#so this is supposed to be one that was made in the mid-2000s

[logansdoll]

thinking about logan x reader who’s literally the most introverted but bluntest person he’s ever met. that meet-cute (if it could be called that…?) would be entertaining as hell

cottontail

wolverines are known to prey on rabbits... which would explain why Logan was looking at you like that.

CW: fluffy fluff, heavily suggestive, profanity, i kinda changed it up a bit, takes place after X-Men (2000), reader is a bit of a personality, reader also has a bunny mutation, again kinda iffy on how this turned out, etc. (@OstarwomenO for the inspiration)

"And, finally, the gym," Ororo finished, motioning toward the door. "Much like the Danger Room, we use it to train or spar, but strictly without powers."

Logan cocked a brow, ears perking at the faint sound of music coming from the other side of the door, along with the rhythmic thuds of limbs slamming against a mat.

'Huh...'

Ororo insisted on giving him the official tour of the mansion now that he was back from his trip to Alkali, seeing as she never got the chance to when he first arrived.

And, of course—Logan being Logan—he waved her off, insisting he'd be able to figure it out.

But the woman did not take no for an answer.

"Someone in there?" he asked, shifting his cigar to the side of his mouth as his thumb jutted toward the door.

"Just (y/n)," she shrugged, an amused smile rising her to lips. "It's actually kinda ironic, she rolled in about an hour before you did yesterday."

That was the new smell he picked up on.

It was the same one the hallway was currently drowning in—not that he was complaining.

It was sweet and musky, with faint, floral notes and a smidgen bit of earth—like taking a breath of fresh air in the middle of a meadow.

"And I didn't run into her?" Logan raised a brow, feigning indifference.

Ororo let out a dry chuckle, as if she was in on a joke he wasn't, "(y/n)'s a... character. She kinda does her own thing around here."

Character?

Forget indifference, the man was intrigued.

"I can introduce you if you'd like," she nodded, her eyes widening slightly, remembering something. "Fair warning, she says whatever she wants. So just... don't be shocked when she says something appalling. She's a sweetheart once you get to know her."

'Jesus...'

She made it sound like he was about to meet some sort of feral grizzly bear.

Logan shrugged, and she let out a sigh, pressing the keypad and opening up the door to reveal you.

Grizzly?

No.

Feral?

Entirely possible.

With a wide grin, you weaved around, dodging jabs from the automated dummy before back-flipping onto the wall and pushing off like a spring.

Tackling the robot, you slammed its head into the ground, winding for a second blow when it suddenly bucked you off.

You recovered quickly, shifting in mid-air so you landed on your feet, before launching another attack.

Jumping high, you landed right on the dummy's shoulders, locking your thighs around its neck before effortlessly throwing around your body weight, sending it crashing to the ground

But that wasn't it.

With a soft grunt, and a small twist of your legs, you popped its head right off in a flourish of sparks and circuits—the action sending a warm tingle through Logan's stomach.

'Damn...'

You pulled yourself up off the ground with a laugh, grabbing the robot's body and tossing it in a pile in the corner—which consisted of at least twenty others.

"Finally," you sighed, jokingly, as the two entered further.

You sauntered over to your boombox and cut the music, dusting off your hands.

"This is a disgrace. How the hell are the kids supposed to learn from these things, 'Roro? They barely last two minutes."

She playfully rolled her eyes, fighting off her smile as she pulled you into a hug, "I hope you know you're paying for those."

You chuckled, giving her a loving pat on the back, "Put 'em on my tab."

Logan was still transfixed.

In all his years, he had never seen a mutant like you before.

(h/l), (h/c) hair, plump lips, heavenly curves, made evident by your workout clothes, or slight lack thereof, stark white bunny ears, equally white tail, paired with alluring (e/c) eyes.

You were dripping in beauty and confidence.

Logan, so mesmerized, didn't even realize that you'd already cruised your way over, and were now standing directly in front him.

"I take it you're Logan," you smiled, shamelessly staring at him. "If I knew you were this handsome, I woulda introduced myself sooner."

"(n/n)," Ororo scolded, pinching the bridge of her nose.

'Here we go...'

"Is that so?" Logan smirked, amused by your blunt start to the conversation.

"Hell yeah," you nodded, shifting you weight on your hips

You weren't stupid.

You saw the way he was staring at you, and you heard the way his heart frenzied when you walked over.

So what's to say you couldn't have a little fun?

After all, it wasn't every day you'd meet someone as sexy as Mr. Tall, Dark, and Brooding.

"Of course, I could always do that over a few rounds."

His brow quirked with interest, eyes slowly flitting over your body at the proposition.

"On the mat, that is..." you chuckled, reading him loud and clear as you turned to walk toward the sparring area, stretching out your arms.

"That works, too," he grinned, tugging off his leather jacket.

"You two are doing this? Really?" Ororo groaned, resting a hand on her hip.

"Yup."

"She asked for it."

Ororo sighed, deciding to check herself out for the day and head for the door.

"Y'know what? Knock yourselves out. I'm gonna take a nap," she waved, turning the corner. "Don't break anything."

Logan scoffed, cracking his neck as he stepped onto his side of the circle, "No promises..."

You grinned, pleasantly surprised by his seriousness.

Many assume that because of your mutation, you're just some helpless little rabbit—as kids, you and Scott got into a huge argument when you caught him pulling his punches.

But Logan seemed ready to throw down, a fact that not only excited you, but made the man move up a great many rungs in your respect ladder.

"You sure you want this?" you smirked, lowering yourself into a split, stretching your legs. "I don't go easy."

'Goddamn, how flexible is she—'

"Neither do I," he snapped himself back, playing it off with a chuckle. "Let's see how long you last."

You scoffed, tongue in cheek as you stood up, shifting into a defensive stance.

'I'm gonna kick your ass, mutton chops."

"I'd like to see ya try, cottontail."

[hannieehaee]

Hello👋, and an unusual request I think, but could you do a reaction to the members having an S/O who is a supermodel from the 2000s I don't know do whatever you want, like those famous models on Tiktok like Gisele Bündchen, Shalom Harlow and Vlada Rosylakova, I've never seen anyone asking for something like this and I'm curious what it would be like, I'll be very grateful if you answer my request💕

their s/o being a supermodel from the early 2000s

content: established relationship, f!reader, fluff, etc.

wc: 672

a/n: so sorry about how long this took me!! i used to be really into models when i was younger but im still not sure if i did this justice! i hope you like it though<3

masterlist

seungcheol -

super cocky knowing he scored a supermodel gf lol slips it into conversation any time he can, always flexing which show you were walking on next and carrying around magazines you're in the cover of.

jeonghan -

another cocky one. ends any argument with anyone by asking who's dating the supermodel? oh, that's right. it's him! but as cocky as he can get, he'll still be mesmerized by you any time he gets to see you on the catwalk, playing with the bounce of your hair after a show, amazed at all the volume they give you.

joshua -

he's like those nfl wives. will attend any and every show/event you have, dressed to the nines as he admires your beauty. super in tune with you and the business of your life.

jun -

you'd be such an iconic duo as an actor and supermodel couple. he'd invite you to his events and you'd invite him to yours. would sing your praises any time he could, literally stopping mid interview if he saw you walking by just to admire you.

soonyoung -

so giggly and blushy lol. let's say you were walking for a lingerie show ... well he'd literally become a shell of himself as he watched, completely hypnotized by you and already thinking up ways to sneak backstage so he can admire you up close. always gets bashful when you're all dolled up and show him any type of affection after a show.

wonwoo -

he's not one to focus too much on looks, but he can't help but feel this immense sense of pride at looking at his gf and knowing everyone either wants you or wants to be you. adores you past your looks and engages a lot with your lifestyle. keeps updated with your diet, your brands, your exercise routine, your hair care, etc.

jihoon -

even though he's used to your beauty (he still counts his lucky stars every night), he'll be incredibly intimidated any time he attends your events and sees you on the catwalk. literally needs to be slapped out of a trance every time.

seokmin -

your number one supporter. he'd have to be reprimanded the first time he was in the audience for one of your walks, not realizing he wasn't supposed to cheer so loud oops. he'd always be backstage just in time to kiss you good luck and rush back outside to get front row at your walk. literally collects any magazines you're in and prints out your shoots.

mingyu -

he kind of looks like the epitome of supermodel so it'd be a match made in heaven. he'll actually be super interested in all the intricacies that come into your lifestyle, always asking about the process behind your hair, your outfit, how you do your walk, which companies you're in talks with. he's just super interested in it all.

minghao -

he adores how passionate you are about your modeling career and is incredibly supportive of it. makes you meditate with him before any important show, knowing how nerves may get before any important event on a stage. he's absolutely mesmerized by you and the confidence you carry on and off the catwalk.

seungkwan -

attends all your shoots and shows, carrying a (designer) bag full of all your must haves from hairspray, water bottle, lip gloss, resistance bands, you name it! also, he's obsessed with you but that's a given.

vernon -

this man is whipped as fuck. literally forgot how to speak the moment you walked the catwalk at your first lingerie show, practically drooling at the sight. still stutters around you sometimes because you're just so pretty to look at.

chan -

he feels like he won the lottery. no shit the guys give him about anything ever beats the fact that he's the one dating a supermodel. literally groans any time you take him with you to a show and give him a sneak peak of the outfit they got you on. has no idea how to handle you like he's just happy to be there.

[lackadaisycats]

I tried to answer this succinctly, but it turned into an essay. (Sorry.)

The Princess and the Frog was not accurate, strictly speaking, but dinging it for that would be like criticizing the Lion King for not being a realistic wildlife documentary. Accuracy wasn't really the point. Given the fantastical elements and fictional nations like “Maldonia”, I suppose we're meant to understand this as a bit removed from the real New Orleans. It's more a a jazz-flavored fairy tale than a historical fiction.

But for discussion's sake....

Is it fashion-accurate to its 1926 timeframe? Ehhh, sort of. It pays homage to 20s fashion trends with cloche hats, furs and feathery headpieces, but without fully committing to it. The waistline on almost all of Tiana's clothing is too high for the 20s, and the the shapes of her fancier costumes take a lot of liberties, or deviate wildly from the style of the period.

In the 20s, dresses (including workaday stuff) tended to have a straight up-and-down shape to it - kind of a low-waisted rectangle that de-emphasized curves instead of highlighting them. There are valid reasons to play fast and loose with that, though (something I’m definitely guilty of as well). One of those reasons is communication. 

For instance, speculatively, the filmmakers wrote Tiana as a hard-working waitress and wanted her to look the part, so they made the choice to clothe her in something familiar - that gingham dress of mid-century shape that we broadly associate with diner waitresses. Actual waitress uniforms of the 20s had a fair bit of overlap with maid uniforms at the time too, and I can see why they wouldn't want to risk the confusion. It's more important to communicate clearly with the larger audience than to appease a small faction of fashion nerds who'd notice or care about the precision.

I don't think it's a case of the designers failing to do their research - I'm sure they had piles of references, and maybe even consultants - but they also had to have priorities.

With her hat and coat on, she looks a lot more 1920s-shaped.

