#rio burton

[acourtofquestions]

credit: Rio Burton

[graphicpolicy]

Crowdfunding Corner: Let Her Be Evil is a celebration of unapologetically wicked women with cruel intentions

Crowdfunding Corner: Let Her Be Evil is a celebration of unapologetically wicked women with cruel intentions #comics #comicbooks #graphicnovel

Backer Beware: Crowdfunding projects are not guaranteed to be delivered and/or delivered when promised. We always recommend to do your research before backing.Disclosure: Graphic Policy’s founder Brett is a member of the Zoop team. If you’re looking for sympathetic anti-heroines or villainesses with tragic backstories, you won’t find them here. Let Her Be Evil is a celebration of…

[klizzie93]

Pacer Burton you have my heart

[ghostflowerdreams]

Audio Drama Recommendations, Pt. II

For part one, click here. I went on another audio drama binge and I found some that were pretty fun to listen to. I usually tend to go after the ones that are completed because the longer the wait, the more likely I will forget the details, but this time I just went for anything that caught my attention. This also isn’t in any particular order.

The Magnus Archives – is a horror fiction anthology podcast written by Jonathan Sims, directed by Alexander J. Newall, and distributed by Rusty Quill.

The new Head Archivist of the Magnus Institute, Jonathan Sims, attempts to bring a seemingly neglected collection of people’s testimonials of their encounters with the supernatural up to date, converting them to audio and supplementing them with follow-up work from his small but dedicated team. [COMPLETED]

It has five seasons, each 40 episodes long, as well as additional content such as Q&As, non-canon fan-submitted statements and one-off episodes that tie in with Rusty Quill's other podcasts.

It does start out slow and maybe at some point you’ll be wondering where is this going and what does some of these episodes have to do with the overall story, but it does all eventually connect. Your patience will pay off because once the build-up is done it picks up and things get really interesting!

Unwell – is a horror podcast starring Clarisa Cherie Rios and produced by Hartlife NFP.

The story follows Lillian Harper who has returned home to Mt. Absalom, Ohio to care for her estranged mother Dorothy after an injury. Living in the town's boarding house which has been run by her family for generations, she discovers conspiracies, ghosts, and a new family in the house's strange assortment of residents. [ONGOING]

This audio drama has five seasons which runs for 12 episodes. It currently has 54 episodes in total and each one is about 20-30 minutes long. New episodes are released fortnightly (biweekly) on Wednesdays. They take a mid-season break between episodes 6 and 7.

Bridgewater – is a supernatural thriller audio drama produced by Grim & Mild and by iHeartRadio, created by Aaron Mahnke and written/directed by Lauren Shippen.

Folklore professor Jeremy Bradshaw is pulled into the mysterious 1980 disappearance of his police officer father, Thomas, by new evidence that threatens to upend decades of certainty. Along the way, he’s helped by some unlikely partners who challenge everything he believes in, and ultimately tries to answer the question: can the past actually be rewritten?

Together with his father’s former partner, retired Detective Anne Becker, Jeremy must chase the clues that will tell him whether his father really did fall victim to a Satanic cult in the Bridgewater Triangle—or something much more dark and unexplainable. [ONGOING]

It has two seasons, the first consist of 10 episodes and the second has 12 episodes. Each one runs about 20-30 minutes long. Season three was put on hold when there was news of a possible television series. However, that fell through and by then everyone was working on other projects. So a season three, well, that’s pretty much up in the air.

It stars Misha Collins (Supernatural), Melissa Ponzio (Teen Wolf), Nathan Fillion (Firefly, The Rookie), Karan Soni (Deadpool), Kristin Bauer (True Blood), Hilarie Burton Morgan (The Walking Dead, One Tree Hill), Wil Wheaton (Star Trek: The Next Generation), Jonathan Joss (The Magnificent Seven, Parks and Rec) and Lori Alan (Spongebob Squarepants, Family Guy).

The Lovecraft Investigations -- is a mystery thriller/horror fiction podcast written and directed by Julian Simpson, based on several works of H.P. Lovecraft. It’s produced by Sweet Talk Productions for BBC Radio 4. It concluded with three seasons and each episode is about 25-30 minutes long. There might be a fourth season in the works, but even if there isn’t the series is considered to be finished.

The first season starts off with an investigation into the disappearance of a young man, Charles Dexter Ward from a locked room in an asylum. [COMPLETED]

It stars Barnaby Kay (Shakespeare in Love), Jana Carpenter (Doctor Who), Nicola Walker (MI-5, Unforgotten), Mark Bazeley (The Queen, The Bourne Ultimatum), Phoebe Fox (Eye in the Sky, The Woman in Black 2: Angel of Death), Steven Mackintosh (Rang De Basanti, Lock, Stock and Two Smoking Barrels), Samuel Barnett (Dirk Gently's Holistic Detective Agency, Penny Dreadful), Alun Armstrong (Sleepy Hollow, The Mummy Returns), Adam Godley (The Great, The Umbrella Academy), and so on.

Midnight Burger – is a monthly sci-fi audio drama about a diner at the end – and somehow the beginning – of the universe.

When Gloria took a waitressing job at Midnight Burger outside of Phoenix, she didn’t realize she was now an employee of a time-traveling, dimension-spanning diner. Every day Midnight Burger appears somewhere new in the cosmos along with its staff: a galactic drifter, a rogue theoretical physicist, a sentient old-timey radio, and some guy named Caspar.

No one knows who built Midnight Burger or how it works, but when it appears there's always someone around who could really use a cup of coffee. Come by any time, we open at six. [ONGOING]

The audio drama currently has three seasons and each episodes averages about 30 minutes to an hour or so.

Rex Rivetter: Private Eye – is a 1950s-style noir detective audio drama written by Greg McAfee, directed by Rhiannon McAfee, and produced in San Diego, CA by Downstairs Entertainment with editing and sound design by Steve Murdock. The Rex Rivetter theme “Nightmare” by the Artie Shaw Orchestra is used with permission of Music Sales Corp.

The year is 1955. Tinsel town. The land of make-believe. It's a time of growth in American prosperity. Especially in Los Angeles. Here, dreams are bought and sold.

But there's a seedier side to the City of Angels, the shadows where pimps and narcotics pushers live, where organized crime stands just around every corner with one hand out, and the other wrapped around a roscoe. It's a city full of fancy dames and slick cons, where bookies know the vig, so you better, too.

Some folks call it noir or pulp fiction. But for a private eye named Rex Rivetter, it's home. [ONGOING]

It has four seasons and each one runs about 20-30 minutes long. Due to the pandemic, it is still unknown if season five will ever come out and so far there hasn’t been any news about it either.

