#the writers of the boom show were great

[bethsvrse]

★ WHISPER CHALLENGE ★

PAIRING Hugh Jackman x actress!reader

WARNINGS little spicy at the end but other then that it’s just fluff

The lights brighten, the band strikes up a tune, and the studio audience is buzzing with excitement. Jimmy Fallon’s voice cuts through the noise with his signature infectious energy.

“Welcome back, everyone!” Jimmy Fallon’s voice booms over the studio, pulling the crowd’s attention back to the stage. “Tonight, we have a very special guest with us! She’s an incredible actress, a producer, a writer, and she just so happens to be starring in the new film Little Light. Please give it up for Y/N Jackman!”

You step onto the stage, beaming as the audience erupts into cheers and applause. You wave, offering them that warm, genuine smile you’ve perfected over the years. Settling into the guest chair, you take a moment to appreciate the atmosphere—there’s something so alive about being on Jimmy’s show.

Jimmy beams at you, leaning forward in his chair, the playful glint in his eyes unmistakable. “I have to say, Y/N, it’s great to have you back. You’re always such a fun guest, and now you’re starring in Little Light — which I’ve heard so many incredible things about. It’s a powerful story.”

You nod, crossing one leg over the other as you settle in. “Yes, uh Little Light is really close to my heart. It’s about a mother who experiences a miscarriage and finds an unexpected connection with her neighbor’s granddaughter, who’s staying with her grandmother for the summer.”

Jimmy nods, looking thoughtful. “That sounds like such a moving story, I’m so excited to watch it. And—if I’m not mistaken—you’re starring in the movie alongside your own daughter, River?”

A smile crosses your face, a mix of pride and affection filling your voice. “Yes, that’s right. River plays the granddaughter in the film, and she’s absolutely phenomenal. I mean, I’m biased, obviously, but she blew me away on set. She’s 16 now and really coming into her own as an actress. She’s got such natural talent, and working with her… it’s been such an incredible experience.”

The audience lets out a collective “aww,” and Jimmy grins, his eyes widening in that playful way he has. “Sixteen?! She’s already acting with her mum—how cool is that?”

“Yeah, sixteen going on thirty, I swear,” you joke, shaking your head with a smile. “But, to be honest, it hasn’t been easy. With her rising career, my work, Hugh’s work, we’re constantly on the move. It’s hard to balance everything sometimes. And right now, she’s back at the hotel, actually. She wasn’t feeling too great, so she’s watching this on TV, probably critiquing every word I say.” You chuckle and wave at the camera. “Hey, sweetie! Get well soon, I love you.” You added with a small kiss to the camera.

Jimmy leans forward conspiratorially. “So, does she give you notes after interviews like this?”

“Oh, absolutely,” you reply, grinning. “She’ll text me after every appearance like, ‘Mum, why did you say that?’ or ‘You looked a bit awkward there.’ She’s brutally honest. But I love it.”

Jimmy laughs along with you before shifting in his chair. “You know, something else I heard… and you can tell me if this is true… you haven’t seen Hugh in almost a year?”

“Sadly, that is correct,” you say with a wistful sigh. “With Little Light being an Australian movie, we filmed it there—which, don’t get me wrong, was absolutely amazing to be back home—but it meant that River and I were always across the world. We’d typically be filming in America, so a 10-hour flight was manageable to visit Hugh. But an 18-hour one? Neither of us could do it with filming so it’s been tough. FaceTime has been our best friend at the moment,” you joked with a small laugh, trying to lighten the tension in the room that Jimmy could definitely feel, not so much the audience though.

Jimmy looks genuinely sympathetic. “That’s gotta be so hard, especially after all this time together. But you two… you’ve been through a lot, and you always seem to make it work.”

You nod appreciatively. “We do. We’ve been married for a long time now, and we’ve gotten pretty good at the long-distance thing. But it’s never easy. The reunions, though… those are always something special.”

After some more laughs and talking about the movie, it’s time for the commercial break. You sip some water, chatting briefly with Jimmy off-camera, as the stagehands move around preparing for the next segment.

As the cameras roll back on, Jimmy is already in game mode. “Alright, Y/N! You know we love to play games here, so I figured we’d try something a little fun,” he says, holding up a pair of headphones.

You laugh softly, already anticipating whatever wild challenge is coming. “Oh boy, what have you got in store for me, Jimmy?”

“We’re gonna play the ‘Whisper Challenge!’” he announces, holding up the headphones for the audience to see. “I’m going to wear these headphones and try to guess what you’re saying while I listen to loud music, then it’ll be your turn. Sound good?”

You nod, leaning back in your chair with a playful glint in your eyes. “Sounds great!“

Jimmy slips on his headphones and gives you a thumbs-up. The music starts blasting in his ears, and you mouth the phrase silently, moving your lips in exaggerated fashion.

Jimmy squints at you, clearly baffled. “Uh… Salad dressing?” he guesses.

The audience erupts into laughter as you shake your head, mouthing the phrase again.

“Santa’s resting?” Jimmy tries again, causing another round of laughter.

You give him one more exaggerated mouth of the phrase. “Shopping center?” He said confused, “I’m so bad at this,” he said, much more loudly then he meant form the music coming from his head phones.

You repeated the words once more, putting on as much emphasis as you could and you watched as Jimmy’s face lit up. “Little Light! Little Light!” He said excitedly before taking off his headphones, “it was little light right?” He asked almost worried.

You let out a small laugh with a nod, “yes, yes it was little light.”

“Whew! I was worried I’d never get that one. I wasn’t even close as well, Santa’s resting? Where did I get that,” Jimmy chuckles, slipping off his headphones and shaking his head in amusement. “Alright, your turn!”

He hands you the headphones, and as you place them over your ears, you give him a grin. The loud music blasts into your ears almost immediately, and you can't help but laugh to yourself—this was definitely River’s favorite song. She’d been playing it nonstop in the car, at home… pretty much everywhere.

Jimmy raises his voice slightly to speak over the music, “What’s playing?”

You respond without thinking, still adjusting the headphones so they were no longer on your ears. “What? Oh shit—wait, are we playing yet?! Sorry for swearing! My bad!” you blurt out, the apology spilling out before you even register Jimmy laughing across from you.

“No, no! You’re good!” Jimmy reassures you, still chuckling. “I asked you what song was playing.” He repeated

“It’s murder on the dance floor,” you answered, “River absolutely loves this song.” You added, flashing him a sheepish grin before putting the headphones back on. The game begins, and as Jimmy starts mouthing words, you do your best to concentrate, squinting as if that might help you somehow decipher the movements of his lips.

“your husband is behind you.” He said, emphasing the word.

You tilt your head, not quite catching what he said. “The tour is behind me? What?” You shrug, honestly still a little distracted by the music.

The audience suddenly bursts into loud cheers, and you notice the energy in the room shift. Your brow furrows in confusion as you glance back at Jimmy, who’s now practically glowing with excitement. He repeats himself slowly, exaggerating every word, “YOUR HUSBAND… IS BEHIND YOU.”

Before you can even process what he’s saying, you feel a pair of hands gently land on your shoulders. You jump slightly, your headphones slipping off as you whirl around—only to see Hugh standing right there, grinning down at you.

Your eyes go wide, your mouth falling open in shock. Without thinking, you spin in your chair, shifting to kneel on the cushion so you can throw your arms around him. The audience erupts into applause and cheers as you hug him tightly, not even caring that you’re half-perched on the chair. You squeeze your eyes shut for a second, savoring the moment of finally having him close after so long apart.

Hugh chuckles softly, his voice warm and full of affection. “Missed me?”

You pull back just enough to look up at him, still in disbelief. “You have no idea,” you whisper, your smile so big it almost hurts. “Oh my god.”

Jimmy laughs, clapping his hands together as the audience’s cheers grow louder. "Hugh Jackman, everybody!" he calls out, standing up and joining in the applause.

Hugh gives a small wave to the audience before turning his attention back to you. You’re still in shock, hands covering your mouth as you try to comprehend what just happened. The cameras catch every second of your raw, genuine reaction, and it’s clear to everyone that this moment means everything to you.

Jimmy, ever the showman, grins and says, “I think we just had the best Whisper Challenge moment in history right here!”

You laugh, watching as Hugh comes to sit next to you. “I did not expect that. You sneaky bastard,” you joke, playfully swatting his arm.

Hugh chuckles, his arm resting behind you. “I figured I’d surprise you, and when Jimmy reached out to me about it, I thought, ‘Why not?’ It’s been way too long.”

Jimmy leans forward, loving every second of this wholesome interaction. “So, Hugh, how did you manage to keep this a secret from Y/N?”

“Oh, it wasn’t easy,” Hugh admits, smirking. “I had to avoid every FaceTime call for the last few days so I wouldn’t slip up. But it was worth it.”

You shake your head, still smiling, feeling your heart swell with happiness. “I can’t believe you pulled this off.”

Hugh chuckles, taking your hand in his. “It was just too good of an opportunity to pass up.”

Jimmy sits back down, looking at Hugh with newfound enthusiasm. “Alright, Hugh, now that you’re here, I’ve gotta ask—how excited are you to see Little Light?”

Hugh’s eyes light up. “Oh, I’m thrilled! I’ve seen some early footage, and it’s incredible. I tried to get Y/N to show me more but she won’t budge.”

You laugh, looking over at him lovingly, “just because your my husband doesn’t mean you get special treatment.” You teased

“I showed you unreleased Deadpool and Wolverine footage!” Hugh defended with a smile.

“You wanted to! You said you desperately needed someone to talk to about it because Ryan was annoying you.” You replied

“I did not say that. Stop putting words in my mouth,” he says with a small shake of his head but still having a smile on his face.

“I’m not putting words in your mouth! If anything River is because she told me that’s what you said on the phone!” You said, Hugh letting out a laugh, muttering of course she did under his breath.

“Speaking of River, what do you think about her acting career? I mean, she’s following in her parents’ footsteps in a big way.” Jimmy asked with a smile

Hugh’s face softens with pride as he talks about his daughter. “I’m incredibly proud of her. She’s got so much talent and dedication. Watching her grow and develop her craft has been one of the most rewarding experiences of my life. She’s worked so hard, and seeing her succeed is just amazing. We have to get all of us in a film together.” He added with a soft laugh.

“I’m sure she’s jumping up and down in the hotel room because she gets to see her dad again.” Jimmy smiles.

“I can actually call her,” Hugh mentions casually as he brings out his phone.

“Oh my god, yes.” Jimmy nodded, leaning in as it rang.

“You can get mad at her for being sick,” you told Jimmy with a smirk.

The phone rings a few more times before River picks up, her voice immediately full of energy. “Oh my god,I can’t believe you’re here!” She explained happily. “I wish I was there. Why the hell did I have to be sick today of all days.” She sighed, “I do have to say that if you don’t come straight to the hotel after the interview I will genuinely never speak to you again.”

Hugh laughs softly, shaking his head in mock disbelief. "You heard that, right? No pressure or anything." He looks at you and Jimmy with a grin.

"She’s got you wrapped around her little finger, doesn’t she?" Jimmy teases, leaning forward as if he’s sharing a secret.

You nod, chiming in with a smirk, “Completely. He doesn’t stand a chance.”

River’s voice comes through the speaker, playfully annoyed. “Mum, don’t gang up on him! I’m sick, remember?”

“Oh trust me, I know,” you say, feigning seriousness. “I’m the one who had to watch The Office with you for the past two days.”

Hugh chuckles, shaking his head. “You love it, admit it.”

“I do, I do, I got to baby her again so it was great,” you confess with a laugh, before addressing River again. “Alright, sweetie, we’ll come straight to the hotel after this, I promise.”

“You’d better,” River replies, her tone softening. “Love you both. Get through the rest of the interview, then come hang out with your sick daughter.”

“Love you too,” Hugh says before hanging up the call, slipping his phone back into his pocket. He leans back in his chair, looking content. “She’s always keeping us on our toes.”

