#people you can share these films and characters and pieces of history with and connect

[marciabrady]

ok open question. should i start making gifs/posting again? i've had a few years of a hiatus from it and, while i ultimately stopped because my old laptop broke, i made a conscious decision not to go back to it at the time. it was so much energy and effort and, as fandoms on tumblr have largely died down, i wasn't meeting any new people, there wasn't any real discourse or engagement and it just felt like posting into a void out of habit.

i originally started making content because i felt like it was my way of showing appreciation for the type of media i was engaging with, and i loved the people i met through it. but near the end, it felt like i was just posting to post and the fact that people kept stealing my content to post on other platforms (along with official !!! archival website and estates without credit) really irritated me. it was like doing work for other people but being largely ignored (the downfall of any leo; and not so much that i needed personal credit but the fact that others were regularly ripping my content off and actively amassing a huge audience off the back of my work like an energy vampire was frustrating to me because it felt like they were just doing it for personal gain as opposed to genuine appreciation of said media).

but. i'm conflicted because there are so many rare films that i've been saving digital copies of/ripping for years, that don't have any content. and i'd love to, again, show appreciation to them in that way and bring light to them??? maybe even meet more people who are already fans with those things and currently don't have anyone/anything to engage with? i've toyed around with making a tiktok and creating edits for those films/stars, since most of tiktok editors edit the same 3-5 movies for old hollywood and even more of them just use gifs from tumblr in their videos lol this might be a totally useless post but. just wondering aloud. would love anyone's perspective who's continued to post, who used to but doesn't anymore, anyone really!

[major-comet]

The Music in RvB: Restoration Kinda Sucks. Here's how I'd fix it.

I gave this as a presentation the other night after my first re-watch of the finale, and it was a major hit so I thought I would share it with other people who think too hard about Halo fanfiction.

Red VS Blue has some truly fantastic music in it's 21 year history, and I think that the music here was pretty weak. Obviously this post has major spoilers for RvB19 / Restoration, so be warned.

So, under the Read More is a typed up and fleshed out version of my powerpoint presentation where I will dive in and not just bitch about the musical choices, but explain how I would fix things. This is...really long, but I hope you all enjoy my thoughts :)

This will be best enjoyed if you listen to the songs I'm talking about as a refresher. For your convenience, I have input links to the songs on Youtube when necessary

So what's the problem?

Since the development of the finale overlapped with Rooster Teeth getting shut down, it's very likely that they had minimal funds. (EDIT: Yes, the finale itself was done by the time the announcement rolled around. However, the decision was almost certainly already in the works at WB. RT was shut down in part for financial reasons. It’s all connected.) I personally think this was part of why Burnie/RT was/were [reportedly] so insistent on using stock music for part of the season rather than a whole soundtrack done by Trocadero - I'm not sure they had the money to properly compensate for a full soundtrack. And maybe it was just a stupid / dick move, and had nothing to do with money at all, but that's what I choose to believe if only because it makes me feel slightly better about it.

This means that besides the stock music, the new score by Carl Thiel, the Zero song for that cameo, and Waning Moon (the Barenaked Ladies song), all we have are four re-used songs from earlier RvB - these songs being the Trocadero Grifball theme, I Say Ooh and Round One by Jeff Williams, and Vale Deah by Trocadero. There's also a David Levy composition in there somewhere according to the credits, R U Ready, but I have no idea what it is or where it plays. It's bothering the hell out of me because it does not appear to be a reused piece as far as I can tell - at least not reused from RvB. If anyone has any leads on this please reach out, because it seems crazy that there's one random possibly original David composition mixed in there. I've checked Apple Music and Soundcloud, nothing by that name.

In this very Meta focused film, neither of The Meta's themes play in any shape or form - [When] Your Middle Name is Danger by Trocadero or Plagam Extremam Infligere by Jeff Williams.

Nor do any of the character themes, really. Most of the series' iconic recurring tracks are completely absent. Tex's various themes, Carolina's theme - hell not even Blood Gulch Blues or the iconic intro music.

Were there any highlights?

Of course there were!

Considering I was going into the finale having only been spoiled on Vale Deah, I was pleasantly surprised to hear the Jeff tracks! That was totally unexpected, and really lovely.

Speaking of, I thought the use of Vale Deah was a really lovely touch. Fun fact: that song was used for the end credits of the Season 1 DVD, so it really felt like a sweet full circle moment.

I think that using a Barenaked Ladies song for that very sweet scene of Caboose, Grif, and Simmons reminiscing about Blood Gulch by the fire was a very lovely choice, and quite honestly it was my favorite scene in the whole thing. The BNL have been close to RvB and RT since damn near the beginning, and it was very nice to hear them attached to the finale in that small way.

I should also point out that the composer for the season is Carl Thiel - known for his work on Hot Fuzz and the second and third Spy Kids movies. I think he did a totally fine job. I liked the bugles that were under Sarge's death, but the rest doesn't really stand out much. Perfectly serviceable.

So, now that that's out of the way, let's break down those four returning songs a bit more - shall we?

Grifball Official Theme - Trocadero

This was a really funny choice. It's such a quick bit, but I respect Burnie's dedication to get in one last Grifball joke. Obviously, I would have preferred to hear a different song for something else, but this was totally harmless.

Vale Deah - Trocadero

Lo-fi Hip-hop beats to get divorced to.

God that scene was heartbreaking. I love this song a lot - I think a lot of Trocadero's strongest stuff is the stuff that just feels kind of melancholy. It's something Nico does really well, and I think Vale Deah is one of my favorite examples of that. Like I said above, I think this song was used really well - if I had to pick a different track for that same scene I would probably choose Half Life. While it was written during the Blood Gulch era, it wasn't really used in the show until Seasons 12 and 13 - notably, a version of it plays under Kimball's rally speech to the troops after Doyle's death. I just really like it, tbh. There's absolutely other songs that could work, but I think having it be a BGC-era track served the scene really well.

I Say Ooh - Jeff Williams

My feelings about this are pretty similar to Grifball. It was cute, it was nice to hear, but I wish they had used a different Jeff track somewhere else. Ultimately, it's pretty harmless. It is kind of an odd choice though - I'm pretty sure Jeff didn't write it for RvB. This was a song that he composed that was used in two RT Shorts (live action sketches that RT used to do). I think it would have been nicer to use one of his RvB tracks for the introduction of Niner - could have been a cute spot to use a track like I Am The Best or Forge World or hell, Come on Carolina would have been cute.

Round One - Jeff Williams

...Actually, I have a lot to say about Round One, so let's get everything else out of the way first.

Other Scenes that *should* have had returning tracks before I talk about Round One for a billion years

Sarge's death should have been scored with a version of Rally (Sarge's Speech). My vision is a version of it that's just the string section - familiar, but not enough to be distracting, and absolutely soul crushing if you do recognize it.

The scene with Wash and Dr. Grey in the hospital needed a hint of what Nico so lovingly calls the "Wash Trauma Theme" - which is closely related to the Trocadero Meta theme, fun fact. I think Limited Duty from the scene in Season 16 where Carolina tells Wash about the brain damage could have worked pretty well there.

The scene at the end with Wash and Carolina talking about Doc and the Freelancers really needed something. I think one of the variations of the Shisno trilogy Carwash theme could have worked very well.

Obviously the big scene with Tucker and Sigma on the ship would have really benefited from [When] Your Middle Name is Danger or one of the many themes that incorporates it, but I'd also throw Soul Clef XI into the ring! I think it's so interesting that the work around they came up with for not being able to get Elijah Wood back was to have epsilon!Sigma take on a more Felix-y type of voice. Partly because Felix was an incredibly ambitious villain so he fits it pretty well, but more importantly that was a very smart voice to pick to fuck with Tucker in particular! I think that was really smart, and I think having some version of Felix's theme playing during that scene would have been really cool.

Bolt by Trocadero was never used in the series proper. However it was used in this ten year retrospective that they released alongside Season 10. I highly recommend giving it a watch, because watching it now that it's Over - RvB, RT, all of it - it's honestly kind of heart breaking. They're all filled with this deep optimism about the future of the company, and hindsight is a bitch on this one. They use it in a really sweet sequence at the end where they're showing a bunch of old photos. Anyways I think this should have played in the credits after Vale Deah finished. "We only want to have a good time."

Miscellaneous Trocadero Songs I would have liked to see them find a place for that I haven't already / will not mention elsewhere

Steady Ride (Gunmetal Green) - this is THE Grimmons song ever to me. I love it so much. Also fun fact: as of the interview Burnie did with Nico on the season 10 (I think?) dvd/bluray, this was Burnie's favorite Trocadero track. And you can tell when you watch the DVD cuts of the first 6-ish seasons - it plays all the time.

I like Good Fight a lot, not sure there was a great spot for it? but still would have been nice - It's used a few times as a Wash theme, I believe.

No One is my favorite Trocadero song and I wish it could've been there Somewhere. It was the elevator-music type song that played behind Vic in BG once or twice, I think was in the season 4 credits, and also played during the weapons demonstrations in the Meta VS Carolina Death Battle. I just like it a lot, lol.

Okay let's get back to Round One.

Why they shouldn't have used Round One for the big fight in RvB Restoration

AKA: The actual bulk of the presentation

Okay so we've got some pros and cons to this track. Starting with the Pros;

It's a song from an iconic scene - the 3v1 training room fight from Season 9

Tex and Maine are both in the fight

Was a great "Oh FUCK yeah" moment for the fans

Great track

Cons;

Not really a song for Carolina or the Meta (or y'know. Tucker. He's there too), and only kind of a song for Tex

Honestly the fight makes me think about York more than anyone else, since that's the fight where he gets hurt

Not a cool thematic moment besides just Tex being a badass

Started too late into the fight - it's sad that Carolina got a cool track when she (finally!) showed up, but Tex just got generic music. Show my girl some respect :(

So what would be better?

It has to be something that makes you think of at least one of the fighters. A track that's good for multiple would be better, but not required.

I think it should start when Tex first shows up, not when her armor changes. that’s a cool moment, but it still means most of the fight is working with Thiel’s score.

It should be something with a note of thematic relevance - for example, the big moment right at the end of the fight is Tex reminding epsilon!Sigma that she's not based on the Director's memories of her failure this time; she's based on the memories of Grif, Caboose, and Simmons. And she Always kicked their asses.

Still needs to be a big "Oh FUCK yeah" moment.

While incorporating Carolina's theme would be nice, I think it's more important to get at least one of the others - but we'll do our best here. I think this is moreso a Tex v meta!Tucker fight in my heart than it is a Carolina fight.

So let's look over a few options, shall we? These are in no particular order.

Spiral - Jeff Williams

This is the song that plays during the Season 9 car chase when Maine gets shot. It incorporates Carolina's theme, because in PFL her theme is never too far behind whenever a Maine/Meta song is playing, which has always been interesting to me. It has all that freaky choral stuff that Jeff loved to use, and generally is just a great track.

Fragments - Jeff Williams

This plays during the Freelancer break-in in Season 10, and it just rocks so hard. Anything from the break-in would be cool because that was the last time Tex, Carolina, and Maine/The Meta were all in the same place, and of course was when The Meta was properly created. I think it was so sad that they used the instrumental of Round One, because the vocals are part of what makes the Jeff era of RvB soundtracks so iconic, and god this song delivers! Also this song has a kickass trumpet solo at the end.

Slingshot (from the Death Battle) - Trocadero

Man this song rules. This of course plays in the Meta VS Carolina Death Battle from Season 14. It's a very different energy from the Jeff picks, but it rocks so fucking much. This is a fight between Carolina and The Meta, and would of course be a callback to a (marginally) more recent - and extremely popular - episode of the show. If you haven't watched the Death Battle in a while you really should, it still kicks just as much ass now as it did back when I was in high school.

Literally any other song from the 3v1 Training Room Fight - Jeff Williams

This includes;

Round One (feat Lamar Hall)

Just the Bullfight part

On Your Knees

I just think the instrumental to Round One is the weakest choice from this fight tbh! Bullfight is my favorite out of the three, because it sounds the most Tex-y. The guitars are very her, and it incorporates part of her Agent Tex motif. And On Your Knees would have had the biggest "Oh FUCK yeah" factor. But honestly even just using the version of Round One with the vocals would have been way better.

EDIT TO ADD: a quick note - while it’s listed in the credits as Round One/Bullfight, that’s just how the instrumental is packaged on the OST. As far as I could tell in my two watches of it, they never actually make it to the Bullfight part of the track.

A Girl Named Tex - Trocadero

hold on, walk with me on this one.

I had a vision of Tex fighting meta!Tucker set to the "Yellow rose of Texas clad in black, lonely star tattooed upon her back. Double Tex she'll hit you like a truck. Double Tex and she'll mess you up." bit right after I watched 19 the first time and it's been haunting me ever since. (That bit starts at about 02:19)

This is her theme for the first chunk of the show - which just so happens to be the time period Grif, Simmons, and Caboose were primarily reminiscing about. It would have been cool as hell, and I can See the beginning of the fight in my head - the opening strums (what my brother so lovingly calls the Out of Mind music) when caboose is saying his line about how he brought back someone even worse than church, and then the fight starts! I can see it in my mind, it would have been so cool!

I just think there should have been more Blood Gulch era music in here.

100 Tex Battle - Jeff Williams

This doesn't get you any Meta points, but obviously it incorporates little bits of Tex's, and a lot of Carolina's theme. Twisting a Tex vs Carolina fight - obviously, Carolina vs all the Tex bots in Season 10 - into one where they're fighting alongside each other would have been really lovely and a cool full circle moment.

This song is really cool, it's such a good fight. I do think it maybe sounds a bit goofy at points for this fight, but still a cool option.

Okay so now let's go over my top three-ish picks

Ice Fight (or maybe the revelations suite?) - Jeff Williams

Jumping to the end of Season 8, we have a fight that involves Tex vs The Meta! And Wash, Doc, and all the Reds and Blues (barring Donut and Lopez. Hmm. Doesn't that sound familiar.) are there! Ice Fight rules so hard, it's so good.

And it has some of that narrative theming I was looking for! While yes, Tex does technically lose this fight - so does The Meta. And how does she lose it?

By going into the recovery unit.

The main reason I suggest the Suite instead of just Ice Fight is because I think having a touch of Red Vs Blue would have been really nice.

Mental Meta Metal - Jeff Williams

Genuinely my favorite track from season 10. If you let the song play the whole way through, it has Jeff's themes for The Meta, Carolina, and Tex in it. This plays the first time we see Maine in a fight in Season 10, and is also Sigma's first time in the field after we see him pondering Meta-stability in the classroom.

It incorporates elements from both Spiral and Plagam Extremam Infligere, which is kind of Jeff's theme for the Meta that he established back in Season 8. It also plays during the Freelancer Break-in when he's tossing Carolina off the cliff. The Latin on that translates to “to inflict an extreme blow”.

It also has a very strong statement of Carolina's theme, which could have been a great opportunity to bring her in with her theme!

Now, before I go over my final pick, let's go over what we need again;

We need a song with thematic relevance to the fight, that’s from an iconic scene, has a good energy to it, and would give fans a big “OH FUCK YEAH” moment.

Well, isn’t it obvious?

Agent Tex (/ Tex vs Tank / Hell's Angel) - Jeff Williams

The first instance of Jeff Williams’ Tex motif, later used in Hell’s Angel and Tex vs Tank, etc. I would add the opening strum commonly heard in the later iterations, but keep it generally the Agent Tex version which was used in the S8 Warehouse fight, as seen above.

This is like. The RvB scene ever. So many people saw this before they watched the show, and many more never even watched RvB - just this fight, since RT uploaded it separately from the episode because they knew it kicked so much ass. It also helped draw in folks who may have been fans of Monty Oum's other work. Fun fact: This was RT’s outro music for a really long time, too. So it really has history with the company.

Part of why I think this pick would work so well, beyond it just being Tex's theme for the Jeff Williams era, is that it would be so interesting in terms of narrative theming. The Season 8 warehouse fight was Tucker, Grif, Simmons, Sarge, and Caboose against Tex.

This whole sequence was Grif, Simmons, Caboose, Carolina, and Tex against Tucker.

This was one of the other scenes being reminisced about around the fire - you can see it as one of the clips shown during the scene. I think it would have been a really powerful moment, and a fantastic "FUCK YEAH" moment for everyone whose stuck around this long. This track is so good, and I really do think it would have been the perfect choice for this fight.

It's not even my favorite, if I was just choosing favorites I'd have picked Mental Meta Metal or A Girl Named Tex.

What have we learned? Why Were We Here?

Red vs Blue is a show with a lot of really fantastic music in it's book, and a really strong history of musical callbacks - particularly with the Meta's theme and how it's so closely tied to the motif Trocadero liked to use as "Wash Trauma" music. Making a clever callback to a song you've used before can help strengthen the thing you're trying to get across to your audience. I think it's somehing that Restoration really struggles with, which is pretty sad. But I hope you found my deep dive / analysis of what could have been interesting.

I'd really like to dive in and do a long reflection about the series as a whole, but as it stands this is around 3,000 words and if I get started on that, this post will never end. I'll probably work on that once i've actually Finished this rewatch.

Thank you for reading all of that!

[variousqueerthings]

8 11 32 PLEASE!

HELLOOOOO AND THANK YOUUUUUU! also I remembered how much I overthink when looking at these whoops

8. Describe your gender without using any words traditionally related to gender: You know the opening to the Mr Bean series? Mr Bean gets beamed down onto earth and then it's implied that everyone Mr Bean does after that is literally because of being an alien, but it's never actually confirmed in the text? that but like. with a much more extensive wardrobe

11. Favorite (or just one you love) piece of LGBT media?: WHY WOULD YOU DO THIS TO ME???? I'm gonna give u three out of Many that are perfect. and I'm going to connect them to a Theme (I'VE CONNECTED THE DOTS). the thing is that these movies are movies that have at some point held me gently and guided me into a greater understanding of the queer community and history generally, as well as my own feeling of place within this community

My Beautiful Laundrette: This is one of my personal seminal queer movies, I watched it as a young'un/baby queer and it's just. Oh. such softness amidst the violence of the times, and the thing is that the softness is something that saves the main characters from the violence, both as potential perpetrators and victims (and how those can be blurred concepts to begin with). the core of it is two men who come back together amidst the height of neo-nazi anti-immigration 80s England, one of whom is Pakistani British and the other a white skinhead. And they open a laundrette together. This movie is sweet, I promise! it also features one of the subtly hottest moments to me in film history, in which one of them licks the others' neck in public while being watched on one side by Pakistani family members and on the other by white racists but it's angled so none of them see it!

