#The scripts represent the actual thoughts of the characters

[srijellyfishtempura-archive]

Supernatural is a tragic love story and nobody can convince me otherwise

[mythrilthread]

My magnum opus, the jewel of my Binderary round-up, the result of four months of hard work (that is to say, a lot of force applied over distance), the project affectionately known as The Motherfuckers (because it was rather unclear if I was going to finish these books or if they were going to be the end of me).

Force over Distance by cleanwhiteroom. It is currently also on AO3.

I was first introduced to this incredible story by a dear friend, who first sold me on actually watching SGU, and then said that they remember this fic since like 2011, which is always a promising sign. I went digging and found out I was in luck - the story was being rewritten and reuploaded on the author's blog. The next two weeks are described by the same friend as "one of the scariest moments in our cohabitation" as I'd spent literally every waking moment injecting the story directly into my eyeballs, and let me tell you, I'd not been doing a lot of sleeping at that time.

Then I gathered up my courage and reached out to CWR re: my burning desire to bind this story. And the rest, well. Let's dig into it, shall we?

This was my first time typesetting 540k words. Considering I tend to prefer larger font sizes for increased legibility, it was immediately obvious that this was going to be a multivolume project. I settled on three, as it's the relationship between three individuals that forms the core of the story.

I also knew I wanted to keep the typeset in black and white, but play around with light and dark a lot. So I did. One of the first design idea I actually had was the way I wanted to handle projected speech. Mental link between Young, Rush and Destiny is THE most vital part of the story, and I wanted to make it immediatly obvious. I also wanted to be able to take one glance at the page and tell how much of the action is actually just two guys staring each other down :) Hence the blackout effect of thoughts being represented as light over darkness.

I also wanted to preserve as much of my reading experience as possible. So I saved all the chapter quotes/summaries in the TOC, and hid the chapter content warnings in the frame of the gate that marks the beginning of each chapter. For most of the chapter the warnings stay the same, so after a while you stop really noticing them, but then you open a new chapter and see that the familiar shape of the words has changed, and get this UH-OH feeling. Which, I think is very much how it works in my design, because when the warnings change there's usually another line of text added.

For flashbacks and dream sequences I switched from italics to a lighter shade of gray. I woudn't say it's more legible per say, but it's in keeping with the overall light/dark theme.

There are instances of people using handwritten notes in the story. I collected more than a dozen of assorted handwriting fonts, with each character having their own "handwriting". So when, for example, someone begins writing in someone else's hand, you immediately know it.

The most insane, labor-intensive part of the typeset, however, was the way I decided to handle the Ancient translations. CWR's gone through the trouble of setting up hover-to-discover for it, which gives you a very different reading experience than, say, having the translations in the endnotes. So, naturally, I said to myself that I want to replicate that, and footnotes just won't do the trick. So. Every instance of Ancient in the text has an underlay of light gray Ancient script. And an OVERLAY of paper vellum with the translation printed in blue. Now, not to toot my own horn too much, but if looks SICK AS FUCK. You also MAYBE SHOULD NOT LIVE LIKE THIS. For the two copies of this work I had to cut up 10 sheets of vellum into strips, and then spent from 20 minutes to an hour per volume tipping the strips in their proper places. I then had to wear kinetic tape on both my hands to help with the joint pain. (It was worth it.)

Now for the title spread. It is also paper vellum that you see as soon as you turn the first page (the half-title), and see it covering the title of the book and author's name. And then you turn it. And the shields sing the matter wave of Destiny through the black. And yeah, I think that's very, very clever of me, actually.

Then, of course, were the endpapers. All 12 of them are unique abstract paintings done on black cardstock by hand with brush pens and correction tape, I scanned a sample of each set for posterity. All of them are my interpretations of characters' midscapes. For volume 1 I went with the fire wind of Rush's thoughts. Volume 2 was for Young, and I went for the reverse blackout poetry effect (because for all the mental talking they do, the unprojected thoughts are opaque to their counterparts) and all the loops, hairpins and blocks he does. Volume 3 is for the combination - Rush's fire wind, changing its color to match the circuitry pattern of Destiny's AI.

The rest, in comparison, is easy. All volumes are stitched with 3 strands of embroidery floss, a combination of black, blue and silvery-gray. The French double-core endbands are sewn in the same color scheme (though with a different shade of blue and gray switched for white for added contrast). The edges are painted and splattered to look like space.

The covers feature my (signature at this point, I guess) half-cloth river pattern, with the base being dark blue linen and the printed parts being Spitzer telescope images of the W51 star forge, Jack-O'-Lantern Nebula and the Eagle Nebula (courtesy of NASA), waxed by hand for added sheen. The spines are foiled in silver with a foil quill.

Each set is 5 pound of solid hand-crafted book, with one set being my personal copy, and the other sent as a gift to the author.

And that's it, folks! This has been an incredible project to work on, and I'm very proud of what I achieved with it.

[sepublic]

Post-Hoot with Dana Terrace!

            Dana’s put over 200 hours into games she’s missed since the finale; Octopath Traveler, Little Nightmares, etc. Sarah Nicole-Robles cried harder than she ever did when she said I learned a language I’ll never forget, a whole chapter of my life is over, during the King-ceanera. She said the line once and was suddenly sobbing because of how meta it was. 

         Rebecca has a ‘sona during the bit with Barcus in the epilogue sequence. Cissy also cried when watching with her family, her kids asked her about it; Sarah was really excited as she watched the finale.

         No sequel happening, but we can always hope; Dana would like to do more, but Disney owns the IP and needs to give them permission. Dana knew the prequel line in the finale was ham-fisted as hell but still went with it because she was pissed (she said Fuck to express her rage). Rebecca went back to the Anger phase of grief after watching the finale after realizing what they missed, but Sarah was also in Acceptance because it was hard to regret something that ended so well.

         Dana doesn’t cry that much, but TJ’s remix in the soundtrack made her cry. Dana brought back everyone for BBBYYYEEEEEEE, noting this was every character’s last line, and wished Hooty had more lines. Alex improvised a cut line after the Bye with Hooty expressing appreciation for the finale and readiness for his spin-off.

         Dana won’t say much in hopes she’ll get to do more for TOH in the future; A Youtube reviewer (shoutout to all, Zachary Ax, Man of a Thousand Thoughts, Rebecca herself), the Third Bill got it right on Hooty, and Dana won’t be more specific about that.

         They found out about the shortening during S2; They had an ending in mind that Dana had in mind since development, but it needed too much setup and so they couldn’t pull it off. All of Season 2A was written before knowing the cancellation; Follies at the Coven Day Parade was the first episode fully written knowing the show was shortened, hence the tonal change. The Galdorstones was an arc Dana planned more on, as well as the Coven Heads; Bat Queen; It was a hard situation choosing what to leave out.

         There weren’t whole episodes written that had to be trashed; Just one-sentence ideas on a whiteboard never fully outlined or scripted. But Dana is still happy with what came out, because it was pretty damn cool.

         Rebecca Rose once saw someone with a King sweatshirt like hers at Disneyland and said hi, but they just side-eyed her and didn’t respond; Despite this, Rebecca hopes they had a happy day and believes they were just having a bad time. Sarah joked about not being so forgiving.

         String Bean’s inspiration: Owlbert is in the title of the show, String Bean indeed was there the whole time! The S wasn’t completely intentional at first, but Dana flipped the logo around and figured it out. When making the first episode, the logo wasn’t finalized. They always liked the idea of Luz being connected to snakes, it’s what she brought to school and they liked her reclaiming something she terrorized her classmates with. The Snake-Shifter idea specifically; Zach Marcus just said “Snake-Shifter” as they brainstormed ideas and Dana, being a sucker for lame puns, was sold.

         That was indeed Dana being represented as a student in the epilogue! She was Beastkeeping and Oracle; Dana can see the future of the show, and really likes animals. Raine’s palisman was indeed hidden within the violin’s design; Hunter and Dell worked to fix the palismen after Raine broke it trying to stop Belos. The violin is more akin to the staff, anyhow. Dana considered responding to a question about general Caleb, Evelyn, and Flapjack lore, but Sarah insisted she stay silent in case they get to answer it as an actual story later.

         Dana liked to think while writing Thanks to Them; No, Evelyn’s spirit isn’t in Flapjack. But to Philip, he saw Flapjack as the culmination of the corruption in his brother Caleb; He saw Flapjack, if it weren’t for YOU. You can see a hint of it in Masha’s story, Evelyn entices Caleb with Flapjack, who was Caleb’s introduction to magic. Evelyn was probably disguised as a human, and trusted Caleb for seeming reasonable and less violent. Perhaps like Dog owners passing each other by and suddenly becoming friends over this.

         Evelyn and Caleb’s relationship was sweet, from platonic curiosity to romantic. Eda doesn’t know she’s descended from them, nor does Hunter; And Dana has more to say, but will keep it hidden. Luz will stay the majority of her stay in the isles as she goes to college. Camila bought the shack leading to the human world, which allowed Luz to visit during holidays, weekends, etc.

         They never got to explore it, but it could’ve originally been the home of Philip and Caleb, long abandoned; Eda emerges after discovering the portal. In the next thirty years, she fixes up the shack as she builds the Owl House. Dana also advised fans to google Death of the Author, since she’s technically no longer working on the show, and thus gives permission for fans to write their own answers.

         Eda became the Owl Lady before Owlbert, due to the curse; They planned to do an episode where Eda learned palismen carving with Dell, and how Eda reclaimed the Owl identity to carve Owlbert. Dana stills has the outline of that episode in her head…

         According to Rebecca, Caleb and Philip’s graves were in the basement of the shack, based on this church in New Haven Dana passed by every day on her way to school (Gravesfield is based on some places in Connecticut). However, Dana realized the graves didn’t fit into the story. They also had an ‘original’ Belos design for him taking over animals. Marina Gardner did some amazing Belos designs, and Thanks to Them alluded to it.

         The Portal’s eye comes from the Titan’s missing eye!!! Hunter is bisexual, Willow is pansexual, this is how Dana always wrote and imagined them in her mind, but it’s not explicitly stated so technically it’s more headcanon. Dana noted how some people just picked it up. Dana likes to think Amity and Lilith rekindled their student-mentor relationship. Having worked in the library, Amity was interested in Lilith’s knowledge of history. Dana suggested to Zarya(?) from the design team to add notes to Lilith’s museum blueprints. A helicopter passed over and they joked it was Disney trying to stop spoilers.

         Cissy only got her lines and didn’t know any other details about the finale, to Dana’s surprise; Dana explained that people not getting a full script is due to the pandemic. Before quarantine, actors would get the full script. They have to rely on Eden Riegel and Dana for context a lot. Bosook Coburn spoiled Luz’s death to Rebecca Rose during the celebration party. They came up with a lot of designs for dying Luz, trying to figure out how they can hollow out her head how much. Dana mentions it’s up to the showrunner to show how much they want to the actors.

         Thanks to Sarah, they kept in Luz saying her own SFX during her fight with Eda in O Titan, Where Art Thou; She heard someone do it as part of the mock script and wanted it. When Dana voiced Eda and Luz at the end, Dana was crying. There’s a recording of Season 2B and Season 3 of Dana doing a voice-over of the script to get approved by executives.

         Dana clarified everyone would’ve had more of a chance to talk with each other, such as Hunter and Amity; Hunter would’ve talked to Vee, as well as more human realm kids, literally everyone would’ve had a little more time with each other. Dana loves Luz and Hunter’s sibling dynamic. Dana was sorry they couldn’t have Luz and Raine hang out, but they had the Hexsquad storyline. Luz finished high school in the human world, with the renewed motivation that she’ll go back to the isles. Knowing she has a safe space outside of high school made it more bearable, as was the case for Dana growing up.

         Cissy brought up Gus’ hair in the epilogue, which she loved; Emmy Cicierga did the design for Gus and Raine. Harpy Lilith was by Emmy; Dana did Emira, Eberwolf, and Skara’s timeskip designs. The name of the Titan is unpronounceable for humans.

         Dana can’t say much about the Archivists; The Collector never had a flash-forward design, as they age much more slowly than everyone else. Maybe the Collector got just a tiny bit taller. The idea of the Collector came from creepy dolls, as well as a nightmare; John Bailey Owen had a google folder filled with cool references of creepy dolls with a starry aesthetic, liminal minimalist nightmare-scape. They knew who the Collector was gonna be, what role they’d play, but the vibe still needed to be decided.