Jimmy smiles warmly, looking between the two of you. “I’ve gotta say, you three are the definition of family goals. I love it.”

You glance at Hugh, sharing a knowing look before turning back to Jimmy. “We’re pretty lucky, that’s for sure.”

“Well, I think that’s a perfect note to wrap things up. Y/N, Hugh, thank you both so much for being here. It’s been an absolute pleasure. And Hugh, it’s always great to have you. Don’t forget, everyone��go see Little Light in cinemas August 14th, and mark your calendars for Deadpool and Wolverine on July 26th!” Jimmy says with a large smile.

The interview wraps with a warm round of applause, and as soon as the cameras stop rolling, you and Hugh exchange quick smiles with Jimmy before stepping off the stage. The lights dim, and the lively hum of the audience fades into the background as you make your way toward the backstage area. Hugh’s arm wraps around your waist, drawing you closer as you navigate the narrow hallway.

As soon as you’re inside the dressing room, the tension hits like a wave. Hugh’s hand doesn’t leave your side, fingers brushing your waist like he’s scared you’ll slip away again. The door barely clicks shut before his lips crash into yours—no hesitation, no holding back, just pure need after a year of waiting.

You melt into him immediately, your hands flying up to grip his shoulders, fingers digging in as if you need to make sure he’s solid, that this isn’t just another dream of him that you’ll wake up from alone. The kiss deepens, hot and urgent, months of distance and longing pouring into it. The way he holds you, like he’s afraid you’ll disappear if he lets go, makes your heart skip.

Your back hits the door with a thud, and you can’t help but smile into the kiss, breathless but teasing as you mumble against his lips, “You know... someone might hear us.”

His lips curve into a grin, and he pulls back just enough to look at you, forehead resting against yours, his eyes dark with hunger. His hands slide down your body, fingers tightening at your hips, pulling you closer until there’s not an inch of space between you. “Let them,” he breathes, voice low, almost a growl. “I don’t give a damn. I’ve waited a whole fucking year for this. For you. Let the whole world hear.”

Your laugh comes out soft, shaky, your heart pounding in your chest like it’s trying to keep pace with his. You let your hands wander down his chest, feeling the hard muscle beneath his shirt, the steady thud of his heartbeat beneath your fingertips. “I missed you too,” you whisper, eyes locked on his. Then you pull him back into a kiss—this one slower, more deliberate, but still burning with the intensity that’s been building for far too long.

Every touch, every brush of his lips against yours, feels like it’s pulling you deeper into him, and for the first time in what feels like forever, you let yourself give in. His hands explore, tracing your sides, your back, reacquainting themselves with every inch of you. You respond in kind, your hands sliding beneath his shirt, fingers mapping the familiar lines of his torso, rediscovering every scar, every dip and ridge of muscle.

The kiss breaks only when you’re both gasping for air, but even then, neither of you pulls away. You rest your head against his chest, feeling the rise and fall of his breathing, and for a moment, the world fades away. It’s just the two of you, the rest of the universe outside that door forgotten.

He presses a kiss to the top of your head, his arms wrapping around you, holding you tight as if he can’t believe you’re really here. “I thought about you every day,” he admits, his voice barely a whisper, rough with emotion. “I couldn’t stop. I tried. But nothing... nothing feels right without you.”

Your heart clenches at his words, and you pull back just enough to meet his eyes, your hands cupping his face. “I know,” you whisper back, your voice soft but steady. “Me too.”

He kisses you again, slower this time, like he’s savoring every second, every inch of you. It’s not just about need anymore—it’s about the connection, about being with the one person who feels like home. You don’t need to speak; the way his hands hold you, the way his lips move against yours, says it all.

Looks like River might need to hold off a bit longer before she gets to see her dad again.

[s-coquette]

thinking about @charliemwrites mean ghost!!

charlie is literally one of my favourite writers on here, any thought™️ that crosses their mind makes me get brain worms. this is my first time writing anything like this so i hope it isn’t a complete disaster :,)

Johnny gets sent out on deployment without Simon for a couple weeks. This mission needing his demolitions expertise more than anything else. Leaving poor you to face Simon’s wrath alone.

While Johnny is home it’s easy to avoid him. Just hunker down next to the Scotsman and deal with his clingy and annoying self, anything but having to interact with the mammoth of a man.

He’d barely glance at you at first, leaving you to Johnnys care, having him bathe you, dress you, hold you, basically a small child with its new favourite doll.

You thought that the piercing gazes he sent you with his honey brown eyes were an indication of how much he hated you. Maybe you were getting too much of his boys attention? Were you hogging him? Were you acting out in some way that you hadn’t noticed? All of this made you extremely nervous to be in Simon’s presence, hearing him breathe next to you sent shivers down your spine.

The air was tense around you, the giant man in front of you made you feel like he was taking up all of the oxygen in the room. Casting a shadow over you from where he stood, a foot away.

“What’re you lookin’ at?”

The loud drawl of his Manchester accent and raw voice made your chest shake. You snapped your eyes back at him, realising you spaced out in fear. His arm, which was probably wider than your head, reached out behind you.

“Wh-“

A dawn of realisation fell on you when you heard a glass clink behind your head. You were standing there like an idiot while he was trying to grab a mug.

“I’m sorry-“

You slinked back to the other end of the kitchen, your pop tarts left on the counter next to him. It felt like poking the bear to even try to reach for them.

Simon’s eyebrow quirked in response, like he was waiting for something as you stared at him leaning against the marble countertops.

“I’m- I’m sorry, sir.”

You think you saw his lips curl up under the simple black balaclava when he heard the loud panicked inhale from you, in the addition of your eyes stinging with tears.

His eyes fell down to the opened bag of sweets you left on the counter, which you were munching on without even heating up. His sight then fell on you, chewing on your lip in fear while staring at the same thing.

“Y’want this?”

His calloused big fingers reached around and grabbed the pop tarts, throwing them up in the air unceremoniously and showing them off to you, like a forbidden fruit.

“N-Nevermind, I’m not hungry anymore-“

You tried to hurry out before his loud booming voice interrupted you.

“Hold on, you’re not goin’ anywhere.”

You freeze, slowing turning on your heels and staring at him.

“C’mere, kitty.”

You gulp and stare at him, his piercing stare making your hands shake.

“Don’t make me repeat myself.”

His voice now cold, eyes narrowing. That was the only sign you needed to spring to action. Almost throwing yourself across the island, you stood in front of him again. The situation somehow even tenser than before.

“Now be a good kitty and meow for me, then you’ll get your treat.”

You could hear the smug smirk in his voice without even having to see it. A cold sweat washed over you as you thought about what to do to escape this situation.

“I’m listening.”

His tone warning again.

“meow..”

The little peep that left you seemed to give him great entertainment as you watched his eyes crinkles like he was grinning.

“I ought to teach you some manners since the mutt clearly can’t.”

You frowned at what he meant by ‘teach’, not even wanting to imagine it.

Your endless thoughts were interrupted by getting smacked in the chest with your unfinished bag of pop tarts, scrambling to grab at them before they fell on the floor.

“Now scram.”

And you did just that.

[sparrowlucero]

Hello sorry I am being shy and anon but do you have any advice for someone who wants to get into Doctor Who again after briefly dabbling (and enjoying it very much) in like the early, early 2010s? I know this is mostly your art blog but you were the only person I could think of to ask you're like the Doctor Who authority of blogs I follow

Oh yeah of course! People can be really confusing about this so I'll try not to be.

So first, the majority of doctor who episodes are self contained stories that you could just watch and understand perfectly without any further context. even when there is some overarching context it's usually written in a way that's either pretty easy to glean and/or just doesn't impact your understanding of the story. 99% of the episodes don't even care if you know the premise and are just like "what if some people were on a spaceship and the devil was there? wouldn't that be fucked up or what??". Don't feel like you have to binge a 60 years long show to watch it. Some standalone episodes I think are fun if you (or anyone else) just want to check out one or two:

The Empty Child/The Doctor Dances (A supposed-to-be-dead boy in a gas mask haunts a young woman in world war 2)

Blink (A woman gets wrapped up in a mystery involving statues that make people disappear. This one is especially good if you flat out know nothing about the show. Has some really great time travel stuff.)

A Christmas Carol (A christmas carol pastiche (of course) where the doctor tries to rewrite the past of a cruel man who's going to let a lot of people die. very sad and sweet. I love the "wintery planet with sky fish" setting of this one)

Vincent and the Doctor (The famous Vincent Van Gogh Episode™)

The Rings of Akhatan (A pretty lowkey little adventure story about an alien festival. has supreme autumn vibes)

Flatline (A species from a 2 dimensional world tries to break into our 3 dimensional one. really fun special effects)

Midnight (A tour bus breaks down on a diamond planet where nothing can survive. Something knocks at the door.)

Silence in the Library/Forest of the Dead (The Doctor and friend go to a library that covers an entire planet and finds that everyone has disappeared. Has a lot of really great, interesting concepts baked into it that I won't spoil)

It Takes You Away (A girl is left alone in a cabin in the woods when her dad disappears through the mirror. Has a famously goofy ending that I really love)

73 Yards (A character is steps on a fairy circle and is followed by an old woman who always stands exactly 73 yards away)

The Devil's Chord (This doesn't really have, you know, a plot, but it does have jinkx monsoon as an evil music god)

Boom (The doctor steps on a landmine on an alien planet and cannot move)

Wild Blue Yonder (A two hander where the Doctor and co are trapped on a dilapidated spaceship at the edge of the universe. really atmospheric with some fun/strange visuals.)

That being said, it does add a lot to watch it in order; there's a lot of plot twists, character dynamics, and general payoff you get if you marathon it. I would personally recommend starting with either the first episode of the 2005 show ("Rose") or the first episode of the 2010 season ("The Eleventh Hour") and just watching in order from there. I think you could also start with "The Snowmen", "The Pilot", or "The Woman Who Fell To Earth" if you wanted, but the first two (especially rose) are the better jumping on points.

some other little notes of advice I don't often see people mention:

it's stupid sometimes just roll with it

once in a while the show sort of "reboots" with different writers, actors, directors, and a new tone. it's much more like watching several small shows than one long show, so don't be too put off by the length!

IMPORTANT: pretty much all streaming services will separate holiday/anniversary specials from the show proper and you have to deliberately search them up on the same service to find them. It's really necessary to be aware of this because many of these specials are the first or last episodes for characters/whole eras of the show and are genuinely unskippable. I strongly recommend looking up a list of the episodes and checking it after finales just to make sure you don't skip anything on accident.

there's two spin offs (Torchwood, a more adult (read: gay sex) show about a mysterious agency that solves sci fi crimes, and the Sarah Jane Adventures, a pretty good monster of the week kids show) that ran concurrently with season 1-4. You don't have to watch them to understand anything happening in doctor who, but sometimes they cross over with the show in fun ways, Ex. the first season finale of Torchwood continues directly into season 3 of Doctor Who. My friend and I got a kick out of watching them at the same time so maybe you will too. (either way I recommend watching "Children of Earth", the torchwood miniseries, if you want to see a weird dark sci fi show about the government making contact with aliens. It's a bit like arrival (2016) if it was way nastier.)

alternatively, you can inject fast acting brain poison into yourself with this

anyways I hope this all reads as, you know, more approachable than the way dudes on quora recommend this show:

[miss-musings]

How badly was Tech's Death handled in The Bad Batch S3?

I'm planning to do a full season review for The Bad Batch Season 3, and while prepping, I started thinking back about how Tech's death was handled.

I wonder if The Bad Batch never really mourned Tech on-screen because they all blamed themselves for his death:

Hunter bc he's the leader (even Hemlock noted this)

Wrecker bc he was trying to hold the rail car

Crosshair bc they were trying to save him from Tantiss

And Omega had never really lost anyone before, so she probably didn't know how to cope.

The time jump didn't help either.

Arguably it'd be in-character that their "mourning" style is just avoiding the topic. They hardly brought up Crosshair in S1 after he was mind-controlled.

