#this might be off given that i haven't seen the most recent two episodes yet

[emptymanuscript]

You know, I just saw a post supporting the writer's strike and saying there are plenty of old shows to watch... and it occurred to me that it might be good to share some shows we love just in case people haven't seen them yet.

Places that make it easy to find where to watch things: Reelgood and JustWatch. Check both, they sometimes conflict, get it wrong, etc.

My Recs (in hopes others will add) (admittedly the low hanging fruit):

The X-Files, 1993, 11 Seasons, free on freevee, available on Hulu, can rent or buy other places. If you haven't seen X-Files, you're missing out. It was a smash hit in the 90's for a good reason. Two detectives, a believer and a skeptic, try to solve unsolvable mysteries in the midst of grand conspiracy. And find, somehow, that as much as they annoy each other, they need each other.

Babylon 5, 1993 / 1994, 5 Seasons, free on Roku and Tubi. An Epic Space Opera that never quite got the success it deserved. It is one of those things whose influence is written all over modern sci-fi and fantasy without much acknowledgement. This is the interplay of empires and mythology, double dealing and political cruelty.

SPACE: 1999, 1975, 2 seasons, free on Crackle, Peacock, Fubo, Pluto, Freevee, Plex, Shout, and Roku. I dare you to listen to the theme song and not feel the groove of this classic campy space opera. When Earth's moon is ejected from orbit to hurtle through the galaxy, the people of Moonbase Alpha have to confront new alien weirdness every week. Part of what makes it so good is that the show takes itself completely seriously, there's no wink and nod in here.

Kindred: The Embraced, 1996, 1 Season, available as a slime tutorial. It's Vampire: The Masquerade as a cheesy soap opera. There are constant reminders of what the clans are like in the most pointed, ridiculous dialogue you can imagine. Had the lead actor not died, this show might have found its place in a couple of more seasons, as it is, it is deliciously campy and dumb. Days of our LARP.

Profit, 1996, 1 Season, available as a slime tutorial. What if the Antagonist was the Main Character. Profit was ahead of its time. It would be right at home in the modern streaming era but it absolutely didn't fit in its own day and age. Profit is dark and twisted (For people who follow me, see if you can find an early inspirations for JJ) with mature and uncomfortable themes. One of its benefits is that it was network televison, so it couldn't show all the gratuitous violence and sex that it would be given if it was made today. It's psychological violence and murder off screen, which, if you let yourself get into it, can grow into worse things than can be shown. Profit is about power, greed, and ruthlessness and what happens when someone even more ruthless and immoral than you shows up.

Farscape, 1999, 4 seasons and a TV movie, available for free on crackle, peacock, popcornflix, shout, freevee, pluto, roku, and tubi. In spite of my picture, this is live action space opera, but it is looney tunes, literally in one episode. This is what happens when the Jim Henson company decides to make a space opera as far away from Star Trek as possible. It's zany, over the top, sometimes hilarious, often creepy, and there's only one human who is far out of his depth.

Blake's 7, 1978, 4 seasons, available on BritBox, and you should be able to find all of it with a little searching on youtube. Like Farscape, this show focuses on escaped prisoners but when they find an advanced spacecraft, they decide to become freedom fighters against their fascist regime instead of just trying to escape. Darker than most of what you could find on US tv until fairly recently. These are wounded people in hostile space.

The Outer Limits, 1995, 7 seasons. Free on Roku. This is a sci-fi anthology series. Some episodes are more interesting and thought provoking than others but overall a lot of good stories.

There are now 12 series with 44 seasons between them totaling up to 880 episodes of Star Trek. That's about 3 months straight of 24 hour programming if you ran it back to back with no pauses at all. That's a lot of show. Mostly on Paramount+ but it's probably not terribly difficult to find the material less officially. It may not all be your cup of earl grey but there's a lot to try out to see if you like it.