         Dana confirmed the Collector was always a part of the show before the shortening, and they solidified their placement after the announcement. The Collector has indeed stayed connected with the others, visits occasionally. Dana has seen fan comics on this and teared up.

         Hooty doesn’t have to be vacated from the Owl House if he doesn’t want to; When the door isn’t active, Hooty could be present. The new portal can probably fold up, and Hooty is busy as a curator for Hooty’s new museum.

         Dana said Raine and Eda’s business is their business; Not all love stories end in marriage. It’s their thing and it doesn’t diminish any love, but they do live in the Owl House together (Raine moved in).

         Mattholomule getting a palisman is something Zach Marcus can answer, since he made the character and Dana respects the lore he made. It’s hard to say for Dana if Vee and Masha are dating, since Masha didn’t show up in the finale, but Vee definitely has a crush on them. Again, Dana encourages the Death of the Author approach, if the headcanon makes you happy.

         Alador and Odalia got officially divorced after the finale, and the kids happily lived away from her. They might visit her if they have the energy, but also recognize she’s a toxic influence they can cut off at any point. Dana gave a shoutout to Rachel McFarlane’s voice acting, praising her performance for Odalia.

         In regards to the tower King was born in, Dana has an answer; It was related to a character we all know, who now may have amnesia.

         There was a plan to explore Gus and Willow’s glowing eyes, and do it for other characters; Amity wasn’t going to have that, strong emotions are indeed connected to magic. It was mostly a worldbuilding magic rule they could’ve expanded on, that Dana wishes she did early in the story.

         In the boards, Dawn Han(?) did Clouds on the Horizon, and did the scene of Amity and the twins hiding in the factory as their parents talk about the Abomatons, Alador is worried since it seems like a tad much. Alador had T-rex arms in the storyboard, and it reminded Dana of Remy from Ratatouille, so when they got to the scene of them looking into Alador’s lab, Ratador was drawn in his place as a joke. Dana laughed so hard she decided to keep it in, with Dana handwaving it as Alador’s palisman.

         According to Dana, a show should be appreciated for as it is; But the other way to enjoy it, under the context it was made, is also important to her; Both ways are valid. It was easier for Sarah to voice depressed Luz since she was also depressed. The writers preferred to put their feelings into the show, VS a more happy-go-lucky approach as others did; It was kind of dark for a bit, especially during quarantine. Sarah felt her own experience validated with Luz’s depression, but she and Dana appreciated the balance of having a happy ending too.

         What made the crew hopeful was knowing the characters would always have a happy ending; Luz could continue her studies in full-force, a new family. They KNEW it would end happy. Dana acknowledged how the fandom misinterpreted “I hate the term happy endings,” and Sarah knew about the quincenera when asked during previous Post-Hoots, but couldn’t answer.

         Rebecca commissioned 3D-printed Funko Pops of S2A Lilith and S1 Luz, and gave them to the others as gifts; Rebecca didn’t know about Avi’s appearance until two days before the Post-Hoot, otherwise she would’ve had a Funko of Raine made. Dana’s stand for Luz had to be made with painter’s tape (she appreciated it) due to Rebecca running out of the other kind, and planned to place it beside her Peabody award. Elizabeth Grullon, Camila’s VA, had to call her mom in the middle of a session to translate her line about maduros into English.

        Cissy clarified this wasn’t intended to be the final Post-Hoot! And the video was ended with a BBBBYYYEEEEE!!!!!

[chosetherose]

The Fortnight video foreshadows the convergence of Taylor Swift and her brand

In her videos, Taylor has continually played with the idea of herself as a person versus as a brand. These portrayals have almost been adversarial in nature. Think about the relationship between the two life sized Anti-Hero Taylors. The hooded robot Taylor who got to exist in the world while her bare counterpart was trapped in glass. Etc.

The Fortnight video introduces similar characters but flips the script because there isn’t a me versus her dynamic anymore. Instead, there is a story about coming together.

A scene by scene breakdown:

Taylor Swift™️ is chained to a bed in a white gown with a spicy slit and garter. A faceless nurse enters walking upside down on the ceiling (a continued theme suggestive of PR games). The nurse presents “Forget Him” pills, arguably reminiscent of a dark time where the world thought they could “cure” homosexuality. After Taylor Swift™️ begrudgingly takes her dose, the nurse unchains her.

We then see Taylor Swift™️ approach a two way mirror and wipe the mask off her face, revealing face tattoos we know to be Post Malone’s in real life. This reveal is setting the scene that within this video Post Malone represents Taylor’s inner self, her true soul behind the veil of celebrity. I’ll call him True Taylor.

Next, the mask is back and we see Taylor Swift™️ walk out of the observation room and into the workspace. She goes from wearing a leggy white gown with garter to a fully covered black poet-esque dress. She isn’t dressed for voyeuristic eyes anymore, she’s dressed to work on her art. I love this light to dark transition because black can be seen as the absence of light. Fitting for a tortured poet who can’t live her truth in public with her sunny muse by her side.

Note that we don’t get to see black dress Taylor Swift™️ through the two way mirror. She exists behind the bright lights of fame, making art in a room hidden from our view. Maybe the pills numb her enough to twist the art for an audience who likes to her to be chained to a bed while they watch her suffer.

But wait Taylor Swift™️ and True Taylor are collaborating. They start work separately but their art eventually drifts out of their typewriters, combining into a white light that bursts into a rainbow. Remember how I said black light is the absence of light? Well white light is comprised of all hues on the visible light spectrum.

We know there are layers to Taylor’s music: the surface layers chock full with to red herrings for the grocery line Swifties and the deeper layers of Taylor’s truth. They both exist in the art, swirled together.

But here is where things start to feel different. We cut to True Taylor and Taylor Swift™️ away from all those faceless people - they are alone in the middle of a road. That in itself is ridiculously symbolic of being on the way to somewhere (maybe brighter days). But there’s more because they are dressed identically, laying inside Taylor’s head that is made up of their art. This scene is like bonking us on the head that these two people are one and the same.

Note: The silhouette here is from the Style video which also portrays Taylor’s inner self as a man.

Taylor Swift™️ runs to True Taylor and they embrace in the middle of the road as pages of their art float around them. In the chaos, Taylor Swift™️ reaches out to True Taylor.

Maybe this scene is suggesting the public version of Taylor is ready to embrace her real self.

Then we see Taylor Swift™️ strapped to a table, wild hair from dropping the hairpins we saw in the opening scene. The drugs aren’t working, it must be time to escalate to shock therapy. The men around her gather and there is literally a sign in the background that says “Master Control”.

But one of the men in the room making decisions for the brand is actually True Taylor, who has been there all this time.

Enough is enough when True Taylor can’t take the pain and pulls the plug on the procedure, freeing public persona Taylor from torture.

Next we see True Taylor, familiarly encased behind glass, on a phone call. Perhaps making plans while safe from the rain. Taylor Swift™️ is elevated on a pedestal, out in the storm, in her best dress FEARLESS! Credit to @rep-princess-witch who put the fearless connection together in another post.

I’ll say it again, that is the huge difference in this video compared to others. Here, Taylor Swift™️ is not an antagonist, she is ready to brave the storm.

So what does she do? She’s back in the workspace burning all the files. It’s not without emotion but it’s necessary. We then see a stoic Taylor Swift™️ with no regrets.

After burning the files she’s back in the observation room. It’s time to fight back against the voyeurs and she does so by smashing the glass between her and them. She regains her agency by squashing their ability to hide. Shes deserting her past life.

Note: We don’t see True Taylor back inside. This fight is specifically for Taylor’s public persona.

In the closing seen, we see True Taylor leave shelter, step outside into the storm, and reach for Taylor Swift™️. The person and the public persona are weathering the storm hand in hand.

*Please check out @heyitsmoog on TikTok - he shared thoughts there that inspired me to make this post.*

[olderthannetfic]

I thought it would be interesting to see if I could easily determine which ships had the most works updated in 2023.

It turned out to be fairly easy, though a little time consuming. I think these results should be reasonably accurate.

Some points to note:

I did this on my own account, and I have like 2 people muted. So I am capturing the effects of archive-locked works, but my numbers might be off by one or two works due to muting.

Works updated in 2023 is a number that constantly changes as works are deleted or updated again in 2024.

I didn't scrape the entire archive or anything like that, so it's possible I missed a ship that would bump one of these down below 100. I'd take the last few at the bottom there with a grain of salt. But I think we can be reasonably sure the top ones are accurate and that the kinds of numbers that we see at the bottom there (eighteen hundred plus works updated in 2023) are about where the cutoff will be even if we find a ship I missed.

--

As for how I did this, I went to the category tags and the rating tags, filtered for updating in 2023, then excluded ships in the sidebar till I got to 130-150 ships excluded. I also grabbed ships that are big in general from tag search, which you can use to find all relationship canonicals, ordered by frequency.

I combined those lists of ships, cleaned off the works numbers, and generated a list without duplicates. That got me three hundred and something (yes, they were mostly duplicates). I generated the relevant AO3 URLs, opened them in batches with Open Multiple URLs, and copied the works totals into a spreadsheet. Not as tidy as using a script but honestly pretty easy if you know a few spreadsheet formulas to clean up data.

The key here is that if you're only going for pretty good and not accurate beyond a shadow of a doubt, all you need to do is generate a list of likely ships, then check them.

It's possible that there's some much-updated ship that is so evenly spread across these various other tags that it just missed showing up in the sidebar. Hopefully, grabbing more than just the top 100 avoided this problem.

This method also doesn't take into account backdated works. If a whole archive was imported in 2023 but all backdated, there could be some ship that didn't have new works but where AO3 users experience in 2023 was of an influx of content.

I also did this just now, in late March/early April, so some 2023 works have inevitably been deleted or updated again. So the exact work counts don't represent the experience of using AO3 throughout 2023. A fandom active in early 2023 might not have much updating in early 2024, while a fandom active in late 2023 would. This could demote the latter a few places in the rankings since I didn't grab numbers on January 1st.

Even if a person scraped AO3 every day or was monkeying around in the databases, you also have to ask what conceptual answer you're after. Is it works a user could have read at some point during 2023, whether they were deleted by the year's end or not? Is it new-to-AO3 works or only newly-created ones, not including imported archives? Does it matter if the works are fic? If they're in English? What about accidental double-uploads or translations of a single work?

I hope this makes it clear why a definitive ranking is not actually possible.

However, despite these drawbacks, I am confident that the rankings above accurately represent the broad trends on AO3 in 2023. Just don't get too fixated on whether a ship should be at number 73 or number 74.

And, of course, I excluded these from the top 100:

Original Character(s)/Original Character(s) - 20,026

Minor or Background Relationship(s) - 16,187

No Romantic Relationship(s) - 8,052

Original Female Character(s)/Original Male Character(s) - 7,195

Original Male Character/Original Male Character - 6,283

Other Relationship Tags to Be Added - 5,618

Original Female Character(s)/Original Female Character(s) - 3,990

Original Character(s) & Original Character(s) - 3,210

Here's a spreadsheet if you want to see the actual numbers not as a shitty screencap. I left the next few below 100 for context.

[innuendostudios]

new video about Edgar Wright's Cornetto Trilogy, and how everyone* keeps getting them wrong! this video is sponsored by Nebula, a place where you can watch the original version of this video before I had to tweak it for YouTube's copyright bots. (by clicking that link, you can get an annual subscription for 40% off.) or you can just back me on Patreon, which is also cool and good.

transcript below the cut.

I adore Edgar Wright’s Cornetto Trilogy. I flirted with making a video about it ages ago, had a draft of a script, but ultimately decided it wasn’t about anything except “here’s a thing I like, and here are its (I thought) very obvious themes.” So I shelved it. But, in the years since, I have seen multiple video essayists on this here website claim that these movies are about growing up and taking responsibility. (I say “multiple.” It’s not a lot. But it’s more than one! And that’s enough.)

These people are 100% wrong.

Lemme lay it out: the Cornetto Trilogy is not about growing up. It is not about taking responsibility. It is the exact opposite, and that’s not subtext. It is three movies about stunted manchildren thrust into extraordinary circumstances, and each, in the end, is saved - is redeemed - by abandoning his character arc and failing to grow or change. It is a three-part love letter to immaturity.

And I guess I have to set the record straight.

Sometimes making a video about a thing you love is an act of appreciation. And sometimes it’s out of spite.