Pretty consistently, the indication of the characteristic 1920s drop waist is there, but the approach otherwise ignores the 20s silhouette. The clothes hug the body too much. This may be about appealing to a 2000s audience, visually speaking, but also could be an animation thing. Maybe both. For practical reasons, clothes in 2d animation are usually more a sort of second skin than something that wears or behaves like realistic fabric.

These are not in the 1920s ballpark at all. Tiana's blue gown looks like your basic Disney brand invention. Strapless things would have been extremely unusual and the overall shape is far out of step. Excusable, I guess, because it's a costume in context. Charlotte looks like she’s heading for a mimosa brunch in a modern maxi dress.

Charlotte's princess dress did seem to be calling back to the ultra-wide pannier side hoops of the 18th century - something that made a reappearance for part of the 20s, albeit in much milder form called robe de style. I'm not sure if the filmmakers were alluding to that at all, really, but either way, her dress is hilarious.

They only went about halfway with the cloche hats. The 1920s cloche really encapsulated the cranium, almost entirely covered bobbed hair, and obscured much of the face from certain angles, so it's easy to see why they've been somewhat reined in for the film. Still, it ends up looking more 1930s, where the hats started to recede away from the face, evolving in the direction of the pillbox.

Similarly, Tiana's hair is not very reminiscent of the bobbed, close-to-the-cranium style of the period, but I think that could legitimately be written off as characterization. She's not at all the type of person who'd fuss about going à la mode. Not everyone bobbed and finger-waved their hair.

The clothes Prince Naveen is introduced in are very 1920s collegiate in spirit - the wide-leg oxford bags, the sleeveless pullover sweater, the flat cap, and high, stiff collar. The ukulele and banjolele were pretty trendy instruments at the time too.

Definitely some Josephine Baker vibes here. Also, the look of this whole fantasy sequence was reportedly inspired by the works of Aaron Douglas, a luminary painter of the Harlem Renaissance known for his depictions of the lives of African-Americans. (The mural is in Topeka, Kansas.)

They pretty much nailed the Art Deco. It's gorgeous. Looks somewhat inspired by the interiors of some of the Ralph Walker-designed NYC architecture, plus some French Quarter balcony flair for the final manifestation of Tiana's Place. Her dress here does resemble some gauzy mid-1920s looks, too.

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Culturally speaking...

New Orleans is an unusual place. Because some of the colonial Spanish and French laws and conventions that New Orleans evolved under persisted even after its inception into the United States; because it was such a heterogeneous hub of indigenous and immigrant peoples; and because it had a considerable population of free people of color (mostly Creole), it did not function quite like the rest of the South leading up to the Civil War, nor for a while after. Its particular coalescence of cultures made it its own unique sort of culture within the country, within the region, within the state of Louisiana even. By the early 20th century, though, regardless of the not-very-binary nature of New Orleans, Jim Crow laws were enforcing a literal black-and-white distinction, and not an evenhanded one, by far. In that aspect, the city had begun to resemble the rest of the South.

The film nods at the wealth disparity, but goes on to paint a pretty rosy picture of race and class relations at the time. Still it's not unbelievable that some people were exceptions to the rules. You could probably find a few compartments of old New Orleans society that resisted segregation or certain prejudicial norms, preferring to do things their own way. That aside, the film wasn't trying to confront these topics. Not every piece of media should have to. Sometimes breaking away from miserable period piece stereotypes is refreshing. I'm not sure it could have handled that meaningfully given the running time, narrow story focus, and intended audience, anyhow. (But you could perhaps also make a case that family films habitually underestimate younger audiences in this way.)

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Raymond the firefly I guess is the film's Cajun representation. There's not much to say about it, except perhaps to note that Evangeline is a reference to the heroine of a Longfellow poem of the same name. The poem is an epic romance set during the expulsion of the Acadians from the eastern provinces of Canada and the northernmost reaches of the American colonies (now Maine) by the British in the mid-1700s. Many exiled Acadians gradually migrated south to francophone-friendly Louisiana, settling into the prairies and bayous, where 'Acadian' truncated into the pronunciation 'Cajun'. Evangeline - who is only finally reunited with her love when he’s on his deathbed - has become an emblem of the heartbreak, separation and faithful hope of that cultural history, and there are parishes, statues and other landmarks named after the her throughout Louisiana.

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Voodoo does have a very historical presence in New Orleans, having arrived both directly from West Africa and by way of the Haitian diaspora (where it would more properly be called Vodou). While I don't think Disney's treatment of it was especially sensitive or serious, it also wasn't the grotesquely off-base sort of thing that media of the past has been known to do. It was largely whittled down to a magical plot component, but it wasn't so fully repurposed that it didn't resemble Voodoo at all either - and that's mostly owing to the characters, because it does appear the writers pulled from history there.

It’s apparently widely held that Dr. Facilier is a Baron Samedi caricature - and likely that's true, in part - but I have the impression he's also influenced by Doctor John. Not the 20th century funk musician, but the antebellum “Voodoo King” of New Orleans. Doctor John (also called Bayou John, Jean La Ficelle, and other aliases) claimed to be a Senegalese prince. He became well known as a potion man and romance-focused prognosticator to people from all corners of society. Though highly celebrated and financially successful at his peak, he seems ultimately remembered as an exploitative villain.

To my recollection, the film sort of gingerly avoids referring to Facilier as a Voodoo practitioner directly (I think he's more generically called a witch doctor in the script?) but it does seem to imply his 'friends on the other side' are a consortium of loa. It's mostly abbreviated into nebulously evil-seeming special FX, glazing over any specificity or dimensionality, but it does also loop back around as a vehicle of moral justice. Loa are all very individualistic and multi-faceted, but they do have reciprocal rules for asking favors of them.

There's also the benevolent counterpart in Mama Odie's character. Her wearing ritual whites has a definite basis in Voodoo/Vodou practice, and her depiction as a fairy godmother-like figure isn't entirely out of step with how a mambo may have been perceived...in a very general sense. They were/are ceremonial leaders and community bastions who people would seek out for help, advice and spiritual guidance. More than just emanating matronly good vibes, though, some have wielded considerable political and economic power.

(Just my opinions here. I've done a lot of reading on the subject for research but I'm no authority with any special insider understanding of Voodoo, and I really shouldn't be relied upon as an arbiter of who has or hasn't done it justice in fiction.)

------------------------------------------------

In summary--

Culturally, I think the film is respectably informed but paints a superficially genteel picture. The set pieces are gorgeous, but the story mostly delivers a sort of veneer of New Orleanishness. And as for fashion, well, it’s the 1920s run through a Disney filter. It’s very pretty, but it’s only as proximally accurate as seemed practical.

I don’t know that any of that really matters so much as whether or not it achieved what it intended, though. As a charming yarn and as a tribute to New Orleans and the Jazz age, I think it’s mostly successful. It’s also really beautifully animated!

[centrally-unplanned]

Watching Tantacrul's analysis of "Facebook and its discontents", as it were, which is a good video even if I disagree with a bunch of it (I don't assign as much credence to the "social media is causing mental health crises" arguments, even if I am open to them, and am far more skeptical of the case of the "misinformation" proponents). What I do think is valuable is that Tantacrul was himself a large facebook user - not only professionally as a musician and game designer, but personally as one of those people who adopted it in his mid-20's right when it launched. He had the complete prelapsarian experience that Facebook, back when it was a tool and not a platform, was supposed to deliver; getting connected to a bunch of old friends, catching up, and sharing things from your personal life (and even effort posts; people did that on FB back then). While surely people do still have that experience on Facebook, it is a footnote of what it does today - few users are there for that anymore.

What strikes me is that there was something inevitable to the decline of that as a service - it relied sharply on momentum and a specific era. Having everyone join Facebook at the same time created a ton of activity and the easy establishment of community - everyone is here and online all in one place, catching up, so lets share things. But while the idea that one tool would Win The Future and be the ur-platform for everything is ofc the dream of every tech CEO, it isn't the dream of the user. "Everyone" made a Facebook in the late 2000's and at least gave the site a shot, so seeing dozens of friendly faces new and old was possible. But for most users it didn't really stick - I gave up on it in days myself, for others it was months, maybe it was a few years but it "getting old" is baked in. Not because the platform Got Worse, but because look, I can text my friends; I don't care anymore about posting a photo for 100+ people to see. The dirty secret of community everywhere is that if it isn't structural, it is temporary; it doesn't inherently generate endless engagement. Over time, you grow bored.

But you know what does generate endless engagement??

The second pillar of the Early Facebook Experience was the era - the internet was young, and "randos fooling around" was the peak of content. Most people weren't bloggers (the fools), most people weren't autistic enough to troll the dregs of Newgrounds for parody Evangelion dating sims (the absolute fools) - the internet just didn't have that much to do. Which meant the content your friends were posting to their facebook wall was as good as anything, right? Their Hot Take on the end of the Second Intifada ("this is a real opportunity for peace in the region") seemed worthy of several dozen back-and-forth debates in the comments. What this model could not anticipate is that its own success in generating online revenue streams meant that professionals would rise to meet the demand of the attention economy, far better than your friends could. Obviously Facebook-as-platform was a perfectly viable place to Share Content, but you do enough of that and someone's graduation photos seem a bit pedestrian in comparison. And again you can just text your friends - Facebook just isn't a good enough medium for all this.

I do think when people look at "the history of website X", there tends to be a lot of focus on the corporate management as the locus for change - the "pivot to video" for ad revenue or whatever. And certainly that is part of the story - I bet Facebook could have, if it had no ambition, stayed a site for people to see what their friends were up to. But that story is the story of website with declining engagement, with less people signing up new accounts as they are busy already on Tiktok, and active users dialing in less than they did. Maybe still better than the current status quo? Possibly, that isn't a debate I am interested in here. Just saying that change is inevitable in these kinds of places.

[mythosidhesdollhouse]

SO, obviously this requires some explanation XD

(It's long. Click through to go on this journey with me--)

Alright, soooooooooooooo recently I was browsing the new doll listings on shopgoodwill, as has become my habit, and I saw one titled 'Madame Alexander "Gingham Dog & Calico Cat Set"' with a closed generic MA box as the main photo.

The name meant nothing to me, but I enjoy cat-themed dolls so I decided to check it out, expecting the typical MA baby-faced dolls in cute, mid-century inspired outfits.

Instead I found this:

What. Why.

No answers were forthcoming. It didn't matter. As soon as I saw them I knew with unwavering certainty that these little weirdos belonged in my collection. I mean, LOOK AT THEM. They're odd. They're purple. They look extremely vintage even though they were made in the year 2000.

The ear tag both were wearing left me with more questions than answers. It contains nothing but the text of an unattributed poem, which I identified as 'The Duel' by 19th century American poet Eugene Field:

All of which again leaves me asking why. Why did someone working at a collectibles company in the late 90s feel inspired to create a pair of dolls based on an obscure nonsense poem for children written more than a century prior, and why was their interpretation THIS? I have no basis for supposing a heavy dose of hallucinogens were involved, but one does wonder

In the end I suppose it doesn't matter one way or the other. I saw them, I bid, I won. They arrived today and are every bit as delightfully strange as I expected. I will refrain from horrifying you further with the spectacle of how they look with their hoods off and their bald little babydoll heads sticking out XD

[chaos0pikachu]

Trends in BL (Sorta): Genre Trends

So I've seen a few posts discussing trends in BL and I wanted to talk about that from a different angle. Specifically discussing what trends are, how they're formed, and to not remove BL from the rest of their countries own media.