Hunter shuts down the group's conversation about Crosshair in 1.03 partly bc he feels guilty about leaving Crosshair behind (even tho they didn't really have a choice). Consequently, the group doesn't really mention Crosshair except in passing after 1.03.

Look, I ultimately think the writers *should* have let the characters mourn Tech in a meaningful way. It'd allow them and us to have some closure. But they didn't, and that's partly why so many people expected him to come back (namely as CX-2).

Tech also just had such a suspicious "death":

No body on screen

He fell with all or most of his gear on him, and Hunter survived a 500+ foot fall on Daro without much issue

Hemlock as an unreliable death certificate

A character running around in S3 who was conditioned by Hemlock (who supposedly found Tech's body) and who moves & talks like Tech, and has significant interactions w/ Crosshair and Omega plus a weird scene w/ Phee

It didn't help that CX-2 survived *everything* - multiple explosions, falls, etc. Plus, we never saw him without his mask, unlike CX-0 in S2 and CX-1 in 3.06.

If the TBB creators wanted to avoid any theorizing that CX-2 was Tech or anyone else we knew, all they had to do was show him without his helmet at the end of 3.07. Boom, problem solved!

I really expected a CX-Tech reveal up until 3.14 "Flash Strike." But by then, we'd run out of time to bring him back properly. It really feels like the writers baited us, or something was changed last-minute during S3 production.

Even if we'd gotten a scene in, let's say, 3.05 "The Return" where the Bad Batch finally and properly mourned Tech once they were all together, I'm sure people still would've theorized CX-2 was Tech. But, I do think there would've been fewer.

As it stands, neither the characters nor the audience ever had a proper send-off for such a prominent character.

And CX-2 had all that screentime & build-up to justify cutting off Crosshair's hand???

TBB S3 was great in many respects, but how it handled Tech's death was a major flaw.

But, I just wanted to play Devil's Advocate for a bit. Maybe it wasn't as bad as we thought, and arguably was in-character for Tech's brothers to hardly ever mention him.

He's mentioned 7 times in S3:

Wrecker has an indirect mention in 3.02

Omega in 3.03

Echo in 3.05

Phee in 3.08

Crosshair in 3.09

Phee in 3.12

Crosshair in 3.15

And we know that last one is the most heartbreaking one of them all.

Phee and Echo seemingly have made some peace with losing Tech after 5-6 months. But it's clear Hunter & co still haven't. They all compartmentalized his death and never addressed it. Crosshair's little "Plan 99" speech in 3.15 proves that, I think.

Anyway, just throwing this out there. I'm planning to do a S3 review soon and go over the three best and three worst things about the season. SPOILERS: Tech's death and the CX-2 baiting was definitely one of the worst!

[bring-cringe-back]

Okay I might just be reading too much into this. But while I was watching the episode *cough cough* procrastinating *cough cough I realised that they don't show how the Doctor and Ruby got there.

And I know that it's probably just meant to be vaguely like 'they just went for fun'.

BUT this is the third episode in a row where we haven't seen them arrive. And for 73 yards it was clearly a doctor who episode when it started but it immediately gets rid of the doctor. ( I know that for 73 yards and for dot and bubble it was because Ncuti Gatwa was filming other stuff but let me cook) In Dot and Bubble you could effectively be forgiven for assuming that it was a random Black Mirror episode or something similar until the Doctor turns up, and tbh if you were just flicking through channels and haven't been watching Doctor Who you could probably basically not know for much longer. In Rogue they are just there, except for the title screen (the same for dot and bubble) you could basically watch it as a Bridgerton episode until the Chuldur turn up.

(And there's whole other rant about how the Chuldur fits into the theory about this basically being a TV show within a TV show, I don't know the name for this theory)

But anyway these episodes are increasingly separated from the Doctor and Ruby as plot points particularly in the beginning of episodes. They are more and more like an excuse to tell the story or explore the topic that the writers want to explore. Which isn't totally different from the occasional episode of previous series, but this is a lot more in my memory at least from previous series. So it feels a lot like they are skimming over the more sci-fi doctor who elements. Which fits in in my mind to the idea that the 'One who waits' is a representation of story telling. I've seen theories that it's Ruby but she doesn't know it which makes sense, I think it would also make sense for it to be her parent(s) who left her, or alternatively just it's own thing all together. But it feels very like that bit where Amy is living a life and starts to realise it's all fake.

The narrowing down of these episodes into not showing them arriving, and at least in Rogue - I can't remember in the others - not showing them leaving the story, feels very different.

It feels more and more like story telling. They have covered fairy tales, Period pieces/Romance, Dystopia, War/SciFi, Musicals, Political Drama. They are also showing the doctor playing his role, something that we see companions doing often enough but we seldom see the doctor doing it.

In Space Babies he is scared of a new creature. In the Devil's Code he sings a song that makes little sense in the story, he doesn't question the road making noise. In Boom he's more himself but it's also the closes to his 'normal' environment. In 73 Yards they just fully remove him from the story, which I realise was done for filming requirements but would have been so interesting to see the doctor in a Political drama. In Dot and Bubble he plays the role of the outsider bringing information to those living under a Dystopia, how is he UNABLE to access the inside, sure he plays a role that's fairly similar to himself but Doctor Who is really Dystopian.

In Rogue he is becoming more and more his role, he is playing the role of a sort of Elizabeth Bennet style character, a strong romantic interest for the brooding man. Which is great, he makes fun of the genre, but he is hyper aware of the genre and still ends up in its pitfalls. He trusts a man so quickly he ends up handing over his sonic, he gets proposed to and basically immediately accepts. Now I am really hoping that Rogue gets to stay around I really liked him as a character, regardless of which theory of his identity if any are true. But the Doctors reaction to him is still a little out of character, he is feeling what he is SUPPOSED to feel and he is acting how he is SUPPOSED to act.

It just feels to me like an increasing number of these episodes are more and more story like and more and more separated from the more Doctor Who elements. And the lack of an introduction of how they get there, and the lack of them leaving in the TARDIS is so unusual to me and stands out to my brain so much.

It feels like they are removing elements that don't fit the genre. Anyway not sure if that makes any sense but I'm vibing with it.

[dandelionjack]

wait so you prefer moff over rtd right?

i think they both have their strengths and weaknesses. rtd is a good writer and i love the way his first era intersperses social realism among the camp wackiness of alien worlds far more than moffat’s stylised polished view of earth settings BUT he didn’t write s8-10. he didn’t write heaven sent/hell bent. he didn’t write dark water/death in heaven. most of the best rtd-era episodes were also written by moffat. ie they balance each other out and i want to believe boom will be the best episode of s14

on the political side they are both your average liberal gen x uncle with iffy centre-left opinions who mean well (thank god for rose noble in an era of rampant transmisogyny in the british media! moffat giving us the first canon lesbian companion + the first lesbian kiss onscreen! etc) but it doesn’t always land. looking at you “male presenting time lord” and “her name was nina i was going through a phase”. i’m not even going to mention chib. plus rtd seems to have this unquestioning worship of government institutions (all the UNIT bullshit) that he really needs to deconstruct

if we’re going to rescue the show from the inevitable cancellation it will get hit with in ~5 years when the BBC withers away and the increasingly fascist disney corporation realises that a show with a queer Black protagonist isn’t profitable enough (although we could do with another wilderness era, it invented basically everything great about nuwho didn’t it) we’re going to need a younger showrunner that’s not a cishet white man, and a lot of people, me included, have juno dawson in mind. she wrote redacted. she’s a trans woman. she would probably be up for the job.

tldr. i think they’re both good enough. i also think they’re both mid. everything in moderation. juno dawson for showrunner

[chaos0pikachu]

Two Flavors of Japanese (BL) Cinema

Recently I came across a post that proposited that Japanese cinema hadn't changed since the 1950's and came in, essentially, two types. 

Let's discuss that. 

I can’t go into the history of all Japanese cinema in a singular blog post like that’s just not possible, there’s literal books and classes you can take on this subject, and I will be linking further reading down at the bottom of the post so you can do just that. 

This fact alone, should already disprove the point that Japanese cinema hasn’t changed since the 1950’s. Other than the fact that like, Japan isn’t a static society that is forever unchanging because human beings do not work like that. 

Which is why I’m writing this essay at all. 

I love cinema, I love storytelling and filmmaking. And, frankly, I may not be an expert but I am annoying. I own that. 

Japanese cinema has held influence over many directors, writers, animators, and so forth. 

Just watch this playlist of Sailor Moon references across various cartoons. Or how Satoshi Kon influenced the work of Darren Aronofsky and Christopher Nolan. Or how James Cameron and the Wachowskis were both influenced by Mamoru Oshii’s 1995 Ghost in the Shell. And then there’s Akira Kurosawa who’s been cited as a major influence for directors like: Steven Spielberg, George Lucas, and Martin Scorsese and a slew of others.

I want folks to know there’s a slew of amazing films from Japan and that distilling the industry - the blood, sweat and tears of its creators - to a strict dichotomy of this or that, either/or is disrespectful at best and xenophobic at worst. 

It’s also just a shame because, like, guys there’s so many great films from Japan! There’s also probably a lot of great live action shows from Japan but I’m not super knowledgeable about them - I mainly watch anime so that’s not a great metric in terms of Japanese television - so I’m just talking about films in this post. 

Ok so main points I’m gonna address: 

Japanese Cinema hasn’t changed since the 1950s 

Japanese film style falls under an extreme dichotomy of cinematic/sweeping (described as “atmospheric”) or cartoonish/slapstick (described as “live action manga”)

Baby does any of this have to do with BL? (no, but it IS more gay than you think)

With these four films: The Hidden Fortress (1958), Lady Snowblood (1973), Gohatto (1999), and Kubi (2023). 

I picked these four because they’re all “period pieces” taking place feudal Japan - or with the aesthetics of feudal Japan, The Hidden Fortress nor Lady Snowblood aren’t based on actual historical events, like Gohatto and Kubi are, however loosely, but take place in an amorphous 15th to 18th century Japan - and I think they strongly show the development of this singular genre in Japanese cinema. 

Plus the latter two films, Gohatto and Kubi, are gay as fuck and I know my people. 

[you can also read this post on this blog post which includes additional links as tumblr has a limit and for easier readability as this is a long post]

The Hidden Fortress 

Released in 1958, directed by Akira Kurosawa it’s probably the most well-known film on the list. It’s a film that exists within the “Golden Age” of Japanese cinema alongside films like Kurosawa’s own Seven Samurai (1954), Yasujirō Ozu’s Tokyo Story (1953) and Kenji Mizoguchi’s Ugetsu (1953). 

It was also the era where, after the American Occupation post-WWII a boom of movie distribution took place with new film studios such as: Toho (y’all know them from any Godzilla movie ever made), Toei (if you know One Piece you know Toei but they’ve done a ton of films both animated and live action) and others. 

The story is straight forward, two peasants, Matashichi and Tahei who bicker their asses off like an old married couple the entire film, happen upon a Very Hot Man with the Only Thighs Out (Toshiro Mifune was a BABE) named Rokurota and his companion a icy young woman named Yuki. 

Matashichi and Tahei have just escaped like, a ton of ~circumstances that include failing to become samurai, being broke as fuck, getting captured and forced into servitude - don’t worry that lasted like 6 hours tops - and then find gold hidden in a stick on a mountain. 

Turns out Rokurota has all the stick gold they could want! So they team up neither realizing Rokurota and Yuki are actually part of a clan that’s been recently wiped out and they’re on the run from a rival clan who has wiped theirs out. Yuki is the princess of said clan and it’s only survivor, while Rokurota is her samurai general and retainer. 

Tahei and Matashichi, living in ignorance of these facts, try to steal the gold away from them because they live that hustle life until the end when all is revealed and Yuki grants them both with a gold piece to share (this is a really big piece of stick gold). 

