#that is season one finished.... onto the big budget episodes

[storm-driver]

ep 20 : AH YES, THE FREAKSHOW EPISODE. im fairly certain i only saw this episode once as a kid, because the plot beats of the episode took me by surprise on rewatch. but i do remember something about danny with the red eyes and almost getting himself in hot water constantly. maybe this episode left that kinda impact on me that i never wanted to watch it again, im unsure.

i know i saw reality trip a lot more bc i can just...remember the name of it off the top of my head. but i have to wonder why this guy was chosen as the season finale villain twice, considering he NEVER shows up in any other episodes besides these finales. or if he does, i just didnt pay attention oops

okay immediately i think i remember why i didnt like this episode that much, it was the designs of the ghosts that freakshow had enslaved. im not really sure, none of them are particularly bad. but they're really bland outside of the tattoo ghost girl. and even then, i was staring at her design thinking "wait, this is a kids show right"

i know showing skin isnt inherently sexual by nature, but she's literally wearing a corsette that barely covers her chest from the waist up, and she doesnt have ANY pants on. she still looks cool though, im just an adult and can now see things i did not see as a child.

sam's family gets properly introduced in this episode, and it's interesting to see them semi-respect her choices in lifestyle. like, yeah, they still want to pamper their daughter into being more pastel and happy vibes. but they let her darken her room and dress it however she'd like, which is nice. they only really question her choices bc danny looks really sus hanging out with her sometimes LMAO. which is funny cause danny is probably the most chill dude surface-wise to just have as a friend, if the ghost powers weren't involved. he's just unfortunately walking into the room at the worst time.

i appreciate that her grandmother is more open to sam's antics, it's nice to see an older portrayal of an adult not be senile and rude. she's a fun-having woman who only wants the best for her granddaughter, but also wants her granddaughter to just have fun. it's v cute and sweet.

so yknow those comics that people make about how danny just transforms blatantly in the open sometimes bc the animators are tryna show off of a little. this is probably one of the most show-off-my-powers one yet. he literally jumps on top of a truck while STILL HUMAN, leaps off the back of it and transforms midair, and then launches himself up. which is BEYOND extra when you consider there's police literally coming down the road as he does this.

the goth dude walking up to danny and spray-painting his shirt black, then proudly saying "you're one of us now" was so fucking real, that was GENUINE. this episode has so many fucking one-liners that got me laughing so hard. the fentons getting antsy over being mocked for wearing jumpsuits, which are admittedly cool af (thank you evangelion for teaching me that). the smash cut from sam saying "lancer let us out" to lancer trapped in the closet screaming "LET ME OUT."

i really would like to know if the staff freakshow uses has some sorta of ties to the ghost zone, or if it was just the episode macguffin. bc lorewise, what if pariah dark used this shit or something in the past? or idk, it links back to the origins of the ghost zone? any they introduce artifacts that can interact with ghosts, i just wanna know WHERE it came from. what's THE LORE.

THEY LITERALLY GOT A RESTRAINING ORDER IN PLACE FOR A 14-YEAR OLD TO STAY AWAY FROM THEIR DAUGHTER, WHAT THE FUCK DUDE, thanks danny phantom for making me google if that's even a thing (yes it is, but there's gotta be legitimate reasons)

this episode ends up diminishing phantom's reputation with the town since he gets forced into committing crimes against both vendors and literal police in broad daylight (or moonlight). i suppose that's supposed to explain away why people backtrack on trusting him, but even so, i find it odd that previous alliances dont get brought up again.

sam's grandmother calls sam 'bubeleh,' which iirc is a Jewish term of endearment for someone you cherish? it's nice to see a subtle nod towards Jewish family and beliefs, it's a really cute lil detail that i love.

i really wish this show had been preserved in something higher than 360p, because there's shots and sequences in here that look fantastic, and im sure would be GORGEOUS in 480p or higher. the shot of sam falling off the train while danny dives to save her, despite still being under the influence of the crystal, it'd be nice to see that in any higher resolution. because this is what it looks like at 360p.

maybe my source just doesnt have the DVD uploads and this was recorded from somewhere else? i dunno

this episode almost feels like it could be a season finale if it had been given a 1 hour block treatment maybe? like the makings are all there, and danny ruining his reputation for the forseeable future has potential in the episode itself. there's literally a line where danny says "hey what if we stayed behind to explain to authority what happened to us" and the other ghosts just run bc they dont wanna. so danny has to just forgo apologizing to the public for his actions and leave the broken glass where it lies. i could imagine a sequence of danny walking out of the train and trying to explain what happened to overbearing and hateful figures, with a good chunk of people believing him and others dont. but this is once again me writing a fanfic in my own rewatch, so dont mind my rambles

freakshow is a fine villain, far from a favourite. it's weird how he's almost like a ghost despite being human. his family was supposedly controlling ghosts for centuries using the crystal artifact, which just leads to more questions as to where they got it, how long has it existed, did his family know about ghosts and for how long, etc. more lore for the graphic novel to exploit im sure teehee

fun episode, banger jokes, good sequence at the end of danny redeeming himself by saving sam, her grandmother kicks ass.

yknow what I'm cataloging my feelings as i rewatch every danny phantom episode, here we go

[emilyrox]

ouat for the ask game?

OUAT!!!

Favorite Male: Killian Jones. There's no contest. Just Killian.

Favorite Female: Emma Swan. There's no contest. Just Emma.

Favorite Pairing: Ok I'm gonna list both my favorite main pairing and favorite side pairing.

Favorite Main Pairing: Captain Swan. You all knew this was gonna be my answer don't lie. Finally watched the Captain Swan wedding for real and it is the best thing ever. Also started season 7 officially and THEY'RE HAVING A BABY!

Favorite Side Pairing: Mr. Hyde x Mary Lydgate (I don't know what the ship name is someone plz help). Gonna be honest I don't exactly know why I think about them as much as I do. Maybe it's because Hyde is also a favorite, or because of their dynamic in general, or because I wish we saw more of them, but I just think about them a lot and what they meant to each other. I'm attached to a pairing that was together for ONE episode??? It's more likely than you think.

Least Favorite Character: uhhhhhhhhhhhh I got a few

Fiona "The Black Fairy". I did not like her. Yeah she's a villain so she's meant to be rooted against but other villains in the show are at least ENTERTAINING. Regina was an entertaining villain (and the og). Zelena was fucking hilarious (and still is as a hero I'm glad they kept that part of her). Cruella de Vil is a cruel dog murderer but I was always interested when she was on screen. But Fiona? She was just a bitch, and not an enjoyable one. I just wanted someone to finally end her. Was so satisfied when Rumple killed her for good.

Mother Superior/"The Blue Fairy". Just because I don't like Fiona and she and Blue were foils doesn't mean I like the Blue Fairy. I agree with the rest of the fandom that she was shady as fuck. She does some good things but also a lot of rude and shady ones. The way she treated Tinkerbell was awful, and her overall "I art holier than thou" attitude was just unpleasant. I could never really tell if she actually wanted to help the heroes or not, which would have been an interesting thing to think about during the show if not for her over-the-top self-righteousness.

Rumplestiltskin (Season 4, Season 5B-Season 6A. Season 7 TBD). He has had many opportunities to redeem himself and be a good person, which he claims he wants to be, but over and over again he kept clinging to "muh power." He is entertaining as a villain overall, and I do like Rumbelle, but not when he is being borderline abusive and possessive of her. I specified specific seasons where I don't like him because those are where he fucks up the most imo. 5A could have been his perfect redemption arc, and he was finally free of the Dark One Curse, but he willingly chose to take that power back. Which makes his actions more irritating in 5B. 6A Rumple was god awful. However, I am glad that by 6B he got his shit together (most of the time) and ultimately did the right thing. *I will say that I enjoy Rumple the most when he is in full-on Dad mode. Which is part of why I like him again in 6B. He genuinely cares about his sons, and I believe him when he says he would do anything for them.* Rumple in Season 7 has yet to be determined as I have not finished it yet.

Who's Most Like Me: Ok imma be completely honest I don't actually know. I feel like my answer, if i have one, would just be me projecting myself onto the character and not actually looking at canon.

Most Attractive: Killian is the obvious choice but ngl more than half of the entire cast slays. The costume department is a big reason why. I agree with the idea that most of the budget went towards the costumes and honestly that is 100% valid of them to do.

Three More Characters I Like: Here ya go:

Elsa. Fuck y'all the Frozen arc was great and Elsa was great and she cares about Anna and Kristoff and becomes besties with Emma and doesn't understand talking phones with Killian and she's great and I may or may not have shipped her with Liam (the first) at one point even though there is literally no way that could ever happen but consider this: it'd be cute.

Zelena (Season 5B and onward. Season 7 TBD). I mentioned how she was a very entertaining villain but ngl I think she's even more entertaining when she's on the heroes' side. She still has 100% of her sass, it's just now directed at people who deserve it. Like Fiona for example :D. I also love when she and Regina work together and help each other. I also believe, like Rumple, that she genuinely cares about her daughter, and seeing her go mom-mode is great. Overall, I think she became a much more likeable and enjoyable character after 5A, and especially by mid 6A. Zelena in Season 7 has yet to be determined as I have not finished it yet.

Lily Page. So from what I've seen online I'm not the only one that was hoping to see more of her after Season 4, right? I thought she was an interesting character, and I'm happy she finally reunited with her mom, Maleficent. Lily being her daughter was a plot twist I don't think anyone expected, but I really liked it! I would have honestly loved to see an episode where Lily and Emma, and maybe a few others, go searching for Lily's dad. They introduced that arc for Lily in the Season 4 finale, but then it didn't go anywhere. (Ok so I have been spoiled that it's revealed in Season 7 at the very end but I wish we got more than that ngl). I like Lily, I just wish we got to see more of her.

[fan-cam]

House of the Dragon, Season 1 review + analysis (contains spoilers for HOT D and GOT)

Okay so, as you may have guessed, I have a lot of thoughts and feelings about the first season of House of the Dragon (from here on out, referred to as HOT D). It’s been two full weeks since the finale aired and though I am deeply sad it has come to an end, I have appreciated taking some time to reflect and of course watch the last episode three times through.

Game of Thrones (GOT) is a pretty big deal to me. Though I did not start watching the show until May of 2019, well-after it had finished, I promptly watched it three times through in about a year and a half, and became deeply involved with Westeros using it to escape a lot of personal events as well as the pandemic. Once I finished I saw an uptick in my mental health as I was brought back to reality, which underscores how important it is to check in on those coping mechanisms from time to time (are they still helping you?), but I will always feel deeply dependent on and involved in that series. 

I was nervous for HOT D, like many, because it had enormous shoes to fill. Additionally, I don’t think we have recovered from the societal trauma that was The Hobbit trilogy, making us wary of fantasy spin-offs and prequels. But, also like many, by the end of episode 1 I was hooked. Being back in Westeros and experiencing the show in real time was truly such a gift. For ten weeks, Sundays at 9 pm became my happiest time, and each subsequent week I would listen to several hours of Joanna Robinson and Mallory Rubin unpacking each episode, beat-by-beat, on The Ringer-Verse podcast network (you must listen).

Let's truly get into it: Season 1 feels like a pre-season, working with us to recalibrate almost 200 years before GOT, and setting us up for what’s to come--The Dance of the Dragons. I think some viewers found this to be a weakness, meaning the show moved slowly and lacked the big budget battles that we saw so much in GOT (though I would remind you that episode 9 of season 2 is the first time we witness a huge battle sequence). But this is something that I loved about HOT D; I felt that we got to spend time with each character, understand where they come from, how they communicate and connect with one another, ultimately allowing us to empathize with and love them a lot more than other TV characters this early on. Preliminary seasons are hard for me in general, I prefer them on a rewatch once I actually have a sense for each character, but with HOT D I felt connected from the beginning--a testament to the slow burn, not to mention the writing, acting, shots, lighting, sets, CGI, etc, etc, etc.  

It is also very important to note that HOT D has more female-directed episodes than GOT ever did. Seems hard to believe that a ten-episode season had more than a 73-episode show? That’s because GOT had zero. Four of HOT D’s ten were directed by women and we also saw an increase in female writers. Though we had an abundance of strong women in GOT, it felt refreshing to have a story centered around the very powerful Alicent Hightower and Rhaenyra Targaryen, showcasing the intensity and depths of female friendship. This season felt way more feminist than anything GOT ever did and feels like a real strong season for the girlies. Finally, I would be remiss not to mention Emma D’Arcy, who plays Rhaenyra, is non-binary. I am beyond excited to see a non-binary actor cast as the lead in this and do an absolutely phenomenal job. Emma provided us with one of the best performances I have ever seen in the Westerosi Cinematic Universe IMHO. 

Now onto a few things I did not love. At the beginning of episode 1, Aemma Targaryen has a conversation with her daughter Rheanyra about her duty as a woman, telling her "the childbed is our battlefield", unveiling a main theme of this prequel. As I previously said, GOT is known for its big battles in which women seldom participate. In trying to create a show that portrayed woman as strong and decreased the sexual violence we saw in GOT, the creators turned to childbirth to show the pains, struggles and war that women go through in this universe. I understand the thinking behind this, however it went too far at times. My biggest qualm, which I know a lot of other viewers shared, was an over-the-top-graphic stillbirth in the finale. We know that these shows are going to push us, make us feel sick and see things we don’t want to without apology, because that is a lot of Westeros' essence, but this felt like a little much. Also its important to underscore that Greg Yaitanes and Ryan Condal (two men) were the directing/writing duo for this episode.

Another pain point for me was the addition of Aegon's dream--“A Song of Ice and Fire”. In episode 3, King Viserys Targaryen brings Rhaenyra, his daughter, into his chambers to show her his cool little knife that GOT fans recognize as the knife that arguably started the War of the Five Kings and led to Little Finger’s execution. He tells his daughter, as he prepares her as his heir, that Aegon the Conquer had a vision that an army of the undead will descend upon the seven kingdoms (AKA the story that GOT/A Song of Ice and Fire tells), and a Targaryen HAS to be in power when this happens so they can unite the realm against the evil. Why is a Targaryen the one who can unite the realm you may ask? No idea. This is a show invention and an addition that feels like a fan nod at the expense of the story. Aegon's dream brought me out of the show since it felt so out of place and, to make me dislike it even more, leads to our very controversial Daemon the Domestic Abuser choking scene further making this plot point difficult for me. You knew I was going to mention this scene and in summary I do not believe domestic violence is needed to showcase Daemon as a morally gray, complicated character.

These complaints aside, HOT D is one of the best seasons of TV I have ever seen. Dare I say that I enjoyed parts of it more than, hold for suspense, GOT. It could be the recency factor though so I guess I will have to rewatch all 73 episodes just to double check. I would absolutely recommend HOT D if you have not yet watched or are avoiding it because season 8 broke your heart. Additionally, you do not have to have seen GOT to watch HOT D: it is a prequel and though it will be easier to watch if you’ve seen GOT since you already have an understanding of how the universe operates, it is not a prerequisite. 

🎥🎥🎥🎥🎥/🎥🎥🎥🎥🎥

[papermoonloveslucy]

REMINISCING

August 14, 1977

By Frank Swertlow, Chicago Daily News 

BEVERLY HILLS - During the first years of television, Ed Wynn, the radio and stage comic, was trying to break into television with a half-hour comedy on CBS. (1)

One night, he invited a couple of second echelon performers to make an appearance: a comedienne, known as "Technicolor Tessie" for her blazing red hair, and a song-and-dance man, best remembered for hollering "babalu."

Lucille Ball and Desi Arnaz were the couple, and they, like Wynn, were sampling the waters of the new medium. CBS had asked Miss Ball and her conga-drum pounding husband to develop a comedy show for television. Later, after months of thought and testing their ideas on the vaudeville circuit, the couple came up with "I Love Lucy," the misadventures of Lucy and Ricky Riccardo. (2)

It made its debut on CBS in October 1951. More than a quarter of a century afterwards, "I Love Lucy" easily can vie for the honor of television's most successful show. It was the archtype [sp] domestic comedy, the bumbling husband and his daffy wife. It gave birth to two other Lucy shows, a host of specials and a giant production company, Desilu. 

"We spent months thinking about what we should do," Miss Ball recalled. "We didn't want to be the average Hollywood couple. Nobody would think you had any problems if you had a car and swimming pool and a nice house. 

"Ultimately, we wanted a show in which people could identify with us. Everybody could understand what it was like to struggle for a buck. I was an ordinary, everyday, middle class housewife. I wore the same dress often. My husband worked and tolerated my mistakes. It was something that everyone could identify with." 

With the debut of the TV series, Lucille Ball, the former Goldwyn girl who started her film career in the 1930s, had a new career. 

"I never expected the show to go more than a year," said Miss Ball. "I wanted to do the show on film so I could use them as home movies. Who knew about television then? It was a no-no to do TV work. The movie studios were against it." 

To Miss Ball, who was not a new face to the public, the impact of her show was incredible. "We went to New York on a trip once and we were unprepared for what happened. People rushed up and wanted to touch you. They knew you, and called you by your first name. I had been in pictures for years, and most of the time I was never identified." 

If the movers and shakers of the film industry who gave Miss Ball her start during the 1930s were alive, they would have been shocked. To them, simply and kindly, Lucille Ball was a B-movie queen, one of the many second-line actresses who never attained star billing, but who was an important ingredient to the motion picture industry. 

Unlike many performers who labored under the cruel studio system, Miss Ball fondly remembered her early years in Hollywood. "It was nice to be under the umbrella of a studio. You always had a poppa. I loved it. I loved being part of the business. I would have swept floors just to be in it." 

