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papaerloy · 3 years

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SBI ACTOR AU BRAINROT LETS GO.

This is just a list of stuff I´ve written down for an SBI/DSMP actor AU that´s been living in my mind rent free. I´m currently working on a oneshot for this AU so stay tuned!

list is under the cut because it´s LONG and I want to be polite to your feed.

SBI FAMILY WITH TECHBUR TWINS AND TOMMY ALL BEING PHIL AND KRISTIN’S BIOLOGICAL KIDS THANK YOU.

They’re all actors, or just big personalities in general-

Kristin is a little more lowkey, she’s had acting roles before, but she’s more like the backbone of the family that keeps everyone together, since life can be hectic when everyone’s eyes are on you.

Phil has his own TV show where he’s a winged adventurer who travels around a huge fantasy world, explores the massive structures and interacts with the deity’s and creatures inhabiting it! (Biggest moment in the series was totally The Battle For Endlantis)

Wilbur has been acting since he was a child, starring in a series called “Soot House” for most of his early to late teen years, before the series ended. (Disney child star Wilbur GSKFJSJHSHDEHSH)

Wilbur also absolutely still made his ARG.

Despite taking roles here and there, Wilbur quickly moved on to direct and act for his own series and movies, like a small series called “Earths Empires” that sadly didn’t last long, but he got to star his family and friends in it, so it was fun nonetheless!

Wilbur also loves music and later on goes to start Lovejoy with his friends, which he then focuses more on than acting, but still manages to juggle both careers. (I mean really? This man only doing only one thing? As if.)

Techno is a good actor, but he is even better at martial arts and has a nag for competition. Which is why he’s part of a competitive series called “Hypixel” which is a really random wacky series, that puts the actors in situations where they need to complete challenges and Techno is of course a beloved contestant because TECHNOBLADE NEVER DIES!

Technoblade is obviously not his real name, but the alias he uses in Hypixel. Yet everyone just calls him that now because he is very iconic with his long pink hair, golden crown and the pig mask he wears with his very royal looking dress style.

Since Hypixel lets the actors pick their own brand and looks, Techno honestly doesn’t change much from when he’s on screen compared to when he’s off screen.

Techno actually dislikes the attention outside of work and tends to wear different kinds of face masks with cool designs on them. (One specifically loved by the public is a light pink face mask with golden embroidered tusks on the sides, based off his Hypixel brand.)

Tommy was firmly kept out of the spotlight as much as Phil and Kirstin could manage. All of his childhood and also his early teen years, he never had any acting roles apart from like school plays and normal kid stuff...

It’s all due to Phil and Kristin realizing letting Wilbur be a child actor/star was a big mistake that they didn’t want to repeat. (The pressure was too great and it kinda fucked Wilbur over due to the harsh nature of the acting world.)

Tommy has always been interested in the acting world though, he wanted to be cool like his big brothers but had to wait... So instead he made his own little films together with his friend Toby! (Better know as Tubbo because that’s just what everyone calls him) Who just so happened to be in the same boat as him, regarding the whole “my family does acting but I’m too young and not allowed” thing.

The two of them just made silly little comedy skits, but they’d get a decent viewing on Youtube and were quite enjoyable.

( Tubbo is related to Schlatt, who is a well known actor as well. Just like Phil and Kristin, he didn’t want Tubbo to be exposed to the actor world too early. Mainly due to he himself going down a pretty harsh path, because of diving straight into it at an early age. He is better now and a really good dad! )

Tommy did eventually start appearing occasionally on Hypixel because Techno was on there.

Later on Tommy got his first role in an actual series, it was “Earths Empires” that was directed by Wilbur, mainly because Phil and Kristin thought it to be a good and safe place to start.

Tommy’s very first BIG role was when him and Tubbo were cast for a new series called “The Dreamer” (or something).

Tommy got to play a young and chaotic teen called “Tommy” (the writers liked his name, thought it fit the character well). While Toby’s character was named “Tubbo” (the writers found his nickname really endearing), who was gonna be Tommy’s best friend and partner in crime.

When being cast for “The Dreamer” Tommy once again got to meet the actor called Clay, who he had met in the past due to Clay having been starred alongside Techno a few times. This time, he was the person that was gonna play the character Dream in the series.

Clay was a man who seemed to be constantly increasing in fame due to starring in a series of films called “Manhunt”. Where he was a clever and agile man, who had to survive while being on the run from hunters who wanted to kill him. The number of hunters seemingly increasing every movie.

Funny enough the actors who played the hunters from the first “Manhunt” movies, George and Nick, also starred in the new series, but this time they would be Dream’s friends called George and Sapnap, Which was more close to their actual real life relationships as well.

The Disk Saga was a huge success and the series very quickly grew in popularity! Tommy was very happy to be one of the main characters alongside Tubbo.

Tommy’s own fame started to grow more rapidly after that, becoming a very beloved character and actor very quickly.

Of course the family was very proud of Tommy, but Phil and Kristin were still a little cautious, trying not to overbook his schedule and still let him be a kid outside of all this.

Wilbur was of course cast for the new L’manberg independence arc and OH MY GOD THE FANS WENT WILD.

Tommy and Wilbur’s brotherly bond shone through a LOT in their acting and the writers even changed the script slightly to make them more pseudo brothers, since their characters weren’t canonly blood related.

Wilbur was also a co-writer, along side playing the character that was dubbed after him “Wilbur”.

Wilbur´s character made Tommy super uncomfortable during the pogtopia arc and it made their life outside of work a little more complicated.

Techno gets cast into the series during the pogtopia arc as well and Tommy and Wilbur are both super excited to work with Techno on set.

Techno gets to keep his name as well because at this point the writers have let most of the cast keep their real names, so why not keep it going?

At the end of the L´manberg independence arc Phil joins (out of all the actors, only Wilbur knew he was joining the series.) and kills Wilbur as the second season ends with L´manburg in shambles and the fans projectile crying about it.

That is all I have for now!

Also feel free to ask questions or like do anything you’d like with this stuff!

#SBI #DSMP #sleepy bois inc #sleepy bois family #Sleepyblr #dream smp #sleepy bois inc au #dream smp au #sleepy bois inc actor AU #dream smp actor AU #AU brain rot #your local raccoon is loosing his mind about this #fuckinfffff lets gOOOOOOO

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linkspooky · 3 years

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Do you have any thoughts on the Pro-Hero's discussion about Shigaraki and his hatred from chapter 311?

My thoughts are this, from both Jeanist and Hawks utter cluelessness to why Dabi could possibly have turned into a villain despite Dabi just telling them why, on tv, and being next to the man who pushed him into it, and from how all three of them fail to understand how Shigaraki could have been so easily groomed into hatred reflects an unacknowledged shadow for all three of them.

In Jungian psychology the concept of the shadow exists. The Shadow is an unconscious aspect of the personality which is outside of the conscious ego. While our consciousness is mainly made out of behaviors and memories, we judge as positive, and our Shadow differentiates by holding emotions, behaviors, and memories we label as adverse or painful. In a shadow, constructive perspectives might be incorporated, but most of the parts remain camouflaged under the thumb points of low self-esteem ness, anxieties, and false beliefs. "Everyone carries a shadow," stated Jung "and the less it is embodied in the individual's conscious life, the blacker and denser it is. To know yourself, you must accept your dark side. To deal with others' dark hands, you must also know your dark side.

In other words, for characters like Enji and Hawks, all of their bad traits define them just as much as their good traits, to be a whole and complete person they have to recognize those bad traits instead of being in denial of them however, both of them choose to only see themselves as heroes.

Anyway, now for something completely different. Let’s talk about batman and the joker. Batman uses Jungian symbolism a lot, of all the heroes he’s the most famous for being a normal person, who dresses in a costume to fight crime specifically in shadowed alleyways, and has a rogues gallery that also consists of mostly normal people in costumes. Batman’s villains are batman. Batman plays with both the relationship between himself and his villains, and also the relatinoship between Bruce and his own Shadow, because his Shadow is part of who he is.

Now the most iconic batman villain is obviously the joker, and he’s a character like All for One who most of the time is just written as a character who does evil for evil’s sake, but more serious looks at the Joker like The Killing Joke which My Hero Academia directly references make this comparison between the two of them. The famous One Bad Day speech is also, notably, an attempt for Joker to connect to batman, to try to explain himself to him.

He’s not just spouting a villain speech, he’s also looking for sympathy and trying to give sympathy, because that’s just what humans do. Because deep down, both Batman and the Joker were normal people once. The connection between Batman and the Joker is that they were both normal people, but one of them became a hero, and the other one a villain, and therefore that potential exists in any normal person.

However, the heroes in MHA still don’t acknowledge their connection to the villains. Hawks and Enji did apologize yes, but what’s also important is their actions after, which is to choose to continue fighting villains as heroes.

It’s been pointed out by Shoto before that what Enji really needs to do to heal his family, is act like a good father, rather than a good hero. However, when given the chance to reach out to his son, he chooses to fight it instead. There’s a reason that the public isn’t reassured by the actions of Hawks, Jeanist and Endeavor and that’s because they continue to keep playing heroes instead of acknowledging what’s wrong. I’m not saying they are good or bad people, both Hawks and Enji have bad sides of their personality that they are almost completely ignorant of. They, like any human being have the potential to be driven to villainy. That’s why Enji can’t reach out to his son, because his brains have still made the connection that he was what drove Toya to villainry.

It comes across in the casualness which Enji remarks upon what AFO did to Shigaraki and the complete lack of self awareness. Enji did the same thing, he had a child for the sake of passing on his quirk, raised that child to hate all might and want to do anything to surpass him, and he even wanted to live vicariously through the success of Toya and then Shoto so everyone would know him as Endeavor’s son. He still only cares about Toya to the extent that his dreams were once resting on him.

So when Enji makes the connection to AFO, he asserts that there must be something wrong with him to do all those bad things, because he’s unaware of the resmeblance between his own deeds and AFO’s. He sees himself as a human being with reasons for his bad actions, he didn’t mean to neglect Toya, he didn’t know what to say to him, he was too guilty and hid from his guilt for so long but he doesn’t allow his enemies to have that guilt. This is a pattern that repeats with Hawks, and Jeanist as well, they can’t understand why people like Twice and Dabi would feel like they have a right to be angry at the society that mistreated them.

Jeanist’s defense is why can’t he just keep quiet about it.

Twice’s last words were hating Hawks and wishing the worst for him, yet Hawks still thinks they were best friends somehow.

Hawks and Twice were not friends, because Hawks chose not to be his friend, and to hurt what was most precious to Twice which was all of his other friends. Enji chose not to be a father to Toya and not be a father. Enji and Hawks are neither heroes nor villains, they are not good or bad, they’re just humans and as humans they have the potential to be both.

In only seeing the hatred that Shigaraki was groomed to have they’re also fundamentally misunderstanding him. The thing is Shigaraki has reasons for his hatred, and not just because AFO forced him to feel that way. It’s not just AFO, that’s what they critically misunderstand, it’s Shigaraki’s experiences with how the society around him has neglected both him and his friends.

That’s something that the heroes can never see, because Shigaraki has been assigned the role of a villain who hates society. It’s not just AFO, Shigaraki can’t be at peace with a society that is designed to reject others.

That doesn’t come from his hate either, it comes from his sympathy with the victims. Just like they only see their own good traits, they can only see the villain’s bad traits. The thing is we have witnessed Shigaraki constantly been challenged on the fact that he only has empty hatred, first by Stain, then by Chisaki, and finally be Re-Destro. We also witnessed the moment he changed.

The conclusion Shigaraki comes to as the result of his arc is that while he himself doesn’t care about the people, he’s not alone anymore, he wants to give the future to the others around him.

That’s why Shigaraki’s actions aren’t driven just by hatred, but also by a deeply broken sense of empathy. Not only is he a crying child himself, he’s also someone who acknowledges the feelings of others. What converted Spinner from being someone who didn’t particularly care about the goals of the league, and doubted Shigaraki in front of everyone to his most loyal follower.

It’s because he came to recognize that this human side of Shigaraki was there. The same way that underneath his mask, Spinner was just a pathetic NEET struggling with his own feelings of inadequacy, Shigaraki gets close to broken people, he tries to protect them, he tries to give some kind of validation to their feelings.

Shigaraki has grown from just hating all of society because it rejected him, to realizing the real reason is because it rejects everyone around him. That means while there’s hatred to his character, there’s also a very selfish and intense love that applies to a small group of people, but the potential for love is still there. Shigaraki reaches out and saves people the same way that Deku does, he tries to do all the fighting himself to protect others just like Deku, it’s just that he’s been hurt again and again and that’s twisted him to act on his worst trait. None of the heroes understand Shigaraki’s love, because they can only see his hate.

It’s not just that he’s been victimized or that he’s a crying child. Shigaraki is constantly compared to a child both in a negative sense as a man child, and a positive sense as a child pure heartedly pursuing their dream, because there is that potential within Shigarkai, to grow up, and grow into a better person if he was given the same chance to atone that characters like Hawks and Enji have already received.

Shigaraki and Deku just like batman and the joker both reflect that in perfectly normal people, there’s the chance for great good, or great evil. For Shigaraki there’s an added level of complexity, that you can still grow into a better person, after everyone has written you off as too far gone. You can still grow to love the people around you when you thought you were only capable of hating.

Enji and Hawks still have the oppurtunity to grow just like that, not as heroes, but as people.

However to truly grow as people they would have to learn to empathize with the villains, especially because they have done wrong things too, Hawks killed because he had to, Enji hurt his entire family. Defeating the villain really is not the solution, because sometimes you yourself are the villain.

In order to fully grow as people they have to learn to see themselves as people, and not heroes. That also means admitting the villains are just as human as they are. If Endeavor is someone who can become better after realizing that he made so many mistakes in the past and the only thing he can do about it is try to do better from now on, then Endeavor’s ending point should be realizing that since he was given that chance by his family, others deserve that chance too, especially his own son. People are not villains, or heroes, Endeavor is just Enji Todoroki and Dabi is Touya Todoroki deep down no matter how they see themselves.

#Anonymous #shigaraki tomura #afo #dabi #touya todoroki #hawks #twice #best jeanist

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artmakerproductions · 3 years

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Modern/Contemporary “Who Framed Roger Rabbit” AU(?) - (#1)

What the characters and plot would be if the film was done in a contemporary setting, much like it was in the original book, and in the present day of new age cartoons.

