#this is genuinely a really interesting interview!

[rathologic]

biggest disconnect in pathologic's reception has kind of always been a divide between "patho is driven by mechanics" and "patho is driven by story" camps where opinions only ever come from one of these extremes... around p1's development and release the developers considered it exclusively a survival challenge sim, not a game marketed for its story (despite story representing a huge fraction of the time and thought put into it). In The Society Of Dead Poets goes into so much detail about this. and it WAS a stunning technical work under the circumstances, but the complex story was what gave the franchise cult appeal, or at least enough so for it to get a sequel... reviews from the period tend to go along the lines of "this game looks and plays like shit but it's extremely thought-provoking". there's a little to be said about the mainstream view of a "Gamer" in 2005 and what they would be interested in marketing-wise not tracking with story games yet; anyway, the one-dimensionality here was consistent with the studio's approach to games as a whole (cf BoneHouse.ppt).

so IPL's perception of their work was what informed p2's priorities, which turned out to be A Way Better Survival Challenge at the expense of things like characters having complex motivations (expansion on this has been omitted; iykyk), and they did an incredible job with that & basically perfected what they had been going for mechanically. which created this weird divide where p2 fans think 1 isn't worth playing because it's less engaging as a gaming experience, and p1 fans (me included, to be clear) see 2's story changes as a spit in the face of everything that made the series work. like, neither of these are fundamentally incorrect, but they refer to completely non-overlapping paradigms of engaging with the material. when hopefully it can be agreed that a Video Game is comprised of Both a narrative aspect and an interactive aspect, and that they need to work together to create the player's transformative experience (again, premise of BoneHouse.ppt).

Anyway. that helps explain a lot of hbomb's stance on the franchise, particularly that he can endorse patho2 without comment as an ostensibly leftist youtuber when even the most cursory playthrough is enough to let players in on its gleeful centering of ecofascism... that game's representation of colonial relations as an unfixable divide employing the racist trope of reciprocal violence, its obsession with maintaining status quo, and its completely tasteless approach to MMIW are all elements of Story and thus all secondary to p2's huge improvements on the survival system. in the same vein, his discussion of p1's changeling's route is limited to the constant reputation decrease and the repeated quests because those are the only mechanical features introduced over the previous routes, even while clararoute text is fundamental to understanding most characters... his video isn't like Bad for getting the interactive experience p1 would present to you, but it sucks for engaging with the story because it's not about the story. and unfortunately, on discussion posting websites, we do usually post about story

[shannonsketches]

years ago Toriyama said 'i didn't really like vegeta but he was really helpful to the story' and honestly?? more of that. more of those. you don't have to like him but is he good for your story? he'll be good for your audience too, bet

[sophsun1]

[my-coven-is-claudia]

love how autumn’s interviews have become a mini-event in the fandom lol

[skitskatdacat63]

This is my personal crossover event of the century

[nyaagolor]

I'm reading an interview about the creation of Dual Destinies and knowing that this was the writing philosophy certainly clears things up for me. "Don't worry about past characterization of chronology, just be creative" They sure did do that sir

[aeolianblues]

I'm not an extrovert. At all. In everyday life, I'm a yapper, sure, but I need someone to first assure me I am okay to yap, so I don't start conversations, even when I really want to join in sometimes! It's just the social anxiety acting up. God knows where from and why I lose a lot of my inhibitions when it comes to talking to people about music. I don't know where the confidence has suddenly sprung from. I've made a crazy amount of friends in musical circles, either just talking to people about common music or (since it is after all in music circles) talking to bands about their own music. I let out a sigh of relief any time an interaction goes well, because in truth it's going against my every instinct. I wish I could do that in everyday life

[indigodawns]

.

[icewindandboringhorror]

finally settling once and for all... with the evidence laid out plainly.. which of these brother boys is more stinkys ,,,

[sunburnacoustic]

Muse’s Matt Bellamy: ‘I felt that we could do no wrong. Obviously, we could’

By Mikael Wood in the L.A. Times (pasted because paywalls)

(Brian van der Brug / Los Angeles Times)

Matt Bellamy wrote Muse’s new album in a Santa Monica recording studio painstakingly decorated to resemble the so-called red room from “Twin Peaks.”

Crimson curtains, leather armchairs, black-and-white zigzag flooring: The 44-year-old frontman of one of England’s biggest rock bands reproduced every detail of the otherworldly chamber from the cult-fave TV show he remembers devouring during Muse’s first tour on a bus back in the early 2000s.