There’s other things that happen, like a fight scene between Rokurota and rival clan member, Yuki owning every single scene she in - I fucking love her - but that’s the gist. 

The story is, again, pretty uncomplicated, it balances the comedy of Tahei & Matashichi with the stoicism of Rokurota and Yuki well, and all the acting is strong. In terms of its film style, by modern day standards it’s not especially “cinematic” Kurosawa doesn’t favor fanetic camera movements, his camera is often very still and the movement he employs is often in individual character ticks, and/or background set pieces. This film has a lot of great set pieces. 

Kurosawa didn’t employ camera techniques like panning, he doesn’t really do extreme close ups, there's no swooping shots or fancy tricks, I’d say a majority of the camera shots in The Hidden Fortress are a combination of mid, and wide, with a few mid-close ups. One thing to notice is Kurosawa’s use of scene cuts; instead of a cut he used pan sweeps to change scenes. If you’ve ever watched a Star Wars film you know exactly what I mean. 

The Hidden Fortress, first and foremost, is an action adventure film. It has more in common tonally with Top Gun Maverick or Star Wars A New Hope, in that it's straight forward, sincere, and grand in scale, grounded by a very honest set of characters who are strongly motivated. 

I feel like in modern day discussions we association “action/adventure” films in a sorta of negative way; this is probably due, in part, to the oversaturation of the high budget blockbusters of the last ten years - oh MCU, how you’ve fallen - that are overly bombastic, overly complicated, overly connected, and the root of what audiences connect with - the characters - tends to be lost. 

Scott Lang's motivations in Ant-Man and the Wasp: Quantumania are to protect his teenager daughter and the family he's built, which are simple, strong, and relatable character motivations. However, they got lost in the conventions of the plot, the frantic energy of the film, the simple amount going on around Scott that his motivations become less a central focus and thus he becomes small within his own film. We, the audience, become distant and it grows more difficult to connect with what's happening. This can still work on some level, the Fast and Furious franchise isn't successful because it's sophisticated, but the Fast-chise has embraced it's cheesier conventions and spectacle, while blockbusters like the MCU's output, simple juggle to much all at once. It also helps that while the cast keeps growing in the Fast and Furious films, there's still less than ten characters you have to actually know and care about. To fully understand and connect with the characters of The Marvels, you have to watch Ms. Marvel and WandaVision on Disney+ and the task becomes more akin to homework than simply the enjoyment of watching a movie. 

The epic scale grows so large it feels daunting, rather than exhilarating. 

I think this is why a film like Winter Soldier, more so than most MCU films of the last decade, has continued to be a fan favorite of the universe and of blockbuster lovers whether you are a fan of the MCU or not. At its root, Winter Soldier is character driven, with deeply motivated characters,  which is what makes the action and adventure aspects stick. 

The Hidden Fortress is similarly character driven with a simple and straightforward story that is about honor, loyalty, a princess, a loyal samurai/knight, rebuilding a decimated clan, and two “normal” characters to keep everything grounded and relatable. Which in turn, helps make it timeless. While the filmmaking itself isn't grandiose as what modern audiences may be used to, Kurosawa knows how to direct a scene and more than that, direct his actors. Mifune is commanding as always, but for me, it's really actress Misa Uehara as Princess Yuki that steals the movie. 

Lady Snowblood

Released in 1973 and based on a manga of the same name by Kazou Koike and Kazuo Kaminura, directed by Toshiya Fujita, Lady Snowblood and its sequel Lady Snowblood: Love Song of Vengeance are considered cult classics. Lady Snowblood, famously, is Quentin Tarantino’s inspiration for his Kill Bill saga (like, a freaking lot). 

Lady Snowblood is a part of the era of “new wave” and “pink films” that were emerging in Japan and elsewhere. Stateside I think a close equivalent to both the style and content of Lady Snowblood and other films like it are exploitation films. In fact while watching Lady Snowblood I couldn’t help but get exploitation film vibes just off the aesthetics and thematics of the film itself. 

To break down Lady Snowblood’s plot it goes like this: Yuki is tasked with getting revenge on four people who had a hand in her father, and older brother’s murder, and her mother’s rape (which is seen on screen so warning for y’all this is def a Does the Dog Die movie). 

Yuki’s mother kills one of her rapists, but is imprisoned before she can kill the others and while in prison she purposely gets pregnant so her child can carry on her revenge after she dies. Yuki is born, and raised by one of the fellow inmates and a priest who trains her in martial arts. She’s raised as a “demon”, whose only purpose is revenge for her mother, father, and brother. And boy does she get revenge the film is violent and graphic (even if by modern day standards the blood looks fake as fuck the emotions are there). 

Like The Hidden Fortress this film is very character driven, with a highly motivated protagonist but it’s also revels far more in it's violence and the spectacle of that violence. Yuki, in comparison to her earlier counterpart Princess Yuki, is the driver of the action in the story. She's an active participant in the plot, and the story centers around her. Princess Yuki is commendable, she's compassionate, and she makes decisions, but the story is more about what she represents - a fallen princess - than what she does. She's symbolic, the embodiment of a leader, a samurai spirit of nobility who becomes a leader worth following. Yuki, on the other hand, needs no protection from others, she's a much more direct and active part of the story since the story is hers - and her mothers - she's more elegant than regal, and there's nothing necessarily 'noble' about her.  She's not seeking to rebuild her clan as a leader, her motivations are singularly about her revenge quest to fulfill her mother's dying wish. 

In some ways, they're very similar - Yuki also feels compassion for another woman who's been used by the men around her as Princess Yuki does - and in others they are very different and speak to the changing expectations and idealizations of women from the 1950s to 1970s. 

Lady Snowblood is also way more violent than any Kurosawa film I’ve watched including The Hidden Fortress. While there is action in The Hidden Fortress, it’s all employed with specific purpose. Which is one of Kurosawa’s strengths as a director. It’s calculated and singular. Yes blood spurts up in Yojimbo but it's limited; quick and efficient, with more in common with John Wick or Collateral than the more fantastical and aesthetic Tarantino or Robert Rodriguez fare. 

Lady Snowblood revels in the aesthetic violence, there’s no “purpose” for Yuki to cut an already dead person in half, she does it out of pure frustration and for the glory of showing the audience that internal rage. Of a body hanging, dripping blood and gore onto the clean floor as the curtain draws to a close. 

The film also features on screen rape, sex, and nudity which The Hidden Fortress does not. There’s an implication that characters in the film would assault Princess Yuki if they could, but nothing ever goes beyond brief implication (still gross tho guys come on). Whilst in Lady Snowblood, the rape is brutal, the violence is brutal, and the emotions are far more intense because of it all. 

The allowance - for lack of a better term - of this kind of material showcases a cultural shift overall in the terms of visual storytelling filmmaking began experimenting with in telling, and in what audiences were responding too. Lady Snowblood was a beloved success for its overall low budget. In comparison to the two, The Hidden Fortress is filmed better, with more technique and focus, Lady Snowblood almost seems rustic in comparison, but it's a sort of rustic that speaks to experimentation. 

Low angles from a characters pov staring high above her, extreme zooms on Yuki's burning eyes, the oversaturated colors of red-orange blood or green walls or white clothes, the starless pitch black sky as powdery snow falls. The images are arresting even if at times they're choppy, and while the film opts for non-linear chapter breaks to create a story flow in comparison to Kurosawa's iconic screen swipes and straight forward narrative, yet, both work. 

Gohatto

Behold, the promised gay cinema I promised. 

Gohatto is a 1999 film directed by Nagisa Oshima based on the short story, Shinsengumi Keppuroku by Ryotaro Shiba. 

Gohatto is a pretty late entry in the new wave/pink films of its heyday but those films were Oshima’s bread and butter. Often dubbed as one of Japan’s cinema outlaws for his anti-establishment films, one of his films, Night and Fog in Japan (1960) was pulled from theaters all together. Most people in the west will probably know him even tangentially for his queer film Merry Christmas Mr. Lawrence starring David Bowie and Beat Takeshi or for this absolutely banger quote from the New York Times article, A Japanese Film Master Returns to his Cinema: 

(If you’re a BTS fan, the composer Suga and RM like, Ryuichi Sakamoto, both starred and composed the main theme of Merry Christmas Mr. Lawrence Forbidden Colors, he plays the guy in love with David Bowie’s character)

Gohatto combines the setting of a Kurosawa film, with the more experimental storytelling of Lady Snowblood, whilst imbuing the film with more surrealistic elements and more complexity. And making it gay like - for real for real. 

Gohatto goes like this: it’s the late 18th century in Japan, everything politically is on shaky ground, and the shinsengumi are looking for newbies to join ranks. Welp, they find two promising newbies and wouldn’t ya know it one newbie, Kano, is like, hella pretty. He’s got bangs. 

He’s so pretty in fact that all these other dudes in the shinsengumi crew wanna smash, I mean down bad like the Taylor Swift song or whatever I don’t listen to Taylor Swift. 

This is all treated with a lackadaisical normality; there’s teasing about “I never considered sleeping with a man before, but damn that Kano kinda…” but there’s never a moment of “omg they’re GAY?”

Beat Takeshi’s - who’s also in this film, he’s been in a lot fo queer films I'm noticing - character Vice-Commander Hijikata Toshizo often asks other characters not if they’re attracted to Kano - the implication being that they are - but rather if they are in love with Kano. Because lust is fleeting, but love is dangerous to your duty. 

Kano also might be a spy, or a murderer, it’s all very ambiguous and the ending isn’t a “happy” one. This isn’t a film about a love story of any sort, it has more in common with erotic thrillers than the action adventure of The Hidden Fortress, or the rape revenge fantasy of Lady Snowblood. Where as the former films have definitive endings, Gohatto ends ambiguously. 

What actually happened? And why did it happen? What did it all mean, in the end? The film offers no strict answers to these questions, asking instead, that its audience to come to their own conclusions. It’s also much more historical than the previous two films, taking real life historical figures like: Hijikata Toshizo, Okita Soji, and Kondo Isami and asking the question, “hm, what if they all maybe fell in love with this super pretty man before being overthrown and what does that mean metaphorically?” 

The Hidden Fortress doesn’t ask its audience to interrogate society in any meaningful way and that’s not a knock against it, it’s just an observation. Lady Snowblood specifically presents the plight of women, and a slight take on classism within the system, through the lens of violence and destruction. Gohatto is much more metaphorical, it’s not providing the audience with a direct message like the former two films, but presenting it’s thematics in a much more abstract way. The Hidden Fortress is an action adventure, with heroes who achieve their goals and overcome their obstacles. Lady Snowblood is a rape revenge with an understandable protagonist who succeeds in her bloody revenge. Gohatto has no heroes, and offers no straightforward catharsis at the end of its story story. 

Its film style is also far more atmospheric compared to the epic scale and straightforwardness of The Hidden Fortress, or the lower budget charming violence of Lady Snowblood. 

There’s lots of mood lighting, overhead shots of characters dimly lit, camera cuts to rain after two characters have sex, extreme close ups of one character observing Kano’s eyes and lips. It’s not a black and white film like The Hidden Fortress, but it’s not nearly as saturated in color and brightness as Lady Snowblood. 

Lady Snowblood drips with color, and light, even at night there always almost seems to be a spotlight on Yuki with an empty starless sky in the background. Gohatto is much more grounded in realism than high visual aesthetics, opting to create more of a lingering dreamlike trance or fog to the cinematography when the story’s final act begins to unfold. 

Yet, one thing Gohatto has in common with both The Hidden Fortress and Lady Snowblood is its violence; operating somewhere between the two. Like The Hidden Fortress the violence is quick, purposely, and specific, and like Lady Snowblood blood spurts, gushes, and heads are displayed proudly and grotesquely.

Kubi

Kubi is a 2023 film directed by Takeshi Kitano aka Beat Takeshi - this is the third time his name has been dropped in relation to a queer film in this post go Beat Takeshi - based on a novel of the same name that Kitano also wrote. 

