#and the kids tv??? an ep of My Parents Are Aliens?? a few eps of The Queen’s Nose?? a couple of Tracey Beaker?? WHAT

[rome-roy]

I should have known. I know I should have known. But I am losing my mind over Jesse Armstrong’s writing credits.

If this man can go from writing for kids tv, to creating/writing iconic British sitcoms and sketch shows, to creating one of the greatest tv shows of all time, you really can do anything.

[gtinthepot]

MASTER LIST OF GIANT/TINY CONTENT

Disclaimer, I have not looked up everything on this list and most of it was suggested from others. I cannot promise the accuracy of the content. Suggestions for the list are more than welcome, leave a comment on the post for people to browse through after checking to see if its on the list already :)

I’ll be editing and adding to it here and there, so some reblogs of the post might be outdated. I suggest clicking on the source /main post to get the newest version. The old list can be found here.

7 deadly sins

A bug's life

Aaahh!!! Real Monsters (some episodes)

Adventure time

Alice in Wonderland

Alvin and the chipmunks

Amour de poshe (the girl in his pocket)

Animorphs: #24

Ant bully

Ant man (1 and 2)

Antz

Archies weird mysteries (one ep)

Army of darkness

Art Attack

Arthur and the Invisibles

Athena complex (webcomic)

Attack of the 50 foot cheerleader.

Attack of the 50 Foot Woman

Attack of the puppet people

Barbie and the nut cracker

barbie movies (look up specifics)

Barbie Thumbelina

Beastars

Beatle juice

Berserk

Big man japan

Bottle Fairy

Bramble the mountain king. (video game)

Brave little tailor (mickey mouse)

Bugs life?

Captain America: Civil War

Card captor sakura (one ep and some scenes)

Christmas Stories: The Tin Soldier is a good one.

Clifford the big red dog

Cuphead: Don’t deal with the Devil (mostly with certain bosses)

Darby o’gill and the little people

David the Gnome

Disenchantment

Dollman

Downsizing

Dr cyclops

Dr who (one ep: into the dalek)

Dragon ball

Dungeon meshi (a few chapters)

Ella Enchanted

Elusive people.(video game)

Epic

Ernest and Celestine (more of a mini-giant/doll-sized tiny size dynamic)

Fairytale: a true story (1997)

Fantastic Planet

Fantastic voyage

Ferngully

Final space episode 5

Frame arms girl.

Futurama (some episodes)

Gelias and the giant

Gen V

George shrinks

Gods of Egypt

Godzilla

Grandpa in my pocket

Gravity falls (one episode)

Grounded (video game)

Guardians of the Galaxy (vol. 2 more so than the first one)

Gulliver's Children (webtoon)

Gullivers travels (1939, 1977, 2010) as a well as a mini-tv series

Happily Ever After: Fairy Tales for Every Child: Aladdin

Happily Ever After: Fairy Tales for Every Child: Season 2, Episode 2 thumbelina

Happily Ever After: Fairy Tales for Every Child: The shoemaker and the elves

Helmecrons

Help I shrunk my friends

Help I shrunk my parents

Help I shrunk my teacher

Here come the littles

Hilda

Honey I blew up the kid

Honey I shrunk the audience ride at Disneyland

Honey I shrunk the kids

Hornby sets

How to Keep a Mummy ( Miira no Kaikata)

Inch high private eye

Innerspace

Invincible (Some episodes)

It takes two (game)

Jack and the Beanstalk

Jack and the Beanstalk: The Real Story

Jack the giant slayer

Jackie Chan Adventures (one episode)

Jaimes and the giant peach

Jitsu wa watashi wa (mostly the 4th episode)

Journey 2 The Mysterious Island

King kong

Kubo and the two strings

Land of the giants

Legoland

Lilo and Stitch the series (two episodes)

Little (Grrl) 

little nightmares 1 and 2 (game)

Littles

Lord of the rings

Macross sequel shows (-anime-)

Mars attacks!

Mickey and the bean stalk

Micro Machines

Micro Ventures

Militsioner (Video game)

Minami-Kun no Koibito (2015)

Minish cap (video game)

Moana

Modest Heroes Kanini and Kanino (Short film)

Monster (video game)

Monsters Vs Aliens

My hero Academia (some episodes)

My Little Lover

My Miniature Manual (webtoon)

My Monster Secret (specifically one character)

natsume yuujinchou

Nau-lmg

Night at the Museum

Nils holgersson

Ok Ko! lets be Heroes season 3 episode 9 Planet Vacation

One Punch Man (some episodes)

Onward (a few scenes)

Osmosis Jones

Ozzy and Drix

Pans labyrinth

Paper mario sticker star (Video game, two levels)

Peter pan

Pikmin 1, 2, and 3 (game)

Pinocchio

Pokemon sun/moon anime second season (one ep)

Ponyo

Rainbow Magic

Ratatouille

Rick n morty (one episode)

Robotech (-comic series; new ones-)

Robotech (season one/The Macross Saga) (-anime-)

Robotech Remix (-comic series-)

Super Danganronpa 2 (video game, final boss)

Shadow of the colossus (video game)

Small blessings (webcomic)

Small Lands Survive The Wilds (Video game)

Small soldiers (1998)

Smallfoot

Smurfs

Smurfs lost village

Snorks

Spirit of wonder: The shrinking of miss China

SpongeBob SquarePants (the wumbo episode)

Steven universe

Stormlight Archive (-book series; has tiny fae people-)

Strange days at blake holesy high (one episode)

Strange magic

Stuart Little

Sugar apple fairy tale.

Super giant robot brothers.

Tales to Astonish (comics)

Ted Hughes

Tentacular. (video game)

The 3 worlds of gulliver

The 7th voyage of sinbad

The amazing colossal man

The bee movie

The BFG

The bfg 1989

The borrowers (1973, 1993 1997, 2011)

The Borrowers (Arrietty)

The Borrowers exhibition at the Hancock Museum

The Boys (some episodes)

The dwarf and the giant 1901

The Fantastic Planet

The hobbit

The hulk

The incredible shrinking man

The incredible shrinking woman

The Indian in the cupboard

The iron giant

The iron man

The Journey.

The Last Guardian (video game)

The Last of the Huggermuggers by Christopher Pearse Cranch

The Little Bits

The littles

The magic school bus

The nut cracker

The owl house (one episode)

The phantom planet

The Rescuers

The return of the Borrowers 1992 and 1993 tv series

The Secret of Nimh

The secret world of Arrietty

The Selfish Giant by Oscar Wilde

The simsons (one episode)

The storyteller (one ep)

The Suspicion and #42

The Sword in the Stone

The tale of the princess kaguya

The ultimate avengers (1 & 2)

Thumbelina

Time loader. (video game)

Tinkerbell and The Great Fairy Rescue

Tinkerbell and The Pirate Fairy

Tinkerbell movies

Tinykin. (video game)

Tom and Jerry

Tomb thumb

Townsmen VR. (video game)

Toy story

Transformers

Transformers (old series)

Troll hunter

Troll in central park...??

Trolls

Trolls band together

Ultraman cosmos

Underdogs

Unravel. Porcelain tales. (video game)

Valkyrie Drive Mermaid (one episode.)

Village of the giants

Violet Goes to The Beach (webtoon)

VR Giants. (video game)

We’re Back! A dinosaur story

When the Dolls Woke (book)

Wild Kratts

Wild, wild planet

Wiplala

Wrath of the Titans (one scene)

Wreck it ralph

Yarn (video game)

Zootopia

[lilydalexf]

Old School X is a project interviewing X-Files fanfic authors who were posting fic during the original run of the show. New interviews are posted every Tuesday.

Interview with Tabula Rasa

Tabula Rasa has 8 stories at Gossamer, but there are even more X-Files fics at AO3 and her website. She writes Mulder and Scully in a very lovely way. I've recced 3 of my favorites of her fics here before: Bird in Snow, Fall: East on M St, and Skuamorph. Big thanks to Tabula Rasa for doing this interview.

Does it surprise you that people are still interested in reading your X-Files fanfics and others that were posted during the original run of the show (1993-2002)?

I'm always extremely pleasantly surprised to get kudos (or, very rarely, a comment) on my old fic, but I'm always happy to see it! I did post them all (I think) to AO3. I'm not surprised people are still reading fic, though. It's an iconic show and now with streaming, it's really easy to watch older shows and natural to want fic about them!

What do you think of when you think about your X-Files fandom experience? What did you take away from it?

XF was my first fandom, definitely my first online fandom, and so it will always have a special place in my heart. Also... I had a great time! I stumbled upon and joined the Scullyfic email list by accident, but it was the best thing I could have done. I learned a lot about how to be a writer and how to be in fandom, and those lessons are still important to me. Foundational. Also, in terms of modern fandom drama, XF was more low-key on the drama (although it didn't seem like it at the time!). But I learned something that's always served me well: find like-minded people, and hang out with them. Don't worry about the rest.

Also... you can't control the show, but you kind of can control the canon.

Because of Scully, I ended up taking a forensic anthropology class in university-- and now I have a Master's in a forensic science! Part of the Scully Effect, and proud of it!

Social media didn't really exist during the show's original run. How were you most involved with the X-Files online (atxc, message board, email mailing list, etc.)?

Definitely mostly email list! I never really got the hang of message boards. Posting fic was exhausting, and tbh I never figured out how to work Ephemeral. I checked it every day, though! I loved, after a new episode, everyone sending in their thoughts and reading everyone's experiences together. Fandom was a lot more work back then, tbh!

What did you take away from your experience with X-Files fic or with the fandom in general?

That fic can be just as good, or better, than traditionally published works. There are works of XF fic that have stuck with me for years now, far more than some books I've read. That fan writers can know the characters better than the show writers. The fandom in general was really smart, and mostly more adult than me (I joined fandom when I went away to college, so I always felt at the younger end of the scale. That was good though!).

Also, my first time reading and writing porn. Not gonna lie, I was shocked the first time I accidentally read smut. But I adjusted fast. lol

What was it that got you hooked on the X-Files as a show?

I was still a kid (now we would say preteen) when the show premiered- I think in middle school. But I was already into ghosts, aliens, monsters, solving mysteries, and I'd already imprinted on the dynamic thanks to Square One (really)! I was also just old enough to start developing celebrity crushes. Hilariously, I did not twig to the fact that I'm bisexual the entire time I was in XF fandom, despite having enormous crushes on BOTH Mulder and Scully. Ahhhh!

Also, my whole family was into the show, but I was definitely the one with the hyperfixation. I used to take notes and record the episodes as I watched. It just had the right stuff and hit at the right time. And I've always been obsessive.

What got you involved with X-Files fanfic?

As a kid I also really liked Star Trek, and someone had given my dad a book about the history of Star Trek, which I read. This included mentions of fandom and fanfic. As soon as I had a private-- and perhaps more importantly fast-- internet connection (in college), I went looking for XF fanfic, and that was that. Hooked immediately. Also I shipped them A LOT so that's what I went looking for.

What is your relationship like now to X-Files fandom?