“It just sets a certain tone, you know?” he says, looking around the space with obvious pride on a recent afternoon.

Yet as Bellamy sat composing amid a thicket of electric guitars and vintage synths — including an old Roland model he says was the same used for the “Stranger Things” theme — what really inspired him was the tumult unfolding outside the studio, which he observed through an enormous one-way mirror in the building’s front wall.

This was mid-to-late 2020: Bellamy, who’s written for years about the menacing encroachments of technology and government, watched (without those on the street being able to see inside) as shops went out of business during the pandemic, as Black Lives Matter protesters marched through the city, as riot-gear-clad police and National Guard moved in to shut down demonstrations, as a man took up residence in a car parked right in front of the studio. Helicopters seemed to be circling constantly; a drone hovered over Bellamy one day as he loaded gear in through a back door.

“It was like being inside a scene from ‘RoboCop,’” he says now. “All the anxieties and the dystopian strangeness that had always been kind of speculative in our music — suddenly it felt like it was all coming true. It was actually happening.”

The result of his observations is Muse’s ninth studio album, “Will of the People,” on which Bellamy rhymes “a life in crisis” with “a deadly virus” and “tsunamis of hate are gonna drown us.” (Sample song titles include “Kill or Be Killed” and “We Are Fucking Fucked.”) But if the LP confronts a brave new world, it also knowingly looks back: Musically, the band—rounded out by bassist Chris Wolstenholme and drummer Dominic Howard—dials down the fluorescent electro-pop vibe of 2018’s “Simulation Theory” in favor of the harder, more guitar-oriented sound that made Muse a prog-metal sensation more than two decades ago.

Muse performing in Philadelphia in 2013. (Owen Sweeney / Invision via AP)

What are those so-called worst parts of Muse? Probably a tendency to veer off and experiment in areas that we’re not very experienced in. Most of [2012’s] “The 2nd Law,” for instance — classical dubstep, weird clarinet solos, whatever else is on that album. I think we felt we’d achieved so much with [the 2009 hit] “Uprising” that we could do no wrong. Obviously, we could.

You produced “Will of the People” yourself after collaborating with the producer Shellback on “Simulation Theory” and with Mutt Lange on 2015’s “Drones.” With people like that who are so successful, I think sometimes we’ve gone in the studio and been a little bit like, “OK, we’ll do just whatever you say.” In hindsight, I wish I’d been more involved and put more of our stamp on it. So we’ve kind of gone back to our safe space on this album. If we’re in complete control, it may not be the most cutting-edge or the most modern-sounding thing, but it’s the only way to guarantee that we’re gonna love it.

(Brian van der Brug / Los Angeles Times)

June 2020 was a heck of a time to bring a baby into the world. I came to America in 2010 as a single person looking to experience L.A. for a bit — and, boy, have I had an experience. Ended up with a Hollywood actress [Kate Hudson], had a baby together and the whole cliché scenario of the ups and downs of celebrity life. Then married a Texan [model Elle Evans] and had another baby. Been evacuated from my house during wildfires. Then the pandemic and the full January 6 Trump meltdown. It’s just been an unbelievable period to be here.

“Will of the People” suggests it hasn’t left you terribly optimistic about the future. It depends what your definition of optimism is. To me there’s a fighting spirit in the music, which is a form of optimism. It’s like the moment in “Rocky” when Adrian tells Rocky to win.

Do you think it’s clear to listeners who you’re fighting? In the new song “Compliance,” you’re singing sarcastically about people falling into line and doing as they’re told. It could be interpreted as an anti-woke anthem. I never thought about it that way. I thought about it in terms of the rising authoritarianism that we’re now seeing is a real thing— Trump in this country, but also Putin and the China situation. These ideologies, I feel like we kind of tested the waters in the 20th century and realized that fascism and communism are both just absolute disasters and that we don’t need to go near that stuff ever again. And yet it’s emerging.

What’s your reaction to that? I have an anti-authoritarian nature. My parents say that when I was a young child I was never very good at being told what to do. I don’t like the idea of vast centralized power that’s very far away from where I live. I come from Devon in England, which is a couple hundred miles from London. But when I went to see where my wife’s from in Paris, Texas, it’s like, Holy s—! It’s thousands of miles from the places of power in America. So the resistance to someone deciding how I should live who has no idea what my day-to-day life is — I can understand it, even though there’s a risk of it being hijacked by more extremist factions that have gone down roads I don’t agree with.

