#touchstone television

[czech-hunter-reject]

Special shout out to my fallen homies Touchstone Pictures and Touchstone Television. I miss you, fam ❤️

[disneyllect]

[cbn-communitybasednews]

Top 50 Countries of 2024: Must-Travel Destinations for the Adventure Seeker

The world is a huge weaving of social orders, scenes, and experiences fit to be researched. As we step into 2024, the desire for development has never been more grounded. Whether you’re a painstakingly pre-arranged traveler , the going with overview of the best 50 countries to visit in 2024 is specially crafted exclusively for you. From shocking ordinary supernatural occurrences to socially rich metropolitan networks, these complaints ensure phenomenal endeavors and memories to persevere for eternity. Read More

[maybe-boys-do-love]

It's wild that the whole global trend of gay-focused happy ending romance shows and movies has only been going on for *looks at calendar* a measly ten years!

Just ten years ago. 2014. That's when you get the discovery of a market for queer romance series and films with happy endings. That year the OG Love Sick in Thailand came out. Brazil puts out The Way He Looks, which deserves so much more credit than it receives for influencing the aeshtetics of the genre. Looking premieres on HBO, and although it had low ratings, it's an important touchstone. And, despite Nickelodeon’s censorship and shifting the program from tv to its website, the Legend of Korra confirms Korrasami in its season finale.

The next year, in 2015, we get Love Sick season 2, and China, pre-censorship laws has a few options: Happy Together (not the Wong Kar Wai one lol), Mr. X and I, and Falling In Love with a Rival. Canada, premieres Schitt's Creek. In the US, Steven Universe reveals Garnet as a romantic fusion between two female characters, and will proceed to just be so sapphic. Norwegian web series Skam premieres and sets up a gay protagonist for its third season, which will drop in 2016 and entirely change the global media landscape.

Then, 2016! This is the MOMENT. That aforementioned Skam season happens. Japan puts out the film version of Ossan's Love and anime series Yuri!!! on Ice. China has the impactful Addicted Heroine, which directly leads to increased censorship. The US has Moonlight come out and take home the Oscar. In Thailand, GMMTV enters the BL game and Thai BL explodes: Puppy Honey, SOTUS, Water Boyy, Make It Right, plus, the Thai Gay OK Bangkok, which, like its influence, Looking, is more in the queer tradition but introduces two dramatically important directors to the Thai BL industry, Aof and Jojo.

By 2017, Taiwan enters the game with its History series. Korea’s BL industry actually kicks off with Method and Long Time No See. Thailand’s got too many BLs to mention. Call Me By Your Name, though not a happy ending, makes a big splash that will send ripples through the whole genre, and God's Own Country offers a gruff counter-argument to problematic age differences and twink obsessions. This is also the year of Netflix reboot of One Day At a Time bringing some wlw to the screen, and the Disney Channel has a main character come out as ‘gay’ on Andi Mack ( I’m am ready to throw fists with anyone who thinks the Disney Channel aesthetic isn’t a part of current queer culture). And I'd be remiss not to mention the influential cult-following of chaotic web-series The Gay and Wondrous Life of Caleb Gallo: "Sometimes things that are expensive...are worse."

All this happened, and we hadn’t even gotten to Love, Simon, Elite, or ITSAY, yet.

Prior to all this there are some major precursors some of which signaled and primed a receptive market, others influenced the people who'd go on to create the QLs. Japan has a sputtering start in the 2010s with a few BL films (Takumi-Kun, Boys Love, and Jujoun Pure Heart). Most significantly in the American context, you have Glee, and its ending really makes way for the new era that can center gay young people in a world where queerness, due to easy access to digital information, is less novel to the characters. And the QL book and graphic novel landscape was way ahead of the television and film industries, directly creating many of the stories that the latter industries used.

There's plenty of the traditional queer media content (tragic melodramas and independent camp comedies) going on prior to and alongside QL, and there are some outlying queer romance films with happy endings that precede the era but feel very much akin to QL genre tropes and goals, many with a focus on postcolonial and multicultural perspectives (Saving Face, The Wedding Banquet, Big Eden, Maurice, My Beautiful Launderette, and Weekend). I don't mean to suggest that everything I’ve listed ought to be categorized as QL.