The Cornetto Trilogy is three movies: Shaun of the Dead, Hot Fuzz, and The World’s End. All three are written by Simon Pegg and Edgar Wright; Pegg stars, and Wright directs; all three center on a relationship between Pegg and real-life best friend Nick Frost, which makes each film a reunion of the core team behind Spaced (excepting, but for a small role in Shaun of the Dead, Jessica Hynes). The three films span three genres: zombie apocalypse, buddy cop, alien invasion; each features a Cornetto ice cream cone: strawberry to represent blood, original blue to represent the police, and mint to represent little green men; this is a joking nod to Krzysztof Kieślowski’s Trois Couleur films, Bleu, Blanc, and Rouge, which were based on the colors and themes of the French flag (I don’t care what you say, Emily: #TeamRouge); that nod is funny because Trois Couleur is high-art drama and these are comedies. All three are parodies of, tributes to, and actually surprisingly good executions of their respective genres. And the hook, the gag at the center of all these movies, is that Simon Pegg plays a character wholly unsuited to be starring in this kind of film.

Shaun, the burnout, is the wrong person to survive the zombie apocalypse; by-the-book British bobby Nicholas is the wrong person to lead an American-style bombastic actioner; and alcoholic asshole Gary is the last person to save the world from aliens.

And I think that’s where people get stuck. Because “schlub finds himself protagonist of a genre film” is the elevator pitch for like a dozen Adam Sandler movies. The genre trappings may be as mundane as parenthood or mandated anger management classes, or as high-concept as action movie, whodunnit, or time travel It’s a Wonderful Life if Clarence were Christopher Walken as the angel of death (that… that makes it sound good, it’s not, don’t see Click; leave Frank Capra alone, Adam). But all these movies have the same basic shape: an extraordinary situation forces a guy to confront his shortcomings, which always stem from having never grown up. And you probably haven’t seen all of these movies, but if you’ve seen any, I bet you have assumptions about how the rest end: even though “Adam Sandler acts like a child” is generally the selling point of an Adam Sandler movie, they all end with some lip service toward becoming an adult: hey man, grow up a bit; appreciate your family a little more; square your shoulders; clean your room. This is so standard, it was parodied mercilessly in Funny People.

And this was a formative microgenre for my generation! Whole universe turns itself upside down to teach some shitty dude to, like, do the dishes and pay his wife a compliment now and then - Liar Liar, Bruce and Evan Almighty (all directed by the same guy, by the way). So I don’t blame people of a certain age for seeing the first act of Shaun of the Dead and thinking “I know where this is going.” And when, at the last minute, it swerves and goes someplace else, you could read that as a gag, a final subversion of expectation, still the same basic shape. But no! No! Once is a gag - thrice??? Thrice is a thematic statement!

So lemme make my case. I’ma take you through these movies one by one - we’ll talk about the manchildren and the expectations set by the genre, and then we’ll talk about that last-minute swerve and what it means. And then you’ll tell me I’m right and apologize!

Shaun of the Dead:

Shaun is a man in his twenties. What kind of manchild is he? He’s the slacker.

What is his problem? He needs to sort his life out. Shaun doesn’t know how to take action. He hasn’t advanced since college - he’s been working the kind of job a teen takes over the summer for like a decade, lives with the same best friend, has the same petty fights with his stepdad, goes to the same pub every week with the same group of people. He can’t make a reservation, he can’t manage a calendar, he’s a washup. This makes his girlfriend, Liz, feel stifled, trapped; he is a weight around her ankle, taking her on the same date week after week, keeping her from living her own dreams, having her own adventures. She gives him one last chance to prove he can sort his life out, and he blows it, and she dumps him.

And then: a zombie movie happens.

The genre forces him to confront his shortcomings: to survive, and save his loved ones, he’ll have to take action, make plans, be decisive. This is a common fantasy: when you feel ground down by the mundanity of life, you might imagine, oh, if only a crisis would happen, like a zombie virus outbreak, where my normal-life problems like “am I gonna make rent,” “is my girl gonna take me back,” “is my roommate gonna kick out my stoner buddy who’s crashing on the couch” become meaningless, and it’s immediately clear what’s really important, what matters. Then I’d know exactly what to do. It’s why disaster movies work as escapism: a necromantic plague - or at least the fantasy of one - is sometime preferable to normal life.

Hot Fuzz:

Nicholas is a man in his thirties. What kind of manchild is he? He’s the hall monitor.

What is his problem? He can’t switch off. He is a hypercompetant police officer with a rulebook where his brain should be. He’s so good at being a cop that he’s spotting and unraveling crimes even on his day off. He can’t maintain a relationship, has no friends, all his coworkers hate him because he keeps finishing their work for them, and his stats show up the rest of the force so badly that they scuttle him out to the country.

Now you might be thinking, “Mmm. A fastidious police officer who can’t have fun? How is that a manchild? Sounds pretty grown-up to me. You’re reaching, bud.” Ohhhh ho ho, smartass, do you remember this scene? [bar scene] Yeah! Nicholas Angel has a five-year-old’s notion of law and order. He’s still playing cops and robbers.

And that’s a problem, because then: an action movie happens.

It doesn’t happen all at once: he goes out to the country and finds they do things a bit differently there. They are (ostensibly) less concerned with rules than what than the rules are for: if the purpose of drinking laws is to keep the streets safe and orderly, and letting some people off with a warning or allowing kids drink so long as they do it inside achieves that end, the rule can be bent. That’s a judgment grown-ups can make; I mean, they’re the ones who wrote the rules in the first place. So be lenient with shoplifters, don’t hassle people for speeding; this isn’t the Big City, you can use your better judgment. But Nicholas never got past doing whatever Mom & Dad said; obedience, and trusting whoever’s up the chain, is his entire moral framework. He can’t accept that bending the law could be more righteous than following it.

But also maybe there’s a criminal conspiracy murdering people and writing it off as accidents and the police chief might be in on it. Or maybe Nicholas is so desperate for a big case with no moral ambiguity that he’s seeing things where they aren’t. 

The genre forces him to confront his shortcomings: either there’s nothing going on and he needs to chill out about procedure, or the department is corrupt and he’ll have to go rogue like it’s Point Break - and this is how he experiences Point Break. [“paperwork”]

No matter what, he’ll have to bend the rules, which he constitutionally cannot do.

The World’s End:

Gary is a man in his forties. What kind of manchild is he? He’s the delinquent.

What’s his problem? Pfffft. What isn’t his problem? Gary is a manipulative, narcissistic, lying, self-destructive, ignorant, violent, thieving, shit-talking, unapologetic asshole who peaked in high school when being all those things was still kind of badass. The greatest night of his life was the drunken pub crawl after graduation he and his friends didn’t even finish, and he’s been tumbling downhill ever since. He’s spent his life ruining everyone who knows him until there’s no one left to ruin but Gary King. So now it’s time to bully the old gang into going back home with him to relive that night by finishing the pub crawl, because, in his own words, it’s all he’s got. And he and his friends have to confront how home has changed since they left - the bars have gentrified, not everyone recognizes them; the defining, epic deeds of Gary’s youth have been forgotten. You can’t actually go back because that place doesn’t exist anymore.

And then: a sci-fi movie happens.

Turns out the town’s been taken over by aliens, and all the people who couldn’t conform to their new order have been replaced with robots! That’s why no one recognizes them! And that’s why the pubs all look the same: the aliens are homogenizing everything! And it’s clear, if they can’t get Gary and his friends to play ball, they’ll roboticize them as well! The obvious move is to get the hell out of town, but Gary keeps inventing excuses to stay and finish the pub crawl, and they sound pretty sensible because the group’s already five pints in. The genre forces him to confront his shortcomings: sooner or later he’s gonna have to give up on recapturing his youth and do what’s best for him and his friends now, even if it means running back to the city where all his problems live.

So there we have it: the characters cross the threshold into an unfamiliar world where an external conflict cannot be addressed without resolving the tension within. The slacker will have to get his shit sorted, the hall monitor will have to break the rules, and the delinquent will have to do what’s good for him. And, to an extent, all three know this! The movies Wright and Pegg pay homage to exist in these stories - Shaun knows what a zombie is, Danny keeps Nicholas up watching Point Break and Bad Boys II, and Gary and friends know bodysnatcher movies so well they have philosophical debates with the robots about whether “robot” is the PC term.

So, yeah, if you turned the movies off there, I could forgive you for thinking that’s where they’re headed. But you goofballs watched them to the end and then made content about them, what is wrong with you???

What actually happens in the second halves of these movies?

Shaun twigs that he’s in a zombie movie and, at first, tries to play the part - his survival plans are miniature hero’s journeys with him as protagonist, wherein he’ll save the day by neatly confronting all his flaws. He’ll resolve parental conflict by saving his mom from his zombified stepdad, resolve romantic conflict by showing his girl he can come through when it counts, and resolve internal conflict by being a man who saves the day. And all his plans suck! It’s just the same plan he always comes up with! Dragging around the same useless liability of a bestie, collecting the same group of people, and holing up in the same pub! He doesn’t save his mom: his stepdad apologizes, resolving their conflict for him, and then survives in zombie form but Shaun’s mom gets killed; most of the friend group gets killed because the crisis does not actually suspend but in fact amplifies their personal grievances; and he doesn’t save the day, just manages not to die long enough for the military to show up.

But… well, Liz wanted adventure and now she’s had enough for a lifetime, so… she’s down to just be boring with him for a while - sit on the couch, watch TV, hit the pub. Beats running for your life. Tensions with the roommate are gone cuz roommate died, but rent is covered cuz Liz moved in. Zombies don’t get eradicated, just folded into normal life, so Shaun can mindlessly play video games with his bestie forever, and it’s not a problem that bestie doesn’t have an income cuz he doesn’t need food or shelter.

The zombie apocalypse doesn’t make Shaun sort his life out, it changes the world til he doesn’t have to.

When Nicholas discovers that, yes, there is definitely a murderous criminal conspiracy inside the police department, he recognizes the only way to bring about justice is to become what Danny has always wanted and go Dirty Harry on the town. It’s either that or just swallow the crimes. But he does neither. He and Danny go on an epic shooting spree, recreating famous movie scenes, taking out the entire criminal organization against all odds, and spouting badass one-liners… but everyone who helps them is a cop, they don’t actually kill anyone, all perps are formally arrested, and they fill out all the paperwork. I think he even properly signs out the weapons. He never switches off, never breaks a rule, does absolutely everything by the book, only… louder. And this violent showdown saves him from the chill town with lax rules he thought he’d moved to. Now he, with his five-year-old notion of right and wrong, is in charge of the police department.

The buddy cop actioner doesn’t make Nicholas bend the rules, it changes the world til he doesn’t have to.

Gary knows exactly how a movie of this sort is supposed to go and spends the whole movie running from it. Friends and secondary characters keep sharing these poignant moments with him, because they know this story, too: yeah, he’s gonna reject help at first, but sooner or later he’ll hit rock bottom and then someone will get through to him. And, as the night goes on, and the characters get drunker and drunker, and Gary passes up more and more opportunities to abandon the pub crawl and go home, these moments take a tone of desperation. They start to sound more like interventions; like, Gary, we all know you’re going to come to your senses but could you hurry up with it??? How many of your friends need to literally die for you to shape up? Are you gonna get them all killed?

And the answer is: Gary will never shape up! To Gary the Human Dril Tweet, his friends trying to save him, psychiatrists trying to treat him, and aliens trying to assimilate him are all the same thing. He doggedly makes it to the end of the pub crawl and confronts the alien overlord who tells him all the technological advancements of the past few decades - all the efficiency and homogenization that’ve changed the face of his home town - are their doing. The Information Age is an intervention on behalf of Earth, a pan-galactic effort to save humanity from itself. And the reason they’ve been replacing people with robots is some people are too fucked up to go along with it.

And here’s Gary, King of the Fuckups, brashly declaring that fucking up is what makes us human. There is no freedom without the freedom to ruin your life. We are endowed by our creator with the right to be drunken, ornery pieces of shit.

He tells the aliens to piss off and he’s so fucking annoying that they do, and they take the Information Age with them.

Now… I know… ugh… I know a lot of people love this movie, say it’s the best of the three. Some friends who’ve struggled with mental health or just being an adult under late capitalism really identify with Gary, and the valorization of being a mess. I see you, you’re not wrong, I get it, I really do. But can we just… not “but” but “also” can we… can we also admit that this ending is… this is Space Brexit.

