#so the companies involved see how many viewers it has and how loved it is

[rhaenall]

Warning, this is super long but I think the reason so many people think of Shiv as the favorite is more about how "favorite" is defined and from what perspective we’re examining “favorite.”

I think there’s a pretty solid argument that, in-universe, the Roy’s generally see Shiv as Logan’s “favorite” where favorite means the child he “likes” most and treats “preferentially.” As a preface, Brian Cox has pretty consistently said Shiv is Logan's favorite in interviews. While fans and viewers are free to take or leave an actor’s extra-textual viewpoint as they wish, I think it has both been influential from a fanon perspective and provides a view into Logan’s thought process.

What I mean by that is that Logan probably thinks of Shiv as his favorite, partly because Logan's views towards Shiv are (at least initially) less complicated than his views towards his sons. As Shiv said in Episode 3x09, Logan thinks there’s something wrong with Roman and he has a dichotomous love-hate relationship with Kendall. By contrast, Logan thinks of Shiv as his little Pinky, there’s nothing competitive about the relationship because she’s not another Man coming to usurp him and he can’t comprehend the whole of her as a full and complex person due to his own misogyny. As the only girl, his relationship with her is inherently unique and, I’d argue, in some ways inherently limited by her gender. Shiv is someone he can afford to let in because she’ll never be a Son and therefore, will never really be a rival (or a disappointment as a Man).

I think we get a bit of a sense of this in Episode 2x08, where Logan seeks out Shiv’s assurance that he’s making the right decision about announcing Rhea. There’s a kind of emotional reliance there that Logan can show Shiv that I don’t think he could have really show Kendall or Roman by virtue of their being men. It’s not dissimilar to how he relies on Marcia earlier in the season. It almost gives the illusion of tenderness, but in other ways simultaneously dismisses Shiv as a potential Heir herself, even though that’s the whole paradigm she’s been operating under this season.  That reliance and psedo-emotional closeness (as well as Shiv being out of the company for the majority of her life) allows for their relationship to function differently then any relationship he has with his other children and potentially to connect with each other (see Shiv’s speech that same episode where it’s clear they really do get each other in a way).

By virtue of this unique relationship, I think the rest of the family (mostly Roman, Kendall, and Caroline) view Shiv as Logan’s “favorite” as well.  This is potentially evidenced in some of Kendall’s lines in Episode 1x02 (I say potentially because everyone is speaking from places of mixed motives haha). Thus, by certain in-universe metrics, Shiv is Logan’s favorite.

As viewers however, our view of “favorite” may differ from those of the characters in the show. If we think of Logan’s “favorite” as the child Logan lets in the most re the business, or thinks about the most, or spends the most time with, or brings into his inner circle most frequently – then the “favorite” may be Kendall.

I think it’s pretty indisputable that Logan has uniquely weird relationships with all of his kids but at least where Kendall is concerned there’s an intense kind of possessiveness involved. Putting aside how wild it is to tap a seven-year-old as the future CEO of a public company that will have a market cap in excess of $40b, Logan seems super interested in involving himself in basically every aspect of Kendall’s life. We see in the pilot episode that he’s always trying to get his kids in the company (and exercise some level of procession that way), but it extends beyond that with Kendall (see for example all of Season 2 and large parts of Season 1and 3 haha).

At least until the start of the show, I think the implication is Logan has been dedicated to molding Kendall in his image as his heir, largely without meaningful competition from his siblings. However, one of the things that I think keeps Logan from thinking of Kendall as being his “favorite” even though he holds the title of Heir, is that Kendall is a massive disappointment to Logan because he can never live up to that title. Part of this is just, no one can live up to Logan’s standard because it’s a constantly changing standard (he is after all a human gaslight) but the other part is that Kendall is, at his core, a vastly different person from Logan. They don’t think the same. And on top of that, because Kendall has been trying to absorb and learn how to be whatever it is Logan seems to want, he keeps either attempting to emulate Logan poorly because, as stated, they’re different people, or he tries to grow and do his own thing which Logan inherently dislikes either because it’s not Logan’s way or he views it as competition which is unacceptable from one of his children.

To me, in many ways, Kendall is Logan’s great contradiction – love and hate in equal measure with a toxic co-dependance swirling throughout due to the sheer amount of time and energy that’s gone into molding Ken to be more like Logan and Kendall’s desperate attempt to shove himself into a mold that doesn’t fit.

Now for how this further fits into the “favorite” discussion, I don’t think Kendall views himself as the favorite. I think this is in part because the grass is always greener and from where Ken is standing – Shiv’s pasture looks far nicer than his (and Roman’s but that’s a whole other thing). However, I also kind of think that because Kendall is so constantly in Logan’s orbit, he doesn’t really think about this favorite thing too much (or at least not in those terms).

From Shiv’s perspective though, I think she’s much more keyed into the reality that Logan’s view of her is not in fact “better” but a massive disservice to her potential and I think she does clock that there’s a connection with Kendall that she cannot be part of in a way that makes any favoritism she gets meaningless. All of which is to say, I think Shiv understands she’s in a unique position with her Dad as the girl and the baby, and that to some extent others view her as a Daddy’s Girl. But I think she also has identified that Ken is the one who’s got Daddy’s attention more than not and although she may be called the “favorite” in many ways, Ken gets to “matter” in a way she can’t.

 So all of this to say…I think Shiv is technically the “favorite” but that Kendall is practically the “favorite” or the one who “matters– it’s all about how you define it and which perspectives you’re adopting.

(Also, one final note on Logan’s feeling around Shiv – there’s also probably some deeply mixed-up subconscious association between Rose, the younger sister he lost and carried guilt about for forever, and Shiv, his only daughter (and the only child that seems to physically take after his side of the family) that may also be at play here. I’m still kind of thinking through how all of that fits together…)

WHO SEND THIS?€;&::&&: (/positive)

I appreciate it, I read it all. Really lovely thoughts and ideas.

I didn’t know about Brian Cox’s thoughts on this matter. I think I am only aware of Jeremy’s and Sarah Snook’ thoughts on their characters/season 4.

But yes I can definitely see why there is conflicting answers about the favorite.

Thank you, anon! This is Appreciated

[lonelylonelyghost]

I don't see many people talking about it here, but one thing that bugged me about Lovely Runner kdrama was how, despite starting with characters that have disabilities, the show actually didn't address or expand on the topic at any point except using it as a hook at the start.

****

Im Sol has been disabled for many years and uses a wheelchair to get places. She doesn't get a job at her dream company because they don't have a ramp (or just an elevator) that would lift her to the second floor. It's straight up discrimination, and it's so incredibly unfair, and she's rightfully pissed and upset.

But then she travels back in time and regains her ability to walk. And she's happy about it, obviously, but then the drama just... drops this subject. Later she gets a job at the same company that she failed at the last time, because she can walk now and is not inconveniencing the coworkers with her ridiculous demands like "being treated like a person" and "needing a bit more assistance with movement". And she doesn't try to persuade the company to make the building more wheelchair-friendly, she doesn't have any resentment for how they were treating her when she didn't have full-functioning legs, nothing. I mean I get that she might not want to be reminded of how she was before, but like

come on???

The only time that her former disability is remembered was when she saw a girl on the wheelchair on the streets randomly and was like, oh yeah, I remember that time when I was in the same state! Anyways, back to my life of being able-bodied and not having to think about it, ram-pam-pam😜!

****

Regarding Ryu Seon Jae, it's a bit different. At the start you, again, feel like he is struggling with depression and exhaustion from being in the entertainment industry for so long. Constantly in the limelight, under insane pressure to perform, looked at and analyzed by people who will no doubts crucify him if something, anything is not like they would want him to be. I think that anyone who's even remotely familiar with Korean entertainment knows what horrific price people involved have to pay every day.

We're told that he committed suicide.

I thought that the show has to say something about it.

