#they usually have a lot of things going on during their cb season so I suggest watching related vids 😂

[dalkyeom]

chia!!!!!

chiachiachiachia hi beloved bestie certified loml guess who got into stray kids (me bc i reblogged chan content from you) do you have any recommendations for things i should watch from them

i've spent the better part of the day watching mvs/meme vids help

AMG I SAW YOU RB AND WAS LIKE ??? Xan entering Stay era??? amg the turn tables bc they were my ult before svt 😭👏🏻 who’s your bias? 🥺💕 which songs/albums do you like so far?

Amg!! So ngl it’s been a super hot minute since I’ve watched anything new from them (other than their skz-players) but I recommend their variety a lot if you want to know them better!

I really enjoy skz-code when they play fun games. I’m not sure if it’s a regular show by now like Gose but the kids’ interactions are so cute and fun! I also recommend Finding SKZ (God’s Edition) since it’s what got me into them in the first place and their Kingdom week special. Reminds me that their Kingdom performances were so so good too so I recommend checking the stages from there too!

For more laid back content, I like watching their vlogs: Felix’s sunshine-log w/the cookie episode is my fave, Lee Know’s vlogs too!

[blackbird-brewster]

Meta: Jemily Queerbaiting

With the huge influx of posts saying 'Jemily is gonna be canon', I really appreciated seeing this post because OP was completely correct. I didn't want to write an entire dissertation as a reply, so I'm making my own post with my personal opinion on this. (All sources are noted in footnotes)

Before I began this rant, for anyone who thinks this is anti-Jemily. It is not. I have shipped Jemily for 18 friggin years and that's never going to change. This post is specifically my thoughts about queer baiting.

First off, I need to note that the showrunners (and the cast members who use social media) KNOW what a huge queer following this show has and that's why we got pansexual Tara Lewis in S16 [1]. Which, in itself, was SOOOOOOO important!!! Our first canonically queer main in SIXTEEN seasons was a middle-aged Black woman!!! That's phenomenal. (The fact it was horrible rep, because they instantly ruined her relationships once her queerness served it's plot point is a whole other post entirely)

In my opinion, the 'big Jemily moment' Paget posted about on Twitter [2] (and AJ hinted at during a recent IG live) is simply queerbaiting to get people to watch S17. I know a lot of you are newer to the fandom and I love your enthusiasm, I really do, ship and let ship, but listen, let's be real, Jemily is not going to be made canon. The showrunners aren't going to suddenly say (after 17 seasons) 'Surprise, Jemily is endgame'. This show has never cared about queer rep and now that CBS/Paramount have already ticked their queer rep box with Tara, they won't be in any rush to add any other characters to it.

Please buckle in, I've got a lot of thoughts on this matter --

What is Queerbaiting?

If you aren't aware of what queerbaiting is, here's a good definition:

Historically, queerbaiting has carried two meanings: the first is an act of aggressive heterosexuality to shut down queer subtext on screen while still teasing and catering to the queer audience in advertising, public relations, and fan engagement strategies; the second is an existing homoerotic tension between two characters played up on screen while met with derision by the professionals behind the scenes. [3]

The Medium article quoted here is from 2017, a time when parasocial relationships were really starting to take over social media. In 2024, actors are now only a mention or tag away online, they have direct conversations with fans, and this process has allowed for an even deeper form of queerbaiting.

Oftentimes online, actors are asked directly about certain ships and while some ignore these questions (usually to avoid breaking their contracts or other repercussions), others (looking at you, Paget) choose to instead tease fans about queer ships. She's done this for years upon years and if I've learned anything in the past twenty-years of existing in fandom spaces it's this -- don't hold your breath. In it's original meaning, for something to be deemed as queerbaiting there had to be malicious, or at least, purposeful intent to string queer fans along by teasing them with suggestive content about the ship in question, while knowing this ship will never come to fruition in canon.

The thing to remember is, Paget and AJ aren't the only ones who know about Jemily shippers -- the network and showrunners are well aware of this ship too. When networks/showrunners figure out they have a strong sapphic fanbase, they love to use that to their advantage to get more viewers and higher ratings. Queerbaiting is a goldmine to keep fans watching long running shows, look at Rizzoli and Isles, Supergirl, and OUAT for examples of this.

Jemily and Queerbaiting:

Ever since Emily joined the BAU in S2 (2006), there have always been fans who ship JJ/Emily (shoutout to the old LJ forums!). Way before celebs were just a tweet away from fans, back when all our fics began with disclaimers so we wouldn't get sued by networks, we went to great lengths to keep our fanworks far removed from actors/showrunners attention.

As far as Jemily goes, this reply from Paget in a 2009 interview with TVGuide.com [4] (which has now been deleted from their site unfortunately, but there are quotes on Tumblr still [4.a]) confirmed some fans' worst fear -- the actors had found our fanworks online.

TVGuide.com: Of course, a band of fans want her to hook up with Hotch.

Brewster: I know! I didn't realize that fans make these videos on YouTube? A.J. Cook sent me a hilarious one that made it look like Prentiss and J.J. were having a secret lesbian affair. You know, when Hotch was blown up in the SUV, we shot this scene where he's in the hospital and I'm standing next to him, looking at his bleeding ear. Our director came in and said, "Paget, you're looking at Hotch like you're in love with him. It looks really weird." So now, every day, Thomas [Gibson] and I flutter our eyelids at each other.

This was the first time I recall anyone acknowledging Jemily shippers publicly and at the time (Jan 2009), the show was still in Season Four (just before CBS fired both AJ and Paget [5]). Paget genuinely said it's 'hilarious' that fans shipped JJ/Emily. Even now, I'll see people say 'We know Paget and AJ have seen Jemily fanvids, so they obviously ship it too' -- but those same people rarely acknowledge the full context of the original answer. Paget not only thought JJ/Emily were 'hilarious', but then she doubled down and turned her reply back to how she and Thomas liked to play up the chemistry between Emily/Hotch.

While no one can say for sure which video it was that AJ sent Paget, just knowing they were watching JJ/Emily fanvids sent a bit of a shockwave through the femslash side of the fandom. To some it felt like an invasion of privacy, fanworks are by fans for fans -- knowing the cast were poking around in fandom spaces added an extra layer of worry around what we fans were posting online. Fifteen years ago, it used to be quite taboo for actors to outwardly discuss shipping or other fanon for whatever show they were in, and we fans were usually comfortably removed from the actors altogether.

Of course, now it's the norm for fans and actors/showrunners to co-exist online and interact with one another. This connection has opened new ways for shows to queerbait their fans. Pretty much every show has some form of social media account now and there is no doubt that the people running those accounts keep up with the most popular ships and hashtags. Not to mention that actors are constantly barraged with questions about whether they ship their character with x,y,z, or whether they think a ship should be made canon, etc. These interactions only serve to benefit the shows themselves, because whether the conversation is for or against a certain ship, it's all just free publicity (Why do you think CM now has a TikTok account?)

Every time AJ or Paget say anything about Jemily, the queer side of the fandom loses their minds. But this has been going on for YEARS now and every single time, it turns out to be nothing but social media hype and queerbaiting. Remember this AJ post? [6] Or what about the notorious reply by Paget to a fan, where she talks about how she and AJ held hands under the table 'for the shippers' [7] I've seen this cycle over and over again, so perhaps I am cynical, but I'm not getting my hopes up that Jemily will ever seriously be canon.

It's widely known now, after both Kirsten [8] and Paget [9] have talked about it, that there was an early idea where Prentiss was supposed to be queer, but that was ultimately scraped before it ever made it on screen. For context, please remember, this show has been airing for nearly twenty years. It began in 2005, during the highly conservative Bush administration. Queer people didn't have rights in the US, we couldn't get married, we were rarely protected under discrimination laws, and we could even be fired for simply being queer (in some states). Diverse queer representation on screen was extremely limited to things like 'The L Word' and 'Queer as Folk' (both aired on Showtime, so they were behind a paywall. And as far as tLw goes, that show was extremely male-gaze focused and is horrible in nearly all regards if you try to rewatch it now). As far as prime time shows went, queer rep was even more rare. Which is why Emily wasn't queer from the get-go.

Yes, things have changed since 2006 in terms of queer rep on TV. We have a myriad of queer identities represented in TV and film nowadays, which is why I think it's so easy for newer fans to say 'lf she was supposed to be gay anyway, they should just make Emily queer in canon!' I know this is what fuels most fans' demands for Emily being confirmed queer, and I get it, I DO. I would be all for it! However, I do not, in one hundred years, actually believe that is going to happen after they already canonically queer confirmed Tara in S16. The fact we even got ONE queer character is ground-breaking for this show.

It's also worth noting, that in the time between Paget's departure in 2012 and her return in 2016, she became very active on Twitter. This was when more and more fans began asking her about Jemily and after Kirsten's AfterEllen interview, fans also pushed for Paget to address the possibility of Emily being gay. 'Pushed' is actually an understatement for some of the outright harassment she would receive. (AJ received some of this harassment too, but less so because she doesn't use social media ass often) Back then, neither of them replied to these things directly. Yet, no matter what either woman posted, the replies were full of Jemily stans begging for her acknowledgement. (Did you know 'stan' is literally a term coined for stalker fans?) I remember one time AJ's friend was missing and she posted info on her IG about it, you know what the replies were? People asking her about Jemily. It was genuinely sickening.

Within this context, it was no surprise to fans when Emily came back in S12 , she and JJ's friendship was seemingly erased. The two women were rarely on screen together in the late seasons, plus the writers saw fit to even give Emily not only one (Mark in London, but two, on-screen boyfriends for the first time in the entire series. I personally do not think these changes to Emily's character were coincidence, I saw the hellscape of what people would say to AJ and Paget online and I fully believe that upon Paget's return to the show, the showrunners purposely tried to distance JJ and Emily to dissuade the more abusive side of the fanbase.

Can I prove that, no. But it is the only reason I can think of as to why Emily S12+ seemingly didn't care about JJ anymore, despite their deep and meaningful friendship. I mean, they both CROSSED THE WORLD to go rescue each other in prior canon -- but when Emily comes back, they acted like they barely knew each other. This was even more prevalent in S16, when JJ's main storylines all revolved around Will, and Emily barely looked at JJ in the entirety of ten episodes. (Remember how Prentiss didn't even hug JJ after bomb, but she did go hug Luke?)

So, do Paget and AJ earnestly ship Jemily, or are they continuing the long tradition of queerbaiting us? Who fucking knows, not me. But based on the history of this fandom, I think I can make a safe bet. (Interestingly, if you search all of Paget's twitter for the word 'Jemily' [10] she only has 3 direct tweets mentioning the ship. I don't think it's a coincidence that two are within the past few months since they started filming S17 (the other one was a RT of Kirsten (who tagged something Jemily)

This is all to say --

Just because Paget and AJ have publicly talked about Jemily,, this doesn't mean it's ever going to happen on screen. And you know what, THAT'S OKAY!! There has been this constant outcry (after Tara became queer confirmed) of 'Do Emily next' or 'Why wasn't it Emily with a girlfriend!?' and 'Jemily needs to be canon in S17!' -- as if people believe their ships aren't worth anything unless they are canon.

That couldn't be further from the truth! Fandom is built on headcanons and fan interpretations and rare pairs and all types of shippers. Your ship does NOT need to be canon for you to enjoy it. I will ship Jemily forever, no matter what. I don't think there will be some magical queer plot in S17, at best, we might actually get to see Emily/JJ on screen together again and after the train wreck that was S16 -- I'll take whatever I can get.

And hey -- if I am completely wrong, if Erica Messer pulls a Korrasami out of her hat, I will be ecstatic. I will be happy to be proved wrong, but at the same time, I'm not going to lose sleep over it and I'm DEFINITELY not going to go hound the actors about it on social media.

Sources:

[1] 2022 Digital Spy article about the importance of Tara's coming out

[2] 04/18/24 Paget Tweet

[3] 2017 Queerbaiting article from medium.com

[4] 2009 Broken TVGuide link

[4.a] Tumblr quote from the above TVGuide Interview

[5] 2010 Kirsten interview screenrant.com

[6] 2019 AJ Instagram Post

[7] 2020 Paget video on Twitter (via @karasluthqr)

[8] 2015 Kirsten interview AfterEllen.com

[9] 2016 Paget Interview CriminalMindsFans.com

[10] @PagetPaget search 'Jemily'

[ncisfranchise-source]

Reaching 1,000 episodes for the franchise was insane, and, by the way, I’m pointing out that almost 500 of those are just us,” says NCIS star Sean Murray ahead of that milestone. “I just have to throw that out there because I’m proud of that.”

That episode airs on the mothership on April 15, and Murray has been around for most of the ones to air on NCIS, having recurred in Season 1 and becoming a series regular in Season 2. So he has been there for a lot, including some necessary changes on set.

“It’s unreal. We had a lot of people asking what it was like, and I kept kind of shaking my head because it’s really unfathomable,” he tells TV Insider. “Shows are not supposed to go 21 years. It’s a miracle to get picked up. It’s a miracle to go past one year. It’s a bloody miracle. Sorry, I’m Australian, so I say bloody a lot. It’s a real miracle if you go five years. It’s an insane thing. And for a television show to go 21 years… We have had to rebuild our permanent sets because the partitions and stuff have fallen apart because they’ve been there for so long. And I’m not even joking with you. Chairs that were brand new when we started the series, these beautiful $1000 conference room chairs are falling apart like crazy because we’re in year 21, so we’re having to replace a lot of that stuff.”

Murray’s hesitant to share too much about the 1,000th episode itself (we already know Hawai’i‘s Vanessa Lachey and LA‘s Daniela Ruah will appear) but promises that both longtime and newer fans will enjoy it.

“My favorite thing of what we’ve done in the 1,000th episode is we have got little Easter eggs and things hidden all through the episode—and not even just hidden. We call back to a lot of things, but it’s a little hard to describe,” he admits. “It’s a great show for the people that are just tuning in for the first time or new fans. For the people that have been with us for a long time, it’s really something special because you’re going to see, like I said, Easter eggs of things. You’re going to see things that tip-off to old episodes, famous episodes that we did. Little moments. We have characters come back that we haven’t seen in a very long time.”

For example, like it was very much part of the first episode of the series, “Yankee White,” he continues, “Air Force One is very involved in that as are characters from that episode and from our past there. It’s going to be a cool one.” One such character from that episode is Fornell, played by Joe Spano, who we also know is back for the 1,000th episode, thanks to photos Murray shared on Instagram.

While there are those aforementioned characters from other NCIS shows appearing in the 1,000th episode, don’t expect a crossover outside of that, necessarily. (Ruah directed an episode, which Murray loved. “I know that she’d been doing a lot on LA, so it seems like a natural thing for that to happen,” he shares.)

With the shortened season, “we really want to make the most of our 10 episodes as possible, and so we’ve really turned a lot of it inward, and it’s even more character-focused,” explains Murray. “We really want to just buckle down and make it about our team there.”

But he’s not ruling it out for the future. “We like to do crossovers and do that stuff, and it’s a lot of fun. We know when the show continues, if the show continues, that that stuff will happen and everyone plays within the franchise,” he says.

CBS

And those crossovers are fun! After all, with the three-show event in January 2023, Murray reunited with LA‘s Chris O’Donnell (G. Callen) and LL COOL J (Sam) after he worked with them in the two-part backdoor pilot, “Legend,” during NCIS Season 6 in 2009.

“I will never forget doing that interrogation scene with Chris and Todd. That was so much fun because I’m the one in there usually grilling everyone, so I was on the other side of the table, and that was a lot of fun, having those guys there,” Murray shares. “I remember when they did the spinoff when we were in year 6. It’s wild. So to see the success that they had and the way that that show went was really cool. As much as it’s inside the franchise and we share names, the shows were very different, too. I know they didn’t want a carbon copy of NCIS, even though they share the name. It was a different kind of show, but being able to have those characters over with us was really fun.”

