#and there are clips that both trailers have in common so we actually have less than 3 minutes lol

[ofmd-alsaurus]

they've put almost nothing of the romance in the trailers. like the good stuff, you know? the stuff we know we're getting but they can't spoil it too much. the kissing and the lovey dovey stuff 🥲 we have so much to live for

[absolutebl]

This Week in BL

April 2021 Part 1

Being a highly subjective assessment of one tiny corner of the interwebs.

Ongoing Series - Thai

Second Chance Ep 1 - living up to its name since it looks to be a series of redemption arcs. Launched with a college confession and a broken friendship, then a flash back to them as seniors in high school. Pairings include friends to lovers, nerd/jock, and maybe cafe boss/employee. There’s a lot going on, but it’s still... quiet and sweet. The script is pretty pat but it’s still WAY more watchable than Cupid Coach or Brothers and most of the acting is solid. Ep 1 tropes included: he’s in engineering, wound tending, fast & bicurious. This could turn into what I wanted My Gear & Your Gown to be. Fingers crossed. 

Love Poison 2 Ep 1 & 2 turns out I did watch and report on season 1 (8 eps), season 2 seems equally unmemorable. Thai countryside setting, strong dialect, incomprehensible plot, camp side characters, and ghastly singing. 

Y-Destiny Ep 1 (eng subs?) - opened with the sports romance enemies to lovers (they aren’t going in the teaser order). When the couple got over fighting, the flirting was v cute, but the flipping SPONGE BATH trope had to rear its ugly head. Still, this series is shaping up to be less coy and more frank than most BL, better than expected. It feels, I don’t know, gay-er or something?  *** Sources were correct that each couple is getting (at least) 2 eps, and MDL has been updated to say this is a 15 episode series (not 7). 

Cupid Coach 12 fin - The new Nite was great and should have been a main all along. It felt like we got a tiny nugget of what could have been in about 10 minutes worth of this last ep. It was way too slow with terrible editing and a criminally bad script, but at least it ended happy. Mostly, like Friend Forever, I’m just disappointed that these two actors were done dirty by the series. Bad Cupid Coach, no screen caps for you. 

Lovely Writer Ep 6 - breaking news, there’s a het couple I like: toppy bi femme + soft boi = such a good pairing! I know, but this NEVER happens. Meanwhile, Sib’s secret is out, Gene is a bit of a drama queen, and the plot thickens. We half way through.  

Brothers Ep 9 - Kaow had a serious moment of advice giving that was truly lovely. Lots of family dama made this a superior episode to... well... any of the others in this series. Which isn’t saying much. 

1000 Stars Ep 10 fin - at the start this series didn’t grab me the way GMMTV’s last BL, Tonhon Chonlatee, did. But boy did it end 1000x better. Might have given us 2021′s best forehead kiss. I enjoyed the ultra romantic cliff-top reunion kiss, and I LOVED the stinger flirting scene. That was an absolute gift we had no right to expect. This drama is a poster child for finishing on a high note (always focus on that dessert course). Final thoughts? This was FAR more a classic romance than it was BL. There were some BL tropes used but not many and most of them originated in the romance genre not yaoi. A picture perfect ending bumped 1000 Stars much higher up my best-of list than expected. Not sure how often I’ll rewatch it as a whole, but this last episode? I’m probably rewatching it right now. 

Ongoing Series - Not Thai

Dear Uranus (Taiwan GL) Ep 3 fin - I guess that’s it? Okaaaaay  

HIStory 4: Close To You (Taiwan) Ep 3 (AKA Ep 5-6) - we got actual legit gay culture not just BL (always appreciated) from XingSi. I’m starting to find LiCheng’s “show them we fucking” hijinks hilarious rather than annoying (not sure why, maybe I just love a rubber chicken, or maybe it was the STUFFED CORN WITH THE TASSEL that did it). 

-- H4 Moment of RANT --

Tropes included beach trip, there’s only one bed, cook for him, baby is a floppy drunk, carry baby to bed, and.... drunk non-con. Whoopdedoo. Here we go again. Did TharnType teach us NOTHING? (Apparently it taught us if the chemistry is good enough, I have no morals at all.) At least H4 seems to be taking us out of cheese into serious when it comes to assault. Or is it? 

I take back what I said last week about XingSi & YongJie being codependency + salvation trope, that only works if YongJie is the uke. He’s NOT. So we got us an obsessive predatory villain with a possible redemption arc. That’s more common in crime dramas, mafia romance, and epic fantasy than BL. It’s real hard to redeem a sexual predator in a reality-grounded universe like contemporary romance (See Kla in LBC1&2). 

Next week is gonna be a test of the whole damn franchise. Imma remind both me a you that this was ep 3 of 10 so we got a ways to go yet... but ooof, what have we wrought, BL? (I ended up doing a whole post about the stepbrother trope because of this sub plot.) Taiwan is killing me.

-- RANT ended --

Word of Honor (China) Ep 19-21 - over half way point so we got ALL the back story (in a classic 4 act story structure midway reveal). Now we know who WKX really is and his lineage. We also got some cute hugs and hand holds. Moving along at a nice clip despite being 36 eps total. Still gayest thing to come out of we-not-gay China since Advance Bravely. 

Most Peaceful Place (Vietnam) Ep 2 - takes them a while to get eng subs together and ep 2 didn’t drop until late. So I’m putting this in a Thurs time slot going forward. Miscommunication already cleared up and a 2nd couple has been introduced. The pacing on these Vietnamese BLs is always a bit... off. But it’s still better than most of its ilk, enjoyable. I’m thinking it’s a 6 ep arc. 

We Best Love 2 (Taiwan) Ep 5 - after the initial drama DRAMA of ep 2, the current external crisis at work is much quieter, giving this whole season a top heavy feel. Taken along side the first season, I think it’s fitting nicely into a 4 act structure, but that might be my bias. I hope I’m not wrong, we’ll find out next week. Shi De puttering about being domestic with Shu Yi on his back was the best execution of the piggyback trope EVER. Meanwhile, our little D/s side couple of codependency, salvation trope + mental illness is becoming weirdly appealing. I don’t know. H4 done mess with my head. 

Stand Alones 

Absolute BL AKA Zettai BL ni Naru Sekai vs Zettai BL ni Naritakunai Otoko  (Japan) Ep 1-4 mini series. Found subs under A Man Who Defies The World of BL. IT’S HILARIOUS. It’s Japan making fun of us, but also itself for having started this whole BL nonsense - from yaoi roots to present day. It’s parody goddamn gold. Utterly cheeky unto the very last line. We are not worthy. 

Apparently the most powerful tropes of all time are: baby is a floppy drunk and the piggyback fo nobility. Oh and chocolate. {Full review here.} 

Honestly, this show may have been made with only @heretherebedork and I in mind. I don’t know if you’d even understand half of it if you don’t have a history with the manga source genre and an obsessive interest in underlying narrative devices. I haven’t seen much chatter in the blog’o’sphere on this one because, in the end, it’s not a romance at all, it’s social commentary. 

The ending line was a masterclass in lampooning a genre. I’m going to rewatch the whole thing just to catch all the digs I missed first time around. It is a thing of beauty and a joy forever. 

Thank you Japan. I forgive you all your hair-styling sins of the last decade. 

Breaking News 

Spring Line Up:

Scholar Ryu’s Wedding Ceremony AKA Nobleman Ryu’s Wedding (Korean historical BL) April 15th 

Close Friend the series (Thai trailer) April 22. 

2gether the movie (Thai trailer) April 22 to Thai theaters.

Nitiman (Thai) May 7 on One31.

I Told Sunset About You 2 (Thai) May 27 on LineTV

Ossan’s Love (Hong Kong) June to Viu 

Gossip 

Bad Buddies released its first promo op via Arm Share, which means GMMTV is at least *thinking* about filming it. 

Fun behind the scenes gossip sesh with eng subs for Tell the World I Love You (that Perth Bas movie we are maybe getting someday but will likely be sad). 

New Thai BL Bite Me (adapted from novel Grab a Bite) dropped a teaser. It stars Mark Siwat (Kla in LBC) as uke character Ake, a delivery boy with special foodie powers, and chef Eua (seme played by Zung Kidakorn) who discovers him. It’s from the same author as Manner of Death so we might even get some actual plot. Since it’s an established BL actor who I happen LOVE, a known author, and a plot about FOOD, I could not me more excited for this one. 

Next Week Looks Like This:

Some shows may be listed a day later than actual air date for accessibility reasons. Some are dropping multiples at a time but just started so I’m not sure on numbering. 

Upcoming 2021 BL master post here.

Links to watch are provided when possible, ask in a comment if I missed something.

[immaturityofthomasastruc]

#5: The One With Astruc's Self-Insert

In my introductory post, I said the main inspiration for this blog was @hypocrisyofandrewdobson​. For those who don't know, Andrew Dobson is an infamous webcomic artist known for drawing webcomics that tend to demonize people he's come across in public or people who disagree with him online (either critical of his art or his political views), while portraying himself as the victim or wise man calling them out on their differing beliefs.

If you want to learn more about this guy who I consider to be far worse than Astruc, check out the blog in question. And no, I don't know why he draws himself as a blue bear.

Why am I talking about this? It's one thing for some schmuck on the internet to use his work to respond to criticism, but the creator of a popular animated series dedicating an entire episode to attacking his critics and trying to get others to feel bad for him is another story.

The second episode of Miraculous Ladybug's third season, “Animaestro” served as a wake-up call for fans (myself included) to make them realize how immature Astruc could be. The plot centers around the premiere of a movie about Ladybug and Cat Noir directed by Thomas Astruc, who voices himself in the original French dub.

And this isn't just a brief cameo like what Stan Lee did in the MCU. Astruc is the Akumatized person this episode, so there's naturally a lot of focus on him. Throughout the first half of the episode, Astruc portrays himself as this timid man who nobody recognizes or respects, like this idiot who doesn't know what animation is.

Doorman: This is a private event, sir.

Astruc: Huh? Excuse me? I'm Thomas Astruc, the movie director.

Doorman: You filmed Cat Noir and Ladybug? What are they like in real life?

Astruc: Er, it's an animated movie. It's all cartoon characters. We don't actually film anyone. See, there's this whole team that draw the chara—

Doorman: Whatever. Who would want to see Ladybug and Cat Noir as cartoon characters?

Get it? Wasn't that meta joke hilarious? This is how much I was laughing:

And Astruc continues to get about as much respect as Rodney Dangerfield when he interacts with other characters like Jagged Stone and Chloe.

Jagged Stone: Ladybug is one of my best buds! I can't wait to see her movie!

Astruc: Well I—I'm the director, so actually it's more my movie, so to speak.

Jagged Stone: Oh, so you're the one who created the story?

Astruc: Well, technically the screen writers wrote the story, inspired by Ladybug's exploits.

Jagged Stone: Oh, okay. So you did all the drawings?

Thomas: No, no. The animators do all the drawings.  

Jagged Stone: So what do you do then?

(Later on...)

Chloe: So you're the one responsible for this movie?

Astruc: Yes, yes! Exactly! That's me!

Chloe: Then you were the one who left Queen Bee out of the trailer. You're lame, utterly lame.

I can't believe Astruc had a scene where he interacted with Chloe and didn't insult her at all.

The episode is determined to make the audience feel bad for Astruc. Nobody respects him and what he does. Isn't that saaaaaad? Nobody cares about animated film directors like Walt Disney or Tex Avery anyway. Not even these stupid children understand how hard Astruc works.

Several Children: Ladybug! Where's Ladybug?

Astruc: Hey there, kids!

Teacher: Ladybug isn't here children. We came here to meet the director of the movie. Children: (frowning in disappointment) Aww.

(Astruc looks visibly disappointed.)

Way to insult your primary demographic, Astruc. I thought you said kids have a better understanding of these stories when people criticized the writing of a certain episode (It's that scene in “Puppeteer 2” if you're curious/don't value your sanity).

It's almost like you're using that as an excuse to half-ass your work while still getting to claim this show is so groundbreaking.

In case you can't tell, “Animaestro” is one of those episodes. The ones where the showrunners decide to dedicate an entire episode to attacking critics of the show in a blunt fashion. Whenever a show addresses criticism, they either create an obvious strawman character to parrot the opinions of fans who don't like their work, or have someone defend the show and insult the critics directly.

The problem isn't that they're ignoring criticism. It's their show, and they aren't obligated to listen to critics or fans who don't like the direction the show is taking. On the other hand, they aren't obligated to fight back like this and treat their audience like crap. Any show that does something like the three clips I showed you usually comes off as petty and immature because they dedicate so much time to insulting the critics. 

Even during the Akuma fight, Astruc has to call out Ladybug for having problems with his movie in-universe, obviously representing critics of the show Astruc claims have no right to criticize the show while it's still airing.

Ladybug: What's with that trailer too? I am not scared of cats, at all.

Astruc/Animaestro: You haven't even seen the movie and you're already slamming it?

Cat Noir: He does have a point, you know.

Ladybug: I wasn't slamming it. It's called constructive criticism!

Yeah, how dare Ladybug be angry that this movie is portraying her as a powerless coward dependent on Cat Noir as opposed to a confident and brave superhero. She just doesn't understand the genius of Thomas Astruc!

And of course the character Astruc claims is “perfect” is the one to take his side.

And that's another problem with this episode, the metatextual references. Before he gets akumatized, Astuc says he spent three years of his life working on his movie. I get that time in this show is weird (we somehow had episodes taking place on the first day of school, Christmas, Valentine's Day, and the first day of Summer), but how did Astruc's self-insert work on a movie based on a superhero who has only been active for a year? Meta-wise, it's an obvious reference to the scorn Astruc has gotten from fans after working so hard on his show, but the only people who would get that reference are the ones who are aware of Astruc's reputation online.

Self-Insert aside, I actually think the titular Animaestro is one of the more visually impressive Akumas featured on the show. Animaestro takes on several forms based off several different forms and eras of animation, like flash, anime, rubber hose, and they all stand out. Granted, some of them are obvious parodies of other characters like Goku or Sailor Moon, but the actual Akuma fight is fun to watch. According to the Mexican Miraculous Ladybug Twitter account, this episode took two and a half years to create, and it shows. It's too bad the story behind it is completely insufferable, almost like the cartoon equidistant to Pixels.

But then comes the part that honestly makes the episode worth it, mainly for how unintentionally hilarious it is. Do you want to know what Animaestro's weakness is? Do you really want to know?

Animaestro is physically incapable of moving unless someone is watching him. I am not making this up.

Ladybug and Cat Noir literally defeat Animaestro by getting everyone to stop paying attention to him.

I could make so many jokes with this, but I can guarantee you're already thinking of something just as good, if not better, than whatever I write.

And there's the end where Astruc gives Marinette his ticket to the movie, which prompts Marinette to kiss up to him for no real reason.

Astruc: Sorry, I guess you don't know who I am either.

Marinette: Of course do. You're Thomas Astruc, the movie director!

Astruc: She recognized me. Somebody actually recognized me!

Nothing happened to make her change her opinion on the Ladybug movie, she didn't really say anything to him earlier in the episode that connects to this exchange, and outside of a few lines Animaestro said, she doesn't even know why he got akumatized (even though ironically she and Chloe accidentally contributed to it because of the awful subplot involving Kagami I talked about last time). If anything, it comes off less like she actually appreciates Astruc's work, and more like she's stroking his ego just to keep him from getting akumatized again.

So yeah, this episode is awful, and the fact that it came out right after the controversial “Chameleon” only proved to show what kind of direction the show was taking this season.

But honestly, even if Astruc still wanted to make about how he doesn't get enough respect the episode could have potentially. All he had to do was make a simple change: Instead of making it about validation for Astruc as a creator, make it about validation for animation in general.

It's a common misconception that animation is only used for shows and movies aimed at children, so the episode could reflect it. Instead of the huge turnout where several celebrities appear at the premiere, instead, the turnout could be a lot smaller, with the media dismissing it as some stupid kiddie flick. Instead of getting akumatized because he gets humiliated in public/getting no respect from anyone else, Astruc gets akumatized because he sees the audience didn't go wild for the movie after the premiere. All he can hear them say is that it's just “kids stuff”.

So when Astruc is Animaestro, he goes on about how important animation is. How it's helped produce propaganda since World War II. How it helped improve special effects in big blockbusters. How the medium is used to create movies that simply can't be filmed on a physical set.

After defeating Animaestro, Ladybug shows up to talk to him. She had seen the movie earlier, and actually enjoyed it. She had a few problems with the story, but they were just minor nitpicks and inaccuracies Astruc wouldn't know about, and she was blown away by the animation. She tells Astruc not to be deterred by his critics, and continue to do what he does. As a designer in her civilian life, Ladybug knows the joy creating brings her, and both she and Astruc want to spread that joy through their work.

Back at the premiere, Astruc thinks about what Ladybug said to him when he sees some kids reenacting a scene from the movie. Astruc walks over to them and asks what they thought of the movie. They said they loved it and how energetic it was. When he tells them he is the director, the kids' faces light up and they say they want to do what he does when they grow up, bringing a smile to Astruc's face.

Isn't that a much more humble approach instead of what we got? It would have helped Astruc come across as more sympathetic, especially with animation fans. But instead, we got an entire episode of Astruc whining about how misunderstood he is.

And you know the footage used for the movie at the beginning? Remember that, because I have a huge rant about it saved for a later post.

For now, here’s an example of a creator appearing in his work done right.

[lokigodofaces]

Okay, Marvel likes to be misleading with their trailers, and I have found something about the new mini look at Loki. Watch this clip (0:32-0:39) (I apologize, I don't know how to make gifs and I don't want to steal others so instead I've been linking to footage).

So, I was originally upset about this. I thought it was an odd response from Loki. No, he hasn't actually brought the literal end to worlds (yes, Jotunheim happened, but Mobius used the plural, suggesting more destruction). Based off of Thor, it was more of Thor causing problems and Loki being dragged along. But, I was rewatching, and I noticed something.

Here is Mobius at the beginning of this interaction. Look to the bottom right hand corner. We see the orange ball like machine seen in other scenes.

Look at the background. We know that Mobius is at least in the same place delivering both lines. And then a few seconds later in the trailer this footage appears in:

This is the scene when Loki is dropped into the room with the cat and where he has to sign, confirming everything he's ever said. Look at what Loki is wearing. He is wearing the TVA prison uniform.

Now back to the footage we were talking about before, the ends of worlds stuff. Loki responds with, "I know." But look at him.

He isn't wearing the TVA prison uniform. He's wearing the beige TVA suit.

This appears to be the same scene from the other trailer, the back stabbing discussion.

Look at how similar the backgrounds are.

Of course we could be looking at four separate scenes that take place in two locations. But, either way, Marvel edited the trailer to make it look like suit-Loki was answering a question thrown to prison-Loki. Which makes me a lot less worried. I didn't like the interaction too much, but that is not the interaction we'll see. Marvel took footage from two scenes and mashed them together. It is pretty common in trailers, to mash a bunch of scenes together like this and make it look like an interaction is happening when the lines are in many different scenes. So, yeah. Do with this information as you will.

[yeah-oh-shit]

Sherlock S5/Dracula Meta

I’ve been thinking about this for a long time. I’ve never written any fan theories or meta before (although I have so many), so please bear with me. I know my theory is going to sound a little out there, but I here it is: I think BBC Dracula is actually Sherlock S5, or else that it is somehow going to lead directly into it without warning. 