And then it turns out that he wasn't depressed. He wasn't struggling with mental health, it was a serial killer that pushed him over the balcony. And it was unexpected, yes, good twist! But again. Why would you introduce this very painful and relevant topic, use it to gather an audience and then completely drop it in the next moment? (And I'm not saying that being targeted by a serial killer is all fun and games, but it's a different kind of struggle).

Later, with their time-travel shenanigans, this topic is completely abandoned too. It's almost used as a joke like, remember that time that I thought you were struggling to keep yourself afloat and wanted to kill yourself? But you were actually fine, even if you have been working in the industry with an alarming death rate, it was just a crazy taxi driver's fault lmao

Depression was used as a trick to mislead the viewer, which felt quite unpleasant, if I'm being honest.

****

Idk, maybe I'm overly sensitive snowflake or whatever, but it was cheap and it was dirty, and I didn't like it

[myagencyexperiences]

The Role of Emotion in Video Marketing: Connecting with Audiences on a Deeper Level

In today's fast-paced digital world, where everyone's attention is constantly shifting, video marketing has become super important for brands to connect with their target audience. But with so many videos out there, how can brands make sure their message sticks with people and makes them feel something special?

The key to successful video marketing lies in understanding the powerful role of emotions. Emotions are like the secret sauce that makes videos stand out, helping brands connect with their audience in a real way. In this blog, we'll explore how emotions are super important in video marketing. They let brands tell really interesting stories that catch people's attention and make them feel connected.

Creating Real Relationships: Successful video marketing relies on forming genuine connections with viewers. Emotion acts as the link that joins brands with their audience on a personal level. When brands tap into common feelings like happiness, understanding, or memories, they trigger real reactions from viewers, building a bond of closeness and confidence.

Making an Impact: Among so much online stuff, videos that make us feel something stick in our minds. Whether it's a touching story that makes us tear up or a funny video that makes us laugh until our sides hurt, emotions make videos unforgettable. They stay with us, even after we've finished watching.

Getting People Involved: When videos make us feel something strong, we're more likely to do something about it. Whether it's liking, sharing, or commenting on a video, or even buying something, emotional videos get us moving. Brands can use these strong feelings to get people excited and involved in what they're doing. This way, they build a loyal following who cares about what they have to say.

Humanizing the Brand: In today's digital world where things can feel a bit impersonal, emotion helps brands become more human. By telling stories that touch on what their audience cares about, brands show they understand and care about their customers. This makes the brand feel like a friendly and relatable companion rather than just another company. As a result, people trust and stick with the brand because they see it as a real friend, not just a name on a screen.

Standing Out from the Crowd: Emotion is like a secret weapon for brands in a busy marketplace. When brands create videos that make people feel something, it sets them apart from the competition. In simple terms, emotion is what helps brands grab people's attention and make a memorable impact. It's like when they tell a story that touches your heart or makes you burst out laughing.

Encouraging Fans to Spread the Word: Emotion in video marketing can turn viewers into big fans of a brand. When people feel a strong connection to a brand's story, they become excited supporters who love to tell others about it. By building a group of fans who love their brand, companies can reach even more people and make their brand grow. This happens when people tell their friends and family about the brand, spreading the word and helping the brand get even more popular.

In summary, feelings are important in making videos that people love. When brands tap into emotions, they can tell stories that touch people's hearts and make them want to get involved. This helps brands stand out, seem more human, and get people to support them. Emotions aren't just about getting attention—they're about building strong connections. If businesses want to use emotions in their videos, they can work with great video production company in Bangalore. These experts can help make videos that speak to people and make a real impact.

[blogger360ncislarules]

Justin Hartley is making his return to network TV with another post-Super Bowl premiere.

After Super Bowl LVIII, viewers will be introduced to Colter Shaw in CBS‘ Tracker. Colter is a lone-wolf survivalist who roams the country as a reward seeker, using his expert tracking skills to help private citizens and law enforcement solve all manner of mysteries while contending with his own fractured family.

Based on the book The Never Game by Jeffery Deaver, Hartley teased to Deadline that the series will largely depart from the source material but maintain the “sensibilities” of the character.

Beyond that, the series will operate as a procedural, with Colter taking on new missing persons cases each week as he also struggles with the trauma of his past…which is now coming back to haunt him.

Below, Hartley spoke with Deadline more about pitching the series to CBS, weathering through a tough past few years to get it on the small screen, and where he sees it going from here.

DEADLINE: I heard you were involved with the pitch of the show. How did you get involved with that?

JUSTIN HARTLEY: [Ken] Olin and I worked together This Is Us. We had been talking about doing something together. We wanted to keep working together when the show was over. So the year before we shot the last season, or right before we shot the last season, of This Is Us, we ended up getting this book and loving this character and bringing it to 20th, which is my studio where my production company is. We pitched them the idea of me playing Colter Shaw and Ken directing and producing with me, and they loved the idea. So they said, ‘Okay, let’s go forward with it.’ We brought it to CBS, and they loved the idea that Ken and I kind of sold that to them on the phone…It’s like, be careful what you wish for, because then all of a sudden we’re like, ‘Okay, now we have to deliver.’ But I feel like here we are. We’re almost done with the sixth episode of the first season. I think we’ve got something really unique and great and entertaining, and I think it’s got a lot of heart, and it’s got a lot of places. It’s got a backstory, and it’s just something I’m really really proud of. I think it’s special.

DEADLINE: What attracted you to playing the role, in addition to producing?

HARTLEY: Well, I just love acting. I loved This Is Us, and I loved working all the time. I’ve loved every acting job I’ve ever had, I think. So I knew that I wanted to continue acting. The show allowed me the opportunity to not only do that, but wear another hat as executive producer and have that creative input and control. So it’s kind of the best of both worlds. I always like to learn new things. What better way to do it than to learn from the best? I mean, I’m taking class from Ken, and it’s pretty cool.

DEADLINE: Tracker certainly has some familial drama elements that are similar to This Is Us, but Colter is a very different character than Kevin. What have you enjoyed about this character so far?

HARTLEY: It’s been absolutely wonderful. I mean, I enjoyed every second, every frame I saw on This Is Us. It was wonderful. What a journey. That character went from, if you think about where we found him and where we left him — talked about a full circle. From a man-child to a full-grown adult, responsible man. It was just a really wonderful journey with this character. First of all, just selfishly, it’s just awesome to be able to play a different character. As much as I love Kevin…I just think it’s so neat as an actor to be able to take on a role that is just so utterly different. I mean, you’re stripping away so many things that you’re used to and you’re putting on so many things that you’re not used to having on. I don’t even think those two would be friends. You know what I mean? They’re so different. But lucky for me, I got to play both of them. So it’s just been wonderful. Not to say that I wouldn’t want to play a character that was very similar to Kevin ever again in the future, but certainly right after coming off of that show, it really is an actor’s dream to take on a role that’s so different.

DEADLINE: How much will the series follow the events of the book it’s based on?

HARTLEY: Well, we do our own our own stories. We really don’t tell the story of the book. We’re mainly taking the character. And then you have to adapt the character…you have to add and subtract a little bit from that character that is in the book. Like for instance, in the book, Colter does a lot of talking to himself in his brain. He does have a lot of percentages in his brain. And it’s like, okay, you have to figure out a way just logistically how that’s gonna look on camera. I mean, do you want people watching Colter think? Then do you want the inner dialogue to be a voiceover? Or do you want it to be typed out on the screen? Or do you want it to be assumed? Or do you want to see it in his eyes? How do you want to do that creatively? But he still has the same backstory, and he still has the same sensibilities. [He] goes about his business the same way, but you just have to…augment in other ways to make it suitable for television. So that’s what we’ve done.

DEADLINE: The percentage thing is interesting. How did you land on the way he’d discuss it out loud to the people around him?