Have you considered becoming a U.S. citizen? I have. Overall, I actually think the United States’ structure is really amazing, with all the different ways to make laws at the local level. It seems like every month my wife is voting on some sort of proposition. I’m looking at that going, Wow, England is so behind on that front. We don’t ever get to vote on policy.

The oddest thing about that late-2020 period where things in America and California seemed so chaotic and crazy was that I felt my connection deepening. There’s something going on here that is critical to what’s happening in the entire world. America has become a kind of center point for this idea that there’s an empire on the verge of collapse, and how do we save it? Or how do we know which parts to save and which parts to let fall away?

For some people — Dom, to some extent — it made them want to get out. But for me it had the opposite effect. It’s everything I’m interested in, and it’s massively creatively inspiring.

Has becoming wealthy shaped your political views? I don’t think so. I remember all my feelings of what it was to be from a poor rural background with no opportunities and all the disadvantages. And I still have some views that would be considered pretty socialist by some. Universal health care is an obvious one; I can’t even believe there’s not universal healthcare here. I’ve also come to the view that maybe land shouldn’t be privately owned.

Can you relate to music that’s unambiguously joyful? Coldplay, let’s say. Absolutely. Chris [Martin] is a friend of mine. I love what they do. I wish I could write more songs that enter the love sphere. But I think it might be against the nature of the sounds our band makes. When the three of us are jamming, it’s like Rage Against the Machine riffs are coming out all the time. I can’t imagine hearing those riffs with Chris Martin singing about peace and love on top.

What’s the happiest Muse song? “Starlight” is pretty positive. I think “Verona” on the new album is pretty nice — little bit of “Romeo and Juliet” in there.

Do you think rock music is in good hands with the generation behind yours? My 11-year-old son likes Slipknot and Metallica. My stepson Ryder from a previous situation [with Hudson], he’s 18 and he’s really into rock. He turned me on to Willow Smith.

Can you envision touring in your 60s and 70s like Paul McCartney and the Rolling Stones? Yeah, but Metallica is the one that’s really made me think we could do it. The Stones and McCartney, they have universally uplifting music. But Metallica — I’m not sure how old they are, but they’re up there — that’s really heavy music and they’re still out there. The great thing about rock is that, even though the genre is largely irrelevant in the mainstream, you can actually grow old with it. You can make a real life career.

[todayisafridaynight]

It's been wonderful being able to talk about these things for me too! I haven't really had the opportunity since Y7 came out, so I'm positively buzzing. And no worries about the tone of your post about Daigo's article haha, I appreciate it when issues are pointed that I might've missed otherwise since that's at least something actionable.

But I'm obviously not going to stop anyone from venting frustrations with the wiki or with Fandom as a platform; I frequently find myself frustrated too! It's one of the things that keeps people editing the wiki. I'm honestly fine with whatever as long as it's not accusing us of being fujoshi for the billionth time lol, but for better or worse I do like to clarify what we're trying to do if there's any confusion.

Speaking of, Mine's relationship tags are kind of a funny story! So a lot of them have these dotted underlines and question marks, right? You're supposed to be able to hover over underlined terms to see a short definition (on desktop) and click the question mark to see an article with all the definitions on mobile, since hover actions aren't possible on a touchscreen.

But since the article was and still is under construction, Fandom doesn't show the link to logged-out users. So I had no idea it just looks like we're saying the tag is ambiguous lol. It's up now though, so it's hopefully easier to understand what we're trying to do!

I just found it funny I specifically added that feature to reduce confusion. Half the grief we get over Mine's "romantic interest" tag is because people assume we're saying it's mutual (we chose the term to try and avoid the "mutual" connotations of "love interest," but I guess that didn't work out). I also thought it might help with somewhat esoteric tags like "co-parent" (which was put in place for Jo and Arakawa and then I kept thinking of others) and "surrogate son." Turns out it's tough to boil complex relationships down to one term!

I definitely have SO many questions about New Year's Day and I probably always will; for the space of only one night, it's a huge blank. I certainly do have to wonder if shipping Masato off to America was decided then and there. There's a lot that could possibly be expanded on in RGGO (further interactions between Arakawa and Jo included lol), so I've got hope for that too now that we're back to random events. I'd be really interested to see how you'd portray it someday!

Talking about Nakai and Tsutsumi reminded me, Nakai mentioned he read the whole script in a day so he "wouldn't do a disservice to Arakawa or Sawashiro's characters." That kind of stuck out to me precisely because there are so few scenes between them compared to like, Arakawa and Ichi, and they're all relatively low-impact in comparison.