Miss Ball, however, did not forget the tactics of the brutal and disgusting lords of movieland. Harry "King" Cohn, the ruler of Columbia Pictures, stood out. "He made the biggest dent in everybody. He was ruthless. He always had to take a devious route." (3)

Miss Ball, who is not exactly a pushover, laughingly recalled the time she outwitted the sly Cohn. 

Miss Ball had received an offer to work in a Cecil B. DeMille film, but Cohn refused to loan her to the producer. He was being mean. Then, Cohn decided to drop her contract. To do it, he sent the actress a horrible script something that the trade called a lease breaker. "Oh, everybody was dying to play opposite John Agar and Raymond Burr," she recalled jokingly. "I was going to be a harum [sp] girl." Naturally, Cohn expected her to refuse and it would be the end of her contract. (4)

The savvy Miss Ball decided to do the film and collect her check. When she made this announcement there was an uproar. She coyly told her bosses: "Oh, I want to do the film. It's a wonderful film." 

Meanwhile, Miss Ball, who had been trying to get pregnant for years, found out she was going to have a baby. Now, she was in trouble. If Cohn found out, he would break her contract. "I only told my mother and my husband I was pregnant." 

Keeping her lips sealed, she went ahead with Cohn's film. "The wardrobe girl kept looking at me in my harum [sp] girl costume and saying, 'What's wrong with you, you are getting so big.' "So, I told her, 'Don't worry, I ate a big meal last night. Just put a little more taffeta on my dress.' Well, I finished the film and I collected my $85,000." 

"Then I had to go to Mr. DeMille and tell him I couldn't do his film. I was pregnant. 'What,' he said. And I replied. 'I'm going to have a baby. 'Get rid of it,' he said. And he was serious.' She declined. (5)

While Miss Ball's career as a TV star is secure (she still has a contract with CBS) (6) she is not so certain about the state of the industry. Today, unlike when she started on the air, shows are yanked off the screen within a couple of weeks. This, she said, destroys performers. 

"If a show is canceled, the actor takes the blame. He or she suffers for it. They suffer inside. The rejection - they failed. (7)

"I would fail. You can't protect yourself. It's out of your hands. It's always Lucy failed or Rhoda failed or Farrah Sauset Fawcett Sauset, whatever her name is, failed. It's rough." (8)

Even so, Lucille Ball, the red-haired girl from Jamestown, N.Y., would still be on top.

#   #   #

FOOTNOTES FROM THE FUTURE

(1) Ed Wynn (1886-1966) was a vaudevillian who hosted “The Ed Wynn Show” on television from 1949 to 1950.  Lucy and Desi guest-starred on the show.  

(2) ‘Riccardo’ is probably a misspelling of ‘Ricardo’, but it was also the way their surname was spelled on “I Love Lucy” in early episodes!  

(3) Harry Cohn (1891-1958) was a much-despised executive at Columbia Studios.  Lucille Ball once facetiously told Louella Parsons that she liked Harry Cohn too much to ever sign a contract with him. What Lucille meant is that  Cohn had a reputation for being difficult.  Despite that fact, a casting draught forced her to sign with Columbia in 1949. 

(4) Lucille Ball had often complained to Cohn about the quality of the pictures she had been doing at Columbia. At the time The Magic Carpet was made, Ball was only obligated to Columbia for one more film, and Cohn had producer Sam Katzman, who turned out most of Columbia's low-budget "B" pictures, concoct a cheap Arabian Nights fantasy as a punishment to Ball for her constantly challenging him. More salacious writers insist that Cohn’s frustration with Ball was due to the fact that she would not submit to him sexually. 

(5) The DeMille film in question was The Greatest Show on Earth, a movie set at the Ringling Brothers Barnum and Bailey circus. Lucille was set to play the elephant trainer, a role that went to Gloria Graham. It was a film Lucille really wanted to do - but she wanted a baby more.  Later in life, Desilu created a TV version of the film.  Lucille also guest-starred as the ringmaster on “Circus of the Stars II” in which Lucie Arnaz was featured as.... the elephant trainer!  

(6) Lucille Ball had started working at CBS on radio and was considered their premiere star. In 1980, after her television shows had ended, she signed with NBC, a partnership that yielded very little except that Ball was obliged to appear on Bob Hope’s many specials, something she frequently did anyway.  Both CBS and NBC declined her final series “Life With Lucy” which producer Aaron Spelling finally convinced ABC to air. 

(7) Although this article was written ten years before “Life With Lucy”, Lucille could very well be describing her own devastation when the series was cancelled even before all the initial episodes aired. She was widely criticized and the series often turned up on “worst show” lists.  

(8) Rhoda refers to a character on “The Mary Tyler Moore Show” that was played by Valerie Harper, a performer that appeared on Broadway with Lucille. In 1974, the character was spun off into its own eponymous sitcom which aired for four seasons. 

Farrah Fawcett-Majors was a beautiful blonde actress and poster girl that burst onto the TV scene in the mid-1970s. A year after this interview, she was in the hit series “Charlie’s Angels” entering American iconography for her feathered hair and curvaceous figure the same way Betty Grable had in the 1940s.  

[j4gm]

I wanna talk more about why this is so funny to me.

So as you probably know, Water Park Prank was a guest-animated episode from season six by an animator called David Ferguson. It is widely considered one of the worst episodes in the show because of its basic plot, sometimes gross jokes, and offputting style.

It was following up on two incredibly well-received guest-animated episodes, A Glitch is a Glitch and Food Chain, so it had big boots to fill. And more importantly, it was not even supposed to be an 11-minute episode. Ferguson was originally commissioned to only make a five minute short to be posted on Cartoon Network's website and maybe its YouTube channel. And his style would have worked well in this short format, as it does for his other work. But he ended up accepting a deal to adapt his 5 minute online video, which was already mostly finished from what I understand, into a full episode. The deadlines were pretty unforgiving and the result was basically just the original video (consisting of the actual water park scenes) with a b-plot about the "daddy sad-heads" frankensteined onto the beginning and end.

So it was kind of doomed from the beginning to not be a great episode. Difficult deadlines, a doubling of the runtime late in production, a style that was intended for 2015 YouTube being broadcast on TV, and almost certainly the lowest budget of any of the guest episodes. The fandom hated it, and still mostly does. If you ask anyone for their least favourite episode of Adventure Time, and if they didn't stop watching after Breezy, there is a pretty good chance they will say Water Park Prank.

Now one thing about guest-animated Adventure Time episodes is that they are generally not considered canon. If you go to the wiki page for most of them, you will find a note somewhere saying that they are not canon. But this is not the case for Water Park Prank. Because the day before Water Park Prank aired, main series writer Jack Pendarvis proclaimed on Twitter that Water Park Prank was CANON.

An important thing to note is that there is in fact no established definition of Adventure Time canon. Jack Pendarvis probably made the tweet in full knowledge that it meant nothing but that it would be taken seriously. And taken seriously it was, because fandom is fandom. To this day I believe Water Park Prank is considered canon on the fan wiki. For a long time I considered it canon on my own website.

The net result was the hilarious paradox of this random episode simultaneously being the worst guest episode and also the only canon one.

Things went on like this for a while. Bad Jubies came out and was really good, which secured Water Park Prank's legacy as the bad apple among a bunch of awesome guest episodes. Ferguson sort of accepted his episode's reception. Way later the crew got him back to animate a segment in Distant Lands BMO, perhaps as a jokey sort of redemption, or perhaps because his style was actually pretty cool from the beginning and hadn't exactly been allowed to shine under the previous conditions.

Enter Fionna & Cake, which gives us an in-universe definition of what it means to be canon; a canon measure of canonicity, if you like. A dimension is "canon" if it is connected to the wider web of the Multiverse, at which point it also exists as an asteroid in GOLB's realm. Of course, this is still a different thing from actually being canon to Adventure Time, and there is still no official definition of canon in that sense. But it's close enough.

And what was one of the dimensions that Simon steps into ever-so-briefly in GOLB's realm? Is it the iconic 3D environments from David OReilly's A Glitch is a Glitch? No. Is it the wonderfully colourful natural history museum from Masaaki Yuasa's Food Chain? No. Is it the lovingly crafted clay world of Kirsten Lepore's Bad Jubies? No.

THAT'S RIGHT BABY, IT'S THE FUCKING WATER PARK!!! Canon first by word of god, and now by in-universe definition too!

In honour of this momentous occasion I'm not going to implore anyone to actually watch Water Park Prank. But next time you're doing a full watch-through of the series, maybe, just maybe, consider not skipping it.

WATER PARK PRANK CANONICALLY CANON

[thistreasurehunter]

Outer Banks: Reality TV AU

Okay, this was supposed to be a quick little imagine/headcanon, but it kind of got away from me… I actually feel like I’ve just experienced an entire season of Big Brother in the last 30 mins while I was writing this! (The images above are from Pinterest)

*********************************************************************

Okay, but imagine if they all met on a reality TV show instead. Big Brother, for instance���

VTs + entrances:

JJ would be set up by the show as the sexy one that all the girls are going to love – a 2D dumb hottie.

He’d love his entrance, grinning and waving and high-fiving the cheering audience.

And Pope’s VT makes him sound like a bit of a straight-laced nerd.

And he’s a bit shy on his entrance walk, but he still gets a big cheer.

Sarah and Rafe would come in as a brother and sister duo,

But as separate housemates.

Rafe makes a couple of ~questionable~ comments in his VT and he gets a mixed reaction from the live audience.

Sarah wears a slinky floor length gown and looks amazing as she makes her way in.

Kie mentions sea turtles twice in her VT.

She opts for more of a casual-glam look, but still owns that catwalk as she enters the house.

The Kie/Sarah arc:

Kie and Sarah are framed by the producers as powerful, confident, head-strong women.

So at first, the audience all think they’re going to clash over which one of them gets to become queen bee of the house.

And, to be fair, they do clash a bit to begin with,

Because they’re both so strong-willed and sure of their own mind.

But really, it’s actually all just low-key sexual tension.

Because those girls have the hots for each other!

But they’re both a bit too proud to say anything at first.

Then, slowly, they realise they’ve got so much in common.

And they bond over environmental issues and feminism and convincing their housemates to recycle more.

And they become friends.

Friends who both look really hot in their bikinis when they hang out in the pool or the hot-tub;

And who have long, soft chats late into the night, kind of curled up in the cosy chairs in the garden;

And who often sit with the other’s head in their lap.

And who take turns doing each other’s hair and make-up;

And who talk about how hard it is style different hair types or apply good make-up on a skin tone other than your own, so they teach each other.

Then one night they’d be messing about in the pool, laughing and splashing each other, and suddenly Kie would just lean forwards and kiss Sarah. And Sarah would kiss her back and they’d both be wet and pressed up against each other in their bikinis, and all the cameras would suddenly be pointing at them.

The video of it online would become one of the most watched clips of the show ever and it would go down in BB history.

And then they kind of become an awesome power couple.

And everyone would just know that the house was ruled by two queens.

The JJ/Pope arc:

At the beginning, the audience think JJ and Pope are going to annoy each other. Because they’re just so different: like, stereotypical cautious nerd vs stereotypical reckless jock.

And in the first few days, they don’t spend much time together, because they both did kind of low-key judge the other from a distance too.

But then to spice things up, Big Brother teamed them up together for a task.

And to begin with, they were both so dejected at having to endure the task with the other.

But when they actually started the task they ended up getting along so well.

Like, their personalities complemented each other’s, and they worked really well together.

And they were surprised by how much they could make the other laugh.

And they ended up acing the task.

And then they just sort of… fell into hanging out together.

All the time.

JJ brought out Pope’s fun side and Pope brought out JJ’s sensitive side.

JJ would do something daft, and Pope would join in and they’d both end up creased in laughter.

Or Pope would be a bit sad about something and JJ would be right there, making him feel better.

And their bromance literally became the highlight of every episode.

The entire show, really.

Because everyone just LOVES watching them hanging out, having fun, looking out for each other and just hyping each other up every chance they get.

It was the friendship that shouldn’t have worked, but just did.

And they form a little friendship group with Kie and Sarah. And they all just get along and have a lot of fun together.

One time, one of the other housemates said something mean and unfair to JJ. And JJ was about to get angry in his direction. But then Pope cut in and just verbally took that guy down!

And JJ was just so bewildered, because nobody had ever stood up for him like that before.

And then in letters-from-home week, JJ is happy for everyone, but also a bit sad because he knows he won’t have one – I mean, he knows his dad definitely wouldn’t have bothered.

And Pope asks JJ to read his letter from his parents and it’s beautiful and JJ chokes up a bit and they both hug afterwards and it’s really emotional.

Then just when JJ thinks they’ve finished, there’s one letter left at the bottom of the box, and it’s from his JJ’s BFF from back home – John B.

And Pope reads it out to him, and it’s really lovely and John B tells JJ all the funny things that have happened since he was gone and also that everyone on The Cut is really behind him and JJ is laughing and welling up and just so happy. And all the other housemates – the nice ones – kind of get that this was a big deal for JJ and sort of envelop him in a big group hug, Pope right there in the middle holding him.

And throughout their whole friendship, the camera doesn’t miss the way Pope and JJ look at each other.

And they become the will-they-won’t-they pairing of the series.

They both get asked a ton of leading questions about the other in the Diary Room.

And they get such a huge audience following and end up having a load of fan accounts dedicated to them.

They even get a ship name.

Well, two ship names.

And nobody can really decide which one to use.

But the boys just keep it completely bro-mantic and platonic, to the dismay of the audience.

Even though it’s completely obvious to everyone that they clearly have ~feelings~ for each other.

The Rafe arc:

And, of course, every season has it’s ‘baddies’.

This year it was Rafe and his gang of stuck-up, snobby ‘Kooks’.

Rafe gets a little bit too drunk on the first night and decides to go for a middle-of-the-night swim.

There’s a lot of flexing.

And some of the housemates are a bit wary of him because he comes across as quite unpredictable.

In general, Rafe’s ‘popular group’ are a bit mean to some of the other housemates, particularly JJ, who they keep tormenting,

They try to provoke him into getting so angry he’s removed from the house.

And they keep nominating him for eviction.

But week after week, JJ always survives the public vote.

But then one week he’s up for eviction against the most popular ‘Kook’ housemate and JJ is sure he’s going to leave.

And he’s sad because he knows how much he’s going to miss Pope and his friends in the house.

And on eviction night he can’t keep still and his leg keeps bouncing with nerves.

And the Kook is so over-confident.

Pope, Sarah and Kie all sit around JJ as the results are read out…

And the Kook is evicted and he gets booed when he leaves.

JJ is saved and gets a huge cheer from the audience outside and Pope, Kie and Sarah all pile on top of him in a big group hug.

And Sarah tries to talk to Rafe about cooling it. Telling him to stop being a jerk to everyone, especially JJ.

But it isn’t until Rafe has to do a task with Sarah, Kie, JJ and Pope that it really starts to sink in.

Because the task is really hard and they have to spend quite a bit of time just the five of them in a separate task-room.

And Rafe gets to know the others a bit better and sees how much fun they are and how much nicer they are to be around than the people he hangs out with.

And they all work together and win the luxury shopping budget.

And afterwards, Rafe kind of rejects the ‘popular’ group and starts hanging out with Sarah and the others.

And he just doesn’t tolerate any of his old friends saying anything mean about his new crew.

And so he gets a bit of a redemption arc on the show and the audience go from loving-to-hate him, to just sort of loving him in a he’s-a-bit-flawed-but-aren’t-we-all kind of way.

The Final:

Rafe, Sarah, Kie, Pope and JJ all make it to the final.

John B is in the front row of the audience with a massive sign that just says “JJPope Nation”.

And it’s really emotional when they say goodbye to the house.

Because they all know how life-changing the last couple of months have been.

Rafe’s exit interview is intense – he’s grilled about his change in attitude and he gets a bit emotional. He explains how eye-opening the experience was and how he want to move forwards as a better person and the audience all fall in love with him a little bit.

And Kie and Sarah both look incredible and work that catwalk as they leave.

In their interviews they both get asked a lot about that first kiss…

But the girls are more interested in talking about equality and sexuality politics.

And that just end up solidifying their new roles as LGBTQ icons.

Pope and JJ are the final two.

And as they wait for the final result, they just sit on the sofas a little in shock because neither of them ever expected that they could get this far.

And they both think the other deserves to win much more than they do.

And just before they get the results, Pope takes hold of JJ’s hand.

And when the winner is announced they both just hold onto each other and end up sobbing into each other’s shoulders, because they’re just so happy and shell-shocked.

And when they finally exit the house they both get such deafening cheers and they can’t keep the smiles off their faces.

And their Best Bits videos are amazing, because it’s basically like a montage of their whole friendship.

Their funny, chaotic, sweet, intense, glorious friendship.

And of course they get asked about whether there’s anything more between them than friendship.

And they’re both really evasive.

And they just cannot believe they have fan sites!

And the after-party is loud and wild and brilliant and lasts all night.

Afterwards:

Rafe has redeemed himself in the public eye and ends up being universally loved by the female audience.

After the show, he does a series of work-out videos that become hugely popular.

He also becomes a regular guest on TV panel shows.

After the show ends Sarah and Kie start their own ethical, environmentally friendly beauty brand and later add a fashion line.

They make sure they promote true representation and employ models of all ethnicities and body types, showing girls everywhere what true beauty looks like.

With some of the proceeds of their company, they set up a number of charities that focus on environmental and humanitarian projects all over the world.