Warning: this is going to be a long piece. I’m going to break this down as follows, because there are many different pieces of evidence to examine: 

TFP, the story and the episode

Gothic Horror, HOB, Dracula

Vision, Timing, 20/20

The Final Problem

The first one is a fan theory I read probably 6-9 months ago that sadly I can’t find anymore (if you know who this person is, please please comment so I can give credit!). Basically this person was talking about how the naming of the episodes typically has some tie to what occurs in the original story by that same name, but how TFP has nothing AT ALL to do with the original story. In the original story, Sherlock goes face to face with Moriarty, and we are all lead to believe that both he and Moriarty die over the Richenbach falls. In all reality, ACD had meant to kill off Sherlock in this story, and stopped writing Sherlock Holmes stories for ten years before bringing him back in “The Empty House,” due to the public outrage and demand for more stories. So, the logic follows that maybe the one thing that they have in common is that they are both pitted as the end to Sherlock Holmes (in the story, he is dead; in the show we are given [force fed] an ending, it's made to seem like the final piece). The author of this theory also pointed out the show runners in this way are comparing ending the series with TFP (no canon Johnlock) to ending the show with Sherlock dead. We are left with a straight-washed version of John and Sherlock, with Mary’s voice controlling the narrative and that narrative being: It Doesn’t Matter Who You Are. The chemistry between John and Sherlock has been more or less completely lost throughout S4, and so we are left with this empty, dead-feeling version of them that doesn’t feel true to the characters we know and love. Even casuals thought S4 sucked.. this is why. They metaphorically killed them/killed the show.

Before S4 aired, Mofftiss had said that if they pulled off what they had planned, it would be the biggest thing in television. Well, what we got in TFP doesn’t really fit that at all, does it? What could they be referring to: A secret sister? Not really that epic. Even if we find out that most of S4 didn’t take place (either EMP theory or some other way of explaining it) that isn’t really a new trope. The audience discovering that they have actually been seeing things that are inside the main character’s head the entire time has been done over and over (Sixth Sense, A Beautiful Mind come to mind off hand). So what could this huge, history making move be? The argument that the meta I read previously made was that the show will come back (from the dead) unexpectedly, with no warning. That it will be a revival and in that revival, we will get canon Johnlock. I can’t remember if OP explicitly theorized that Dracula is actually Sherlock S5, but I think so. 

Now, I was with this theory from the beginning.. there is just something that feels possible to me, despite the fact that it sounds far fetched. Dracula seems like a weird, random thing to do when Sherlock, Moftiss’s mutual obsession, isn’t finished. (Also creating an escape room to keep up hype is odd if the show is over, but I digress.) I just don’t believe Moftiss’s constant claims that they couldn’t get everyone together to film S5 because of schedules, that they wanted to take a break, that they don’t know if they will do more (when Moffatt has talked about wanting a 5 season arc before, not to mention John Yorke). And then there’s the fact that we know they have filmed scenes that we have never seen (Niagara Falls anyone?). All this evidence that S5 is definitely coming, combined with the fact that we haven’t heard anything about it but have heard about Dracula, sort of fell into place for me. Despite me being willing to buy into it, this theory still seemed a little far fetched. But wait, there’s more!

Victorian Gothic Literature, HOB, Dracula

A lot of people have been talking about how gay Dracula is going to be, and citing evidence of the connections between Bram Stoker and Oscar Wilde (Dracula was written directly after his trial and Dracula is read as having characteristics of Wilde) as evidence. This, along with the extremely homoerotic last clip of the trailer, certain parts of the text that read as queer coded (I haven’t read Dracula, so I don’t know much but have seen some things floating around that seem v gay to me), and what we know about queer coding in Victorian gothic literature in general, all make a convincing argument. Gatiss actually recently confirmed (more or less) that Dracula will be bisexual in the upcoming series. And while I’m all about gay vampires (I am a huge vampire fan, seriously I love Vampire Diaries and True Blood and was one of “those girls” during the middle school Twilight craze), there is something about Dracula being Moftiss’s first cannon gay show that feels both disappointing and incongruous.

I want to bring up the All Ghost Stories are Gay Stories meta by heimishtheidealhusband. Now, this meta was written in 2015, in anticipation of TAB. Its great and you should definitely check it out if you haven’t/don’t remember it. The part I am most interested in is actually the reading of HOB, which I will get to in a bit. The takeaways from the first bit of the meta are that monsters and ghosts (to a different extent) are representations of queer desire in Victorian gothic literature. I’m summarizing drastically here, but as queer desire was obviously unacceptable in Victorian times, writers would obfuscate it by creating an “other,” a monster or ghost, that represented the queer or “inverted” desire and also demonstrated the fear and horror that society had for homosexuality. So the monster becomes the representation of homosexuality (homosexual acts or desires) that is pursuing the protagonists. Oftentimes, the protagonists were originally obsessed with the monsters or the concept of them, before actually confronting them, but are terrified and frightened when it actually occurs (think Dr. Jeckyll or Frankenstein). This meta also specifically talks about Dracula and vampires as the most queerly coded of the Victorian monsters: “Think about your vampire tropes: Dracula sneaks into your bedroom at night, lusting after your bodily fluids. The victim, meanwhile, is paralyzed with fear, but also excitement. (Oh hi phobic enchantment, I see you there!) The tension mounts until there’s a climactic penetration of fangs into flesh. And lots of sucking. Then think about the fact that the one doing the penetrating and the one being penetrated can be - and often are - both male.” 

This all seems to bode great for our queer reading of the new BBC Dracula, yay! Vampires are clearly queer coded, and making it explicit makes sense and seems like a no-brainer. But I think it’s important to point out the ways in which this is also potentially (and likely) problematic. In Victorian times, there weren’t really many other options for portraying homosexuality. This is part of what makes what these writers did so brilliant - they were unable to show these desires as normal and healthy, because it was too dangerous and society didn’t see them that way (hence the use of the word “inverts” for homosexuals). Using the horror genre allowed them much more freedom to explore homosexuality, identity, and societal reactions to it, but also obfuscated the difference between reactions to homosexuality and the thing itself. In some of the stories, like Frankenstein, the monsters are actually misunderstood. Frankenstein’s monster only turns evil after experiencing society’s horrified reaction to it. However, in a modern context, I wonder about the message it sends to remake a Victorian story in a modern time and make the monster queer.

To flush this out a bit, I think it would be helpful to take a look at how Moftiss (and particularly Mark Gatiss) have played with this Victorian monster trope already, in Sherlock. Which brings us to HOB. heimishistheidealhusband points out that ACD’s original story “The Hound of the Baskervilles” would definitely fit into the scope of Victorian gothic literature, and their meta “All Ghost Stories are Gay Stories” does a particularly good job of breaking this episode down with the lens of Victorian gothic literature and queer coding. I am going to quote this reading here, and also also want to touch on the reading of this episode by Rebekah of TJLC Explained.

Here is what heimishtheidealhusband has to say about this episode: “Here’s why BBC Sherlock’s treatment of Hound is particularly beautiful. The creature – the hound – is our queer monster. In ACD’s Hound, the hound was indeed physically altered – he was painted in phosphorous to give him a hellish, glowing appearance. And the hound was actually the one to do the killing. In BBC’s Hound, there’s “the hound” – the monster that everyone is afraid of which is actually imaginary, and “the dog” – the real thing that actually exists. In other words, in this version, the “queer creature” in the horror story has been de-monstered. Homospectrality is being flipped on his head – rather than separating the man from the queer, they’re separating the queer from the monster. Because the dog isn’t inherently evil, it’s just the poison in the air that everyone is breathing that makes them fear it, and see a monster instead of an innocent dog. So in this treatment, if the dog/hound represents queerness, heteronormativity becomes a poisonous element in the air we all breathe.” 

This is why it is so important that Hounds is plural (as opposed to the original story “The Hound of the Baskervilles”). They are emphasizing the differentiation between the two dogs, the differentiation between the monster and the queer. Rebakah of TJLC Explained also points out that despite all the conspiracy theories, there is actually no monster inside Baskerville, but rather a rabbit that glows “like a fairy,” (let’s all take a moment to remember the skipping dance and sing-song voice Ben does in this scene, in case it wasn’t obviously queerly coded enough). It’s hard to imagine a less-threatening animal than a glowing bunny. 

Mark Gatiss has been very open about his love for horror and the gothic. He has studied the gothic writer M.R. James, and was involved with the BBC documentary about James that explored his “repressed sexuality.” He clearly loves and respects the genre, and is familiar with queer readings of Victorian gothic lit. In HOB, he chose to engage with the genre in a modern context, and to separate the monster from the queer. In doing so, he points out the inaccuracy and harm that coupling queerness with monstrosity generates. With this in mind, the choice to make Dracula feels like a step backwards, especially when you bear in mind that Gatiss has actually said that he isn’t really interested in gothic horror anymore. In an interview with Shadows at the Door in 2017, Gatiss stated: “I used to think nothing could exist without waistcoats and bubbling test tubes and now I’m actually more interested in modern horror; the gothic but in a modern context. I don’t think it has to be about the old and obviously I still love it but it doesn’t have to be about candelabra and castles. You can get the same feeling from modern methods, and in a way that is more frightening.”

All this isn’t to say that gothic horror or vampire stories isn’t still interesting and worthwhile as a concept, or that a canonically queer Dracula wouldn’t/couldn’t be badass. (I for one would love a Vampire Diaries remake wherein Damon’s character is a woman, but I’m off topic..). It doesn’t even mean that there can’t still be something complex or provoking in this representation for a modern audience. But it also feels dangerously close to repeating the queer coded (or even plainly queer) villain that we have all seen a hundred times from horror films and Disney movies. At best, still doesn’t seem particularly new or exciting, and at worst it could reinforce frankly problematic and dangerous stereotypes.

I am now going to analyze the actual trailer for BBC Dracula that was released a few weeks ago, because it is going to help me to illustrate this point. One thing that struck me most when watching it was just how horrific it really is. The 45 second long trailer includes: a fly that crawls into an eye, a bloody fingernail being ripped off, a blood covered hand, something that appears to be being birthed, a scary, old-looking Dracula with a bloody tongue, and bloody flesh that is being carved. There are at least 3 instances of mouths: the fangs at the very beginning, the mouth with bloody tongue, and the frame after the gunshot of a mouth that looks desiccated like a zombie, that only flashes for a split second. All in all, it’s not only scary, it’s quite disgusting. The three bloody or otherwise monstrous mouths that we see relate most strongly to the covert sexual tones of Victorian gothic literature (and also remind me of Moriarty’s oral fixation in TAB). These are some of the most disturbing of the images. While the intro fangs are pretty mild, the clip of Dracula’s frightening face and bloody tongue (which is followed immediately by the bloody flesh being carved) and the decayed mouth are both quite gruesome. If we apply the metaphors that we know from Sherlock, they are making some pretty damning connections. The mouths in-and-of-themselves could be read in a sexual way, but then there is the added fact that the decayed mouth appears directly after a gunshot, which we know has been tied to dicks/gay sex in Sherlock (and generally). The bloody flesh being carved on a table also recalls the food/sex metaphor in Sherlock, specifically reminding me of how disgusting the meal scene is in John’s wedding to Mary. Food and eating can be really disgusting, and this trailer makes a point to show us that. When we connect this back to the sex metaphor again, and give it a queer lens, we are once again being metaphorically told that queer sex is disgusting and horrific. 

Whether or not Moftiss are purposefully making these metaphorical statements, they definitely went out of their way to make this variation of Dracula particularly scary, horrifying, and gruesome. It’s always possible that they are just hyping up the goriness in order to get audiences excited. It’s also possible that they are highlighting the disgustingness of Dracula’s monstrosity as a means of engaging with the public perception of homosexuality or that they will complicate the narrative in some other way. But even if we give them the benefit of the doubt here and assume they aren’t trying to paint queerness in a bad light, this highlighting of the disgusting nature of Dracula’s monstrosity doesn’t seem to push forward any kind of unique, modern narrative. We have seen this, this is exactly what Victorian gothic literature is all about. They needed to explore homosexuality through its repression, to make it monstrous, because they lived in a time when there were few alternative ways to explore it (except for maybe the example of our sweet “bohemian” boys - check out this meta from artemisastarte to learn more about bohemianism and queerness in Sherlock Holmes). But in our modern day, is this really that exciting? Is this the kind of queer representation we want and deserve in 2019 (soon to be 2020)? To me, the answer is no, especially in light of the incredible and complex work they have done in Sherlock toward building a queer love story that is normalized, and completely removed from any conflation with monstrosity. 

The fact that Dracula is tied so heavily to Sherlock makes this distinction even greater. Gatiss said that they got the idea for Dracula from a still image of Benedict Cumberbatch on the set of Sherlock with his collar up. Supposedly it reminded them of Dracula and the BBC asked them if they wanted to make it. In an interview, when asked about Dracula in relationship to Sherlock, Gatiss called it a “stablemate” of Sherlock Holmes. I’m not really sure how we are supposed to take this, and he doesn’t explain at all (of course), but that would mean that they are in some way similar or connected. I think he doesn’t just mean that they both come from him and Moffatt, as that is rather obvious and was acknowledged in the question itself. Both shows are not only created by Moftiss, but written in the same format, produced by Sue Virtue, and shot at Hartwood Studios. They also really emphasize the connection to Sherlock in the trailer (which isn’t surprising because advertising), and also in the new Netflix description, which states only: “From the makers of ‘Sherlock,’ Claes Bang stars as Dracula in this brand-new miniseries inspired by Bram Stoker’s classic novel.” There isn’t even a background image, only a weird gray distortion on a black background.

Furthermore, there are also elements from Sherlock that point to Dracula, either directly or indirectly. In S4, when John is supposedly texting “E.” He asks “Night Owl?” and the response he gets is “Vampire.” It feels odd and out of place to mention vampires in this offhand way, as we have never really seen anything like this on the show. To be fair, a lot of S4 feels this way, but I believe that it is actually chock-full of symbolic meaning and that almost everything that we see that feels wrong or untrue to the show has a deeper meaning. What, then, is the purpose that this plays? Additionally, in the escape room (Spoiler alert for The Game is Now), there is a television in the first room (Molly’s lab) that is playing what is set to look like British news. In the newsreel at the bottom, they included the announcement that Mark Gatiss and Steven Moffatt are making BBC’s Dracula. Once again, this feels a little throwaway, or could be explained away as advertising (although the escape room is so fast-paced that having any time at all to look at the television, let alone read it, when it wasn’t explicitly part of the puzzles would seem rare). Once again, there is a subliminal connection made between these two shows that I would argue is purposeful. 

The decision to make a gothic show that so completely plays on this horror trope, and then to tie it both explicitly and implicitly to the show that they have already done, which has a very different messaging around the gothic as it relates to conceptions of homosexuality, seems odd. In and of itself, a Gothic exploration of queerness is possible, but feels limited by its very nature. Gothic horror through a queer lens is about queerness and otherness being equated to and embodied by monstrosity. Dracula’s trailer seems to clearly be playing up this monstrousness. I want to reiterate that I don’t think making something like Dracula gay couldn’t be cool or interesting for what it is, or that there isn’t a way to engage with the gothic without it being problematic. But in comparison to what they are doing with Sherlock, it feels unimpressive. And in light of HOB, Dracula seems to go directly against the argument that Gatiss makes so beautifully, that queerness is harmless and very distinct from monstrosity, despite what the fog of homophobia might depict. To build up this narrative in Sherlock, then cut into the middle of it with something that is explicitly connected to it but symbolically making an opposite assertion feels counter-intuitive.

Vision, Timing, 20/20

Even with all this evidence, I don’t know that I would really believe they would go through the trouble to do all of this if not for the timing. Dracula is set to come out “soon,” but people have been speculating for this winter. That would make it the end of 2019 or beginning of 2020. Now I’m going to explain a little bit about my reading of HLV, which happens to coincide nicely with The Game is Now, and ultimately this theory as a whole. 

Something that caught my eye in HLV is how much glass there is in its first scene. We open on a shot of CAM’s glasses sitting on the table. We are below them, looking up through glass (although we see later that the table is actually wood). Next we get a shot of lady Elizabeth Smallwood, reflected through glass so as to show her in double (which is particularly interesting given that she is repeatedly called Lady Alicia Smallwood, both by CAM in the text that flashes on the screen during his analysis of her later this episode, and in the S4 scene where she leaves Mycroft her card). Next we see the entire interviewing committee through glass walls (it continues but you get the picture). We are introduced to the concept of lenses, looking through them, and at times the distorted image created by them. 

CAM owns a newspaper, and he controls people through rumors: it doesn’t matter what the truth is, it matters what people believe (what they see). (This sounds a lot like Mary in S4 to me). So we are introduced again (after TRF) to the concept of fact vs. fiction, truth vs. lie, and this time with the addition of lenses. What lens you view something through matters, has a bearing on how you read something, how clearly you see it (sounds kind of like the fog in HOB). By the end of HLV, we have been removed from the narrative enough, we can’t see completely clearly. We don’t know what has happened during the time between John and Sherlock’s confrontation with Mary and the scene at Christmas. We don’t see if Sherlock and John are on the same page or what Sherlock is planning. 

This episode leads into TAB, followed by S4 fuckiness. In S4, there are many things that feel “off” but one of the biggest is that John and Sherlock are distant the entire time. In the beginning we get the indication that John is missing Sherlock, but then we see Sherlock acting as if he is closer to Mary than John, inviting her on cases in his place. She gets inserted between them completely, becomes part of the gang. After Mary’s “death” John blames Sherlock (in a feat of logic that is truly baffling) and we have them at their most distant in TLD. And then, they come back together again in TFP, but the warmth and closeness is missing.

This season makes it clear that Moftiss were writing in all the little things that made their dynamic romantic and their chemistry so clear. They were able to take that out, and they did so with intention. It is if we are seeing the show through a lens: through the lens of straight-washing, the lens or perspective that Mary (John’s wife, the symbol of a straight John Watson, a platonic John and Sherlock) narrates for us so thoroughly at the end of the series. (Also side note, this straight-washed version of the show also fits into the 5 part John Yorke structure with part 4 being the height of the antithesis or the “worst part” - I learned about York from garkgatiss’s meta). The heart of the show is John and Sherlock’s dynamic. This dynamic is clearly intimate and romantic and has been in every iteration of Sherlock Holmes since the original stories, despite never being explicitly canon. S4 really follows through on Moriarty’s promise. The heart of Sherlock Holmes is gone, missing, burned out. 

Then we have the escape room [mild spoilers]. The entrance is Doyle’s Opticians; its filled with glasses. (Side note there was definitely a wall displaying glasses that were arranged by color to look like a rainbow). Once again we have the theme of lenses. Being in an optometry office, it’s interesting because the focus is obviously on correct vision. 20/20 vision. Vision is “right” when it’s 2020. (This wasn’t my realization, but someone else went to the escape room as well and wrote about it). So now, we have this idea of being able to see correctly tied to the number 2020. To the YEAR 2020. This is also interesting because one of the signs in Doyle’s Opticians read “You were told but you didn’t listen: coming soon.” Just another indication that we will be getting more (Sherlock) soon. 

Now, finally, we come to what I see as some of the most convincing evidence about Sherlock S5 coming in 2020. It has to do with copyright laws. 

