#::How Entertaining!:: - Dash Commentary

[alastors-radioshow]

💜 Picrew! 💜

Tagged by: @hellsmayflower

Tagging: @sinnerxroulette(Whoever you want!), @iomadachd(Whoever you want! But Dew or Phantom could be fun), @deathmimedream(Whoever you want!), @strikers-saloon, @notxyourxdevilxdoll, and whoever else sees this and would find it fun! Please note that just because you're tagged, you're not obligated to do it!

[alastors-radioshow]

He didn't mind. Not one bit. In stead, he'd lower himself to his knees in order to be closer to him, arms pulling him in further.

The hold was tight. Protective. Even if his own mind was muddled with disturbing imagery, he was more focused on his beau.

He would always put him before himself.

@axcat

That tightness is returned, with Mordecai's claws sinking through Alastor's clothes and pricking at the Overlord's skin. At the same time, the tears not clinging to his fur seeps into the cloth and dampens it.

He'll apologize later, whether it bothers the stag or not.

@alastors-radioshow

[b-skarsgard]

Nosferatu Director Robert Eggers for Empire Magazine June 2025

Bring Out The Dead

"HERE WE CAN see the dogs eating the dead horse," points out Robert Eggers on his Nosferatu commentary. "It's a nice detail."

This is Eggers in a nutshell. The grim everyday visuals. The passion for accuracy.

(full article under the cut)

The deadpan delivery. Among other things, Nosteratu's home-entertainment release includes the extended cut (it's four minutes longer), and Eggers' accompanying unpacking.

It's great to have it all, when such extras are few and far between these days. "Well, I didn't go to film school, and commentaries and special features were a lot of how I learned how to make movies," he explains to Empire. "I think it's important to do."

It's his final bit of work on a film (his fourth, after The Witch, The Lighthouse and The Northman) that has been in the works for decades; no use in cutting corners now, for the version that will exist forever. Eggers' take on F.W. Murnau's folklore interpretation of Dracula was a hit, making $180 million at the box office

— a great haul for a film about an abusive rotting corpse — and was acclaimed by everyone from young goths to old masters like Martin Scorsese, who recently said it was amazing ("There's no way that can't make you feel good," says Eggers).

So, as the director bids farewell to Orlok, we sit down with him to close the coffin for good.

Last time we met in London, you'd been doing Nosferatu press all day, and when you walked in you said, "Moustache, moustache, moustache, moustache, moustache." As in, you'd been asked about Orlok's moustache all day. Were you surprised that that element was such a big deal for people?

Yeah. I mean, I get that. It's a hard pill for some people to swallow. But I also don't care, because there's just no fucking way that this guy wouldn't have a moustache. But I get it. I love the way Max Schreck looks too [in Murnau's original], and it's a change. So, fair play, as people say over here.

There's a scene in the extended cut with Willem Dafoe's Von Franz and Aaron Taylor-Johnson's Friedrich having this intense tit for tat. You say on the commentary that Von Franz keeps trying to get the last word in, but you dialled it down a bit because it was on the verge of getting a bit Mel Brooks.

Was that something you kept on your shoulder, ensuring that the film didn't veer into pastiche?

Mel Brooks' Dracula: Dead And Loving It was very helpful, because it points out all the absurdities in the things that don't work in this story. So I was very consciously trying to find solves for the most egregious things that come up in various tellings of Dracula. But yeah, it was just so much fun to write dialogue for Dafoe's character that sometimes it got out of hand

Ellen (Lily-Rose Depp) is so mentally and physically repressed, by everyone around her, all trying to keep her in her place. Orlok (Bill Skarsgärd) represents the opposite of that. He's been abusing her since she was a kid, but sees something in her that no-one else does. She's drawn to him, and is repelled by the fact that she's drawn to him.

What was it like for you writing all of that, taking into consideration how carefully one must tread with such subject matter? Did it weigh heavy on your soul?

Yeah. But I think that what enables me to do it, in a way that I hope makes it work, is just sticking to the confines of the period. I think if it were a contemporary film and I was dealing with the same kinds of issues, it would be much more complicated to not fuck it up. And it's easier for me and perhaps, hopefully, more effective to certain audience members, to explore this subject matter [in the context of] supernatural vampires.

There are certainly many different layers at play. Orlok visits Ellen one night, and he's standing there in his big cloak, holding his sash. On the commentary, you half-joke that he's trying to look dashing for his lady. And it is funny.

That choice actually comes down to Bill. He was always asking me, "When is he feeling uncomfortable? When is he feeling jealous?" So when we were blocking that scene on set, he was like, "What do you think about this? His hand here? Trying to look, you know..." And I was like,

"Yeah, I like that. It's good."

Because even this centuries-old, abusive dead monster has this little ego and insecurities. He wants this woman to fancy him.

Yeah. (Laughs)

Did you have an intimacy coordinator on set? Because this film is not business as usual in that department: you have this monstrous demon having sex with this woman. That's a whole different level of intimacy and choreography.