The latter is something I see a lot when discussing BL this kind've ~separation of church and state~ but it's BL and Country's General Media. As though BL lives in a separate bubble outside of all other media and thus never influenced by the media being made in its country of origin nor the countries they share direct borders or trade with. Or all influence began and ended with seme/uke dynamics imported from Japan and nothing beyond that (no, Pit Babe was more than likely not inspired by Supernatural) and it's been static ever since.

All of that is, untrue, but also a really limited way of viewing international media. These countries are places with their own history, culture, politics, and of course, media arts. BL is a part of all of that. Which also effects the trends and potential trends we'll see in BL individually (as it's going to change country to country with some crossover).

I think a way of identifying trends in BL and also the root of those trends is by looking at the media of the country of origin their surrounding countries, and what BLs have unprecedented success and what has the industry learned from them?

So I'm gonna break this down by: genre, technical and business trend(s) in 3 part posts. In this post I'm just going to talk about genre trends in Thai and Korean BL as that's what I'm most familiar with.

Basically this post got hella long, I'm not in college anymore, and my motivation was tied to the length of my Jennifer Hudson Best Of playlist. So I had to split it up, es lo que es.

[This will not be a comprehensive list of like all BL trends ever respect to y'all who do but I do not and will not watch every BL in existence, bendicion]

To start we gotta talk first about how trends in media tend to work and also what we mean by "trends". Because there's genre trends, technical trends, and business trends.

Here's a good article breaking down various aspects of all three. When we talk "trends" in film it's not as simplistic as "office romances" or "cross country remakes" of which, one is a genre trend and the latter a business trend.

Some examples of what I mean:

Shared Universe (genre trend)

3d boom (technical trend, trended a few times in the industry, first in the 1950s until the 1960s and then again in the early 2000s until the mid 00s thanks to James Cameron)

Remakes/Reboots (business trend, this is a business based decision b/c the risk threshold for a pre-established work is lower than for an original work that may or may not have financial data backing it)

Trends in media, whether they are genre, business, technical or a combination, tend to take time to build up, and also tend last much longer than a singular year (generally for as long as something is profitable).

Example: it took time for the Shared Universe genre trend to gain traction.

Batman v Superman (2016) wasn't released until five years after Avengers (2012). Following this, The Mummy (2017) starring Tom Cruise was meant to kickstart Universal's The Dark Universe was released six years after Avengers. Before that Dracula Untold (2014) was supposed to be reworked to also start The Dark Universe (both these films flopped so no Dark Universe, rip).

Since the Avengers release, we have the shared universes of: Monsterverse (which combines Godzilla and Kong franchises together, technically started in 2014, officially started in 2017 with Kong Skull Island), and the Sony Spiderverse (Venom, Spider-man, Madam Web, Mobius lol) and The Conjuring Universe (Annabelle, La Llorona, The Conjuring, The Nun).

It's been almost 12 years since Avengers was released (fuckin'a) and we're only now starting to see some minor diminishing returns (Disney had a horrid year financially last year) for this genre trend, and not even across the board.

I want to iterate that Avengers did not 'invent' the idea of a cross-franchise shared universe. Things like Xena and Hercules, or Hanna Barbara cartoons existed long before the Avengers. However the Avengers kickstarted a genre trend in film. Just because a piece of media started a trend does not mean it invented the genre or technical innovation (James Cameron didn't "invent" 3D but he did revolutionize it with Avatar and I suffered through many 3D horror movies because of it).

[I point this out because sometimes ppl be getting testy when ppl say kinnporsche influenced the increase in mafia/crime BLs with well, um, actually history trapped/manner of death came first - yes, yes we know this. And Bi No Isu came out before all of them so everybody drink some tea and relax, everybody's faves are pretty okay😘]

Okay to let's get to what ppl actually wanna talk about, BL.

(Some) Genre trend(s) in Thailand and Korea:

In Thai BL genre trends I'm noticing are: horror, supernatural, paranormal, action crime, and magic/magical realism. A lot of these crossover, horror shows typically are also paranormal - Ghost House Ghost House (2022), After Sundown (2023) - supernatural shows tend to cross over with magical realism like time travel, or other soft magic elements - Time (2024), I Feel You Linger in the Air (2023), Cherry Magic (2023).

For the horror, supernatural/paranormal genre trend, this isn't at all surprising if you look at Thailand's recent film output from 2020 to 2023: The Medium, The Whole Truth, Ghost Lab, Haunted Tales, Cracked, Death Whisperer, Home for Rent, The Maid, Waning Moon, School Tales, and others, are all horror, paranormal, or supernatural films of some sort.

The horror genre trend especially has been around Thailand for a while, as far back as 2018 with the smash success of Girl from Nowhere which only gained a larger following when it hit Netflix in 2021. I'd almost argue the horror genre trend really picked up with Girl From Nowhere as now one of the main acquisitions of Thai series and film on Netflix are of the horror genre.

That larger media trend is now trickling down into BL with series like: Shadow (2023), After Sundown (2023), Dead Friend Forever (2023) and upcoming projects like Vampire Project.

While supernatural/paranormal series like Ghost House Ghost House (2022), 1000 Years Old (2024), I Feel You Linger in the Air (2023), Two Worlds (2024), Golden Blood (2024?) are increasing. OMG! Vampire (TBD?) will at least be supernatural but we can't say with certainty if OMGV will be horror or not as we only have a poster.

I imagine with the success of Dead Friend Forever, and I Feel You Linger in the Air we'll see the trend of horror and supernatural/paranormal series (I know some have already been announced) continued.

Then there's the genre trend towards more action and crime focused series; which more than often crossover but not all~ the time.

In terms of the increase in crime based Thai BLs I'd argue it was a joint combo of Kinnporsche's (2022) wild skyrocketed success, and the success of Manner of Death (2020). Alongside the influence of rise of crime and thrillers from Korean media (The Gangster, the Cop and the Devil (2019) and Unstoppable (2018))

Manner of Death I'd argue influenced projects like Never Let Me Go (2022), Unforgotten Night (2022), and Big Dragon (2022) if only because of their release times and taking into account the time it takes for a production to film and be edited down.

Whilst all these series came out after Kinnporsche - NLMG released a trailer in Nov, Big Dragon in Oct, and Unforgotten Night in Jun, while Kinnporsche dropped their trailer in Apr - they're series releases are so close to Kinnporsche that I don't feel confident in saying Kinnporsche 100% influenced their acquisition. Ngl it's hard not to see influences of KPTS in at least Big Dragon & Unforgotten Night if only in terms of technical film making, so there could~ be influence but I can't say that definitively. I'm gonna attribute these to Manner of Death since it came out two years prior to these other series.

Meanwhile series both released and unreleased My Gangster Oppa (2023), Red Peafowl (TBD?), Chains of Heart (2023), Kidnap (TBD?), are def riding the crime genre trend that Kinnporsche started and I'd argue series like Pit Babe (2023), Playboyy (2023) were acquired for production in part because of the crime elements included in their respective series.

Meanwhile series like Law of Attraction (2023) (crime/action) and The Sign (2023) (crime/action/supernatural) are combining crime, action and supernatural elements together.

I've said before Kinnporsche takes a lot of cues from Korean and Hong Kong crime films like Jet Li's The Enforcer, and Fist of Legend, Donnie Yen's Flash Point, Raging Fire, and Kung Fu Jungle, Han Dong-wook's The Worst of Evil, Kim Jin-Min's My Name, along with Japanese manga like Bi No Isu and KeixYaku.

Meanwhile The Sign is def taking cues from Chinese costume dramas like Ashes of Love, Fairy and Devil, White Snake (and it's many adaptions), Guardian, & Ying Yang Master Dream of Eternity. Alongside Hong Kong and Korean cop and romance shows like Tale of the Nine-Tailed, Hotel Del Luna, Director Who Buys Me Dinner, First Love, Again.

[I think the only reason Thailand or Korea hasn't jumped on the full fantasy train and pulled an Untamed is because of budget. The Sign has done very well for Idol Factory so I could see more studios trying to go in that fantasy direction if they can get the funding for it.]

Meanwhile shows like Time (2024), Two Worlds (2024), and Cherry Magic (2023) are leaning more into a combination of magical realism and a supernatural. Which is something that's been popular in Korea (Mr. Queen (2020), The King Eternal Monarch (2020)) in the past and obviously Japan (Cherry Magic (2020).

This, again, isn't a fully comprehensive list. I'm sure there's shows I've missed, and there's going to be evergreen genres that are always produced - university, high school, office all with a general romcom flavor - because they're cheap, easy, low risk and for the most part reliable.

That's not an insult to shows like Cherry Magic TH, or Middleman's Love or Cooking Crush or whatever.

Cooking Crush is just going to cost way less than The Sign it's simply a fact. Likewise Middleman's Love cost less than The Next Prince (TBD?) and was less risk as an office romcom. What helps offset the risk of something like The Next Prince is casting Zee and NuNew in the lead roles.

[watch these two trailers and tell me they cost the same]

Think of it of like, the 50 cop procedural dramas networks are always churning out; they do so because they're cheap, easy, low risk, and reliable.

Gmmtv made Cherry Magic not for the art of it all but because it was low risk and low cost to produce with a high value return. I imagine that's also why gmmtv cast Tay and New because while I don't know who the hell they are, lots of folks in BL fandom do because of Dark Blue Kiss and the reuniting of a well liked costars will also help offset financial risk for the project. Studios will often only greenlight a project if "a name" is attached to said project.

Anyways, Korea's turn.

The data for Korea is less because Korea comes out with fewer series than Thailand. Like currently Thailand has 9 ongoing BLs in 2024 while Korea has 1 (oh City Boy Log you lonely thing you).

For Korean BLs I'm still seeing mostly evergreen genre trends: the workplace (The New Employee, Oh! My Assistant, Roommates of Ponngduck 304,), high school/university (Light On Me, Cherry Blossoms After Winter, Semantic Error, Love Class, Love for Love's Sake) and Joseon (Nobleman Ryu's Wedding, Tinted With You, Director Who Buys Me Dinner) romances - which make sense, a lot of these were the trends of romance kdramas in the early to mid-00s.

What I am hoping, is we'll start seeing the acquisition of KBLs that are closer to what's currently trending in Korea: revenge (Revenge of Others, The Glory, Marry My Husband, Perfect Marriage Revenge), thrillers (My Name, Midnight, Somebody, Celebrity, Mask Girl), more class based social commentary (Devil Judge, Golden Spoon, Vigilante, Kingdom), and an increase in both sex and violence (Somebody, A Shop for Killers).

