#oldschool drama

[anemoiawithatouchofobsession]

AM I SEEING THIS RIGHT??????????????

WHAT IS LOVE/SARANGI MWOGILLAE ON MBC'S OFFICIAL DRAMA CHANNEL???

AM I WINNING?

AM I WINNING?

YES I AM!

YES I AM! MOTHERFCKERRSSSSSSSSSSSSS LETS GOOO

Can't wait to wait every week for an upload and watch it like in the olden daysssssss

WOOOOOOOOOOOO LET'S GOOOOOOOOOOO

I had watched What Is Love on a movie YT channel, unsubbed and commented, in 5 parts to 1 hour. I had watched that while staying up the night and I really really enjoyed it.

The channel has now reuploaded it in one full video of almost 6 hours... sadly all the parts and all the comments under it are gone TT. But you can at least watch it now.

It's eye-opening and funny, touching and very emotionally involving all at the same time. Just too damn addictive. It is such a simple and realistic setting you get to believe every damn thing about the characters and just forget the actors are acting. Too damn real for it to be a drama, but there's the 90s for you

[scarygirlsteakhouse]

total drama tumblr gods if you have ideas for drag outfits for noah and owen plz feel free to send me them via asks or whatever <— person that only knows drag queens from youtube shorts

[aiiaiiiyo]

[rocket-sith]

Y'all. Y'ALL. I got anonymous hate on one of my fics for the first time since 2016. *sniffs* I feel so special!

Dear anonymous wanker:

Half the shit you said didn't even pertain to the fic, and the other half showcased your tragicomic inability to differentiate between the opinion of a story's author and the opinion of a fictional character within the story. *insert Shame Bell here*

tl;dr - Go spank your Twelve Monkeys to Shaw someplace else. There are plenty of amazing Shaw x Seven fics out there. I know because I've read them. I was also trolling an anti in your tags like three days ago on general principle while looking for fics, so once again - please learn to differentiate between the opinion of a writer (real person) and the POV of a fictional character (not a real person, whose feelings and perspectives we can only speculate about, especially regarding a dynamic that's clearly quite complex).

In conclusion, yo mama's so fat, Kirk broke the temporal prime directive by doing a slingshot maneuver around her ass. Also in conclusion - go touch grass. I may or may not be referring to cannabis. No stolen pots were harmed in the making of this post. This has been a message from the emergency GTFO system. *beeeeeep*

[mistofstars]

Klaas, your heart eyes are showing... 😉

[nellarw95]

Happy Birthday Vince 🥳🎂🎈🎁🎉

March 28,1970

Buon Compleanno 🥳🎂🎈🎁🎉

28 Marzo 1970

[non-un-topo]

I don’t want to jinx it but I think I might have fixed this plot-hole

[clouds-of-wings]

Leaked footage of me shopping at Netto.

[olderthannetfic]

So, you mentioned low standards of research in podcasts. I don't listen to podcasts or watch a lot of videos about fandom analysis, but I have seen error corrections happening in the wild for what I have listened to, so I can only imagine how annoying it is when you know your shit.

Do you have any resources that come to mind as things everyone who likes fandom should be comfortable with, or specific essays on uniquely important fandoms (such as Sherlock Holmes or Star Trek) that everyone should read? Obviously the OTW resources are up there; what else?

Aside from resources, do you think there are any skills that are especially vital for getting to the bottom of fandom trends? Interview skills are probably pretty high up there.

Any pitfalls you see a lot of young fans falling into?

(I do a lot of fandom history research. It is the thing that gives me joy in fandom; other people like shipping or AUs, I like my little mini-anthropology sandbox and watching how ideas spread. I'm not necessarily good at it, but it's fun!)

--

Well... it's the usual things.

For example, a lot of fans claim to love fandom stats, but the ones that get passed around come from like three people. The people doing those stats, including me, don't usually have a statistics background, which doesn't automatically make them bad, but it really seems like people are just trusting anything with a pie chart.