1899, 2022, 1 season (cancelled), available on Netflix or wherever else one finds shows. This is my only modern show because I know it didn't get a lot of viewership in spite of being brilliantly twisty. 1899 is one of those shows that it is very hard to talk about without spoilers. I think it is however immediately obvious that the cruise ship Kerebos, en route to New York, is not at all in the situation it appears to be in. It is magnificently multilingual with the ability to communicate when you can't speak each other's language front and center in the narrative. It's sadly cancelled and the creators are on record that they don't want to finish it in another medium so we'll never know exactly what happened but there is wonder to be had from this first season.

Magnum P.I., 1980, 8 seasons. Free on freevee and Roku. 1 season available with Amazon Prime, rest for rent or purchase. Mix a lovable goofball naval vet with PTSD and a very stiff necked British curmudgeon vet with PTSD and you get a fun mystery every week in paradise. Magnum shrugs off most of his work and pawns it on to his friends getting by on charm and some wit.

Murder, She Wrote, 1984, 12 seasons. All available for free on Roku. 6 seasons available for free on freevee. Note that one of the primary writers for Murder, She Wrote was J. Michael Straczynski, this is the job that got him the ability to make Babylon 5. Jessica Fletcher is a charming and clever lady who has retired to the placid sea side village of Cabot Cove to write mystery novels but somehow always ends up at murder scenes. It has been estimated that if Cabot Cove was real, it would be the murder capital of the US.

Tales from the Crypt, 1989, 7 seasons, available as a slime tutorial. To get it to lucky number 13, I present another great anthology show. Every episode a different tale of the macabre or horrific. The crypt keeper is a charmingly gruesome host and there are a few episodes that have stuck with me since I first saw them in the 90's.

Hopefully one among these number can fulfill your needs and if not, hopefully someone else will tack on a few more. I know I left out plenty of my own favorites. There's lots to see while your current faves are on hiatus. There might be a brand new fandom waiting for you.

[anthropologicalhands]

sleepover weekend: what alternate 'trapped in a car with someone you don't want to be trapped in a car with' combination would you like to see, and what are some of the things that go down?

i actually have a few! mostly involving the same characters over and over again:

Valencia + Nathaniel

Valencia is on her way to San Diego to set up and supervise a venue for a wedding weekend, while Nathaniel is going to the same city for a party with his Stanford water polo teammates are throwing. Much like in canon, Nathaniel’s car has run out of juice and Uber drivers keep cancelling on him. 

Valencia agrees to give him a ride in exchange for being introduced to some of these water polo teammates in the interest of networking. Nathaniel is vaguely annoyed by the inconvenience but also suitably impressed at her entrepreneurship, so he doesn’t protest her terms too much.

He is a little more polite to her than he is to Heather in canon, as Valencia inspires fear and respect, while Valencia is kind of casually disdainful of him, at least until he unexpectedly enters her good graces by commenting on the color scheme of the samples she has in her backseat for the bride…with the exact same criticisms that she had (especially when he correctly identifies the shade - it’s not lavender, it’s periwinkle, which the bridegroom does not seem to get right and Absolutely Does Not match the cowboy theme, like, at all).

When she has an epiphany and makes a detour to pick up some additional items that will make the bride’s taste look a little less reprehensible, he actually assists her in making the selections. 

Rather than just staying long enough to make a casual contact, once her event manager duties are taken care of, Valencia ends up coming to the party as Nathaniel’s plus-one and has a blast, racking up several potential clients while simultaneously cutting them down to size. Nathaniel hangs back and watches, impressed and a little terrified. 

It is a surprisingly mutually beneficial outing, and they part ways both slightly impressed by the other but also rather disturbed by their similarities.

Josh + Nathaniel

Fun fact, I’ve actually kind of wanted Nathaniel and Josh to get stuck in a car together since last year. 

In this scenario, Josh is on his way to a job interview in downtown LA when his car unexpectedly breaks down on the size of the road (he meant to refill the coolant, but he kinda never got around to it…) and Nathaniel ends up coming across him by accident just freaking out. 

Nathaniel, at this time, is trying out his nice person-schtick, and is thus left vulnerable to Josh’s puppy dog eyes (and hates himself for it). 