Our intimacy coordinator, Bronagh [McAuley], is great. I worked with her on The Northman too. A good intimacy coordinator wants to help you tell the story, and to make sure that everyone is comfortable doing that. A good intimacy coordinator has the imagination to be like, "Okay, we're sensually caressing cavities in a corpse's back, okay, that's something we're gonna do. Cool."

Yes, it's not the usual thing an intimacy coordinator has to deal with.

No. But... (Laughs) you gotta keep things interesting, right?

In terms of the themes, the repression and sexuality and abuse, since the film has been out there, have you had feedback from people who that has really resonated with?

Yeah, I've had positive feedback with it resonating for people about... well, how personal it is, I can't speak to that. There is a lot going on with Ellen and Orlok, and going back to your earlier question, something that was on my mind very much was that... There's a lot of feminist literary criticism talking about the trope in 19th-century fiction of sexualised female characters needing to die at the end of the novel, to be punished for theirtransgressions - unconsciously punished by the male authors. And so here I am, potentially, being a post-Victorian male author and doingthe same thing. But there's also a lot of feminist literary criticism that points out that this archetype of this female who understands the other side of repressed 19th-century society and has a window into it, she is the saviour of society. And so as much as maybe these male authors couldn't handle that, or whatever the fuck, society couldn't handle it, it was clearly reconstellating over and over again, because of its need to speak to this repressed period. And so that was something that, in the writing process, gave me perhaps some more confidence to pursue what I was pursuing.

Bill told me that he'd never played anything this evil before, and never wanted to again. It upset him. Did you feel that from him, when you wrapped?

I mean, I couldn't find him when we wrapped. I said, "Cut," and Bill fucking disappeared! (Laughs) So, yeah, he was definitely ready to get out of there.

There's a great shot in the extended cut of the shadow of Orlok's hand stretching over Ellen and Nicholas Hoult's Hutter when they're lying on the floor. On the commentary you explain that you cut it because of feedback from test screenings where people said there was too much of Orlok's shadow, but that you think maybe you shouldn't have cut it. Are test screenings important for you in terms of how audiences might receive the film?

Test screenings are important, as are friends-and-family screenings, just for getting the movie out there, getting it on its feet, getting people to watch it and understand what's working, what's not working. The thing that I don't like about test screenings is when studios get really obsessed about the numbers, because it's not enough data for it to be empirical evidence of anything. This didn't happen with Focus [Features], but when studios get stuck on the numbers, which can happen, that's when this is a fucking nightmare. But as far as getting people to watch a film, it's great. And when 85 per cent of the people say there's too much shadow, I don't know, maybe there's too much shadow. On the other hand, when all the VFX are done and the music's done and the pace is right, I think probably that shot could have been in there, but at the time, it did feel like I was going overboard with the shadow.

It's great, though, and it's there now.

Yeah, and also in terms of why it might have been fine if I'd kept it — the final music cue where the shadow creeps up the stairs and opens the door and all that shit, when the film was previewed it wasn't finished; it didn't have the kind of tension that it has now. Maybe just that alone would have made it feel different. That's the other thing that's so frustrating about previews: the movie's not done.

You and the cast did some press photos on a staircase at St. Pancras Renaissance Hotel. Did you see that people noticed it was exactly where the Spice Girls' 'Wannabe' video was shot?

I sure did, yes. I wasn't aware, but [at the time) Emma Corrin and, I think, Aaron Taylor-Johnson were mentioning it while we were getting the pictures taken.

Well, that video is iconic to some people.

Yes. (Laughs)|

There was generally an amazing response to the film. It's by far your biggest hit at the box office - has that changed things in terms of what has come your way since, and what happens next?

Yes. But we'll see how it all pans out. I'm excited that I'm already working on the next one, getting it up on its feet.

Is that Werwulf?

Yeah, unless something totally fucking crazy happens.

Nosferatu was a lifelong obsession — have you always been fascinated by werewolve and werewolf movies too?

Yeah. I mean, nothing is going to be Nosferatu, as far as personal attachment (goes], but yeah, werewolves have been an important monster as well. And it's kind of a unique genre. The finest werewolf movie is a comedy, which is kind of interesting. One thing I would actually like to say about Werwulf is. I don't know who leaked what, but it's been said and been interpreted as an official statement that [the dialogue of the] movie is in Old English. But obviously, because of the period [the 13th century] it's set in, it's Middle English, and I would just like to be clear on that.

All of your films are set in very specific time periods, steeped in history, and you've always been so immersed in the research and the writing and the production, the detail. What residue remains with you? What stays in your head?

I mean, they're all things that I care about, so... I will read an article about a new Viking archaeological find. And I will go to a witchcraft museum. I'm still interested in all this stuff.

There is only so much room I can have with things that I'm writing; two to three things can only fit in there at a time without everything getting jumbled. But I mean, I've written another medieval movie that hasn't been made.

"The Knight"?

