#I'm not a big fan of how these came out

[ragdoll127-ffxiv]

March of the Tropes: Day 17 - Admiring the View

G'raha pulls out his bow for some exercise. R'alma can't help being distracted.

[dan-crimes]

LMAO so funny thing is everyone knows the whole Sonic and Shadow looking alike thing is total bullshit and I totally agree those comments they try to pull in the games and show(s? I'm not technically a Sonic fan I dunno if it's multiple) make basically no sense to me but then my Mom comes in while watching Sonic Prime and says "So what, Sonic has a brother or something?" and this whole other world has opened up to me and I've seen the truth of it all

[sercphs]

⠀"One has descended

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀in answer to thine call."

[letmetellyouaboutmyfeels]

That's so weird because my reaction to S4 finale is it was the moment that convinced me Buddie was going to be endgame. Now two seasons later and we could be heading back to that same ending for the season depending on the events of the finale leaves me doubting things ngl. The only things I'm clinging on to are the couch theory, Eddie saying that relationships with people you meet at a rescue never works, and the fact that we're being introduced to these women so late in the season. It just seems like the writers even know they're giving this the most superficial things so that they can fix what they did in early S7.

To put it bluntly it just sucks that you know if this was gonna be the final 2 episodes that instead of going towards a story they've been telling since S2 they decide to put Buck and Eddie with women we don't even know their last name or anything about them. But they got renewed and will be moving to ABC so they can do the story they wanted to tell and I imagine these women will be kicked to the curb early in S7.

Okay, I'm gonna be real honest with you. I've seen that you've sent asks to a few of my friends, all generally saying the same thing. So to see you send me this ask makes me feel like you don't really want to have a discussion and aren't looking for actual support or positivity, you just want to keep being upset and tell people until someone agrees with you and tells you that your opinion that the writers made a shitty choice etc is valid.

So, to repeat a few things my friends have said:

They have not been doing Buddie since season two. I don't know why people persist on claiming this. Buddie was never the original plan. They did not decide to have Eddie get with Buck in season two. In fact in season two they seemed kinda unsure what to do with Eddie since he wouldn't be with Maddie any longer, but they still wanted the character, and Ryan, on the show. For my money, they started exploring the possibility of Buddie and discussing it seriously in season three, and season four was when they locked that in.

Now, I don't know about you, since you're a stranger on the internet, but to me, as a writer, it is a much, much better choice for them to have taken the risk rather than cram Buddie together, for a few reasons.

One: They cannot walk it back once Buddie is together. You're telling me you wanted them to sacrifice their story's integrity to give us a rushed unsatisfying get-together? Get out of my house. Watching television is, inherently, a gamble because it means you might get your stories unfulfilled. If you can't take that risk, then leave the casino. I am willing to risk it because I want a truly satisfying get-together, not something that was rushed and therefore isn't worthy of the delicious slow burn they're building.

Two: How many times do I have to scream at everyone to consider the behind the scenes issues before people start actually listening to me? Oh, forever? Because everyone is operating in bad faith and nobody wants to actually listen? Good to know. This will be the last I say on the matter.

We do not know what behind the scenes was going on in addition to the cancellation. What if certain Fox executives weren't supportive of Buddie? You're telling me that the writers and cast and crew should have, right when they'll need new jobs, guaranteed that their last employers will talk shit about them for disobeying orders and putting two characters together that they were told not to put together?

This is purely conjecture on my part, but I have seen time after time in fandom certain cast members and certain crew members and certain writers want a ship to become canon, and others not, and I have seen the way that back and forth played out, and guess fucking what? NOBODY WANTS TO LOSE THEIR FUCKING JOB. NOBODY WANTS TO BE PREVENTED FROM HAVING ANOTHER JOB.