1) A few months back (well, by the original upload on deviantart) I was watching 'Who Framed Roger Rabbit' and thought to myself, what if the film was made today rather than the 80's? What would he (and the others) be like w/ a modern context? Since he's a hodgepodge of different bits of cartoon icons from the golden age of animation (Chuck Jones, Walt Disney, and Tex Avery) I’d say that’d be the case for him here too, but only modern. In the last decade or so there has been a rise of television network/streaming service animation and an increase in more plot focused stuff. A few staples of the decade off the top of my head are: 'Steven Universe', 'Over the Garden Wall', 'Star Vs. The Forces of Evil', 'The Amazing World of Gumball', 'Phineas & Ferb’, Adventure Time', and 'Gravity Falls' (among many others). Anyways, a modern 'version' of Roger would probably not be an anthropomorphic animal, but rather a kid (a toon child star essentially) as that seems to be the norm for most shows nowadays of having a kid or teen as the central focus as animation has long since shifted over from entertaining general audiences/adults to mainly kids. His two designs above on the left and right here takes cues from Dipper (Gravity Falls), Steven (Steven Universe) and Wirt (Over The Garden Wall). 2) To quickly summarize, this is a speculative scenario in which 'Roger Rabbit' had been filmed and created w/ the influence of trends and the protagonists from modern cartoons rather than the ones of the "Golden Age Era" of animation. So, as I began sketching ideas for the first batch of concepts, I picked out these selection of characters (Spongebob Squarepants, Star Butterfly, Steven Universe, Dipper Pines, Luz, Gumball, Finn the Human, and Anne) to use as primary reference for the appearance, character and personality that'd fit most w/ a modern take of Roger Rabbit. In the progess of developing the character I started w/ the sketches in the centre-left, then the ones underneath that, followed by the ones above them. Moving onto the right-bottom, finally, the one upper-right corner. Basically in a messed up "W" shape.

3) Roger Rabbit: As I delved deeper into finalizing the 'modern' Roger Rabbit design, I realized that he lost some of his rabbit-ness. So to not lose that detail and keep true to his character and origins, I thought of adding it in via the ears on their clothing/attire. I’m currently thinking of giving her the name, “Ronnie”. Toon Patrol: Next was who'd fill in the role of the weasels as the henchmen/minions? In the film they were based off the weasels featured in Disney's 'Wind in the Willows' segment of "The Adventures of Mr Ichabod and Mr. Toad" as the bad guy's lackeys/thugs, being depicted as crafty and a sly bunch. Afterwards, they've made multiple appearances taking various roles in Disney related material usually as crooks, in legitimate professions but w/ rather shady intent/practice, associate w/ the villain as henchmen or act as the antagonists themselves, ever since. An additional factor was that they came in small or large numbers and all look near identical, aside from a few differences usually in their attire or have a key physical features or two, to each other. It seemed, to me, the best candidates for their modern equivalent were the rubies from Steven Universe as they served basically the same role as do the weasels and the Toon Patrol (even down to there being five notable ones and having names relating to a physical/personality trait) and are in abundance. For the "Laughing themselves to death" bit, I'd change it around and have the cause being that they'd "Crack themselves up" (aka their gems crack/shatter) from the laughter. Why does Smart-Ass's stand-in have their gem placed down where it is? Well, it has to do with a line change idea. When Eddie (their modern stand-in anyways) would do the "Sing and Dance" routine his line be changed to: "I'm tired of all you fools! Let us finish up these duels! Without that gun I'd have some fun and kick ya right in the family-!" *bonk* "Nose!" "Nose!? That don't rhyme with duels!" "No, but this does." And proceeds to kick 'em in the groin aka the "family jewels" (get it?). Another factor is that, as 'Who Framed Roger Rabbit' was more adult in tone and humour, the same would be applied here in this take. Cause you all know that there'd be Gems w/ gems in rather *ahem* interesting places. The only reason they never showed Gems w/ those sorts of gem placement in the show? Cause censorship. Here it'd be lifted so yeah. Jessica Rabbit: For the 'Jessica Rabbit' character. To keep w/ the tropes of modern western animation I looked to the "anime-not-anime" trend that shows such as Teen Titans, the Airbender/Korra series, Voltron: Legendary Defender, She-Ra, a majority of the newer DC animated films/shows, and as well as others that are heavily influenced by/or reference the genre, such as Steven Universe. As she was based on what would be seen as attractive by cartoon standards (being based on animated woman of the animation 'golden age' such as Red from "Red Hot Riding Hood" by Tex Avery for ex.) the same should be applied for a modern interpretation. Since Roger Rabbit is depicted as a cartoon teenage protagonist here, Jessica was aged back to match closer. As Roger and Jessica have a noticeable contrast to one another in personality, art style and how they're drawn (Roger w/ a more goofy and traditionally "cartoony" look and proportions w/ Jessica having a more human-like, but still cartoony, one) it was another factor. Additionally I've added in this take was, w/ the rise in same sex couples depicted in western animation, have Roger be changed to a girl toon (as well as reasons explained above) as I figured that it too lines up w/ the still current "goofy, but lovable one + seemingly apathetic, but sweet on the inside one" couple trope that is still alive and kicking. Benny The Cab: Now this one was a real doozy and rather difficult as I only found very few examples of what Benny could be w/ modern cartoon influences as he was based off old cartoon cars of the era the film is set in. Kinda cheating w/ using the Mystery Machine as it's from the 70's, but my excuse is that I picked out the images from the more recent Scooby Doo material. For his personality though, one that came close was Jake the Dog from Adventure Time. That lead me to make the "stretched limbs" connection: Jake's limbs such as his legs; and Benny's wheels when escaping the weasels. One other close comparison was when Amethyst turned into a tiny car. Her loud personality also being a potential candidate as a possible influence. First I tried just updating Benny's design for modern day. Later, while thinking of the Jake the Dog comparison I thought back to that early 2010's era and remembered the "LOL Random humour" phase cartoons of the time went through. Which led me to think of making Benny into either: a car in the shape of a hotdog w/ a dog's face or just a dog-themed car. I guess you could say that this make it a play on "Roadster" (a type of "roof"-less car) + "Rover" (a name given to dogs) and cause he'd "fetch" riders to give them a lift. Idk.

4) As the title implies, this is what I’d think a modern spin of Roger Rabbit would be like. Using the story/plot/character tropes/art styles of the modern era (from the late 2000’s, the 2010’s to the present). This being Baby Herman. His role is unchanged (like his diaper *Da-dum diss!*). For the design influences, there's: Polly Plantar (Amphibia), Cricket Green (Big City Greens), K.O. (Ok K.O.! Let's Be Heroes), among others. In this new spin, like before, Baby Herman is the co-star of Roger's modern stand in (who I've given the named Ronnie) in the cartoon series, "Babysitter Blues". Again, his role remains unchanged.

5) Ronnie "Rabbit" (19):

At long last I’ve made some full, in-colour visualization of the modern 'Roger' and 'Jessica Rabbit'. As I was doing so, I kept in mind to keep Roger's main four colours: white, red, orange and blue (static.wikia.nocookie.net/hero…) to keep him recognizable. Like Roger, various elements of other characters are priced together to make a character that would seem legit. Spongebob’s (Spongebob Squarepants) cheeks/freckles, Mabel's (Gravity Falls) braces (as to keep Roger’s speech impediment) and her many sweaters, Anne’s (Amphibia) skirt and shoes, Marco's (Star Vs The Forces of Evil) hoodie, and the various simple logos on the main character's shirts/attire that many seem to have (Steven, Mabel, Star, etc.) and many others. Why the he colour blue? Well, another modern trope in modern cartoons is the rainbow multicoloured skintones ("Big City Greens", "Doug", "Simpsons" and to an extent, "Steven Universe"). So I thought, "Hey, I'll have her be from a show w/ that". Plus it was to add some pizazz and visual flare to further differentiate her from humans and Jessica. In this spin of the story, taking modern influences of animation rather than that of the golden age, Roger (renamed Ronnie) is an up and coming young toon star who is then framed for the murder of Marvin Acme, who had recently inherited Toontown from his father some years back. This cause some stir in Hollywood as unease of whether or not the other newer generation of toons (calarts and the like) may also go "bad". Giving the newer toons and their shows bad press (aka "cancel culture"). More details later. Jessica (21): For Jessica, it was relatively simple. What's the modern equivalent of the 'attractive female cartoon character' that the original Jessica was based on? Anime! But to keep in line w/ using the influence of western animation I picked some of the shows that have a strong anime influence. Shows such as "Avatar: The Last Airbender"/"Legend of Korra", "She-Ra", "Voltron: Legendary Defender", and "Teen Titans". One of the trickier aspects of modernizing Jessica was the outfit. I couldn't decide on whether to give her an entirely new and original one all together or keep the classic. I reached a compromise and did a bit of both (to the best of my ability). Though this may change later. Idk.

Here, Jessica is the girlfriend rather than the wife.

One thing I made super sure to keep was the stark contrast between the two toons. Like, if a character from a show like "Steven Universe" or "Adventure Time" just suddenly went and dated a character from a show like "A:TLA/LoK" or "She-Ra". There'd definitely be some art style whiplash between them. Deviantart links:

https://www.deviantart.com/artmakerproductions/art/A-Modern-Who-Framed-Roger-Rabbit-1-876793411

https://www.deviantart.com/artmakerproductions/art/A-Modern-Who-Framed-Roger-Rabbit-2-877230486

https://www.deviantart.com/artmakerproductions/art/A-Modern-Who-Framed-Roger-Rabbit-3-878199047

https://www.deviantart.com/artmakerproductions/art/A-Modern-Who-Framed-Roger-Rabbit-4-878710925 https://www.deviantart.com/artmakerproductions/art/A-Modern-Who-Framed-Roger-Rabbit-5-878849399 Be sure to let me know what you think. 👍

#modern/contemporary who framed Roger Rabbit? AU #roger rabbit #who framed roger rabbit #cartoon #fanart #au #drawing #jessica rabbit #benny the cab #baby herman #disney

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gentlemancrow · 3 years

Note

jonmartin, pre-romance, #15/28??

I did manage to get BOTH of these in! So we have a combo of "You called me, remember?" and "It's too early for this". Much like the others, the MINUTE I read this prompt an idea popped into my head that I just HAD to go with! This is actually based off a real life incident I had with a friend (They know who they are...) but it fit both Jmart and the prompt PERFECTLY! The names have been changed to fictional characters to protect the innocent. (Hint I was the Martin in this situation) Anyway this was super fun and cute to write and I made myself all squishy a lot. HOPE YOU ENJOY! <3

There were precious few reasons why Martin’s mobile should be ringing at exactly 5:47 am on a Tuesday, and precisely none of them were good. Still, the anxiety inducing sound alerting him to something ominously, ambiguously amiss struggled to worm its way through a rather lovely dream of his acceptance speech after being awarded poet laureate. The poem he had prepared for the occasion was marrow-deep and hauntingly beautiful, or at least he remembered it that way until suddenly he was reciting the lyrics to Abba’s ‘Waterloo’ instead and sweating profusely as the audience began to murmur in disgust amongst themselves. Waterloo was indeed blaring, but from the ringtone of his phone, not from his lips, and his stomach performed a cold somersault with the force of the wave of anxiety that had begun in his dream and crested up to lap at the base of his barely functional brain. The few synapses he needed for basic motor function and reading comprehension crackled to life as he clumsily batted the buzzing device on his nightstand into his hand and squinted blearily at the name.

It was small. That was an immediate relief. If the care home had been calling about an incident with his mother, either her health or the staff’s as a result of her, it would have been the full moniker of ‘Sunrise Acres Care Home’ ticking across the caller ID. Yet small implied a name, a person, someone he had in his phone and not just a random spam call, and anxiety spiked again as Martin scrubbed at his eyes until ‘Jon’ appeared in white hot letters on the screen. Sleep dissolved from him in an instant and he sat bolt upright in a tangle of covers as he smashed the green answer icon with his thumb and threw the receiver to his ear.

“Hullo?! Jon? R’you okay? What’s happened?” he demanded, voice still slumbery thick and groggy.

“Martin!” Jon’s silky, prim voice, thinned out to a tin can vibrato over airwaves, answered, “Good, you’re awake. I need your help. Urgently.”

Martin was already out of bed by the time ‘need’ reached his ears, yanking on the first pair of jeans he spotted in the laundry heap on the floor and hopping on his free leg to the en suite with his phone pinched between his cheek and shoulder.

“I’m on it!” he assured him despite having no clue what ‘it’ was, exactly, “I’m coming to you as soon as I can. Where are you? Are you hurt? Should I bring a first aid kit? I don’t think I have a first aid kit… should I buy a first aid kit? There’s a Boots just down the block from my flat, I could-“

“Martin, stop! What the hell are you on about?” Jon’s annoyed tone cut through his panic like a scalpel.

Martin stopped in the doorframe of the bathroom, brows knitted, jeans puddling around the one leg he’d managed to get through and left once again in naught but his boxers as he gripped his phone back into his hand.

“Huh? What are you on about? You said you needed help!” he snapped.

“I do! But not like… not like THAT. What kind of mortal peril do you imagine I would find myself in at a quarter to six in the morning?”

The initial surge of adrenaline fizzling out uselessly in his veins the more Jon talked, Martin sagged against the doorway and pinched his temples as he strained his words through a colander of civility.

“I don’t know, Jon. You called me, remember?”

“Right, right…”

A terse, lowly hissing silence of dead satellite replaced Jon’s voice, twisting Martin’s nerves as acrobatically as he twisted to avoid the point. He kicked off his jeans and stalked grouchily back to bed where he threw himself face down and unmoving.

“So, what is it then? Wi-Fi gone tits up? Forgot how long to steep Darjeeling?” he hissed into his rumpled duvet, a little nastier than he would have liked given the deadly combination of interrupted slumber and primordial biological survival instinct.

“I uh…” Jon’s voice deflated over the speaker, “I have a… problem.”

“Yes, we’ve so very, very clearly established that. What kind of a problem, exactly…?”

“A problem of an upsettingly… Arachnid nature.”

“A spider…?”

“…Yes.”

Martin propped himself up on one elbow, eyes narrowed with genuine and curious concern.

“Wait like a… like a spooky spooky spider? Or just an ordinary kind of spooky spider?” he inquired with as much levity as he could muster, given one of the likely options.

“Stop saying spooky. And the ordinary kind. I think. No, I’m sure of it. It’s merely the sitting on my kitchen wall like it owns the place and staring at me rudely with all eight eyes, judging me for skipping breakfast again, kind,” Jon answered with clinical pointedness.

“O… kay…?” Martin drawled, suppressing a giggle, “So, what’s the problem then?”

“What do I do?”

Martin opened his mouth to answer, but closed it again as he doubted that he had actually heard Jonathan Sims, the irascible, pompous, only capable of truly looking at him down his nose Head Archivist Jonathan Sims, ask him, a lowly assistant, what to do. With a spider. It would have been almost adorable, had he not scared the life out of him initially, but even that knocked it only down a single peg to helplessly charming.

“I-I mean, the normal thing one does when encountering a spider in one’s home? You kind of only have the usual two options? Er well, three, if you count just leaving it be, but I doubt you’re amenable to that one.”

“No, absolutely not, out of the question,” Jon declared swiftly.

“Didn’t think so,” Martin chuckled, rolling onto his back and sagging in relief into the mattress.

“So?” came the impatient invitation to continue.

“So what?”

“So, then what do I do?” Jon repeated brusquely.

“Well, you either kill it or let it go, of course! What else is there to do? Invite it to brunch?”

“I know that! I’m not an idiot!” Jon erupted furiously, “Good lord, Martin! Do you really think I would have called you because I didn’t know the only two options for dealing with an eight-legged criminal invading my home were kill it or let it go? Really?! Did you suppose this was the very first spider I ever encountered in my life? Is that what you thought? Or perhaps I had my own personal valet to attend to all of my insectoid tribulations, hmm? Just call the bug butler, he’ll attend to it straightaway! Do you ever stop to think before you open your mouth? Or do you customarily just air out whatever inane notions blow through your ears, no matter how puerile? Christ!”