Yeah. But also, I know a ton about Viking Age farming and a ton about Tudor and Stuart farming. So even without the research into the medieval farming, which I'm still doing anyway, I have a good foothold in it.

In February you went to London's Prince Charles Cinema to present The Witch, which had premiered at Sundance ten years earlier. Are you nostalgic like that? What did it mean to you, to introduce your debut film a decade on?

It was pretty extraordinary and humbling. And to have that crowd be so enthusiastic to see it, it was cool. And yeah, the movie changed my life.

I assume you didn't stay in there and watch it again.

No. No, thank you. (Laughs)

[dotthings]

Congrats to the fans of the wee woo show. I don’t go here but it makes me happy to witness how this arc for Evan Buckley got to bloom and I’m happy because I hope this reflects another shift in the TV industry.

For some media commentary context for you: ABC network is owned by Disney. Fox network was owned by Rupert Murdoch. So I can see how the network change for 911 can easily be a factor on how this got greenlit, after years of creator Tim Minear’s intention to work in hints, on the off chance he could take it there. (I don’t go here, but I did my reading). Oliver Stark who plays Buck also revealed he's been for it and couldn't say anything, until he was sure they could do it, until it aired and was out there. (*steeples fingers*)

For further context, Bob Iger—with George Lucas’ vocal support—just fended off a right wing coup on the Disney board from the kinds of people (like Peltz) who complain “why do we need so many female leads” “why do we need movies with all Black leads.” While it doesn’t mean Disney is no longer an evil megacorp, I’m pointing out that its CEO defended inclusive Disney brand content to the shareholders and the board, as well as dismantling the idea that it can’t be entertainment while being diverse.

The ripple of this goes outside of the wee woo show fandom. I’m seeing the joy on my dash from people who don’t watch the show or don’t watch it regularly, as well as from people who have been watching a long time and noticed things and realized there was a progression and it was there all along, and I know how much this must mean to a lot of people. With the world being how it is, with what people are facing inside the US from the far right, in their real lives.

It’s very hopeful in general for inclusion levels on a major network TV show, owned by a big evil megacorp. Representation matters.

Also I'm aware the wee woo show already had a queer couple, plus it's already an intersectional inclusive series, that’s great.

There shouldn't be limits placed on inclusion though. “But you already have X” shouldn't be weaponized to tell people to shut up. There is no “enough” or “too much” when it comes to inclusion. While I'm not for undermining the inclusion that's there, I've seen that weaponization used with a series that hasn't been great on inclusion, and I've seen that weaponization used for 911, which is. It's a sus argument.

Indirect and unintentional as it is, also bi Buck shut down every concern troll, every gaslight, every denial, every rationale I've ever seen people deploy against bi Dean. Everything from people who don’t understand what bi actual means—“but he likes girls so he can’t be bi”—to “but he wasn’t declared bi from the start of the show so he can’t”—yes he can and the wee woo show just did. On one of the original big three networks. Or people who say it would "ruin the character." Really? “But he’s an action hero”—so what? Evan Buckley is a hero, Dean is a hero, both badass action heroes. “People who see this as canon are delusional”—Evan Buckley went O RLY? Not so delusional now, is it.

Evan Buckley avenged bi Dean.

It’s self-evident. It’s right there. Different show, different network, but the concepts are familiar, the situation has a certain familiarity. This turn of events on an ABC show didn't just make bi Dean fans valid. bi Dean fans were always valid, the bi Dean reading was always valid. But I appreciate how much what happened on the wee woo show bonked people with a truth stick, about self discovery, character arcing, queer readings, queer coding, and the validity of merely noticing things.

[generationlossupdates]

GenLoss Episode 1: The Spirit of The Cabin Summary

I'm putting it ALL under the cut so that way it doesn't clog up people's dashes AND it's easier to avoid if you don't want to see it.

I give fair warning now that it is LONG, though I bolded the most important bits so it's easier to skim.

The show starts by playing character creator, where we get to make a some sort of creature (A Shark, Pickle, Lobster creature) . After this, the title card plays and Ranboo wakes up in an cabin on a couch with a mechanical mask strapped to his face. He steps outside into a green forest and when he hears a noise he rushes back inside.

A vase falls and breaks, and when Ranboo goes to touch it he flies back and goes 'this wasn't supposed to happen!' before seemingly resetting and saying he's got to find some keys. In the bottom of the screen the Showfall mascot (lovingly named Squiggle) gives random commentary. He explores the cabin, and finds 3 keys. Notably when he goes to the window sill to get a key there's a shadow of a horned creature, though it seems as if Ranboo doesn't notice it at all.

He goes through the door once again and when he goes through he winds up on a beach with a red sky. He pockets some sand and heads back into the cabin. When all keys are collected he moves to unlock a door to another room, but before he can a green goop covered Slimecicle (who is a ghost? or demon? goop monster?) bursts down the door. They talk for a moment, and Slimecicle tells him to leave. Ranboo goes through the front door yet again, and this time when he exits he's in hell. Like literal hell. He goes back into the house and they both move to the kitchen.