City of Lost Souls: Listen, Rosa Von Praunheim's documentation of trans people (and generally queer people) is so so important for our community and you should check him out, but this film in particular is such a wild fucking ride that is hard to explain. a bunch of queer artists in 80s Berlin (and this movie was made in the 80s so you get some real footage of that great big wall) just like... fuck around? share intense elder wisdom? connect? sing! (oh yeah, it's kind of a musical, a trashy punky musical). This is some of the real deep magic of queer connection. there's an iconic moment in this film (there are several) in which a trans woman picks up a one-night stand and explains to him that she's trans and he's like. "eh no idea what all of that means, but you're saying you're a woman right? great!" and it's just Fine

Desire Lines: listen this movie... I'm almost hesitant to recommend it, because I feel so personally affected by it and it's a one-of-a-kind (so far) insight into transmasculine gay culture that is just. deeply precious and not understood by a lot of even the wider queer community. myself and every transmasc person I know who's seen it have felt somewhat transcendent about it, the way you do the first time you see yourself as (positively) visible in this way, it's almost too much. it's a documentary at heart, but quite experimental in elements of its structure, with parts of it being a fictional telling of a middle-aged iranian trans man who works in an archive and is told of the history of trans men's inclusion in gay bathhouses, lou sullivan, and personal testimonies from gay transmasc people. sometimes you don't notice how deprived you've been until something gives you real oxygen

Hon. mentions: Joyland, Great Freedom, Die Beautiful my personal favourite queer films of 2023, still have me by the throat!!!

32. Do you do arts and crafts? Post a pic of a project you've done: okay I will share a picture of something, but I need to go take a picture when I have a sec. It's not complete, but I've started a little zine that's just a big collection of euphemisms and ways of talking about queerness and it's such a fascinating, fun project that's made me think more expansively about how queerness gets talked about, whether it's in the past or present (or potential futures), within and without the community, as modern, or bigoted, or outdated, or fun, or out-of-the-box, or specific, etc. -- it's very far from done, but I can give a sense of just how many words/phrases/concepts I've picked up + imagery I want to include + the construction of the zine itself, which has a few little secrets to it

[angelosearch]

This has been languishing in my drafts for a while but with the new season of The Bad Batch being dropped today, I thought maybe it would be a good time to discuss...

The Actual and Potential Star Wars References in Final Fantasy VIII

Preface: For your standard nerd, I was a very late bloomer when it came to Star Wars. The first piece of Star Wars media I actually got into was Clone Wars when I was in my mid-twenties. So the first time my husband saw me play Final Fantasy VIII, he kept saying "That's a Star Wars reference!" and I was like "pffft, no way, not everything is Star Wars."

Now revisiting this game as someone who is so into Star Wars I can give you a 60-slide PowerPoint on why I love Thrawn (recent book series version) and identify characters by just their lightsaber, I can tell you: This game has many connections to Star Wars. Honestly, I will probably miss some in this post.

And it is a long one.

But first, the spiritual connection

We all know that the Final Fantasy series is peppered with Star Wars references; perhaps most notably, Biggs and Wedge. However, I like to think the connection between FFVIII and Star Wars is a little deeper.

FFVIII and the first installment of the Star Wars prequel movies, Episode I: The Phantom Menace, both came out in 1999, which means they were both being produced around the same time. They were both extremely ambitious projects in their field. But I think one of the strongest connections is that both the movie and FFVIII were pioneers in utilizing motion capture technology, and, in doing so, completely changed their medium. (If you want to learn more about the importance of motion capture in the history of Star Wars media, I highly recommend the podcast The Redemption of Jar Jar Binks.)

This may be controversial, and I adore Episodes 1, 2 and 3 so I mean this is the utmost affection, but I kind of think of FFVIII as the "Prequels" of the Final Fantasy series. The Star Wars prequel films were reviled by long-time fans of the IP when they were first released, because they seemed silly, because they deviated from what people were used to from the series, because they took big swings, because the dialogue was a little clunky at times, because the nuance of the characters and the politics was lost on some. But, the Prequels are now being appreciated, mostly by those who grew up with them. Sound familiar?

Onto the in-game connections!

I am going to try to move from the connections that I am most certain are intended to least certain.

Biggs and Wedge. This serially demoted bumbling duo from the Galbadian army share names with Biggs Darklighter and Wedge Antilles--two Red Squadron pilots who fight alongside Luke Skywalker.

Piet. Or should I say Piett? The space guy in FFVIII is named after the Imperial Officer Fleet Admiral Firmus Piett.

Only one of the most iconic lines in Star Wars history. When Squall goes to retrieve Ellone from the library mid-disk 2, Squall is spinning out and asks "why me?" As Ellone is leaving, she says under her breath, "You're my only hope." Um, Obi Kenobi called, he wants his Leia recording back.

EXCUSE ME, BUT IS THAT A TIE FIGHTER? Nope, that's a spaceship we briefly see when we are getting into the Lunar Base on disk 3.

Lunar Cry is a deep, deep, deep cut? Screen Rant calls this the biggest FFVIII allision to Star Wars, but I am not familiar with the comic being referenced. It's still interesting though so I'll pull the quote:

The biggest Star Wars allusion in this Final Fantasy game, however, involves the Lunar Cry phenomenon which works similarly to the pull of the tides. The gravitational pull between the moon and planet occasionally brings about the Lunar Cry, where the moon's surface becomes so saturated with monsters, that it creates a gateway for monsters to fall on and attack the planet. This is a direct parallel to how the Beast Wars started in the Dark Horse comic miniseries, Star Wars: Tales of the Jedi, in which the planet of Onderon and its moon - Dxun - would connect once a year during their orbit. The native monsters of Dxun learned to use the "oxygen bridge" created from this occurrence to travel to Onderon which inevitably resulted in the Beast Wars.

NORG and Jabba. I think they look alike but also have similarities in the way they move and speak.

Martine and Nida. The Headmaster of the Galbadian Garden is named "Martine" in the English version because perhaps it was too obvious to call him "Dodonna" like he was in other translations. Jan Dodonna was one of the first generals to join the rebel alliance in Star Wars. Nida is a bit of a stretch (and honestly I didn't know this one until I looked it up) but there is a character by the name of Lorth Needa who is an imperial lieutenant commander. Like Nida, he controls a big ship (Imperial Star Destroyer Avenger) during an important battle (the Battle of Hoth).

"You can go about your business." I am pretty sure this is just part of a larger trope, but Galbadian soldiers and Storm Troopers are characterized very similarly. They are always masked, ineffectual, silly, and easily manipulated. Plus the soldiers are very weak in battle. Maybe they miss a lot of their shots?

Probably not references, but interesting parallels

Mysterious parentage/separation from sibling leads to epic destiny. Squall grew up an orphan. Being disconnected from his parents and a secure sense of home, along with living in that particular orphanage, made Squall, well, Squall. And then of course is his canon event of being separated from Ellone. Those beginnings set him on his path toward his fate. His mother is dead, possibly dying in childbirth (like Padme), he has forgotten his sister (Luke just doesn't know), and his father, not aware of his existence, is at the helm of a powerful "empire" (like Anakin/Vader). Of course, Laguna's character arc is much different from Anakin's, but I can still see a sort of "Luke, I am your father" moment happening between Squall and Laguna post-game. (Side note: Does that make Kiros and Ward R2-D2 and C-3PO???)

Gold eyes = evil. Palpatine and Anakin (as Sith lords) and Edea (when under Ultimecia's control) and Ultimecia all have gold eyes. Adel is my c-c-c-combo breaker here but I also know there are other evil characters throughout the Star Wars canon that have red eyes. (NOBODY SAY THRAWN.)

SPACCCCEE! Just space. While I am out here Charlie-Day-murder-boarding it (again) I might as well throw this in. Also, sorry sequels, but Rinoa did floating out in space and surviving because of an unseen power (the force of love?) first.

EZRA BRIDGER HAS A GUNBLADE!!! In Star Wars Rebels, Jedi-in-training (AND ORPHAN) Ezra Bridger builds his first lightsaber to have a blaster at the hilt. Also, he later gets a facial scar.

A character's home gets blown up. Sorry Trabia and Alderaan. :(

Idk, I need to look more into this but something about Esthar reminds me of Coruscant. Anybody else get that vibe?

So there you have it! My Venn Diagram of two of my favorite things. That's all the conspiracies I have time for today. Thanks for coming to my Ted Talk.

Edited for typos. Of which there were many. My apologies.

[drjohnweston]

Being Human Q&A 17th December 2022

Everything I can remember from the Q&A, under the read more because it's pretty long!!

Unfortunately, due to Covid, Kate Bracken was unable to attend the event.

Toby Whithouse on being asked why he had selected Making History 4.07 as the episode to be shown: "It was the most ambitious series where we changed the genre slightly, having two timelines running alongside each other with one happening 25 years in the future. This was the episode where those timelines converged."

They then aired the episode before Toby was joined onstage by Jason Watkins and Damien Molony.

Question to Toby: “Where did it all start?"

Toby had been asked to write a TV series about 3 university friends buying a house together, which after struggling to come up with ideas, eventually evolved into a person with anger management issues, a person with agoraphobia, and a person with addiction issues sharing a house, with one of the characters being named George.

At the same time TW had also written a short film romcom about a werewolf named George. The two ideas merged together to give the characters a story and the connections were made between agoraphobia and being a ghost and addiction and being a vampire.

The very first draft of the script was written purely as a sitcom and the second draft of the script was written as if it was an independent American short film.

At first people could not understand that it was a combination of horror, comedy, and drama, but Toby Whithouse thought that this was much more representative of real life, where we are never confined to one genre.

TW also spoke about how the stories he connected with the most were the ones that took place in our world. He said that “The best escapism was into stories that could take place around us.” And that “I was writing for 14-year-old me.”

On the subject of Being Human spanning genres, Jason Watkins added that in reality, at their most horrific moments, people make jokes. He also said that there was “Something colloquial, speakable, domestic, and modern” About the Being Human script.

Q: Were there any references to favourite vampires when creating the show?

TW spoke a little about the mythology and the limitations they were under. “If you can have the vampires only appear at night that is a production nightmare, a scheduling nightmare.”

He also spoke about two new pieces of mythology added in series 4 and how one they thought was perfectly logical and that they would get away with, and another that they thought there was no way the fans would forgive them for and would accuse them of “making shit up.” However, when the series aired those two pieces of new mythology, toxic werewolf blood and Rent-A-Ghosting vampires were received completely the opposite way around and TW was shocked that people hated toxic werewolf blood as a concept so much.

Q: What was it like for Damien Molony joining the series and how did he prepare?

When he went for his audition, he had been acting in the play Tis a Pity She’s a Whore and was spending every night being covered in fake blood from head to toe “like in Carrie”. He said that when he travelled down to the audition, he’d been unable to clean off all of the fake blood and thought that might have helped him to get the part, that the casting agents probably went “wow that guy’s really method.”

After getting the role, Damien watched all the previous series of Being Human and was sent 10 DVDs of vampire films to watch as a crash course 5 days before filming started. He was also given a playlist of music that Hal would listen to and talked about OCD and dominoes.

Later in the QA, an audience member asked specifically how he prepared to show Hal’s OCD, to which Damien replied that he watched lots of documentaries on channel 4 on demand (as the service was called back then) and that he used to spell out the name of the old American actor Hal Holbrook on his fingers on set.

He also added that the domino spiral was set up on set 2 weeks in advance of filming and that everyone on set had to resist the temptation not to touch it and had to tip toe around so as not to accidentally knock it, causing hours of work to put it back.

Another anecdote from Damien Molony came after being reminded about how much beetroot juice he had to drink when they were filming Making History, with 10 litres of beetroot juice having effects that caused him to phone his doctor dad with some worried questions.

The Q&A moved back to Jason Watkins, airing a clip of Herrick in the isolation chamber with Mitchell, George, and Annie in Bad Moon Rising 1.06.  Jason was asked “How did you approach a character with such a black heart”

Jason spoke about Herrick’s complete enjoyment of all the things that he does, his psychopathic nature. “As a villain, he has a pure appetite for it. He ticks all those awful boxes.”

Toby Whithouse added that Herrick “has one mode, summed up by the line “You’re a shark, be a shark.” He never has a single moment of doubt.

Jason Watkins also talked of Herrick as a “paternal figure, he has these sort of sons.” And how he needed to have people like Mitchell in that position, because he needed to be in control, describing it as “having control over somebody and needing that control to know where you are in the world.”

This prompted Ruby, the interviewer to ask about the relationships between vampires and their makers, pointing out that we had just witnessed a twisted version of that relationship in 4.07 between Hal and Cutler.

Damien Molony described Hal as a “straight-jacketed, terrified loner being suddenly confronted with the victim turned master” in Cutler. There was much praise from the panel for Andrew Gower’s performance as Cutler.

Another question to Damien: “As we as fans often see good Hal and Bad Hal and separate people, like Angel in Buffy”, do you see them as different” Damien described good Hal as closed off, straight-jacketed (again), and very controlled. Whereas he said that bad Hal is at ease and open.

Back to Jason Watkins who was asked “Could Herrick be redeemed if he shared a house with Annie Sawyer?” Jason started to go into a longer explanation, but Toby Whithouse replied with a simple no.

Back to the question about relationships between vampires and their makers, Jason Watkins brought up the existence of a script for a scene that was never filmed about Herrick’s recruitment (this is still accessible via the old official Being Human Blog archives and there is a link on my blog).

Jason also recalled the time they were filming Herrick’s resurrection for the end of series 2. Which was not filmed in an empty snowy field, but in a park in the middle of Bristol with a group of elderly people from a local care home watching from the side-lines.

Lastly from Jason Watkins, replying to an audience question about what he took from the role of Herrick, he spoke about how “it was a bit of a break for him” (career wise) and how Herrick’s confidence “was him on a really good day,” and that by playing Herrick it increased his own confidence in his work and performance.

As both members of the cast on the panel had played vampires, the questions had been more focussed on them.

Speaking about the werewolves, Toby said “Werewolves become boring after they’ve transformed, they just become a thing. … It’s all about the tension, the lead up and the aftermath.” That’s the interesting part.

An audience member asked if Toby could discuss the ghosts, saying “they are the glue of the show, how did you come up with them?”

Toby responded that actually, the ghost episodes had always been the hardest ones to write and that he tended to lean more into the comedy aspect with them, because both Lenora and Kate were good at comedy. He said that he always paired their characters up with more experienced ghosts, because both Annie and Alex were new to that world. But he also said that he had to start to break his own rules and bring Annie out of the house as “Ding Dong, it’s a ghost” turning up at the door as a plotline would have gotten old very quickly.

He shared that he and Gilbert had the same musical taste, and that it meant he could “write jokes about people like Marc Almond that only he (toby) would find funny.”

And finally, one audience member asked, “Did you ever see things online and think I wish we would have done that?”

Toby Whithouse replied “the online community I absolutely loved. It added another layer of joy. During series 2 airing someone came up with the idea that Professor Jaggat was a werewolf and that was why she wasn’t there at during the (first) transformation, and I thought oh that’s a really good idea.” He went on to add “You can’t pay too much attention to audience feedback.” And spoke about writing what audiences need rather than what they might necessarily want to see. But that he would read the (official) blog because it was fun and so many lovely things were said.

[bennyswhims]

Working with Walt: interviews by Don Peri, 2008.

For something a bit different, this post will be taking a look at two interviews present in the book Working with Walt, which tackles the challenging wall of showcasing several points of view from the very people who worked in the same rooms as the controversial figure across many decades. Though I have only selected 2 of them, the book itself accounts for over a dozen perspectives, making it an essential read for anyone interested in the life of one of the most important people in film history.

Eric Larson (1905-1988)

One of Disney's Nine Old Men, Larson is a bit of a legend in the industry. Working in the mouse house for a bit over 53 years, his is the longest run the studio has seen to date, and it showed. Establishing himself as a key piece in Disney's early filmography, he quickly rose through the ranks and became a supervisor around the early 40's, working in Snow White and directing and supervising Pinoccio, Fantasia and Bambi, as well as having a hand in almost every golden age Disney movie you could think of.

However, this is not the only reason he interested me specifically. This was actually his keen interest in nurturing the industry he so loved by heavily contributing to the formation and upkeep of Disney's Talent Program, which has to this day served as a beacon of training for some of film's most acclaimed names, such as Brad Bird, Glenn Keane, Henry Selick, Tim Burton, Ron Clements, Don Bluth, and many, MANY others (seriously, this program is kind of crazy if you look into it).

What's most impressive, Larson didn't even go into his career with the intent of participating in film. A radio enthusiast, he went into a local station to share a script, hoping to present it for a short serial, where he was pointed in the direction of Disney studios by coincidence, and offered a position he accepted with the most reluctance. To think people give themselves out nowadays for a fraction of the presence afforded to animators of the past, it can be a discouraging thought. However, it's also a bit of a grounder, to think it's mostly a right place-right time combination with one's skill, and that you can only do so much to control that.

Larson was also known for his enthusiastic approach, which is quite the feat for someone with such discipline, and the body of work to prove the success of his ways. Overall, definitely someone deserving of his awarded Disney Legend status.

Clarence Nash (1904-1985)

Clarence Nash needs very little introduction. Famed for his acting and impression work, the voice of Donald Duck made quick work of his industry, working in impression radio from his early 20s and being asked by Disney himself to informally audition for him, as he'd been impressed by his vocal chops in the radio show Merrymakers, where he'd worked for years. He was part of the studio as an instant match, and became the iconic voice actor for Donald from the second it was possible, holding this role for as long as he lived, with his last role being for Mickey's Christmas Carol in 1983, having done over 120 productions for this role and others.

I think it's impossible not to have a sort of connection with Nash's work, as someone interested at all in animation. Even those of us without the Disney itch have been raised in Donald Duck's world, and his voice is one of the most important pieces of performance the film industry has ever seen, easily, to this day.

It is said Nash was a bit of a cartoon character himself, with a piked interested in everything, everyone and anyone around him, at all times, with great zest for life and all of what it brought. It is hard to say he wasn't just method acting his whole life, naturally, and his story is one that reminds me of the value of earnest interest. As someone who often struggles being taken seriously because of a bouncey, easygoing demeanor, it is quite heartwarming to hear someone like him finding such a place in the world I want to call home.

References:

Working with Walt (2008), Don Peri:

Eric Larson - Wikipedia

Eric Larson - D23

9. Eric Larson - 50mostinfluentialanimators

Clarence Nash, Wikipedia

How Clarence Nash became Donald Duck - Cartoon Research

[ccthewriter]

CC's New Watch Ranking 2022: #7 - The Passion of Joan of Arc (and Immortality)

1928, dir. Carl Theodor Dreyer

Every year on Letterboxd, I make a list of the 100 best films I’ve seen for the first time. It’s a fun way to compare movies separated in time, genre, and country of origin, and helps me keep track of what I’m watching! This is a series of posts about my Top 10.

Insightful writers have been commenting on this film for nearly a century. I don’t expect to add anything very meaningful to that discourse, but I would like to use this film as a launching point for discussing the best game I played this year, one that I started the day after watching this masterpiece - Immortality. Perhaps it’s the adjacency with which I engaged in these two pieces, but they seemed to be intentionally, brilliantly in dialogue with one another. Immortality is a game about legacy, sacrifice, and the dangers of making art. The Passion of Joan of Arc is a living example of those lessons. 

First, the film - Passion is a psychological study of the last days of Joan of Arc’s life. It takes its sparse dialogue from the real transcripts of the martyr’s trial. The dominant image is extreme close ups on Joan, played by Renée Jeanne Falconetti, as she stares and responds to the priests who are persecuting her. Cutaways to them is almost always from Joan’s point of view - the camera is her gaze, transforming this from a history film into a character study. Joan’s despair, her strength, her disbelief in the injustice she’s facing, the cycles of emotion as she approaches her end - they emanate from Falconetti with the force of gales. This is one of cinema’s great performances. 