Martin let the phone drop onto the bed beside him, away from the verbal darts hurled directly into his eardrum and taxing the output matrix of the speaker, as Jon launched into an affronted, mortified tirade, smirking and shaking his head.

“It’s too early for this…” he mused to himself ruefully, rubbing both hands over his face and eyes.

Once the phone stopped humming and glowing white hot with remote rage, Martin scooped it back up and yawned into the receiver.

“You alright there, Jon?” he asked in a gentle tone.

A ragged sigh crackled into a blip of feedback from lips too close on the other end of the phone.

“…Not really?” came Jon’s tremulous reply, “Listen, I’m sorry I went off on you. That was unfair of me. I-I just… I really… really hate spiders.”

Something squeezed in Martin’s chest, something about the confident bass flayed neatly out of Jon’s usually assertively solid mannerisms, leaving it abnormally thin and rickety. He sat up on the bed, cradling the phone much more gently to his cheek.

“Hey hey, it’s okay,” he assured him, “If anybody sympathizes about being afraid, you definitely called the right person. Need me to stay on the line with you while you whack it? A good heavy book will probably do the trick, or if you need speed and agility a rolled-up newspaper or a magazine might be better?”

“No! I wasn’t calling because I needed advice on how to murder the damn thing! I’m quite capable of doing that on my own. Frankly, I’ve taken rather a vested interest in honing my spider termination methodology over the years. I called you because… well you were going on about how you thought they were…” Jon trailed off in a series of garbled sounds of disgust, “Cute… of all things.”

Martin grinned and had to put the phone on his bare chest a moment, as if Jon might somehow perceive his giddy glee through the receiver.

“To be fair I’m a little odd that way. Most people feel much the same as you do about them,” he commented as he picked it back up.

“True, but that’s not even the whole of it!” Jon went on exasperatedly, “I also overheard you talking… must have been to Tim or Sasha but… you were explaining about how helpful they are to the ecosystem and what a vital role they play in that natural order of things, and how we always see images of them eating butterflies and beautiful things that make them look sinister, but how really they mostly control pests and the like… how you thought they got kind of a bad rap?”

“Wow I uh… I can’t believe you remembered all that,” Martin muttered, freckled cheeks dusting a light pink, “But what does that have to do with your unwanted houseguest in particular?”

“It was the last part, mainly. That’s what got me. The part about fear. That they’re afraid, too… You said there had been studies that showed a clear fear response in spiders… to us. They’re afraid of us, demonstrably more so than we are of them…”

One word of all of those slipped between Martin’s ribs and into his heart. Too. They were afraid, too. His thumb stroked and consoled the edge of his phone unconsciously as Jon blustered on, unbothered by his own unconscious admission.

“And now I can’t do it! Now I have to set this bloody spider free because you think it’s cute and want to make friends with it, and I can’t make it an innocent victim of my fear and I have no idea how!”

Martin couldn’t help but smile, imagining how Jon must be in his flat on the other end, scrunched in a corner all hunched up shoulders and furrowed brow with hackles bristling, squaring off with a creature who was possessed of no knowledge of the fear she symbolized, or the grace to understand the iconographical divorce to her salvation. Only Jon, quivering and still bed-rumpled and frazzled, could understand the magnitude of cupping that fear in the palm of his hand while reaching out to him with the other. And now Martin understood it, too.

“Hey alright, I’ve got you. Steady on Jon, we’re gonna get through this together. I’ll talk you through the steps, you just follow what I say, okay?” he instructed in his best 999 operator performance.

A beat of silence ensued, followed by a much more robust and emboldened, “Okay.”

“So, what you want to do first is get a glass.”

“A glass?”

“Yeah, like a water glass. And a stiff piece of paper or cardboard or something. If you’ve got a bit of post lying about, flyers and coupons and the like, those usually work well.”

There was a period of distant shuffling, clattering, and indecipherable muttering as Jon gathered his weapons, then sucked in an audible breath through his teeth.

“Alright I’ve got them, now what?” he asked, sounding a bit winded.

“Now you very carefully put the glass over the spider, then slide the paper under the glass so you trap it inside. Then you can take it out without touching it or worrying about it scuttling off on you and set it free wherever you think it’ll be happy!” Martin answered sweetly.

“Okay, okay. I think I can do that,” Jon chanted for steadiness, “I’m putting the phone down so I don’t louse it up, but d-don’t hang up, stay on with me, okay?”

“I’m not going anywhere, Jon. I promise. You’re okay.”

“O-Okay… Okay… Okay…!”

Martin listened as Jon’s voice grew distant, but somehow stronger, more like a war cry, with the soft pad of socked feet on tile, then a short stretch of silence, and then a chorus of oaths and yelping, rising to the crescendo of a door being messily flung open, shut, then opened and shut again. A drumbeat of returning feet rolled mutely close and melded into the scratchy rustle of the phone being picked back up.

“I’m back,” Jon announced.

“Is it done?”

“The deed is done… your little friend is enjoying some lovely pink dahlias out front as we speak.”

“I’m pleased for her! And… for you, too,” Martin said, voice melting into lilting tenderness, “I’m honestly really proud of you, I know that wasn’t easy for you.”

“I… Ah… No, it wasn’t. Thank you, Martin,” came the sheepishly measured rejoinder.

“You’re very welcome.”

Martin smiled privately to himself, and ran a loving thumb down the edge of his phone once more.

“So then may I rightly assume I have permission to come in an hour or so late today so I can go back to sleep?” he continued, already knowing the answer as he flopped back down on his pillows and rolled up into the covers.

He was relieved to hear a husky chuckle rumble through the phone.

“Yes, yes. I think you’ve more than earned it.”

“Brilliant, see you in a bit then? And for lunch?” he added hopefully.

The brief silence as Jon calculated his response hung thick and palpable in the digital airwaves.

“Lunch sounds good,” he replied at length, “See you then.”

“G-Great! Great! See you!”

Their phones clicked mutually off without the awkward jumble of sign-offs, pleasantries, and accidentally stumbling over each other’s words. Martin thought glimmeringly of the spider hunting free in plush pink petals, none the wiser, and of Jon, with new and irrefutable proof that not everything ugly or quietly cunning in the world lurked behind to cast its shadow over him. A spider could be just a spider, and Martin back asleep with both hands still clutching his phone to his chest, dreaming of singing Waterloo again, but this time to a rapt audience and thunderous applause.

#The Magnus Archives #TMA #JonMartin #Jmart #jonathan sims #Martin Blackwood #Spiders #Crow Writes #Ask Drabble #distortingbones #Suddenlyapples

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krabmeat · 3 years

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𝚒 𝚔𝚗𝚘𝚠 𝚑𝚒𝚖

𝚌𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛𝚜: Dream, Sapnap, (next are only mentioned) Quackity, Wilbur, Schlatt 𝚝𝚛𝚒𝚐𝚐𝚎𝚛 𝚠𝚊𝚛𝚗𝚒𝚗𝚐𝚜: politics, toxic friendship, mentions of chaos, mentions of bloodshed, mentions of drunkeness

𝚊𝚞𝚝𝚑𝚘𝚛𝚜 𝚗𝚘𝚝𝚎𝚜:

this fic is for @mcyt-sh1t ‘s 100 follower event!! congratulations to her, they deserve each and ever follower and i am so damn proud!! thank you for being such a kind and wonderful moot :] anyways, this fic is based off of the song I Know Him from Hamilton, enjoy fellas!

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

“They say, WilburSoots yielding his power and stepping away.”

Dreams' eyebrows raise in surprise from the sudden information that his good friend Sapnap had laid onto him. He wasn't up to much, just rummaging through the chests of the community house in search of something to snack on before he had been as shocked as he was.

“Is that true? I wasn't aware that was something a person could do…”

At the moment, not very much is in his mind but yet he still had the mental capacity to spit out that lie. Of course he and Sapnap are friends, but Dream knows when to keep his thoughts to himself regardless of who it is. He was actually surprised that Wilbur even allowed some sort of democracy in L’manburg. Everyone thought from the very start of that country that democracy wasn't going to be a recognized thing in L’manburg, evidence being Wilbur self proclaiming the role as president as well as his announcement of a presidential election that clearly was intended to only have his party as a ballot option.

“I'm perplexed! Are they going to keep on replacing whoever's in charge?”

Sapnap leaned casually against the wooden walls, shrugging his shoulders in a confirming manner.

“If so, who's next?”

Dream reminisces on the pitiful and downright irritating faces of L’manburg, mentally looking through them like looking through a closet of shirts. Coming to a conclusion and chuckling to himself before making his thoughts vocally known to his friend.

“There's nobody else in their country who looms quite as large!”

“Well actually,” Sapnap speaks up after listening to Dream ramble, getting bored of his astonished tone already. Reaching into his pocket and taking out his hand with a folded up piece of paper within it, handing it to Dream. He takes it curiously, unfolding the slightly yellow paper. It smells of forest dirt and ash, making it safe for him to assume that the paper probably has information on the infamous L’manburg inside. As the paper folds away from the contents inside he is met with two smug mens profile, smirking into Dreams porcelain mask. The face on the left hand side of the paper does not surprise him, Wilburs smile with his signature beanie whilst also sporting the ever so iconic L’manburg uniform. The face on the right however, made his eyes go wide underneath his mask. Another man sporting a beanie but this one a dark gray with white letters spelling “L A F D” on the seam. A tanner complexion than Wilbur, his eyes hidden behind plastic sunglasses and to add on to his less formal apparel a navy tracksuit to tie the man together.

“Alex Quackity?!”

Dreams head shoots up from the paper once the information is processed. The news is making him more and more curious about the situation. If there weren't any other parties in the running then Dream would have just stayed out of it since he and L’manburg had already settled the country's independence and didn't think it would be a fun place to further toy with. Dream glances back down at the paper and back up, tipping his head to the side at the vaguely familiar man unde the campaign name ‘SWAG2020’.

“I know him! That can't be? That's that- little guy who spoke to me.”

This surprises Sapnap. Dream usually doesn't go outside of the people he knows and trusts, but at the same time Sapnap doesn't know Dream's general true intentions. “You've met Quackity? When did that happen?” Dream paces along the flooring, supposedly thinking about the details on Quackity he remembers.

“All those years ago. What was it, eighty-five?”

Of course the two haven't known each other for that long, but Sapnap doesn't know that. He's too loyal to his friend to question the obvious lie though, so he stays silent. In the meantime, Dream beams in astonishment.

“That poor man, they're going to eat him alive!”

Both of them have limited information on Quackity, but Sapnap ignorantly decides to not acknowledge the fact that Dream is more educated despite only being told the information seconds ago. “What are you even talking about, Dream? You were always saying how dumb you thought the L’manburg guys were. And now look at you, talking sh*t about their opponent already. Who's dumber, just pick one!” When Sapnap decided to talk back to him, that was his first mistake. The second was his attitude, and his third was questioning his intuition. Dream barely spares him a glance or words, yet he puts just enough annoyance in his responsive, “You.” to catch Sapnap off guard and make him upset and confused. But this was something that Sapnap deserved. He shouldn't have questioned Dream because Sapnap knows full and well that he is and will always be below his friend. Dream's back is turned on his upset friend, now thinking out loud to himself.

“Oceans rise, empires fall. Next to Wilbur they all look small!”

The man himself walks by the community house, shades propped up on his head while wearing the exact beanie and tracksuit from the poster. Dream smiles as wide as cheshire underneath his mask, rivaling the smile design already present on his mask.

“All alone, watch them run. They will TEAR each other into pieces! Jesus Christ, this will be fun!”

The idea of this would normally be appealing to Sapnap. Chaos and bloodshed is traditionally up his alley, but he doesn't wish to participate with Dream. Still confused and upset, Sapnap exits the community house quietly after hearing the hysterical laughter of Dream. ‘Yeah, he can keep himself entertained.’ Almost as frantically as he looks, Dream searches and rummages messily through the chests of the building keeping an eye out for a book and quill. Eventually when he finds it, he quickly scribbles down a letter that will be sent to Quackity soon after. Dream mainly addresses the elections, asking for details on his views and intentions to gather as much information as he could. Dream was going to play with the elections, and he knew just the drunken, horned man who he needed to get roped into the democratic situation. Dream finishes the letter with simple five words sucking up to Quackity. Simple work, but intended and is already fitting into Dreams plan perfectly.

‘President Alex Quackity,

Good luck!’

#sara's 100 follower special :]#dsmp fic #dsmp fanfic #dsmp fanfiction #mcyt fanfic #mcyt fic #mcyt fanfiction #dream fic #dream fanfic #dream fanfiction #sapnap fic #sapnap fanfic #sapnap fanfiction #quackity fic #quackity fanfic #quackity fanfiction

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clonewarsarchives · 3 years

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Inside 'Star Wars: The Clone Wars'

By: Gerri Miller (original article link on howstuffworks)

Sources

George Lucas interviewed August 4, 2008

Dave Filoni interviewed September 11, 2008

The sci-fi phenomenon that began more than 30 years ago with a movie about a galaxy long ago and far, far away has expanded exponentially ever since with sequels, prequels, books, games and animated spinoffs. Although the animated "Star Wars: The Clone Wars" movie, released this summer, has to date grossed a less than stellar $34 million, it was an offshoot of creator George Lucas' mission to create a TV series, and it served its purpose as a promotional tool for the weekly "Clone Wars" episodes that premiere on Cartoon Network Oct. 3, 2008.

Focused on the conflict briefly referred to in the original "Star Wars," the galactic civil war takes place in the period between "Star Wars Episode II: Attack of the Clones" and "Episode III: Revenge of the Sith." The Clone Wars pit the Grand Army of the Republic led by the Jedi Knights against the Separatists and their Droid Army, led by Count Dooku, a Jedi turned Sith Lord aligned with the evil Darth Sidious. Many of the characters from the "Star Wars" universe are involved, including Yoda, Obi-Wan Kenobi and young Anakin Skywalker, before he was tempted to the Dark Side and became Darth Vader.

"I was lamenting the fact that in 'Episode II,' I started the Clone Wars, and in 'Episode III,' I ended the Clone Wars, and I never actually got to do anything on the Clone Wars," says Lucas. "It's like skipping over World War II."

To remedy that omission, he tapped Dave Filoni, an animator (Nickelodeon's "Avatar: the Last Airbender" series) and passionate "Star Wars" fan, to bring "The Clone Wars" to TV.

Ensconced at Big Rock Ranch, near Lucas' Skywalker Ranch headquarters in Marin County, Cali., Filoni and his team of artists and computer animators are making 22 episodes in season one and have nearly two more seasons written.

"We're way ahead. We've been doing this ever since I finished 'Revenge of the Sith,'" says Lucas, who hopes to do at least 100 installments.

He and Filoni collaborate on everything from story to design to execution in translating the "Star Wars" universe for television. It's a daunting creative, technical and logistic task, as we'll explain in the following sections.

Building the Universe

How do you scale down an IMAX-size spectacle for television and still have it make an impact, especially on a small screen budget? That's just one of the problems Dave Filoni has to solve.