Slimecicle tells Ranboo that he can leave as soon as he does something for him: a cooking challenge? Ranboo attempts to cook using items provided by the fridge and chosen by chat. Eventually Ranboo finishes cooking and gives Slimecicle the dish. Slimecicle eats it and says it's the best thing he's ever eaten and tells Ranboo he's free to go.

He goes through the door yet again and this time it leads to the slime dimension. After he speaks to Ranboo he goes through the door and returns to the cabin. When he returns, Slimecicle is entirely gone, though some goop remains. The tv suddenly turns on and a hooded figure tells him that he's doing well and that 'they' (a different entity, not the hooded figure) are entertained. They tell Ranboo to not resist and that they'll be in touch soon. The program suddenly cuts out to a technical difficulties screen and when it turns back on, Ranboo is asleep on the couch again.

He walks through the main area and the kitchen and heads down to the new area: the basement. He explores and finds Sneeg: some guy locked in the basement. Ranboo looks around and finds a lock cutter. He frees Sneeg and after a moment, Slimecicle pops up from the boxes. He slimes Sneeg and turns him evil, starting a battle between Ranboo and 'Evil' Sneeg. Ranboo wins and wipes off the slime, causing Sneeg to return to normal. Slimecicle complains and leaves.

They leave the basement, and explore more. They attempt to go through the bolted door and are rendered unable before remembering the bolt cutters. Ranboo cuts through the chains and they go into a new room, being a bedroom. It seems to be Slimecicle's bedroom. They explore as a disembodied Slimecicle voice makes jabs at him. Ranboo finds a knife and pockets it. Chat decides to make Ranboo sleep and he goes to bed right on Slimecicles bed. Slimecicle pokes at the wall while Sneeg watches and Ranboo... sleeps. Slimecicle and his ghouls push at the wall next to the bed, most notably commenting on how squishy and cutable the wall is.

8 hours pass and when Ranboo wakes up Sneeg complains at him about how he managed to sleep through it all. They cut through the wall and when the wall is cut open the creature that was made at the start grabs Sneeg and presumably kills/eats him. The creature then chases Ranboo untill he tricks it into going into the locked area where Sneeg was. He then returns to the area where the creature came from and gets tossed into a Boss Battle with Slimecicle. He manages to beat Slimecicle by tossing a towel onto him.

After this, everything begins to glitch yet again. The hooded figure on the tv appears again and tells him that he's doing a good job and that he's made it onto episode 2. They say their name is H and that Ranboo needs to play along. The message ends and Ranboo goes through the front door one last time. When he exits the door he ends up in a warehouse where he is stabbed in the neck with a syringe by rat people and everything fades to black...

[cinamun]

*Tink tink* Happy late 9 year anniversary get together party for Cinamun the writer of Things Fall Apart - The Indya Drake version. Thank you for wearing your RR t-shirts! Hope everyone enjoyed their ghettosa's, mocktails, icebox pie, wings, veggie burgers, and the comfy leisure sectional furniture while listening to the Author's cut commentary on one of the simverse's best fan stories. *Begins to collect the red cups, passes out foil and plates for to go plates, takes down the large RRR picture of Raven Symone, pays the DJ and the Kenji impersonator -- um, the "entertainment" and sends everyone home with a swag bag and a hardcopy of TFA- The Indya Drake edition - 9 years of pivotal moments lookbook.

Thank you Miss Cinamun for continuing to write the fun, engaging, roller coaster ride of the Drake Family et al.

Waiting on the play or Netflix series...

FRIEND!!!!

LOOK HOW FAR WE'VE COME!!! I can't believe its been so long and y'all haven't gotten sick of me yet! LOL slips Kenji impersonator $5 to stay an extra hour

This all started with a hot-headed, materialistic heffa with a bad addiction to big dicks and bloated balances. She took us from her humble roots in the Springs to her dream of getting to the top of San My in a luxurious penthouse. We pulled out our hair, we threw tomatoes at the author's face for good damn reason and we braced ourselves for whatever was next!

I am so super thankful for you and everyone who has become apart of R³ and my wild imagination. I've been a writer forever but never have I had the chance to really explore themes and dive head-first into controversy like I have with Things Fall Apart.