Rather, I want to point out how all of these new-era queer romance works are in a big queer global conversation together, in the creation of a new contemporary genre, a genre that has more capacity and thematic interest to include digital technology and normalize cross-cultural relationships than other genres (there's a reason fansubs and web platforms are so easily accepted and integrated to the proliferation of these series).

You're not too late to be part of the conversation. Imagine being alive in the 1960s and 70s and participating in the blossoming of the sci-fi genre. That flowering is where gay romance sits now. Join the party.

[fallenrocket]

The thing about Shadow and Bone season 1 is that, while there are definitely changes, Alina's story plays out fairly similar to the book, and bringing in Nina and Matthias early pretty much just gives us their Six of Crows backstory in real time. But bringing in Kaz, Inej, and Jesper early gives us a storyline that's cut out of whole cloth. There are certain nods and touchstones that are critical to their duology--their famous “no mourners, no funerals” mantra, snatches of Inej’s backstory, hints towards Jesper's secret--but their actual plot is none of the things they get up to in Six of Crows.

Both stories involving them pulling an elaborate (foolhardy?) heist, yes. But they’re completely different heists in different countries, under different circumstances, with different complications, for different payouts.

Jesper expertly shooting all the volcra attacking the train on their journey through the Fold? Inej making a deliberate choice to take a life in order to save Kaz’s? Kaz facing off against Kirigan/the Darkling and living to tell about it? Milo the goat??? That's all Shadow and Bone.

But for all that, the show nails the characterizations for all three. Even with slight changes and certain things that don't get revealed until season 2, the writing and acting work together to bring these characters to life impeccably. Each is very specific and very true to who they are in the books, and that’s managed while taking basically none of the things they do and hardly anything they say in the books. In a way, it’s televised Crows fanfic, and the show has all three of them down cold. It drops them in a new situation but captures the sorts of things each of them would say and do, how they’d react, and how various developments would shake up the group dynamic. That takes talent, and the show deserves props for it.

[reiniesainyo]

IN BETWEEN. charlie bushnell x reader – 01

01 | SPARKS FLY previous | next | masterfile

SYNPOSIS. when a girl's co-star is good to her and now she wants it more than everything in between. (smau)

A/N. this chapter is more like world building (it's where i explain what the fuck i'm doing with the YN okay)

The "Percy Jackson and the Olympians" series at Disney+ has added an unexpected pick to its growing cast.

The new live-action series is based on the hugely successful novels from author Rick Riordan of the same title. We will be seeing YN LN join the series as Rina Velasco, one of the supporting characters of the show.

LN's Rina Velasco is referred to as "the offspring of The Muses, goddesses of the sciences and the arts." Unlike most other demigods, she is born out of the artistic and scientific output of the muses. When the moral ingenuity of humans meets the divine musings of The Muses. Her character is described as a unique allrounder who becomes a mentor figure to our main cast as they embark on their journey.

This will be LN's first on-screen role of her career. LN's experience mostly lies in Broadway, she is known for playing Kim in the Miss Saigon revival on Broadway. LN was nominated for a Tony in 2022 for the same role. She is repped by Salonga/Chien Entertainment and B817 Agency.

Riordan posted on the Meta app, Threads, about this update to the casting saying: "YN was one of the actors we didn't expect to see a tape of but when we saw it, we couldn't help but fall in love with her. She embodies the spirit of Rina so well and is such a kind spirit, we can't wait for you to fall in love with her too! Welcome to the cast, YN!"

The live-action show is based on Rick Riordan's Percy Jackson book series. It tells the fantastical tale of the titular 12-year-old modern demigod (Scobell), who's just coming to terms with his newfound supernatural powers when the sky god Zeus accuses him of stealing his master lightning bolt. With help from his friends Grover (Simhadri) and Annabeth (Jeffries), Percy must embark on an adventure of a lifetime to find it and restore order to Olympus.