The palpable discomfort, the central element of its atmosphere, is reinforced through every other production aspect. The sets are claustrophobic, the priests act grotesque, every element seems to linger in suffering. There are popular rumors that Dreyer was a tyrant on set and evokes Falconetti’s performance with heavy handed cruelty, but most sources I’ve found seem to show that she and other crew members denied such behavior ever happened. What is sure is that Falconetti struggled with internal suffering for most of her life. After filming was done, she did not act on film again. She died in tragic circumstances. Falconetti’s masterful performance is born out of some connection with the immense suffering Joan, the historical figure and this telling’s character, experienced throughout her own tumultuous life. Everything about this film, from its literal contents to the context of its production, provokes the viewer into a meditation on suffering. It provokes thorny questions, and after a century of doing so, it’s safe to say it will continue to prod audiences for as long as we’re around. This movie has a kind of eternal power, a lasting quality that keeps it relevant. 

It has a kind of immortality. 

Immortality is a game by Sam Barlow, creator of Her Story, that has the player explore a fictional archive of films. All three were never released, sharing a lead actress named Marissa Marcel (player by Manon Gage). By clicking through objects and people in the clips, you can match-cut to a similar image in another clip, and go through the game spinning through footage, trying to learn the plot of the films, as well as the behind-the-scenes footage that shows Marissa’s life. (Spoilers ahead.) Eventually, the player will discover that by reeling the footage backwards, and feeling out a certain sweet-spot through controller vibrations and a sound effect, you can access secret footage. Marissa is possessed by a supernatural figure called The One, played by Charlotta Mohlin, a sort of demonic spirit that feeds off and influences humanity. They - and I���ll refer to them as a them, as they seem to the sort of species that transcends a gender binary - address you directly, telling the story of how they first became Marissa, their life, and what they were trying to achieve in becoming mortal. You learn about their tragic end at the hands of The Other One, another spirit that is inextricably paired to them. 

This many layered narrative revolves around themes of suffering, manipulation, and sacrifice in the pursuit of fulfillment. The content of the three fictional films have plots with similar themes. Behind the scenes, Marissa retires from acting after accidentally killing her co-star in her second film - an act orchestrated by the possessing One to murder The Other One who is in the co-stars body. Maris emerges from retirement decades later, only to be murdered in turn by The Other One who has possessed yet another actor. It is the fulfillment of their eons-long struggle for control and independence. You learn their story through black-and-white shots, mostly closeups of The One’s face. They address the viewer directly, occasionally cutting away to them literally possessing the actors in a scene, inserting themself in the action. A strong sense of fear, of discomfort, emerges as you search for The One’s footage, as they break the cinematic language of the rest of the game. They pop up like a jump scare - the intensity of their gaze, the cruelty and desperation, is on full display. Every element, from the music, to the controls, to the performances throughout the films, provokes thorny questions about the act on creation. 

And The One meets their end by being burnt alive. 

It surprises me, given these parallels, not to see this particular version of the Joan of Arc story on Half Mermaid’s own Letterboxd list of films that inspired the game. The 1957 version, directed by Otto Preminger, is listed instead. Though I strongly suspect this inspired certain moments in the game, what matters is that the elements that make Passion so powerful are the same that make Immortality one of the best games I’ve ever played. Barlow understands the power of faces. His other game, Her Story, is entirely comprised of close-ups of a single actress, as you see her character’s responses to questions asked off-screen. In Immortality, the One’s appearances are shot with even more focus on Charlotta Mohlin’s powerful gaze. She has an otherworldly air, and the stark black-and-white photography stands in sharp contrast to the rest of the colorful footage. In Passion, Joan tends to be shot with a softer lighting scheme compared to establishing shots of her prison and the priests she’s interacting with. They are sharp, harsh, and alienating. 

The contrast between these shots, in both works, creates a sense of reality for their central figure. The One feels like a real entity that has possessed your screen, a creepypasta legend come to life. She can be shot in full definition, compared to the grainer footage of the three films that emulate moviemaking of their decade. She can enter the frame in ways no one else depicted can. Joan’s presence is likewise ethereal, and the realness of her portrayal of pain makes her come to life like no other figure in cinema. She really seems to leap through the screen, boring into your soul. 

Passion’s exploration of suffering ultimately leads to - unsurprisingly - a rather Christian message of martyrdom. Through Joan’s sacrifice the peasantry revolt, inspired and moved by the suffering she volunteers for. She is depicted as a Christ figure. The One, by contrast, claims to be responsible for that particular myth. Their demise, their suffering, appears to be more self-serving. The One wishes to be immortalized, to be loved forever, to always exist through being viewed, being understood. That’s what you give them by playing the game. Their death serves their mission, much like Joan’s sacrifice makes her a martyr and completes her cause. 

