#the subtitles making us familiar with it

[chirpsythismorning]

Yeah there’s gonna be plenty of little details in s5 confirming byler, but there’s one thing in particular that I feel like would be too hilarious to pass up on…

[sskk-manifesto]

And so the big sskk shortage begins (no sskk for the next 15 episodes) (and the sskk episode coming after kind of sucks)

[primatechnosynthpop]

Was almost moved to tears by a nico nico douga song medly even though I was never on that website (was too young and didn't know about it at the time) and only know maybe half the songs featured at most

[liu-yu-xin]

The yuehua business model also needs to be studied bc they are known in china for their famous but completely dogshit fleet of chinese idols (ie wang yibo, cheng xiao, fan bingbings ugly brother, the serial homewrecker girl, etc etc) who make a metric fuckload of money for yuehua BUT they seem to be putting way more effort into training the idols they send to korea for groups and for participating in produce 101 type shows.. But then they also pulled cheng xiao out of korea at the height of her popularity so she can be kept in china and be ridiculed for her acting skills so like what is the plan here what is the goal

[lunarflare64]

Did it really take us five fucking years to figure out that the reason why we inherently hate podcasts is because we have fucking audio processing disorder and can't understand half the shit they're saying, and that listening to it while reading text or just reading the text on its own doesn't work because we have intense adhd and without stimulating visuals we have no fuckin reason to even bother trying to give this story we already don't care about any attention?

[powdermelonkeg]

Cheat Code #2 for accommodating disabled characters in sci-fi/fantasy:

How you aid a disability depends on if it's a new development or had always existed.

i.e.: If someone's lost their legs to a griffin biting them off last week, giving them steampunk prosthetic legs is a good aid. There's something they can't do, that they very recently could, that they need to learn to work around. The prosthetic legs still need an adjustment period to learn how to use them, but your character knows how legs should work and can figure it out more easily.

If someone lost their legs because, as a child, they wandered away from the space field trip and got partially eaten by a carnivorous plant, then it depends. Prosthetic legs can technically work, but the longer the character was without legs, the harder it'll be to re-learn how to use them. You might want to go with bionic legs for short distances, but a hover chair for daily use.

If someone was born without legs, then prosthetic legs are more hindrance than they're worth. Your character has never had legs, and has no idea how they're supposed to work.

Imagine if you're in a world of centaurs; you're given prosthetic hind legs, and now expected to be able to climb up cliffs with the grace of a mountain goat. It's a whole new skill you'd have to learn, and you would get annoyed with it very fast; how are they supposed to sync with the legs you already have? How are you supposed to balance? You can't feel anything, you don't know how much space it occupies.

Someone who's always been disabled doesn't need the thing they were born without, they need aid that lets them do what everyone else can in a way they're familiar with. If your character has always been deaf, glasses with subtitles appearing on them are infinitely more useful than aids that let them hear, because hearing when you've always had silence is going to have a steep learning curve and be ridiculously overwhelming.

Your rule of thumb?

Try to give them something they're used to.

Note: This is different with very small children, because they're already learning how to use every part of them. If a toddler in your sci-fi was born without legs, they can be taught to use bionic legs at a very young age, but it has to start early or it'll run into the problems above.

Cheat code 1: How to avoid eliminating disability in your setting

Cheat Code 3: How to make your setting itself disability-friendly

Cheat Code 4: How to personalize your character's disability aid

[aahsoka]

why is this drama localizing a chinese dessert as pumpkin pie . stop localizing food names im begging u . its fucking confusing to grow up thinking a rice ball is a goddamn jelly donut ok we should have left this practice behind a looooong time ago

[sir-adamus]

i've got the blu ray for volume 1 playing and i'm watching the behind the scenes video and Monty explicitly spells out how important collaboration with other creatives was in building RWBY, saying how he wanted to work with Kerry and Miles on it in creating the world and how he mostly gave them broad strokes. and it's mentioned how they all put the show bible together - i'm gonna put the whole transcript for the video under the cut (which i'm having to do myself because no one has uploaded this video anywhere as far as i can tell and there's no fucking subtitles)

Monty Oum [Creator and Director]: It’s the stories I’ve always wanted to tell versus the idea I came up with about, a little over a year ago. And we were talking about doing another show, and I just kind of half-asleep came up with the idea of a color rule for a bunch of characters. The red, white, black and yellow color scheme was something that was very prominent even in my previous work, so I started matching names up, matching ideas up. Also thinking about like, some of the ideas I’d stored up over the years. At some point or another the word ‘RWBY’ came to me.

Monty: Starting the show out originally, I designed the original character, Ruby, as well as going into the other characters. So once I had the first trailer done, and thinking about the rest of the characters for the show, I started bringing in other artists who I had watched for years. People I’d always said “someday I’ll work with them, someday I’ll have them design for me.” And when I was certain about having certain characters, I first contacted an artist I admired and found over DeviantArt. Her name was Ein Lee, she’s actually from Taiwan, and I found her art probably well over five years ago, and just loved her art style, and therefore wanted to incorporate it into my characters. So, I would do rough designs for team RWBY as well as designs for team JNPR, and she would flesh that out to be even further. To the point where eventually I didn’t need to design characters anymore, she started designing a bunch of the rest of the characters down the line.

Monty: The second person I brought on to RWBY was Kerry, because we had just been having conversations about the kind of show we could make. I’d been working with Miles on Season 10. He was writing scenes while I was making scenes, and so the three of us would have a lot of meetings and collaborate on the show to the point where I just started coming up with the broad strokes eventually and they had pretty much written the bulk of the show. Collaboration’s a big deal here, and I tried to include as many people as I can.

Kerry Shawcross [Co-writer]: Right after RvB ended, we wanted to just go straight into RWBY, but that was like right when we were going into commercial season. So we would work our normal hours here. Like 10 to 7-ish, then we would go back to one of our apartments and just start writing.

Miles Luna [Co-writer]: Monty really was enthusiastic about having these characters that may appear really one-dimensional for like the first few scenes that you see them, but the longer you get to know them, you realise “Oh, Yang isn’t just a dumb blonde party girl. She’s a very caring and nurturing girl, that has had to essentially be there for Ruby when she was young.”

Kathleen Zuelch [Producer]: When Monty and Miles and Kerry came to me, and really took me through the story. I started becoming a huge believer, because I’m a big fan of old school, traditional fairy tales, I love the Brothers Grimm, I love all the Snow White, and I love Little Red Riding Hood. I grew up with all of those stories, and the way that they were very clever in creating this whole world that’s kind of making homage to all of these amazing stories really inspired me to get more on board with what they wanted to do with this whole anime show.

Taylor McNee (née Pelto) [Art Director]: The world of RWBY, it looks very familiar. We wanted a blend of very classic looking architecture and clothing and cars, but we’re also mixing in this really kind of futuristic feel, like these little touches of some really futuristic stuff like holograms and things that you wouldn’t find in a classic [inaudible]. And that’s how we’re making this world unique. Our assets have to go through this pipeline of concept, modelling, texturing, and then finally being able to be put into the 3D program. So we start out with the concept and we usually bring that image into Maya, which is the main 3D software that we use. We have to make a 3D model that looks exactly like the concept that we were given, and it’s quite a process. Basically, we’re pushing polys and extruding stuff until we make the perfect shape, then afterwards we have to UV unwrap it, and then lay everything out on a texture sheet and then paint it, and that will put the image on the model. After that we’re basically done with the model and texture, and then we have to give it to the animators. So then we will set it up in Poser so the animators can grab it and use it for their characters.

Gray Haddock [Lead Editor]: There’s a lot of people working on this show, and there’s a lot of different elements in the pipeline. Editorial kinda serves as a hub between all the different departments, so we help all the communication and coordination between all the different pieces of the show, depending on what part of development that they’re in. Editorial’s getting involved way early in the process, we work alongside the director and the writers and the storyboard artists, and we use the scripts to help develop the storyboards and the camera angles for all those boards. So editorial is responsible for building up the moments of any given scene in terms of the timing and what you wanna look at, at any given moment. So we take the script and we help develop the camera angles and how long you wanna linger in a particular camera angle, look at one character or another or the scene as a whole, and the rhythm of the scene in terms of how long is it gonna take to spend on a particular line or when you want the music to come in, things like that. So we build up a set of animatics with the storyboards, and the first pass of all the audio. This is what then is handed off to the animators, so they can know exactly what is in what shot and how long do they have to animate it in a given shot. And once they’re done animating and their shot’s been approved, then their shot goes to the render farm, we get the rendered shot back and we drop it into the timeline for our episode and finesse the cut a little bit if we have to. But for the most part, we’ve done our job right and everything should pretty much be locked in for the most part by the time we’re getting animation.

Kerry: What’s kinda interesting as we’re creating the characters is, we kinda knew what kind of character they’d be. We knew Ruby would act a certain way, we knew Weiss would act a certain way, but we didn’t really know much about them. So we would get to the point where we’d be figuring out plotlines or figuring out dialogue and we’d be like “What would Weiss say here? What would Nora say here?” And then it turned into “Oh well now we know.”