And they live their best lives, knowing they’re helping make the world a better place.

After the first wave of interviews and photo shoots die down, JJ and Pope both sort of fall out of the public eye.

There’s still a lot of speculation about them.

And the fan sites never really give up on the ship.

They both occasionally post things to their Instagrams,

JJ mainly posts photos of the ocean or his surf board,

And Pope posts food shots and inspirational quotes.

Occasionally a photo shows up of them hanging out at one of Kie and Sarah’s glitzy fashion events.

And Rafe once posted a photo of the old BB gang, and also John B, in a bar somewhere. They were all crammed into the shot. But JJ and Pope were sitting really close, JJ’s arm slung over Pope’s shoulder.

That photo ended up getting a lot of likes.

And then a few years after the show ended, Pope posts a photo of a heart drawn in the sand with the letters P + J inside.

And then at almost the exact same moment, JJ posts a close up photo of Pope’s hand resting on his own, their golden wedding rings shining.

And so many people like the photos at the exact same moment the boys temporarily break the internet.

[rovewritesit]

Angel Of My Dreams (Chapter 3) John Deacon x Reader Series

Meant to get this out last night but I’m on call 24/7 for my job so ya know, life.

Series Summary: After reluctantly joining a band with your childhood best friends, you are thrust into oncoming stardom with no sea legs and an overwhelming sense of anxiety. But you just might find your way, thanks to some seasoned pros by your side. And the interest of one particular bassist.

This series is a work of fiction, and is loosely inspired by real people and events. Absolutely no offense is meant to actual Queen or their families.

PART 1 - PART 2 - PART 4

Pairing: John Deacon x Reader

Chapter Warnings: Strong language, you know the deal. Feelings of anxiety. Slightly sexual dialogue. Reader is kinda horny? Misogynistic comments towards reader.

Chapter Notes: I may have written out an ENTIRE episode of Pop Quiz before realizing that shoving music facts down your throats isn’t the best use of our time. Apologies if it got a bit disjointed in the trimming process. I work in TV so I just had to add in a cliche meet-cute. Sorry not sorry.

Song/Title Inspiration: Angel - Fleetwood Mac

Taglist: @yourlocalmusicalprostitute​ @brianmays-hair @deacyblues @squishy-geckboye

April 1982 - BBC Studios, London

“It’s not funny, Y/N! Stop laughing. You’re gonna ruin all my hard work!” Dawn chastises you as she sweeps a pale blue eye shadow across your lids, trying her best to complete your request to tone down your usual stage look.

You try to muffle your laughter, teetering on your chair set up in the spacious green room. It comes out as a wheeze, a soft whistle escaping through your nose. “I’m sorry, you said what!?”

“I kid you not, I took one look at his penis and said ‘What the fuck is that?”

A sharp laugh escapes from your mouth once again, failing miserably to prevent tears from leaking out of the corners of your eyes.

“I feel awful! It’s just that I had never seen one before,” Dawn whines.

“Okay, I know for a fact that’s not the first dick you’ve seen. Hell, even I’ve seen some of those. Like ships passing in the night as they raced out of your dorm bed,” you giggle.

“You know what I mean. I’ve never been with one that’s… intact.”

Your eyebrows shoot up, “Oh c’mon. Uncircumcised can’t be that different.”

“It wasn’t! I was just drunk and got spooked, I guess. It was actually kinda cute. Like it was wearing a little turtleneck or something.”

You lose it, yet again. Laughter falls freely from your lips, helping to alleviate the dreaded stress that has now become your constant companion these days. Appearing on a game show alone was not something you thought you’d have to tackle on your third day in London. You’re sure the boys were off exploring the sprawling city that none of you had stepped foot in prior to the trip.

Pop Quiz was apparently a big hit for the BBC, featuring a bevy of famous musicians battling out their knowledge of the industry. You’d never had the chance to watch, obviously not readily available to viewers back home, but a harried man had come in earlier to give you a basic rundown of the format. You were somewhat confident in your knowledge of music, having been a regular at your hometown’s local record shop, you just hoped it would be enough to keep you from making a fool out of yourself in front of an entire country. But your anxiety mostly stemmed from your upcoming appearance in front of the camera without the boys there to play off of.

“How was it, though? I heard they’re supposed to “feel better” or something like that,” your curiosity getting the better of you. “Ooo, was it curved? Sometimes that can be a great thing. Except for one I encountered that was going in the opposite way then you’d think. Like even it knew it should be running away from the dude.”

Dawn’s face screws into a pinch, “Was that Tyler... Wait, don’t tell me. Ew. And I wouldn’t know! The poor guy was so embarrassed he couldn’t even keep it up after that!”

“What a waste,” you sigh. “I thought I’d be at least getting some field research out of your antics. What did I even bring you to London for?” you joke as she holds a tissue out to blot your lips.

“Uh-huh. The day you do some “field research” of your own is the day I chop off my own hair,” she quips, narrowing her eyes at you.

You casually raise your right hand to flip her off. She wasn’t wrong; it had been a while since you’d been with anyone, let alone entertained the fact of jumping into a relationship. There were partners in the past, of course. A few geeky high school boys, a woman who worked at said hometown record store, and the occasional pretentious film kid while at NYU, who spoke condescendingly of women working in film but scratched an itch when needed.

“And there’s no time like the present! You know what they say. When in Britain…” Dawn trails off, failing to finish her bit.

You left eyebrow quirks, “Throw dental hygiene standards out the window?”

Her face twists in disgust again as she uncaps a can of Aqua Net. “Gross. Now close your eyes and shut up so I can be done with you.”

The spray sputters, emitting little from it. “Dammnit,” she curses, turning to rummage around her sprawling kit. “Of course, I didn’t pack a spare. I’ll be right back. Hopefully, their hair department has one we can borrow.” 

She rushes from the room in a sweeping motion, knocking over a coffee that was precariously placed on your chair’s armrest in the process.

“Fuck me,” you breathe, jumping up, your white blouse now doused in caffeine.

You hurry to jog out of the room, trying to catch up with her. “Daw- Shit!”

Your face collides with a hard chest.

Two large hands grip your shoulders to stop your momentum. “Oh! Apologies,” comes a light voice from above, muffled by your full head of ringlets. You jerk your head away quickly, and your gaze lands on a pair of startled greyish, green eyes.

“S-sorry,” you stutter out. “Completely my fault.” You glance down to the hands that still rest on your shoulders for a moment before looking back up. The pair of eyes go wide, and the hands quickly retreat back to the man’s side. 

The man being the bassist of Queen, John Deacon. You scold yourself for only having glanced at the day’s detailed itinerary this morning before heading out. How did I miss that one? Sweat begins to gather on your palms immediately.

“John Deacon,” he hesitantly smiles at you while extending a hand.

“Y/N L/N,” you squeak out as his hand engulfs yours, inwardly cringing at how moist it must feel. You hold it for a bit too long. “I’m one of the contestants on Team A today,” you yank your hand back to your side.

His brow knit together. “Oh? I was told I’d be with Nick Rhodes and Jon Moss today.”

You shift your weight uncomfortably from side to side, having yet to meet his eyes again. “Nick had to cancel, I believe. I’m a last-minute replacement.”

“Okay,” he replies with a tight smile. “Well, good then. I hope you’re ready,” he glances down, noticing the stain splashed across your top. “Or, at least close to it...”

“Huh?” you blurt out before realizing, looking down at your shirt. “Oh, yes. The reason I so rudely ran into you. I should go-” your eye catches something as they finally travel back up to his. “Aw, fuck.”

“Pardon?”

You grimace, pointing directly at his chest. Right to the giant imprint on his tight blue shirt. One that had been left by your bright red lipstick.

He follows your finger. “Ah! Will you look at that.”

“I am so, so sorry,” you rush out, absolute mortification seeping into your voice.

He dismisses your apology with a wave of his hand. “Not to worry. That’s what jackets are for,” he says, zipping up the oversized grey jacket slung around his shoulders. “And at least now I know this shade of red really isn’t my colour.”

You smile up at him, not really knowing what else to say—the full weight of your not-so-smooth first encounter with this man hitting you fast, as people squeezed around you two in the tight hallway. “I should go get fixed up,” you tell him, pointing your thumb back over your shoulder towards your dressing room, ready to make a quick exit.

“Alright. I’ll see you out there then. Cheers!” he smiles back with a wave of his hand, turning to find his own space to get ready.

You stand there watching him in a daze, mentally berating yourself for now having had two inappropriate run-ins with a member of Queen.

Dawn materializes into your field of vision, hands-on-hips.

“Honestly, what the hell. I left you alone for two minutes!”

- - - - - - -

20 minutes later, you follow a stagehand through the back of the soundstage, fidgeting with your outfit while trying not to crash into anyone else. Dawn’s top that she quickly switched with your own was cut much lower than you would’ve liked and left you feeling even more exposed than your current bout of nerves did.

You’re dumped onto the set with the point of a finger over to a tall man. Mike Read, the host of Pop Quiz, stands by a large desk, crew members bustling around him. You stick to your spot out of the way, not sure if to interrupt the conversation he’s currently having to introduce yourself. 

You take in the spacious stage, never having been on a show of this size before. A wave of longing suddenly washes over you, yearning for days on set where you were a part of the crew that moved around you. While at school, you’d worked on several student films, usually as a 1st Assistant Director or Line Producer. You loved the pace of production. Keeping everyone on time, on budget. It was where you felt most confident. While there were a variety of different types of personalities on set, you found it exhilarating to be the one to settle disputes and help everyone stay on track. Your subtle superpower of putting out little fires everywhere you went. Never had it crossed your mind that you’d be on the other side of the camera one day.

“A change of wardrobe, I see,” a voice says from behind you, pulling you out of your daydream. You turn to catch John’s smirk, his eyes trained intentionally on your own.

“It would appear so,” you reply, glancing down at yourself quickly.

“Have you been introduced to Mike yet?”

“Nope. I was working up the courage,” you admit.

“C’mon,” he gestures for you to follow him as he strolls towards the man. “He doesn’t bite.” You follow, trailing behind his long strides as he daintily weaves between the many bodies in your path.

“John!” Mike exclaims as you both approach. “Good to see you, mate,” he claps him on the back.

“You too. Thanks for having me back,” John greets him cheerily. “And look, I brought a present. All the way from America, I’m assuming. Mike, this is--”

“Y/N L/N!” Mike says, a genuine smile forming. “I can’t tell you how happy I am that we fit you in.”

“Oh, thank you. I’m excited to be here,” you mumble as he brings you in for a hug.

“Can I just say, your video for Heart of the Night is absolutely outrageous. I thought my eyes were going to pop out my head when I’d learnt that MTV in the States had aired it,” he laughs. “Daring stuff, really.”

You feel a heat creeping up your neck as you try to accept the compliment. “Yeah, thanks. Glad to hear that you’re all a bit more relaxed in terms of watching the explicit murder of a teenage girl on your screens.” You immediately wince at your own bluntness.

You can’t help but peek over at John, curious if he’d seen the violent clip now making its rounds across UK television sets everywhere. He’s staring at you with eyebrows raised and his mouth hanging open slightly. 

Great. He thinks I’m a lunatic.

“We certainly are!” Mike chuckles. “Have you been briefed on the logistics of how the taping will go?”

“Mhmm, I got the rundown from one of your producers.”

“Excellent. Well, you’ll be in good hands with John here heading your team,” he says, slinging an arm around the man’s shoulders and adjusting his large glasses with the other.

Good hands indeed, you think to yourself, remembering how large they felt when they gripped your shoulders earlier. No, stop that, you scold yourself.

“We’ll be getting started in just a few minutes if you’d both like to find your seats. And you’ll have to regale me with the gory details from that shoot of yours afterward,” he winks, gesturing towards your spots for the show. You turn to follow John to your side of the set.

“Oh, and Y/N!” Mike calls out. “I do hope you’re good. Deacon got absolutely spanked last time he was on.” You bring your hand up to your face to stifle your giggle. John makes a show of rolling his eyes but keeps walking. You notice his face is now tinged a lovely shade of pink.

“You must think I’m daft,” he says, turning to you slightly.

“Me? Oh no, I’m sure we’ll do great!” you reply, a bit too happily.

“No, no, not that,” he laughs lightly, his hand finding the back of his neck. “For not recognizing you during our... colourful meeting in the hallway. It seems you and your band left quite the impression on our dear Freddie.”

“Oh! That’s nice to hear. You can tell him he left quite the impression on us as well, but I’m sure he makes an impression on most everyone,” you shrug. “And don’t worry about it, please. It’s not as if I’m a part of the biggest band in Britain or anything,” you tease. He smiles shyly. You catch the crinkles on the outer corners of his eyes before he turns them downwards.

You reach the long table on your designated side of the studio. There’s one on the other side mirroring it, with three somewhat familiar faces already sitting behind it. You glance at the empty seats before you, moving hesitantly towards them until John pulls out the closest chair, gesturing for you to sit. He gingerly pushes it under you as you lower yourself down.

“Thanks,” you mumble. He nods and moves to sit beside you.

There’s a loud bang to your right, causing you both to jump and look to the source; a large Grip gingerly picks up the c-stand he’s knocked over. John hovers above his chair, watching on as a producer shouts at the poor man, his waist now at your eye line.

You had never understood the fascination with men’s butts. That is, until now. The tight jeans John had on left little to the imagination. As if that would stop you. You shake your head back and forth as if to clear your thoughts. All of Dawn’s talk earlier must have you seriously whacked out.

“Are you alright?” John asks, now situated in his seat.

“Hm?” you break out of your daze. “Yes, fine. It’s just- I haven’t done anything like this,” you gesture to the large room teeming with various crew and a studio audience, “before, on my own. Usually we’re all together, and I’m slightly less charismatic than the rest of them, I’m afraid.”

“Well, I would tell you that it’ll get easier, but I still feel like I’m rubbish without my lot as well,” he sympathies. “And I happen to find you quite charismatic as you are,” he adds softly. “You certainly had Mike going back there.”

“Oh boy,” a voice huffs from the other end of the table, drawing away John’s attention. You’re thankful for the distraction, finding yourself at a loss for words due to his comment, coupled with your previous thoughts.

“I see you two actually arrived on time, ya goodie-two-shoes,” the flamboyant man complains as he plops into the third and final seat at the table.

“Jon, welcome. Good to see you,” John acknowledges, shaking the man’s hand.

“And who’s this little thing at the end, then?” he points at you.

John’s expression turns slightly sour at the informal greeting directed towards you. “This is Y/N L/N of Lo & The…” he struggles to remember, “Legs?”

You bark out a laugh. “The Limbs. But The Legs sounds better actually.” You share a smile, holding onto John’s eyes even though it makes your insides flip.

An outstretched hand is shoved past his body. “Jon Norris. Drummer. Culture Club.” You accidentally brush John’s arm as you move to return the handshake, not missing how he jumps a bit at the contact. “Pleasure,” reply, tearing your eyes away.

The drummer retracts his hand, settling back to swing his shoes up onto the table. “I’m glad to have a bird on the team, actually. Maybe we’ll get a few extra points thrown our way for that tiny top of yours,” he smirks, not even glancing over in your direction.

You look down at your slightly exposed chest, but the color red quickly clouds your vision. John sucks in a breath as he sits up straight in his chair. “That’s a bit ru-,” he starts in an annoyed tone.

But you’re quick to cut in, leaning your body forward on the table to lock eyes with Jon, “Actually, we might get docked a few for that obnoxious suit you’ve got on. Didn’t anyone ever tell you that stripes bleed on camera, sweetheart?” you seeth.

He glances down at his bright pink and green striped suit, clearly taken aback by your quick comeback. “N-no…” he falters, shutting up for the moment.

You catch John’s expression, a mixture of confusion and awe while he gapes at you. You lean back, crossing your arms over your chest. Luckily you don’t have much time to stew over the misogynistic comment as the stage manager’s voice rings out a 10-minute warning.

“Just try not to show me up too much, would you?” John whispers, leaning in closer to you. Obviously, trying to lighten your mood.

You give in. “You, sir, are lucky to have me on your team,” you point at him. “Tell me, what’s more important? The scoreboard or your fragile ego?” You’re not sure where your sudden wave of confidence is coming from.

He brings his hand to his chest. “You caught me,” he says, trying to hide his smile. “One could say I’m overcompensating, given who my bandmates are. Roger’s won this twice already, and it only started airing last year. I’ll never hear the end of it if I muck it up again.”

“Well then, I’ll do my best to save your sorry ass, and maybe that one down there too, if he’s lucky,” you tease. 

Great. Now I’m thinking about his ass again. Fuck you, Dawn.

“If you’d be so kind,” he says before turning his attention elsewhere, content to watch the happenings around him until the show’s start. You hear him start to softly hum to himself, not able to place what the tune is.

You try not to watch him out of your peripherals for the next few minutes, hardly even noticing your lack of nerves as the studio audience starts cheering.

- - - - - - -

“And to end out round one, we have Adam Ant’s team with 3 points. And with a slight lead, John Deacon’s team with 4.” The studio audience erupts in a deafening cheer. “That’ll bring us into round two, which will be a team question. John, your team to go first,” Mike directs from his desk in the center of the set.

John lightly taps his pencil against the notepad in front of him, the current tight score starting to bring about his competitive side. He peeks over to check on his teammates. Y/N looks like a radiating ball of energy. Her feet are tucked up under her on the chair as she hunches forward, pencil already hovering while her teeth chew on the eraser. To his right, Jon doodles away, drawing exaggerated characachers of select members of the studio audience.

“Right, question coming to you in a moment, but first here’s the band, The Band.”