The greatest works of art embody their subject matter on every level. The controls reinforce the story; the images reflect the theme. This is the quality I’ve grown to appreciate the most as I contemplate the works of art that have moved me this year. Right now we seem to be subsumed in media that feels disposable, stuff that is meant to occupy our time without offending our sensibilities too much. Everything is algorithmically calculated to provide just enough. If it wants discussion, it’s only provoking discourse for advertising purposes. Engaging with works of art that really seem to be hammering at some essential, something shared between people, is what’s keeping me going. I think works like these can inspire people to demand more of their media, to be open to receiving challenging ideas. To be satisfied with a series of question, rather than a prescribed list of answers. I came away from both these works filled with wonder and curiosity. The Passion of Joan of Arc has been inspiring interest for a century and forever. I can’t say for sure if Immortality has that potential… but I do wonder. 

~~~~~~~~~~~~~~~~~~~

Thank you for reading! If you made it this far why don't you give me a follow on Letterboxd, where I post reviews and keep obsessive track of all the movies I watch. Feel free to drop a line if you checked this movie out and want to share your thoughts!

[kanansdume]

I appreciate your discussion of how you're viewing fandom as an older fan, but as a younger fan who watched the Prequels as a kid and had to experience Star Wars THAT WAY, I can tell you that my experience has been RADICALLY different from yours. And while your experience has given you a very positive outlook on all Star Wars media and the fandom, mine has not. I like Star Wars for a very specific thing and I tend not to get it very often. This isn't to say your experience isn't valid, but please don't discount the experiences of someone who hasn't shared your own. It took me over a DECADE to find other people who liked the Prequels. It took me maybe five minutes to find people who hated them.

But you're kind-of missing the ENTIRE POINT of this post. I didn't make the comparison between Kenobi and Ahsoka to say "these fans are stupid and just don't get it" or whatever, I'm making the comparison because this whole post began with me pointing out the lack of an Order 66 flashback or even any DISCUSSION of Order 66 in a show where the titular character is a literal Order 66 survivor. I'm making the comparison to the Kenobi show because I feel like it's relevant to the conversation about why the Ahsoka show managed to be the first mainstream piece of Star Wars media in recent history ignored Order 66. I feel like it's relevant to the conversation to look at the audiences these shows were aimed at and the agendas of the people who were making the shows.

You're not wrong in that the actual amount of things you need to have seen in order to understand both shows means that anyone who's only seen the Original Trilogy and NOTHING ELSE could likely see the Kenobi show and follow it, while the same is dramatically untrue about the Ahsoka show. But that just isn't really the point I'm making in my post above. I'm not actually trying to argue that the Ahsoka show isn't using stuff introduced in The Clone Wars which is a Prequels-era show, or that the Kenobi show can only be understood if you watched the Prequels. That's sort-of beside the point here. I'm not just looking at the question of "what do you need to have seen in order to understand every detail of the plot" but "what themes and messages is this show trying to send to its audience and where do those themes and messages come from."

Because while you CAN watch the Kenobi show without having seen the Prequels and still generally figure out what's going on plot-wise, you miss quite a bit of the emotional throughline of the show without it. There's a reason they chose Ewan McGregor to portray Obi-Wan on this show rather than recasting with a new actor. It's SUPPOSED to be an homage to the Prequels, that's clearly a massive factor in the making of this show. If you haven't seen the Prequels then you don't have three films' worth of time spent with McGregor's version of this character in order to really feel the degradation of his spirit at the beginning and the journey back to a character we're familiar with, the strength and vitality and humor he's known for specifically FROM THE PREQUELS. And that bond between Ewan McGregor and Hayden Christensen is massively important, too, something you won't have any connection to without the Prequels.

And the Kenobi show's whole thesis is that it's a bad thing to cling to things you have no control over and that often you need to let go of things that hurt you or they'll never STOP hurting. You see this in Obi-Wan, but also in Leia and Reva. The Kenobi show takes a lot of those themes of non-attachment that were in the Prequel trilogy and just kept them going. These themes were in the Original trilogy as well, but they were focused on a lot more in the Prequels, they were discussed more openly and explicitly by the characters in ways they weren't in the Originals. And that discussion of those themes, a discussion that's done primarily via the Jedi characters in the Prequels which is why they're so widely hated/criticized in fandom, is what's continued in the Kenobi show. The non-attachment, the selfishness vs selflessness, letting go of everything you fear to lose, the tragedy of the Jedi's loss, Anakin's corruption and the FEAR that led him there, Anakin's corruption being a CHOICE he made. ALL OF THAT is stuff taken pretty directly from the Prequel trilogy.

So COULD you have made a show about Obi-Wan's time on Tatooine pre-ANH that dealt with his feelings on Anakin's betrayal? Yes. Would it have been THIS show? No. Not at all. This show is absolutely a product of people who loved the Prequels and wanted to make a show that honored a thing that they loved. There's plenty of little references to the Originals, obviously, like Leia's costumes, but there's so many things that are there specifically because they were part of the Prequels. Obviously, there's the actors like McGregor, Christensen, Jimmy Smits, Joey Edgerton, and Bonnie Piesse, all of whom were brought back from the Prequels. There's also things like the flashbacks in Obi-Wan's nightmare that are literally just clips FROM THE PREQUELS, or the lightsaber combat that's specifically using the style used IN THE PREQUELS including the little spinny trick Christensen popularized for Anakin during training FOR THE PREQUELS that you see both him and McGregor use during this show. There's all of the discussion of Padme, in ways that specifically reference the character we know FROM THE PREQUELS even if she's never actually mentioned by name.

And THAT'S what I was saying about the Kenobi show. Not that it was made so that only people who had seen the Prequels could UNDERSTAND it, but that it was made with the idea of honoring the Prequels and with the Prequels fans IN MIND as their primary audience for this film. Because Ewan McGregor IS ALSO A PREQUELS FAN and was clearly putting a lot of his own feelings about the Prequels and the character of Obi-Wan as he portrayed him during the Prequels into this show. It's a show that's very ACCESSIBLE to a lot of fans, yes, but I do think this is a show that is SUPREMELY aimed at Prequels fans in a way very little else ever has been since the Prequel trilogy came out and received its incredibly negative critique. And, not shockingly, the Kenobi show was ALSO heavily critiqued as being disappointing, not feeling like Star Wars, badly acted, and just plain "not good." People DID like it, obviously, and with social media being a thing these days, it's a lot easier to find more people who liked it than would've been possible during the early 2000s, but it was also heavily criticized. Much like the Prequel trilogy that inspired it.

Now let's look at the Ahsoka show. Which, yes, is WILDLY inaccessible despite all of the claims Felony made to the contrary. In order to understand basically everything that's in it, you need to have consumed: Every single Skywalker saga film (episodes 1-9), all seven seasons of The Clone Wars, all four seasons of Rebels, all three seasons of The Mandalorian, the first season of The Book of Boba Fett, the original Thrawn trilogy, and enough of Star Wars: Resistance to know who Xiono is I guess. You can even toss in the Ahsoka novel in terms of understanding how Ahsoka got white lightsabers and the meaning of her stupid Mortis bird or whatever, too. That's an INSANE amount of homework to have to do for this show. It's RADICALLY inaccessible for a casual fan because there's a LOT that gets sort-of glossed over which removes what little emotion might be attached to these characters and their relationships in this show.

But, speaking as someone who HAS seen all of The Clone Wars and Rebels and read the first trilogy of Thrawn novels, I don't feel like this show was for me. I don't really feel like this show GAVE me anything about Ahsoka that felt like it spoke to me as a fan of Ahsoka in The Clone Wars or really followed up on any of the themes she had within that show OR in Rebels and she barely even feels like the same character. As a Rebels fan, I was offended at what was done to Hera and Sabine who got basically butchered and Frankenstein'd back together into these monstrosities that don't even resemble the characters from Rebels I fell in love with, much less follow-up on any of THEIR themes and arcs they'd had before. So I don't personally think you can say this show was really aimed at Rebels fans much, even though it used characters FROM Rebels. And it's BARELY aimed at fans of The Clone Wars given how it's trying to retcon the relationship between Anakin and Ahsoka into some sort of perfect beautiful thing and just erase Ahsoka's many relationships with the OTHER Jedi in that show as if they ever existed.

This show chose to BREAK the worldbuilding about how the Force works, primarily the stuff that was set up IN THE PREQUELS about things like midichlorians and how NOT EVERYBODY COULD FUCKING WIELD THE FORCE, or the tragedy of the Jedi's destruction, or Anakin's fate being HIS CHOICE. Instead, the Jedi are now failures, Anakin was just doing everything for "love," and anybody can use the Force if they are feeling enough emotions. Fuck that stuff about non-attachments, everybody should be engaging in selfish toxic greedy relationships now because if you don't, you're an unfeeling asshole or a villain. So it's absolutely not a show aimed at Prequels fans given the way it treats the worldbuilding and themes from the Prequels as garbage to be discarded.

But Legends? Hoo boy were Legends fans getting FED in this show. Yes, this show didn't really include any Legends characters aside from Thrawn, but it DID bring in a lot of the ideas from Legends that people like Felony seem to have very much preferred over the Prequels, like Jedi being in relationships as a GOOD THING (and the post-Prequels variety that condemns the Jedi for not having them), or like the Force being able to be used by literally anybody (and the post-Prequels variation that includes "Fuck The Midichlorians And Those Elitist Jedi"). THIS is the Star Wars worldbuilding Legends fans grew up with, THIS is the Star Wars that Legends fans vastly preferred over the Prequels, THIS is the Star Wars that Legends fans feel like George Lucas disrespected and "retconned" with the Prequels. THIS is the Star Wars they've been wanting to see on the big screen for DECADES. That's why they feel like this is the first time Star Wars has gone back to being "Star Wars" since ROTJ, maybe since ANH. This is THEIR Star Wars, even if it includes different characters now.

You're not wrong, though, that the fact that this show is WILDLY inaccessible means that the audience it's aimed at is really incredibly muddied. They clearly did WANT Rebels fans to watch it, but it doesn't feel like it was written FOR Rebels fans. They want Legends fans to watch it and it has a lot of the WORLD Legends fans love, but none of the CHARACTERS they'd most want to see probably. They want Mandoverse fans to watch, but very little of it is really RELATED to The Mandalorian. It's setting stuff up for the Sequel trilogy that was controversial at best and hasn't been getting a lot of new media since it ended anyway. And they also clearly wanted Ahsoka fans and TCW fans to watch it, and the show is probably most clearly aimed at this audience, but I've seen enough posts saying that this show should've been called "Rebels season 5" to know that not everybody in that demographic feels like this show was for them, either. It's a failure on pretty much every front in terms of the audience it's aimed at because nobody seems to actually know which story it's trying to tell anymore and who this show was even meant to be for. It's taking from so many very specific pieces of media, but it's cobbling them together so badly that nobody seems to agree whether it's a Rebels show, an Ahsoka show, a Legends/Thrawn show, a Mandoverse show, or something else entirely.

But the fact that it's SO BAD at this means that, in some ways, it might be easier to watch as someone who doesn't know ANY OF IT. It would mean that you can't be annoyed that Ahsoka, Hera, and Sabine are all out of character, you don't have to worry about whether this fits into the continuity of Rebels or the Mandoverse or the Sequels, and you don't have to wonder why Ahsoka isn't talking about any of the other Jedi she was friends with during TCW that Anakin helped murder. You might not get why Ahsoka or Sabine even CARE about Ezra, you might not really know what the fuck is going on with Hera and the New Republic, but you get some nice visuals with Christensen flickering into the Vader suit and the purrgils being fun to look at, and the video game fight sequence getting through the Nightsister base at the end. And if you're a Legends fan who hasn't really wanted to watch a bunch of animated kids' shows and didn't really care for what the Prequels was selling, this show might've worked in an odd way. They wouldn't have picked up on all the nitty gritty details that Felony conveniently failed to explain, but they maybe didn't really NEED to. The show lacked emotion anyway, so not being able to understand the relationships might've made them easier to stomach if all you're watching it for is the visuals and the one-liners. They got a show that was built with THEIR Star Wars in mind and a high live-action budget.

And that's why I think this show was for Legends fans, NOT Prequels fans. Felony would've grown up on the Legends content. He definitely tried to get Legends stuff put into TCW and had Lucas sort-of overwrite it more than once (think about Grievous's backstory as an example, or the Mandalorians). But Lucas is gone now and he can re-canonize shit as he wants. He can make the Legends Star Wars story he's probably always dreamed about. He's not TRYING to make a Prequels-style Star Wars story, he just isn't. He's USING a lot of Star Wars content he's been involved in, yes, but that doesn't make it a Prequels Star Wars story. It's LEGENDS Star Wars, adjusted for the current Star Wars canon. That's it.

So I maintain that the Kenobi show was made for Prequels fans, while the Ahsoka show was made for Legends fans who hated the Prequels, and that's why they feel different. The messages they were sending were based on the material they were trying to honor and while the Kenobi show required that you feel the impact of Order 66 and Anakin's part in it, the Ahsoka show required that you forget it even happened. It's a little hard to argue Anakin was totally right about everything and the Jedi were just pure failures when you've recently had to watch Anakin murder a bunch of Jedi babies.

Look I'm not necessarily saying there's a super deep meaning to this, but the Ahsoka show is one of the first ones at this point NOT to have an Order 66 flashback in it somewhere. The Kenobi show obviously had several, TBB started the entire thing on Order 66, Grogu's flashbacks first happened in TBOBF and then made their way into The Mandalorian later as well, and even Jedi: Fallen Order had an entire Order 66 sequence.

I know Ahsoka obviously had her own Order 66 two parter back in TCW season 7, but the fact that this was a show centered on a Jedi who survived Order 66 and is one of the first to actually NEVER touch on Order 66 feels notable.

Ahsoka is dealing with her feelings about Anakin and that betrayal and they showed us the SIEGE OF MANDALORE, but not Order 66 and her struggle to survive on the ship and the realization that the clones were mind controlled and the devastation of having to bury everyone they could find? How is that NOT relevant to the discussion at hand and the things she is feeling? What was the point of showing the Siege of Mandalore when Anakin isn't even AT that battle and has nothing to do with it and the only relevance it had was "You're a soldier now" which would be just as true in some of her battles on the venator during Order 66, except that the reason she's fighting for her life is because Anakin made a choice that explicitly put her in danger.

Like I said, I don't know that it got left out FOR A REASON in one of the shows it would've been most relevant to show it in, but it does feel like it leaves a very noticeable absence.

[accio-victuuri]

Xiao Zhan’s Watch List 📺🎞

Movie and Dramas he mentioned and recommended throughout the years. Maybe there is something in here you can try to add on your list ✔️

MOVIES :

1. Spiderman - This should be pretty obvious cause he loves the character. 🕸 honorable mention is Spiderman : Into the Spiderverse / the 2002 version.

2. Gonjiam Haunted Asylum - A film that he watched with the Untamed cast. There is nothing better than a horror film to bond people together right?

The crew of a horror web series travels to an abandoned asylum for a live broadcast. It soon encounters much more than expected as it moves deeper inside the nightmarish old building.

* Suspiria (1977 )

Suzy (Jessica Harper) travels to Germany to attend ballet school. When she arrives, late on a stormy night, no one lets her in, and she sees Pat (Eva Axén), another student, fleeing from the school. When Pat reaches her apartment, she is murdered. The next day, Suzy is admitted to her new school, but has a difficult time settling in. She hears noises, and often feels ill. As more people die, Suzy uncovers the terrifying secret history of the place.

4. Soul ( Pixar Film ) - One that he shared in his Oasis post.

Joe is a middle-school band teacher whose life hasn't quite gone the way he expected. His true passion is jazz -- and he's good. But when he travels to another realm to help someone find their passion, he soon discovers what it means to have soul.

sidenote : we all watched this when he posted! 🤣

5. One Piece Movie : Stampede - Another obvious one cause he promoted this film. 🤍

a 2019 Japanese animated fantasy action adventure film directed by Takashi Otsuka and produced by Toei Animation. It is the fourteenth feature film of the One Piece film series, based on the manga of the same name written and illustrated by Eiichiro Oda, and commemorates the anime's 20th anniversary.

The world's greatest exposition of the pirates, by the pirates, for the pirates—the Pirates Festival. Luffy and the rest of the Straw Hat Crew receive an invitation from its host Buena Festa who is known as the Master of Festivities. They arrive to find a venue packed with glamorous pavilions and many pirates including the ones from the Worst Generation. The place is electric.

6. Flipped

When they meet in second grade, Juli Baker falls instantly in love with her neighbor, Bryce Loski. Bryce, however, does not feel the spark. From that day forward, he (Callan McAuliffe) tries hard to keep brash and unpredictable Juli (Madeline Carroll) at bay. After six years, she begins to feel that she was wrong about him being the love of her life. Unfortunately, that is just about the time that Bryce begins to think he was wrong about Juli, too.

7. Parasite

Greed and class discrimination threaten the newly formed symbiotic relationship between the wealthy Park family and the destitute Kim clan.

8. The House that Jack Built

In five episodes, failed architect and vicious sociopath Jack recounts his elaborately orchestrated murders -- each, as he views them, a towering work of art that defines his life's work as a serial killer in the Pacific Northwest.

9. Hereditary

When the matriarch of the Graham family passes away, her daughter and grandchildren begin to unravel cryptic and increasingly terrifying secrets about their ancestry, trying to outrun the sinister fate they have inherited.

10. Joker

Forever alone in a crowd, failed comedian Arthur Fleck seeks connection as he walks the streets of Gotham City. Arthur wears two masks -- the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he's part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.

11. Marriage Story

A stage director and his actor wife struggle through a gruelling, coast-to-coast divorce that pushes them to their personal and creative extremes.

12. La La Land

Sebastian (Ryan Gosling) and Mia (Emma Stone) are drawn together by their common desire to do what they love. But as success mounts they are faced with decisions that begin to fray the fragile fabric of their love affair, and the dreams they worked so hard to maintain in each other threaten to rip them apart.

13. Hachiko : A Dog’s Tale

Young Ronnie reveals to his classmates that his personal hero is a dog named Hachi. Ribbed by his fellow pupils, Ronnie goes on to tell the remarkable story of his grandfather's friendship with the dog.

14. No Country for Old Men

While out hunting, Llewelyn Moss (Josh Brolin) finds the grisly aftermath of a drug deal. Though he knows better, he cannot resist the cash left behind and takes it with him. The hunter becomes the hunted when a merciless killer named Chigurh (Javier Bardem) picks up his trail. Also looking for Moss is Sheriff Bell (Tommy Lee Jones), an aging lawman who reflects on a changing world and a dark secret of his own, as he tries to find and protect Moss.

15. Lake House

Fantasy romance about a relationship that forms between an architect and the doctor who lived in his new lakeside house two years previously. Only able to communicate by passing letters into the house's mailbox, the pair begin to fall for each other, but will they ever be together?

16. My Blueberry Nights

After her boyfriend of five years breaks up with her, Elizabeth (Norah Jones) consoles herself by consuming creamy confections at a sympathetic cafe owner's (Jude Law) eatery. She sets out on a road trip, supporting herself as a waitress along the way. Elizabeth meets a host of interesting characters on her journey, including an alcoholic policeman (David Strathairn), his unfaithful wife (Rachel Weisz), and a gambler (Natalie Portman).

17. SAW ( series ) - I think this franchise doesn’t need an introduction, It’s a classic!

Sidenote: my personal favorite is 3 and 5.

18. The Notebook

In 1940s South Carolina, mill worker Noah Calhoun (Ryan Gosling) and rich girl Allie (Rachel McAdams) are desperately in love. But her parents don't approve. When Noah goes off to serve in World War II, it seems to mark the end of their love affair. In the interim, Allie becomes involved with another man (James Marsden). But when Noah returns to their small town years later, on the cusp of Allie's marriage, it soon becomes clear that their romance is anything but over.

19. Spring Tide

When a journalist in China must face her own internal family conflicts, she starts to realize how her life hasn't turned out as she had hoped.

20. Sheep without a Shepard

Desperate measures are taken by a man who tries to save his family from the dark side of the law, after they commit an unexpected crime.

21. Last Letter

A Shanghai librarian gets caught up in a case of mistaken identity when she pretends to be her deceased sister at a school reunion.

22. My Best friend’s wedding ( 2016 )

Lin Ran and Gu Jia grow up as best friends. But when Lin Ran announces that he is getting engaged, Gu Jia realises that she is in love with him, and vows to win his affection for herself.

23. Tempting Heart ( 1999 )

A director commits a fictionalised account of an intermittent but long-term love affair to film.

24. A wicked ghost ( 1999 )

A young man and a drama teacher must find the source of a hateful ghost's rage before it's too late.

25. The Last Emperor ( 1987 )

This sweeping account of the life of Pu Yi (John Lone), the last emperor of China, follows the leader's tumultuous reign. After being captured by the Red Army as a war criminal in 1950, Pu Yi recalls his childhood from prison. He remembers his lavish youth in the Forbidden City, where he was afforded every luxury but unfortunately sheltered from the outside world and complex political situation surrounding him. As revolution sweeps through China, the world Pu Yi knew is dramatically upended.

26. A Pigeon sat on a Branch reflecting on Existence

Novelty salesmen living in a desolate flophouse observe as their fellow humans drift through their lives of desperation and loneliness. They make unsuccessful attempts to sell their joke items.

27. A Man called Ove ( 2015 )

Ove (Rolf Lassgård) is the quintessential angry old man next door. An isolated retiree with strict principles and a short fuse, who spends his days enforcing block association rules that only he cares about, and visiting his wife's grave, Ove has given up on life. After a boisterous young family moves in next door and accidentally flattens Ove's mailbox, an unlikely friendship forms.

28. The Human Centipede 2 - lol this one he didn’t finish 🤣

A depraved mama's boy (Laurence R. Harvey) goes on a killing and collecting spree to recreate the experiment portrayed in "The Human Centipede (First Sequence)

29. Balloon - A movie that he made a VCR for last 2020 to invite people to watch.

Darje has a family of six: Darje, his father, his wife, and his three sons. They live an ordinary life. One day, Darje's father unexpectedly passes away while he is out herding sheep. His death disturbs the harmony of the family, causing them to face a series of unavoidable problems.

30. Free Guy - recently, people have talked about how GG allegedly went out to watch this. I’m adding it here cause it’s a fun movie! Just look at the trailer 😊