Production on the show is now underway in Vancouver. Riordan and Jon Steinberg are writing the pilot with James Bobin directing. Steinberg and his producing partner Dan Shotz are overseeing the series and serve as executive producers alongside Bobin, Rick Riordan, Rebecca Riordan, Bert Salke, Monica Owusu-Breen, Jim Rowe, Anders Engström, Jet Wilkinson, and Gotham Group's Ellen Goldsmith-Vein, Jeremy Bell, and D.J. Goldberg. 20th Television is the studio. Salke was formerly the president of Touchstone Television and originally put the show into development.

liked by percyseries, iamcharliebushnell, and 37,789 others thelnarchive the child of the muses @percyseries

percyseries OUR MUSE!

user1 this is literally perfect casting who cried i did ↳ user2 she's so rina coded! thank the gods for the casting directors

iamcharliebushnell only muse in my life ↳ thlnarchive only traveler in my life ↳ user3 the way filming hasn't started and they're already like this ↳ user4 their chemistry is chemistry-ing

user5 roman empire. she is my roman empire.

dior.n.goodjohn i LOVE LOVE LOVE women ↳ thelnarchive HELP i love you

user6 this is so fcking random but i NEED her in a taylor swift music video

A/N i truly hope you guys can forgive the horrible editing in the pictures. the article portion is based on (and has some parts that are directly pulled from) this article from variety ! here's some succint information about rina velasco, the PJO character YN LN plays (and is my childhood OC!) - rina velasco, filipino, 18 years old (year younger than luke) - she's an offspring of the muses, not directly a child or daughter, though she may be referred as such - by her being an offspring of the muses, i mean that she was born in the same way athena's children are born. - but in rina's case she's more like a weird conglomeration of each muse. her birth is a rare event, but her mothers are honored as minor goddesses so she stayed in the apollo cabin (connection to music) - rina operates as a guidance figure for the main trio, especially annabeth - she's also luke's love interest, there's a lot of tragicness and doomed romance stuff with those two - and for the sake of everyone, we pretend like the weird i love you from the books didn't happen !

[you-remind-me-of-the-babe]

Fic authors self rec! When you get this, reply with your favorite five fics that you've written, then pass on to at least five other writers (except me because obvs I have done it). Spread the self-love ❤

Aw, thank you for thinking of me. I loved reading your picks! You’re right, Ashton, self love can be challenging but I am going to give it a go.

1) Depth of Reason (71k, M)

Probably no surprise here, I’ve called it my favorite before. I put a lot into this fic. It handles a lot of complex issues and takes a different and unique look at the World of Mages while also feeling entirely plausible within that world. I also really, really love this version of Simon. I put a lot into him and at the start it may look like a story about Baz’s journey but it’s really about Simon’s journey of questioning the beliefs he has and questioning the things he’s taken for granted.

It’s also probably no surprise that this fic is a little bit of a love letter to one of my fave fics Restoration Ecology by the lovely @captain-aralias. It’s obvious how that story inspired mine (Simon POV, older Snowbaz get together, Simon works for the Coven, he goes through this journey of looking within himself, etc.)

2) How to Avoid a Scandal (43k, T)

This fic has a lot going for it and was for to write for several reasons: 1) This was a CO Reverse Bang fic, so it was inspired by art made by @xi-vz and thus got me to write something I may not have come up with in my own. 2) @xi-vz kept making art for it, and in true reverse bang fashion, it kept challenging me to write the plot in a way that incorporated what the art portrayed. Truly such a fun way to find inspiration. 3) since this was a Hollywood AU, I wrote script excerpts for the tv show the boys were acting in to bookend each chapter and to tie into/nod to what was going on in the greater story while also playing with the idea of a WoM television show I’d made up. This was kind of a nod to the Snowbaz excerpts in Fangirl and these were just generally so fun to write. 4) friends to lovers, my beloved.

Also!!! The incredible @shrekgogurt told me she was inspired by the script bookends in this fic, which led her to adding the flashback bookends to I Knew A Boy, I Knew A Man and like (!!!) can we all agree those fucking flashbacks are AMAZING and totally add so much to that fic?! I’m so happy this was able to inspire such genius.