Kubi is like Beat Takeshi’s sengoku period slash RPF fanfic come to gruesome bloody (literal, not British) life. A period piece epic; Kubi is both about samurai warlords and a historical event known as the honno-ji incident, which took place in 1582. It features various historical figures like Oba Nobunage - if you’ve watched some anime or played some JRPGs you’ve probably at least heard of this name before - and other prominent historical figures of the time. 

The basic gist of the movie is Oba Nobunage is both really good at his job, so he’s super powerful politically, but he’s also a grade-a asshole whom all the other important samurai lords fucking hate. However, they also all fucking hate each other and all want to take Nobunage’s place and get all that sweet, sweet power for themselves. The honno-ji incident involved one of these guys doing a coup for reasons still unknown today and then pretty much almost immediately dying swiftly after leaving another samurai lord to take over. 

Kubi takes these historical events, and is like “okay but what if we added some gay innuendo and gay sex to this drama?” with more beheadings than a French revolution. 

Out of all the films on this list Kubi is, admittedly, the one I enjoyed the least, however, it’s an interesting retrospective on the growth of both the Japanese film industry and this specific genre in and of itself. 

Kubi’s film style is very modern, it’s beautiful, it’s sleek, it’s expensive looking. And yet there’s specific scenes that feel like callbacks to the Kurosawa era, like the black and white flashback between Nobunage and his fellow samurai lords. One of Kurosawa’s top films was Kitano’s Hana-Bi (1997), and Kitano has worked with Kurosawa’s daughter on costume design on four other films as well, so these references feel not only purposely because of general influence but also referential in a way. 

In terms of story and tone, Kurosawa’s The Hidden Fortress is sincere and straightforward, Lady Snowblood is experimental and fearless, Gohatto is introspective and suspenseful, whilst Kubi is unrelenting and even feels mocking at times. There is no break in Kubi's violence, there's almost no tenderness or softness, characters are selfish, and self-centered. The selfish, but joyful peasants in The Hidden Fortress don't exist here, and are replaced with a peasant character who murders his own friend and then rejoices over being relived of his family once he discovers they were murdered too. At times, Kubi feels like a subversion of the more glamourous depictions of the samurai in film. Which feels as though following similar footsteps established in Gohatto which also explored, subtextually, the faults within the samurai media persona. 

At times the film feels almost like a dark comedy, it doesn’t glamorize these samurai warlords, nor their clans, nor their ideals in the way The Hidden Fortress does, nor does it interrogate them in the way Gahotto does. Instead the story at hand is presented with a brutal realism, objective if a bit mocking with a side order of gay sex. Which isn’t presented in a mocking way so much as just an everyday aspect of life. 

When Mitsuhide and Murashige are caught by spies sleeping together there’s no shock or awe about it, just a calm report and the bigger issue is Mitsuhide hiding a fugitive more so than him sleeping with a man.

Similarly, when Nobunage is literally fucking one of his vassals in front of Mitsuhide, it’s not to disgust the other man, but rather a powerplay of sorts to make the latter jealous - at one point Nobunage promises if Mitsuhide accomplishes a mission for him, he’ll sleep with him - and it seemingly works to some degree. There’s subtext throughout the film that Mitsuhide might be, if not in love with Nobunage, want him in an obsessive way all the same (including being down to bone). 

Like with Gohatto the queerness is inherent, just a part of the culture. It’s not “romance” by any means, but it is simply a part of life and the culture itself. 

In terms of characters, Kubi's characters couldn't be more different from the characters in the previous mentioned films. The Hidden Fortress characters like Princess Yuki and Rokurota are easy to like, honorable, quiet, steadfast; while Matashichi and Tahei are less outright likable they offer a grounding and relatable to the big presence that are the former two. In Lady Snowblood, Yuki is quiet, calculating and menacing in her own right, truly embodying the idea of cold vengeance which makes her intriguing. In Gohatto Kano is elusive, which adds to his sensual allure, Okita is playful yet clearly hiding a more sinister air about him, and you just feel bad for Tashiro who’s pushy but seemingly sincere in his affections for Kano. 

Kubi has no by-the-by “likable” characters, every character is out for themselves in some way shape or form. So much so that the brief tenderness between Mitsuhide and Murashige is like a balm to a burn. Though I did absolutely enjoy the scene-chewing of Ryo Kase who played Nobunage. While Nobunage isn't a "likable" character by any means, he was so fun and engaging to watch he became a highlight of the film. 

Stylistically, this is a very modern epic film; it’s the type of film in terms of scale I imagine Kurosawa could have made if he had access to the same technology, but also wouldn’t because there’s no stillness or sincerity to it. The violence is also more in line with Lady Snowblood, but with a budget. Heads are lopped off with ease and at times with glee, dead bodies, headless bodies with crabs crawling out of the necks, a literal pile of heads for trophies it’s all here. It’s beautifully and dynamically filmed, it has a similar scale of a Lord of the Rings, or a Creation of the Gods I: Kingdom of Storms. 

Big set pieces, big costumes, big landscapes, big battles, and bigger body counts. It also has the largest cast of any film on the list - kinda neat that Kitano and Asano Tadanobu were both in Kubi and Gohatto together - and the best costumes of the bunch. 

It also, in my opinion, has the most complicated plot of all the films because of the heavy political intrigue - though this, admittedly, could be because of the culture gap as I’m not overly familiar with Japanese history. 

Okay so like, where does all this leave us in terms of those original bullet points? 

The Original Bullet Points

Japanese Cinema hasn’t changed since the 1950s 

If there's one thing - well okay many things cause I'm greedy but overall - I hope I've been able to outline here with these four films is that obviously Japanese cinema has changed since the 1950s. And thoroughly at that. Not just in terms of style, but in terms of character presentation, tone, stories technology, experimentation, and a growing reflection of the shifting and developing culture. 

It’s not simply that all four of these films are different stories, but that all four of these films are addressing different aspects of their modern culture via these period pieces, as well as, viewing this time period in ways that reflect the filmmakers own experiences and how they feel or felt about the world. 

Kurosawa was born in 1910 to Kitano’s 1947, Fujita and Oshima’s 1932. Kurosawa’s father was a member of an actual samurai family, his worldview would be thoroughly different from someone like Oshima, or Kitano, or Fujita’s. Some overlap, sure, but also still thoroughly different. 

And I feel that you can see that in their films; Kurosawa’s samurai films are almost referential at times, not always, but his work with Toshiro Mifune often leans that way; in The Hidden Fortress Mifune’s Rokurota is deeply loyal to his lord, the Princess Yuki, to the point that he won’t shed tears over his own sister being executed in her place. He spares the life of a rival because he respects him even though they stand on opposing sides. 

The samurai in Gohatto and Kubi aren’t nearly so idealized nor idolized, there’s very little “honor” in Kubi and even less loyalty. Whilst in Gohatto there’s a deep and subtle interrogation of the strict and oppressive bylaws of the shinsengumi. In one such scene, Kano is having drinks with a man who is interested in him, Yuzawa, who’s passionately talking about how the shensengumi uphold oppressive ideals including classism. 

[And then he jumps Kano’s bones I guess politics got the dude going lmao]

The Hidden Fortress’ Princess Yuki is at first, masculine - in story she was raised as a man rather than a princess - from the way she walks to the way she talks. She’s fierce, and upstanding, while also being compassionate to other members of her clan; even saving a young woman who’s a member of her clan that had been sold. There’s a regal quality to Princess Yuki. 

In comparison, Yuki in Lady Snowblood is elegant, and feminine, before striking out violently. Princess Yuki never has an “action scene” and in fact for a chunk of the film has to pose as a deaf woman to hide her identity. While not a passive participant in the plot, nor does she directly drive the action herself. While Yuki, well the entire movie is driven by her actions and the actions of her mother. The story is first and foremost, hers. 

Meanwhile women just like, they don’t exist in Gohatto or Kubi they’re like, in the ether~~~ they’re drifting, keeping out - or kept out? - of the drama. 

Given the vast differences in both style, tone, story and execution, how can you say wholeheartedly that Japanese cinema hasn’t changed since the 1950s? 

Japanese film style falls under an extreme dichotomy of cinematic/sweeping (described as “atmospheric”) or cartoonish/slapstick (described as “live action manga”)

I’m just…not gonna get into the overall history of Japan's adaptation of manga into live action films cause it would derail this conclusion and I ain’t got the time for that. I would like to note, Lady Snowblood is a live action film based on a manga of the same name - and it is not slapstick. It doesn’t even have comedic elements, it is a violent rape revenge story; I don’t think there’s a single moment where I chuckled. The Hidden Fortress is far lighter in tone, while Gohatto has more in common with Lady Snowblood - deeply and sincerely serious - and Kubi goes for a darker sort of comedy. 

This is just incorrect information. Personally I’m of the mind that “cinematic/sweeping is too broad a spectrum to even quantify as a film genre they are descriptors. 

That said, I don’t think Lady Snowblood is cinematic or sweeping. Gohatto is the only one on the list that’s even close to “atmospheric” though all four films have atmosphere - because atmosphere is a film technique it’s not a genre of film - The Hidden Fortress and Kubi are the only two I could qualify as “cinematic/sweeping” because they’re going for a larger bombastic scale. Though I feel folks watching The Hidden Fortress in the modern day might not find it cinematic because of how static and slow the film can be at times - the first act is long and drags quite a bit. 

To place such a strict dichotomy on an entire industry of filmmaking is simply bad film critique at best and xenophobic at worst given the context here. I’ve only talked about four films in one singular genre, I didn’t mention the countless other new wave films, or the birth of the kaiju genre with Godzilla, the expansion into horror and grindhouse - where does a film like Tag (2015) fit into such a strict dichotomy? -  nor the long, long history of animated works from various insanely highly influential and/or successful directors like Satoshi Kon, Makoto Shinkai, Hideaki Anno, Rintaro, Mamoru Hosoda, Mamoru Oshii, Isao Takahata, I mean the list goes on and on. 

If you expand your horizons you’ll find so many amazing films that do not flatly sit in this one or the other imposed categorization. Think about what queer cinema you may be missing out on by adhering to this imposed binary. 

Baby does any of this have to do with BL? (no, but it IS more gay than you think)

So, in the end, what does this have to do with BL? I would say it has both little and a lot to do with BL/GL which are genres all their own in Japan and other neighboring countries; as such their subject to the same waves, exploration and expansion as the four aforementioned films. 

It’s easy, if intellectually dishonest and academically lazy, to look at The Novelist and What Did You Eat Yesterday and say “BL only comes in two shapes and sizes”. 

There’s chocolate or vanilla and that’s it. When in reality there’s lots of ice cream flavors available, even if chocolate and vanilla are the best sellers it doesn’t mean strawberry or mint chocolate chip don’t exist. 

Where does animated BL fall into this western imposed binary? How does capitalism affect the output of what gets made for the screen and how? How does the political climate affect what’s being financed? Are BL and GL works that are being made somehow unaffected, existing in a stasis state, by the works across the film industry? Even from other queer works of film? What are we, as outsiders, not considering when we engage with this media? 

If we’re only looking at BL/GL for “queer representation” what films and/or television are we missing out on from these countries? What BL/GL are we missing by only engaging with what's put in front of us, and not diving deeper into learning more, expanding our individual knowledge, and experiencing stories that might take some work towards seeing? Stories that might be outside of our direct comfort zones because they don't fall into those strict if seemingly comforting boxes. What exploration into queer identity are we denying or ignoring the existence of because of these imposed binaries? 

I know some folks who are more well versed in BL history that would and do consider Gohatto and Kubi BL or BL adjacent, but I also know most western, especially American, audiences would consider neither of these films BL. 

So where does that leave them?