31. Wall E

WALL-E, short for Waste Allocation Load Lifter Earth-class, is the last robot left on Earth. He spends his days tidying up the planet, one piece of garbage at a time. But during 700 years, WALL-E has developed a personality, and he's more than a little lonely. Then he spots EVE (Elissa Knight), a sleek and shapely probe sent back to Earth on a scanning mission. Smitten WALL-E embarks on his greatest adventure yet when he follows EVE across the galaxy.

32. Spirited Away

In this animated feature by noted Japanese director Hayao Miyazaki, 10-year-old Chihiro (Rumi Hiiragi) and her parents (Takashi Naitô, Yasuko Sawaguchi) stumble upon a seemingly abandoned amusement park. After her mother and father are turned into giant pigs, Chihiro meets the mysterious Haku (Miyu Irino), who explains that the park is a resort for supernatural beings who need a break from their time spent in the earthly realm, and that she must work there to free herself and her parents.

33. Hotel Transylvania

When monsters want to get away from it all, they go to Count Dracula's (Adam Sandler) Hotel Transylvania, a lavish resort where they can be themselves without humans around to bother them. On one special weekend, Dracula invites creatures like the Invisible Man, the Mummy and others to celebrate the 118th birthday of his daughter, Mavis (Selena Gomez). However, an unforeseen complication unfolds when an ordinary human unwittingly crashes the party and falls in love with Mavis.

34. Toy Story

Woody (Tom Hanks), a good-hearted cowboy doll who belongs to a young boy named Andy (John Morris), sees his position as Andy's favorite toy jeopardized when his parents buy him a Buzz Lightyear (Tim Allen) action figure. Even worse, the arrogant Buzz thinks he's a real spaceman on a mission to return to his home planet. When Andy's family moves to a new house, Woody and Buzz must escape the clutches of maladjusted neighbor Sid Phillips (Erik von Detten) and reunite with their boy.

35. From Vegas To Macau 3 - he shared this back in 2016!

Ken's daughter and his protege Vincent are getting married, and the enormous wedding is being held at a resort in Macau. Things get complicated when Ken gets word that someone plans to kill him during the ceremony.

36. Life is Beautiful - this is the one I used on my polaroid photo for this whole compilation. It’s the one featured in his episode of Marvelous City that they were watching.

A gentle Jewish-Italian waiter, Guido Orefice (Roberto Benigni), meets Dora (Nicoletta Braschi), a pretty schoolteacher, and wins her over with his charm and humor. Eventually they marry and have a son, Giosue (Giorgio Cantarini). Their happiness is abruptly halted, however, when Guido and Giosue are separated from Dora and taken to a concentration camp. Determined to shelter his son from the horrors of his surroundings, Guido convinces Giosue that their time in the camp is merely a game.

TV shows / Anime / Cartoons

1. American Horror Story

is an American anthology horror television series created by Ryan Murphy and Brad Falchuk for the cable network FX. The first installment in the American Story media franchise, each season is conceived as a self-contained miniseries, following a different set of characters and settings, and a storyline with its own "beginning, middle, and end." Some plot elements of each season are loosely inspired by true events.

2. The Strain 2014

Dr. Ephraim Goodweather, the head of the CDC's New York-based Canary Project, is called upon to investigate when an airplane lands with everybody on board dead. What his team discovers is a viral outbreak that has similarities to an ancient strain of vampirism. As the virus begins to spread, Goodweather works with his team and a group of the city's residents to wage a war that could hold humanity's fate in its hand. The show's executive producers include Oscar-nominated writer Guillermo del Toro and Emmy-winning producer Carlton Cuse.

3. Counterpart 2017

What might be different if a person could co-exist in an alternate world? Howard Silk, a low-level agent whose career is winding down at a Berlin-based United Nations spy agency, unwittingly learns the answer. Upon discovering his organization is harboring a secret, that of a gateway to a parallel dimension, Howard becomes immersed in a mysterious world of espionage, intrigue, and government conspiracies. There, the only man Howard can trust is Prime, his almost identical counterpart from a divergent reality.

4. The Light In Your Eyes ( Korean Drama )

A tragic accident causes a woman to lose all her time before she can use it up; a man gives up all of his radiant moments and lives a lethargic life.

5. My Lovely Sam Soon

The misadventures and romantic entanglements of Kim Sam-Soon, a passionate, stubborn, klutzy and almost thirty year old pastry chef.

6. See and See again - A Korean Drama broadcast from 1998-1999

A story of three couples and their innocent love.

7. A Little Reunion

a 2019 Chinese television series which focuses on the topic of the National College Entrance Examination, also known as the gaokao.

8. Ruyi’s Royal Love in the Palace

The story of an Empress of the Qing dynasty of China and the obstacles she must overcome. When Ruyi becomes an Empress, her relationship with her family and husband is put to the test.

9. The Making of an Ordinary Woman 2

Chia Ling is ready for life after 40! A stable relationship, a career change, love and support from her family and finally getting her own house, what’s not to like about 40? Just when she ventures into this new stage of womanhood, she was told by her doctor that she is showing signs of early menopause. As the clock is ticking, she feels more pressured to figure out what she wants for her life. Yet, she is not the only one! Her father’s health is slowly deteriorating. Realizing time is not on his side, her father reconnects with his first love again, leaving Chia Ling’s mother upset and furious. As Chia Ling juggles between work and relationship, she must also deal with her peculiar family as her unfaithful father, self-pitying mother, confused brother, and even her hapless cousin in Taipei, are all fighting for her attention. Yet, none of these come close to the abrupt surprise waiting around the corner: an innocent, unblemished life that will change Chia Ling’s life on a catastrophic level.

10. Workers ( Taiwanese Drama )

When a building is completed, the focus of attention is often on the investors, designers' ideas, unique shapes, and cost of speech. Who cares about the "dangerous construction, idlers do not enter" iron fence surrounding the building. Where is the construction worker? Everyone has an endless story about the cement workers, welding masters, foreign workers, women workers, and construction workers on these sites.

I think these next ones don’t need any explanation cause it’s his obvious favorites ✌🏼

Spongebob / One Piece / Tom and Jerry

That’s all for now! I hope Xiao laoshi shares more of the stuff he enjoys to watch with us. He really loves to watch movies and I’m pretty sure we haven’t even scratched the surface of his complete MOVIE LIST.

** Updated 1/18/2022.

[lokiondisneyplus]

'Loki' takes over: Tom Hiddleston on his new TV series and a decade in the MCU

Ten years after Hiddleston first chose chaos in Thor, Marvel’s fan favorite God of Mischief is going even bigger with his time-bending Disney+ show.

Tom Hiddleston is Loki, and he is burdened with glorious purpose: After playing Thor's puckish brother for over a decade in the Marvel Cinematic Universe, no one understands the mercurial Asgardian God of Mischief as well as the actor. He can teach an entire seminar on Loki if given the opportunity — which he actually did during pre-production on his forthcoming Disney+ show. In conversation, Hiddleston quotes lines from his MCU debut, 2011's Thor, almost verbatim, and will playfully correct you if you mistakenly refer to Asgard's Rainbow Bridge as the Bifrost, which is the portal that connects Loki and Thor's homeworld to the Nine Realms, including Midgard, a.k.a. Earth. "Well, the Bifrost technically is the energy that runs through the bridge," he says with a smile. "But nine points to Gryffindor!" And when he shows up to the photo shoot for this very digital cover, he hops on a call with our photo editor to pitch ways the concept could be even more Loki, like incorporating the flourish the trickster does whenever magically conjuring something. The lasting impression is that playing Loki isn't just a paycheck.

"Rather than ownership, it's a sense of responsibility I feel to give my best every time and do the best I can because I feel so grateful to be a part of what Marvel Studios has created," the 40-year-old Brit tells EW over Zoom a few days after the shoot and a week out from Thor's 10th anniversary. "I just want to make sure I've honored that responsibility with the best that I can give and the most care and thought and energy."

After appearing in three Thor movies and three Avengers, Hiddleston is bringing that passion to his first solo Marvel project, Loki, the House of Ideas' third Disney+ series following the sitcom pastiche WandaVision and the topical The Falcon and the Winter Soldier. Led by head writer Michael Waldron (Doctor Strange in the Multiverse of Madness, Heels), the six-episode drama sees Hiddleston's shapeshifting agent of chaos step out from behind his brother's shadow and into the spotlight for a timey-wimey, sci-fi adventure that aims to get to the bottom of who Loki really is. "I wanted to explore slightly more complex character questions," says Waldron. "It's not just good versus bad. Is anybody all good? Is anybody all bad? What makes a hero, a hero? A villain, a villain?"  

Even though Loki — who loves sowing mayhem with his illusion magic and shapeshifting, all with a major chip on his shoulder — has never been one for introspection, the idea of building an entire show around him was a no-brainer for Marvel. When asked why Loki was one of the studio's first Disney+ shows, Marvel president Kevin Feige replies matter-of-factly, "More Hiddleston, more Loki." First introduced as Thor's (Chris Hemsworth) envious brother in Kenneth Branagh's Thor, Loki went full Big Bad in 2012's The Avengers. That film cemented the impish rogue as one of the shared universe's fan favorites, thanks to Hiddleston's ability to make him deliciously villainous yet charismatic and, most importantly, empathetic. The character's popularity is one of the reasons he's managed to avoid death many times.

"He's been around for thousands of years. He had all sorts of adventures," says Feige. "Wanting to fill in the blanks and see much more of Loki's story [was] the initial desire [for the series]."

The Loki we meet on the show is not the one who fought the Avengers in 2012 and evolved into an antihero in Thor: The Dark World and Thor: Ragnarok before meeting his demise at the hands of the mad titan Thanos (Josh Brolin) in 2018's Avengers: Infinity War. Instead, we'll be following a Loki from a branched timeline (a variant, if you will) after he stole the Tesseract following his thwarted New York invasion and escaped S.H.I.E.L.D. custody during the time heist featured in Avengers: Endgame. In other words, this Loki hasn't gone through any sort of redemption arc. He's still the charming yet petulant god who firmly believes he's destined to rule and has never gotten his due.

Premiering June 9, Loki begins with the Time Variance Authority — a bureaucratic organization tasked with safeguarding the proper flow of time — arresting the Loki Variant seen in Endgame because they want his help fixing all of the timeline problems he caused while on the run with the Tesseract. So there will be time travel, and a lot more of it than in Endgame. As Loki makes his way through his own procedural, he'll match wits with new characters including Owen Wilson's Agent Mobius, a brilliant TVA analyst, and Gugu Mbatha-Raw's Judge Renslayer. The question in early episodes is whether Loki will help them or take over.

"One of the things Kevin Feige led on was, 'I think we should find a way of exploring the parts of Loki that are independent of his relationship with Thor,' or see him in a duality or in relationship with others, which I thought was very exciting," says Hiddleston, who also serves as an executive producer on the show. "So the Odinson saga, that trilogy of films, still has its integrity, and we don't have to reopen it and retell it."

Yet, in order to understand where Loki is going, it's important to see where he came from.

Hiddleston can't believe how long he and Loki have been connected. "I've been playing this character for 11 years," he says. "Which is the first time I have said that sentence, I realize, and it [blows] my mind. I don't know what percentage that is exactly of my 40 years of being alive, but it's substantial."

His time as Loki actually goes a bit further back, to 2009 — a year after Robert Downey Jr. big banged the MCU into existence with Iron Man — when he auditioned for Thor. It's no secret that Hiddleston initially went in for the role of the titular God of Thunder, but Feige and director Kenneth Branagh thought his natural charm and flexibility as an actor made him better suited for the movie's damaged antagonist. "Tom gave you an impression that he could be ready for anything, performance-wise," says Branagh, who had previously worked with him on a West End revival of Checkov's Ivanov and the BBC series Wallander. "Tom has a wild imagination, so does Loki. He's got a mischievous sense of humor and he was ready to play. It felt like he had a star personality, but he was a team player."

Hiddleston fully immersed himself in the character. Outside of studying Loki's history in the Marvel Comics, he also researched how Loki and the Trickster God archetype appeared across mythology and different cultures. "He understood that he was already in something special [and] it was a special character in a special part of that early moment in the life of the Marvel universe where [he] also needed to step up in other ways," says Branagh, who was impressed by the emotional depth Hiddleston brought to the part, especially when it came to how isolated Loki felt in the Asgardian royal family.  

There was a lot riding on that first Thor feature. For one, no one knew if audiences would immediately latch onto a Shakespearean superhero movie partially set on an alien planet populated by the Norse Gods of legend. Second, it was integral to Feige's plans for the shared universe. Loki was supposed to be the main villain in The Avengers, which would not only mirror how Earth's mightiest heroes joined forces in 1963's Avengers #1 but also give Thor a believable reason for teaming up with Iron Man, Captain America (Chris Evans), and the rest of the capes. Feige first clued Hiddleston into those larger plans when the actor was in L.A. before Thor started shooting.

"I was like, 'Excuse me?' Because he was already three, four steps ahead," says Hiddleston. "That took me a few minutes to process, because I didn't quite realize how it just suddenly had a scope. And being cast as Loki, I realized, was a very significant moment for me in my life, and was going to remain. The creative journey was going to be so exciting."

Hiddleston relished the opportunity to go full villain in Avengers, like in the scene where Loki ordered a crowd to kneel before him outside a German opera house: "It's the unspoken truth of humanity, that you crave subjugation," says the Machiavellian god. "The bright lure of freedom diminishes your life's joy in a mad scramble for power, for identity. You were made to be ruled. In the end, you will always kneel."

"I just knew that in the structure of that film, I had to lean into his role as a pure antagonist," Hiddleston recalls. "What I always found curious and complex about the way Loki is written in Avengers, is that his status as an antagonist comes from the same well of not belonging and being marginalized and isolated in the first Thor film. Loki now knows he has no place in Asgard."

Loki did find a place within the audience's hearts, though. Feige was "all in" on Hiddleston as his Loki from the beginning, but even he couldn't predict how much fans would love him. Feige recalls the reaction at the 2013 San Diego Comic-Con: "Did we know that after he was the villain in two movies, he would be bringing thousands of people to their feet in Hall H, in costume, chanting his name? No, that was above and beyond the plan that we were hoping for and dreaming of." It was a dream Feige first got an inkling of a year earlier during the Avengers press tour when a Russian fan slipped past security, snuck into Mark Ruffalo's car, and asked the Hulk actor to give Hiddleston a piece of fan art she created. "That was one of the early signs there was much more happening with this quote-unquote villain."  

Despite that popularity, the plan was to kill Loki off in 2013's Thor: The Dark World, but the studio reversed course after test audiences refused to believe he actually died fighting the Dark Elves. Alas, he couldn't out-illusion death forever. After returning in Taika Waititi's colorful and idiosyncratic Thor: Ragnarok, Hiddleston's character perished for real in the opening moments of Infinity War. In typical Loki fashion, before Thanos crushed his windpipe, he delivered a defiant speech that indicated he'd finally made peace with the anger he felt toward his family.  

"It felt very, very final, and I thought, 'Okay, that's it. This is Loki's final bow and a conclusive end to the Odinson saga,'" says Hiddleston, who shot that well-earned death scene in 2017.  

But, though he didn't know it yet, the actor's MCU story was far from over.

Credit: Charlie Gray for EW

When Hiddleston returned to film two scenes in Avengers: Endgame in 2017, he had no idea where Loki portaled off to after snatching the Tesseract. "Where'd he go? When does he go? How does he get there? These are all questions I remember asking on the day, and then not being given any answers," Hiddleston recalls. To be fair, it's likely the Powers That Be didn't necessarily have answers then. While Feige can't exactly recall when the writers' room for Endgame first devised Loki's escape sequence, he does know that setting up a future show wasn't the primary goal — because a Loki series wasn't on the horizon just yet.

"[That scene] was really more of a wrinkle so that one of the missions that the Avengers went on in Endgame could get screwed up and not go well, which is what required Cap and Tony to go further back in time to the '70s," says Feige. Soon after that, though, former Disney CEO Bob Iger approached Feige about producing content for the studio's forthcoming streaming service. "I think the notion that we had left this hanging loose end with Loki gave us the in for what a Loki series could be. So by the time [Endgame] came out, we did know where it was going."

As for Hiddleston, he didn't find out about the plans for a Loki show until spring 2018, a few weeks before Infinity War hit theaters. "I probably should not have been surprised, but I was," says the actor. "But only because Infinity War had felt so final."

Nevertheless, Hiddleston was excited about returning for his show. He was eager to explore Loki's powers, especially the shapeshifting, and what it meant that this disruptive figure still managed to find a seat beside the gods in mythology. "I love this idea [of] Loki's chaotic energy somehow being something we need. Even though, for all sorts of reasons, you don't know whether you can trust him. You don't know whether he's going to betray you. You don't why he's doing what he's doing," says Hiddleston. "If he's shapeshifting so often, does he even know who he is? And is he even interested in understanding who he is? Underneath all those masks, underneath the charm and the wit, which is kind of a defense anyway, does Loki have an authentic self? Is he introspective enough or brave enough to find out? I think all of those ideas are all in the series — ideas about identity, ideas about self-knowledge, self-acceptance, and the difficulty of it."

“The series will explore Loki's powers in a way they have not yet been explored, which is very, very exciting.”

The thing that truly sold Hiddleston on the show was Marvel's decision to include the Time Variance Authority, a move he describes as "the best idea that anybody had pertaining to the series." Feige and Loki executive producer Stephen Broussard had hoped to find a place for the TVA — an organization that debuted in 1986's Thor #372 and has appeared in She-Hulk and Fantastic Four stories — in the MCU for years, but the right opportunity never presented itself until Loki came along. "Putting Loki into his own procedural series became the eureka moment for the show," says Feige.  

The TVA's perspective on time and reality also tied into the themes that Waldron, Loki's head writer, was hoping to explore. "Loki is a character that's always reckoning with his own identity, and the TVA, by virtue of what they do, is uniquely suited to hold up a mirror to Loki and make him really confront who he is and who he was supposed to be," says Waldron. Hiddleston adds: "[That] was very exciting because in the other films, there was always something about Loki that was very controlled. He seemed to know exactly what the cards in his hand were and how he was going to play them…. And Loki versus the TVA is Loki out of control immediately, and in an environment in which he's completely behind the pace, out of his comfort zone, destabilized, and acting out."

To truly dig into who Loki is, the creative team had to learn from the man who knows him best: Hiddleston. "I got him to do a thing called Loki School when we first started," says director Kate Herron. "I asked him to basically talk through his 10 years of the MCU — from costumes to stunts, to emotionally how he felt in each movie. It was fantastic."

Hiddleston got something out of the Loki school, too. Owen Wilson both attended the class and interviewed Hiddleston afterward so that he could better understand Loki, as his character Mobius is supposed to be an expert on him. During their conversation, Wilson pointedly asked Hiddleston what he loved about playing the character.

"And I said, 'I think it's because he has so much range,'" says Hiddleston. "I remember saying this to him: 'On the 88 keys on the piano, he can play the twinkly light keys at the top. He can keep it witty and light, and he's the God of Mischief, but he can also go down to the other side and play the heavy keys. And he can play some really profound chords down there, which are about grief and betrayal and loss and heartbreak and jealousy and pride.'" Hiddleston recalls Wilson being moved by the description: "He said, 'I think I might say that in the show.' And it was such a brilliant insight for me into how open Owen is as an artist and a performer.'"

Owen Wilson as Mobius and Tom Hiddleston as Loki in 'Loki.'| Credit: Chuck Zlotnick/Marvel Studios

Everyone involved is particularly excited for audiences to see Hiddleston and Wilson's on-screen chemistry. "Mobius is not unlike Owen Wilson in that he's sort of nonplussed by the MCU," says Feige. "[Loki] is used to getting a reaction out of people, whether it's his brother or his father, or the other Avengers. He likes to be very flamboyant and theatrical. Mobius doesn't give him the reaction he's looking for. That leads to a very unique relationship that Loki's not used to."

As for the rest of the series, we know that Loki will be jumping around time and reality, but the creative team isn't keen on revealing when and where. "Every episode, we tried to take inspiration from different things," says Waldron, citing Blade Runner's noir aesthetic as one example.

"Part of the fun of the multiverse and playing with time is seeing other versions of characters, and other versions of the titular character in particular," says Feige, who also declined to confirm if Loki ties into Doctor Strange in the Multiverse of Madness and/or other upcoming projects.

Making Loki was especially meaningful to Hiddleston because they shot most of it during the pandemic, in late 2020. "It will remain one of the absolute most intense, most rewarding experiences of my life," he says. "It's a series about time, and the value of time, and what time is worth, and I suppose what the experience of being alive is worth. And I don't quite know yet, and maybe I don't have perspective on it, if all the thinking and the reflecting that we did during the lockdown ended up in the series. But in some way, it must have because everything we make is a snapshot of where we were in our lives at that time."

While it remains to be seen what the future holds for Loki beyond this initial season, Hiddleston isn't preparing to put the character to bed yet. "I'm open to everything," he says. "I have said goodbye to the character. I've said hello to the character. I said goodbye to the character [again]. I've learned not to make assumptions, I suppose. I'm just grateful that I'm still here, and there are still new roads to explore."

[izzythehutt]

Also Vader: refers to Padme as *his* wife, not Anakins

I was talking about this on the group chat (which has just devolved to SW chatter at this point). I find the question of the degree to which Vader disassociates with his previous life really interesting.

The stories (comics, novels, animation and even live action) in recent years have really leaned into Vader hardcore detaching from his identity as Anakin Skywalker, thinking of himself as someone completely separate who "killed" Anakin, particularly in the inter-trilogy period. That makes a certain amount of sense, because at that point in the timeline he has no personal connections from that part of his life (except the Emperor lol) and he's basically got to self-justify his choices to keep going, since saving his wife's life was the main reason he became a Sith in the first place, and admitting that Palpatine cat-fished him and he ended up with no wife and sliced into pieces by his best friend trapped in a robot death suit demands a certain degree of cognitive dissonance.

That being said, I sometimes feel like the recent incarnations of Vader somewhat...overdid this?