Miles: Obviously we put a lot of thought into Ruby, Weiss, Blake and Yang before we started writing the dialogue. I remember sitting upstairs and we made a show bible, and we’re starting- we talked about likes, dislikes, personality traits. One of the first things I remember making was “Weiss drinks coffee. Blake drinks tea.”

Kerry: It’s important. It sounds not important at all, but it’s very important. It says so much about them

Miles: But it’s so important. So much about them, also it says nothing about them. It was just like- that’s just what it is.

Monty: I want the show to have resonance with people who are growing up. Cos everyone’s story is the story of kind of becoming who they are. Especially these days when the path of becoming who you are tends to be marginalised with reality. Having done what I’ve done, where I’ve essentially dropped out of high school, started learning this stuff on my own, and therefore land in a position where I get to take the things I was dreaming about when I was growing up and make it real. I tend to get a lot of response from people who are also not sure what they’re meant to become, a lot of them also have the same bright imaginations and with the way the world is, the hardships of what it means to grow up tends to marginalise who you are, and I would hate that to happen to anyone because the future is in creativity and that’s not something you can just manufacture. I actually would like this show to grow up with the people, so unlike most shows where they tend to be ageless or age very slowly, I’d like our fifteen-year-old fans watching fifteen-year-old Ruby, when they’re twenty-five, to be watching twenty-five-year-old Ruby, and to actually have some resonance with the character. Probably one of my favourite types of feedback is to say “I know this person” or “this person is just like me,” and that’s probably one of the best things about coming up with these characters.

[detailtilted]

In Search of Supernatural Fans from the Early Years

Hi! I’m looking for the legends who originally recorded old Supernatural convention panels featuring Jared or Jensen, or possibly Misha. See "What I'm Looking For" below. If you know one of them, or if you're a member of a community with people who were in the fandom in those early years, I’d greatly appreciate it if you could let them know about this post. I can be reached at DetailTilted@gmail.com or here on Tumblr.

If you aren’t familiar with my project, see the “Project Background” section below. This is not a low-effort exercise to merely repackage old videos. I’m putting many hours of work into each video to improve their watchability and accessibility. I will always credit my sources unless you wish to remain anonymous.

Even if your videos are on YouTube, I’m likely to have more success upscaling them if I can get the original video files. Thanks to the videos AgtSpooky kindly sent me, I've learned how big of a difference it can make when I have the original files to work with. That's why I’m putting more effort into finding those elusive original video takers.

The problem is that they all seem to have fallen off the face of the earth. Most of their YouTube accounts, LiveJournal accounts, and whatever other accounts I’ve dug up haven’t had any activity in 10-15 years. I’ve left a few messages on some of them, but I doubt they’ll be seen on dormant accounts. I’ve also gone down some crazy and twisted Googling paths trying to find current contact info for them, but without much success. In one case I even messaged the wrong person, who was at least kind enough to reply to the psycho asking for videos to let me know she wasn't the person I'd hoped she was. Oops!

What I’m Looking For

I’ve already finished CHICON 2007, Comic-Con 2008, and CHICON 2008, so I don’t need videos from those events, but I’d be happy to try to upscale your videos for your own collection if you have some you'd like to send me.

Actually, I could use CHICON 2008 Breakfast videos if you have any. I plan to attempt to redo that video either late this year or early next year.

I’ve been trying especially hard to reach people with original video files from either LA 2009 or Asylum 3 (2009), and I’d also be ecstatic to get some from LA 2008.

Any other old con videos you’re willing to share that have Jared or Jensen in them would be awesome. I hope to get to all the old conventions eventually. I haven’t yet defined “old”, so I don’t have a specific cutoff point.

Even if you just have audio files without video, those could be helpful too.

Length doesn't matter. Both long and short videos are welcome. Maybe I won't end up using them all, but the more options I have the better. Even if I don't put your video in my final edit, it would still be used because I always listen to every single video I can find when I'm finalizing my subtitles. Each video sounds at least a little different, and sometimes just hearing the audio in a slightly different way lets me catch a subtitle I'd missed or misheard.

Also, just to be clear, it isn’t necessarily my intent to exclude Misha. I’ve watched and enjoyed many of his convention videos and I liked Castiel for the most part, especially in the earlier seasons. I’m just not obsessed with Misha like I am with Jared and Jensen, and these videos do take quite a lot of work, so I’ve been putting my energy where my greatest interests lie. I’ll absolutely be including him when he’s in panels with Jared and/or Jensen, and in the future I may consider doing some of his solo panels.

So if you have original video files of Misha's solo panels that you’d like to send me, I’d be happy to add them to my stockpile for future possible use. If your videos turn out to be mostly complete, and if they upscale easily, then I might go ahead and do his panel at the same time I do the other panels from the same convention. If they'll take more effort to work with, I’ll probably skip them for now, but I may come back and tackle them if/when I run out of old Jared and Jensen videos to work with.

For any con videos you send me, regardless of whether I use them or not, I’d be happy to try to upscale them and send them back to you for your collection. I can’t always get things to upscale, so I can’t promise success, but I’ll definitely try.

Project Background - Enhanced Edition Con Videos

You can find my videos on my YouTube channel. (If you're already familiar with my project, skip to the next section -- there's nothing new to see here.)

I started this project in December 2023 to enhance old convention videos. My goal is to make them easier on the eyes and more accessible to both new and old fans from around the world. The videos on YouTube from that time can be difficult both to watch and to understand due to a combination of the older technology used to record them, the difficult recording conditions the fans were working with, and the lack of subtitles that make any sense.

I’m enhancing the videos as follows:

Visual Improvements: I’m upscaling the videos if possible, making color corrections if needed, and adding some slight stabilization to reduce the jitteriness. The end result is far from perfect because there’s only so much that current technology can do, but it's noticeably improved if you compare it to the originals.

Subtitles: I’m adding good, color-coded, English subtitles that can be turned on or off through YouTube’s CC button. The color-coding makes it more clear who's saying what when multiple people are speaking, and YouTube can auto-translate them into other languages to improve the accessibility.

Multiple Sources: If one video has gaps in it, then I'll try to find another that I can edit in to fill those gaps so the end result is as complete as possible. If I have more than one source that captured the same portion of the event, then I'll cut to whichever video I think had the best view of the action. In a few cases I’ve added a split screen with two different videos showing simultaneously so we can see action that's taking place in two separate areas. For example, when Jared and Jensen are on opposite sides of the stage. (There were also the infernal talking head bubbles on my Comic-Con 2008 video which nearly made me throw in the towel, but taught me a lot. 😅)

Extra Content for Context: These older videos don’t take up the full width of a modern video frame, so I’ve taken advantage of the extra space to display some still images with text to add extra context for many of the things they discuss. Some things are a lot funnier, or at least a lot more relevant, when you know exactly what they’re talking about. I clarify Supernatural episode references and pop culture references among other things. Sometimes I’ve also inserted short video clips, usually just a few seconds’ worth, if I thought it would add worthwhile clarity or entertainment to the topic at hand.

Current Project Status

If anyone has been wondering how I’m doing on my current video and what’s next… I’m almost done with the last video from CHICON 2008, which was Jensen’s solo panel. I should be ready to publish it on YouTube this Friday, May 24. I plan to use the same schedule as last time and put the Tumblr post up the following Tuesday when it’s a little more likely to be noticed here.

The next sequential conventions are LA 2009 and Asylum 2009, but I haven’t had much success in my attempts to upscale the available videos. If I were to work with what I have now, I know I could turn out something better than what’s on YouTube today, but the end result wouldn’t be nearly as good as what I might be able to achieve if I can get some original videos to work with. So I think it’s more logical to skip over these conventions for now and give it some time to see if I get any responses, in hope of a better end result.

I do intend to come back to the skipped conventions eventually, even if nobody sends me anything. Once I run out of conventions for which I can upscale the videos, if I still don't have anything better to work with for the ones I skipped, I’ll just do the best I can with what’s available. Even if I can't upscale, I can still do color corrections and stabilization, plus the subtitles and extra content. Some of these panels are split up into a bunch of very short videos, so it would also add value if I can combine them into something more sequential and cohesive. (I found 130 videos from the Jared and/or Jensen panels at LA 2009, and most of them were under 2 minutes long. 🤣) I don’t know if there’s enough footage to cover the entire panels seamlessly, but I’m itching to get my hands on that jigsaw puzzle of videos to try to make sense out of them.

So… the next videos I intend to work on will be from Vancouver 2009. This is one of the conventions that AgtSpooky attended and sent me videos for and they upscaled very well. Her breakfast video had already found its way onto YouTube, but wasn't properly credited. Her main panel videos aren't on YouTube as far as I could find, so that version may be new to newer fans. I'm only just starting to play around with upscaling the other sources out there, but my first attempt at the other main Breakfast source came out well. Both breakfast videos were taken from extreme opposite angles, so that should provide some useful editing opportunities. I’d still love to get more videos of this event if anyone has them.