"'Star Wars' is very famous for the scale of it, and how convincing it looks. So when you're doing a weekly television series, you have to figure out how to do things on that level," he notes. "Sometimes it forces you to be creative and come up with solutions that are better than if you can shoot everything you want," he continues, preferring to consider budgetary constraints a creative incentive rather than a limitation. "The team here is challenged to come up with these giant battles. We haven't shied away from anything."

While he did some of the initial character design, subsequently, Filoni has spent most of his time supervising other artists and animators, who number around 70 in-house and another 80 or so at facilities in Singapore and Taipei.

"Everything is written here, and the story and design and editing are all done here. The animation and lighting are done overseas, and sometimes some modeling as well," he outlines.

"I meet with George to talk about the episodes and he hands out a lot of the storylines and main ideas for the stories. I'll draw while he's talking and show him the sketch," Filoni continues. "That way we communicate right off the bat about what something might look like."

At any given time, the director notes, episodes are in various stages of completion, "from designing to working on a final cut, or adding sound and color-correction. I have four episodic directors to help me, who each have an episode they're managing."

Rather than use computer animation to duplicate the live-action films' characters or continue in the very stylized vein of the 2004-2005 "Clone Wars" micro-series, "We kind of shot for the middle," says Filoni, who endeavored to blend a 2-D esthetic with 3-D technology.

"The 3-D model makers and riggers who worked on the prequels dealt with the height of realism to create convincing digital characters. I knew that we weren't going to be able to do that for the series. And we wanted it to be different than a live-action feature, to get away from photo-realism. It was a choice to simplify something in the character models, the same way we would do things in a 2-D show."

So how did Filoni stay true to the "Star Wars" legacy in this newest installment? Read on to find out.

Clone Style

Taking some inspiration from the earlier cartoon series, Filoni

approached the characters as a 2-D animator would, "but stylized the face a little more. If you look at Anakin, he has certain edges and lines in his face. I would draw an edge or a line that might be unnaturally straight or curved, and that would play into the lighting of it. I tried to sculpt in 3-D the way I would draw or sculpt an image in 2-D, with shadow and light. I wanted it to look like a painting -- you see a textured, hand-painted style on every character. I have texture artists who literally paint every single character right down to their eyeball, because I wanted that human touch on everything."

Advances in computer animation have allowed Filoni to accomplish much more than he would have been able to in traditional 2-D. "For eight years I worked just with a pencil. I never touched a computer. But working with George, we try to look at computers as an incredibly advanced pencil. The technical side helps the creative, artistic side," he says.

Battles filled with huge numbers of soldiers can be rendered faster than ever before, but they still have to be created, along with every other prop and character in an enormous universe. "'Star Wars' is so complex in that you're building a whole galaxy. We go to many different planets," Filoni reminds. "So every rock, tree, blade of grass, native vehicle -- every asset -- needs design. We had to create a whole bunch of assets for each episode, and the budget goes up for each element you have. Once you build it, you have it, but we can't go to a different planet and have the same chair there," he laughs. "On a schedule where we need those things right away, it's difficult to get it all built."

Since "The Clone Wars" is chronologically sandwiched between "Clone Wars" and "Revenge of the Sith," it has been a mandate for the creators to stay consistent with the mythology. "That's probably one of the trickiest things," admits Filoni. "We always have to keep in mind what the characters are thinking and feeling at the beginning of this and at the end. You have a lot of room to play with when you're in the middle, but you have to remember what people say in the third movie. With characters like Obi-Wan or Anakin or Padme, I have to pay very careful attention that it will hook up. And then there's the expanded universe of "Star Wars" novels and video games. I try to be aware of it all and work it in, because fans really appreciate it."

Filoni hopes to attract existing fans and create new ones, especially among the younger generation, but admits doing the latter may be easier. "One thing we have that's different from any movie that came before is we're an animated series. But there's an instant reaction to the word animation that it's for kids. How you get around that is with the stories you tell. We'll have our snow battles and we'll also have our lighter 'Return of the Jedi' moments. Some episodes lean older, some younger. But in the end it has a broad appeal," he believes.

The recent "Clone Wars" movie (out on DVD Nov. 11 ) served as a stand-alone prequel to introduce the characters at this point in time. In contrast, "The series has its small arcs and shows you the war from across a broad spectrum of episodes. It's not just Anakin Skywalker's story," Filoni underlines. "We can go left or right of that plot and deal with characters we have never seen. There's a lot of material. It's a three-year period in the history of the 'Star Wars' Universe, and there are so many stories to tell. The longer it goes, the more chance we get to tell fascinating stories in that galaxy."

Character Study

"The Clone Wars" shows a different side of some of the film franchise's most iconic characters. "In a series, you can do a whole episode about a character and learn more about what they were like, which makes what happens to them a lot more poignant," explains Filoni. "We know Yoda is powerful, but how does that power develop? How does he use it? We get to go into more detail that you just couldn't do in the live action films, because they're mainly focused on Anakin."

While few of the actors from the live action movies agreed to reprise their roles in voice over for "The Clone Wars," Anthony Daniels, the original C-3PO, is the exception. "One of the special moments for me was hearing Anthony on the telephone, discussing C-3PO with me and his experiences. That really helps us round out the characters," says the director, who enjoyed similar input from Rob Coleman, the animation supervisor who worked on Yoda on the prequels.

Of the new characters not seen in the live action series, there's the alluring but venomous Asajj Ventress, a disciple of Count Dooku. "She is, of course, a villain, and fits into the structure of the Sith," Filoni elaborates. "Darth Sidious -- Senator Palpatine -- is the main bad guy, and his apprentice is Count Dooku. Dooku is training Ventress in the Dark Side. She's getting more powerful. I wanted to make her intelligent, deceptive and also kind of sexual. She's kind of a forbidden fruit -- Jedi are not supposed to get involved with the more lustful aspects of life. She adds another dynamic to the series."

On the other side of the good/evil coin is newcomer Ahsoka Tano, Anakin's teenage padawan, or apprentice. "She's Anakin's student and helps us see him as more of a hero," says Filoni. "Once he gets over his initial reaction, he takes pride in her. He's unpredictable and the Jedi know that, but he has compassion and that is used against him and it later brings him to the Dark Side."

Ahsoka was created, says Lucas, "Because I needed to mature Anakin. The best way to get somebody to become responsible and mature is to have them become a parent or a teacher. You have to think about what you're doing and set an example. You look at your behavior and the way you do things much differently. The idea was to use her to make Anakin become more mature. We've made her a more extreme version of what Anakin was- - a little out there, independent, vital and full of life, but even more so. He gets a little dose of his own medicine."

"She's been a really fun character to develop," adds Filoni, who likes Ahsoka but admits that his character tastes tend to run a bit more obscure -- his favorite is Plo Koon, "a bizarre Jedi Master. It's been fun to develop him and show his personality beyond the fact that he's bizarre looking and carries a lightsaber."

Fan Fare

Just three years ago, Filoni dressed up as Plo Koon to see an opening night showing of "Revenge of the Sith," so it's not surprising that the 34-year-old fan is still pinching himself that he has this job. "It's a very creative atmosphere," he says of Big Rock Ranch, where the lakeside setting is "meant to inspire us artistically and definitely does. A lot of the people I work with grew up with 'Star Wars,' so we have a great time. It's hard, intense work, but George is very engaged in what we're doing. What more could you ask for? I have the guy who created the 'Star Wars' universe excited and interested in what we're doing. We couldn't be happier about that."

Asked why he thinks "Star Wars" remains a fan favorite today, three decades later, Lucas says diversification is the key. "We were always able to deal with different aspects of the story in various forms and I think that keeps it alive. It is a lot of fun and it's a universe that has been created to inspire young people to exercise their imagination and inspire them to be creative, and I think that always works."

"The original 'Star Wars' had broad appeal to everybody, and it holds up so well," adds Filoni. "I think there's a timelessness to it, even though Luke looks like a kid from the '70s with that haircut. Luke is a farmer boy and Han is a cowboy. Jedi Knights are like the samurai of Japan or the knights of Europe. Those archetypes work the globe over. It's a world phenomenon that speaks to everyone. There will always be a character you can relate to."

#interview #crew #George Lucas #Dave Filoni #the first part is useless read the stuff about design and characters under cut #highlights bit for own reference

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scoutception · 4 years

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Robotics;Notes Elite review

Robotics;Notes, the third visual novel in the Science Adventure series, is by far the most unfortunate entry in the series. Not only is it the follow up to Steins;Gate, one of the most acclaimed and popular visual novels ever released, something that even extends to its anime adaptation, but it had to wait until 2020, 8 years after its release in 2012, to be translated into English, well after every other main entry in the series besides Chaos;Head, with its anime adaptation being the only way to experience it beforehand, and while said anime is a decent watch in its own right, it definitely accentuates the source material’s problems, while adding several more. Needless to say, Robotics;Notes had a lot of things going against it when it was finally released, most of which weren’t even its own fault, and it can definitely come off as an underwhelming entry just from that. However, today, we’ll be putting aside all those external factors and take a fair look at the VN itself, and how it holds up on its own. The version I played was the Steam version, using the Committee of Zero patch, a fan made patch that, among other things, fixes many issues with the translation, and is absolutely the recommended way to experience the VN.

Kaito Yashio is a student of Chuo Tanegashima High, and one of the two members of its Robotics Research Club. The president of the club, Akiho Senomiya, Kaito’s friend since childhood, and little sister of the club’s founder, Misaki Senomiya, is completely committed to completing GunBuild-1, a lifesize recreation of the titular mecha from the extremely popular anime Gunvarrel, and a project the club has been working on since its creation. Unfortunately for Akiho, everything seems determined to see her efforts be in vain. The club gets no funding, and is seen as a laughingstock among the students, its advisor, Mitsuhiko “Mitchie” Nagafukada, is completely irresponsible and rarely does anything of help, and Kaito is completely apathetic to anything that isn’t KillBallad, a mobile fighting game he’s determined to become the top player in the world in. While the club soon manages to gain three new members, namely Subaru Hidaka, an expert in robotics whose knowledge far surpasses Akiho’s, Junna Daitoku, a former member of the karate club, and Kona Furugoori, aka Frau Koujiro, the teenage creator of KillBallad, their personalities are just as difficult: Subaru sees the project as a lost cause, and refuses to help with it without a compromise, Junna is painfully shy and has a fear of robots, and Frau is a complete shut in and social mess, being completely perverted and mostly talking in outdated slang, which keeps most people from even understanding her. Despite all this, Akiho’s unrelenting passion for mechas, and desire to step out of her sister’s shadow, compel her to continue on.

Meanwhile, Kaito one day encounters Airi, an AI that exists within the augmented reality app IRUO, along with a strange AR annotation called the Kimijima Report, authored by Airi’s deceased creator, Kou Kimijima. Within it are warnings of a grand conspiracy that aims to devastate humanity, the details of which are contained in similar reports hidden all over Tanegashima, locked behind “flags” that must be cleared before they become visible. Though at first skeptical, it soon becomes clear to Kaito that the reports contain a disturbing amount of truths, and that he’s become involved in something far larger, and far more dangerous, than he bargained for.

I’ll say it now, the story’s focus on both of these plotlines causes a number of noticeable issues, mainly due to feeling very disconnected from each other. While all of the main cast except Airi are heavily involved in the Robotics Club plot, only Kaito, Airi, and to a much lesser extent Frau are involved in the Kimijima Report plot, in comparison to, say, Steins;Gate and Chaos;Child, which tied its whole cast into their stories much better. In addition, the majority of the focus is on the club, and though always interesting, the reports tend to go rather uneventfully as well. Due to this, the story can feel very slow and meandering if you don’t know just what you’re getting into, much more so than the other entries in the series, which can definitely make it seem unappealing. Additionally, the story is much less standalone than most SciAdv VNs, where the references are often minor. Here, there are some rather significant references to Chaos;Head and, to a lesser extent, Steins;Gate, to the point of outright spoilers in a few cases, meaning going through those beforehand is heavily recommended, which is especially annoying when Chaos;Head still has no official translation, and only a fan translation for the incomplete PC version.

Despite all of this, both plotlines are actually quite compelling, once you get used to the game’s pacing. Robotics;Notes’ biggest strength is its absolutely great cast of characters. Everyone in the main cast is very likeable, distinctive, and well developed across the story, and have good dynamics with each other, with Kaito and Akiho’s interactions being some of the biggest highlights of the game, with the end result making everyone feel significant in their own ways, and truly feeling like a unified group, something Chaos;Head and even Steins;Gate struggled with at times. Kaito, who initially comes off as a very motivationless character, has a good amount of backstory and a constant, if subtle, arc throughout the game that makes him properly fleshed out. Subaru, who’d normally just be the token other guy, is a prominent and likeable character in his own right, having a very important role in Gunbuild’s construction, while Frau, who initially just comes off as comic relief, has many great moments throughout the story, with her focus chapter in particular being one of the best in the game. Even Airi has quite a bit more to her than it may seem. The cast is definitely a worthy successor to the cast of Steins;Gate, even more so than Chaos;Child’s, I would say.

The cast also heavily ties into one of the main themes of the game, namely dreams, the harsh difficulties and compromises one faces in pursuing their dreams, and how losing one can change a person. All of them face this, with varying amounts of focus, and it’s a theme furthered with the prominence of robots throughout the game, both the idealized kind found in mecha anime, and the real, practical robots of the real world. There’s an almost exhaustive amount of detail put into the construction and function of real robots, which makes for some interesting, if sometimes long winded, discussions throughout the game, in true SciAdv fashion.

While the story is mainly told through Kaito’s perspective, it switches fairly often to other characters, most often Akiho. While the rest of the series except for Steins;Gate does this as well, it’s notable here for giving almost every character, even the supporting cast, at least one scene from their perspective, often focused on their own personal dilemmas, or flashbacks involving Misaki. These perspective switches make a nice change of pace, and definitely help flesh out the characters even further. On the subject of the supporting cast, while most other entries either have supporting casts that are very inconsequential, such as in Chaos;Child, or almost nonexistent, such as in Steins;Gate, Robotics;Notes, on the other hand, has a much more prominent and fleshed out supporting cast. From Mizuki Irei, the harsh and snarky convenience store employee, and info broker to Kaito, to Tetsuharu Fujita, the grumpy but fair “Robot Doctor”, to Mitchie, the horribly unreliable, yet entertaining club advisor, they certainly leave much more of a mark than usual. The most interesting of all, though, is a 20 year old Nae Tennouji, originally a very minor character in Steins;Gate. She has an almost surprising amount of prominence throughout the game, and even has her own ending, if a very short one.

Compared to most other entries in the series, Robotics;Notes definitely carries a much lighter tone. Tanegashima makes for a very relaxed setting, and as mentioned, there aren’t quite as many big events as one might expect. The characters are generally pretty lighthearted in personality as well, up to Kaito not being nearly as unlikeable to start off as other SciAdv protagonists. However, the tone works quite well, and helps slowly endear the characters to you even early on. And while it’s not quite as messed up as, say, Chaos;Head, it’s got more than a few disturbing elements and scenes of its own. Ultimately, it has the same “feel” as the rest of the series, and when it wants to be intense, suspenseful, sad, or whatever else, it absolutely works, especially from chapter 7 onward.