[implausiblyjosh]

S3 Picard & S1 CSI: Vegas

This is a repost from my cohost account! Major spoilers for Star Trek: Picard, minor spoilers for Star Trek: Discovery, and all of the following outbound links are to a character's fandom wiki page.

i, uh, like trash tv. it's a problem. i was recently doing a rewatch of the hit FOX tv show 24 because that show is way more unhinged than i remember, even from the beginning. CW's The Flash is must-watch tv for me, i drink my coffee out of a mug with The Flash on it every thrusday when i watch the new episodes.

in my quest to watch more trash tv, i remembered there was a new CSI show out, CSI: Vegas. CSI is prime Josh Trash TV, it's a show i used to watch with my mom when i was growing up that we both agreed was trash (me a bit more than her) and we watched anyways because it was a thing to watch when it was on. not so much "must-see" tv, but more "must-observe". "must-study"? whatever lol

CSI: Vegas is a continuation of CSI, taking place in the same setting (Vegas) and includes fan-favorite characters like Grissom and Sara from the original series. it also introduces a whole new cast, who get a ton of time to bounce off of old favorites while also defining themselves.

the interesting thing is that the "gimmick" of the new series also builds on the formula of the old series, and plays with the tropes of copaganda procedurals. in the old series, there would be about two cases per episode. characters would get split down the middle to take on the two cases, doing their investigating and finding evidence and so forth, while also occasionally coming together to give each other inspiration. usually the seasons are monster of the week style, every episode's cases are unrelated, but longer character development happens over each week to tie the series together.

in CSI: Vegas, the setup is similar. one case is monster of the week, a place for the new characters to stretch their legs and get their development. the second case is about the season-long mystery: did David Hodges fake all the evidence that he came up with during the events of CSI?

it's a neat premise! a less-trash tv show would probably read the room of Current Political Happenings of 2021 usa and just go for it: yeah, of course the cop faked all this shit, that's what happens. you'd still fall into copaganda stuff, because then the premise of the show would be "the Good Cops have to put the Bad Cops away", but at least it would be a little different, a little more interesting. regardless, it's a neat premise that allows for a lot of old characters to come up and for nostalgia to be farmed, while also progressing the new characters.

also, aesthetically, the show looks like old CSI. like, it's touched up, things look more "crisp" in the Streaming TV Era (this is a CBS streaming TV show, after all) but it's still like. pun or one-liner that leads into The Who song *Who Are You. when they Do Science there's some goofy, over-the-top CGI animation of chemicals and wounds and all that stuff. even "weird" shots are still there? something about original flavor CSI is that they'd make it look nice. if someone was rebuilding a crime scene in their lab, or doing a lot of large-scale monotonous work, there would be some interesting way to show it off. in the first or second episode they do the same type of stuff, they're marking a burned-down pawn shop into quadrants and cataloging everything, and it's one of those sweeping time-lapse shots that you'd see on Tested when adam savage is building something.

that's a lot about CSI and CSI: Vegas, but what does this have to do with Star Trek: Picard?

see, S3 of Picard is kinda attempting to do something similar, except they're failing spectacularly. the general thrust of S3 is that starfleet is under attack and must be stopped by the Next Generation cast and friends. that, i think, could be a neat premise. sure, they announced S3 was going to be a Next Generation reunion season in the middle of S2 while the characters were doing time travel shenanigans to save the universe (it doesn't matter) so we knew that this adventure didn't matter in several ways, but okay. neat premise, brings everyone back for one more paycheck to play these characters again and hopefully provide a good season of something like Star Trek: The Next Generation.

right? like, you wouldn't say "here's the cast of Next Generation going on one last, big adventure" and not play to the strengths of the tv show Star Trek: The Next Generation, right? you'd want this show to feel like Next Generation but with a modern budget and effects, right? right?

reader. i have some bad news.

see, Star Trek: Picard is setup like Star Trek: Discovery. i don't have a problem with the structure of Discovery, but it leads to some storytelling choices. the strength of Discovery is that each weekly adventure can be mildly self-contained, but also can be moving a larger plot forward. this week we're learning about a new species in this part of the galaxy, and this adventure with them will help us get closer to figuring out who that red figure is. where Discovery falls apart is when it spreads itself too thin, and each episode of the season feels like Part 5 of an arc that could have been two episodes at most. "what's beyond the milky way galaxy" is a two-episode arc in other Star Trek shows, not a season-long question that we're slowly coming closer to an answer for in Discovery. ya know?

anyways, the first four episodes of S3 Picard are answering "what's goin' on with Beverly Crusher and her new son", which is a weird question to ask in Picard because they haven't acted like the character existed up until now. some episodes of S1 & S2 dealt a lot with "can Picard love anyone?" and seemingly left out a very relevant character from that discussion. you do see her freak son once in S2 and he looks like he's hosting the aftershow talk show (it doesn't matter).

but that driving force for those episodes is a two-parter at best. 4 episodes? that seems a bit poorly paced. that's cause it is! there's another thing going on, where Raffi is on an undercover mission to find out who stole some portal tech and used it on a starfleet recruitment building. Worf is also there. Oh, also Ro Laren is there for an episode. oh, and now the changelings from DS9 are a threat again, and are behind a huge, slow coup of starfleet. i dunno, it's all... blurring together.

also, nothing means anything in this show. at the end of S1 of Picard Picard dies and he gets put into a Data-style android and he's still old and will die of natural causes anyways, just when the actor himself passes. it doesn't matter, it's come up as a joke a handful of times since. at the end of S2 Picard Picard befriends the new borg queen, one of the main characters they left in 202X during the season's events, which allows for a new benevolent borg who wish to join the empire. it doesn't matter, hasn't come up since and seemingly is not significant this far into the season... despite the fact the reason new main character Liam Shaw hates Picard and people from his Enterprise-D is because Picard got captured and turned into Locutus of Borg.

it's the combination of nothing mattering and not using the strengths of the show you're obviously trying to reference and call back to that makes Picard a worse "nostalgia" show then something like CSI: Vegas, which is a wild thought to put online. now the thrust of the season is "what are the changelings up to" and i don't care, really. i want to know how it ends out of fascination, but i know it won't matter. nothing else has, events in one season of Picard don't seem to matter to the next season, so who can say if this will even matter to other Star Trek shows made after this. Discovery is now set, what, 1000 years in the future of what's happening in Picard that it will likely never come up. Strange New Worlds takes place after Enterprise but before Star Trek: The Original Series that it will also never come up there. this is the last season of Picard, so it's likely any relevance these 3 seasons of television have to the greater Star Trek universe dies at the end of this 10 episode season. by April 20, 2023 it's likely this show will not be relevant to the Star Trek stories being told, a meaningless addition that the shows itself will no longer reference. Star Trek: The Animated Series will be more important to the fictional setting and stories.

it's frustrating! i love this weird universe and their weird shows with my whole heart, and it's weird that CSI: Vegas, a copaganda nonsense show made for streaming platforms to get the coveted "olds who love Gil Grissom so much" audience, is doing this nostalgia bait in a way more competent way and (crucially!) a way more entertaining way. all they had to do was "more Next Generation but with more modern tv show sensibilities" and they fucked it up so bad!

[alexbkrieger13]

https://www.tumblr.com/alexbkrieger13/721898261129117696/httpswwwtumblrcomalexbkrieger137218572800234?source=share

You're asking where that confidence comes from. I'm asking you why so darn negative? Shouldn't we believe in the team just because past results? If football worked liked that we'd never won another medal after the world cup 2015 and euro 2017. We obviously won a silver in 2016 and two consecutive medals after 2017. Winning back to back medals is extremely hard to do as a national team.

Swewnt isn't swemnt that more often than not fail to qualify for championships and still lives in 1994 when they last won a medal. You ought aswell as every other swewnt supporter know they can both win and lose against any team in the world. They could very well have another run like they had in the Tokyo olympics if everything falls into place. I don't think people realise how hardworking and how well tactically educated they are. The latter makes it a lot easier to get things together on the pitch. They've been drilled in tactics since they were teenagers.

To win championships you need physics, tactics and skills. Historically swewnt didn't have many individually skilled players until the Blackstenius generation came. Now they're a strong team collective with more individually skilled players than back in Schelin's days. They're a complete team with all three parts and different skillsets, with a good coach, no locker room drama and they're given good resources from the federation. Like this ongoing prep camp for the players not in season. It's at the same facilities and pitches the mnt prepare at when they're in Gothenburg. The player hotel is either swewnt's usual good standard in central city or they're staying at that luxurious spa hotel.

Other nations develop sure, but that's no reason to rule out our chances before the fact. Save Germany, how many can be said to be complete teams? And with good backing from their respective federations? France is skills, not so much tactics and physicality. Spain is skills, a bit more tactics than France and thanks to the Barca players they can play physical. But Spain isn't Barca since Frido and CGH etc obviously don't play for Spain and it's a different coach. England is physicality, more tactics than France and Spain and have a few individually skilled players. US is physicality, decent skills but not so much tactics. Brazil under Pia is skills with organisation. But it's a struggle culturally to get them to play as a team and don't abandon the gameplan if the team struggles, they try to solve it individually and sometimes the better idea would've been to take help from a team mate. Germany is a complete team similar to swewnt but how good is the backing in resources from their federation in comparison? And so on.

Regarding players who haven't played for a while. There'll be the closed door friendly and the on paper two easier group stage games to get the cobwebs off. It'll be more challenging in the knock out phase of course but by then if every piece is in place, Swewnt will be up and running.

Bar injuries during the world cup and sickness, we won't see a repeat of the euro last summer when we had to start a different backline for every game. Meanwhile looking at the status for the other teams with a shot to win the world cup:

England: many key players ruled out injured France: a new coach who hasn't had much time with the team Spain: they're not happy with their coach, two players still refuse national team duty US: players ruled out injured Australia: hosts looks good to go and they'll have the home advantage boosting them. Can they cope with the pressure? Germany: looks good to go with the generational shift had an effect. Have they solved the cb-pairing issue once and for all?

Biggest worries for swewnt imo is the new set up with a new keeper and the backline. And the bloody efficiency converting chances into goals since forever. They management of player load is under control. I'm not gonna waste energy being worried until I see how they look after the opening game and definitely not until after the group game against Italy. Then we'll have something to gauge not before.

Think this might be the longest ask I've ever received. Listen I think sweden will do well and their path to the final is hard but is doable if all goes according to plan.

[lesbiancarat]

.

[impact801]

Fight at the Museum: 3A's Hidden Potential

Season 3 ended over 2 months ago, and I think it’s fair to say this season holds its own with the other 2, having episodes that rank as some of the best. To “Oliva and Yunan”, “Froggy Little Christmas”, “The Core and the King”, and the amazing 2 part finale of “All In” and “The Hardest Thing”, each of these episodes will be engraved in the mind of fans for years to come. However, Season 3 always had one episode that I feel has been slept on in the fandom, it’s not hated or loved it just doesn’t get that much attention, but yet to me this episode was almost everything I wanted out of season 3 and gives snippets to 3A’s full potential.

Source:

This episode first starts with Anne searching for a way back to Amphibia, staying up all night in order to find some clues, a far cry from the Anne who just let Marcy handle all the research junk back in Newtopia. Matt talked in a few interviews before Season 3 started about how Anne is a more mission-focused character, and I think this episode is where we really get to see it. Anne is taking full control of the narrative now by being the head/caretaker of the Plantars, and now leading the charge into getting back to Amphibia and stopping the invasion. It’s a great position for Anne’s character to demonstrate her growth but also give her new challenges to grow from as seen in this episode.

"Workaholic Anne"

Anne has taken her lessons of responsibility to heart, almost a bit too much. Anne is working so hard to a point where she’s stressing herself, and staying up all night. This version of Anne is what I like to call “Workaholic Anne” and it’s one of my favorite versions of her because it’s Anne taking her lessons from Amphibia a little too far. In this episode, she has to learn to find a balance between taking care of herself and handling her duties. I wish we had this version of her for a bit more in 3A, with Amphibia in trouble, and her friends in moral parallel, I think keeping this version for at least one more segment would’ve kept the tension TC had for longer.

Anne comes downstairs to meet with the Plantars and they immediately realize the toll it’s taking on Anne to find a way back to Amphibia. It’s nice having the Plantars play a more supportive role as they did in other seasons, as in most of 3A’s episodes, it’s usually exclusively Anne having to take care of them. The Plantars also feel more...individual in this episode, if they aren’t the focus of an episode, the Plantars can feel like a hive-mind, in the sense that they can blur together all doing the same thing, but here the Plantars’ individual strengths start to play more of a factor here, especially during the Heist. For example, HopPop takes back his role of giving guidance to the family, by telling Anne the lessons she needs to learn in this episode.

Anne’s Mom comes in and suggests that since she’s so much into research now, she should go to the Museum and get some of her school work done. Mrs.Boonchuy isn’t in this episode too much, but I like that this part demonstrates an aspect of her that Anne mentioned in Hopping Mall, with her always pushing Anne to do better in school.

We then get to see Cloak Bot(CB), and he is one the coolest character in this season and is our 1st ever-recurring antagonist in the show a trend Season 3 will continue with characters like Andrias, Mr.X, and (kinda sorta) Darcy. I’ll go into a lot more detail about Cloak Bot later and what makes this guy so awesome. One thing I will say though is that this demonstrates how well the continuity of the show has gotten, with Cloak Bot not being able to track Anne anymore thanks to his tracker being destroyed in his last fight. This season pulls something similar with Mr.X when finds out what HopPop looks like under his disguise allowing him to recognize HopPop in the commercial in Hollywood HopPop. To me this aspect of 3A makes LA stand out more, as it feels like Anne and Plantars' actions always have some sort of effect on the world around them.

Back to Anne and her family, they end up exploring the Museum with funny jokes to a boot, like how HopPop is a flat-earther, or Anne’s Mom blasting some heavy metal and putting on some shades, when they get out of the car, even Polly vibing with the Cavemen is great stuff. The Humor for this episode always has stuck out to me because it’s a bit "softer" than other episodes, you don’t have a lot of crazy zany jokes coming at you at once, but softer more subtle jokes, that rely less on overtop humor, but instead on solid dialogue and character interaction. Some examples are, Dr. Jan feeling insulted about Anne hating history, or Anne's mom not believing Anne's doing the report but rolling with it anyway. The only big joke I can think of is HopPop's "Eat the Rich!", but even that joke still moves the story forward. I really like this style of humor for this season because it allows it to still keep me laughing without the joke taking up too much time for action-packed moments and strong emotional character beats.

It’s then when our heroes find an ancient Amphibian Vase that Anne thinks could be her ticket back to Amphibia, and we meet Dr.Jan and this is where the 2nd lesson of this episode comes in.

Dr.Jan shows that she has some knowledge of the Vase, and could really help out Anne in finding even more information about it, but Anne refuses her help. This is a major contrast to Anne's season 2 self who was too trusting, and very easily swayed in opening her hearts to others, whether it be to the Curator, Andrias, Marcy, and even Sasha, but every time she did that she got burned, she’s closing her heart to others and is not willing to give Dr.Jan a chance to burn her again. This is such a major point in Anne's journey, if Anne doesn't learn this lesson she will never gain enough help from her parents, Dr.Jan, or Terri to get to Amphibia. Without this lesson, she won't be able to forgive Sasha or Marcy. Without this lesson, Anne becomes just like Andrias, someone isolated from the rest of the world and not willing to build strong relationships with others.

It's pretty rare for Amphibia's episodes to give two lessons instead of one, the lesson of the balance of responsibility is the overarching lesson of both this segment and Temple Frogs, with the trusting of others being the other lesson of the episode.

After that Anne and the Plantars decide to rob the museum with some badass outfits to boot. This edgy outfit is my favorite fit she had this season, in fact, it’s one of my favorite things about 3A. Anne’s design/outfit changes so much this season, whether having her hoodie on or around her waist, the Christmas outfit with the candy canes in her hair, or the badass suit and tie in EtA, it’s a nice change of pace instead of her looking the same in every episode.

The Heist itself is where all of its greatest aspects of this episode start to come together. The Plantars individual skills become more prevalent as each of them are used to infiltrate the Museum, with HopPop using his acting skills to get by the guards, Polly’s tiny size to fit through the vents and get past the lasers, and Sprig using his tongue to take out the cameras. I think this episode has the best Anne and Plantar dynamic in 3A. The episode still makes Anne the leader of the family, while letting the Plantars give Anne the love and support she needs and keeping their individuality.

Next is the Frog-Terminator himself Cloak Bot and there 2 things that make him work so well for this episode. One of them is his dynamic with Anne, in New Normal CB just appeared coincidently at a bad time to cause Anne trouble, but in this episode, he comes thanks to Anne’s actions. Anne decides to steal the Vase instead of just trusting Dr.Jan, this allows CB to locate it through the security cameras. It was Anne’s fault for CB finding her and it forces Anne to have to learn the lessons of this episode the hard way.

The 2nd thing that makes CB so great is what he brings Action-wise to the show. All of Amphiba's major fights have usually been more character-driven, with the fight being more about the character's abilities and conflicts with each other. However, the setting for the fight didn't mean all too much, for example, if you put Anne and Sasha's fight in Reunion in a boxing ring it wouldn't change the actions of the characters in the fight itself.

But CB changes this by making the setting so crucial to how the fight operates. With Anne and Plantars using all the artifacts as weapons, HopPop using the guillotine to cut off CB's arm, and Anne making a trap to have Kronosaurus(yes that's what thing is btw) fossil fall right on top of him. This addition to Amphibia's fight scenes makes them even more dynamic than before, and this is expanded upon tenfold in "Anne-Sterminator" and "All-In" by combining the character drama of previous fights and the setting usage of this.

The episode ends with Dr.Jan coming in at the last minute making Cloak Bot retreat, and Anne finally giving Dr.Jan a chance and trusting her. Anne learns lesson #2 from HopPop, while Anne learns lesson #1 from Dr.Jan using her experience to let Anne know what happens if she pushed herself too far giving excellent closure to Anne's arc in this episode.