Like, literally it’s an alien invasion but symbolically this is Gary rejecting the adult world of rules and authority and doing what’s best for the community and that’s how Brexiters view the EU. And people keep telling him “Gary, this is in your best interest” and Gary says, I don’t want my best interest! I am registered in the anti-Gary’s Face Party and I will cast my vote by cutting my nose! I choose to do what’s bad for me.

And, like a true Brexiter, he chooses for everybody.

Now tell me that’s a movie about growing up. Gary collapses human civilization in its entirety rather than change, and in the world that follows, he thrives… by being an immature, irresponsible bag of garbage.

To Wright and Pegg, growing up is death, and these are movies about being alive. These characters don’t cross the threshold back into the ordinary world with the ultimate boon of character growth; all three stay in the extraordinary world. The zombies remain, the robots remain, Nicholas is offered his London job back and chooses to stay in the country. These are stories about normal life spontaneously turning into a genre film, and they are made with deep love for those genres; why would they end with leaving those genres behind? Because it’s what Adam Sandler would do?

So there you have it. I rest my case.

“Okay Ian. Why does this matter?”

…what was that?

“You’ve made your point: these movies aren’t about growing up or taking responsibility. So what?”

Uhhhh.

“Bring it home for us.”

…

“Why do you care so much?

[breath]

I wrote the first draft of this script when I was around Shaun and Nicholas’ age, and “so what?” is why I shelved it. Now I’m Gary’s age, this video’s been in the back of my brain the whole time, but I got this far and “so what” is where I got stuck, again. This is why the CO-VIDs came out quicker, cuz I let myself end with “so that’s interesting!” and got on with my life. But there’s clearly something sticky here, more than “someone is wrong on the internet.” (Also, to the YouTubers I’m vaguebooking, who said these were movies about growing up - I’m way more annoyed at the folks I’ve argued with on Twitter about this, you just made a better rhetorical device; you do not owe me an apology!) (Also, to the commentariat: I am not extrapolating this from like two data points, this is chronic and recurring and has been bothering me for years.)

There are a few directions I could take this to give it some “cultural weight.” I could put on my social justice hat and talk about how the “crisis of adulthood” doesn’t play as broad comedy unless you look like Adam Sandler or Simon Pegg, or put on my class analysis hat and talk about how signifiers of adulthood are, traditionally, ways of spending and accruing capital which are, today, often inaccessible to people under 40.

And that’s all legit, but here’s the real deal: I’m just mad at Gary. The world changed around Shaun such that he could stay a child. And Nicholas ended up somewhere he could stay a child. If you missed that, you’re wrong, but whatever. But to say that Gary grew up grinds me, because Gary chose this. The whole movie is people telling him to grow up, and he says no! He says it out loud! He says it to the literal end of the world. To walk out of the theater and say “that’s a movie about growing up” is more than a mistake, it’s a refusal. It’s trying to “fix” the movie by fitting it into a more familiar shape, so it doesn’t say what it says, so Gary isn’t who he is, who he chooses to be.

I’m being cheeky when I say this because he’s a fictional character, but saying Gary grew up is enabling.

Gary says there’s no freedom without the freedom to ruin your life, which is the problem with alcoholics and libertarians: it’s not just your life, Gary! You live in a community, a culture, and an ecosystem! Your actions - everybody’s actions - impact other people! That’s just the way the world is! You can’t shit yourself at the bar without other people having to smell it. We’re all fuckin’ connected, man! You don’t want anyone’s will imposed on you; you spend the whole movie imposing your will on everyone else! You say humans don’t wanna be told what to do, and then you decide humanity’s future by yourself with no input or consent from anyone!

People point to Gary ordering water in the last scene instead of beer as evidence that he got sober, like that’s proof that he did grow up in the end, which are you fucking joking??? Getting sober is a shorthand for maturity the way buying a house is, it doesn’t signify anything in and of itself! Gary drank to escape the adult world of rules and responsibilities! So, yeah, under normal circumstances getting sober would mean he’s made peace with that world and is ready to integrate. But that’s not what happened! The thing he was escaping doesn’t exist anymore! He literally destroyed it!! People died! Probably millions! Now he lives a happy life LARPing as Omega Doom - no I don’t expect you to catch that reference! He doesn’t need to drink! He is literally reliving the best day of his life forever. And even if it did mean personal growth, the idea that a person could make what would be, unequivocally, the most selfish decision in human history, and then spend his life celebrating the outcome, oh but if he overcame a personal demon in the process then on balance that’s maturity? That is lightspeed solipsism! Who are you if you think that way? Are you all Adam Sandler???

And none of that makes this a bad ending, or Gary a bad character. I mean, he is the reason The World’s End is my least favorite, and I don’t like the ending, but I don’t think it’s bad that I don’t like the ending. Rather than watch another addict pull his life together or destroy himself, we watch a downward spiral with so much gravity the whole world self-destructs alongside him. And that’s why The World’s End is the most interesting of the three: it is a bold choice, and I think we are free to feel however we want about the conclusion Gary engineered for himself. I don’t think it’s valid to pretend it didn’t happen.

In the context of the trilogy, we see that Shaun’s immaturity is mostly a problem for Shaun: he would be, at worst, a footnote in the lives of the people who love him; “yeah, I liked Shaun a lot, but I couldn’t carry him through life anymore.” Nicholas is the kind of overachiever that is useful if pointed in the right direction; juvenile code of ethics aside, he is, empirically, helping the community (within the entirely fictional framework where that’s a thing police do). If the world hadn’t changed to turn their flaws into strengths, they would still be relatively harmless. Gary is what happens when immaturity isn’t harmless, and shows us how a world built by that immaturity would look.

There is an appeal to Gary King, a wish fulfillment. Letting your id fully off the leash because you no longer care what anybody thinks - it’s why some people drink, and it’s why some people would like to drink with Gary. But if that’s not just your Friday night, not just your twenties, but that’s your life? There is a destination at the end of that road, and it’s Gary doing something truly ugly. And we see that ugly thing the way Gary sees it: as awesome. But then you see the reality: the Monday morning after the Friday night. We went out with Gary and he did something terrible.

And I’m not telling you to hate Gary for it; I’m not saying Gary can’t be forgiven. In fact, seeing it for what it is is the only way Gary could be forgiven, because, if he “grew up and took responsibility,” there’s nothing to forgive.

I think this is the only way the trilogy could have ended. I mean, you make stories about boys who get older and older and don’t grow up, it eventually becomes a problem. There’s only two ways to resolve it: you either end with a guy actually sorting his shit out, or you go for broke and show what happens if he doesn’t. And I think some of us boys saw that and said, “no, noooo, they did grow up! all three of them!” rather than say, “haha! hahaaa! ……………shit.”

[insanityclause]

Over the past 13 years, Tom Hiddleston has died more times than he can recall. “Let me think about this,” the actor tells us, pausing to count in his head. “I think, officially, there were two big ones.” 

He’s referring to his many exits from the Marvel Cinematic Universe, the blockbuster franchise in which he’s played shape-shifting Norse god Loki Laufeyson since Kenneth Branagh’s 2011 film “Thor”—the son of Asgardians Odin (Anthony Hopkins) and Frigga (Rene Russo), and the half-sibling of Thor (Chris Hemsworth), the god of thunder. 

The character has since bounced between villain and reluctant antihero across five films, a handful of post-credits scenes, and Michael Waldron’s Disney+ spinoff series “Loki,” which Hiddleston also executive produces. The show wrapped its second—and supposedly final—season last November. The finale presents an end for the character, but not one of the aforementioned “big ones.” 

Hiddleston’s first “official” farewell came in Alan Taylor’s 2013 sequel “Thor: The Dark World,” which saw the god of mischief take a sword to the chest to save his beefy brother. “As written in the first script, it was a true sacrifice,” Hiddleston says. Unfortunately for Marvel’s long-term plans, the actor had done too good a job playing the trickster.

“When Marvel [executives] were testing the movie, they’d given [viewers] questionnaires that said, ‘Is there anything you didn’t understand?’ ” he remembers. “Literally every single audience member said, ‘Well, obviously, Loki’s not really dead.’ ” 

In classic comic-book fashion, the character did return, gallivanting alongside his brother in Taika Waititi’s 2017 follow-up “Thor: Ragnarok.” He died again one year later (“big one” number two) in the Russo brothers’  “Avengers: Infinity War.” There were no smokescreens or questionnaires this time; audiences watched as Loki’s neck was crushed by the purple fist of intergalactic warlord Thanos (Josh Brolin). 

Hiddleston remembers arriving in Atlanta to shoot his final scene and immediately bumping into Brolin. “He came up to me, gave me this huge hug, and said, ‘I’m so sorry, man.’ ” 

He meant it, too; everyone meant it. The sun, it seemed, had actually set on Hiddleston’s MCU journey. “At the end of that scene, I got a big round of applause, and everybody was so sweet and kind and gracious,” he says. “I got notes and emails saying, ‘Tom, you’ve done so much for us—what a journey. Come and see us anytime.’ I really thought that was the end.” 

And it was, for real, right up until it wasn’t—when the time-traveling shenanigans of 2019’s “Avengers: Endgame” blasted a younger version of Loki out of the established canon and into his own series. Over two seasons, the multiversal storyline envisions the title character as a figure who exists outside time and space. Across all there is, was, and may come to pass, there will always be a Loki, in some form, wreaking havoc. 

Hiddleston has long since accepted what this means for him as an actor. Maybe “Loki” Season 2 really was his last time in the role; or maybe he’ll play him until the sun burns out. “I’ve realized that, in human consciousness, that’s who Loki is,” he says. “Loki is this ancient, mythic character, who, in our collective mythology, represents the trickster, the transgressor, the boundary-crosser, the shape-shifter—somebody who’s mercurial and spontaneous and unpredictable who will always confound your expectations and wriggle out from underneath your certainties and convictions. Someone who we need and [who] is necessary.”

Hiddleston pauses, getting emotional. “Maybe Loki escaping death a couple of times is sort of an emblem of who he is in our culture,” he says, grinning at his own gusto. The actor has a habit of being self-deprecating about the depth of the character’s lore. “I spend a lot of time thinking about Loki. You can probably tell.”

You can tell, and it’s incredibly endearing. Talking to Hiddleston about Loki feels like discussing Shakespeare’s Richard III with Laurence Olivier or Tennessee Williams’ Blanche DuBois with Jessica Lange. They were actors who put their definitive stamps on those roles by returning to the well and constantly digging deeper. 

In conversation, Hiddleston is equally as likely to reference comic-book arcs as he is the ancient, anonymous Old Norse scribes of the “Poetic Edda” or Richard Wagner’s epic four-cycle opera “Der Ring des Nibelungen.” He speaks reverently of actors who embodied the trickster god before him, like Jim Carrey in Chuck Russell’s 1994 comedy “The Mask” and Alan Cumming in Lawrence Guterman’s 2005 sequel, “Son of the Mask.” He also heaps praise on those who played the part after him, such as his “Loki” costars Sophia Di Martino, Richard E. Grant, Deobia Oparei, and—in one very surreal Season 1 moment—“some alligator they found somewhere.” He cites legendary Marvel creators Stan Lee, Jack Kirby, and Walter Simonson alongside the likes of English essayist Walter Pater and Irish playwright George Bernard Shaw, who once wrote of life as a “splendid torch” to keep burning for those who follow.

“Loki is ‘a sort of splendid torch which I have got hold of for the moment,’ ” Hiddleston quotes, “and I want to make it burn as brightly as I can before passing it on to future generations.” 

This level of study started before he even landed the role. He recalls the 24 hours leading up to his “Thor” audition, when he was 28 years old. After graduating from the Royal Academy of Dramatic Art in 2005, he quickly earned small-screen and stage acclaim—but he hadn’t yet achieved a major breakthrough. When he received the script for “Thor,” it felt familiar. “I remember thinking, This is almost Shakespearean, this language,” Hiddleston says. “What’s the best example I can [look to] of an actor who managed to humanize and make real this elevated world of myth?” 

He found the answer in Christopher Reeve, who played the title role in Richard Donner’s 1978 blockbuster “Superman.” “He’s masterful in that film,” Hiddleston says. “In a way, it’s a similar premise: He’s a god or he’s a being from a different realm, and it’s not naturalistic in the way that we might expect. He does it so truthfully, and it’s so clear and clean and open and honest. I thought, If I can even approximate or get close to the kind of clarity that Christopher Reeve had in those films, I’ll be lucky.” 