We've recently seen people discover that those year-end AO3 ship stats have a seriously weird methodology. They don't show the thing their fans are actually trying to find out. People were pissed. But most of the time, they don't even bother asking what the methodology is or trying to do anything themselves.

There's far too much sitting back and waiting for some BNF to spoon feed one publicly-available information.

--

The big failings aren't usually the math itself but, of course, not knowing what question to ask, so it pertains to history research, not just stats.

You'll see a lot of stuff on shipping that looks at AO3 because AO3 shipping numbers are easy to pull... But AO3 shipping numbers don't just happen to be easy to pull: that is both an effect and a cause that is directly related to AO3's content. Someone interested in meta shouldn't be asking "What do AO3's numbers show?" as their first question. They should be asking "Why is this metadata available or not available and what does that mean on a sociological level?"

--

Thing two is the eternal I Have Apparently Never Heard of Anime problem. A fuckton of people theorizing about fandom trends seem to know fucking nothing about whole massive sectors of fandom or treat them as afterthoughts. This is okay if you're writing a history of Media Fandom. It is criminally stupid if you're trying to talk about what makes a piece of media have fic when another doesn't, what kinds of websites make fandoms take off, etc. Those kinds of broad questions need a broad understanding of what's out there.

It's not anime-specific, and I'm not asking for a high degree of knowledge.

I have routinely had people tell me that best friend ships and mystery/crime as a genre aren't popular, and that's why AO3 has this or that pattern... Meanwhile, buddy cops are the bedrock of oldschool slash fandom and make up basically all of the longest-running Western m/m fandoms that aren't Star Trek. CSI slop tends to have legions of future canon het shippers, and they make plenty of fanworks. It's just that some of this is more visible on FFN or older places, not AO3.

I'm always seeing things like someone speculating about how this and that anime fandom thing or bit of mid-00s FFN community drama led to this other thing on AO3, not realizing that AO3 came out of LJ Western fandom slash culture. To them, FFN is so central that it must be the main reference point, not the bajillion and one archives AO3 founders ran or Usenet or mailing lists or LJ.

I once saw someone asking on twitter about where a prominent Ranma fic might have been posted in the mid-90s. People claiming "My professor is an authority!" came out of the woodwork in droves to blither about K/S zines and then LJ. Not only was this entirely wrong, but the right answer was blindingly obvious if you knew enough to interpret the google results. I can only assume that the person tweeting had never heard of Usenet and didn't recognize the acronym for the big anime fanfic group that literally everything like this was first posted to.

I'm talking people insisting that fandom only goes for white characters when it's very obvious that fandom goes for majority leads who are not othered. All the bawwing in the world about "People assume anime characters are white" won't get rid of The Untamed or Kpop thirsters or whatever.

I'm talking sweeping pronouncements about gender and fanfic writers where the person hasn't even heard of FIMFiction or SpaceBattles or Dark Lord Potter cheesefests.

I've been in fandom for a long time, but I wasn't in all these parts, and I wasn't around for 80s zines. You don't need deep knowledge until you pick a research topic. But it's shocking how little shallow, broad knowledge a lot of people have when they're writing their Theory Of All Of Fandom History.

--

People are stupid as shit about survivorship bias, and fandom history is no exception. They're also dumb in the opposite direction, assuming that the thing they like now has always existed in this exact form.

For example, someone got mad at Fanlore for supposedly not documenting the history of f/f zines. Others have searched and searched for the zines of their old show they got into last year and are bewildered to not find any. The reality is that Fanlore editors are attempting to document every Media Fandom zine and have combed through old adzines looking for any mention of anything. Because of the methods of distribution—because it was expensive—small fandoms often had no zines at all.