HARTLEY: I think that, if you do it in a way where he’s sort of rattling off these numbers to himself, we’re asking the audience to believe that when Colter asks, ‘Just trust me on this one,’ that person is actually going to trust him. Rattling off numbers in your head…that kind of seems a little serial killer-ish. I’m not gonna trust that guy. That’s guy’s a whack job. No one’s trusting you, dude. You look weird just talking to yourself. You’re running through numbers, you’re doing percentages. What is going on here? It’s so much easier for us to just say, ‘Okay, look, here you go.’ And he’s giving this person information. He’s trying to help them. It makes it easier for me as a viewer to believe that that [person] would trust that guy who’s spending so much time explaining to him how he can help him or where the danger is, where the perilous things. So to me, that just that sold me on the way that we would deliver all that information.

DEADLINE: We learn in the premiere episode that Colter’s brother is trying to contact him, but we don’t know why. Can you talk about what we might get to see play out this season with that relationship?

HARTLEY: Well, I can tell you that there are a lot of questions that Colter has about his childhood, about his family. And there are a lot of assumptions that he’s made that, throughout the season, we realize might not necessarily be true. The questions that he has might change based on new information that he either stumbles upon or figures out. Things that just don’t add up anymore. This is a really this is gonna be a really interesting place to be. If you’re wondering if your own mother is lying to you about certain things. I’m sure my mother has never lied to me about anything [laughs]. But it’s bad. His brother’s responsible for the dad’s death. That’s terrible, right? It doesn’t get much worse than that. You have the brother reaching out and it’s like, ‘Well, why now?’ So we answer all those questions for you. There is a payoff to all that. It’s a slow burn, but it makes a lot of sense. And it’s definitely very, very rewarding.

DEADLINE: Do you have a roadmap for where the series could go after Season 1?

HARTLEY: I think it would be fun to see him uncover something that is a little more than he bargained for. I would like to see Colter in a situation where, as an audience member, you’re fearing for him because he might be in over his head. If you can imagine what that might be. With that, I think it’d be fun to see/ And then, he’s got to get some answers and some peace with his past and peace with his family. We have a lot to unpack. If people enjoy watching it, we definitely have stories to tell for years.

DEADLINE: The series is premiering after the Super Bowl, which is a pretty coveted spot. How did you feel finding that out?

HARTLEY: I’m just really, really proud, because it’s been years in the making. We went through a pandemic with the show. We went through a writers strike with the show and an actors strike with this show. We’ve gone through a lot with the show. It’s lived through all of that and thrived through all of that. Now we are not only premiering, but right after the Super Bowl. It’s all so worth it. It’s a really wonderful feeling. It’s my second Super Bowl. So, you know, I get it.

[f1]

Its massively exciting Hamilton shares more details on Apples F1 movie as filming begins

Lewis Hamilton has expressed his enthusiasm over Apple Original Films’ upcoming and untitled F1 movie, which is set to commence filming at this weekend’s British Grand Prix. Created in collaboration with F1, the motion picture is directed by Joseph Kosinski (Top Gun: Maverick) and produced by Jerry Bruckheimer and Chad Oman (Top Gun: Maverick and the Pirates of the Caribbean franchise), with Hamilton’s Dawn Apollo Films company also involved. FIRST LOOK: APXGP car from upcoming Apple Original Film Promising to immerse viewers in the exhilarating and cinematic world of F1, the film will star Brad Pitt as a former driver returning to the sport and Damson Idris as his team mate at APXGP – a fictional 11th team on the grid. Fresh from the first photos of the APXGP car and livery being shared by Apple Original Films, Hamilton offered up some more details about the project during Thursday’s drivers’ press conference at Silverstone. “It’s massively exciting to see it all coming together,” said Mercedes driver Hamilton. “To know that we’re finally starting to film this weekend… There’s nerves, naturally, because it’s something we’ve been working on for so long. The first images of the APXGP car have been offered to fans “We want everyone to love it and to really feel that we encapsulate what the essence of this sport is all about – that’s our goal and I hope we can do you proud.” Hamilton went on to explain the first-hand role he is playing in trying to give film-goers an authentic and exhilarating experience – making reference to the sequences seen in Top Gun: Maverick. NEED TO KNOW: The most important facts, stats and trivia ahead of the 2023 British Grand Prix “I’ve seen all the footage of camera positions [we will use],” added the seven-time world champion. “I’ve spent time with Joe trying to make sure we’ve got the best positions. “Joe is an incredible director… You already saw what he’s done with fighter jets, what he did with Maverick, so if you just think about what he’s done with that in terms of the dogfights we saw on those jets, which was pretty epic.” Asked about how F1 has opened its doors to accommodate the film, and how pleased he is to see the entire sport embracing the project, Hamilton added: “I’ve been incredibly grateful to them. We’ve already seen the great work and impact of the Netflix show and I think this will take it to new heights beyond that. Hollywood star Brad Pitt will appear as one of the APXGP drivers “There’s so many people around the world that are so excited about this sport, wanting to learn more. The fact that we’ll have all the original characters that are actually on the grid, and then Brad, is pretty cool!” On that note, Hamilton revealed that he has already spent time at a racetrack with Pitt and was impressed by what he saw from the Academy Award winner. DESTINATION GUIDE: What fans can eat, see and do when they visit Silverstone for the British Grand Prix “Brad is such an iconic actor, he’s always done such an incredible job,” said Hamilton. “I can’t tell you how excited I am to have Brad Pitt in the F1 movie. “We did do a day together at a track in LA. For someone that hasn’t raced, he’s definitely already got a keen eye. He loves watching MotoGP, so he’s always been a racing enthusiast. He had already a knack for the lines and he was fully, fully on it, which was good to see.” One person already counting down the days to the film’s release is Alpine racer Esteban Ocon, who was sitting alongside Hamilton in the press conference and said: “I just love racing movies, motorsport movies, and I can’t wait to watch it!” via Formula 1 News https://www.formula1.com

[raguonmynieceandnephew]

This is gonna be ranty, prollix, wordy and very angry, so bare with me.

There are many professional leagues of this game based on region. The ones involved in this shitshow are the LCS (USA), LLA (Latin America) and CBLOL (Brazil).

Long story short, the LCS made one wrong financial decision after the other and are basically going bankrupt because their league sucks and no one is watching it. Riot (the company that owns the game)'s solution to fix this was completely end the LLA and merge it with CBLOL. They have done this to basically every minor league that has poor viewership, this ain't new.

But the thing is, CBLOL is the most successful league in terms of viewership after the LPL (China), but it is not good in a competitive, actually being good at the game. "So, if the league sucks, why does it matter?" Because we, brazilian fans, don't care about that. The appeal is that we built this shit from scratch. Rooting for sports is a part of Brazilian cultural identity. Plain and simple. You can see that with soccer, and how even the worst soccer teams have a dedicated and loving fan base that keeps them afloat. We have the same energy when it comes to CBLOL.

It's extremely unfair to brazilian fans to kill our extremely profitable league (our worst team in terms of of viewership averages more viewers that the ENTIRE LCS, shown below).

So, basically, CBLOL is thriving both in views, revenue and honestly, gameplay, as even chinese specialists have been saying we are getting exponencially better. We played by the book, against all odds and thrived with an engaged community and fans, but we are still getting gutted so Riot can protect their home league.

4 entire teams, their staff from players to janitors, are getting absolutely gutted just so the yankees don't have to admit they fucked themselves over.

And what truly pisses me off the most is the fucking gringos talking shit, disregarding our feelings about it, not understanding the aforementioned cultural signficance. Some even have the audacity to say "hey, if the tables were turned the American League would help you guys out!" knowing damn well many other leagues were erased for much, MUCH, and I cant stress enough how FUCKING MUCH less.

So yeah, fuck LCS, fuck Riot Games and fuck the United States of America.

niche post but

fuck LCS, fuck Riot Games and most of all, Fuck the United States of America

[maelerie]

Anyone else who started watching anne with an e on netflix after seeing so many lovely edits of it here, only to fall deeply and madly in love with it and then hearing the third season is the last season when several storylines are definitely not yet finished, i mean...

screw that! I’m gonna join the fight to #renewannewithane !!

[bengiyo]

BL Round-Up #5

So @negrowhat tagged me in a current watchlist and I realized I haven’t done one of these since I started a new job. We have a lot to catch up on! We’ll clear out what I’ve completed first.