Further Reading: 

Cinematic History: Defining Moments in Japanese Cinema, 1926-1953

A Brief But Essential Introduction to Japanese Cinema

Filmmaking from Japan: The Golden Age of Japanese Cinema

Nagisa Oshima: Banishing Green

JAPANESE SOFTCORE: THE LAST OF TOKYO'S PINK EIGA THEATERS

The Last Samurai: A Conversation with Takeshi Kitano

The Evolution of the Japanese Anime Industry

Check out other related posts in the series:

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

[dust-jacket-analysis]

Watched the London special, and now I'm going to word vomit here, to then eventually (potentially) refine this post into some solid analysis. (Spoilers for the special, obviously)

First off, holy fuck that was brutal. I mean, Marinette?? Girl??/ Get therapy??? I don't think there was a moment I stopped crying. Even when things weren't necessarily sad, I was still crying?

Just the whole scene of Marinette telling Adrien his father died, and that he was hero (tf he was *eyebrow raise*) was soul-crushing. Him lashing out was so... so good. Good writing genuinely. (Also everyone who got mad at Adrien for jumping the gun and blaming Marinette, fuck off *crafting a future post in my mind as we speak*).

The fight scenes were top tier. The part where Marinette leaps through two of the little time tunnel portal things, dodging Lila, was BRILLIANT. Her sass while doing so? God she's so cool.

Also Lila's breakdown was wild. No analysis, just shock (as if there's any semblance of analysis in any of this post).

The end scene was amazing! The little hug and then the "pound it" at the end had me legitimately bawling like a baby. Rip current animation.

Now, I loved the special. But I have BIG grievances. Well, just one big grievance.

WHERE TF WAS ADRIEN THIS WHOLE SPECIAL?

Like why did the writers, once again, backseat him? The thing I wanted most was to see Adrien grieving and coping with the death of his father and how that would impact him as Chat Noir the whole time. I wanted to see him talk more about it, and see him and ladybugs interactions the whole movie.

Instead, It was the fucking Marinette show the whole time. This is not Marinette hate, she is my daughter and I will protect her from all the haters. No this is "hate" to the writers.

They do this constantly and it pisses me off. Because the show started with them clearly being co-leads. Yeah, Marinette was a bit more focused on, but it was clearly supposed to have some semblance of balance. And then season five hits and *boom* Adrien's screentime (Correction: His quality screentime) plummets. And it's never been more clear than in this special.

Like the entirety of this whole arc plot revolves around Adrien. His father is the main villain, his father's motive is to revive his mother, who died using the peacock miraculous. which was used to create him because he's a sentimonster. Mayura is Nathalie, his sort of surrogate mother who is in love with his father. His house is literally the location of that final battle.

WHICH HE"S BENCHED FOR WHAT THE FUCK

And now, in the aftermath of all that, he's benched too. No participation, hardly any screentime. It's sad, disheartening.

All in all, this special has summed up the last couple of years of the show/franchise pretty well. Great emotional impact, more plot, and more intense themes. But also the disproportionate amount of focus on Marinette and the disservice to Adrien, all at the cost of good writing.

Still, I did love the special. It was good. I just think it had the opportunity to give fans what (I think) they wanted and could've been great.

[luminousdryad]

to make things brief cause I suck at organizing what I have to say, the live action was definitely Something™.

Cast: 10/10 kinda biased personally but yall can't take this from me

Gordon as Aang and Dallas as Zuko were the standouts imo. Gordon needs some direction on line delivery and the angstier scenes but overall he's very charming and I'm so proud of him for getting so much exposure!

Ian as Sokka was great, I just wish he was allowed to be more...messy? like Sokka pretends to be chill and all that but he's actually dramatic so I hope that gets improved in the next season if there is one

speaking of improvement, Kiawentiio as Katara brought out a softer side to the character but sadly diminished her spark and passion. I like that Katara now actually feels like a younger sister, it makes sense within the context of the story that Sokka and Gran Gran would shelter her after what happened, but as someone said, her anger is so central to her character and I just wish that got shown more. It's more of a script and direction problem tbh, if you look at Kia's interviews she has the sass and feistiness Katara needs

Lizzy as Azula is great, the writing is a bit clunky though so she did the best she could with it. Can't really comment on Mai and Ty Lee yet because they're kinda just there but it's a nice setup

Maria as Suki? perfection show stopping never the same she is a queen and I love the tidbit of Suki backstory which she never really had in the og show. I love her being such a loser around her crush we love to see girlfailures girlfailing. I wish the writers didn't make them KISS though 😭 slowburn ftw

the adults were great

Writing: 6.5/10

There were genuinely good moments and I love the concept of mixing up certain plot points to condense the story

But they just suffered from too much Telling instead of Showing WRITERS PLEASE LISTEN TO THE CRITICISM YOU HAVE TIME TO IMPROVE PLEASE

Omashu, mechanist, and Jet plot mixing as a concept was fine, but it dragged on and my friends and I got bored of it. I like it in theory but if it was going to take THAT long couldn't they have just separated one of those storylines for a different episode?

I appreciate that they tried to develop the water siblings' relationship by making them the stars of the Secret Tunnels, but I would've changed the way they "conquered" the problem (really? badgermoles respond to love? cute in theory but like why). If anyone's watched Barbie: A Fairy Secret there's a part where Barbie and her frenemy accuse each other of why their friendship failed, and it helps them make up and breaks the curse put on them. So that's what I would've done, force them in a life or death situation in which they have to say the unsaid things, maybe hug it out and boom

The way they handled Koh and the Spirit World was a Mess™ but the effects were decent

Zhao meeting horrible ends in every incarnation is so deserved

Yue having more agency was a welcome change AND I LOVE THAT SHE WATERBENDS. Then waterbends even when the moon is gone. It's such a nice visual nod to the fact that she has the moon spirit within her

That said, the show could definitely use more visual storytelling, less weird dialogue. Like it's so strangely common for shows or adaptations these days to exposition dump. Like they did not have to make Yue say that the ocean spirit was angry, literally just show me the dead moon fish and I'll get the idea. Then Iroh says "That's Wrath" that's just redundant now isn't it

I like that they saved Katara bringing Aang out of the Avatar State until last even if it could've been done better

HOW DARE THEY MAKE ME LIKE HAHN HE WAS A JERK IN THE SHOW BUT THEY MADE HIM A GENUINELY GOOD CHARACTER. Yes to brown men not being portrayed as jerks but also in the original it was a nice contrast to how far Sokka had come because Hahn reflected who he used to be. But live action Hahn </3

I like that they showed the deaths and blood. I wanted a live action that was both lighthearted but more realistic when it came to the injuries and death, and that'd kind of what I got

Other thoughts + overall

You can tell they put so much heart into this show, watching the bts, the bending boot camp with the correct martial arts, the easter eggs, the nods to the comics, the beautiful adaptations of Cabbage Merchant and Secret Tunnel nomads, there's so much passion behind the show it's a shame it suffered in its writing

which is why if they read reviews and criticism from the bigger name fans (TheAvatarist, HelloFutureMe, etc.) it would really help them improve for future seasons! The cast is stunning already and they have great chemistry (hopefully gets improved too!)

The live action is just a different angle to the show. And I'm saying this as an Avatar fan–the original wasn't perfect, either. I had some problems w it but the overall show was genuinely so good and heartfelt, those problems weren't glaring enough to put me off (unlike The Dragon Prince, sorry). The live action definitely wasn't perfect, but it tried to give us a new look into Avatar. Again, no adaptation will ever be a 1:1 remake and none should be. Where's the fun in that? But while the show is so full of heart and with actual fans working behind the scenes, I doubt if they listen to any criticism that they can't pull this off better next season.

[alanaartdream]

So sketching / drawing last night and this morning some more ideas for fairy Timmy with how Jimmy Timmy power hour & nicktoons unite handle it … also

Somehow added in chococat dress as Timmy for fun not such why I felt the need to draw that;;

Also I feel like getting turned into a fairy at 13-14 and then getting a chance to grow up with poof/peri and Wanda / Cosmo not having Timmy’s birth parents being bad influences on Timmy (let’s face it Timmy’s birth parents along with Vicky & cocker were manger players into A lot of Timmy’s bad wishes once you take them out of the picture I feel like Timmy’s wishes wouldn’t be so out of control anymore) would be quite positive influences on Timmy plus having Jimmy and the nicktoons unite gang would also be great influences on Timmy as well

He most likely will mature and become less selfish with all of their influences; because like Wanda and Cosmo know already at heart Timmy is a good kid he was just living a life a bit like Cinderella was living before Wanda and Cosmo came into his life

I mean I get the feeling with Timmy’s birth parents they love the idea of being parents especially at 1st but hate the responsibility of it being as they’d go on vacations without him then hire Vicky to babysit whenever they could and ignore him a lot of the as well as only pay attention to him when they felt like it;;

Now before the nicktoons unite gang get approved to be teachers for helping Timmy use his new fairy powers my fairy Oc Felicity had to set some ground rules for them ( her main jobs are fairy of inspiration (art and writing she acts as a muse and helps artists & writers get out of art/writers blocks ) cat disabusing system (she helps cats who wants/needs homes find the right humans to help them (she can speak to any feline animal but no other animals)) and record keeping but she’s also in charge of making sure the human child turn fairy settling into their powers well; most of fairy world cannot trust Jorgen to handle this alone because of his track record of what happened to half of godchildren in his care (also nana boom boom would note she couldn’t leave child felicity with Jorgen being as she almost blew up fairy world as a child when left with Jorgen; apparently when fairy children scream in fear or upset bad things can happen; happy screams or giggling good things happen; Jorgen was trying to make her laugh but accidentally scare her so had screamed)

Soo Felicity starts to make a list of things to be careful of and while she’s doing that Jimmy makes a file listing these rules down to have in his computer & lab

The list starts out as

Fairy rules

1) no making fairy children cry/ scream in fear but if you accidentally do this you have to try to get them to laugh so it cancels out the nagetive magic

2) no iron around fairies

3) no butterfly nets to be used around fairies

4) do make reasonable wishes around fairies so no ricks of magical back up and be careful of what wishes you do make around them

5) no human unless they sign right paperwork/ made a agreement with fairies or are godkids are allowed to know about fairies being real ( if any untrustworthy human is around say the fairies are program holograms or have the change into disguise)

6) do not trust pixies or Anti fairies; if one shows up be careful how you handle them

Now that’s how the rules start but new ones will get added as nicktoons unite gang find out about all the other interesting things

Now with no more worries of his birth parents and having Wanda & Cosmo as his loving parents and adorable baby brother poof/prei I start to see Timmy getting less and less selfish and becoming more sweeter and could see Jimmy falling harder and harder while Danny probably see Timmy like a little like himself when he first got his ghost powers so treats Timmy and peri/poof like younger cousins/ siblings

Now I know a lot people dislike Cole from later seasons (I didn’t get to watch when she and the dog started to become apart of the show know only what others have said about her but for the few Cole fans out there I’ll say the fishbowl will after a week be moved to her home and Wanda & Cosmo will explain some things to of what happened to Timmy and what went downhill and that she’s not allowed to let anyone know what happened to Timmy or she’ll lose them as fairy godparents so Timmy & poof will probably get to see her until it’s her time to grow up and forget about them and fairies;; but most of the time Timmy and peri will be enther at fairy/ magic school or hanging out with nicktoons unite gang so Cole doesn’t get to see them too much only mostly Wanda & Cosmo but Timmy & poof/peri do give her one last goodbye when she turns 17-18 before she forgets them all;; so cocker switched to chasing her around for fairy god parents but the nicktoons unite gang will come in to stop him if Cole needs help dealing with him so she only meets the nicktoons gang in those times but otherwise I don’t think I’ll do much with her sorry; but when that goodbye happens I can totally see Timmy & peri hanging out with Jimmy that day then maybe Wanda and Cosmo go into their retirement and Peri and Timmy focus on their studies; and I believe Jimmy will become a great inventor as well as a professor and I could see Danny becoming a professor and thanks to Jimmy he starts Foundation for safer students into the paranormal being as he himself is well half paranormal himself (the government in Danny’s town/universe would call on him

To deal with ghosts and paranormal stuff) can also See Jimmy doing very well and yeah grovnment having to call on Jimmy for his smarts/ intelligence and inventions

So by then Timmy will probably helping Jorgen with DA RULEs of fairy world while helping out fairy world with all sorts of things while also being a fairy lawyer and by then felicity works as his assistant when she’s not too busy with her own fairy work;

[orionsangel86]

Seeing criticism of Good Omens Season 2 on here is a wild ride for me because I generally seem to agree with everything gomens critical people are saying whilst at the same time still absolutely loving gomens S2.