Fight at the Museum has always been an episode racking in my brain, and I couldn't figure out why until I started delving deep into it, but I think it all comes down to the fact that this episode kinda gives an idea of 3A's fullest potential. What if 3A gave more time to "Workaholic Anne", it could've kept more of the momentum TC had, and added more urgency and tension this season needed. What if 3A kept the balance of Anne and Plantars dynamic this episode had?

Not to say every episode needs to be exactly like this one or that 3A was bad, but I think if the show followed in this episode's footsteps more I think we would've had a much stronger 3A. Fight at the Museum gave us some awesome action, a crucial point in Anne's journey, the best Anne-Plantar dynamic in 3A, and some great humor that still gave time for major character beats. This episode fucking rocks!

Thank You so much for reading! I've always felt like this episode never gets as much attention as I wished it did, so hoping I gave it some justice. Have a Great Day!

[buckybarnesss]

@macandstella​ 

hi and welcome to my ted talk about csi ny and what makes it different than the other shows in the franchise.

the first being gary sinise. he had a huge amount of influence over the show and it’s direction from the beginning. he had a significant hand in creating mac taylor as a character from the ground up. he was the get for the executives at cbs.  people don’t know how quickly gary became a producer on the show. he was an uncredited producer as of 1x11 tri-borough and the rest of season 1 and it wasn’t until season 2 that it was credited. sinise’s conservative politics were also baked into mac taylor but also his musical talent and his activism for the troops influenced mac’s military service. but definitely the conservative politics. and you’re right that there is definitely something of giuliani in the character before he went batshit insane.

i also believe there’s a lot going on in mac’s interactions with sinclair later in the series. especially season 3 during the clay dobson arc and than in season 5 with the ann steele thumb drive arc. 

(side note: gary also provided the narration to captain amerca’s exhibit in winter solider)

but it should be noted that gary wasn’t the only one who had influence on his character. melina made stella greek. danny had carmine’s short lived baseball career ended by injury. actors usually do end up influencing their characters to a degree.  i also think john dove had a pretty significant influence in the writer’s room and as a producer. john appeared on screen as detective scagnetti as well. but he was a nypd veteran and gave input on a lot of things. he pops up a lot on special features on the dvd sets. 

i wish i knew more about pam veasey’s perspective to include her because she was so heavily involved with the show in practically every aspect and i don’t want to implicate otherwise. 

of course, 9/11 is a foundational part of csi ny because obviously the show takes place in new york itself but also because mac’s wife claire was killed on 9/11. the trauma of 9/11 not just the political fallout is there throughout the entire show. if i remember right zuiker even talks about at the end of his commentary on blink how csi ny was the first show permitted to film at ground zero. 

there’s also the sordid history of the nypd that sort of looms quietly in the background. vegas and miami were basically unknowns to the public at large. the nypd on the other hand is famous but also infamous. by and large this show is copaganda. they are the heroes of the stories. solving crime by dinner time like they’re mary-kate and ashley olsen while also often having questionable interpretations of the 4th amendment. because this was around the time of the patriot act, the invasion of afghanistan and the bush administration lying it’s ass off about iraq. 

it’s so interesting to think about the behind the scenes aspects of the show and see how the final product comes out.

i also think these shows started to come to end as society shifted at large and the causal viewer could no longer ignore what police as an institution had become. vegas got away with it longer because they were scientists first but on ny they were explicitly cops. the last episode of the show is --- something.

(**i refuse to include anthony zuiker’s weird ass fetishes being an influence but just watch the suicide girls episode and you will understand. i wish i could unhear the commentary)

[dtrhwithalex]

TV | The Good Fight (502)

502: ONCE THERE WAS A COURT...

D: MICHAEL TRIM. W: JONATHAN TOLINS. Original Air Date: 01 July 2021.

Non-spoiler free recap and review of episode two of CBS' THE GOOD FIGHT (2017-) season five.

RECAP

In this second episode we follow two main threads throughout the episode — Marissa and her first week as a lawyer, arguing one of Diane‘s cases in an unofficial court on the one hand, and on the other, the first week of a new associate at the firm, CARMEN MOYO (CHARMAINE BINGWA), in which she becomes the primary lawyer of a convicted murderer.

Among the new associates, Carmen stands out immediately as the singular person voluntarily choosing to be assigned to the case of OSCAR RIVI (TONY PLANA) who was convicted and imprisoned for murder. Due to the invalid ID of BARRY POE (TYRONE MITCHELL HENDERSON), the lawyer she is meant to accompany and learn from, Carmen meets with Rivi and his translator by herself and decides to ignore Barry‘s advice of not saying anything. Instead, she makes it her mission to actually help Rivi. Because she speaks Spanish she is able to properly communicate with him and, meeting with another convict imprisoned for similar crimes, is able to bring her case to court to prove the wrongful conviction of her client.

Meanwhile, Diane has Marissa accompany her associate PHOEBE (ZOE MANN) and their client TONI HEDGER (HEATHER BURNS) to court where they were summoned by the people suing Toni. However it turns out that the judge summoning them does not work in the regular courts. Following clues and signs marked with 9 3/4, Marissa and Toni eventually end up in an improvised court room in the back of a copy shop, where HAL WACKNER (MANDY PATINKIN) presides. Judge Wackner is unlike any lawyer in an official court — he hits his gavel on a bell on his desk, indicating a point having been scored by either side, which is then marked on a scoreboard to his left.

Diane who, once she arrives, does not fare well in this type of court, is incredulous when she finds out that Toni would prefer their case be decided here than in any other court. Eventually, at the suggestion of Judge Wackner, Marissa takes the lead on the case while Diane has Jay investigate how long Wackner has been holding court like this. With the young associate in the lead and Jay‘s findings, Diane and Marissa manage to sway Wackner in their favour and he rules accordingly.

During this first week, Diane and Liz also have to deal with the issue of Adrian‘s absence and the image the firm wants to uphold. After talking to Julius, as well as CALEB GARLIN (HUGH DANCY), who Liz had a fling with in an earlier season, Liz decides she wants to hire Julius as a senior associate. Meanwhile, Diane decides that she wants the two of them to decide on a third equity partner, and that this person would have to be African-American in order to let the firm remain a Black firm. However, she also makes Liz promise that she would not be pushed out of her name-partnership for this same reason.

REVIEW

I thought this was a very interesting second episode for this season. After the first episode provided a wrap up of last season and a review of the events of the past year, this episode already brings us back into the thick of it. I really enjoyed Marissa's story thread of this episode. Although I really liked her as an investigator, seeing her as a lawyer now is really intriguing and I am curious to see how that'll go for her.

I am already a huge fan of Mandy Patinkin's lawyer character. I think he is hilarious. I loved that Marissa took very quickly to his style of doing things and that Diane did not cope at all at first. Just goes to show that we do things for so long in these ways of "it's always been like this, it can't be any other way, this is how it's done" that we forget there are always other options, other ways of doing things, that work just as well, or even better. I thought it was great that, thanks to the intel Jay collects, Diane does find a way to communicate with Wackner after all, but she still lets Marissa take the lead on the argument. I really hope we get to see more of Wackner's court and especially Marissa practicing law there.

I also quite liked the character of Carmen. Although I can understand the criticism that she seems to be just a replacement of Lucca, I thought she was an interesting addition to this set of main players in this show. I am very curious to see where her philosophy of treating every client, no matter the severity of their actions, as a human being, will take her and if she will be able to sustain it. There was also something about her that I found suspicious and I do wonder how much more there is to her than appears to be on the surface. I think that might be something that may come up in scenes with Liz, because their current character dynamic would allow for it the best, probably.

I am also curious to see how the relationship between Liz and Diane will develop or change due to the whole situation concerning a third equity partner for the firm, and the firms image of being a Black firm, and how that clashes with the fact of Diane as a name partner. I also wonder how much bringing Julius back into the mix is gonna upset the current order of things.

This show falls a bit outside of the kind of shows I usually tend to watch, I think, but I am enjoying it quite a lot, and I am very intrigued by it. Looking forward to the next episode, definitely.

[still image taken from the episode's imdb page]

[ncisladaily]

CBS’ NCIS: Los Angeles, by writing out not just Eric but also Nell in its Season 12 finale, made the question of Linda Hunt’s involvement in the CBS series more burning than ever.

After all, if Nell (played by Renee Felice Smith) was groomed all season long to take over for the MIA Operations Manager, who will lead the team in her sudden absence?

Or might the “new Hetty” be in fact the very best Hetty, as in Hunt herself?

TVLine spoke with showrunner R. Scott Gemmill about Hunt’s cameo in the season finale and what that means for Season 13, and more. (And as always, if you seek additional NCIS: LA scoop, email InsideLine@tvline.com. I’m sitting on tons!)

TVLINE | Hetty showing up…. Eric and Nell riding off into the sunset…. “Densi” picnicking on the beach…. Sam seeing his son take his fighter pilot exam…. Correct me if I’m wrong, but  was this the happiest damn NCIS: LA season finale we’ve ever had…? Well, it wasn’t what we were going to do, that’s for sure. We were going to use the finale that we had written for last season, which got bumped because of COVID, and then we realized everyone had such a tough, s–tty year, that we couldn’t in good conscience put the fans through any more trauma. So we decided to go in the exact opposite way and do a fun, feel-good episode that leaves everyone happy and hopeful for what is coming down the line.

TVLINE | What was the gist of the original, bumped finale? It involved Anna and Katya and that storyline, which we still want to play out. But it was a little darker than [what we went with]. If ever there was a season where you wanted to go out on a fun, happy note, this was the one where everyone needed that more than we needed to show off some cool episode. We needed to make everyone feel good.

TVLINE | I liked how at that one point Sam and Callen recounted everything that they’d gone through during this crazy year. You know, the fans have been really loyal for 12 years, and sometimes we do things that are exciting but are also a little bit traumatic, and we felt like we should have as much fun as we can and share that with the fans. It was like a little “love letter” to the audience, to show how much we appreciate them.

TVLINE | Amongst other things, you also apparently had an election in your world, because the president who gave Kessler the pardon is now a former POTUS. But it’s not Trump, because your guy was a former congressman, right? Yeah. Yeah. We always have to have a loophole!

[We then discussed the decision to write our Eric and Nell, reported here.]

TVLINE | What sort of reactions did you get from Barrett and Renée, when you told them your plan? You know, it goes back and forth with each season. There have been seasons where Barrett has gotten sort of bored — he really pulls toward Broadway — and I would always have to have the duality conversation, which is, as a friend, “I totally understand. You want to be doing something else, something cool. You should.” But as a father figure, I’m like, “Keep getting the paycheck because one day the show’ll be over, and then you can do whatever you want.”

Renée’s the same; a lot of the time when we haven’t seen her, it’s because we’ve written her out so that she can pursue [other projects]. She’s developing her own shows, and just wrote a book that’s out. A lot of the actors have other projects; Dani [Ruah] is directing a movie in Portugal right now. It’s such a gift to have a show go this long, but it’s also a big ask to have someone do the same thing for a long time, whether it’s actors or writers or one of the crew.

TVLINE | With Nell gone, what is the plan to fill Hetty’s position? Right now, we’re kicking around some ideas….

TVLINE | It seems like you may have to bring on someone new. As you know, Linda [Hunt] was away a lot more this season because of COVID and us trying to keep her safe. The couple of episodes that she was in, where she was supposed to be in the Middle East, we actually shot in her driveway. That was getting a little more difficult to do, and then finally, Linda had both her vaccines, she was feeling great, and she came back. And she was so happy to be back. She had been gone for so long and hadn’t really interacted with anyone, so she was just so thrilled to be back on set. The minute I saw her, she’s like, “Let’s talk about next season…,” so I think that as tough as last year was, for a lot of reasons, she, like the rest of us, is starting to see a little light at the end of the tunnel and feels good about coming back to work.

TVLINE | That’s good to hear, because Hetty’s line about still being up to her “ass in alligators” made me worry you were hedging your bets. Whenever [a cast member] goes away, we introduce some predicament that we’re forced to deal with. We always try and incorporate it. I think those are instances of opportunity rather than problems. Like when Dani was pregnant, or whatever it is that’s thrown at us, we try to incorporate that.  You normally wouldn’t ever write one of your No 1 through 6 actors  out for four or five episodes, because you couldn’t afford to, but when they have to for whatever reason, you try and jump at that because that’s something you don’t normally get to do, and you build that into the story. Like, “Where is this character?” Obviously, Hetty was away, but we want there to be a real reason, and we’ll probably revisit that next season.

TVLINE | So, we might get a good amount of Hetty in Season 13? That’s the plan, yeah.

TVLINE | In the meantime, what an MVP Gerald McRaney has been, as Kilbride! Oh, man…. I have been a huge fan of his forever. I mean, I grew up watching him and I was really happy when we had him on the show the first time, a few years ago. He’s such a pro and so cool, he raises everybody’s game.

TVLINE | And Kilbride’s such a pisser, grumbling about the millennials and their TikToks. He’s so great because he can do comedy, and he can do drama, and he likes to be out running around with guns, because he’s a big hunter in real life. We hope to see a lot more of him.

TVLINE | Was there anything you didn’t get to in Season 12? There were a lot of things, like Callen’s past as a child; we probably would have started to explore that a bit more. We didn’t get to where Hetty was; that was a big storyline that we were building towards with, what she was involved in. If we were having a normal season, we would have gone to where Hetty was.

TVLINE | When she and Nell hugged, I got teary-eyed, man. I felt like Renée was really crying in that scene. That’s what we wanted. We didn’t want to shortchange that return, so we had Hetty make an appearance with Nell, and then had a little fun with her and Kilbride.

TVLINE | Turning to the week prior, I kind of loved how Joelle is basically a Bond villain at this point, dressed all in black with one gloved hand and a prosthetic leg…. I talked to Elizabeth [Bogush] ahead of time and said, “I think we’re going to cut your leg off,” and she was like, “What??” [Laughs] You want to have some legitimate repercussions for some of this craziness, and that seemed like a good way to do it.

TVLINE | Renewal came later than usual this year. Are you preparing for next season to possibly be your last? We sort of always have that in the back of our mind, and this year wasn’t any different. Next season, I hope to get a heads-up if that is the case, just so that we can go out with an episode or a bunch of episodes that really tie up things and send our characters into the future in a way that makes everyone happy. But we’ll just have to wait and see. No one ever knows. If there is someone that knows, they’re not telling me!

TVLINE | You think it’ll be a full season? I think we’re scheduled to do 18 episodes. I would like to do [at least] 19, because that will get us to 300. I would really like to get 300, because that’s such a milestone.

[leverage-commentary]

Leverage Season 2, Episode 7, The Two Live Crew Job, Audio Commentary Transcript

Dean: Hi, I’m Dean Devlin, Executive Producer and Director of this episode of Leverage.

Amy: Hi, I’m Amy Berg, Supervising Producer and Writer of this episode.

John: John Rogers, Executive Producer and Co-Writer of this episode. Hold on. [Opens bee.] There we go.

[Laughter]

Dean: The beer has been opened.

John: The Guiness has been opened. Amy Berg where did this episode come from?

Amy: Well, I mean, when you have a show about a team of con men sort of- one of the first episodes that you think of is- 

John: Yeah, it was like one of the first ones we broke- we talked about last season-

Amy: What happens when they go up against another team of con men? And obviously that's not something you really wanna, sort of, pull the trigger on during season one, so we sort of sat on it for a bit.

Dean: But we talked about it a lot in season one.

Amy: We did talk about it.

John: Yeah. But really you have to have your- part of the fun is having your characters and opposition- of people that make a difference, having the opposition of you need to know the characters really well.

Amy: You need to learn who our people are before we can bring in a new set of people.

John: Yeah, so it was a lot of fun putting together the different combinations and different variations on this- the evil team of evil Leverage.

Amy: Loves it.

John: Why the Gustav Klimt?

Amy: The Gustav Klimpt, now you're testing me and it's been a while, I believe this painting was called Higeia and it was technically destroyed by the Nazis in 1945. And it was sort of a choice to pick a painting that wasn't actually in existence, so we weren’t stepping on anybody's toes, saying that this was a stolen painting.

John: The likeless- the equivalent of likeness rights on paintings is an enormous pain in the ass so as a matter of fact, there's a statue of Lincoln in the park that's in the sequence later that we shot and then we had to get the rights to using that statute, even in the background.

Dean: Yeah.

John: Now that's very tricky stuff. Dean tell us about the fun of shooting this.

Dean: Well we wanted to try and keep perpetual motion and show two different attempts. Our team, which tries to do a low tech break in through basically just cutting through a wall through this cheapo office behind the high tech office, and then the daring team that actually chases the bullet head on.

John: Yeah. And there is our villain, Griffin.

Amy: Griffin Dunne.

John: Exactly.

Dean: I've wanted to work with Griffin my whole life. I remember seeing him in An American Werewolf Through London and just falling madly in love with this guy; I just thought he was amazing. And then when we went to do this episode, it was actually Tim Hutton who said, ‘What do you think about my pal Griffin Dunne playing this part?’ And it was just like a gift from heaven.