I could totally see more revenge based KBLs in the coming years since revenge and thriller shows can be combined pretty easily and you don't need a huge budget for either. You can also set them in evergreen settings like the workplace (Marry My Husband) or high school/uni (Revenge of Others).

KBLs have mostly stuck with evergreen settings with a couple outliers like Kissable Lips (2022), Once Again (2022) for example. I enjoyed Love for Love's Sake but it stuck in that evergreen space of school based romance, with magical realism. Again, not surprising given KBLs are just following trends of romance kdramas of the past.

Whilst not a bad~~~ thing, it can be a bit stale and hopefully with a bit more budget/investment we'll see the acquisition of series that are more in line with what's trending with Korean audiences currently.

There's other things I'd like to see develop into trends for KBLs but they're mostly technical and business trends.

That's all I got in the tank, this post took me almost six hours to write b/c of all the sourcing and research I'm freaking peeked.

See y'all next time ✌️

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]

[am-i-the-asshole-official]

This one is so long I'm putting most of it under a readmore to save your dash

Anonymous asked:

AITA for stabbing a kid?

(this is less Am I The Asshole and more Was I The Asshole, bc it's really just a story from high school that I - as an adult in my mid-20s - was remembering recently and thought could be fun to toss to The People in as objective of a form as I can. anyways, all names are 100% made up to replace actual names, and everybody involved ends the story safe and alive)

I (16ish F then, 20s NB now) was trying to prep for an upcoming speech and debate tournament (yes, I was insufferable as a teen) with a group of other students in our debate coach's classroom. specifically, I was working with a younger student, Tammy (14ish F then), on understanding this specific type of debate (LD for my fellow insufferable teens out there) and brainstorming with her on some of the main components of her own case. as we were trying to work, another student, Tony (15ish M then), kept butting in to pester Tammy, making it impossible for Tammy or me to focus. in hindsight, I'm like 74% sure Tony had a bit of a crush on Tammy in that moment and expressed that feeling by being an annoying little shit towards her (as teens often do). that was at least how I would characterize the general vibe of Tony's actions and how he seemed to really need Tammy to be paying total attention to him. from my perspective and based on my basically decade-long memory at this point, Tammy (maybe?) asked him to leave her alone. she at least seemed frustrated and annoyed with him, or just generally flustered in a way I read uncomfortable. (take all this with a grain of salt here bc, regardless of how Tammy really felt, I was for sure super annoyed and that fact would almost certainly impact my interpretation and memory of the situation.)

idk if any teen girls out there (former, current, or future) have tried to teach or learn while a teen boy is flirt-bugging you or the person you're with, but it got old real fast for me. so, almost immediately, I asked Tony to knock it off so me and Tammy could work. he refused and kept bugging her. I continued to tell him to quit and he continued to ignore me, and this went on for a while. so, as one does, I figured it was time to threaten him with physical violence. I told him that if he didn't back off and let Tammy work, that I would stab him.

now, to give a bit of context for what the fuck I was thinking in that moment, I had learned a particular lesson earlier in my time as a supposed teenage girl dealing with supposed teenage boys in the 2000s-2010s: don't make threats you aren't willing to follow through on. so when I threatened to stab him, I 100% meant it. to provide a tad more context, I did also have a bit of a casually violent streak in high school for this reason (but maybe those stories are for a different AITA submission at another time, but they were all in a similar vein as this one in terms of cause and severity). also, does it help or hurt to add this was in a rural public high school in Texas? either way. to be fair to Tony, that's still undoubtedly a deeply unhinged and disproportionate thing to actually do, but would be a semi-common hyperbolic empty threat to make as a teen to another teen.

as you can assume based on the title here, Tony did not quit despite these threats. so, true to my word, after us arguing back and forth for a bit more, I stabbed him in the arm with the pen I was holding. he was obviously upset (to be clear, it did hurt him but did not injure him to the best of my knowledge beyond leaving a light mark for a bit of time that afternoon*) and he complained about having been stabbed. I said I warned him repeatedly that I would stab him before I actually did, to which he replied that that was an insane thing to actually do (fair enough, ya know?). the teacher was in the room, but if she saw any of this she ignored it. tbh, I don't see how she could have not noticed a kid loudly complaining about having been stabbed by another kid. so, I assume she chose to ignore it, possibly bc I was a bit of a teacher's pet (ie. president of the speech and debate team she was the coach of (I told you I was insufferable)). actually, now that I think about it, that was not the only time I stabbed another kid in her classroom in almost identical circumstances... maybe we are both TA....

anyways, in conclusion:

reasons I think I'm NTA: he was being an annoying dick to the friend I was mentoring at the time, and I did warn him that I'd stab him if he didn't quit being an annoying dick several times before actually following through (and it was only with pen and did no serious harm, but I think it does still count as assault regardless (?) and also I love the classic AITA storytelling technique of Being Dramatic, so feel free to ignore this point and *any other times I brought up that he was ultimately okay when considering how you wanna vote).

reasons I think I'm TA: I mean... I fuckin' stabbed a kid just bc he was being annoying and I fully got away with it bc the teacher liked me, plus I was a repeat offender of doing lowkey violence like this in response to other kids being Kinda Annoying and Shitty™. pestering other people on purpose bc you possibly have a crush on them is a very normal thing for a teen to do. stabbing another teen with a writing utensil just bc they did so though?... perhaps not.

(also, as an endnote: just to be clear, I do not stab teens at all in any context whatsoever since growing up. out of AITA-writing-character here, I think I was a kid who was just sick of guys around me crossing boundaries and dealt with that in a myriad of very unhealthy ways that were also informed by my general redneck upbringing that - understandably or not - sometimes saw some violence as a valid way to assert personal boundaries if it seemed they weren't being respected. that doesn't make it okay and is not at all a defense against being TA in this story, just trying to assure folks that regardless of whether you think I was TA I am now also a somewhat well adjusted adult who at least channels their overwhelming fury into organizing/activism stuff and mutual aid rather than stabbing annoying teenagers. while this isn't some stressful conflict that I feel torn up about or anything even close to that, I am interested to see what folks think, so thanks for reading if the mod(s) found all this worthy of posting for y'all!)

What are these acronyms?

[jyndor]

oh my god

a show written by white us americans for us american kids, while often spot on with its anti-imperialism, is not actually the end all be all for how occupied and marginalized peoples can respond to their oppression and genocide. weirdo.

full disclosure I have my problems with the portrayals of jet and hama for this exact reason that i have previously written about here. because ultimately the gaang represent "good" resistance - mostly defensive/nonviolent. jet represents "bad" resistance, namely violent property damage that would have caused civilian casualties if sokka hadn't warned them. and hama, who thanking this op didn't bring up, is supposed to show how trauma can make a person do terrible things but really it just feels like a racist, misogynistic way to both sides colonialism and imperialism.

now unless I'm misremembering the story (I am not) that episode took place in the earth kingdom. why were those innocent fire nation civilians so close to the valley that jet was trying to protect? why was he worried about them encroaching on that valley enough to destroy the dam?

because they were settlers. the fire nation was trying to defeat and occupy the entire world, of course their settlers weren't just innocent civilians, they played a role like all settlers do in all conflicts. and jet and his freedom fighters were all displaced by the fire nation. they were refugees.

in the end, the gaang may have their problems with jet's tactics but they still mourn him and understand that he is RESISTING oppression, and not that he is the same as his oppressor.

katara is UNIQUELY empathetic and decent at times. during the painted lady, she makes it clear that she wants the liberation of ALL - including her oppressors who are also victimized by fire nation imperialism (and capitalism lbr). she sees the class dynamics in the fire nation, sees how they harm the villagers of jang hui. how the military industrial complex poisons fire nation citizens - literally. the problem is that they are happy to take her help when they think she is one of them, but when she reveals herself to be a waterbender, they turn away from her in their racist, xenophobic disgust.

the truth is that katara's form of universal liberatory politics is just one form of resistance against oppression. sometimes atla veers into making it seem like the only acceptable form of resistance, which is quite convenient for the white us americans who wrote the show.

one of atla's main ideas is that imperialism harms everyone, including the beneficiaries of imperialism. it was also written in the early to mid 2000s during the so-called war on terrorism, and with a us american audience in mind. so no I am not surprised that jet isn't seen in a totally positive light, nor am I surprised that the fire nation is occasionally presented in a "not all fire nation" way. it still posits that those innocent civilians are racist/colonizers and frankly complicit in many ways for what the fire nation is doing abroad.

this is why jet isn't a villain, he's just a complicated character. why he is made a martyr. why katara mourns him even if she's angry with him.

as for whether or not katara would condemn hamas... I'm not sure it matters. movements regularly have infighting and disagreements on tactics. even so, atla is a TV show. palestine is a real place with real people who have tried all kinds of forms of resistance. nothing is ever good enough for supporters of the settler colonial project of israel because the point is never, ever to live together in peace. two state solution? where do you see that in atla? if ANYTHING the show calls for pluralism and freedom of movement for all. for an end to nation states and nationalism, as well as preservation of all cultures. liberation for all.

I can't speak to the mess of the comics or lok because I don't care about those but if we're just talking about atla... come on. it's free palestine.

also nice false equivalency between the free palestine movement as a whole and hamas, which is just one part of the movement. racist dipshit genocide apologist.

[emeraldspiral]

It's honestly crazy how people have so many misconceptions about the behind the scenes drama with Invader Zim that's mostly just fabricated based on what we expect because of what we hear happens with other shows.

Like, the network censors did have some weird bones to pick with certain things the Zim crew wanted to do, but I think it should be obvious given the stuff that made it to air that they were actually quite lenient about what was allowed. I think somewhere there's even a quote from Jhonen saying he didn't actually have a lot of fights with them and that the only thing that would've changed if Zim were on something like Adult Swim where he could go totally hogwild is that people would just randomly explode sometimes. Like, Nick were the ones who asked Jhonen to make a show for them after reading his extremely violent and mature comic books. They knew what they were getting into and they knew what they were signing off on when they let episodes like Dark Harvest go to air.

Contrary to popular belief, Nick never "hated" Zim. It wasn't cancelled for being "dark" or getting complaints from Karens or inspiring serial killers or having low ratings, and they certainly didn't try to sabotage it on purpose with their wack-ass scheduling (how would that have benefited them?). Dark Harvest was in like, the third episode and they were mid-production on season 2 when the show was cancelled. It was Nick's most expensive show at the time and while it was getting good ratings it wasn't as profitable as they wanted it to be. So when Viacom's stock tanked and they needed to cut expenses they gave Jhonen a few different options to reduce the budget, and when they couldn't come to an agreement the show was cancelled. When deciding what episodes to finish Jhonen suggested changing the ending of 10 Minutes to Doom to have Zim die in order to give the show finality, but Nick wanted to leave the door open for the show to come back. Ultimately, it was decided that the Xmas episode should be the finale because it would make the most money.