I never thought of Darth Vader in the OT as someone who is all that in denial of his past identity, tbh. He's perfectly comfortable invoking Obi-Wan on a regular basis, for example. The original post in this meta exchange from several years ago presents a different look at Vader's relationship with Obi-Wan and though "canon" has since rendered parts of it outdated (I'm very much of the belief that anything outside of the films you can pick and choose to buy into and everything in the Disney era is fanfic—accept and discard ancillary materials at will, kids!) I still kind of think this take is maybe a little more poignant than what we've gotten from the franchise "officially" since? Vader, for all his "that name no longer has any meaning for me," is certainly not above claiming Luke Skywalker as his son and telling said son as much. Which I suppose is the turning point for him, but I suppose I never thought it was as clear-cut as some of the ancillary materials present it or that Sith in general have to "discard" their previous identity when they join the cult (see also: Dooku and Palpatine, neither of which do.)

Back when I was still into the shows/comics, I remember feeling like the Vader and Ahsoka confrontation and duel was actually somewhat disappointing because of the degree of disassociation from their shared past. Or at least that there were missed opportunities. Considering the manner in which Ahsoka left the Order, I thought it would have been interesting if Vader had been willing to point out that she should be thanking him for killing all the people who screwed her over, that HE was the only one who defended her when the Jedi Order threw her under the bus. I expected more of a call-back to their shared history and an actual attempt to get her on his side, instead it was this very flat, half-assed "hey can you tell me where Obi-Wan and Yoda are? No? Okay, I kill you like I killed your master because he was weak." I guess maybe they were trying not to step on the toes of ESB and have Vader try to convert a loved one to his messed up way of thinking for a third time?

(I think there was a part of me that just wanted Ahsoka to become Vader's Asajj Ventress.)

I'm torn between thinking that the inconsistencies are a product of the backstory changing over the years (when ANH was made Darth and Anakin absolutely WERE separate people) and the self-contradictions inherent are just an interesting detail of Anakin's character.

My ultimate way of squaring it is that Vader periodically disassociates with his past life as a coping mechanism, but by the time of the OT he is just a bit dead inside but has sort of made "peace" with it. And then Luke turns up and turns his "peace" on its head.

[reidandweep]

Stitching

Spencer Reid x Reader (female)

A/N- Much like Adam Driver, I have been a huge fan of Matthew Gray Gubler and criminal minds for years. With quarantine, I decided to re-watch the show from the beginning and I had some inspiration. My writing tends to take a while but if you have any requests or idea for Spencer Reid, please send them my way.

Word Count- 6286 words

Warning- Angst, mentions of violence and torture, fluff, tears, and the usual criminal minds details.

If you prick us do we not bleed? If you tickle us do we not laugh? If you poison us do we not die? And if you wrong us shall we not revenge? -William Shakespeare.

QUANTICO, VIRGINIA

“Good morning my lover and friends. As of 8:45 am, yesterday morning, four bodies have been found across the Washington State area. Locations confirmed to be Pomeroy, Baker City, Salem, and Mill Creek. All victims were very similar in physical appearance; Caucasian, red hair, brown eyes, approximately 5ft 4’.”

Garcia swiped her tablet to display family photographs of the victims on the screen. The team watched, in the debriefing room, as they scanned through their own tablets; reading through the details. Spencer’s eyes flittered over the images as his fingers scanned across the words in his paper file; still adamant on not working with technology like the rest of his team.

“What about the cause of death? How were they found?”

Garcia shivered at Rossi’s question.

“It’s not a pretty image. Each victim was dismembered at the elbows, knees, neck, and stomach. Further cuts were made vertically down the stomach and across the face, arms, and legs. Not deep enough to cut through bone, but deep enough to bleed out. Where the unsub cut our victims, he then sewed them back together.”

Emily looked up at Garcia.

“Are you saying the lacerations were made before the victim’s died?”

“Precisely. Each autopsy report came back the same with the cause of death pointing to the direction of blood loss; specifically, from the throat.”

The team looked at the new images before them. Multiple pictures appeared on the screen, showing the bodies of the victims. The pictures showing the women laid out in the same pose, thick thread holding together the pieces of their corpses. All had their eyes closed, except one.

“Garcia, the last victim, zoom into her face.”

Garcia did as Spencer asked.

“Her eyes are closed.”

Spencer nodded, glancing towards JJ as she spoke.

“Meaning that he felt remorse for this murder.”

Derek scrolled through the pictures on his tablet.

“The other three victim’s eyes are open, indicating that he wanted them to look. To watch what he was doing, whatever it may have been.”

Spencer looked across the table at the questioning faces.

“So, what changed between the third and the fourth victim?”

Hotch stood from his seat, indicating the others to grab their belonging.

“We can discuss further on jet. Wheels up in thirty.”

WASHINGTON STATE

Being greeted by the local police department in Clagstone, Spencer and the team began their investigation into the murders. Spencer did not know what it was, but the stitching on the bodies felt familiar. Like he had seen them before.

Looking up from his files, Spencer watched as Derek walked into the room, ending a call with who he could only presume to be Garcia.

“Garcia has just completed background checks on our latest victim. Lily Trent visited local film screenings at the Southview Centre religiously, to watch horror movies in particular. Seems like the girl loved anything horror and Halloween; according to her roommate and her computer history. It seems that are other victims did also.”

Spencer stood from his seat and walked towards the whiteboard at the back of the room. Writing down the details Derek stated, his brain began to filter through the relevant information needed.

“Halloween is ranked the ninth most celebrated holiday in the world. With different interpretations of the holiday occurring according to country and culture. Wearing costumes at Halloween did not even become an occurrence until 1585, with the first instance recorded in Scotland.”

Derek chuckled at Reid’s excitement. He knew the boy loved Halloween.

“Well it all looks like they were pretty huge fans of the holiday and horror films. Maybe our unsub was too.”

Spencer looked down at the photos in his hand, scanning his memory for any correlation.

“Maybe, it’s not just horror, but a particular film. If all the victims were presented in a certain way, maybe the unsub is trying to replicate what happened to a character in a particular film.”

Derek crossed his arms over his chest.

“I’ll call Garcia to search through all the victims search history to see if any particular horror films come up in each one. Do you know of any films that the unsub could have replicated?”

Spencer shook his head.

“I can collate his actions to hundreds of films but, the method of torture and look of the victims, I can’t think of one horror feature that pinpoints all that the unsub has done.”

A thought unexpectedly popped into Spencer’s mind. Derek cocked his head at the sudden halt from the resident genius.

“But I know someone who might.”

UNIVERSITY OF WASHINGTON

“The importance of genre in film alters many of the other aspects. The characters and their narrative arcs, the music score, cinematography, the edit, and so much more. Sometimes genre even dictates the director who signs onto the project. Dennis Dugan would not have a directing career if Adam Sandler stopped making comedy movies. Because that is what he directs. He doesn’t direct comedies; he directs Adam Sandler comedies. Which, in my opinion, are a whole genre on their own.”

The class chuckled.

“Genre plays a part in everyday life. Sometimes, your day will be led by romance, or grief, or action. There may be drama, or comedy, or even silence.”

The class looked on in concentration as Y/N walked across the floor. If someone who did not attend the college walked past the classroom, they could’ve presumed that she was a student. She looked young enough.

“It controls the way the characters talk, act, and move. How the plot thickens and pushes forward and…”

The doors at the back of the auditorium opened. Y/N looked up at the sound of the intrusion to see figures that she could not recognise, and one that she did.

Clearing her throat, she continued.

“And how it even ends. We shall leave it at that today. What I want you to do in the meantime is research a genre in particular and come up with examples that counteract the stereotypes that have been enforced upon the genre itself. Hand it in to your professor first thing Monday morning. Thank you.”

Y/N watched as the students collected their things and filtered out of the room. The figures waiting till she was only left before they walked down the steps.

Coming to a stop in front of her desk, Y/N crossed her arms and waited. Spencer stepped forward with a crooked smile on his face.

“Hi Y/N.”

Y/N couldn’t help but giggle.

“Long time no see stranger.”

Spencer’s cheeks burned at Y/N’s words. The team shared looks between them at the unfamiliar display. They had seen Spencer blush at people before, but not for a long time.

Spencer cleared his throat, preparing himself to act professional.

“This is Dr Y/F/N Y/L/N. Y/N travels across the country to guest speak at different universities on her topic at hand. She specialises in film studies, more importantly the focus of characters and genres. If I can’t connect the unsub’s actions to a film, Y/N most definitely can.”

Y/N smiled at Spencer’s praise.

“Nice to meet you all. So, what are you here to talk to me about Doc? Obviously, you’re here on a case and if you are asking for my help, I’m guessing it’s going to be pretty gruesome.”

Spencer blushed at the nickname; caught off guard by the word slipping of her tongue.

Sending a raised look towards Reid, Hotch began to explain why they were there.

“Were looking into a case of connected murders. All victims were found to have been mutilated and tortured in the same way. As well as showing resemblances in their physical appearances. With research, we’ve found that each victim was particularly fond of horror films and Halloween. We would just like for you to take a look and see if you could recognise if the ways in which they were harmed stemmed from a film in particular.”

Y/N nodded her head.

“Of course, anything to help.”

She reached for the files from Spencer’s hands, ignoring the tablet pushed in her direction by JJ.

“Sorry, I prefer to use paper. I only really use technology for my lectures or to watch films if they cannot be purchased in physical form.”

Derek smirked, shooting looks to his team, as his eyes landed on Spencer. He never thought he would meet a technophobe like Reid.

Y/N scanned through the pictures and documents, looking in detail at the lacerations at hand. She identified the similarities between the victims, as her mind swirled through the images and characters from the films, she knew held similarities.

“What were the names of all the victims?”

Emily looked towards the woman.

“That information is classified.”

Y/N did not blink at her abrasiveness.

“Were any of them called Sally?”

The team looked perplexed at her question.

“No. Why that name in particular?”

Y/N continued to scan the pages as Rossi questioned her.

“Because the unsub isn’t replicating anything from a horror movie. The unsub is replicating the physical appearance and staging of a character from an animated movie. A Disney one to be more specific.”

A light bulb flickered in Spencer’s mind as he stared at Y/N in realisation. The hair colours. The stitches. It made sense now.

“The Nightmare Before Christmas.”

LOCAL POLICE DEPARTMENT

“The Nightmare Before Christmas is a 1993 American stop-motion animated musical Halloween-Christmas fantasy film directed by Henry Selick and produced and conceived by Tim Burton. It became a cult classic during the early 2000s with orchestral concerts occurring every year to celebrate the spectacle of the film.”

Spencer indicated for JJ to change the monitor as he and Y/N stood in front of the team to explain the information.

“Originally, the story began as a poem written by Tim Burton. Both narratives follow the protagonist, Jack Skellington, into his journey to Christmastown, and how he tries to make Christmas his own. The character in question that your unsub is replicating is the love interest of our protagonist. Created by Dr Finkelstein, Sally is a ragdoll-esque character whose body is covered with stitches to keep her together. The form in which all the women were found is identical to this scene in the movie.”

The screen changes to show the scene in question; paused at the precise moment to prover her point.

“All red haired, all Caucasian, all eerily the same. The stitches are exactly the same and the pose in which they are in the pictures are also.”

“We now know which film our unsub is mimicking, but how can we produce a distinguished profile of our unsub? All we can say is that between his third and fourth victim, he suddenly began to feel remorseful of his crimes.”

Y/N looked towards Spencer, waiting for him to speak as he knew more details about the case.

“Garcia checked into the victim’s computer histories and found that all four victims attended a horror convention in the Washington state area over the course of the past month. The convention in particular runs every other weekend, focusing on different horror films to highlight. However, they always make an exception for one film; The Nightmare Before Christmas. Whilst reviewing receipts for the tickets, they were all brought through the convention’s website, which is run by its board of organisation every year. Up until recently, the board has held the same members.”

Derek tapped on his tablet to the convention’s website.

“Last month, the website released details stating that a distinguish member was no longer part of the board due to unforeseen circumstances.”

It suddenly dawned on Y/N who Derek was talking about.

“Dean Faulkner.”

Spencer whipped around towards Y/N.

All eyes laid on her as her breath increased.

“You know him?”

Y/N nodded at Hotch.

“I guest spoke at a panel with him a few years back at a separate university. We were both there, amongst others, to talk about the works of a genre that are expertise were in. I was there to basically provide loose ends for what they could not answer. Dean’s specialised area was horror. The whole time he spoke about what he described as the true villains of horror and of the world.”

Y/N gulped, her mouth going dry.

“Women.”

The wheels began to turn in the team’s heads.

Spencer stepped closer towards Y/N in assurance, seeing that her thoughts were becoming overwhelmed. He quickly stepped back after he realised what he had done.

“He went on a raging tangent about the damsel in distress and the final girl. Going on and on and on about how women are weak and would never be the last one standing if faced against the monsters in real life. How they manipulated the men and made the monsters seem worse than they truly were. The only time he spoke positively about women was when we finally calmed him down and, during a Q&A session, a student asked him who the perfect horror movie character was. He said Sally because she was forgiving and would do anything for Jack; even if that meant falling apart and being sewn back together. I tried to justify that the film does not necessarily fall into the genre of horror. But he rebutted saying that it most definitely did, because of the fact that Jack’s dream did not come true.”

The room was silent for a second, taking in the information.

Suddenly, Y/N grasped the pen from Spencer’s hands. Her finger scribbling across the whiteboard.

“I need to know the names of the victims. Get Penelope on the phone and tell me the names.”

The team shocked at her erratic movements, sat in silence.

“Do you want to capture this guy?”

Spencer licked his lips and repeated the victim’s names.

“Susanna Cole, Alice Dawes, Liberty May, and Lily Trent.”

Y/N swiftly wrote the names on the boards. Each name below the other. Underneath the last name she wrote the letter Y.

“Can you ask Penelope to track any females with the first name beginning with Y who have purchased a ticket to the next convention?”

Derek quickly began to type to her. The rest of the team looking on in disbelief.

“There were twenty-three purchases, but with cross referencing with the similarities in the other victims, one matched. Her name is Yasmine Driver.”

Y/N wrote the name on the board. Circling all the first letters of each name, it became clear there was another connection with the victims.

“Their initials spell Sally.”

Y/N nodded at JJ’s disbelief.

“Reid, when is the next convention being held?”

Spencer diverted his attention to Emily.

“Their schedule every two weeks, so that would make it… tomorrow.”

The team swiftly moved into action.

“JJ bring together the police force for a debrief. Derek and Rossi, go to the convention centre and question the board about Dean. Ask them how often he visited and if they have any knowledge of the victims visits to the convention. Spencer and Emily, contact Penelope for Faulkner’s address. Once you have visited the home, if he is there, bring him in. We’re going to try and catch him before he gets close to his goal. I will locate Yasmine and bring her to the station for safety. We don’t know how far he is going to go and what the end goal of his fantasy is. But we are going to stop him.”

The team swiftly did as they were told, leaving the room with only Spencer and Y/N behind. Just before the door shot, Hotch leaned back in.

“Thank you, Dr Y/L/N, for all your help. If possible, could you stay here with JJ and look through the documents? You know this guy more than we do, so any more information that comes to mind, please let us know.”

Y/N and Spencer watched as Hotch left the room, the door shutting behind him.

As the silence engulfed them, Y/N and Spencer were hyper aware that they were now alone and had been for the first time in weeks.

Spencer swiftly walked towards Y/N and embraced her in a tight hold. Wrapping her arms around the slender man, Y/N breathed in his scent.

“I’ve missed you.”

Y/N chuckled at Spencer’s muffled words, as his head rested on top of her own. Pulling back, Y/N slowly released Spencer, letting her hands drop to her sides.

“I’ve missed you too Doc. We can catch up later, I will be waiting right here. Now, go and save the girl.”

Spencer chuckled at her words but did as Y/N said. Throwing her a smile, Spencer quickly walked out the room, leaving Y/N behind.

Y/N sat in the room, looking over the files as the time passed, waiting to see Spencer return with the rest of the team. A knock on the door startled her from her search.

Looking up at the door, Y/N saw JJ walk into the room with two cups of coffee in her hands. JJ outstretched the one hand, placing the cup in front of Y/N, as she took a seat and began to sip at her own.

“I didn’t know how many sugars you took so I estimated.”

Y/N smiled at the woman’s kindness.

“Thank you. Have you heard anything from the others?”

JJ sat up in her seat as she watched Y/N look over the documents. Her fingers moving across the pages ever so quickly. Her hand that wasn’t tapped continuously on the table in a rhythm.

“Spencer and Emily located Faulkner’s home, but it was vacant. They’re looking around the premises for clues for where he may be; as we speak. Hotch and Derek just called saying they are on their way down with Yasmine now.”

Y/N nodded at her words. Glad to hear that the girl was safe, but the main priority now would be to locate Faulkner. She wanted to truly help them, before anyone else could get hurt.

JJ grabbed her tablet and began to search through the files for any missed out information. Silence befell across the pair, until JJ could not help but ask what they had all been dying to know.

“How did you and Spencer meet?”

Y/N had been waiting for the question. She had seen the looks the team had shared throughout the day. The questioning gazes towards the pair.

“Spencer and I were both guests speaking at the University of California a few months ago. He must have finished his lecture early as he was wondering the halls when he came across the class I was teaching. I was stood on the desk, encouraging the students to do the same. Spencer thought I was a student causing trouble whilst the professor had left the room. He ran in sprouting facts about the percentage of people who fall and severely hurt themselves whilst standing on tables. Telling me that I should get down before he reports me to my professor.”

JJ chuckled at Y/N’s story.

“Sounds like Spence alright.”

Y/N giggled in agreement. As she spoke, Y/N couldn’t help but smile at the memory of their first encounter. JJ noticed the smile on the woman’s face. She knew what that smile meant.

“So, I told him that he better stay there to catch me, just in case I fell, as I was trying to teach my students about the importance of character actions, and how doing something as simple as standing on a desk can amplify the tone of the scene. Like in the film Dead Poet’s Society. Spencer finally realised that I was also a guest speaker and he actually stood there for the next 40 minutes of my lecture. I didn’t need to stand on the desk that long, but I wanted to see if he would stay. Once the lecture had finished, he apologised for jumping to conclusions. I apologised for making him wait for 40 minutes in case I fell. He told me I didn’t make him wait; he chose to. We’ve been in contact ever since.”

Just as Y/N finished her story, the door to the conference room opened once more. Looking towards the door, Y/N watched as Hotch entered, followed by Yasmine. The young woman looked scared, but unharmed.

Y/N stood from her seat, unsure of what to do as Hotch insisted for Yasmine to take a seat.

“Do you want me to leave?”

Hotch nodded his head.

“We shouldn’t be long. The rest of the team are outside in the bullpen. You can go ahead and join them. JJ and I will take it from here.”

Y/N nodded her head, leaving the room. She watched as Hotch and JJ questioned spoke to Yasmine through the glass, before she turned and walked down the corridor to find Spencer and his friends.

Turning the corner, Y/N failed to stop herself before bumping into a tall figure. Looking up to apologise, her eyes suddenly widened at the familiar face. Before a sound could leave her lips, a blunt force knocked her out cold.

Spencer and the team discussed where Faulkner could be when Hotch strode into the bull pen.

“How did it go?”

Hotch walked towards his team, ready to answer Derek’s question.

“It seems that Faulkner had been stalking the victims for some time. Yasmine detailed seeing him turn up at the conventions, even though he was no longer allowed. She had previously complained about his behaviour to the board before his dismissal. Stating that Faulkner had sexually harassed her. Rossi, did anyone at the convention mention anything about Faulkner that we don’t know?”

“It seems that Yasmine wasn’t the only one. The other board members went into detail about why he was fired. It turned out that all of our victims, including Yasmine, had filed lawsuits against Faulkner for sexual harassment. The charges were ultimately dropped and never recorded to keep the convention’s reputation clear. But they fired Faulkner and banned him from being able to attend any further conventions. Taking away the Nightmare Before Christmas dedicated stand was just a coincidence. They felt that the convention needed something new as they had been celebrating the film for over eight years.”

Just as Hotch was about to declare what the next step would be in finding Faulkner, JJ burst through the ball pen.

“Guys, you have to come quick.”

The team, in shock, watched as JJ ran back towards the conference room. All quickly on her heels. Entering the room, she took control of the laptop, streaming the image to the projector.

Spencer could no longer breathe as he looked at the image on the screen.

“Y/N.”

The screen showed Y/N tied to a chair and bent forward; clearly in pain. Her surroundings empty and dark.

Suddenly a voice was heard.

“I sense there's something in the wind. That seems like tragedy's at hand isn’t there Dr Y/F/N Y/L/N.”

The team watched in horror as Dean Faulkner yanked Y/N’s head back, her body letting out a strangled cry at the pain caused by his actions.

Spencer felt sick, he felt like he was watching himself when Tobias Hankel had held him captive.

“Emily, call Garcia to track his location. We don’t have much time.”

Emily did as Hotch told her to. Talking as quickly as she could on the phone.

“She can’t track it; he’s re-routing the IP address every thirty seconds.”

“She needs to track it. She needs to find her now!”

They all jumped at Spencer’s outburst, watching as tears filled his vision and his hands began to shake.

“Spencer, you need to calm down, we are going to find her. He can’t have taken her far.”

Spencer took in Derek’s words. Taking a breath, he looked back at the screen as he tried to distinguish any recognisable features of where she may be.

Faulkner moved his face to rest against Y/N’s hair, smelling the tresses. She tried to pull away only for him to yank her back again.

“Why did you kill them Dean?”

Faulkner let go of Y/N’s hair. Walking to her side, he grabbed her face in a vicious grip. Yanking her to look at him.

“Why? They ruined my life, everything I ever worked hard for. You all did.”

Y/N looked at him in confusion.

“I did nothing to you.”

Y/N’s breath increased at the vicious look he sent her way. Her eyes flickered to the camera, knowing that Faulkner was streaming what was happening to Spencer and his team. She had to find a way to tell them where she was.

“You made them question my authority. My position. My integrity as a member of the board. You ruined my reputation by belittling me in California.”.

“That’s because you know nothing about horror Dean. You think you know everything about it, but you don’t.”