John: Oh yeah, we are all over that. And this is a lot of fun and we built a fake wall- And that is Tim's assistant, correct?

Amy: That’s that’s Elle, yeah.

John: That's Elle, Tim’s assistant, in her big screen debut with us tormenting her.

Amy: Indeed. And they're playing detectives Marlow and Archer who, as you know, is an homage to both Raymond Chandler and Ross Macdonald.

John: That's right.

Dean: And there's fun outtakes from that which will be in the gag reel.

Amy: Excellent. This should have a lot of gag reel footage.

John: It's also- to tell you what's weird is, Archer actually- 

Amy: Was the name of Tim Spades partner in [mumbles]?

John: That's right. That's what the original reference was. That’s also Ross Mcdonald.

Amy: But Ross Mcdonald was inspired by that character in order.

John: Really?

Amy: Yeah.

John: I didn't know that. There you go.

Dean: Fans of the show In Treatment should know that this actress, Noa Tishby, is actually the Executive Producer of In Treatment on HBO.

John: That's right Noa is an Israli actress, she was in Israel, she saw the original show, she dug in, got the rights herself, brought it to America, and wound up executive producing the American version.

Amy: By the way, that's Wil Wheaton.

[Laughter]

Amy: Which is so awesome. And who cast Will Wheaton in this episode, John Rogers?

John: Well I technically cast him, but I believe you had the idea of hiring Wil Wheaton because I'm the one who actually signed the papers.

Amy: Thank you, I appreciate the credit on that.

John: Yes.

Dean: And I was so happy because Wil Wheaton and I actually used to play on the same hockey team together.

Amy: That's right.

Dean: And this was back when he was on Star Trek. And I was dumb enough to allow him to play goalie at the time and-

[Laughter]

Dean: And [Unintelligible]’s son took a slapshot that cracked his helmet open and gave him 17 stitches across the forehead.

Amy: You helped break Wil Wheaton's face.

Dean: And the producers of Star Trek called me screaming at me and forbidding me to ever allowing him to play on the team again.

Amy: Nice. Dogs Playing Poker, by the way, totally public domain. That’s why we chose that one.

John: There you go, there's a lot of variations of that, too, that’s right. And this is actually our little slam is not a part of the subtle on a lot of the CBS crime shows; just the sort of horrible-

Amy: Yeah, the over the top-

John: When we created Leverage, one of the reasons we did it was because so many shows were chasing serial killers. I think it was Chris Downey who said, ‘You know what? Serial killers are covered. Let’s chase rich white dudes in suits.’

Amy: I think they're done.

John: There's only ever been 10 and they've been caught 100 times. And that was Apollo Robbins. This is a great- this is one of Dean's signature roundy-rounds. And I was saying the other day-

Dean: An amazing steadicam shot.

John: I was saying the other day, we've actually learned in the writers room how to assign dialogue to make this easier.

Amy: Yeah.

[Laughter]

John: So rather than rewriting on the fly-

Amy: -we write towards the circle track.

John: Cause you can actually see. It goes- it's like triple play: it goes to Beth to Aldis to Chris to Tim and then back around again.

Amy: I love Parker; there’s always- always something secret going on, whether its secret nazis or- 

John: Yeah well, we kind of establish it in The Day of the Hunter Job, Parker’s realm of knowledge outside of stealing is not good.

[Laughter]

John: Like, anything that doesn't involve stealing, she will believe it if the other team members tell her. Oh this is great. I remember we shot this day. Dean, tell us about this bit.

Dean: Well this was one where we actually went full circle because we came in, we rehearsed it one way and it felt really good, but then we started to feel like, ‘Gosh we're not doing enough.’ And so then we reblocked the entire scene so we could all do more and have more happen, and then we all paused and went, ‘You know, the first one was much better.’

[Laughter]

Dean: And that's what we went with.

John: Yup. What I think was part of what was driving that was because I was on set that day, ‘Do not touch the motion sensitive bomb.’

Amy: Thank you.

John: Was the fact that this was gonna be Gina's last episode, full day with the cast- And also, she really dug in on the fact that the character was going to die and it genuinely upset the cast. Like the cast was a little freaked out here; they got way- cause this is a very claustrophobic set, very claustrophobic scene. The way we usually shoot is we shoot longer takes. So we do the whole thing, like we’ve shot entire acts in one take at some point.

Dean: That's true.

Amy: Yeah. By the way, this bit with the pudding, I've known John for two years and this is the only time I've ever turned him on.

[Laughter]

Amy: I wrote this bit, and he read the act and he came in and he burst into my office and was like ’hahaha’.

John: Remember you didn’t use it you; had talked about it and-

Amy: That’s true. That’s true. I brought it up in dialogue, but I didn't actually employ it. They didn’t- Parker didn't actually use it.

John: I actually kicked in the door- the only time I’ve yelled at you- 

Amy: Yeah, he yelled at me.

John: I kicked in the door and said, ‘How do you come up with instant pudding in a motion sensitive bomb and not actually use it?’ And so we had- and Parker, we had Parker do it. There's a lot of great acting in here, there's a lot of Gina digging in on, sort of, Sophie's past catching up with her. Hardison-

Amy: But this is a scene where it’s really easy to overwrite it, because your instinct is sort of to write to the emotion of this scene like Sophie could die. But the point is to underwrite and let your actors find the emotion between the lines.

John: That beat right there with Chris and Gina.

Amy: Yes.

John: There's a very nice recurring thing we try to do, which is, whenever it becomes something about killing someone, they go to Eliot because Eliot- because Eliot used to do that. And there's a nice moment there. I was actually there- oh look at that look. I love that look. Where-

Amy: Emotion between the lines.

John: Where basically Eliot signs off on the fact that she's probably gonna die and Gina and Eliot worked that out and it's just a lovely moment. Ahhh this is great, now how did we do this?

Amy: Gina just knocks this out of the park.

Dean: So Gina was very pregnant at the time, so we had to do a double for the wide shots, for the running, and Gina for the closeups.

John: Yeah, and then this is a miniature.

Dean: That's right. Well, the building is the actual building we shot at, but the explosion is a miniature that we shot at our parking lot that we digitally composited on top of it. Now at the time, people didn't know what we were gonna do with Gina's character because Gina was pregnant. So when we did this scene and we aired this episode a lot of people were really upset at this point because they actually thought we had killed her off of the show. 

Amy and John: Yeah.

Dean: And early Twitters were very upset.

Amy: Were not favorable.

John: Were very angry.

[Laughter]

Dean: How could you kill her off the show? But then-

Amy: This was originally intended to be the midseason finale, which in that case, the fans would definitely think for sure she was gonna be gone for a while or forever. 

John: Yep.

Amy: But we ended up adding two episodes to the end of the midseason run, so we did get to see her again.

Dean: I don't know what it is exactly, but for me, Parker’s performance- or Beth’s performance as Parker in this section here is reminiscent of some of the great comedians. 

Amy: Yeah.

Dean: Because it's so subtle what she's doing. And a lot of this came out of Beth herself who said -

Amy: I rewrote this scene based on Beth's notes that you were so kind to give me, and it sort of- it made the scene like 10 times better. I don't even remember what it was originally, but-

John: She's trying to remember what her lines are to say as Parker and her eyes roll up like ‘what am I supposed to say’ and then she gets freaked out at seeing Gina dead and loses it.

John: And then she totally spirals out.

Amy: There's a lot going on in, like, 20 seconds; it's pretty funny.

John: And then Hardison having to go up and bail her out. And again, there's a lot of- there's a lot of stuff going on in the structure this year with Gina leaving, and just for that tempering and having us to accelerate that storyline- There's a lot of Hardison/Parker relationship stuff between the lines on all the shows, we just never made it an A plot, but you can actually see the relationship evolve over the course of the season, when you watch the entire season particularly, the second half. And of course Chris is wearing a bandana under his hat because that's when he had slammed his head onto the set.

Dean: In the previous episode.

John: Exactly.

Amy: Yeah, he’s got a giant scar on his forehead right now.

John: Beautiful cemetery up on a big hill in Portland, nice enough to let us shoot there. Beautiful, gorgeous location. And that's a nice bit of acting, too.

Dean: Yeah, just the little moment of him seeing her and then getting that shock of losing someone that he cares about.

John: Yeah, and just processing.

Amy: So far you've pointed out that your favorite moments are the ones where there's no dialogue, so I'm glad I could contribute to that.

[Laughter]

John: Well you wrote- no no, that’s right, I usually go back and write the stage directions, but you do a lot of the-

Amy: This- and so it begins, when John makes fun of me throughout the commentary.

John: I don't make fun of you, just when you take too much credit.

[Laughter]

Dean: This is the controversy.

Amy: I was taking no credit!

Dean: In this scene, the gravestone says Cathrine Klive, her actor name, and at the end Sophie Deveraux and a lot of people thought that was actually a mistake, but why don't you address that?

John: Well we were really- it comes up in the end. We really wanted- and this is sort of a meta structural thing - she wants to kill Sophie Deaveraux. She realizes Sophie Deveraux as an identity, as a life, is a dead end, and so she changes the tombstone so that she can eventually give up that identity. And it's interesting because what Sophie is- realized is that she's going down a dead end, and in theory she’s the current criminal and Nate is the honest man. Nate is also going down a dead end, but he's way too obsessive and blind to realize it.

Amy: Yeah.

John: And so by the end of the season, you’ll see Sophie is a lot more emotionally evolved than Nate is.

Amy: It's true. This is sort of the beginning of Nate’s spiral where-

John: Yeah, maybe the end of Sophie’s thing.

Amy: His priority shifts and, like, winning becomes more important than servicing the clients.

John: We just sort of tease in 206. Great scene between Griffin and- really that was kind of fun. Once we knew we had Griffin Dunne, a lot of these scenes became, ‘Alright, it's really just gonna be head to head.’

Amy: Yeah, yeah.

John: Yeah. It's just- we’re just gonna have the two of them- And the fact that they're friends was really helpful.

Amy: And this the promise of the premise when you do a crew vs crew episode. What you are promising to the audience is you're gonna have one-on-one faceoffs between the characters and their counterparts.

John: And this is part of the evolution of writing an episode, is when we were breaking this, we had a really hard time getting that up as fast as possible, and that's what you wound up- doing the inner cut break in at the opening. Because even though they weren't facing off at each other, we gave the audience the promise of the premise.

Amy: Yes.

John: And the beautiful Hyundai Genesis. A fine automobile.

Amy: A fine, fine vehicle.

Dean: Beautiful peel out.

John: It was nice. In a cemetery!

[Laughter]

John: There was a moment where I was talking to one of the actors, I looked down and realized I was standing on a civil war veteran’s grave. That was a little disturbing.

Amy: That’s classy Rogers.

Dean: I absolutely love the little makeup and hair choices of Gina in this scene, it's so 40’s noir.

John: Yes.

Amy: Yeah, yeah the hair.

John: The whole episode she's playing 40’s noir. And it was a really interesting look, and not one we can do a lot because of the characters she's played, but this was interesting; she's not playing a character ever in this episode except in the opening.

Dean: Right.

John: I kind of liked her in the cop outfit.

Amy: It's one of my favorite running gags in the entire series of the show. Parker just not entirely buying that Gina’s actually alive.

John: Yeah.

[Laughter]

Amy: ‘I'm not dead!’

John: Some part of her brain understands it, but the emotional center is so screwed up.

Amy: ‘I saw her in a coffin, ergo, she must be, in fact, dead.’

John: This is also great, is digging in on the fact that the whole ex-boyfriend/crew/guy who runs the crew she used to be with. And for a while, for like a minute and a half in the room, remember that character was Sophie's boyfriend for the whole first half of the season and this was gonna be the payoff, but we just never knew if we were gonna get the availability for that actor and we just couldn't risk it. And it also seemed a little dishonest she would hide that, so.

Dean: I love the Hardison line, ‘You saw other teams before us?’

[Laughter]

Amy: ‘No, just another Nate.’

John: ‘Just another Nate.’ That's- yes, this is a big family beat of looks back and forth. 

Amy: Lots of looks.

John: Now how did you- I remember you were very, Dean, very big into designing the other team’s headquarters.

Dean: Yeah, well I really wanted to feel like a mirror of our headquarters. But in a believable way in that they don't have permanent space so they’re in a small space. But I was trying to mirror even screen direction-wise that one team is looking left-right the other team is looking right-left so that we can really feel like these are absolute mirror images of each other.

John: Yeah even the looks left-right and right-left match.

Dean: That’s right.

John: Yeah, no it's interesting. And there's Apollo Robbins, who we haven't mentioned yet.

Amy: Apollo Robbins! Yes, he's our technical consultant on the show. He is a master thief. But not anymore, he's a good guy now. I feel like I should point that out.

John: Yes we should. You can't hire him to do crimes.

Amy: When I say consultant, I mean he's not actually a thief anymore.

John: This is also great; this is also the Mona Lisa scam. Why don’t you explain the Mona Lisa scam since you’re a research freak?

Amy: Oh great, now I’m-

John: 1911.

Amy: Yes, 1911 there was a con man, I don't remember his name, but someone says it I think in this scene, where he created six forgeries of the Mona Lisa, stole the original, and then sold the six fakes on the black market to individual buyers as though they were the original and got six times the profit.

John: Some con and heist shows will just do that plot and act like they came up with it. [Coughs] Asshole! [Cough]. 

[Laughter]

John: Rather than mention the fact that this is something that really happened, that you should honor. 

Amy: This is something that really happened, that I actually read about.

John: Also used the Doctor Who's: The City Of Death written by Douglas Adams.

Amy: Oh yeah, oh yeah.

John: There you go. This is something else we did a lot of, which was the process of elimination bit with the screens. Remember we did it in Hunter too? And it's just kind of fun because it’s kind of something from my physics background which is all about probability. And the fact that a series of educated guesses- it's kind of like our version of detective work.

Amy: Yeah.

John: You know, it's like crime detection, it's a lot of fun. And yeah, and now we're really seeing Nate start to spin out of control.

Amy: But this is what I would call dueling competence porn.

John: Yes it is.

Amy: This, and the third act where the teams are doing their jobs and doing them well.

John: Competence porn, by the way, is a term- I forget how it came about, but it's basically-

Amy: It's just a room bit.

John: It’s a room bit. It’s like, you know what? I just like watching people who are good at their jobs doing it, especially if they're entertaining. A lot of it was from 208 was watching Beth Riesgraf- in 208 there was an entire act that's a break in-

Amy: Oh yeah.

John: That’s Beth breaking into a vault. And when you're writing it, you're like, ‘Gosh, that feels thin,’ and then you're watching it and you're like, ‘I'm watching Parker break into a vault for 15 minutes and this is amazing!’

Amy: I could watch it for 40 minutes.

Dean: This is one of my favorite bullet time shots that we’ve done.

John: Yes, now this is- now remember this is all done not digitally- well we do it really. We freeze everyone in the background and the cameraman walks through it and we digitally speed it up. What is this space? This is the- 

Dean: This is an actual museum in Portland that we turned into our space.

John: Yup.

Amy: Wasn't there a naked sculpture that you guys put a leaf on?

John: Yes, up in the upper level.

Amy: That's my favorite story.

John: Yeah. And then- yes, this is 4-way; this is not as insane as the one in the season opener.

Amy: But it’s still insane.

John: But this is a 4-way through about 100 extras.

Amy: I don't think Dean understands that we’re making television.

[Laughter]

Dean: Well, you know, honestly you don't even attempt a shot like this without a steadicam operator like Gary Camp.

Amy: Gary Camp is amazing.

Dean: He's a serious feature film guy. I mean, that was all one shot.

John: Yeah. That's stunning. And then you bring it back to Parker- and this is also fun, is the fact that we make fun in the show. And this was- even when we did tap out and some people were like, ‘Oh, you're making fun of Lincoln, Nebraska,’ when we had Sophie make fun of the food. We’re not making fun of the locations, we’re making fun of the fact that Sophie’s a little princess.

Amy: Yeah.

John: She's not someone who does well with things that- and the van, the van, actually, over the course of the second season becomes a character.

Dean: I love that she's says about how it smells a little whiffy.

[Laughter]

Amy: Which is a callback in The Future Job as well.

John: Yes, this is hard work, it smells like hard work. Yeah, Hardison's affection for the van.

Amy: Respect the van!

John: Respect the van, yeah.

Dean: Now this is actually the first scene where we’ll see the teams start to go head to head.

John: Yeah. Split up, call out your jobs.

Amy: This is the promise of the premise act, as we call it. And it's the Van Gogh that they're after, the Cafe Terrace At Night, I believe it’s called.

Dean: And this is a very important moment because it really established who Nate and Sophie were to the rest of the team. Nate being the one that makes the plans, but Sophie being the one who keeps them safe. And that had never been exposited before, and by doing that, it really set it up.