Nick actually loved the show. They got exactly what they asked for and it did well despite the issues they had with scheduling it and their own ineptitude at marketing and merchandising it. When they ran a Zim marathon on Nicktoons Network in the late 2000s the ratings were something like the highest ever or second only to Avatar, and they did reopen negotiations with Jhonen to revive the show again. But they still couldn't agree on a budget so nothing came to fruition. Eventually though, we finally got the comics and ETF and I believe Jhonen said that there was supposed to be a revival series or some other continuation following ETF, but negotiations on that fell through because just when they were about to come to an agreement there was a change in leadership at Nick that caused negotiations to be scrapped.

It wasn't Jhonen and the network who had "creative differences". From what I understand, the only drama with "creative differences" on the show were with director Steve Ressel (and this was waaaaay before he got outed as a groomer in 2020). Apparently, there was enough bad blood between him and Jhonen and the rest of the crew that he said he wouldn't return to Zim if it ever got revived (and in fact he did not for ETF). I think it's actually quite telling that Steve recorded commentary tracks for the show by himself that didn't even make it onto the DVDs while Jhonen and all the writers and actors who were on the commentary tracks that actually got officially released sounded like they all got along really well and enjoyed working together. I think there was also even a conscious effort to avoid talking about Steve in the official commentaries.

Also, there's a whole blog post by Rikki Simons titled "Character Assassination Long Since Past Due" where he reams Steve Ressel for not only being a dick at work but for talking shit on his own platform and being the source of a lot of the misconceptions about Jhonen's attitude toward the show that persist to this day.

[buckybarnesss]

If Cora was Stiles' age, wouldn't she have been in his grade before the fire? He knew of Derek and the Hale family but it just seems like Cora was written in last minute.

on this episode of heather versus the teen wolf timeline: cora hale.

here is what the timeline establishes:

all of season 1-3B takes place in 2011.

the hale fire was six years prior to the start of wolf moon. stiles is speaking hyperbolically when he says it was 10 years ago. we know it was six from what derek tells scott in magic bullet.

derek: six years ago, my sister and I were at school, and our house caught fire.

it's established that cora was 11 at the time of the hale fire in 2005. this comes from frayed during her and peter's conversation.

cora:  you've known me for seventeen years! peter: i knew you for eleven, leaving the last six unaccounted for. and i'm not particularly fond of things unaccounted.

she's 17 in visionary.

visionary takes place during the fall 2011 semester of the main pack's junior year.

in comparison to the others:

allison turned 17 in the tell which takes place at the end of january 2011. allison says she was held back due to all the moving around. she's the oldest in their cohort.

lydia turned 17 on march 19th in party guessed during season 2 on the worm moon. we know it was her 17th birthday due to the conversation lydia and natalie have about lorraine's ashes in time of death in season 4 which takes place during the spring semester 2012 of lydia's junior year.

natalie: because she wanted you to do it... when you turned eighteen. don't ask me why. but, since there's only a few weeks 'til that, i suppose now is as good a time as any.

stiles would've turned 17 in april according to his official birthday of april 8th.

scott didn't turn 17 until september as is official birthday is september 16th.

malia turned 17 on november 28th making her the youngest of their cohort.

other odds and ends:

theo was in the fourth grade with stiles and scott making him their age. his birthdate is incorrectly listed as 1998.

jackson was born june 5th so he turned 17 between seasons 2 and 3A.

malia was 9 years old at the time of the car accident that killed her mother and sister which puts it in 2003. 2 years before the hale fire.

now while we can acknowledge the real reasons why cora's timeline is so shaky is because they winged a lot of it but what's the fun in that? here on buckybarness dot tumblr dot com we do teen wolf academia.

now one does wonder how scott, stiles, lydia and isaac didn't know cora but there could be viable reasons for that.

i discovered that the law changed in california in 2000 to raise the kindergarten enrollment age to 5 years old by september 1st. prior to this if a child turned 5 on or before december 2nd they could enroll.

they all would've started kindergarten in 1999.

this might be why scott and malia are in the same school year as lydia and stiles rather than being in the year behind.

if they'd had the foresight they should've had allison turn 18 in season 1 and have her a legitimate full year older than the rest because like she's only 3 months older than lydia so it seems a bit odd she's so embarrassed by turning 17 when she has a birthday so close to lydia and stiles. for someone turning 18 and being a sophomore due to being held back? that'd be embarrassing to someone in the american school system.

now cora could've been born in late 1993 to early-mid 1994. she could've been a grade ahead if she was closer in age to allison than to scott. i do strongly suspect that talia and corrine had overlapping pregnancies and being pregnant at the time is one of the reasons talia coerced corrine into keeping her pregnancy with malia.

the tates could've had malia start school later than the rest because she would've been 4 at the start of the year rather than 5 even if the law at the time allowed it. she just joined the rest as juniors when she returned to society because it made sense to keep her with the friends she'd made and she was 17.

if cora was in the grade above she could've been in middle school while the others were still in elementary school or maybe both malia and cora attended different schools due to zoning.

maybe they were homeschooled.

we'll never really know but it's interesting to think about.

[leighlew3]

Hey I'm interested in how the industry works and how it's slowing down atm, could you give some insights?

Welp. Buckle up...

Between tech bros and tech bro appeasers taking over the industry, the streaming model (an initially positive thing that's been twisted into something obviously not always so great), the pandemic, and the strike, plus the ever present political and global upheaval which has investors/banks biting nails -- Hollywood is not in a good place, and it's being run further and further into the ground by people afraid to take any risks or spend any money -- worse than ever.

That means less specs being bought, less movies being made, less shows being greenlit, and so on. Productions in LA have fallen to historic lows (because what IS being made is increasingly being taken elsewhere for tax credits and lower cost). Output and employment is just not great. And of course fans have become more selective and most studios and executives are simply not remotely on the same page with audiences and viewers anymore and relying too much on algorithms and skewed data (and allowing hateful anti-“woke” mobs to review bomb and doom anything fresh) and then wondering why even their big blockbusters are flopping now as well.

This was supposed to be the year the industry started to bounce back after the pandemic and strike, and while it's gotten better than it was when it was completely at a standstill, and yes movies and tv are still being made, it's just not good. It's not remotely where it should be, let alone anywhere near the level it was pre-pandemic. And even pre-pandemic, we were already seeing a lot of these problems starting to rear their heads...

I mean in the 90s and early 2000s a straight white guy could give a one line pitch to a studio and be handed a million bucks to write it. Or write the most basic ass spec and make a cool couple million for the sale. But now, even the straight white guys have to have a project locked and loaded already with attachments (talent, director, producers) already on board. No one want to develop anything. Everyone wants everyone else to do all the work (aka spend all the time and money) first and then maybe they'll buy the package and make the movie, or distribute a finished product. Imagine what that means for mid to lower level projects entirely. And imagine what that especially means for women/POC/LGBTQ creatives.

Anyway, agencies and reps all thought things would start to really get back on track this year, but it hasn't, really. The town-wide motto being said to writers, actors, directors, etc by Spring/Summer was "survive 'til 25". Now, the new motto is "survive through 25". Now everyone is hoping, somehow 2025 will be a solid recovery year and 2026 might be a genuinely good year again. But it just keeps getting pushed back and looking more and more bleak. A lot of writers, showrunners, etc -- successful ones and newbies alike, are just flat out leaving or preparing to leave the industry entirely, if they haven't already.

And people who are considering making writing, acting, or crew work a career are being flat out told "now is not the time, don't come to Hollywood, don't try to make this a career because there's just not enough work right now, and the career might not exist at all soon". And that's... pretty yikes.

Look, Hollywood has ALWAYS endured. It survived the Great Depression, global wars, technological revolutions -- and I actually believe it will survive this era as well.

I'm just not sure what comes out the other side of it...

And that's not even taking into account the role AI will play.

[atinylittlepain]

A Very Happy, Hungry Hearts Pride

(joel miller x f!oc)

I'm not writing anything new for here, but I want everyone to know that in the Hungry Hearts-verse, after Joel and Cherry combine their respective family units, they go to Austin pride every year (I am Aware that official Austin pride is in August, let me live my lordt).

It's the mid-to-late 2000s, and Cherry has a little case of trigger finger when it comes to Etsy (what she does when she's supposed to be editing and doesn't want to), and as a result, Joel has about a dozen t-shirts whose sole purpose is to be worn at pride. He's got the "I <3 my lesbian daughter" shirt, the "proud dad of a lesbian" one, a couple rainbow-lettered "ally" ones. At first, it's all in support of Ellie, but then Sarah comes out as bi a few years in (do nawt challenge me on this, did you see all that purple? pls) and the t-shirt collection expands with the addition of a new flag.

He had to warm up to the idea of, you know, actually wearing them out in public at first, uncharted territory and all. That wasn't too difficult though, not with Cherry playing with his hair and whispering in his ear like they were teens again about what a good dad and how hot it made him, so hot, being all supportive, baby. What was the other thing? Oh yeah, in touch with your emotions, very sexy of you. Uh-huh, that's him, sign him up for this ally thing, he's good to go.

Joel doesn't like crowds, and he especially doesn't like them when it's hotter than hell out - but if there's one thing he loves, it's supporting his family, and also making sure no bible-thumping dickhead is giving them shit. So yes, up until both girls go away to college, you could find Joel Miller in one of his various Etsy-fied t-shirts looking just a little out of place at Austin pride, with his girls somewhere in orbit, and his wife (his wife, let him say it twice, let him have that, okay? Okay.) on his arm.

Cherry has her own t-shirts and pins. The lesbian flag and the bisexual flag, of course - except she doesn't go for the "ally" shirts, sticks instead to the classics - the rainbow "proud," you know, respectable. It takes a few years for it to click for Joel, and when he asks her if she's, well, you know, in his own sort of bashful way, Cherry just grins and shrugs, it was New York, what can I say?

Happy pride y'all <3

[wonderfulworldofmichaelford]

Is It Really That Bad?

Women leading superhero films has a long and troubled history even before losers online decided to make it their life’s mission to bully Academy Award-winning actress Brie Larson for the crime of being in a mediocre MCU movie. 2004’s Catwoman is the film that is usually pointed to as the movie that poisoned the well in regards to superheroine blockbusters, but it takes two to tango; the following year’s Elektra is just as much to blame for the negative perception of these sorts of films.

And how could it not be? It was rushed into production, Jennifer Garner really didn’t want to do it but was contractually obligated, it was supposed to be rated R until more contractual obligations nipped that idea in the bud, and on top of everything else it was a sequel/spin-off to a movie that was already extremely unpopular (Daredevil vindication was a long way’s off at that point). With all that in mind, is it any wonder that it’s one of the lowest grossing films to ever be based off of a Marvel comic? The only films that did worse were Punisher: War Zone, Man-Thing, and The New Mutants. Even the Howard the Duck movie did better than this shit!

The career of director Rob Bowman as tanked because of this film, with his credits being relegated to TV. Garner, meanwhile, fared just as poorly, with her career cooling off and leading roles not being a thing for her after that point. But worst of all is the career of the poor boat house in this movie, as it ended up appearing in Fifty Shades of Grey. And obviously this film dragged down the idea of a woman headlining a superhero flick for about a decade until Genocide Barbie Gal Gadot stepped into Wonder Woman’s boots. And while Catwoman would receive better adaptations on the big screen, Elektra would get no such chance…

...Until it was revealed that Garner was reprising her role in, of all things, Deadpool & Wolverine.