As far as “gameplay” goes, there’s a surprisingly large amount of interactivity available. At most moments during the story, Kaito can pull out his tablet and access its various apps. Most prominently, there’s Twipo, an obvious lawyer friendly version of Twitter, where Kaito can look at tweets from the Robotics Club, its associates, and even random accounts commenting on current events, with Kaito having the option to reply to those of the Robotics Club. There’s also IRUO, the augmented reality app, which lets the player look around the area and scan geotags, which contain small profiles for characters, or details for locations or objects. IRUO is also used along with a map app to search for the Kimijima Reports, letting you travel to various different locations on Tanegashima to search. It’s a neat concept, but the icons for the reports are so small, and so many locations tend to be available at one time, that finding them can often just be annoying. There’s also, of all things, the otherwise story reliant KillBallad matches, where you have to successfully input a string of buttons, the length of which varies depending on the opponent’s skill, within a time limit in order to win. Most of the time it doesn’t matter, but there are achievements and even story sequences reliant on winning or losing certain matches. All in all, these make for nice occasional changes of pace, but it’s still a visual novel in the end.

Visually, Robotics;Notes is actually quite impressive. As can be seen in the screenshots, instead of sprites, 3D character models are used instead in normal scenes, and having played Virtue’s Last Reward and Zero Time Dilemma well before this, I was more than a bit wary of them before release. Thankfully, compared to the cheap models of those two games, they’re much, much better. They’re actually very expressive, and have some great animations that give each character a lot of life. The backgrounds are also quite well done, and Tanegashima definitely makes for a unique and atmospheric setting. As usual for visual novels, there’s also CGs throughout the game, done in a different, but still appealing and well drawn style. Finally, in one of the biggest additions to Elite compared to the original version, occasionally, clips from the anime adaptation is used, mostly to better demonstrate details that were only narration originally, as far as I can tell. This blend of 3D models, CGs, and animation is a bit bizarre at first, but it works surprisingly well, and makes for one of the most visually appealing entries in the series.

As far as sound goes, Takeshi Abo is once again the composer, and once again puts out a very good soundtrack, which further captures and enhances the atmosphere. The soundtrack in general is definitely much lighter and peaceful than usual, but actually has more tracks than most of the SciAdv soundtracks, allowing it to cover many other moods as well. From the very relaxed Winds of Tangegashima, to the mysterious Uchugaoka Park, to the nostalgic Memories with Big Sis, and especially the beautiful title screen theme, Robotics Notes -2nd theme-, there’s a lot of great songs to be found. The voice acting is also very good, and the characters wouldn’t work nearly as well without it, with Ryohei Kimura as Kaito, Yoshino Nanjo as Akiho, Kaori Nazuka as Frau, and Sora Tokui as Junna especially sticking out to me.

It’s worth noting that Robotics;Notes is on the longer side when it comes to SciAdv, much like Chaos;Child. It’s hardly Fate/Stay Night, but it’ll take some time to get through. It also has a very, very weird and annoying ending system. Whereas in other titles, endings are, just that, actual endings you can diverge into somewhere in the story, Robotics;Notes’ endings are actually just regular chapters that are part of the main story, which just happen to focus on different parts of the cast. The divergence happens in chapter 5, and depends on your replies to said characters on Twipo in both that chapter and the preceding one, with you instead going to the short Nae ending if you don’t fulfill the requirements for any of them. While Steins;Gate had a similar system, and was annoying in of itself, Robotics;Notes takes it to another level by making all but the Nae ending mandatory, though said ending has some points that make it worth seeing regardless, and occurring in a specific chronological order, despite allowing you to get the endings nonlinearly, meaning you could accidentally skip from chapter 5 to chapter 8. The system overall is just unneeded, and following a guide, such as the one by the aforementioned Committee of Zero, is highly recommended.

In the end, would I recommend Robotics;Notes? To a SciAdv fan, absolutely. To someone who isn’t, well, I already explained the problems there. I can’t say its one of my favorites among the series, but by itself, it’s still something I enjoyed a lot. Despite the issues it does have, its very well done cast, visuals, sound, and overall story make it a memorable and emotional experience in its own right. Now, with yet another long VN review out of the way, I anxiously await the Committee of Zero patch for Robotics;Notes DaSH, to finally finish off my SciAdv journey, for the foreseeable future, at least. Till next time. -Scout

#visual novel #game review #long post #steins;gate #steins gate #robotics;notes #5pb

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queerchoicesblog · 4 years

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An Unexpected Turn of Events

Hiya, folks! So, as previously announced, the wlw writing project continues after a break with a miniseries set back in Vienna, one of the iconic capitals of opera at the time of Mozart. An emerging singer gets the chance to be an understudy in the latest Mozart’s discussed opera Le Nozze di Figaro (The Marriage of Figaro), that premiered at the Burgtheater in Vienna on 1 May 1786, w and play the pants role of the page Cherubino. Preparing for the role doesn’t quite go as planned… .

Tagging: @scottishqueer

Previous chapter: The Understudy

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A couple of days later I go back to Melchiorri for another session as planned. He is inflexible that I allow my voice to rest at least one day before practising again not to damage it. As I observe the streets of Vienna passing by from my carriage, I wonder if the little fugitive will visit us today too and a tiny smile crosses my lips. I should be bothered by such unprofessionalism but surprisingly I enjoyed the interruption. A private comedic enteract. It also reminded me the maestro is human: I stole a glance of the domestic, family life people like me is generally unfamiliar with. I don't plan to marry anytime soon honestly if I can avoid it, despite what my Aunt claims. I owe her and my uncle, the wealthy side of my family, everything. She brought me away from the small town by the Alps I lived with Mom, Dad and Hans, my little brother in a wooden cottage by a stream. We weren't indigents, we owned a small typography in town that mainly served the local journal of the valley and well, the church crafting the prayer books you would find on the bench every day at mass. We weren't rich with either: you don't exactly became high socialite with so little. Hans is now running the typography as my father's eyes are not the ones he used to have since he got sick. I don't envy my poor brother; I am glad I got my way out of that life. I am eternally grateful to Auntie Helga for insisting to drag me to Graz and deciding to turn me into a star of the opera after hearing me perform a solo in the church choir during one of her - not so frequent, actually - visits.

Auntie built her fortune over a good marriage with a promising young lawyer who couldn't resist her charm and eventually allowed her to live in sober luxury and even be invited to court. But that seemed to be her sole aspiration in life: she left the small town and never looked back. I am an opera singer, I want more. My career comes first and I have yet to meet a worthy match honestly. And no, I don't want to be a puppet, a doll to a man who will eventually ask me to leave the stage and my beloved arias to look after a child or be a proper wife, whatever it means. So, no, thanks, I chuckle in my head while taking the hand the driver offer me to get off the carriage. When I knock at the door, I am considering that maybe Herr Giorgio is not that bad, even if I didn't like the way he addressed the maid and the poor naughty boy. Nor the lusty looks he throws me. The maid welcomes me with a smile and a little reverence. Good girl, probably she expects me to chastise her too. As if I had any intention to do so! She takes my fur and quickly disappear into the wardrobe room before walking back towardsme. I thank her for her zeal but I know the way to the music room, the maestro is surely waiting for me, I say. I start walking but what she says next makes me freeze, confused. "Actually, Miss...the master is not here today. I'm very sorry. His wife is waiting for you in the tea room". What? That...that must be a joke. The maestro hired to prepare me last minute disappears before the official rehearsals. I turn and throw a bad look at the poor maid, who doesn't deserve it in the least. She's just a messenger, her eyes beg before lowering them to her feet. She's right, my anger is all for Mister Melchiorri. What do I do now? "Whatever, lead the way then" I exclaim, following her. "I can't wait to hear what the fair lady has to say about this". My voice is cold, sardonic; the girl doesn't say a single word while we walk in the opposite direction than my usual route in the house. She's certainly too afraid to dare say a thing. When we finally arrive to the right room, she knocks politely at the door and steps in when a female voice comes from the inside. She bows her head and announces my presence before disappearing back down the corridor. She stops only to let the door open for me. I let out an annoyed sigh and enter. The room is significantly different from the maestro's studio. No instruments, only paintings at the walls and fresh flowers on the little tables around the room. The perfume is delicate and inebriating: are they orchids, I wonder? A neat wooden library holds the place of honour on the main wall, opposite the fireplace and framed by windows that fills the whole room by natural light, even if the sun doesn't shine today: it will probably rain soon. Letting my eyes wonder outside I spot green and a carousel: I didn't realise we were so close to a park! Unlike the music room, here even if the furniture, the velvet armchairs, the Persian rugs, every decor are certainly expensive, the atmosphere is surprisingly...cozy, an adjective I would have never thought of associated with Melchiorri's place. It's almost inviting, calming? "Miss Bauer, I am so incredibly sorry for the the latest developments and all the trouble they must bring on you...but please, take a seat! Franziska will be back soon with fresh tea". I turn to see a woman gesturing me to join her by the fireplace. Her German has a thick Italian accent which gives her "a bit of exotic" as they say at court. She doesn't wear a wig, her long raven hair are done up in an elaborate grateful chignon and two curly strands frame her visage. She reminds me one of those shepherdesses portrayed in bucolic frescos at the Emperor's Palace. Her dress is not in character though: a plain, cerulean dress which is not necessarily cheap but does nothing to enhance her figure. Poor taste probably: even money can do little about it sometimes. She must be in her early thirties or so I wager and thinner than most ladies I know in her standing...I wonder why Melchiorri chose her if he's so clearly fond of female curves. Maybe it's another arranged loveless marriage. I wouldn't be surprised. I oblige and thank her politely, forgetting my anger for a moment. It surprises me, it must be a reflex, a natural response the soothing silky voice of the lady. Like the feral beasts tamed by the gentle melody of Orpheus' song, I think trying to shake away such thought. I suddenly realise that I don't know her name. Melchiorri never talked about her. But I don't want to tell her: it's not a nice thing to say to a wife, right? As if reading my thoughts, she shakes her head slightly embarassed. "I forgot my manners, didn't I?" she sighs. "You must forgive me, Miss, I do not receive many visitors lately and I've never been introduced to famous opera singers...nor any of my husband's pupils. My name is Cecilia, Cecilia Melchiorri". I feel a pang of sadness for this lady excluded from the theatre world his husband works in. I don't get why she has to be cast out like that. I've met other illustrious wives at social gatherings around Vienna or at court. I offer her my hand, gesturing no apologies are needed, and repeat her name. "Cecilia...". Sadly, I completely butcher it: I studied Italian for the opera but my Austrian tongue is still incapable to recreate the sweet sounds that comes so natural to her. It must not be the first time because her lips curl in a quick understanding smile. "You can call me Lia, if it's easier for you. My family used to call me so". Lia...what a pretty little name. I smile, grateful. "I will then, if you don't mind...Lia. You can call me Constanze: it seems only fair". "As you wish, Miss Bauer!" she says before realising her mistake. We share an amused look, even if hers is a bit more bashful. In that moment, after another polite knock, Franziska returns with the tea and some butter biscuits. They're different from the ones Mister Melchiorri usually offers me in his studio. She's serving the tea when a familiar figure materialises on the threshold of the room at my peripheral. Lia is giving him the shoulders so she can't see him. I turn in his direction with a smirk. "I believe we've already met, right, Sir?" The two women turn at unison too and the kid childishly hides his face but doesn't move. After a moment he spies us through his fingers and retrieves his hands, smiling. Franziska puts the tray underneath her arm and tells Lia that she will bring him to his room, making the boy pout. He's quite the character. "Maybe he followed you because he just wants a biscuit" I say, my eyes wandering between them to check if I'm overstepping. "Maybe you're right...but only if he doesn't bother you" Melchiorri's wife concedes with a tired smile. I shake my head and take the decorated plate in my hands. "Would you like one?" I ask in Italian to her son, not sure if he speaks proper German. His face brightens up and he nods enthusiastically. We share a soft laugh, even the maid joins. He gets ready to speed across the room when he stops, considering. He searches his mother for approval. Lia nods, asking to behave like a good boy though. So he approaches slower than he wanted, with great effort to refrain himself, and grabs a biscuit from the plate. Before taking a generous bite, he mutters a quick thank you. "Mystery solved" I comment, placing the plate back on the table. "You must excuse him, Miss Ba- Constanze" Lia say, gently pulling him closer. "Nino is not a bad kid, just a bit of a rascal at times". "A rascal with a sweet tooth" Franziska adds and we share another laughter. "I'm so sorry he interrupted your private session the other day. Franziska had quite a fair share of work to do and I was indisposed in my room, I couldn't look after him as I usually do". I dismiss her apologies, taking a sip of tea. "But it was fun, wasn't it?" I wink at Nino who chuckles. "Yes and she sings very well, Ma" he says, turning to his mother. "Of course, I heard her too from my room" she smiles. "She's a promise of the opera, it's written on the newspapers". "Sing again?" the little boy begs, expectantly. His childish enthusiasm amuses me. "I cannot do those trills now, I need to warm up my voice first" I apologise, before winking. "Another time, I promise". Lia whispers something into his ear and he thanks me, concealing his disappointment. Crumbs are stuck on his lips and make the smile that follows a bit funnier than it was supposed to be. "Now, sweetheart, why don't you follow Franziska back to the kitchen?" She says, stroking his curls. "Take another biscuit and she will give you a glass of milk, just as you like it, huh?". She doesn't have to say it twice: while the maid gently places and arm around his shoulders, guiding him away, he takes not one but two biscuits in his hands. He throws me a conspiratorial look before chuckling. Then he turns towards Lia and stretches his neck to kiss her cheek. She caresses his face and tells him to be good with Franziska. When the two of them are out of the room, she meets my gaze again, shaking hear head. "Apologies, Miss...I sent Franziska to buy these for you this morning and he managed to put his eyes on them. He became obsessed". "Kids" I shrug, unbothered. I am pleasantly impressed that she had such a kind gesture towards me. I mean it could be a way to get on my good side because of the news she has to give me...but after all, this situation is not her fault. Her husband left her to deal with this and me all alone. She turns serious and sighs. "Anyway, have you heard of the flooding near Salzburg?". "What?". "Torrential rain lead to conspicuous floodings in the area surrounding Salzburg. I don't know if Giorgio mentioned it to you but he head there after your session for a family emergency....his brother lives there". "I'm afraid he didn't say a thing about his little journey" I say, trying my hardest not to look angered, even if I am: I would have rather be informed sooner of such details. By the look on her face I can tell she expected such an answer. "He surely thought he would be back in time today, he didn't mention staying for long. But during the night the weather deteriorated and the roads are pretty much impracticable, so to speak. We've just received a note saying he will be back as soon as travelling conditions are restored and the emergency solved. Probably a couple of days...maybe more? He must have sent you a similar one, you just missed it because you were on your way here already". "A couple of days? Maybe more?" I exclaim. That's not promising... "The rehearsals start in a week" I frown. "I still need to practise...". "You are free to do it here if you wish, Miss" she suggests, apologetic yet encouraging. "I am perfectly aware this is a hideous setback for you with such a tight schedule. You must believe me when I say I wish we never put you in this situation...if there's anything I can do, Miss, ask away. I'm not my husband but...". I consider her words for a moment. My mind runs wild to find a solution for this unexpected unfavourable circumstance. I could find another maestro maybe but how, within such a short notice and little time before official rehearsals begin? I could do it on my own but another sudden foolish idea crosses my mind. "Do you play the cello, Mrs. Lia?" I must have taken her by surprise by the look on her face. She tries to conceal it, refilling her cup. "Why, yes. My father was a musician, I took cello classes in my youth but I don't see how this-". "Excellent! Then you can take your husband's place until the he’s back" I exclaim, cutting her short. My words must come as a shock: she almost spits her tea. "Beg pardon, Miss?". "You will be my maestro, well understudy maestro for the time being" I smile, explaining. "You said yourself that you can play the cello, you can assist me as I practice". "But...but I don't have my husband expertise" she objects, at loss of words. "You heard me practicing with your husband, right? So you must know how it should sound. And that aside, you can even tell yourself if my performance is good or not: you have ears too, if I am not mistaken". She opens her mouth to say something, anything to make me change my mind and spare her such thing...but nothing comes. Her lips presses together for a moment before she places her cup back on the table. "Very well, then...if you think it would work" she smiles weakly. "Just be patient with me: I do not usually play opera arias".

