#subject: actors

[rayandco]

John Gielgud as Oberon by Cecil Beaton. January 1945. Accession Nos. S.1587-2015, S.1585-2015, and S.1586-2015

[tylerposey]

Nicholas Alexander Chavez & Cooper Koch "Spree" — Monsters: The Lyle and Erik Menendez Story (1.02)

[stellaluna33]

The Jess episodes in Season 6 are SO gratifying (for those of us who, like Rory, would say, "I KNEW you could do something like this! I KNEW it, I knew it!") but at the same time SO FRUSTRATING, because everything about the way they were written suggests that they were making deliberate comparisons between Jess and Logan- comparisons in which Logan doesn't come off particularly well. Like they went to great pains to imply that: Jess knew Rory better than Logan (the birthday subplot), was better FOR her, was more mature, loyal, freaking noble, etc. etc... And then they just... never went anywhere with it! Logan jumps off a cliff and Rory feels guilty, and... The whole plotline gets dropped and they never talk about it again! It really freaking seemed like they were making a point, but WHAT WAS THE FREAKING POINT??? *flips a table!*

[clairedaring]

SPARE ME YOUR MERCY การุณยฆาต — 2024, dir. Wo Worawit Khuttiyayothin

[aliusfrater]

almost all s8 opinions regarding sam make me want to tear my hair out but what do you make of the takes that we can't really blame sam for s8, mainly not looking for dean/quitting hunting because it was "out of character"?

not just the you know who shippers who say this either btw I've seen so-called sam stans say the same

the evidence to this claim always seems to be that jared supposedly didn't like it either (which may very well be true idk the source) but I have to wonder if jared only said that or something similar because fan reactions to s8 sam began affecting him too

quite simply, i just don't agree with or enjoy interpretations that genuinely and earnestly refer to it as sam 'not looking for dean' in any context that's intended to be from sam's point of view because that's very much what dean considers it to be because he knows that he wasn't dead in the soul-had-left-his-body sense and he considers sam's adherence to his own perceived death as abandonment which is the major culprit of his own, sam's as well as the narrative's perpetuation of the idea that sam 'didn't look for him'. like this exact idea from sam's own pov is touched on in the first episode of season eight when sam is at his most confident in his independence away from his and dean's relationship:

then based on bobby's reaction to sam's own recount of dean's death to bobby in 8.19, it does seem evident to me that sam neglects to retell his own pov and he tells bobby that dean was in the same purgatory they were currently in, which is why bobby reacts with disbelief (because if you knew where he was, why didn't you attempt to save him?) and why sam's response is to bring up the previous 'agreement' he and dean had about death.

i have my own qualms about bobby's disillusionment re: the agreement as a 'non-agreement' and that he 'taught [sam] that' based on the actual events of 6.01 and the fact that bobby does indeed leave dean out of hunting at sam's will and the only plausible point at which it could have become a non-agreement is during the 6.11 and 6.12 conflict that is regaining sam's soul (without sam's consent, twice fold, but i consider soulless!sam to be more of a direct victim of being resouled than i do sam because of his active agency against it. sam's agency was preceded in his dying wishes and are therefore passive). bobby's reaction does, however, add to the already narratively skewed perspective of sam's decision where there is already that prioritisation of dean's 'didn't look for me' on account of the fact that bobby's own role as patriarch does narratively match dean's, along with bobby's position as a character who is narratively third to sam and dean's relationship (which then then bleeds into both sam's and the fandom's own interpretation of it, i think; sam also begins to doubt his decisions more which is also related to how the trials turn into his own suicidal ideation).

the conflict regarding which brother takes on the trials is very much foundational within sam's own view of a light at the end of the tunnel and his desire to leave the life and dean, at multiple points, within conversation about why he should be the one to do the trials, reiterates sam's own desire for normalcy away from hunting, within what dean himself desires for sam's life, which bring us back to the root of the issue that is dean's fear of abandonment (8.03, 8.14).

sam's own desire or attempt to leave the life seems to be fundamentally Wrong or is at least disproved of until dean approves of it/whenever it's part of dean's ideal for sam. 8.01, "so… free will, that's only for you?" the greatest sin is to disobey your patriarch; i think the culprit here re: sam's own person, just like it was with season four and the beginnings of soulless!sam, seems to be sam's rejection of the dynamics of his and dean's codependency in favour of his own attempt at independence. there's also the idea that dean would rather complete the trials that have a possibility of death than have sam go through the trials, die, then 'leave' dean to face the idea of living a life without sam—and he attempts to make this decision by on his own, without sam's input.