I HOPE YOU NEVER LEAVE AND WE JUST SKIP AROUND THE DASH FOREVER AND EVER AND EVERRRRRRRRRRRRRRRRRR

[the-far-bright-center]

In discussions of TCW-Anakin vs. film-Anakin, I understand why some people see them as being incompatible or entirely different portrayals. But whatever problems I personally have with TCW are more to do with certain OOC dialogue lines that I don't agree with, or the overly-contrived situations that TCW tends to force him into just so an episode or scene can function as a 'meta-commentary' on his character or storyline. Believe me, I have issues with specific aspects of TCW's writing for Anakin, but the fact he's more outwardly 'suave' or 'dashing' than some people expected is not one of them. If anything, I see the 'Skyguy' persona as perfectly in keeping with Anakin as portrayed at the beginning of RotS, and I would argue that a great deal of the TCW characterisation is pulled directly from those Battle of Coruscant scenes. TCW Anakin is also heavily inspired by Jake Lloyd's Little Ani in TPM, which, lest anyone forget, counts as FILM-Anakin. Seriously, do people not recall how much swagger and self-confidence little Ani has at the beginning of TPM? (🎵Do you see him hitting on the queen, though he’s just nine and she’s fourteen.’ 🎶 😅) He's a hotshot little ace podracing pilot and he knows it! And in AotC, the only reasons Anakin comes across as more 'awkward' at the beginning is that he's nervous about seeing Padme again after so long. Once he knows for sure she reciprocates his feelings at the battle of Geonosis, the suave, confident Anakin is back! And thus by the time of the Clone Wars, it makes sense that after being a general in the war in charge of many men, he'd have to have a certain level of outward charisma no matter how much inner doubt or turmoil he might be feeling. So, in my opinion, the actual baseline 'persona' for both versions of the character isn't as different as some seem to think. I'm tired of the idea that film-Anakin ISN’T supposed to be seen as ‘cool’ in-universe, just as much as I’m tired of the idea that TCW-Anakin ISN’T supposed to be viewed as a figure of pathos by the audience, either.

Imo, they’re both takes on the same character coming from different angles, set at different stages in his life, and portrayed through different mediums — an animated series heavy on self-aware, darkly ironic humour in a more contemporary style intended to entertain and increase enjoyment of the Prequels-era and its characters. vs. a more serious Greek tragedy with Shakespearean overtones made with old-Hollywood-style sensibilities as part of a mythic six-film saga.

While there are plenty of things that TCW gets wrong about Anakin (see my 'TCW discourse' tag for more on that), dismissing him because he is ‘too macho’ seems to miss the mark a bit. Just because TCW Ani doesn’t shed literal tears on-screen doesn’t mean he’s not emotional or emotionally vulnerable. As far as I remember, there's even a scene where Obi-Wan and Anakin discuss the fact that Anakin has trouble keeping his emotions hidden, especially when it comes to his feelings for his loved ones, which is the opposite of the stereotypical stoic, self-reliant 'macho' ideal. And the amount of times we're constantly bashed over the head with dramatic irony about his fate as Vader in that series surely drives home the point that his trajectory is a decidedly tragic one. (The way he cries out in agony in the Mortis arc, 'I will do such terrible things!' gets to me, every time.) Despite his powers and prowess, TCW Anakin is even shown as being physically vulnerable at times, as well — see the Jedi Crash storyline which he spends mostly knocked-out unconscious, the nod to his mechanical arm as a liability in the Zillo Beast and Citadel arcs, and the scene of him futilely struggling like a wild beast before being captured with ropes in the Zyggerian arc, or the fact he gets captured and tortured by Dooku in 'Shadow Warrior'. I see endless jokes about TCW Ani getting electrocuted every other episode, but then fandom uses this to fuel the dismissive view of him as just some dumb himbo instead of understanding that this, too, is supposed to add to the character's pathos.

Likewise, fandom claims that Prequels-Anakin is 'uncool' and 'cries all the time', which is simply not true. As noted above, film-Anakin banters, jokes, laughs, makes daring jumps out of speeders, does bold piloting moves, is in fact an imposing duellist, and so on. Sure, his character is not supposed to be seen as aspirational (obviously!) and the most memorable and dramatic moments of the latter two Prequels films feature him in the midst of extremely intense emotions. But the oft-repeated view of him as 'uncool' completely ignores the fact that by the time that RotS starts, film-Anakin is supposed to be a well-known and widely-admired charismatic general, aka the Hero With No Fear, who is viewed as almost singlehandedly saving the Republic. The audience may be privy to Anakin's inner struggles with his fear of loss, but in-story he is supposed to be seen as THE golden boy of the Jedi Order and the Republic. The RotS novelization frequently mentions that Anakin has 'dash', 'boldness', and a 'presence' 'like the Holo-Net hero that he is'. It literally says he's the best at what he does and he KNOWS it. He's not just supposed to be an awkward idiot in the way some people seem to perceive him solely based on certain scenes in AotC. Rather, he's supposed to be shown as falling from a 'great height'. By the time of RotS, film Anakin has just as much swagger and self-confidence in his role as General Skywalker as he does in TCW. Just because that side of him is not the main focus of the film doesn't mean it's not supposed to be there.