John: Boom! And then the parallel structure over to Hardison's opposite number, Chaos, played by Wil Wheaton, just four vans down. 

Amy: Nice.

John: That was really inspired. They’re the most twin of the bunch. Oh, and this is amazing. This is amazing because that's all real time. That wallet never came off. This was this whole section we just gave to Apollo.

Amy: Yeah. He's like, what can you do? And he just basically-

John: And he took Beth aside and they came up with a bunch of- it’s like, you know what? We're just gonna run camera, you just do a bunch of you do you, man.

Amy: By the way, there was no one else we had in mind for Apollo. Even when I was like- when I came up with the concept, and then I also did the outline, I also called the character Apollo, hoping at some point we would actually cast him.

John: But was the Wil Wheaton character originally a girl?

Amy: In fact, she was.

John: Yes, that’s right.

[Laughter]

Amy: Yeah, it was- I believe it was a hot Latina- 

John: Yes.

Amy: -that he was going up against, and then at some point, you know, in the casting process I turned to you and I was like, ‘You know, we've been talking about Wil Wheaton for something. Is this not the prefect role or not?’

John: And Noa Tishby rocking the dress. Noa was actually in the Israeli army. So that was kinda cool as we were looking at a lot of different actresses and Dean had seen her tape.

Dean: Yeah.

John: And it was like, you know, I wanna try a different ethnicity. I wanna try a different look, and brought her in. And what's great is she looks like she can take a punch, you know, that's a tough chick. And she really did great in the fight scenes and was a really- we got really lucky in this episode.

Amy: Oh yeah.

John: You know, we usually have to cast one big role; we cast five. 

Dean: Right.

John: And they were all great.

Dean: Now this fight scene was-

John: Ok I'm gonna take credit for this one because nobody else is-

Amy: I wasn't gonna take credit for it.

John: No shadow on this, I had to explain this 9 times.

[Laughter]

Amy: Oh yeah, that’s right.

Dean: And this sequence was actually getting directed by Marc Roskin and you, John.

John: Yes, at two o’clock in the morning. But I will give Mark Franco big props for throwing the old 1970’s film look.

Amy: The film reel stuff.

Dean: I love it.

John: That is so great. The Shaw brothers look is that and this is the whole-

Dean: That's how they see- in their minds that's how they see fights, like the karate movies they grew up watching. 

John: Yes. And this is based on two things. 1) a great story about samurais- I love that look that Chris did. Great story about two samurai who faced each other, knew each other’s skills so well they fought the entire fight in their head and walked away. And Warren Ellis’ character the Midnighter from The Authority comic book who has sort of the same thing. He does fights backwards in his head. Ah look at that, oh he's a great physical actor, too, it was really- it was nice, cause we cast Apollo, he's never done acting before, he'd never done TV before. And it's the one gamble on the whole show and he was fantastic.

Dean: And he totally pulled it off.

Amy: But he's just so damn charming, it’s like you, sort of, just believed from the beginning that he could do it.

John: Yeah, he's very dangerous. 

[Laughter]

John: It's really- if he ever turned evil, we'd be in a lot of trouble.

Amy: Oh my gosh.

Dean: This next sequence, outside, while I had done the storyboards for it, Marc Roskin shot the hell out of it. And what we wanted to do was an homage to the great Western movies, you know, the Spaghetti Western.

John: Well this was the challenge, and we talked about this when we were writing it. It’s like, nobody does hacking in an interesting way. There's no way to do hacking in an interesting way.

Amy: Visually it’s- filming it is not effective.

John: So abandon trying to do it with the computers and just do the metaphor, which is two guys pitting each other’s intellects against each other, and make it text.

Amy: And it's much more interesting, look at each other than looking at screens.

John: Oh and that timing is great, look at this, it’s just fantastic.

Amy: This is so nerdgasmic.

[Laughter]

Dean: He even had that Spaghetti Western whistle.

Amy: Yeah. I remember the first cut it was only in there subtly and you were like, ‘Hey turn that up, man.’

Dean: Listen, I’m-

John: And look at the little holster move, too. 

Dean: I'm all for subtly, I just want a lot more of it.

[Laughter]

John: Oh no, Wil knocked it out of the park in this. Did you know that he had been doing a bunch of shows and people have come up and asked him to sign his autograph as this character?

Amy: As Chaos.

Dean: That's great.

John: Somebody came up with the anarchists cookbook and asked him to sign it as Chaos.

Dean: And I love that Sophie can’t use a computer.

[Laughter]

John: Utterly useless.

Dean: She just closes it.

John: Well Hardison’s taught Eliot- and the look to the swords. We had so much fun coming up with different props in the scenes. And this was at 2 o’clock in the morning fight fight fight, you win. Fight fight fight, you win. And just- cause they had to learn the routines and we were banging it out in three sizes at a time, it was great. Then we shot the bird. 

Amy: So many looks.

John: And this- you could run the entire Parker/Apollo scene without dialogue and you'd know exactly what's going on.

Amy and Dean: Yeah.

John: Actually-

Dean: She's a little bit the Harpo. You know what I mean.

Amy: She's the Harpo.

John: She's the Harpo, he's Groucho in that scene, it's very subtle.

Amy: Is that Chase? Was that Chase walking towards the camera? It looked a little like Chase.

John: No, no. And this is, again, one of the rules, one of the hard rules of doing these shows. These shows are very hard, is that it can't be a random obstacle. Whatever is your obstacle heading into the third or fourth act must either be a product of the villains plan which you've already set in motion, or something that the team has screwed up or succeeded too well. And not screwed up too often cause that means they suck. So-

Amy: You make it sound like we did something good on purpose. That’s awesome.

John: Yeah, every now and then. And this is just- I want-

Dean: We almost didn’t do this.

John: We almost didn't do, but this is the punchline to the bit, that they're so locked into each other-

Dean: I'm so glad we did it.

John: Yeah. I actually was ready to bail on it, you were like, ‘Yeah, you know what? Let's make time.’ And the little look, and he gives them a bunch-

Dean: A bunch of crazy idiots.

John: Yeah, exactly. Now this is great, Nate’s totally lost in the need to win at this point.

Amy: Oh yeah.

Dean: I love Parker saying that, ‘The people in this line of work are unstable; we can use that.’

John: Yes.

Dean: Completely not realizing that she's in that line of work.

John: Tapping the pad look at that and look at the look Chris- that's another thing. 

Amy: ‘I'm totally helping.’ That's it.

John: Gina gives a little smile which I missed the first time I saw this show.

Amy: There's a lot of little subtleties.

John: And again, second season, you start pairing up things differently. Chris and Gina found a nice rhythm for Sophie and Eliot this year that wasn't there first year, just in the pairings. And we wound up working; it was nice. And this is- yeah, she killed a guy with a mop.

Dean: I love Hardison's jealousy about Chaos, the whole ‘ugh.’

Amy: ‘Chaos.’

[Laughter]

John: Cause, you know, and it's a great thing of acting on Aldis’ part, you know he's beat him. You know that Chaos has beaten him a couple times. He's really- he’s not a pleasant loser, Hardison. And the nice little fist tap for the Kobayashi Maru.

Amy: Nice little knuckle bump, Parker. 

John: Yup. Well that was another one of the little subtle things, that Parker has plainly sat down and watched like all nine Star Trek movies with Hardison because it was just something he did on a Saturday, you know?

[Laughter]

Amy: Well she wants to see, you know, what normal people do.

John: Yeah, Hardison's probably a bad example of that.

Amy: I don't think that's right- the right choice.

John: There's not- you know-

Amy: I gotta say, I love Tim in this scene.

John: Yeah. He’s really mad.

Dean: This one, out of all the cutting back and forth, this was the trickiest because it had to match rhythm, intensity-

Amy: And dialogue.

Dean: -and dialogue.

John: That's right. 

Dean: This was really tricky.

John: Line by line. And that was the tricky bit, too. We had to give both of them the entire script for each one so they could know what they were doing to each other. I think- did Griffin come down the first day and watch Tim?

Dean: I actually think this was Griffin’s either first or second day on the show.

John: That's right. Tim came down to watch- yeah, so he would know what he had done physically. There's a parallel structure even with the team. This was a lot of fun. But this is one of those things that looks really elegant, but scripting, it's a little chimpy. It’s like, once you know what you're going to do, this wrote pretty easy.

Amy: Ok, yes, but I'm gonna go on record in saying that this is the best third act we've ever done in the history of Leverage. I just love it so much.

John: Well, you know what? Again, this is something you sorta learn. We- you know what? You learn how to write the show while you write the show. This is when we really where we realize you only need to do one thing an act. We so tried to buff all the people and, ‘Oh look, at the incredible plot twist’ like, you know what? They're fun characters, they're good characters, let them do one thing.

Dean: Yeah, it's fun to watch them do their thing.

John: One thing every act.

Dean: And I love how they all started to get pumped up for it. On both sides, they are gearing up for game day.

John: This is a great act break.

Amy: Nothing about that act I dont like. And I had very little to do with it.

John: This is easily- this is one of my favorite shows of the season. Of both seasons.

Amy: Mine too.

Dean: And beautifully photographed by our great cinematographer, Dave Connell.

John: That's right, because we were shooting parallel; we were shooting inside the museum and outside. You were outside running back and forth.

Dean: Very intense.

John: And this is a lot of fun. All the security guys were great. Portland once again gave us a great, great acting pool. 

Amy: Go Portland!

John: And then this was a lot of fun, was setting up the snarky dialogue and Aldis and Wil basically sat and sweated in their vans-

Amy: Yeah.

John: -for 6 hours. Cause Aldis is always going, ‘Nobody knows what it's like to work in the van’. That van is hot. So he was very glad to have a playmate.

Amy: Aldis had like one full day of shooting in the van and nowhere else.

John: Yeah, exactly.

Dean: I love the character Tim came up with here, that was great.

John: And Emily is actually the girl I went to prom with. That's where the name comes from.

Dean: Nice.

John: Yep.

Dean: Poor Emily.

John: Yeah I’m- hey!

[Laughter]

Amy: I said nothing. If you noticed, I stayed quiet and said nothing. I'm learning.

John: And Tim plays drunk, distracting guy an awful lot this season. This- and by the way, the security guard that talks him down is great, he's got a really great comedic beat. This, by the way, is a stunning sequence.

Dean and John: 10 millimeter lens.

Amy: 10 millimeter lens? 

John: Down in the basement.

Dean: And look at this steadicam move - down the stairs!

Amy: Running down the stairs.

John: This is a guy walking!

Dean: And then whipping around, that is-

Amy: This is inhuman.

John: It really is.

Dean: For steadicam artists, they will understand how difficult that shot is.

John: By the way, I like the fact that we just locked Beth into the air conditioning system.

[Laughter]

John: ‘Are we gonna build one? No, there's one downstairs! Should we put Beth Riesgraf in moving machinery? If she's up for it.’

Amy: Not sure why we had to put the lock it, but that's ok.

John: It's a good look. And oh yes, it-

Dean: I think this is my favorite of all the air duct scenes, this is my favorite air duct scene.

Amy: This is actually-

John: Well like Two Horse- all of Two Horse where she was bitching while having to do it.

Amy: Oh yeah.

John: This is also- we built the most complicated duct system on earth for this.

Dean: Talk about the bird, because you were there for this.

John: Oh yeah, I- we thought the bird would be CG, much like, we thought we’d be on a CG roof the series premiere, instead we wound up in Chicago 40 stories up. Dean went and found a bird- 

[Laughter]

John: -a North American Kestrel. He said it would be easier to shoot a real bird that was trained, and so if you go on my blog you see pictures of the bird, but that's the last thing we did that night, so at 2 am we had this bird in a box, which was really beautiful.

Dean: Yeah.

John: And- 

Amy: No birds were harmed in the making of this episode.

John: No birds were harmed. It was a really beautiful bird. But yeah, the trainer was hiding right off screen to summon the bird to get it to fly across.

Dean: This was actually one of the most difficult fight scenes we've ever shot, mainly because of the small space they were in.

John: How did you get the camera up there?

Dean: We literally locked it onto the ceiling and just let it run for the whole day. And then hoped we had good material.

John: Oh cool. That everybody would hit their marks.

Amy: She's so intense, I love it.

John: And the- him switching back over to Hebrew, this was a lot of fun. Oh and ‘now I’ve got the lasers.’

Amy: ‘No, now I’ve got the lasers!’

Dean: His arrogance was just awesome.

John: The two of them were fantastic.

Amy: He’s almost too good at it.

John: Big thanks to Derek, yet again, for building a great interface that lets the audience know exactly what’s going on.

Amy: Derek’s our graphics guy, he's amazing.

John: Does all our computer stuff. And our security guards, you know, somewhat oblivious, but good guys.

Dean: That's just the oldest gag in the world that I love.

Amy: It flickers only when they're not looking at it.

John: You know what it is, it’s the Abbott and Costello, it’s the candle on Dracula’s coffin.

[Laughter]

Dean: And I love that.

John: I love that reveal.

Dean: And he comes in dressed as, and named as, Nate Ford. I mean, that is just fabulous.

Amy: He's with the insurance company, what?

John: It is a great little, ‘Fuck you,’ from that character. 

Dean: And Tim’s look at him for doing it, it’s just awesome.

John: But this was the fun of the fourth- and this was really hard when we were plotting. It's like ok, in the fourth act they have to be good, but they have to look like they’re losing. And they have to look like they're losing so bad you come into the fifth act not knowing if they won, and then we have to somehow pull it out.

Amy: Yeah. This, by the way, the scene with the two of them talking with the bird cage, was one of the first images that popped into my head when we were breaking this episode. I just love this.

John: But this duct tape- cause here's the thing, we have to shoot this direction and you have to shoot them crawling off these directions. This thing was huge, a human sized hamster trail. Took up an entire ball room for that one shot. Great fight scene, and we had talked about this, and this is a lot steamier and sexier than originally pitched.

Amy: It's literally steamy.

John: Dean was all over- like ‘I'm going to fight. I'm gonna shoot the steamiest fight scene that we've ever had.’

Dean: I thought it would be interesting to do a fight scene as a love scene.

John: Yeah.

Dean: And so the fight is actually foreplay.

John: Yeah.

[Laughter]

John: And a dance. It’s really like a dance sequence. We used to always say fights are like dances because of the movement and everything, but you know, you took that very literally and everything, which was great.

Dean: Now, by the way, we've done lasers in several episodes before. 

Amy: Yeah.

Dean: These are the best lasers we ever did by far.

Amy: It's pretty cool.

John: Yeah, and having them move, that was the key. It's yet another example of something that you think will be really hard, actually turns out to be a little easier and way cooler.

Dean: And way cooler.

John: Yeah.

Dean: And again, kudos to the effects artists. If you look carefully, you can see the lasers reflecting in her pupils.

John: Reflecting in her eyes. I know, that’s sick. 

Amy: That's really hot.

John: That was really great. This is a big ‘they are screwed’ act out.

Amy: Oh my god, look at that!

Dean: That is so cool.

Amy: Why did I not notice that before?

John: And wet people fighting.

[Laughter]

John: You know what? We give you everything on Leverage.

Dean: Little sex, little violence. 

John: And it’s good.

Dean: And now we were able to take the hat off cause we were able to use the real scar on his forehead finally in the episode!

John: Also kinda cool, Kevin, our stunt coordinator, had them fighting in Israeli military style. That they were both- they had both sort of picked up- we always had Eliot kind of fight in that style, but the fact that that would be her training-

Dean: And I love that these two are standing next to Honest Abe.

[Laughter]

John: And that's a great entrance. She's really got-

Amy: ‘Oohhh.’

John: She's got 3 great entrances this year. 

Amy: Yeah, she does.

John: One I'm not gonna talk about. 

Amy: Cause you haven't seen it yet.

John: You haven’t seen it yet. But the Annie Croy entrance in the season opener was one of my favorite Gina bits, and then that.

Dean: Fabulous. Gina absolutely brought her A game this season.

John: And yup, this is our double just whipping through this.

Amy: That was me.

John: That was you? I forgot about that.

[Laughter]

Amy: It's a secret skill. I don’t like to talk about it.

John: And that's the thing, that was footage of the gymnast whipping through those maneuvers with Beth popping up. The special effects people had to put the lasers through those moves to coordinate with- you know, ordinarily, you build these shots incredibly carefully. It was like, ‘No, here's the footage. Make it work.’

Dean: I love this old school crank.

John: ‘Can't hack a classic.’

[Laughter]

Amy: More competence porn.

John: More competence porn. Hardison- the staff will tell you the first year we had Christmas together, I got them all wind up radios and flashlights. 

Amy: Yes.

John: I'm a big believer in emergency preparedness for the apocalypse.

Amy: He cares! He cares about us. 

John: You mock.

Amy: Wants us to live through the world ending.

John: Well, you know. I play a lot of Left 4 Dead. I want to make sure my crew’s ready.

Amy: Alright, cool.

Dean: I love that - Parker not quite good at acting yet.