Of course, it could be marketing on account of him and Tsutsumi getting to co-star again, or the scenes could simply have stood out to him more for that reason, or he could've had a different impression of the ratios having read the script rather than played the game. But the part of me that makes me want to go Off The Deep End speculating is kind of wondering if there were other scenes planned?

And absolutely! I'm not able to reblog often because the post editor's been crashing whenever I try to tag my posts, but I hope you know I love your work and I'll support pretty much anything you put out! I'm very excited to share my findings as well.

A lot of it's to do with Mine's relationship to Western culture vs. Japanese culture (his "westabooism," basically), so that's specific to him, but there a lot of interesting concepts and theories in Japanese psychology regarding familial bonds, met and unmet emotional needs. They work as an explanation for his probable feelings of alienation from Japanese culture, but I feel they would make for an interesting lens to examine the Arakawas through as well.

I actually hadn't ever considered the similarity with regard to Mine and Jo's dads, but that makes so much sense! If I were to take it a step further, I think feelings of "abandonment" by their fathers have had long-lasting effects on both them and Masato. Jo we've been talking about, his father was technically still "there," but he wasn't in his corner, which feels much the same as abandonment to a child.

I think Mine's internalized a lot of the same feelings even though his father never meant to abandon him (I guess Jo's may not have, necessarily; alcoholism can destroy a family whether the individual wants that to happen or not). Like, unfairness, displacement, lack of control, the loss of the only support you have and so on. I think dwelling on that is what sent Mine's mental state spiraling, and what made it imperative to just believe Daigo was "dead" to try and move on as soon as possible. He didn't want to be hurt the same way again.

It's also probably what he was projecting in his ridiculous villain speech during The Orphanage Scene; the reason offering kids support in the way Kiryu does is a form of "victimization" in his eyes, at that moment, is because that support can be ripped away from you at any time. The scene is kind of hilarious to me because it's like, "okay we need Mine to have a kick-the-dog moment, his actions have been too understandable," but I do get it from that angle.

Similarly, I think those feelings of abandonment are why Arakawa faces the brunt of Aoki's abuse, because it's like, "YOUR negligence is why I had to go through all of that." So I get why Jo, like your sister, wouldn't want the finger pointed at him, but at the same time… damn. Perhaps if Arakawa had never had that talk with Masato, things might've been different. I get the impression he wouldn't be able to endure keeping things to himself for as long as Jo, though, given things like the letter he sent Ichi in prison.

Oh, yeah, Jo is CRAZY protective of Masato too! "If anything happens to him, killing you a thousand times would be insufficient!" I think part of his overreaction to having Masato's money is also that if Ichi can't listen to orders that fundamental, who's to say he listened to the orders to keep Masato safe? I guess if you see Ichiban as incompetent to the point of almost being a malicious actor, you might think that.

I'm sooo so glad you've noticed the rest of those similarities haha, I've been rotating them around in my brain like a cube for ages. A Venn diagram would be so fun to see! That's such an insightful look at the differences between Mine and Jo's offices too. I was a little confused about the placement of the social spaces, or even that they're there, but if you look at it as clearly separate from his personal spaces, it does make sense.

Also, not to harp on the books in the offices too much, but I compared the textures a little earlier. Mine's are basically all (very expensive) encyclopedias and language phrasebooks in English, Italian, French, and German, in contrast to Jo's discrete hardcovers and series of art history books. They're probably all stock assets lol, but I think they're surprisingly good fits; Mine dumping considerable time, money, and energy into his fascination with Western culture and Jo being the type to not want people to know what he's reading totally works for me.

But yes! It's kind of funny, because Yokoyama wasn't much of a Mine fan in his early days, but I hope he and the others keep on writing characters like him. I think of it as Mine's "legacy" in a series where past characters aren't acknowledged too often; the most I can recall are that Hakuho mention in 4 and the fencing around the Touto roof perimeter.

Speaking of, I love Mine's missed shots in the finale specifically because he's an excellent marksman in his Okinawa character story. Why? How? Who Knows, He's Perfect. (Probably not as good of a shot as Daigo though lol)

And yeahhh, there are other interviews, but it ain't the same! It was the most in-depth one I know of. I think this is one of the only remnants, and I shall entrust it to you.