I tend to not go back to a fandom once I have a new fandom, so I wouldn't say I'm in it. I did hang around the edges for the revival, of course, because I wanted to experience that with the same people, but since the revival was mostly not that great (with a few exceptions), I didn't get pulled back into it. But I still think of the people I knew in the fandom a lot, and always hope they're doing well.

Were you involved with any fandoms after the X-Files? If so, what was it like compared to X-Files?

I've never left fandom, and I've been in a BUNCH: Harry Potter, Doctor Who, Bandom, Supernatural, now CQL/The Untamed and other Chinese-media fandoms, with many smaller ones in between or on the side. I feel like at their core fandoms tend to be similar, although where you host the fandom makes a big difference: Livejournal, tumblr, twitter. I think that because fandoms now tend to be bigger and more diverse (which is good) there tends to be more wank (which is bad). In some of them I was close to a group of people, some of them not. Honestly the best thing is when someone you know from an old fandom is in your new fandom. It's so much fun. I have really good friends thanks to fandom, and I've had them for YEARS. Like. 15 years.

Who are some of your favorite fictional characters? Why?

I tend to focus more on ships than characters, but some of my all-time favs: Scully, Hermione, Sirius Black, Castiel, Lan Wangji, Xie Lian. That's just fandom-oriented ones, otherwise we'd be here all day. :D

Do you ever still watch The X-Files or think about Mulder and Scully?

I don't often rewatch episodes any more, although if I come across an ep on tv I might. I definitely still think about them though! For example, I'm a teacher now, and just a couple weeks ago one of my colleagues mentioned he'd heard the students saying they shipped two of their classmates, and he was like "Ship? I don't get it" and I was like "HOO BOY, do I have a story for you!" And I explained how shipping came from XF fandom, and why. That was fun. I definitely still think about Mulder and Scully too-- I mean, they're cultural touchstones, so they do come up sometimes in greater pop culture. Also, I was in Hannibal fandom for a while, and Gillian Anderson is still The Best.

Do you ever still read X-Files fic? Fic in another fandom?

I haven't read XF fic in years, even the ones I remember as being really significant/important to me. I still have my all-time favs saved on an external HD though! Fic in another fandom- every day lol.

Do you have any favorite X-Files fanfic stories or authors?

Blinded by White Light by DashaK has stuck with me. Mr. and Mrs. Smith and the Ruby-Throated Warbler by I forget I'm so sorry -- that's lasted as my ideal post-canon MSR and as an interesting and different way to tell a story.  [Lilydale note: It’s by rah.] I was always thrilled to see fic by Brandon, JET, MaybeAmanda, Syntax6... and, frankly, everyone on the Scullyfic/ Emuse list. So many talented people in that fandom!

What is your favorite of your own fics, X-Files and/or otherwise?

Things Outside, which is the only thing I've ever written based on a dream, and I'm really satisfied with it. It was hard to write but so much fun to revel in the weirdness. I always kind of wanted to write more because I know a lot more about the situation, but otoh, I like the open, ambiguous ending (usually I am very HEA).

In other fandoms, King & Country in bandom (MCR) and in Supernatural I'm very proud of Hope and Clay. I struggle to write casefics even though I love to read them, but that one really worked out.

Do you think you'll ever write another X-Files story? Or dust off and post an oldie that for whatever reason never made it online?

I don't think I'll ever write something new. There is an old fic that may be done but it was smut so I was too shy to post it at the time. In theory if I find it and it's decent, I could post it!

Do you still write fic now? Or other creative work?

I do! I write fic very slowly, but I do write still! I have a million ideas for stories, but I'm so slow at the actual writing part.

Where do you get ideas for stories?

I usually take a jumping-off point from canon, or of course, something I need to fix or expand on. Or sometimes I start telling myself a story as I fall asleep and the idea grabs me long enough I can manage to write it.

What's the story behind your pen name?

I was getting into fandom and realized people didn't use their real names. I flipped through my history book looking for inspiration, and decided tabula rasa was a great name for a writer. I tend to add an X because it's rare to get "tabularasa" as a username, and the X is indeed for X-Files (so I'm something like tabulaxrasa most places). I usually go by Tabula Rasa or Tab, though. And I still use it because 1) it IS a great name for a writer; and 2) it's not fandom-specific so I can keep it in every fandom.

I identify with it so much I have answered to this name in class (oops). I have a "Tab" t-shirt (as in the soda, but I have worn it to Comic-Con for ease of ID-- better than a nametag!). And my mom got me a necklace with a "tab" typewriter key as a charm, which I adore. Yes, I have accidental merch of myself.

Do your friends and family know about your fic and, if so, what have been their reactions?

As you can tell from the above, my family knows (my family being my parents and sister). They are supportive! I think my mom read a couple stories? But obviously she has to know the fandom to get it... I got my sister into fic, and we even wrote a couple fics together (in Gundam Wing). She's a lot more selective about fandoms, but she's joined fandoms on her own, too. She's just not in one constantly, like me. :p

I tend not to tell not-online friends unless I have felt them out and know they're super fannish, or they bring it up first.

Is there a place online (tumblr, twitter, AO3, etc.) where people can find you and/or your stories now?

Most of my old fic is now on AO3 and I hang out on twitter a lot, @tabula_x_rasa

Is there anything else you'd like to share with fans of X-Files fic?

I'm really glad people are still in this fandom! It will always be so important to me. Thank you Lilydale, for this nostalgia trip!

(Posted by Lilydale on March 30, 2021)

[watusichris]

Rock Gunfight in the Antipodes

Listening today to the hot new Grown Up Wrong! comp by Sydney’s Lipstick Killers, whose lone officially released single was produced by Deniz Tek of Radio Birdman, it occurred to me that my old Music Aficionado faux faceoff between Australia’s pioneering bands of the ‘70s (all of which I dearly love) has disappeared into the online ether. It’s time to bring it back.

**********

By Chris Morris

The mid- to late ‘70s were fertile days for rock ‘n’ roll in Australia. Here and there across the vast but not terribly populous island continent, fires were started by several attitude-filled bands bent on doing things their own damn way. They all managed to make their way off the island, but if they hit the American consciousness, it was for little more than a nanosecond during their heyday.

Who were the truest Rock Wizards of Oz? For this Down Under face-off, I’ve selected three contenders: the Saints, Radio Birdman, and the Scientists. All of them had fairly slim discographies; ironically, the act probably least known in the U.S., the Scientists, recorded most prolifically, with their core line-up producing several magnificent albums and singles during a productive four-year stretch in the early ‘80s. But none of these bands ever stayed together long enough to make a deep impression among the Yanks.

So where’s the Birthday Party, you ask? There are a few things to consider. First of all, though the band and its precursor unit the Boys Next Door were in business from 1976 on, they didn’t release their first LP until 1980. Also, Nick Cave is well known enough that more (king) ink needn’t be spilled on him. Finally, I still resent the fact that Cave stole PJ Harvey away from me, so it’s personal.

On with the showdown…

HIT ME LIKE A DEATH RAY, BABY

The Saints, founded 1974 in Brisbane

The prime movers of the Saints were a pair of literal outsiders: vocalist Chris Bailey, born in Kenya to Irish parents, and guitarist Ed Kuepper, raised in Germany. Thus the otherness of their work is no surprise.

With schoolmate Ivor Hay – who over time would play drums, bass, and piano with them – the pair founded a combo originally known as Kid Galahad and the Eternals (borrowing their handle from a 1962 Elvis Presley picture), but they swiftly renamed themselves the Saints and began playing in their hometown on the northeast coast of Australia.

Listening to their records, which were made in something of a cultural vacuum, it’s difficult to get a handle on where the Saints’ distinctive, aggressive sound came from. To be sure they were aware of such homegrown precursors from the ‘60s as the Master’s Apprentices and the Missing Links (whose 1965 single they covered on their debut album). It’s safe to assume they were conversant with the Velvet Underground, the Stooges, and Lenny Kaye’s 1972 garage rock compilation Nuggets. Yet they bred something utterly their own in the ocean air of Brisbane.

With Hay on drums and Kym Bradshaw on bass, Bailey and Kuepper mounted noisy local gigs that swiftly attracted the antipathy of the local constabulary; they wound up turning their own digs into a club to play shows. In 1976, they recorded and issued a self-financed single featuring two originals, “(I’m) Stranded” and “No Time.” These dire, ferocious songs were distinguished by venomous lyrics, unprecedented velocity, and guitar playing by Kuepper that sounded like a (literal) iron curtain being attacked with a chainsaw.

The record died locally, but a copy of its U.K. issue found its way into the hands of a critic at the English music weekly Sounds, which declared it the single of the week. This accolade got the attention of EMI Records, which signed the band and financed the recording of an album, also titled I’m Stranded, in a fast two-day Brisbane session.

The album, which was ultimately released in the U.S. by Sire Records, blew the ears off anyone who heard it, and it landed with a bang in England, where punk rock was lifting off in all its fury in early 1977. It was hurtling, powerful stuff that stood apart from punk in several crucial ways: While some of the songs were clipped and demonic in the standard manner, the Saints proved they could take their time on expansive numbers like the almost Dylanesque “Messin’ With the Kid” and the sprawling, hellriding “Nights in Venice.” And one has to wonder how British p-rockers took to their perverted take on Elvis’ squishy “Kissin’ Cousins.”

Made by musicians who never considered themselves “punks,” and who in fact abhorred the label, (I’m) Stranded is nevertheless one of the definitive statements in the genre, and it has maintained its force to this day.

Settling in England for the duration, the Saints decided to throw a curveball. One could not find a more profoundly alienated album than Eternally Yours (1978), a series of yowling protests, twisted prophecies, and savage put-downs, including the snarling second version of the single “This Perfect Day.” But, though the record was loud and for the most part swift, the group applied the brakes to their sound somewhat, and a couple of songs, including the caustic album opener “Know Your Product,” were dressed by a soul-styled horn section. Punk loyalists ran for cover.

By the time Prehistoric Sounds was issued in late ’78, the dejected Bailey and Kuepper were moving in different directions, and you can hear it in the grooves. The record is slow, almost listless at times, and its logy originals are complemented by incongruous Otis Redding and Aretha Franklin covers with none of the energy of earlier Saints soul-blasts. It is an album primarily for loyalists, and by then there were few in that number.

Kuepper exited the band on the heels of the third album’s release and returned to Australia, where he enjoyed a long career as leader of the Laughing Clowns; Bailey continued to perform under the Saints mantle with a shifting lineup that at last count numbered more than 30 players over the course of 37 years

Bailey and Kuepper reunited for one-off gigs in 2001 (at the ARIA awards ceremony) and 2007 (at Australia’s Queensland Music Festival).

THERE’S GONNA BE A NEW RACE

Radio Birdman, founded 1974 in Sydney

People who toss the “punk” handle around often throw Radio Birdman into the mix, but the sextet from Australia’s Southeast Coast may be best referred as the world’s youngest proto-punk band.