Spencer couldn’t believe what he was hearing. Why was Y/N taunting him?

“Garcia’s looking to see if there’s any abandoned properties around the area that he could have taken her to.”

Spencer didn’t even acknowledge Emily’s words.

Faulkner reeled back at Y/N’s taunt.

“I know everything there is to know about horror. I’ve seen it all. I’ve lived it. I’ve created it. Ask me anything about it, I know the right answers.”

“But you don’t. You have an idea of horror, your own idea, that is wrong. You believe that women are the reason you lost your job and became the monster that you are. But they’re not. The reason you’re a monster is because of your sick and twisted fantasies. You made those girls feel small and weak, didn’t you?”

“Shut the fuck up.”

The team watched in apprehension.

“Garcia, the location, we need it now.”

Rossi looked between the screen and the phone in Derek’s hand.

“I can get the area he’s holding her, but not the specific building. The whole town is basically abandoned. She could be anywhere from a shop to a house.”

“Keep looking.”

Spencer chewed on his lips. He had to think rationally. If the unsub was upset about the changes and losing his job, what could have been the last straw?

“Derek what was the film they replaced Nightmare Before Christmas with at the convention.”

Derek and Spencer shared a look.

“Cabin in the Woods.”

Spencer ran across the rooms to the files at hand.

“In the location that Garcia has tracked her too, there are three cabins, all within a walking distance of the other.”

The team began to rush out the room, transferring the livestream to a tablet so they could monitor Faulkner and Y/N.

“You’re weak Dean. You’re just like all the horror movie villains. Ghostface, pinhead, jigsaw, all of them. You feed of fear and feeling in control. But the only thing you have in common with them is that you’re not going to win.”

Faulkner scream in rage. Pulling Y/N’s head back, he punched her in the jaw. Striding to the camera, he pushed his face to the lens.

“The party’s over!”

Spencer watched in horror as the feed went off.

“Hotch we have to hurry!”

Hotch sped up the car. Quickly arriving to the location, the team split up into pairs, taking a cabin each to inspect. Hotch and Derek, Rossi and JJ, and Spencer and Emily veered off to their targeted locations. Spencer followed Emily, trying to stay calm, as he slowly walked into the cabin to find it empty, when suddenly a gun shot was heard. Looking in the direction, the pair ran to the cabin that Derek and Hotch had been assigned. The rest of the team already there, looking into the cabin in shock.

“No, no, no, no. Y/N.”

Spencer pushed in front of them, tears pooling in his eyes as he a waited to see the horror before him. He looked in disbelief as Y/N stood from her position on the floor, the gun dropping from her hand as they shook. Faulkner laid a few feet away, in a pool of blood, no longer breathing.

Y/N looked towards the team. Raising her shaking hands towards Spencer.

“I didn’t want to kill him but he was going to shoot whoever walked through the door.”

Spencer rushed forward, grabbing her in a bone crushing hug. His hands stroking her hair as he soother her cries. Leading her out of the cabin, he allowed his team to sort out the rest as he continued to calm Y/N down.

The movement of the team were a blur as ambulances and police cars came. Taking them to the hospital as they sat in the waiting room as Y/N was checked over.

Spencer sat in the waiting room, his leg bouncing up and down with nerves.

Derek excused himself from the groups conversation as he went and sat next to Spencer. Clapping him on the back, Derek squeezed Spencer’s shoulder in re-assurance.

“She’s going to be fine pretty boy.”

“Physically, she has a concussion, bruising along her jawline, and needs stitches on her forehead. Mentally, I don’t know how she is going to handle this. When I suggested asking for her help in the case, I didn’t presume the risk of her being hurt. I should have.”

“Spencer, listen to me. We would have done everything to make sure she lived okay. She not only saved herself but she also helped save Yasmine and this team. Any one of us could have been shot if she had not thought fast and got the gun out of his hands. You know, better than anyone, how to help her deal with this.”

Spencer took in Derek’s words, nodding his head in appreciation, as he leaned against his friend in a comforting hug.

“Probably wasn’t the ideal way to introduce your girlfriend to the team though.”

Spencer stuttered at Derek’s teasing.

“We’re profilers Spencer. We’ve all noticed how you’ve been happier these past few months and seeing how persistent you were for us to consult Y/N, it gave us all an idea why. Seeing you together only confirmed our suspicions. So, how long has pretty boy had his pretty girl?”

Spencer chuckled at Derek’s words. Ringing his hands together as he spoke to Derek.

“Tomorrow is actually our six-month anniversary. She was going to be flying back today so we could celebrate; unless I got called on a case.”

“We can still celebrate.”

Spencer looked up as Y/N walked through the waiting room, fresh stitches on her forehead and an ice pack resting in her hands.

“The nurse said that there was no internal damage. That my body will just be sore for a few weeks. My concussion is light, so I am alright to travel home.”

The team gathered around to check on her. But her eyes could not leave Spencer’s as he rose from his seat. Spencer walked forward slowly, his eyes never leaving hers. Carefully he cupped her face in his hands, and to the surprise of Y/N and his team, Spencer bowed his head and placed a careful kiss on Y/N’s lips. Slow, protective, and full of love.

Pulling back, Spencer wrapped his arms around her as he looked at the beaming smiles of his teammates. Y/N couldn’t help the blush across her cheeks or the giggle that followed. Soon, everyone was chuckling at the pair.

“I would like to thank you Y/N. From the entire team. Your actions saved a young woman’s life, and what could have been one of our own.”

Y/N smiled in appreciation at Rossi’s words.

“You’re Spencer’s family. I would do it all again if I had to.”

“Statistically speaking, around 2,000 people a day are reported missing in the US. Approximately, 600 of those would be reported or considered kidnappings. It is highly unlikely for you to be put in a situation like that again.”

Y/N looked up at her boyfriend.

“I never thought I would say this, but your talk about me being kidnapped again is really attractive.”

The team laughed at the girl’s statement, seeing Spencer become physically embarrassed.

“Just to inform everyone, the jet will be ready to depart in forty-five minutes. As I was informed that today you would have been heading home, Y/N we have sent for your belongings to be collected; you can fly back with us.”

Spencer smiled at Hotch in gratitude, the older man knowing he would have only worried if she had flown home alone.

“Thank you, Mr Hotchner.”

Hotch let out a brief smile.

“Call me Hotch. Your part of Spencer’s life, that means your part of this family.”

BAU JET

It had been an exhausting few days for the team, and it showed, as they all were sporadically asleep throughout the jet. Silence encompassed the steel capsule, with only the sound of sleep filled breaths being heard.

Y/N laid fast asleep, with her head on Spencer’s shoulder, as the boy genius sat up wide awake. Looking down at the woman next to him, all Spencer could imagine was what could have happened if they weren’t quick enough. How many days he would have lost with her. All the things he wanted to tell her.

As though she could sense his deep thoughts, Y/N slowly awoke, rubbing her eyes as a yawn escaped her mouth. Blinking her eyes rapidly, she waited till she was fully conscious before she spoke.

“What time is it Doc?”

Spencer jostled out of his thoughts to check the watch on his wrist.

“It’s 2:36 am. You’ve been asleep for approximately 3 hours and 22 minutes.”

Y/N quickly sat up in her seat, wide awake.

Spencer turned towards her in worry, wondering what had made her so alert.

“What wrong? Are you feeling nauseous? Do you need some painkillers, as your due to have…”

Y/N grabbed Spencer’s face and placed her lips flush against his own. Their mouths moved in unison, as Spencer’s own hands moved to circle around her waist, bringing their bodies as close as they could be in the small space they had. They hadn’t kissed since the hospital, and before then it had been weeks. Spencer never realised until then, how much he truly missed her touch, her taste, her as a whole.

Coming to a point where they both lacked breathe, the pair pulled apart. Their eyes fluttering open as Y/N’s hands caressed Spencer’s face. Her one hand travelled to his hair, feeling the tresses that had grown since she had last seen him. She looked at him in a way no one had before. Spencer shared the same expression.

“Happy six-month anniversary Spencer. I love you.”

Spencer looked at Y/N in disbelief.

“Before you start spouting of facts about transference and how I am probably only saying this because you saved my life, you’re wrong. Because then I would be telling Hotch and Morgan the same thing.”

Spencer couldn’t help the watery smile that graced his face. For the second time in the past day, his eyes filled with tears. But this time, they were good.

“I’ve known I have loved you for a long time. For five months actually. I knew I loved you when we made pizza in your apartment and we ended up burning it, so we ordered one instead.”

Spencer laughed at the memory. It was the first time Spencer had initiated their make out. He had watched her cooking, in his apartment, and he had never found her more attractive than he did seeing her in his home.

“I knew that whilst you were spouting of facts about the invention of the pizza that I loved you and that I could listen to you forever. I love you Spencer.”

Spencer pulled Y/N closer to him as he rested his forehead against her own. The pair basked in each other’s presence.

“Past surveys show that men wait just 88 days to say those three little words to their partner for the first time, and 39 percent say them within the first month. Women, on the other hand, take an average 134 days. You knew after 31 days that you loved me. I knew after our first date that the way I felt when I was with you is a feeling that I could not even describe with my vast vocabulary. I knew after 8 days that the way I felt was stronger than liking you and that was a frightening thought. But its scarier to think what could have happened to you yesterday. That I could have lost you without you ever knowing. I made that mistake before. I will never make it again. I love you too.”

Y/N couldn’t help the smile and giggle that overtook her. Spencer, feeling high of the serotonin that was coursing through his body, couldn’t help his laugh either. Soon the pair were a giggling mess, unaware of the team who had all begun to awaken whilst the pair were talking.

The team congregated to the back of the jet, allowing the couple to stay in their own bubble.

“It’s been a long time since we’ve seen him truly happy.”

The group nodded at Emily’s words.

JJ smiled as she watched her best friend rattle of the possible movies that he and his girlfriend could spend their anniversary watching as she recovered. Her smile growing even wider at Y/N’s enthusiasm to watch the film’s in their original language. None of them could miss the look of adoration beaming between the pair.

“Yeah, it really has.”

Being deeply loved by someone gives you strength, while loving someone deeply gives you courage. -Lao Tzu

A/N- It isn’t the best but I really enjoyed writing this one.

[hinagamoizaf]

Odaiba Memorial Day 2021

My first Odaiba Memorial Day while being an active part of the fandom, and it’s high time I write an essay about my crackhead obsession with Yakari.

(*There will be some swearing & f-bombs in this post) As a kid, Yamato was like the ‘blue and cooler Taichi’ to me, like he doesn’t exist without being adjacent to the gogglehead. Also my family didn’t have the full Dark Masters arc in our CD collection, so I literally knew nothing about Yams’ emotional meltdown. But now, I adore this overly sensitive dork, and I don’t mean that in a derogatory way. Maybe I’m biased in this reading, but I think Yamato has had to push himself to mature faster than his peers; and he’s very much a mini-adult at a young age. For all these grand monster battles, the main cast are still children; among them Yamato is a kid dealing with a lot of unresolved issues but he’s got a lot of heart, he’s passionate about those he holds dear but he just doesn’t know how to process this. Another thing that goes hand-in-hand with Yamato is the fact he’s a musician. Again, I could be reaching way into my ass here; but there’s this mumbo jumbo real life idea of the ‘depressed creative’, and Yamato works his way out of that dangerously romanticised label. The kid’s got a passion for music, he’s literally been playing the harmonica since Takeru was in diapers .Without spoiling DA:LEK, Yamato still holds onto that flame into adulthood but it’s not something he can actively work on; and that takes its toll. I love Yamato because he’s someone who cares so much about those around him and what he does; and he’s just a kid who’ sorting things out and wanting to better himself and well fuck, if that isn’t relateable. Even with the flaws that the Tri films have, I think it’s a natural progression for Yamato’s character journey. I see people saying how ‘they just turned him into a tsundere’ or ‘he’s so snappish now’. But seeing as most of the Tri cast are in High School and general teenagers are assholes to each other, yeah it’s not unreasonable to see why Yamato’s the way he is now. He didn’t lose his touch with the Crest of Friendship; when the literal world is up in flames, there’s still the same loyal and compassionate Yamato who understands the importance of being there for and with his friends. Yamato’s a big mushy boy who has a hard time conveying what he feels and his needs; Hikari isn’t any better and this was how I grew to love the concept of them being together. She’s not the Chosen Child of Light for nothing, Hikari’s symbiotic partnership with Tailmon is a very shoehorned metaphor of being an angel from Heaven and I absolutely eat that shit up. Fans have pointed out Hikari’s so mysterious with her role and powers as late member of the team, the same can be said for her personality. You see Hikari, you think ‘sweet, little girl’ and in part thanks to the 02 dub, she grows into being this sassy brat. 

A brat who has trouble asserting herself and is prone to literally get dragged into an ocean of depression. Like any respectful human, Hikari cares for her friends and family; but a mixture of that and a tendency to devalue herself is Hikari’s fatal flaw. She’s too self-sacrificing to a fault, and this reflects the other extreme end of her crest. In my own overly pretentious words, I think Hikari has self-imposed on herself for ‘being the light of the team’; like she carries herself as a doll whose job is to bring others out of darkness when she’s still stuck in the shadows herself. Hikari doesn’t allow herself to verbalise her wants, let alone her needs because she doesn’t want to inconvenience others; she just goes with the flow and puts on a mask of toxic optimism. 

I am aware this analyse could be me scraping the bottom of the barrel, but it’s how I interpreted Yamato and Hikari’s character; and now I’ll articulate my brain rot  with how the fuck are these two being shipped.  

You have these two people who already have this history and experience of being Chosen Children, but there’s also an underlying sub-connection of them being each other’s brothers’ best friend. As many Yakari fanfics have headcanon, it’s not unreasonable to think that Yamato’s at the Yagamis’ apartment frequently because A) Taichi is his best friend and B) The Ishida apartment is prolly empty ‘cause Hiroaki’s out being a workaholic. The Yagamis become the family that Yamato didn’t have growing up, and they welcome him with open arms. At their apartment, things are warm and rowdy, he doesn’t have to be alone with his thoughts and they treat him as a second son. Listen, I've been a diehard Takari shipper too, but I genuinely think Takeru and Hikari can be platonic soulmates. They know each other like the back of their hand, they’re cosmically entwined and their Digimon are in sync; they’re also legit a pair of best friends too. I know early 2000’s fics depict Yakari as being this big drama; but I have a weak heart and I’m here to say Yakari can be cosy and comforting and they’re just two idiots in love who need to be honest with each other.

I imagine their courtship not to be this grand display of fireworks and ‘the chase’, but a very subtle experience with slow burn. For me, Yakari is very much the first blossom of spring. They represent new beginnings and youth, the gentle lull of Mother Nature tending to the earth, something that’s natural but the routine has existed for centuries. Yakari is very much a gentle love, and with everything I’ve said about their characters; these two learn to embrace and nurture the other until they have a whole garden of spring’s blossoms. 

This crackship has the surface-layer appeal of ‘brooding lone wolf’ and ‘sweet angel’, so when you peel the layers to find these two very private characters who just need that one-on-one reassurance/affirmation; this ship is a warm blanket of fluff and yes that’s basically the plot of my fics. It’s the charm of slice-of-life, the endearment of growing and improving yourself with the one you love with the occasional reminder that this is a series founded on puppies evolving into angels. 

I’ve had enough of tragedies and melodramatic love affairs. I write about Yakari because as cliche as this sounds, I want more stories about ‘the light of friendship’. Yes that was a god awful line, but it captures why I have brain rot for this pair. To celebrate my first OMD, I have uploaded a special chapter on my AO3 fic titled ‘Mon ange’; it wouldn’t be August 1st if I didn’t half-hazardly work on this leading up to the big day. It couldn’t fit on Instagram, but this rambling piece is part of a bigger essay on my tumblr, so that’s also up and running. I hold Digimon near and dear to my heart, and I go about sharing that love by gushing about Yakari.

[ingek73]

Juneteenth

STORY by Team at Archewell

Jun. 16, 2021

YOUNG POETS OF GET LIT SHARE POWERFUL WORDS TO COMMEMORATE THE DAY

In honor of Juneteenth, we, at Archewell, connected with our friends at Get Lit and asked them to share poetry to honor this important day. We hope their poignant words allow you to reflect on the significance of this newly declared federal holiday in the United States and its impact across this country and around the world.

AND HOLD, AND HOLD

CORTUNAY MINOR AND TAMIA JACKSON

WHY THEY WROTE THIS POEM:

“When I wrote this poem, just a few weeks before June 15th, Juneteenth wasn’t yet a federal or national holiday. It wasn’t something I’d given much thought to, but when I had recognized that fact, it wasn’t information, it was confirmation. At first, I was upset about it. My immediate thoughts were along the lines of, ‘Where are our fireworks? Where’s our three-day weekend?’ But in reflection, I realized that this was demonstrating continued deference to a supposedly superior entity. Juneteenth isn’t the ‘Black Independence Day,’ it’s the only Independence Day. To have that nationally recognized feels amazing. But whether or not the date is printed in every calendar does not validate this holiday. We do.”

WHY SHE ANIMATED THIS PIECE:

“This poem, especially for Juneteenth, really inspired me. The color palette expresses the somber yet hopeful emotions that happen when black freedom is discussed, and what it means to be a Black individual in America. This poem as well as the visuals really emphasizes the impact that Black people have by simply existing, and the importance of our breath. We know that as long as we’re still breathing there can and will be change, and ultimately full freedom.”

ABOUT THE AUTHOR:

Cortunay Minor (she/they) is a performing artist who specializes in Stage Acting and Spoken Word Poetry. They are currently pursuing a bachelor’s degree in Theater from the UCLA School of Theater, Film, and Television. The theme and goal that Minor tries to hold in the heart of their artistry is liberation, be that emotional, intellectual, or otherwise. Expression and education are two of the most fruitful paths Minor has found that achieve that liberation, and she is immensely grateful to be able to participate in a craft that allows their simultaneous occurrence.

ABOUT THE ANIMATOR:

Tamia Jackson (animator) is a rising senior at the Rhode Island School of Design, receiving her BFA in Film/Animation/Video with a minor in Literary Arts and Studies. She has always been passionate in art, animation, and storytelling. She loves bringing stories of lesser voices, such as BIPOC, low income, female, etc., into a visual and cared-for light. Though not all of her stories or animations revolve around such identities, it is important that she shows diversity so that many people can relate and find comfort in the characters or art piece. Not only does Jackson enjoy spreading her own voice, but she also loves bringing others’ stories to life.

AND HOLD, AND HOLD

‘Holiday’ meaning ‘Holy Day’ meaning:

every second is sacred/every hour hibernates

within the spirit, huddled beneath the bosom.

To breathe is to commemorate:

inhale – exhale – cradle the thought – hold – and repeat.

When daybreak demotes breath to subconscious action,

the diaphragm still submits in reverence, still remembers that

This is Divine. This

is where jubilation begins:

in the suspension of

breathe in – breathe out – take maybe – and

forever hold the moment,

where the deferred dream stopped shriveling,

wavered in anticipation, remembered that expansion

can be soft,

recognized that it didn’t want soft

expansion.

Bodies were policied out of possession, but

the Black individual liberated their own being,

hollered themself out of state-sanctioned silence.

Words ignite, but presence sustains; this intake/expel maintains us

here

the dream explodes. The spirit absorbs the remnants and outpours,

‘holiday’ meaning ‘Holy Day’ meaning:

I hold this day as sovereign. Meaning:

I hope this day knows its home is in these lungs,

is in this breath, is in the repetition of:

inspire – expire – immortalize the memory – and hold – and hold – and release

POPLAR TREES

CYRUS ROBERTS

WHY HE WROTE AND DIRECTED THIS POEM:

“It’s easy to say “slavery was an atrocity and we need to do better” but it’s much more difficult to say “slave masters ripped babies from their mothers and used them as crocodile bait for sport.” In the average American lexicon, phrases like ‘Never Forget’ are commonplace but are rarely attributed to periods of fundamental, ongoing violence of a racial nature for the simple fact that our pain makes the people who benefitted from that pain uncomfortable. For me Juneteenth is a day of mourning; the Confederate holidays still celebrated today seem like a gruesome counterbalance. So this is my eulogy to both the country and my own being that could have been.”

ABOUT THE AUTHOR:

Cyrus Roberts (he/him) writes, acts, and directs across poetry, theater, and film. While his work has been commissioned by organizations like Toms Shoes, Adidas, and March For Our Lives, he also enjoys working on cool independent projects, whether he’s self-publishing poetry compilations, creating movies with friends, or acting in his own plays. Roberts is currently a senior in UC Santa Barbara’s BFA Acting program. Look for him in the upcoming film Summertime, directed by Carlos Lopez Estrada. His assistant director on the project was Mattie Kranz.

POPLAR TREES

Before you there was me. But before me there was (Nina Simone audio: “black bodies swinging”). And that was the gentler time period. Everything base within you, reflected in your actions. Please don’t censor me when I mention how you wrangled our teeth from our mouths and used them to seduce your own illnesses into submission. Or how you took an interest in the skin that had a monopoly on sunlight and then took what you wanted underneath the moon. Or how you used our babies as crocodile bait and our skin as shoe leather. Look right into the eyes of our demise and try to say those times are past, that I’m being rash, that I’m being bad and so full of woe and I should be glad I’m writing this on my MacBook Pro. Yeah? Who am I to complain about slavery? Because it ended, right? On June 19, 1865, Union Army general Gordon Granger made his way to Texas and proclaimed slavery’s supposed fall and us colored folk supposed to have a ball? I mean it was two and a half years after Lincoln already announced it, but we needed a white man to tell other white men what another white man already said. I mean that is until that white man found himself dead and Reconstruction found itself at a head and chain gangs, sharecropping, Jim Crow, private prison options, perc popping, bodies dropping, cops still stopping, guns cocking to ensure that (Nina Simone audio: “black bodies swinging”). Every 19th of June we celebrate the end of chattel slavery and every 20th we’re back to fighting its descendants. Private prisons / a cop’s knee is a modern lynching / it ain’t my decision to get busy dyin’ or busy living / I paid attention, to all the digitized depictions / all the people packing up pensions while we’re backed up by the system. Put your back into the system, this is wack how mother’s missing their babies kisses and I’m supposed to be celebrating? I’m sorry. Will you forgive me, I’m jaded. My grandmother looks at me and says confidently that I made it. That she can’t possibly imagine the life that I’m living, I owe a debt to her generation, and I hope that I pay it. I just get so angry, hazy laughter at the thought of thoughts and prayers ending enslavement. So after you hear me, I’ll forgive you if you’re jaded. But you still need to know the history to have an appreciation. It’s no mystery why it’s a mystery present in our education, presently the gatekeepers keep us from it and it’s heinous. On Juneteenth, Americans across the nation eat red foods in honor of the blood spilled before and during emancipation, we celebrate the secondary, pushed-to-the-side independence day, but you don’t have to know our proclamations of jubilation for us to be heard. We will be heard in our voices screaming thanks that we are not treated as herd. We dance and we sing hymns of freedom. Freedom: absence of subjection to foreign domination or despotic government. Are my brothers and sisters in jail cells free? When there’s a glaring loophole in the 13th amendment smiling from cheek to cheek I’d imagine there’d be some incentive to ensure our purity is never free. And how can I be free when I can’t sleep because my dreams keep whispering I can’t breathe. Regardless of that fact, progress is still being made. But I fear progress is just an exchange of chains for other chains. Same way they changed our names for other names, I rest a bouquet on the graves of enslaved, singing regardless this day. In the hopes that I never again have to see (Nina Simone audio: “black bodies swinging”).