In England, all of ACD’s stories are in the public domain. However, in the US, this isn’t so. US Copyright laws are different from the UK, so the last of the stories won’t actually enter the public domain until 2023. American copyright duration is 95 years from the date of publication. This is important because the Arthur Conan Doyle Estate is extremely protective of how Sherlock Holmes is portrayed in the media. It turns out that despite the fact that most of the stories are already in the public domain, BBC, CBS, and Warner Brothers have all gotten licenses from the Estate in order to make their shows/films. In 2014, the ACD Estate lost a lawsuit in which they were trying to argue that the characters are “complex” and that any use of the character (at all) was still valid under copyright laws (as not every story had entered the public domain) and therefore in need of a license from them. While some of the later stories are still under copyright, they lost the lawsuit and it was ruled that the character (as written in the earlier stories) is in the public domain. They sued Miramax for its production Mr. Holmes, which portrays an elderly Holmes, arguing that it drew from the later stories and therefore violated copyright. Miramax ended up settling to avoid litigation. The Estate is known for being litigious and basically doing its best to stay gatekeeper, hoard ownership, and generally extort money out of anyone who creates anything having to do with Sherlock Holmes. While the BBC has paid them for licenses before, I’m not sure how this clearly conservative group would feel about making Johnlock canon. Even if its not legally in their power to prevent it from happening, it doesn’t sound like that has stopped them in the past from suing basically anyone that has tried to create Sherlock Holmes material without their consent, and if that material in any way seems to come from the later stories, then they might have a case. 

Which brings us to the Three Garridebs. Moftiss have said in the past that this is one of their favorite stories due to it being the story where Holmes shows his depth of feeling for Watson. As stated by Watson himself, “It was worth a wound–it was worth many wounds–to know the depth of loyalty and love which lay behind that cold mask” Generally speaking, the fandom has posited that a Johnlock reveal may happen in a “Three Garridebs” moment. And do you happen to know the story that directly precedes the Three Garridebs? The Sussex Vampire. A story in which Holmes investigates a supposed vampire only to discover a loving mother who is attempting to save her infant child by sucking poison out from his wound. Kind of sounds familiar huh? A perceived monster, who is in fact nothing dangerous at all. Who in this case is the exact opposite of monstrous, is actually loving and gentle (like the real dog that is tellingly tied to sentiment, or Bluebell the glowing rabbit).

Both the Sussex Vampire and the Three Garridebs are part of The Case-Book of Sherlock Holmes, the last collection of stories. They were both published in 1924, meaning that both their copyrights run out in 2019. It will really only be possible for Moftiss to use material from the Three Garridebs for a queer storyline starting in 2020. And if we assume that this is their plan all along, that they have even potentially set it up in S4 (looking at you John Watson getting shot by “Eurus”), they have HAD TO WAIT until now. But they won’t need to wait any longer, starting in January. 

Oh and by the way, here is an interview Martin gave recently in which he tells a story about how he had to literally give up the Hobbit because he was CONTRACTED to Sherlock S2 and they wouldn’t move filming on that. (Thankfully Peter Jackson moved filming around for him, so we still have him as Bilbo). So I would imagine that if S2 was contracted, and they were planning on making a 5 series show all along, that they are probably contracted for all of it. Which means all those claims that its just too difficult to get everyone together for filming are just another means of throwing us off the trail. 

If they have been waiting for this copyright to expire, but also unable to tell us that that is why they are waiting, it also makes sense why they have stretched it out so much. It's even possible that they didn’t realize how horrible the ACD Estate was going to be when they first started filming, and had to adjust/drag it out so that they could finally do what they want to do, what they have been planning for from the beginning.

So there you have it: the ending of The Final Problem, an analysis of HOB, Dracula, and Victorian gothic lit, and finally the symbolism of lenses, correct vision, and copyright issues all leading up to 2020. I think S5 of Sherlock is coming. I’ve been feeling it, sensing something for the last few months. I think we can all feel it. And it might just be sooner than we thought.

---------------------------------

Thank you so much to my love @canonicallybisexualjohnwatson who co-developed this theory with me, edited this, helped me with the links, and was also the one to introduce me to Sherlock/TJLC, subsequently changing my life. i love you b.

[marinetteplztakeabreak]

The year is 2021. The first few episodes of mlb Season 5 were just aired. Tumblr’s exploding with fanfics and theories. The show’s new director is conducting cryptic polls about which friendships and teamups the fans want to see most. Adrien is finally realizing that his dad sucks and has gotten more direct in his small moments of rebellion. Kagami, Adrien, and Marinette have a group chat that’s 90% just elaborate plans for sneaking out. Marinette’s been getting better and better at acting normal around Adrien since the beginning of season four and she’s realized that regardless of romantic feelings, she desperately wants to be his friend.

Everyone’s posting about the latest episode, Lady WiFi 3.0, where Alya got akumatized because she was jealous that Adrien was stealing her best friend. Marinette was so busy panicking and blaming herself that she forgot to slip away and transform, which lead to half the episode being Marichat. Chat Noir had a few lines that may have implied he know that she was Ladybug and every word of their dialogue is now being picked apart by theorists. After they won the battle, there were copious amounts of communication and apologies from Adrien, who was immediately yelled at by both girls because “Adrien stop apologizing for hanging out with your friends you’re allowed to do that, you self-deprecating idiot.” The episode ended with Adrien becoming Alya’s secret behind the scenes co-runner of the Ladyblog, and he’s thriving at the chance to work without being directly watched by the public and she’s thriving at the fact that she has a dedicated co-worker who’s just as obsessed with superheroes (especially Ladybug) as she is.

Now that months have passed since the season 4 finale aired, people are finally calming down. Mayura got so close to winning that she managed to take Chat Noir’s miraculous, discovering his secret identity in the process. Chat Noir didn’t end up telling Ladybug about this: partly due to fear that he’d lose his Miraculous, because he’s gotten so good at being a team with Ladybug that he’s afraid Paris would be in danger without him. Also, now that Ladybug is the guardian, she’s the only one who could choose a new Chat Noir and therefore would know the secret identity of anyone she picked. Also, it’s never been directly confirmed, but everyone’s pretty sure that he knows that Marinette is Ladybug, and without his Miraculous, he would lose his only means of defense if Mayura did hunt him down in his civilian identity and grill him for Ladybug’s identity. He also seems to think that he’s the less important hero and it doesn’t matter as much if he gets hurt or captured so long as he manages to protect his Lady. His decision spawned endless discourse, but everyone can at least see where he’s coming from. The heroes are doing their best but there’s obvious moments where they’re cracking under the stress and could desperately use an adult on their team. #givemarinetteanap was trending on Tumblr for a few days. Adrien had canonically acknowledged depression and has actual medical reasons to force his dad to let him interact with friends at times, although his father still does the absolute bare minimum.

A week ago, in the season 5 pilot, Natalie faked a coughing fit to stop Hawkmoth when he was about to hurt Chat. She’s still trying to take the Miraculouses and still wants Hawkmoth to succeed but she’ll literally die before any harm comes to Adrien, and she’s the only one who knows he’s also Chat Noir. Adrien knows that Mayura knows his identity but he has no idea that Natalie knows, so he’s confused about why she suddenly seems to understand why he’s exhausted after midnight akuma battles and even clears his schedule, so he can rest. She still rarely shows direct affection, but the small things are becoming more and more frequent and groups of dedicated fans are eagerly awaiting her redemption arc.

The amateur fashion business that Marinette started halfway through season 4 is taking off, thanks in part to celebrity promotions, from Jagged Stone to Clara Nightingale to Adrien Agreste. She’s under a lot of pressure dealing with actual money and orders and the stress of running a real business, but she’s clearly happy with it, and it gives her something productive to do with the time that she used to spend obsessing over Adrien. She also taught herself how to crochet for a project and now brings string and a hook with her everywhere to stress-crochet when anxiety spirals hit. It’s become something of a joke within the fandom but no one can deny that it’s a strangely calming aesthetic. The shine for Adrien in her room has been taken down and replaced with a wall of the designs she’s the proudest of, which caused a barrage of conflicting emotions for everyone watching.

Chloe has become a permanent part of the friend group as well, after she exposed Lila’s lies. She’s still has no filter and causes a few akumas when she hurts others’ feelings, but she’s genuinely trying to be a decent person, so she can make real friends. She also manages to pull Marinette out of an anxiety attack a few times by being ridiculously blunt and startling Marinette out of her train of thought.

The show openly calls Juleka and Rose a couple, they’re had a few on screen kisses and people make YouTube compilations of them saying the phrase “my girlfriend.” Half the class comes to them for relationship advice because they’re literally the steadiest and healthiest couple in the class. Also, it’s revealed that Chloe never had a crush on Adrien. She was literally just fighting Marinette for his platonic attention the entire time, which she thought was common knowledge. “Ew, why would I want to date Adrien, we’ve known each other since we were toddlers?” Someone asks Chloe if there’s anyone she does have a crush on and she says not really, no one in their class is even that cute, Ladybug’s low-key gorgeous though in a celebrity crush kind of way. Marinette is the only person in the class who’s actually surprised to find out that Chloe might have a crush on Ladybug.

Teamups with the Miraculous holders are becoming more and more common. Queen Bee has openly said that she doesn’t care about the danger of her identity being revealed and has become a frequent member of the lineup. Alix, juleka, Rose, and Nathaniel have each been given Miraculouses a few times, as well as several newly introduced characters. In an episode we only have a trailer for so far, Marinette is having such a bad panic attack that she knows she won’t be able to be Ladybug, so she discretely slips her earrings into Alya’s bag and Alya has to save the day as Ladybird. During a different high-stakes akuma battle near the end of season 4, Hawkmoth knew that he’d be causing a lot of collateral damage so he locked Adrien inside with heavy supervision to keep him safe. Unable to sneak away, he managed to slip his ring with a note into Chloe’s bag, because she was over for a business meeting and also the only person he knew that Ladybug would trust with a Miraculous. Chloe got to be Reine Chat for the day and she was surprisingly mature about it, listening to everything Ladybug told her and putting the Miraculous back where she got it after the battle was won She’d never admit it, but it was clear that she was genuinely scared for one of the first times in her life.

Now, the fans theories for what’s going to happen continue to pour in. The episode titles for the entire season were just uncovered. The finale is going to be Princess Justice parts 1, 2, and 3. The current predominant fan theory is that Sabine is going to have to be Ladybug for part of the episode and fight an akumatized Marinette. It’s been defended by so many long winding arguments that no one can remember if it’s a crack theory or genuine. The episode just before the finale is titled Emilie and it’s causing different kinds of massive panic throughout the fandom. The season trailers show tons of interactions between all sides of the love square. Adrien is going to break down in tears in Marinette’s arms at one point in the season. That trailer clip has also been overanalyzed to death at this point. Adrien has learned to bake macarons at the bakery and Marinette has learned to win a staring contest with Gabriel Agreste. All is well.

[tycoons-official]

♛Ｔｙｃｏｏｎｓ♛

.•♫•♬•Ａｌｂｕｍ Ｄｅｔａｉｌｓ•♫•♬•.

• Tycoons' self-titled debut album 'Tycoons The Album' was released on the 3rd of January, 2017, 07:00AM KST.

• JYP released two trailers for the music video a month prior to the release date, however they didn't attract too much attention as they were first advertised like regular ads that would appear on most YouTube videos, sometimes even other JYP idols' music videos to maybe draw a bit more interest, as the trailers uploaded on JYP Entertainment's YouTube channel did not do so well as expected, at first. Although this, once the album and official music video came out, people started realizing that 'Tycoons' was actually a group and began drawing in a huge crowd.

• The album focuses a lot on storytelling, through music and lyrics, telling the day-to-day life of two siblings taking over their family's money wagering, illegal weapon dealing empire within the vast Mafia and how they run operations as well as the drama that will commence throughout half of the album.

• The album starts with catchy hip hop beats and dance/house trap drops, giving a sort of Stray Kids vibe to it. As the album goes on though, the lyrics and mood start to take on a more emotional tone and meaning. Just as the mood changes, Tyke and Carmen's [the Characters] lives are changing along with it.

• A majority of the songs in the album are written by both members of Tycoons [and the music video is also partially directed by them since the CEO was curious as to how this duo plans to start off their careers after training for a good amount of time] and most of the music [in the album and the music video] was also made and produced by Tycoons themselves.

• 'Tycoons: The Album' was a success, initially selling a total of 1.7 million copies in Korea and 1.65 million internationally within the first week and a half of so. But when the album began gaining some traction, the numbers spiked to 3.18 million copies in Korea and over 4.19 million copies internationally by early February.

.•♫•♬•Ｔｒａｃｋｌｉｓｔ•♫•♬•.

▄︻̷̿┻̿═━一 25 minutes & 20 seconds

• MAFIA

• 우리는 (We Are)

• Hands Up

• GSW

• Heir

• 만족하니? (Are You Satisfied?)

• Losing It

• Fire With Fire

• Outro: The End

.•♫•♬•Ｓｏｎｇ Ａｎａｌｙｓｉｓ•♫•♬•.

1. MAFIA - ⏱ 4:05 - Title track

'MAFIA' is the title track of the album as well as the first track in the lineup of Tycoons' debut album. It is also the only song in the album that got a whole music video dedicated to it. Being that the album was written and co-produced by Tycoons themselves, they wanted this album to tell a story; to be the first chapter of their characters' stories and build up on their development as they evolve and grow in the music industry. They promoted the album, the title track and it's B-side heavily, going on several interviews, TV and music shows for 3 weeks straight, all at once [though Tycoons themselves quote en quote 'didn't mind the busy schedule, as they have been preparing all their trainee lives for this moment', courtesy of Carmen].

'MAFIA' is a song about the 'dangers' of the Mafia world and how they rose to the top with sheer resilience and smarts, as well as available weaponry and other form of utility such as soldiers. Tyke and Carmen the characters describe a glimpse in their life in a line taken from Carmen's rap verse:

'in this dangerous place

where Alphas roam wild

one shot dead in the streets

echoing cries for miles and miles

with blood dripping on their face

as they lie cold there like a stone

truly a beautiful chaos

this is home; how we live our lives'

The song is hits hard with a hip hop style dance beat, an interesting use of common synths, a fresh twist on melodies that are often used, heard and reused, and carries an intense tone throughout the whole song. Added to that the ranging high and low notes that Tyke hits, especially in the bridge, and Carmen's consistent deep growls in the rap verses. Said factors when merged create this harmonious yet unpredictable title track that would be considered 'perfect to set the tone', as Tyke puts it. Fans often compare this song to the style of Stray Kids' and BAP's music, and although some people say that this is the 'least JYP' JYP song ever according to some fans, Tycoons have confessed to have let the company add their flair to this song, so it's safe to say that it was an even game when it came to producing.

There were also special effects to the song to amp up it's chilling vibe. For example, throughout the song, there would be gunshot fire sounds inserted, as expected from a group with a dark concept, however fans pointed out that as the song reached it's climax, the shot sounds start condescending to the point where it even tricks some people into believing that there was an actual gun fired next to them, and therefore have them either scared or even more in love with the song. This effect however was not the only sound [or even visual] effect inserted into the track; in the official music video, Tycoons are shown to present almost everything you'd want in a perfect music video; great clothing choices, beautiful sets and decor, a nice harmony of dark and bright colors throughout, flattering camera angles and lighting, makeup and filters galore, only to then show the Characters' reality, showing various ruined sets littered with blood, dead bodies, empty bullet cannisters and bloody knives on the floors, yelps of pain, stab sounds and the final groans after getting shot, make the atmosphere even more spine chilling.

Critics praised this title track for it's unique concept, style and visuals, however they added that there could've been a more clear trigger warning before the MV starts, as it could easily trigger a younger audience. So to appease them, the company temporarily took the video down to add an extra 10 second trigger warning clip accompanied with a subtle rain sound effect that goes well with the beginning of the MV where Tyke and Carmen are seen walking through the gloom streets while it's raining.

2. 우리는 (We Are) - ⏱ 3:46 - B-side

'우리는' or 'We Are' in English is the next song in the tracklist as well as the album's B-side track. 우리는 Is mostly written by Tyke, therefore it's fairly vocal heavy for the most part, however he does give his sister Carmen the bridge and the last verse of the song to rap, but the rest is Tyke. It's a more story telling song that has a much softer, but more mysterious vibe to it. This song doubles as a deeper look into Tycoons' Characters' backstory as well as a song that shows off Tyke's light and clear contratenor voice with the occasional sassy run as well as stable vibratos and falsettos.

The song carries a nostalgic feeling, as if you've heard this song before some other place or time in your life, but not exactly in the way one'd originally think. It has a sad-ish tone, despite having happy nostalgia inducing guitar, piano, a variety of classical instruments, hip-hoppy snare and slightly lighter trap drops, that is meant to symbolize Tycoons' not-so-happy childhood that is the consequence of their family joining the Mafia.

Overall, the song has a fairly light hearted tune with variety and a nicer, clearer beat compared to it's title track, however if you look at the lyrics and analyze them, they hold a much darker meaning:

'you can't run

you can't hide

hold your breath

close your eyes

turn your ear to the sky

you're not safe here anymore

this is who we are, now

who we are, now'

The unsettlingness of the lyrics combined with the strategic classical orchestration make for a song that's meant to feel like, quote en quote 'a false security blanket that shields you from the actual good reality, or even a blindfold that makes you see everything in life with a different filter', courtesy of Tyke.

This song isn't exactly a favorite of the people, therefore dubbing it 'under appreciated' or 'underrated' by Capos, however critics applaud this song as much as it's title track for the same factors, but they have less critiques for this song as there wasn't any music video, however for some critics, the sense of false security and lack of straightforwardness was not exactly their cup of tea.

3. Hands Up - ⏱ 3:25 - Inizio

The third track in the album is titled 'Hands Up' and is the introduction to Carmen's [the character] personality and role in her and her brother's business. This track is mostly written by Carmen and contains mostly rap verses, with Tyke included briefly in the chorus, the bridge and as backing vocals to go with Carmen's raps. 'Hands Up' is has traces of inspiration from hip-hop songs, with it's more uppity, 'in your face' beats.

The story, or message, this song is trying to convey is to never disrespect those whom have helped you and built you up and explain the diligence and perseverance you are going to need in order to survive in the Mafia industry, and that once you think you got there, that means you still have ways to go, or to put it in Carmen's words; 'Don't get too comfortable, life can take 10 steps ahead of you just like that.'

The bold beats and sassy lyrics can be quite jarring to some, but the song overall is very well received by Capos and music critics alike. Although a minority of Capos did make an argument about 'Hands Up' being a better B-side track for 'Tycoons the Album' than '우리는', however this dispute is easily dismissed by favor over the idea of "'우리는' and 'Hands Up' being equally great overall, but '우리는' is a B-side for a reason that we don't know yet/we will have to speculate more on to know why", given by K-pop commentary channels such as KPOP Junkee and Korea Scouter TV.

The topic of respect and being respectful is heavily mentioned in the song and due to this, some Capos said that 'it almost seemed like they were demanding respect' and this ideology was shared around with a portion of the fandom, however Tycoons responded to this issue by saying that they only wanted to portray their characters, not the actual people themselves.

4. GSW - ⏱ 3:02 - Continuazione

'GSW', short for 'Gun shot wound' is the next song in the tracklist and another hip hop dance song in the whole album. 'GSW' is co-written by Tycoons and this song carries a more JYP style of music for the group, but with that said, the JYP 'signature style' was definitely beneficial for Tycoons' versatility in music styles. What makes this track different is the lack of lyrics and the main focus on the dance aspect that goes with the track.