Mansfield Mysteries – is a satirical, cozy murder whodunit written by Amy Henson, directed by Nicholas Hoyt and produced by The QuaranTeam.

It follows the inquisitive, martini-loving socialite Dorinda Mansfield and is set in quiet, affluent Berkshire Bay. So far it only has one season, which contains nine hilarious episodes, each three-chapter story finds Dorinda wrapped up in a new murder. With the help of her devoted daughter, Stacey—as well as the occasional frenemy—Dorinda digs for clues, navigates Berkshire Bay’s elite social circles, and sifts through years’ worth of grudges and motives. In this company town, no one can be trusted, and everyone has something to hide.

Whether at the Labor Day Extravaganza, the Halloween Tennis Club Open, or secret karaoke night, Dorinda sets out to find the real killer before they get away with murder… Just as soon as she orders her martini! [COMPLETED]

If you’re looking for a bite-sized audio drama, this might be for you. It has three seasons (or chapters) and each one only takes three episodes to complete its tales, which is fun, amusing and will keep you entertained while you’re working on something or resting your eyes.

The Call of the Void – is an indie science fiction mystery audio drama created and written by Josie Eli Herman and Michael Alan Herman. It’s produced by Acorn Arts & Entertainment. It contains three seasons of 28 episodes and each one is about 25-30 minutes long with a cast of about 35 actors.

In the bustling streets of New Orleans, a tour guide and a palm-reading outcast team up to unravel the mystery behind cases of sudden insanity besetting the city. [COMPLETED]

Wolf 359 – is a science fiction audio drama created by Gabriel Urbina and produced by Gabriel Urbina and Zach Valenti under Kinda Evil Genius Productions. It consists of four seasons with 61 episodes in total and each one is about 25-40 minutes long.

It is set on board the U.S.S. Hephaestus space station orbiting the star Wolf 359 on a deep space survey mission. The dysfunctional crew deals with daily life-or-death emergencies, while searching for signs of alien life and discovering there might be more to their mission than they thought. [COMPLETED]

[terrible-eel]

Its finally happening! Let Her Be Evil Is available on my etsy shop!

I wrote "The Witch" and I'm so happy its finally seeing the light of day!

If you’re looking for sympathetic anti-heroines or villainesses with tragic backstories, you won’t find them here. LET HER BE EVIL is a celebration of unapologetically wicked women with cruel intentions—of the nasty, the vile, the rage-fueled monstresses who know exactly what they want and aren’t afraid to get it by any means necessary.

Featuring seventeen original stories, including new work by Heather Antos, Brent Fisher, Rio Burton, Lauren Knight, Kamila Krol and Moe McGonagle, as well as other emerging writers and artists, this anthology sets out to carve out a narrative space that explores and nurtures the darkest sides of femininity.

Please consider buying this comic, it would support so many queer creators, including myself!

[sistahscifi]

Join Sistah Scifi TOMORROW Thursday, September 19, 2025 at 630PM PST for a virtual thought-provoking discussion exploring the world of African American horror through an Afrofuturist lens. Details at @SistahScifi | https://sistahscifi.com/pages/events.

Afrofuturist Nightmares: Reimagining African American Horror

The event will feature Michele Tracy Berger, Tananarive Due, Justin C. Key, and Tamika Thompson discussing their latest short story collections. The discussion will be moderated by Isis Asare.

📚 Michele Tracy Berger has a voice like no one else. —Julia Rios, Hugo Award-winning editor

📚 I make no secret of the fact that I am a huge Tananarive Due fan. — LeVar Burton

📚 Justin C. Key has written “an electrifying collection that would make Octavia E. Butler smile.”

— Ebony Magazine

📚 Tamika Thompson is a master of subtly building a story to shocking revelations.

— Dark Dispatch

@zomgjulia @Levar.Burton @OctaviaEButler @ebonymagazine @dark.dispatch @AuntLute @akashicbooks @harperbooks

@bergermichele2005 @TananariveDue @justinckey @tamikadthompson @IsisAsare

[jakeperalta]

2023 books — be my friend on storygraph :)

I feel bad about my neck - nora ephron (☆☆☆☆☆)

the duke and I - julia quinn (☆☆)

small fires: an epic in the kitchen - rebecca may johnson (☆☆☆☆½)

taste: my life through food - stanley tucci (☆☆☆☆)

passing - nella larsen (☆☆☆☆)

if we were villains - m.l. rio (☆☆☆☆☆)

the metamorphosis - franz kafka (☆☆☆)

after I do - taylor jenkins reid (☆☆☆☆☆)

our endless numbered days - claire fuller (☆☆☆½)

happy place - emily henry (☆☆☆☆☆)

other parents - sarah stovell (☆☆☆☆)

the lonely city: adventures in the art of being alone - olivia laing (☆☆☆☆)

women talking - miriam toews (☆☆☆☆½)

meet me at the lake - carley fortune (☆☆☆☆)

humankind: a hopeful history - rutger bregman (☆☆☆☆☆)

mules of love - ellen bass (☆☆☆☆½)

a thousand mornings - mary oliver (☆☆☆½)

the course of love - alain de botton (☆☆☆½)

medusa - jessie burton (☆☆☆½)

so you want to talk about race - ijeoma oluo (☆☆☆☆)

sex power money - sara pascoe (☆☆☆☆☆)

red, white & royal blue - casey mcquiston (☆☆☆☆☆) (re-read)

east of eden - john steinbeck (☆☆☆☆☆)

in memoriam - alice winn (☆☆☆☆☆)

everyday sexism - laura bates (☆☆☆☆)

icebreaker - hannah grace (☆☆☆)

romantic comedy - curtis sittenfeld (☆☆☆☆)

fahrenheit 451 - ray bradbury (☆☆☆½)

the other passenger - louise candlish (☆☆☆☆)

consent: a memoir - vanessa spingora (☆☆☆☆)

women & power: a manifesto - mary beard (☆☆☆☆½)

postcolonial love poem - natalie diaz (☆☆½)

the ballad of songbirds and snakes - suzanne collins (☆☆☆☆½) (re-read)

the simple wild - k.a. tucker (☆☆☆☆)

house of hollow - krystal sutherland (☆☆☆☆)

the hobbit - j.r.r. tolkien (☆☆☆☆½)

high windows - philip larkin (☆☆)

so late in the day - claire keegan (☆☆☆☆)

one day in december - josie silver (☆☆☆½)

the woman in me - britney spears (☆☆☆☆)

assembly - natasha brown (☆☆☆)

feel your way through - kelsea ballerini (☆☆☆½)

a christmas carol - charles dickens (☆☆☆½)

[absolutelyfuckinggnobody]

intro post!!