And then, the morning of his “Thor” audition, Hiddleston went for a run, “which is my habit before doing anything unusual,” he explains. 

Running has remained a constant throughout the actor’s MCU tenure. At any given moment over the last decade, the god of mischief was likely doing laps around Marvel’s go-to shooting location, Pinewood Studios (now Trilith Studios) in Atlanta. “Life is movement; I really believe that,” Hiddleston says. 

“I find when I’m running or walking, the repetitive nature of it relaxes the mind and allows ideas and inspiration to come from a deeper place. I see my work as an actor—especially in preparation for a project or a scene—as almost preparing myself to be open and ready to receive ideas, to receive energy from other actors, to receive energy from my imagination.”

Hiddleston found the technique particularly helpful when he was filming a scene for the “Loki” series premiere that he calls “one of the most thrilling challenges I’ve ever had as an actor.” In it, Loki has been poached from the flow of time itself by the temporality-policing Time Variance Authority and forced to watch what is, essentially, a highlight reel of his entire MCU arc. It’s one of the most deeply existential moments you’ll ever find streaming alongside the likes of “Bluey” and the “Cars” movies. Here is a man watching the sum total of his life—his hopes, his dreams, his failures, his own death—play out in a 30-second clip that ends with the cold, clinical words: “End of file.”

“I just kept imagining: If you were afforded the opportunity or forced to watch your own death as a bystander, it would bring about an existential shock and crisis unlike any other,” Hiddleston explains. “It was a scene where I thought, I don’t have a reference for how to play this. I just have to allow shock, disgust, disgrace, shame, disbelief, acceptance, incredulity, and sorrow to exist in the center of me.” 

As an executive producer on the series, Hiddleston had a say as to which of Loki’s many misdeeds would play in the sequence. He chose clips like Frigga’s death in “Thor: The Dark World” and his father’s final words in “Thor: Ragnarok”—moments Hiddleston knew would most fill the character with regret. As production was preparing to shoot the scene, he asked first assistant director Richard Graves for a 20-minute warning.

 “I decided to jog around the stage and internalize as many of those memories of those people, those characters, those actors [as possible]—to try and find the center of my own vulnerability,” Hiddleston says. “Part of the joy of it was just going back to basics, trying to simplify this very complex thing…. Go for a jog, get into your body, allow yourself to be open, and just be there; just feel it.”

One “Loki”-like time jump later, Hiddleston found himself in a similar situation as he was preparing to shoot his final moment of Season 2—a scene that effectively caps Loki’s 13-year arc. Across 12 episodes, the show guided its title character toward a truly heroic end: With all of existence on the verge of collapse, he steps out of time to tie the strands of every reality together. As the credits roll, Loki sits at the center of time, holding in place all that is—alone. 

It’s a lot for any actor to internalize, especially one who’s performing solo in front of a blue screen. With 45 minutes to cameras rolling, episode co-director Aaron Moorhead made a suggestion. “He said to me, ‘Why don’t you go back, if you can bear it, and watch some of your work [over] the last 15 years?’ ” Hiddleston remembers. “ ‘Take it in, see what it means to you, and then carry it when you step out onto the stage.’ ” 

The actor took Moorhead’s advice to heart. And suddenly, without meaning to, he was mirroring the moment that started the series: absorbing the sum total of Loki’s MCU run. But this time, his regret had been replaced with gratitude. Hiddleston watched clips from “Thor,” remembering a time when he and Hemsworth had yet to ascend to the A-list. He recalled working with powerhouses like Hopkins and Russo, and the bonds he forged with the “original six Avengers” in 2011. He thought about how fun it was to film “Thor: Ragnarok” with Tessa Thompson and Jeff Goldblum, and of the more recent friendships he found with his “Loki” castmates Di Martino and Owen Wilson. 

“I thought, What Loki is doing, he is doing for his friends. And so, Tom, why don’t you do it for your friends?” Hiddleston says. “That’s where the two of us met in that moment. And then I was so grateful I had this most amazing crew, and we did it together.”

The actor is, of course, noncommittal as to whether this is actually the end of his MCU run. The franchise is scheduled out until at least 2027, and Hemsworth has mentioned his desire to make another “Thor” film. And if Loki’s past has proven anything, even the most official endings can be undone. 

Either way, it seems to Hiddleston that something significant has ended, even if it’s just Loki’s full-circle arc. “I hope it feels redemptive because his broken soul is partially healed; and you see that this character, who is capable of love, has made a decision from and for love,” he says. The actor cites the “beautiful prologue” of the first “Thor” film, in which Hopkins’ Odin tells his two sons: “Only one of you can ascend to the throne, but both of you were born to be kings.”

“At the end of Season 2, Loki is sitting on a kind of throne; but it’s not arrived in the shape he expected, and there’s no glory in it,” Hiddleston explains. “There’s a kind of burden, and he’s alone. He’s doing it for his friends, but he has to stay there without them. There’s a poetic melancholy there which I found very moving.”

For now, Hiddleston “can’t even conceive” of his life without Loki. He only hopes that he’s lived up to his guiding ethos as an actor, which he sums up with a plea from E.M. Forster’s 1910 novel “Howards End”: “Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height.”

“The feedback loop for actors is that we get to inhabit a fiction,” Hiddleston says. “But hopefully, that fiction bears the shape of a truth that we recognize about life—that what we do reflects the ups and downs, the peaks and troughs, and the breadth and profundity of all of our lives.”

Hiddleston exists in that space between fiction and reality, the work and the resulting art, the prose and the passion. Long after we’ve moved on from our interview and started casually discussing the cherry blossoms blooming in New York, his eyes light up. He’s made another connection, remembered one more thing—just one last thing he’d like to impart about Loki. 

He spends a lot of time thinking about Loki. You can probably tell.

“I’m so aware that the reason I’ve been able to play him for so long is because of the audience’s curiosity and passion,” Hiddleston says. “I’ve been delighted to find that for a character of such stature, he’s remarkably human. Many of the characteristics that people connect to in Loki are deeply human feelings. That’s been the pleasure, is infusing this elevated character with humanity.”

Even then, honestly, it feels as if Hiddleston, like Loki, could go on forever. Unfortunately, outside of the MCU, time moves in only one direction. Once again, he has to run.

This story originally appeared in the June 6 issue of Backstage Magazine. Subscribe to In the Envelope: The Actor's Podcast to hear our full conversation with Hiddleston (out 6/6). 

[rabnerd28]

Watching Cats (2019) DvD Commentary

Thoughts as I watch:

Tom is literally basing this entire movie on the one time he saw Cats in 1981 when he was 8 years old

He called the movie a coming of age film about Victoria meeting characters that effect her and that Tugger represents the sin of lust (yes I am laughing)

He said abandoned three times in a row to describe Grizabella

Tom made up the thing about Grizabella used to be with Macavity happened because he wanted to cut out the idea that she was a prostitute

Has Bustopher eat trash because he thought that's what cats would be more interested in

The pause in Bustopher Jones when he says to gather the cats is a meta joke about the cats actually being people

The food was CGI

"Sees the implication of his unchecked appetites" in reference to Victoria and Bustopher Jones

Hooper brought his niece and nephew to set to play on the Mungojerrie and Rumpleteazer set

He keeps insisting that there is a learning and growing arc for Victoria, but I have no idea what he's talking about

He has barely talked about the characters as actual characters and mostly just talks about how great it is to work with famous celebrity number five or how they're symbolical. I think he's making things up at this point

He added the love story because he thought Misto trying to figure out how to be a magician was a good parallel with Victoria's story of finding herself

Originally the first barge scene was longer with a lot of improv from James and Rebel as Growltiger went on

"Robbie Fairchild is brilliant" that is the only thing Tom said that makes sense

This man really said "women can be the god of cats in 2019"

Judie and Ian were the ones to decide that Gus and Old D had a thing...well at least they followed the pattern of cats actors making weird decisions for their characters

I've come to the conclusion that Tom chose his cast based on which famous actors he's always wanted to work with

Tom has no idea how to describe choreography...just like how he has no idea how to film it

Giving Victoria a solo to sing was ALW's idea

He thinks the call and response of Beautiful Ghosts and Memory is brilliant and doesn't understand how he fucked that up

They almost cut "Moments of Hapiness"

He keeps talking about how great this film is for women, but where is Demeter sir!

He didn't know that it's Jellylorum that sings Gus' song and because Ian couldn't tell what the relationship between the two was he cut out her singing it for him

He talks about the advantage of mixing the CGI with the practical clothing, and I'm like, you know what would be even better? No CGI!

I don't know who's playing Bomba, but she was the first person to be cast in Cats

He said that he thinks Macavity works better as a solo and it didn't need to be a duet...I have never felt more like murder in my whole life

Taylor Swifts dad gave him the idea for the catnip

He likes the idea of Macavity being evil yet still plays by the rules...why?

He's talking about the changes from the musical to Mr Mistoffelees, and boy is he not bringing up that Tugger is the one that sings the number

Talks about community like there was any in this movie

This man has no idea who Jemima/Sillabub is, does he?

He finally mentioned Mette Towley as Cassandra at least. Recognize that she's the best character in this film goddamit!

Apparently Munkustrap was supposed to be learning about leading this whole film...wat

Apparently he watched the 98 film several times while writing the script...and yet this movie is straight

I'm not watching the commentary for the end credits. Fuck I hate this man

[kun3ho141]

This image does not belong to me. All credit is due to its respective owner.

Inspiration: Call of Duty: Modern Warfare

Pairing: Simon 'Ghost' Riley x F!Reader

Synopsis: After accepting the fact that he'd never intertwine his life with another's, he crosses paths with you. Now, all he desires is to take your hand in marriage.

Word-Count: 1.1K

Warnings: None

☆ Reblog, Comment, and Like ☆

I do not permit others to translate or republish my works on this platform or any other A.I. program.

A/N: Have you seen the TikTok trend where military personnel highlight their partners or loved ones using one of Hoizer's songs? This trend actually inspired me, and I created a scenario based on it.

Thank you for reading!! ♡

Simon 'Ghost' Riley, the notorious special forces operative, is a figure known and dreaded by various specialized groups. Wearing a skull mask, it represents a wounded and solitary side of his character, a fragment that still bears the scars and fractures from the trials he’s encountered. After enduring brutal torture, losing his loved ones, and immersing himself in a military career, he had accepted a life of solitude, convinced that he could never intertwine his life with another’s. 

Yet, as he stands at the altar, surrounded by his teammates, they watch as you make your way down the aisle.

At that moment, time seems to stand still for Simon. His hardened exterior, built over years of pain and loss, collapses as he admires you, revealing a vulnerability he never thought he’d experience again. Nevertheless, as his gaze meets yours, he feels a glimmer of hope, a sentiment he links solely to you.

· · ────── ·𖥸· ────── · ·

Simon spent years reaching this point, with you gradually breaking down Ghost. Progress wasn't consistent, with some days being more successful than others. While his defenses only crumbled for you, you played a significant role in shaping his current character. You healed someone who believed he would only break further, someone who considered himself irreparable. You provided him with hope, love, a confidant, and a secure place to call home. After years of knowing Ghost, you crossed paths with Simon. Your Simon…

· · ────── ·𖥸· ────── · ·

Facing each other, the world around him begins to blur. The instrumental music and officiant's words fade into the background as he studies you, captivated by your radiance. His focus narrows, fixated solely on your silhouette. He’s always found you beautiful, whether you're dressed in tactical gear, casual clothing, or simply bare. However, seeing you in a wedding dress, with your veil gracefully cascading over your hair, he believes that you’ve never looked more gorgeous.

Following the officiant's opening remarks and readings, the exchange of vows takes place. Simon, appreciative of you and all that you’ve done for him, healing him in ways no one else could, ensured his vows were perfect. Without your knowledge, he had rehearsed his vows prior to the wedding day, dedicating time to writing, revising, and practicing them repeatedly. Instead of relying on a written script, he chose to look directly into your eyes during that moment.

“My love, when I was cast aside by others, left fractured and isolated, you didn't turn away. Although I’ll never understand why, you offered me your love. With that love came a sense of belonging, a life I never thought I’d experience. You never once considered giving up on me when I seemed beyond hope,” he expresses, his voice faltering as tears stream down his face. In your peripheral vision, you noticed his teammates smiling, witnessing Simon's presence after years of working alongside Ghost.