While the film isn’t out as of the time of this review, the announcement of her presence in it really got me intrigued about the last time she donned the red ninja outfit. I’m a huge apologist for early to mid-2000s superhero garbage, so it only made sense to check it out in preparation for the massive Marvel crossover Deadpool was about to deliver. And you know what question I always ask when going in to an infamous film like this: Is it really that bad?

THE GOOD

This film is just hilariously corny when it wants to be. I think when it does stupid stuff other superhero films of the time did, it tends to do them at least a little better. For instance, like Ghost Rider it has a quirky miniboss squad full of boring flat characters who exist for Elektra to kill. But while the ones in Ghost Rider are completely forgettable and bland, this film at least has some striking visuals with Tattoo and hot forceful lesbian murder smooching with Typhoid Mary, something I’m sure awoke things in the five people who watched this.

Garner herself is really, really trying, and to her credit most of the action scenes she’s in are pretty ok when they aren’t being edited to death. As I watched the unrated version, the brief glimpses of insight into her backstory are nice, and I do love that bright red costume on her. If nothing else, she does sell how cool Elektra is supposed to be with how she carries herself, even if the writing isn’t doing her many favors.

The final act is where things really get fun, because we have a big stupid battle against magical tattoos, teleporting ninjas, and genuinely the funniest possible way to kill a villain ever. I legitimately burst out laughing when I saw this:

THE BAD

Unfortunately, no matter how funny Typhoid Mary taking a knife to the forehead after saying her only two lines in the movie, two lines that actually give her more character than every other villain in the film, it can’t really completely save the film from its two massive, crippling issues.

Literally everyone in this movie is a fucking moron. The biggest moron is easily Elektra’s buddy, who sacrifices himself so Elektra can escape from the bad guys… but his sacrifice is pointless because they pull the info from his mind with psyhcic powers. He would’ve been better off running away with them! But it’s not like the villains are much smarter; one of them chops down a tree, and then almost immediately forgets this and walks into its path before getting crushed to death. It is genuinely absurd how dumb these characters manage to get. The dumbest of them all, however, has to be Stick. I genuinely have no idea what the fuck this man is trying to accomplish at any point, because he is recklessly gambling with people’s lives here.

But hey, dumb decisions are fine in a trashy 2000s superhero movie as long as they lead to some enjoyably dumb scenarios, right? Well, about that… Barring a couple of ridiculously goofy action scenes, this film is pretty bereft of memorable corniness. Remember how I said the minibosses in Ghost Rider were not as good as the ones here? Sure, maybe it’s true, but no amount of murderous lesbian smooching makes this movie more memorable than Ghost Rider, which features over a dozen insane Nicolas Cage moments. But maybe that’s cheating, it’s not fair to compare a Jennifer Garner vehicle to a Nicolas Cage one… so how about Catwoman? As absolutely shoddy as that movie is, there are a bunch of cringey, campy scenes that have helped earn the movie at least a handful of ironic fans. There’s just nothing like that in Elektra. It’s trashy and stupid in safe, unimpressive ways for the most part, and it doesn’t do anything at all to really stand out from the crowd.

IS IT REALLY THAT BAD?

Yeah, I guess it’s bad, but the level of bad that it is is greatly exaggerated.

The movie I’d most compare this to is, of all things, Morbius. I love Morbius more than most people, and even I’m willing to admit it’s multiple bright spots of trashy charm are interspersed with the dullest shit imaginable, and Elektra has a similar issue. It’s just so goddamn unmemorable and dull for the most part, with only the final act being packed full of silly nonsense to latch onto. But even that comparison isn’t great, because Milo was sprinkled throughout Morbius and was genuinely hilarious the whole way through, while Elektra just plods along until it remembers to actually be a little cool for the finale.

I guess really the film is less “bad” and more “not good.” Like if you throw this on in the background as noise while you do something else, it’s not the worst you could do, though even then something like Black Adam would probably be better. If you want to watch a trashy 2000s superhero film, I guess it’s not unwatachably unpleasant, but why wouldn’t you watch Catwoman or Ghost Rider instead? It just is in such an unenviable position where it’s the bottom of the bottom of the barrel, the least engaging super-schlock ever made, a movie not good enough to be vindicated but not bad enough to deserve the hate it gets. Elektra is just a film that exists. That’s all there is to it and aside from the single funny death, I have no strong feelings about this movie. I think a solid 4 is where this belongs. Not good enough to be average, not bad enough to be awful, it’s just there.

All this being said, I’m honestly very excited to see Garner become a teleporting ninja assassin again. Every comic character who was in a crappy adaptation deserves a second shot, be it as a new character (Michael B. Jordan as Killmonger) or as a reprisal that improves on the untapped potential that was there (Jamie Foxx’s Electro in No Way Home). I’m rooting for Garner to get her due, and for Electra to get the respect she truly deserves… But I just don’t really think this movie’s going to be getting a reappraisal no matter how good she ends up doing.

[sleeping-jayy]

"Here we go again" Information Post

(Read the fic here)

《¤》

Calling all creepypasta fans!

Do you like Eyeless Jack? Do you like gore, violence, and thrilling horror? Do you like homey vibes too?

I have just the thing for you! This fic (somehow) has all of this! From tags like hurt/comfort, to found family.

This fic is about Jack, who has hit his one year mark of working for The Tall One. Provided with a cabin, electricity, and protection, he is tasked with fixing up anyone who comes along. It's not in the job description to become familiar with them, but Jack can't help but hear their stories.

With reoccurring characters such as:

Toby Rodgers, Helen (The Bloody Painter) Otis, Tim Wright ("Masky"), Brian Thomas ("Hoodie"), Kate Hayes-Milens ("Kate the Chaser"), Cody (X-Virus) Unknown, and many more iconic characters.

And with lesser known characters (/OCs) like:

Pippa Darling, Leo ("Cross-X") Fincher, Reed Carter, "Something", "Smokey", and more!

《¤》

(For those of you who have read it already, hi welcome to under the cut, the ad is over lol. I wanted to explain some stuff since Act 1 has ended.)

Act 1

Starting with Toby Rodgers, and ending with Kate Hayes-Milens, Act 1 is a calm, homey handful of chapters with intertwined hurt/comfort along with sting of horror.

Although Jack has only been in his cabin for a year now, he definitely has a handle on things.

Along with the end of Act 1, comes the start of a secondary fic called "I want to die with all my scars (and if they don't like the way we are then fuck them)" I know I do a lot of songs as titles, but they do actually have significance, I swear.

This fic, will have a lot of additional material from outside of Jacks cabin. At the end of Act 1 (spoiler for those who haven't made it there yet.) Kate visits and gives Jack a walkie talkie to communicate with the others outside of his small circle. This secondary fic is for things mentioned in the first one but not fully touched on.

For example, it's mentioned by Liu that Ben said the Hornets boys (Tim, Brian, and Toby) were on a road trip. That is one such things that will be talked about in this fic.

Silly little adventures with other characters that may change the dynamic between each other that wouldn't otherwise be I the central plot of the first fic.

This includes OCs! Pippa Darling, a character from a fic on ao3, will be popping up occasionally, and my own character Reed Carter.

You can even submit your own character to be in the two series. Just leave a comment with a link leading to their story, or a social media so I can contact you!

(If they're heavily leaning on or shipped with a popular ("canon" in heavy quotation) character, then I probably won't use it due to not wanting any shipping or big relationships in the story. Unless you happen to have a set of OCs.)

FAQ

1. "Can I make fanart/fanfiction of HWGA?"

Yes! I encourage it! Just tag me so I can see it!

2. "Will [insert character] be in it?"

Most likely. If there's any requests, then I'll probably write for them too!

3. "What does Jack look like?"

Jack in this fic is more of a metaphor than a person. I'll let you choose what that means to you, but this also means that Jack can look like whatever you wish him to. Any "official art" I make for the series won't even have a consistent design for Jack because that's not the point. See Jack however you'd like, because he's supposed to be a source of comfort in anyway you, and his patients, see fit. You'll notice that that's why I've never outright described what he looks like. Be creative. :)

4. "Where/when does this take place?"

That's sort of a spoiler as of now. It's connected to "The Path of Black Leaves" which was made/coined by the slenderblogs here on tumblr, which is a a mode of transportation. But for a simple answer, kind of in New England.

As for when, it's taming place sometime in the mid 2000's

《¤》

That's all for now! This post will update as things get posted and the plot moves along. If you have any questions, OC submissions, or just want to say hi, do so in the comments! :) I love to see it!!!

[primal-slayer]

Charmed drama Mega-Post

Mid 2000: Per Jason Priestley

Shannen talks Charmed and the joy she gets from working with Holly/Alyssa:

2001:

2.6.01 - Wanda at E!Online reports that there is definitely something a-brewin' regarding the rumors about Alyssa Milano leaving the show. A source close to the set has told her that there is some not-so-charming tension between Alyssa and her onscreen sibs. Apparently it's stemming from jealousy over better storylines and Shannen's more expensive wardrobe, which is full of Chloe and Versace and has created a few budget problems. Link

2.28.01 - E! Online's Wanda reports that things are getting really ugly on the set of "Charmed." Doherty acts like a primadonna all the time, demanding the best clothes and to be in the middle of all the publicity shots, and Milano is sick of it and threatening to leave. Meanwhile, Combs has managed to pretty much stay out of it.

5.10.01 - This week's Soap Opera Weekly interviews Executive Producer Brad Kern in an effort to confirm the rumors behind Alyssa's said departure from the series in her on-the-set battles with co-star Shannen Doherty. "Nothing I've been told from the people that I work for indicates whatsoever that anybody's leaving the show," Kern says of the rumor that Milano wants off and that her character will be killed. "Alyssa and Shannen are professionals. Are they best friends? No. Do they have to be? No. Do they work well together? Yeah. They're sisters in character only. They come in and do their job well. That's all that matters to us."

TVGO: After all the rumors about why you leftCharmed— including backstage feuding with covenmateAlyssa Milano— would you like to take this chance to clarify things for the record? Doherty: You know, I don't really want to be given the opportunity to clear the record. I have absolutely nothing to say. Details magazine will be out in August — that's probably the most honest interview that you'll ever read with me. I picked one magazine to tell the true story in and... if somebody wants to read it, then great. My opinion is, it really doesn't matter. I moved on, they moved on and who cares? You know, everything gets so blown out of proportion by the press that after awhile, you just gotta bury your head in the sand and go, 'I'm done talkin' about it.' TVGO: Any parting advice for your replacement, Rose McGowan? Doherty: [grinning mischievously] No, I think Rose will do a fine job, actually. I think Rose can hold her own and she's very sexy and beautiful — and I think it's actually going to make for a very interesting show, to be honest with you. I wish them all the luck.