generally, i don't believe sam needs any excuse(s) to live a life outside of dean but the narrative's own facilitation of sam back into the non-role (the struggle to fit into the role) of his and dean's relationship, the dichotomy of monstrosity, the cycle of abuse, the patriarchal structure etc. etc. after his attempts at independence are endlessly interesting to me and although this isn't yelled at you through explicit exploration, i do consider aspects of sam's history with mental health to be relevant within several aspects of season eight, but mostly being related to sam's decision to leave hunting specifically within the context of the year between seasons seven and eight (especially after all that is seasons three to seven) as it's explored in 8.08. ultimately though, i think the major aspects of sam's decision to leave revolve around 1) grief and sam's avoidance of his grief, which is pretty well represented by his initial reluctance to name riot and explored through sam and amelia as mirroring characters (how blatant it is pisses me off a little),

and 2) the very basic building block regarding sam as a character that is his desire to leave the life. quite generally, i think the fact that through dean's own conflation of family and hunting (on account of john's own pov that through choosing college over hunting, sam had also chosen college over family) as well as dean's own pov prioritised through his and sam's relationship along with the previously mentioned structures, the idea that sam, too, is therefore unable to leave the life or subvert any of these structures without it being perceived as leaving dean or forsaking family is pretty neglected within a lot of interpretations of sam as a character. i think dean very much keeps sam tethered to the life either through sam's own ability to choose dean and their conflated lifestyle over something/someone else (later season one, season two, three, later nine to fifteen) (there's also the guilt tripping) or as a result of being preoccupied in a way that inhibits his idea of normalcy (his monstrosity in seasons four and five), but on account of the dynamics and his and dean's relationship, sam is unable to reject their codependency which perpetuates hunting and SamAndDean as existing synonymously. i mean, even when sam was hunting without dean as soulless!sam, on account of the agency and autonomy sam was able to achieve due to the differences between s!sam and sam's priorities due to the difference between then (the soul lol), s!sam's rejection of his and dean's relationship did become evidence for his monstrosity. which is, of course, punishable by (possible) death should dean decide that the dichotomy will not stretch to accommodate said monstrosity.

season eight, to me, is when these characters first start feeling a bit like cardboard, especially due to how wittled down to its core sam and dean's dynamic is represented. this is the most boring and basic version of How They Work at this point in the show and even then people explain their simple and cardboard-ish behaviours away with explanations like saying they're 'ooc'. sam's state of mind is pretty straight forward if you know where to look; sam taking his entire family's death as his sign that he's able to leave the life is not out of character to me at all. kill the supernatural appointed patriarch in your head.

[dark-nimbus]

So I am a dumbass and didn’t realize that Spinner’s quirk is specifically gecko I thought it was a bigger reptile okay 😭😭

And after my friend and I talked about it I made the offhand remark that Spinner could be a jumbo-sized Geico gecko and they can’t unsee it

Because like

Look at it

So naturally I had to make a headcanon

Actor AU Spinner where between filming for MHA he does commercials for Geico

His biggest adversary is Shota from State Farm, otherwise known as Khaki Man (yes everyone on set teases him for it but hey man needs the muns)

[briebysabs]

I’ve seen some grumbling that the ORV anime would further censor the gayness surrounding joongdok. And while I get that with it following the webtoon which is already toned down, I trust a Japanese animated studio to lure in the masses with yaoi.

Whether it’s official art, interviews, the voice acting, the songs. Like don’t worry guys, the OPs and EDs are gonna be gay as hell. Especially the further we go in the story and it becomes more introspective/personal than action-focused.

While lgbt marriage is still illegal in Japan and censoring in its media obviously still occurs, many hurdles remain for creators to represent what they truly want or to simply leave in subtext. But compared to SK and especially China, I feel like Japan is less strict with this sort of thing. Plus they also know and will hone on the fact that orv is a project meant for a global audience.

[metabolizemotions]

The creative choices on the show are as subjective as each of the viewer's interpretations.

I think a lot of why I personally feel deeply uncomfortable n resistant is the asymmetry.

I get the need for variety. The same thing may be expressed differently for different characters. A healing journey will differ from person to person. Each step is also taken on a personalized timeline.

But I can't help but think of the asymmetry of how the show dealt with Mason vs Beckett n even Dixon. They condemned Mason immediately at his worst but dug deep to show the sides of Beckett n Dixon that were still human despite it all.

The trigger shot scene with Beckett felt like 0 to 100 in his reconciliation with Maya. It felt like a 12-step program of which he skipped many steps when it came to Maya. From the get-go, we saw a sexist, incompetent captain who was demeaning to his team n constantly put them under stress n in danger, on top of endangering civilians n even equipment. For months, we saw this middle-aged man in a position of power, take perverse joy in bullying a younger female subordinate to appease his ego. That was workplace harassment. He also took out his unresolved trauma on the people around him, in this case, people he had authority over. Alcoholism was not the sole reason for all his bad behavior. Even if it was, it should not be used to excuse it.