“You cherished every aspect of me, even the sharp edges that wounded you. You polished them down with your love, shaping me into the man I am today. In this moment, all I desire is to spend eternity with you," Simon declared, his eyes glistening with tears as he gazed at you. His voice remained strong, despite the tears cascading down his cheeks. He knew he had to be strong, just as you had been for him throughout the years.

"I, Simon Riley, take you to be my wife, to have and to hold from this day forward, for better, for worse, for richer, for poorer, in sickness and in health, to love and to cherish, until parted by death. And if there exists an afterlife, may our marriage endure beyond the grave,” he concludes, a gentle smile gracing his face. Tears stream down his cheeks, and he exchanges nods with his groomsmen, acknowledging their silent support. 

Tears fill your eyes as his words sink in. Despite your efforts to stay calm, your emotions flood over you. Reflecting on how much you’ve both grown, memories flash through your mind like scenes from a film.

· · ────── ·𖥸· ────── · ·

Reciting your vows becomes a challenge, as you have to stop several times to compose yourself. Your voice trembles, but you compensate with a tearful smile. Simon gazes at you with admiration, witnessing as you profess your love for him just as he did for you. Your tears and faltering voice do not deter him, but rather intensify his love for you.

“...take you to be my husband, to have and to hold from this day forward, for better, for worse, for richer, for poorer, in sickness and in health, to love and to cherish, until parted by death. And should an afterlife exist, I will happily hold your hand as we walk the expanses of our universe." You conclude your vows by promising to take his hand in marriage; during your lifetime and long after. Your eyes meet, unwavering, reveling in the romantic hues reflected in each other's gaze.

Upon finishing your vows, Johnny emerges from the line of groomsmen, presenting you and Simon with each other's rings, signaling his approval with a nod before returning to his place. Drawing closer, you and Simon intertwine hands, his touch tenderly guiding yours. Never did he imagine that his hands, typically calloused and stained with blood, would be adorning your finger with such a delicate stone. A symbol of his affection for you.

The ring is delicately placed on your finger, causing the beautifully cut diamond to sparkle in the glow of the cathedral lights. You gaze at the stone, admiring its beauty before sliding your husband’s band onto his finger. The wedding band bears both of your initials on the exterior and the date of your wedding inscribed within. Raising your eyes, you meet Simon's loving gaze, reciprocating the smile.

With the approval of your officiant, his hands glide to your waist while your arms elegantly drape over his broad shoulders. Drawing you closer, your lips meet simultaneously, holding onto you as if he’d never see you again. The applause from the intimate gathering fades into the background as he gently dips you, his hands tenderly supporting your back. Your lips linger against each other for a few moments before you both reluctantly part, resting your foreheads against each other in a moment of pure affection.

“I love you,” he confesses In a hushed whisper, a declaration meant only for your ears. A gentle smile graces your lips as you separate from him, your hand tenderly caressing his cheek, tracing the scars that have become so dear to you.

"I love you more, Simon."

[thelegendofmik]

Stop Defending Ableists Challenge (Level: Impossible)

So the other day I made a post listing all the ableist things Jacob Richmond has included in Legoland and Ride the Cyclone.

And the response was abysmal - the amount of "well actually..." kind of responses I got was disgusting and I took down the post because I find it counterproductive to argue with teenagers on the internet. However, I stand by the belief that if you think you are old enough to post publicly on the internet, you are old enough to be held accountable for what you post.

But I think what I had to say was quite important, so I am going to reword it here.

TW here for the discussion of ableism and ableist slurs (they are all censored)

There is ZERO (0) justification for the use of THREE (3) ableist slurs across both works. I don't fucking care if it was the 2000's. The ADA predates both shows and disability activism had existed for decades before that (as yannick very kindly reminded me). So no, it was not ok for Richmond to use those slurs in his works, regardless of the time period. Because there is nothing "correct" (politically, or otherwise) about ableism.

And before you say "Oh, but it was the character who said it, not the writer..."

CHARACTERS ARE NOT SENTIENT BEINGS! They are not created in a vacuum. Their thoughts and actions are often a reflection of the author's own beliefs and morals.

It was not Ocean who decided to use the word cr*pple. It was Jacob Richmond who decided to use it. Same with the r word and sp*z in Legoland. It wasn't Penny and Ezra who decided to use those words, it was Jacob Richmond. Because each character's actions are dictated by the decisions that the author makes for that character. And in this case, the author decided to be an ableist asshole.

Yes, characters can be assholes. They can be complex and nuanced beings. But there are better ways to portray such experiences than being violently ableist (i.e.: without using slurs). And why does the ableist character get complexity and nuance, but the disabled character is simply the sad, disabled kid, with not much else in his personality until he magically becomes abled bodied. Like we deserve nuance and complexity as well, people!

In a 2022 interview with Curtain Call Bway (here), when asked who his favourite character to write was, Richmond responds with the following:

Ocean is definitely my favorite character to write because it’s based on certain people I’ve met and certain aspects of myself too.

Like he literally admits it himself, that his decisions when writing an ableist character were based off aspects of his own personality.

The reality is, disability has never been more than a comedic plot point to Richmond. He has never cared about portraying a realistic disabled experience. He has never cared about disabled people.

And the cherry on top is that his response to yannick-robin being hate-crimed was to rewrite Ricky so that he could be played by an abled and therefore production teams wouldn't have to give a shit about ensuring their spaces are safe and accessible for disabled performers. If he actually cared about disabled people and properly representing our experiences, he would have worked with a disability consultant and fixed the issues within the show. Instead, he doubles down and causes even more harm.

To add insult to injury, he then licensed that script to Sarah Rasmussen and her team of ableist cronies for the DC production. Because him choosing to continue working with Rasmussen and her team just shows that he shares the same ableist values as the McCarter/Arena team.

So by saying that "its the character, not the author", you are defending Richmond and his violent ableism. You are attempting to justify the harm he has done and CONTINUES TO DO to disabled people. YOU. ARE. A. PART. OF. THE. PROBLEM.

Ride the Cyclone and Legoland (in ALL its forms and versions) contains so much ableist violence. This violence has traumatised REAL PEOPLE, but yannick, myself, and other people speaking out are the ones ruining the vibe by calling it out? Be fucking for real people.

Now if only my university papers were this thorough...

[littledigits]

thoughts on the cut episodes and ppls reactions 'n stuff

Since it was confirmed that a few more episodes of Hilda were written but cut, I do think the reaction of people finding this out is really interesting and not just because its fairly common in the industry and isint a sign of anything bad necessarily. I mean heck, in a weird way being behind the scenes and then seeing how people interpret things, what they take as important, what they think is a thread…all of that is interesting. When your job is basically trying to get people to pick up what you're putting down storywise its kind of a neat topic, because everyone communicates in their own way.

BTW before I keep going this is not a post to say dont crit/vent/complain/whatever about whatever the heck you want in hilda or any media, you do you. I think peoples honest takes are fascinating (said in victoria van gale voice) and even just people speaking their mind shows that they are interested and they care so that matters. Also not one singular post triggered this, its just been on my mind as I surface level read things so no stressies.

When It comes to the cut episodes, I'm seeing some people assume that whatever was cut would have fixed some of the crits they may have had about the season..and who knows, maybe yes? But I'd say ultimately probably not. Not because they dont include things that people want to see, or may have some topics people want expanded on ..but because thats just impossible in the grand scheme of things.

I mean this applies to shows in general, not just hilda. Every person who watches a show has their own idea of what the show represents to them. For some of its more of the surface events or characters where as others connect it with a deeper emotion. A lot of people respond to different tones of the episodes, which there are many. Some people prefer the one off adventures that stand alone as their own stories and others want to see more of a stronger through line. Some may see a new character and expect a new arc and thread, while others wonder why we couldn't've used a previously introduced character. Some may read between the lines more and others may take what is presented as very straight forward and literal …and no one is WRONG, because our big wrinkly brain meats all have their own tastes and ways of imputing information.

Television animation is rife with factors that actually futz with the quality and ability of the team to make a beautiful, amazing product like EVERY DAY. The script process and what goes into production is just one. The team is made up of many creatives all with their own varied experiences and voices just like the audience. In order for people to have their own voices and say, you are going to end up with some things that hit better then others, especially if the team is allowed to grow and experiment and play a little. Hilda has always been a show where we've been able to have a lot of creative say, and i think that sincerity comes through ! but with the sincerity and that humanity, it also means that there are going to be things that arnt going to make sense in the grand scheme of things lol. Even the writers and creators and producers have differing opinions on what to explore and dive into, probably more so then fandoms haha. Having more episodes may scratch some itches but not all, HECK, those episodes being cut could have re-allocated resources to other areas that helped elevate your fav ep of the season ¯\_(ツ)_/¯ who knows! Schrodinger's episodes! (also ngl I was having cold sweats over the scope of some of them as cool as they were. The season may have been shorter but it was intense..it takes a long time to do stuff that looks that clean and crisp)

Imperfect art is very human! Do the best you can at the time with the factors you have. I was given so much trust and freedom on my episodes, and I was just happy to do something fun that allowed me and my team to grow and learn. I was fucking STOKED to get a one off story because it was way less pressure for me to take my next step directing cuz just doing the thing is a feat. Any sincerity you feel cant come through if that means we're afraid that we cant make mistakes, or do a story choice ppl wont vibe with. All you can do is do the best you can, see if people are picking up what you're putting down, and grow from it for next time.

Anyway, just a thought ramble. Its not to say do or dont do this or think this way blah blah. I just love that storytelling is messy and complex and everyones gonna take it a lil differently, especially if you have a team where you allow lots of voices to have input. It is all just a big experiment to see if people leave with a particular experience by putting your resources into the things you have that matter, and try you best to distract from burnt edges or patched up holes that happened throughout the process of making the dang thing lol.

[agentsofmarvel]

some of my favorite agents of shield fun facts (season 2 edition)

part two!!! [part one is on my page!]

- to show the difference of coulson as the director of shield instead of an agent, they specially tailored each suit, used expensive slim ties, and even tailored his collar to make it higher. they also only made five suits for clark to wear the entire season.

- the cast and crew loved simon kassianides as bakshi so much that they kept his character in the story much longer than planned. he ended up dying five episodes after he was originally supposed to.

- in the episode “Face to Face” where coulson and may are undercover at the party, they made may’s undercover personality based on ming-na wen’s actual personality. a lot of the scenes of may at the party hanging out were unscripted.

- the writers modeled coulson in season two after nick fury, as the new director of shield. the writers made his previous role as a high ranking agent protective of the younger agents more akin to may’s character.

- bobbi wears blue, black, and grey constantly to represent her comic book mockingbird suit. she wears red two twice: while undercover at hydra & when she’s in japan (where she’s pretending to still work for hydra) to show the contrast in her undercover persona and real self.

- the crew and writers modeled the ward family somewhat after the Kennedy’s…what.

- the episode where ward confronts his past is called “The Things We Bury” which is a play on words for a book called “The Things They Carried”, which is a book written about the Vietnam War from the point of view of a soldier (i’ve read the book for a class, it’s a true story).

- the cast (other than adrienne and henry) had no idea mack and bobbi were working for another shield until the episode for the script was sent.

- the day chloe found out that skye would be an inhuman was on the day in season one that an earthquake hit the set. SHE FOUND OUT SHE WOULD PLAY AN INHUMAN WITH QUAKE POWERS THE DAY AN EARTHQUAKE HIT!!

- chloe knew her character existed as a superhero in the comics since she got the role, but she didn’t know which one. at first she thought she could be she-hulk or even mantis but after researching comics she realized she was playing quake a few days before the writers told her she was quake.

- a camera typically films at 24 frames per second. in the scene where skye breaks out of the cocoon in the underground city in puerto rico, the scene was filmed at 1,500 frames per second.

- after trip’s death a lot of the cast thought he would come back again because they said it’s marvel and people come back from dying all the time.

- in the scene filmed on the football field in “One Of Us” it was actually 45° F, which was the record coldest day (at the time of filming) in Los Angeles since 1885.

- lincoln’s character was literally created to give skye a break. they literally realized she’s been through so much in one season that they wrote in a possible boyfriend to make her happy for once.

- one of the writer’s favorite scenes to write was the dinner scene between cal, jaiying, and skye.