Recently Finished

I apologize in advance. I have completed a great many shows.

Minato Shouji Coin Laundry aka Minato’s Laundromat (GagaOOlala) 10 - I absolutely loved this show, and am currently showing it to my BL watch partner on our Tuesday/Thursday watch sessions. This show utilized its entire cast so well to explore the nature of age-gap romance, being gay and cowardly, and the nature of youth desire. Absolutely phenomenal, and I can’t recommend it enough.

Gameboys 2 (GagaOOlala via VPN) 10 - Gameboys 2 knew exactly what it wanted to be and completely delivered. I enjoyed this so much more than the movie, and was glad that the Terrence and Wesley dynamic was given more breathing room. Pearl and Achilles fit well into the drama this time, and I even enjoyed the way we got to see more of Gav’s family this time around. The IdeaFirst Company continues to make absolutely incredible queer content. It’s just a shame that so much of it ends up behind difficult paywalls for international viewers.

21 Days Theory (Rookie Thailand YouTube) 9.5 - This show shot up in my rankings for this year because of the way the adults played out their insecurities and supported the youngsters in this drama. This show is so good that it actually made me root for a straight couple. I am 100% here for shorter Thai BLs that use all of their couples well, rather than the bloated mess so many of the pulps tend to be.

Triage (Grey) 9.5 - This was everything I hoped to get out of a time loop show. Continue to love with the Manner of Death team has been up to and can’t wait to see more of their work. This isn’t exactly the normal fare for BL, but it’s the kind of gay characterization I enjoy. 

About Youth (Gaga or Viki) 9 - I don’t think this show had enough time to explore all of its ideas, but this show is a valuable addition to the Summer ‘22 High School BL Extravaganza. The cast is just so beautiful, and the boys from Taiwan continue to give earnest performances that I find incredibly endearing. Fuck Ye Guang’s parents, though.

Great Men Academy (Grey) 9 - I didn’t intend to watch this, but @flukenatouch convinced me and it ended up being a lot better than I expected. It’s not BL at all really, but holy hell was I absolutely obsessed with James Teeradon by the end of this show. Also I got to enjoy Captain’s gorgeous eyes again! This show involved a lot of gender swapping, but I enjoyed the show’s kind exploration of masculinity and what it means to admire someone.

Papa & Daddy Season 2 (Gaga) 8.5 - Papa & Daddy 2 has all of the same struggles as the first season, but I genuinely love it for what it’s trying to be. I think, in so many ways, this show encapsulates the strange experience many queer people have of growing into parents and starting families when it was something we never thought we would do. I think straight people naturally consider what kind of parents they might be because procreation is a likely outcome to their desires for intimacy, but it’s not something queer people really have a lot of guidelines for. I liked the challenges and themes of this season, even if I find myself consistently frustrated with filial piety.

Senpai, This Can’t Be Love! (Gaga or Viki) 6 - Very disappointing finish. I felt the lack of communication to be overly juvenile, so I can’t walk away from this show envisioning them as a functional couple at all. 

Love Mechanics (WeTV) 6 - There are some things I liked here, but Mark and Vee are not my thing, and I found much of this to be rather tedious. 

Coffee Melody (Viki) 5.5 - Boring, and frustrating. Not a good show. Don’t waste your time.

Currently Watching

This is still a lot, but I’m finally under 10 shows.

Takara-kun & Amagi-kun (Gaga or Viki) 10 - Episode 5/8. I cannot overstate how much I’m enjoying the way this show is exploring first desire and relationships with Takara and Amagi. It is the show I most look forward to each week.

180 Degree Longitude Passes Through Us (Gaga) 9.5 - Episode 7/8. This is not BL. It is a story about a young, angry gay man; his overbearing, narcissistic mother; and his father’s best friend and missed love. It is exploring the ways different generations have reacted to queerness, and I cannot stop thinking about it. It is essentially a play adapted to screen, and everyone involved is giving some of the best performances I’ve ever seen out of Thailand. It is no surprise that Pond Ponlawit is a Nadao alum, because I haven’t been this gripped by a Thai performer since ITSAY/IPYTM and Great Men Academy.

I know many folks will never watch this because it isn’t the kind of fun fare that Thai BL often offers, but this is the kind of play that someone sees on a whim that alters the way they see themselves and the world.

The Eclipse (YouTube) 9 - Episode 7/12. I’m really enjoying how complete this show feels. Each moment feels intentional and like it’s contributing towards the end goals. I enjoy it when BL knows what it wants to say, and I’m enjoying the unsubtle politics of this show. Also, Khaotung and First are such a great pair. Neo is finally in a role that he can really shine, and he’s working with Louis in a way that finally lets me see why they’ve been paired.

Love in the Air (iQIYI) 8.5 - Episode 6/13 This show doesn’t really have a plot, but I honestly like it more for that. I personally love when BL is more character driven, and I’m enjoying watching this as a vanilla type and reading commentary from folks like @lutawolf. Though I still struggled with the early bits of this show, I like where it’s gone and can understand why they skipped what I think are incredibly necessary aspects of consent to show. I remain surprised that I have this many positive things to say about a MAME production.

My Only 12% (iQIYI) 8.5 - Episode 7/14 I think @absolutebl broke me when he said this show felt like a Thai take on a Big Eden (2000) prequel (iykyk). I also imploded over the inclusion of Love of Siam (2007) in the storytelling of this narrative. In so many ways this show feels like it’s screaming out the pain and frustration and loneliness we felt as queer in the early 00s trying to sort out the kind of people we wanted to be when we were young and struggling to find community. It was hard entering the community when all of your elders were still coping with so much grief, and there were just so few depictions of queer joy to turn to.

Earth and Santa are a good pair, but for once I’d like to see one of Earth’s characters be happy. I’d also like him to not play a naggy character in the future.

Once Again (Gaga or Viki) 8 - Episode 4/8 - I like the way the sci-fi elements feel in this show with the time travel implications. I know this is going to end sad, but I’m loving the texture of the sense of inevitability in this show.

Ai Long Nhai (iQIYI) 8 - Episode 1/12. It’s fine so far. I like the gay dads. I like the friend dynamic. Subs are only okay. This show might end up being forgettable, but I hope it’s fun.

Vice Versa (YouTube) 7 - Episode 11/12. I haven’t been enjoying this for a while. I have just had to accept that I am not a Jittirain fan, and the way she tells stories just doesn’t work for me. I find myself completely frustrated with and by Puen, and I feel constantly bad for Talay. Otherwise, Jimmy and Sea are a pretty pair. I hope all the constant ads are generating enough revenue to pay for the rest of the BLs on GMMTV.

War of Y (Gaga) 7 - Episode 8/20. I continued this because it moved to Gaga, but I constantly suffer from a dissonance with this show. It wants to explore the dark side of BL by making so many recognized BL pairs and supporting cast play out scenarios that are incredibly uncomfortable. It’s a weird experience to watch a BL that seems to want us to not watch BL anymore.

Not BL

Midnight Diner (Netflix) 10 - This has become my wind down watch before bed. I find this kind of light drama incredibly relaxing. I also love Japanese filming styles that rely on long takes. I like letting the actors act. I don’t want to feel the editing constantly when I’m watching something. I notice it when I come back to Thai productions and it’s constantly cutting and changing the angle of the shot, or refusing to put actors in the same frame for more than one line delivery.

Is It Wrong To Try to Pick Up Girls In a Dungeon? IV (HiDive) 9 - We all have shows we make exceptions for. I make mine here because I enjoy adventuring party shows. This season has been a really good adaptation, and I continue to love all of the character dynamics.

Do Revenge (Netflix) 9 - As a long-time fan of Throw Momma From The Train (1987), I do love a good Strangers on the Train story. This one was excellent, and used its lesbian characters well. Everyone turns in fun and memorable performances, especially Camila Mendes, Maya Hawke, and Sophie Turner.

9-1-1 (Fox, HULU) 8 - I’m an American and do love a first responder procedural.