#wlw writing #wlw writing project #wlw miniseries #original work #lgbtqa+#vienna #opera

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aion-rsa · 3 years

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Marvel’s What If…? Episode 1 Review: Peggy Carter Changes MCU History

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This review contains spoilers for What If…? episode 1.

What If…? is the latest Marvel Studios small screen project to arrive on Disney+ after much fanfare. The animated anthology show, created by Trollhunters: Tales of Arcadia writer A.C. Bradley and Marvel storyboard vet Bryan Andrews, aims to explore alternate timelines in the MCU multiverse. In order to fully grasp the basic premise of What If…? as a whole it helps to have watched Marvel’s Loki, which recently introduced the multiverse to the MCU.

What If…? episode 1, “What If… Captain Carter Were The First Avenger?,” focuses on a (mainly) WWII-era version of Peggy Carter who made a key alternate choice that affected the creation of Captain America in a major way.

It’s a fun episode! Your mileage may vary depending on how much you love Peggy Carter, but since I love her a whole lot I had a good time watching this. The main downside, I suspect, to any of these installments, is that they’re inherently redundant. As far as we know, none of the fantastical concepts here will bleed into the live-action MCU. But if you’re here for a good time and not a long time, What If…? should make for a neat weekly diversion.

Our What If…? reviews are going to adopt a different format. More of a “breakdown” that we hope will still satisfy regular readers but also help younger viewers and those less familiar with the MCU keep up.

With that in mind, let’s take a look at “What If… Captain Carter Were The First Avenger?”

Required viewing

In terms of understanding the central characters and how things changed inside the branch timeline featured in this first episode, we would recommend revisiting Captain America: The First Avenger, Marvel One-Shot: Agent Carter, and the opening act of The Avengers. If you’re on a full Peggy Carter binge, why not add both seasons of ABC’s live-action Agent Carter series to your watchlist, too?

What’s different?

This episode explored what would have happened if Steve Rogers was unable to take the super soldier serum during World War II and Peggy Carter volunteered to become Dr. Abraham Erskine’s lab rat instead.

Peggy’s “what if…?” was deciding to stand her ground and stay in the room while the serum was administered during the iconic transformation sequence featured in Captain America: The First Avenger. She then had a chance to intervene in the Hydra bombing, but Steve got caught up in the action and was subsequently shot.

With time running out to perform the super soldier process, Peggy jumped into the machine and went on to become Captain Carter, having all the physical powers of Captain America along with a different costume and an altered shield with a Union Jack at its center.

Steve was badly injured and had to undergo intense physiotherapy while Peggy trained to be the best she could be. Their relationship blossomed and, thanks to Howard Stark, Steve took on the role of her sidekick in a Tesseract-powered Hydra Stomper – basically an early version of the Iron Man suit. Meanwhile, Peggy faced interference from Colonel John Flynn, who was regularly on hand to pour out a stream of misogyny regarding her place in the fight.

In a familiar First Avenger train sequence, Peggy went on an altered mission with Steve, Bucky Barnes and the Howling Commandos to take out the Red Skull, however it was Steve who ended up falling from the train in this timeline and not Bucky, so it stands to reason that Bucky wouldn’t then go on to become the Winter Soldier.

Other more minor changes include Peggy probably not making out with her own niece during any Civil War shenanigans in the future – and please do not direct me to any fan art depicting that scenario in the comments, I beg you.

In the end, the Red Skull used the Tesseract to summon a tentacled “champion of Hydra” and Peggy had to sacrifice herself to push it back back into the space portal from whence it came. She emerged from the portal pre-The Avengers’ Battle of New York.

Who are the voices?

Jeffrey Wright plays the show’s narrator, Uatu The Watcher, and he’ll be here for every episode.

Returning to voice their characters from Captain America: The First Avenger were Hayley Atwell as Peggy Carter, Sebastian Stan as Bucky Barnes, Dominic Cooper as Howard Stark, Neal McDonough as Dum Dum Dugan, Toby Jones as Arnim Zola, Samuel L. Jackson as Nick Fury, and Stanley Tucci as Dr. Abraham Erskine. Other MCU actors joining in were Jeremy Renner as Hawkeye and Ross Marquand as the Red Skull, reprising his role from Avengers: Infinity War/Endgame.

Bradley Whitford may seem like a new addition as the arrogant Colonel John Flynn, but he previously portrayed the character in the live-action Marvel One-Shot: Agent Carter released back in 2013, so even in the Sacred Timeline Flynn continued to be a thorn in Peggy’s side for quite a while.

The elephant in the room here is Steve Rogers. Chris Evans did not add his voice to the What If…? mix, so it was up to Marvel animation alum Josh Keaton to stand in for Evans, and he honestly did a really good job of it all things considered.

Standout moments

I gotta say it was truly wild for me to witness Captain Carter have adventures onscreen at all! It was obviously great to see Peggy kicking ass with her enhanced strength – the serum only beefed up her already brave and competent nature – but this version of the character has something of a unique origin, having been concocted as a kind of throwaway addition to the match-3 game Marvel Puzzle Quest in 2016. A couple of years later, Saladin Ahmed added her to the pages of Marvel Comics in Exiles #3, and it clearly didn’t take Marvel Studios long to figure out how to apply the enthusiastic Captain Carter fan response to an MCU project.

Peggy riding Steve’s Iron Man-esque Hydra Stomper into a dogfight during the WWII montage sequence was a delight, frankly. The animation in most of the fighting sequences was terrific and really took golden opportunities to reach for the kind of punching, kicking, shield-throwing ballet that the live-action format could never quite achieve with its restrictions of reality.

I found myself slowly warming to What If…?’s animation style, which I probably still wouldn’t describe as my favorite if I’m honest. I love the What If? comics, and this series felt like an opportunity to really push the weirdness envelope a little more. You only have to look at what Netflix accomplished with its anthology series Love, Death & Robots to see how differently a What If? series that embraced other styles and voices could have gone, but I grew up on Saturday morning cartoons, stop motion, Fantastic Planet, and Heavy Metal, so forgive me for briefly imagining the possibilities of this project in a wilder sense.

One of the oddest standout moments for me was when the episode subverted my expectations somewhat. After Steve was seemingly killed during the train heist, I thought the creators of the show were all set to explore him becoming the Winter Soldier, and I have to admit the idea intrigued me a little! However, it didn’t go down like that, and I was left to mentally wander down a different “what if…?” rabbit hole alone.

How does it work out?

In the future, Nick Fury used the Tesseract to transport Peggy back from wherever she ended up after she entered the portal, and it looks like she joined the Infinity Saga-era Avengers Initiative in Steve’s place. Whether it all worked out well for this episode’s specific MCU timeline remains to be seen, but it would be really fun to see if Agent Coulson had a pack of Captain Carter trading cards!

More to come

Episode 1 played like a pilot for an ongoing Captain Carter series for good reason: What If…? has been confirmed to include at least one Peggy Carter installment in every season going forwards.

“A lot of the season one episodes are riffing off certain points in the cinematic universe and maybe even delving in a certain phase, but we need to expand and explore more things, so we had to come up with other ideas that were a little further down the timeline,” director Bryan Andrews told us, later adding “Peggy Carter is pretty awesome; Captain Carter is pretty awesome, we’d love to see more of her.”

Marvel’s What If…? is now streaming weekly on Disney+ every Wednesday.

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metalkingaboutmovies · 3 years

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What I Think About... reservoir dogs

Script:

It's no secret that Tarantino is one of the most brilliant screenwriters not only of today but of all time (I think) and even though this was his first film he already showed that he would have a brilliant career. I really admire his capacity to write dialogues, because despite the story, the movie is almost all driven by dialogues and I think it is very good because they are things I would talk about with my friends, like when they talk about Madonna in the beginning or when they are telling stories in the car and then they ask what is the name of the actress in that movie, these are things we normally talk about and he takes a simple conversation about Madonna's virginity and makes it a fascinating conversation for those watching, because we see ourselves in it. I love the plot twist, when we find out who the impostor is and understand why he did it, I love the bathroom scene. I really like how he starts the movie out of order, to make us intrigued and want to know how everything happened, not so much for the plot of finding out that he is the impostor because I think anyone would do that, but mainly when Freddy is bleeding because he was shot and we find out later how it happened, which completely escaped the expectation that I created while watching, very good. The ending is completely unpredictable, just like the whole movie, but the ending is the PERFECT way to end the movie (I don't know about you, but I think Mr. White was in love with Freddy).

Direction:

Tarantino is my favorite director, I think everything this man does is pure art and this movie is one of my favorites, not only Tarantino's but all my favorites. I really like the way he controls the camera, like putting the camera from bottom to top, to give an air of superiority to the characters (in the scene where they catch the cop from the trunk) and specially how the camera follows Mr .Blonde when he tortures the same cop, the most iconic scene in the movie. I saw that at the time people were shocked by the movie, especially the ear scene, which nowadays is a very small thing compared to Tarantino's movies, this scene gives a little bit of agony and I really like the idea of turning the camera away when he is actually cutting the other guy's ear off and then Mr. Blonde showing up with the ear in his hand, making a very good joke that shows the coldness of his character. So an excellent job by him.

Performances:

I think the performances are very good in general, I think everyone understands their stories and plays their characters in a realistic way. Steve Buscemi's performance called my attention, because until then I had only seen him in cliché comedies and I really liked to see him in something different. Harvey is very good, he is the most normal character I think but I understand who he is and where he came from, it is still a mystery why he cared as much as Freddy, but I thought it was a good idea to leave it to the audience's interpretation. The closest to being the main one is Tim Roth, and I really like it because at first I have no idea he is the imposter, I thought it was Blonde, and comparing their stories the most likely to be the imposter is Freddy (Tim Roth) but the interpretation of the two of them confuses us a lot, my favorite part of him is when he tells Ms. White that he is a cop and the look on his face when he shoots the woman after she shoots him. The character I like the most is Madson's, he doesn't have much screen time but I understand very well his story, and I like very much the scene where he tortures the other policeman, there I see a psychopath (which proves that he understood his character very well because this scene was his idea). Let's not forget Mr. Tarantino who not only wrote and directed but also acted as Ms. Brown, it's not a great role but he is fine, especially in the conversation about Madonna.

Cinematography/Montage

As I said before, I really like the camera movements. I don't think the cinematography is the highlight of the film, but it is impactful, like every Tarantino film.

I really like the montage for several reasons, I like that it's out of chronological order because it makes you discover the films little by little. I really liked how he cut to Freddy dying in the back seat and after a while we find out what happened, which was so different from what I had imagined. Now, my favorite part is when Freddy is telling that story that the guy gave him to memorize, and what he is telling to the bad guys happens, he goes into the bathroom sees the cops and the dog and all of a sudden he is telling the story to the cops there while the camera revolves around him, I think this is magnificent. These kinds of things make my life happy.

This is a movie that I could talk about for hours, so I wrote what I like more (and believe me, I summarized a lot) but if you want to talk about it, send me a message, I'd love to talk about it ;)

#cinema #movies #film #cinematography #written and directed by quentin tarantino #quentin tarantino #1992 #reservoir dogs #mr. white #mr. blonde #mr. pink #mr. orange #drama

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carole-lombard-screwball-queen · 4 years

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Carole Lombard (born Jane Alice Peters; October 6, 1908 – January 16, 1942) was an American actress, particularly noted for her energetic, often off-beat roles in screwball comedies. She was the highest-paid star in Hollywood in the late 1930s and in 1999, the American Film Institute ranked Lombard 23rd on its list of the greatest female stars of Classic Hollywood Cinema.

Lombard was born into a wealthy family in Fort Wayne, Indiana, but was raised in Los Angeles by her single mother. At 12, she was recruited by director Allan Dwan and made her screen debut in A Perfect Crime (1921). Eager to become an actress, she signed a contract with the Fox Film Corporation at age 16, but mainly played bit parts. She was dropped by Fox just before her 18th birthday after a shattered windshield from a car accident left a scar on her face. Lombard appeared in fifteen short comedies for Mack Sennett between 1927 and 1929, and then began appearing in feature films such as High Voltage (1929) and The Racketeer (1929). After a successful appearance in The Arizona Kid (1930), she was signed to a contract with Paramount Pictures.

Paramount quickly began casting Lombard as a leading lady, primarily in drama films. Her profile increased when she married William Powell in 1931, but the couple divorced amicably after two years. A turning point in Lombard's career came when she starred in Howard Hawks's pioneering screwball comedy Twentieth Century (1934). The actress found her niche in this genre, and continued to appear in films such as Hands Across the Table (1935) (forming a popular partnership with Fred MacMurray), My Man Godfrey (1936), for which she was nominated for the Academy Award for Best Actress, and Nothing Sacred (1937). At this time, Lombard married "The King of Hollywood", Clark Gable, and the supercouple gained much attention from the media. Keen to win an Oscar, Lombard began to move towards more serious roles at the end of the decade. Unsuccessful in this aim, she returned to comedy in Alfred Hitchcock's Mr. & Mrs. Smith (1941) and Ernst Lubitsch's To Be or Not to Be (1942), her final film role.

Lombard's career was cut short when she died at the age of 33 aboard TWA Flight 3, which crashed on Mount Potosi, Nevada, while returning from a war bond tour. Today, she is remembered as one of the definitive actresses of the screwball comedy genre and American comedy, and icon of American cinema.

Lombard was born in Fort Wayne, Indiana, on October 6, 1908 at 704 Rockhill Street. Christened with the name Jane Alice Peters, she was the third child and only daughter of Frederick Christian Peters (1875–1935) and Elizabeth Jayne "Bessie" (Knight) Peters (1876–1942). Her two older brothers, to each of whom she was close, both growing up and in adulthood, were Frederick Charles (1902–1979) and John Stuart (1906–1956). Lombard's parents both descended from wealthy families and her early years were lived in comfort, with the biographer Robert Matzen calling it her "silver spoon period". The marriage between her parents was strained, however, and in October 1914, her mother took the children and moved to Los Angeles. Although the couple did not divorce, the separation was permanent. Her father's continued financial support allowed the family to live without worry, if not with the same affluence they had enjoyed in Indiana, and they settled into an apartment near Venice Boulevard in Los Angeles.