Josh tries to make small talk, but their one-degree-of-separation makes the whole thing way harder than it has to be, and Nathaniel is ready to give up on the whole thing, except then Josh switches track to talk about how much this interview is freaking him out and he really wants to do well, and because it is less personal and Josh is clearly trying to be more ambitious, Nathaniel can actually put aside his feelings and give decent advice about how to approach the interview. 

Josh comes out of the interview really pumped and tries to give Nathaniel a fist-bump. Nathaniel returns it, feeling ridiculous, but also secretly pleased that it worked.

He is less pleased when he finds out what job title the interview was for.

Josh + Valencia

Josh is doing the truck app thing and picks up Valencia, who has a very fancy wedding shower to throw together in Carpinteria. 

He wants to chat, but Valencia is on-edge and stressed out by the upcoming event (her client is high-maintenance and super important to the company, and Beth is supposed to be with her except she got stranded in the Denver airport and will not be able to make it on time). 

Josh can see that Valencia is upset and tries to talk about other things, anything, to take her mind off it, except because of their history it kind of makes things worse and she ends up erupting at him when they are passing Ventura to please for the love of god stop talking. 

Josh, to his credit, doesn’t take it personally and points out that okay, sure, he totally understands that she’s stressed and not in a good headspace right now, but that’s no reason to take it out on him. Look, they have twenty minutes before they get there –what needs to get done? Can he help?

He helps her with the set-up and in directing the guests to their rightful places and as soon as that is done, steps out of the way so she can do her thing. Valencia is deeply touched by the gesture and apologizes to him for her earlier behavior, offering him free tickets to an event hosted by her company where Quest Crew will be performing. 

On the drive back home, they do a post-mortem on their relationship and come to a better understanding of their different expectations and in what ways they worked and what ways they didn’t.

Valencia + Hector

Valencia is heading to Westwood to meet with another potential client, except Lyft prices are ridiculous and so she asks Heather for a ride – Heather offers up Hector, as while she normally would totally be down for it, franchise manager business came up and she’s gotta go manage some schlubs and Hector has a cousin he can visit at the university. 

Valencia is Not Into It but she also really needs a ride. 

Hector tries to use this time as an opportunity to possibly bond with Valencia for once, and in the process accidentally pieces together that Valencia had a crush on Heather once, though it is firmly in the past (not anymore, and yes, her and Heather already talked about it). 

They agree to never speak of it again and the rest of the car ride is spent in stony silence. 

Hector just adds to the mental checklist he has been keeping of all of the ways Valencia has blown his mind since she broke up with Josh.

sleepover weekend

[qwanderer]

Loki in the Hall of Mirrors

This story is complicated. Not, like, as a plot, not particularly, but philosophically and thematically. It's got that great play of hero against villain that I love about the Loki story in general and that makes it all so divisive and messy. And I love it even more than I did on first watch.

The first time I watched the desert landing scene, I was like, "Wait? What happened to Allspeak?" because the people who live there don't seem to understand him. But on the second watch, I realized it could be a lack of context, rather than a break in translation. These people probably have an even chance of knowing nothing about Norse myth. Like, what if an alien came up to you and said "I am Boogle of Bofgar, I carry a burden"? You would still have questions like "What the hell is a boogle and why are you carrying your shit here?" So the basic dynamic of Allspeak is probably still functioning, and Loki probably understood their questions, but he was still trying to figure out how to answer when he got distracted by the TVA people.

It could even be an innate psychic ability rather than a magical one, as he seems to understand everyone in the TVA, including the man who can't be fluent in all languages like the field agents because he has never heard of a fish and the seemingly nonverbal robot. (Which of course makes me want Loki talking with Dum-E and the other shop bots! But I digress.)

Okay. I want to start talking about the next-level manipulation shit the TVA are pulling on Loki here. Time, as they say, moves differently in the TVA, and one might even assume that they can avoid having to deal with more variants at once than they can handle. And yet we see them dealing with exactly two other troublemakers during Loki's onboarding.

The first, I'm going to call little echo man.

Little echo man is incredibly annoying to Loki, because he does and says everything Loki might find himself inclined to do and say if he wanted to be difficult. Little echo man does these things in little annoying undignified ways, making them look silly and petulant. Little echo man protests and questions and pushes back, in his business suit and his long dark hair and pale skin, and clearly thinks everyone should treat him as important even though every indication is that he is an annoyance and an afterthought.