Femslash fandom doesn't seem to have gotten enough critical mass to do much until Xena. The internet has really democratized things, but even the early internet was still somewhat in that old mindset where only certain popular things have a fandom. I think Yuletide itself, which started in 2003, really helped spread the idea of rare-but-existing fandoms being a thing. FFN and perhaps some other multifandom archives like Media Miner played a huge role.

Nowadays, we think of fic as just how you respond to media, any media, even if there are only two fics for that one car commercial, but that isn't how people saw things in every era—or at least it's not how fandom infrastructure worked. A lot of the time, the big hosting spots were single-fandom archives, often with restrictive content rules. Finding somewhere to post a m/m/f OT3 fic used to be hard. Never mind early zines when photocopiers didn't even exist yet and you had to sell out your print run of 500 to make a go of it.

All good research starts with a lot of preliminary investigation to figure out what you're even trying to look for.

Actually bothering to look for fans talking about their own history or casually chatting with your interview subjects before the formal interview will put a person miles ahead of many of the cringeworthy fandom ~papers~ I've seen.

The biggest mistake people make is going "Okay, these numbers aren't perfect, but some numbers are better than no numbers".

Bullshit.

As soon as there's a pie chart of the false numbers, everyone's brain turns off and they never look at the chart subtitle, never mind the research notes.

Bad numbers are often worse than no numbers.

Look at the logic behind the methodology first. Look at the social context. Basic understanding of human nature and familiarizing oneself with the shape and hangout locations of a community will get you most of the way there before you sit down for a specific interview or try to collect any specific numbers.

--

None of this is a fandom thing. Research is research. It's just that most people think "research" means watching a tiktok that the algorithm likes and were never taught how to evaluate a source for reliability.

Evaluating sources is a skill. I had explicit lessons on it in school. Lots of people don't, and that sucks.

Honestly, watching the more thoughtful debunking content on non-fandom topics, like Miniminuteman's stuff on pseudo-archaeology or Dan Olson's... everything, is a good window into critical thinking, and that's most of what's missing from bad fandom history.

--

But more than any of that, more is more. Not the crap stats, but the narrower, more personal accounts, the interviews. The more fans who investigate their little corner that isn't the same old AO3 site-wide "Why is there so much m/m?" ship stats or the same canned "Everything comes from K/S" history, the better.

What I object to is not amateur efforts but efforts that pull from the same small pool of data or that just reblog a tiny handful of supposed authorities.

--

If people are going to read just one thing... hmm... go try to look up a history of rec.arts.anime.creative, not because I think it's the most important fandom history out there but because it's at the nexus of things a lot of current fandom history work miss.

[tremendouskoalachild]

what we know: The Acolyte was pitched sometime in early 2020. The Rise of Skywalker had just ended the movie saga. The Mandalorian, which kicked off disney+, had just finished its first season with great audience response. Lucasfilm was reorienting itself to streaming. Rayne Roberts loved the pitch, got Kathleen Kennedy who also loved it, and the show was greenlit.

the show premiered in summer 2024, after a generous marketing campaign (including a clip shown with The Phantom Menace rerelease, an original Victoria Monét song, and plenty of trailers and tv spots). multiple pieces of tie-in media were announced both before and during the show's airing (an Acolyte comic issue, a Kelnacca comic issue, a visual guide, an art reference book, two novels featurig show characters).

the high republic multimedia project (THR), in advanced development when the show was pitched and published continuously from early 2021, greatly influenced the show's development. the costuming is largely based on the look of THR, the show makes plenty of lore references, and includes a main character from the books in its main cast. THR material coming out in summer 2024 has "a century before The Acolyte" prominently on the cover, the upcoming show tie-ins are largely written by THR authors, and often feature other THR characters.

the show was expensive, with a long production period and a great focus on the technical aspects - building large elaborate sets, filming on location in Madeira, detailed stunt sequences with a lot of actor involvement, plenty of attention given to costumes, make-up and creature design. the cast included many high-profile actors. everything suggests the show had full confidence of lucasfilm.