~Rio

~8teen

~he/they

~gore addict, true crime fan, drug addict, mental ill piece of shit

Tcc: richard ramirez, billy milligan, aiden hale, reb n’ vodka, adam lanza, andrew blaze, dahmer

Music: alex g, McCafferty, watsky, radiohead, deftones, crystal castles, ac/dc, msi, ptv, the smashing pumpkins, and many many more

Media: tim burton, hazbin, helluva, hamilton, zero day, wayne, ianowt, 80’s-90’s film, tc documentary’s, and ofc our lovely gore websites

dm for discord, twt, spotify,

i condone

ur opinion isn’t gonna change mine so stop trying

[redladydeath]

Double queens!

Jade Marvin & Abbi Hodgson - Breakaway 2.0 Lauren Irving & Madeline Fansler - Breakaway 3.0 Gabbi Mack & Abbi Hodgson - Breakaway 5.0 Chloe Hart & Grace Melville - UK Tour 4.0 Khaila Wilcoxon & Kelly Denice Taylor - Aragon Tour Gerianne Perez & Cecilia Snow - Boleyn Tour Jaz Robinson & Hailey Lewis - Canadian Production Analise Rios & Audrey Fisher - Breakaway 6.0 Leandra Ellis-Gaston, Ayla Ciccone-Burton & Marilyn Caserta - Broadway 2.0 Jessie Bodner & Princess Victome, Lucia Valentino & Ellie Sharpe - Breakaway 4.0 Sunayna Smith & Eden Holmes - Breakaway 5.0 Zan Berube & Taylor Pearlstein - Boleyn Tour Amina Faye & Aryn Bohannon - Boleyn Tour Maggie Lacasse & Julia McLellan - Canadian Production Jasmine Forsberg & Kelsee Kimmel - Aragon Tour Kathryn Kilger & Bethany McDonald - Bliss 5.0 Terica Marie & Jana Larell Glover - Boleyn Tour Artemis Chrisoulakis & Jillian Worthing - Bliss 5.0 Artemis Chrisoulakis & Ellie Sharpe - Breakaway 2.0 Lucia Valentino & Ellie Sharpe - Breakaway 4.0 Jaina Brock-Patel & Leesa Tulley - UK Tour 4.0 Eloise Lord & Deirdre Dunkin - Breakaway 6.0

[dangakkisland]

Chapter 3 (trial) + Chapter 4 most of the daily life

Brazilian economy is in shambles..One battery for my mouse was 40$..With a discount This time I have video! from Bandicam + Bandicut you all will finally see the UI, I think that's what is called! Right when I finally get the pictures (My game stopped when I finished recording..I had to start over), it has more content than it would normally have

As I said after that if it glitched I didn't save it because I was confident of my abilities and didn't expect the game to crash so early without warning, as you can notice I put the audio in Japanese because my mind would get into a knot because of the English audio and sometimes it doesn't match The trial was pretty much the same I couldn't exactly open the bandicam for screenshots so I went without it for the entire trial, the noticeable thing about it was ''Hi-fuck'' and ''Tak-unt'' both nicknames from Shou (It would be Taka who gave birth but being honest YOU want to call him that? in English? I don't think so)

Union <3

There is absolutely nothing wrong with this one, no references but the chapter opens up to Hiro saying ''gado'' (Cow or person who lets themselves be stepped on for someone they love) there being nothing coming out of this title is just balanced

And Kirigiri saying that one Naruto meme (it is not the only one with super however that's the one that is the first on the search bar and one that I remember vividly, plus is from voice makers the one who invented the naruto meme of ''Flexiable Heterosexual'') ''You're a man, let it go'' ''What do you think men are made of?''

''I'm the boss, I do what I want...PAIN DIED LET IT GO!'' ''I don't care'' ''LET IT GO!''

The teachers' room also gave me abnormal amounts of money because of Tim Burton...I hope he has the right reason to give me +20 coins

Ah yes the blackboards that changed the whole trajectory of veiled hope I remember well...Nice to see them translated, I couldn't have the whole blackboard for some reason, I was very close to it for whatever circumstance

The screenshot speaks for itself: Monokuma is that one Keanu Reaves emote (Admitted, real not fake, not a bit, Top 10 characters who despair for ass, I don't know how to spell the actor's name)

''I was at the bathhouse, what more you would want to know? My zodiac star signs?'' - Zodiacs are very popular, or it may be Saint Seiya fever that never died in the 90s and keeps being Brazilians favorite Shounen besides Dragon Ball, in the 2010s I met it via Rebosteio, a channel not for kids who did mostly edgy humor that I was fond off at the time most of the episodes are blocked out of the earth...

And there is finally a thing I can explain, Woodpecker reference! (I'm not sorry for bringing the Woodpecker movie curse) ''Minha nossa nossa nossa'' Video posted on youtube on 1st of April 2014 by TVMAROTO

Is that I would say if I didn't look closer now and see that the ''Nossas'' are not together, its fine we can dream... and she tries to do the static of every robber in brazil too, if I saw her on Rio de Janeiros streets (I don't live there) I would run or give up my life on sight

''Bow, it is your chance to get this over big guy Makoto! Bow and beg like you never did in your life''-Hiro

Ending this big post by saying ladies and gentlemen plus yer majesties oh that's the name of it:

''The most despairful, the most evil, monstrous tragedy of humanity'

[thatrandomartistjavi]

Actors that were in Alice in Wonderland media and where you might know them better from. Part 3: 2000s-2020s

Part 1 | Part 2 | Part 3(you're here!!)

American McGee(2000)-

Susie Brann as Alice: The Groke from Moominvalley(2019) Roger L. Jackson as the Cheshire Cat(and many others): Ghostface voice from the Scream franchise Mojo Jojo from The Powerpuff Girls Hol Horse from Jojo's Bizarre Adventure Jarion Monroe as the Caterpillar: Dr. Kaufmann from Silent Hill

What's the Matter with Hatter(2007)-

Lewis MacLeod as the Hatter: Sebulba from Star Wars Episode I- The Phantom Menace Principal Brown/Rocky Robinson/Mr. Small/Miss Simian/the Doughnut Sheriff from The Amazing World of Gumball(season 1)