A large monitor towards the front of the set comes to life with a clip from their concert film, The Last Waltz. The chair to his left gives a loud squeak as Y/N begins to scribble furiously as if already knowing the question before it’s been given.

“Here’s a clip from The Last Waltz, The Band’s famous taped last concert. Please name 10 of the 20 rock legends that joined them on stage that night.”

John’s face scrunches in concentration, trying to recall the recording of it that he’d listened to many times before. He writes down the first few that come to mind, struggling to get past 6 names that he’s sure were present.

“Bloody American bands and they’re American friends,” Jon says, shoving his own piece of paper into John’s view. It has 4 names on it, 3 of which John already has down.

“They’re Canadian,” John replies, transferring the extra name to his paper.

“What?”

“The Band. They’re from Canada, I believe. At least most of them are.” Jon shrugs as the clip fades out, their minute of deliberation up.

“Alright, that was The Band with a famous clip from The Last Waltz. If you’d please, John, name 10 of the acts that accompanied them that night.”

A sheet of paper smoothly glides in front of his, Y/N’s messy scrawl covering it with 10 names hastily jotted down. He raises his eyebrows to her, but she just nods at the paper, urging him to read it.

He starts, completely disregarding his own list. “Erm, yes, we have Eric Clapton, Joni Mitchell, Bob Dylan, Dr. John, Van Morrison, Ronnie Hawkins, Neil Young, Bobby Charles” he struggles to read the small scribbling, almost illegible. “Um, Muddy Waters? Yes. And Neil Diamond.”

John lets out a breath, silently praying that the young girl beside him is as bright as she seems.

“Right you are! 10/10,” Mike exclaims. “For a bonus point, can you name the two artists that recorded pre-taped performances with them for the film as well?”

“Uh…” John glances at Y/N for support. She shoves another scrap of paper to him. Emmylou and Staples the only thing written on it.

“Emmylou Harris and The Staples Singers?” he answers, more like a question.

“Wonderful, a full 4 points to you all.”

He watches as a deep grin breaks onto Y/N’s face as she finally reclines. She looks over to him, a bit proud of herself, he thinks, as the other team begins their own round of questioning.

He’s quite intimidated by the American next to him if he’s being honest with himself. Her anxious demeanor seemed to have vanished into thin air once the game started, tackling each question thrown at their team with a hungry reverence. But her laugh is what keeps him on edge the most. It’s brash and full, consistently breaking him from his determined concentration to send a confusing jolt through his body each time.

“While your knowledge reigns superior, your handwriting leaves something to be desired,” he whispers in jest, not being able to help himself. She simulates a shocked expression as she leans over to look at her own paper that sits in front of him.

Her accent is thicker as she returns his whisper, “What ya tawking about?” She moves her eyes closer to examine, her shoulder bumping his. “That clearly says Muddy Waters.” Her hair hovers below his chin, almost tickling his stubble. It smells of something citrusy and light. 

“Y’ smell lovely,” he sighs, almost inaudibly.

“Hm?” she questions, bringing her body back into her own seat.

“E-ever-ly,” He stumbles out, still quietly. “I thought it read it as the Everly Brothers at first,” hoping to god his bad save is enough.

She snorts. “You sure you didn’t leave your glasses at home? Would’ve thought you’d bring them to something like this.”

He quickly fixes the flustered look on his face, “Hm, glasses aren’t conducive to my rockstar type of lifestyle. Take Rog, for instance. Always wearing those bloody prescription sunglasses indoors, looking like an absolute git.”

She lets out that sharp laugh again, immediately covering her mouth, embarrassed at the thought of interrupting the other team. “I’ll have to watch out for that. Eat my carrots, all that nonsense,” she answers softly. If Brian were here, he’d ramble on about how there’s no scientific evidence of that or some bollocks, he thinks to himself.

“Let us hope my ears are in far better condition. Then you won’t have to keep, how did you put it, saving our sorry asses?” She smiles down into her lap and bites her lip. Oh hell, don’t do that.

Mike is now wrapping up with the other team. “No, I’m sorry. Their other top 10 hit was “So You Win Again. 3 points it is.” He once again turns his attention back over to John’s team. “Moving on to our third round, we have individual questions. Y/N, we’ll start with you. Here’s the hit Then You Can Tell Me Goodbye. Please name the artists you hear in order.”

The sound bites begin, and Y/N is once again bent over her paper as she listens, brow furrowing. John identifies the first two singers instantly but is at a loss for the third, making him grateful the question isn’t his. The clips fade out.

“Y/N?”

“I think it was Glen Campbell.”

“Correct.”

“Johnny Nash.”

“Good. Last one?”

“And... Bettye Swann?”

“Yes, top job! Known for her R&B hit Make Me Yours. I’ll give you a bonus if you can tell me who the song was sung by originally,” Mike counters.

“The Casino’s,” she says confidently.

“No, I’m sorry. I’ll give you one more chance.”

John realizes she was probably too young or not even born yet when the original was released. He slyly slides closer to her. “Don Cherry,” he mumbles lowly, trying to be as inconspicuous as possible.

“Don Cherry?” she shouts as if to cover up his assistance.

“Yes, John Deacon, you’re right. It is Don Cherry. The point is yours for at least attempting to be subtle,” Mike laughs. Y/N shyly smiles over at him, silently thanking him for his help. 

John and Jon mostly breeze through their questions with ease, racking up a hefty amount of points in favor of their team before turning over to the others. He takes a sip of water as he smugly watches on.

“Glad to know my own ass is in good hands if it’s ever in need of saving again,” Y/N quietly comments. He chokes lightly on his water as an image flashes quickly through his mind. John racks his brain for a reply, but only overtly cheeky responses come to mind.

“Anytime,” he manages, afraid to catch her eyes. She lets out a light giggle, starkly different from her usual roar. It sends a warmth of color to his cheeks. 

Intriguing, he thinks, silently hoping that he’ll get the chance to hear it again.

[d-criss-news]

Darren Criss acts as playwright when he writes songs. He’s far more confident, and certainly more vulnerable, when he allows himself to play the part. In such a way, songwriting opens up a whole new world that pulses with untapped potential. So much of what he has accomplished in 15 years resides in his willingness to expose himself to what his imagination and intuition have in store. He steps into a playwright’s shoes with considerable ease (just look at his resume), and always one to put on plenty of bravado, especially during our Zoom face-to-face, it’s the natural order of things.

“As I get older and write more and more songs, I really recognize that I’ve always preferred to write for another context other than my own,” Criss tells American Songwriter. He speaks with a cool intensity, gesturing emphatically to accentuate a sentence, and when you let him go, he’s like the Energizer Bunny 一 “I can tell by just how quiet you already are that you’re fucked,” he jokes at the start of our video chat. But he remains just as engaged and focused when listening.

He soaks in the world, taking astute notes about behavior and emotional traits he can later use in song. His storytelling, though, arrives already in character, fully formed portraits he can then relay to the world. It’s not that he can’t be vulnerable, like such greats as Randy Newman, Tom Waits, and Rufus Wainwright, who have all embroidered their work with deeply personal observations, it just doesn’t feel as comfortable. “I’ve always really admired the great songwriters of the world who are extremely introspective and can put their heart and soul on the chopping block,” he muses. “That’s a vulnerability that I think is so majestic. I’ve never had access to it. I’m not mad about it. It’s just good to know what your deal is.”

Criss’ strengths lie in his ability to braid his own experiences, as charmed as they might be, into wild, goofy fantasies. In the case of his new series “Royalties,” now streaming on Quibi, he walks a fine line between pointed commentary on the music industry, from menial songwriting sessions to constantly chasing down the next smash, and oddball comedy that is unequivocally fun. Plotted with long-standing friends and collaborators Matt and Nick Lang, co-founders of Team StarKid, created during their University of Michigan days (circa 2009), the show’s conceptual nucleus dates back more than a decade.

If “Royalties” (starring Criss and Kether Donohue) feels familiar, that’s because it is. The 10-episode show ─ boasting a smorgasbord of delightful guest stars, including Mark Hammill, Georgia King, Julianna Hough, Sabrina Carpenter, and Lil Rel Howery ─ captures the very essence of a little known web series called “Little White Lie.” Mid-summer 2009, Team StarKid uploaded the shoddy, low budget production onto YouTube, and its scrappy tale of amateur musicians seeking fame and fortune quickly found its audience, coming on the heels of “A Very Potter Musical,” co-written with and starring Criss. Little did the trio know, those initial endeavors laid the groundwork for a lifetime of creative genius.

“It’s a full circle moment,” says Criss, 33, zooming from his Los Angeles home, which he shares with his wife Mia. He’s fresh-faced and zestful in talking about the new project. 11 years separate the two series, but their connective thematic tissues remain striking. “Royalties” is far more polished, the obvious natural progression in so much time, and where “Little White Lie” soaked in soapy melodrama, the former analyzes the ins and outs of the music world through more thoughtful writing, better defined (and performed) characters, and hookier original tunes.

“Royalties” follows Sara (Donohue) and Pierce (Criss), two struggling songwriters in Los Angeles, through various career exploits and pursuits. The pilot, titled “Just That Good,” features an outlandish performance from Rufus Wainwright as a major player in dance-pop music, kickstarting the absurdity of Criss’ perfectly-heightened reality. As our two main characters stumble their way between songwriting sessions, finally uncovering hit single potential while eating a hot dog, Criss offers a glimpse into the oft-unappreciated art of songwriting.

In his own songwriting career ─ from 2010’s self-released Human EP and a deal with Columbia Records (with whom a project never materialized) to 2017’s Homework EP and Computer Games’ debut, Lost Boys Life, (a collaboration with his brother Chuck) ─ he’s learned a thing or two about the process. Something about sitting in a room with someone you’ve never met before always rang a little funny to him.

“You meet a stranger, and you have to be creative, vulnerable, and open. It’s speed-dating, essentially. It’s a different episode every time you pull it off or not. All the big songwriters will tell you all these crazy war stories. Everyone has a wacky story from songwriting,” he says. “I slowly realized I may ─ I can’t flatter myself, there are tons of creative people who are songwriters ─ have prerequisites to just put the two together [TV and music]. I’ve worked enough in television as an actor and creator. I can connect the dots. I had dual citizenship where I felt like it was really time for me to go forth with this show.”

But a packed professional life pushed the idea to the backburner.

Between six seasons of “Glee” (playing Blaine Anderson, a Warbler and lover to Chris Colfer’s Kurt Hummel), starring in “Hedwig and the Angry Inch” on Broadway, and creating Elsie Fest, a one-day outdoor festival celebrating songs of the stage and screen, he never had the time. “I was lucky enough to be busy,” he says. “As Team StarKid’s star was continuing to rise with me being separate from it, I was trying to think of a way to get involved again with songwriting.”

At one point, “Glee” had officially wrapped and his Broadway run was finished. It appeared “Royalties” may finally get its day in the sun. “I went to Chicago for a work pilgrimage with the Langs. We had a few days, and we put all our ideas on the map: every musical, feature film, show, graphic novel, and animated series we’ve ever thought of,” he says. “A lot of them were from the Langs; they were just things I was interested in as a producer or actor. We looked at all of them and made a top three.”

“Royalties” obviously made the cut.

Fast forward several years, Gail Berman’s SideCar, a production company under FOX Entertainment, was looking to produce a music show. Those early conversations, beginning at an otherwise random LA party, showed great promise in airlifting the concept from novel idea to discernible reality. Things quickly stalled, however, as they often do in Hollywood, but Criss had at least spoken his dreams into the universe.

“I finally had an outlet to put it into gear. It wasn’t until two to three years after that that things really locked in. We eventually made shorts and made a pilot presentation. We showed it to people, and it wasn’t until Quibi started making their presence known that making something seemed really appealing,” he says. “As a creator, they’re very creator-centric. They’re not a studio. They’re a platform. They are licensing IP much like when a label licenses an indie band’s album after the fact.”

Quibi has drawn severe ire over the last few months, perhaps because there is a “Wild Westness” to it, Criss says. “I think that makes some people nervous. Being my first foray into something of this kind, Quibi felt like a natural partner for us. If this had been a network or cable show, we would’ve molded it to be whatever it was.”

Format-wise, “Royalties” works best as bite-sized vignettes, charming hijinks through the boardroom and beyond, and serves as a direct response to a sea of music shows, from “Nashville” and “Empire” to “Smash.” “Those shows were bigger, more melodramatic looks at the inside base of our world. I’ve always been a goofball, and I just wanted to take the piss out of it,” he says. “This show isn’t about songwriting. It’s about songwriters… but a very wacky look at them.”

“30 Rock,” a scripted comedy loosely based around “Saturday Night Live,” in which the focus predominantly resides around the characters, rather than the business itself, was also on his mind. “It’s about the interconnectivity of the people and characters. As much of the insider knowledge that I wanted to put into our show, at the end of the day, you just want to make a fun, funny show that’s relatable to people who know nothing about songwriting and who shouldn’t have to know anything.”

Throughout 10 episodes, Criss culls the “musicality, fun, and humor” of Fountains of Wayne’s Adam Schlesinger and Max Martin, two of his biggest songwriting heroes, and covers as many genres as possible, from K-Pop to rap-caviar and classic country. While zip-lining between formats, the songs fully rely on a sturdy storytelling foundation ─ only then can Criss drape the music around the characters and their respective trajectories. “I wanted to do something where I could use all the muscles I like to flex at once, instead of compartmentalizing them,” he says. “I really love writing songs for a narrative, not necessarily for myself. I thrive a little more when I have parameters, characters, and a story to tell.”

Bonnie McKee, one of today’s greatest pop architects, takes centerstage, too, with an episode called “Kick Your Shoes Off,” in which she plays a bizarro version of herself. “She has her own story, and I’ve always been fascinated by it,” says Criss, who took her out to lunch one day to tell her about it. Initially, the singer-songwriter, known for penning hits for Katy Perry, Taio Cruz, and Britney Spears, would anchor the entire show, but it soon became apparent she would simply star in her own gloriously zany episode.

In one of the show’s standout scenes, Pierce and Sara sit in on a label meeting with McKee’s character and are tasked with writing a future hit. But they quickly learn how many cooks are in the kitchen at any given moment. Everyone from senior level executives to publicists and contracted consultants have an opinion about the artist’s music. One individual urges her to experiment, while another begs not to alienate her loyal fanbase, and then a third advises her to chronicle the entire history of music itself ─ all within three minutes or so. It’s absurd, and that’s the point. “Everyone’s been in that meeting, whether you’re in marketing or any creative discussion that has to be made on a corporate level by committee. It’s the inevitable, comedic contradictions and dissociations from not only rationality but feasibility.”

Criss also draws upon his own major label days, having signed with Sony/Columbia right off the set of “Glee,” as well as second-hand accounts from close friends. “There are so many artists, particularly young artists, who famously get chewed up and spat out by the label system,” he says. “There’s a lot of sour tastes in a lot of people’s mouths from being ‘mistreated’ by a label. I have a lot of friends who’ve had very unfortunate experiences.”

“I was really lucky. I didn’t have that. I have nothing but wonderful things to say,” he quickly adds.“It wasn’t a full-on drop or anything. I was acting, and I was spreading myself really thin. It’s a record label’s job to make product, and I was doing it piecemeal here and there. I would shoot a season [of ‘Glee’] and then do a play. I was doing too many things. I didn’t have it in me at the time to do music. I had written a few songs I thought were… fine.”

Both Criss and the label came to the same conclusion: perhaps this professional relationship just wasn’t a good fit. They parted ways, and he harbors no ill-will. In fact, he remains close friends with many folks from that time. So, it seems, a show like “Royalties” satisfies his deep hunger to make music and write songs ─ and do it totally on his own terms.

“I still say I want to put out music, and fans have been very vocal about that. I feel very fortunate they’re still interested at all,” he says. “That passion for making music really does come out in stuff like [this show].”

“Royalties” is Darren Criss at his most playful, daring, and offbeat. It’s the culmination of everything he has tirelessly worked toward over the last decade and a half. Under pressure with a limited filming schedule, he hits on all cylinders with a soundtrack, released on Republic Records, that sticks in the brain like all good pop music should do. And it would not have been the same had he, alongside Matt and Nick Lang, not formed Team StarKid 11 years ago.

Truth be told, it all began with a “Little White Lie.”

[thetriggeredhappy]

angst&hurt/comfort, where scout is anxious and doubts his skills, so he tries to calm himself by holding/hugging/whatever his plushie (or something else, idk), whilst someone is trying to get to him, to make him confess what is bothering him? idk if you wanna make it a ship ir maybe dad spy, ily -🦂

oh dude you already KNOW dad!spy hours are 24/7 up in here. welcome to “projecting RSD onto Scout TF2 episode 85″

-

Stupid summer, stupid break, stupid losing streak. Stupid everything.

Usually Scout was excited about breaks. A week or so of getting to be off work, heading home to visit family or going on a road trip or whatever was happening. It was nice, he loved it. But this time they had explicit orders from their boss not to go anywhere or do anything. To stay on base or to go specifically exclusively to the store in the nearest town for food or whatever. He hated it. The base was too small to hang out in for more than a few days at a time. He hated it.

And not to mention that they’d finished off work on a bad note. A day of losses turning into a week of losses, half the team scrambling to try and pull together enough to get one last good push in before the break and the other half deciding to just accept the loss and do better once they got back.

And every day after battle Soldier would single out someone who wasn’t on top of their game and lecture them. And all week, instead of going for the people who were largely slacking off and not breaking their necks to try and get them some actual wins, he went after Scout, who was so frantic that he kept making stupid mistakes.