Perhaps he's a plant, and perhaps he's just a variant of an annoying but predictable regular they see who they lined up at the same time on purpose. But he is on purpose. Everything he does screams directly at Loki, "Don't do this."

We'll get to the second convenient intersection later.

The most obvious layer of manipulation is simply the beraucracy. They put him up against a series of obstacles which he needs to deal with to get anywhere else, and nothing he does can get him past those obstacles except compliance. All of these obstacles have personality, but they are not personable. They treat Loki like a bag of trash they have been tasked with taking to the curb. Annoying, distasteful, but ultimately routine. His silver tongue isn't going to get him anywhere because these people simply don't care.

I think a lot of these he just goes along with to see where it gets him, since at this point he still believes he has his magic in reserve. But the fact that he steps through the robot fryer even though he thinks he might be a robot without knowing (as others have pointed out, he spent thousands of years as a frost giant without knowing it, and he's recently spent time in the control of the being who shaped Nebula) is a testament to how deep they've already got their hooks in him.

They treat the robot fryer like it's routine, but come the next obstacle, they kill little echo man like it's routine, too. Because he didn't comply.

Loki is slowly being ironed flat to thread into their compliance mill.

And then - I love this, because it reminds me of one of my favorites among the multiplicity of Lokis, GoS!Loki - they put this line in as punctuation between the impersonal, compliance, don't phase of their manipulation and everything that comes after it.

When he's set before the judge, someone actually paying some attention to him, this is his chance to use his silver tongue on someone who will listen. But, although the judge listens, she treats him the same as all the other obstacles have - like listening is a distasteful chore she would like to be done with.

So it seems like the perfect moment for a dramatic escape. Except his magic is gone.

"It's not your story," the judge says. "It never was."

That hammers in all the worst things Loki has ever believed about himself - that he stands in the shadows of others, that he will never have the central place he was raised to desire, that he is, and always will be, a villain to be vanquished rather than a person with choices and agency.

Enter Mobius.

Mobius is a big echo.

He draws all the attention in a room. He is everything that Loki wishes to be - he is powerful, informed, prepared, in control. Capable of charming the judge. And most importantly, he is actively interested in Loki.

At this point in Loki's journey - both in the show and in his life - that has to be irresistible.

So Mobius is in a perfect position to wrap Loki right around his pinky finger.

He listens to Loki without shutting him down, the way all the obstacles have. When Loki tells Mobius he's going to burn down the TVA, Mobius suggests a couple of places he might want to start. One concrete, small, mischievous. One an indication that he's open to Loki doing larger, more significant things here in the future.

He shows Loki his own past and future - but carefully edited, to paint a particular picture.

So many echoes, so many reflections - Loki is in a house of mirrors. Lost, disoriented. Distorted one way, then the other. Magnified and examined.

Loki snarks, and Mobius comments, "Makes you sound smart." Affirms Loki for that little mischievous bit of personality.

Mobius shows Loki some of the most terrible things he's done, and questions them. Pushes Loki away from them. Then changes direction before he can get too heavy-handed, to basically fangirl over the DB Cooper adventure. That's mischief. That's good. I like that.

Punishes him for a small infraction, just to remind him who is in control and that even looking threatening could be seen as a problem.

I think it was at about this point that I got hard reminded of the dynamics of the show White Collar. It's a buddy cop show on a basic level and sometimes the relationship can be very sweet, but sometimes Peter spends one too many times reminding Neal that he can send him back to prison any time he wants and the power dynamic shows its messed up edges.

Mobius is part of the machine, and the machine is doing terrible things to Loki, but I have at least a sliver of hope that the relationship could gain more balance - more genuine balance, not based on the faux freedom that Loki has gained by the end of the episode. There's something to be said for making changes to a system from within that system, but for that to be meaningful change, Mobius would have to change as a person.

Anyway, this current nastily powerful Mobius pushes Loki as hard as he can, and then is conveniently interrupted by the actions of another variant, leaving Loki alone with his remote.