It's like this: Okay so you have written this super popular book revolving around this precocious kid who happens to be the antichrist whose birth kickstarts the apocalypse. The four horseman turn up as well as these other strange human characters one of which is an actual witch whose great great great grandmother wrote an accurate prophecy book which predicts armaggedon. Through a series of somewhat hilarious events, the kid, his friends, and the other weird humans manage to stop the apocalypse.

Also throughout the whole thing there are these angel and demon characters fussing about getting into arguments but not actually doing anything to forward the plot or make any difference to the main storyline. For some reason everyone reading the book finds these characters far more compelling and entertaining and seems to think they are the main characters. But they are not.

Then the book gets adapted into a show and the focus shifts onto the angel and demon characters because obviously they are the popular ones that everyone loves. So what's a writer to do when the fan favourite characters basically don't have any part in the primary plot points? Give them a more coherent side plot steeped in romantic tropes and claim that they are in love. Boom. Instant fandom catnip.

But then you are presented with a problem. The show has become super successful and everyone wants more story. You may have discussed a sequel over the years with your writing partner but it never really came to anything probably because its difficult to plot out a sequel centred around two characters who weren't the protagonist of the first book, and that story is done and dusted. Whats a writer to do?

Lean into the fans thirst for more angel on demon action and write what amounts to high budget fanfiction pulling the love story b plot of season 1 into the main focus for season 2. Of course book purists are gonna hate that!

Any legitimate sequel to Good Omens should have centered around Adam. The former antichrist now coping with everything he went through growing up a normal human whilst still having a creeping sense that its not quite over, that maybe heaven and hell still have a part for you to play in their grand plan. Sure, Crowley and Aziraphale could have been involved, continuing their b plot love story, but at least this way the sequel would have been more consistent with the plot of season 1.

The problem with continuing Adam's story is that, and I mean no disrespect here, no one cares about Adam. Adam and his friends are the weakest elements of season 1. People tune into Good Omens for the Crowley and Aziraphale show, and Neil Gaiman knows this.

The plot of Gomens S2 is weak. The mystery around Gabriel is a bit silly, and is only connected to the season 1 plot in the loosest sense. The fact that he and Beelzebub speedrun an angel/demon romance is bizarre and does come out of left field... like something out of fanfiction. It also does indeed rob some of what made Crowley/Aziraphale so special - the fact that they were unique in their love and respect for each other despite being on opposite sides. Also I wish Maggie and Nina were given more development (and less clunky dialogue).

The only criticism I really don't agree with is the criticism that Aziraphale was written out of character, because quite simply, season 1 never ever resolved the fundamental issue at the center of Crowley and Aziraphales relationship. Throughout season 1 Aziraphale constantly insults and berates Crowley, claiming he's the "bad one" and refusing to accept that they aren't on opposite sides. There have been plenty of metas stating that this was all out of fear and a need to protect Crowley, and sure, you can interpret it that way, but not once in season 1 does Aziraphale actually say "yes we are on our side. Yes we are the same. I was wrong to claim you were bad when you've clearly been showing me how good you are for millennia." Its maybe implied that he has learned, but its never truly confirmed, because season 1 wasn't about Crowley and Aziraphale and their relationship. But season 2 takes its lead from that.

It's just rather amusing to me how the discourse that has built around season 2 seems to be fundamentally forgetting these points. GOS2 isn't really a sequel to Good Omens. It's a spin off. It's a spin off about Crowley and Aziraphale and their silly relationship drama whilst they deal with a silly low stakes mystery regarding Heaven and Hell (also characters that were barely involved in the book if at all!). It doesn't really tie into the first story at all.

In my opinion, all it needed to link it more closely to season 1, was to bring back Frances McDormand as God to do the narration. If that had happened, season 2 would have been just fine. As it stands, it comes across rather like a spin off fanfiction. But I love fanfiction, and I have always only ever watched Good Omens for Aziraphale and Crowley. To me, season 2 is fantastic, its like if Supernatural had a spin off show all about Castiel in which he is the lead character, and part of the main A plot is him getting together with Dean finally - Dean being the love interest in this particular show. Amazing. 10/10 would watch another 15 seasons of just that - but general Supernatural fans who aren't fandom specific would probably HATE IT.

So yeah, I do understand the criticism its receiving, but I find it funny, because ultimately Neil Gaiman gave fans exactly what they wanted, he gave them an Ineffable Husbands fanfiction - M/M Romance, F/F OC Side Pairing, Rated: Teen and Up, #Fluff, #Dancing, #Excessive Jane Austen References, #Crack Treated Seriously, #Surprise Final Pairing (check the end notes for spoilers!), #Miscommunication, #Love Confessions, #First Kiss, #Angst #Hurt/No Comfort, #Cliffhanger Ending.

Can any of us really say we wouldn't immediately click "proceed" on this fic and then stay up til 3am reading it til our eyes bled? Me neither.

[onlyplatonicirl]

boom explosion. guess what its been 2 years since i came into your ask box to bother you about blogverse!!! as usual its the roleplayer behind the first lorelcest kid Oleander, Mercury, and most importantly to me, Bv!Shandyo

genuine apologies if you dont enjoy these! thats pretty fair and i get that it didnt affect everyone else as strongly as it did me, i just feel like its important that you know how much youve affected my life positively.

so, i was a bullied, neglected kid with unsupervised internet acess when blogverse happened (still a kid just less, woo!) and blogverse, especially your blog was probably the only part of the internet that i genuinely believed changed me for the better.

the sense of belonging, escapism, and the opportunity to create a character and show them to others like me was incredibly beneficial for me as a person and an artist in the long run, and to this day making OCs, writing, and especially drawing are passions that i consider deeply important to me- passions that blogverse and its community didnt exactly start, but they played a big role in fostering it. i know you just accidentally one day made an entire community that lasted two months but i cannot stress to you enough that it changed my life and i cant thank you & queenie (unsure if they still go by that, sorry) enough for it.

I also majorly admired you (and many others in a lot of the communities you associated with, but especially you) greatly as a person, artist & writer!!! you were my art goal and while that's changed as ive grown, striving towards this goal nurtured a hobby that i now know was/is a special interest to me.

while probably seeming like minor interactions with some kid who didnt know how to write a consistent character to you, to me your patience, kindness & continual creation of art genuinely helped me retreat from my abusive home life, gain a sense of belonging as a bullied autistic child, get better at art n writing, & grow as a person. i still lurk in communities like blogverse, but bv was my first and forever will be cherished in my memory.

so yeah. the things you do affect people whether you think so or not, and while i dont majorly interact with your content anymore, i hope youre well n you keep being great. :)

I want you to know that I’m at a friend’s house right now and she’s cooking herself dinner. I’m reading this paragraph and I literally start tearing up in front of her and she asks me what’s wrong 😭😭😭

Legitimately I feel like I have somehow won at life, like I won a lottery, because I don’t possibly know what I did to deserve messages like this and it makes me feel so amazing to know that I have positively effected the life of another person. That’s all I can hope for in life, and I can feel how much heart went into this letter so I’m trying to respond in turn

Even though at the time of all of this I had just around turned 18 years old, I was still very much a kid who was also trying to escape from a less-than-ideal home life. I never expected an audience when writing tcoti, it was purely my own self-indulgent passion project with my own hyper-specific headcanons. The fact that other people resonated with it so much and it created so many other inspirations as completely unexpected and absolutely baffling to me. I could have never seen it coming in a million years. It changed MY life for the better to know a my own silly utmv ideas literally inspired like. Countless others

I’m also going to share this post with Queenie, because they NEED to see this. Blogverse was her passionate project and I think to know you were as touched by it as she was and loved the writing is amazing. Also I’m showing Slime. @cosmic-chronologer look at this post with your eyes. I didn’t contribute with the writing as much as I should have because of how busy I was, and the real masterminds behind the project go to Slime Queenie and Achro. I hope they see this message!!!!

Thank you for telling me about the positive impact me and the others have had on you, it genuinely makes me so happy to hear. I’m SO happy you’re still continuing to create!! Most of my utmv friends back from then have left the fandom obv but I’m still in contact with most of them :) it means so much to me that you told me, because otherwise I would have never known how you feel!!!!!

I wish you have been well all these years. I loved all the ship kids you made :))))))

[whatdoeseverybodywant]

I got myself started lmao.. rant incoming

#1) Ok so boom JIMMY should have eliminated Jey... ok hear me out,

It would have gave Jimmy something else to boast about leading to their WM match.

cost jey the tag titles

cost jey the IC title

eliminated jey from the RR

that would have been a great build up, but we got jackshit

#2) The writers that the WWE have now SUCK! There's no way in hell fans on this site, tik-tok, and all other platforms are making better storylines & outcomes than y'all DO BETTER! One thing i can say about the V**** era is that his stories were entertaining and most of them made sense (theres no way HBK's tag partner should have been GOD but I digress) but now it feels like they're just going with the flow and not trying to make good storylines anymore. They're just throwing shit to the wall and seeing what sticks.

#3) LET RANDY TURN HEEL! for the love of GOD let that man be a vicious as he was in 2009. He forgave one of the main ppl who shelved him? oh hell nah! Randy should have walked in that cage and BOOM RKO! no talking just straight revenge. Drew has been on Jey's ass more than Randy. AND DREW WASN'T OUT FOR 18 MONTHS!

#4) GIVE THE WOMEN A SECONDARY TITLE GODDAMN IT! There is way too many talented women on the main roster for them to be sitting in catering wondering when they're gonna get back on TV. Give them something else to fight for, hell bring back the DIVAS title, shit give them something.

#5) STOP BRINGING UP NXT TALET JUST FOR THEM TO SIT IN CATERING. Baron Corbin went back down to NXT and made himself a STAR just to get a second main roster run and WE HAVENT SEEN HIM IN WEEKS! oh and don't get me started on Dijak, he was on NXT TV everydamn week now what!!! He's wrestling Pete Dunn on Main Event... I FORGOT MAIN EVENT WAS EVEN A SHOW!

JUST LET NXT BE ITS ON THING. IT CAN STILL BE A DEVELOPMENTAL TERRITORY BUT ONLY CALL UP SUPERSTARS WHEN YOU HAVE SPACE FOR THEM!

🙃

[hannah-shipper-banana]

I’m bored so here’s a ranking of the Austin and Ally seasons IMO

4) Season 1

It was cute. They were all such babies.

It was goofy and the songs were bops. No drama, just fun.

What was the wardrobe department smoking tho , because why did they have Ally (a 14/15 year old girl) looking like a grandma? Austin, you’re not getting away with your wardrobe choices either buddy.

3) Season 4 (there i said it)

In terms of comfort episodes, this season has it all for me. No drama (until towards the end of the season) just vibes.

The comedy for sure matured and the characters were developed and grown up.

Also AUSLLYYYYY. They were 100% married for the entirety of the last season, no one could tell me otherwise. They were just living their best life being happy. They all acted like normal high school teens in this season which I liked. (I liked when they got to be normal teens instead of pop stars all the time)

Austin and Ally were in FULL mom and dad mode with season with Trish and Dez being the fun aunt and uncle.

Also younger me (and low key present me) wanted Ally’s wardrobe. SUCH an improvement from season 1.

Genuinely such a funny season with a lot of funny episodes.

BUT I low key missed Sonic Boom and there were a lot of filler episodes (IMO). Also idk if its just me but I felt like they were acting more grown up than they actually were.