[danderosa]

negative below the cut. mainly just a stream of consciousness, something I've been dwelling on for a while

let's cut right to the chase: I can't shake the feeling that something in this rpc has changed, and I'm not entirely sure I'm comfortable here right now. it's a whole mess of things, really, and I'm struggling to pin down exactly what is making me feel like this. my more paranoid side wants to dwell on the "oooooo everyone's been talking shit and secretly hates you", but I hope that's just silliness

maybe it's jealousy

maybe it's insecurity

maybe it's just general burnout, being bled dry by work so I don't have the same amount of time or energy to devote to my creative endeavours

maybe it's a bit of all three

no matter how you slice it, I'm just struggling to feel like I belong here and am getting a whole lot of ugly thoughts and feelings I'm not comfortable entertaining. I know people like my leon, and please don't interpret this as a goodbye because there's no way I'd ever abandon him, but I think I need to take an official hiatus or something. work on my mental health. softblock people I don't see my myself interacting with, maybe. I'd thought that remaking would have helped with these feelings, but... unfortunately it hasn't

I've been considering making some more casual, discord one-on-one spaces so I can write without the pressure of appealing to a public audience. a whole server is way too much to handle, but we'll see about the 1:1s

anyway, thanks for reading this far if you did. I'll still be on tumblr, just not in the pokemon fandom right now. I hope to be back on leon sooner rather than later, and will probably be answering/sending out the occasional ask to my beloved long-time mutuals who I have a strong connection (both ic and ooc) with, but longer threads and dash commentaries won't be a thing until I get out from under whatever this dark cloud is

[potaracandy]

5 and 10

Listen to me yap! // accepting

5) dash commentary

It's great! Often a fun way for people to acknowledge their mutuals' posts, IC or OOC! It can also help to really promote the feel of this place being an rp community. No one has to put themselves out there to make friends or whatevs, but still, interacting with your writing partners outside of just threads can go for miles. I will say that dash comm can kind of be a slippery slope though.

Sometimes, open commentary on something that's more so happening in private - so no one else outside of the characters in the thread should be aware of it - can make things very awkward, but that's where communication comes in. You can ask all parties involved if it's ok to make commentary, or you can just comment on it in private to them! Can't speak for others, but I personally would love to hear how entertaining what I'm doing with someone else is.

Lastly. When it comes to dash comm posts that are tagged as crack (so they're not to be taken seriously), I've noticed that people tend to...ignore that? And treat the post as if the character is being serious. That can put the other person in a weird spot. I've gotten into some "didn't need/want this but ok" situations in the past because of it. So folks, if something is tagged as crack or a similar tag, you shouldn't make a big ol' fuss about it.

10) anons

Definitely a feature that should be used, especially if you're the type that's too shy to send something with your blog's handle attached. Unfortunately, tons of losers take advantage of the anonymity to harass others / send hate. With that in mind, I feel everyone should remember that anon asks are a privilege and NOT a right. If you need to turn it off for your peace of mind, absolutely do it. The shy people will have to just step outside of their shell, send you things in IMs, or not send anything at all. They'll adapt.

I'm aware that someone who's committed can create burner accounts, but you can always block them. If they make a new one, block that too. To me, blocking burners is a small price to pay for not letting hatred flood your inbox.

Speaking of anon hate, I'll take this opportunity to drop a warning: there's an infamous troll / harasser most widely known as "phoenixissims" (that's the last blog they sat on for a long period) going around the DB RPC yet again. This post here & the linked google doc in it talk about this person extensively, but in general: if you get any weird anon asks that bring up Beerus, Vegeta, or come off as salty about the interactions you've been having with others (esp blogs who rp those characters), just delete them all and don't engage.

[alastors-radioshow]

"Oh, one should be cautious when it comes to deities. One never knows what will.. Be the last drop~"

[alastors-radioshow]

"I say we make him dead. You give me the order, I take care of it~"

"You're killing me, Smalls."

[powered-by-prower]

Dash Commentary AU: For a Better Tomorrow - Regarding @timeclipsed and @thenextchapterbegins

"Now would you look at that - a Sonic! Threatening me and my son! Nice to know that one of you cowards has enough backbone to try and get in my way.

"Let me make this absolutely clear to you, hedgehog. It has never been my mission to bring harm to any of my old friends, regardless of what Zone they come from. Sonic, Knuckles, Shadow, Amy... none of them are in my sights. I still care about you all, no matter how little my care is received.

"Which is why I'm entertaining the idea that you want to have a discussion. So why don't you calm down, drop the form, and let's talk like civilized people. I'm even willing to overlook that you attacked my son, but only this once. But if you even think about trying it again...

"I'll put your skull on display right next to Ivo's and use your quills as sweat bands."

[cocoscurios]

The Hour, the Spot, the Look, the Words Chapter Commentary

Chapter Eight: Their Family Party at Pemberley Buckle up, guys, it's a sickly sweet one!

Elizabeth had been mildly surprised by how good with children Fitzwilliam was - all of the little Gardiners adored him, and he was more lighthearted and playful with them than she had seen him with any other creature - though this, perhaps, had been another failure of discernment on her part.

"I was twelve when Georgiana was born," he had reminded her gently, Elizabeth’s young cousin Edward clinging to his legs. "I am quite used to this age." I refuse to entertain the possibility that Darcy isn't great with children or isn't an indulgent father. We see how he spoils his little sister. He's only going to be worse with his babies. 