The music was intense like the title track and had a variety of different musical tones incorporated, like at some points of the song there could be a more deep atmosphere and in others it could be softer, or faster, or sad. Though the song may be lacking in lyrics, it compensates for a complicated, but amazing choreography. The only verses in the song are the first pre-chorus, chorus and bridge, and these verses are fairly brief;

'just when you think there's a settled score

the battle has just reborn

comes swift like an avalanche

come to steal what you just got back

at your back like a loaded gun

and the night has just begun

steady now breathe, breathe'

This song took the longest to practice in terms of dance. According to Tyke, he stated that they've had to practice this dance longer than any of the other song's dances combined. The choreography is much harder and more technically challenging, and it also involves the usage of various props as well as stage actors to accompany Tycoons in their action sequences throughout the dance. The CEO even opted to postpone the actual date of their debut because of how challenging this dance was, as he had doubts that the group could actually meet the deadline. But hard work and dedication pulled through and the duo clearly succeeded through all the hours of work.

5. Heir - ⏱ 4:45 - Conflitto

The song 'Heir' is sort of like the climax of the album. This is when the tone of the song shifts to a more calmer, simpler tunes and faster timing with more room to add story telling lyrics and catchy raps. Tyke and Carmen worked on this song together and therefore rapping-to-singing ratio is pretty equal, and their inspiration for this album can really be sensed here, or at least that's what they think anyway. At the beginning, this song sounds quite to 'MAFIA' because of how Tycoons' characters are connected to the person next in line to their 'throne' but they found out something was wrong and they go searching for her. Shown briefly in the music video, this 'heir' is a baby, almost a toddler, who's sleeping in a crib inside a dark nursery but the scene is shown to flicker to a clip of people in full black outfits taking them away, resembling a kidnapping.

In the music video for 'MAFIA' we briefly get video shots of Carmen turning around to face the camera angle with a distraught expression before running towards a hallway as if rushing to get something, and Capos think that this is Carmen running to save her 'heir.' Tycoons soon confirm the rumors surrounding this mysterious heir however didn't drop every detail, but did mention said heir's name; Chloe.

The song itself is intense just like it's title track, but with added drama and theatrics by an orchestral pre-chorus and followed by another dirty dubstep/trap drop and bridge. The classic parts meant to symbolize going back to the classics, where king and queen take care of their heirs as they rule their kingdom, but by the end of the song the orchestra melody doesn't complete itself and loop, instead for the last 5 seconds of the song, it's heard glitching and skipping certain beats before eventually quieting down.

This strategic, but harmonious symphony of classical and trap genres seems to be the critics' favorite and it definitely made sense for Capos to enjoy it just as much. However some added that the drop sounded too much like 'MAFIA' and when put side by side, they almost have the exact same notes. Tycoons took to answer this predicament right away, explaining that, though taking care of children aren't the characters, Tyke or Carmen's, front suit, their heir still plays a role in their journey to the top, by being more careful, thought out and responsive to anything, and eventually the crowd died down.

6. 만족하니? (Are You Satisfied?) - ⏱ 4:30 - Calore de momento

'만족하니?' or 'Are You Satisfied?' in English is the 6th song in the tracklist and right off the bat is a rap-heavy trap style song, going back to harsh, dirty beats and Carmen's growly voice. This song is meant to represent the heat of the moment and a continuation of the previous song 'Heir', after they realize that the next generation of their 'royal family' was taken from them. Carmen wrote this song feeling her own anger to the horrible people present in her life as a child, and after some fine tuning from Tyke so it doesn't sound too much like a diss track [though according to some fans, it still does], the lyrics to the song can really convey how angry and angry [and rather sadistic] their characters were over loosing their 'heir':

'you think this is fun?

that this is all just a game?

well I'll tell you this now, you pricks

that you'll regret this mess you made (yuh)

you've dug yourself deep in a hole

where we will throw you a rope

and drag your body to your neighborhood

and cut you open wide!

does that sound good?

are you satisfied now?'

The rather horrifying lyrics of this song and the glitchy sound effects added makes it one of the least favorite songs in the album to fans, along with 'Losing It', but as the internet is known for divided opinions and constant fighting over the slightest things, Capos were no different. One side said that this song was okay and 'the others who can't stand the lyrics are actual babies', quoted from one Capo, and 'the other' side of the fandom just did not appreciate the gory lyrics and 'would just listen to the album without this song overall', quoted from another Capo.

Critics also agreed that this track and 'Losing It' in particular could've been less gory, however they did understand why Tycoons wanted to make it so that it would sound sadistic and scary and all that, even if it was their least favorite song concept. Tyke quickly defended himself and his sister by stating that they wanted the album to be raw and true to their characters' personalities and the storyline, and at the end of the day it was just some lyrics in a song that shouldn't be taken too seriously. Some people saw this as Tycoons' over-involvement with their fanbase and turned them away from the group but a couple of them have since returned to being a Capo after realizing that the reason why Tycoons called them their 'Capos' is because of their wish to be engaging with their fandom and that they were forgetful to the meaning of the name in the first place.

7. Losing It - ⏱ 2:04 - Climax

'Losing It' is the very next song and yet again, a continuation of the previous song '만족하니?' but unlike the last one, 'Losing It' is much calmer but at the same time, was just sinister and a little vocal heavy. The song was one of the quieter songs in the album but kept that deep and mysterious aspect about it, which made fans appreciate this track more than the previous one. In this song, Tyke really showed that he can rock to a quicker paced song as well as a slower one, as 'Losing It's melody incorporated a few transitions from a fast paced beat to a slower beat.

The electro synths and more vocally challenging melody and high notes made this song one of the hardest songs to sing in the album, if not the hardest song to sing in the album. It was more of a ballad with the occasional trap build up leading to a softer EDM drop as per usual. The song's varying speeds also made it a challenge to sing as you first go up high, then low, then mid-range before climbing back up again and several different variations of this pattern were incorporated so no verse sounded the same, nor did it have the same lyrics. Speaking of, the lyrics to the song describe the disappointment and shame the characters had to go through when they found out their family member had been kidnapped and it includes a few hints pointing towards Tyke's depression really helping out during this song [even though it was actually written by Carmen since Tyke was depressed when the song was written, so his low mood helped this song convey the sadness and frustration properly]

8. Fire With Fire - ⏱ 2:50 - Vendetta

'Fire With Fire' is the finale of the album, and though it may be only less than 3 minutes, the song holds a deep passionate beat and had probably the most memorable ending drops throughout the whole album. Mirroring 'GSW', 'Fire With Fire' was dance dominated with a few lyrics, but due to its short length, the choreography was more complicated and faster paced, 'ending with a bang' as Tyke would say. And though the choreography wasn't as complicated as 'GSW', and did not need any props, it was definitely just as tiring, according to Carmen.

Capos compare the drop to that of Stray Kids' 'Miroh' for it's electro house instruments but broken down, it doesn't sound too similar, though people managed to merge the two songs together to create a song that even Tycoons listen to and they gave the person that made the first remix a very well deserved shout-out.

9. Outro: The End - ⏱ 1:14 - La fine (per ora)

The outro song wasn't originally needed in the album but Tycoons added it in there to add some hype on the next album coming up as well as a quick sneak peak and Capos and the rest of the world were definitely excited for what's to come

.•♫•♬•Ａｃｃｏｍｐｌｉｓｈｍｅｎｔｓ•♫•♬•.

• 'Tycoons The Album' was nominated for album of the year at the MAMAs 2017 however did not win.

• Tycoons themselves won Best New Artist of the Year at the same event as well as 3 other music show awards; from the MGMAs, AAAs and Soribada;

• 'MAFIA' won Song of the Year at the MGMAs and Tycoons won Rookie of the Year at the AAAs and New Artist of the Year at Soribada.

• 'MAFIA' peaked at #5 place on the MelOn chart, #6 place on the Gaon chart, #8 place on both Soribada and iTunes Top 10 and #39 on the Billboard hot 100.

• '우리는' made it to #18 on the MelOn chart and dropped to #20, #17 on Gaon, and #16 on iTunes Top 20

• 'Hands Up', 'GSW' and 'Heir' made it to #49, #50, and #52 on the Billboard hot 100 charts. But jumped to #35, #38, [surpassing their title track] and #40 and stayed there.

• 'GSW' was actually nominated for Best M/F Dance Performance at MAMAs but unfortunately did not place.

.•♫•♬•Ｅｘｔｒａｓ•♫•♬•.

• Carmen has a painting that eventually became the official cover of the physical album and the company's design team thought 'why not put that design to good use', since Carmen already did the work for them, and she didn't mind them using her design, as she was credited in the back of the album as well as inside the photo book. Where there were photos taken of her actually recreating the cover painting on canvas while wearing her *ⁱᶜᵒⁿⁱᶜ* elbow-length-sleeved shin-length black skintight dress, long cherry red satin gloves, matching-color kitten heels and beret in the 'boudoir' set [also featured in the music video].

[kob131]

New "So This is Basically X" video from Jello Apocalypse is on RWBY, and it's a bunch of pretty much crapping on the show.

(Note: read the Edit section for my recollected thoughts. I’d jus rewrite the post but that’d be like covering my mistakes)

… You know what? My dog just died so I am in no mood to tolerate this bullshit.

https://www.youtube.com/watch?v=K3vYbF3_TAk

A. ‘Added into the show at the last minute’ he says as his own fucking image directly states that the ‘last minute’ was the fucking Red Trailer. AKA the fucking psuedo-pilot. He had so many other chances like Neo or ABRN or the fucking Maidens but nope decided to do the ONE wrong thing.

B. ‘Hoitty Toitty Princess’ Yeah, because she was abused by her dad for years as well as watched her mother degrade into a lifeless husk. Again, could have made an actual point but decided to just spew out the most basic shit ever.

C. ‘Lose every fight she’s been in.’

*cough* WHITE TRAILER *cough*

Also: Fucking Missed Oppritunity: 3 *ding*

D. ‘Weiss hates Ruby’

That stopped in Volume 1, try again

E. ‘How many ears do they have?’

2 or 4

‘Human ears?’

Always

‘Animal ears?’

Sometimes

‘Neither?’

That’s you

‘BOTH?’

Sometimes

‘Why do some of them only have tails?’

Genetics

‘Humans are racist against the Lagoos’

Says the man who tried guilt tripping half the population through racism accusations.

Missed Fucking Opportunity: 4 *ding*

E. What couldn’t find say bullshit to spew about Yang? Missed Fucking Opportunity: 5 *ding*

F. Those are fucking one offs characters. Homer’s Vegas wife isn’t referred to as a side character, why should most of these be any different?

Also: ‘Never explores any of these!’ *shows team CFVY who are getting their own fucking book*

Good to see you still suck at making a point.

G. ‘Show isn’t about the characters!’

We get it, you’re slurping the anti-RWBY crowd’s cock. Make a valid point that not everyone and their grandmother’s grandmother made years ago.

H. *tries citing Neptune, a character that had about twenty minutes of screentime total as ‘eating up’*

Are you gonna do SOMETHING worthwhile? Because these jokes fall flat with a basic knowledge of the show.

I. ‘It’s about the over the top spectacle fights!’

Which not only were far less frequent in other ‘similar’ shows but they sometimes just #ate up screentime.

Missed Fucking Oppritunity: 6 *ding*

J. *butt metal!*

*cites Flynt, a fucking JAZZ musician*

What’s next? ‘Durr, marvel movie orchestra? BAD1′

K. ‘durr, clipping issues!’

*Slaps Fist Of The Blue Sky: Re:Genesis onscreen*

Come back when you make a point.

L. Jello, at the 2:10 mark you’ve done nothing but either say the same standard bullshit (which gets disproven within a minute of research*) or make shitty Take That! jokes.

About fucking RWBY. Egoraptor’s Ocarina of Time and ScottFalco’s Pokemon videos are mocking the shit out of you because you somehow made a worse version of both, about a less subjective medium with a fucking barrel full of fish. Guess that ‘Vote’ video must’ve fried them braincells huh?

M. Dust is elemental gunpowder, how is such a basic concept too complex for you to handle?

N. ‘Steal Dust and never bring it up again!’

Probably because the ending of Volume 2 was the END GOAL of stealing the dust you dumbass.

O. The magic comes straight from the fucking gods, Semblance and Dust have been used in Remnant science. Or is my cheap ass phone magic because someone from the 17th century doesn’t know how it works.

P. *points behind Jello at the massive burly man with the title ‘Lord of the Rings’ on it’s chest*

Have fun with him.

Missed Fucking Opportunity: 7 *ding*

Q. Wanna bet if the RWBY haters didn’t slurp Chibi’s cock he’d be bashing hibi instead of praising it.

R. *join the plot*

Ruby is the fucking plot.

S. So I’m guessing you’d call Hercules’ rage against Olympus and Hera ‘him getting a little mad?’

That’s okay, just like how you’d say your little ‘vote’ video was just ‘you having a little brainfart; amirite?

T. Ah yes, Volumes 1 and 2, which had the least defined characters, the most wasted screentime, the least plot, the least likablke versions of the heroes, the most side characters (INCLUDING NEPTUNE WHO YOU MOCK)-

Literally EVERYTHING you’ve spewed out your mouth was in the first two Volumes and 4 and 5 are the worst ones. Sure.

Missed Fucking Opportunity: 8 *ding* (Should actually be about 8001)

U. ‘Speaking of garbage *which is a segway I could put anywhere in this video’-

Good to know you’re aware of the piss poor quality of the video. Now if only you’d learn to keep your trap shut.

V. Ozpin was never suppose to be morally grey, next.

W. …

*pulls out Qrow and Ruby and replaces it with Yang and Liar Bitch McMass Murd-I mean Raven.*

Wow, context kicks your ass.

X. Jello.

What is the plot of RWBY?

No ‘Well there IS no plot’ bullshit. Tell me. What. The plot. Is.

… You can’t can you? This is the fucking Vote video all over again. You’re talking about a subject you have no clue about, spouting off whatever you think will get you the most positive PR and did no research whatsoever, Except with the video so infamous you had to DELETE it, politics is an inherently difficult subject matter that is easy to screw up (well, not to your extent.)

This is a web show.

Made by two drunk interns and an animator who took inspiration from BLAZBLUE.

And you have NOT made a SINGLE valid point.

The closest you got was the lip movements but you CLEARLY weren’t talking about the Volumes where it mattered so fucking credit.

Y. Blah blah blah ‘Bumbleby bullshit because pander’

Z. Qrow: ‘Oh ad my sister sold me and the daughter she abandoned twice before to the literal devil. Also why I am saying the bird thing is a curse? I defended Ozpin. My sister is the one claiming it to be a curse. Because she wanted to get away from the immortal pseudo-Greek villian which is a common feeling most people would think to do since it appeals to the inherent pragmatism in humanity but I overcame it through my niece’s determination to do the right thing in the end because just being pragmatic and doing what is most likely to succeed goes against one of the few things that make human beings what we are!

… Now I’m gonna go say my political opinions like I’m an important figure and not a walking punchline only known for mildly entertaining content that has suffered such a drop the Simpsons are looking at me in pity because I have a massive ego. And then when people call me out, I’ll delete the video and mock them like the child I am.’

*cracks open a beer* I don’t care if that’s cruel. He wants to talk like he knows shit? He can take it.

Edit:

https://twitter.com/alle1304/status/1137340212315643904

Well I owe him an apology. Over thinking he was pandering to the hate mob as well as my stupid attitude.

However I still stand by a lot of what I said: He missed a LOT of opportunities to make a good point and instead went with the lowest common denominator stuff. Like with making the joke about Weiss hating Ruby. It’s not funny because the joke is based on heavily outdated information and is just blatantly untrue.

There’s a reason why his ‘Welcome to *Website*’ videos are funny. Because while it is an exaggeration of what happens on the websites, it’s still basically true. Humor works when it strikes hard, either by throwing something so absurd at you that you’re forced to laugh because you don’t understand it, so raunchy that you laugh at the absurdity in which something so wrong was said so earnestly or by saying something so true that you’re forced to laugh to make light of the situation.

Jello’s video doesn’t do any of that. It either says a bunch of basic stuff that doesn’t work with knowledge or is saying things in a satricial way that people , EARNESTLY say, basically invoking Poe’s Law on himself. (The law of ‘Without a clear indication, a satire of X can easily been taken as an earnest belief in X.’)

This isn’t to say I was justified in what I did: it’s just even in a rational state of mind, the video is too flawed to be funny.

(Also no, I don’t regret what I said about the Vote video.)

[lightsandlostbells]

Skam France season 3, episode 6 reaction

I have a Jerome theory and I’m sticking to it

Episode 6

Clip 1 - Lucas gets his turn in the hoodie of despair

Lucas is at school Monday. We get a shot of his bandaged hand that’s a parallel to the trailer for the season, where we also start with a shot of Eliott’s hand. In both situations, Lucas/Eliott is about to walk into the school in a tense, uncertain situation, Eliott facing a new school and new people after his episode at his old one, Lucas facing his old school and old friends after alienating or angering the people he cares about.

Also, the bandaged hand is representative of his emotional ~wounds but that’s ... really obvious, I feel silly saying it.

The angsty piano music, a hallmark of this season, plays as Lucas crosses the yard. The boy squad laughs at him, and if that wasn’t obviously fake, then Raptor Alex miming a blowjob at him while standing with Eliott should be a dead giveaway, because like hell Eliott would tolerate homophobic bullying of Lucas, no matter their relationship status. (Though it’s kinda amusing to think about this scene as an Alex/Eliott AU where Alex is bragging about his BJ game and Eliott is smirking like “damn right.”)

Daphne comes up and kisses him on the cheeks. She’s so effusive and affectionate that at first I thought she already knew Lucas was gay and was trying to jump to the front of the queue to make him her gay BFF. It’s not that, though. She touches his arm and is like HOW BUFF which is hilarious because Lucas is, how do you say, wispy. No offense at all, but I would never be like yeah, that guy looks like he works out. Lucas doesn’t seem to buy it either. Of course Daphne wants him to help move a couch, lmao. Protect the five vulnerable girls going to pick up the secondhand sofa from a potentially shady dealer? I guess Daphne got over her fear that Lucas would be taking over as head of the common room once she realized he was another pair of arms to carry that couch.

Of course when Lucas looks over, it’s not the boy squad, but some random dudes. Not Alex and Eliott but some random dudes. Not Maria and Chloe, but some random girls. All of them seemingly minding their own business and not caring about Lucas one way or another. This puts a different focus on the scene than with Isak, because with Isak he actually was walking into the lion’s den. He saw Emma and Even in the courtyard and psyched himself up to walk between them with his Nas song playing in his ears to psych himself up. Isak was miserable, but in a way it felt like an act of courage; he saw his worst fears on both sides of him, literally, and pushed himself forward. With Lucas, I’m not saying he isn’t brave, but with all those people turning out to not really be there and not really laughing and talking about him, the emphasis is more on his paranoia and fear. It’s a much drearier take on a scene that was already depressing (and I feel like the lighting/coloring reinforces that, too, but err, that’s Skam France’s usual aesthetic so I’m not sure how intentional that was.)

Clip 2 - Yann the voice of reason

Gym class, not for Lucas, but for Chloe. After class ends, Lucas comes into the gym and wants to talk to her. Chloe is not having it. Lucas tries to say she said on Friday is nonsense. He’s not a (homophobic slur) and he asks her not to spread it around. Ohhh boy, this is. Uncomfortable. Completely understandable that he doesn’t want the rumors to get out, and I get why he’d say he wasn’t really gay in order to protect himself, but him using a slur? That’s really sad. That makes this not just a strategic move or an attempt to handle the situation before it gets worse, but something self-hating. There was no reason for him to use homophobic language except to distance himself from being gay, like in episode 3, the advice he took to keep people from guessing. 