SyFy(2009)-

Caterina Scorsone as Alice Hamilton: Dr. Anelia Sheperd from Grey's Anatomy Matt Frewer as Charlie the White Knight: Russell Thompson Sr. from Honey, I Shrunk the Kids! Panic from Hercules Pink Panther from The Pink Panther(1993) Chaos from Aladdin the Animated Series(the one exception to the No one time characters rule because I love Chaos) Kathy Bates as the Queen of Hearts: Margaret "Molly" Brown from Titanic Tim Curry as the Dodo: Dr. Frank N. Furter from The Rocky Horror Show/The Rocky Horror Picture Show Wadsworth from Clue Mr. Hector from Home Alone 2- Lost in New York Long John Silver from Muppet Treasure Island Pennywise the Clown/It from It(1990) Hexxus from Ferngully- The Last Rainforest The Cat King from The Cat Returns Taurus Bulba from Darkwing Duck Nigel Thornberry from The Wild Thornberrys Chancellor Palpatine from Star Wars- The Clone Wars S.I.R. from ExtraTERRORestrial Alien Encounter Harry Dean Stanton as the Caterpillar: Balthazar from Rango Brett from Alien Brave Hearts Lion from The Care Bears Movie Timothy Webber as the Carpenter/Alice's dad: The Apprentice from Once Upon a Time

Malice in Wonderland(2009)-

Maggie Grace as Alice: Irina from Twilight- Breaking Dawn Shannon Ruthenford from Lost Nathaniel Park as Harry Hunt: Master Edward Gracey from The Haunted Mansion(2003) Pam Ferris as Duchey: Miss Agatha Trunchbull from Matilda

Tim Burton(2010)-

Johnny Depp as Tarrant Hightopp: Edward Scissorhands from Edward Scissorhands Captain Jack Sparrow from Pirates of the Caribbean Willy Wonka from Charlie and the Chocolate Factory Victor Van Dort from Corpse Bride Sweeney Todd from Sweeney Todd- The Demon Barber of Fleet Street(movie) Rango from Rango Helena Bonham Carter as Iracebeth of Crims: Emily from Corpse Bride Ms. Lovett from Sweeney Todd- The Demon Barber of Fleet Street(movie) Bellatrix Lestrange from Harry Potter franchise Mme. Thénardier from Les Misérables(2012) Fairy Godmother from Cinderella(2015) Anne Hathaway as Mirana of Marmoreal: Mia Thermopolis from The Princess Diaries Haru Yoshioka from The Cat Returns Red Puckett from Hoodwinked Jewel from Rio Fantine from Les Misérables(2012) Crispin Glover as Ilosovic Stayne: George McFly from Back to the Future Matt Lucas as the Tweedles: Sparx from AstroBoy(2009) Benny from Gnomeo & Juliet Gerarld Prodnose from Wonka Nardole from Doctor Who Frances de la Tour as Aunt Imogene: Madame Maxime from Harry Potter franchise Leo Bill as Hamish Ascot: Headmaster from Cruella Marton Csokas as Charles Kingsleigh: Lord Celeborn from The Lord of the Rings Lindsay Duncan as Helen Kingsleigh: Queen Annis from Merlin(2011) Tim Pigott-Smith as Lord Ascot: Sir Philip Tapsell from Downtown Abbey Geraldine James as Lady Ascot: Marilla Cuthbert from Anne with an E Michael Sheen as Nivens McTwisp: Dr. Griffiths from Tinker Bell and the Great Fairy Rescue Aro from Twilight-Breaking Dawn Aziraphale from Good Omens Alan Rickman as Absolem: Hans Gruber from Die Hard Severus Snape from Harry Potter franchise Judge Turpin from Sweeney Todd- The Demon Barber of Fleet Street(movie) Stephen Fry as Chessur: Narrator from Pocoyo Master of Lake-town from The Hobbit Barbara Windsor as Mallymkun: Blonde from Chitty Chitty Bang Bang Timothy Spall as Bayard Hamar: Nick from Chicken Run Mr. Poe from A Series of Unfortunate Events(2004) Peter Pettigrew from Harry Potter franchise Beadle Bamford from Sweeney Todd- The Demon Barber of Fleet Street(movie) Paul Whitehouse as Thackery Earwicket: William Van Dort from Corpse Bride Michael Gough as Uilleam: Alfred Pennyworth from Burton Batman and its sequels Elder Gutknecht from Corpse Bride Christopher Lee as Jabberwocky: Saruman from The Lord of the Rings Dr. Wilbur Wonka from Charlie and the Chocolate Factory Pastor Galswells from Corpse Bride Imelda Staunton as Talking Flowers: Bunty from Chicken Run Dolores Umbridge from Harry Potter franchise Knotgrass from Maleficent Aunt Lucy from Paddington Jim Carter as the Executioner: Mr. Charles Carson from Downtown Abbey

Wonderland the Musical(2011)-

Janet Dacal as Alice Stetson/Cornwinkle: Carla from In the Heights Nikki Snelson as the Hatter(2009-2010): Brooke Wyndam from Legally Blonde the Musical Kate Shindle as the Hatter(2011): Vivienne Kensington from Legally Blonde the Musical Jose Llana as El Gato: Chip Tolentino from 25th Annual Putnam County Spelling Bee Karen Mason as the Queen of Hearts: Tanya from Mamma Mia!(musical)

Royal Opera House ballet(2011)-

Steven McRae as the Hatter: Skimbleshanks from Cats(movie)

Once Upon a Time in Wonderland(2013)-

Sebastian Stan as Jefferson: Bucky Barnes/The Winter Soldier from the Marvel Cinematic Universe Keith David as the Cheshire Cat: Dr. Facilier from The Princess and the Frog Husk from Hazbin Hotel President from Rick and Morty Glossaryck from Star vs the Forces of Evil King Andrias Leviathan from Amphibia The Cat from Coraline Goliath from Gargoyles Arbiter from Halo 2 Millie Bobby Brown as Young Alice: Eleven from Strangers Things John Lithgow as Percy the White Rabbit: Reverend Shaw Moore from Footloose Lord Farquaad from Shrek

Ever After High(2013)-

Cindy Robinson as Madeline Hatter: Sirene/Psycho Jenny from Devilman Crybaby Leap from LeapFrog Jackson Jekyll/Holt Hyde/Operetta from Monster High(2010) Amy Rose from the Sonic franchise(since 2010) Wendee Lee as Lizzie Hearts: Faye Valentine from Cowboy Bepop Konata Izumi from Lucky Star Lisa Lisa from Jojo's Bizarre Adventure Nefera de Nile from Monster High(2010) Bekka Prewitt as Kitty Cheshire: Bela Dimitrescu from Resident Evil Village Robbie Daymond as Alistair Wonderland: Megumi Fushiguro from Jujutsu Kaisen Raymond from Ok K.O.! Let's Be Heroes Jesse Cosay from Infinity Train Ice Prince from Fionna and Cake Stardust Cookie from Cookie Run Kingdom Karen Strassman as Bunny Blanc/Queen of Hearts: Miyuki Takara from Lucky Star Olivia from Lego Friends Elissabat/Catty Noir from Monster High(2010) Rouge the Bat from the Sonic franchise(since 2010) Josey Montana McCoy as Chase Redford: Kaeya from Genshin Impact Neighton Rot/Victor Frankenstein from Monster High(2010) Paula Rhodes as Courtly Jester: Stacie from Barbie- Life in the Dreamhouse Scarah Screams/Sirena Von Boo from Monster High(2010) Macaron Cookie from Cookie Run Kingdom Julie Maddalena as the Cheshire Cat: Venus McFlytrap/Robecca Steam from Monster High(2010) Marc Grane as the Mad Hatter: Mr. Zurkon from Ratchet and Clank