Also where were all the performances? Where were the Auslly at the piano scenes? WHAT WAS UP WITH AUSTIN’S HAIR?

With all that being said I still really loved this season.

2) Season 2

The writers really did that!

The comedy, the goofiness, the angst, the drama, the romance! THE WARDROBE CHANGE!

THE FUCKING PERFORMANCES! (That ‘Better Than This performance’ + that ‘Tunes and Trials’ episode lives in my head rent free)

BABY AUSLLY! THE BEGINNING OF THEIR LOVE STORY! ALLY LOSING HER STAGE FRIGHT! WHAT WAS IN THAT MF NOTE?!

That finale still has me in pieces

The comedy was still kinda childish but it was a Disney show! Come on now.

THIS was the season that hooked me onto the show. MWAH chef’s kiss.

AND COMING IN AT #1, WE HAVE SEASON 3!

I don’t know what the writers were on this season but MY GOD!

This was peak Disney Channel greatness for me. Younger me was SHOOK!

The comedy was matured and the episodes were entertaining af.

The angst and THE DRAMA!! THE JEALOUSY!!!

Cannot think of a bad episode this season. (Well…)

THAT FINALEEEEEE! THE BIG I LOVE YOU SCENE!

Started off with Austin and Ally missing each other while he was on tour, a few shenanigans in between, a few relationships filled with jealousy AND THEN ended with an Auslly love confession and Austin giving up his career for her! Who’s doing it like that?!

Also what was in the water that year, cause how did everyone look so damn good?! Ally’s hair will forever be goals, it was GIVING.

There was a balance of comedy, romance and drama AND performances and that’s what made this show what it was essentially.

[starshipqstar]

On a supportive queer fandom, community, and making our first ever animation

Making the Starship Q Star animation has largely been wonderful - we got to make a show we love and learnt a LOT. As two writers new to producing the format (Lauren had only written for kids animation) - it was a huge learning curve. A learning cliff if you will. Whilst we had to cut a lot out for time and budget, we're really proud of how they turned out within the constraints. And by the end? Lauren and I coloured most of the final episode and I did all the compositing and VFX myself (all in Toon Boom Harmony - a program neither of us had used a few months before).

Animation is also still a bit of a boys club - so we committed to finding a design and animation team that was diverse as possible, and reflected what the project was about. I'm proud to say that we managed that (out of our cast & crew of 24, only 3 were cis-men - and most were queer). We also gave opportunities to diverse creatives who hadn't had jobs in the industry before - and have since seen some of them use the experience to get more paid work. You simply love to see it! All of the cast and crew are incredibly special and brought amazing things to the show - an absolute dream team.

It hasn't been easy at all - animation is a LOT of work, and the budget didn't allow for all the support we probably needed, so it was months of unpaid work for the two if us, and a number of weeks working 15-20 hour days to get it done. But we bloody well did it!

But since the show has been out, it's been a bit of a... reality check? Having been immersed in the audio drama community with Starship thus far - we perhaps got a little too used to how incredible supportive (and perhaps queer?) everyone is.

Another animation project is part of the same initiative as we are, and it was one of the first projects released. The creator is a really lovely and talented guy who has made a special show we really enjoyed. His show went kind of viral - which is AWESOME! It's great! However due to his experience on certain other projects... some of the fans of his show... aren't necessarily our audience? And the nature of the initiative means only some projects get chosen to make more.

The first comment on YouTube a few minutes after the Ep 1 of Starship Q Star was published was "make more [the other show]". Then our socials started getting homophobic and really negative comments (and trust me I have spent a long time curating that tiktok algorithm lol). At first I thought it was weird or maybe it was just because we were being shared by a third party so the wrong audience were finding us - but then they also included comments like "[the other show] is better".

I honestly find it odd that some fans take it upon themselves to do stuff like this. Making art is hard! And liking one thing better than something else doesn't mean you have to actively hate that something else! There's room for us all to succeed (well, once we take care of that pesky thing called capitalism). And maybe remember that when it's an indie project the people who made the thing are usually the ones running the socials lol.

We are so grateful to have had so many incredible people love and champion the show in both audio and animated format. And we feel so lucky to be a part of both the queer and audio drama community (yes I know that venn diagram is a circle) - it truly is such a special supportive environment that lifts one other up.

Anyway, I'll probably delete this (way too earnest - eww) but thanks to all the lovely ones out there. We really love and appreciate all of you and all the nice comments and messages and shares. Means the world!

[browneyess]

Let’s talk about Din’s side-story/show takeover in The Book of Boba Fett. Personally, I really liked the show! It definitely wasn’t great, but it had potential. However, what they did with Din and Grogu was horrid. Yes, it was cool, but they didn’t need to put that in an entirely different show. The only reason I can think of as to why the directors did that is to bring back Grogu faster, their biggest money grab. Disney is all about that marketability! I hated that so much. Another reason they might have brought Grogu back so quickly is that some people watch The Mandalorian for Grogu or just really love the character. Without Grogu, The Mandalorian was sure to have viewership rates drop. However, the show is called The Mandalorian, not The Mandalorian and Grogu (although the same title is being used for the movie to be released in 2026). It's bout the Mandalorian, not Grogu. While its plot is heavily supported by him, he’s not a keystone in it. The show can function just fine without Grogu. However, Din cannot!

Disney completely breezed over the two years Din and Grogu were apart. Two years. And you know what Disney does? They don’t acknowledge it! They don’t even hint towards the fact that Din was definitely mentally struggling without Grogu; he helped him in more ways than one. I’m going to be honest before I rewatched it, I didn’t remember how season 3 started. However, I do know how it should’ve started:

Season 2 ends with Grogu being taken away by Luke. The elevator door shuts and boom, that’s it. End of the season. The writers of the show could’ve taken advantage of that and started season 3 in the same place they left off. The poor writing left out so much important information, like what did Din do after he took off his helmet? Did he put it back on and act like nothing happened? How did the others react? How did they move on from that whole ordeal? Season 3 could’ve started with that. It could’ve explained everything that happened post-season 2: Din’s handling of being alone/an apostate, how he moved on/coped, what he did afterward (did he return to bounty hunting (TBOBF confirms that he did), or did he go on hiatus and/or hide somewhere?), etc. It’s so infuriating to me that Disney breezed over the fact that Din was definitely mentally struggling. The way they wrote Din’s part of The Book of Boba Fett and season 3 made it seem like those two years of grieving never happened. Don’t you think Din would be, oh I don’t know, maybe a little overprotective/clingy over Grogu? Perhaps even salty toward the Jedi! I know for a fact he’d hold a grudge against Luke/Ahsoka/other Jedi for taking his boy away from him. This isn’t DIN DJARIN, this is BIN JARRIN. UGH.

While season 3 could’ve delved into Din’s recovery from losing Grogu, it also could’ve taken advantage of the obvious doorway to introduce more flashbacks. In the entire show, we only get a single flashback, and it only explains what happened to Din’s family, how he became a Mandalorian, and why he dislikes droids so much. It is great that they did that! Although, they are severely lacking in a lot of other important backstory parts: how Din adapted to being a Mandalorian, his relationship with the other Mandalorians (Paz Vizsla and the Armorer especially—maybe some non-introduced characters?), what inspired him to be a bounty hunter, etc. etc. Oh my God, the possibilities for season 3 are genuinely endless, and it pisses me off to no end that they didn’t seize such a good opportunity.

Din’s part in The Book of Boba Fett and season 3 would be better off as season 4, of course, with better writing.

Genuinely there should be more focus on Din's obvious anxiety and trauma. They could have gone in so many directions with it and instead just brought Grogu back. I really wish they’d shown us Din fresh after losing Grogu because I feel like his separation anxiety would be insane (as loss can make that more prone to happen! And Din is no stranger to losing things at a young, impressionable age!). He literally watched his parents die. I feel so bad for him because he finally found an anchor in his life, and then this random blond-ass twink pulls up and is like, “Come with me.” Or something, I don’t know. And then Din takes off his helmet??? For Grogu??? And then that’s it—they literally don’t acknowledge it whatsoever. Like, what do you mean he’s a human with emotions and struggles! 😂 Never heard of her!

He didn’t trust droids for over half his life because of trauma, and I feel like there’d be other things he’d have bad anxiety over too (like Grogu and his attachments). Can we get more of that, please? Even still, he doesn’t trust droids. In season 3, he asked for IG-11 specifically, despite him being literally offline. He still tried to get him back, and it wasn’t until IG-11 REALLY went out of commission that he had to settle for R5-D4. Then in episode 6, Bo said, “Do any of them look suspicious?” and he replied, “All of them look suspicious” because the droids they were looking at specifically were battle droids—the kind that killed his parents. So obviously, he holds a grudge against that model. But I know for a fact he was uncomfortable on Plazir-15 because of the extensive droid staff.

The way they skipped over those two years gives Din Djarin’s character the impression that it meant nothing to him. Or—it went by so fast, he didn’t even realize. Whatever it was, it was a poor writing decision. Din’s character is beautifully complex, but the writers aren’t putting in the effort to even consider that.

Without Grogu, I feel like Din would be a lot different. More cold and quiet than he was before; how he was at the beginning of season 1 and The Book of Boba Fett chapter 5, "Return of the Mandalorian." He’s distinctly more dry in replies and more focused on his job than anything. The Book of Boba Fett at least gave us a little bit of Din without Grogu, but that didn’t even last long because the following episode Din goes to see Grogu. As much as I love Din and Grogu’s relationship, I feel like Din trying to move on—emphasis on trying—would make a good episode. Like trying to do a job, fresh from becoming an apostate and losing Grogu, and he just can’t focus with everything that had just happened.

A detail I love in The Book of Boba Fett chapter 5, "Return of the Mandalorian," are two things that remind Din of Grogu: the beskar chainmail wrapped in a way that it kind of looks like Grogu’s head, and the green Rodian child. As much as Din would like to move on, he simply can’t because everything reminds him of Grogu. Also, he literally had the Armorer break down the spear to make into a gift for a “special foundling,” and he wanted to see Grogu. They even talked about how Jedi aren’t supposed to have attachments, but the Mandalorian Creed is built on attachments. While Din wants to keep Grogu, he knows he can’t because that’s not what Grogu can have. He’s destined to be a Jedi; there’s no dodging that.

Adding to that, without Grogu, I feel like Din would be a lot different. More cold and quiet than he was before; how he was at the beginning of season 1 and The Book of Boba Fett chapter 5, "Return of the Mandalorian." He’s distinctly more dry in replies and more focused on his job than anything. The Book of Boba Fett at least gave us a little bit of Din without Grogu, but that didn’t even last long because the following episode Din goes to see Grogu. As much as I love Din and Grogu’s relationship, I feel like Din trying to move on—emphasis on trying—would make a good episode. Like trying to do a job, fresh from becoming an apostate and losing Grogu, and he just can’t focus with everything that had just happened.

Considering how deeply Din's life has been affected by Grogu, his attempts to move on would undoubtedly be fraught with difficulty and reminders of their bond. 

Din’s journey without Grogu could have been an opportunity to delve deeper into his role as Mandalore and how he navigates that responsibility amidst his personal loss. This aspect of his character and the dynamics within the Mandalorian community could have added rich layers to the story. Instead, the show has overlooked these potential storylines, focusing more on quick resolutions rather than exploring the depth and complexity of Din’s situation.

In general, I want to see more of Din’s attachments—past and present. That’s what their culture is built on, right? It might be the lack of scenes he has with other Mandalorians, but he seems kind of distant from a lot of them (though the general plot of the show hasn’t really allowed us to see those connections in the past). The Mandalorian culture is built on attachment and trust, which contrasts with the Jedi. 

Seeing more of Din’s anxiety and how he handles his attachments would add so much depth to his character. His journey is filled with loss and trauma, and exploring these aspects would make for compelling storytelling. Season 3 could have delved into his struggles with trust and connection, especially in the wake of losing Grogu and becoming an apostate.

If you read this far, thanks! You're a real one.