And he just... usually he argued about it, and got in a fight with Soldier, but he just... didn’t have the energy for it. The day was over. They’d lost. And Scout knew it wasn’t entirely his fault, but it kind of felt like it. Maybe if he’d tried just a little bit harder, pushed himself just a little further, he could’ve gotten the rest of the team motivated. Maybe they all would’ve picked things back up and tried too. But he couldn’t do it.

It was frustrating. He knew his job, beyond what he did on the field, was trying to keep morale up. He kept music playing, he was always up for hanging out or playing a few hands of poker or headed into town with someone to get shitty fast food. And he tried really hard to be funny and to keep things lighthearted, tried so fucking hard to keep spirits up. And he knew if he said anything about it, pointed out how literally like all of his time was spent trying to make sure everyone was feeling okay, it would...

He didn’t know. Maybe they’d just tell him off for being whiny or whatever. Maybe it would stop working so well, if they knew he was always doing it so extremely on purpose, so intentionally. He didn’t know.

But at that moment, he was feeling so much like utter garbage that he knew he had to just avoid the team so he didn’t drag the mood down further. Usually they didn’t really miss him anyways, other than idly asking if he’d gotten into any trouble while he was off doing “whatever he did”. All he knew was that him feeling like shit around everyone else would just make them feel bad too. And it was break anyways—maybe they’d just end up feeling better on their own. Especially since he wasn’t around to interrupt them.

He had plenty of food in his room, mostly chips and candy bars and stuff like that, stuff he didn’t want the guys stealing. And he’d totally share if they asked, for sure, but for that moment he was mostly just digging through the hoard for himself and doing not much of anything else.

He felt like kind of an idiot, sitting alone and eating his feelings like some kind of angsty teen in a movie or the chick in the romcom who just got broken up with. But there was nobody there to ridicule him except himself. And he did, but... the point stood.

A few days passed like that. He had food, he had the little bathroom connected to his room, he had comics to entertain himself. He slept a lot, mostly. Felt like garbage. Read some comics. Ate chocolate about it. Slept some more. He left a few times to do a few assorted things—called home like he did every week, went into the common room late one night to grab some of his records back so he could listen to them.

At one point, he got a knock on his door. He didn’t answer, couldn’t seem to find the energy to. A second knock when the first was unanswered after about twenty seconds. He still didn’t move.

The next day, another knock. This one was accompanied by words. “Scout? I know you’re in there,” Spy called, sounding annoyed.

To be honest, Scout was pretty sure he didn’t have the energy to deal with whatever Spy was about to lecture him about. So he just rolled over.

“You’ve missed every team meal for almost four days. You’re being rude,” Spy declared.

Scout reached off the side of the bed and picked up a plushie that had fallen down. It was a big, chunky pig, and he’d won it when he and Pyro had gone out to a fair and he’d knocked the ball toss game out of the park. Pyro had taken three of the plushies he’d won, and insisted he keep the fourth for himself.

He felt like even more of a dumb baby, sitting there cradling a stuffed animal like he was scared to head off to his first day of kindergarten, but he was already too tired and filled with vague unrest for it to get to him much.

At some point he heard a heavy sigh and the clack of fancy shoes moving away down the hallway, and Scout relaxed.

Twenty minutes later, a knock.

“Scout, let me in,” Spy said firmly.

“Fuck off, Spy,” Scout snapped.

“Scout, if you don’t open the door, I’m going to,” Spy declared.

“Bullshit.”

A heavy sigh, and then a few moments later the door swung open.

“What the fuck?” Scout asked, lifting his head to glare towards the door as Spy stepped inside.

“I know how to pick locks, Scout. You know this.” Spy squinted to try to get used to the light, the blinds having been drawn. “I’m turning a light on.”

Scout just grumbled, dropping his head back into the plush pig. In his periphery, the light was indeed turned on. There was a beat of silence.

“I brought a plate from dinner. I was concerned you would get scurvy, since you now apparently have the diet of an eight year old child who was given a hundred dollars and left unsupervised at the grocery store,” Spy said dryly.

“I don’t want your fuckin’ handouts, Spy,” Scout muttered, muffled.

“It’s not a handout, it’s the fact that I refuse to have anyone on the team besides me whose teeth are falling out. Take the food.”

“Fuck off.”

Spy sighed again, and after a moment he moved to put the plate on the bedside table. Scout prickled at the proximity, but didn’t give him the satisfaction of looking up.

“I noticed that while you haven’t been at dinner, you still took the time to leave a thumb tack on my chair. Usually when you do that it’s because you’re angry with me. What exactly have I done?”

“I’m not mad at you, I’m just mad,” Scout grumbled.

“You know, it’s very childish to refuse to look at someone when they are trying to talk to you.”

“Guess I’ll just keep being the dumb idiot kid of the team then, huh?” Scout snapped.

Silence for a moment. “Scout. You’ve locked yourself away in your room and refused to come out again for several days. I know that something is wrong. The team does too—they’re starting to worry.”

“That might just be the most obvious lie you’ve ever fuckin’ told me, Spy,” Scout practically spat, and was glad to have his voice muffled, because suddenly it went a little tight.

“Is it that hard to believe that perhaps your teammates care about you?” Spy asked, a little sharply.

“It’s me, in case you haven’t noticed,” Scout said next, getting his voice back under control. “People don’t hang around me on purpose. They put up with me. And then they stop putting up with me at some point.”

“That’s not true,” Spy said, tone leaving no room for argument, but Scout elbowed some argument in anyways.

“All seven of my brothers, every fuckin’ date I’ve ever been on, the standing ban sayin’ I can’t go in Engie’s workshop or in Heavy’s workspace down by the boiler or the infirmary unless I’m actually seriously injured—“ Scout listed off, ticking off on his fingers, keeping his face hidden. “My own fucking dad decided he couldn’t fucking stand me and I was two years old, Spy, what the hell does that tell you? I’m an annoying little piece of shit and that’s all I’m ever gonna be and then one of these days I’m gonna die for real out in this hellhole desert and ain’t a single damn person out here will have ever even bothered to learn the name that’s supposed to go on my gravestone.”

Dead silence in the room. Scout’s arm fell back down by his side. His voice was shaky when he spoke again.

“Nobody’s ever even asked,” he managed. “Demo’s real name is Tavish, Heavy’s real name is Mikhal but his sisters call him Misha. And plenty of you guys get asked about it all the time but you don’t wanna say. And nobody’s ever even fuckin’ asked me.”

Silence for a few more seconds.

“I’m a whole person,” Scout said next. “I’m really into sci-fi. I’ve read every mainline issue comic book ever published after ‘35. I know how to cook and draw and I know the all the stats of every person on every major league baseball team. I was in theater in high school between track and baseball season in the winters and I and got a lead role on some Shakespearicles thing before it got cancelled because of budget cuts. I bet you didn’t even know that.”

“I didn’t,” Spy admitted.

“And why would you? Who the fuck cares? It’s just dumb scrawny idiot Scout, who the fuck cares what his deal is? He can barely do his job and read any word that’s over four syllables, who cares what he does? He ain’t nothin’ today, he must never have been somethin’ in the first place.”

“Scout—“

“Tell me I’m wrong, Spy,” he snapped, voice cracking down the middle.

“You’re wrong. Scout, what’s going on?” Spy asked, and his voice sounded closer, like he’d taken a knee. “What happened?”

He understood, logically, that telling Spy damn near anything was a bad idea. He sold information for a living. But logic hadn’t ever been much help to him, and anyways, he was pretty sure he was about to break down either way, and he could either cry like a dumb little baby and Spy could go to the rest of the team and tell them about stupid Scout and his crying for no reason, or he could at least sort of maybe a little bit sound justified and a little bit less completely unhinged.

“We lost all week because I fuckin’ suck at my job, and we don’t get to go off base for some goddamn reason, and I miss my family, and I—“ God damn it, he hoped to at least get to a second sentence before he broke, but here came the waterworks. “—and I know the team doesn’t give a shit, and if they even noticed they probably think I’m being some idiot baby, and I’m just so fuckin’ tired of all of this, alright? I’m just so goddamn exhausted, all the time, and no matter what I do I can’t make my own stupid, shitty, broken-ass brain shut up, and I...”

There was a hand on his shoulder, now. For some reason that’s what unstuck the sob in his throat.

“And I just miss my mom,” he managed, and sobbed again. “And I know that just makes me a stupid fucking baby—“

“Scout, it doesn’t,” Spy said firmly.

“Bullshit.”

A sigh, less exasperated than the others. “Scout, I miss my own parents. Often. Heavy writes to his mother, the Bushman calls home once a week and stays on the phone for an hour at a time. Do you think they would do that if they didn’t miss them?”

Scout couldn’t seem to find his voice, and just sniffled a little.

“If anything, it’s good that you miss your mother. You are appreciating her now, while she’s still part of your life, rather than later on when she’s gone. That’s a good thing.”

“Here I am cryin’ over dumb shit—“

“The fact that you’re even capable of tears shows that you haven’t completely sealed yourself off from your emotions like several of our testosterone-puppet teammates. I’m fairly certain that Medic surgically removed his own tear ducts. I think Soldier is so dehydrated that he’s incapable of it. And rather than sweat he needs to cover himself in liquid-like food products or else he’ll die of heat stroke.”

Despite everything, that made Scout laugh, just a little. More of a hiccup than anything else.

“Admittedly, you have greater social needs than several of our team, and they need to take breaks. Not just from you, but from everyone. It’s part of being human, everyone requires some amount of time alone or else they start losing their minds. But that doesn’t mean that they don’t care about you—value the things you do for this team, even. Every time someone would like company when going in to town for any reason, they always ask me where you are. And you’ve given good film recommendations to everyone except for the Sniper.”

“Guy hates movies,” Scout defended weakly.

“You keep recommending horror films. As it turns out, he is a fan of romantic comedies.”

“Fuckin’ what? Seriously?”

“I was shocked too. His complete lack of taste in all areas of his life continues to amaze me.”

Scout scoffed at that. A beat of silence.

“What I am saying is that the team doesn’t simply put up with you. You’re impossible to simply put up with, you take up too big a part of everyone’s life here. Instead, they must like and respect you.” A pause. “And your father must have truly been an idiot. Anyone with two eyes would be proud of the challenges you’ve faced and overcome with all of the disadvantages you’ve been dealt over your lifetime.”

Scout sniffled, wiped his eyes with his forearm, finally managed to look up at Spy. “Anyone with two eyes? You sayin’ you’re proud of me, then?” he asked, even if it was a little shaky.

“I feel no strong emotions,” Spy deadpanned.

“Alright, nevermind about earlier. That’s the most obvious lie you’ve ever told me.”

Spy rolled his eyes, standing, brushing off the knee of his suit.

Scout looked at the plate, made a face. “Aw man, what the fuck, is that asparagus? Is Medic back on trying to make us eat healthy again?”

“The Engineer cooked it, stop complaining and just eat it,” Spy said, quickly falling back into his role of naggy just on the near side of patronizing.

“C’mon, it couldn’t have been like, mashed potatoes or broccoli or somethin’?”

“You always douse those things in salt and butter. That combined with the energy drinks means you’re going to get a heart condition before I do.”

“Just get the fuck outta my room, Spy,” Scout huffed, putting the stuffed animal aside and moving to pick up the plate and utensils.

“Very well. And go talk to Demoman at some point, he’s been whining about nobody wanting to go get fast food with him for two days,” Spy said as he walked to the door. “And you can’t borrow my car to go.”

“Fuck you, Spy,” Scout said flippantly, waving him off.

“Fuck you too,” Spy said just as casually, and made sure to close the door behind him.

[aion-rsa]

The Horror Movies That May Owe Their Existence To H.P. Lovecraft

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With Lovecraft Country finishing its acclaimed first season, you may be looking to fill that new gap in your viewing schedule with more content based on or inspired by the works of the enigmatic author from Providence, Rhode Island.

Let’s get one thing clear upfront: Howard Phillips Lovecraft was very much a product of his time and upbringing, and his views on race, ethnicity, and class — while commonplace for where and when he lived — were truly noxious, an aspect of his legacy that Lovecraft Country addresses in its own themes. But it’s also clear that Lovecraft was arguably the most influential horror writer of the 20th century, with a reach that extends to this day.

While there have been a number of movies based directly on stories by Lovecraft — including titles like Die, Monster, Die! (1965), The Dunwich Horror (1970), Re-Animator (1985) and its sequels, From Beyond (1986), Dagon (2001), The Whisperer in Darkness (2011), and Color Out of Space (2020) — you may be surprised just how many more readily available major horror films and cult favorites have been influenced by his writing in terms of plotlines, themes, mood and imagery.

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Here is a readout of 20 movies, spanning the last 60 years, in which the pervasive presence of H.P. Lovecraft had an undeniable impact, making many of these efforts into mostly effective and often great horror films. Even the Great Old Ones would approve…

X: The Man with the X-Ray Eyes (1963)

Legendary filmmaker Roger Corman had just adapted a Lovecraft story in The Haunted Palace (although the movie was marketed as part of his Edgar Allan Poe cycle), but this sci-fi film also clearly channeled some of the author’s sense of cosmic horror.

Ray Milland plays a scientist who invents a formula that allows him to see through just about everything, eventually peering into the center of the universe itself. What he views there leads him to a shocking decision that fans of Lovecraft’s work would appreciate.

The Shuttered Room (1967)

This British production was based on a short story by August Derleth, Lovecraft’s publisher and a noted author in his own right. Derleth based his story on a fragment left behind by Lovecraft after the latter’s death, with the movie expanding on the tale even further.

Read more

TV

Behind the Scenes on Inside No. 9’s Most Terrifying Episode

By Louisa Mellor

Movies

Bram Stoker’s Dracula and the Seduction of Old School Movie Magic

By David Crow

Gig Young and Carol Lynley star as a couple who inherit Lynley’s family mill only to find something horrifying living at the top of the house. Lots of Lovecraftian elements — a cursed house, a family secret, and strange locals — are all here.

Alien (1979)

Lovecraft’s work arguably existed on that knife edge between horror and science fiction — the Great Old Ones of his Cthulhu Mythos were, after all, ancient entities that existed in the darkest corners of the universe.

One of the greatest sci-fi/horror hybrids of all time, Alien, clearly took a cue from Lovecraft’s work: the origins and motivations of its xenomorphs were utterly unknowable to human understanding, and even the look of the alien echoed the gelatinous, glistening flesh of the Old Ones (too bad later movies like Prometheus and Alien: Covenant ruined it by explaining far too much of the alien’s history).

Scorpion

City of the Living Dead (1980)

Italian director Lucio Fulci directed several films inspired by the work of Lovecraft, starting with this gorefest starring Christopher George (Grizzly) and Catriona MacColl. When a priest hangs himself on the grounds of a cemetery in the town of Dunwich (a town created by Lovecraft), it opens a portal to hell that allows the living dead to erupt into our world.

Read more

TV

Talalay’s Terrors! The Director Breaks Down Her 5 Scariest Scenes

By Kayti Burt

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By Nick Harley and 1 other

Fulci’s movie is often nonsensically plotted and more reliant on gore than Lovecraft ever was, but the otherworldly, surreal atmosphere is definitely sourced from the master.

The Beyond (1980)

The second film is Lucio Fulci’s “Gates of Hell” trilogy (the third was The House by the Cemetery) is perhaps the most heavily Lovecraftian, with Fulci regular Catriona MacColl inheriting a hotel in Louisiana that turns out to be — you guessed it — a portal to the world of the dead.

Like the director’s other work, it’s inconsistently acted and directed, but it oozes with a surreal, unsettling atmosphere that almost becomes intentionally disorienting. Hell of an ending too — literally.

The Evil Dead (1981)

Sam Raimi was just 20 when he and friends Rob Tapert and Bruce Campbell set out to make a low-budget horror movie called Book of the Dead, based on Raimi’s interest in Lovecraft. The finished product, The Evil Dead, featured plenty of Lovecraftian touches: a book of arcane evil knowledge, entities from another dimension, reanimated corpses and more.

Read more

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New Evil Dead Director Has Been to the Woods Before

By Don Kaye

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Evil Dead Movies: The Most Soul Sucking Moments

By David Crow

It also became one of the greatest cult horror movies of all time, spawning an entire franchise and — even as it veered more into comedy — staying true to its cosmic horror roots.

Universal

The Thing (1982)

Even though it’s squarely set in the science fiction genre, John Carpenter’s brilliant adaptation of the 1938 John W. Campbell Jr. novella Who Goes There? (filmed in 1951 as The Thing from Another World) is unquestionably cosmic horror.

Read more

Movies

The Thing Deleted Scenes Included a Missing Blow-Up Doll

By Ryan Lambie

Movies

John Carpenter’s The Thing Had An Icy Critical Reception

By Ryan Lambie

Although the title creature lands on Earth in a spaceship, its immense age, apparent indestructibility, utterly alien intelligence and formless ability to shapeshift make it one of the most Lovecraftian — and terrifying — monsters to ever slither across the screen. The remote, desolate setting and growing paranoia among the characters add to the terror and awe.

Ghostbusters (1984)

Yes, it’s one of the best combinations of horror and comedy to ever emerge onto the screen. But Ghostbusters’ second half — in which an apartment building designed by an insane architect turns out to be a gateway to a realm of monstrous demons led by “Gozer the Gozerian” — is pure Lovecraft.

The monstrous nature of the menace, the ancient rites and secret cult used to summon it — all of this is still quite cosmically eerie even as it’s played mostly for laughs and thrills.