But yes, exactly! And I'm also glad Y7 introduced more people to them (myself included), Tsutsumi's my favorite actor of all time and Nakai's brilliant. They make a great combi! Of the things I've seen where they co-star, I think Princess Toyotomi and Hero SP are both solid; the latter is a special for a longer show, but I honestly didn't even notice lol. Musashi I wasn't personally able to get through even though I've read the book, so I'm not sure how it plays out between them.

Also I DIDN'T KNOW TORU DIED IN PURE??? That came out of nowhere oh my god T___T But if you're ever looking for anything rare, feel free to ask! I might know a guy (gender neutral) with a stash, Fly, Daddy, Fly included.

OH MAN MINE'S WIKI ENTRY I've definitely made my opinions about it known, but now knowing the truth behind it it's kind of funny and still so unfortunate. I'd almost want to recommend a section dedicated to the topic since it's such an integral part of his character, though I also understand wanting to keep the wiki strictly to factual information and to exclude speculation (or "speculation" anyhow- it's definitely more of a concrete situation, especially going off of the information provided in your pinned post on the topic. If anything, that sort of information would belong to the "Trivia" tab wouldn't it- but again, it's such a deep situation it can't really be summarized in one or two sentences) and the topic being too niche to have a page dedicated to it. It's nice to know that the subject isn't trying to be brushed under the rug though and it's just a matter of awkward formatting/incomplete work!

Furthermore on The New Years Event, I would LOVE RGGO to expand on the topic since they've been so liberal with the stories they make and the depth those stories add to the characters. Honestly, I was expecting Masato's card to have that as its accompanying character story, so it's unfortunate that he doesn't get it or any story as far as I'm aware (or maybe he does have one and my poor pull luck has just prevented me from getting the card to find out myself, but I've looked as much as I could and couldn't find an upload of it). Oh well, I guess it's the old "if you want something done you gotta do it yourself-" not that anything I could make could ever be up to scratch, so I'm glad I do have people interested in what I have in mind :)

About Nakai, I wouldn't feel wrong trying to accredit his comment to a time before he knew the full plot or saw the full game and was just debriefed on the general story/character relationships, and I also wouldn't put it past RGG to have deleted scenes/ideas (if those do exist, RGG please let me in your vault I'd like to take a peak...)!

The psychology of Mine is another topic I've been wanting to officially tackle for a while now, so I'm glad I have this chance to share some of what I have mental bullet points for.

Moreover, Mine's dad and how he "left" Mine undeniably impacted him significantly beyond physically leaving him alone, and it definitely manifests in The Orphanage Scene and his idea that killing Daigo would be "putting him out of his misery". In those instances, he sees Daigo and the orphans as victims of an unfair reality, Daigo being comatose, and the orphans having the endure the struggles of being orphans (and that added-on, projected anxiety that their comfortable lives now could vanish at any second like it did for Mine). Mine's mustache-twirling villainy is funny for its absurdity, but I also genuinely appreciate it since it lets us peak into his warps philosophy better. It doesn't justify his actions by any means, but it explains to us why he can justify his actions as from a place of love or pity as opposed to thoughtless evil.

To add on, Mine's relationship with his father, from what we're allowed to gather, was healthy and positive. Because of their positive relationship, the removal of such adds credence as to why Mine's desperate to get that love again. It especially makes sense considering Japan's horrendous attitude and negligence towards orphaned children that was even demonstrated during Mine's childhood while his father was alive.

And as an inverse aside, Jo's relationship with his dad was toxic, whether it was due to blatant abuse or combined negligence. It's fair to assume that Jo never got to experience genuine, secure love growing up, so as a result, it's not something he actively seeks out. He's been without it long enough that it's not something he necessarily craves like Mine who used to have it until it was taken from him.

Masato certainly makes it clear he felt isolated despite the efforts Jo and Arakawa repeatedly went through for him, and it's apparent it's an unfortunate side affect of internalized ableism. It definitely doesn't help anyone's case that Masato had seemingly been informed of the night of his birthday's events (from Arakawa's point of view, obviously), and it's clear that knowledge gives ammunition as to why he resents him.

You're right on Jo potentially seeing Ichi as a bad actor, it's not as if he has disdain for him for no reason! Like even if Ichiban hadn't taken Masato's money the way Jo could have imagined, the idea that Ichi can't be responsible in one avenue can easily lead back to Ichi having the potential to look after Masato, especially when he seems to be the one who predominately looks after him when he's tasked to.

I've already got my program open to make my little chart and have my reference pictures ready, so hopefully I can have that silly thing out soon haha- I'm glad you're interested in seeing it, and I hope other people will like to see it too! Jo and Mine really are my favorite antagonists, so it's funny (and I guess not surprising) that they have parallels to them.