She’s pissed that he didn’t even come to apologize or talk, just to ask her not to spread it around, so you know she’s not really listening and making this about her own feelings. And look, we can say over and over again that Chloe has a right to be mad, and of course she does. But she also just doesn’t get the seriousness of outing someone. Lucas is begging her not to spread the rumor, very upset, but Chloe says he can’t tell her what to do. Man, so they made Chloe even worse than Emma, despite having Lucas treat Chloe worse than Isak did with Emma. Isak didn’t plead with Emma to not out him while Emma was like, “Whatevs, I do what I want.”

Lucas is clearly unraveling. He bursts out of the gym and runs into Yann. Lucas tries to use his family as an excuse again and Yann cuts him off, saying not to play him. He knows whatever’s happening with Lucas is more than just his parents. Yann is a lot more blunt about it than Jonas; Jonas knew that Isak was bluffing but let it slide without calling him on it. He’s also more blunt about Lucas refusing to talk about his problems. The guys all just want Lucas to get better, and are here to talk to him, but if he doesn’t want to do that, then he needs to fix his problems and come back when he’s better. Completely fair, tbh. I can see how the more straightforward approach works with Lucas; Isak felt more defeated at this stage, like he barely had energy to get through the day let alone put up his usual act, so chill Jonas could get through to him, whereas Lucas is like brimming with anger and fear and seems more defensive, so he needed Yann to just cut through his bullshit directly.

Clip 3 - Pasta is Deep

I feel like a recurring issue with Skam France is that it skips establishing the mood of a clip, often just jumping into whatever needs to happen without a lot of grace, which probably has a lot to do with their time limitations (although this episode is several minutes shorter than average so...) This scene isn’t one that I expected them to recreate so closely, with Isak just ordering a sandwich for like a minute and a half, but it did remind me of how that completely mundane action was so much more than the damn cheese sandwich, because it was about putting us directly into Isak’s headspace and letting us feel how blank and distracted he was, and then what a jolt it was when Even appeared - exactly what Isak must have felt. I think Skam France could benefit from being more careful with staging moments like that, more showing, less telling. Like there’s nothing wrong with the start of this clip but it skips establishing Lucas’ mood entirely, and Eliott comes around the corner so we the audience see him before Lucas does, so there isn’t as much of a reaction.

Anyway, the important observation: Eliott cut that girl in line, what a dick.

There are two plates of pasta on the counter before them, and Eliott says if he were Lucas he’d take both of them. Lucas says sometimes you have to choose. I get that this is ~symbolic and it’s about Eliott trying to have it both ways and Lucas not having that but it’s one of those moments that takes me out because ... why would Eliott say Lucas should take both huge-ass plates of pasta ... except so Lucas can be metaphorical in response ... is that normal? It feels like a very writerly setup to be Deep so the dialogue can have a double meaning, except it doesn’t actually make sense on the first/surface meaning, if you get what I mean. Or else Eliott thinks Lucas is capable of eating two plates of pasta. 

Eliott tries to make conversation but Lucas just grabs a plate and storms off. That was some good timing with the angry plate grab. Eliott looks sad and the angsty piano music starts again.

Lucas walks into the cafeteria and sees the table with the boy squad and the table with Chloe and Maria, while Eliott is walking behind him. This time Chloe is looking at him for real. Lucas just leaves his tray without eating and walks off as Eliott notices. 

It was kind of odd that they needed both moments of Eliott reacting to Lucas’ distress, like ... we got it the first time when they were in line, we didn’t really need the second time to tell us the same thing we just saw thirty seconds ago. Was that supposed to be Eliott noticing Lucas didn’t want to sit with his friends so it wasn’t just him causing Lucas stress? IDK. Even if that were the case, it felt redundant. (Sometimes with this show I want to be like “have confidence that the audience will understand!”)

Clip 4 - Someone’s gonna catch a disease or a demon from that sofa

The girls and Lucas walk to a secondhand store. The store is like where they keep the props for The Conjuring movies. For some reason this thrift shop has multiple dolls that are missing body parts just hanging out, which is objectively the creepiest thing you could encounter. There are also jars of yellow ... something. I’m not gonna say it’s definitely pee, but it could be pee.

Daphne is once again the MVP of the show for how she screams and runs away when she gets freaked out. She’s so entertaining. 

A dude shows up and the scene dramatically cuts to black with the sound of a sharp blade, as if in a slasher movie, but of course then we cut to this guy pouring tea for everyone. Total tangent but you know, a horror series could be pretty fun if it followed the real-time format of Skam. They played with the concept in the cabin episode, as a parody of course, but I would love to see more genre series in this mode of story-telling. A really well-written suspense or horror story could be so effective in real time!

Also, the guy looks like the school psychologist from Skam Italia. And the gym teacher from Skam Italia. Or maybe I just think all older men with beards look alike.

It was the guy’s brother’s shop. He was a compulsive hoarder, which is not a surprise in the slightest. The brother died recently. “Of what?” “I don’t know, I haven’t found him yet.” Lmao, this is a funny scene. They guy is joking and says his brother had cancer, but let’s be real, that’s also a lie. The guy was obviously murdered by those dolls.

The gang gets some additional goodies from their visit. So Lucas has to carry the couch back with Manon and Daphne, Imane and Alex carry the football table, and Emma trails behind with her lava lamp. LMAO. It’s a great image. (I have no idea if Daphne was actually carrying the couch at all, or if she was just supervising. I think Lucas and Manon were doing the heavy lifting, literally.)

They take a break and Lucas rubs his injured hand. Lucas, get help for that! Go to the doctor! I’m sure she has some eccentric yet helpful life advice in addition to her medical expertise.

Daphne comes up to him and asks whether he’s heard from Basile since Friday. NO GOD WHY.

Lucas smiles and says a bit, why? Daphne is like… just for news. The girls tease her by saying she’s actually into him, Daphne says no, he’s so annoying. WHY GOD. WHY MUST WE GO HERE. It’s so aggravating that the best character on this show is going to be paired off with the worst character on the show (and one of the worst characters in the entire Skam universe). 

The girls talk about how much their men suck. Daphne says guys are worst than girls. LESBIAN. DAPHNE. PLEASE. I’m begging you. 

Daphne says no offense to Lucas, and Imane says he’s not a real guy. Whoa! Hold on a moment there. Lucas’ expression is all WTF, Imane tells him to take a joke. This is one of those casual comments that can cut deep; Imane doesn’t know Lucas is gay at this point, so it’s not quite her assuming that gay guys are honorary girls or something like that. But one of Lucas’ fears is how being gay will separate him from his male friends, and at this very moment he is separated from them. So this is not a reassuring thing to hear. Calling someone a “real guy” can sting for someone who’s struggling to find out just where they fit in with the guys, and now hears that they don’t really belong there. Interesting that they made Imane throw out this comment since it’s more careless than we often hear from her. Not that she’s perfect or anything, just that we more often hear remarks like this from someone like Daphne. But it goes to show that everyone’s capable of these microaggressions.

Daphne says Lucas is so lucky, girls are so much simpler (I guess she means with dating). Irony! Lucas does not say L M A O in response. How lucky can he be when a raccoon man broke his heart? Manon says that’s inaccurate and not true. Daphne thinks it’s easy for Manon to say that when she’s dating the perfect guy. Irony! Manon hops off that couch and says it’s time to go again. I wonder how long they’re going to string along the hints that all is not well with Marles. Noora came back and immediately told everyone that she and William had relationship issues, but Manon is hiding the truth. 

I thought this clip was a lot of fun but it’s one that doesn’t really fit with the mood or atmosphere that Lucas is going through right now. I saw people defending it as like a break from the misery and tension, and I couldn’t help but be like ... no! That’s not a good thing! I get that Lucas doesn’t need the same emotional journey as Isak, but speaking as someone who watched Skam S3, episode 6 in real time, the constant pain was a good thing. Sure, it was draining. Sure, it was stressful. But it got you into Isak’s head. It made you feel what he was suffering. It captured his isolation and loneliness. It made the final clip of the week with Jonas such a huge relief (and to be fair, they sure took a different tone with Yann...) Narratively, it was expertly crafted and paced. With scenes like this, it does chip away at some of the tension. I wouldn’t say it’s pointless (and again, on its own there were a lot of funny moments) but again I wish Skam France was better at establishing and holding a mood. Because there are ways they could have shot this scene with similar content, but with more of a consistent emphasis on Lucas’ POV, filtering through his lens. Focus on his detachment, have something in the shop remind him of Eliott, etc. The dead guy’s brother talks about how isolated and lonely the brother was and how he didn’t open up to anyone. Something like that. Except for a few brief moments like the shot of his hand or the response to Imane’s comment, the scene doesn’t have much to do with him, really, and this is a very crucial time in the story to be making us feel what Lucas feels.

There’s also that I feel like a girl squad scene is like a requirement of each episode, and listen, I enjoy them as much as anyone, but I also think that these scenes can feel like they don’t fit with the narrative as a whole. Both the cake clip and now this clip had little to do with Lucas’ POV (compared to something like the Kinsey Scale discussion which was relevant to him). There are some bits contributing to other subplots, like a hint at the end about Manon and Charles, which is probably meant to lead into the next clip where Manon cries, but tbh they’ve dropped quite a few hints about her not being OK by now so IDK this particular one was necessary? And to be fair, other seasons of Skam spread their focus beyond the POV character. But part of why Isak’s season is so good, IMO, is that every single clip contributes to the main story. It’s very tightly written. I guess I can’t help but wish that every clip had a clear tie to Lucas’ character arc even if there are other subplots happening, and not just that other storylines are taking place and Lucas happened to be there. 

Clip 5 - Not talking is good

Lucas is up at almost 2:00 watching TV. A late night clip, wow! Glad to see one of these. It’s something that does establish mood and get us into Lucas’ mindset. Timing is one of the most useful tools the Skam format has, compared to traditional TV series.

Manon comes in and he asks if he woke her. She sits next to him and climbs under the blanket. Manon is clearly distressed. Lucas notices she has tears in her eyes. She seems on the brink of saying something, but he suggests they don’t talk about it. He puts an arm around her and she leans into him as the piano music starts again. We’re getting a hell of a lot of that this episode. She cries, he starts to get teary as well.

Lucas and Manon have the most familial relationship in the flat. In Skam it was Isak and Eskild, here it’s definitely Lucas and Manon. They feel like each other’s family. I do really like this scene for showing their bond and demonstrating that they’re both going through something they can’t talk about, it’s really lovely. Neither of them can say what’s troubling out loud. Manon has been needling Lucas to talk to her about his problems, but Lucas doesn’t pressure Manon to talk about what’s making her cry. There’s probably a balance they need to achieve to get to the emotionally healthiest place.

One effect of moments like this is that the Lucas/Manon relationship feels so much more developed than some of Lucas’ other relationships, like they can cry with each other and show emotional vulnerability with each other in a way that Lucas can’t with other people. Like I was rooting for Lucas and Yann’s friendship, and there is a ton to be said about Lucas being accepted by his best friend and what that means in terms of depicting supportive male friendships, but I also completely get why people thought he should come out to Manon instead, because story-wise, this relationship feels different from others. Lucas does feel comfortable with her, even if they’re not talking about their problems, and making the progression to voicing their problems to each other seems like a logical progression. 

Clip 6 - Find your Jerome

Lucas has gone to the school doctor from the first season, who tries to guess his name. The final one she guesses is Isak, lmao. Awww. I’m going to be a total sap and say that my heart got all mushy and emotional hearing that name. I miss my boy! I need Julie Andem to deliver that reunion special ASAP. But I do like Skam France’s nods to the original show, they’re not that subtle but they’re sweet gestures.

Lucas says he has trouble sleeping. To their credit, they did show him and Manon up late at night this week, so it doesn’t come totally out of nowhere. I do think perhaps they missed a chance for him to go to the doctor because of his hand. And maybe lie to her about how it happened, but she kinda guesses he punched something and gives him a little speech about not bottling up emotions and taking out his anger by punching stuff? IDK. I think that would’ve fit Lucas’ characterization and his particular struggles, but this is fine.

I love how satisfied the doctor seems when she tells him to avoid blue light. Nailed it!

I feel like this scene could’ve been built up a a bit clearer, because Lucas is all, “IDK why I can’t sleep” and that seems a little ridiculous, like obviously he knows why he can’t sleep all of a sudden. If he didn’t, he’d be like, “Oh, blue light is the problem? That settles that.” He’s got big personal problems. It’s just that he’s not going to tell this doctor what they are. With Isak, he had a clear motive for going to the doctor - there was a text where Linn mentioned her sleeping pills and Isak came in asking for some of those, except the doc gave him some advice to talk to people instead. Like I’m not sure what Lucas wanted from going in here? Because he knows he’s thinking too much at night, but he doesn’t want to tell the doctor the specifics. So I’m not sure what he was hoping for by going here since I’m sure he wasn’t planning on using this appointment as a therapy session. I guess he could’ve been intending to ask for some sleeping pills or something else to help him sleep, but never got around to it because the doctor started to talk about her lover and thoughts of murder. Just a small observation. 

The nurse starts telling him about how she also has problems talking about herself due to shyness or modesty (lol, this doctor being shy or modest). But she can talk to Jerome, the man she’s apparently cheating on her spouse with? Or engaging in some mutually agreed polyamorous arrangement, looking at it in a more positive light. (Or Jerome is a mannequin. Somehow that seems like the most plausible option.)

She mentions that her days are filled with teenagers who think they’re pregnant, nice nod to S1, and tells Lucas she can confide in Jerome about her murderous fantasies when her brother wants her to visit. LMAO. Well it’s nice that she can talk to someone about that? Tell me that this tidbit isn’t made dramatically more interesting if Jerome is indeed a mannequin, though. Anyway, she encourages Lucas to find his Jerome, someone he can trust.

Outside, Lucas is sitting and thinking and brooding. He reaches his hand into his pocket and finds a note from Eliott. The tinkly piano music starts again, damn, they’re going for a record in this episode. I think it’s the same tune as when Lucas first saw Eliott. The note is a very cute cartoon of his raccoon fursona, “Eliott 25473” looking at a hedgehog and not approaching him, but “Eliott 34512″ runs towards his fate and talks to the hedgehog. Hedgehog looks super happy to see this raccoon. The animal cartoons continue to be one of my favorite parts of this season.

Lucas sees Eliott walking across the courtyard. That seems to make up his mind, so he puts the drawing in his pocket and gets up. He walks up to someone and asks if they can talk later. The view of the person is obscured just to give you a misdirect that Lucas is talking to Eliott, but of course it’s actually Yann. Yay, Yann! And we’re all so excited for this beloved scene to happen next!

Clip 7 - Coming out to Yann

Ahahahaha.

After school, Lucas and Yann are sitting on a bench in the schoolyard, and Lucas is saying how he has been acting weird lately. There’s the complicated situation with his parents, there’s school, there’s the rent he can’t pay … and he thinks he fell in love. Not with Chloe. It’s not a girl. Yann seems a little surprised, which Lucas observes, but mostly Yann just seems to be listening. Yann is like, but it’s not me? Lucas says no, but there was a time last year … he trails off as Yann seems to be thinking wait, what? So Lucas just holds off elaborating on that confession and tells Yann about Eliott. Yann seems to understand, he’s just nodding and listening, asking a few questions. All is well.

Lucas says he wanted to tell Yann the truth, but he couldn’t bring himself to do it. He went to see the nurse because he hasn’t been sleeping. She told him to talk to someone he trusts. Lucas talked to Mika and it bit him in the ass. Chloe got mad. Yann asks if anyone else knows. Lucas thinks Manon, Emma, and Alex are suspicious and have guessed, and when he talks to Imane about it, they fight. Lucas asks Yann what he thinks. Yann is turning over something in his head. Lucas wants to know what Yann is thinking.

And Yann says, he can’t do this right now. He needs time. And he gets up and walks off. Lucas sits there in shock and misery after Yann leaves as dramatic music plays. 

I feel like I need a drink before discussing this scene.

I do not think this was the right narrative choice, for multiple reasons. The clip has already been debated and discoursed, so I might not be saying anything new, but let’s unpack it from several angles. I will say upfront that after this scene, even before we got confirmation, I thought it was most likely Yann was upset about not being trusted, or other people finding out before he did, than because he was a big homophobe. But I still don’t think this makes the scene much better or justifiable.

From a basic writing standpoint: I think this was sloppy. I don’t think it was meant for anything other than throwing more shit at Lucas and some quick shock value. They wanted to surprise the viewers of the original show or throw in a plot twist. But none of this fits Yann’s character. The guy has been encouraging Lucas to confide in him during the season, so for this to happen when Lucas does finally confide? Feels wrong. Keep in mind that Lucas is not just confessing about being gay/falling in love with a guy: he mentions his family situation, his rent, school. Yann may not realize that Lucas was outed, but Lucas does mention the stress he’s felt from other people finding out about him and Eliott. So Yann hears all of this and decides to walk away, because of his own wounded feelings. Yann, after being supportive of Lucas and his family situation for ages. Okay. I get that characters aren’t perfect. But this doesn’t even feel like a choice Yann would make. Earlier in the episode he was like “either talk to us or sort your shit out”? He makes it clear that they’re not going to wait around for him if Lucas doesn’t want to talk, it’s caring but very no-nonsense, which is part of why it feels like his reaction doesn’t fit - he takes it personally that Lucas didn’t come to him. It just seems at odds, and I get that people don’t necessarily react consistently, but in a scripted TV show I do expect characters to react in a way that feels organic to their prior behavior.

Without a doubt it would have been worse to make Yann walk away because he’s genuinely homophobic, but in a way it feels even more contrived that he did so for other reasons? I’m trying to word this properly, but while making Yann homophobic would have been a horrible choice and I’m glad they didn’t go that far, the fact that he’s not makes this scene feel extremely petty in the overall narrative. Like when Yann explains himself in the next episode, it becomes abundantly clear that this was a fake-out, this was meant to throw the viewers off for a few days. It was just cheap. It doesn’t mean anything in the grand scheme of the narrative.

There’s the racial aspect. You cannot ignore that in this scene. We have two non-black Jonases in OG Jonas and Giovanni reacting amazingly to this confession, and the Skam France writers chose to make their black Jonas react poorly. I doubt their thought process was “he’s black so he’s gonna be more homophobic.” But I do think they should’ve thought the implications through. Because as much as people wanted to say race didn’t matter in this scene - it did. People already had an irrational dislike of Yann for doing the same things that Jonas and Giovanni did, and this clip just confirmed their worst biases. We had people hating the black character because of this change. People being like “I told you Yann was the worst and that he wouldn’t support Lucas!!!” when there wasn’t any reason to think Yann wouldn’t support Lucas prior to this scene. It was uncomfortable to watch this play out in parts of the fandom. And you had one of the character’s best, most shining moments taken away from him. Sure, the scene with Yann in the next episode is great. But the coming out scene is beloved and iconic, it made Skam fans love Jonas when many people had still been on the fence about him due to S1, and it could have been an equally powerful moment for Yann, a character who is already marginalized and dismissed by parts of fandom for being black. He didn’t get that. 

Also, when Basile and Arthur ended up being OTT LGBT allies to the point of comedy, and Yann is the one with a bad reaction ... not great that the white guys were overly awesome and the black character is the one who ditched his friend. I’m not saying Yann has to be perfect and that’s the only way he can be great representation. But they had a precedent of this character reacting well and they actively changed that to be worse, and they changed these other two characters to be even more enthusiastic about their friend being gay. Then we also have two other white characters, Manon and Mika, supporting and comforting Lucas when he’s breaking down, in part because Yann rejected him. It’s a pile of unfortunate implications.