John: No. This is key, Parker can't do a long con. She can maintain it for maybe 4-5 minutes before her inability to mimic humans breaks down. And there we go.

Amy: By the way, this episode totally screwed my- the way I do story telling now, because I'm thinking as the criminal all the time.

John: Yeah.

[Laughter]

Amy: Like, it's terrible. ‘How would I break into an auction house? Well to control the motion sensors-’

Dean: I love this beat right here.

John: Yeah.

Dean: Like, ‘Ahh, screw the fight.’

[Laughter]

John: Well he knows he's won by this point, so it's just really- 

Dean: And she's so turned on by the fact that he did, cause no one else has ever beaten her.

John: Yeah, that was a lot of fun, was the idea that people- it's, again, you respect someone who’s competent. And the hand- yeah the little look after the handcuff-

Amy: Wow.

John: He actually looks a little scared there.

Amy: I know, I know.

John: He's like, ‘I got you! Oh wait, what did I get?’

Amy: ‘Is it over?’

John: This is nice.

Dean: In the original longer version, they originally kissed and then fell out of frame.

John: I missed that! I missed the fact that they banged out a quickie during the middle of the con.

Amy: Uh, no.

John: Alright, fine. By the way, Christian loves the badge on the chain. Anytime he can have the badge on a chain, he’s the happiest man alive. And Hardison-

Dean: A little bit of improv-ing by Aldis Hodge here.

Amy: Indeed.

John: Aldis- and again, this pops up in the next episode, Hardison always goes a little too far. He's never able to quite control the- he’s never able to get out without pushing it too far.

Amy: Are you saying that's going to catch up to him at some point?

John: That will catch up to him. The very next episode matter of fact. And yeah, this was a lot of fun driving police cars around Portland at six o’clock in the morning.

Amy: I'm sure no one was alarmed.

Dean: Now young filmmakers, that little move there is to get on the other side of the line.

Amy: Oh yes.

John: What was that?

Dean: So we- after we established them coming out of the building the camera slowly tracks over to the other shoulder on both sides, so now we're on the opposite side of the line and all of their looks have now reversed from the previous scene.

John: You and your looks.

[Laughter]

Dean: But this allowed us to now do our car gag, because we couldn’t really blow up a car in this location.

John: At two o’clock in the morning.

Dean: So we had to whip-pan off of a look to a parked car, then later we blew up a model car and replaced it.

Amy: We did two miniature explosions.

John: I love this reveal. I love this look. It’s like, ahhh, it's like Christmas.

Dean: Bingo.

John: Yeah.

Amy: Always knew you were evil, Wil Wheaton.

Dean: And now the evil speech of evil.

Amy: The evil speech of evil!

John: The evil speech of evil! A crucial part of the- well, this isn't really an evil speech of evil. The evil speech of evil is usually when they are-

Amy: Yeah, it’s the evil griping of evil.

John: The evil speech of evil is just: define your behavior. He's straight up monologuing here.

Dean: This is a little bit more of the, ‘I would’ve gotten away if it weren’t for you meddling kids.’

John: Yes, exactly.

Amy: Are you saying this is a Scooby Doo?

John: In the original version of this, he pulls off the Wil Wheaton mask only to reveal he's still Wil Wheaton.

[Laughter]

John: But he wears a Wil Wheaton mask. You know what? We should've called Wil for this.

Amy: Oh my god, why didn’t we do that? Now we gotta record it again.

John: I know. Maybe- You know what? We’ll do one on iTunes with him.

Amy: We'll do a special one.

John: And we may be playing Dungeons and Dragons while we actually do the commentary. This is great now. This is tough. And talk about- we had a couple different endings for this episode in this particular scene.

Amy: Yes.

John: Go ahead.

Amy: I don't remember them, I just remember there were multiple endings. [Laughs]

John: We actually, for a couple different versions of the outline, had him lose. Had Nate and the guys lose.

Amy: Oh, that’s right.

John: And then our team conned them about the painting. And the moral was basically our team kinda sitting around, pissed off they lost, but they were still a family while the other team broke up. And it just didn't feel-

Dean: Wasn't satisfying.

John: It was one of those good writer beats- and that's why Dean’s actually a very valuable producing partner, because he's all heart. 

[Laughter]

John: Seriously man, he’s- and he’s, ‘I don't feel it.’

Amy: And we have none.

John: And we have none, because we’re writers and our blackened little hearts are shriveled away.

Amy: And our dark souls.

John: It's very easy when you're writing a con and heist show to get a little too clever for your own good.

Amy: It’s true.

John: And Dean’s a very good barometer on, ‘You know, do I really-? Am I gonna be happy with this?’ And you know, he’s right.

Dean: I like a little fromage.

Amy: Well what were the reasons-?

John: No, not fromage, but just, you know-

Amy: I think one of the reasons we were gonna have them losing was that this was gonna be episode three or four, and then we had the wild thought that we would bring the evil team back for episode seven.

John: Yes.

Amy: And sort of do, you know, ‘We lost the first one, but we won the second one.’

Dean: There's the recall of your Emily story.

John: Yes, that's right, the little go to the dance with. No it's- oh and that's great.

Dean: Again, that was Apollo who came up with that idea. 

John: Yeah, that they're picking-

Dean: A lockpicking race.

John: And also Beth tossing the lockpick into the air and catching it? After a week with Apollo, she’d really gotten disgustingly good. I think they're actually picking there.

Amy: Well Apollo has gone on record as saying Beth can actually be a professional pickpocket if she wanted to.

John: She's got soft hands.

Dean: And this is, again, one of those scenes where Christian shows you how good he is at comedy. How subtle he is when he realizes she may be the person who actually shot him.

Amy: Look at that look!

[Laughter]

John: Yeah. 

Amy: His eyes widen just like a millimeter, but-

John: Yeah. And that was an improv, I think. ‘Y’all nasty’. He's supposed to just look at it. 

Amy: That’s awesome.

John: And Griffin doing the Nate Ford, ‘I'm an honest man’ speech here, incredibly uncomfortably!

Dean: Well, we always want the villain to suffer and this is how he suffers.

John: He’s just sweating it out.

Amy: He's getting more satisfaction out of watching Griffin Dunne lose than he is from getting the painting back to the clients.

John: Which is something wrong.

Amy: Yes, that's not right.

John: Sophie's actually the moral center of this scene.

Amy: This is the episode where they, in a way, sort of switch roles. She becomes the honest thief, and he becomes-

John: They were a lovely couple. God, these actors were nice.

Dean: Just amazing local actors.

John: No, this was a lot of fun. And then, again, giving him just enough rope to hang himself with. And making sure that he's pissed off enough to come back in season three.

Dean: The other part of this scene I like is, it really shows how far Sophie has come, that she’s actually not just doing this, she’s actually, really- she’s drank the kool aid by now. She really believes in what they're doing. 

John: To a little bit more than Nate at this point.

Amy: Yeah.

John: Yeah. Which, you know, and that- we really took the, ‘You killed Sophie Deaveraux.’ And the funeral was a late addition; that wasn't in the first outline.

Dean: Yeah.

Amy: No, it wasn't. That was something that we added later. 

John: Yeah it was. 

Amy: But that was an element of knowing we were gonna lose Gina and trying to set up an awesome departure.

John: Yup. And that bomb thing wound up being really- Because originally- it was originally a sort of investigatory clue path and then when we lose Gina it's like, alright let's scare the audience a little here.

Dean: How did you come up with this bit of how they tracked-?

John: I think that was some geek bullshit I had in the notebook, I’m fairly sure. Whenever it’s some tiny minutiae of how phones work, it’s you know-

Amy: Good old GPS.

John: Yeah well, you know what? I think at the time there were some protests about the fact that you couldn't turn off the GPS tracking in your phone, and it was- they were talking about a lot in England you being able to do that, so that just kinda stuck.

Amy: Well I imagine all this would-

Dean: There's Chase!

Amy: See, yeah, there's Chase. I knew I saw him at some point.

John:  Is this-? Yeah, here we go. All these great local actors.

Dean: And I love the security guard; this woman is fabulous.

Amy: So much personality, only a few lines.

John: And again, this is one of those things where you are trying to come up with a really clever way to screw him and then you suddenly realize, no, it’s just a box full of paintings; there's nothing really subtle about this. You’re just going to jail forever.

Dean: But in a way, this is what makes it work. ‘This is the real one.’

John: We had a couple of different notes, too.

Amy: He lost by winning. Cause what he wanted was the paintings, and we gave him the paintings, but that’s what did him over in the end.

John: Another rule: the villain must be brought down by their own sin. 

Dean: Now this, for me, is my favorite scene for a number of reasons. 

John: It’s a good scene.

Dean: First of all, just the lighting. We got this at the perfect time of day.

John: Yeah, how'd we get the lighting Dean?

[Laughter]

Dean: We accidentally went over that day and somehow went into-

Amy: Oh accidentally?

John: Oh did the director somehow go over in the morning, so we just happened to be shooting at the magic hour?

Dean: It was odd how that worked out.

Amy: Oh interesting.

Dean: That we just happened to be in magic hour to shoot the romantic scene.

Amy: That is so funny.

John: What I love is the fact that you’d never work again as a director for boning your producer that bad, except you’re the producer?

[Laughter]

John: No, this scene is stunning.

Dean: They both knocked it out of the park on this day. And for me, it's weird to say it because I directed the episode, but this is the best almost-kiss I’d ever seen before. And it's really the way they did it.

John: Yeah. This was another one where it was like, set up the cameras, let the actors work.

Dean: This was also a callback to what happened in the episode at the school, because-

Amy: Fairy Godparents.

John: Yeah.

Dean: Cause in the Fairy Godparents that she had never really been honest. 

John: Exactly.

Dean: And here she realizes she doesn't know who she is anymore because she's been so many other people for so long.

Amy: She got dumped because she wasn't being truthful with her boyfriend, and she actually recited all the names of her aliases, and this is sort of the callback to her having to bury them in order to move on.

John: Yeah, she's more attached to fake people than real people and it’s caught up with her. And this is the moment where Sophie Deaveraux becomes a better human being than Nate Ford.

Dean: And that red coat was totally Gina.

John: That was Gina. That's right, she came in with that she and Nadine went hunting for that. This is a great almost kiss.

Dean: Ow! Ow!

John: This was an Italian over. This is- what's that terminology?

Dean: It’s a French over. Rather than being in the front of them, you're over their backs and then this walk away.

Amy: The Italian over is you're drinking wine while you’re doing it.

John: And this walkaway was fantastic with that light right there!

Amy: Through the trees! It's so pretty.

John: You knew what scene was good when we were shooting it because I was watching it on the monitor and I turned around and all the local PA’s were standing behind us watching the scene and two of the girls were crying.

Dean: Yeah. It was awesome.

John: You just really nailed it. And that was going to be the summer season ender, 207, and wound up being still a great send off for that character. And really one of the best episodes of the two years I gotta say.

Amy: Yup, it's one of my favorites for sure.

Dean: For me it's almost like the two part season finale of one, season one, done in one episode.

Amy: Yeah, exactly.

Dean: So thank you for watching.

John: Thank you for watching.

Amy: Thanks everybody!

[moonlightchn]

𝖂𝖊𝖗𝖊𝖜𝖔𝖑𝖛𝖊𝖘, 𝖜𝖔𝖑𝖛𝖊𝖘

and basic shit you should know before interacting I guess~

*Disclaimer: all the information this post contains will be based on things I’ve learned over the years and my personal modifications are NOT to be taken as the general rule. This is MY abo concept for this bot in particular. Yall are free to agree, disagree, take ideas, adapt to your own bot, etcetcetc. Bye. Also sorry this doesn't have a read more;;;; I tried :(

Hello, this is (not) JYPe,

and welcome to the first episode of “Admin’s abo concept isn’t probably what you think so we gonna go in dept on this shit hehe ”. This was originally going to be a one part documentary but I realized I would probably keep coming up with or remembering stuff and these would be so LOOONG so I decided to just do it as I go and I’ll use the hashtag “admins abo tmi ” for this yeah. But also remember you can ask questions if you have any or if you don’t understand something because I usually ramble a lot.

Today we’ll be talking about 3 things that seem to be the most important since they’re the most brought up on my RP’s and they are:

Turning/Transforming.

Heat vs Rut.

Mates.

So let’s begin!

🌙 𝕿𝖚𝖗𝖓𝖎𝖓𝖌/𝕿𝖗𝖆𝖓𝖘𝖋𝖔𝖗𝖒𝖎𝖓𝖌…

There’s two meanings to this concept, one is the concept of turning from human form to wolf form, and the other one is being transformed into a wolf by different means (these usually depends on which story you’ve heard, it can be being the 7th boy child in a family, it can be a bite or a scratch, it can be eating raw meat, etcetcetc).

*This change has now also been added to the Chan’s pack introduction.

What are the definitions of this words? Cambridge Dictionary defines them as:

Turn: to (cause to) become, change into, or come to be something.

Example: “Chan turned into his wolf form”

Explanation: Chan, already a werewolf, turned and changed into his wolf form.

Transform: to change completely the appearance or character of something or someone, especially so that that thing or person is improved.

Example: “Changbin was transformed into a werewolf.”

Explanation: Changbin, a regular human, was transformed /by a wolf/ into a werewolf.

𝕿𝖚𝖗𝖓𝖎𝖓𝖌…

In the classic folklore, turning consists of 2 phases, human with NO wolf characteristics whatsoever, (which is what makes it so hard finding out who the werewolf in town is) and fluffy wolf with some human like characteristics (being biped, having arms instead of four legs, body structure humanlike. The best examples I can think of are the underworld lycans mmm tasteful). Another general rule for classic werewolves was that the person and wolf were two different minds, the person never remembered turning and had no idea they were the werewolf terrorizing town. While being human, the person didn’t even have the wolf skills like hearing or strength. They were just regular boring humans. Another thing was that they had no control whatsoever and ONLY turned during full moon, but I’m not getting into that yet.

Here are some examples (it’s basically furries oop).

Moving on to my concept, I decided to have 3 phases of turning, consisting on:

Human: Basic, simple, boring human. No presence of wolf features whatsoever. YET they can still make use of their skills such as sensitive hearing, smell, extra strength among others.

Half-turn: Heavily inspired by Teen Wolf tbh, SOME features are present and can generally be controlled, such as eyes, ears, tail, fangs, claws. Can even be confused for hybrids. (sumn like this please appreciate my art)

Full-turn: they become big scary fluffy puppies. Let’s remember how they look like.

Channie Chan Chris

𝕿𝖗𝖆𝖓𝖘𝖋𝖔𝖗𝖒𝖎𝖓𝖌…

As mentioned before, transforming depends on which story you know and what you’re settling for. Generally we always talk about bites and deep scratches. Some of the most known stories about how to become a werewolf are being the 7th boy child born in a family on a full moon, or in Greek mythology, Zeus transformed some dudes into wolves after they tried to feed him human meat. There’s many different stories you can pick from, they’re just one Google away~

On my concept, though, the only way to transform is through a bite, even though I always keep options open.

I will probably be talking about the 3 types of wolves and deepening this a bit more later on.

🌙 𝕳𝖊𝖆𝖙 𝖛𝖘 𝕽𝖚𝖙.

Imma give you a wolf biology class because I know too much useless info and I WANT TO.

Rut: The rut is the mating season of certain mammals. The rut is characterized in males by an increase in testosterone, exaggerated sexual dimorphisms and increased aggression and interest in females.

Heat: The estrous cycle or oestrous cycle is the set of recurring physiological changes that are induced by reproductive hormones in most mammalian therian females. Estrous cycles start after sexual maturity in females and are interrupted by anestrous phases or by pregnancies. This cycle presents four phases, the one known as “heat” being the second one, estrus or oestrus, that refers to the phase when the female is sexually receptive.

What are seasonal breeders and what is mating season?

The breeding season is when seasonal breeders reproduce. Seasonal breeders are animal species that successfully mate only during certain times of the year. These times of year allow for the optimization of survival of young due to factors such as ambient temperature, food and water availability etcetc. Male seasonal breeders may exhibit changes in testosterone levels, weight, and fertility depending on the time of year. Female seasonal breeders will have one or more estrus cycles only when she is “in season” or fertile and receptive to mating.

Wolves fall in all of these descriptions.

What does all of this shit mean and why do I care lmao?

This means that if this was a logical bot I should only be doing NSFW like one week during 4 months a year LMAO no frfr

This basically means that RUT and HEAT are the seasons when the MALE and FEMALE respectively are ready to mate with each other to reproduce.

I’ve seen many male idol hybrids having heats instead of ruts, which I have no problem at all with and am sure no one else does really, but I think you should KNOW that a heat would not make them want to fuck, but get fucked. Heat would be the need to be filled and not fill others. A heat and a rut does NOT have to equal dominance or submissiveness in bots, anyway, that would be like saying being top or bottom determines who is dom/sub and that’s wrong, so just a PSA I guess.

Now, how does this affect my CB and ABO concept?