It could easily have been on purpose. The only thing Loki learns by escaping that room is that the TVA is more powerful than any force in the universe, in his experience.

Let's talk about the other Loki variant for a minute. It took me until the second viewing to realize the symbolism of leaving a small child the only survivor in a place of worship, then giving her something to turn her blue.

Odin said he found Loki in a temple, in the aftermath of a battle.

It's actually frighteningly easy to imagine how a distraught Loki could get to a place where he feels the need to genuinely burn down the TVA, and kill every agent in it. Because the TVA put certain clips in his little future show, focusing on the death of his mother, the way his own actions affected it, and the futility and brutality of his own death at the hands of Thanos.

They don't show him the destruction of Asgard, his own role in helping save the evacuees, and the way Thanos decimated the population of that transport before it could even reach Earth. They don't show him the devastation of his home or his capacity to do good.

A Loki who knows that the power of the TVA exists and that he has the capacity to be Asgard's heroic savior would do anything to get that power and save his people.

But we haven't met that Loki yet. I'm sure we will, and it's going to be exhilarating.

This Loki is being taught the importance of control over little things, and so when he gets his collar off and onto that guard, he toys with her, just to see that he can. They have been toying with him and it's oh so satisfying to turn the tables. But it's still compliance in its own way, the petty little mischief that Mobius has been steering him towards.

Loki has been given just enough freedom, just enough choices, that it seems like his own choice to watch the rest of the slide show and come to the obvious conclusion - there's no "out" to go to. His life has gone on without him, and ended. And there's really no point in his trying to fix it. No putting things back the way they were.

So he admits to Mobius - the person who has listened hardest, probably, besides his mother - he admits that he is small and scared and lashing out. That he doesn't know what to do.

Of course, this is when Mobius introduces the task the TVA has for Loki - to take down his other self.

Oh, I can't wait for the next episode! I want to know where this is going.

(I've popped in some panels from Loki: Agent of Asgard because it's my favorite and the show is giving me feelings about it.)

[theangrypokemaniac]

I've been on Tumblr ten months now, and this blog has existed for nine of them. During that time I have noticed something.

The majority of the posts I've come across have been by and for the S&M scene, as is to be expected.

The second-most frequent are Indigo League, which I don't think is bad going considering it was broadcast before most Tumblerries were born.

Third-most popular I would say is Sinnoh, probably for being the introduction for many here.

After that I've seen bits on Johto, a smattering of Orange League (unsurprising given it's briefness) and maybe a single item on Hoenn.

No one likes that then? Is it Max? Go on, it is.

What I find odd is that, in all that period, I haven't seen anything on Unova or Kalos. No fan art, no screen shots, nothing.

I'm sure someone can point to a bounty of pieces I've overlooked, all done within the last year, but if so, they're well-hidden, as none of the people I follow have shown any interest in re-blogging them.

If you have done any, you must admit the amount has depleted considerably.

Why is this? Is it of no interest anymore?

This in itself validates my own opinion. Had I been here when Unova and Kalos were broadcast, I presume over half of the posts I'd see would've been devoted to them. If I then spoke harshly of either, that would not have been well-received.

However, if dropped, both by the audience and writers as soon as the latest generation arrives, wasn't I right to not be impressed?

If cast aside by those who claimed to worship them, were they really of any worth at all?

Well the same fate has now befallen Alola. I make no secret of how much I despise it, and can not grasp its appeal for anyone.

I don't know how Pokémon even has a fanbase anymore, given that it's ugly, boring and repetitive.

Prior to the arrival of the S.S., I suspected that Alola material would drop, vanishing altogether once a year's worth came to a close, and so it has proved to be.

It's gone from making up roughly 60% - 70% of dashboard posts to about 10% - 20%, in only a few months. Is it that bad then?

It can't be explained as excitement for the new, not with the amount of coverage Kanto gets, and even that isn't motivated by reminiscence, given the average age of the current viewer.

Why are you still posting about something that old? It reminds me of my wasted youth, but what's your excuse?