Now, again, that's pure conjecture, but Fox really hasn't treated OG well for a while in terms of renewal, marketing, etc. And I have never, EVER, seen a show snapped up by another network so quickly. It's always "we got cancelled!" and then a few days or weeks later it's "we were saved by another network!" ABC was ON it. This gives me hope for a lot of things, like perhaps a 22 episode season. But given Fox's lack of promotion and appreciation for OG, it wouldn't surprise me if the cast and crew wanted Buddie and some people in the network didn't, and that is why we've been delayed on Buddie going canon. And while YOU may cry viva la revolution, it's much easier to have your principles when you've got a belly full, and while it may suck creatively there is no reason to piss off your bosses right when you need them to write you a recommendation for a new job because your show got cancelled - and while I'm sure they were hopeful, given the cast's social media I do not think anyone knew until it was publicly announced that they had, indeed, been saved and gotten another season.

My point is, this is just one theory I'm pulling out of a hat like a rabbit. We do not know what other BTS stuff is going on that made them choose to delay Buddie until season seven.

Three: To go back to point one, I do not think you've seen the reactions when a ship goes canon poorly. I was there, Gandalf. I was there the day that Booth and Bones got together. I was in the trenches. It soured SO many people, including me, on the show. To quote MBMBAM: YOU DIDN'T STICK THE LANDING! YOU JUST FLIPPED IN THE AIR FOR TWENTY MINUTES!!!

Sticking the landing when getting a ship together is possibly the most important moment in the couple's story. You cannot fuck up that landing. The writers chose to take the chance on it never happening in order to stick the landing the way they wanted. If that pisses you off, FINE. But stop coming into our inboxes to say the same thing over and over again about it, because we do not agree and we are never going to agree. We are at an impasse.

Now, to move onto some other points, WHY IS EVERYONE CONVINCED THAT EDDIE WILL STILL BE WITH SOMEONE WHEN THE SEASON ENDS!? WHEN DID WE DECIDE THIS!? He could be! But holy shit he could just go on one date with her that fizzles out! We have no clue! If someone in this fandom can see into the future and knows for sure this is going to happen then give me the winning lotto numbers right this second!!! Give them to me!!!! I need to fund my world domination campaign!!!

And finally, I feel like you've answered your own concerns, here. Given that you have sent similar asks to my friends, I don't think you're actually interested in allaying those concerns, because you keep answering your own questions and repeating yourself ad naseum. I could be wrong. Again, I don't know you. But this sure seems to be the case given that you're saying to me similar stuff you've said to my friends in asks they've already answered.

But to look at your own ask, you just said why we shouldn't be worried. "It seems like the writers even know..." YES. YES, THEY DO KNOW. I would love to know who the hell decided that television shows are made by the Television Fairy who creeps into the studio at night and waves her magic wand to create all the good stuff we see on our screens while the writers sit around with their thumbs up their asses.

Let's imagine you are a showrunner and you are going into the second half of your season, and you learn that it is extremely likely this season is actually your last. You guys start negotiating quietly with other networks to move the show, while hoping against hope this is not, indeed, the end. But this means you now have, what, nine episodes? To put all your characters in a place that is, if not ideal, at least somewhat positive for your audience?

You can't start any too-major arcs. You can't end on too bad of an emotional cliffhanger. This means some things will wrap up faster. Other things will get pushed forward. And some things have to be delayed, because they might never happen, and you can't give people a third or a half of an arc. Which means that you're going to be throwing in some filler for those characters instead, and doing things differently than how you might have wanted.

I do not know how many times I have to explain this, but television is not fanfiction. When I sit down to write a fic, there's not a damn person in the world who can tell me what to do. I write the story that I want, and if someone doesn't like it, they can hit the bricks.

Television is not like that. Television is one of the biggest group projects there is. Picture the worst group project you had to do in school and then times it by ten. Welcome to the television and film industry. The fact that any film or show, even the truly awful ones, gets made is nothing short of a miracle given all the people involved and all the ways the ball can be dropped. As a show runner, you are answering to multiple executives, to the creators, to the executive producers, to your own writers' room, and to the fans. You are trying to balance what everyone tells you to do, what the fans want you to do, and what you and your (hopefully trusted) writing team want and plan to do. I could never be a show runner and while there are quite a few with whom I've got bones to pick, I cannot deny that they all do a job I would never, ever be capable of pulling off. I'd quit on day three.