Its mastermind was guitarist, songwriter, and producer Deniz Tek, a native of Ann Arbor, Michigan, who emigrated to Sydney in 1971 to study medicine. As a teen, he got a chance to witness Detroit’s most explosive pre-punk bands – the MC5, the Stooges, and the Rationals; he would later wind up collaborating with important members of all those groups.

After apprenticing with and getting bounced from a Sydney band called TV Jones, Tek formed Radio Birdman (its name a corruption of a lyric from the Stooges’ “1970”) with singer Rob Younger; the lineup ultimately solidified with the addition of guitarist (and sometime keyboardist) Chris Masuak, bassist Warwick Gilbert, drummer Ron Keeley, and (on and off and then on again) keyboardist Pip Hoyle.

Rapidly acquiring a fan base made up of some of Sydney’s lowest elements, including members of the local Hell’s Angels, Radio Birdman ultimately took over a bar, re-dubbed (in honor of the Stooges, of course) the Oxford Funhouse, as their base of operations. The band’s severe Tek-designed band logo emanated fascist-style vibes for some; at a co-billed appearance in Sydney, the Saints’ Chris Bailey remarked from the stage, “We’d like to thank the local members of Hitler Youth for their stage props.”

Despite much antipathy and some attendant violence, the band maintained a loyal local following, and in 1976 it issued a strong four-song EP, Burn My Eye, via local studio-cum-independent label Trafalgar. This was succeeded the following year by a full-length debut album, Radios Appear.

Anyone looking for something resembling punk will likely be disappointed by that collection. The band wears its all-American hard rock/proto-punk influences on its dirty sleeve. Radios Appear is dedicated to the Stooges (whose “No Fun” was the lead-off track on the Aussie issue of the LP), and a song co-written by Tek and Stooges guitarist Ron Asheton, “Hit Them Again,” was cut during sessions for the record. Tek pays deep homage to MC5 guitarist Wayne Kramer with his playing, and blatantly cops a signature lick from the 5’s “Looking at You” at one juncture. The album title was lifted from a Blue Öyster Cult lyric, and the Tek-Masuak guitar-bashing bows to their multi-axe sound. Finally, in both Younger’s sometimes Morrisonian vocalizing and Hoyle’s Ray Manzarek-like ornamentation, homage to the Doors in paid in full. Given that Sydney is a beach town, there’s even a frisson of surf music in the mix.

Bursting with power-packed originals like the apocalyptic “Descent into the Maestrom,” youth-in-revolt anthem “New Race,” the cryptic, insinuating “Man with the Golden Helmet,” and Tek’s autobiographical “Murder City Nights,” Radios Appear was a power-packed set that established Radio Birdman as Oz’s leading rock light.

However, renown did not equal success in Antipodean terms. In 1978, the band cut its second album, Living Eyes, at Rockfield Studio in Wales; it was a solid effort that included remakes of three Burn My Eye numbers (including the wonderful Tek memoir “I-94,” about the Michigan interstate) and excellent new originals like “Hanging On,” “Crying Sun,” and “Alone in the End Zone.” But, with success seemingly within their grasp, Sire Records – their American label, and the Saints’ as well – switched distribution and cut their roster, leaving their new work without a home. Within months of this catastrophe, Radio Birdman disbanded.

The principals scattered, to Younger’s New Christs and Tek and Hoyle’s the Visitors; Tek, Younger, and Warwick Gilbert later joined MC5 drummer Dennis Thompson and the Stooges’ Ron Asheton in the one-off New Race. Tek also later recorded with Wayne Kramer and Scott Morgan of Ann Arbor’s Rationals in Dodge Main.

Radio Birdman’s original lineup reunited for a 1996 tour; in August 2006 – after four of the original sextet regrouped to record a potent new album, Zeno Beach – the band played its first American date ever, at Los Angeles’ Wiltern Theater. Your correspondent was there, and it was freakin’ incredible.

IN MY HEART THERE’S A PLACE CALLED SWAMPLAND

The Scientists, founded 1978 in Perth

Among the important Aussie bands of the ‘70s, the Scientists were among the first to be directly influenced by the punk explosion in New York.

As guitarist-singer-songwriter Kim Salmon – the lone constant in the Scientists’ lineup during their existence – wrote in 1975, “Reading about a far-off place called CBGB in NYC and its leather-clad denizens, all with names like Johnny Thunders, Richard Hell, and Joey Ramone, got me thinking…I immediately went searching for Punk Rock. What I found were The Modern Lovers and The New York Dolls albums.”

Salmon first dabbled in the new sound with a band bearing the delightfully punk name the Cheap Nasties. Cobbled together in Perth – the Western provincial capital of Australia – from members of such local acts as the Exterminators, the Victims, and Salmon’s the Invaders -- the early Scientists were as derivative as one might imagine. Their early songs, heard on their self-titled LP (the so-called “Pink Album”) and an early single and EP, sport original songs authored by Salmon and drummer-lyricist James Baker, the backbone of shifting Scientific crews through 1980. The tunes range from straight-up Dolls/Heartbreakers rips (“Frantic Romantic,” “Pissed On Another Planet,” “High Noon”) to buzzing romantic pop-punk in a Buzzcocks vein (“That Girl,” “She Said She Loves Me”).

Not terribly promising stuff, but, after the departure of Baker for the Hoodoo Gurus in 1981 and a brief stint in a trio called Louie Louie, Salmon assembled a new Scientists who would prevail for nearly four years. That outfit – Salmon, guitarist Tony Thewlis, bassist Boris Sujdovic, and drummer Brett Rixton – promptly relocated to Sydney and started making the noise they are noted for.

By that time, Salmon had begun cocking an ear to the Birthday Party (and no doubt paid careful attention to the sordid noise on the Melbourne group’s 1982 album Junkyard), had discovered the miasmic voodoo of the Cramps, and started grooving to the dissonant, slide guitar-dominated racket of Captain Beefheart and his Magic Band. In short order, he would also absorb the bluesy downhome assault of Los Angeles’ roots-punk outfit the Gun Club.

The Sydney-based Scientists hooked up with indie label Au Go Go, which issued a devastating run of careening, mossy records by the band in 1982-83 – the vertiginous singles “This is My Happy Hour”/“Swampland” and the corrosive “We Had Love” (backed by a faithful cover of Beefheart’s “Clear Spot”), and the heart-stopping mini-album Blood Red River, which bore the churning “Set It On Fire,” “Revhead,” and “Burnout.” Others were essaying a similar style, but the Aussie youngsters were beating their elders at their own game.

Eying the big time, the band moved to London in 1984. Some opportunities presented themselves initially: The band got European tour slots with the Gun Club and early Goth act Sisters of Mercy. But their deal with Au Go Go fell apart acrimoniously; while they made a pair of fog-bound albums, You Get What You Deserve (1985) and The Human Jukebox (1987) for Karbon Records (and a set of re-recorded songs, Weird Love, was issued in the U.S. by Big Time Records), they scraped by in Britain.

Defections from the ranks commenced in ’85, and by early 1987 the depleted Salmon used money from a housing settlement to move back to Australia, where he founded a new band, the Surrealists.

Still valued among the cognoscenti, Salmon, Thewlis, Sujdovic, and latter-day drummer Leanne Chock appeared, at the invitation of Seattle’s Mudhoney, at London’s All Tomorrow’s Parties Festival in 2006. Earlier this year, Chicago-based archival label the Numero Group issued a comprehensive four-disc box of the band’s original recordings.

So, at the end of the day, who is the all-time champeen of ‘70s Oz rock?

Scoring on points, the Saints are tops for Being Punk First with additional wins in the Pure Noise and Weltzschmerz categories, Radio Birdman takes the Technical Ability and Old-School Attitude slots, and the Scientists prevail in the Loud Young Snot and Grunge Thug division.

And the championship belt goes to…the Saints!

Of course, that could all change tomorrow, but that’s rock ‘n’ roll for ya.

[isoisolated]

I have ADHD and it's not fun

29/12 edit: coming back to this post, I just wanted to add that at the time of writing, my adhd was unmedicated. Thought this might be good thing to note. 

My friend Ondrej kept sending me articles and texts posts written by other adhd people (mostly adult males) that it finally pushed me to write my own, because even though I could relate to some minor and major parts, something always felt a bit of and also because ADHD is a condition that's been heavily ignored by medical professionals not only in adults, but especially in adult women, which is a group I sort of represent myself. 

I could talk about this for ages, my therapist frequently tells me that I have this gift of intense self-analysis and immense passion to get it all sorted out once for all. I guess it's another way of saying I'm so hyperaware of my own existence and my brain simply latches onto it and constantly tries to solve its own problems. 

If you do not care about my own personal history, just skip to second headline.

I was clueless for the first 20 years of my existence

Now, ADHD isn't the only thing that's been making me feel almost alien, I dare to say that my puberty years were mostly about developing and internalising bit of trauma and processes that do no good in later life. 

I love music. And I mean I truly endlessly unconditionally love music. Being a daughter of music composer, I was 6 when I first asked my dad to show me where to press record in Logic Pro and told him to leave me alone while I recorded my first song. It was called Autumn is here and it sounded like something made by 6 years old. 

I remember we were attending castings for TV shows or commercials and later I was told that it was me who initiated such trips and that I always wanted to be a part of such things. I don't remember initiating such things but I remember for sure that I was very shy and uncomfortable when I was supposed to show off. 

I remember I was supposed to take piano lessons. And I was so baffled that I had to follow the book and play what's in the book, instead of playing thing I wanted. I think I told my parents after few lessons that I do not like it and was dropped outta it. This became a pattern, if I recall correctly. 

But that's nothing out of ordinary, kids are harder to get focused and entertained. I remember two moments from elementary school where I was told by my classmates that I'm acting like I have ADHD and it got me real mad every time, because in my head ADHD looked like not paying attention in class, being body hyper and overall just annoying. 

I could find a proof that I made myself first to-do list when I was 14. Since 14 I felt like I need more self control and self regulation, that I need to fit myself more into ambitions I had and have and in order to do that, I started making to-do lists with ambiguous tasks such as “work more on music” and “work-out”. It was also in during my great isolation era, I had no real life friends but one that I was seeing occasionally, I wasn't going out, I came from school on Friday afternoon and left my room on Monday morning. I was making friends online since I was 11 and lived mostly online. 

At that time I also started figuring out what was wrong with me. Since ever I always felt a bit “off” compared to my peers, I always felt weird (and was told that thousand of times in my life), I always felt like I was thinking about things a bit differently and my humour was different and my hobbies were seen obscure by my classmates (even though they weren't obscure at all). I felt alone for most of my growing up and feelings of complete loneliness and detachment haunt me to this day, making me spiral. 

I thought I might suffer from bipolar disorder, because I had high energy episodes and my emotions were so intense. I was crying almost everyday for both external and internal reasons, my head sometimes felt like too much and I found temporary peace in self-help books and esotericism. 

I was around 17-18 when I realised all of this is bullshit and that no book can make me do things that I wanna do. I'd spent hours, days and months thinking about doing things, being crippled by this weird force that hold my body down, unable to do anything, no matter how much I wanted it. I'd beat myself up for it, thinking I was just so damn lazy and stupid and pretentious. I wanna be a popstar, a successful musician, I have to do all these things and if not, I'm gonna fail so much and my life will lose its meaning. 