what i'm gonna speculate: lucasfilm was playing the long game with this show, or hoping to. cancelling the show this early was unexpected.

in 2019 star wars was quite literally centered on the original trilogy. the seven decades or so around the OT contained all currently canon star wars media, even as the franchise was spoken of as one with 25,000 years of history. the following years would plug up even more empty spots on the timeline, with the projects often overlapping. this gave the writers much less creative freedom, which was the whole point of decanonizing all pre-2014 media aside from films and shows. over time, fans started clamoring for onscreen content set outside of the known eras, and there were more and more voices in and outside of the fandom exhausted with fanservice (the glup shitto phenomenon).

The Acolyte was set in a whole new era, as far as onscreen content goes, and its only legacy character was from children's and YA books most viewers wouldn't be familiar with. it was specifically introduced as a show you wouldn't need any homework for. it had actors prominent in entirely different contexts (Matrix. sitcom. Squid Game. YA. superhero movies. independent films. relationship dramas.) and the cast was pretty international.

the show had a lot specifically for established fans - you could say it was the most wide-reaching in its star wars references, incorporating elements from every trilogy, the animated shows, canon books, oldschool legends lore, video games. but i believe it was mostly meant to attract people who were not previously fans, and especially target demographics that were underrepresented in the fandom. draw in international audiences, young people who were around for other star wars properties but they never caught their interest, women who either weren't in the fandom or felt pushed away by the reaction to The Last Jedi.

lucasfilm execs definitely weren't planning for viewing numbers comparable to Obi-Wan Kenobi, or even Ahsoka, since those are characters people are already invested in. i think lucasfilm expected the show's audience to grow over a longer period, since plenty of people might check it out because it seems cool and they like an actor in it, and hopefully stick around to watch other star wars and become new fans of the franchise. the audience would get a chance to establish itself through new viewers watching it outside the couple weeks when it aired originally - it's a streaming platform, after all - and the show would have a solid fandom for its second season (which they were clearly planning to make).

these new fans would keep disney+ in order to check out other star wars shows and film, and keep buying star wars stuff over the hiatus. even if they were only into The Acolyte and their interest never expanded beyond that, there were many merchandising products and tie-in materials coming out. the comics and books would have connections to THR, hopefully getting an influx of readers before the initiative finishes next year and boosting sales of already published works. the THR readers who weren't interested in the show originally would see all their favorite authors writing stuff for it and check it out, too.

but then someone higher up decided to cancel it a month after airing so no i guess

[anemoiawithatouchofobsession]

I just realised... the reason why Kang Susie's career lasted so long and longer than fellow "innocent beauty" troika girls Lee Jiyeon and Ha Soobin's did is because she debuted when she was 24. Jiyeon and Soobin debuted at 17.

Susie had lived in America, had experienced a life of poverty and discrimination, went working next to high school and college, Soobin and Jiyeon had lived nowhere else than in Korea and lived life as "normal" high school girls.

Susie was an ADULT and Jiyeon and Soobin were TEENAGERS when they all debuted - Susie knew how society worked, the other two didn't, BECAUSE THEY WERE HIGH SCHOOLERS AND TEENAGERS AND LEGAL MINORS when they debuted. Like, it all makes sense. Of course Jiyeon would suffer under her antis, and then throw her career away for the first man that told her he loved her. Of course Soobin would retire directly after the rumours that hit her -

THEY WERE NOT MATURE ENOUGH TO HANDLE IT and I want yall to think back when you were 17 and imagine having to handle fame and all of that what comes with it. Trying to manage the transition between teenage and adulthood IN THE PUBLIC EYE.

Compare that to 27 year old Susie, how she handled her dating scandal - she even scored two hits after that. SHE WAS 27. She was not just an adult with all of this adulting behind her, that is a fully developed, mature and grown woman. Compare that to 19-20 for both Jiyeon and Soobin when they hit their career lows.