Prince of Darkness (1987)

The second entry in what came to be known as John Carpenter’s “Apocalypse Trilogy” is perhaps the least influenced by Lovecraft. But it still packs a cosmic wallop with its arcane secrets long buried in an abandoned, decrepit church, its portal to another dimension ruled over by an Anti-God, its mutated, reanimated human monsters and its mind-bending combination of religious legends and scientific speculation (credit as well to British writer Nigel Kneale, an even more massive inspiration here).

In the Mouth of Madness (1995)

Carpenter completed his trilogy (arguably his greatest achievement outside of Halloween) with the most Lovecraftian of the three, in which a private insurance investigator (Sam Neill) looks into the disappearance of a famous horror author and learns that his books may portend the arrival of monstrous creatures from beyond our reality.

Read more

Books

An Introduction to HP Lovecraft: 5 Essential Stories

By Ethan Lewis

TV

How Lovecraft Country Uses Topsy and Bopsy to Address Racist Caricatures

By Nicole Hill

Not only are the ideas right out of Lovecraft, but the movie oozes with allusions to the writer’s work and ends up being as disorienting and genuinely disturbing as some of his most famous stories.

Event Horizon (1997)

While we will always argue that the execution of this film was faulty, which stops it from becoming a true cult classic, we won’t debate its central premise: a spacecraft with an experimental engine rips open a hole in the space-time continuum, plunging the ship and its crew into a dimension that appears to be hell itself and endangering the rescue team that arrives to find out what happened.

Read more

Movies

Exploring the Deleted Footage From Event Horizon

By Padraig Cotter

Movies

Event Horizon: From Doomed Ship to Cult Gem

By Ryan Lambie

Director Paul W.S. Anderson provides some truly macabre touches to an often incoherent movie, and again the whole invasion-of-evil-from-outside-our-universe concept points right back to old H.P. and his canon.

Hellboy (2004)

Hellboy creator Mike Mignola has often cited Lovecraft as a primary influence on his long-running comics starring the big red demon (Lovecraft’s vision has impacted a slew of other comics over the years as well), and it’s no surprise that Guillermo del Toro’s original movie based on the books touches on that too. The film’s Ogdru Jahad are a take on Lovecraft’s Great Old Ones, while the movie is stuffed with references to occult knowledge, forbidden texts, alternate realities and more.

Del Toro’s own direct Lovecraft adaptation, At the Mountains of Madness, remains abandoned in development hell, but his work here gives us perhaps a taste of how it might have looked.

The Mist (2007)

Stephen King has often cited the influence of Lovecraft on his own vast library of work, and both the novella The Mist and Frank Darabont’s intense film adaptation are perhaps the most overt example.

While the premise is vaguely sci-fi — an accident at a secret government lab opens a portal to another dimension, unleashing a fog containing all kinds of horrifying monsters — the mood and the entities are Lovecraftian to the extreme, as is Darabont’s unforgivingly bleak ending (altered from King’s more ambiguous one).

The Cabin in the Woods (2012)

Director/co-writer Drew Goddard and co-writer Joss Whedon take on two of horror’s most criticized subgenres, the slasher film and the torture porn movie, in this sharp satire that ends up being a Lovecraft pastiche as well. The standard set-up of five young, horny friends heading to a remote cabin in advance of being slaughtered turns out to be a ritual performed by trained technicians as a sacrifice to monstrous deities — the Ancient Ones — that reside under the Earth’s crust. The ending — in which the survivors decide that humanity isn’t worth saving after all — would have met the misanthropic Lovecraft’s approval.

Stephen King’s It (2017/2019)

The more metaphysical elements of King’s gigantic 1987 novel (such as the emergence of the godlike Turtle and the journey into the Macroverse) didn’t really make it into either this two-part theatrical version of the novel or the 1990 miniseries.

Read more

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By Matthew Byrd and 6 others

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How It Chapter Two Differs from the Book

By David Crow

But the influence of Lovecraft is still felt in the title menace itself, an unimaginably ancient, shape-shifting entity that can exist in multiple realities and feeds on fear and terror. The way that It slowly corrupts the town of Derry and its inhabitants over the years has precedent as well in Lovecraft tales like “The Dunwich Horror” and “The Shadow Over Innsmouth.”

The Endless (2017)

Indie horror auteurs Justin Benson and Aaron Moorhead have touched on certain Lovecraft tropes in all their films, including Resolution and Spring, but The Endless is perhaps the most directly influenced by the author. The writers/directors also star in the movie as two brothers who return to the cult from which they escaped as children, only to find it has become the plaything of an unseen time-bending entity.

Genuinely eerie and more reliant on character and story than special effects, The Endless is a good example of what a modern twist on the Lovecraft mythos might look like.

The Void (2017)

A small group of medical personnel, police officers and patients become trapped in a hospital after hours by an onslaught of hooded cultists and macabre creatures in this virtual compendium of well-loved Lovecraft tropes and imagery. Writer/directors Steven Kostanski and Jeremy Gillespie channel an ’80s horror vibe, with all its pros (and some cons) but the overall atmosphere is surreal and the story taps effectively into the sense of cosmic horror.

Annihilation (2018)

Alex Garland’s (Devs) adaptation of Jeff VanderMeer’s frightening novel Annihilation is brilliant and terrifying in its own right, and both serve as loose rewrites/reinventions of Lovecraft’s classic “The Colour Out of Space.” In this take, four female explorers are tasked with penetrating and solving the spread of an alien entity over a portion of the coastal U.S. that is mutating all the plant and animal life within. The sense of awe and cosmic dread is strong throughout this underseen gem.

The Lighthouse (2019)

The second feature from visionary writer/director Robert Eggers (The Witch) is more a psychological drama than an outright horror film — or is it? The story’s two lonely lighthouse keepers (Robert Pattinson and Willem Dafoe) may be going insane or may be coming under the influence of an unseen sea entity and the beam of the lighthouse itself.

Read more

Movies

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By David Crow and 3 others

Movies

The Lighthouse: the myths and archetypes behind the movie explained

By Rosie Fletcher

With its black and white cinematography, windswept location, half-glimpsed sea creatures and sense of reality crumbling around the edges, The Lighthouse is just a Great Old One away from being a genuine Lovecraftian nightmare.

Underwater (2020)

It’s hard to believe that this Kristen Stewart vehicle came out in early 2020 — given the way the world changed since, it seems like it came out five years ago. Although its story of workers on a deep sea drilling facility battling monsters from the deep was an overly familiar one, the creatures themselves were more unusual than most. Director William Eubank took it a step further by saying that the movie’s climactic giant monster was none other than Cthulhu itself, the Great Old One sleeping under the ocean and namesake of Lovecraft’s entire Cthulhu Mythos — which takes us back to where we began.

The post The Horror Movies That May Owe Their Existence To H.P. Lovecraft appeared first on Den of Geek.

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[sol1056]

hey! i noticed that you’ve written a lot about how voltron fails as a mecha series, and it got me curious about what a GOOD mecha series looks like. do you have any recs for someone whose only experience with the genre, quite literally, is voltron?

note: that is NOT where I wanted the cut. who knows what the devs are doing over there at tumblr hq.

-----

Welp, there’s more than one kind of mecha. There’s super robots -- where (in general) the robots are ultra-powered and relatively indestructible. Then there’s real robots, which will break down and/or run out of ammunition at the most dramatically critical moments. And then there’s a category that at best might be nearly-sentient robots, which have minds and motivations of their own -- but I wouldn’t say that’s a true category (in terms of the genre) so much as a distinction I've noted.

I’ve never been big into the super robot series (with a few exceptions), and I mostly find the combining robot genre to be frustrating. Former mechanic and engineer who currently works with AI, so a lot of the hand-wavey aspects are frustrating for me, especially in super robots where things mysteriously repair themselves and there’s never a struggle to upgrade/repair. (And don’t even get me started on the idea of controlling a bipedal reactive machine with only two foot pedals and a damn joystick.)

Which is all to say, I suppose I should recommend that you watch the classics, except I’m not really sure what they are because I’ve forgotten most of them. And frankly a lot of them are really shoddy animation by today’s standards, and life is too short to waste time on that. I’ll need to refer you along to other mecha fans to add their recommendations, instead.

Well, I can at least recommend Gundam and Macross, but that’s kind of like saying I recommend Doc Martens and Aididas -- that barely narrows it down, since there’s so many options within each brand. Everyone’s got their favorites in each, as do I, but any mecha series that’s stayed with me is one that found a way to either twist the core trope, or explored implications that other series glossed over.

Note: I’ve never seen any version of Eva, and never felt the urge to, either. Sorry. Ask someone else for input on that. Plus there’s also ones I’ll leave off here ‘cause they’re veering over into AI/robots/tech and less what would usually be called mecha, but they’re still worthwhile: Battle Fairy Yukikaze, Ghost in the Shell: Standalone Complex, Broken Blade, Last Exile, and Voices of a Distant Star all come to mind.

Gundam

For me, I adore the technical geeky touches in Gundam F91, but the story is total spaghetti, so you might want to skip that until you’re more familiar with the gundam tropes. (It was meant to be a series, iirc, got shut down, and they took the pieces and made a movie from it, so it’s... kind of compressed, to put it mildly). 

Gundam Wing and Gundam 00 are considerably less geeky on the technical (though they do satisfy the mechanic itch, with a bit more real robot, at least on the technicalities). I like the international core cast, and the way each series explores geopolitical dynamics. (That said, skip the second season of Gundam 00. It just goes totally off the rails into some really wild and wacky directions.)

A long-running concept like Gundam is recognizable across the series thanks to core concepts, and in Gundam’s case it’s the conflicts between imperialism and colonialism, war versus justified rebellion, and pacifism versus a first-strike as self-defense. What I liked with Wing and 00, in particular, was its central pilots felt more tied to (and aware of) the political ramifications of their actions.

I did watch about half of Iron-Blooded Orphans, which struck out in a new direction by having Mars as the colony instead of the lagrange points, but didn’t bother finishing. From what I hear, watch it with a box of tissues, as it’s a return to the classic kill-em-all perspective of the original Gundam series.

Macross

I’m sure someone else will tell you to watch the original Macross (the american version being Robotech, albeit highly edited). I know lots of people adore the first Macross series, but it’s just too late-80s for me. (The hair, my god, the hair.)

Personally, I prefer Macross Frontier -- the amination is much improved, though the fact is I also adore the voices of Yuuichi Nakamura and Aya Endō. Macross has some politics, but it’s mostly internal -- that is, the opponents aren’t human, so whatever debate there is about who’s right or wrong is mostly one-sided, since we only ever see humans doing the talking.

I tried to watch Macross Delta but it just didn’t do it for me -- and therein lies some of the issues (for me) with both Gundam and Macross. Because both have some core elements that they tackle in every series, it can start to feel a bit repetitive.

For Macross it’s always music, Valkyries (the mecha type for Macross), and a love triangle -- which sometimes isn’t even resolved. (I’ve read all kinds of debates about whether Alto ends up with Sheryl or with Ranka, but the series leaves it open.)

A good writer can explore these themes over and over, but between the two, I personally think Gundam has done a bit better of pivoting to take a new angle with each series. But at the same time, Gundam is pretty consistent about not building on a previous series -- with a few notable exceptions, most of its series are alternate-universe stories to each other. In Macross, they’re all continuations of the previous -- so if you’re not into its setup about aliens and weird diseases and whatnot, you’re only going to get more of the same in the next series.

Everything else

So here’s the series I like, but I’m not sure all of these would be counted as ‘true’ mecha by other fans (a debate I mostly ignore, so I’ll leave it to others to argue about that).

Escaflowne -- one of the rare breed of fantasy-styled mecha (Broken Blade being another one that comes to mind). The animation is strongly 80s, but the voice acting is superb, the story (originally meant to be longer, then budget cuts forced a much longer story to squeeze into half the episodes it really deserved).

[It’s also a series I’d call a harbinger, similar to tripping over little-known movies from twenty years ago and realizing every single actor including walk-on parts went on to be massive names. Escaflowne’s got that, but that also extends to its animation team, its director, its composer, on and on. All of them went onto work on some of the greatest hits of anime. That makes Escaflowne immensely (if quietly and somewhat subtly) influential, both for the genre and animation overall.]

Eureka Seven -- another not-on-Earth story. At first the mecha movement -- almost like surfing in the sky -- was odd, but they took some interesting physics concepts and made them not just worldbuilding, but integral parts of the story. Okay, I’m not keen on how the female lead gets successively down-graded as the hero ramps up, but there are some emotional implications of Massive Destructive Machines where Eureka Seven lingers that a lot of other series gloss over.

Fafner in the Azure -- another aliens-against-humans, but first off, I’m gonna say it: you either love Hisashi Hirai‘s character designs or you want to torch them with total prejudice. If you can get past that, Fafner is brutal to its characters well beyond most other series, excepting the earliest Gundams. Although (of course) the pilots are all kids, there are in-story reasons, and there are still adults running the show. And there are consequences, small and large.

Code Geass: Lelouch of the Rebellion -- because what would life be if we didn’t have at least one mecha series with character designs from CLAMP. (Which, admittedly, I loathe, but somehow it worked here.) Can’t speak for the second season, but the first season played up something a lot of mecha bypass for just plain banging on each other, which is strategy. It caught me at the time, at least.

Full Metal Panic -- watch this after watching Gundam Wing and/or Gundam 00, to get the tropes they’re playing on with Sousuke Sagara (the ostensible protagonist who just cannot seem to relate to real human beings). I saw one description of him as “about as well-adjusted as a feral child” and that kinda fits. It’s more real robots, and of course parts require some hardcore suspension of disbelief (the commanding officer who looks 14, sounds like she’s 12, and has boobs that never occur in nature on a frame that teeny). But all told, a lot of fun and plenty of explosions.

RahXephon -- this is another oddball one, because the mecha aren’t mecha, they’re golems (as in, creatures made from clay). For all that, there’s a lot of significant mecha influence and tropes at work. It’s held up pretty well, animation-wise, considering its age (from 2002). and while it’s the same ‘strange aliens attack earth’ plotline, it spins all that off in a completely different direction.

Tengen Toppa Gurren Lagann (aka Gurren Lagann) -- don’t watch this one until you’ve seen plenty of others, though, because it’s a fondly affectionate send-up of nearly every possible trope from combining to super to real robots. Cranked up to eleven.

Knights of Sidonia -- of all the ones on this list, KoS is possibly my most favorite. It was an early all-CGI series, and a lot of people were turned off by that, but once you get used to it, the story can carry you along. Like Macross Frontier, it takes place in deep space, where a colony of humans fight for survival with an incomprehensible (and nearly unstoppable) alien foe. But KoS is true science fiction, with a lot of solid science driving its dramatic points. Also--unlike most of the others series--although the characters are technically human, they’ve also evolved as a result of their time in space. For one, they have three genders, for another, they don’t eat; they photosynthesize.

[ayankun]

Sooooooooooooo can we talk about SPN S6?

Ok so Eric Kripke had a five year plan, and that worked out somehow and then the show kept going.  And I’ll be honest, the whole “gotta save Sam from himself even though he’s basically fine all the time and isn’t actually a risk even though everyone keeps saying he is” storyline was dragging and I was looking forward to this arc finally wrapping up so we could discuss something else.

Be careful what you wish for, right?  I wanted serialization and when I got it, I wanted to go back to the episodic stuff.  I wanted to finish this story and start the next, but now that it’s started I ... I’m hoping the next ten seasons aren’t as awkward as this season’s been so far. :/

IDK.  S1-5 are dated in their own ways, and I was insanely curious as to how busting into the 2010s was going to affect the style of the show, especially as the decade progressed, but -- WOW I wasn’t expecting it to go full CW dreck overnight.

And it’s not just the storylines (which have been unfocused and meandering so far (I’m on ep 6)), but the whole production quality took a hit.  I can understand how changing up the chain of command at the top can trickle down, but should changing showrunners mean that you bring different cameras to different locations, and when you splice the scene together it looks like it comes from two different shows?  There seems to be more studio work, too, with crappy studio equipment, and all the evocative “Americana” backwoods of BC has been traded for and compressed into downtown Vancouver. 

What happened to the budget?  Wasn’t this show at the top of its class at the time?  Did they not trust the change over and told them to make do?  Did the whole network just downgrade overnight?  Arrow won’t be on the air for another two years, and I’m already well familiar with the overall production quality for this network from there on out.  So am I burdened with foresight?  Is SPN doomed to ride out another ten years as a vapid vehicle for ads like everything in the Flarrowverse will do?

Ok so look.  Back to storylines, and back to overall style.  I’m having a hard time describing, even to myself, what this bad taste is, because it’s the sum of its parts.  So where, specifically, are the differences?  Storylines -- no, let me correct myself, I mean to discuss structure.  S1 blew me away because the monster of the week plots were just glorified MacGuffins upon which character work could be safely installed.  And the character work was so good!  Sam and Dean, on the road!  Chasing mysteries!  Saving folks!  Having so many daddy issues!!!  Having each other’s backs until that one time where they keep never having each other’s backs until they suddenly do again?!!  Who cared about whether you can trust a crossroads demon, or who Michael was going to wear to prom??  NOT ME.  Just string enough cause and effect together to support the weight of those sad tortured repressed looks Dean can’t stop giving Sam.  Please.  That’s all I need.  Keep giving me enough narrative runway to let Sam go wild with his SAINTLIKE patience as he tries and fails and tries again to convince his stupid brother that the weight of the world can be split between two pairs of shoulders.