Then we have prioritizing the straight character’s feelings. Yann’s reasons for walking away were about Yann, not Lucas. Yann being upset that Lucas didn’t trust him. Yann being upset he wasn’t the first one to know. It’s self-centered. And we’re supposed to assign narrative weight to how a straight character feels about a gay character coming out. This is one of the biggest moments of Lucas’ life, for any gay person’s life. It should not be about the straight character’s feelings. That was something that was so important about the original scene. Jonas showed empathy and understanding that this was Isak’s moment, not Jonas’. Jonas listened. He let Isak talk at his own pace. He asked about Isak, he asked about Even, he didn’t make it about how he, Jonas, should’ve noticed a long time ago or how he felt about it. By making Yann walk away, the scene doesn’t become about the relief Lucas feels, it doesn’t become his affirming moment. In fact, it doesn’t even feel totally like his miserable, shitty moment? Because now everyone is thinking why the fuck Yann did that, what’s wrong with Yann, is Yann going to come back and apologize, etc. The ~mystery takes the emphasis away from Lucas. 

In conjunction with the doctor scene… the actual fuck were they thinking? The advice given to Lucas was “find someone who you can trust” with the message that it’s such a relief to open up to someone. And this lesson as it actually plays out? Leads to rejection. Showing that if you talk to people, it won’t be any better, it might actually be worse because then your friend will leave you. What a great message. It’s not like talking to people and not bottling up your feelings is one of the most important lessons of the show. For a show that is aimed at helping teenagers through stress and shame, teaching them valuable lessons to deal with their problems, it’s thoughtless bordering on irresponsible to juxtapose these clips.

And that leads into my final point, which is not just about this scene, but about how criticism can be received in this fandom. We gotta talk about “realism” and its use as a defense in the Skam remakes.

Some people might ask, well, why does there need to be a great message in Skam? Why do there need to be life lessons in these clips? Can’t it just be an entertaining show? Or, the other popular argument: It’s realistic, therefore it’s beyond critique. (Usually not worded like that, but that’s the sum of the argument.)

Yes, Skam is a show built on realism. It is a show that captures teenage acne and awkward pauses and the mundane experience of lying on your bed texting someone, trying to think of the right things to say, in a way that is often glossed over by other TV series. But Skam is not just a realistic show. Skam is an idealistic show and it always has been. The show has always been about trying to give teenagers hope, to present positive models of behavior, to show the best of what we could be.

Here are some things that could be considered “realistic” in S3:

Isak rejecting Even due to his mental illness

Isak getting bullied and beaten up after being outed

Isak’s religious mom telling him he’s going to hell for being gay

Isak shoving himself back in the closet and continuing to date girls

Even killing himself due to depression

These are all extreme examples, for sure. But they’re things that have happened in real life. They’re stories that have been told in media before. Why didn’t Skam go there? Why did S3 end with Isak and Even in a happy, loving relationship, and not both of them dead from reenacting Romeo + Juliet, or Isak crying over Even’s grave, or Isak forever alone and miserable and suffering for being gay? Because that’s not the point of the fucking show. 

Skam is not perfect. The characters are not perfect. But you have to ignore a core value of the series if you want to claim that Skam is about realism but not idealism. There is a reason so many characters resolve their problems by talking about their feelings. There is a reason we get so many quotes about how we should have empathy for others. Are there many true villains in this series? The only one who feels completely irredeemable is William’s brother, the sexual predator, and even he got a moment of sympathy when Mari acknowledged how messed up his childhood was. Everyone else, even the ones who act as antagonists, eventually gets some kind of compassion and forgiveness. Isak ends S3 on good terms with basically everyone: his friends, his parents, his roommates, Even, even people like Sonja and Emma. Because the show wants to give you some goddamn hope. Skam wants to demonstrate how good we can be to each other when we try.

I watched this episode of Skam in real time. I was going through Isak’s misery day after day. I was there when the original clip of Isak and Jonas dropped. When Isak came to Jonas and Jonas reacted so wonderfully, it was a tremendous relief for both Isak and the audience. I remember when the regular hearts on the Skam website (the like button) turned into rainbow hearts - it was for that clip, and it was such a meaningful moment. Isak was out, the hearts had changed, Isak had changed, there was no going back, but it was a triumphant change. And it wasn’t Disneyland. The clip was healing. It inspired other fans to come out to their friends and loved ones.  

Circling back to Yann’s reaction here: I certainly get why it would resonate with viewers who’ve had similar experiences coming out to people and don’t want to invalidate their responses. It’s not that I think it’s completely out of line with Skam’s idealism for him to walk away. That he comes back in a few days and apologizes is a positive moment with good messages. It’s more that this moment was changed to be worse - I can’t help but feel it betrays that sense of optimism and hope that was built into Isak’s story. Because the fact that they went for the more dramatic shock value moment, rather than the healing moment, feels deeply cynical about what they want for the viewers. As I said above, the change didn’t feel well thought-out, it felt cheap. It’s pretty meaningless in the whole narrative, it’s just a quick gut punch to make you (and Lucas) feel bad. There are other bad things that happen to Lucas that matter in the overall story, because they influence his character or push the plot forward. This felt like angst for the sake of angst. "Realism” should not be a shield for every writing choice on the show, or else we can let all sorts of shitty tropes (and just plain lazy writing) happen in the name of realism. 

Also, can we get rid of the idea that Norway is some homophobia-free paradise and Jonas’ reaction makes sense only in an LGBT wonderland? Homophobia is everywhere. Some places more than others, for sure, but nowhere is perfect. Isak’s story was full of homophobia even if he wasn’t getting gay bashed. How do you think he developed internalized homophobia in the first place? If Isak’s culture is devoid of homophobia, then why is he so nervous about coming out to people at all? 

And I gotta say, after events in episode 7, it is totally ridiculous to defend this scene as realism and “not Disneyland” when Basile and Arthur are basically wearing Mickey Mouse ears when they learn Lucas is gay. Not that I think it’s wrong for them to be supportive, just that their scene is clearly grounded in idealism.

The original clip with Jonas reacting well to Isak coming out? Was based on a true story. It’s just as realistic as Yann walking away.

Social Media/General Comments

Lmao, Daphne’s inspiration deco for the common room. Dream big, girl. I like Alex’s response of pretty pink and elegant toilet paper decorations. Emma suggests a big box of condoms, which is the most practical suggestion.

Eliott posted a picture of his raccoon fursona throwing out many notes, so probably him struggling to come up with the right thing to say/draw to Lucas.

Daphne and Lucas have a friendly conversation. She really wanted him to go lift that couch.

Eliott posts another picture with a Virginia Woolf quote, saying “In case you ever foolishly forget, I am never not thinking of you.” Should be obvious that he’s thinking about Lucas. Virginia Woolf is a good choice for Eliott to quote since she was supposed to be bipolar, as well as bisexual (not pansexual, as Eliott may identify like Even did, but still relatable as they’re both into more than one gender). 

Here’s a post about the Pygmalion reference with the picture Eliott posted. I feel like there’s something to be said about Polaris, too, and Lucas embodying one of the characters in Eliott’s movie, so that it feels like Lucas is lifted right out of Eliott’s art.

Eliott deleted the cartoons of him and Lucille cat after the cafeteria conversation with Lucas about having to choose. He CHOSE.

There’s a very sweet text from Manon and Lucas where she thanks him for last night, it was nice to not talk with him. Awww. They do have a nice relationship.

Emma seems done with Raptor Alex judging by her post “when he’s a fuckboy but he’s cute as hell” which goes along with the conversation when they’re moving the couch. Do we think Emma and Yann will end up getting back together, next season perhaps? Will she and Alex continue to be FWB? Or will Emma find someone else? Or be single for a while? 

Super depressing post from Lucas after he comes out to Yann, a cartoon saying “God needs your boat to use as an ash tray” showing that he’s really slipping and feels like he’s drowning. When Yann walked away, he took Lucas’ last shred of hope with him. JFC.

I’m not French so feel free to explain or clarify something I missed.

If you got this far, thank you for reading!

[zydrateacademy]

Review - Rage 2

I have little to no experience with the first Rage. I have about two hours on it, last played five years ago. I remember a lot of brown, and I think I immediately quit because it didn’t engage me very much. To the surprise of everyone, last year we get a teaser trailer set to Andrew WK’s “Ready to Die” in a semi live action setpiece telling everyone that Rage has returned, and it’s gonna be wacky! In practice, it’s just a very colorful shooter. A fairly decent one, but it lacks the general humor that Borderlands has, which yields a common comparison. Indeed, Rage 2 feels like a union between Mad Max (the driving), Borderlands (the environment), and DOOM (the gunplay). This review will have several comparisons to all three, but I’ll try to explain the systems so my readers won’t require previous knowledge of other games. I’ll start with the game’s main selling point, the zany gunplay and abilities. You play as Walker, gender of your choice but you cannot customize them as they both essentially exist as their own beings in this world. You are some kind of military trainee in a fairly safe and stable stronghold that gets annihilated in the first fifteen minutes of the game by an organization called “The Authority”. You put on a suit of armor of a now-extinct sect of “Rangers”, you being the last one in an impromptu promotion. This armor facilitates all of your guns and abilities. Even the guns are acquired through ARKS dotted around the land that are specifically designed for rangers and their suits, so right off the bat you’re more or less more equipped than every bandit in the wasteland.

Other than some odd key bindings to start with, the abilities and guns feel very good. One of the first you acquire is imminently useful, as it was designed to shatter armor of the enemies (and the ability is in fact called “Shatter”). This is also very satisfying as you play through the game, whether you use that ability or shoot it all off, you can actually see mob’s armor plating fly off as you whittle them down. It’s a good signifier as any that they’re ready to be killed outright. Considering the game shares much more with DOOM than with Borderlands, enemies are not at all bullet sponges. Most enemies can be taken out in just a couple shots, or a single headshot. The armor is what makes them spongey, but you’re very quickly given the tools to deal with it. Other abilities include a bullet barrier, a ground slam, a super sprint, a dash, a vortex that pulls enemies in and detonates, an overdrive, and a few others. Considering that DOOM developers have worked on this, this is not a cover shooter. Everything is designed to keep you moving and shooting and the set of abilities you acquire serve this goal incredibly well, and the gunplay is very fun. However, like Mad Max (from Avalanche Studios, which also served as developers here) strongholds don’t tend to respawn which leaves my usual fare of sandboxing starting to dry up just 11 hours into the game. I’m starting to get the feeling that the game is rather short, and I wish it took a similar idea from recent Far Cry games to reset the strongholds, maybe add some extra difficulty to it, and let us play it all again. I do not believe there is a New Game Plus at this time, so when I’m done, I’m done. This is essentially a twenty to thirty hour game it feels, so take that as you will.

Everything can be upgraded as well, DOOM-style. This is not Borderlands, and you will be staring at the same guns throughout your experience. There are about ten of them though (two from the preorder bonus, or potential DLC) and you can change their capabilities, level them up, and add extra mag sizes, reload speeds, and so on. They’ll function differently as you see fit but I find myself defaulting to the assault rifle you acquire, upgradable with armor piercing rounds which really tear through most enemies.

Returning from Mad Max are the convoys, one of my favorite mechanics from that game. There were only a handful there, and this game serves many more and they’re certainly more engaging in their own way. They boast an entire caravan with a War-Rig like truck that serves as its own boss (complete with a health bar), where you must wipe out the allies and then hit “weak points” that pop out periodically. I’m not sure if they constantly spawn or are as temporary as the strongholds, but I do enjoy them.

So the gunplay is good, the environment is interesting to look at. There’s plenty of lights, colorful characters, and even trees and wildlife in certain zones. The writing leaves something to be desired. For example you get a Borderlandsy splash screen introducing a few characters, one of which was “enjoys manipulating others, and once tortured a guy just to get his approval”. Meeting him just screamed “This guy is going to betray the fuck out of you”. Sure enough...

So let’s move on to some points I have “mixed” feelings about.

As I alluded to with the guns, this isn’t really a Loot-N-Shooter. It’s just a shooter. Everywhere there are chests to get “feltrite”, the main upgrade currency. You also get money, which also helps buy upgrades outright as well as ammo for you and your vehicle. There’s even an upgrade just to help you triangulate and find these chests so you don’t abandon every stronghold at 3/4 chests found because it’s hiding in a tiny alcove somewhere, but sometimes I do it anyway because it kind of kills too much time when you’re running around for a while. The gameplay encourages constant moving, shooting, and ground-slamming, but after a while you actually run out of things to do all of that with. To the game’s credit, it doesn’t make Anthem’s mistake of “go here, kill everything”. Sometimes you defend a pylon, sometimes you shoot fuel tanks, sometimes you destroy a power silo. All of which involves a lot of shooting but none of this respawns or comes back.

In relation, the map does feel a bit small. After gaining reputation with a certain main character, you’re awarded the Icarus, which is a flight vehicle. No weapon capabilities and it’s made out of paper but it’s very useful for transit. I’d almost recommend not using it at all, but it does help nab a few points of interest that you wouldn’t necessarily drive past on wheels, as some things you need to actively search for rather than drive by. As I said before, after 11 hours it feels as though I’ve complete most of the side-stuff already. Side missions can be picked up in towns but they’re much simpler and less interesting than the main story itself, and there’s little reason to do them.

The game is also very buggy. I suffer a crash to desktop (no error message or anything) every couple of hours. Much more often the game will freeze on me for an extended period of time (forty-five seconds or more) before coming back to me. I was on a “clear out the bandits” objective and one of the enemies was clipped into a building. Thankfully the “Shatter” ability has some AoE capabilities that got through the wall and I got him eventually. Those are the main three I’ve suffered but if you read around, you’ll no doubt find much more. These aren’t the usual funny “dragons flying backwards” Bethesda bugs, these are actually game breaking and rage inducing.

Oh, Bethesda. What has happened to you? It felt like it’s just been a couple years since you were the gaming community’s golden boy. It really all went downhill with Fallout 76 (which I’m still waiting on single player and modding capabilities) and has never really recovered. Yes, their new fare of “microtransactions” are here. I don’t normally have a hate-on for cosmetic shops like the community as a whole does but in Rage 2 it’s particularly pointless. It has some gun skins, both of which can be acquired in game. The golden skins are 10,000 dollars in certain shops (which is a lot, mind you) and the other ones can be acquired by farming the Mutant Bash TV enough. I enjoy the mutant-killing arena but I find it’s far too damn easy, and it really needed extra difficulty levels attached. Those skins cost 2500 MBTV tokens and you can get ~1500 every run you do. Considering how easy it is, I earned most of them in like, an hour. Now let’s get to some of the things I actively hate.

I don’t like the driving. Not nearly as much in Mad Max, anyway. The convoys are indeed still fun and more rewarding than Max’s were. To Max’s credit, that entire game was built around the car being a major mechanic and hell, even plot point and Max’s entire motivation. In Rage 2 it’s more of a sideshow. The cars don’t feel like they have much weight to them (at least, not until you spin them out and try to push yourself out of a ditch, which I often do) and when I was given the flying Icarus, I felt little point in returning to the sassy-AI that hosted the Phoenix, the only car you can upgrade and customize.

To wit, I actually quite despise the driving in certain contexts. Early in the story you have to impress someone enough to enter his suite. To do so you must play through the Mutant Bash TV (fun, but easy) and... a race. You enter the race and the NPC there tells you that you’re starting on the bottom. Now, in other games this means they usually give you idiots for AI. The first race in GTA5 was laughable, and even in Mad Max their one main “race” was actually just a deathmatch with a six minute timer. This newbie race in Rage 2 actually made me Rage-Quit the night the game was released. They give you their own car, every other racer has the same one and they actually match your speed. At any given point I always had two to four other racers ahead of me at all times. You know what bots and AI don’t do? Make mistakes. They never spun out, rammed into each other, or hit a wall unless you yourself did all that to them. After getting a night’s sleep and three tries in the morning later, my only strategy was to ignore the other drivers and concentrate harder than I ever have in a game. I basically had to do a perfect run, not hitting anything. I did so well and ALMOST lost the ENTIRE race to one single spinout near the end of the track. When I won, I could hear one or two car engines right on my tailpipe. They never lost traction like I did, and that’s just garbage.

I hated it. I do not look forward to dealing with this required mission in future playthroughs. By the way, it’s required to unlock an entire upgrade tree.

One final point of annoyance before I summarize my thoughts ultimately. This one is much more minor but it actually irritates me more than the driving does because this one is a constant threat. Every time you clear an objective, no matter how quick or small, you get an unskippable popup announcing your victory and rewards, as well as the reputation gain. This could have so easily been put on the side, like they do their radio-bound dialogues. Instead it completely stops the show and I find myself slamming the enter key so I can skip it the very split second it allows me to do so. In a game that wants you to keep moving, in a very successful and fun way, this thing is just a complete show stopper and I don’t know how their beta testers weren’t yelling “Come on, let me PLAY!” constantly. Ultimately, I do feel like there’s a good game to be had here. The cosmetic store is easily ignored and beyond that, you’ll have to deal with some bugs, janky driving, and bullshit “OBJECTIVE COMPLETE” popups. If you can deal with that, you’re left with some excellent gunplay and skillfully crafted environments. It’s not as long as I had hoped, and I really expected more to justify an eighty dollar preorder but I have not at all hated the experience.