It was only natural, then, when the little Darcys came along, to see that fatherhood suited Fitzwilliam very well. He was a loving and attentive father to their Anna, though Lady Catherine, who had been recently reconciled with her nephew, thought such a level of dedication from a father to a daughter unseemly. She basically says as much in canon. Lady C is the worst. 

Elizabeth, however, had been delighted to see it, and they had each been eager for their family to grow.

And grow it did. In due time, Anna was followed by three siblings, the youngest of whom, Christiana, was now only eight months old. This piece was originally written for me to get a basic grasp on 'my' Darcy children. For years, I only imagined four little Darcys, and then at some point decided I wanted five, so that's why Clara isn't here. 

The day was fine and the family was spending it out of doors, enjoying the sunshine and the pleasant breeze. Fitzwilliam played with the older children on the lawn while Elizabeth watched them smilingly from her bench in the shade, content to observe for now but eager for the day when she and Christiana could play too.

Anna was the very picture of her father, already a little beauty with her glossy brown curls, startlingly blue Darcy eyes, and full, downturned mouth that looked solemn and thoughtful in repose. She was all giggles now, though, as she danced an impromptu, unaccompanied reel with her father, and they stopped only when she was too out of breath to continue. Anna has always been a miniature version of her father in my mind. The other children have shifted around a bit for me, personality-wise, but never Anna.  

Their next child, Jane, had inherited Elizabeth’s darker, wilder curls, but otherwise looked more like her aunt Georgiana than either of her own parents, with the same light grey eyes, snub nose, and heart-shaped face. Jane preferred hoop-trundling with her father, who was especially good at the game (a fact that never ceased to amuse Elizabeth). Jane is fanciful and dramatic-- like Catherine Morland mixed with Kitty Bennet and with a dash of Lady Catherine. Also, I picture Darcy being great at games in general, when he's comfortable enough with his company to play them. Super competitive, though. 

It was rather too early to say with any certainty who young Fitzwilliam most resembled; Elizabeth thought he favored his namesake, though he had her dark eyes, but in certain lights and at certain angles, and particularly when he was feeling naughtier than usual, he looked so like Elizabeth that she had to laugh. The boy had toddled after his older sisters, waiting for his turn to play, and was rewarded by being tossed into the air by his father, his shrieks of glee waking his baby sister. Young Fitzwilliam (I do allow him to go by William when he's older, but only reluctantly) is the most like Elizabeth. He's going to be a handful. 

Despite this abrupt end to her nap, Christiana, who had the calmest disposition of all of Elizabeth and Fitzwilliam’s children, did not cry. After a little startled jerk, her face cleared and she smiled up at her mother, looking for all the world as if she were happy to be awake and to join in the day’s activities. Christiana is the quiet, shy, sweet one. All of the angelic goodness of Jane Bennet and Georgiana that skipped right over Elizabeth and Darcy. ;)

Elizabeth had grown restless at her perch, feeling too far away from the rest of the family, and she and Christiana joined the others at the banks of the stream, where Fitzwilliam somewhat fruitlessly tried to teach them all to skip stones. Anna, of course, was determined to learn, and her look of concentration was a perfect mirror of her father's as he guided her hand, but Jane had only given it a few tries before wandering around to pick flowers. Young Fitzwilliam merely dropped his stones into the water.

Their father, who could play tirelessly, would have been happy to stay out all day, but the children eventually grew drowsy, young Fitzwilliam so exhausted that he looked quite ready to fall asleep where he stood. Despite their protestations, the children were ordered inside, Anna steadying her brother as he stumbled into her.

Fitzwilliam dropped a kiss to the top of his wife's head and they smiled at each other, sharing a brief private moment as the children chattered sleepily. He took the baby from her in one arm and scooped up their son in the other. Elizabeth held each of the older girls' hands, and they all made their way back to the house. I love happy, domestic Darcys so much that it gets a bit syrupy. FIGHT ME. 

[brokehorrorfan]

Robot Monster will be released on Blu-ray and DVD on July 25 via Bayview Entertainment. Celebrating its 70th anniversary, the movie is presented in frame sequential Blu-ray 3D, anaglyphic 3D, and standard 2D.

Also known as Monsters from Mars and Monsters from the Moon, the 1953 sci-fi horror film is directed by Phil Tucker and written by Wyott Ordung. George Nader, Claudia Barrett, and George Barrows star.

Robot Monster has been newly restored in 4K from 35mm 3D archival elements by the 3-D Film Archive. Special features - some of which are presented in 3D - are listed below, where you can also watch the new trailer.