The team, esp Maya, was trapped in this hostile work environment sanctioned by the female chief. This was a more common n insidious manifestation of toxic masculinity, one that was amplified by his position of power, n sometimes even supported by women, when their goals aligned in the power struggle.

Yet the show gave so much more grace n compassion to the bullies than the bullied. The team treated Beckett n Ross with more kindness n respect than they earned, n less kindness n more apathy towards Maya than she deserved.

Then he was given a long, carefully constructed redemption arc, while Mason, a rushed condemnation arc.

It felt like 100 to 0 with Mason. We saw Mason briefly in earlier seasons, mainly thru the eyes of Maya. We missed a lot of the in b/w. We caught him again at his worst. We only saw the side that was full of hate ideology, but not his side that was also human. We knew about his addiction n homelessness. But we didn’t see how as a young abused person w/o positive role models n a support system, he was vulnerable to these hate groups, which he clung to, when offered him just a semblance of belonging or respect. He had not learned to let go of his resentment of their parents n Maya but taught to transfer this unresolved hate to fill a meaning void.

The scene itself b/w Maya n Mason was great. It was an urgent n imperative story to tell. Maya's actions were right n necessary. But in the bigger scheme of things, it felt like a quick tie-up of loose ends, of a once-beloved brother, who came n went abruptly. Despite it being a logical narrative choice to wrap up the nature/nurture discussions of Marina n discovery that Maya's deepest fears about herself manifested in her bro instead. It's heartbreaking n yet disheartening that it was again about queer hate when it came to another main queer character on the show.

It is just jarring to juxtapose Mason with Beckett in 703 then 707. Also juxtaposing his empathy towards Maya with the lack thereof from the others, despite everyone having just been thru 706 n having witnessed Maya's breakdown. So, in a way, I see the actions of these characters as being designed with the goal to emphasize Beckett's empathetic side, in support of his arc.

When looking at a scene with 2 scene partners, what it is really about? Who it is really for? Would the scene be the same if one is replaced?

There are many different takes on this. For me, it was really about Maya, but choosing Beckett as the scene partner made the scene more for him. If it were for Maya, other scene partners would be more meaningful n realistic. Esp those who earned their right for her to be vulnerable with. Maya, who bottled her feelings, let alone spill her deeper emotions, to someone whom she never had a proper conversation with, not to mention a fraught shared history. To add, alone in a small enclosed space, while administering a shot that made her even more vulnerable.

For the realism argument, this was not more realistic to me than having Carina, for a show which took a lot of liberties. It was a choice to design the circumstances to make Carina n the others unavailable n combine 2 scenes together. Carina's also Maya's life partner n best friend. A more realistic choice for Maya to share this devastating heartbreak n grieving process with. It was a big aspect of their marriage. We saw many discussions b/w them yet when it finally came to the conclusion, it was with the least likely person, an almost stranger.

I see the trigger shot as part of Marina's baby journey I wish we get to see them undergoing together. It reminded me of 5b in that Marina's story about their own baby journey - again with someone of a fraught shared history, of a different nature - was more about him n to lead to his own bio family story. Marina's story was messy n got nowhere. And here we r, seasons later, rushing thru it.

It's not that Maya/ Carina or Marina should not have scenes with others. It's that it's usually more about the others even if it's their storyline. Or they r the backdrop for others' drama. They either isolate Marina or suddenly include them or one of them in an in-depth discussion of their private matters with others, usually something we hear about for the first time. I just don't remember something like that happening with other characters. Is it too much to ask to see a married w|w couple, with little screentime, share a meaningful conversation or moment first, also or exclusively? We so rarely see such a rep on TV. The show is not about Marina, but shouldn't their own story reasonably prioritize them?

[robespapier]

How was your Halloween 🎃, I went to Ferney-Voltaire for a murder party and Rousseau got poisoned then stabbed

[rayandco]

Coral Browne by Cecil Beaton. Date unknown. Accession No. S.1553-2015

[mastersoftheair]

love how anthony basically said he doesn't have an iphone face. it's funny because i've seen people describe the mota main cast as dudes who look like they would ghost you on bumble which is funny but i think casting did pretty well (even if they don't look like their real life counterparts), what do you think?

as far as looking like their real-life counterparts, the cast ranges from Very Similar to That's A Whole Different Guy. when it comes to the main cast, raff law as ken lemmons and callum turner as bucky egan are close to the "Very Similar" end of this hbo war spectrum (tho no one's ever gonna be as Dead On as ron livingston's lewis nixon imo). on the other hand, the real life harry crosby was quite fair-haired (probably dark blond/light brunet) while anthony boyle is very much Not That.