When I was 17, I released my first EP and for some reason, it found some attention and success, if we might call it that. Suddenly I felt on the right path, I was seen as a musician and also very young one. Even though I still was sad almost every day or had intense sadness episodes that could last for a week, it felt right and I couldn't wait to finish high school and become a full time musician. 

I'd produce music in unplanned episodes of total focus, where I would sit and do things for hours straight, without eating. My most favorite songs were made during 6-8 hour sessions and it felt amazing. I couldn't bring myself to produce music if I hadn't the right vibe or idea for it. 

It was around that time this woman texted me, saying she wants to be my manager and that she really likes my music. It felt so unreal but here I am, with my own professional manager, on my way to be the most amazing music person.

I'd crush on people (and mostly boys and men) constantly, it was also very episodic, could last for days to month where I'd had nothing on my mind but them, drowned in daydreaming and just imagining things and also letting them know all of that. It was magical but it was fleeting. It still is. But it is the greatest inspiration, where I feel so much emotions it makes me see things and then I can transform them into music. 

But there was still something wrong with me, I was very emotional, still struggling with making my routines work, I'd come up with new plans and schedules every week just to fail them the day after. It was exhausting and I saw nothing alike in my world too, I was alone and my experience was just not enough will power. 

I could get mad so easily, I'd clench my fists and was so close to punching someone and when I hated someone I hated them with immense passion and spent hours just imagining myself confronting them. I was so mad all the time on background too and even slightest thing would put me in classic rage mode.

I have problems remembering dates and names, I'm bad at remembering people's faces, I'm bad at learning things by myself even though I have interest in them. I'm bad at making routine for myself and actually following it.

I finished high school and planned to go study abroad but it turned out it isn't what I want so I came back and started looking for a job. Around that time I met my now best friend and thanks to him I actually started thinking even harder what might be wrong with me, so I looked up ADHD. And didn't believe that at all. I wasn't like this, was I? 

Then, the summer came and I met my friend (and also a fan) while being out for a beer. We chatted, had a great time and then told me I kinda am like a person with ADD. I was confused because I didn't recall what that does mean, later I remembered it's another (and outdated) term for ADHD, but it's the “quiet type”, where the hype happens mostly inside and doesn't manifest outside that much. So I started researching once again, because I trusted him and it was that one push I needed.

It's been year since that moment and it took me months to accept that I might suffer from ADHD and to this day I still have feelings of impostor syndrome, making it all harder for myself just like that, to be more interesting for myself. I still yet have to accept this. 

I was transitioning into adulthood and yet had actual emotional breakdowns, I was crying and my heart was aching and I couldn't bring myself to do things I want, to learn more about music production, to learn how to sing better, to learn my favorite k-pop choreos, to work-out, to embody my own vision of who I want to be. With music, I am my own boss and it's the worst.

Covid-19 hit our country and here came the first lockdown. It pushed me over the edge and I felt like I was losing all of my friends, I felt those feelings of loneliness and weirdness again, I felt like nobody knows what's wrong because I don't have it as bad as others, I was hurting so much my body was shaking and twisting. I decided to try medication, even though I told my psychiatrist I don't want to, I just felt like I cannot be like this anymore, it's too much pain and no matter how much I try, I can't make it better, I can't make it work. 

I started taking Strattera and after month or two, I saw it working. A bit, I could focus better and bring myself to do things more and more frequently, and if I had these weird emotional meltdowns, they weren't as intense as before. This serves me as ultimate proof that I am not making this up, because if I were, the medication wouldn't work and make me feel better, right? 

So, what am I doing now? 

I'm still a huge mess and I cannot see myself in a better light. Even though I have job that I perform at at stable rate, even though I have just a little problem cooking for myself, even though I have no troubles falling asleep, even though I can enjoy things greatly when those high energy waves hit me. 

I'm tired of myself, I'm tired of myself not being able to do anything again. I ignore my manager because I already know I have nothing else to say than “I cannot bring myself to do things and you know that, I'm sorry for being a constant failure.” When people compliment me, I thank them but deep inside I don't accept it. 

I have unreleased and WIP songs I can see never being released, ever. When I listen to music from my favorite artists, I can also feel the pain from the fact that I'm not like them and that I probably won't ever be, because my brain sabotages me every damn time. 

From the very moment I wake up to the very moment I fall asleep, there's music playing in my head. I don't choose what's playing, sometimes it's song I don't even like and yet it's stuck on loop. I talk with my therapist in my head, I'm having weird flashbacks in my head to my memories, I'm having “you should do X right now” and “why aren't you doing Y” stuck on loop too. This all is happening at once, every moment I'm awake, even when I'm talking with people. It's exhausting. 

I'm bored most of the time, I have interesting books in my bookshelf and still cannot read them because I have to reread paragraphs in order to actually understand them. And even then, I find my mind wandering again. I have problems with long texts and long tutorials.

I get frustrated easily, my head is overflowing with ideas I can't act on. I'm living in weird worlds I made up for myself, and then reality hits me. 

I had my first depressive episode few months ago. I felt like nothing matters, that I don't matter, I felt nothing and emptiness, I crawled up in bed and was mindlessly watching youtube videos. I didn't want to eat or drink, I wanted to not exist at all. That episode passed but it was my first encounter with actual depressive state and I know I can slip into it more easily now, it simply developed along the way, after 21 years without acknowledging that I have problems and I struggle. 

People don't understand the struggle, when talking to them about my problems, it's like talking to an automated assistant, coming up with phrases like “Did you try yoga?” “everyone struggles sometime” “you cannot accomplish everything”. They say they wanna listen and help until they don't. 

I have a mental graveyard for ideas I won't ever finish, no matter how good they are, because my brain won't let me. Proper medication would help, therapy also helps but I can't talk myself out of actual executive dysfunction. 

ADHD is a neurodevelopmental disorder, our brains are literally underdeveloped in some areas and wired differently. Our emotions lack regulation normal people have and our motivation is fragile. This can't be changed with yoga, this cannot be solved by trying more. Not to even mention, capitalist society is especially damaging to neurodivergent people (and not only them, of course). 

While on this journey, I am still meeting more and more people having same struggles like me, finding people who understand you is the best thing to battle impostor syndrome. Sometimes I can't help them and sometimes they can't help me, but it's okay, because we know we understand each other and if I wanna complain and vent, we can do so without having to explain this condition over and over. 

And I hope that someone finds this relatable too, because as a woman I know my group isn't represented enough. We are not children, nor adult males, we need more attention and more support, from both healthcare system and each other. 

While doing this, I hope to get myself proper medication and continue doing what I love the most - music. I don't love anything else more than that. I hope to get rid of “all or nothing” mindset, I hope to be more consistent, I hope my music will reach its listeners and fans. I still have enough time, I think, even though my sense of time is neurologically altered. 

[kinetic-elaboration]

March 19: 2x11 Friday’s Child

Finally watched this week’s TOS. This was a hard day again and I’m tired and basically as soon as the ep ended my mood deflated again but I think I can write up a few notes and then crawl right back into bed again.

Another episode about negotiating for a mining treaty, huh? (I’m keeping track of all of these, roughly, for my own Nefarious Purposes).

The aliens are seven feet tall and they wear silly outfits.

Wow, what a dumbass red shirt. You’d think Starfleet would train people NOT to just randomly draw their weapons in diplomatic situations.

I honestly forgot there were Klingons in this.

DC Fontana wrote this!! I forgot that too.

Lol Kirk just drops the deceased red shirt. And then keeps holding his hands out like ‘what am I to do now?’

“They want to negotiate for our rocks. Our stupid, useless rocks. Everyone wants our rocks! So weird.”

I’m actually kind of surprised DC Fontana wrote a Klingon ep but like... I guess it’s not that surprising given this guy doesn’t even have a name and is also really dumb lol. At least he’s not in brownface.

When Kirk and Spock disarmed I didn’t realize they were throwing down their communicators and I was a little confused as to why they had to carry so many phasers each.

Kirk’s pretty upset about the crewman’s death, which I get, he always goes feral when one of his people dies and I appreciate that about him... but that guy really did fuck up lol.

I like seeing Scotty in command.

Oooh mood lighting in the tent. And Spock is meditating I think.

Emotion is “inefficient and illogical.” No wonder Kirk thinks they can never be in love!!

And yet jealous is also inefficient and illogical and I detect some of it in Spock when the blonde Cappellan comes in.

“They consider combat more pleasurable than love.” Hmm sounds like someone else I know.

... Honestly I wish the Grounders had been like this. I feel like there’s more thought in creating this society in one episode than in creating that one over 7 seasons.

I love Bones in this and his role as cultural translator.

The Federation believes in self-determination.

“The sky does not interest me.”

I really do dig the world building here. There’s so much going on in this one ep, even just in part of an ep, and you really get the sense that this is a whole world with its own rules and customs and values, and its own complex political machinations that our mains have really just wandered into.

Also the soundtrack today is NOT messing around. TV composers just don’t go this hard anymore, sorry.

Oooh now the Klingon’s afraid at the prospect of fighting Kirk.

The Enterprise just walked into a coup I guess.

Lots of fighting! Kirk must be having fun.

Scotty is so commanding! I feel like he and Uhura were already friends at this point. Like whenever he’s in command she seems really comfortable just wandering up to his chair all the time.

Also why are they ALWAYS signing stuff?

Yessss silent triumvirate communication.

“To live is always desirable.” I mean she’s not wrong but so much for being willing to die without a fuss lol.

It’s kind of wild how this ep started out being about a mining treaty and drama with the Klingons and all of this alien political drama and then basically becomes all about saving one (1) pregnant widow (and themselves) from huge, ,hostile aliens in funny feather boas.

Sulu insulting Scotty’s knowledge of ships lol. Not smart.

Can’t believe the Klingon couldn’t get his weapon back but Kirk got his communicators back no problem. Who is the smarter alien?

They’ll find us BY SCENT ALONE what a detail to just throw in there!

Lol this whole scene with McCoy and Eleen is hilarious and ridiculous in equal measure. Like I can’t entirely blame her for not wanting to be touched intimately by a strange alien man (rude!!) but also I do enjoy McCoy’s gruff insistence that he WILL care for his patient. This is what AOs didn’t get about “Grumpy Bones.” He’s not mean, he’s just...not up for niceties when he has a healing to do. He WILL care for you dammit!

And he has soft hands.

Spock is loving this.

Kirk’s subtle reverse psychology. “Well if you don’t think the communicator plan can work” and then Spock like “I didn’t say that exactly...”

They aren’t human, they’re humanoid!

And again, the subtle taunting/goading of Bones: “Well if you can’t do it...”

I’m a doctor, not an escalator! One of the best lines.

Detective Scotty. Kind of ridiculous how he solves the case of the taunting Klingons luring them away from the planet...but then sticks around a bit more just in case.

The child is McCoy’s!

Spock is so uncomfortable with this giving birth thing. “Oh look Captain, vegetation!”