[gae-bolg-alternative-dot-exe]

What’d you think of edgerunners?

It’s really late, I’m in bed, and I can’t word right now so I'll keep it short

Cyberpunk is my favorite show that Studio Trigger has worked on. 

Promare and Edgerunners have revitalized my faith in Trigger. Promare, to me, was a return to form and a return to hype for Trigger; the kind of stuff that I’ve been waiting for Imaishi to direct for years. I’m aware Promare was extremely hit or miss with many people (as trigger works are) but if you sat through that movie in theaters and came out of it hating it and not being able to enjoy the silly. Then we probably wouldn’t be able to watch and enjoy movies together tbh. Shame there are blogs that I respect the opinion of on here that trashed the movie through and through when they watched it but miss me with that negativity and Ebert & Roeper shit. Trigger has known tropes that they love to do and Promare felt to me like a celebration of those tropes rather than a fallback. Sometimes it’s okay if hype makes right you know? Movie was almost like a love letter to those who grew up during the years of ttgl. 

Cyberpunk on the otherhand was something so grounded and densely fucking packed with narrative. My honeymoon period with the show has ended and I still think about how well executed it all was. A show that I would otherwise never expect to be pulled off by Trigger and also the kind of storytelling that I now crave more from Trigger. I’d love to see some more mature, serious, and structured storylines from Imaishi and co. in the future that’s very aware of what it’s trying to be but also not trying to do too much. Imo, and it sucks to say this but Trigger has put out and been involved with a lot of fucking garbage shows. Edgerunners being good for ME as a viewer felt fucking cathartic. I’m not fucking delusional for continuing to get excited for when Trigger announces projects their working on. It’s not just a company that has been on a slow decline after Gurren Lagann with some peaks within the valleys. They can very much still make amazing shows. Dungeon Meshi is going to be so fucking goated from what I’ve seen them do with Cyberpunk. Trigger when they’re given actual direction and great characters to work with is an absolute pleasure  to watch.

I’m aware that not everybody vibed with Edgerunners tho and that’s okay. Its a short series. Its not exactly a feel good story. Its not perfect, I can find flaws if someone asks me to. Its Imaishi but not allowed to go all out and under close collaboration with a completely different company with a different style of storytelling. It’s in collab with a game and company that is incredibly popular to hate. Its also unfortunately plagued with negative public stigma from those that can’t separate the controversies of CDPR from the show itself. Idk where I’m going with this. I’m not nearly as defensive with Edgerunners as I was with Promare but it doesn’t mean I like it any less. I guess I just wanted to say it’s okay if you don’t like it or get the appeal of the show as long as I’m not attacked for liking the show.

I got super off track but yeah I liked it. And I didn’t even get into the story or characters in this ask.

[spiltcandycoatedpunkblood]

i feel a lot of my feelings are here. the vitriol is definitely completely overblown. it's given people the justification to be super racist. we don't know these people beyond content creators. we shouldn't treat them as perfect, but we shouldn't treat them as social pariahs in an instant.

i'm sick in general of the world keeps demanding more money from us in exchange for any content for us. it's not like we own the content on a subscription. it's different to a merch product that we can hold onto for a very long time. i'm always one for physical media if i find something i really like, then i'll own it and display it in my place. it's definitely insensitive like you said to make this business decision and i'd really love to hear their statements when they're able to process the response, especially knowing Ryan has an anxiety disorder that i can fully relate to.

i don't like praying for someone's downfall. i hope they're able to understand the consequences of what they've put forward and find alternative ways to support themselves. there's too many streaming services out there that keep changing their content that we can't even own and be expected to binge watch all at once if we don't want spoilers. like i grew up with Doctor Who and my worries of it being on Disney+, and remembering the excitement and anticipation of having to wait another week to see what could possibly happen next. having everything available at once is incredibly overwhelming and also defeats the purpose of cliffhangers and plot tension if it's RIGHT THERE. i'm sure it's far different with their own streaming service, but considering what you've said about even their website, it's not looking great so far.

we don't need more of this shit. there's a difference between 'creators deserve to be credited and supported with their work and the work they want to do' and 'audiences are so important and to not understand them like this is going to impact our company in the worst ways possible'.

personally i did prefer watching BFU but there's quite a few Watcher shows i got into. Puppet History, Survival Mode, Mystery Files & Are You Scared especially were my favourites (the latter being videos i watched repeatedly and found it simple but hella funny with how Ryan and Shane engaged with the material written). something like Ghost Files i wasn't able to engage with personally, but other people were.

i definitely think this would've worked much better if a trial or transition period was involved or asked their audience more about how it would be mutually beneficial. suddenly jumping in the deep end is alienating a lot of viewers and subscribers. even if i pirated the new content, i have too many bad feelings to be able to invest my time in it. which sucks, because i especially want to see how the more sinister side of the Puppet History plot will evolve.

i just hope they take these feelings into account about what a huge mistake this was.

the watcher discourse has completely gone out of the window on all sides and I have no idea what to believe anymore

like idk it feels like an absolutely terrible business decision that will massively impact viewership and subscribers but immediately calling these people evil feels like some people completely jumped the shark

why have I only seen this hate now? it all feels very parasocial

I'm sure they thought this was a great idea, and it absolutely wasn't. it's a huge disappointment. I don't know their wealth, I don't know what to regard them as. it's all completely out of hand and I don't know what the right information is so much that it actually hurts. I don't want to be soft or hard on them for this. I'm angry at the world in general and the cost of living crises happening and the ability to enjoy things without seeing these deluge of subscriptions everywhere

I'm in the middle and I just want to fucking scream

[my-mt-heart]

I hope no one expected to get any actual answers from the TWDU special. Even apart from Gimple's sentence fragments, Talking Dead was a promotional non-event. Getting a network/studio to listen to your concerns is a prolonged process and requires persistence. AMC needs to see that you're still there and you're still not happy. That's the real reason for the questions about Carol/Caryl and the twitter blitzes. The goal isn't to make AMC answer, it's to make them *do* something about your problem.

The Daryl spinoff is supposedly supposed to start shooting next month and there are still no details, just vague blathering about how lovely France is as a location (I agree with @lighteneverything, if you want to go BIG and EPIC, you need to go to Africa which is, as she said, the cradle of all human life) and a "reinvention" of the character. That's all smoke and mirrors—no one but Norman wants that show anymore. I've said it before and I'll say it again, it's too early for AMC to announce its demise. They won't say anything until there's something else to distract viewers with (à la Richonne).

Gimple has zero use for women and doesn't do emotionally intimate relationships at all. Look at all the 'romances' during his tenure as showrunner—awkward, stunted and beside the point of anyone's character arc. Whether they involved minor characters or not, they were just there, not furthering story arcs or plot points. None of them had the sexual tension that you found in the Rick/Negan interaction. Maggie has functioned as Rick's stand-in in S11, which is why some people are reading in the possibility of romance between her and Negan.

If I were excited about the Richonne spinoff, I'd be very scared about what Gimple will do to that ship. (I wouldn't be surprised if he attempts to kill off both female characters in the spinoffs just to give their male counterparts their mandatory soul pain. He loves that trope.) Don't expect a love story from a show that Gimple is showrunning. It's supposed to be set after Rick was airlifted out, so Michonne was with the rest of our heroes for most of the relevant timeline. She might not even be in all the episodes because of that. Manage your expectations.

@ocean514, it's completely irrelevant what Norman did or said. I understand you don't like him, which is your right, but MT (and I'm guessing a lot of other Carylers?) are trying to affect a change in how AMC does their business and they're calling for gender equality in the workplace. Norman can't do anything about that, so it's utterly useless to shake a metaphorical fist in his face. We also have no production date, so what Norman's doing this summer is, again, irrelevant. The people who're relevant to this discussion are the ones making the financial decisions at AMC.

The new CEO, Christina Spade, started her job last week. (She's been with AMC since early 2021 as their COO and CFO.) In answer to @criticalmaude's question, it's customary for the new boss to clean house to some extent. Projects on the production slate which don't align with the CEO's vision for the company get tossed out and TWDU is AMC's big property. She's going to have her say in where to take the franchise.

