceit. And all of that was there in the stage show.

How did you get to cameo on the show?

Well, I’d become friends with Richard and Matt, and who do you turn to when you’re looking for people to be in something? I was more than happy to be a part of it. It was kind of hard to get a sense of what the show was going to be because you’re just there for your little bit. But it was a lot of fun. People will still send me little GIFs of me marching through the set. It’s funny because those things, you do them for, like, a day, but they have resonance years later.

Rewatching that episode last night, I was really laughing at your ADR [dubbing] as you rummage for spices in the kitchen.

They wanted the show to really feel like it had been on a shelf since the ’80s, with really bad ADR and things like that. They were very clever in capturing the aesthetic of that period and giving the sense that it was this self-made vanity project of someone from the ’80s. It works on so many levels.

It’s such a contrast to The Outlaws, which is very grounded. Is there one mode of performance you prefer, or are they both fun?

They’re fun in different ways. With Darkplace, the pleasure is that you are living in a heightened universe. Anything goes, really, and you’re almost allowed to do or say anything, and there’s great pleasure in that. That’s much more like playing. When you’re doing something grounded, it’s much harder; you’re trying to keep it just on the right side of reality where you feel like it could still exist in the universe. So you don’t have quite the same freedom to be funny in any direction because you’re trying to keep it in a universe that feels real. But the benefit to that is that you can be more touching, more affecting. You can move people in a different way.

What made you want to do a show about the ways everyday people can find themselves embroiled in crime?

I liked the idea of doing a genre piece, a thriller. I liked the idea of a crime story, but coming at it from a slightly different direction — turning the heat on the characters over time so that by later episodes, you suddenly realize they’re in quite a stew.

But, also, when we were creating the show, we were reacting to the rise of Trump and Brexit in the U.K. There was a real division socially and politically, and we liked the idea of, What if you were forced to find common ground and discover the things which unite us? And that seemed like quite an optimistic flavor to have in a show.

How did Christopher Walken get involved?

Christopher Walken phoned me and said, “I’m desperate for work. Is there anything for me, Steve?”

No, we liked the idea of having a character that sort of felt like a man who fell to earth: Who is this person? Where did he come from? Christopher Walken just sort of came into our heads, and we managed to get the script to him. The next thing I knew, he’d come to England to be in the show. It was sort of insane. Anyone who’s got into this business is thrilled when you find yourself in your hometown with the Academy Award–winning star of The Deer Hunter. It reminds you why you got into this game.

Did people in Bristol react to him, or did they play it cool?

He had the benefit of two things: We shot in lockdown, so he had to wear a mask. And no one was around, so he could walk around and not get noticed.

Although he and I did go to Stonehenge together. We had a day off, and Chris really wanted to go to Stonehenge. We got there, and he went to the woman showing us around: “Can I touch one of the stones?” And she was like, “No.” I took her to one side and said, “He’s 78 years old. He’s an Academy Award winner. He’s Christopher Walken. He’s come 3,000 miles. These things have been here 5,000 years. You can’t just let him touch a stone?” And she’s like, “No. Definitely not.” It was so typically British that even someone like Christopher Walken can’t touch the stones. “Definitely not.” That’s not how we roll in England.

Do you know why he wanted to see Stonehenge of all things?

I guess when you’re Christopher Walken, you’ve done everything. There’s not much left on your bucket list. I think he’s something of a history buff. It was really magical. He found it quite moving to watch the sunset with something as mysterious and exotic as that. It was a surreal moment.

This is all I’m going to think about for the rest of the day: you and Christopher Walken at Stonehenge.

That’s right.

Do you have any pet theories as to what it is? Clock or altar or yada yada yada?

The general consensus seems to be that it’s probably to do with a burial or some kind of ceremonial environment, which makes sense to me. But certainly when you’re there … I’m not someone who’s kind of spiritual, but it puts you in touch with the past in some way. The idea that people 5,000 years ago decided to start putting up rocks — I don’t know why that makes you feel very connected to the past. Well, I suppose it’s obvious why. But there’s something quite pleasing about that. And to share it with Christopher Walken is doubly pleasing.

[edwinas]

7, 19 & 20 for the NHIE ask game :)

I was waiting for you to finish season 2 now that you have, do you think they would write Paxton off as a horrible boyfriend just to make Devi run back to Ben. I'm honestly way too scared for the next season (if there is one).

Thanks for sending this!

Side note, you get the worst anons and I know from experience that B*nvis won’t listen to anything we say so please take care of yourself.

7. What’s your most unpopular opinion?

Answered here and here! Paxton is a man of colour, you racist cowards.

19. Just anything you want rant about, get something off your chest.

Answered here.

Also Paxton’s extreme objectification - it’s played up for comedic purposes but it seems that’s all people can see. In the pros and cons list in ep 1, all his qualities where physical and Devi didn’t refer to any of the sweet things he did for her. The show makes a good effort to explore his academic life but the running joke of Paxton only being hot is… dehumanising? And not that funny lol. A sexy Japanese character is revolutionary. But NHIE takes it to another level and erases anything and everything Paxton’s done.

The solo episode showed him being underestimated because he doesn’t apply himself in academics but it also has to do with his hyper sexualisation. Hotness is equated to lack of smarts (bimbo, “dumb blonde” stereotypes), especially when Paxton hasn’t shown book smarts. He has a lot of emotional intelligence and decency though. But school smarts is used interchangeably with intelligence in NHIE and in general. Low grades doesn’t mean you're inherently dense and Paxton’s proof of that.

20. What are your hopes/theories for season three?

- DEVI APPRECIATING HER CULTURE. PLEASE. We got Ganesh Puja and the self-hating diaspora kid in S1. Give me Devi willingly participating in a festival with her Pati & Amma.

- an episode where she’s with other Tamil kids who are more knowledgeable about their culture than Devi so she still feels like an outsider. It ends with Nalini telling her that she just not a fake or “watered down” Tamil girl. She’s been raised by Tamil parents in a foreign land where their culture wasn’t always welcome and not the norm. So they adapted. That doesn’t make Devi any less Tamil. That’s such an important life lesson and one I’m still grappling with.

- Kamala and Prashant have a truthful conversation about marriage. It doesn’t have to end with them making up. That’s a reality of arranged marriage and any relationship, things don’t always work out. But it’d be a shame to destroy two seasons of great world-building over a failed engagement that made no sense.

- an episode from Nalini’s point of view: a flashback with Mohan maybe, how they met or settled in the US, Devi’s birth, anything.

- Daxton’s given a real shot – writers don’t bungle Paxton like is S2 to make Devi turn to B*n. Shut it down and give Daxton an honest chance with no emotional cheating. They have a solid platonic foundation so I expect tons of wholesome exchanges, dates, chats about their futures and fears, interacting with the other’s family, DAXTON BEING ENTHUSIASTICALLY INVOLVED IN EACH OTHER’S LIVES. 

It’s likely that Daxton and Paxton will be ruined in S3 but who knows, we might be wrong!