UNTITLED

SIERRA LEONE ANDERSON

WHY SHE WROTE THIS POEM:

“When writing this poem, I really made an effort to think back to my ancestors. What was their impact? Who did they inspire? How did they carve the path for the road I now choose to take? This poem is about legacy. I am calling back to the ancestors before me to give me the strength and courage to be the ancestor I want to be to future generations.”

ABOUT THE AUTHOR:

Sierra Leone Anderson (poet) is a youth activist and professional spoken word artist from Los Angeles. Rooted in liberatory joy and armed with ancestral truth, Sierra Leone aims to bring light to the power of language, empowering Los Angeles youth of color to recognize the quantifiable influence of their voice. She has placed both second and first in Get Lit’s annual middle and high school Classic Slam respectively, co-wrote an article for the political column of USA Today, and has shared space with several influential changemakers including Dr. Melina Abdullah (co-founder of BLM-LA) and Cecily Myart-Cruz (president of UTLA). Her other organizing work includes collaborating with Students Deserve LA to make Black Lives Matter in and beyond schools. She is currently a ninth grade student at Girls Academic Leadership Academy and an avid lover of trashy teenage dramedies.

Her director and editor is Lukas Lane, an award-winning filmmaker and founding member of Literary Riot (started in his junior year of high school), and he is currently attending UC Berkeley.

UNTITLED

Every generation, the world gives birth to a new fleet of freedom fighters.

I am one of them.

I stand on the shoulders of tired women.

I dance in the footsteps of Pan-African poets, liberation fighters, and Black writers

who grew fires from a pit hungrier than a stomach. They call my name and I call theirs.

Malcolm X. Phyllis Wheatley. Maya Angelou. Sojourner Truth. Audre Lorde. Ida B. Wells.

Your resilience rivers through me. You are my founding fathers. The blueprint to a world we need to be brave enough to see, to seek.

Let us imagine a world in which we know each other’s palms

and never the fist. Not unless needed. Not unless united together.

Let us be the drum and not the war.

Let us know each other’s names and not the languages we cry in.

Let us be, let all us be more than a slave’s wildest dream

Let us beam past blueprints and what-ifs and start becoming the now we want to see, the now we want to be

Trees growing so far past the Earth, Allah would mistake our bodies for angels.

When I die, I want to ripple through lifetimes. I want my name to graffiti the mouths of the next 10 generations.

I don’t want to be forgotten. Or remembered for the way my feet wouldn’t stop running.

I wanna grow roots in this soil, in this American skin. Join the forest of my ancestors. Let my grandkids climb up my branches and tell stories of school.

And before the first pulse of morning, I want them to drip from their homes and gather at my roots.

I want to tell them my name before I forget it.

I want to tell them that morning is coming. And will always come. And will never wait for when you are ready.

I want to tell them that there is a point far beyond this tree, this forest, this temporary point in time, their bodies, their fears, their fathers, their memories. Where the sun is eternal and smiling. Where freedom rings and is never silent, never out of reach. It is called horizon. And it is right there.

[a-little-slice-of-fandom]

I’d love to hear your thoughts on the Irish-ness of Dracula, if you wanna ramble about it!

(Okay I just want to apologise for how long this took to answer because I know it’s been sitting in my inbox for over a month but..depression and work happened and I just didn’t have the time or energy to complete it. I seriously do apologise for this but I hope you enjoy the post anyway!)

So the first thing I need to clear up is this: the concept of a monster or a demon that feeds upon the life force of humans is not limited to one singular culture or folklore. In fact, this core concept is a wider cultural phenomenon and variations of it exist across both countries and continents. And no one country can take sole credit for the this core concept of vampires. Anyone who tries to claim otherwise either doesn’t know much about vampires or is intentionally being disingenuous. There can be cultural variations that are specific to certain folklores (and to just blatantly steal these would be cultural appropriation), but the main idea of vampires exists across a wide range of folklores and no singular person, group of people or culture can take credit for the creation of vampires.

However, arguably it was the work of Bram Stoker that aided in the solidification of the concept of Vampires that we know today. While there were other authors from a wide range of nationalities who wrote about Vampires before Stoker (including John William Polidori who wrote the Vampyre in 1819)...Dracula is the best known. (Now I personally believe that’s because Dracula is an absolutely banging novel, although I do concede that the prevalence of adaptations of Dracula from the 1920’s to today helps keep Dracula in the forefront of audiences minds.) In addition, it’s important to remember that Stoker was inspired by another Irish author Joseph Sheridan Le Fanu, who wrote the novel Carmilla. As far as I know, Le Fanu and Stoker actually worked together on a magazine!

Another thing I think that needs clarification is the common belief that Stoker heavily/religiously based Dracula on the historical figure Vlad the Impailer. This is heavily debated by scholars. While there’s an obvious, undeniable similarity between the names of these two...the similarities start to wain after this, with only small similarities between the two and there’s even literal contradictions between the history of Vlad the Impailer and Dracula’s history in the novel. In fact, there’s not much indication that Stoker based the character Dracula off Vlad the Impailer, or even that he had a working knowledge of Vlad the Impailer beyond the name. In all 124 pages of his notes, there’s nothing to indicate that Stoker’s inspiration for Dracula came from Vlad the Impailer.

(Plus Dracula in the novel wasn’t even originally called Dracula...he was called Count Wampyr in the original drafts of the novel and this was only changed, from what I can gather, in the last couple of drafts.)

In fact, I’d personally argue that that connection between Vlad the Impailer and Dracula is actually something that’s been retroactively added by other artists, for example the 1992 film “Bram Stoker’s Dracula” heavily leaned into this idea that Dracula and Vald the Impailer were one in the same, and as time has progressed people assume that these elements were in the original novel when that’s simply untrue! Stoker didn’t write that! It’s a retroactive addition by other artists that’s just assumed by the masses to be canon. This phenomenon is actually super interesting and it’s absolutely not limited to Stoker’s novel Dracula/the modern day perception of Dracula (another example would be Mary Shelley’s version of Frankenstein versus the modern day perception Frankenstein). I’m not sure if there’s a word for what this is, but I like the term “cultural canon”, where something that’s been added in by other artists has become as good as canon within the minds of the masses and as such is ingrained within the cultural perception of something, despite it having no basis within the original piece or even directly contradicting what is in canon.

(Now I’ll absolutely concede that Stoker taking the name of a historical figure and possibly their likeness from another country and making them into a literal monster is something that should be discussed. I don’t know how Vlad the Impailer is viewed within Romania - whether he’s viewed positively or negatively or a mixture - but regardless he was a historical figure and Stoker did eventually use that name for his own creative purposes. Again, Stoker didn’t say that Dracula and Vlad the Impailer were the same person, that’s other artists doing, but there’s still issues with Stoker that needs to be discussed)

Now, I’ve seen people talk about how Stoker took a lot of inspiration from the Baltic folklore surrounding vampires for his novel, but I don’t really know this folklore very well and therefore I don’t feel like I’m qualified to discuss it. If anyone is more well versed in this topic wants to add to this post then they’re more than welcome to! I don’t deny that Stoker too inspiration from places other than Ireland (like the novel is set in Whitby) but I just feel like people over hype the relation between stokers Dracula and Vlad the Impailer.

Now, onto the Irish mythology side!

So the most obvious inspiration for Dracula comes from the story of Abhartach. here is a link to an actual, respectable retelling of the story of Abhartach which I’d highly recommend people read (it’s really not that long) but the key points go as follows:

There was this Irish chieftain called Abhartach, who was really cruel and the townsfolk didn’t really like him. So, the townsfolk and another cheiftain (known as Cathain) banded together to kill Abhartach. They did succeed in killing him (yay), however, Abhartach just sort of...rose from the dead and began another reign of terror (not yay). However, Abhartach needed to be sustained by blood and required a bowlful every day to sustain his energy. Cathain comes back and kills Abhartach once again, but Abhartach rises from the dead once more and now needs more blood. Abhartach is only banished when Cathain uses a word made from yew wood and wounds Abhartach with it. Abhartach is buried upside down with a grant stone over the grave to stop Abhartach rising once again.

Sound familiar? The similarities between Abhartach and Dracula are undeniable! Yes, there’s some differences between the two but the core story here is almost identical. I could totally reword that paragraph, omitting the names, and it would be indistinguishable from a short summary of Dracula! Even the way that the main characters find out about the wooden weapon that can kill the monster is similar, as both Jonathan and Cathain go to wiser and older members of their community to learn more.

(Also please mythology blogs don’t come for me I know my retelling was an incredible oversimplification but I’m writing on my iPad and my thumbs are starting to hurt. People have wrote full papers on the similarities between Dracula and Abhartach and there’s so many more people more qualified than me, I’m just an 18 year old trying to make a fun and interesting tumblr post. Again, if anyone wants add anything like extra sources or more information or even to point out my mistakes then I more than welcome the additions)

Another piece of folklore that’s also said to have inspired Dracula is the Dearg Due. Now there’s multiple different versions of the tale, but the version I have heard goes like this:

There’s a noble woman who wants to marry a penniless peasant boy, but her dad disapproves and wants her to marry another man who is much richer. The rich man and the noble woman were eventually married but the woman didn’t love the rich man. In retaliation, the rich man locked the woman in a windowless castle where she starved to death. The woman was buried by the locals who took pity on her, but because she was buried hungry she came back to life and drank the blood of her father and her husband as revenge. The version I heard says that the dearg due now basically wanders ireland drinking the blood of men who have hurt or wronged women (as one should) but there’s other endings to the story.

(Again is anyone has a reliable source they want to share then please feel free to add!)

So this is another Irish piece of folklore that clearly includes some elements that we now associate with vampires. Now people (including Wikipedia) claim that this story was specifically what Stoker based Dracula on, and while I definitely think that Stoker was aware of this story and took inspiration from it, I personally think that the Dearg Due inspired the concept of Dracula’s wives more than Dracula himself.

However the key point still stands: Stoker was likely aware of these legends and even the most staunchly anti-Irish person would have to concede that there’s similarities between all three stories. And very rarely are these similarities discussed in classes about Dracula...which I feel is a real disservice. I don’t think students should have to have an intense knowledge of Irish mythology (my knowledge is spotty at best) nor do I think it should be an exam question...but even a brief acknowledgment of “hey, Stoker was inspired by these stories and you can clearly see similarities between them” would be nice. Moreover, it further solidifies my original argument that Stoker was, at least to some extent, Irish and that his Irishness inherently influenced his work.

Also...the social context of what was going on in Ireland in this period can’t be ignored! Again, while Stoker did spend time in both England and Romania, he spent a lot of his life in Ireland and therefore would have known what was going on in his own country.

Dracula was published in 1897, which is exactly 50 years after the worst year of the Irish Famine/ The Great Hunger/An Gorta Mór. Now I don’t have time to do a whole history of the Great Hunger but the effects of the famine were greatly exacerbated by the horrific mismanagement of Ireland by the British government and the British system of ruling in Ireland. How many people died during the famine isn’t clear, but we do know that the population of Ireland at the time was 8 million and the population today is 6 million...200 years later and we still haven’t recovered. So while we all like to joke about the fact that Stoker wrote about an unfeeling member of the aristocracy literally feeding off others with no remorse and basically ruining their lives...are we really going to pretend that there isn’t social commentary there? Scholars specifically think that Stoker was commenting on the absentee landlords (basically British aristocrats who owned land in Ireland but didn’t live there and as such didn’t care about the well being of their tenants) who would often have tenants forced off the land when they couldn’t pay rent...despite the fact that their tenenants were already starving and had no money because their only source of food and income failed.

(I’m not being shady by the way, I also love to joke about the social implications of Dracula, but I feel like people forget that the jokes have actual points behind them)

There was also a cholera epidemic in Ireland in 1832 which is generally accepted to be one of Stoker’s biggest inspirations. You can read more about the epidemic here if you wish, but I’ll summarise what I feel are the key points. Not only was Stoker’s mother from county Sligo and lived through this cholera epidemic, but Stoker also asked her to write down her memories of the epidemic and used her accounts to aid in his research of the cholera epidemic. Now the fact that he was actively researching this should indicate that it would influence his work, especially considering the situation in county Sligo was incredibly morbid. There’s accounts of the 20 carpenters in Sligo town being unable to make enough coffins to keep up with the amount of people dying, resulting in hundreds of dead bodies just lying on the street. However, the most horrific account from this epidemic was the stories of terrified nurses placing cholera patients into mass graves while they were still alive. Stoker himself literally stated that Dracula was “inspired by the idea of someone being buried before they were fully dead”. So while at first there seems to be very little relation between the novel and a medical epidemic, it quickly becomes clear that Stoker’s fascination with this historical event influenced his writing.

My overall point is that Stoker’s irishness inherently influenced his writing. Writers don’t write in their own little bubble, divorced from the world around them, their views and work are shaped by their position in society and their upbringing (it’s why I dislike death of the author as a literary theory). So when people try to claim that Dracula is a piece of British literature...it indicates either a lack of understanding of the context in which Stoker was writing in or a wilful ignorance founded on colonialist ideas. His influences are so obvious to me as an Irish woman but they rarely get discussed, and even if they are it’s seen as overreaching! To call Dracula British literature and to ignore the inherent Irishness of the novel does a great disservice to Stoker!

Anyways I really hope you enjoyed this discussion my love! Once again I apologise for how long this took to write. Also I’m sorry if this comes off as argumentative or anything, that absolutely wasn’t my intention, I just have a particular style of writing long posts haha.

[twh-news]

To land ‘Loki,’ Kate Herron had to pull out all the stops. How she won over Marvel

As a teenager, Kate Herron was obsessed with the “Lord of the Rings” films.

In particular, she recalls heading to theaters repeatedly with friends who shared her passion to see “The Two Towers” (2002), the second installment in director Peter Jackson’s trilogy based on J.R.R. Tolkien’s epic fantasy novel. She even wrote “Lord of the Rings” fan fiction.

“It was very silly,” the British filmmaker insists, revealing that one of her stories saw the heroic Fellowship traveling through a magical fountain and getting trapped in New York. “Honestly, I was just writing the stories to make my friends laugh. I guess it was kind of that first foray for me: ‘How do I tell a story?’”

Years later, Herron is again involved in telling a story about a protagonist displaced from the world he knows. But this time, her audience is much bigger.

Herron, 33, is the director of “Loki,” the Marvel Studios series that follows the adventures of the titular god of mischief after he has been plucked out of time by an agency charged with maintaining the sanctity of the timeline. Thus, the six-episode series, which premiered earlier this month on Disney+, features a slightly different version of Loki than the fans of the Marvel Cinematic Universe have grown to love since his first appearance in “Thor” (2011) through “Avengers: Endgame” (2019).

“I love villains,” says Herron during a recent video call from Atlanta, where she is putting the final touches on “Loki.” “I think that if a villain’s done right, you don’t necessarily have to like their actions, but you have to understand them. And I think that Tom [Hiddleston], in the last decade, has brought such empathy and wit and pain to a very real character for so many people. I just wanted to be part of whatever [Loki’s] next chapter was going to be.”

The series, on which the self-described Loki fan also serves as an executive producer, is Herron’s highest-profile project to date. Her previous credits include directing on Netflix’s “Sex Education,” as well as “Five by Five,” a series of short films executive produced by Idris Elba.

While growing up in South East London, Herron never considered filmmaking as a career. Her love of movies manifested as the aspiration to become an actor, and she often goaded her peers into putting on plays or making movies using a friend’s father’s camcorder. It wasn’t until some astute and encouraging teachers at Herron’s secondary school pointed out that she seemed more interested in storytelling that she changed course.

By introducing Herron to new texts, these teachers — as well as a film studies class that covered films directed by Stanley Kubrick and Akira Kurosawa — helped expand her perspective.

“I just didn’t know that you could have a voice and an authorship over a film, which probably sounds a bit silly. But I just hadn’t really thought about films in that way,” says Herron. Soon enough, she was on the path to film school at the University for the Creative Arts in Farnham, England, where she graduated with a degree in film production.

Herron laughs as she remembers how she believed she would just go off and find work in film straight out of school. “Obviously that did not happen,” she says.

With no post-graduate roadmap (or job offer) to help her break into the industry, Herron eventually started writing and directing short films with “no money” while juggling a day job as a temp. Both experiences provided Herron with material for “Loki,” which introduces a new bureaucratic agency called the Time Variance Authority to the MCU.

“I’ve worked at a lot of random places, which weirdly has influenced ‘Loki’ in some ways because we have this office culture kind of running through it,” says Herron. “I’ve worked in a lot of offices.”

In order to give the retro-futuristic offices of the TVA “a real lived-[in], breathed-in office” feel, Herron incorporated details that viewers could recognize from the real world — from paper files to the posters on the walls — and gave them a fantastical twist befitting the superhero series.

“One of the most exciting things to me about Kate is she has this amazing attention to detail,” says “Loki” co-executive producer Kevin Wright. “That was something that we saw on her very first pitch [and] it works its way into every frame of the show. Every monitor, every piece of paper in the TVA … she has looked over and approved everything you see.”

In an email, “Loki” star Hiddleston described Herron as “a dream collaborator” who possesses “a unique combination of extraordinary diligence, stamina, energy, respect and kindness.”

“Her affection for and understanding of Loki was so deep, profound and wide-ranging,” Hiddleston wrote. “She built a new world for these characters to play in with incredible precision, but she was also acutely sensitive to their emotional journey.”

Herron’s affinity for outsiders is apparent throughout the course of our conversation. There is of course her love for Loki — the heir to the king of Frost Giants raised as the prince of Asgard who has become one of the MCU’s most beloved villain-turned-antiheroes. Herron’s first introduction to the world of Marvel as a kid was through “X-Men: The Animated Series,” about the superhero team with mutant powers that set them apart from average humans. Herron cites Lisa Simpson — the overachieving, opinionated middle child from the animated sitcom “The Simpsons” — as the reason she is a vegetarian who can play the saxophone.

And although Herron describes herself as shy, it’s no match for the passion she brings to discussing film and television.

She calls Wes Anderson’s 2001 film “The Royal Tenenbaums,” co-written by “Loki” actor Owen Wilson, “a perfect movie.” In addition to being obsessed with “The Simpsons,” Herron gravitated toward genre shows such as “Buffy the Vampire Slayer,” the updated “Battlestar Galactica” and “The X-Files” when growing up.

As Herron enthusiastically dives into “Loki’s” influences — which include “Alien” (1979), “Blade Runner” (1982), “Brazil” (1985), “Metropolis” (1927) and, yes, even “Teletubbies” — it’s easy to see why Wright knew she was the right person to bring “Loki” to life from their very first meeting.

Upon learning that Marvel was developing a show about Loki, Herron tasked her agents with calling Marvel every day until they would meet with her. And it worked.

“I was just so excited that somebody was chasing the project,” says Wright. “Which sounds crazy, that Marvel would be excited somebody’s chasing us. But it was the early days of us trying to get this Disney+ streaming stuff off the ground, so people were very hesitant … they didn’t know what it was yet.”

Herron’s enthusiasm for the show landed her a video meeting with Wright and executive producer Stephen Broussard. Believing it might be her only shot at the project, Herron came armed with so many stills and clips to illustrate her discussion of the scripts she’d been sent that a simple meet-and-greet turned into a four-hour conversation.

“Over the course of the next week or so,” Wright explains, “it was really figuring out how to set Kate up to succeed when we got her in front of Kevin Feige to pitch this.”

Herron put together a 60-page bible of ideas for the characters, the story, the visual references and more. The rest is Marvel history.

She learned not to wait for permission, she says, after graduating from film school and becoming involved with improv and stand-up to both develop her comedy chops and to meet funny collaborators to be in her short films.

“I think I’d always find excuses, almost, [to not do it],” says Herron. “It was that thing of being like, ‘Oh, well, I’m not ready. So I’ll wait. I’ll wait until I’m perfect at it and then I’ll go do it.’”

Taking inspiration from Robert Rodriguez’s “Rebel Without a Crew” and a SXSW keynote speech by Mark Duplass, Herron realized that she just needed to start making things. She told herself it was OK if the films were messy. If a short was bad, nobody had to see it. If a short was “halfway to good,” she would submit them to festivals.

It’s this tenacious creativity that connects the dots between her early fan fiction, her short films, her pitch presentations — and now “Loki” itself. It’s a trait that has helped her navigate the industry to her current success, even during the periods it’s been most frustrating. As a female director, “I got asked crazy stuff in interviews sometimes,” she says of life on the festival circuit. “I remember being asked, ‘Are you sure you’re ready? Are you sure you’re ready?’ And male colleagues of mine were never asked that in interviews. I think that’s probably why I was so driven to just go out and make stuff.”