- coulson was almost an inhuman. yep. the idea was brought up in the writers room but they decided against it because they liked the idea of coulson being the average man within the craziness that is shield.

this wraps up season two fun facts! i’ll probably post season three when i can!! i don’t really have any plans for the rest of the seasons though :)

[echo-heo]

Problem with Discord's new (and old) font(s) and its treatment of non-Latin text

Before getting into it, I'm gonna say that I'm not going to criticize its aesthetics or "readability". These feedbacks are rarely helpful from the designer's perspective especially coming from people who don't know much about what goes into designing a typeface, and because readability is really, really subjective.

I was happy to hear that discord was changing its font, especially when I found out that they are adding support for Vietnamese. Previously, discord used Whitney, a humanist sans serif font with Latin, Greek, and Cyrillic support. Unfortunately, Whitney doesn't support all Latin characters in Unicode, and crucially it doesn't support Vietnamese characters.

Text font not supporting a script is usually not a problem, the fallback font will take care of it for you. The problem occurs when there's partial support. Vietnamese uses Latin, but it also has a ton of precomposed vowels with diacritics. This is what Vietnamese looks like on my phone, where the font change hasn't taken effect yet:

here's the same text with unsupported characters highlighted in red:

It might not look that weird because the fallback font on my phone happened to be somewhat similar in style to Whitney, but depending on the device it may be completely unreadable. I submitted a feedback a while ago asking them to address this issue

This is why when I heard that discord was changing its font to add Vietnamese characters, I was excited. This is what the same text looks like in gg sans.

All characters harmonious!

However, after receiving the update I was disappointed because the new font now no longer supports Greek and Cyrillic. This alone is not really a big problem, because Greek, Cyrillic and Latin characters rarely occur in the same word. Although it is disappointing that they are no longer harmonious, it's not that big of a problem. The problem though, is that they decided to include Δ, Ω, μ, π (capital delta, capital omega, lowercase mu, and lowercase pi) into the font.

Depending on the device and rendering settings, it might look like it fits well with the fallback font, being almost unnoticeable, or so noticeable that it's hard to read. These four glyphs are often included in typefaces that only support Latin as they are often included in Latin lettersets because of their use in mathematics and science, so I thought it was simply an odd oversight.

Then I found out about this:

(As of 2022/12/3 9:22 pm UTC+9 I couldn't recreate this. It may be because of css setting or because they've already fixed it. I'm hoping it is the latter) They decided to include katakana characters to be only used in the shrug emoticon.

I was massively disappointed when I heard this news because it means they did not care at all about global accessibility when making the new font. I was under the impression that they were doing it at least partially to address this issue. I was under the impression that maybe they've heard us complain and complain about the font only having partial support for Vietnamese. Maybe they've realized the core problem. But no, it's clear that they still don't know what the problem is.

Maybe I should have realized it sooner. Did you know, Discord limits the amount of diacritics that can be attached to a single character, even though in a lot of non-Latin writing systems diacritics are crucial because they represent vowels, consonant clusters, et cetera?

Moreover, did you know that Discord has a limit on how many diacritics you can have in a single message? This means if you have a copy pasta in abugida writing systems such as Devanagari, Thai, Khmer, Lao, Bengali, Burmese, et cetera, the vowel diacritics are just going to disappear after a while, rendering the text unreadable?

Affected portion underlined in red. I assume these are done to prevent zalgo, which really shouldn't be done by Discord itself, not to mention that typical "zalgo" diacritics are usually IPA diacritics with actual use, which can often stack in a zalgo-like fashion.

Did you know that Discord enforces strict text line height, even though some writing systems need more horizontal space than latin to be legible? Anything outside of the bounds are cut off and rendered invisible.

Anyway, do you remember when I said I wasn't going to talk about aesthetics and readability? I kind of lied. I am going to talk about them.

A lot of people seem to be saying that the new font is bad and that it's significantly less readable than the previous font. I have doubts about whether this is actually because of the font itself or because they're simply not used to it yet. My guess would be the latter. However, that doesn't mean the solution is to make these people shut up and wait till they get used to it.

There is no universal solution for readability and legibility. The truth is that different people have different needs, and this is no different when it comes to typefaces. Ideally, discord should provide an option to change fonts. Many platforms do. They've been refusing to implement it because, I dunno, brand image?

There is also a bigger problem with how UI designers design in general. They only design around Latin in mind, even though different writing systems use space differently. Many Brahmic scripts use ligatures and diacritics stacking above or below the main character. If you care about non-Latin scripts not appearing illegible, make it so that UI elements can accommodate for that, or something.

I'm bad at writing conclusions, so there you have it. Me rambling about a thing that I care about that apparently everyone else should too.

[hyperraduo22]

my dps roman empires

cuz i keep seeing those videos with my love mine all mine on my feed with consistently ugly-sob-inducing stories and roman empires so now i have this long list i wanna share

+ may include some little facts here and there for anyone new in the fandom

• anderperry’s entire relationship and dynamic

literally no explanation needed on why it’s the top of the list and the first thing i wrote down

the whole hourglass and icarus x the sun dynamics makes me sob every time without fail

someone rewrite the script so they have a happy ending please

also me: wym they already do?? they got married and went to new york??????

• charlie and neil :(((

• thinking about charlie’s experience and dealing with grief post-expulsion

• todd’s entire character

bro makes my quiet x anxious kid heart go brrr

like just thinking about the little implications of his behavior and what’s said about his brother in the script makes me wanna cry and scream and throw a tantrum

he really represents the epitome of all quiet shy kids out there and i really appreciate it

• dead poet’s society but from cameron’s perspective

i understand y’all wanting to punch and yell at him and show no forgiveness but i also think you should give a bit of sympathy for this kid

he doesn’t know any better just like charlie or any of the other poets

damn this movie does a great job of showing reality and the fact that there’s no real enemies

• dead poet’s society but from pitts’s perspective 👀👀👀👀👀👀👀

like i’d pay to see this honestly

• pitts’s screen time :((((

my underrated boy :(((((

• pitts and cameron’s dynamic

i KNOW we see these two talking in the background and seeing him make cameron laugh and smile the most compared to everyone else

like??? i wanna see more?????

cameron being outwardly comfortable around someone finally???

• the fact that all the movie's events ensued as they’re all high schoolers

like idk if there’s a canonical age for any of them but whether they’re juniors or seniors the trauma is still the same

• the thoughts of the kids who stood up on their desks at the end of the movie

how are they dealing with keating being away now? how do they view life in general?? did they really appreciate keatings class???? would they join the dps if they had the chance???????

• hopkins’s portrayal

its kind of a 50/50 since bro barely has screen time, yet i see his character oftentimes being portrayed as the class asshole

i think it’s clear that him and his friends commit tomfoolery and are overall jerks but to think that he’s the more sensible, level-headed guy makes a lot of sense to me—kinda similar to charlie in a way

like he knows limits and when to not push them even if he doesn’t come off that way. all bro does is chill in class and stare off into the windows daydreaming (as shown in the whole ripping out the poetry intro scene). bro doesn’t wanna be there. he’s just chilling and honestly same💀

• spencer’s actual treatment in the movie

ik we love this man, and our headcanons (or at least what i’ve seen and my own for the most part) say that people treat him well but low key everyone be on his shit

like it brings up the question of whether or not this is considered bullying cause any scene i see he’s either blatantly shoved around or even the guys around him purposely steal his medicine and pass it around so he can’t have it (including stick participating in this)-

like i think there’s some limits to being a jerk and idk how spencer really feels throughout the movie cuz he’s a background character :////

• HANDSOME ASS BACKGROUND CHARACTERS AND THEIR SCREEN TIMES = UNFAIR! CRIMINAL !!!!!

• the fact that ginny’s character just gets completely cutout. like she has a few lines to begin with and then the movie comes out and she ends up being a non-speaking extra in the play like i’m- what happened???

• tina and gloria / girl characters portrayed in dps in general

let me explain cuz i love them but also feel bad for their characters

like low key they’re just used as experiments for the cave (implied by charlie in a deleted scene that wasn’t recovered although i think this part is in the original script as well if i remember correctly)

although he brings them back a second time in a deleted scene where they’re all dancing around outside of the cave on the night of the play only for him to make out with one of them in another deleted scene that wasn’t recovered… (( this was revealed in an old interview on someone working behind the scenes btw ))

so like i kinda feel bad for them. like y’all just there for show but i wish you had more lines and other purposes besides possibly not passing a bechdel test ://////

^ lowkey this same concept is kinda seen with chris’s character too. like all she’s there for is a romantic interest for knox. like cmon now she’s one of the main female characters and THIS is what she gets. i wanna know more about my girl chris!!!!

and i kind of understand why it’s set up this way since y’know it’s an all male boarding school in the 1950s—how do you fit female characters in and how are they viewed? it’s not the greatest setup of all time

• ANDERPERRY DELETED SCENE ON THE DOCK NOT MAKING IT INTO THE FILM LIKE OUT OF ALL DELETED SCENES THAT ONE IS THE REALLY IMPORTANT ONE !!!!!!!!!!!!!

• the deleted scene of the poets carrying neil’s coffin 🚶‍♂️

like goodbye. doors closed. tears shed.

kinda glad it’s not in the movie cuz i would’ve sobbed uncontrollably even more than neil’s death

• todd’s poem

another deleted scene that really rearranges my internal organs

the fact that him reading this poem was supposed to be in tandem/include shots with neil’s death-

why do the writers want us to cry rivers?????

BUT ALSO ITS FUNNY ASF IF YALL WATCH THIS DELETED SCENE WHEN TODD IS TELLING THEM WHAT TO REPEAT BETWEEN VERSES, ONE OF THE POETS GOES “what??🤨”

I’M SORRY TODD IK YOURE TRYING BUT THAT LITTLE AIRHEADED ASS “what?” IS SO FUNNY TO ME

• the fact that in the very first version of the script, keating was supposed to have cancer

I FORGOT ABOUT THIS UNTIL LAST MINUTE

LIKE Y’ALL ADMITTED THAT YOU WANTED TO HAVE A SCENE OF KEATING DYING IN A HOSPITAL AND WERE PONDERING ON WHETHER HIS CHARACTER SHOULD HAVE A FATAL ILLNESS FOR THREE DAYS ?!?!?

thank god y’all made the right decision and rewrote the script to take that out

[rmwb-fanfics]

How to remake Harry Potter:

(A step by step guide)

We’ve already had one god-awful adaptation that way too many people think is good. This is our one chance to have the book characters represented correctly, along with the plot they support.

I’ve put YEARS of thought into this. I’ve written scripts for episodes of a hypothetical tv show. I’ve drawn concept art. I’ve done shit. So I figured I’d share my thoughts.

1. Stick to the books*.

Stick to the books has a massive asterisk next to it because I mean the plot and characters. Some stuff (as you’ll see later) should be changed.

Nothing in this show should feel out of character. Harry should be closer with Ron than he is to Hermione. Snape should be a real d*ckhead. Hermione should be judgmental of those who don’t think like her, etc etc. The way these characters navigate their relationships is why the fandom is still relevant. It’s why canon-compliant fic is popular in the first place. We like their dynamics. SHOW THEM APPROPRIATELY.

Plot is a sticky thing because I’d say there’s wiggle room, but not too much. Certain characters have to die. Certain events must happen. You cant change that stuff.

2. Use the Medium.

You’re using film as a format to tell your story. Ideally you’d us animation, but I know Warner Bros has less creativity than Disney’s remake department, so I won’t even try and pitch that.

Use colour and saturation. It can help contextualize emotion. It can make us subconsciously recognize things. For instance, the scene growing more saturated when Ron walks into the room when Hermione is wearing the horcrux, or any multitude of other uses this could bring.

Bring in costume design that (actually fits the world) but also helps show how that character is feeling. What they’re thinking, their personality, their future, etc.

Make magic fun™️. The books sort of sidelined magic in 5-7. Don’t do that. Divert from the books. Magic should feel alive. Colour-code them so we as an audience can recognize spells and what they might do before we see it. Implement sound design to make each spell unique and vibrant. Make this world subtly bursting with magic like it was in the first few books. Have it weave around characters, wrap them up. Be creative with action scenes. Force transfiguration into battle scenes. Choreograph your duels. Show don’t tell us that a wizard/witch is powerful. Turn people into portraits. Lock them up as mice. USE MAGIC.