I’ve never, anyway, read anywhere of classic werewolves reproduction, which leads me to believe that they’re probably sterile. So I will stick to real life wolves rules but on my own way. Wolves are even monogamous and I dont go by that one lmao.

Reproduction rules on my ABO are really simple, ruts are once a month, around 5 days, and each of the guys have different characteristics for them. They’re only capable of getting someone pregnant during ruts, too. I just generally believe all girls are on the pill tbh and I never really use condoms but guys irl please practice safe sex wrap your or your partners willy before going freaky and stay safe.

Not sure if there’s something else to mention here? Let me know.

🌙 𝕸𝖆𝖙𝖊𝖘…

Mates are the wolf equivalent of soulmates, but that’s bullshit. I mean, I’m not gonna say they’re not real, I just mean that the general idea of only one person for the rest of your life and if it’s not them you’re miserable is dumb when we’re talking about beings with feelings. Did you know wolves irl are monogamous and mate but if their mate dies they just look for another one and move on? Now you know.

The thing with mates and marks, in my humble opinion, is that they don’t mean anything. Peoples hearts change, feelings come and go, and my wolves are NOT about to drop everything they have for some person they don’t know who happened to be their true mate. In fact, Channie is the only one who believes in them. The mates issue is a bit complex if we think about it over each of the Chan’s, but on a general idea, the mates are not exclusive for the guys, and I’ll probably make a tmi on the boys at some point, but Chan met his mate and it didn’t work out, for example. Mates go further than the marking, btw, mates are a special, cosmic bond. Marks are just that, marks.

And talking about that, we do not vibe with marks. The original folklore states marks as the way a wolf has to claim their partner as theirs and keep away others, especially from an alpha, and they’re supposed to go both ways, so marks between human/wolf, for example wouldn’t be possible. There’s also two marks.

The first bonding mark is generally given during sex between mates and heals, and the second one in front of the pack (there’s a whole social status thing involved here but were not touching that yet) and its permanent. Also marks are literal WOLF BITES so no, they’re neither small nor cute. Just look at these teethies and picture the scar in a neck-shoulder. That’s your bonding mark.

(they're cute tho I uwuuu)

What I’ve been reading around in fanfics and seeing around is that bots have been mated and claimed with marks, which is ok if you’re into that. My chan’s, though, find physical marks archaic, possessive and toxic. And honestly I personally do too.

You may have noticed by now that even though the boys are quite possessive, they’re never trying to scare away others and their sole way of marking is love marks that heal eventually and scenting. Permanent marks are a nono.

They will NOT mark anyone as their mate. Especially Channie plz he’s baby.

This is a personal decision and it does not mean that marking is RIGHT or WRONG. I just personally see marking bites as marking your partner with fire or something and I dislike the idea a lot.

ALRIGHT I THINK THAT’S ABOUT IT FOR TODAY I FEEL LIKE I WROTE TOO MUCH ALREADY??? Feel free to ask questions or request certain topics! I think next topics will be Social Structure, Skills and maybe Self control or Moon Cycles.

If you read all of this WOW CONGRATS??? I LOVE YOU EXTRA MUAH

One question I got on the asks was “since their fur color seems to correspond with their hair color, what happens if they dye their hair?”

Nothing happens babe! When they’re half turned they will have really funny colorful hair, but when they fully turn their fur stays the same! hehe Don’t worry, Chan won’t be a clown red wolf heh

OK BYE MUAH MUAH

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[ncisfranchise-source]

For its tribute to the late David McCallum and his character, Dr. Donald “Ducky” Mallard, NCIS pulled off quite the surprise: the return of Michael Weatherly as Tony DiNozzo.

It was kept under wraps, besides those who needed to know, and the scene allowed for the show to honor Ducky and reunite Tony with close friends Timothy McGee (Sean Murray) and Dr. Jimmy Palmer (Brian Dietzen, who co-wrote the episode). It, of course, included a new nickname for McGee (McHurry).

When TV Insider caught up with Murray — lots of fun stuff to come from this chat, but here’s the start! —we asked him about filming that as well as the upcoming Tony and Ziva spinoff with Weatherly and Cote de Pablo.

Michael Weatherly just returned for that fantastic tribute to Ducky and David McCallum, and that episode made me cry. It was so good.

Sean Murray: That was a really good one. And Dietzen helped pen that one. He was one of the writers on that, which absolutely, if anyone should be doing that, it should be him.

Talk about filming that tribute episode as a whole and then also working with Michael again because I loved that little bit at the end.

That was fun, wasn’t it? Yeah, Michael and I and Brian knew we were doing that and obviously some other people, but that was one we kept under wraps for a while. We wanted that to be a good surprise, and hopefully, I think that was. It was a really well-done episode, but it was a hard episode to get through, just having worked with David for 20 years, and it was kind of a mixture of saying goodbye in real life and saying goodbye on camera. It was a tough thing. But I hope we paid a good tribute to the Ducky character, and I know David would’ve been happy with it, I really think, especially with Brian having penned so much of it. And during the episode, we got to see a lot of great scenes that David did, and I think it was good.

And I think that ending moment was just the perfect right amount of old school NCIS levity that you needed. There was just a touch of it. It was a really special thing with Tony coming in and passing the bow tie off to Palmer. I always loved the relationship that Tony and Jimmy have, too, which is funny. He always calls him Autopsy Gremlin, which, anytime Tony nicknames you, it is a term of endearment as far as he goes.

Sonja Flemming/CBS

But that was a lot of fun to do, and we actually did a lot of different versions of that last scene. The main parts we had down, but as far as once Michael and I would start doing our thing towards the end and go into the elevator, every time we did it, we were talking about something different. They would just let us ad lib—usually with Michael and I, it’s kind of an old fun thing that we do, and they let us do that. Michael is so terrific about that stuff. I know him so well. We’ve got a shorthand, and it’s fun to do. So it was kind of two-headed thing for me. It was a hard episode to get through, it was a special episode to get through, and then having that moment with Weatherly at the end kind of was just a little cherry on top.

I always loved the Tony and McGee relationship throughout the years, starting off where they were and then seeing how that relationship grew.

Absolutely. And that was something that Michael and I were aware of and we really worked on. We were paired up early when I was in Season 1, but I remember us doing some stuff and him going completely��off book and basically doing this wild Bill Murray impression from Caddyshack and the whole thing that he was doing. They printed this shot and said, okay, moving on. I just remember going and sitting in the cast chairs with Michael, and Michael turning to me and he goes, “I think I may get fired. I think I may get fired for what I just did.” [Laughs] Because none of it was in the actual script. And then we got word back that they really liked it and to do more of it. So that was kind of a fun thing. And I don’t want to make it sound like everything Michael and I did was not in the script. Of course that’s not the case, but we kind of added and extrapolated onto that stuff and had a lot of fun, and a lot of that made the show in that first decade.

So having Michael back, I mean, Michael is a lifelong friend. I talk to him all the time. Actually, most of the people that have come through the show I’m very, very close with. But Michael is the guy I’ve been extremely close with and I’ve stayed in touch. We talk at least every month or two. And just knowing that this was going to happen was really cool. And we had talked about just, it’s wild because he hadn’t been here in 10 years, and as soon as he stepped on the stage as Tony doing his thing, it was like it warped me right back to the old Tony-McGee stuff. It just reminded me how much fun it was.

And now there’s the upcoming Tony and Ziva spinoff.

What do they call it? Tiva!

Do you think there’s a chance of you popping up on there or them showing up on NCIS in connection to that? To see Tony, McGee, and Ziva together again would be great.

Yeah, it’s very possible, I’ll say that. Especially inside of our franchise, as I’m sure you could guess. And yeah, we like to have fun with some of that stuff, and it’s all in the family, so we’ll see what happens.

[gra-sonas]

Interesting interview with CW President Mark Pedowitz. Roswel, New Mexico is not mentioned, but he talks about programming decisions, straight to series orders, the next fall schedule etc. Another thing he mentions is, that he's happy that The CW will air a few more "family oriented" shows (like the Kung Fu and Walker reboots, and Superman & Lois). If you squint, RNM's very much a "(found) family oriented" show - with aliens. ;)

Pedowitz also mentions, that they have several slots to fill for the upcoming fall, and the 2022 spring schedule, but they haven't made all the decisions yet. While we might not hear about a S4 renewal very soon, this gives me a fairly good feeling tbh. RNM's an established show, it's comparatively "cheap" to make, they have great tax incentives in New Mexico, and the show is doing overall well enough in ratings and international sales.

—————————————————————————————

Mark Pedowitz, broadcast's longest-tenured chief, has no regrets about delaying the start of The CW's fall season.

His network (like Fox), made the decision last summer to wait until the new year to bring back scripted originals like Riverdale and All American. The late start afforded productions more time to get used to filming during a pandemic, where episodes take longer (and cost more) to complete. It also.

While the January fall launch gives the network a backlog of originals to air without interruption (provided the pandemic doesn't have other plans), it also delayed decisions like the network's traditional mid-January slate of early renewals.

Now, as The CW prepares to formally launch its fall season on Sunday with the returns of Batwoman and All American, Pedowitz talks with The Hollywood Reporter about how the network is plotting a return to business as usual, including more straight to series orders, developing shows with heart and, yes, the future of all things DC.

Let's pretend we're at TCA: When will you bring Supernatural back?

If they boys want to come back, we're ready to have them. (Laughing.)

The CW traditionally hands out early renewals during this time of year. Where are you in those conversations, especially since your season doesn't formally start until Sunday with Batwoman.

I'm just getting into those discussions. I came from a studio background and understand the importance of early pickups — it allows for better preparation. We're a few weeks away but I need to finish up some internal discussions.

ABC, NBC and CBS all returned originals late last year. In hindsight, any regrets holding the season start to January

No. Once we said it, we felt it was the right thing to do. It would have been too patchworky. At this point, it gets longer and longer and you're waiting to get back into some form of what's your finished product going to look like? I have no regrets. I just wish it didn't take this long to happen.

How much has The CW's late start to the season — originals return next starting Sunday night — impacted the way you conduct business, both in terms of renewals and the negotiations for pilot orders, etc.?

We did this strategically and made choice in the summer because we were concerned with misleading affiliates, the consumer and the ad sales community that we were going to have a fall schedule in the fall and felt that wasn't the right thing. We found some successes with some of the acquisitions, like Stargirl, Coroner and World's Funniest Animals. Some of those are good linear, a lot of them were great on digital. Our digital presence was kept alive because of that. That said, our fall had Supernatural. And once that came back, we were doing [ratings] numbers we were doing pre-pandemic.

We are interested in seeing how people react. It's not just a covid issue right now; it's also the uncertainty in the country with news being as much of a viewing choice as anything else. We're going to have to see how it all plays. We're getting a little colder of a start than we would have if we rolled out of summer. On a digital basis, we're fine. On a linear basis, it's gotten harder.  On the development basis, nothing has really changed. I think straight to series [orders] will be done again this year — just for financial purposes so people can get going as quickly as possible — by the end of January. That could change because the surge could change. But there is a bit more flexibility to it. We're still on the same schedule: we have to talk to advertisers in some form in May about what things look like for the following fall. We're hoping that the following fall is closer to a normalized fall — like 2019 was. Do I think it will be completely that way? No. Do I think it will be much more that than not that? Yes.

So, you'll be focused largely on straight to series orders instead of pilot pickups this season?

We haven't seen a lot of development yet. Lost Boys and Maverick [ordered to pilot last year], because of what occurred, are back in contention as development, not because they got picked up to pilot last year. They're in the mix with many other things, including dramas from Ava DuVernay, Black Lightning spinoff Painkiller, Wonder Girl, PowerPuff Girls, The 4400. The scripts are coming in slowly. Right now, I've seen just a handful of scripts and I'm waiting for others to come in so I can make some decisions. They're in contention for how we pick up pilots or direct to series.

Last year, you went straight to series on Superman & Lois and Walker largely out of concerns that there could be a WGA strike. Why is this an attractive model for some development this year?

A lot of is dependent upon what we're dealing with in terms of production needs with ongoing series in a sense. The other is what's the economic impact. Bypassing pilots is short-term less money than going straight to series. We look at the economic impact and if we believe enough in these shows and that will determine the decision.

With two veteran shows — Supergirl and Black Lightning — ending, how much more room on the schedule do you anticipate you'll have? You're making straight to series decisions based on a slate that will have just gotten under way.

We'll have space for three or four shows for next season, 2021-22. We're sorry to see Supergirl and Black Lightning go, but we're happy to have Naomi, Wonder Girl and Painkiller in the hopper right now. From The CW-DC/Arrow-verse — whatever we're calling it these days! — I think we'll be OK for the next generation. The Flash is new leader with Arrow gone and we're hoping Superman & Lois and Batwoman step up there for a new grouping of shows.

How much more life is left in veterans like Flash and Legends as you develop the next wave of the Arrow-verse? Especially when you have Greg Berlanti doing a big-budget Green Lantern and DC world at HBO Max and J.J. Abrams doing Justice League Dark for the streamer?

And they have Matt Reeves' Gotham PD there, too. It always makes me feel good when we're copied. (Laughing.) There's a lot of life left. Greg and I speak quite frequently. I'm not that concerned.   You recently passed on Green Arrow and the Canaries. Why? Timing. We couldn't quite figure out a model similar to Stargirl and couldn't quite get there. We were hoping to have it start at HBO Max and take a second run on The CW, but we couldn't figure out how to do it and couldn't make it all work.   Last year's pilots Lost Boys and Maverick are back in the development stage. What's the status of The 100 prequel?The 100 prequel is still in discussions at the studio level. I'd like to see it happen. I'm comfortable with where the prequel spinoff episode we did this past season. It's not a pilot; the earliest that would happen would be probably summer 2022, if that happens. We may end up deciding that we can't put the pieces together and it won't happen.

Speaking of the studio level, Warner Bros. is in the midst of a massive change as Channing Dungey is replacing Peter Roth. How does the changeover at Warners — which co-owns The CW alongside CBS Studios — impact the network? What kind of conversations have you had with Channing about their content pipeline since Warners is your main supplier?

Peter and I had remarkable partnership and relationship, and that will be missed. Channing worked with me when I ran ABC Studios and we've known each other for a long time. She's very supportive of The CW and the shows that go on The CW. There are shows she'd like to keep there and get on the air there. Obviously, her priorities may be a little different than Peter's. We are all working toward the same goal.

How has the pandemic and our current state of the world changed the types of programs you're looking to make? Can you do a show like Maverick, set on a college campus, during a pandemic? Do you still make dystopian stuff, especially if it's expensive?

Maverick is still in contention. I just had this conversation with our development team. I've come to the point right now about hope. About safe havens and a place where you can just ease your tension a little bit. One of the nice things about Superman & Lois, Walker and Kung Fu is at the end of the day — despite all the superhero/genre and Texas Ranger stuff — all three shows are about family, which is an important aspect going forward. You'll see Superman in a way you've never seen him before. And you'll see Jared Padalecki in a way you've never seen before. After watching all eight of Wentworth, I switched to Bridgerton because I wanted something light and fluffy. And I found Ted Lasso a worthy successor to Schitt's Creek — it gave me a hug and made me feel good. It made me remember that the human condition is not always bleak. That's where my head's at these days and I'm hoping development is more hopeful than it is dark and dismal.

Have you considered keeping production on your scripted shows going through the summer given the current covid surge that's happening this winter and the uncertainty in terms of vaccinations and new, more contagious strains? 

We work with the studios on episodic orders and when the shows would end, when they can revert back to a normalized schedule — some can do more easily than others — so we could be there for next October with a more normal schedule. We've sat with the studios and our production partners and have figured this out. Barring catastrophe, we think we're in good shape.

The CW is a joint venture between Warner Bros. and CBS Studios. Since both studios have prioritized their own studios, how much longer does it make sense for them to operate a linear network?

That's a question for them. for the moment, both parent companies are happy with how this is set up. They recognize the value of The CW brand for selling their shows in digital aftermarket.

Interview edited for length and clarity.

[vincent-g-writer]

The Silver Screen Savant, pt 2- the Meh, the Bad and The yikes.

Hello Writers!

Last time here on Starry Starry Write, I talked a little about Autism in the media and my personal experiences therein. Today, I’d like to go a little broader, and tackle the topic from a macro perspective.

In recent times, you’ve probably heard “Representation Matters” oft repeated. Especially in prominent talking spaces like social media. But what does that mean, exactly?

Why “Representation Matters,” and how.

The short answer:

Diverse representation in media tells us that everyone has a place in the world. That everyone’s story matters.

The long answer:

It’s no secret that we begin engaging with media at a young age. When I was growing up in the 90’s and 00’s, TV and video games were often the babysitters of my peers. I was one of the few kids in my neighborhood whose parents weren’t divorced. The kids I knew? Not so much. Most of them were raised by single parents, grandparents and of course-the boob tube. I personally prefered books, when my mom wasn’t yelling “it’s too nice out to be holed up in that dark bedroom!”