[kai-borg]

Just a touch o' interesting bio-vids I found

Recently I've been gettin' a touch bored and just scrolling through the bio-motion vids on youtube to see if I can find anything fun, and I have to say I've actually found quite a bit! From just single videos, to entire series and channels I've literally never heard talked of despite how fantastic they are!So I decided I'd make a little list of the best ones, or just the ones I was personally impressed with/interested in I've found. Random order o' course, and some of these I've known of from years, from a number that actually inspired my love of bionicles years back, and just a few I've more recently discovered.1. 리스L https://www.youtube.com/watch?v=sD5XlPJl6OU Ok, now the fact I haven't seen much for this guy is understandable due to the majority of his channel being in a different language. Channels such as these while generally really awesome (for some reason...), and fairly popular aren't generally talked about too much in the English circle from what I can tell just because we can't understand anything, and it drives us nuts. (It sure does for me at least.) Either way, holy crap this guy is awesome! Not just because he's translated even some of the series which is my favourite so far out of his others, but because his scenes are well done, his special effects, while not used too often, when used are awesome (such as the bullet scene), and his fight scenes are smooth, and fun as 'eck to watch! 2. Gionganer grav https://www.youtube.com/watch?v=oRIJ2y7WL-k And another, non-english channel. This guy's mainly moc-vids and all that, not exactly my favorite type of vid, but his moc's are quite well done, and a fair amount of short stop-motions, which, as you can see above, are smooth,  and utilize (from what I can tell is)  some well-done green screening. He also has some kind of... trailer/short film things (don't really know 'cause I can't read the title) which make for a nice little watch each. He's even got a break down for at least one of the ones I've seen, and it's pretty interesting to watch, help gave me a few ideas m'self. 3. MrLegolover55 https://www.youtube.com/watch?v=L_ySVBnjYCs So here's this guy, another bio-tube who I've never heard talked of, yet who has a number of fairly amazing series out! Now, while he may not use stopmotion (something fairly common now-a-days), quality wise his videos are good, the story was intriguing, his characters are understandable (if perhaps lacking a touch in the full range of the voice-acting spectrum that could've been used, but still a good range for the amount of characters), and in all I'd recommend giving him a look. 4. Masteryker https://www.youtube.com/watch?v=oQ3X-dLuemE And once again a channel my inability to understand any language beyond English drives me insane to watch, but I can't stop just because of how good it is! So, fully Hero-Factory to warn all you fuddy-duddies who hate that, but holy-crap I recommend you at least give him a look if just to see his character design! While a bit stereotypical in the 'everything is rusty/damaged/whatever-that-look-is-called' in the paint department I feel it works, his stop-motion itself is once again impressive, his video quality and effects are well-done, and the story (from what little I can gather) is enough to hook me... even despite how much I miss out on (a disheartening fate). 5. Robomaniac7 https://www.youtube.com/watch?v=S9Vq2bnr7wE Ah, and this guy. While not one of the best at this time, he was at least amusing, and at the time of his videos, fairly impressive in his stop-motion (and age too from what I can tell). Just a guy I'd recommend giving a view if you want a laugh. 6. Jacob Daeath https://www.youtube.com/watch?v=lLOD9z2ZB_s Really not a lot for this guy, in truth this was mainly it (counting the second of course) in his bio-vids that caught my eye (he did have a second I found humorous). From what I can tell I think he had some ties to Robomaniac7, but my memories terrible so don't trust anything I say. Its got some nice stop-motion for its age, a nice bit of humor, and just a generally fun to watch story. 7. Spinny SterTwelve https://www.youtube.com/watch?v=PZJ52dhfLpY Now, far from the best he may be, but the fact he got me at all interested in something that combined transformers with bionicles (before the bio-former craze too I think), and made a lengthy series was more than enough to at least deserve the mention for those who might want find an interest in the idea. 8. Plastic Arm Productions https://www.youtube.com/watch?v=ihnu0N6-3Gg Now this guy, this guy I'm surprised I haven't heard of. While he may have the stereotypical 'my-self-moc-is-better-than-all-others' self-moc, but I feel that the fact he's made a 1-on-1 fight video between all of the Toa, and in every combination (I think at least, I gotta check again...) , all of which have well done fight animations, camera quality, and a kinda neutral win-loss chance (poll based) should've at least gotten him a touch more known. Perhaps he is, perhaps all of them are and it's my terrible luck at find anything bio-fandom related is just hitting me over the head once again. 9. Dinosaurs united https://www.youtube.com/watch?v=xMmzn1kuQy8 Chaotic, well done, well designed, and humorous? Give a check to all of them and you get a pretty nice series out of it! From star-wars to knights kingdom, from hero factory to both generations of bionicles, it all connects and it is a bizzare yet worthwhile watch! 10. AJ Roo https://www.youtube.com/watch?v=XNC-0ovJHLk Odd, lacking stopmotion, and overpowered characters inspired by ManiaMac1613? Yes to all of them. While another bio-tube who's more obscure status I can understand he does at least have an amusing range of voices for his characters for a single voice-actor cast. Give a watch for perhaps some enjoyment, but do be warned, some of his stuff is even too chaotic, odd, or otherwise strangely added even for me. I can say I do at least greatly enjoy his demon problems series, and his other short-vid series despite the overall 'memetry' of the clips. What can I say? Once you get an understanding of how his 'world' runs its hard not to find some amusement, especially when paired with his chosen voices. 11. Bukkey https://www.youtube.com/watch?v=x4xv19onY7I Oh-ho-ho-ho-ho! Now Bukkey is a glorious fellow! He's anime all the way, even when using canon-sets he manages to get an anime-style feel to 'em, and his use of green screen effects (especially in his more recent tests) is brilliant! While not a lot of videos yet I cannot wait to see what he'll bring later, 'cause like, holy-crap, the effects! 12. TheNufinger https://www.youtube.com/watch?v=ICPKWlHnBlM Ah, NuFinger. How is he not more popular?! Sure, sure, I can understand some of his... 'humor', and moc's are less than stellar, but just the relative originality (for a bio-series), absurdity of a number of his videos, and generally multiple minute long clips I feel should've gotten him a bit more love than he got. Can I agree his use of certain... 'humor', MMD, and kinda OPness of his self-moc dissapointed me? Yes. Of course the fact he took so much inspiration from anime made his self-moc seem a lot less OP in comparison with the rest of his characters did help counter that bit. The fact he used quite a number of clips from PurpleEyesWTF's abridged videos to make skit videos also helped my opinion 'cause it's so rare to find any sound-clip skits that don't come from a vine, family guy, or some other various related semi/fully-adult cartoon episode. Another point was that his channels all english, yet all of his videos are anime-inspired! His kinda au-ish, weird home-verse-esque, anime-world-thing he stuck his mocs in was also fun, for me, to see. (Of course what really got me into him, despite her small amount of appearances, and my favorite character of all, was Ember, the magical... whatever she is who can teleport entire pool tables with her mind.) 13. Garmagic2yFhenrakh9 https://www.youtube.com/watch?v=8MWbZ5jQLiM Another 'Arghhh!Why-must-you-inspire-me-to-try-and-learn-your-language-so-I-can-understand-your-story!' channel. Smooth motion, good fights, good camera angles, and bloody intriguing looking videos! Some problems with camera quality/saturation editing, but otherwise another fun watch if you want to see some nice animation. 14. Katsuhono https://www.youtube.com/watch?v=R-QcRFM_l5A And now this guy, this guy I am happy to have found! Do his various MLP videos bother me a bit? Yes, but I can assure you his stopmotion videos, any of them really, more than make up for any... discomfort being subbed to a channel with MLP on it brings. I mean, just look at all this! Smooth motion, brilliant effects, even giving his mixel videos a watch is beyond worthwhile! 15. Andrew Eusebi https://www.youtube.com/watch?v=NE2ajOjbYmM Once again another channel I feel could be better, but hey, his story's intriguing enough for me! Yeah, another none/less bio-based channel, but its got some kinda crazy multiverse story thing going that I have to say does make it work. 16. TheSlimToa https://www.youtube.com/watch?v=CMBRMDov1Cg A small channel sure, but ey! His stopmotion makes for a nice, inspiring watch! 17. Cy4Lego Video https://www.youtube.com/watch?v=3_wrXNVwfac GIVE THIS GUY LOVE! Sure, not a lot of bio-stuff, but holy crap! Look at what he does do! This guy deserves some chatter, especially for this thing! XD 18. BIOforge Studios https://www.youtube.com/watch?v=gu5CzuIyiPU Also this guy! His voice acting, and some of his choices in... effects may be a bit grating, but he more than deserves to be better known for the effort he's putting into his channel to keep it running at an active (more-so than my owns) rate of production! ---------------------------- And now a pair that have somehow stuck with me for years, and managed to be some of the biggest inspirations towards my love of bionicles, if less so towards my character and story. 1. ToaScarak44 - Heroes of Ora Nui https://www.youtube.com/watch?v=rJaMn0kE-zI Ah, heroes of Ora-Nui, the first series I ever found, and the one that became my first, and numerous following footholds into the bio-fandom. I remember whiling away ages as a kid just watching his stuff, 'ell, I can remember actually waiting for episodes to come out before I ended up forgetting the series name. It was disappointing to discover that the series would never be finished, and that one of my favorite biotubers, my first one at that, had quit. Will I ever know why I loved this series so much despite its... 'problems'? Who knows, all I do is that once I found it again after forgetting the name for years I was overjoyed to see it again, and I'll probably remain just as happy to watch it over, and over again. 2. Zadohk - Sirac`s journey https://www.youtube.com/watch?v=C10pgt-_0zY And so I continue to have no idea why I love this series! This was the second bio-series I'd ever watched, and essentially what got me back into the bio-tube portion of the fandom after I'd dropped out a year or so past my loss of ToaScarak's series, which I suppose can give you a fairly good concept of how long I was out of the fandom beyond books and sets. No stopmotion, nowhere near the best voice acting, and a disappointingly short series before he died off. I do have to say I did greatly enjoy the environment of his videos. Otherwise, I have no clue as to why this series has somehow managed to carry the place in my heart it still does. No matter what though, Sirac's journey will always remain memorable to me for its standing as the series that got me back into the fandom. ---------------------------- And last, but not least, the honourable mentions! From just single videos, to small, lesser quality channels I feel you might at least find some enjoyment in. 1. GeneralChroma https://www.youtube.com/watch?v=VZyCFZc3TLI Fairly sized, not of the English persuasion, and far from the best, but hey, he's got a nice number of lil' skits to watch for fun. 2. WittyFox https://www.youtube.com/watch?v=6RRb2XSWX-8 Another small channel, but at least they're not dead, and so far they got some nice bio-motion for a small channel. 3. Toynimation Studios https://www.youtube.com/watch?v=HpiduZwz9Yo Small, short, but well done, and with some nice use of motion and special effects. 4. Dia Mon https://www.youtube.com/watch?v=4dBXiTfmKCM Now, while this video is the one that truly stood out to me (I must say I do find it amusing) that doesn't mean I don't recommend you see the other ones, in fact I recommend you do! They make for another bundle of fun little time-spenders. 5. Lamchops https://www.youtube.com/watch?v=DP6YI06ZMTU Lamchops, short, smooth, and really very few bionicle animation videos. Another chaoticly-oriented channel, but at least his stop-motions are a good, albeit short watch! 6. Biomoron https://www.youtube.com/watch?v=w1OAgsnqimo Ey, what can I say? I'm good at finding the disappointingly dead channels. Oh well, still a worthwhile couple of videos to see if you ask me. 7. Thriller Metru https://www.youtube.com/watch?v=ramKDTirbAg You can understand why I put this one up. 8. George Carlin Robot Animation https://www.youtube.com/watch?v=LRhGSvorkjY Ok, now this is bloody brilliant! I mean, tell me you're still not unsure whether it's CGI or stopmotion after viewing it at least twice. 9. After hours - real life of working robot https://www.youtube.com/watch?v=isaU2Z0yLKo Eh, it's well done, and amuses me. A double win! 10. Jornova Productions https://www.youtube.com/watch?v=Mxzas9fJrx0 Alls I gotta say for this is that man am I ever glad he kept this channel mainly separate from what else its connected to. Also, voice acting, still needs work. 11. Uniters of Team Nova Part 1 https://www.youtube.com/watch?v=0ZLAuhyeVZs All's I gotta say for this is, at least the majority of this video is bionicle/lego/edited backgrounds compared to the only other video that used bionicles in the series this episode is included in. Pretty nice stop-motion and effects. Makes up for some... lacking quality in the voice-acting department. 12. New Age of Heroes https://www.youtube.com/watch?v=dtUFf4P3FAo Really, I'm only putting this up because the way they managed to edit in the special effects, and bionicles/lego-piece-things into an IRL setting actually impressed me a good bit despite the overall... disappointing quality of the video. Of course seeing how the trailer is more impressive than the actual video kinda manages to make the video even less worth giving the time to watch.

[tudorscharlot]

Bohemian Rhapsody (Bryan Singer/Dexter Fletcher, 2018)

31 Halloweens of October #34

(An important note about the following tirade: I know that this film was written by Anthony McCarten and Peter Morgan and that it was directed by Bryan Singer and Dexter Fletcher. But it is obvious from the course of its labored, years-long development and from the final product itself that this film was made in strict accordance with the views of Brian May and Roger Taylor. And I hold them ultimately responsible for the film that was made.)   This is the most deeply offensive film I've seen in years (probably since I saw Nymphomaniac: Vol. II). The music of Queen is so important to me on an emotional level and on a fundamental, worldview level that it would be fair to describe my devotion to it as religious. And I know I'm not alone on planet earth in feeling that way. Fuck this movie and everyone responsible for it forever. Do not go and see this. Don't give them your money and don't give them any sense of validation that what they've done is acceptable. (After seeing the cringe-inducing trailer, I vowed to never give this film a cent of my money. But then I was unexpectedly given a free ticket to see it. I went to see Suspiria for the second time in 24 hours with my best friend, but the theater it was showing in was having technical problems. The theater manager gave us tickets to a later showing of Suspiria and offered us free passes to anything that was playing right then, as well as free concessions. Even though I was now essentially being paid to see this film, I still only reluctantly accepted the situation.) It feels like a cheap shot to come at this movie over the chronological inaccuracies. The last thing I ever want to be is one of those "ACTUALLY..." guys who misses the poetic forest for the literal trees. I don't think it's critically important in a non-documentary, narrative film to be 100% accurate on dry, historical details, especially when it benefits the narrative structure to make slight revisions and combinations of events. Liberties taken in service of the spirit of the larger truth are fine by me. But the extremity of what they did in this film is egregious, lazy, and ultimately just confusing. So yes, I am going to go there, right now. The vocal version of "Seven Seas of Rhye" was not recorded during the sessions for Queen. "Another One Bites the Dust" was recorded three years after "We Will Rock You". Freddie Mercury did not release his first solo album until four years after Roger Taylor released his first solo album and one year after Roger released his second solo album (which goes some way toward debunking the notion that the band viewed Freddie's solo projects as a betrayal). Freddie did not return from an extended period of isolation in Munich and beg the band to perform at Live Aid. Queen just had completed the massive, nearly year-long world tour for The Works less than two months before their appearance at Live Aid - it had not been years since they played onstage together. The band did not decide to start sharing all writing credits equally until they recorded The Miracle three years and two albums after Live Aid. And, as far as is publicly known, Freddie Mercury did not find out that he was HIV-positive until 1986 or 1987. (And this is all off the top of my head.)

None of this should matter, but it does matter. Because the moment that Brian May and Roger Taylor slapped their names on this thing as executive producers, the nature of the project and its relationship to the Queen oeuvre changed. What is this movie, and who is it for? Queen is one of the biggest bands ever, but I would still argue that a biopic about Freddie Mercury ought to be aimed primarily at people already familiar with him and Queen and the music they made. It should be for the fans, and the filmmakers should assume a certain basic level of familiarity with their story among viewers. And in that case, they should know that having all of these historical inaccuracies is only going to irritate devotees like me who have a deeper-than-Wikipedia knowledge of the subject matter. And, whether or not these inaccuracies irritate me, I'd certainly expect them to irritate the two men who lived these experiences and who exercised serious executive control over this movie from start to finish. Why would Brian and Roger sign off on such an error-riddled version of their own story? I mentioned Wikipedia up there, and I've read at least one review that snarkily described this film as an adaptation of the Wikipedia entry for Queen. I think that even that is giving it too much credit. This film is like an adaptation of a Buzzfeed "25 Things You Might Not Know About Queen" list (with an emphasis on the factual inaccuracies those lists always have). Bohemian Rhapsody is clearly not intended as a thoughtful love-letter to serious fans of Queen. So does that mean it is aimed at the widest common denominator - a promotional item designed and deployed to attract record-buyers (or Spotify-streamers) unfamiliar with the band? And to stoke nostalgia among extant fans who may then be enticed to buy whatever new reconfiguration of Queen's Greatest Hits is being released along with this film? On the one hand, yes, obviously. I'll never fault living artists (or the estates of deceased artists) for working to keep their valuable bodies of work alive in the public consciousness and available to new generations of potential fans. But there are tasteful, thoughtful, discerning ways to do this (see the recent John Lennon Imagine boxed set or Queen's own Made in Heaven album). Careful and caring artists or estates share archival or celebratory releases that add substance. Greedy people who've lost the plot completely offer up crass, sloppy, tasteless cash grabs. And that's what this goddamned movie is. And what virtually everything Brian May and Roger Taylor have done in the name of Queen over the last two decades has been. I say "greedy" and "cash grab," but I don't think this is just about money. It's also more abstract. There's an idea and an image of Queen that is very real for them and for me and for so many people in the world, and it is precious. But Queen is in the past. Queen as we know them and want them ended when Freddie Mercury left us. It's not right and it's not fair, but what was can never be again. No matter how many Queen + whatever asshole tours or holograms or biopics are shoved at us. On the other hand, though, this film is a far more dangerous thing than just a promotional cash grab. It is a piece of propaganda. When Brian May and Roger Taylor made themselves executive producers of this film, it became canon. Which confers on this film and its creators a much higher level of responsibility with regards to the legacy of Queen. And every person who made this film failed to be honest or faithful to Freddie and the idea of Queen. It's shameful. Even if Brian and Roger set out to share an honest but loving account of the story of Freddie and Queen, such an endeavor is impossible in their hands. It is impossible for two members of a four-person group to present their own version of events and group dynamics to the world as though it were an official and objective record of what happened and get it right. Even free of conscious, questionable intentions, they are too close to be objective. But I do not believe they are free of conscious, questionable intentions. This film never disputes Freddie Mercury's genius talents as a performer or songwriter. And it is generous in its portrayal of his kindness, sweetness, and wit. But it also presents him as a pill-popping sexual deviant whose pursuit of a solo career in the 1980s was an ego-driven affront to the unity of Queen, rather than the healthy and fairly standard outlet for expression that any artist a decade in with a massively successful band tends to engage in (see also: Roger Taylor, for fuck's sake). And it also presents him as the only real source of discord in the band. This is all in striking contrast to the presentation of Brian and Roger as blandly stable family men dedicated wholly to the vision of Queen. (There are a couple of winking references to Roger cheating on his wife, but these references lack the weight of similar events in Freddie's story.) An important side-note: It should also be mentioned that John Deacon is presented as basically a non-entity whose only contribution is to frequently make silly faces that are eerily like Andy Samberg mugging (seriously, find a still or clip of this actor in this movie - it's fucked up). In real life, John Deacon more or less permanently parted ways with Brian May and Roger Taylor in the late 1990s. It has been widely assumed (he may even have said so at some point) that this was because he didn't like the way they were handling the legacy of the band. Fast-forward to 2018 and this film's portrayal of John seems to be grinding a major axe of butt-hurt at him. It's so fucking petty. But back to Freddie. What do we know about Freddie Mercury, the private citizen? We know he was extremely private and largely refused to ever discuss his personal life with the press. That doesn't mean that it's strictly off-limits and inappropriate to discuss his private life in a film about him now. There are private things about Freddie (both personal and professional) that the surviving members of Queen definitely knew. Jim Hutton and others have shared personal things about Freddie over the years since his death, as well. I believe it's okay to respectfully reveal private details in the service of telling a great artist's story. The problem here is that Brian and Roger have shot any credibility they had as reliable or unbiased sources. If they can't even get the decade and order in which two of their biggest hits were recorded - if accurately representing something as verifiable and relevant to the development of their work as that isn't important for this film, why should and how can we believe anything this films tells us that can't be verified beyond "the executive producers say it happened"? If major events in their recording and performing career can be juggled around willy-nilly to fit the desired narrative arc, how we can trust that the same wild liberties aren’t being taken with unverifiable closed-door meetings and private arguments? I'm SURE that Freddie Mercury was sometimes flamboyantly egotistical in the studio and backstage. But I'm equally sure that every other member of Queen was just as egotistical, just as often. They never would have accomplished the things they accomplished if there weren't huge amounts of ego and ambition and personal investment between them. But I do not buy that this film accurately represents Freddie's temperament, his ego, or his behavior in many of the specific situations it reenacts. It doesn’t get his style. Watch any video of Freddie performing or being interviewed - this film doesn't get him at all. I'm not queer and I'm not Parsi, but the way this film handles Freddie's relationship with his ethnicity, with his family, and with his sexuality feels pretty boilerplate and cliched. It doesn't strike me that any particularly negative stereotypes are being indulged, but it does feel like a lot of simplistic movie tropes are employed to quickly dispense with these matters. I am glad that so much attention is given to Freddie's relationship with Mary Austin, but it nonetheless feels tonally wrong. I think that their relationship was beautiful and I don't think this movie quite gets it. And sure, what the fuck do I know? Very little. But I know they were lifelong companions in ways that went far beyond sex, and that she was the love of his life. And I know that I can't trust that the two guys who were there are representing it truthfully now. I'd rather take Freddie's word for it. And UGH. What the ever-loving fuck is up with Rami Malek's prosthetic bucked teeth in this movie? Let's get something straight: Freddie Mercury was a physically beautiful man. My god, he was. It is an obnoxious insult to have some guy prancing around like fucking Nosferatu playing at being Freddie Mercury. No serious actor would need fake teeth to play this role, and no serious filmmaker would ever even consider such a thing. All this heavy, meta shit aside, this is also just a bad movie on the most basic level. It is so bloated with unnecessary show-off shots, rock and roll biopic cliches, embarrassing dialogue, and one-dimensional performances that even hearing some of my favorite music ever at high volumes in a movie theater couldn't transport me. Some serious acting talent was assembled here, and some of the cast do an admirable job with what they were given, but this movie has no heart. Bohemian Rhapsody makes Freddie Mercury a caricature. It tries not to, and it really is mostly a very flattering caricature. But it's a reduction that fails terribly in its mission to show us who Freddie Mercury was. Freddie Mercury deserves infinitely better than this film. This film should not have been made. If they had gotten everything perfectly right, it would still be a pointless and distasteful exercise. Go watch any video of Freddie Mercury performing or just talking and the emptiness of this film becomes instantly clear. (Note: I’ve tagged this film with my October horror film viewing because this film is horrible.)