So, yeah, they gave Buck a temporary girlfriend as filler, to kinda cap off his current arc if this was the end, or to provide more layers to his full arc if they got another season. If you don't like that, then that's okay. Nobody is telling you to like it. When you come into someone's inbox like this, the assumption is that you're looking to be reassured, and so that's why you're getting the responses that you are. The previous people who've answered you have been trying to reassure you and allay the concerns you seem to have.

But it seems to me like you want a more full conversation, and possibly, that you just want to rant and vent. That's fine, but find a friend for that. Join a discord server. Because when you send the same stuff over and over again to different people, all of whom give you basically the same reply, it just makes you look like a very obstinate stick in the mud who wants everyone else to join them in being upset, and people don't much like having the same conversation multiple times, or being pushed into being upset when they're not.

You might just have to agree to disagree, and move on. Find other ways to get this out of your system, because my inbox, and the inboxes of others, is not the place for your venting in circles.

Now, in spite of my firm tone, I hope you will believe me when I say that I hope you're taking care of yourself, and that you are staying safe in this scary world, and that you have a good rest of your day.

[amouress16]

I decided to design my own Yuu/MC oc! A lot of her ‘abilities’ and such are things I have interpreted from canon and some theories I have on why the MC is the way they are.

[sauronpilled]

i'm aware trop has a lot of criticism that require improvement, but i can't lie— i get incredibly heated when i see poc actors get bashed for playing the characters in the show because they're not depicted as what fan """"expected""". especially when they come for their appearance, like uh uh. watch yourself first.

[wildcreativemastermind]

Frankenstein by Mary Shelley Review

Based on what bits I had gleaned from pop culture, I had expected this book to be very different than it was. I was expecting it to be simple. I was expecting it to really try to be scary. Possibly good if you're into monster stories, maybe some content to make you sad, but really not much to make you think.

What I got was very different. On scary, it's a terrifying situation, but the book is honestly more of a tragedy than a horror. I didn't come away from it scared, I came away from it more contemplative (and pondering happy aus).

For my thoughts without spoilers, this book was better than I had thought it would be. I'm generally not into horror, but it's a compelling story. It's pretty easy to read. If you have any amount of interest in reading the book I suggest you do so. The one thing I will warn you about is that Victor (the main character) gets into a relationship with his cousin/adoptive sibling (so a bit of incest tones).

some advice if you haven't read the book 1. don't rely on (or honestly even read or watch) a summary before checking out the book. everyone who's read it has certain opinions about the characters (I'm mainly talking Victor Frankenstein, but this applies to the other characters too) and I think the experience is better if you don't have your opinion on the characters influenced by others beforehand. 2. be prepared for it take awhile to get to the monster stuff. 3. there are 2 versions of Frankenstein (story is basically the same, but the later publication was heavily edited) it was first published in 1818, and an edited version was published in 1831. The later one tends to be the more popular one. If you want to read the original version, you may have to specify like "frankenstein 1818"

My thoughts with some spoilers are under the cut. I strongly recommend you do not read anything under the cut unless you have read the entire book already.

Characters

Victor Frankenstein

A self-centered asshole with no regard for consequences. I applaud Mary Shelley for being able to get me invested in Victor's life. I do not usually get invested in asshole protagonists. I generally want my protagonist to be a good person, but Victor Frankenstein is not a good person.

However, he is interesting and honestly, pretty understandable. He's not the most relatable protagonist in that he's far more privileged than the vast majority of people (he's part of a wealthy and very accepting of him family, he's extremely scientifically intelligent) though there were a couple of moments where I found him to be a relatable character.

I understood why he was making terrible decisions, but I still wanted to slap him.

the Creature

I was kind of surprised about his character. He's beautiful and intelligent, which I did not expect when I started the book. While he's sympathetic, he very much is a monster. I did feel sorry for him, but also he's a murderer and he knows murder is wrong, so it's not like he's really someone to root for.