Described by her biographer Wes Gehring as "a free-spirited tomboy", the young Lombard was passionately involved in sports and enjoyed watching movies. At Virgil Junior High School, she participated in tennis, volleyball, and swimming, and won trophies for her achievements in athletics. At the age of 12, this hobby unexpectedly landed Lombard her first screen role. While playing baseball with friends, she caught the attention of the film director Allan Dwan, who later recalled seeing "a cute-looking little tomboy ... out there knocking the hell out of the other kids, playing better baseball than they were. And I needed someone of her type for this picture." With the encouragement of her mother, Lombard happily took a small role in the melodrama A Perfect Crime (1921). She was on set for two days, playing the sister of Monte Blue. Dwan later commented, "She ate it up".

A Perfect Crime was not widely distributed, but the brief experience spurred Lombard and her mother to look for more film work. The teenager attended several auditions, but none was successful.[11] While appearing as the queen of Fairfax High School's May Day Carnival at the age of 15, she was scouted by an employee of Charlie Chaplin and offered a screen test to appear in his film The Gold Rush (1925). Lombard was not given the role, but it raised Hollywood's awareness of the aspiring actress. Her test was seen by the Vitagraph Film Company, which expressed an interest in signing her to a contract. Although this did not materialize, the condition that she adopt a new first name ("Jane" was considered too dull) lasted with Lombard throughout her career. She selected the name "Carol" after a girl with whom she played tennis in middle school.

In October 1924, shortly after these disappointments, 16-year-old Lombard was signed to a contract with the Fox Film Corporation. How this came about is uncertain: in her lifetime, it was reported that a director for the studio scouted her at a dinner party, but more recent evidence suggests that Lombard's mother contacted Louella Parsons, the gossip columnist, who then got her a screen test. According to the biographer Larry Swindell, Lombard's beauty convinced Winfield Sheehan, head of the studio, to sign her to a $75-per-week contract. The teenager abandoned her schooling to embark on this new career. Fox was happy to use the name Carol, but unlike Vitagraph, disliked her surname. From this point, she became "Carol Lombard", the new name taken from a family friend.

The majority of Lombard's appearances with Fox were bit parts in low-budget Westerns and adventure films. She later commented on her dissatisfaction with these roles: "All I had to do was simper prettily at the hero and scream with terror when he battled with the villain." She fully enjoyed the other aspects of film work, however, such as photo shoots, costume fittings, and socializing with actors on the studio set. Lombard embraced the flapper lifestyle and became a regular at the Coconut Grove nightclub, where she won several Charleston dance competitions.

In March 1925, Fox gave Lombard a leading role in the drama Marriage in Transit, opposite Edmund Lowe. Her performance was well received, with a reviewer for Motion Picture News writing that she displayed "good poise and considerable charm." Despite this, the studio heads were unconvinced that Lombard was leading lady material, and her one-year contract was not renewed. Gehring has suggested that a facial scar she obtained in an automobile accident was a factor in this decision. Fearing that the scar—which ran across her cheek—would ruin her career, the 17-year-old had an early plastic surgery procedure to make it less visible. For the remainder of her career, Lombard learned to hide the mark with make-up and careful lighting.

After a year without work, Lombard obtained a screen test for the "King of Comedy" Mack Sennett. She was offered a contract, and although she initially had reservations about performing in slapstick comedies, the actress joined his company as one of the "Sennett Bathing Beauties". She appeared in 15 short films between September 1927 and March 1929, and greatly enjoyed her time at the studio. It gave Lombard her first experiences in comedy and provided valuable training for her future work in the genre. In 1940, she called her Sennett years "the turning point of [my] acting career."

Sennett's productions were distributed by Pathé Exchange, and the company began casting Lombard in feature films. She had prominent roles in Show Folks and Ned McCobb's Daughter (both 1928), where reviewers observed that she made a "good impression" and was "worth watching". The following year, Pathé elevated Lombard from a supporting player to a leading lady. Her success in Raoul Walsh's picture Me, Gangster (also 1928), opposite June Collyer and Don Terry on his film debut, finally eased the pressure her family had been putting on her to succeed. In Howard Higgin's High Voltage (1929), her first talking picture, she played a criminal in the custody of a deputy sheriff, both of whom are among bus passengers stranded in deep snow. Her next film, the comedy Big News (1929), cast her opposite Robert Armstrong and was a critical and commercial success. Lombard was reunited with Armstrong for the crime drama The Racketeer, released in late 1929. The review in Film Daily wrote, "Carol Lombard proves a real surprise, and does her best work to date. In fact, this is the first opportunity she has had to prove that she has the stuff to go over."

Lombard returned to Fox for a one-off role in the western The Arizona Kid (1930). It was a big release for the studio, starring the popular actor Warner Baxter, in which Lombard received third billing. Following the success of the film, Paramount Pictures recruited Lombard and signed her to a $350-per-week contract, gradually increasing to $3,500 per week by 1936. They cast her in the Buddy Rogers comedy Safety in Numbers (also 1930), and one critic observed of her work, "Lombard proves [to be] an ace comedienne." For her second assignment, Fast and Loose (also 1930) with Miriam Hopkins, Paramount mistakenly credited the actress as "Carole Lombard". She decided she liked this spelling and it became her permanent screen name.

Lombard appeared in five films released during 1931, beginning with the Frank Tuttle comedy It Pays to Advertise. Her next two films, Man of the World and Ladies Man, both featured William Powell, Paramount's top male star. Lombard had been a fan of the actor before they met, attracted to his good looks and debonair screen persona, and they were soon in a relationship. The differences between the pair have been noted by biographers: she was 22, carefree, and famously foul-mouthed, while he was 38, intellectual, and sophisticated. Despite their disparate personalities, Lombard married Powell on June 6, 1931, at her Beverly Hills home. Talking to the media, she argued for the benefits of "love between two people who are diametrically different", claiming that their relationship allowed for a "perfect see-saw love".

The marriage to Powell increased Lombard's fame, while she continued to please critics with her work in Up Pops the Devil and I Take this Woman (both 1931). In reviews for the latter film, which co-starred Gary Cooper, several critics predicted that Lombard was set to become a major star. She went on to appear in five films throughout 1932. No One Man and Sinners in the Sun were not successful, but Edward Buzzell's romantic picture Virtue was well received. After featuring in the drama No More Orchids, Lombard was cast as the wife of a con artist in No Man of Her Own. Her co-star for the picture was Clark Gable, who was rapidly becoming one of Hollywood's top stars. The film was a critical and commercial success, and Wes Gehring writes that it was "arguably Lombard's finest film appearance" to that point. It was the only picture that Gable and Lombard, future husband and wife, made together. There was no romantic interest at this time, however, as she recounted to Garson Kanin: "[we] did all kinds of hot love scenes ... and I never got any kind of tremble out of him at all".

In August 1933, Lombard and Powell divorced after 26 months of marriage, although they remained very good friends until the end of Lombard's life. At the time, she blamed it on their careers, but in a 1936 interview, she admitted that this "had little to do with the divorce. We were just two completely incompatible people". She appeared in five films that year, beginning with the drama From Hell to Heaven and continuing with Supernatural, her only horror vehicle. After a small role in The Eagle and the Hawk, a war film starring Fredric March and Cary Grant, she starred in two melodramas: Brief Moment, which critics enjoyed, and White Woman, where she was paired with Charles Laughton. “We would have married,” said Carole Lombard during her interview with magazine writer Sonia Lee for Movie Screen Magazine in 1934 about her relationship with Russ Columbo, the famous singer killed in a tragic accident whose movie and radio career she had been guiding.

The year 1934 marked a high point in Lombard's career. She began with Wesley Ruggles's musical drama Bolero, where George Raft and she showcased their dancing skills in an extravagantly staged performance to Maurice Ravel's "Boléro". Before filming began, she was offered the lead female role in It Happened One Night, but turned it down because of scheduling conflicts with this production Bolero was favorably received, while her next film, the musical comedy We're Not Dressing with Bing Crosby, was a box-office hit.

Lombard was then recruited by the director Howard Hawks, a second cousin, to star in his screwball comedy film Twentieth Century which proved a watershed in her career and made her a major star. Hawks had seen the actress inebriated at a party, where he found her to be "hilarious and uninhibited and just what the part needed", and she was cast opposite John Barrymore. In Twentieth Century, Lombard played an actress who is pursued by her former mentor, a flamboyant Broadway impresario. Hawks and Barrymore were unimpressed with her work in rehearsals, finding that she was "acting" too hard and giving a stiff performance. The director encouraged Lombard to relax, be herself, and act on her instincts. She responded well to this tutoring, and reviews for the film commented on her unexpectedly "fiery talent"—"a Lombard like no Lombard you've ever seen". The Los Angeles Times' critic felt that she was "entirely different" from her formerly cool, "calculated" persona, adding, "she vibrates with life and passion, abandon and diablerie".

The next films in which Lombard appeared were Henry Hathaway's Now and Forever (1934), featuring Gary Cooper and the new child star Shirley Temple, and Lady by Choice (1934), which was a critical and commercial success. The Gay Bride (1934) placed her opposite Chester Morris in a gangster comedy, but this outing was panned by critics. After reuniting with George Raft for another dance picture, Rumba (1935), Lombard was given the opportunity to repeat the screwball success of Twentieth Century. In Mitchell Leisen's Hands Across the Table (1935), she portrayed a manicurist in search of a rich husband, played by Fred MacMurray. Critics praised the film, and Photoplay's reviewer stated that Lombard had reaffirmed her talent for the genre. It is remembered as one of her best films, and the pairing of Lombard and MacMurray proved so successful that they made three more pictures together.

Lombard's first film of 1936 was Love Before Breakfast, described by Gehring as "The Taming of the Shrew, screwball style". In William K. Howard's The Princess Comes Across, her second comedy with MacMurray, she played a budding actress who wins a film contract by masquerading as a Swedish princess. The performance was considered a satire of Greta Garbo, and was widely praised by critics. Lombard's success continued as she was recruited by Universal Studios to star in the screwball comedy My Man Godfrey (1936). William Powell, who was playing the eponymous Godfrey, insisted on her being cast as the female lead; despite their divorce, the pair remained friendly and Powell felt she would be perfect in the role of Irene, a zany heiress who employs a "forgotten man" as the family butler. The film was directed by Gregory LaCava, who knew Lombard personally and advised that she draw on her "eccentric nature" for the role. She worked hard on the performance, particularly with finding the appropriate facial expressions for Irene. My Man Godfrey was released to great acclaim and was a box office hit. It received six nominations at the 9th Academy Awards, including Lombard for Best Actress. Biographers cite it as her finest performance, and Frederick Ott says it "clearly established [her] as a comedienne of the first rank."

By 1937, Lombard was one of Hollywood's most popular actresses, and also the highest-paid star in Hollywood following the deal which Myron Selznick negotiated with Paramount that brought her $450,000, more than five times the salary of the U.S. President. As her salary was widely reported in the press, Lombard stated that 80 percent of her earnings went in taxes, but that she was happy to help improve her country. The comments earned her much positive publicity, and President Franklin D. Roosevelt sent her a personal letter of thanks.

Her first release of the year was Leisen's Swing High, Swing Low, a third pairing with MacMurray. The film focused on a romance between two cabaret performers, and was a critical and commercial success. It had been primarily a drama, with occasional moments of comedy, but for her next project, Nothing Sacred, Lombard returned to the screwball genre. Producer David O. Selznick, impressed by her work in My Man Godfrey, was eager to make a comedy with the actress and hired Ben Hecht to write an original screenplay for her. Nothing Sacred, directed by William Wellman and co-starring Fredric March, satirized the journalism industry and "the gullible urban masses". Lombard portrayed a small-town girl who pretends to be dying and finds her story exploited by a New York reporter. Marking her only appearance in Technicolor, the film was highly praised and was one of Lombard's personal favorites.

Lombard continued with screwball comedies, next starring in what Swindell calls one of her "wackiest" films, True Confession (1937). She played a compulsive liar who wrongly confesses to murder. Lombard loved the script and was excited about the project, which reunited her with John Barrymore and was her final appearance with MacMurray. Her prediction that it "smacked of a surefire success" proved accurate, as critics responded positively and it was popular at the box office.

True Confession was the last film Lombard made on her Paramount contract, and she remained an independent performer for the rest of her career. Her next film was made at Warner Bros., where she played a famous actress in Mervyn LeRoy's Fools for Scandal (1938). The comedy met with scathing reviews and was a commercial failure, with Swindell calling it "one of the most horrendous flops of the thirties".

Fools for Scandal was the only film Lombard made in 1938. By this time, she was devoted to a relationship with Clark Gable. Four years after their teaming on No Man of Her Own, the pair had reunited at a Hollywood party and began a romance early in 1936. The media took great interest in their partnership and frequently questioned if they would wed. Gable was separated from his wife, Rhea Langham, but she did not want to grant him a divorce. As his relationship with Lombard became serious, Langham eventually agreed to a settlement worth half a million dollars. The divorce was finalized in March 1939, and Gable and Lombard eloped in Kingman, Arizona, on March 29. The couple, both lovers of the outdoors, bought a 20-acre ranch in Encino, California, where they kept barnyard animals and enjoyed hunting trips. Almost immediately, Lombard wanted to start a family, but her attempts failed; after two miscarriages and numerous trips to fertility specialists, she was unable to have children. In early 1938, Lombard officially joined the Baháʼí Faith, of which her mother had been a member since 1922.

While continuing with a slower work-rate, Lombard decided to move away from comedies and return to dramatic roles. She appeared in a second David O. Selznick production, Made for Each Other (1939), which paired her with James Stewart to play a couple facing domestic difficulties. Reviews for the film were highly positive, and praised Lombard's dramatic effort; financially, it was a disappointment. Lombard's next appearance came opposite Cary Grant in the John Cromwell romance In Name Only (1939), a credit she personally negotiated with RKO Radio Pictures upon hearing of the script and Grant's involvement. The role mirrored her recent experiences, as she played a woman in love with a married man whose wife refuses to divorce. She was paid $150,000 for the film, continuing her status as one of Hollywood's highest-paid actresses, and it was a moderate success.

Lombard was eager to win an Academy Award, and selected her next project—from several possible scripts—with the expectation that it would bring her the trophy. Vigil in the Night (1940), directed by George Stevens, featured Lombard as a nurse who faces a series of personal difficulties. Although the performance was praised, she did not get her nomination, as the sombre mood of the picture turned audiences away and box-office returns were poor. Despite the realization that she was best suited to comedies, Lombard completed one more drama: They Knew What They Wanted (1940), co-starring Charles Laughton, which was mildly successful.

Accepting that "my name doesn't sell tickets to serious pictures", Lombard returned to comedy for the first time in three years to film Mr. & Mrs. Smith (1941), about a couple who learns that their marriage is invalid, with Robert Montgomery. Lombard was influential in bringing Alfred Hitchcock, whom she knew through David O. Selznick, to direct one of his most atypical films. It was a commercial success, as audiences were happy with what Swindell calls "the belated happy news ... that Carole Lombard was a screwball once more."