If you made it this far, I am in awe. Sorry for putting this wall of text on your screen! 😅

[necronatural]

What's Up With Dante's Name Anyway

It's fairly evident from the start Dante's name is not actually Dante. They express superficial "I've kind of heard of it, but idk what that is" reactions to a number of things, but make it clear that "Dante" is completely alien to them. Their own name!

Notable is that the sinners will write/embroider? their own names on their coats.

You can see Rodion uses her nickname, how she would like to be referred. DonQui's as the standard, a little uneven but clear and readable. Yi Sang wrote his in lowercase. Ishmael started writing hers, then before she finished tore the lower half of the coat off, preventing her from finishing her name. Gregor's is distorted; why that is is unclear, but the top 2 options are "he's right-handed and couldn't fix it once the mistake was made" and "he never learned to write to begin with". His profile seems to be the only one that's been typed out, so either way, he physically struggles to write, thus proving these are written by the Sinners personally.

Now look at Dante's.

They've interpreted the name phonetically. It's so alien to them they don't even know it's Italian. This is absolutely not their name.

Now, important to note Dante is a sinner too! They're in the lineup as #10, and they have a subtitle name just like the rest of them, "DURANTE". Durante is the poet Dante Alighieri's full name; "Dante" is a nickname, a term of familiarity.

Coincidentally, while their profile doubles down on "Dante", their jacket in that profile is written with...what's this??

DURANTE. The subtitle name.

Now, the subtitle names (purpose unknown) are also written out on the sinners, also clearly written by the sinner themselves, in their native language. On their weapons! (Mostly; Yi Sang's is on his bag, and as his knife is sheathed and obscured we can't tell if it's on there as well.)

Notable is Outis, of course;

Her subname is just her name. That's because she's based on Odysseus; "Outis" is a pseudonym, the written word's first John Doe.

This makes the reversal a little strange; going by a LC-assigned pseudonym, but your subtitle is your true name? That doesn't sound right. While it's obvious Dante can't go by their real name (their identity is being withheld for a reason, as mysterious as it may be), something is up!

My current theories are

Funniest possible option: They've been provided with a nickname as their alias, which is alien because absolutely no one has ever referred to them by nickname before

Durante is a surname; they would never be referred to as "Dante" because their first name (notably missing from their promo art's coat) is the one that would get a nickname. Notable that Durante is generally a surname nowadays.

Durante is just an alias, just like Outis', but can no longer be used due to the secrecy around Dante's previous identity

Durante is the name of D corporation (D-corp being where Dante was found, and the region that is soon to experience a mass-death-event of around 200,000 people in June of 985), which they are the CEO/Face of

Durante is the name of a specific role within the D Corporation that is self-evidently very high up, possibly tasked with being the interface for their Singularity (their Star?)

[kamehamehamlet]

Revival Project Update: The 2024 transformation! 👀👀

Thanks again to everyone who has shown support since we announced the project less than a month ago. I'm so excited to share more details about our goals for this year! I previously mentioned that I'm working to make the script available this year, what I didn't mention is that I'm revising the script, and you will be able to experience KamehameHamlet with a special staged reading of this transformed play with the original KHH cast and director on board!

The reading will be streamed online and recorded for later viewing, and following the reading we will make the revised and original scripts available.

There is one more very meaningful and super radical detail you can see here!

Be sure you don't miss the details by signing up for email updates at KamehameHamlet.com and read on to learn more about the script and staged reading!

More about the script

Why are you rewriting the script?

I'll share another post this weekend breaking down the reasoning behind the rewrite. I'll link to that post here when it's up!

How will the scripts be published?

At the very least, both scripts will be available in digital form for anyone to read. However, I will also be looking into options for printing physical copies.

Will we be able to perform the script?

This is a goal of mine, so I'm looking into options that can support myself and Play-Dot while also making the play accessible to artists of all budgets.

Any way this new version will let me be pedantic to strangers online?

Yes! The original KamehameHamlet had the subtitle 'Good Night Saiyan Prince' the revised version uses the subtitle 'Waiting for Goku.'

More about the staged reading

What is a staged reading?

Staged readings can be pretty varied, but in general, it's a stripped-down production without costumes, lights, blocking, etc. Actors are familiar with the script and may have gone through some rehearsal, but aren't expected to memorize lines.

Why a staged reading and not a full production?

I answered this question yesterday which you can read here. In summary, a staged reading will be a much easier goal to accomplish with fewer risks involved.

What should we expect from a staged reading of KHH?

A lot of these details are still up in the air. Whether we gather the actors on zoom, or bring everyone together with a professional recording equipment, the goal is to make sure it's available for people to view online. To that end I'm looking into costs for a few different levels of quality, and following that we will look into options around funding.

I want the staged reading to be incredible, how can I support it?

Right now, the best way to support the KamehameHamlet Revival Project is to:

Sign-up for email updates: This tells me you are willing to navigate off of Tumblr by a few clicks, to support or view KHH content.

Follow this blog: This helps to make sure you don't miss updates!

Share our posts: Amokslime's original post is nearing 20,000 notes. First of all, that's insane! However, the majority of people who have seen that post still don't know we are working to bring KHH back. You can help spread the word by reblogging our updates and if you see a mutual sharing the OG post, consider reblogging with our announcement!

[indigostudies]

a very incomplete list of cdramas (plus a few chinese films) i've watched and my rating for hsk proficiencies for them below the cut!

i've watched some shows that aren't included on this list, but i didn't watch enough of them to get a good sense for the level of challenge they pose, so they're omitted from the list. i've also included links to the mydramalist pages, if you want to get a sense of the plot.

i had to remove the list format, since tumblr decided i had too many characters per block of text, so i apologise for that. a number of these can be watched on youtube with english fansubs, but if you can't find something, you can always dm me and i'll get you a link!

沙海/tomb of the sea: this fits into the extended daomu biji/grave robbers' chronicles/lost tomb franchise, but you don't have to have seen the other shows or read the books to watch it, and the pov character is an outsider who also doesn't understand what's going on 90% of the time. this show is contemporary, and you could probably start watching it at a fairly low hsk level because it doesn't have a ton of complicated technical or genre-specific terms. the subbing in english decent, since it came out a while ago, but there are some errors that crop up with names and nicknames. if you wanted to watch it without subtitles, i'd say you could probably get the gist of what's being said at around an hsk 4 or hsk 5 level. it has 52 episodes, each around 45 minutes long. (mdl link)

双镜/couple of mirrors: set in the republican era, so some of the terms used are a bit outdated in terms of colloquialism, and it also has a mystery/detective element to it, so that could pose a bit of a struggle. that said, the show isn't actually too challenging in terms of vocab—i would say you could watch it without english subtitles at an hsk 3 level with some struggle, and with a fair amount of ease at hsk 4. 12 episodes, at 46 minutes each. (mdl link)

云泽传/legend of yunze: wuxia/xianxia, which makes the amount of unfamiliar terms higher if you aren't used to the genre, but the episodes are all very short, and the plot itself isn't overly complicated, which makes it easy to sit down and watch in one go. on a level of difficulty, as long as you're familiar with wuxia/xianxia terms, you could probably watch this at an hsk 2 level without too much issue, and the subbing in english is very thorough. has multiple seasons, but the first season is 12 episodes, between 3-7 minutes each. (mdl link)

神探/detective l: this is a procedural detective show, and it's set in the 1930s republican shanghai, so there's a combination of more formal/outdated language and specialised detective/case-related phrases. the english subs are decent, though, and the actors all enunciate clearly, which helps if you need to look up words. i would say this would probably be a bit of a struggle below the hsk 5 level, but you'll pick up a lot of new, crime-related phrases. 24 episodes, 40 minutes each. (mdl link)

不良执念清除师/oh no! here comes trouble!: i'll be honest, this one was a struggle for me because of the taiwanese accent. i can understand what they're saying, it just sounds like the auditory equivalent of someone coming into my house and moving everything a few centimetres to the left. this is also a procedural show, but contemporary, so not quite as challenging in terms of vocab to detective l, in my opinion..........but it's also got a heavy supernatural element, which does come with specific vocab. the subbing is good, but if you're going to watch it, this one probably requires a higher hsk level to keep up—hsk 5, at a minimum, in my opinion. 12 episodes, 52 minutes each. (mdl link)

s.c.i谜案集/sci mystery/sci: another contemporary procedural mystery show, but from the mainland, so there's no elements of supernatural. surprisingly simple vocabulary; you could watch this at an hsk 2 level and get the gist, and an hsk 3 or hsk 4 level would let you watch it just fine. has fairly good english subs, and i believe they set the show in hk, which accounts for the higher than usual amount of english usage, up to and including in dialogue. the only bit that might make it challenging is the heavy lean into the psychology, but it's all largely explained directly, since most of the characters aren't familiar with the terms either. 24 episodes, 45 minutes each. (mdl link)

成化十四年/sleuth of the ming dynasty: ming dynasty (mid 1400s, under the chenghua emperor) setting, but a fairly colloquial vocabulary. there are some specialised titles used, but those are fairly self-evident by the way the show is shot, and easy enough to look up. the english subs are good, and i would put this at an hsk 4 level—but even at an hsk 3 level you probably won't struggle too badly. my hangup here was, again, one of the leads being played by an actor with a taiwanese accent, though it's not too heavy. 48 episodes, 45 minutes each. (mdl link)