Henry Clerval

best boy, he deserved better

Elizabeth

Was she even really a character? Ok, I didn't really care about her. Her death was sad I guess, but I wasn't really sad about her dying so much as annoyed at Victor for not thinking of someone other than himself for two seconds. She seems to exist to show us what the Frankenstein's are like (only willing to adopt her because she's blonde) and to be murdered to hurt Victor. She is Victor's canon love interest, but she didn't really have chemistry with him. Normally I don't really do the 'going for non-canon gay couple over canon straight couple' thing fandom likes to do, but in this case there is actually more chemistry between Victor and Henry than there is between Victor and Elizabeth. Plus Victor and Henry aren't related and weren't raised as siblings so...

We don't really get Elizabeth's thoughts on her relationship with Victor, which is basically her entire character once she's been taken in by the Frankenstein's, and what little we do get I'm not sure can be entirely trusted.

Non character stuff

I was slightly annoyed at how long it took to get through Robert Walton's section at the beginning. I don't dislike him, but I knew this wasn't his story so I spent chunk of his part thinking 'get to the story already!' I get what Shelley was doing, though I think that part could have been a little shorter.

Aside from that, I don't have any complaints. The book is really good. I felt for both Victor and the creature. While I'm not gonna want to read it all the time, I do think I will revisit this book more than once.

[falinscloaca]

sooo chainsaw man chapter huh

[nagitoedit]

you don't have to read this is for screaming in the void

[iamdeltas]

I apologize for being a huge butthurt SU fan on main today.

It will happen again. Probably whenever another story driven cartoon's finale occurs and people use that to bash SU too.

Honestly the only thing making that a "probably" is that I can't think of any current story driven cartoons right now.

[ignorethisbloggghhhhh]

By the way let me know what you think of the accusations against Mel if you ever do read into it. I'm kinda curious for another person's opinion on it, especially someone who isn't so much as a fan just looking in(?)

okay yeah so I read Timothy's account of the event and while initially it seems very real, like that's the story I would believe as well as the fact that it's generally better to trust the victim

when I looked into it a bit more, there seemed to be some evidence of her lying (like straight up not being in the same state as Melanie at the time she claimed it happened, or changing her story)

[foxships]

hmmm thinking about shipping with vendra prog againnnn i still adore her

[medakakurokami]

one thing i've always understood as Akira Toriyama's influence on manga, even if just assumption on my part, was how his cartooning came to bear when he started writing pure action manga. when I think of his contemporaries I think of overblown special moves like Saint Seiya or the gory fist clusters of FotNS

to me it seemed what Toriyama brought to the table was the satisfaction of clarity in martial arts

when you read his fight scenes, which may have become notorious when animated for dragging on, there's no question about what's happening in the action

a clear kick to the jaw

a clean line of action on Yajirobe's slice

I first noticed this clarity pretty quickly early on in the General Tao fights during the red ribbon arc, where entire fight scenes playing out with these clear motions on the pages

Even as it got more detailed later on, the clarity stayed

clear hits on clear fight scenes

and dirtier but still completely legible lines of action

And when he started introducing the big over the top special moves we got the same thing quite often in DB: that simple visual clarity amplifying the excitement

i'm not super coherent on it right now, i'm not the biggest shonen action fan all the time and maybe Toriyama didn't introduce the world to visually clear and interesting fights in manga.

but when I see any action manga showing off clean fight choreography or sick ass lazer beams that show off clear shockwaves of destruction, i'll always be thinking of the GOAT

RIP Akira Toriyama

[mollyrealized]

How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.”  I mean, this is … what … '88?  '88, '89.  So it was … now I know that it was a period of time that was a big change, transformation going through comic books.  Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No."  And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story.  And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy."  Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick.  Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe.  Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman.  And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA.  And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary. 

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.”  You know, “This is eel.  This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"  

We'd finished, so we pay our bill.  And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil.  And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be –  it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months.  So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course."  I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.”  But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well.  And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up.  And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God.  Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”.  I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah.  Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard.  I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you. 

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

[neil-gaiman]

hi neil! big fan! first time i've mustered the courage to ask you a question, haha.

it's good omens related: i've heard a lot of people (and been infuriated by them) over the past nine months saying that you only did the kiss because of the fan pressure. i want to know whether this is true or if you still would've done the kiss had the fandom not been begging you.

tysm for reading this! can't wait for season 3!