Where is this connection, in S6 so far?  We had a whole episode about Bobby, and I will not be shy to say I skipped through most of it.  No offense to Bobby (and none to Jensen, who evidently directed it), because obvs this story has opened up so much since S1 and the surviving supporting characters don’t mean nothing, BUT.  But.  You can’t even reward me with a little Sam and Dean bonding moment for all that?

Oh, right.  This season isn’t about Sam and Dean.  It’s about Dean.  Dean is the main character now, and heaven help me he’s been the main character since somewhere back in S5.  This is a story about Dean, the survivor, who is shackled not only with survivor’s guilt but guilt about having the thing he always wanted AS WELL AS guilt about not knowing how to do that thing right.  I’m fine with this, for the record.  I want to see Dean’s emotional trauma.  That is literally what I’m all about.  But ... where is Sam in this dilemma?  What part does he play?

I read ahead a little, and I know that some of Sam’s not-Samness is literally part of the plot, so I’m acknowledging that it’s there on purpose and not a horrible mistake.  As of this last ep, this season is clearly setting the stage for Dean vs Sam, and not in a brotherly way.  In a “if I didn’t know any better, I’d say Sam is the Big Bad of the Season and I bet the next 15 episodes will be similarly strained” way.  It’s that different kind of storyline I asked for, but didn’t want.  Dean can’t engage with Sam in the same way as before, so I can’t engage with Dean (engaging with Sam) at all.

Also, I know there’s no law that says villains have to be likable, but Samuel Campbell isn’t just unlikable, he’s un-engagingly so.  Even if there’s some kind of 11th hour twist and he’s not some kind of mega evil, they’re not shy about leading you down the road where he is that ultimate adversary to overcome.  I mean, I’m being told not to like him, and he’s honestly not characterized as someone I’d like anyway, so I just end up putting all my “meh >:/ “ feels onto not just the character but his narrative reason for existence.  I want this to be a different story (one that I like), but it’s not, and he’s in it because it’s not, therefore the story he’s in is a bad one (that I don’t like).

And I’m still not sure how to express the way the mise en scène screams “CW bitchezzzzz!!!” whereas before it just politely stated “This is Supernatural, a show from the late 2000s on network television.”  This undefinable shift in cinematic tone really rubs me the wrong way and I can’t even discern what the shift is!!!!!!!!!

Also the poor hapless nobodies in the monster of the week episodes seemed to be framed differently.  More intimately?  Like they were real people having a bad day.  So far S6 nobodies really feel like nobodies.  ALSO, TANGENT, there was a particular fine line to the comedy in S1-5 which has become just ... simultaneously garish but also flat in S6 so far.  Compare Pestilence wiping exorcist goop off his face with a subtly outlandish sound effect to, idk, Jared and Jensen lifelessly needling Twilight.

ok so that takes me to my last thought.  We spend five seasons wondering and worrying and panicking about what some demon blood is going to do to Sam, but now in S6 Dean can just be a vampire for like, half an episode and that’s fine.  There’s no gravitas.  No weight.  No stakes (sorry, that’s a pun we’ll just have to live with).  And no payoff!  Sam’s POV is not on the table anymore, for narrative reasons.  He’s not allowed to open himself up for the audience to get a crack at what’s going on in that big ol’ noggin.  So we’re stuck on the outside, with Dean, alone, and that’s the opposite of what I ever wanted to see.

(sorry this literally only just hit me as I was going to post -- where is the rock?  Better question: where is the foundation this show spent five years laying?)

[timeagainreviews]

Sifting through the Dregs

For series twelve of Doctor Who, I have opted to take a casual approach. I've avoided spoilers as much as possible. Although I caught the trailers, and the odd press photo, I've managed to stay away from things as simple as episode descriptions, writers, or even episode titles. I want to come into each story with as little expectation as possible. This is so that I might avoid hype, both of the negative and positive varieties. So when I read the words "Part One," after "Spyfall," it was genuinely a surprise. And when I read the words "Orphan 55 by Ed Hime," I was suddenly very hopeful.

If you remember from series eleven, I was a big fan of Ed Hime's episode "It Takes You Away." I praised its brazen absurdity, likening it to something Douglas Adams may have done. The episode is rather divisive in the fandom, as some might call it one of the worst episodes ever. Obviously, I disagree. Ed Hime stands out to me as exactly the kind of writer Doctor Who needs. Someone with a bit of a taste for the absurd, while still managing to capture human moments. Ironic then, that despite my best efforts to approach the episode without expectation, the hype I would most contest with would be my own. Does "Orphan 55," live up to my expectations? Let's get into it!

As I said, Ed Hime lends a sort of mad weirdness to Doctor Who that I feel a certain section of writers possess. Think your Lawrence Mileses, your James Gosses, or even the occasional Steven Moffat. These are writers, who for better or worse understand one thing about Doctor Who- it's weird. Strangely, one of the common most aspects ignored by Doctor Who writers is the absurdity. A blue police box wrapped around an impossible machine, piloted by an ancient trickster somehow becomes mundane. Doctor Who's weirdness is an integral element that has been around since its inception. That's why when the gang gets teleported by a contest cube Graham has assembled, and the first person we meet is a furry, I feel we're already onto a good start. Especially when they just finished cleaning up the biggest calamari ever from the TARDIS floor. (Anyone else think of the Nestine Consciousness?)

Characters like "Hyphen with a 3" or "Hyph3n," remind me of some of the '80s era's odder characters. I could easily see her and her tail living in "Paradise Towers," or perhaps riding a bus in "Delta and the Bannermen." But another reason I love her is that she's not just a furry, it's part of her identity. You don't get the idea that she's an outlier like real-life Trekkie, Barbara Adams, who famously wore her Star Trek uniform to jury duty and her place of work. Instead, you get the feeling that in the future, people respect identities. To use Star Trek again, I remember watching an episode of "Star Trek: Enterprise," where the character Trip has a crisis over whether or not a girl "was a man." When you compare this to the dialogue we're having about transgender rights in 2020, you're automatically reminded that Enterprise came out in 2001. By today's standards, furries are still seeking acceptance. Seeing Hyp3n in a partial fursuit may seem absurd now, but in its own way, it's futuristic. How very Doctor Who.

Things in this future, however, aren't all progressive acceptance of our fine furry friends, there seems to be trouble in paradise. As I said, the gang is greeted by Hyp3n, a sort of porter for a relaxation destination called "Tranquility Spa." The companions immediately take to the spirit of things, as they settle in for a bit of rest and relaxation. The Doctor, of course, starts snooping around. Meanwhile, a security team of two, Kane and Vorm are responding to "another security breach." Whatever it is requires machine guns, which seems like quite a lot. And if you're like me you'll spend the next half hour trying to figure out where you've seen Kane before. I'll help you out- it was Lydia from Breaking Bad. You're welcome. I just saved you a trip to IMDb.

The next scene introduces us to a concept that will run strong within this episode- Yaz as a gooseberry. We see a couple of pensioners, Benni and Vilma, enjoying their spa getaway. Just as Benni is about to ask Vilma to marry him, Yaz stands right between them. I mean, I know the pool is for everyone, but read the vibe, Yaz. Jeez. Meanwhile, Ryan is checking out the interior of Tranquility Spa. The bar looks like the kind of place art vampires go to get lemongrass enemas. It reminded me a lot of "The Leisure Hive," with a budget, or even a more modern twist on the Centre of Leisure from "Time and the Rani. So much of this episode reminded me of classic Doctor Who.

Ryan notices a vending machine, but as he's retrieving his food is infected by a hopper virus. The Doctor explains the virus is capable of jumping from computers to humans. After expelling it from his system, the Doctor bags it to take to whoever is in charge. While Ryan is sucking his thumb to reduce the hallucinogenic side effects of the virus, he sees a cutie in a similar situation, a young woman by the name of Belle. It's pretty obvious at this point that Belle is to be a sort of romantic interest for Ryan, and who can blame him? She lives up to her namesake!

Everyone is rounded up for a "tranquillity drill," to a safe location while Kane and Vorm run through the lobby with their guns in tow. As with most companions, travelling with the Doctor embeds a deeper curiosity. Much like the Doctor would, Ryan questions what type of drill requires guns. This question entices Belle to follow him as they investigate. I really liked this pairing of the two of them as their chemistry was natural, despite Ryan's repeated failures at chatting her up. It only added to their charm.

The Doctor confronts Hyp3n who seems just about as confused and nervous as many of the guests. Whatever she's hiding is only because she's been instructed to by her superiors. Considering the hopper virus and drill, the Doctor deduces that the spa is under attack, and demands to know what they're hiding. Who would want to harm a spa? The spa has been using an ionic membrane to keep out unwanted visitors, visitors which appear to have breached the membrane. Now under a full-on attack by a group of monstrous beings, guests become casualties. Not only is the base under attack, but the viruses have also handicapped the systems, disabling the emergency teleportation devices. With everyone trapped the Doctor has to work fast to stop the killing, as well as survive.

Graham finds a pair of green haired servicemen in the form of Nevi and his son Sylas. Their entire character design once again had me thinking of classic Doctor Who characters such as the Swampies from "The Power of Kroll," or the Karfelon androids from "Timelash." I liked wondering if they were a kind of species that has naturally green hair, or if they had father/son hair dying nights. In this brief interaction, you learn that Sylas is the better mechanic between the two of them, but that Nevi does a bad job of acknowledging this. Graham gathers them and others to evacuate while Ryan and Belle hideaway in a sauna of sorts. While there, they confide in each other that neither of them is nearly as impressive as they initially led on, and the truth strengthens their bond.

Sadly, as Graham is rounding people up, Benni gets separated after backtracking to pick up Vilma's hat. As life signs extinguish across a computer screen, highlighting the trail of carnage, the Doctor finds a way to push back the onslaught. By repairing the ionic membrane, the creatures, known as Dregs, are physically pushed out of the spa by a force field. The crisis averted, the survivors search for the bodies of their loved ones. Much to Graham's relief, Ryan and Belle have both narrowly avoided the claws and teeth of an angry Dreg. Benni, however, is nowhere to be found.

After discovering a hole, which looks like a tear in reality, our heroes discover that Tranquility Spa is actually an illusion. A dome separates the spa from a hostile planet far too polluted to inhabit. This abandoned, or "orphan," planet is designated "Orphan 55." This is the reason guests are teleported to the spa- to cover up its seedy location. However, it would appear that whatever the Dregs are, they seem to be apex predators, able to survive the hostile environment of Orphan 55. And they want the spa and its inhabitants gone.

The Doctor makes Kane drive them out into the wasteland to find Benni, as his oxygen tank would allow him to survive outside of the dome for some time. It was a thin chance, but it might be enough to save at least one person among the carnage. I was really hoping for some silly "Moonbase," style helmets, but instead, we got these minimalist blue breath right strips across the bridge of the nose that linked to small wrist canisters as supplied by Nevi and Sylas.

The trip out onto the surface reminded me a lot of the great Russell T Davies episode "Midnight." And much like Midnight, the confined space of a vehicle traversing harsh conditions offers plenty opportunity to explore the people within. Remember how I said Yaz is a gooseberry? She wastes no time getting right between Ryan and Belle. I honestly can't tell what's going on between Yaz and Ryan at the moment. Last season, there was a bit of a "Will they or won't they?" vibe between them. But series twelve seems less interested in coupling them off. First, we had the Master and Yaz getting weirdly touchy-feely, which surprisingly never comes up again. And now we've got Yaz teasing Ryan in front of Belle like a jealous school girl. We learn that along with sucking their thumbs, Ryan and Belle also share having a dead parent in common, so that's something.

The vehicle picks up a bit of barbed wiring leaving it, as the Doctor put it- completely knackered. Keeping with the Midnight vibe, the surface of the planet is too dangerous due to monsters and killer sunlight. Afraid for her own self-interest, Kane wants to abandon the search mission, but a pleading Vilma begs her to continue looking for Benni. After callously accepting Vilma's necklace as payment, Kane agrees to continue with the rescue mission.  The crew abandon their vehicle and run for the safety of an underground service tunnel, but Dregs attack from every direction causing them to return to the safety of the vehicle. But that safety won't last long.

It's then that they hear Benni calling for Vilma. He asks her to marry him and then asks them to shoot him as well. It's a morbid moment as you realise the only reason the Dregs have kept Benni alive is to taunt the survivors and prolong his suffering. I don't really understand what the point of having them run back into the vehicle actually was. They basically run back out a moment later with the new plan of Kane and Vorm covering with gunfire. I don't understand why it was so important that they leave one location just to return moments later.

As Kane and Vorm blast Dregs, the rest of the crew run to the safety of the service tunnel. In the scuffle, Vorm dies, but Kane catches up just in time to open the tunnel. The entrance to this tunnel had me thinking of the opening of "Mighty Morphin Power Rangers." I kept waiting for Rita Repulsa to pop out and say "Ah! After 10,000 years I'm free! It's time to conquer Earth!" They make it down into the tunnel where there is a short-range teleporter nearby. Vilma asks Kane if she saw what happened to Benni, and Kane coldly tells her not to worry, that she shot Benni as he requested. It's at this time that Belle steals Kane's gun. She reveals that Kane is her mother and that she's here for revenge for abandoning her and her father. Belle teleports back to the spa taking Ryan with her. Seeing as the teleporter only had enough juice for one go, the rest of the crew must go deeper into the tunnel to find their way back.

Back at the spa, Belle reveals a huge bomb she plans to use to blow up the spa. Poor Ryan, he just met this girl and already he's dealing with her baggage with her mum. I kid, but damn girl, take a guy to a movie first. It's lucky for the Doctor that this adventure isn't actually from the '80s. Had it been Ace in this position, she would have seen the bomb and said "Wicked!" while offering up Nitro 9 to add to the destruction. Instead, Ryan pleads with her not to blow up the spa, dooming everyone involved.

Meanwhile, the Doctor and crew discover a plaque written in Russian, cluing them in to the fact that not only is the planet abandoned, but it was also abandoned by humanity. Orphan 55 is in fact, Earth. This revelation hits Graham and Yaz hard, as they never imagined the fate of the world to be so ugly. Their grieving is cut short by the appearance of Dregs, who Vilma bravely sacrifices herself to, to save the others. The Doctor, at this time also appears to be running out of air. It appears that the ability to be the loudest talker isn't always helpful when oxygen preservation is to be considered.

The sole reason for her running out of oxygen serves only to discover the Dregs breathe out oxygen. She discovers this when she finds a Dreg conveniently hibernating within the tunnel. Why this is important is that it gives a bit of insight into the Dregs' motivation. Kane's big plan was to make a spa that slowly terraforms the planet, which would harm the Dregs. It also explains the trees seen on the surface of the planet. That or these trees are also apex predators able to adapt to anything. Using her Time Lord brain magic, the Doctor looks into the mind of the Dregs and affirms what she feared most- they evolved from humans.

Everyone has now made their way back to the spa. The Dregs are closing in and they need to fix the teleporter. We're treated to a series of people once again leaving and returning to the same location for the sake of upping the tension. Kane appears to sacrifice herself and Sylas gets in an argument with Nevi once more over being told he's not a mechanic causing him to run away. But both of them are ok, as they both return unscathed. Yaz and Ryan wheel Belle's bomb to try and take out a few of the baddies. It's kind of a clusterfuck if I am honest. Lots of characters get taken in and out of scenes merely to pad time and add to the tension. It's not egregious but could have been edited better.

Sylas appears just in time with a solution to use the hopper virus to convert fuel for the teleporter. I was happy they brought the virus back, even if they don’t make a whole lot of sense. Were the Dregs weaponising the hopper virus? Were the viruses remnants of human civilisation? Regardless, I’m glad they brought it back. Sadly, this entire end sequence acts as evidence that perhaps there are too many companions in the TARDIS at the moment. Graham's job is to stand over Nevi and Sylus saying things like "That's right lads!" Yaz and Ryan are basically running around doing busywork, while the Doctor and Belle are having a stand-off with a Dreg. The Doctor manages to equalise the air in the room so that it is mutually beneficial to keep her and Belle alive. What the Dreg breathes out, they breathe in, and vice versa. This stalemate allows them the ability to leave. With the teleports up and running, the Doctor and her crew are transported back aboard the TARDIS, but not before Belle steals a kiss from Ryan. Are she and her mother going to be okay? We're left to wonder.

The victory celebration is short-lived as the companions remember the fate of the earth. Now, I need to preface what I'm about to say with the following- I fully believe climate change is a thing. I say this because we need to talk about how Doctor Who handles the subject. I've seen a lot of people (see: morons) complain about when Doctor Who gets "too political." They seem to think anything they don't like is political. The Doctor being a woman is political to them. But as I said with episodes like "Rosa," and "Demons of the Punjab," it's not that Doctor Who shouldn't be political, it's that it's simply not very good at it.

I can appreciate that the message of climate change is a real and pressing matter, but the cautionary edutainment way in which they present the information was so cringe. It felt so unnatural and tacked on. In their desire to address the audience directly, they lose a level of reality that makes the dialogue seem fake. These scenes always feel badly acted to me, but it's the fault of the dialogue. There's no good way to break the fourth wall without also sacrificing the characters' voices. It's like one of those adverts where you have two people talking far too candidly about something like their period flow, or constipation. It's a way to disseminate information about a product or ideology, but don't mistake it for dialogue. Nobody talks like this.