Now, don’t mistake my preference for some kind of intellectual superiority. I watched plenty of TV too. Besides, books aren’t magically out of the equation. Printed material is our oldest form of media. And- often just as problematic. Though I will say- I saw a much broader range of people on covers adoring library shelves than I ever did titles on a TV roster. But, I digress. The point is: for many of us, consuming media begins at an early time of our life. And that’s where the problem starts. Even in my childhood, where The Magic School Bus, Hey Arnold, and Sesame Street showed people of all kinds, I can point to many that did not. Especially not people like me. Which did me a grave disservice. I didn’t know I was on the spectrum for a long time, and when I finally found out, I was horrified, thanks to what I had seen on TV.

Because media is not only a wonderful way to learn about people that don’t look, act or sound like us. It also informs our ideas of who we are, and what we can be. Whether we like it or not: it shapes how we understand the world. And it doesn’t stop with Childhood.

Time Changes Much, but not all.

Things are better now. Well, a little bit, anyway.

As an adult, I see more people like me on the screen nowadays. Which is nice.

Ish.

Why “ish?” Well…

Frequently, these “noticeably different” characters (read: Autistically coded) are branded “NOT AUTISTIC!” You heard it here first, folks! That one character (insert your favorite) is Totally Not Autistic. Despite being written in a way that gives every indication otherwise.

*Facepalm*

Now for some examples, which we’ll call the “Meh,” “The Bad” and the “Yikes.” For “fun,” we’ll also go into the off-air perceptions of the characters.

The “Meh.”

First on the list is Dr. Spencer Reid, from CBS’s “Criminal Minds.”

Dr. Reid is the youngest member of the FBI’s Behavioral Analysis Unit, having joined at the age of 22. He holds three B.A degrees in Sociology, Psychology and Philosophy, as well as three Ph.D’s in Engineering, Chemistry, and Mathematics.

He also has the social skills of a limp dishrag. Wait, what’s that? High Intelligence + Low Social Awareness? Hmmm…Then there’s his restrictive behavioral patterns, obsessive interests, and general “quirkiness!” that we could talk about. But let’s hear a quote from the actor who plays him, Matthew Gray Gubler:

“..an eccentric genius, with hints of schizophrenia and minor autism, Asperger’s Syndrome. Reid is 24, 25 years old with three PH.D.s and one can’t usually achieve that without some form of autism.”

Hoooo-boy. I could go into all the things wrong with this, including why the term “Asperger’s” is both horrific (TW: Eugenics,Ableism, N*zis) and harmful. However, today we’ll simply leave it with the fact that this term is no longer applicable, having been reclassified in 2013 as part of Autism Spectrum disorder.

The “Bad.”

Next up, we have Will Graham, from NBC’s Hannibal.

Like our first example, Will works for the FBI. He’s a gifted criminal profiler with “special” abilities, namely hyper empathy, which allows him to reconstruct the actions and fantasies of the killers he hunts. He’s intellectually gifted, hates eye contact, socializing, and prefers to spend…most of his time…alone.

Oh dear. Haven’t we been here before? But, I mean, he doesn’t have Autism! The show runner says so!

For Will Graham, there’s a line in the pilot about him being on the spectrum of autism or Asperger’s, and he’s neither of those things. He actually has an empathy disorder where he feels way too much and that’s relatable in some way. There’s something about people who connect more to animals than they do to other people because it’s too intense for whatever reason.

You can’t see me right now, but I’m cringing. A lot. This is just…ugh. I mean, for starters, I know a handful of autistic people who struggle with hyper empathy, which can make social situations overwhelming and hard to navigate. In fact, I happen to be one of them. Plus, there’s a cool little thing about how, frequently, people on the spectrum more readily identify with animals. But, y’know. Who am I to say? I’m just someone, one of many, who’s dealt with this my whole life.

Now, onto the “Yikes.”

*sigh*

And finally, we have BBC’s Sherlock, a modern adaptation of Sir Arthur Conan Doyle’s renowned “consulting” detective, and probably the most famous fictional character of all time.

Now, I’ll start by saying that the BBC incarnation is not the first to be Spectrum labeled. In fact, Sherlock was my childhood hero, and the first “person” I saw referred to this way. My aunt, an avid reader herself, casually remarked to a friend “I’ve always wondered if Holmes is Autistic,” after I came yammering on about how fantastic the books were. Had I not been champing at the bit to get back to my reading, I might have asked her what that meant.

I also believe this fandom driven speculation is why many detective type characters (see above) are often coded as Autistic, intentionally or otherwise.

In this New York Times article, Lisa Sanders, M.D. describes Holmes traits:

He appears oblivious to the rhythms and courtesies of normal social intercourse — he doesn’t converse so much as lecture. His interests and knowledge are deep but narrow. He is strangely “coldblooded,” and perhaps as a consequence, he is also alone in the world.

Now, before we go any father, let me take a moment to defend his creator. During the time Sir Arthur Conan Doyle first created his most famous work, Autism was not known. That isn’t to say it didn’t exist. We’ve always existed. In fact, it’s now believed that the Changeling Myth, a common European folk story, was a way to explain Autism. In one telling (there are a few) children displaying “intelligence beyond their years” and “uncanny knowledge” were imposters, traded out by Fae creatures for offspring of their own. Children believed to be “Changlings,” regretfully, often came to a bad end. A chilling reminder that the stories we tell impact our real lives.

So while Autism was at least somewhat recognized, it did not become its own official diagnosis until 1943.

Meanwhile, Sherlock Holmes was first published in 1892. Now, as a writer who often draws from my personal reality, I imagine Doyle probably “wrote what he knew,” which is to say, acquainted with one or more Autistic people, he used them as inspiration.

On the other hand…

BBC’s Sherlock first aired in 2010. And while one might argue that the writers simply capitalized on the Autistic fan-theory, or took already available traits and exaggerated them for their version… they left a lot to be desired. Autism aside, this new Sherlock is…well…an asshole. Narcissistic, abusive and egocentric (to name a few) he sweeps his caustic behavior under the rug of “high functioning sociopath,” and blytly ignores the consequences.

Which is a major problem. Because while doing this, he’s still “obviously” (at least in the Hollywood sense) Autistic. In my previous post, where I said some characters are “too smart™, and logical© to ever have feelings, friends or empathy,” this is what I meant.

This is bad. We’re looping right back to Representation Matters. Bad representation, and the navigating of such, is just as important for writers to think about as good representation. Maybe even moreso. Because bad representation paints real people into cardboard, stereotyped people-shaped things. It otherizes. And it’s harmful. You would not believe the people I’ve met assume I’m not Autistic because I’m not an egotistical jerk. Why? Because they watched, you guessed it, BBC Sherlock.

Confession time:

Now here’s my little secret:

I love all of these characters. They are some of my favorite on tv. Why? Because for good or ill, I recognize myself in them. Finally, I can turn on the TV, and see myself. Or, somewhat, anyway.

My favorite character out of this list? Loath though I am to admit it… Is Sherlock. See, what those well meaning folks didn’t know (the ones who say I’m I’m “too nice,” to be Autistic) is… well, if we’re being honest, I wasn’t always nice. A few years ago, I was that guy. I was a jerk because I thought I was the smartest person in the room. Which is really not a good look. In fact, sitting down and watching the first season of sherlock, (around three or four years after it came out) made me realize how much of a jerk I actually was.

There are other things there too. Things that tie me to all these characters, that I didn’t list. But that’s for another today.

For now, I’d like to add a caveat or two:

1) I’ve watched all the shows listed above, and adore them. As I mentioned, Sherlock is my favorite. He’s also the one I’ve watched the most (Repeatedly, in fact. Whoops.) and I recognize it’s not all bad. In the end, he learned to treat people better (somewhat) and certainly became more human over time. And, there are other deeply problematic elements of the show I’d like to tackle, eventually.

*cough* Queerbating! *cough*

2) I’m well aware that the above cases are all thin, white, able bodied, “straight” males. But I chose these characters for a couple of reasons. One, they’re the most prominent type on TV. Again, we loop back around to representation, and why we need more positive, diverse examples of it.

And finally-

3) In my last post, I mentioned I’d give some “good” instances of Hollywood Autism trope. But I didn’t exactly do that. Partially, because half way through, I thought…perhaps…I’m not the best to judge what might be a good Autistic character. I mean, I’m sure someone will read this and think my current aforementioned characters are fine. Heck! They might even argue my perception here, and say the characters are just fine. I accept that. In my life, both on and off the page, I recognize that I cannot, should not (and don’t want to) speak for an entire community.

Because of this, I cannot tell you how to write a “good” Autistic character, or what media is “acceptable.” I can’t even really tell you what a bad character is. Sure, I have a lot of opinions about it. But- if you’re on the spectrum and like and identify with the above? That’s fine. I mean, even with all the problems I noted (and some I didn’t) I certainly do.

On the other hand, if you’re a writer, and you want to write a character from this (or any, for that matter) community you aren’t part of, I caution you.

Do your research. Preferably from multiple credible sources.

Talk to people on the spectrum about what it’s really like. (Though try to steer clear of asking for emotional labor.You could, say, hop on reddit and ask the community there, for instance, which is a no pressure way to obtain potentially decent info.)

Finally, whatever you do, remember this-

Autistic people can look like anyone. We can act, and think and be different, like anyone. We are real, living, breathing people. Not robots, not sob stories, not tropes. People. So if you write about us, write us like people. And your work will be all the better for it.

-Your Loving Vincent

[paceypeternathanslawyer]

Iconic things about The Dick Van Dyke Show

-For the time The Dick Van Dyke Show was incredibly diverse. You got to remember this was the early 1960s, back in the day you were lucky to see African Americans in any capacity and when they were in shows or movies they were strictly in the service industry. That started to change in the late 50s to early 60s and TDVDS was kinda the start of that in Television. People of color were depicted in different capacities than usual. In the episode “That’s My Boy??” the actors Greg Morris and Mimi Dillard played a normal upper middle class family. In this episode Rob thinks that Laura and himself were sent home with the wrong baby from the hospital and he believes that their baby was taken by a family with the last name Peters. The Peters ended up being African American and they were depicted as well dressed and well spoken people who seemed to live in a similar area and walk of life as the Petries and in that episode the black couple is funny and completely sane whereas the white man (Rob) is depicted as the butt of the joke. Also at the end of the episode Rob subtly mentions how their son Richie is getting horrible grades and the Peters’ son is at the top of the class. It’s small things like that, that had never been seen on Television. In a episode named “The Man from My Uncle“ an actor by the name of Godfrey Campbell played an FBI agent. And that’s not counting the numerous POC in smaller roles or as extras in scenes. This was a time where you were lucky to see POC even as extras. -The feminism in TDVDS took amazing strides as well. There were times where Rob is shown to be very insecure, and I think that’s some of the most of it’s time aspects of the show. It’s not great, but it’s realistic. One of my favorite character choices for Laura Petrie is that we find out that she is proficient in self defense.... she learned self defense techniques when she was an entertainer for the troops. In the episode “My Mother Can Beat Up My Father,” a drunk at a bar harasses Laura and Rob tries to defend her and he gets laid out by the drunk. Laura then does a judo throw on the guy and lays him out. It becomes a big thing for Rob in that episode and he’s very insecure about the fact that Laura can take a guy that Rob can’t. But Laura does not apologize for that fact, and in one scene Rob is trying to prove that he’s all tough and so he challenges Laura to do the same throw with him. Laura doesn’t pretend she can’t do it to spare his fragile masculinity, she lays him out and if I remember correctly he broke a few bones. Also the character of Sally Rogers has been touted as one of the first women’s lib characters. She’s a Television writer alongside Rob and Buddy and she is treated with respect and is presumably paid the same as Buddy who is a writer on her same level. She is a proud career woman who is damn good at her job, and is an equal to the men in her workplace. Another big way that TDVDS broke ground was the fact that Laura wears capri pants. Believe it or not that caused a firestorm of controversy.... up to that point housewives had been shown as wearing dresses and skirts on TV and once the dust settled the fact that Mary Tyler Moore wore capri pants on TDVDS caused those pants to become a huge fashion craze in the 60s. -TDVDS became a huge hit starting with the second season against all odds. First off Carl Reiner had created the show a couple years prior and had actually shot a pilot with an entirely different cast and with himself in the lead, at that time it was called “Head Of The Family.” It aired and did not get picked up. Carl just gave up on it and it lay on a shelf collecting dust. A couple years later someone with the William Morris Agency tried to get Carl to retry it and he refused. That agent then went to the most successful producer at that time, Sheldon Leonard. Sheldon was known for having a perfect record for his pilots, absolutely all of them had been picked up to series, some of which were huge hit shows. Sheldon saw the show and immediately saw the potential. He approached Carl about the idea of retrying with an entirely different cast and name.... once a famous producer says they have faith in your show, how can you say no. So they set to the task of finding a cast. Dick Van Dyke was one of the first people to be cast in the show, and at that point Dick was in the middle of a successful run on Broadway in the show “Bye Bye Birdie” which he’d won a Tony Award for, but being successful on Broadway doesn’t usually translate to fame with the general public (up until Lin Manuel Miranda that was true). So not only did they cast an unknown in the lead role but they then turned around and named the show on the said unknown actor. That was an extremely ballsy and risky move. At the time there were a lot of shows named after actors but they were all famous stars like Doris Day etc. To name a show after an unknown actor was unheard of!! They then cast Mary Tyler Moore (who was an unknown), they cast Rose Marie (who was never hugely famous, but had a really good career on radio and in night clubs. But even if you consider her to have been famous, she was kind of a has been), Morey Amsterdam was cast (an unknown), Jerry Paris and Ann Morgan Guilbert were cast (also unknowns). It was really a cast full of unknowns in the leads. There were no big names. Which was really a disadvantage going in. The first season bombed, it was near the end of the Nielsen ratings and morale was severely low at the end of the season. Sheldon Leonard actually got word from a friend who was on the committee that decided which shows were cancelled and which her renewed, that the show had indeed been cancelled and it just hadn’t been announced yet. So Sheldon went into problem solving mode. He knew that going to the network wouldn’t get him anywhere. At that time sponsors were king and TDVDS had one of the biggest sponsors in the game, Proctor And Gamble. So Sheldon flew to Proctor And Gamble’s headquarters and in his own words he “sang mammy” in other words he begged and he charmed their pants off (figuratively) :) At the end of his pitch, they agreed to go to bat for the show... on one condition.... that he found a sponsor to sponsor the second half of the season. So he raced from sponsor to sponsor pitching his show and begging them to co sponsor them. He was in the middle of a pitch when he was alerted that Kent Cigarettes had decided to sponsor their second half. Proctor And Gamble and Kent Cigarettes went up against CBS and demanded that they renew TDVDS or else they would withdraw support from all their other popular shows. And CBS caved and renewed the show. With S2, TDVDS became a massive success and by the end of S5 the network was begging Carl Reiner to make another season but Carl wanted to end the show while they were still on top. TDVDS also became the darling of the awards shows. They continually swept the Emmys every year starting with S2. They won for writing, directing, and acting, it also won Best Comedy in 1966 with it’s final season.

-The scripts were largely based off of real life. Nowadays it’s more common for shows to take ideas from real life, but at the time Carl Reiner’s wish for authenticity was largely unheard of. Writers on the show described the writing sessions as therapy sessions because it would start with Carl probing into their life and them talking about embarrassing things that happened to them. Carl and the writers would take those ideas and make them bigger and crazier but there was always that nugget of truth in there.

-The marriage between Rob and Laura was also iconic. You gotta figure that I Love Lucy was a huge show of the past decade and it really shaped most future shows. In some ways TDVDS was the antithesis of that. Carl wanted to create a show where the main married couple was united... it was them against the world. He shied away from battle of the sexes storylines whenever possible. He wanted Rob and Laura to be clearly in love. And it’s a unique relationship where you can tell that those two have an active sex life... and that was really unique for the time.

-Carl Reiner made a decision at the beginning of the show that he would never use popular slang terms of the 60s. In fact if you watch beginning to end, only one slang term slipped in, in S5. Otherwise, he remarkably kept to that. Because of that crucial decision, TDVDS is not as dated as it could be and it has a very timeless feel to it.

-The cast was known to get along famously, there were only a few moments of tension, otherwise the set was known to be very light and there was little tension. They were all pranksters and the set was alive with hilarity, laughter, and pranks. They used to haze guest stars... most of the guest stars were fine with being hazed but there was one who did not take it so well. During the filming of one episode Robert Vaughn was the guest star and he was on the outskirts of the set waiting for his cue to come in. The actors led the entire cast and crew off the set and turned off the lights and left Robert waiting for his cue for about an hour, until he walked in to see what the holdup was only to find the entire cast and crew gone. It’s hilarious, but he wasn’t too happy. The cast was like a huge family, but most guest stars described them as being very welcoming as well.

Edit. Another iconic thing I almost forgot is the fact that certain episodes are used in film classes as examples of how to write comedy. It’s so funny and iconic that it is the textbook case of how to write comedy shows!!!! When will your favorite show ever... ;)