Dora in Wonderland(2014)-

Mel Brooks as the Hatter: Professor Max Krassman from The Muppet Movie Vlad Dracula from Hotel Transylvannia 2 Alan Cumming as the White Rabbit: Floop from Spy Kids The Emcee from Cabaret(1993,1998) Sara Ramirez as the Queen of Hearts: Calliope Torres from Grey's Anatomy Queen Miranda from Sofia the First

Through the Looking Glass(2016)-

Sacha Baron Cohen as Time: King Julien XIII from Madagascar Signor Adolfo Pirelli from Sweeney Todd- The Demon Barber of Fleet Street(movie) Uncle Ugo from Luca Matt Vogel as Wilkins: Big Bird(since 1998)/Count Von Count(since 2013) from Sesame Street Uncle Deadly/Floyd Pepper/Sweetums/Lew Zealand/Crazy Harry/Camilla the Chicken/Robin the Frog from The Muppets(since 2008) Kermit the Frog from The Muppets(since 2020) Rhys Ifans as Zanik Hightopp: Xenophilius Lovegood from Harry Potter franchise Curt Connors/The Lizard from Amazing Spider-Man Richard Armitage as King Oleron: Thorin Oakenshield from The Hobbit Hattie Morahan as Queen Elsemere: Enchantress from Beauty and the Beast(2017) Kyle Herbert as Young Bayard: Big the Cat from Sonic Frontiers Wally Wingert as Humpty Dumpty: Almighty Tallest Red from Invader Zim Time from Disney Infinity 3.0 Riddler from Lego DC Super Villains/Batman-Arkham Hank Pym from Avengers- Earth's Mightiest Heroes Jon Arbuckle from The Garfield Show(2008) Renji Abari from Bleach

Alice By Heart(2019)-

Colton Ryan as Alfred Halam/White Rabbit: Connor Murphy from Dear Evan Hansen(movie) Wesley Taylor as Harold Pudding/Hatter: Sheldon Plankton from Spongebob Squarepants the Musical Honorable Mentions that have no footage of them playing the characters: Mike Faist as Alfred Halam/White Rabbit- Connor Murphy from Dear Evan Hansen(musical) Ben Platt as Alfred Halam/White Rabbit- Evan Hansen from Dear Evan Hansen Phillipa Soo as Tabitha/Cheshire Puss- Eliza Schuyler from Hamilton Anthony Ramos as Angus/Caterpillar- Phillip Hamilton from Hamilton

Come Away(2020)-

Angelina Jolie as Rose Littleton/Queen of Hearts: Maleficent from Maleficent Lola from Shark Tale Tigress from Kung Fu Panda

Alice's Wonderland Bakery(2022)-

Audrey Wasilewski as Dinah/Three Anne: Tucker Carbuckle from My Life as a Teenage Robot Arlene from Garfield(2009) Ortensia from Epic Mickey franchise Stealth Elf from Skylanders Megan Olsen from Infinity Train Craig Ferguson as Doorknob: Gobber from How to Train Your Dragon Owl from Winnie the Pooh(2011) Lord Macintosh from Brave Eden Espinosa as the Queen Valentina of Hearts: Cassandra from Tangled the Series Bobby Moynihan as Tweedle Don't/Dill: Panda from We Bare Bears Louie from Ducktales(2017) Dude from Descendants Donald Faison as Harry the March Hare: Christopher Turk from Scrubs Max Mittelman as Cheshire Cat: Saitama from One-Punch Man Plaqq from Miraculous Ladybug Ryuji Sakamoto from Persona 5 Red Velvet Cookie from Cookie Run Kingdom Arataki Itto from Genshin Impact George Salazar as Dad Hatter: Michael Mell from Be More Chill Grover from The Lightning Thief Musical Mandy Gonzalez as Mother Rose: Nina Rosario from In the Heights Yvette Nicole Brown as Mama Rabbit: Coach Roberts from Inside Out 2 Lesley Nicol as Iris: Mrs. Patmore from Downtown Abbey Merle Dandridge as the Silver Queen: Alyx Vance from Half-Life Marlene from The Last of Us Ana Gasteyer as Kiki the Caterpillar: Betsy Heron from Mean Girls Lamorne Morris as Dandy: Winston Bishop from New Girl Christopher Fitzgerald as Thistle: Boq from Wicked Ogie Anhorn from Waitress Matthew Moy as David of Spades: Lars Barriga from Steven Universe Shroomboom from Skylanders James Monroe Iglehart as Oliver the Onion: Genie from Aladdin on Broadway Asmodeus/Vortex from Helluva Boss Zestial from Hazbin Hotel Kausar Mohammed as Ms. Parvaneh: Yasmina Fadoula from Jurassic World- Camp Cretaceaus/Chaos Theory Cleo de Nile from Monster High(2022) Mark Williams as Ribbitton: Arthur Weasley from Harry Potter franchise Horace from 101 Dalmatians(1996) Karen Fukuhara as Sakura: Katana from Suicide Squad(2016) Glimmer from She-Ra and the Princesses of Power(2018) Kipo Oak from Kipo and the Age of Wonderbeasts Isabella Abiera as Milly the Carpenter: Hazel from Infinity Train Dee Bradley Baker as Jabbie the Jabberwock: Perry the Platypus from Phineas and Ferb

Rise of Red(2024)-

Leonardo Nam as Maddox Hatter: Felix Lutz from Westworld Kylie Cantrall as Princess Red of Hearts: Dani from High School Musical-The Musical The Series(season 4)

[acourtofquestions]

Padmé Amidala would be proud

credit: @atouchofmagicdesigns @rioburton

[thebookhoard]

Masterpost

Hello and welcome to my book blog!

This is the masterpost of all the books I've posted on here, sorted by the titles in alphabetical order.

Once again, I only do short, spoiler free descriptions of what I think about the book. If you want to talk about a book more in detail, feel free to message me!

My personal favourites are marked in green.