“Just repeat ‘The child is mine.’“ “Yes, the child is yours.” Lol.

Arts and crafts with Kirk and Spock! I love that this is a McCoy ep with subtle space husbands in the background.

Favorite moment though is McCoy trying to teach Spock how to hold a baby. “I would rather not, thank you.”

“Fool me once, shame on you, fool me twice, shame on...won’t get fooled again.”

I love that Chekov is consciously messing with them about everything being from Russia.

Also the absolute GALL of the Klingons trying the exact same ship luring technique a second time.

Can’t believe that Bones wants to go off and have fun with the boys and just leave the baby alone in the cave. You’re a dad now McCoy!! Be responsible!

“Small patient.” Yes very small!

Cool little robot battle station unfolding at the helm.

I feel like when Kirk and Spock have that exchange about cavalry coming over the hill and Spock says "if by that you mean..." Kirk should have answered, "I thought I just said that." But then that wouldn't be very Kirk of him. He never makes fun of Spock.

This Klingon is not having a good day!

Scotty and the redshirts here to save the day.

I guess Maab wasn’t so bad after all. And Elaan is perhaps a little confusing, but I admire her desire to both save herself and adhere to her people’s traditions, even if those are incompatible desires.

Spock absolutely IS going to consult linguistics about baby talk. Probably Uhura specifically.

LEONARD JAMES AKAAR. Absolutely one of the top 5 final bridge scenes. They really missed an opportunity to return to the planet in a later movie or series and interact with the Teer.Captain Picard meets Leonard James Akaar.

This was a good ep! I really only remembered the Bones and Elaan parts with the baby, so I forgot all of the political machinations and stuff in the beginning of the ep. It’s a pretty solid world building episode and of course, lots of McCoy, can’t go wrong with that.

I actually think it makes a lot of sense for Bones to be the child’s “father” tbh. Like, I know everyone thinks it’s funny but like... in our culture, we assign pseudo-parental roles to people who aren’t blood relatives of children based on the adult’s relationship with the child’s blood relative and that’s arguably weirder. Like you can be a kid’s step father by marrying his mom even if you really don’t have any relationship to him, so why shouldn’t McCoy, who saved Leonard’s mother’s life and delivered him, and convinced her to actually desire to raise him, be considered his “father”? ESP given that this society seems to have no place at all for fatherless children. They just can’t conceive of such a thing. So “father” has to encompass something other than, or not strictly limited to, biological father. She was so quick to assign McCoy fatherhood status, I have to assume this happens a lot, that people take on that role for non-bio children.

Not a lot for Spock to do today but I think he had fun. He got to explode some rocks and make some bows and shoot some arrows. And Kirk got into a lot of fights so I think he enjoyed himself.

I don’t know if I believed the Cappellans were 7 feet tall but they did look broad and alien so I will give them that.

It was nice to see Scotty in command again. I’m so mad at AOS still for making him comic relief. I think he’s actually quite a serious person. Talking with my mom, I’ve decided that the crew can be grouped into ‘cracks jokes through a crisis’ and ‘generally gets very serious in a crisis, reserves humor for calm moments’ and while Sulu, Chekov, and Spock are in group 1, Scotty is definitely in group 2 with Kirk and McCoy. (Uhura seems generally lighthearted and fun loving but not funny per se so I don’t know how to group her.)

Also this is one of the early filmed Chekov episodes (as you can see by the hair) and he spends it, again, at Spock’s station. It’s so obvious he was introduced as Spock’s protege, not as the navigator, which I think is very interesting. Like I want to hear the backstory on that.

Next week’s episode is The Deadly Years, which I remember as being very solid.

[puppetsoftomorrow]

okay so imagine: the trapped in the tv ep but with only british tv shows - if ur not british i'm sorry!! hopefully this will still be funny for you lol

No one was fazed as the classical music rang out overhead, and Nate and Mick waited patiently for it to finish. The pair were stood next to a low table, set on lush green grass and under a backdrop of a clear blue sky and a large country house, with people milling around and chatting, just quietly enough not to be heard over the music.

The logo flashed faintly in the sky, and Nate coughed, adjusting his glasses slightly.

"Well, here we have a lovely piece - a mantle clock, looks to be 17th Century, possibly Russian," He started, tipping the clock back slightly to get a better look at it. "Can you tell me a little more about how you came to have it?"

"It stole it." Mick shrugged. "It looked expensive."

"And you'd be correct." Nate said, waggling his finger to emphasize his point. "Made by an early pioneer of this type of time-keeping, Rip Hunter, the craftsmanship is just - exquisite, and there's not even - oh, there's a small dent here."

"Probably from when I hit Rasputin over the head with it." Mick said, and Nate nodded sagely.

"Well, even with that, it's extremely valuable - you don't see many of these pieces, I'm very honoured to be evaluating it. What do you think it's worth?"

"From the age and quality, I'd want a couple million." Mick grunted.

"And what would you use the money for?" Nate asked, and Mick shrugged again.

"Put Lita through college. Some for the Legends, buy more condiments."

"That sounds fantastic. Well -" Nate started, then paused for an unnaturally long time. Everyone held their breath. "I think, at auction, it could fetch up to £3 million."

Behind them, the Legends cheered, Ava punching the air. Mick nodded, then picked up the clock in his gloved hand wand walked off, swinging it as he did so.

///

The music faded out, and Sara shut the book she was reading, smiling widely. The nursery she was in was quiet, the children having not yet arrived for the day. "I didn't see you there! I'm Sara - what's your name?" She said, voice bright and bubbly.

There was silence for a few seconds, and Sara nodded, despite no one replying.

"Ah, of course. I'm so glad you're here - I need your help." She stood up, eyes wide. "There's a giant octopus named Tagumo terrorizing the village - and we need a special treat for the bake sale! But who should we ask for help?" She scratched her head in an exaggerated thinking motion, then stood up and walked backwards to the large, colourful map that hung on the nursery wall.

"We could ask - Ava the Bureaucrat?" She asked, pointing at a point on the map.

Ava popped up on screen, dressed in her suit and surrounded by stacks and stacks of papers, threatening to topple at any moment. She gave an exaggerated shrug.

"No, she's too busy. Maybe Nate the Historian?" Sara said in a sing-song voice.

At the top of a pink castle, a hand was waving.

"No, he's stuck at the top of his castle. Maybe Zari, the Cat Chat celebrity?"

Zari was on her phone but started to wave as the camera zoomed in on her.

"Yes, that's it! We'll ask Zari, the Cat Chat celebrity!" Sara said, smiling widely. "Come on, let's go to Zari's house!"

Sara walked through the quiet streets of Waverider, avoiding the large chunks of stone that were being thrown her way by an angry octopus. It was a sleepy seaside town, with brightly coloured buildings and extremely predictable weather, and she loved it. She stopped in front of the yellow house and knocked on the door.

"No! It's mine!" "It's mine!" came the muffled voices from inside.

"Oh no! I think Zari's having an argument with her brother Behrad." Sara said, eyes wide. "Let’s see if we can help."

She opened the door, where Zari and Behrad were having a tug of war with a small bracelet. Sara stood, hands on hips, with an exaggerated frown.

"Z! B! What's this?"

"It's my turn with the totem!" Behrad whined, and Zari stomped her foot.

"No, dummy, it's mine! You used it to beat Genghis Khan last week!"

"Did you two forget our last lesson, when we learnt about sharing?" Sara said, and the two broke apart, looking distinctly guilty.

“No, Miss Lance.” They said in unison.

“Good.” Sara said, smiling brightly. “How about – Zari, you use the family heirloom to capture the giant octopus, whilst Behrad and I make a treat for the bake sale!”

The pair brightened up. “Sounds great! We can make a Behrad brownie!” Behrad said brightly, moving towards the kitchen, when Sara put out her arm to stop him.

“Uh oh, did you forget something?”

Behrad struck his palm on his forehead with an exaggerated sigh.

“Whoops! Here you go, sis.” He said, passing the totem over. “I’m sorry I wasn’t sharing nicely.”

Zari shrugged, slipping the bracelet on. “I’m sorry too.” She said, and the pair hugged. When they broke apart, Zari blinked.

“Wait -”

///

The tannoy overhead started to play classical music, overlaid with the booming voice of an announcer. "DC's University Challenge! With your host - Raymond Palmer!"

The lights went up on the studio and Ray sat at a desk, smiling widely at the audience, shuffling his cards.

"Good evening and welcome to DC's University Challenge!” He said, barely being heard over the sounds of the audience clapping politely. He waited until they’d started to quiet down before beginning again. “Our first team tonight is the Time Bureau, a secret government organisation that has produced several bureaucrats, a multi-million-dollar magical creature theme park and around a dozen clones. The organisation has just under 1,000 employees and ranks number two in the inter-governmental department softball league. Their team tonight includes -"

"Hey! I'm Mona Wu, and I'm reading creature care and getting in touch with my wild side!" Mona said, waving and smiling brightly.

Gary coughed. "Uh - Hello - I'm Gary Green, and I'm studying as an apprentice of the dark arts under John Constantine."

"I'm Nate Heywood, and I'm doing a second PhD deductive historical reasoning and turning into steel." Nate said, giving the camera a mock salute.

"And finally, their Captain -"

"I'm Ava Sharpe, from 2213, and I'm reading how to move on from clone based psychological trauma." Ava said, nodding with a tight-lipped smile. She looked at her team – they looked good, all dressed in the Bureau suits. She hoped it would be enough to beat their opponents.

After the clapping ended, Ray gestured to the other side of the studio. "Our second team tonight are the Legends, founded in 2016 by Rip Hunter. Although seen as the underdogs, they won a comfortable victory against the Legion of Doom in the first round, answering questions on the French Revolution, punk rock and African oral history. With a combined age that's impossible to calculate, lets meet the team."

"Hey, I'm Behrad Tarazi, and I'm studying the air totem - but if my parents are watching, I'm studying .... business." Behrad said awkwardly, fiddling with the bracelet around his wrist.

"Hi, I'm Charlie, I'm from before the concept of time, and I'm reading loom weaving - and also shape-shifting." Charlie said, waving to the audience and adjusting the Beebo mascot they had placed behind their team name.

"I'm Mick." Mick grunted. There were a few seconds of silence before Ray spoke again.

"And their Captain -"

"Hey, I'm Sara Lance from Star City. I did two tours with the League of Assassins and now I'm reading kicking ass across the time stream." Sara said, pointing her finger guns towards Ava and winking, which caused the opposing captain to blush.

Ray set the cards down. "Right, well, we all know the rules, so I'll just get started. Your starter for 10 is - in the novels of Rebecca Silver, how many breasts does the alien queen Garima have?"

Mick was on the buzzer, but Mona was quicker. "Three!" She answered excitedly.

"I'm sorry, in the most recent novel, Death of a Rogue, she is revealed to have a secret fourth breast. Another starter for ten - the 1995 film Swamp Thaaang, written and directed by Greg Berlanti, was based on the memiors of what creature?"

John slapped the buzzer decisively. “Swamp Thing.”