[SF]

Thank you for the words of encouragement. If I haven't made it clear before, this fight is about so much more than a ship to me, and I'm not giving up. Happy to have so many like-minded people to work with. There’s a great bunch of people in the Caryl community. 

[clavissionary-position]

Fanfic idea dump, volume 1.1

Would love nothing more than to be able to write these one day, but let me at least put them out in the world for now.

Since the AU challenge recently ended, here's some of the things I'd brainstormed for it but then never wrote out because I am me.

(minors dni)

For the Modern AU prompt, I'd wanted to write a fic where Chevalier is an astronaut. He is a French national with the European Space Agency, but he's working with NASA. The main scene was going to involve him dealing with a malfunction while on a spacewalk, because what's cooler than seeing a veritable genius troubleshoot a life-threatening problem in the desolate environment of space? But I need to do a lot of research before writing it. I want it to be at least somewhat grounded in reality, although not filled with so much jargon that it's off-putting to the reader. It would also be really interesting to have the reader work at mission control and be on headset with Chevalier the entire time this crisis unfolds and gets progressively worse.

Also for the Modern AU prompt, I wanted to write a fic where Jean is a late-night news anchor who has to go on one night and report that vampires are real, even though he's secretly a vampire himself. You work at the station with him, and though you don't know him very well, you've gotten closer to him over the past few weeks. One time you made a silly flub during your weather report and caught Jean smiling at you, and while you would have been mortified under any other circumstance, seeing this normally emotionally-reserved man betray such an expression makes you start simping hard for him.

Anyway, in an effort to ease the anxieties of the public, right after announcing the existence of vampires, Jean confesses that he is one too. He gives a emphatic speech about how there are both good and bad vampires in the world, just as there are good and bad humans. Then he implores his viewers, implores the crew behind the camera, that he will do whatever it takes to earn their trust again from square one, but that it's a two-way road, and if coexistence can happen, humans need to show that they are trustworthy as well. And then it feels like he's pointedly looking at you because you'd arrived at the station late that day and confided in Jean that you'd seen a small, starving vampire child had come up to you begging for food, but it had terrified you and you'd run away :') :') :')

Also also for the Modern AU prompt, I'd wanted to write a fic where Gilbert's a master plumber (he was the youngest in the world to have gotten his license, at the age of 18; you even see his picture in the book of world records many years before you meet him lol). He worked in commercial-industrial plumbing for the first few years, then lost use of his left eye in a workplace accident, left the company he worked for and started working as an independent residential contractor.

Ngl tho this fic ended up just being an excuse to put him in black coveralls with blood-red utility gloves, but truly just an excuse for you to invite him into the shower fully-clothed for some intense making out, then some more making-out, then le sexy sex. As a SIDE B to that, I was also thinking about a cozy sort of scene where you're laying inside his van with him, snuggled beside him, watching plumbing tutorials on youtube on his phone-screen. He has one of those high-end tech-bro hyper-phones that do everything because he's an engineering geek.

Also also also for the Modern AU prompt, I wanted to write a fic where Silvio works in maritime search-and-rescue. You get trapped in a dangerous underwater cave during a diving excursion, and naturally I have to throw in a scene where Silvio gives you his air-regulator before you, like, you know, die. This is another fic that is going to take a wealth of research and hours of binging Dive Talk.

Also also also also for the Modern AU prompt, I wanted to write the reader being a commercial airline pilot and Nokto being the flight attendant and... that's all that needs to be said because the story basically writes itself. But if it writes itself, why have I not written it? Writing paralysis my friend. One day!!

Also also also also also, I wanted to write Leon as a tornado chaser, Keith as a coroner, and Licht as a Hollywood stuntman. Fuck those are such cool ideas. Please, my brain! Write these!! Draw these!!

I started writing this post because I wanted to share my idea for Chev and Gilbert for the Celebrity prompt, but this post is long enough :')

[eddieredmayneargentinablog]

"Fantastic Beasts star Eddie Redmayne makes magic on and off screen✨⤵️

INTERVIEW "Fantastic Beasts star Eddie Redmayne makes magic on and off screen" BY DEBRA WALLACE for South Jersey Magazine

"His Wizarding Ways"

"Eddle Redmayne made a big impression in 2016, when he first stepped into the role of wizard and "Magizoologist" Newt Scamander for the hugely popular Fantastic Beasts film series. His on-screen work may have been a bit too spectacular for at least one diminutive group, though.

Redmayne's two young children-6-year-old Iris and 4-year-old Luke recently asked him to show off some of his Fantastic Beasts wizardry. Instead of magical fireworks, he produced a simple trick involving a coin, prompting his son to say, "But that's not the stuff you do in the trailer."

Redmayne's acting has earned him a lot of hardware: an Academy Award, a Tony Award, a British Film Award and two Laurence Olivier Awards. Noteworthy film roles include Les Misérables, The Danish Girl and The Theory of Everything, though he may be best known for his work in Fantastic Beasts.

Redmayne's role as a father trumps that of an award-winning actor. After the most recent Fantastic Beasts film was completed, Redmayne's daughter wanted to play with Newt's wand, and of course he agreed. An hour later, she had "covered the thing with tin foil, made a little star, and turned it into a fairy wand," he says.

The latest installment of the series, Fantastic Beasts: The Secrets of Dumbledore, premiered in theaters on April 15, and it is expected to be released on DVD, Blu ray, and Digital HD in July. For those who have not yet seen the film, Redmayne shared his perspective on what viewers can expect.

Q&A

How would you describe your new Fantastic Beasts movie?

"Dumbledore (played by Jude Law) sends me and a band of outsiders on a heist to save the wizarding world from Grindelwald, who's the archnemesis. It's full of wonder, magic and whimsy, and it's got a lot of humor and heart to it"

What do you appreciate about your character Newt?

"What love about Newt is that fundamentally he's an introverted guy and is most comfortable with his creatures and in his own world. But Dumbledore has seen a quality in him that has the potential for leadership, albeit in an unconventional way. ... All of us are unconventional, and the leader is unconventional, and there's a kind of wonder in that".

"I love the Newt-Dumbledore relationship because it's got that complexity of mas ter and apprentice, but it's evolved through out the movies to being something almost fraternal; a sort of older brother and younger brother. There's a moment in this film where Newt takes it upon himself to see the vulnerability in Dumbledore and tries to pass on a mode of wisdom to him, so that is clearly a progression".

Did you know the whole story before filming started?

"As far as the story of the arc of the series, it was sort of given to us each script at a time. Occasionally, we would get snippets of what might be coming up in the next films, and there would be quite a lot of whispers. "Did you hear this?" One of the amazing things about our director, David Yates, is that even though the script is there and the technical creative aspects of that script are a big tech nical feat, he would allow us as actors the freedom to improvise, to come up with new ideas, to change things or modulate things on the day of shooting.... That for me has been some of the most fun. A lot of these actors in the film are brilliant at improvising so watching them improvise and add just extra layers was wonderful".

Have you learned anything from your time playing Newt Scamander in the Fantastic Beasts series? He seems to have grown a lot over the course of the three films.

"Oh, that's a lovely question. I adore Newt, and there are many things that I love about him. I love that he's an incredibly empathetic person. He looks for the good in people. He's also very happy in his own company, and in the company of creatures. Newt is someone that enjoys silence. I'm someone that in my anxiety tends to fill too. many words, like I'm doing now. But along with that, there are various epithets or things that he said which I now try and live by.... One is that worrying means you suffer twice, which was in the first movie. I'm a great worrier and I always tell myself that if the horrendous thing's going to happen, then there's no point worrying about it be cause it's going to happen anyway and you've just kind of doubled your pain".

Which is your favorite spell from all of the Wizarding World movies?