Versions of the film:

Frame sequential Blu-ray 3D

Anaglyphic 3D (with a pair of glasses included)

Standard 2D

3D special features:

Stardust in Your Eyes - Robot Monster's original prologue starring Trustin "Slick Slavin" Howard

Interview with actor Greg Moffett

Travels Through Time & Space - Vintage slide presentation curated by stereoscopic anthropologist Hillary Hess

Adventures in 3D - 1953 3D comic book

Restoration demo

Vintage shorts

Trailers

2D special features:

Audio commentary by Greg Moffett, Mike Ballew, Eric Kurland, and Lawrence Kaufman.

Saving Slick - Featurette on actor Trustin "Slick Slavin" Howard

Mistakes & Innovations - 3-D Film Archive’s Bob Furmanek describes the original day-for-night footage and Robot Monster’s innovative use of “double film”

Rescuing Ro-Man - Featurette on how the discovery of 35mm prints saved the only complete 3D footage

Memorabilia gallery

Trailers from Hell - Trailer commentary by filmmaker Joe Dante

Bela Lugosi on “You Asked For It” - 1953 live TV appearance

A cosmic catastrophe has wiped out humanity, and now the last six survivors must outwit that strangely iconic alien menace, Ro-Man (George Barrows). Taking orders from the pitiless Great Guidance, Ro-Man wavers in his pursuit of human annihilation when he falls in love with a girl (Claudia Barrett). Can dashing young Roy (George Nader) save her?

[vuulpecula]

VUULPECULA'S END OF SUMMER POSITIVITY !

✖ @debelltio

ALISTAIR ! let me start this out by saying you single-handedly made me like kre.nnic; I cannot watch Rogue One now without thinking of you, without seeing your amazing portrayal, how you would have written it, and just being in complete awe that I get to read it/know you/interact with you! Someone pinch me. I really need to reply to our fantasy thread omfg because that whole world building that we just dove into was so amazing and inspiring and I think about it at least once a week—I need to stop being lazy bc I just know that we are going to create something devastating and I cannot wait ! but yes, thank you for literally everything you do, for having that or.son representation on the dash, and for your always entertaining commentary. Seriously it’s hard not to like every single one of your ooc posts lmao  

[qnewsau]

Courtney Act and Tony Armstrong to host Eurovision 2025 coverage

New Post has been published on https://qnews.com.au/courtney-act-and-tony-armstrong-to-host-eurovision-2025-coverage/

Courtney Act and Tony Armstrong to host Eurovision 2025 coverage

It’s official: Aussie icons Courtney Act and Tony Armstrong are taking the helm of SBS’s Eurovision coverage next month.

The duo will guide Australia through the world’s largest annual live music event, from Wednesday, 14 May to Sunday, 18 May.

They’ll be taking us live to their Basel, Switzerland commentary booth at 5am AEST each day on SBS and SBS On Demand.

They’ll also host SBS’s Access All Areas primetime Eurovision coverage from Friday, 16 May to Sunday, 18 May at 7:30pm AEST each evening.

Tony and Courtney lovefest

It seems Tony Armstrong and Courtney Act have formed a mutual admiration society ahead of their gig.

In a statement announcing the collaboration, AFL player turned television host Armstrong said: “I’m so excited to jump into the world of Eurovision with the one and only Courtney Act, who has already taken me under her wing.

“I’m definitely not envious of her brilliance and my jealousy won’t make it on screen, I promise,” he joked.

“Eurovision holds such a special place in so many hearts … I look forward to being a part of the spectacle along with Courtney!”

LGBTQIA+ icon Courtney Act said: “I was not prepared for how much I would enjoy Eurovision last year – and this year I’m back, now with everyone’s favourite it man, Tony Armstrong (who I can confirm is just as delightful and dashing in real life as you’d expect).

“I’ll be offering my commentary expertise on every costume reveal, key change, wind machine and pyro moment I know Switzerland will deliver,” she added.

“Tony’s already taught me a thing or two about team sport energy and I’ll be returning the favour with a crash course in camp!” she quipped.

SBS Director of Television Kathryn Fink said: “As SBS celebrates 50 years, we’re delighted that Tony Armstrong and Courtney Act have agreed to come along for the ride to entertain and guide viewers through the cultural juggernaut that is Eurovision.

“With two of Australia’s most celebrated personalities at the helm, this year promises to be bigger and bolder than ever before.”

Dream team: Courtney Act and Tony Armstrong. Photo: Nick Wilson/supplied.

New direction

Tony Armstrong and Courtney Act pick up the glitter microphones from predecessors Myf Warhurst and Joel Creasey, who served as SBS’s main commentors from 2017 to 2024.

SBS is the exclusive Eurovision broadcaster for Australia.

Australia’s official Eurovision entry, Go-Jo, will perform his synthpop hit ‘Milkshake Man’ at the song content.

“The Milkshake Man’s purpose is to inspire people to embrace the loudest and proudest version of themselves, and I can’t think of a better place to share that message than the Eurovision stage,” Go-Jo previously revealed.

A dedicated SBS Eurovision website for will post further updates and information as it comes to hand.

For the latest LGBTIQA+, Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, X, Instagram and YouTube.