3) Rose-Colored Glasses (7k, T)

I don’t always get the chance to reread fics once they are published but I reread this one recently and while part of me latched on to things I’d try to write better if I were writing this years later and with more experience under my belt, I still nonetheless think this fic pretty good. For one, while it wasn’t my first published fic, it was my first most widely read fic. That helped me make a lot of connections in the fandom and probably established an audience that wanted to read more of my writing. Additionally, I think this sort of established my brand. I’ve written a lot of friends to lovers and this is the touchstone of me writing that trope. It’s got a sweetness to it that permeates a lot of my writing. Also, my pfp is still the beautiful, tender, fun art from that fic that @mostlymaudlin made and so y’all get to be reminded of it all the time 😂 Also have to give a shout out to @ivelovedhimthroughworse who made a lovely Podfic of this. ♥️

4) The Rule of Three (Doesn’t Apply to You) (9k, T)

This fic was a gift fic to the lovely @facewithoutheart whose prompt requested a funny Snowbaz get together with low/no angst. It was also part of a holiday exchange and I wanted it to have at least some Christmas-y vibes without being other the top, since that’s not quite Christina’s thing. I remember feeling very intimidated by the task of trying to be funny for one of the funniest writers in this fandom. Gulp. But also, while I’ve written some fun/funny things, I appreciated the impetus to really go for it in this fic. I think it’s a fun, sweet story and quite memorable, at least to me.

5) A Prickly Disposition (1.9k, T)

This is a short fic but I’m really proud of it. I’ve really had to work at brevity and I am still surprised I could write a get together fic in under 2k. (And I wrote it in one sitting, which still feels crazy because it came out so good without a ton of hair pulling.) This fic feels longer than it is, which feels like a special kind of magic. Plus my dear friend @fatalfangirl made a Podfic of this which just is such a great listen I cannot recommend it enough.

[i-used-to-be-a-spy]

When we think about Michael, it’s whatever challenges or whatever darkness he may struggle with, ultimately he’s a hero.  He’s a guy who’s going to put his ass on the line to save people.  Those are the touchstones we use, and I think that is a bit of a throwback to classic television.  It’s a world where people are really trying to do the right things for other people.  The characters on the show, however they bicker, are a family and they stick together.  That’s what they do.  I think that’s sort of comforting.  It’s fun to write, and I there are a lot of interesting and subtle things to explore within that.  That’s the kind of television that I really cared about growing up, and I think there’s a place for it.  That’s part of what we’re doing.

-Matt Nix

OMG yes exactly! As a kid who grew up with A Team, Magnum, Knight Rider, Batman the Animated Series, etc I like characters who are ultimately heros even if they also have some darkness too

[jasminewalkerauthor]

Trope chats: Dystopia

Dystopian literature, a subgenre of speculative fiction, has emerged as a powerful lens through which authors explore the darker facets of society, governance, and human nature. This essay aims to provide a comprehensive analysis of the dystopia genre, examining its defining traits, evolution, appeal, pitfalls, and its profound societal influence and impact.

Dystopian literature is characterized by its portrayal of oppressive, nightmarish societies marked by totalitarian rule, dehumanization, and societal decay. Common elements include a loss of individual freedoms, ubiquitous surveillance, oppressive governments, environmental degradation, and often, a protagonist challenging the status quo. The genre serves as a cautionary tale, warning readers about the potential consequences of unchecked power and societal complacency.

Dystopian literature has evolved significantly since its inception, reflecting changing social, political, and technological landscapes. Classic works like George Orwell's "1984" and Aldous Huxley's "Brave New World" paved the way for the genre, influencing subsequent generations of writers. In the late 20th century, cyberpunk dystopias, such as William Gibson's "Neuromancer," explored the intersection of technology and authoritarianism. Contemporary dystopian works, like Suzanne Collins' "The Hunger Games" trilogy and Margaret Atwood's "The Handmaid's Tale," introduce nuanced perspectives on gender, class, and resistance.

The enduring appeal of dystopian literature lies in its ability to engage readers on multiple levels. The genre offers a speculative exploration of worst-case scenarios, inviting readers to reflect on the fragility of societal structures and the potential consequences of unchecked power. Dystopian narratives often resonate with contemporary fears and anxieties, providing a cathartic outlet for readers to confront and process societal challenges.

While dystopian literature is a powerful tool for societal critique, it can fall prey to certain pitfalls. Overreliance on common tropes, such as the oppressive government or the rebellious hero, may lead to predictability and formulaic storytelling. Additionally, excessive bleakness and a lack of nuance can render the narrative one-dimensional, potentially numbing readers to the intended impact.