"I would say the Tarantallegra one. ... It is all about making people dance; something that I really can't do. It was just so random. It is kind of a metaphor. I think in life ran domly making yourself feel better by people randomly dancing is always quite fun".■

[grrrlsoverdramas]

Hi! The response to the Joseon Exorcist scandal is very alarming to me! Very weird/gross to see non-Korean consumers of Korean dramas treating a big, serious response by Korean audiences with condescension, as though we know more than them and we’re more reasonable because we’re less sensitive. You will always be less sensitive to national, political issues in which you have no stake and no experience. That doesn’t really justify designating them as silly.

Korean (online, at least) news is currently invested in debates centered on questions of cultural appropriation and cultural imperialism, particularly in relation to China. This is not new, and has been a hot topic in the past 4 - 6 months (A war wages over Korea’s most loved heritages, Kimchi ferments cultural feud), and surely people involved in deciding the costuming, production design and funding structure for Joseon Exorcist knew this. Whether or not you side with the Korean public interest or opinion on this issue, I feel it is more silly to think there wouldn’t be public reaction to this, rather than to think the public reaction is silly. (So, yknow the drama production is at fault)

This comes on the tail of China’s hallyu ban (a political response to THAAD) in which the government literally censored Korean culture from appearing in, showing influence on, or profiting from any media in China. After years of censoring Korean heritage/pop culture in China, banning Korean firms from profiting from Chinese productions, Chinese companies cancelling contracts with Korean companies, China is now a strong funding presence in Korean dramas, leading to more Chinese product placement and influence. Obviously, there is nothing legally preventing companies from accepting Chinese funding, and obviously production companies will take money from who will give it. But isn’t the public’s discomfort with this reasonable? Isn’t it their prerogative as consumers to protest/divest?

Korea is still a nation that understands that things just happen only as long as the public allows it. Korea has a strong democratic culture of protests and public demands. Unlike many Western countries who just think things are the way they are, Korean citizens actually use public opinion to make change. This is how Park Geun Hye was impeached. But it’s also why sponsors/companies pay attention and respond to public outcry. This is a lesson learned from national trauma experienced during colonialism, war, and dictatorship. Further, during Japanese occupation, Korean cultural heritage was suppressed and destroyed. Korea is still a country healing from that. It’s in every museum you go to from Seoul to Gwangju -- “___ was lost” or “this is only a replica” or “_____’s name was changed during Japanese occupation.”

King Sejong is the most important cultural figure in Korean history.  He, and by extension his father, are not just random kings. You cannot have ever been to Gwanghwamun and thought “Oh, yeah, just an important king.” The only way I can describe it is that he is the personification of Korean cultural identity. I think it’s one thing to tell his story in a generally ahistorical way --- it is another for the public to feel that his story is simultaneously being aesthetically conflated with another nation’s cultural identity, story or artifacts. Particularly one which is currently seen as an antagonist claiming ownership over Korean cultural heritage while infiltrating Korean media.

Of course nationalism is problematic, of course cultural purism is unrealistic, of course it’s strange to think a zombie show can be political.  But Korean culture is political. It isn’t just Korean people who decided this, but their powerful neighbors did, too.  And it isn’t just a petty squabble, but one that has led to serious cultural and economic scars for Korea. I think Korean viewers have a better idea of where to draw the line at cultural imperialism in their own media than you do. And even if it isn’t right, it’s not silly.

[nealcassatiel]

Supernatural and Russia and the mess of Television Legal Contracts

One of the most important aspects of a television series’ life cycle is its distribution. It is in the stage of distribution when the production companies/studio recoup the largest amount of costs.

By looking at who distributes the show, as well as which companies stand to gain the most from distribution profits, we can gain greater understanding of the various complex agreements and finances at play.

Viewing Statistics in the USA, Russia, and other International Territories

Let’s take a look at where Supernatural is distributed, and it’s popularity in the countries in which it airs. 

After the US, in the past 30 days, Supernatural’s next biggest market is in Russia. The next is in Brazil. 

This got long - more under the cut (I’ll be talking about cuts shortly)

In Russia, Supernatural has been in the top 0.2% watched shows in Russia (link) . This is also the case in Brazil. 

In 2019, a modest survey was done on urban and rural Russians asking them what foreign television they watch. Supernatural was the 6th most mentioned foreign television show (link).

In 2017, Supernatural was three times more popular in Russia than it was in the US (link - this article has just a whole other host of information about it being popular amongst urban and rural US residents, as well as popular amongst both Republics and Democrats, however i haven’t looked further into that data so not going to discuss it much here)

So selling Supernatural to Russia and airing it in Russia is going to bring in a lot of revenue for The C*W and the production companies. That is a lucrative distribution territory and of a huge amount of importance to the network. Russia will air both new episodes, and reruns. Of course, if Supernatural made a queer love story a central premise, then execs are going to get scared that not only will the finale may not be aired in one of their biggest, if not their biggest market: Russia, but that the broadcasters who distribute the show in Russia might also pull the rest of the show and stop broadcasting reruns too. That’s a shit tonne fo distribution profits gone for The C*W, and who knows, maybe their relationship with Russian broadcasters who air their other shows will be on the rocks. After all, trying to sell gay tv to Russians right now is, sadly, never going to happen. This is not an indictment on the Russian viewers, but me saying that the show won’t be sellable to Russian broadcasters if it is too queer.

A huge huge majority of US Supernatural fans are progressive and wanted the more queer focused and found family ending. But the C*W and Warner believes that there are still enough US fans who don’t want something that progressive to be shown. They also know that one of their biggest markets is Russia, and Dean being shown to be bi will not go down well there. I’m just speculating, but The C*W may have looked at those chunks of audience who give them money and decide that they only care about those profits. 

The frustrating thing however, is that no matter the power of Russian Supernatural audiences, looking at the other progressive countries and the popularity of Supernatural there - these numbers as a collective outshine those of Russia. So maybe Russia isn’t that important. Or maybe all The C*W needed to think was ‘we don’t want to stop profits from our biggest international viewership’ and so they never even went further and thought about the collective viewership of the audiences from progressive countries. As I said at the start, distribution is where the companies who invested into making a show recoup the most costs. All the money that comes from distribution is incredibly important.

DISTRIBUTION AND CO-PRODUCTION AGREEMENTS

The writers, the crew, the actors, don’t really get the distribution profits. They may get small cuts of things or bonuses here and there, but they’re all essentially employed by the production company. It is the production company and studio who has sunken money into making the show who will get a cut of the distribution profits. So the production companies and co-production companies, the creator (maybe still if they had a good agent when they first sold the pitch), the network are all going to be the ones to care about how much a finale will matter to profits from showing reruns in less progressive countries. Dabb is an employee - he personally will be paid a fixed sum which is given to him by the production company. He does not care if SPN can’t be aired in Russia - that has no personal affect on him. He was paid to showrun the series and he’ll get nothing more even if it becomes the most watched anti-gay homophobic celebrated show in Moscow. He has no financial reason to cater to anyone. He’s just an employee. 

But if information like this, the knowledge that for multiple years TPTB have wanted Supernatural to cater to a non-progressive international and national audience for the sake of distribution profits, then the show should have never have taken the narrative to a place whose ending could not be green-lit.

If for the sake of these pofits and other secondary rights, for the sake of appeasing rural/southern USA viewers, and trying to keep an audience for Walker, The C*W derailed the final two episodes, then I still don’t fully understand why the ending was heading towards destiel when all of this distribution finance information has been known for many many years. 

It makes sense why such a terrible finale would happen, but it doesn’t make sense why up until episode 18, the entire narrative of the show was leading somewhere completely different? Why were the writers of SPN heading straight towards one thing, if they knew they always knew that they’d have to have a completely different ending? 

The Right of Final Cut / Final Cut Privilege

The answer may lie in the fact that The C*W wasn’t really paying that much attention to SPN, they couldn’t really see all the subtext, but suddenly the subtext all was going to become text and they were all twiddling their thumbs and looking for something to do during COVID when the industry shut down, so they suddenly got way more involved. 