To add on to that though, I think it's fun to look at the extra details, no matter how small; I'm probably more happy than I should be that you looked at their office's books, but I can't help be a fan of the details you found (whether they're generic models or not, I'm running with them- I've done more with less before lmao)! Mine having language books is definitely in-line with his interests, but Jo having art history books is weirdly endearing (and dare I say another point for "these are the same picture" comparing it to Mine's own love for art). Jo being so private to the point of blocking out the binds of the books he owns is so accurate to him and his secrecy, and the concept that he likes to read about art in his spare time is a new favorite concept for me.

Mine really isn't acknowledged much after 4; in comparison to Ryuji and Nishiki, he's remembered throughout the series the least (you can argue the same for Ryuji, but considering he gets a whole new life in Dead Souls, I think it's fair to say that makes up for the mainline series forgetting about him. Though I guess the same could be Mine getting a prominent role as Hijikata in Ishin... Definitely not as cool of a spot as to be a playable protagonist with a machine gun arm if I'm honest). In that, it's great that his likelihood can exist in future characters, and I hope they continue the trend of phenomenal antagonists in LaD8 and onward!

I'm eternally grateful for this frame you've gifted me thank you so much- Nakai's smile is such a blessing honestly, I'm glad if anything survived from the interview it can be this shot at least.

I've got Princess Toyotomi and Hero SP added to my watch list, DEFINITELY something I'll be excited to check out as a reward once I have all my important business taken care of this week! Honestly, I haven't seen Musashi either: while I was looking through their filmography I saw it was a project they did, but I've always been bad at watching long series so I didn't take the time to see their performance together.

For things I have seen though... yeah he dies SORRY IF THAT WAS HOW YOU FOUND OUT </3</3 Honestly I didn't expect myself to love the series as much as I did (admittedly it was predominately because of the leads and their relationship), but when it happened I was both- dare I say crushed- a little humored a little funny in a dark-comedy way.

And if you do have access to harder-to-get films, I'd absolutely be interested in hearing about it. One of Nakai's movies Good Morning Show has been haunting me for weeks: it sounds like such a fun movie yet I can't find it anywhere </3

[the-kipsabian]

tomorrow is such an important day, im a mcfucking nervous anxious wreck already gOD

[sophsun1]

Every time I watch interviews or behind the scenes stuff with Gale, I am amazed at how this man played Brian Kinney. He's so reserved, how the hell did they convince him to be butt naked for 95% of the show doing the most explicit scenes?!

Hey anon!

Right?! It's one of my favourite things about him to disect I'm obsessed about it the duality of man indeed. The whole story behind how he got the job is insane enough he was literally fated to play Brian and thank goodness because he is Brian Kinney no one else could've done justice to the character like he did.

But watching him as Gale in interviews is an experience asdfgjk;

One the one hand he is as you say very reserved and private you can tell he doesn't love the spotlight/interviews/fandom side of his job but he loves being an actor. He comes across as clearly very smart, philosophical, into art, music and classic cinema so very artsy. He loved doing theatre and qaf was his first television gig and overall you could never tell as he acted so confident and out of them all he was naked 99.9% of the time and had the most sex scenes to film with either the core cast ie Randy or the extras they had to play tricks.

But I think the whole cast really believed in the show and wanted to do it justice and give a voice to the LGBTQIA community, and apart from Sharon and Hal the rest being relative unknowns and going through it together will have helped also the cast being really good friends irl. I'm sure he said he got drunk on whisky the night before the pilot scenes with Randy and once they got through that anything was possible lmao.

The other side to his interview personality is when bless his introverted soul he just goes off on a tangent and starts rambling about a point in a very abstract way and you're left thinking huh? What did he just say??? And to align that almost nerdy artsy weird introvert (said with affection) with Brian Kinney the most confident fucker on earth is a wild ride 😂

[iliveinprocrasti-nationn]

sometimes i look back on younger me and realise they did not think we’d get here at all

[borom1r]

finally knocked The Monster Project off my watchlist and that was… disappointing?

[artykyn]

Me: I’m going back to school and switching careers to programming

My coworkers who I had for 8 months: Oh :/ such a shame that you’re leaving tissue culture :/ it’s so hard to find people with good TC skills :/ why programming though?? So random

My previous boss at a TC company who I worked with for 4.5 years and who I still keep in touch with: Yeah that tracks. You’ll be great at that.