Dystopian literature serves as a mirror reflecting contemporary societal fears, anxieties, and concerns. It has the potential to influence public discourse by prompting discussions on issues such as government overreach, surveillance, environmental degradation, and social justice. Furthermore, dystopian narratives can inspire social movements by fostering a sense of awareness and urgency.

Dystopian literature has left an indelible mark on popular culture and has influenced political and social movements. Works like Orwell's "1984" and Atwood's "The Handmaid's Tale" have become touchstones in discussions about the erosion of civil liberties and the dangers of authoritarianism. The genre's impact extends beyond literature, permeating film, television, and other media, shaping public perceptions and discussions surrounding societal challenges.

Dystopian literature, with its defining traits, evolution, and societal impact, stands as a powerful and enduring genre that sparks reflection on the fragility of society and the consequences of unchecked power. Its appeal lies in its ability to engage readers intellectually and emotionally, offering a cautionary lens through which to view contemporary issues. While dystopian literature navigates potential pitfalls, its capacity to influence societal discussions and inspire change underscores its significance as a dynamic and influential genre within the broader landscape of speculative fiction.

[natlacentral]

DALLAS LIU THRIVES UNDER PRESSURE

Few franchises have captured the imaginations of a generation as wholly as Nickelodeon's iconic Avatar: The Last Airbender, which ran for three seasons during the mid-2000s. Fewer still have demonstrated the series' ability to cross generational divides and maintain a lasting impact on the cultural psyche while continuing to enthrall successive generations as a touchstone of youth-oriented animation. Often regarded as one of the greatest narratives in television history, the show has spawned a massive and dedicated fanbase whose ethical boundaries have been imprinted by the mature yet sensitively portrayed moral quandaries presented therein. The world of Avatar draws upon Asian and Indigenous spiritual practices and traditional martial arts to construct an alternate reality where four nations, each attuned to one of the four elements (water, earth, fire, air), are home to different “bending” abilities—portions of their respective populations are connected to and able to control the element of their nation. The Avatar, capable of bending all four elements and serving as the human manifestation of spiritual light and peace, is tasked with maintaining balance between the nations and the spirit world as well as nurturing prosperity and peace. In its massive scope, the show touches upon a slew of issues including diplomacy, genocide, social responsibility, cultural conflict, ecology, and parental abuse—heavy material for a kids' show.

Given the entertainment industry’s recent streak of adaptations and reboots, it is no wonder that Netflix tuned in to the incredible demand for more Avatar. With the last attempt at live-action adaptation remembered as an unequivocal disappointment—the M. Night Shyamalan-directed 2010 film whiffed on its whitewashed casting and soulless direction—devoted fans followed the casting and production of the new miniseries closely in hopes for a vision truer to form. In the months leading up to the show’s release, conversation picked up immensely. The official trailer racked up over ten million views on YouTube and nearly two hundred thousand shares on Instagram alone, leaving the internet abuzz.

Avatar: The Last Airbender notably features an ensemble of characters who span across generations and the live-action casting follows suit (Gordon Cormier, portraying lead protagonist Aang, is only fourteen). Until now, Dallas Liu—who portrays the banished Crown Prince Zuko of the Fire Nation—had been used to being one of the youngest on any project. His first role was in the 2009 martial arts film Tekken, released when he was only eight years old, and until now he was best known as Shuji, the older brother of Maya Erskine's seventh-grader in Pen15. “Most of the time when I'm going on set, I'm the most inexperienced person. I take the role of a student and try to pick everyone's brain and take in as much knowledge and wisdom as possible,” Liu points out. Now twenty-two years old, he found himself asking while filming Avatar, “‘How can I also be a leader [to the younger actors]?’ [I was] trying to mentor them to become professionals and how to handle themselves on set. I feel lucky enough for them to have let me into their hearts and allow me to take this role of an older sibling they can rely on.”

Although older than many of his fellow leads, Liu also had the opportunity to draw upon decades of experience through multiple seasoned actors in the ensemble, particularly scene partners Daniel Dae Kim (Zuko's father Ozai), Ken Leung (antagonist Commander Zhao) and Paul Sun-Hyung Lee (Zuko's uncle Iroh). While filming, Liu found the older cast members to not only be sources of wisdom but also grounded peers. “Those guys had set the bar for me in terms of what kind of person I wanted to be on set,” he recalls. “It wasn't like people [had to look] up to them. [They] all created an interesting environment where everyone was equal. That's the way it should always be. I think the way people felt valued by them was something I really wanted. I want to be like that, that's a real leader.”