It was nearly a year before Lombard committed to another film, as she focused instead on her home and marriage. Determined that her next film be "an unqualified smash hit", she was also careful in selecting a new project. Through her agent, Lombard heard of Ernst Lubitsch's upcoming film: To Be or Not to Be (1942), a dark comedy that satirized the Nazi takeover of Poland. The actress had long wanted to work with Lubitsch, her favorite comedy director, and felt that the material—although controversial—was a worthy subject. Lombard accepted the role of actress Maria Tura, despite it being a smaller part than she was used to, and was given top billing over the film's lead, Jack Benny. Filming took place in the fall of 1941, and was reportedly one of the happiest experiences of Lombard's career.

When the U.S. entered World War II at the end of 1941, Lombard traveled to her home state of Indiana for a war bond rally with her mother, Bess Peters, and Clark Gable's press agent, Otto Winkler. Lombard was able to raise over $2 million in defense bonds in a single evening. Her party had initially been scheduled to return to Los Angeles by train, but Lombard was anxious to reach home more quickly and wanted to fly by a scheduled airline. Her mother and Winkler were both afraid of flying and insisted they follow their original travel plans. Lombard suggested they flip a coin; they agreed and Lombard won the toss.

In the early morning hours of January 16, 1942, Lombard, her mother, and Winkler boarded a Transcontinental and Western Air Douglas DST (Douglas Sleeper Transport) aircraft to return to California. After refueling in Las Vegas, TWA Flight 3 took off at 7:07 p.m. and crashed into "Double Up Peak" near the 8,300-foot (2,530 m) level of Potosi Mountain, 32 statute miles (51 km) southwest of the Las Vegas airport. All 22 aboard, including Lombard, her mother, and 15 U.S. Army soldiers, were killed instantly. The cause of the crash was determined to be linked to the pilot and crew's inability to properly navigate over the mountains surrounding Las Vegas. As a precaution against the possibility of enemy Japanese bomber aircraft coming into American airspace from the Pacific, safety beacons used to direct night flights were turned off, leaving the pilot and crew of the TWA flight without visual warnings of the mountains in their flight path. The crash on the mountainside occurred three miles outside of Las Vegas.

Gable was flown to Las Vegas after learning of the tragedy to claim the bodies of his wife, mother-in-law, and Winkler, who aside from being his press agent, had been a close friend. Lombard's funeral was January 21 at Forest Lawn Memorial Park Cemetery in Glendale, California. She was interred beside her mother under the name of Carole Lombard Gable. Despite remarrying twice following her death, Gable chose to be interred beside Lombard when he died in 1960.

Lombard's final film, To Be or Not to Be, directed by Ernst Lubitsch and co-starring Jack Benny, a satire about Nazism and World War II, was in post-production at the time of her death. The film's producers decided to cut part of the film in which Lombard's character asks, "What can happen on a plane?" out of respect for the circumstances surrounding her death. When the film was released, it received mixed reviews, particularly about its controversial content, but Lombard's performance was hailed as the perfect send-off to one of 1930s Hollywood's most important stars.

At the time of her death, Lombard had been scheduled to star in the film They All Kissed the Bride; when production started, she was replaced by Joan Crawford. Crawford donated all of her salary for the film to the Red Cross, which had helped extensively in the recovery of bodies from the air crash. Shortly after Lombard's death, Gable, who was inconsolable and devastated by his loss, joined the United States Army Air Forces. Lombard had asked him to do that numerous times after the United States had entered World War II. After officer training, Gable headed a six-man motion picture unit attached to a B-17 bomb group in England to film aerial gunners in combat, flying five missions himself. In December 1943, the United States Maritime Commission announced that a Liberty ship named after Carole Lombard would be launched. Gable attended the launch of the SS Carole Lombard on January 15, 1944, the two-year anniversary of Lombard's record-breaking war bond drive. The ship was involved in rescuing hundreds of survivors from sunken ships in the Pacific and returning them to safety.

In 1962, Jill Winkler Rath, widow of publicist Otto Winkler, filed a $100,000 lawsuit against the $2,000,000 estate of Clark Gable in connection with Winkler's death in the plane crash with Carole Lombard. The suit was dismissed in Los Angeles Superior Court. Rath, in her action, claimed Gable promised to provide financial aid for her if she would not bring suit against the airline involved. Rath stated she later learned that Gable settled his claim against the airline for $10. He did so because he did not want to repeat his grief in court and subsequently provided her no financial aid in his will.

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rockislandadultreads · 4 years

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2020 Contemporary Romances: a reading list

Love Your Life by Sophie Kinsella

Call Ava romantic, but she thinks love should be found in the real world, not on apps that filter men by height, job, or astrological sign. She believes in feelings, not algorithms. So after a recent breakup and dating app debacle, she decides to put love on hold and escapes to a remote writers' retreat in coastal Italy. She's determined to finish writing the novel she's been fantasizing about, even though it means leaving her close-knit group of friends and her precious dog, Harold, behind. At the retreat, she's not allowed to use her real name or reveal any personal information. When the neighboring martial arts retreat is canceled and a few of its attendees join their small writing community, Ava, now going by "Aria," meets "Dutch," a man who seems too good to be true. The two embark on a baggage-free, whirlwind love affair, cliff-jumping into gem-colored Mediterranean waters and exploring the splendor of the Italian coast. Things seem to be perfect for Aria and Dutch. But then their real identities--Ava and Matt--must return to London. As their fantasy starts to fade, they discover just how different their personal worlds are. From food choices to annoying habits to sauna etiquette . . . are they compatible in anything? And then there's the prickly situation with Matt's ex-girlfriend, who isn't too eager to let him go. As one mishap follows another, it seems while they love each other, they just can't love each other's lives. Can they reconcile their differences to find one life together?

The Business of Lovers by Eric Jerome Dickey

Unlike their younger brother, Andre, whose star as a comedian is rising, neither Dwayne nor Brick Duquesne is having luck with his career--and they're unluckier still in love. Former child star Dwayne has just been fired from his latest acting role and barely has enough money to get by after paying child support to his spiteful former lover, while Brick struggles to return to his uninspiring white-collar job after suffering the dual blows of a health emergency and a nasty breakup with the woman he still loves. Neither brother is looking to get entangled with a woman anytime soon, but love--and lust--has a way of twisting the best-laid plans. When Dwayne tries to reconnect with his teenage son, he finds himself fighting to separate his animosity from his attraction for his son's mother, Frenchie. And Brick's latest source of income--chauffeur and bodyguard to three smart, independent women temporarily working as escorts in order to get back on their feet--opens a world of possibility in both love and money. Penny, Christiana, and Mocha Latte know plenty of female johns who would pay top dollar for a few hours with a man like Brick... if he can let go of his past, embrace his unconventional new family, and allow strangers to become lovers. Eric Jerome Dickey paints a powerful portrait of the family we have, the families we create, and every sexy moment in between.

Spoiler Alert by Olivia Dade

Marcus Caster-Rupp has a secret. While the world knows him as Aeneas, the star of the biggest show on TV, Gods of the Gates, he's known to fanfiction readers as Book!AeneasWouldNever, an anonymous and popular poster. Marcus is able to get out his own frustrations with his character through his stories, especially the ones that feature the internet’s favorite couple to ship, Aeneas and Lavinia. But if anyone ever found out about his online persona, he’d be fired. Immediately. April Whittier has secrets of her own. A hardcore Lavinia fan, she’s hidden her fanfiction and cosplay hobby from her “real life” for years—but not anymore. When she decides to post her latest Lavinia creation on Twitter, her photo goes viral. Trolls and supporters alike are commenting on her plus-size take, but when Marcus, one half of her OTP, sees her pic and asks her out on a date to spite her critics, she realizes life is really stranger than fanfiction. Even though their first date is a disaster, Marcus quickly realizes that he wants much more from April than a one-time publicity stunt. And when he discovers she’s actually Unapologetic Lavinia Stan, his closest fandom friend, he has one more huge secret to hide from her. With love and Marcus’s career on the line, can the two of them stop hiding once and for all, or will a match made in fandom end up prematurely cancelled?

No Offense by Meg Cabot

A broken engagement only gave Molly Montgomery additional incentive to follow her dream job from the Colorado Rockies to the Florida Keys. Now, as Little Bridge Island Public Library’s head of children’s services, Molly hopes the messiest thing in her life will be her sticky-note covered desk. But fate—in the form of a newborn left in the restroom—has other ideas. So does the sheriff who comes to investigate the “abandonment”. The man’s arrogance is almost as distracting as his blue eyes. Almost… Recently divorced, John has been having trouble adjusting to single life as well as single parenthood. But something in Molly’s beautiful smile gives John hope that his old life on Little Bridge might suddenly hold new promise—if only they can get over their differences.

Tweet Cute by Emma Lord

Meet Pepper, swim team captain, chronic overachiever, and all-around perfectionist. Her family may be falling apart, but their massive fast-food chain is booming ― mainly thanks to Pepper, who is barely managing to juggle real life while secretly running Big League Burger’s massive Twitter account. Enter Jack, class clown and constant thorn in Pepper’s side. When he isn’t trying to duck out of his obscenely popular twin’s shadow, he’s busy working in his family’s deli. His relationship with the business that holds his future might be love/hate, but when Big League Burger steals his grandma’s iconic grilled cheese recipe, he’ll do whatever it takes to take them down, one tweet at a time. All’s fair in love and cheese ― that is, until Pepper and Jack’s spat turns into a viral Twitter war. Little do they know, while they’re publicly duking it out with snarky memes and retweet battles, they’re also falling for each other in real life ― on an anonymous chat app Jack built. As their relationship deepens and their online shenanigans escalate ― people on the internet are shipping them?? ― their battle gets more and more personal, until even these two rivals can’t ignore they were destined for the most unexpected, awkward, all-the-feels romance that neither of them expected.

Just Like You by Nick Hornby

Lucy used to handle her adult romantic life according to the script she'd been handed. She met a guy just like herself: same age, same background, same hopes and dreams; they got married and started a family. Too bad he made her miserable. Now, two decades later, she's a nearly-divorced, forty-one-year-old schoolteacher with two school-aged sons, and there is no script anymore. So when she meets Joseph, she isn't exactly looking for love--she's more in the market for a babysitter. Joseph is twenty-two, living at home with his mother, and working several jobs, including the butcher counter where he and Lucy meet. It's not a match anyone one could have predicted. He's of a different class, a different culture, and a different generation. But sometimes it turns out that the person who can make you happiest is the one you least expect, though it can take some maneuvering to see it through.

#romance #romance readers #contemporary romance #currently reading #reading recommendations #books recs #booklr #booklist #to read #tbr #library #recommended reading #fiction

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kitsoa · 4 years

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I'm still waiting for a trailer for it to really sink in the Kingdom Hearts tv series exists. I'm curious over what the series will be? Retelling of KH1? Seems most likely. Not that it's nessecary for newcomers to enjoy. Everybody and their grandma (literally) knows about KH. I know people who don't even play video games but religiously watch YouTube walkthroughs of the games because they enjoy KH. It's like how Detective Pikachu didn't even need Pokemon in the title. Everybody knows pokemon. -

might be why I also like the idea I read about the series taking place post KH3 with the leads being Mickey, Donald and Goofy revisiting all the Disney Worlds Sora's been to. We'd get all the Disney goodness, some possible FF cameos and maybe apperences from Riku and others. But that's just if it's an original work. I'd also love good retellings of the games if done right. I only want the characters/lore/fight scenes to be given justice/respect. Whoah. How does this fit into your meta theory?- KH is a videogame, a novel series, a manga, a mobile game and now a cartoon. KH is covering all it's bases in media. All we need is for Normura to dig his claws into the series and put in even more reality confusing elements. It's like Sora's traveling through all this different levels of media until he gets closer to reality itself (lol when we all first thought it was going to be live action. Now that'd be unsettling).

Let me level with you. I... don’t know how to hype responsibly. So to be frank, I not only believe the rumors (I was watching them unfold and I am no stranger to following leak and speculation scenes for fun) I am... ecstatic about the idea. Scared excited. But man, I’m a dreamer first and foremost. I’ll live with the disappointment when it finally lets me down. Could it be hot garbage? Totally, but a lot of my initial fears have been soothed by the rumor mill. My list was basically: no live-action, animation please, gimme some square involvement folks. And based on the reports we have that covered. I am okay with a little new vision coming into the fray because I will always give it a chance as long as the creative philosophy is guided properly. I think there’s some level of quality control on both sides of the agreement. And as long as the Disney+ folks understand that this is essentially Disney’s break into the anime market, then we can trust they will at least aim in the right direction. But I’ll be very clear-- I’m almost 100% sure this will be a retelling and any suggestion otherwise is laughable. Here is why: 1. This was D+ idea-- (the ‘mysterious 3rd project’ pitched to Nomura that he mentioned in his interview is almost certainly this meaning it wasn’t a part of the original plan) They aren’t anywhere near Nomura’s thought process of stories to tell within the timeline. 2. D+ has an insanely large and average consumer base-- barrier of entry cannot be high. There is no way you can engagingly infodump any of the lore or series of events in a way that doesn’t make executives and producers nervous. I know it’s different for everyone but from my perspective KH is rather still niche to the larger public. It’s well known in the gaming sphere as an icon but even to Disney fans it is either entirely new or simply elusive to attempt an understanding. I mean, it’s basically introduced to people as a meme because of this lack of general understanding. This isn’t lost to a network with their fingers on the pulse. 3. D+ approved of the KH brand-- harder to explain but basically, the identity and success of KH is most definitely the aspect that ensured the survival of a tv series into development. That identity comes almost exclusively from Sora, the keyblade, and world-hopping shenanigans. Keyword being Sora. The only story that fits the franchise identity is the first story. 4. Evidence has Disney VO cast returning and also a current casting-- meaning we have Disney characters serving an important role (as they do in kh1) and the need for original characters. While this might suggest a brand new story idea, both of these points together wouldn’t make sense. Sora hangs with the Disney crowd. No one else. Coupled with the above points I’m almost certain our boy is getting recasted. This would bother people (and believe me I adore HJO) but consider that HJO cannot do young Sora in a believable way anymore. KH fans can tolerate it, but not a grander audience. If it’s just a child-voice match then that’s all the better but new creative visions require new, marketable talent. (Think of the FF7R recast drama). ----- I personally want nothing more than for it to be a retelling. Mainly because it’s just a charming story with an interesting world and great characters. I like seeing how it would translate and what would have to be changed to make it more palatable to the medium. That and I think cinematics and great character acting can recontextualize an entire work in wondrous ways. If anything, a retelling almost certainly adds to that experience regardless of other shortcomings. To tie things into a meta reading, I would not put it past Nomura to take advantage of the series to slip in something to the hardcore base. Mind you, not something required for understanding, but something simply meant to imply what is to come. A little trippy thing or subplot that merely confounds the average viewers into a dead end but spins the heads of theoriest like me. If he’s simply acting as an advisor, then, of course, he can get away with something small. The first thing on my mind was the “KH3 Loop” Theory. The idea that Sora is experiencing his entire journey from the beginning, over and over again. The beginning of KH3 where we are playing as KH1 Sora and it’s got this double meaning of ‘seven hearts to save’. It’s hard to explain, but a retelling of the story is a great way to allude that this story has happened multiple times, with multiple variations. Be it due to how a player plays the game, or the manner in which the story is consumed (cutscene movie, manga, tv show)-- it has occurred countless times and Sora is simply a plaything of fate.

#kingdom hearts #kh series #kh meta #Anonymous

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