 "I think my passion for my work was too overwhelming," says Doherty of the fur-fly that became the Charmed set. Doherty claims the issue was one colleague's work ethic. "I mean, what do we do?" she continues. "Say a few lines, sit in our trailers, and get paid a fortune. That's really rough. And yet there was a person there that bitched about her job, day in, day out." According to Doherty, a "mediator" was brought in to diffuse all the poisonous estrogen. To this diplomat she said, "Are you supposed to be my shrink? Because I've already got one." Exchanges like these apparently so riled Milano, Doherty says, that the comely newcomer announced that she would not return to the show if Doherty stayed on. Doherty insists that she was the more politic star; to settle things, she took the matter up with the serge suits at Paramount, threatening to quit unless "changes" were made, though she says she wanted Milano to stay. "I would never wish another actor out of a job," she adds. "I think it's terrible karma." (Milano's reps did not return phone calls.) Six months later, at the end of the season, came a frilly pink slip. Though Doherty claims that she actually wanted to leave the show, she remains bitter that she's yet to hear from Spelling and that no one sat down with her to explain what happened. "You know what?" she says. "The lack of appreciation he's showing for me as a human being and as an actor is overwhelming." (Spelling's office issued a terse "No comment.") Others believe Doherty has her charms. "I worked with her for three years," says Charmed witch No.3, Holly Marie Combs. "I don't think she's difficult at all."

But trouble was undeniably brewing between Doherty and Milano by the time production started on the third season last summer. The fawning quotes to the press had stopped, as had the costars' time together away from the set. As Milano puts it, "I wasn't going to call [Shannen] on the weekend to go hand out." Rumors quickly swirled that Doherty was resentful of Milano's growing popularity, which had translated into several endorsement deals, including one with MCI. But those close to the situation claim it was more complicated than that. "There were no angels," Combs says. "We all had our bad days. We all [got] stressed out."

That's hardly surprising, says executive producer Kern. "People on a TV set work together 12 to 14 hours a day, five days a week. Rarely have I seen cast members stay, or even become, best friends." Adding to the friction, says Combs, was the stars' growing frustration with the show's direction. "We were in [a] rut, where we felt like we were doing the same episodes over and over again," she says. Doherty, in particular, "wanted to make the show bigger and better and stretch her boundaries," says Combs, who has been friends with the actress for eight years, and still speaks frequently with her. "I'd see her in the morning and she'd be like, 'OK, how are we going to fix this scene?' She was really dedicated and she didn't have a lot of patience for anyone [she felt] wasn't."

Whatever broke the spell, "we definitely didn't get along," admits Milano. "Shannen and I are very different people, and I think it's almost like a roommate. If you spend that much time with someone and there are differences anyway, you're not always going to get along.

Both Milano and Combs deny tabloid reports that Doherty would only speak to them when the cameras were rolling. But Milano acknowledges that she and her former costar could get downright witchy: "There were times when I'd come in and say 'Good morning, Shannen,' and she didn't say anything to me. And there wer times when she'd come in and say 'Good morning, Ayssa,' and I wouldn't say anything to her."

"The problems we had weren't things some big company mediator could fix," Combs adds quietly. "They needed to be fixed between us [by] going into [each other's] trailers and saying, 'All right, I don't like it when you do this.' Or 'I didn't like it when you said this.'"

That apparently never happened. Doherty has contended that Milano eventually got fed up and issued producers an ultimatum--either Doherty walked or she would--but Milano insists that isn't truel "I never even thought about doing that," she says. "I couldn't sleep knowing I backed out of something I'd committed to."

Doherty's eventual dismissal, then, came as a surprise. And the form Combs says it took--a phone call to Doherty's lawyer after the embattled actress had flown to Winnipeg, Canada, to start shooting Another Day, USA's upcoming Francis Ford Coppola TV-movie--still clearly angers her. "How do you go from directing the season finale to being [given] a pink slip over the phone, when [you're] in another country, at eight at night?" Combs says. "it was really a tacky way to go about it.

While no one's officially saying why doherty was ultimately cut loose, a series insider says, "It eventually became clear that [either Doherty or Milano] had to go." And Doherty may have been the safer choice, according to Stacey Lynn Koerner, an industry analyst with Initiative Media: "Alyssa is just as popular, if no more so, than Shannen. And when Shannen left 90210, the series did just fine."

While answering questions at the TCA press gathering in Los Angeles, a number of WB's own addressed what happened this last year on CHARMED regarding Shannen Doherty's exit. The network's Jordan Levin spoke of the matter, saying, "We knew last year that there were some decisions that probably had to be made in the best interest of Aaron Spelling and his company, our company and Shannen. And everybody came to the decision that they felt was mutually beneficial for all parties involved." When asked if the season finale was geared crafted in order to set up the entrance of a replacement for Doherty, Levin says, "We had an idea that we wanted to give ourselves some flexibility." More specifically regarding the addition of Rose McGowan to the cast, Levin adds, "There's a history within the mythology that there could be another sister because of the Lighter. We're still sort of hammering that out, and we haven't heard the full pitch yet and how that's going to work. But we're looking to bring in someone who could provide some conflict within the group and someone who could bring a younger audience into the show. We feel like Rose does that for us."   

Early/Mid 2001

Alyssa claims that Shannen is out to destroy to her and it caused her to gain weight. Upon Shannens termination, Alyssa secures a substantial raise for S4

”I think it’s hard when you put…[long pause]…two very different people together. I’m very laid-back and passive. I have my Buddha,” Milano says, gesturing to a small shrine at the back of her trailer. ”I come in here and meditate. [Shannen’s] got a lot of energy, she’s very headstrong, she wants to get the job done…. I think it’s unfortunate that she left, and that she needed to bad-mouth everyone involved and the audience,” continues Milano, alluding to the former 90210 star’s recent dismissal of Charmed as ”a show for 12-year-olds.” (Doherty declined to comment for this story.) ”She sounds really angry. I just hope I didn’t contribute to that anger.”Shannen’s not the only one who’s miffed. ”It was done very poorly, in my opinion,” says Holly Marie Combs (Piper) of the producers’ postseason decision to allow Doherty to leave the coven. ”We should have had an opportunity to have her character, Prue, make a graceful exit and have our story writers properly plan for that.” Instead, writers were compelled to turn last season’s standard-issue cliff-hanger — Prue and Piper get thrown through a wall by a cranky demon — into a makeshift tragic send-off. ”Now,” adds Combs, ”we’re scrambling to explain why I live and she doesn’t.”

That stuff's hard to wash out. You're even more famous for those MCI commercials. Oh, yeah. Little kids only know me from those spots. They don't know from Who's the Boss? and aren't allowed to watch Charmed. It's a great night job, especially if Charmed doesn't last. Speaking of which... Shannen Doherty? You know, if you remember the way Shannen left Beverly Hills, 90210, it's almost exactly the way it happened on Charmed. She left for personal reasons, then it started coming out that she didn;t get along with the other cast members. It seemed she was so angry and upset over leaving another hit show that she had to lash out at me. Suddenly it's my fault. I think she did the right thing by leaving, but once she left she attacked many people—not only me, our audience, too, and almost everyone on the show. She lost credibility. She was like a bad roommate. There was a lot of tension on the set. I have a fear of confrontation, and she can be aggressive, so I was afraid of her. Shannen doesn't hate you—she hates herself. I haven't been able to figure it out, and I might die not knowing. And that's OK. OK. You and Shannen Doherty in a celebrity death match: Who wins? Sarah Michelle Gellar.

2004: Alyssa fires her agency over them signing Shannen. Agency sues and apparently wins their lawsuit against Alyssa for $1mill

2021:

While Milano said she's still so very proud of Charmed, she didn't always have the easiest time on set, especially when it came to her co-star, Beverly Hills, 90210 alum Shannen Doherty. After years of tension between the two during the show's eight seasons, Milano said she and Doherty are now "cordial." "I would say we are cordial," she shared. "You know, I could take responsibility for a lot of our tension that we had. I think a lot of our struggle came from feeling that I was in competition rather than it being that sisterhood that the show was so much about. And I have some guilt about my part in that." While the 48-year-old actress admitted that she still has some guilt for her part in their feud, their decades-old spat didn't stop her from reaching out to Doherty when she was first diagnosed with breast cancer in 2015. 2022/2023: Shannen speaks: https://www.youtube.com/watch?v=bHisM0QLPEw&t=85s&ab_channel=Let%27sBeClearwithShannenDohertyPods

So it was interesting that when I had a problem after this all transpired and I wanted to discuss leaving the show and all my reasons why they put me in a room with Jonathan Levin, which I don't know that I had seen since we went to network, and you had told me about your background with him, which is varied and interesting, and he obviously has a very fond spot, shall we say, for you, And I don't know why they chose him to do this meeting, but I can tell you that during the meeting where I said this is not the show I signed on to do, I hear that you're looking for other people. And it's not about the list of names. It's about this was not a show that I wanted to do without Shannon. She didn't want to do it without me. Therefore I don't want to do it without her, and that should be fairly clear. And he hadars in his eyes already because he could see I was getting upset. As you can hear me getting upset, And I said, why would you hire her again just to fire her? And he said, we didn't mean to, And he said, but we've been backed into this corner. He said, you know, we're basically in a position where it's one or the other. We were told that it's her me and Alyssa has threatened to sue us for a hostile workplace environment, which because she went to the therapist or the mediator or the corporate mediator, whatever the heck his title is, she built a case for herself where she was documenting every time she felt uncomfortable on set and for whatever reason, whereas you and I refused to speak to him. So that's where the deck was stacked There was no either even like harsh words exchanged. It was all behind the scenes, it was all in the trailer. It was nothing that anybody or any of our guest stars ever noticed or noted. And you know, there's not a director that would not work with you. Again, there's not any one of our crew members that did not have a great time working with you. So by today's standards, it wouldn't fucking fly, right, And I don't think being laid as a teenager on a set called nine O two one zero would fly for being fired either. Like it's just it's just doesn't make any sense anymore. There are people that actually behave badly and get away with it, and there are men that you know, abuse people, throw things, screaming fits and get away with it. Alyssa/Holly Speak:

Guest stars speak throughout the years:

Michael Bailey Smith aka Belthazor/Shax/Grimlock I did 14 episodes on “Charmed” and had a great time. Whenever I showed up to the set as Belthazor, Alyssa Milano would always give me a kiss on the cheek and say, “You’re not scary.” Holly was really nice too, really down to earth. And I know the rumors about Shannen Doherty, but for me, she was always nice and very professional. I would always see her doing extra work off the set with the stunt people just to make sure her fight scenes looked good. I remember one time when we were preparing for a scene, she got a box of roses from someone. When she opened them, they were dead roses. People can be so cruel. https://www.facebook.com/photo.php?fbid=10157836541399125&set=a.404883944124&type=3&theater

Brian Krause (leo)“ I can just tell you that she was the hardest working person on the set. Yes, she could be terse and abrupt, but she wasn’t always wrong, I’ll tell you that.”“She had everybody’s back, she was part of the family, she was the family. And when she left, we all wondered how the show was gonna last, and it’s honestly a miracle that we did and kudos to Holly and Alyssa and Rose [McGowan] that we did, they kept it together. But I have nothing but love for Shannen Doherty.”“Most of those comments come from guys, men in power with money who don’t like to be told what to do by a woman, especially a strong opinionated woman,” he said, adding: “She wasn’t always right, but she stood her ground.”https://www.pedestrian.tv/entertainment/brian-krause-interview/

James L Conway (producer)"Shannen was nice to almost everyday, she had script problems, always nice to the cast, she was the HEART AND SOUL OF CHARMED" That really says it all doesn't it? She viewed Charmed as her baby.Source: Charmed blu ray special feature

Christine Rose (Claire)"It was all with Shannen, and I thought she was absolutely darling. I had worked with her years before on Life Goes on. That was about a boy with a Down’s syndrome, and I was guest-starring as the boy’s teacher. Shannen was on that episode, too, and I was setting them up to be married, for what that might be like. I was new to L.A. then because I’d mostly been on the stage, and I was relatively new to being on camera. And I remember thinking, «This girl is a pro”. So I was aware of how good Shannen was, and she was very nice when I did Charmed. I enjoyed working with her, Holly Marie Combs, I had played her biological mother on Picket Fences. We didn’t get to work together on Charmed, but it was fun just getting to see her again. Otherwise my experience was pretty straightforward.