When the show's cast was announced, many viewers were particularly interested in Liu's selection as fan favorite Zuko, an embattled and exiled warrior prince hunting down the titular Avatar in hopes of reconciling with his cold-hearted, world-conquering father, the authoritarian imperialist monarch Fire Lord Ozai. Zuko's character development drives much of the plot of the story, tracing a redemption arc parallel to his coming-of-age in a high-pressure, war-torn environment. Liu's portrayal is pivotal in bringing the story to the franchise's new format and charting a course from brutal angst to principled compassion. The conjunction of the show's immense hype and Zuko's plot-driving character arc resulted in a unique strain of pressure for Liu, himself an avid follower of the original series, in assuming the role.

“The first thing that I ever remember seeing of The Last Airbender was Zuko training on his boat with Iroh. I fell in love with the show,” Liu recalls. “It was one of the reasons I ended up taking part in martial arts,” which he practiced competitively throughout his childhood and led to his acting career after he was referred to audition for Tekken by one of his instructors.

As he considered the scope of responsibility in portraying Zuko and how to apply his own idiosyncrasies to the character, Liu turned to Dante Basco, the original voice actor. Basco, aware Liu had been inspired by the initial show in his youth, encouraged his younger counterpart to embrace the differences between live-action and cartoon animation. “Dante had certainly set a high bar. Instead of trying to match him, try to surpass it, [we] talked about it,” Liu recalls. “He said, ‘What you're going to do is different. By all means, you have your own experience of Zuko from your childhood as well.’”

Liu's precise training and familiarity with action and combat have played a key role in his acting career, as he has joined franchises such as Tekken, Mortal Kombat, and Marvel's Cinematic Universe in Shang-Chi and the Legend of the Ten Rings. Elemental bending is a central component of the world of Avatar, requiring the actors to study several different fighting styles. “They had us learn every single bending style to really differentiate,” Liu says. “We had an understanding so that on the day, they could make a certain shot work and we had to come up with something on our own.” The collaborative nature of the stunt work allowed Liu ample opportunity to impart his expertise to the other cast members. “We were in this boot camp,” he adds. “Helping the kids out, I was having a blast—just hanging out and kicking it because that stuff is like second nature to me.”

That blending of acting and martial arts in Avatar required Liu to reflect on the mortal nature of some of the circumstances in which Zuko finds himself. “You're going to do whatever it takes to come out of that situation,” he notes of some particularly perilous moments that he believes are more impactful in the live version. “I incorporated that into the fight scenes. Even the stunt team was willing to let me have some creative input.” At one point near the end of the season, for example, Commander Zhao tricks Zuko into boarding a boat rigged with explosives, causing Iroh and the rest of their naval forces to believe him dead. In the finale, their conflict comes to a head in a battle to the death; as Zuko is rocked by a revelation from Zhao, the commander goes for the kill. “In the animation, people forget,” Liu adds. “This is a life or death situation!”

If you ask Liu, he and Zuko share a proclivity for absorption in their endeavors. “It's almost two-and-a-half years since we started shooting the show. I've definitely grown more as a person, and when I was growing as a person, that also developed my acting,” the actor notes. “I was like, ‘I'm going to come into work, I'm going to stay focused.’ It wasn't because I didn't like anyone, it was because I was scared of getting distracted. I understood the responsibility and the pressure that came with doing this.”

Avatar: The Last Airbender is now streaming on Netflix.

[disneyllect]

[maxwellatoms]

The Beaker

This is Cog “Beaker” Inkdies, Champion of Baldbrass. He’s called the Beaker because he wields Baldbrass’ artifact warhammer “Eshesemuth”, AKA “Spunbeak”. Perhaps it was named such because Cog was from Joytooth, which was famously destroyed by giant birds. Cog still bears the scars from a giant cockatiel, and wears a giant sparrow nail amulet as a reminder of those dark times. But now the peckee has become the pecker. With Spunbeak in his left hand, Cog defends Baldbrass from goblins, fish men, blind cave ogres, and the odd undead harpy.