老九门/the mystic nine: dmbj prequel, set in the tail end of the republican era (1939, if i remember correctly?). has a lot of tomb- and tomb-robbing specific vocabulary, alongside the more dated modes of speech, so i would put this up at an hsk 5 or hsk 6 level, but there's decent subs, so you could watch it at lower levels, it would just be a bit of a challenge. 48 episodes, 42 minutes each. (mdl link)

猎罪图鉴/under the skin: contemporary procedural show; there's a lot of emotion- and motive-specific words used, and the fact that it's a procedural makes it a bit more challenging, in my opinion. i would recommend that don't start with this show, just because of the fact that it's pretty easy to get lost if you don't grasp some of the vocabulary. i'd put it at an hsk 6 level, but that said, the subs are good and you can watch it at an hsk 5 level with some effort, i think. 20 episodes, 45 minutes each. (mdl link)

春风沉醉的夜晚/spring fever: honestly not as challenging in terms of vocabulary as a lot of things on this list, and fairly contemporary (set in the 2000s). i would say if you're at an hsk 4 level, you will probably do alright with it. 116 minutes in total. (mdl link)

关于我和鬼变成家人的那件事/marry my dead body: another case of struggling to acclimate to the taiwanese accent; otherwise, not too complicated in terms of vocab, though there are some spirit/marriage-specific terms used. overall, though, i'd put this at an hsk 4 level as well. 130 minutes in total. (mdl link)

陈情令/the untamed: heavy on the wuxia/xianxia elements, so unless you're familiar with that, you might struggle a lot to get through it. this is a lot of peoples' entry into cdramas, though, so it's not utterly inaccessible, and has decent english subs. i would put this around an hsk 5, if you want to watch it without subs, though you'll probably still have to pause and look up some words here and there even then. 50 episodes, 45 minutes each, making it the longest on this list. (mdl link)

山河令/word of honour: arguably the hardest on this list, i would say, because it's so plot-heavy. i, as a native speaker, struggle to follow along with this for extended amounts of time because there's a combination of 1. a lot happening, 2. a lot of wuxia terms, and 3. a lot of references to literature/art/etc. i would put this up at an hsk 7 level, honestly. that said, the subs for this are very good. 36 official episodes with a 37th mini-episode, 45 minutes each for the regular ones. (mdl link)

天官赐福/heaven official's blessing: one of the easier shows on this list; i would put this at an hsk 3 or hsk 4 level; there's some words you probably won't know, but while it does fall under xianxia, it doesn't go into that as much in terms of vocabulary as cql/the untamed does. i believe both seasons have both official subbing and official dubbing into english available, but that's not how i watched it, and i've only seen the first season, which is 11 episodes and about 20 minutes per episode. (mal link)

致命游戏/the spirealm: not particularly challenging in terms of actual vocab, but as of yet, only the first few episodes are subbed, since it came out literally this month, and the other subs are all auto-generated and.............very lacking. that said, it's a contemporary setting, and i would put this at an hsk 5 level, give or take; there are some references to folklore, but the characters research and explain or deduce the explanations of what is happening as it occurs, and you aren't left to struggle to figure it out yourself. 78 episodes, but each one is a bit under 20 minutes long, so it actually isn't that much content in total. (mdl link)

[toastofthetrashfire]

DFF, Found Footage, Technology, and the Real

Okay so I've been slowly looking into horror and technology since watching Shadow, and now DFF has me going down a related research spiral. So let's call this a sibling post to my Shadow technology series (which I am slowly working on I promise).

I just thumbed through a great book on found footage horror and a few other pieces on technology and wanted to use these as a lens to think about DFF and how it's navigating a number of themes including the distinction between reality and fiction.

DFF draws on the concept of found footage films like The Blair Witch Project. Even if DFF's main framing and style isn't found footage, the film the characters are working on is. And we get our most direct reference to a horror film when Jin references The Blair Witch Project--an iconic found footage film. So I want to start by thinking about the Blair Witch Project.

Part 1: The Blair Witch Project and DFF

Part 2: Paranormal Activity, DFF, and the Myth of the Real

Part 3: Films within Films, Surveillance Technology, and Other Connections (Man Bites Dog, Cabin in the Woods, Shutter)

Part 1: The Blair Witch Project and DFF

While found footage horror doesn't purely originate with the Blair Witch Project it certainly rocketed the concept into the popular zeitgeist. I watched the film for the first time this week, and while it didn't scare me*, I could easily see how influential it would've been at the time. The media landscape looked very different in the late 90s, and the film's marketing deliberately played up the idea that this was real footage in a way that simply couldn't be done today with our current media landscape and familiarity with the found footage genre. We're now much more familiar with fakelore as a concept in general.

*The scariest part of watching was the censored subtitles! Stop that please! They seriously were replacing things like "Oh, fuck" with "Oh, boy." I also got a car add about going out to enjoy national parks, and how they can be accessible to Deaf people, which was an interesting moment of double irony.

In her book Found Footage Horror Films: Fear and the Appearance of Reality, which I will be citing quite a bit in this post, Alexandra Heller-Nicholas notes that the Blair Witch Project came out at a time when amateur films were still relegated to home videos but entering public viewing through shows like America's Funniest Home Videos. The style was thus associated much more closely with trying to capture reality than tell a fictional story. The marketing played into this heavily--for example: using the actors' names for the characters, circulating missing persons flyers in areas where the film was being shown, and creating a website that gave background on the Blair Witch myth and information on the "missing" trio of amateur filmmakers. I chatted a bit with @slayerkitty who saw it in theaters. She explained how part of what made the film scary at the time was how real so many people thought it was and the tension of being in the audience.

TBWP and DFF Similarities

Let's start by going over some of the ways DFF might be directly pulling from the film or making homages before jumping into what I think are probably the more significant thematic connections with found footage.

Myths and an Ambiguous Antagonist:

The Blair Witch Project is set against the backdrop of a local myth about a witch in the woods. Three young adults (Heather, Josh, and Mike) go to make an amateur documentary about the witch, get lost in the woods, and are then hunted by an unseen presence. We get information about the myth through interviews with locals and a book Heather reads aloud briefly called The Blair Witch Cult. We learn about the slaughter of 5 men (which is described almost like a ritual), disappearances and deaths, and a man who was compelled by the witch to slaughter children. Similarly in DFF we have our Janta cult, which slaughters people in the name of a supernatural or spiritual force. Now I'd say this could be a nod to TBWP but it also draws on plenty of other ghosts stories and urban legends about the woods. I'm sure there are also particularly Thai valences as well beyond just being Buddhist on the surface.

Like the trio in The Blair Witch Project, the group in DFF goes into the woods to film--though they aren't traipsing through the woods, and the horror they're filming is a story of their own creation. In the present, however, the horror becomes much more than fiction, just like in TBWP. In the film, we see and hear signs that something or someone is following the trio but it's ultimately unclear if it's supernatural, locals scaring them, or them slowly cracking and turning on one another. In DFF's opening episodes it's likewise unclear if what's happening is being caused by a person, hallucinogens, or something supernatural.

Maps and Marketing:

TBWP also shows the characters turning on one another, arguing, and cracking in a way that fundamentally sabotages their survival. At one point, Mike reveals that he threw their map, their only lifeline, into the river. This is paralleled in Fluke turning away their transport and means of leaving. The map is an important focus in the film. We see Heather orienting the group and insisting she knows where they're at, while Mike insists they're lost. This culminates in them losing the map as things start getting worse. DFF slips in what I read as a potentially more direct reference to the film in episode 8. An odd new detail in the group's film where they rely on the hope of a map to get out before they're attacked by the masked killer again.

Another potential similarity to draw on has more to do with the outside marketing of TBWP. Interestingly it was marketed to appear like an indie film despite having pretty extensive funding. This makes me think of the group's film in DFF. This is meant to be a student film but they received a huge boost via Por's dad giving them extra money for a camera.

Smoking and Being Alive:

One other parallel I find interesting is the emphasis on smoking. To be fair TBWP is probably not the first or last horror film to have people smoke (the pot head is a character trope of it's own), and I was likely primed to notice because we already had "Tan smokes and has asthma" on our list of clues for DFF. Now clearly the writers of DFF are smart and are using Tan/New smoking in plot relevant ways. These details feel purposeful to the story they're crafting. But let's briefly look at how smoking shows up in TBWP.

The characters all smoke and drink alcohol. As they get lost and the days tick away they run out of food and smokes. Josh has moments that could be attributed to withdrawal where he laments that they're out of cigarettes. However, after he disappears, Mike finds some remaining cigarettes at the bottom of one of their bags. Mike comments "We're still alive cause we're smoking." For him, it signals even if briefly that they are still alive, that they're surviving.