Ray nodded and the crowd went wild. “Correct. Your questions will be on marine life. How many penis’ does a shark have?”

The team formed a little huddle, and Behrad shrugged.

“Anyone got any -” Sara started, but John cut in.

"Two." John said.

“Are you sure?” Sara asked, and John nodded, wincing slightly.

///

“Welcome back to – Top of the Pops!”

The lights came up on the little podium where Astra was standing, holding the slim microphone between her fingers, and she smiled widely.

"So, your top five this week is Doctor Mid-Nite with ‘Year 3000’ at number 5, Ava and the Clones with ‘The One and Only’ at number 4, Rip Hunter and Wally West with ���Careless Whisper,’ entering the charts at number 3, and that was the JSA, staying strong at number 2 with ‘Kids in America.’ But, coming in hot at number 1, with their new hit ‘American Idiot’, it's the Legends of Tomorrow!"

Astra swept her hand towards the stage, where the lights came up to rapturous cheers from the audience.

"We are the Legends of Tomorrow - and we're here to change your destiny!" Charlie shouted into the mic, just as Mick started up on drums. Nate’s hands hovered over his bass guitar, looking over to Sara, who winked at him as the chords of her electric guitar rang out over the cheering audience.

///

(shows featured are - antiques roadshow, balamory, university challenge and top of the pops)

not featured: ava's very short episode of 'who do you think you are', the legends very chaotic stint on strictly come dancing and a master chef ep where the only food they make is mush variants

okay should i keep going!! should i post this on ao3? i wasn’t gonna but if ppl want me to i can :) thanks for reading!!

[espbee]

i wasn’t originally going to post this since i’ve seen several other (perfectly valid) mob psycho timelines out there but you all wanted to see it so here it is!

this does not include pre-canon or the reigen spin off. the first b/c i didn’t really care lol and the second b/c i haven’t read the spin off for reasons i’m sure you already know.

almost every single one of these dates is based on canon evidence (see notes below) but a few are speculation. i go into depth under the cut so if you want to know, say, exactly what day mob buys the monkey shirt you can find out. if you want to see a specific panel hmu!

feel free to use as reference when writing fanfics or meta or whatever else you might want to use it for :D just please don’t repost 

Spring of Youth Arc

it’s not super important how many days pass in ep 1 but i think it’s all within a week. might be some overlap with ep 2 (tunnel exorcism on same day takenaka quits club? according to the manga it happens later anyway)

going by anime here: takenaka quits the club monday or tuesday, tome asks mob to join the club wednesday if i remember right (also the day he goes to the girl’s high school) and he joins the body improvement club friday)

(LOL) Cult Arc

not much to say. it’s literally an afternoon and the teru arc starts the very next day

Teruki Hanazawa Arc

happens basically immediately after the cult. like mob knows dimple for like 3 days before he’s “exorcised”

fight on a friday bc it’s on weekend news

aftermath: mob in pink hoodie probably on saturday, mezato interrogates him monday

Big Cleanup Arc

shigeo mentions in the divine tree arc that student council meetings are on mondays. however only having weekly meetings would make this arc take a really long time so i’m guessing it’s semiweekly. i’m guessing the other day is thursday because ritsu says he has a meeting on the thursday that mob confesses

same monday as end of teru arc: student council meeting where ritsu suggests a big cleanup, mitsuura gives ritsu his card

thursday: big cleanup plan submitted, mezato and onigawara look for mob (for totally different reasons), ritsu in the street w/ tokugawa

next monday: student council plans to get rid of onigawara

awakening lab might be on the same day as above but i’m not sure, mob also goes on a “date” with tome that day and sees koyama for the first time. that night is when shinji’s family gets after him for not being perfect and he decides to go apeshit

i’m guessing the recorder scandal happens the next morning (wednesday?). it doesn’t actually say if ritsu awakens that exact day but i’m just going to say it does

a little bit of time goes by (about a week?) ritsu’s becoming popular and he develops his psychic power. teru vs ritsu happens somewhere here. people are complaining about the big clean up

the day that ritsu and kamuro confront onigawara in the body improvement club room is the same day that ritsu first attacks the delinquents from the other schools (monday)

im guessing a day goes by before kamuro is beaten up (tuesday), then another day before he’s beaten up again (wednesday)

kamuro is absent from the student council meeting the next thursday

ritsu only has his powers for 9 days before announcing that he’s obtained loss

7th Division Arc

one month before touichirou arrives in japan. this makes sense because it’s not like the day he arrives he’s going to attack. touichirou probably arrives in late september or early october, prepares things for a couple weeks

mob goes to shinji’s house on sunday, ritsu and mob talk on the swings monday, shinji apologizes to onigawara tuesday. the kageyama parents know about ritsu’s power by tuesday night (what was that conversation like)

Mob’s Girlfriend Mini-Arc

2 weeks long: one for the elections and one for the dating

sidenote: psycho helmet cult has gained 700 followers by now and it’s been about a month according to mezato (and the timeline!)

mob works the monday after his brother’s kidnapped jeez reigen give the kid a break

going to say it’s wednesday when shinji resigns

mezato talks to mob about running on thursday

one week later: elections! (going to say they’re on a friday). emi asks him out that afternoon

mob and emi “date” for a week. im guessing she “breaks up” with him friday and he fixes her torn up story on monday since there’s enough time for everyone to react. i think the anime has all that happen on the same day though. either way is good

Urban Legend Arc

reigen complains about four days without customers

kuchisake-onna: it’s the weekend b/c mob’s wearing a sweater instead of his uniform and also b/c i doubt mob skipped school

reigen makes his website overnight and mob’s wearing his uniform the next day which means the trip to the urban legend town has to be on sunday

the first trip to the ghost house is on a sunday (what a busy day!), and the second trip is on monday

Keiji Mogami Arc

literally the day after the ghost house wtf (so… tuesday?)

if it feels like 6 months for mob would that mean he’s almost a third year in the dream world? or already is a third year? oh no…

uh technically there’s an aftermath the next day but really the arc is one day

Separate Ways Arc

kumagawa’s birthday is in late september btw. idk if there’s any kumagawa stans out there but now you know he’s a libra

kijibayashi’s birthday: 10/5? (also the day mob finally cant take reigen’s bs anymore)

mob doesn’t show up to work for at least four days pre-birthday (probably five days since kijibayashi’s birthday needs to be on a school day)

reigen’s birthday: 10/10 (also i’m assuming this is either the day of or the day after he defeats the video game thing)

he has to have enough time to offer classes and become a local celebrity… i’d assume he offers that course at his office that friday night (10/12). he’s interviewed that day too. a few days later he goes on tv (i’m going to say 10/15)

goes to bar 3 days after the tv show (wednesday 10/17)

thursday 10/18: reporterless-day

friday 10/19: press conference, “my master… he is a good person” *sobs*)

World Domination Arc

mob has 10 days to prepare for the marathon

marathon on friday (11/2)

teru fights shimazaki for the first time saturday morning, mob doesn’t wake up until sometime in the afternoon, and rei-gun is in the evening

mob sleeps like 18 hours… oof

the kageyama parents return home monday evening

Yokai Hunter Mini-Arc

this isn’t listed as seperate from the Divine Tree Arc according to the wiki but i’m calling it a mini-arc because the broccoli isn’t really the focus

mob mentions the future prospects assignment is due in a week

seri starts working at spirits and such a few days after the wd arc ends

going to guess there’s some overlap with the future prospects assignment and that it’s due sometime during culture festival preparations because otherwise the timeline breaks

okay everyone i know culture festivals are usually on or around november 3rd but according to all canon evidence there is absolutely no way that can happen on time. there’s literally no time. it has to take place at least 2 weeks after the wd arc

going to say the culture festival is nov. 18 because that’s all that makes sense (the previous weekend is too soon, and the next weekend is after the divine tree arc

Divine Tree Arc

Friday: Tsubomi sneezes — why dont u stop doing bad things

Saturday: buys The Shirt

Sunday: Psycho Helmet

Monday: Teru, Ritsu, and Reigen all brainwashed, Mob vs Dimple part 2

Telepathy Mini-Arc

finally a nice long break :D

find out about takenaka about one month after Divine Tree Arc

aliens on New Year’s Eve/Day

inukawa’s abducted by aliens for 10 days

???% Arc

inukawa has to be back by the time school starts

Mob finds out Tsubomi’s leaving the day he gets back from winter break (monday) :(

i think he calls her two days later?

the day after that mob is hit by a fucking car (also student council day so… thursday)

Epilogue + Omakes

we all know the epilogue is on 10/10/2013

the summer omake has to be after the ???% arc but i’m not sure what day. probably july

idk what else to say other than i can’t believe i spent so much time on this

[sol1056]

season release & demographics

Alright, I’ve gotten several asks about the speed of the upcoming season releases for DW/Netflix. Most asks amount to roughly

are they releasing that fast because they want it over, or because more stuff is coming? 

...with at least two asks attempting to make sideways snarky comments about the revelation of a canonically gay character. 

Behind the cut: some stats on how DW groups and broadcasts its series, some data-based theories on VLD’s scheduling, who the ‘real’ audience demographic is, and some speculation about show timing independent of VLD itself.

how DW groups and broadcasts its series

First thing I should note is that dropping a chunk of episodes at once onto Netflix is relatively new for DW, compared to their years of traditional weekly syndicated format on Nick, CN, etc. (You can find a list of all past and present television productions here.) Starting around 2014, their Netflix/DW works were mostly the usual children’s fare -- episodic shows made for syndication. 

Two shows changed this game: VLD and Trollhunters, both premiering in 2016. Each contain one continuous arc, requiring viewing in order, from the start. Unfortunately that means the only real comparison is Trollhunters, which had a 12-month gap between S1 and S2, and a 5-month gap from S2 to S3. Just before the final season broadcast, DW announced two sequels, which brings TH’s total ep count to 78. Remember that timing; it’ll be important in a bit. 

Looking across even the episodic younger-set stories, it does seem like releases try to stick to a general pattern, give or take a month. Across 8 multi-season shows, here’s the breakdown of cours (because you know I had to throw a visual in somewhere). A single cour is 11-14 episodes, 5-7 eps is a half-cour, with 26 being a double-cour. (One series released a 16-ep season, which I counted as a single cour.) 

I point this out just to make clear that half-cour drops are actually rather common, comparatively. Out of 31 episodes, 11 were half-cour. As for the length between seasons, the mode (most common) is 7 mos.

some theories on VLD’s scheduling

Now let’s look at the gaps between VLD’s seasons: 7, 7, 2, 5, 3, 2 (counting the upcoming release for S7). If we merge the half-cour seasons for comparison (so we’re dealing with consistent 13-episode seasons again), then we’ll posit the broadcast date would’ve been the date the 2nd half of the season aired. In other words, had we gotten the original S3 (now S3/S4) season as one, it would’ve aired on S4′s broadcast date, as one solid chunk. 