"What If Jiyeon had just a more stable support network when her anti problem hit the fan" is literally my roman empire because if she wouldnt have retired, she'd have had a much better image change and would've slayed more mature thems and albums, Susie wouldn't have been able to fully take over that spot for herself, Soobin would've probably debuted but not been as famous and so wouldn't have dealt with so much hate, all three women would have had longer careers, and we'd have had a period of time where they all promoted together.

[shinelikethunder]

the thing about trying to convey what the fuck is up with outlander is that most attempts to explain all the ways it's Not Good Actually just sound like advertisements for how batshit it is. and it IS batshit, and horny, and self-indulgent fanfiction for weird little girls with the misfortune to grow up into straight women, and all of the above. but it is also, i cannot stress this enough, absolute fucking schlock

anyway, to offset the sin of having tempted any of you to sit through any more of it than the whipping scene and then the gratuitous torture porn in the last episode or two of season 1, let me just sit here and recommend with my entire chest that you read diana gabaldon's fanlore article, at least if you ever want a hearty oldschool-blog-drama laugh at someone who COULD at any moment have chosen to stop parading her ass in front of the entire internet but just couldn't help herself. i will never unhear the squeaking of clown shoes attached to her name, and if you're considering doing this to yourself, you should at least do it while giggling at exactly what serial numbers she filed off her self-insert fic before hopping on the internet 20 years later to get BIG MAD at people daring to write SEX SCENES about HER CHARACTERS.

[aiiaiiiyo]

[nellarw95]

Happy Birthday Simon +43 🥳🎂🎈🎁🎉

Buon Compleanno 🥳🎂🎈🎁🎉

[scarefox]

This is a whole ramble but there is a theme in there (for fun and giggles)

I sometimes have to think about the whole "petplay" / master-servant game Gun has going on with some of the GMM guys (Tay and Joss, officially but he probably has some of the others joined too). It's just so damn wild and funny. And everyone is pretending like that's just the most normal thing besties do. I mean sure why not but also 😏 Just them taking turns in being the others obedient cute pet-servant for one day, while he calling him "his pet" and treats him like a pet (and that outside of cameras and fanservice stuff, they do that in their private time mainly. just dragging it out in the open occasionally). I love that for them 👌

OG Fun Night S1Ep3

-

-

-

... hmmm 😏

yea that's more likely

-

THE WHOLE ENTIRETY OF FUN NIGHT S2EP7 is just damn wild where they compete to be Guns number 1 pet, winning a freaking collar of all things! While talking about the drama "3 Will Be Free" (which is literally a canon polyamory drama with Tay, Joss and Mild)

-

-

also that TayGun date special

But Off is always like "You guys have fun but leave me out of that nonsense" 🙅‍♂️ whenever Gun asks him to join the pet poly circle....

BUT isn't he basically Guns first "pet" before Tay even?! Guns nickname for him is literally Papii... which I first thought means "dad" (or daddy if you will 😏) but someone once educated me that it means "puppy". Because of their first drama together "Senior Secret Love: Puppy Honey".

So what I am trying to say here is: Off you lost that fight already years ago!! You have been Guns doggo all along!! lol

(but that's fine, he just doesn't want to mingle with the others 😌)

It's tragic, there once was a compilation of all the Tay and Gun pet moments (+ trust falls) with parts of an interview where Tay explains his side. And the MC was shook like "And you just let him treat you like a pet??" and Tay all shy and giggly "Yea, it's just a thing between us. I don't even know why. I went with it" 🤷‍♂️ And that he thinks that Gun is the most powerful guy in whole GMM. (A+ video.. why did they take that from us)

Yall don't understand how neat the whole OffGunTay(New) and Gun swinger / poly dynamic is. Alone for the fact that they don't care for the strict exclusive ship rule where they can only be touchy with their on-screen partner. But Gun is touchy and playful with every GMM guy and that's fine and neat af (even tho they all mainly stay in their official ship constellation as well). Meanwhile there are still so many couple themed ship war fanvideos from fans out there about which couple would be most likely real and which one will sink: OffGun or TayGun 🙄 Like bruh, everyone is Guns pet or cuddle buddy, what are yall not getting? OffGunTay(New + others) love and cherish each other (in whatever way that is does not matter). And Tay AND Off and even New encouraging Gun getting cuddly and kissed by other guys. Off and Tay are literally that "You are doing great sweety" meme when Gun has fun with others. Off being jealous is literally just a playful running gag.