But in DFF, smoke seems to be attached to death and dissociation. We know that New is a smoker, something he perhaps picked up in England. It starts then as a sign that he has a life, one outside of being Tan. Yet it's that very life, being abroad, that led him to be so far from Non when he disappeared. For New, his life is now tinged with guilt and loss. As @syrena-del-mar noted here, there are moments where he forgets he is supposed to be New. But the smoking becomes his one reminder that "New" is still alive.

Yet this reminder turns more and more painful. Under the exterior of Tan, he is haunted by New, the brother who didn't make it in time. And this spirals further when his mother and father die. Each time he's a step closer but still too distant to stop their deaths. At this point, he starts getting high to a dangerous degree--dissociating, hallucinating, torturing himself with visions of Non. When Phi steps in we have a parallel moment to Phi stopping Non from taking pills. Smoking turns from a sign of life to one of death as New tries to commit suicide, telling Phi "I don't want to live anymore." And New takes this further when he drugs the rest of the boys. Perhaps he didn't intend it to go so far, but he certainly is happy with the result. His drugs, his smoke have caused fear and death, rather than hope and life.

Except for the map I feel like most of these parallels can as easily be chocked up to direct inspiration as they can be attributed to both pulling on a similar well of genre conventions. What I find more interesting is the thematic conversation TBWP brings to the table for DFF.

TBWP and Thematic Resonances with DFF

Filtered Reality:

In her work on horror, Brigid Cherry remarks that The Blair Witch Project is "about the way in which technology gets in the way of seeing" (qtd in Heller-Nicholas 23). Heller-Nicholas further notes how the camera is constantly in contention with the audience's desire to look at what we want to see. In the film itself, one of the characters even remarks that looking at the world through the camera is "like a filtered reality" because you "can pretend everything isn't exactly like it is."

This looking but not seeing resonates to me with Jin. He looks at Non through the camera, seeing him as innocent, in need of protecting. But there's so much he doesn't see about Non, including the reality of poverty. Jin's perfect view of Non breaks at the moment he sees Non with Keng. But as Jin's filtered vision of Non cracks, he adds a new filter. He frames Non as a slut, someone guilty in his mind, at least in the he heat of the moment. So he records him. In doing so, he papers over the nuances of the situation, that it is SA and that there is so much of Non's life that is outside of Jin's lens.

After Non's disappearance Jin doesn't stop using his camera lens to view the world. In episode 9, he watches the others play soccer and then Phi through his camera. He is pretending nothing happened just like the rest of the group, but for him to do that he has to filter his reality. And just like with Non, Jin isn't able to see the full story around Phi from this small frame of a perspective.

I also think it's worth noting how the show, especially in the flashbacks tends to use strong framing (I note some of this in episode 5 but it persists strongly at least up until episode 9). While they aren't using a found footage style, there's still a sense at times that the camera is limiting our view as it closes in around the characters. It's as if the camera frame becomes hyper-visible, similar but not exactly like in found footage. I'm not entirely sure how to read this just yet, but it feels appropriate for both a mystery and for a story so deeply invested in perceptions. There's a strong focus on what is made visible and what is rendered invisible by the characters, by the story structure, and by the frame of the camera itself.

Gender, Space, Control:

In her discussion of TBWP, Heller-Nicholas discusses the gendered dynamics of the film and how scholars have read the film as invested in the horror of female control. This is captured in two ways. First in the way the woods as a space become imbued with the horror of the Blair Witch (pulling on a tradition of witches being women), and thus the feminine. Second, in the way that Heather, who is the director of their film, leads the group to folly. Scholar Linda C. Badley, has argued that "Heather represents a serious breach in having taken possession of the conventionally male--and often murderous--gaze" (qtd. in Heller-Nicholas 108). Heather thus enters the domain of the typically masculine and the results are disastrous.

I find it interesting to compare DFF with TBWP in this respect because they've taken a genre that often is infused with binary gender dynamics and given us all men, and predominantly queer men. This is obviously a dynamic of BL, but it's interesting to consider how this plays with the themes of gender that often proliferate in horror. This is a much broader topic, and @brifrischu and I are currently reading through Carol Clover's seminal work Men, Women, and Chainsaws so I wager we'll have more to add to the discussion at some point.

But let's look at a few things. First, if the Blair Witch imbues the woods as a space of feminine horror, DFF paints the woods as masculine. After our cold open, we are introduced to the group as they ride into the forest via Por's narration about the legend of Janta. The subtitles at the very least, refer to Janta using masculine pronouns. I don't want to assume that Thai gender coding and dynamics are identical to western ones but we might consider the way that the group of boys, packed into the back of a truck paint this as a masculine, homosocial space.

This is reinforced by the mention of Por's father. Por says "My dad warned me that, so I had to listen to him." This masculine authority is doubly highlighted by the campaign posters that literally mark his control of the space. To go any further the group must pass through these signs as a threshold to the space. Here we have not just masculinity being signaled but wealth, power, and control--something that contrasts distinctly with Non, for example, who has none of this. And of course, as we move through the story much of the horror comes from the actions of the core group of boys rather than the masked person we started with.

I find it interesting too that as Por tells the tale, it's White who comments "You almost had me scared." They then have a discussion about Tee liking to teaser "the younger ones." This focus on White as the most vulnerable is interesting given that he reads as perhaps the least traditionally masculine of the group*.

*Another reason why I'm excited to read Clover's work, is because she came up with the final girl formula in her discussion of gender in horror. I'd love to think about how we apply that in a queer context, especially given how so many of us have collectively felt White will be final girl. What might DFF be doing re: gender within the context of queerness, and what might it be asking of us as an audience?

The second aspect of this is the directorial gaze. In TBWP we have a woman taking on the control of a film project. This is important not just because Heather takes on a typically male profession but also because of the way films are imbued with what Laura Mulvey has termed "the male gaze." The view from which we see the world and the terms on which stories are told are traditionally male, while women are objects to be looked at--something Heather bucks and is punished for.

In DFF we have a similar struggle over authorship and directorial control. Instead of a strict division between feminine and masculine gazes, we get a struggle that is imbued with distinctions of class first and foremost. Por stands in as the more traditionally masculine director. We see the violence he does in trying to maintain control of the project. Of course he mostly does this through exerting his wealth. In contrast, Non doesn't fit the more aggressive masculine role, he comes from poverty, has mental illness, and is generally at the bottom of the social pyramid. His authorship comes into tension with Por's desires for directorial and social control.

There's a strong thematic exploration here of not just who gets to tell the story, but who's story gets to be told. In the end, the camera is Por's, his wealth and framing win out, and Non's authorship is buried. Much like the male gaze relegates women to objects rather than directors or authors, the only film that Non gets credit for is the sex tape in which he becomes objectified by the camera.

Of course we then have the fact that, in the present, Non's revenge script is being played out. There's a new director here, and clearly it's not entirely Phi (who tries his hand at directing in episode 1). Regardless of who is orchestrating these moves, we have an inversion of power happening. While we can't say for sure until the show has wrapped up, I suspect that DFF will lean into this inversion, rather than, like in TBWP, punishing this transgression of the norm.

That's all for now on TBWP, but certainly not all on DFF. I'm going to turn now to another important found footage film, Paranormal Activity, to unpack a bit more about DFF and it's themes.

Part 2: Paranormal Activity, DFF, and the Myth of the Real

In her work Heller-Nicholas notes how, after Paranormal Activity hit the screen, our view of found footage as a genre shifted. It was no longer seen as necessarily authentic per-se but a stylistic form. Heller-Nicholas puts it like this:

As these more popular found footage horror films made their way to the forefront of the genre, what became important was not that the audience necessarily believed that they were real, but rather that they offered a framework to knowingly indulge in a horror fantasy of the real. The solidification of a recognizable found footage horror style meant that horror audiences understood and identified them as such, defining a subgenre where an authentic style (rather than claims of authenticity itself) prevailed (Heller-Nichols, 128)

I won't go into smaller parallels between the film and DFF (partially because I haven't seen it, so if you have please add anything you notice), but I want to cover a few thematic resonances.

Heller-Nichols sketches out a few ways that critics have interpreted the film. First, as an allegory for materialism in the context of the US housing market crash of the time. Second, as a reflection on surveillance and the way changes in technology changed our relationship to cinema.

The first theme, materialism and consumption play out in the film through both the financial disparities of the characters and the more metaphorical spiritual/demonic possession that takes place. Both DFF (at least episodes 1-4) and Paranormal Activity take place in a luxurious house and themes of greed and materialism are present. In DFF, Por takes this role, flaunting his wealth and using it to get what he wants. Of all the characters, he is the one most willing to steal credit from Non. In Paranormal Activity the wealthy boyfriend even brags about buying a nice camera on only half-a-day's pay. Similarly Por brags about getting the nice camera for their film with his father's money.

One thing that set Paranormal Activity apart from earlier found footage films like The Blair Witch Project, was it's use of security camera footage. It relied on a new type of gaze that made the private public in the context of shifting surveillance technologies. While DFF largely centers itself around a film camera, it also includes other forms of technology in the background, including surveillance cameras. The CCTV cameras in Por's house come to mind as a significant way this technology comes into play. On the one hand, it helps Por identify that there is an intruder, and it helps the group find him when he is hurt. On the other hand, it encroaches on the private, capturing White and Tee having sex. This private vs public line is of course horrifically crossed when Jin records Non and Keng and when this video is circulated--surveillance right in our hands via cell phone.