also, iphone face is soooo subjective imo. i worked in an archive over the summer, handling old photographs ranging from the 1890s to the 1940s, and you wouldn't Believe how many people back then have that stereotypical "iphone face". to the point where they sometimes look out of place lol. (see: robert deniro as a kid). or, i'd see people who don't necessarily look "out of place", but they looked familiar enough that they'd probably blend right in today. so, to me, a lot of the cast members (barring more obvious outliers) blend in well enough. to me, at least!

anyway, check this guy out! (i nicknamed him 1910s barry keoghan while at the archives):

[void-of-unparalled-chaos]

A song came up on my shuffle that reminded me of Subject 16 and now I'm thinking about Clay Kaczmarek again.

I have played a LOT of Assassin's Creed and to this day, Clay is one of my all time favorite characters. I actually might like him even more than Desmond (don't kill me please). Everything about him is just so utterly tragic and I don't think the AC fandom (however tiny it is) appreciates him enough.

Like just think about this for a second and put yourself into his situation:

(TW for self harm and suicide. Honestly Clay should just be a TW in general)

Now for the sake of time, let's just breeze past the whole desperately searching for parental approval from someone who won't give it to you to the point that you give up on your dreams. Clay's childhood is lesser known since all of that is in The Lost Archive DLC, but regardless it's still pretty depressing.

So you're in college for something you don't want to do to appease a man that just makes you feel horrible. Then out of nowhere this guy comes up to you and says you can do something greater with your life, serve a good cause with bigger purpose. You join the Assassin Brotherhood and things are going good, great even! For once you're finally happy with your life.

But now you have to do the biggest, most important mission you've ever been sent on. You have to infiltrate the enemy in deep cover for an extended period of time. It will be fine. You've done infiltration missions before. There's already a mole planted. She will get you out. It will be fine. Lucy will get you out.

You allow yourself to be captured. Your kidnappers strap you into a machine that forces you to relive your ancestors memories for hours at a time. There will be long term effects. Your captors don't care. You aren't a person to them, just a number. Just 16. They put you back into the machine.

One day after being removed from the machine something feels off. Like you're not where you're supposed to be. You're supposed to be taller aren't you? Or are you supposed to be shorter? The buildings outside the window look wrong. It doesn't matter. You're out of the machine. You can finally be you instead of someone else, if not for just a little while.

But it gets worse.

Even outside of the machine you still aren't you. You experience memories that aren't yours even when you aren't strapped in. You can't remember the year. You catch yourself thinking its 1480 instead of 2012. You swear a horse almost ran you over but you're in a skyscraper forty stories up.

You're scared.

But it's okay. You have what you came for. Lucy will get you out.

Except she won't. She defected to the enemy side. No one knows to come for you. You're trapped, doomed to be forced into a machine that destroys your mind. You're alone with dead people who feel like they're you. But there is someone... something? A being calling herself Juno.

She might not be real.

She says the end of the world is coming.

She says you are going to die.

You believe her, when you're lucid enough to listen.

You are trapped. If not in the memories of someone else then in this infernal room. There's no point in fighting any more. You won't escape. You can't warn the brotherhood. But you could give whoever comes next a fighting chance. Lucy won't help Subject 17, but you can make sure they aren't alone like you. You can do it. You can stave off the bleeding effect and cling to your remaining sanity long enough to do this one thing. Juno says the world depends on it.

You code an AI of yourself into the machine, split it into encrypted glyphs for 17 to find. You aren't sure how coherent your messages are. Especially not the last ones. You barely remember your own name. It will be okay, though. All 17 has to do is unite the glyphs. You won't be here to help 17, exactly, but your digital memory will. Now you just need to make sure they know to look for them.

There isn't a quick way to do it. They want to keep you alive, even if they don't care about your wellbeing beyond that. You managed to steal a pen. The pen will have to do. Cutting your wrists with the ballpoint hurts, but it's a necessary sacrifice. You'll write your message on the walls and floors. Even after they clean it up 17 will be able to see it. 17 will have the eyes.

"She sees me... raise the knife..."

[dreadfuldevotee]

I do really think we have collectively given the actor's opinion of the show hold too much sway, ngl. Interviews and BTS footage are all amazing fun but at the end of the day, the work speaks for itself. Actors have their own opinions of the story and the characters and if they are a lesser performer those opinions can grind against the story being told collectively, but if not; its just another opinion.

Think for yourselve, come to your own conclusions with the text you've been given. Its nice when the performer agrees with you but at the end of the day- the work is the work.

[sysig]

The brainworms are winning, clearly (Patreon)

[appleelevengreen]

excellent characterisation of ares in the pjo show btw. absolutely no notes 11/10