All in all, this was your standard "base in peril," episode. While not as transcendent as "It Takes You Away," I believe Ed Hime has given us another solid episode of Doctor Who. It's hard for me to tell if Hime's ability to write action was wanting, or if it is simply the fault of the director, but it definitely suffers at points due to the janky pacing. Pacing has really been an odd sticking point for series 12, and I hope they work it out. Even still, I was hoping that after the two-parter of "Spyfall," we would get something a little more grounded. Having this odd little contained storyline with little homages to classic Who is actually more than I had hoped for. It also gave us a new character in Belle, whom I expect to see return eventually. And despite the heavy-handed and unnatural way in which they dealt with climate change, I understand that it's a family show. In keeping with classic Who, it aimed to be educational, and for that, I cannot fault it.

[sindri42]

You like anime.

Hrm... yes and no.

On one hand, if I see a good story, the medium and country of origin don’t matter much. Like, I’d want to know what language a book was originally written in so I know more of the author’s cultural context, and can figure out potential awkward phrasings and mistranslations, but I’m no more or less likely to read a book because it came from japan, or france, or poland.

But on the other hand, I think that the current culture surrounding the creation of anime if much more conducive to stories I like actually getting produced and aired than the culture around american television (and movies). The number of american shows that make it onto my list of favorites is a tiny fraction of what’s on the air, because for every actual creative concept you see, there’s thousands of ‘the same shitty sitcom done again but with different names’ or ‘lower quality remake of a movie that was done better decades ago’ or ‘stupid edgy grimdark bullshit where every actor looks exactly the same and every frame is dimly lit and washed out’ or ‘slight variation on the exact same reality show you’ve been not caring about for twenty years’. And yeah, a large fraction of anime is also doing the same dumb shit over and over again, but a much larger minority of shows are encouraged to do something shiny and new, or at least a unique twist on the tropes we’ve seen before.

I think it’s probably because western TV is usually designed by committee, doing whatever your focus groups and shareholders tell you will give reliable profits? It’s very difficult for a new concept to make it through production, because the guys supplying funding consider it too much of a risk; same basic problem as all the bland iterative AAA video games. But animes seem to come from one of two sources: either a big name in the industry has a cool idea for an original series and they’ve got enough influence to push the whole thing out the door as they originally envisioned it, or it’s an adaptation of a story that started as a manga or a light novel or even a web serial. In the first case, the financial backers are willing to take a gamble because they trust that the auteur will make something that sells, based on the quality of their past work or the size of their fanbase. In the second, the gamble has already been done; mangakas and LN authors and the kids on the online writing forums have already thrown thousands of concepts at the wall, most have failed, and the ones that rose high enough to be publicly noticed are pretty much guaranteed winners... as long as you don’t screw up the things that made them popular in the first place.

Another major factor? Anime, with a few exceptions, goes in with a story to tell and then they tell that story and they are done. Sometimes you get cut off halfway through, sometimes you need to end early because you couldn’t afford more episodes, sometimes the manga source isn’t done yet and you have to wait or tack on your own alternative continuity, but in general a series is a whole self-contained story. Western TV, with a few exceptions, tries to milk their concept as long as they can until they get cancelled. There’s almost no ending gracefully, no overarcing story to speak of. Something like Supernatural is really cool... for about three seasons, five if you’re lucky, but if it’s still going sixteen years later you know there’s nothing of value to be found anymore. Same with Stargate. Burn Notice started out awesome, but the concept they were building on was something that just could not sustain more than 2-3 years, and instead of finishing the story and walking away they kept coming up with increasingly contrived excuses to keep things going. In contrast things like Babylon 5 or Gravity Falls are great because they follow the anime pattern: they started with a plan that led them directly into an ending, and they had to edit a few things along the way to make allowances for real life issues but they were always going toward that conclusion.

Anyway my current book selections are like 60% american, 25% japanese, 15% various parts of europe, because literature is lower profile, lower budget, and thus less subject to the problems american tv and movies have. For comics, well, the two big american comic book publishers both have serious problems, but western webcomics and manga follow a lot of the same patterns so my attention gets split pretty evenly between those two. For television, I think the only american shows on these days that I still care about are Penn & Teller and My Little Pony. (Maybe Elementary? NCIS used to be cool but it was only valuable for its characters and all but two of them have left and the writers fucked up the characterization for the couple who are left so really it should have been ended a few years ago.) There’s just not much worth watching. But there are like six things from Japan that just came out this season which are fun and interesting as long as you can get past the fact that they’re cartoons in a different language, so why would I limit myself to shows that aren’t anime?

[ryuspike]

Thoughts on She-ra

Just finished watching She-ra and the Princesses of Power today.  My overall feelings are positive.  I might consider doing a full blown review one day, but I have too much on my plate to do that.  So a list of pros, cons, and thoughts will have to do.  A clarification does need to be made before I write down the list:

I am pro-lgbt and believe in equality between men and women of all races.   That said, I will have opinions that may challenge your viewpoints and that is okay.  Great even.  Having different opinions does not make anybody enemies.  It is the refusal that there are opinions besides your own that animosity is born.  Now, onto the list.

Pro

The main cast of characters are likable and each have their character arcs (will get into those later). Design-wise, their outfits look great and I can imagine plenty of great cosplay to come from it.

Writing is not perfect, but is not awful overall.  There are no giant gaps of logic that make you go, “That doesn’t make sense.”

Main heroine, Adora, is a great character as she displays both weakness and strength that make sense of her character. There is still plenty to learn about her past as future seasons will likely dive into.

Bow is just a great support male lead.  He is written to be somebody who is in touch of his emotional side, and also show competency when the need rises.

Glimmer was somebody I thought I would find annoying because she was sort of a brat.  As the show went on, she slowly became one of my favorites as she eventually learns to be more mature.

The villains are great.  Not only are they as evil as I would hope the villains should be, but they also have a lot of depth to them.  Shadow Weaver is a great antagonist as she demonstrates an emotional obsession that is both dangerous to the heroes and the Horde.  Hordak is also really great despite his lack of screen time. But the best villain has to be...

Catra.  Catra is the best character hands down.  She goes through a character arc that absolutely steals the show for me.  Her design is great, her personality is perfect, and her relationship with Adora is filled with so much nuisance and depth that short summery isn’t enough to describe it.  If there is one character to love, it has to be Catra.

Con

The animation, I feel, could use with some improving, Certain action scenes have less impact to them as several characters and objects don’t have as fluid a flow to them as they are meant to.  I suspect budget or time restraints to be the cause of this, and any improvement will have to wait until the second season.

While the main characters are written well, the side characters (the princesses for example) are mostly bland or one note.  They aren’t bad, but they mostly depend on personality quirks rather than something more complicated. Entrapta and Scorpia started off seemingly to follow this path, but later episodes actually gave them more depth.  The Dragon Prince also suffered from having too many quirky characters being quirky during serious scenes.  The balance of levity is hard to master as most creators try to please a large range of viewers without alienating any of them.  Success is mixed, but later seasons always help that balance.

Glimmer’s mother, Queen Angella, is not a bad character, but she falls into an archetype that is sadly very predictable. The overprotective mother that wants to keep her daughter out of danger. While I sympathized with her more than Glimmer at first, her shtick kinda got old as she acted more motherly than queenly.  Makes me glad that she and Glimmer upgraded their relationship as I hope a season 2 will allow her to “spread her wings” as far as characterization goes.

Princess Frosta’s eleventh hour moment felt... unearned.  I feel like there should have been a scene of her talking with somebody that convinces her to aid the heroes and rejoin the alliance.  Last time we saw her, she was telling off Adora for being a rude guest and cementing her neutrality within the war.  After all that, why does she join them?  It is a plot hole that needs to be addressed.

This is something I imagine would tick off some people as it is about the canon lesbian couple, Netossa and Spinnerella.  Not because they are a same-sex couple.  No, that is great.  What isn’t great is that they are given the worst screen time out of all the princesses.  They don’t even get any lines or characterization other than “And then there is those two.” until the final episode of the season with powers that would have great to have around during the Best Friend Squad’s previous adventures.  Even their relationship wasn’t made clear until their proper introduction.  I think they might’ve been mentioned during the Prom episode, but by that point, they were mostly forgotten already.  Season 2 will need to do better to include them more often so it doesn’t feel like they are just background characters.

Related Thoughts

It is a pain but it would be ignorant to not point out the controversy that bloated to the point where it’ll make an inflation fetishist blush. So, yes, most of the female characters in this cartoon are super flat.  For the many teen characters, this isn’t a big deal, but it becomes odd when all the adult women are depicted in the same way.  Especially the motherly Queen Angella who people would expect to have breasts after childbirth and rearing. The fact that everybody is flat is not a problem for me.  If it was, this would be in the Con section.  No, the reason I am even mentioning this potential ball of toxic drama is because there are a few female characters in the show that do have breasts and they are not depicted in a sexual light.  If the fear of sexualization was behind the decision to make every female character flat, then why are these characters exempt from the rule?  Was it something that was looked over during character modelling process, or is it something that the show runners intentionally done?  That is something to think about if you are trying to form an argument for either side.

There are people that feel like breasts are a sexual taboo and that giving breasts to girls under the age of 18 is an act of sexualizing minors.  Others say that the removal of breasts is a form of body shaming towards those who were naturally endowed.  Everybody has their reasons and chooses a side.  Both seeking to set up a victim they swear to protect, but is more like an excuse to get their teeth and nails soaked in blood.  It is just sad to think that it should happen over a cartoon that is suppose to introduce a younger generation to a show that my generation loved.

There were a lot of references towards She-ra’s connection to He-man in this show.  It is actually an overarching plot point really.  Eternia and Grayskull are name dropped, and I am getting a good feeling that the “First Ones” are them.  Now what this could mean about this show’s version of He-man and the Masters of the Universe is hard to tell.  They could have Eternia be from a different dimension or from another planet.  Maybe Eternia is destroyed by this point?  It is all a mystery.  All I can imagine is that Adora’s family (Prince Adam and his parents) will become important within season 2 or 3.  The circumstances behind why Shadow Weaver is so obsessed with keeping Adora so close to her should also be revealed then as well.

There is a Kowl plushie and it is pretty cute.  They should introduce Kowl next season and make him as cute and lovable as 2011 Thundercats’ Snarf.  Even that new Thundercats reboot, which people hate with a burning passion, based their Snarf off that one.  Cute sells.  It sells more than sex.  This is the absolute truth.

Phew!  This was more than I intended but I feel like I got my points across.  Despite those cons you see, I feel like Netflix’s She-ra did a good job for its first season.  As somebody not blinded by hate or rainbow-tinted lens, I feel like this is good enough to introduce my niece to. I can only hope that Catra will be her favorite.  It will fill me with pride if she can recognize who the best character is.

[puddygeeks]

Another month, another favourites post! Is it me or is this year just flying past already! I keep getting lost about which month we’re on. I’ll take that as a positive, as they say time flies when you’re having fun. So let’s get into what I’ve enjoyed this month!

Beauty

Urban Decay Naked Cherry Palette

It’s hardly a surprise to me that I’m impressed with this as a long term fan of Urban Decay palettes. I knew from the moment I saw it announced on their Instagram page that I wanted this desperately. It was a pretty big deal for me to buy a new palette, as let’s be honest they’re not particularly cheap and I’ve been more onto Makeup Revolutions palettes for £8 for the last few years. I decided that since I hadn’t bought myself a luxury palette in ten years and I hadn’t been able to source the one I wanted whilst in the States as planned, it was about time to invest in another. As per usual, the pigment in this is fantastic and the colour selection is charming. It helps that the colours perfectly fit my aesthetic, and they’ve allowed me to recreate many of the looks that I’ve had saved on my Pinterest for years but not had the right colours for. This palette gets a massive thumbs up from me and I have to be honest, I’m in love.

TRESemmé Colour Revitalise Colour Fade Protection Shampoo & Conditioner

I’ve been a long term user of Kallos products from Notino, especially because of the size bottles that you can get for very reasonable prices. However this time I decided to try something I could just pick up quick and easy from boots, and these huge bottles of Tresemme were half price. I’d had a little test of them as Hollie bought them first and I was pretty impressed. I recently recoloured my hair, and so it’s important for me to keep that colour looking fresh for as long as possible. After using these for the month, I must admit I’m very happy with the condition of my hair. It’s smooth and silky, easy to style and nowhere near as knotty. My colour is also still looking fabulous and at least to me, it doesn’t look like it’s faded at all. If you’d like to give it a go, it’s still only £3 a bottle at Boots which is a total bargain!

So…? Bali Breeze body mist

I originally bought a mini bottle of this in the travel minis section of Boots before my trip to Florida. I wanted something summery and fresh that I could keep in my park bag. I didn’t end up using it as I was gifted a cute little Ted Baker set for my birthday, and so ended up taking that instead. Recently, I decided to change up my daily fragrance and found this hanging out in one of my drawers and I am obsessed. As far as I remember, when I bought it, it was only £1 for a 50ml bottle, which will last me a while. To me at least, it smells like holidays and the beach, and gives me a little smile every morning when I spray it on. In my opinion, it’s well worth a pound for your own holiday feeling every morning. And much cheaper than the Orangasm by Soap and Glory that was my previous summer scent.

Schwarzkopf LIVE Colour Ultra Brights – 094 Purple Punk

If you any of you remember my multicoloured barnett from just before Florida, you’ll probably be quite surprised to see that I’ve gone back to dying my hair at home. To be perfectly honest, it was my absolute favourite hair colour that I’ve ever had, but at a pricy £115 it’s just not within my budget at the moment. I probably will continue going to the salon for a bleach now and then, as from previous attempts I’m not crazy enough to do that at home any more. For now though, I’ll stick to Live XL for my colour and try out a few different looks! This time I’ve gone with Purple Punk, as I wanted to return to my original Cadbury’s purple shade and I love it. It’s so vibrant, it’s stayed fantastically bright and left my hair still in lovely condition. When I bought it, it was reduced to £4.50 in both Asda and Boots, and although I used two bottles, I feel like £9 is much more my speed than £115.

Food

Beanies Coffee

As part of living within a tighter budget, I’ve been trying my best to cut down on my excessive Costa purchases. That doesn’t mean to say that I’ve miraculously stopped living off coffee though! As a compromise, I’ve been trying some of the Beanies coffee flavours. So far I’ve got Chocolate Orange, Coconut and Gingerbread in my drawer at work for emergency use. You can find these occassionally in Aldi on special buy for a bargain price! Otherwise there’s just about every flavour available on Ebay.

Yorkshire Tea: Breakfast Brew

As you’ll remember in my December favourites, I started experimenting with some of the Yorkshire Tea flavours after seeing Brogan Tate rave about the Biscuit Brew, which I quickly became hooked on. Occassionally Sainsburys runs a half price offer on flavoured Yorkshire Tea’s, and so I also picked up the Breakfast Brew. This is basically just very strong tea, which is exactly what I need when I’m leaving the house at 7:15am for work. This is yet another step in slowing down my Costa abuse.

Movies and TV

You

Okay so I started this back in December, but I took a long break before coming back to finish the last two episodes at the beginning of this month as I was working like a crazy person. I am so glad that I found the time to finish this. I know pretty much everyone is talking about this show, so I wont waste too much time repeating everyone. I really enjoyed this show, it was so unique and gave a perspective that I had never seen before. Hearing Joe’s reasoning for his actions was absolutely fascinating and Penn Badgley did an incredible job of playing the character. Joe scared life out of me, but I’m thankful to him for introducing me to Penn because god is he lovely haha!

Conversations with a Killer: The Ted Bundy Tapes

I know that all of the Ted Bundy content is a hot topic at the moment so I don’t want to get into it. I will however say that I absolutely live for True Crime documentaries so I was always going to watch this, whether it had blown up on social or not. I found this such a fascinating show, and Bundy’s story was almost unbelievable. Although I knew his name, I didn’t know much about the case beforehand and it was so unpredictable that it kept me hooked. I especially liked that it was only 4 episodes as it didn’t feel like a huge commitment to watch.

Spotless

I don’t want to discuss this too much as we’re only about 4 episodes into this, and I definitely would appreciate no spoilers please! We put this on randomly last weekend in desperation of finding something to watch together and were immediately hooked. Again this show has such an original concept, and is tense to watch. The strange thing with this show is that I don’t feel like I really like it, but I’m definitely hooked and feel like I need to know what happens next. More on this when we finish it!

Big Mouth

Again I’m still in the process of watching this, I’m about half way through season two and am aware they just released a third season, so would appreciate no spoilers please! I love this show, it definitely feels like one of those guilty pleasures. It’s cringy as hell and sometimes really weird (ie pillow babies?), but mostly I feel like it hits the nail on the head for all the weirdness of puberty. If I’m really honest, the main reason I love this show is for the hormone monstress and the goddess that is her voice actor Maya Rudolph. My only criticism of this show is that I feel like it focuses a little too much on the boys, and although it’s very funny, I’d a love little less dick jokes and a lot more Maya being a queen. Now, if you need me I’ll be in the bubble bath….

Music

I’ve been lucky enough this month to join a family spotify membership, and so I’d definitely say my music collection has gotten much more varied than just the same limited music I have on my very old iPod! These are the tracks I’ve most been enjoying this month:

That’s My Girl – Fifth Harmony

Him & I – G-Eazy & Halsey

Let You Down – Perception

IDOL – BTS, Nicki Minaj

Back & Forth (Acoustic) – Becky Hill

This Will Be (An Everlasting Love) – Natalie Cole (this one is a bit random but I’m just loving it recently!)

And that’s a wrap for February! As always, I hope this post has given you some inspiration on things to try for the next month.

What have your favourites been for February?

Peace

Kit xx

February Favourites Another month, another favourites post! Is it me or is this year just flying past already! I keep getting lost about which month we're on.