Heller-Nicholas notes that post-Blair Witch, and by the time Paranormal Activity was released, audiences were much more genre savvy. She notes that the genre's "pleasures are not reliant on our gullibility, but rather our willingness to succumb to the myth of the real that these films offer..." (26). Relevant to DFF, I want to stress the "willingness to succumb to the myth of the real." I discussed earlier how Jin doesn't see Non; instead, he is happy to succumb to a myth of what could be the real Non.

But it's not just Jin who does this. Almost everyone around Non believes they see him correctly--as "Greasy", as a bad son, as a cheater, etc. This takes on even more public dimensions as the police enter the picture, as the sex tape circulates, and as the police report that he has run away with Keng. What people see and believe about Non, the narratives they tell about him, help reinforce people's existing understandings of the world--their prejudices, their assumptions, their myths of how the real world works.

And of course, film is at the center of this. The police believe that Non wasn't with the group when he disappeared because any footage he was in was hidden from them. Non is erased from the film (both in the footage and in terms of credit). The entire film premier is one big moment where everyone in the group is playing into this myth. It is taken as fact that Por's name being in the credits means this is his work--that nothing or no one of note was hidden behind the frame.

In her work Heller-Nicholas points to discovered manuscript fiction (such as Dracula) as a precursor to found footage horror. This connection highlights the way these works rely on the fiction that someone has organized the documents apart from the original author. The fictional framing of found footage as pretending to have an original author or filmmaker other than the actual director, hides the fact that The Hidden Character has in many ways literally stolen credit from Non. The genre expectations obfuscate the real story.

And then there's the sex recording (the only film Non gets credit for). We see a number of reactions to the recording from people in Non's life as well as those outside of it. The social media posts in particular stress the way Non's vulnerability is quickly slotted into pre-held narratives of sex and sexuality that refuse to see the reality of SA.

Non's SA is taken as truthful evidence of his consent via social media, while the film the group made is found footage but not seen as real. I think this marks an interesting change in the aesthetics and narratives we find "real." Horror and found footage are legible, a chance to engage in "a fantasy of the real". Meanwhile, the real story behind the film is erased, just like Non. Sadly, the most legible narrative of a young queer boy is that the phone footage is slutty or even hot. No one questions the authenticity of the recording, it is viewed as real. Ironically, compared to the horror film the group shoots, the sex tape is the real found footage film. Yet the "reality" it shows is filtered through interpretation. Non's reality gets buried.

Meanwhile, as an audience, we have the opposite reaction. We are slowly given insight into the discrepancy between Non's reality and the myths people hold. We keep asking why other characters can't or won't see the truth, why they won't help Non until it's too late.

DFF may not be found footage itself, but it is certainly interested in exploring and extending the thematic conversations about authenticity, reality, and narrative.

Part 3: Films within Films, Surveillance Technology, and Other Connections

Despite the fact that DFF references and dialogues with the found footage horror genre, it formally has more in common with films that center around technology and films within films. So I wanted to cover three more films that I think dialogue in interesting ways.

Man Bites Dog:

I'll start with Man Bites Dog since I have the least to say about it. It is a 1992 French mockumentary and black comedy, that Heller-Nicholas notes is a pretty significant and well-acknowledged precursor to the found footage horror genre. I'm not sure I want to get to deep into themes with this one. But I thought the parallels were interesting. A film crew decides to make a documentary where they follow a serial killer named Ben around only to be pulled into the crimes and become culpable themselves. That is, until Ben is killed and the film crew are taken out one by one by an unknown killer. We have a film crew that slowly gets involved and more culpable in wrong doings, just like in DFF we have the group working on a film while slowly becoming more and more culpable in harming Non. Meanwhile in the present both "film crews" are suddenly being hunted and picked off by an unknown party.

Cabin in the Woods:

Cabin in the Woods is a 2011 film that satirizes horror. A group of college students go to a cabin in the woods and are slowly picked off. The twist is that this is all orchestrated by an organization that is simultaneously surveilling and orchestrating their deaths to appease ancient deities. Many of the shots are done through drone's and other similar visuals to highlight the way the group is being surveilled. In a chapter from a collection on horror and gender, Hannah Bonner looks at Cabin in the Woods and a few other films that include surveillance and social media. She discusses the way technology in these films revolve around slut shaming young women. As she puts it, "It is the 'fact of being constantly seen', whether by high key government surveillance systems or by judgemental peers, that throws these characters into disarray or death" (89).

For Cabin in the Woods one thing Bonner examines is the way the film frames the group's "slut" character Jules. Jules and one of the guys go outside to get intimate. And the film moves between this scene and the men surveilling them who watch eagerly. Bonner reads this as a commentary on the violent gaze with which horror frames women. She makes a distinction, noting that "The voyeur is no longer just the audience, squirming in their seats from Michael Meyers's point of view as he tracks down his naked sister and her boyfriend in Halloween...now the audience as voyeur watches the voyeurs watch the surveyed" (90).

DFF makes a similar move by staging multiple instances of filming (a film within a film, or in this case a film within a show). We get a moment in episode 1 where Tee steps forward to block the group watching the CCTV footage of him and White. But this denial is in contrast to other moments. The show draws us most into being voyeurs watching voyeurs, when Jin films Non. I think it's important to note that both the moment that Bonner discusses in her chapter and this moment in DFF are sexual. In CITW, Jules is literally labeled by her surveillers as "the slut", a role she must fulfill and be killed for to appease the gods. Her lack of agency is made quite apparent. In DFF, Non is also slotted into the role of the slut by those around him, including Jin when he films the moment out of anger. While the show is not as on the nose about the whole thing, it's still clearly establishing a discrepancy between how Non is viewed by those around him due to the tape and the lack of full agency he possesses.

Moreover, by making us viewers voyeurs of this voyeurism, DFF creates a critique rather than simply a simulation of voyeurism. I am considering how this might not just be a commentary on sex shaming, but sexuality within a space where BL has historically crossed the line at times in terms of depicting SA. Or even the way that BL actors in Thailand are often expected to blur the line between the private and the public through fan service. It's interesting because clearly the show also doesn't shy away from letting us be voyeurs to sex. The show perhaps draws a distinction between representing queer sex and SA. But it's fascinating how this is mediated through voyeurism and the camera's gaze.

Shutter:

I couldn't wrap this post up without talking a bit about Shutter. Shutter is a 2004 Thai horror film (and probably Thailand's most well known horror film globally). It was part of the horror boom of the late 90s and early aughts in Thailand and Asia. If you throw Thai horror and cameras my way, I will think of Shutter. I watched it as part of some research I've been slowly doing on late 90s/early 2000s Asian horror and technology (writing meta for Shadow the series). It's a story about haunting that takes inspiration from the idea of spirit photography.

The film follows a couple, Jane and Tun, both photographers, who start seeing shadows and faces in their photos. Jane discovers that the ghost is a girl named Natre who Tun used to date in secret. They proceed by trying to figure out how Natre died (suicide) and how to get her to move on. Meanwhile Tun's friends suddenly start killing themselves. Ultimately Jane learns that Tun's friends raped Natre, and Tun not only didn't stop them but even photographed the assault at his friends' request (so Natre wouldn't snitch). Jane confronts Tun who expresses his regret, that he "never forgave [himself]." In the climax of the film Tun uses a polaroid camera to try and find Natre's ghost in real time before being driven out the window. Natre let's him live, in a near catatonic state, unlike his other friends because his betrayal hurt the most.

We once again come back to themes of voyeurism, SA, peer pressure, and culpability. The film has strong focus on the effects and betrayal of being a bystander, much like DFF does. Again this parallel is made quite strongly with Jin. Non may not have had feelings for him, but he is the kindest of the group, making his betrayal hit strongly. Jin filming Non and Keng has it's own nuances within DFF, but it certainly parallels Tun photographing Natre's assault. Similar to Non, Natre disappears in the aftermath, while Tun and his friends go on with their lives.

On a smaller note, both Tun and Jin use polaroids in what is potentially a reference to the film.

As the truth is revealed, Tun goes from a protagonist to a villain, and Natre goes from the horror of the story to the victim. DFF seems equally interested in the idea of how truths get hidden and justice withheld. It also gives us an inversion of the source of horror. By the time we end episode 5, the group we've gotten to know over four episodes are clearly villains in our minds, their cruelty becomes the horror rather than the masked killer who we come to empathize with (or at least root for to some degree). Now how this fully plays out in the end might shift things. But currently (up through episode 9) this is a horror story locating horror in power and cruelty rather than simply reinforcing a more conservative world view of the non-normative monster.