Books on this blog:

Death on the Nile - Agatha Christie

If We Were Villains - M. L. Rio

On Earth We're Briefly Gorgeous - Ocean Vuong

Smoke Gets In Your Eyes & other Lessons from the Crematory - Caitlin Doughty

The Count of Monte Christo - Alexandre Dumas

The Giver - Lois Lowry

The Mad Women's Ball - Victoria Mas

The Martian - Andy Weir

The Midnight Library - Matt Haig

The Miniaturist - Jessie Burton

The Seven Husbands of Evelyn Hugo - Taylor Jenkins Reid

[guerrerense]

Chicago Burlington & Quincy 5629 along with Denver & Rio Grande Western 3011 (GP30) during the 2023 Colorado Crossings event at the Colorado Railroad Museum. 5/23 por Bryan Burton

[emailsfromanactor]

A harsh review/account of opening night from The New York Review of Books, mentioned by neither Redfield nor Sterne. I happened across it while looking up celebrities in the opening night audience.

*

The Gielgud-Burton Hamlet: Notes on a First Night Dwight Macdonald May 14, 1964 issue

“fiasco… 2. a complete or ridiculous failure, esp. of a dramatic performance, or of any pretentious undertaking.” —Webster’s Unabridged (2nd. ed.)—

The first disappointment was the audience. I arrived early to find the place swarming with cops like a Hitchcock (or Mack Sennett) film, a hundred and fifty of them the papers said. They were masterfully tough with ordinary citizens who tried to infiltrate their defenses—“You wanna go to the station?” one asked a nice-looking young woman after some previous dialogue I missed; “Yes,” she said bravely, but I was able to create a diversion by pushing past without showing my ticket—and they were apologetically ineffective with more substantial-appearing citizens who had tickets (they never did get them herded into the lobby). All very American, like the TV trucks, the photograph garlanded with cameras, the brilliant lights that flooded on whenever a celebrity was thought to be disembarking from a Carey limousine. The trouble was that, while the mob in front of the theater looked like Celebrities—the handsomely gowned and coiffed women, mostly “of a certain age,” and their flushed, hard-faced escorts bursting impressively out of tuxedoes—they were not and knew they were not and, like the uncoiffed, untuxedoed, unticketed mob on the wrong side of the police lines, were hanging around in the simple, touching hopes of seeing somebody that was. But Celebrities were in short supply: the only ones I can attest to personally were Lillian Hellman (who left in the entr’acte) and Otto Preminger. (“Are we still on speaking terms Otto?” I asked, thinking of the latest bad review I’d given him: “Of course,” he grinned as we shook hands, “But I wish we were on writing terms”; a real pro.) And even if one adds, from the papers—you don’t know what you’ve experienced at these non-events until you read the papers—Dolores Del Rio, Gwen Verdon, Margaret Leighton, Hermione Gingold, Montgomery Clift, and Lee Radziwill, well I mean to say what do you have really? The one big Celebrity we were all waiting for arrived, with a clatter of mounted police and a few screams, at a remote side entrance into which she instantly vanished. She also disappeared, in the entr’acte, to visit her husband in his dressing room, or so I read in the papers. The only interesting dialogue I overheard was between a hairdo and a tuxedo: “Hey, you look great, Sam, all sunburned!” “Yeah, just back from Puerto Rico.”

When I finally gave up and took my seat, I was not encouraged to see the curtain was up on a bare stage. Bad omen; last time was Kazan’s J.B., and here even less promising: a rehearsal stage with position marks on the floor and the lathes aggressively exposed in the underpinnings of the sole concession to stage design: a higher level. The one moment of excitement that has survived for me in our theater all the way back to The Bat and The Unknown Purple is when the house lights go down, the footlights come up, and the curtain begins to rise: a moment of hope, despite all past experience, before the infinite magic of the possible has begun to be ground down by the extremely finite machinery of the actual. We were to be deprived even of this. I thought, but, as with other aspects of this confused, style-less production, it turned out we weren’t exactly. When the house lights went down, the curtain was lowered—surely some kind of theatrical landmark?—to rise at once on the same bleak prospect, this time with Francisco at his post; enter Bernardo. “Who’s there?” “Nay, answer me, stand and unfold yourself.” “Long live the king!” And we were off. In a manner of speaking.

“This is a Hamlet acted in rehearsal clothes, stripped of all extraneous trappings, unencumbered by a reconstruction of any particular historical period.” So, in the program notes, Sir John Gielgud, who directed and who was, I think, chiefly responsible for the fiasco. Charging the customers eight bucks to see a rehearsal may have been attractive as a fashionable gimmick—the medium’s the thing now—or as a way of saving money, but Sir John’s justification is nonsense. There is no escaping history even disguised in rehearsal clothes, since these were different in 1864 from today, while in 1764 they would have been what we now call “costumes.” The only historically “unencumbered” Hamlet would be a nudist one—and in fact I once saw in Paris a scene in which Ophelia, at least, was stripped and unencumbered except for a cache-sexe. And what is extraneous about actors, like the rest of us, wearing appropriate dress (“trappings”)? There is much to be said for a modern-dress Hamlet like the excellent one Basil Sidney did around 1926, as a way of freeing the play from that massively fake Irving-Belasco scenery and those boguslooking halberds and doublets right out of the costume warehouse. There is also much to be said for a freshly interpreted period production like Zeffirelli’s Romeo and Juliet, where the clothes (especially the men’s hats) were fantastic and beautiful while the sets had the clear, simple colors of the backgrounds in good Renaissance paintings. But there are no advantages, beside cheapness, in a rehearsal-clothes Hamlet; one would think even an actor might see that. Hamlet is, among other things, a drama of court intrigues, of power politics; it begins and ends with soldiers; when Fortinbras comes on at the end, it is not merely to clean up the corpses, it is also because power too, just can’t be left lying about on the stage. Modern dress marks the social dimension: Fortinbras wears a uniform, the servants livery, the courtiers dinner jackets or lounge suits, the soldiers trench coats, the king and queen formal dress with decorations. Rehearsal clothes, while not a-historical, are a-social. Fortinbras marches in wearing slacks and a sweater; Horatio wears a windbreaker; courtiers, servants, soldiers are indistinguishably casual and tweedy. “Boy, did they need those costumes!” I overheard a girl say in the entr’acte.

In Basil Sidney’s Hamlet—or in Orson Welles’s Julius Caesar ten years later—I forgot the modern dress in a few minutes, but here those rehearsal clothes were always offputting. Especially since Sir John tried to have it both ways: Hamlet conveniently wore an elegantly fitted jersey and pants of deepest black, with gleamingly polished black pumps; Polonius and Claudius wore well-pressed, neatly buttoned suits with neckties; Gertrude and Ophelia semi-formal bodices with long flowing skirts—all of which made the sweatered, tieless servants and nobles constantly puzzling. And the players in the play-within-a-play were elaborately costumed, even to stylized masks. A very peculiar rehearsal.