Why, when the writers want to wallow in nostalgia, do they hark back to Kanto, which no modern fan can remember?

Is no one looking with misty-eyed fondness at Iris and Cilan? Why not?

Or is that an admission that it was so appallingly bad even the writers recognised it, that's why it's been so hastily forgotten?

You could watch Pokémon from the beginning to the close Sinnoh, skip the next two eras, starting again with Alola, and you would never know there'd been a between.

Unova is described as a 'soft reset', with regards to its inverted nature. The arrogance of those writers is staggering:

• Trying to erase all that'd gone before, supplanted by their half-arsed efforts.

• Redesigning everyone with Fish Eye and flat profiles.

• Resetting Ash as not even knowing the basics.

• Warping Team Rocket's established personalities into disgusting, soulless lizard people robbed of all charm and charisma.

• Only new Pokémon existing.

• Catches kept with Juniper not Professor Oak etc.

The irony is that Unova Pokémon are copies of the first 151, so whilst deliberately ignoring the past, they can't resist imitating it, thanks to their own woeful inadequacy. I suppose they hoped if they didn't notice, we wouldn't either.

They then undermined their own decision by stuffing everything available into the third run, as a blatant effort to win back the crowd, including:

• Reverting to Team Rocket's actual motto, not that embarrassingly pretentious codswallop.

Too bloody lazy to make it rhyme now!

Notice they opted not for the Sinnoh one, although more recent. It was straight back to the beginning.

• Look at these hundreds of Pokémon we suddenly remembered!

Just before Giovanni's mid-life crisis, Ash spotted a Rattata, but it having been so isolated from the outside world, his brain fell to mush at the concept, and pronounced it 'retarda'.

Idiots are so easy to please!

• Charizard! Genwunners love Charizard! Give 'em Charizard and they'll forget everything else we've done! Let's condense his entire story arc into one episode of meaningless retelling!

So, Charizard was there to bait the first wave, and yet we had the plot we know repeated to us anyway?

Don't refer to the past and everyone will think it's brand-new!

It makes no sense. How could this be done with the hope of drawing in old fans, and yet filling up an episode with it as plotline isn't an issue, when the intended targets know it's been done before?

• Butterfree! Genwunners loved Butterfree leaving! Let's condense his entire story arc into one episode of meaningless rehash!

Why would they remain when finding the same thing again, absent of feeling and subtlety, not to mention upon discovering the damage done elsewhere?

Recent incomers, who might assume it's a fresh idea, have no emotional connection with Butterfree, so who is it meant to please?

Why is Mewtwo a woman?

• Mewtwo! Genwunners love Mewtwo! Let's copy its background for Genesect rather than be creative! Look, it's Mewtwo! Watch it!!!

Erm... It's not the same Mewtwo...

It's not the same Mewtwo?

You believe the way to an original fan's heart is to lie to them, and in the process smash a fundamental principle of canon that there can only be one Mewtwo?

The writers get a deserved excoriation round these parts, because someone has to, as what part of that film suggested the current crop give the tiniest toss about what matters to you and me?

I'm glad Unova is labelled 'the Dork Age' as every series since its dawn has been atrocious.

Hoenn and Sinnoh held massive flaws, but they're masterpieces compared to what followed. At least they felt like Pokémon, albeit a watery interpretation.

Unova has to be truly lowly for the dunces responsible to recognise it, and neither Kalos or Alola have been as cut off from their predecessors.

I don't believe that's a sign of contrition, more a matter of necessity. Thanks to the same personal limitations there just weren't enough new Pokémon in either era to make such insularity possible. Even between the two it'd be a scrape.

Except whilst previously invented Pokémon designs may be involved, there's no sign of actual familiar characters.

Ash took his original team to Johto, and even in Hoenn and Sinnoh, where local catches took precedent, older Pokémon were still referenced and came back for the League, but that stopped with Unova.

It's evil influence strikes again!

Despite flimsy nods to the past, which can't be avoided, each generation is now a world unto itself, to the point that individual episodes live by their own canon, a feeble web of strands unrelated to anything else.