No, I came up with the kiss in December 2019 because John Finnemore and I had spent a day talking about the general plot of Season 2, when, late in the afternoon, sitting by the Regents Canal, John asked how it was actually going to finish, because, he told me, he is the kind of writer who needs to know how something is going to end before ever he starts. (I'm the kind of writer who normally finds out how things end when I get there.)

And when he asked, I thought for a bit about where I wanted to be at the start of Season 3, and then I described the last ten minutes of Episode 6 to John, including the kiss.

Given that we wouldn't tell anyone that we were doing more Good Omens for another 18 months, the daily asks saying "THEY HAVE TO KISS IN THE NEXT SEASON OTHERWISE YOU ARE QUEERBAITING US" had not started to come in yet, and by the time they did, the kiss, along with the rest of the scripts, had long since been written.

(And at no time has any fan ever pressured me to write a kiss at the end of Episode 6 that would break their heart.)

[harrysfolklore]

tom blyth being obsessed with his girlfriend: a compilation

this was inspired by @astranva’s famous blurbs, love you and miss you novs <3

MASTERLIST | MY PATREON

It seemed like the entire world was crushing on the same man: Tom Blyth

Unfortunately for those who watched The Ballad of Songbirds and Snakes and came out of the theater in love with the man who played Coriolanus Snow, he was happily taken and loved to talk about his girlfriend any chance he got, which lead to fans making several compilations about the times he was a simp over his girl.

The most popular video was a 10 minute and 33 seconds compilation, which had around 445k views.

It started with Tom's interview with Good Morning America to talk about Billy the Kid, the interviewer asking about how he prepared for the role.

"It was during the pandemic, like any actor during that time I was just hoping that the world came back to normal so I could start making a cent," everyone in the set laughed at this, "I was living with my girlfriend YN in a barn house and we were like chopping wood every morning and visiting my friend's ranch. So when I got the part I kinda felt like I was ready for it."

"Your girlfriend, you say," one of the interviewers said making Tom smile right away, "Did she help you prepare for the role too?

"Of course she did, she's my biggest supporter ever."

The video moved to show some behind the scenes of Songbirds and Snakes footage, Tom dressed in his peacekeeper costume and dancing around while Rachel recorded him.

"See this moves?" he got closer to the camera, "I used them to charm my girlfriend."

"And I doubt they worked." Rachel laughed behind the camera.

"She loves me so I'm pretty sure they did."

The next thing shown was Tom sitting next to Hunter as they did an interview for Rolling Stone, the crew just asked about their thoughts on Olivia Rodrigo's single for the movie.

"I love Olivia Rodrigo," Hunter cheerfully said, throwing her arms up to the air, "The new album is so good."

"I'm a big fan as well," Tom joined in, "My girlfriend YN, she's obsessed with her, plays her songs all the time."

"Just so everyone knows, YN is like the coolest person ever," Hunter said, making Tom smile, "She brought us snacks on set so many times, such an angel."

"She's the best."

The following footage was Tom and Rachel's rapid-fire questions with Vogue.

"Can you guess where this is from?" Rachel asked holding up a card that showed a zoomed in picture of a suit.

"That's my Prada suit from the London premiere," Tom asked confidently, Rachel confirming that he was correct, "My girlfriend YN loved that suit, that's why It's one of my favorites."

"Oh I miss YN."

"So do I, so do I."

Next clip was Tom's interview Stephen Colbert, who just asked him if he was a fan of the books growing up.

"I was such a huge fan, I grew up watching the films. My mom and sister used to go to opening weekends to see the movies," the audience cheered at that, "Actually, for my third date with my girlfriend I took her to see the last movie, so getting to play a young president Snow is a real honor."

The video quickly moved to show the lat clip, one of Tom's interviews at the London premiere of the movie.

"Are you here on your own? No date?" The interviewer said once Tom finished answering the previous question.

"I'm here with my girlfriend, actually," his face beamed as he spoke, "She's probably somewhere taking selfies with Hunter, those two are like best friends."

"Is she close to your cast mates?" the interviewer asked again.

"Definitely, they try to steal her from me and I can't blame them, she's the best."