Your set design should reflect this. Everything should be bursting with personality. Don’t just use the shitty movie sets. Inject some colour, have the surroundings aid you in telling the story. Get weird with the camera. Use these tools to their fullest potential.

Actually fucking try.

3. Utilize Music.

Music is just… such a massive part of film. It’s frustrating how often even the best filmmakers overlook its use. Characters should have themes that mature and develop as the series goes on. Have action arrangements of the themes to play with heroic moments. As the series progresses, we grow attached to these themes. When they appear, the audience FEELS something. Don’t reuse great pieces to force emotion. (Dumbledore’s Farewell in The Prince’s Tale. Are you fucking kidding me?)

For example: Have a theme for Neville that starts out timid and uses very shy instrumentals, but we first hear a change when he stands up to the trio at the end of PS. Then it gains more instruments until OotP, when it grows again. Once we get to DH, it can be used in this heroic swell as he chops the head off the snake in front of Voldemort and everyone watching. The audience, consciously or not, will feel that moment even more.

Have a theme for Ron and Hermione that might not even be romantic until HBP when it gains that element. PLAY WITH MUSIC.

Themes for mystery, adventure, loss, love, friendship, LOCATION. Let them come back throughout the series to highlight various moments. See Lord of the Rings and The Hunger Games, as well as (surprisingly) the Fantastic Beasts films.

Let music affect the visuals. Magic can bend and swivel with the music. Use it to tell the story. Use it to show emotion. Use it to progress a character’s arc. USE CONSISTENT MUSIC.

4 . Be Bold.

This is the big one and it may seem like I’m contradicting myself but I’m not. Rowling’s work hasn’t aged crazily well to modern fiction standards. This is your chance to rectify that. Fill plot holes, actually think through the politics. Introduce world-building elements that enhance the story/characters. (The house system, and how Slytherin fits in. The logic behind avada kedavra???) Get creative with solutions. Contradict the original work when it comes to description of location. If it doesn’t work for the film format, don’t force it to work here.

Spend more time with characters we know are relevant, but maybe not to the plot. These are your Ginny Weasleys, your Seamus and Deans, Nevilles, etc. Really fill them in. Give them more scenes. Ginny has two phenomenal arcs that play completely off-screen, explore them. Show us her friendship with Hermione. Show us her insecurities and her faults. Give us more of her and Harry’s friendship. We know they get married, so maybe fix the whole “Rowling wrote the epilogue first, but didn’t realize she was waiting too long to introduce these characters until HBP”.

Add scenes. Add jokes. Add smiles and covert looks. You have more time, which means you have a chance to focus on friendships, and romance, and world building.

Tell multiple storylines. Give Remus and Tonks a cool spy/thriller subplot interjected with the main story in OotP. Show us more of Fleur staying in England. Give us more of Harry and Sirius bonding. All of this stuff can fit loosely into canon, and be welcome creative additions.

BE BOLD.

And finally,

5. This is your chance to not only retell the story, but to do it better.

RECOGNIZE THIS. Take advantage of this opportunity and enhance canon, don’t fight it.

Don’t add Hermione and Harry dancing because *YOU* don’t like where the romantic pairings went. Don’t add Draco sympathy because you want him to have a redemption arc. Don’t dumb Ron down because you don’t like the fact that he’s just like the teenage boys you dated in High School, and he was a bit immature.

Make changes, be bold, use music, stick to the books*, use the medium, but take this as the opportunity that it is to enhance what came before.

Thank you.

[aihoshiino]

chapter 144 thoughts!

I don't think any other chapter of Oshi no Ko has ever baffled and confounded me quite like this one. Viewed solely in isolation this is a perfectly fine, functional chapter but as the followup to 143 and everything it contained, I actually feel like I'm losing my mind a bit. 143 might as well not have happened for all the weight it's given in this chapter. Ruby is not remotely acting like a girl who just tongued her crush of 18 years and in general, the total absence of any reference or cushioning of the shock of that event is just so loud and so jarring and so completely out of touch with how OnK has handled romantic developments in the past.

Both AquAka kisses had at least a scene or two in the chapter immediately following of characters reacting to and reflecting on both the event itself and the status quo change it represents in the relationship. Even 124 has that scene of Ruby clinging onto Aqua to let the viewer know what the new dynamic between them is going to be from now on. This chapter has nothing of the sort; I wasn't kidding when it says it feels like the kiss never even happened. The only thing I can point to is Ruby's little "we have sensei at home" exchange with Tsukuyomi but that's… kind of just exactly what she would've said even before the kiss. So if it has resulted in absolutely no change to their dynamic that we can see thus far, what was the point in ending the chapter on that note?

The part of me that is cynical and jaded can't help but suspect that this is intentionally hot button reaction bait paced specifically for the purposes of keeping OnK a trendy topic in the lead up to season 2 of the anime airing, But Who's To Say, Really.

I also had my worries about this last chapter, but unless we skip back in time to address it, it really looks like we've skipped over the remainder of the KamiAi romance and everything to do with the early stages of Ai's pregnancy. This is incredibly frustrating to me - they're parts of Ai's story I had been incredibly curious about and was excited to see her thoughts and feelings on, even filtered through fiction. In general, the way the Movie Arc has been increasingly dropping its focus on actually conveying Ai's story has been a real sore point for me. I fully acknowledge this rankles me more than perhaps it should because I am so deeply invested in Ai above any other character but… fuck, man! Once again, remember when this was supposed to be an arc about her? About her inner life, her pain and struggles and Aqua and Ruby working to a better understanding of her? I was excited for the Movie Arc specifically because I thought we were going to get peeks at parts of Ai's life we weren't privy to beforehand, but at this point it almost feels like Akasaka has just lost interest in following through.

Not only that but… uh, where's that KamiAi breakup scene, Akasaka? The one we were promised during the script reading? That huge I CAN'T LOVE YOU elephant that's been patiently sitting in the room? I can only assume that the 15YL version of this breakup happens after the twins are born or maybe even when Kamiki visited Ai at the hospital the night the kids were born but. What the fuck is even going on here anymore lol. The Oshi no Brainrot discord has been kicking around a joke theory that we were seeing the events of the Movie Arc out of their actual chronological order and it is becoming increasingly less of a joke in my brain because I can't make any sense of its progression otherwise.

oh my god i'm almost 1000 words in and i haven't started talking about the actual point of this chapter yet. god help me.

Anyway, MY SON IS HERE LET'S GO MELT!!!!!!

Ngl, I've always been a little disappointed that we didn't see much more of Melt in this arc, both just because I like him and because I think there's some really interesting potential in drawing on the parallels between Melt and Kamiki. I'm not the first to point out that Melt's experience with a dubiously consensual sexual encounter at the hands of an upperclassman - when he wasn't that much older than Hikaru was when Airi began abusing him - echoes at least in spirit Kamiki's experiences as a CSA victim; both were young boys, noted to be pretty and desirable, who were taken advantage of by older female figures. I think it would be extremely interesting and a great character moment for Melt to have some degree of engagement with that material and maybe to have some thoughts about it. It feels like a little bit of a missed opportunity to pass up on that, but I also acknowledge that Melt is ultimately not a huge mover and shaker in the overall story and I don't know how that would've fit into the Movie Arc as it stands, so I'll just have to make eyes at the AO3 tag and hope someone writes a fic about it.

Anyway as a lot of people predicted… here's Ruby being a jackass to Melt about his performance!!! Joking aside, I will admit it's a little jarring to see Ruby being so hostile to Melt over this…? Gorou is a sore spot for her, obviously and she would undoubtedly have high standards for his role in the movie. In addition, Ruby being snitty with people who rub her the wrong way definitely isn't new for her, but it still feels kind of odd both coming off her own struggles to connect with Ai through acting and her little "holy shit other people have feelings" breakthrough in the wake of the RBKN fight for her to be like this about it. I do think this is mostly just supposed to be just goofs and I'm overthinking it, it was just one of those things that kind of gave me pause as I was reading.

ruby's little little princess shirt is really good though, as is her referring to herself as a fan of the 'original work'. both of those got a solid sensible chuckle out of me.

Another thing that gave me pause for a very different reason was Melt and Ruby's exchange about his little merch pin. First and foremost, I think this is a really good Melt moment; while we saw him busting his ass to improve his acting in Tokyo Blade, that was very much when he had something to prove. Here, he really does seem to be going above and beyond for what is basically a bit part purely out of a desire to improve his craft and a passion for acting overall. It's nice to see the story double down in this being a lesson he did properly take away from Sweet Today and that he has committed to acting upon it (no pun intended) in the long term, not just when under outside pressure to do so.

The other thing that jumped out to me about this exchange is that… technically speaking, both Ruby and Melt are wrong, here? It's a very nice, flowery description of Gorou and it certainly lines up with his more positive traits but the idea of him not wearing his Ai merch in front of Ai herself is actually incorrect. Gorou is depicted (in the anime, anyway) as openly wearing the charm at what's implied to be all times, even in front of Ai herself. The manga also implies by way of where the charm is on his person when Ruby finds his body that this is also the case in that version of events, too. I don't think it's a retcon and may be an unimportant detail in the grand scheme of things but it did pique my interest.

There's a few ways to take this, I think; a more positive spin is that this is in line with what the story wants us to take away from 15 Year Lie as a production, where the literal granular facts of its events are sometimes less important than and can be bent in favour of supporting the emotional narrative it wants to convey. Melt may not literally be correct here, but he at least achieves the spirit of the right answer in his efforts. "Lies are love", after all.

However, given that Ruby enthusiastically endorses this interpretation - and is thus wrong alongside Melt - this could potentially be an indication of there being cracks in Ruby's rose-tinted view of Gorou. This strikes me as a fascinating idea and one I hope the series plays with; it would follow quite naturally from last chapter's framing of Gorou as Ruby's 'idol' that she's 'gachikoi' for. Oshi no Ko has pretty consistently portrayed the idol/fan relationship as inherently unequal, even when approached with the best of intentions and to truly know someone, you must let them off their pedestal first. She has sort of begun this process with Ai, just through empathizing with her during the 15YL production but we have yet to see anything similar happen with Gorou - if anything, we see the opposite here, where she asserts herself as the authority on Gorou's character as if she has the final say on who he was and what he felt and thought.

But the thing is, how well can Ruby really say that she knew him? They were only in each others' lives for a few months and in that time, she was only exposed to a very narrow slice of his life and his personality. Hell, you could even argue that Akane knows more about Gorou than Ruby does, given that we have no indication that Ruby or Sarina was ever privy to the details of his birth and his home life. Again, it's entirely possible that I'm reading too much into this, but now the idea is in my brain I'm simmering on it a bit. If nothing else, I hope the series takes the time to prod and poke at this angle, especially now it has made the fan/idol aspect of this dynamic explicit and textual.

Ruby and Melt's little senpai/kouhai dynamic has the potential to be really cute and I do hope the series actually spends some time on it. I've always thought a RBML friendship could be really fun to watch play out and seeing Melt gain some confidence in himself by teaching someone else could be really great. But with how unfocused the Movie Arc has been, it's really hard to get my hopes up that we'll be sticking with this even past this chapter lol

oh hey there crow girl we thought you were dead

Surprisingly, I don't have a lot to really say about her little lore drop here, since it's mostly mystery boxing and implications and, man. It's been 69 (nice) chapters since she first started showing up ominously muttering about supernatural things and while I don't mind her presence and I think she's evolved into a fun character, it's a little hard for me to get interested in these little supernatural tidbits until they resolve into something that feels meaningful for the characters.

This isn't helped by the fact that we don't really know what kami means in the context she uses it here. While 'god' and 'gods' are not strictly incorrect as translations, I think an English speaking viewer is primed to think of Abrahamic, capital G-Gods, which isn't necessarily correct. The term kami is a catchall that covers all manner of things from divinities to venerated earthbound humans, so kami can perhaps best be understood as being an umbrella term for something like 'an otherworldly being', which I think better lines up with Tsukuyomi's assertion that those who have memories of past lives are like kami in of themselves.

Ultimately though until we know what kami really means and amounts to in Oshi no Ko, it's hard to say what this means for the characters and I am ultimately only really interested in the characters. So until we know what this actually amounts to in-story, I'm just kind of nodding long with whatever Crow Girl says because sure. This might as well happen.

can we talk about how fucking funny her anime antagonist jump out of the tree was, by the way

break next week, or so i've heard... one of these days, we'll beat the allegations....