Sir John also skimped on the cast, an ill-assorted crew who never seemed to be getting through to each other. There were at least four unharmonized acting styles. Traditional Shakespearean: Burton, George Rose’s gravedigger, Eileen Herlie’s Gertrude, Dillon Evans’s Osric. Broadway: Hume Cronyn’s Polonius, William Redfield’s Guildenstern. Indeterminate: John Cullum’s Laertes, Alfred Drake’s Claudius. Amateur Night: Robert Milli’s Horatio, Linda Marsh’s Ophelia. There were some good performances. Rose is still a superb Shakespearean clown (and one of the few times when Burton seemed to be relating to others—and enjoying himself—was when he was matching wits with him) and Cronyn gave a briskly professional, and original, interpretation of Polonius, rapping his lines out like a spry old top executive, full of smug know-how. But he was out of key with the Shakespeareans. The great triumph was Gielgud’s recorded voice as the ghost—what splendid lines Hamlet, Senior, has, by the way, one can see where his son got his flair for self-expression—which was beautifully articulated and cadenced, and at the same time coarse as if the vocal cords were deliquescing like those of Poe’s M. Valdemar: “the sound was harsh and broken and hollow…the voice seemed to reach our ears from a vast distance, or from some deep cavern within the earth…it impressed me as gelatinous or glutinous matters impress the sense of touch.” The great disaster, even worse than the breathy ranting of Horatio, was poor Miss Marsh’s Ophelia—her mad scene was as embarrassing as if one were watching a pretty young thing really going nuts before one’s eyes. The Times’s egregious Mr. Taubman, while enthusing—I think this ghastly word is justified here—about everything else, did feel obliged to note that Miss Marsh was “in a little over her head as Ophelia,” though adding at once, as if frightened by his daring, “she manages the Mad Scene with a touch of rue.” The rue was all in the audience, however.

I expected Richard Burton’s Hamlet to be tough, virile, even brutal, but, perhaps because Sir John toned him down too much, he proved to be full of boyish charm, if anything a little epicene. He was Mercutio rather than Hamlet, best in the satiric speeches like the “Get thee to a nunnery” one, where his delivery rose to real power at the end: “You jig, you amble, and you lisp…and make your wantonness your ignorance. Go to, I’ll no more on’t; it hath made me mad. I say we will have no more marriages…” (Did I detect an un-easy rustling in the audience?) His voice is an extraordinary musical instrument, but he used it with the coldness of a virtuoso; for all the Welsh charm, there was surprisingly little feeling in his performance. Also he seemed to have no middle range, nothing between soft complaint or ingratiation and a full-throated bellow. One cannot perhaps expect any actor to render all the facets of Hamlet, but two are essential: he was a prince and he was an intellectual. Burton missed both. He was without dignity; there was no space between him and the others; he was always edging up to them, shrinking away from them, handling them, bullying them, more like a teddy boy than a prince, shamelessly “indicating” and leaping about the stage. (This must have been Sir John’s directorial fault.) He ruins the play scene, for instance, by swarming all over Gertrude and Claudius, as when Ophelia says of the Prologue, “This brief, my lord”, and he replies “As woman’s love,” actually pointing to Gertrude; and later, after the Player Queen has vowed eternal constancy, addressing his “If she should break it now!” directly to Gertrude. Nor is he convincing as an intellectual. Hamlet is constantly bringing himself up short with self-criticism after he has torn a passion to tatters and split the ear of the groundlings; with Burton, one believes in the latter mood but not in the former. He roars out satisfactorily “Bloody, bawdy villain! Remorseless, treacherous, lecherous, kindless villain! O vengeance!” but when he goes on, “Why, what an ass am I!” and accuses himself of unpacking his heart with words like a whore and cursing “like a very drab,” in Burton’s delivery these lines are just another kind or rodomontade. I suppose “To be or not to be” is by now a hopeless proposition—the actor must see it approaching as a skier sees himself gliding toward a suicidally steep slope. Burton adopts the modern, sophisticated strategy of trying to throw it away. But it won’t be thrown away.

Apparently Burton felt something was wrong about the first night. He blamed the audience in one interview: “They did not pay attention. They were awed with themselves. There were so many celebrities out on the other side of the footlights they hardly had time to notice us.” But there were not many celebrities, and even if there had been what does he expect if he insists on marrying Elizabeth Taylor? On the radio, I’m told, he was more realistic, blaming himself, which is to his credit, since, with the expected exception of Walter Kerr (and the less expectable one of John Chapman of the News) the critics were as usual—uncritical.

Maybe they hadn’t made the mistake I did of re-reading the text. What a work! There seems to be a tag in every other line, tags that have become mortised so deeply into us we often don’t know when we are echoing them, formulations that have become part of the racial unconscious, of our very language. Only the King James Bible, from the same miraculous half-century, contains a larger stock of wonderful chestnuts. And a central character, direct and ambiguous, crafty and noble, tender and cruel, elevated and ribald, intellectualizing everything and yet also acting out his contradictions—can this hero, who is the play more than any other of Shakespeare’s heroes, and whose motivations and character have been matters of dispute among scholars and critics for centuries, can one reasonably expect any actor to render him fully on the stage, or any company to rise to the greatness of the language—the “big” lines are by no means limited to Hamlet’s part—or any director to make dramatic a work that is essentially literary and intellectual without losing those qualities? Lear’s moral impressionism can be more moving, and coherent, on the stage (the cinema might be an even better medium) than when read in cold print. Or, the opposite case, that tightly constructed melodrama, Macbeth, so perfectly designed for the theater, with a clearly defined villain and villainess, the most “advanced” and realistic psychology (the dialogues between Macbeth and his Lady before and after Duncan’s and Banquo’s murders often sound like Ibsen, or Freud) combined with great set pieces of rhetoric that “work” theatrically and, unlike Hamlet’s soliloquies, don’t require the actor to create a whole personality as a launching-pad. So perhaps no actor can ever give us the complete Hamlet of the text—as no singer can fulfill the impossible demands Wagner made—and perhaps Hamlet will always read better than it plays. Still, Sir John and Mr. Burton might have done better.

[isagrimorie]

A little bit of a soft pushback on this post. re: curatorial fandom etc on Star Trek Picard season 3– I don’t think it's pure nostalgia and fan service.

Because I don’t think the characters we revisited stayed in one place, they weren’t who they were before. Some of them were rougher than others and some have had it done well.

I know most people were happy about Picard having almost nothing to do with the elements of TNG, and I do agree some of it was refreshing but for me, Trek is a starship and a crew -- even DS9 falls on this despite being a station, and it was always a little sad Sir Patrick Stewart was reluctant to include his friends in Picard.