Actually, one other thing I remember was being at a table and another guest star was having a hard time. In between takes Shannen said something very encouraging and nurturing to her, and I thought she was very nice. So those are my memories, as sparse as they are"Source Unknown via: https://thecharmedcafe.proboards.com/thread/11658/guest-stars-working-shannen-doherty

TW King (andy) I think some of it is rumor, but a lot of it is based on truth because she was young when success hit her. The great thing about Shannen is that she is a total professional and is always prepared, and she expects everyone around her to be at the same level - and I like to think I am the same way, so I respect the way she is around the set. We get things done, things rapidly and according to the script, so I certainly can't complain.Source Unknown via: https://thecharmedcafe.proboards.com/thread/11658/guest-stars-working-shannen-doherty

Scott Steiner (Wrestling W/Demons demon) Steiner is asked about appearing on the TV show "Charmed" while working in WCW. He said that while explaining to Shannen Doherty's stunt double that he would have to put his hand in her crotch to perform a press slam, Shannen came up to him and said that she would do that and when Steiner told her that he would have to put his hand in her crotch, Shannen told him that is why she asked. Steiner says that she was cool and gets a lot of bad press.https://www.rspwfaq.net/2014/05/rf-video-shoot-interview-with-scott.html

Armin Shimerman (The Wizard) "I hated the ladies on "Bewitched"...um...uh..."Charmed!" "Charmed!" And there's a reason they were cast as witches. I...of all the shows I've ever worked, that was by far the ugliest." https://www.youtube.com/watch?v=_zl24cHSS-w (8:10)

Danielle Harris (Aviva) First AC guy was talking to me - Shannen kept walking by, she wasn't very nice to me anyway but she kept getting mad. Wasn't sure what was going on. Wasn't a fun experience. A lot of fighting between the girls. If I pick Shannen, Holly would be mean. If I picked Holly, Shannen would be mean. Alyssa kept telling me what to do as if I didn't know anything. The AC was using me to get back at Shannen. He had been her boyfriend for 1.5 years. Thats why I was getting stink eye.

Scout Compton (Thistle the fairy) I did 7 or 8 episodes and it was interesting. I wasnt on (when Rose was on NOTE: She was only on 1 episode with Shannen. The rest with Rose)The women were always fighting in the makeup trailer.

https://talkscarytome.podbean.com/e/talk-scary-to-me-e9/ (22:00)

Geoffrey Blake (Four horseman) Alyssa was very welcoming. Most of them were except one that wasnt so nice**. (Shannen was largely absent this episode)** https://podcasts.apple.com/be/podcast/geoffrey-blake-podcast-apocalypse-not-part-2/id1573860155?i=1000526963557

Elisabeth Hernois ( Brooke in the season 3 episode "Magic Hour"):

The dynamic on set was “interesting,” she said, as she “hadn’t really ever witnessed anything like that on a set — where people really aren’t hiding not liking each other.”

“Definitely as a young person, I sensed the tension on the set,” Harnois, 44, said, noting that her overall experience was “actually really good” as she shouted out Alyssa Milano, who she said “was a sweetheart to me.”

“She really took me under her wing, and a lot of my stuff was with her too, so that was helpful,” she recalled.

Shannen Doherty and Holly Marie Combs, who made up the other ⅔ of the sister witches who led the show, “were nice to me but not as effusively kind as Alyssa was,” Harnois said.

“And they were always off in their own space and [Alyssa] would sit all the way on the other side of the set by herself," she continued. “There was a major divide on that set, even back then, and I don’t think that was that long into the show.” https://people.com/charmed-guest-star-recalls-major-divide-on-set-shannen-doherty-alyssa-milano-8604809

[pixelgrotto]

The Shining Lost Crown

Prince of Persia: The Lost Crown is finally out on Steam today, and everyone should play it. I'm really hoping that a large audience can finally appreciate this game for what it's worth, because I feel like it received a double whammy of negativity upon reveal and not-so-high sales upon release.

Part of this unfortunate combo is due to gamers being crappy, while the rest is Ubisoft being Ubisoft. When The Lost Crown's first trailer hit in 2023, it initially seemed like it had replaced the long-dormant, long-awaited, long-troubled remake of the most-loved PoP game, The Sands of Time. That remake has since been rebooted for a release date in 2026, but it didn't stop some from lamenting that Sands of Time 2.0 had been ditched for a sidescroller. "Looks like a mobile game," cried members of the YouTube peanut gallery. Others focused their ire on the main character, who is Black, and the trailer's accompanying music, which was a rap song. I read at least two comments that said "More like Prince of Wakanda," which made me want to slap a bitch through my screen.

But then the game was released, and it got lots of positive press. As someone who'd felt the burning need to defend The Lost Crown from folks making "Prince of Wakanda" comments, I was enthused to see them eat crow. Alas, Ubisoft made the decision to release the PC version of the game not on Steam, but on the meh Epic Games Store and on their Ubisoft Connect launcher, a piece of software that nobody uses because they want to. And so, despite strong reviews, The Lost Crown came out of the gate slightly hampered.

At last this error can be rectified, and hopefully everyone can see that this is the PoP revival we needed. Even though series creator Jordan Mechner wasn't specifically involved in The Lost Crown, this game feel like a natural evolution of the formula he established in 1989 right off of the heels of Karateka. PoP started out as a tough-as-nails platformer with an emphasis on exploration and cinematic scenes - it only makes sense that it should transition into a tough-as-nails Metroidvania with style and storytelling influenced by anime.

Prior to this game's reveal, the PoP franchise had been floundering, trying in vain to recapture the mainstream appeal that it had snagged during the Sands of Time trilogy in the mid-2000s. Proof of the struggles to reimagine the franchise have emerged in since-leaked videos showing reboots that were thrown away by Ubisoft in favor of more Assassin's Creed games. (Hi, I'm one of those folks who remembers that the first Assassins' Creed was supposed to be a PoP spinoff, and resents the fact that the Prince floundered in obscurity for over a decade while AssCreed got over two dozen games.)

But the wait was worth it. Ubisoft Montpellier (the one team at Ubisoft that I like, since they made Rayman and seem to rise up every five years to drop a banger before disappearing back into the mist) reinvented PoP by looking at what AssCreed had become and then veering in an entirely different direction. Instead of an overbudget open world experience littered with microtransactions, we have simply a good ass video game that focuses on the trademarks of the Prince - sweet parkour moves, tricky combat, and time travel shenanigans.

That said, you don't actually play as full-on nobility in The Lost Crown - you play as Sargon, a cocky member of an elite team of bodyguards dubbed the Immortals. These larger-than-life anime figures are tasked to go to Mount Qaf to rescue the Prince, and Sargon's connection to the title "Prince of Persia" is interesting and not the obvious "oh, he's just the Prince in disguise" twist that I expected.

All of this is to say that the plot of The Lost Crown is solid, and there's a certain amount of respect paid to the source material that goes beyond the "vaguely inspired by the Arabian Nights" schtick of every other game in the franchise. As should be the case in 2024 for something with "Persia" in its title, actual people of Middle Eastern descent worked on this, and apparently the Farsi dub is excellent.

As for Sargon, his design does boast the Killmonger dreadlocks that have become a tropey shorthand for "cool Black guy" in media. But aside from this, he's great, and he really grows over the course of the story. Everything about his dual-wielding fighting style to his double jump is excellent, and you'll need to master those moves to make it through The Lost Crown's boss fights, which are intricate, multistaged affairs that toss Sargon in arenas against huge foes who have their names presented in ALL CAPS along with a subtitle - for instance, "JAHANDAR, Guardian of the Citadel."

I'd been cocurrently working through Elden Ring for my fulltime job of writing game guides as I started playing The Lost Crown, and after dying for the eighth time against Jahandar, I realized that this game's emphasis on bosses combined with Sargon's ability to quaff healing potions a limited number of times (and take a limited number of hits) was awfully Soulsy. That said, The Lost Crown isn't a full-on Soulslike, but there's borrowed DNA here. Aside from the bosses and healing, collectible lore items that reveal extended backstory lie in abundance, and Sargon's moveset demands the sort of attention and mastery that Soulslikes promote. There have been some stunning combo videos showcasing everything he can do in combat, and outside of fights, expect to make Sargon navigate through some absurd platforming sections replete with spikes farther than the eye can see.

Honestly, there were a few instances in The Lost Crown that made me curse modern gaming's love affair with Soulslikes and grunt, "WHY DO GAMES THESE DAYS HAVE TO BE SO HARD." Then again, I was playing on Hero difficulty level, which is a step up from Normal and meant to be tough, so I have nobody but myself to blame. And the original PoP was no walk in the park either, even if you can speedrun it in less than a half hour these days if you know what you're doing. Overall, the challenge level in The Lost Crown is fair, especially because the game presents you with a wide array of accessibility options, and you can lower the difficulty at any time.

I think if you've played Hollow Knight, which I've seen The Lost Crown getting compared with a lot, you'll be ready for all of the obstacles that Sargon faces. I haven't, despite obtaining it via one Steam sale or another several years ago, but now I want to. Both games share an absolutely huge map in common, and as someone who enjoys Metroidvanias but is mostly used to the two franchises that gave the genre its title - Castlevania and Metroid - seeing Mount Qaf spread out before me on the map screen in a seemingly endless fashion was way larger than anything I'd previously witnessed. Games today, man. They're not just hard, they're big.

I for one am grateful that PoP is back in action with such a big title, and with the recent release of The Rogue Prince of Persia only a few months after this game, suddenly I am inundated with more Persia content than I've had in years. Maybe Ubisoft's gearing up to milk this franchise AssCreed style, which seems to be a possibility that I'll be forced to call them out on if it ever occurs.

In the meantime, I'm just glad to be performing death-defying wall jumps over beds of spikes in a fantasy Persia once again. If you missed it the first time around and love Metroidvanias, platformers, or Soulslikes, don't delay. The Lost Crown shines like headware fit for a prince, and this is a game more than worthy of your time.