Interestingly, images of the dragon One Glowguilds murdering elves is a cultural touchstone of the dwarves of The Nourishing Axe. Left to their own devices, these dwarves are happy to make statue after statue of this particular dragon eating elves. They don’t have Television, so they entertain themselves in other ways.

Cog also wears another artifact-- a pair of “blocky dog bone greaves”. We slaughtered a unicorn while these were being made, and I have to admit that I’m pretty disappointed in the creator’s choices.

The jagged dagger on his loincloth was commissioned by the Temple of Ingtak as a reminder that sneakery and thievitude are both ideals to aspire to - even if you’re a head-smashing Hammer Lord.

Behind the Beaker, we can see one of his many war dogs (each militia commander gets a handful of war dogs) and his son Ingish Uttergold. Ingish’s mother died of chronic pecking in Joytooth, and Ingish didn’t take it well. At the age of three, he was wandering the halls of Baldbrass picking fights with other kids, war dogs, and the occasional chef. By the next year he was toppling clothiers shops and breaking swordsdwarves’ arms. I began to wonder if we couldn’t Batman this kid. If he could just somehow just make it through the next fourteen years or so without snapping...

But alas. It was not to be. After putting one of our masons in the hospital, someone (cough) accidentally locked Ingish in a warehouse for several months where he perished. So sad, but these things happen.

Cog has taken it all in stride, learning to value law a bit more after seeing what happened to his lawless spawn. Now he puts all of his rage into his work. And the drinking. So much drinking.

[raisinchallah]

you know really fascinated in some ways with the adaptational choices in the carmilla webseries as relating to like social normalcy and socializing in general as well as like the drarryfication of laura and carmilla like that tho this is a small time indie production it very much takes its notes from like teen television and does not necessarily reframe itself into what other lives and worlds can be portrayed beyond making like the hot bad boy character a lesbian essentially like idk its fascinating the central conceit of the book and flame of laura and carmillas relationship is how lonely sheltered and isolated laura is the ball that carmilla met her previous victim at is a regular touchstone of adaptations but is somewhat transposed into this as something laura herself attends as part of a normal college social life and again like moving the adaptation to a school setting doesnt even need to lose that energy of the story that someone in a totally new environment losing their one close friend at school then becoming roommates with someone who is very attached and all can be a very disorienting and frightening experience (this now makes me consider the similarities of hangsaman and carmilla if carmilla is now placed in a college setting... hangsaman the webseries tbh would actually kind of rule if it was like natalies video journal and one approached the confusing events in an oblique and interesting manner but thats besides the point) but then what breaks that as a possibility is also that carmilla and laura are again drarryfied and are now at odds with each other.... again the lines of like... so much adaptational media at this time like rebooting or redoing old versions seems to make the characters more socially normal or intentionally quirky and also best friends or future romantic relationships all begin with them really hating each other and it was like a plague absolutely everywhere its also interesting the integration of like the vegetarian vampire concept so early into this tho also kind of joked about with the blood in the soy milk containers and such which perhaps also loops around to joke about gay people and vegetarianism and whatever but also interesting the changing of like unclear plague upon the village and whatever with like mysterious drunken blackouts and framed as like average college psychiatric illness which i do think is an interesting choice but also not really sure how this shall develop as i forget a lot of the plot but anyways...

[wardensantoineandevka]

Legitimately, I think that even if you don't want to watch all of BSG 2004, you SHOULD watch the pilot, "33", because it is in my opinion one of the greatest episodes of television ever, one of the best pilots, and genuinely perfect.

I reference it a lot in conversation about narrative like in terms of stakes, structure, pacing, and just many of its individual moments. A real touchstone episode, I think, and it's worth seeing just "33" even if one isn't interested in the entire series.

[usnatarchives]

Get Your Kicks On Route 66 (and come see our giant ball of yarn!) 🏁

In 1926, an ambitious project was undertaken to improve the transportation infrastructure of the United States. The project was a highway system, and the most famous of its roads was Route 66. It stretched from Chicago, Illinois, to Los Angeles, California, and was a main artery for travelers for many years.

But Route 66 quickly became more than just a road. It became a symbol of Americana and the free spirit of adventure. It was a road of dreams and possibilities, a way to discover what the United States had to offer.