He might have been a big part of the draw in TNG with Brent Spiner's Data as the other big draw but Picard wasn't the only reason why people watched TNG.

I also wanted an update on Beverly, Geordi, and on Worf.

And I know it's unpopular but as a show, Picard felt incomplete without his friends. (Also, knowing Sir Patrick Stewart was riding off the high of Logan for the reasoning behind Picard it made sense now. Logan was an excellent movie!)

But Picard not keeping in touch with the people he served with and considered family, it felt disappointing. Especially since I specifically went into the show expecting Picard to have kept in touch.

Ultimately, after returning to season 1, I did enjoy aspects of Picard s1 with a lot of niggles in between because season 1 had a LOT of big ideas and 10 episodes didn't serve the story well.

There were so many good ideas there that just didn't fly and most of season 1 was spent talking with not a lot of forward momentum on both plot and character.

I think in an ideal world there should have been 16 to 20 episodes per season to round things out. Season 1 had intriguing concepts that went nowhere and the Borg were just— there. They introduced the concept of ex-Borgs and did nothing with them.

Also, it was mentioned how S1 of Picard is very close to the plot of Mass Effect -- which is okay, good sci-fi shows share similar ideas and plots all the time! It's just funny, is all but again goes to how the show should have, at least 16 episodes.

Going on to season 3:

1. I really liked Nepenthe but I was also okay with Will and Deanna professing dislike for the planet where Thad lived and died— because sometimes the place where you spent grieving and healing isn’t and shouldn’t be the same place you should be if you’re going to move on from grief. And I doubly agree that Kestra should have been discussed or shown more. This actually reminds me of a Chibnall quote where RTD taught him: It shouldn’t just be “Don’t show, tell” but it should be “Show and Tell”.

But also, Matalas should have really included a line or a scene showing Kestra was safe in the Academy. I don't care how clunky it would have sounded or the scene would've been!

2. Geordi. I love that we see Geordi with Data, Geordi was someone I missed seeing in season 1 of Picard especially in regards to Data's death because as much as Nemesis and Picard s1 & s2 would like to show it— Geordi and Data were the two best friends in TNG. And for the majority of TNG Picard held Data with a certain distance. I didn’t even realize what a missing ingredient Geordi was in Picard until I saw Geordi with Data. LeVar Burton sold Geordi's grief of losing his best friend and the possibility of getting Data back.

Also, I like that Geordi, who was a little, uh, problematic with women (he had a romantic attraction for) grow up and then learn to become a good dad to two daughters. I love that LeVar Burton specifically requested this because he was also not fond of how Geordi was written with women.

3. Beverly. I love Action Beverly and I love Gates McFadden got that, I love that she basically worked in Doctors without Borders under the Mariposa. The medical emergency organization Teresa and Rios set up in the past. But also finally addressing all the ways losing Wesley fucked her up, losing Wesley the way she did was the straw that broke the camel’s back for her. In TNG, losing Wesley was something that was never brought up again but Wesley was a big part of Beverly’s life. (To be clear, Wesley is alive but by the Time Lord-like rules set by the Traveller, Wesley and Beverly can never meet again or communicate). I love that despite not being in Starfleet Beverly still can’t help but want to help people, especially out in the border worlds outside of the Federation. It’s no wonder Seven has heard of Beverly!

I love that she figured out what was happening in the 'nebula' and how her knowledge helped save them, leading to one of the more wonderous scenes in season 3.

4. Ro Laren. But most of all I love that Ro Laren returned— and it’s such a big thing to get Michelle Forbes back, she has famously demurred a lot of attempts to get her to become a show regular. I love the button to Picard and Laren’s relationship which festered on both sides for almost 30 years. The episode where she appeared is possibly my favorite episode of all Picard.

If only money and time weren’t an issue Picard and Laren’s relationship would have been a great foil to Janeway and Seven’s. Or even Laren and Seven interacting would have been so good.

Also, Janeway is the phantom that haunts Season 3 because it feels like Janeway should have been in Season 3. Again, money and time. But man a lot of the plot stuff in season 3 would have smoothed out with Janeway in the show.

5. WORF!

This brings me to Worf, who I adored in season 3 and I am so glad we see how he is doing after DS9. I mourn the loss of Jadzia, and even though she wasn’t named, I can’t help but feel her presence was felt, even Ezri. I feel like the comment about how Worf shouldn’t be passive-aggressive, felt like a very Ezri thing to say.

But as I’ve said before, Jadzia would adore zen, white-haired Worf. She would be with him through this shenanigans. She would enjoy Worf’s mentorship of Raffi! And she wouldn’t even be fazed with Worf waxing poetic about Deanna’s advice. Jadzia would know what Worf meant.

Worf seeing himself in Raffi and truly enjoying Raffi’s company was also such a boon. I love that he passed the torch on being a Klingon badass to Raffi— a non-Klingon.

But also this heads on to one of the things I disliked -- how Raffi's story went in the first episode. I wasn't into how alone Raffi was in scenes. I wish they could have gotten Elnor as a hologram or even Seven-- just so she could bounce off someone else, and maybe even hit on why they broke up.

I do love Worf burning Raffi’s cover. Raffi hated deep-cover work, and it only made her miserable. This way, Starfleet Intelligence won’t be compelled to use her expertise this way again. He’s seen what it's done to Miles O’Brien. But also, it's the Klingon high-handedness at work and I hope Ezri verbally head-slapped him for it.

I loved the idea of a true Borg collective and community, where one becomes Borg by choice in season 2 but its been so divorced from Seven, who could have interacted more with the idea, and the Borg Queen— who had spent, in another life, a large amount of resources to get Seven back and even indulged Seven on occasion.

Season 3 isn’t exempt from this, while I adored Season 3– I do know it wasn't a perfect season and there are things it could improve on.

One of them is that Seven should be more connected to the main bad guy plot than she was. This is where Janeway should have been in the show more because the Hirogen story? Should have been Janeway's story if we are honest, the final blow to the Borg Queen? should have been Janeway's. In a way, Picard was shafted on his own show because those were all Janeway's achievements and not Picard's.

Also, I know that people are burned by the Borg being ever present but I will be sad if they never bring up the Borg in the form of the Jurati Faction of the Borg, the xBs, and some Delta Quadrant Borgs as both allies and threats in Seven's (possible, please god) show.

The Borg is a big part of Seven’s life more than it was Picard’s. I am always a little side eye when the show tries to tell me Picard has more expertise on the Borg than Seven.

So yeah, I hope Seven gets to tackle the tricksy complicated idea of xBs and Jurati Borg.

(/edited)