Let’s quickly clear up who The C*W is and how they relate to SPN as a company. Supernatural lists The C*W as one of it’s distributers, but lists Warner Bros Television as a production company. When SPN started it was made by The WB (which is now The C*W). It’s all under Warner Media anyway, but we can basically say that Warner Bros Television (listed as a co-producer of SPN) is the sam as The C*W who is listed as a distributer of SPN. They’re essentially the same so The C*W is both producing and distributing SPN, as well as owning the format rights to the show - sorry that’s all complicated anyway The C*W are the big dogs who own Supernatural and have done from the beginning back when they were called The WB)

Essentially, The C*W have a co-production and distribution agreement for SPN. The power they have from that first agreement when they bought the show off Kripke is almost certainly still MASSIVE today. They are not only the ultimate distributers, but the ultimate producers with all the agreements and all the rights. 

Anyway, back to that first agreement: This was Kripke’s first big deal, and he almost certainly gave Warner Bros/The C*W a whole host of creative control in exchange for them sinking a shit tonne of money into making the show. Which makes me wonder if The C*W has something in entertainment law called “the right of final cut/final cut privilege”. If a studio or distributer has sunken a heck tonne of costs into making the series and are the ones who most need to recoup the distribution costs, then in their contract they may try to give themselves the ‘final cut privilege’ - essentially, this is the final edit. There’s the Director’s Cut, but then after that there is the Final Cut. The Final Cut is what is broadcast. Nowadays, most series and films don’t allow the directors to have final cut privilege anyway - it’s fairly rare from my understanding (one of my hats is a television legal contracts assistant, and all of these contracts still confuse me even though it’s an element of my job - I’m not trained in this outside of work so i apologise if this isn’t clear). The studio or distributer doesn’t even need to clear their final cut with the writer/director/producer. They can just do it. Cut it up and broadcast it, because they’re allowed to in their contract.

So with the finale episode being so short, a mess of montages, Carry on My Wayward Son versions back to back, a narrative mess, the pacing completely off, some scenes way too short and others way too long - this really could insinuate that the stupid clause of ‘the right of final cut’ was utilised by The C*W and without the need to get the permission or allowance of Dabb or even the other production companies, they edited everything they didn’t like out of the finale, citing their contract and the fact that they’re the ones who need to recoup distribution costs, and they don’t want to piss off large swathes of their national and international audience.

In Conclusion

So positives? Well, now that SPN is done and dusted, if there is a spin-off then this shouldn't affect distribution deals in Russia or Brazil. If whoever buys the format rights for Supernatural, allows The C*W to still sell the old series distribution rights, then market the new season of SPN not as a new season but a spin-off, then this will give them more freedom to not cater to the conservative international and national audiences SPN was beholden to due to distribution profits. What I’m saying is - a spin-off could free itself from catering to anyone who isn’t progressive. The old audiences can carry on showing reruns of SPN and completely ignore the new ‘fake’ gay spin-off. They can say that it’s a different production company, a different network - and therefore not the legitimate show. Great. Free SPN. 

A new format agreement could also mean that the new producers could ensure that not the distributer, but the director, or the new trusted production company themselves gets the Right of Final Cut. If another agreement is made, please please please take that right away from The C*W/Warner. 

The difficulty in getting the SPN rights would be caused by the mess of a Format Agreement to even get those rights... Supernatural is co-produced by Kripke Enterprises, Warner Bros. Television, Supernatural Films, and Wonderland Sound and Vision. I’m assuming Kripke Enterprises and Supernatural Films may be under Warner Media (as Warner Bros and The C*W itself is). If Jensen wanted to produce the new spin-off then his new production company is under WB/Warner Media too... so. Disentangling meddling and shitty Warner Media execs from a spin-off would be difficult because they own everyone. 

All in all, it’s easy to see now with that mess of a finale that this was caused with whoever has “The Right Of Final Cut/Final Cut Privilege’. And I HIGHLY doubt Singer or Dabb or any mere employee on the show has it. It’s more and more obvious to me that this power lies in the hands of The C*W/Warner and they didn’t even try to loop Dabb or the main cast in when making the final edits. I’m sure the C*W started to get involved at episode 19 and in the development stage of episode 20, but i’m certain they had a hand in the disastrous final cut. 

I hope we’re able to pry our beloved show out of the hands of those who don’t care about its narratives, but have more power than anyone to change the show’s narratives. Thanks for coming with me on this essay/me working out this complicated mess. It’s 00:50 and I'm super tired so I hope all this makes sense. Television contracts confuse me and I work with them so i dunno how clear any of this is. 

Anyway - I hope it was totally boring.  

[sadviper]

Woo Do Hwan: Interview with Hanryuu Senpu vol. 80 - Sept 2018

The human suspense drama, “Mad Dog ~In Search of Lost Love~” unfolds with a private insurance investigation team formed of former gangsters and various people with special circumstances, such as the leader, Kang-woo, who lost his family in an airplane accident. The Great Seducer’s leading man, Woo Do-hwan, once again bathes in the limelight as the enigmatic Kim Min-joon, who masquerades with a variety of looks and expressions.

My love style is the complete opposite of Min-joon’s, I don’t play games.

How did you feel when you received the offer for this work?

WDH: Min-joon is a person with a painful past. He lived with his older brother because he had no parents, however then he was adopted out to Germany and became isolated. The process of how he lives while interacting with other people was fascinating to me. I wanted to gain experience while sympathizing with a role like Min-joon’s. Also, Min-joon is a swindler with excellent conversational skills and knowledge. As an actor, he is a character that I want to challenge myself with at least once. And above all, the script that I received was very interesting, so I definitely wanted to try it.

What do you think is the appeal of the character Kim Min-joon?

WDH: I think he’s in an impressive place where he doesn’t lose his nerve in front of anyone.

Please tell us any preparations you’ve made for your role in this work.

WDH: I didn’t have much time between deciding on the role and the start of filming. It hadn’t been long since the filming for “Save Me” finished, so I had to work on losing the dialect I had been using up to that point. Also, Min-joon is a character brimming with confidence, so even if it was only a little, I researched various gestures and mannerisms to make him appear that way. 

Your bromance with Yoo Ji-tae was very memorable. How was it like co-starring with him?

WDH: Concerning Yoo Ji-tae, he is very senior to me, so I was nervous before filming started. However, during filming, he treated me like a real younger brother and taught me a lot. Thanks to that, I was able to show our good chemistry to the viewers.

Can you give an example of an impactful scene?

WDH: When speaking of memorable scenes, it has to be the scene where Min-joon goes to meet the Mad Dog team members and tells them that he is the building owner.  The moment when he revealed that he was Bum-joon’s younger brother, Min-joon--I think that was the point when the drama took off.

Considering how the work’s theme of criminal investigation is not light, how was the atmosphere of the actual filming location?

WDH: The filming site felt like a family, whenever anyone seemed to be having a hard time, they’d get through the filming with someone there to reassure them. All the staff, including the director, were one team.

The role involved many disguises, did you have a favorite character among them?

WDH: I liked them all, but the one that left the deepest impression was the architectural company employee. It was also the first disguise, I found the comical character interesting.

Your character had many romantic scenes with Hari that were almost like a game of strategy. How is your actual romance style?

WDH: I think that my style of love is the exact opposite of Min-joon’s. If I like someone, I won’t calculate or strategize. I like what I like; young people have straight-forward personalities, so I won’t beat around the bush.

What is the main highlight of this work that you would like us to know?

WDH: All the members of “Mad Dog” are characters burdened with scars on their hearts. I would like you to see them, through “Mad Dog”, go from being lonely to becoming a family and living together. 

Going forward, is there a role or genre that you would like to take on?

WDH: I’m not really the type to decide “I want to do this genre” or “I want to play this character”, but if I get the chance, I want to appear in a work with many action elements. When filming action scenes, I feel that I grow closer to my co-stars while I'm out of breath and we’re attacking each other. It’s also fun to shoot.

Finally, a message to Japanese fans?

WDH: This is a drama that many staff members worked very hard to make, so I hope you enjoy watching it. Thank you very much.