People from all over the country set out on its long stretch of asphalt, seeking a chance to explore. Route 66 quickly became the lifeblood of many small towns along the way.

Route 66 was also immortalized in song, film, and television. It became a cultural touchstone, and its status as an American icon lives on to this day.

Although the highway was officially decommissioned in 1985, the stories of the road and its incredible history still remain.

[mdhwrites]

How do you think TOH will hold up in the future? I imagine it will still have die hard fans aggressively defending it in spite of all its flaws. But if there’s one thing I’ve learned, it’s that audiences are fickle. They’ll praise something like it’s a sacred masterpiece one minute, then turn a 180 and treat it like overrated trash the next.

So my immediate response was that it would end up like Danny Phantom or Kim Possible where some people will still love it so much as to make it what they do, some will remember it fondly and most will just forget about it and never bother going back for it. And I say that as a fan of both shows. Just... They didn't become cultural touchstones. It's very hard for most cartoons to do that. One could easily argue we haven't had one (for a new IP especially) since Gravity Falls or Steven Universe and you'd probably have a decent case for saying Gravity Falls still doesn't count compared to Steven Universe. This is probably what's going to happen to Amphibia even just because there's a lot of media out there so getting picked up as a household name that isn't forgotten is hard.

But... I think TOH will just kind of get forgotten. For most, the most special part of it is either that Luz made them feel seen, and for those the show will never fade, or the specific ships they cared about which will eventually get replaced. But I actually don't want to try to assume how the fandom will be in five years. Let's actually talk about, now that the show is said and done, the simple question of: How do you pitch watching TOH's final product? Because even the CURRENT fandom constantly has to use excuses for the storytelling. To justify it being special, they already have to narrow its scope like "the first gay main character in a Disney television cartoon" or they have to cherrypick what they're aiming against, like saying Belos' death is good because they don't like the SU ending or that Luz getting to keep her found family is unique because the only other isekai they've watched is Amphibia. That's all really hard as far as pitches in general go.

So what do you tell someone looking to get into it from the perspective of a fan? Do you warn them that some plotlines don't get resolved properly because of the shortening? How many elements do you have to prepare a new viewer for with that excuse? What's worse is... TOH is just a worse product now that it can be binged. Those who watched S1 before S2 came out got to revel in the best versions of these characters. Any potential Amity had though is crushed like her necklace two episodes into S2 and only becomes more and more obvious as the season goes and you don't have months of waiting between those two versions of Amity. You don't have multiple hiatuses between murder happy Collector and "What's death?" Collector which would make the contrast MUCH WORSE and much harder to ignore. In fact, because so many of TOH's character arcs rely on revisionism to just make an audience forget who a character used to be, binging it's going to make that process much harder in general. Future audiences are just more likely to notice the lack of effort in so many elements just because the whole show will be fresher in their minds.

And most of them won't have the fandom and the like to pull them along or tell them why certain things are the way they are, though not even the fandom always has answers. Why isn't the Grimmwalker reveal setup AT ALL unless you're combing literally ever element of each episode? And even then only once? Well... *shrug* But it's a big deal now so you better just be okay with that.

Frankly, as much as I don't want to be mean about this... I think being forgotten besides by the rose tinted glasses of the fandom is its best fate. Or that it will be known as a show that had a really good first season, a good first half of S2, and then dive bombed in quality, especially in S3, and that the only really notable thing about it is the sapphic ship between the main character and her love interest.

It is a show that only functions if you know the FULL context for it coming out. And even then, like with how much the fandom contracted during S2, let alone with each special of S3, that context wasn't even always enough to keep people watching.

So yeah, I think the fact that a lot media gets to just gracefully retire with its fans nowadays, since being a classic is so much harder when there's SOOOO much more media being produced, is probably going to be a boon for The Owl House. It can just be that little witch show for those who loved it and for those who disliked it... Well, something is always new on the horizon. I know I'm keeping my eyes out.

========

Okay so I wrote this last night. This morning I had errands to run and my sister helped me since she has a car. She convinced me to pick this up.

Looks cute. I was warned it gets dark eventually which... *looks at the goth art style* Totally couldn't have guessed. Also before anyone even thinks it: The comic originally began being published in 2015.