Why is it considered 'retro' enough to say, have Forms of Kanto Pokémon, for which we're expected to be so grateful, when there's no mention of Ash's earlier squad?

Remember Tauros? And Kingler? And Muk?

Remember Bayleef? And Noctowl? And Heracross?

Remember Corphish? And Torkoal? And Swellow?

Remember Buizel? And Gible? And Torterra?

They don't. As far as I can tell none of them exist anymore, and maybe aren't meant to ever have done.

Same as Gary, Cassidy and Butch, Jessibelle, Tracey, and so on. Until they do, and don't again. Whatever is convenient to today's storyline.

My typical attitude is that the first series is the best thing ever, and it's all been downhill from there, with Unova and all that came after reaching incredible depths of tedium. I don't suppose you like that, but the ephemeral tendencies displayed on Tumblr hardly help change my opinion.

At some low ebb I'll get round to watching Galar, which I'm confident I'll hate as much as the last few generations, based on what I've already seen and heard.

There's little point doing otherwise. Why bother getting involved with the 'plot' or characters if, when it's over, they'll never be spoken of again?

What incentive is there for me to even force myself to like Galar when, once the ninth generation (Pokémon Keenan and Kel) emerges on the distant horizon, those who've sung its praises for three or four years and scoffed at criticism, will drop it without a backwards glance?

Yet talk about the Indigo League is ever present, somewhat proving its superiority. Attachment to it is a subconscious acknowledgement of the dearth of quality in the modern mentality, but which no one can bring themselves to admit.

[imugemegumi]

The article is about Maxence :-)♪

Maxence Danet-Fauvel has resumed his role of Eliott in "Skam France" for an awareness spot on the importance of barrier gestures

･France Télévisions is launching this Thursday a series of three spots with the heroes of "Skam France" in order to make young people aware of the importance of barrier gestures.

･Maxence Danet-Fauvel, who plays Eliott in the series, is part of the cast.

･He recounts this experience and returns to the evolution of his character in season 6.

How to make young people aware of the importance of barrier gestures in order to limit the spread of Covid-19? France Télévisions is counting on the incredible influence of the heroes of Skam France on young adults. Maxence Danet-Fauvel has camped out the charismatic Eliott Demaury since season 3 in the hit series from France TV Slash , which is currently broadcasting season 6. The 26-year-old actor took part in one of the three prevention spots that highlight scene the heroes of Skam during the deconfinement and will be broadcast on the public channel as of this Thursday. The actor tells this experience at 20 Minutes and returns to the evolution of his character, one of the most appreciated by fans of the series, in season 6.

･Can you tell us about the spots you shot on Tuesday?

Everything was done very quickly! France Télévisions offered to participate in these spots on Friday evening. The idea is to say: "Ok, there is deconfinement, but if we all start doing anything, we will leave for a ride. In these spots, we depict everyday situations of young people like meeting a friend who we haven't seen in a long time or passing a packet of crisps sitting in the grass. The idea is to show that today and until further notice, the rules have changed. You have to respect them to move forward and to end the coronavirus as quickly as possible!

･Under what conditions did the shooting take place?

It was very special! The sanitary rules were hyperstrict. Generally, in the truck lodge, we make up three, four or five actors at the same time. There, we had makeup done one by one and, between each actor, the lodge truck was fully disinfected. The actresses brought back their own makeup. The actors were lightly made up with powder. On filming, wearing a mask was compulsory. We all ate at noon respecting the rules of distancing. It was special because the atmosphere on the Skam shootsis generally very happy and warm… and there, when we all adore each other very hard, we saw each other without being able to cuddle or hug. But it was cool that filming resumed and adapted because we all want to work.

･How did you experience this confinement experience?

I was confined to a 15 m2 apartment in Paris. Mentally, it was a bit complicated because I have worked a lot in recent years without taking a vacation. So I was not used to forcing myself to rest. And we easily go around in circles in 15 m2. So it was a bit hard at first. With the media and the daily announcement of the death toll, it was very worrying. After a while, I said to myself, since you have to cut yourself off from the world, you might as well do it! I stopped my notifications and watch the macabre info in the evening. I focused on rest and took time for myself!