I swear most BL fans are way too innocent and stuck with the oldschool relationship style for this awesome GMM (friend)ship dynamic they are playing with here...

Like look at this pile of TayGunNew while Off takes a photo

I don't know why this post turned from the petgame thing to OffGunTay & GMM polycule but it's basically the same ven diagram. Just everyone gets kisses, flirts and cuddles. As they should.

But it does not have to be the one ship over the other. Each of them literally has two hands 😌

holding hand throuple style 😌

Thanks for coming to my TED talk

Anyways.... A poly drama with them when?? Didn't P'Jojo say he wants to do a drama with Gun but doesn't know what theme? (P'Jojo who did "3 Will Be Free" with Joss and Tay already). Here! This? ✨

EDIT: I had to ad this

[ystk-archive]

“I feel like we released a party-in-a-box album” (Nakata)

He makes music for Perfume and MEG, created the soundtrack of the TV drama “Liar Game,” and wrapped up an album with Sakai Kate as part of the unit COLTEMONIKHA. The number one producer on the cutting edge of now is unmistakably Nakata Yasutaka, and his main project capsule released their eighth album “Sugarless GiRL,” followed it with a remix best-of compilation called “capsule rmx,” and are already set to release their third album in a single year.

“Up until now, I’d been sort of following the oldschool pop format to a certain extent. I think my songs until the ‘Sugarless GiRL’ album were easy to listen to, but I don’t feel like they need to be that way anymore because capsule isn’t the type of unit that would appear in music programs on TV. I’ll leave the karaoke-friendly songs to idols and pursue creating something with capsule that can only be done in the kind of environment we exist in. Our remix album that came out in October falls in line with this: it’s a collection of tracks that we use often, so there is the implication that it’s a best-of album, but I wanted to refresh the sound instead of just re-releasing the songs as they were. It takes the ‘party’ feeling and packages it up all neatly, like a party-in-a-box. But I do fundamentally want people to listen to our newest album first and foremost.” (Nakata)

“We’re having fun creating things that we think are interesting.” (Koshijima)

That new album is “FLASH BACK,” their ninth overall and first original release in ten months. It breaks from their previous works in that it isn’t like the soundtrack to a film that doesn’t exist; “FLASH BACK” instantly conjures up images and memories from the past in the way that a movie inserts a literal flashback sequence. It doesn’t use a story or specific pretense to do this — instead, particles of sound flood out from the listening device (whether that be speakers or headphones) and form intense, hard-hitting electro music, bit by bit.

“I thought it was interesting to have several moments in time playing simultaneously, like I’d cut out scenes from a movie. There isn’t a pattern to how it changes; the entire album is constantly shifting. I thought it’d be good to have a strong contrast like that. My mental image of it is a sort of inner dive. I made it with a clear contrast in sound so that the listener can really delve into it, and I think if you sync up with the music, you can get into the album quite easily. However, I did think it would be kind of tacky if the album was too trendy-sounding. It’s perfectly situated in that space where you can’t decide if it’s cool or not.” (Nakata)

“During recording, we’d get all excited like ‘this is SO lame!’ (laughs). But we’re really into just making whatever we feel is interesting to us right now, so we hope everyone will enjoy listening to it.” (Koshijima)

from spring magazine・scan & translation by ystk-archive・HD download (Google Drive)