Concluding Thoughts

Dead Friend Forever is mixing genres in a smart and deft way. It's clear that the writers and director are well versed in horror and are ready to play with genre conventions to deliver their ideas and themes. Some of the connections I'm making here might be happy coincidence where the works speak to each other mediated by my own perspectives and interpretation. But I also believe that the show is building on themes and traditions in horror and found footage horror specifically in smart ways. From the framing of shots, to the way they deftly speak to themes of (in)visibility, power, reality vs fiction, agency, and sexuality (among others).

Through all this, DFF has been incredibly genre savvy. While found footage plays on the idea of reality, DFF shakes that up by throwing a who-done-it mystery our way. Like in The Blair Witch Project, for much of the show, we don't know what's real or what's in the characters' heads. DFF, however, picks up where TBWP stops. At the end of TBWP, the characters are likely killed off camera, the source of the horror still left up in the air. DFF gives us this ambiguity, but then pivots and makes the show a mystery to solve rather than locating the horror in ambiguity. This is because the horror lies elsewhere. Like in Shutter, the monster becomes the victim, our sympathies are played with, and we're left with a show that is as interested in social and political critique as it is in having fun playing with horror tropes.

Sources:

Heller-Nicholas, Alexandra. Found Footage Horror Films: Fear and the Appearance of Reality. McFarland & Company, 2014.

Badley, Linda. Film, Horror, and the Body Fantastic: Praeger, 1995.

Bonner, Hannah. “#Selfveillance: Horror’s Slut Shaming through Social Media, Sur- and Selfveillance.” Gender and Contemporary Horror in Film, edited by Samantha Holland et al., Emerald Publishing, 2019, pp. 85–99.

Cherry, Brigid. Horror. Routledge, 2009.

Shutter (film, 2004)

Cabin in the Woods (film, 2011)

Man Bites Dog (film, 1992)

The Blair Witch Project (film, 1999)

Paranormal Activity (film, 2007)

[taekooktimeline]

September 26, 2023: Part 1 of 2 of episode 3's recap

In the Jeju leg of their show, Tae joined JK and JM, and JK seemed really energized in this episode! He was full of energy and happiness, which was heartwarming to see. It was nice to see him so engaged and not glued to his phone as we saw in the previous two episodes. In addition, he never mentioned missing the other members. It's touching how Tae seems to be JK's happiness preacher once again. At the start of the episode, Tae mentioned that the members have a group chat. He saw the Jeju schedule two days before the flight and immediately said he would join. Also, as a side note, the subtitles were wrong again. JK actually said that Tae joined without hesitation and did it right away.

As they drove to lunch, Tae's "Slow Dancing" piano version started playing in the car. Both JK and JM began to sing along to the song. It was evident that JK was particularly familiar with Tae's song as he effortlessly harmonized with the track and even flawlessly performed the instrumental part as they exited the car.

Timestamp 4:17, https://x.com/kookieantae4eva/status/1824468390368645387?s=46&t=StSwHjW0_Domk_lHUFMaCg https://x.com/angel_hemaya/status/1824671653478981666?s=46&t=StSwHjW0_Domk_lHUFMaCg 

Jungkook and Tae entered the mackerel speciality restaurant and settled in to admire the view. They proceeded to place their order without Jimin, who was still seemingly recovering from the stomach bug he suffered during the American leg of the show. Jimin stayed behind in the car for a while and felt left out, saying, "I can't believe they just abandoned me."  Meanwhile, Taehyung and Jungkook were engaged in a domestic conversation, with Taehyung inquiring if Jungkook had brought his wallet, to which Jungkook playfully responded that he had the corporate card.

As the camera pans over to JM, viewers are treated to a picturesque view of the sea while he proudly reminisces about his hometown, Busan. The camera then circles back to Taekook, capturing them in a deep discussion about what to order for their lunch.

https://x.com/angel_hemaya/status/1824064460497293460?s=46&t=StSwHjW0_Domk_lHUFMaCg

JM kindly offers to debone the grilled mackerel for Tae. However, Jk, being familiar with Tae's preferences, declines the offer on Tae's behalf. Jk confidently reassures JM that Tae is capable of deboning the fish himself but simply finds the task bothersome. Tae can't help but chuckle at the exchange but remains insistent on receiving assistance. Eventually, JM relents and helps Tae with the task.

Conversation - 

🐥 Do you know how to cut a scallop bone? should i help you?

🐻Oh okay

🐰 No, i know Taehyungie. Its not that he doesn't know, it's just that he thinks it's bothering to do it

🐻: 😭😭😭😭😭😭

(CT: tcnckclnsmaek on TW)

It's worth noting that the subtitle provided by Hybe is once again incorrect. According to the credited account above, Jk used the word "bothersome" to describe Tae's disinterest in cutting the bone out, which differs from the word "lazy" used by the editors.

Timestamp 8:17, https://x.com/jungkovtae/status/1823982758328197544?s=46&t=StSwHjW0_Domk_lHUFMaCg  https://x.com/tcnckclnsmaek/status/1824082816248033577?s=46&t=StSwHjW0_Domk_lHUFMaCg 

Something precious to note is that JK was attentive to Tae, making sure all the side dishes were on Tae's side, except for the beans, because JK knew that Tae doesn't like them. (Pic 2 points out the beans staying by JK)

https://x.com/angel_hemaya/status/1824483970316374291?s=46&t=StSwHjW0_Domk_lHUFMaCg

Tae feeds Jk a bite of the food -

Timestamp 9:22, https://x.com/kv_vo3ov/status/1823987581547421762?s=46&t=StSwHjW0_Domk_lHUFMaCg  https://x.com/v_9123095/status/1824035771113963893?s=46&t=StSwHjW0_Domk_lHUFMaCg  https://x.com/angel_hemaya/status/1824024872814870641?s=46&t=StSwHjW0_Domk_lHUFMaCg https://x.com/wwrrxgx/status/1823992909164634143?s=46&t=StSwHjW0_Domk_lHUFMaCg 

Once again, Taekook are magnets and sit without space.

As they leave the restaurant, Jk follows Tae and JM on a motorcycle. When they came to a stop, Tae caught Jk's eye in the mirror before breaking into an exaggerated dance. Jk couldn't help but comment, encouraging Tae to dance even more enthusiastically while stealing glances at Jk through the mirror.

Timestamp 14:52, https://x.com/taekoomania/status/1823985532222775641?s=46&t=StSwHjW0_Domk_lHUFMaCg 

Something adorable I wanted to archive - Jk lays flat on his back, but when Tae comes into view and scoots closer, Jk sits up in a very demure pose. 

Timestamp 23:12  https://x.com/recorder331/status/1824721489691808248?s=46&t=StSwHjW0_Domk_lHUFMaCg 

JK does a copy/paste and headbangs along to music with Tae. Meanwhile, JM, still experiencing the lingering effects of his ailments from the American leg of the travel show, expresses that he feels unwell. Taekook still graciously includes him in their next round of headbanging, smiling, and bobbing to the music while Jimin does his best to manage his discomfort.

Timestamp 24:06 https://x.com/jjksyoongs/status/1823987155292569839?s=46&t=StSwHjW0_Domk_lHUFMaCg  https://x.com/eterna1promi3e/status/1823984727810040023?s=46&t=StSwHjW0_Domk_lHUFMaCg 

After vigorously headbanging to the music, Taekook decided to change into their swim trunks and take a swim. Unfortunately, feeling unwell, JM declined and decided to rest on the floor. Jokingly, Jk playfully sprayed JM with water and then caught an unsuspecting Tae as he emerged from changing. The playful water fight continued as Jk sprayed JM again, with Tae joining in. Their laughter filled the air as they ran off, reminding me of the frequent comments about them being partners in crime and getting scolded together. Tae then grabbed a water gun, and the two of them delightfully ran up to spray and tease JM even more, all the while sharing in the infectious joy and laughter of the moment.

timestamp 25:15-26:00 approximately  https://x.com/mandarinpeach/status/1823996602945831002?s=46&t=StSwHjW0_Domk_lHUFMaCg 

Jk lays flat on the floor to spray JM, and Tae does a copy / paste and follows suit.

Timestamp 26:00

After teasing JM, Tae and Jk proceed to get in the pool. In a very not so bro move, Jk squirts Tae’s nipple with the water gun. This causes Tae to become shy and turn around. Jk asks him how it feels, to which Tae replies it’s ticklish. Jk asks again how it feels while still aiming at him.

Timestamp 27:09 -https://x.com/eri_purpledream/status/1824044073961082933?s=46&t=StSwHjW0_Domk_lHUFMaCg  https://x.com/dionyxxsusttkx/status/1824040565182271841?s=46&t=StSwHjW0_Domk_lHUFMaCg

In an impressive display of core strength from both of them, Tae hops on Jk and pretends he’s his surfboard.

Timestamp 27:27 https://x.com/tcnckclnsmaek/status/1824038314909061220?s=46&t=StSwHjW0_Domk_lHUFMaCg https://x.com/jeonmygoogie/status/1823989629541826724?s=46&t=StSwHjW0_Domk_lHUFMaCg https://x.com/archivekukk/status/1823997212914819173?s=46&t=StSwHjW0_Domk_lHUFMaCg 

Tae playfully sprays Jk - 

timestamp 27:43

Tae goes out on a scooter while JM continues to rest. When he returns, per K army, Taekook speak in a soft tone as Jk asks how his ride went. 