･What did you get out of it?

The most redundant thought for me during confinement was "I want to go back to work!" " Containment was a good way to know if you were good at what you were doing and happy in your life. I missed my job and I said to myself, "It's great, the only thing you're thinking about is getting back on track!" Four years ago, I would never have said that to myself. The confinement comforted me in the idea that I wanted to be an actor, that this was what I wanted to do with my life.

･What sets did you binger during containment?

I had completely stopped doing it for two years and there I am back! I made myself The Office ! I have eaten the nine seasons in two weeks! I mated Chernobyl . I made myself the first season of The Handmaid's Tale , five seasons of Vikings and the integral of How I Met Your Mother . I also looked at all the Miyazaki … I hadn't subscribed to anything before and, during confinement, like a month ago for free, I subscribed to everything and I took full advantage of it.

･More conventions, more public screening sessions, how do you keep in touch with the fans?

It is true that it is hard without these events to really realize our impact. Since the start of season 6, I will see on social networks what people say at the end of the episodes. It's cool, it's very positive. But the effervescence of the projections, these little shots of adrenaline before entering the theaters, and these speaking around what the series defends and the battles we are fighting, are missing. These events allow us to communicate more about the series and to be able to help too. With Axel [Auriant, who plays her boyfriend Lucas in the series], we worked a lot with SOS homophobia for example. This allowed us to take action. Without these events, raising funds for associations is very hard. In short, we had a little lack of human feedback on this season!

･How do you see the evolution of Eliott in this 6th season?

I loved what I was given to play this season. It's cool, because even if the season is not centered on Eliott and unlike season 3, we discover the character in his environment through the things he likes to do when he is not with Lucas, her boyfriend. It was nice to develop this character apart from being “the guy”. It's nice to see him at the video club, in these little even clandestine evenings urbex at night ... All of this gives depth to this somewhat mysterious character in previous seasons. It's cool to see him evolve alone and to see him take on this big brother role for Lola.

･And did you also play this big brother role with Flavie Delangle?

When I met Flavie , there was this thing right away where I told myself that she was like my little sister. She is almost ten years younger than me. This big brother side is a bit innate in me, because I have a little sister in life, and this protective side is very rooted in me. When I was younger, I was a big chicken brother (laughs). With Flavie, it popped direct. On set, it was great, we just had to let this thing go. We didn't even do rehearsals whereas in season 3, we rehearsed for a month and a half before filming. I was a little skeptical about his young age and I was wrong. When I saw the monster on the set, I said "Ok": she is hypertalentent and nourishing. It is a pleasure to play with her! She is serious and involved. I liked his way of working.

･This season is a bit of a torchlight, how did you experience it?

When we shot the scene at the end of season 5 where all the characters join hands facing the wall, there was really something in all of us. All the elders told themselves that they were passing the torch. When I see the new kids in season 6, I tell myself that they are great, we want to be friends with them too much. They are so cool in this new gang: they make the Urbex, they have purple hair and they really look crazy like little Louise Malek, who plays Jo, with her Lacoste tracksuits and her bob. In addition, I am fortunate with Eliott who has an important place in the history of Lola, to be the torch in question. We pass the baton and then they can stand on their own two feet and it will be very cool.

･Are you ready to take on the role of big brother of this new generation in other seasons?

Completely! But he hasn't discussed it yet, I haven't been offered anything yet. There are a lot of factors to take into account: will they offer it to me? If so, under what conditions ? With what story?

･Do you already have other projects?

I have lots of projects, it's cool. I'm filming a series for TF1 called Grand Hôtel , with a great cast: Bruno Solo, Carole Bouquet and Victor Meutelet, a young actor who is tearing apart. If possible, we will resume filming in early June, I have seven days to go. I made a film last year for France 2, Le Diable au Coeur , for which I won a prize for the best male hope at the Festival of television creations in Luchon. He should be out soon. I can't wait to show this to people. I play a criminal offender role far from that of Skamand me. It was too fun to shoot. The rest, we'll see. I have no idea how the resumption of castings and filming will be done during the deconfinement.