With the consistent pattern of S1 through S3′s data, that’s a 7-month break between seasons. Assuming that this would’ve originally been set as the scheduled dates, let’s compare those dates to the actual broadcast dates.

scheduled Jun 2016 ==> aired Jun 2016

scheduled Jan 2017 ==> aired Jan 2017

scheduled Aug 2017 ==> aired Aug + Oct 2017

scheduled Mar 2018 ==> aired Mar + Jun 2018

scheduled Oct 2018 ==> aired Aug 2018

scheduled May 2019 ==> aired ???

Yes, I’m aware DW spun the split-seasons as getting more episodes, sooner. It’s the reverse. We should’ve gotten all of S3 in August, but S3 was completed 2 months late. Same for S4, which we should’ve gotten in March, but compared to the original schedule, S4 was 3 months late. S7 (the original S5) is the first time we’re getting anything ahead of schedule, 2 months earlier. 

If we go by the usual pattern of 7 mos gaps -- and counting from the actual broadcast date of Aug 2018, that would put the concluding 13-ep drop at May 2019. However, at least two other series have dropped their final seasons with a much smaller gap: from 8 down to 3, 12 down to 5.

Which means that dropping S8 (the original S6) in December would be a gap of 4 months from S7′s broadcast, or alternately, a 2 month gap from the original schedule. That’s pretty dramatic, compared to half the time, which would’ve put us at March of 2019. 

why the last season comes so fast

When Dawn of the Croods dropped its final season, it came with the announcement that this would be its last. When Trollhunters dropped its final season, it simultaneously announced that two sequels were in the works. And check this out, with hat-tip to @ptw30 for the sharp eyes:

Voltron’s got a film in development, and it’s under the aegis of the Dreamworks Animation team. (Oddly, that ‘S’ notation comes with a note saying the film will combine live-action with animation. I have no idea whether that means rotoscoping or actual live-action with lots of CGI.) 

My guess is that on, around, or shortly after the final season of VLD drops, we’ll get an announcement about the upcoming film that will attempt to build on the series. That’s a matter of timing, though, so it’s just my guess (and things can change). 

the ‘real’ audience demographic

When asks make comments about VLD being unsatisfactory to the ‘primary demographic’ (and doubly so now that we’re talking about a canonically gay character, cue asshat-sounding commentary about gay hookups)... the assumption is almost always that the primary demographic is men. Probably men aged 18-30. 

Wrong. It’s women. Specifically women between 25 to over 50.

But since this is supposedly a for-kids show, let’s start with appealing to families. There are 73.7 million children under 18, and 69% of them are in two-family households. 23% of those children live in single-mother households. (The largest growing family demographic is gay families. Go ahead, explain to me why a kid watching television shouldn’t see a role model in a relationship like their parents have.) 

Guess who does the majority of the buying choices for families? Women.

A few facts about women as a market, in the US: the estimated purchasing power of US women ranges from $5 trillion to $15 trillion annually. Women control more than 60% of all personal wealth in the U.S., and 75% are the primary shoppers for their families. Women are buying 66% of all tech purchases, 65% of all car purchases, 89% of all bank accounts opened, 93% of all food purchased, and 92% of all vacation expenditures. 

Oh, and while I’m at it: 

45% of all gamers are women. 

Women over 55 spend more time gaming online than men aged 15-24. 

Also, millennial women (roughly early 20s to mid 30s) have 3.4 social media accounts on average, compared to 2.6 for GenX women; 61% of them are online and sharing content at least once a day. However, Gen-X women spend more time onine (7+ hrs/week) than Millennial women (6hrs/week). And then there’s Boomer women --- of the age to have seen Voltron when it first aired --- with a market share of $19 trillion. They tend to spend, on average, 250% more than any other bracket -- which is pretty phenomenal buying power when you consider that every fifth adult in the US is a woman over 50.

A show pays for itself with merchandise and toys --- and if you can swing the women’s market, you’ve got it made, ‘cause they’re ones doing the buying. That means appealing to mothers who make the vast majority of their household’s purchases, or women up to and including the over-50 gamer pop-culture-savvy women with spare income (who are also the fasting growing online demographic, while we’re at it).  

So, miss me with that 'primary demographic’ crap. If it doesn’t appeal to boys but appeals to women 25-50+, it’ll do fine. The reverse --- of appealing to boys but not to women --- is a visual media that’ll be lucky to break even. DW hasn’t made it this far by alienating the ones who are making the purchases. If they realized that Shiro appeals most to women aged 25 to 50+ (which he does; he’s that age bracket’s favorite character) then you damn well better believe they’re going to keep him front and center. 

why else dreamworks might be wrapping up

There are other factors in play. In 2013, DW partnered with Netflix for the first time, and since then it’s produced 16 series for Netflix. Only two series were exempt, one broadcast in France, the other on Amazon video. 

Of the 9 series currently in pre-production, 4 will be on Netflix (She-Ra, 3 Below, Wizards, and Fast & Furious). The remainder are broken up between Amazon, cable TV, Universal, and two most recent that don’t even have homes, yet. Dreamworks is moving out of Netflix, excepting the pre-existing contracts they can’t quite break. 

This is the result of net neutrality, to be perfectly blunt. 

Check out who owns whom, here. (Larger version at recode.net.)

Comcast owns Dreamworks, and a 30% stake in Hulu -- of which Netflix is a direct competitor. I’m on AT&T and already noticing throttling happening for Netflix, and at some points for Tumblr (Verizon-owned). Scuttlebutt says DW is going to be pushed into moving its content onto Hulu, to support its parent company’s business agenda. 

*** ETA: there is no good business reason (at this time) for DW to switch to Hulu. Netflix’s market share is easily ten times the size of Hulu, and switching will cut DW’s products off from a significant number of viewers. ***  

That means DW is probably being strongly encouraged to wrap up its Netflix contracts and start shifting to Comcast-owned or controlled markets. And that has nothing to do with VLD itself, or even how popular (or not) that it’s been on Netflix. It’s a command coming down from on high, and now that we’ve lost net neutrality, there'll be less and less gain from sticking with Netflix.

[ninjagoat]

Notes on Supergirl 3x14

[SPOILERS AHEAD]

I've been annoyed with the show for a while now. Season three came out of the gate with four solid eps, and then draaaagged for another seven; before finally putting things back in order: slamming a season's worth of Lena's 'development' into reverse so she can actually have her own worldview and agenda once again; giving the Legion a hidden agenda so they actually have some narrative juice; giving Alex and Kara a genuine ideological conflict for the first time since... I can't remember, and actually having a plan for the World-killers because of it; and, important to me especially, the re-emergence of Winn as a recognised problem-solver.

Which brings us to 3x14, a MASSIVE episode for Winn, and, in terms of scale, a massive episode in general: the two major action sequences are of a kind you'd expect from a season finale; they've landed a *recent* Academy Award Nominee for a guest star; there's a frank discussion of later-life mental illness, and an insight into J'onn's specific attitude toward his adopted race; and a hilarious sequence of our heroes just... hanging out.

In short, in just a few episodes (which, by sheer coincidence, would all have finished being scripted *after* AK was suspended and fired for being a mediocre sex-pest)... they fixed the show.

THEY FIXED THE DAMN SHOW.

Notes below the cut (it’s a long post this week):

- "People being addressed as soldiers going into battle before actually just trying something fun and silly" is one of my favourite tropes, and that look Winn and Kara exchange is one of the best indicators of their long-standing friendship we've seen in a long time (Winn is, of course, Kara's best friend. You many have heard her give statements to the contrary. THESE ARE LIES).

- The choice to have the characters, all played by actors who can sing, do 'karaoke voice' instead of their actual voices is a good one. Having Kara do Beastie Boys side-steps the whole 'we've heard her sing' problem; J'onn and Mr. J are both wonderfully appalling; and Alex letting the lyrics of her ballad run on as she stops to drink is, as the kids say, a Mood (I'll come back to Mon-El and Winn at the end).

- THERE ARE *STILL* NO ALIENS AT THE ALIEN BAR. WHAT HAPPENED TO KEVIN? OR BRIAN?

- James's constant need for validation crashing against Lena's particular brand of emotional - and literal - unavailability is a good choice; we've not really seen James's interest in Lena manifest outside of her needs until now, and it's the first time he's had a relatable problem since 1x06. And pairing him up with Mon-El for this scene - who's having his own issues right now - is nice.

- Speaking of which, Imra's telepathy: is this the show telling us she definitely *doesn't* have mind-control powers, or that Mon-El - currently not the most reliable expert on the Legion - doesn't *know* she has mind-control powers?

- "FELLOW DRUNKS!"

- I'll admit, James was my least favourite option for who could be Winn's emotional support in this episode, given his long history of being really quite bad at it; but in this first scene, he's actually pretty good, providing Winn with the avenues he needs to avoid the old-school masculinity coping methods he's trying to use instead.

- Winn making ABSOLUTELY SURE that his Winslow's dead, even before they tried to put him in the ground, is on point.

- Mary. MARY. The writers knew they had Tony-award-winning Steppenwolf alum Laurie Metcalf on board, and it SHOWS. She's nervous and tentative, but she's also forthright; she takes over the space when she feels she ought to (a lot of her funnier asides could have been put in Cat Grant's mouth with no problem), and physically, tangibly awkward when she doesn't; and Metcalf runs through the gear changes as only a pro of her stature can. In her first scene, she's anxious, yes, and she's having difficulty separating Winn from the little boy she left behind; but it's also clear that THIS IS THE HAPPIEST DAY OF HER LIFE, even if it isn't her son's. Mary is a catalyst for Winn's pain, but has a whole existence outside of it. That's good writing, that is.

- Speaking of Winn's pain... DEAR. LORD. That story goes toe-to-toe with any crappy parent story you've ever heard (and blows all of Lena's solipsistic crap out of the water); and Jeremy Jordan, having done so much with so little every week, completely sells that this is a story he's been waiting two decades to tell, and how being left alone with no-one to be *except* his father's son absolutely broke him.

- The Flying Monkeys sequence is the best action scene this show's ever done. Better than Reign. Better than Crossfire. And again, Mary and Winn: every time they're not focused on the time they've spent apart, it's almost like they were never apart at all.

- Winn calling out James for suggesting he forgive Mary is absolutely on point; and James admitting that he was a selfish, sulky little brat after his Dad died as an argument of how it could have been just as bad if she'd stayed is interesting (James is making it up to her now, though, by... never going home for a single holiday. Ever. Still, baby steps). His argument will also end up applying, subtextually, to his relationship with Lena; stop being ungrateful for the time she's not there for you, and just be happy for the time that she is. It's what she needs you to do. She's got her own stuff going on.

- "He doesn't always get the credit, but he keeps us going around here." Kara's gentle tribute to her friend (her BEST friend) and the adaptive, outside-the-box thinking that's been keeping everyone alive for years is wonderful; not just for what she says, but for how comfortable a rapport she has with Mary, while never forgetting that being told how great her son is by *Supergirl* is as good, if not better, than hearing it from the President herself (and if Mary needs that... it could be arranged).

- On a downer note, anytime a show starts talking about a side character as the "heart of the team" or somesuch... it's usually not a good sign for that character.