Timestamp 30:14 https://x.com/prettyboystks/status/1823996409126719928?s=46&t=StSwHjW0_Domk_lHUFMaCg  https://x.com/tcnckclnsmaek/status/1824001439703949383?s=46&t=StSwHjW0_Domk_lHUFMaCg https://x.com/ging_kth/status/1823989345206071485?s=46&t=StSwHjW0_Domk_lHUFMaCg  https://x.com/e8youth/status/1824037944350695844?s=46&t=StSwHjW0_Domk_lHUFMaCg  https://x.com/newbuns/status/1824024054640341243?s=46&t=StSwHjW0_Domk_lHUFMaCg 

I absolutely love witnessing this intimate moment between Taekook as they cuddle and share a phone. Jk takes the initiative to cuddle with Tae as he lies down. Tae responds by wrapping his arm around Jk. Jk adjusts to get comfortable while Tae helps by resting Jk’s head on his shoulder. After watching Tae on his phone briefly, Jk suddenly bursts into laughter, sits up, and rushes off upon hearing the sound of a water gun. Tae, oblivious to the sound, remains in place.

Timestamp 31:06  https://x.com/kvtwins/status/1823986825565782199?s=46&t=StSwHjW0_Domk_lHUFMaCg  https://x.com/popnjk/status/1824008175261233192?s=46&t=StSwHjW0_Domk_lHUFMaCg  https://x.com/kookieantae4eva/status/1824106706961613040?s=46&t=StSwHjW0_Domk_lHUFMaCg  https://x.com/taegukkielover/status/1824140125154185552?s=46&t=StSwHjW0_Domk_lHUFMaCg 

Taekook dash into a corner where the cameras can’t see them. JM, feeling trapped, says he surrenders. JK playfully instructs him to drop his water guns, raise his hands, and step back. As JM followed the instructions, JK swiftly makes a dart for the water guns, skillfully grabbing hold of them. Then, with a mischievous grin, he passes one of the water guns to Tae. The three of them erupt into laughter as they gleefully spray JM with jets of water, setting off a lighthearted water fight.

timestamp 33:14 https://x.com/vksffs/status/1824037000288334117?s=46&t=StSwHjW0_Domk_lHUFMaCg https://x.com/koovarbie/status/1823995219089428765?s=46&t=StSwHjW0_Domk_lHUFMaCg

Taekook get one last squirt in before they all call a truce.

Timestamp 34:10 approximately 

[miraclecereal]

Walpurgis Rising Trailer Analysis

So this is basically my magical girl blog so I had to make this. I’ve loved pmmm for so long and I had a mini heart attack when I saw the trailer was out. Spoilers for pmmm, Rebellion, and the Wraith Arc ahead. 

Here’s the trailer if you haven’t seen it already: https://m.youtube.com/watch?v=TGxyrO-27dQ&pp=ygULYW5pcGxleCB1c2E%3D

General Speculation:

So let’s start with everyone’s main speculation. Most people who watch the trailer believe that in this new world Homura created, she’s the one who created magical girls, which I also believe. In the beginning of the trailer Homura says: 

“Can you accept the risks and responsibilities?”

Before she says this a phone can be heard ringing which comes from where her soul gem should be. This means that Kyubey is no longer in charge of wish granting and or choosing magical girls. 

One thing that I find interesting is that the Clara Dolls (Homura’s familiars) call her “Akuma Sama” or “Devil” if you watched the trailer with the subtitles. 

I believe this shows that Homura is taking the role of Kyubey. If magical girls are being chosen by Homura like we speculate, it means that they are literally making a deal with the “devil.” 

Even in the Wraith Arc when things were significantly better there was still a cycle of hope and despair with magical girls still having the risk of getting their feelings eaten by wraiths. Homura’s world still needs despair in it, meaning that being meguca is still suffering. In fact, it might be Homura’s way of punishing Mami, Sayaka, and Kyoko.

Homura’s New World: 

This versions of Homura’s world seems a lot more stable than Rebellion since it’s no longer a controlled environment. Homura has full control and self awareness of what she’s doing. 

One of the shots we get of this new world is a shot of Madoka, Sayaka, and Hitomi presumably walking to school. They are surrounded by flowers with light shining down on them. I believe this is supposed to represent the world that Homura wanted to create for Madoka: A place that’s beautiful and carefree. Even in the trailer Homura says: “This world is for Madoka.”

Then we got shots of how Homura and the other magical girls might see the world. It looks heavily industrial with the sky being filled with reds and oranges. 

This can show that Madoka is most likely in the dark about what’s really going on around her, at least in the beginning. 

Magical girls (and their outfits) 

If Homura is the one granting wishes and choosing magical girls, I believe that the change in outfits has to do with how Homura sees Mami, Sayaka, and Kyoko. 

Mami’s new outfit is similar to her old one in a lot of ways but the change is most definitely noticeable. Her outfit looks a lot more free flowing and focused more on the fashionable aspect of magical girl outfits. 

Homura has always seen Mami as the mature leader. Along with Madoka, she was the first magical she meant and in the other timelines she’s the one that coaches Homura and teaches her how to use her abilities. It’s even speculated that Homura chose guns as her weapon because of Mami. 

It doesn’t look like Kyoko’s outfit changed that much. Her soul gem does look bigger but that could be intentional or just a design choice. 

From I can see, it looks like there’s a black undershirt underneath the top piece of her outfit but that doesn’t give us much for symbolism.

If you look at her gloves it looks like Sayaka with the gold band around the edge. This could show her connection to Sayaka. 

What’s most noticeable is her hair that still appears long but seems a lot more spiky. This could represent Homura seeing Kyoko as a tomboy and exaggerating that concept.

The reason why I think Kyoko’s outfit didn’t change much is because worked good together and that Homura sees her in a better light than she does Mami and Sayaka who she believes are constantly getting in her way. Kyoko was the one Homura went to when she needed a teammate: Wanting her to help with  Walpurgisnacht in the original and Homura reaching out to her in Rebellion.

I saved Sayaka for last because she has a lot going on. The bandages on her face and her cape looking more like a coat looks like it could reflect her wish of healing Kyosuke and all the time he spent in the hospital. It also goes along with her ability of healing. 

Sayaka is heavily covered up with the cape, bandages, long sleeve, and gloves. This could be seen as Sayaka disguising herself or hiding who she really is like in Rebellion. 

If you have seen the concept movie trailer, Sayaka looks different but one similarity is having something cover her mouth. This could represent secrecy or Homura trying to silence Sayaka. 

Homura has always had problems with Sayaka. Such as Sayaka accusing her of different things in different time lines such as working with Kyoko, trying to blow her up with bombs, and lying about magical girls turning into witches. In Rebellion, Sayaka was the one who called Homura out and actually stood a threat to her. 

If Homura is making magical girls I feel like it’s possible she could be going out of her way to punish Sayaka which is really tragic. I think it’s obvious that Sayaka is my favorite character. 

The New Magical Girl: 

In the trailer we are shown what could potentially be a new magical girl. 

This new magical girl is shown to wield Homura’s bow but also have abilities similar to Mami with what looks like red ribbons. Her outfit also looks similar to Homura’s but she has a light hair color in a ponytail. 

My personal theory is that this magical girl represents Walpurgisnacht. Walpurgisnacht is an amalgamation of witches which could show why she’s seen using different weapons and abilities of other magical girls. 

The trailer describes Walpurgisnacht as a “fool who goes around in circles” which represents both Homura and Madoka. Both of them were affected by karmic destiny as the clock kept turning. This new magical girl could be the aftermath of messing with karmic destiny. 

Dang this is long. Maybe I’ll make a second part of this that focuses more on Kyubey, Madoka, and Homura.

[yannig]

Her French is really good, I'm impressed!

I'm used to cringing a bit when shows or movies use French with characters who are supposed to be fluent, because it usually doesn't work. But here it works perfectly!

Her accent is really good for one. Just a tiny bit of an accent, which is normal for someone who grew up in another country. Her emphasis is where it should, the phrasing works. Props to the actress for it!

And the translation is on point too! It's the correct level of familiarity to talk with your French grandma, and with all the little things that only make sens in French.

She's actually saying "kisses kisses". In French, it's a common way to say bye in a familiar way, like with friends of family. I use "bisous" or "bisous bisous" pretty often. And "bisous" is the familiar word for "kiss". It's exactly how I talk to my grandma!

The subtitles team however didn't really do their homework, because "kisses kisses" doesn't really work in English. The most literal translation would be "xoxo" but of course it doesn't work for translating speech, so something like "love you" or "take care" would be more accurate.

Similarly, the subtitles translate "mamie" as "grandma", while I'd go more with "granny" in this context, it's more familiar.

Also when she's saying "I miss you and grandpa too" technically she's saying "I miss you (plural) too" without saying who else in included in this "you", but since English doesn't differentiate between singular and plural forms for the second person, you do what you can. "I miss the two of you too" might have be a bit closer, but it's a detail.