- I'm not ready to go into Mr. J's illness yet. I have a personal relationship to stories like this, and I can't write about it in this format. But Carl Lumbly is still ABSOLUTELY the best.

- And I'm not the person to get into J'onn's opinion on his own blackness; except to say, in a week when David Harewood met with British MPs to discuss the 'accidental' deportations of the Windrush migrants, this is a BIG DEAL.

- Since I'm doing asides into side plots: Mon-El and Kara. His apology - agenda-free this time - is honest and heart-felt, and his full disclosure about *why* he's apologising now raises interesting questions: at what point is this honesty defined as over-sharing? Where is the line drawn between being 'open about your feelings' and 'demanding emotional labour from others'? Kara has a firm boundary - they are *not* going to talk about his marriage - and he respects that. But should he have told her about it in the first place, even if it does lead in to the new information about the World-killers? I've said before: Supergirl is the only show with a significant male audience that, whether you believe it should or not, actually tackles questions of what healthy masculinity *should* be (albeit with varying degrees of success), and it's good that they're keeping it up.

- Mary's story is not only an important reminder that the men who commit mass-murder often begin by terrorising the women in their own homes; but also, in the context of Childish Things, addresses Winn's misunderstanding of his own fears. Winn has always believed that his father was a good person, until one day, when he just wasn't; and Winn believed that any time he didn't keep a lid on his own anger, any time that he might use that part of himself to stand up and say 'no' against those that would hurt him, the same would happen to him. But Winslow Sr. wasn't a good person. It took a long time for his anger to consume him, a long time for his battles against perceived slights to affect anyone except Mary. Winn has little to worry about.

- And her decision to take the gun and take on Toywoman(?) alone is immediate, consistent, and believable. She's been without her son for twenty years to protect his life. He will NOT be taken from her now.

- Delightful stunt-casting for Toywoman, by the way (If you haven't watched The Silence Of The Lambs recently... go do that).

- The second action sequence: not as good as the flying monkeys, but still has some banging moments, as the 'heroes' drop out to handle various contraptions to leave Winn to rescue Mary.

- Speaking of contraptions: "Cloth Magic." Comics Mon-El fans, that's got to feel good.

- How many times did Mary have to sit through New Hope when Winn was a kid? I'm guessing 'more than ten'.

- Winn being offended at the idea that he's going to be killed with something as pedestrian as a *firearm* is the absolute business, and annoying because it's a beat I'd already gotten it noted down for my own fic series.

- "You haven't just survived, you have EXCELLED."

- Mon-El *butchering* a song now synonymous with a TV show that *LIVES* in the kind of masculinity he's been used to deconstruct (again, with varying degrees of success) is a solid piece of work. As is his apology.

- Okay, this episode isn't exactly what we all wanted for Winn. No-one has hugged him. No-one has told him they love him. Kara has not re-iterated that he is, in fact, her best friend (because he is). He's not designing the Valor suit. We didn't get to hear him sing. And his twenty-year-long trauma of being alone in the world is resolved a lot more speedily that it really ought to be. But that doesn't matter. Those are indulgences, and that's pretty much what fan-fiction and the Miscast performance videos are for.

    What this episode *does* do is reiterate the show's mission statement once again: We, as a people, are at our best when we depend on each other. Forgiving when we can. Understanding when we can't. And more than anything else, simply being there for each other. Whether it's supporting each other through a personal crisis, or through the decline of a loved one; teaching each other new skills, or helping to mend a beloved outfit; or even, sometimes, just having the courage or shamelessness to perform karaoke with your mum; the same truth remains:

    WE ARE STRONGER TOGETHER.

- Which is why it's perfect that the show end on Lena. Alone. Keeping the truth from the people she's closest to. She hasn't told James. She won't tell Kara. She's just there, trapped inside the box in which she's imprisoned her oldest friend, with no-one else there to help or to guide her. For all her claims that Kara Danvers is her hero... ultimately, the only person she will ever truly depend on is herself.

   And it's all going to go horribly, horribly wrong.

-LyraWatch: I'm bringing it to a close. It's now been eighteen episodes, and nary a mention of if they're still together or where she's gone. It's so very unlikely that she'll be brought up again.

-LenaWatch: 14 episodes (record high: 16). Most likely at this point, Winn and Lena will have a scene at some point after it's been revealed she's been working on Sam (and has probably made things worse); and Winn will, for the third time, have to help bail her out of the war-zone-like situation she'll have created through her own hubris.

[ericmooreporchkid]

watching THAT 70′S SHOW @ 25.

The first time I went to Point Place was summer 2003.

I was on a family camping trip of sorts with my friend Nick. Our families were pals and we thought it would be a stellar idea to spend humid Iowa July in some “cabins” (which were more Super 8 than log) and do some paddle boating, fishing, smore’s’in’, etc.

The trouble was we were suburb kids. Heat and bugs limited our activity to the sofa and stove Smore’s. Our moms took to the Cabernet and didn’t mind at all. After some frustration with the bloated and dusty TV ‘neath the spiral staircase, our media viewing ended up being some That 70′s Show DVD’s Nick had brought along. 

I didn’t get it at first. Why Nick liked it. We didn’t grow up in the era the show was concerned with. How could he even relate? We had velcro shoes and gushers. But, I wanted to impress him by also finding value in the funky colors and shaggy hair, so I dove in. I did feel a weird false nostalgia almost immediately, mostly because the weird orange-y chairs in the set kitchens and at The Hub closely resembled our cabin furniture and the seating offered by the shoddy grocery shop at the edge of the campground. This, interspersed with my mom’s occasional wine-hued comments about when an outfit was similar to something she’d once worn or when the coffee cups were what her grandma owned, made me urgently want to feel a kinship to this weird replicated era.

And so a few hours in I was pretty in love with all the characters. My embarrassing moments resembled Eric’s, my moron friends resembled Kelso, and all my crushes resembled Jackie and Donna. 

A few years later in middle school, as I began to crank into pubescent Hornville and become informed about sexuality and romance from movies/tv (yikes), I would spend late nights watching re-runs of the show with my younger brother. We had that early teens late night energy and hunger, and it felt weirdly invigorating to watch what high school might be like over microwave nachos. Having a consistent friend group who constantly face dumb sophomoric challenges like drinking ages and curfews and virginities in a pursuit of fighting boredom was exhilarating. 

I went through high school and had a lot of those first experiences (kisses, drinks, slight vandalism), with less cheese and folksiness but pretty similar small-town ennui. Occasionally the show would come up in mid-aughts conversations normally dominated by DEXTER, or Weeds (girls I would date were usually stronger-willed and muscled than me, so I settled into an Eric-ish self-deprecation mode that never felt good but at least felt defined), but I never watched it the way I did in that early teen fuzz, where the concept of sneaking out or drinking seemed so outlandish and attractively alien.

My summer after my first year of college (and the only summer I ever went back home for) was bleak. I had switched from journalism to creative writing, which my parents were not stoked on. I had experienced two relationships that were impactful but not meaningful. I had my first big surges of anxiety, panic attacks, calling friends and having nothing to say. I had a small part in a play and worked a part-time job doorknocking for a friends’ dad’s senate campaign. Having old people shout at me for supporting “the gays” in heat was far from reassuring life fodder. I rewatched all 200 episodes of the show that summer. It was true comfort at that point. True and natural nostalgia. It wasn’t “the 70′s”. It was just high school. It was friends. It was community. And the jokes felt cheesier than I’d remembered, but I excused them, the way you do when your mom ejects a jest you’ve heard a thousand times. The show didn’t ask me what I was going to do next, it just followed the quests of Donna to be taken seriously, of Eric to be respected by his dad, of Fez to be acknowledged as a person and also to “do it.”

Six years later and I find myself peppering in a few episodes amidst the onslaught of streaming content available. It’s odd now. It feels like summer break is done. I’ve grown so much in comedy and comedy has changed so much, on a pure structural level. Some quips that used to spark just flare out immediately, like the end of a sparkler placed in a Diet Dew can. A lot of themes and dialogue are pretty dated and gross, because it’s something made with a late 90′s concept of social structure trying to handle the 70′s style of equality, gender norms, etc. Hyde is not cool and anything remotely sexual from his mouth is dusting considering Danny Masterson’s real life monster behavior (go fuck yourself, Danny). It’s sad knowing Laurie (Lisa Robin Kelly) died from a drug overdose and the lifestyle she has on the show is so slut-shame-based, treats vices like weaknesses. The blacklight of time is on.

On a pure production level, it’s weird knowing more about sets and shooting and Hollywood gunk, which honestly does take a lot of the magic I used to see away.

But the frame and the shots and the haircuts and the love are still there. Things still work. I want to be in the circle. The world and the characters exist with such life. So many scenes are real laughter, the laughter of actors in their early 20′s having fun and being blown away that they’re getting an opportunity to create together. I don’t ever really drip into the later seasons (fuck Randy) except for that last episode when Topher returns. 

I watch that one a lot, actually. It makes me happy that past the prime of the narrative and show, they wanted to end it back on the steps with kids doing nothing and trying to understand the world right before the buttoned-up eighties. The world got uglier and prettier as the show left us, but the basic soul of the material is pure and honest and explorative. The way adolescence is. The way we can sometimes remember being. 

Below are my top five episodes. Hi, Wisconsin.

5. “Hunting” S 2, ep. 13

Eric and the guys go hunting with Red and Bob. This is some of the most stellar Red vs. Eric activity, but it comes to a real emotional truth that surpasses the show’s normal depth when Eric reveals he knows how to shoot animals and he just doesn’t want to. The way he uses an ability Red so aggrandizes to prove its arbitrary importance is such a satisfying kick in the khakis and a nice representation of one generation slightly jolting the other awake. Also, everyone accidentally eats crow. 

4. “Halloween” S 2, ep. 5

The gang breaks into their old elementary school and reads their permanent records. The relatable curiosity every kid has over what the fuck a permanent record means also turns into a beautiful bottle episode of “how did we all meet?” I always end up tracking the spider webs of my own friendships post-view.

3. “The Career Day” S1 ep. 18 

Seeing the spectrum of Point Place’s job market is pure fun. It’s such a good characterization episode (Kelso telling his brainy dad he’s just gonna write down that “he’s a farmer” always kills me) and it rocks that moment many of us go through where we look at what our parents do and think what the fuck am I gonna do? Certainly not that. 

2. “Parents Find Out” S2 ep. 19

The self-explanatory title was not only satisfying because of the parental reactions, but because there are a few episodes between when Eric and Donna lose the V and when it actually matters. You know when you do something you think your parents are gonna kill you for and then you realize they can’t really do anything? Every time I watch this I still feel like Red is going to shoot Eric. I am happy Pavlovian here. 

1. “Dine and Dash” S3 ep. 15

An amazing modernized “And Then They Were None” wherein we see each character slowly avoid the bill. Of course its dumb teenage rebellion, but there’s also a very human quality to each of the characters turning on each other. It’s carnival stress.

(below: My friend Adam and I at a gas station before prom in 2009, complete with 70′s locks).