[kevinpolowy]

Helen Mirren talks 'Leisure Seeker,' Donald Trump rallies, and why she's never had a celebrity crush

Helen Mirren at the 90th Academy Awards. (Photo: Time)

“Who is Anna Magnani?”

You better know your classic world cinema if you’re lucky enough to enter the orbit of Helen Mirren. That trivia question is what we were greeted with by the 72-year-old Oscar winner at a recent Los Angeles press day for her new drama, The Leisure Seeker. (Magnani, in case you don’t know and you encounter Dame Helen one day, was an Academy Award-winning actress who rose to prominence in the 1950s and has been described as “the volcanic earth mother of all Italian cinema”).

Mirren is best known for pond-crossing imports like The Queen and Gosford Park yet has recently dabbled in more mainstream (and more “high-octane”) fare like the Red movies and The Fate of the Furious. Her heart remains in less, how shall we say, volatile stories, as evidenced by her latest project, The Leisure Seeker, which earned her a Golden Globe nomination earlier this year.

Directed by Paolo Virzì, the story follows a retired New England couple (Mirren and Donald Sutherland) who take off for a road trip to the Florida Keys in the titular 1975 Winnebago, much to the terror of their children. The RV’s pilot, John Spencer (Sutherland), is suffering from Alzheimer’s, while Ella (Mirren) is harboring her own secret health woes.

In her interview with Yahoo Entertainment, Mirren talked about why she initially balked at the heavy subject material of Leisure Seeker, how she’d handle a Donald Trump rally, and why she’s never been the type to have a celebrity crush.

Yahoo Entertainment: What made you hop on board The Leisure Seeker? Helen Mirren: I [initially] didn’t want to go into the subject of the movie. I just did not want to do any movies ever in my life about people dying of cancer or people getting Alzheimer’s. I was like, I don’t want to go there. But this was a beautiful love story with those elements involved. And also the sensibility of the film director, Paolo Virzì, was so humanistic and amusing, lightly comedic, that I thought maybe it would be fun to do.

And you get to work with the great Donald Sutherland. He can be very intimidating, though. He doesn’t take any guff. No, he doesn’t. But I tease him, so that’s all right.

I feel like you don’t take any guff, either. Who takes less guff, you or Donald Sutherland? Um, probably Donald. I’m more patient than he is. I’m a very patient person, actually.

Donald Sutherland and Helen Mirren in The Leisure Seeker. (Photo: Sony Pictures Classic via AP)

His character suffers from Alzheimer’s, so he’s constantly pivoting between being lucid and being fuzzy, where he thinks he’s in a different time and place. Did he use that as an opportunity to go off script and kind of you keep you off balance? I think he’s wonderful in this film, absolutely fantastic. We both improvised quite a lot. It was very loose. We got into our characters quite deeply so we could improvise around them quite easily. … I think Donald really enjoyed that, it gives you a kind of freedom playing that. You’re not rigidly stuck to your lines and your character. 

And if you don’t remember a line, you’re good. [Laughs] Exactly. I want those roles.

It takes place during Donald Trump’s presidential campaign, obviously a very specific moment in contemporary American times. It doesn’t directly play into the story, but how do you think the time setting informed the story in general? I think that was very much Paolo’s understanding. I love any movie where you’re looking at the country through the eyes of the foreigner. … Two that come to my mind are Wim Wenders’s Paris, Texas and John Schlesinger’s Midnight Cowboy. Both are an outsider’s view of quintessential America. And because of that outsider’s view of quintessential America, you get a perspective that’s a little bit more interesting than just an American would have. And I think that scene [where John and Ella inadvertently end up at a Trump rally] , that was a part of Paolo’s Italian vision.

Like many folks in this industry, you’ve been pretty critical of Trump. How would you survive an actual Donald Trump rally? Um, by being objective and curious. That’s probably how I’d survive. Because in the end, all humans are the same. They all love their dog and they’re all having problems at home, or whatever. There’s a common humanity with all of us. … Certain days maybe I’d run the other way.

Ella expresses her love for Marlon Brando at one point. Who have been your celebrity crushes over the years? Oh! Interesting question. I’m not a crushy sort of person, I never was. I never had pictures of pop stars up on my walls. I didn’t want to be fan, I wanted to be the person that people were fans of. That’s not to say I don’t admire people. Anna Magnani. Maybe she’s my celebrity crush. Put that down so people have to look her up.

The Leisure Seeker is now playing in select cities.

Watch the trailer:

Read more on Yahoo Entertainment:

Helen Mirren wants in again on ‘Fast and Furious’ — but driving this time is ‘essential’

Helen Mirren shares the sweet way she and Taylor Hackford celebrated their 20th anniversary

Helen Mirren explains why her house is haunted in this exclusive ‘Winchester’ clip

[lightsandlostbells]

Druck episode 1 reaction

I’m really enjoying Druck so far! My ideal remake would be to start with a new script and story, for sure, but this one seems very in line with Skam’s principles and style. I found myself looking forward to upcoming clips.

Clip 1 - Jonas gets on a soapbox

I really love that they revamped Jonas’ opening monologue to something that is apparently relevant to German teenagers and potentially lays out some of the themes covered in the show, and that it kept the rough, raw look of the visuals.

THEY LOOK. AGE APPROPRIATE. Thank Godddd

One of the things with Skam France and Skam Italia is that a lot of people reacted by saying, “wow, they’re all so beautiful” and internally I was like nnnnnnnoooOOOOO that’s not the point but I didn’t want to be a dick about that. 

Lol at the same song playing when Leonie walks across the yard being the same song in the Skam Italia trailer. According to Wikipedia, “Bad Girls” has also been used in Skins, Gossip Girl, and 90210. It is to teen drama shows what “Hallelujah” is to sad crying scenes.

Well I immediately bought this Isak (Matteo?) having a crush on Jonas, just saying.

As far as cutting to Matteo similar to how Skam France showed Lucas … I preferred this because it’s not giving away Matteo’s feelings. Lucas definitely had a vibe that ~Something More was up that the audience should suspect. This wouldn’t have pinged me, as a new viewer, that Matteo has a secret that Hanna doesn’t know. Like I could have bought he was just bored of watching his friends make out.

Clip 2 - Hanna and Jonas in the bedroom

So Hanna and Jonas have great chemistry so far! They definitely have that easy, established couple feeling and seem comfy with the physical affection.

Youth by Daughter is such a Skam song that I’m sort of shocked it hasn’t been used already.

I was hoping for another glimpse of Matteo but I will accept his love of memes.

Is the Hero Party Druck’s version of Russ? Sounds like. Is it a party where people dress up as superheroes?

Clip 3 - Amira’s introduction

Um, YES. Good job, Druck.

This scene was a brand new spin on an existing clip! This is really what I want to see - taking the old material and making it fresh and distinguishable.

So the theater kids were changed into a refugee welcome group, and of course they assumed Amira was a refugee. I liked that they established this specific commentary.

The girl from the club gives Amira a little smile after she explains the purpose of the group as if to be like “we help people like YOU” and Amira’s just like yep … not this shit again.

Amira! Loved her immediately. She and Hanna probably just did their homework in companionable silence after this encounter, but it’s already pretty cool that the Sana character is the first one of the girl squad established (other than Eva/Hanna).

There’s a sign for a party in the background, is that the Hero Party?

Also, I like Hanna making a self-deprecating joke about herself being the one who needs tutoring. 

But honestly, how lovely that Amira got to share this moment with Hanna and even make a joke about white Germans. Because you know plenty of white people Would Not Get It.

Aside from his cultural obtuseness, I’m kind of fond of that dude and his giant hair.

Clip 4 - Matteo gets a ticket to the love nest

Well this remake just came out and said what I thought was always implied, that the reason Jonas doesn’t want Matteo to be alone is because of his family. I don’t mind this dialogue being forward since “weird family” could pertain to a lot of things, not necessarily serious (I don’t know what the exact words imply in German). Like, his family could be really into hunting for cryptids. It’s vague enough not to take it too seriously.

Listen, while I love Hanna and Jonas so far and think they have terrific chemistry, I could totally ship Jonas and Matteo. Jonas just seems really fucking excited about Matteo coming with them.

Where the fuck did Matteo come from???? It was like he teleported. We saw right over Hanna’s shoulder before he appeared and no one was there.

Though I see he took a pic of them while they were chatting that he posted to IG, lmao.

I kinda like this casual loungey, come up and sling an arm over your shoulder Matteo. He definitely seems the most chill of the Isaks so far.

ALSO they did the whole thing of Matteo watching them leave, HOWEVER this is why it works for me here more than in Skam France: they don’t show his face. They don’t make it seem like he has a secret. I definitely think you can infer that, but I also think you can infer something more simple, such as how it’s symbolic of how he’s the third wheel in this relationship. I think OG Skam did that best by having Isak trail after them, but this wasn’t too OTT. 

So it looks like we’ll be getting the full cabin episode, not just a weekend?

Clip 5 - Party

The title card being for Monday is a pretty big mistake, though I saw that the official account responded to it and apologized.

Hanna singing as she’s getting dressed is a really nice touch. We all have our getting-ready-to-go-out anthems.

Mia is already feels more like Manon than Noora, in that she’s a got more of a softer, sweeter initial vibe. I did like that they showed her watching Hanna get dragged by Leonie and deciding to cheer her up. And that they had her clarify that she had to leave (for some unspecified reason) because it was always kinda funny that Noora made a dramatic first impression and then disappeared into the night, leaving Eva wondering “who is that mysterious yet sexy stranger...”

Vilde (Kiki?) giving an actual description of Sam makes sense, like damn, there could be a dozen Sams in that club. And having the mix-up still happen is a bonus.

But most importantly, obviously, is that Kiki thinks girl Sam is extremely hot. Look, one of these remakes has to deliver on gay Vilde. Don’t keep dangling the carrot and then taking it away. plz.

I LOVE Amira and this seems like a major change in characterization from Sana? Not that Sana was allergic to fun, but I have a hard time seeing her show up at parties without her squad. Amira is actually present at parties and dancing - alone, it looks like - which is something I wondered about Imane in Skam France. What made Imane want to get in on Daphne’s party? If they go with another “the girls are planning to throw a party” plotline as a way to do russ, then it’s a decent setup for Amira to actually be seen partying. But I really hope that they take this shift in characterization to greater depths and don’t just kind of adapt Sana’s dialogue and personality around Amira. I really want to see a distinct character develop, and this is a good start.

I instantly want to see more of girl Sam and I kinda love that she’s the character with the distinctive lipstick on this show.

Kiki being like “you both have the same name, you’re both black, we get it, super funny” and asking them to leave - damn, congrats on making the worst first impression of the Vildes? Even if I get that she’s upset at the moment.

Penetrator (?) Sam seems a bit dorkier and less like a douchebro. But maybe I just feel that way because he’s posing with his cat on Instagram.

Liked that they put in Hanna sitting in front of the mirror taking off the makeup, her hair messier, as a contrast to the fun sexy getting ready scene. Just some quiet reflection of the bummer kind. That’s always how it feels after a party that turned out to not be so fun. At attempt was made to be social … and the attempt had limited success.

Changing Hanna’s parent from a mom to a dad (assuming there’s only one parent around) is a small yet potentially interesting change. Especially because conventionally, relationships between daughters and mothers are considered to be tighter than relationships between daughters and fathers, though this is by no means universal. I’m quite excited to meet Hanna’s dad and see how the parent-child dynamic plays this time around.

General comments:

From what I can tell, some of the Druck actors are in their teens and some are in the 20-22 age range. Because overall these do seem to be younger, inexperienced actors, I’m more inclined to be lenient on their performances than the other remakes. I think this is fair - Skam France and Skam Italia cast older actors to play teenagers, and in the case of Skam France many of them had already been in movies and TV shows (not sure if it’s the same for Skam Italia), so I do have higher standards for their acting. If they are going to sacrifice authenticity, then it better be for the sake of talent, otherwise what’s the point?

I mentioned this in a Skam France post too but I find it distracting that the clips end with a title card, even though they might not be able to do anything about it. It’s just a little reminder that you are watching a TV show and it takes away from the immersive experience.

One thing I noticed on Instagram is that a lot of the characters seem to have pictures of them when they were babies/little kids. That’s pretty typical for people to post on social media, it was just common enough that it caught my eye. (Hanna/boy Sam/girl Sam/Kiki, if you want to look. Cuuute).

I saw some people thought Matteo was too obvious in his feelings for Jonas, but while I thought the chemistry was there, I personally didn’t feel that it was too distracting.

On that note, I’ve been thinking about whether it’s OK to show characters other than Hanna’s (Eva’s/Emma’s) POV and I think what generally works for me is:

a) does this shot reveal something that our main girl couldn’t pick up on from the rest of the context of the scene 

b) does this shot reveal something that the audience shouldn’t yet know 

c) is this shot taking over our main girl’s big emotional moment. 

If so, not a good idea. Basically I think what works for me is brevity and ambiguity.

The reception to Druck seems to be very positive so far, going off the tag’s content. I think the enthusiasm is support for the idea that many Skam fans aren’t 100% opposed to the remakes as long as they feel like the show captures the spirit of the original series.

However, it would have been interesting to see what the reception would have been if Druck premiered first - is it that Skam France was more polished than some people preferred, and Skam Italia had some aspects from the casting and the trailer that turned people off, that Druck seemed like a strong alternative? Or if Druck premiered first, would we be more cynical about it? (I think this could have been true to a degree, but there are also some changes, like Amira’s introduction, that might have intrigued the fandom.)

I am feeling good about this show but I’m also trying to keep my expectations in check, lmao. If I expect it to completely revamp the Skam S1 storyline I’ll probably be disappointed; however, what I hope for it is at least some minor changes in characterization that create distinct, consistent personalities and that they write the script forward from these changes rather than contorting the story to fit them, if that makes sense.

I think calling it Druck is in itself a good sign, in that it seems more indicative of wanting to create a clear identity outside of a Skam remake and appeal to German teenagers. “Skam” is not a word that means anything to French/Italian viewers unless they know the original show.

[kendrixtermina]

Baby Reacts to: “Voltron Legendary Defender”

I’m not familiar with either of the show’s previous incarnations but from what I’ve heard they completely overhauled the characters anyways - supposedly Pidge was once an annoying tagalong kid (and a boy), Keith was a standard issue “hot-blooded mecha pilot”, Shiro was not there, or killed of in the first storyarc, and Allura was a completely different character with a wholly different design, more of a ‘princess classic’ with the looks & personality to macth, supposedly they redesigned her to make her more alien & then threw in the skintone as a hommage to her voice actress. In any case only the name is the same. 

I’ve seen some clips and it seems they had a much more outwardly fantasy-aesthetic going on with carriages & period costume, sort of more like Star Wars or Sailor Moon,  whereas the newest version seems roughly Star Craft esque in terms of their particular blend of Magitek. 

Otherwise it’s pretty straighforward: Evil Empire, Ancient Artifacts, Giant Robots, Space Fights, timefrozen hightech city left behind by the precursors etc. 

The evil empire has a renegate splinter faction but that too isn’t so exceptional (though welcome), the BoM reminded me somewhat of the Tok’Ra from Stargate in their reclusive, slow-to-act approach in that they have tons of futuristic tech but limited ressources & had to be won over first & there still being a lot of mutual distrust on both sides, at least at first.  

Rare in this day and age (and very refreshingly IMHO) the show unapologetically sticks to the basic genre & tropes without falling over its own feet trying to be clever  & meta - sure, they evened out the gender ratio a bit & made the structure of the battles less monotonous but we’re not beaten over the head with any of these things/fit them in naturally & the show never seems like it has something to prove & just lets its story be a straightforward giant robots & explosions kinda thing.

It helps that the artwork is great. 

The best summary of my general impression is that I’ll pobably tune in for season 3. My favorite character so far would be Keith closely followed by Pidge, and Shiro, but AFAIK everyone likes Shiro? I’m prolly b/c I’ve heard it’s terrible (The Umbridge effect is probably in full force...) also I’ve been told there’s a trailer out and I’d rather see season 3 unspoiled. 

Clearly there needs to be some payoff for Shiro grooming Keith as a potential sucessor but I’m hoping that after a few drama-filled episodes, they all go rescue Shiro from wherever he’s gotten to, Keith hands him back his helmet and they all go home together. I mean, he just got his own Bayard. It’s unclear what happened to him in any case, perhaps he was absorben Evangelion style. 

That said one of the show’s strenghts is the clear aversion of the “annoying comedic sidekick” even though it has many characters that has could theoritically fit that description - They try their best to give each of the characters something to do & various skills & likeable traits - Like you get why each of them is there and why they’re our heroes - they also took the time to make sure everyone got a few character establishing moment in the first episode (Shiro’s arrival, Pidge & Keith were already on their own quests by their own means, Hunk & Lance served as the PoV characters etc) and throughout the show they try to bring out everyone’s personalities through reaction shots etc. Like, ALL of them are awesome.

Also apparently this fandom has brutal shipping wars? Some ppl I was sitting next to kept cracking jokes about how [random yaoi pair] was obvliously into each other and after a while it got annoying through sheer persistence. 

I don’t think the show as a whole is going for that like if there was going to be a decent/central romantic subplot they’d have introduced it by now they seem to be content to simply be an action show & there’s not much content like that at all except for the occassional teasing for the sake of humor & Lance’s flirting (which is really more there to exposition his being a bit of a showoff) - the most that will come out of it is that when we see some epilogue telling us what became of everyone, Lance will be shown to have found a girlfriend after returning home to his mom & impressing his siblings with his heroic stories. 

To begin with they seem to be going for a different vibe with the main characters, with how all of them (including Allura) refer to each other as “family” or “brothers” all the time like I get the impression we’re supposed to interpret them more as simply comerades or quasi-siblings with Shiro as the big brother and Coran as the kooky uncle.  

Like I hate it when ppl dismiss already existing romantic subplots as “uneccesary”, “silly” or “pandering” but at the same time it’s not like every show needs to have one or like it immediately needs an explanation when one character doesn’t get a love interest(that they must be gay, ace etc... nothing wrong with those type of characters, or headcanon, but “we’re not doing romance genre RN/ the characters are busy fighting a war” should be a sufficient explanation in and of itself whatever the characters’ orientations are.) 

General Character Impressions:

Their secret seems to be rolling with the basic tropes but connecting them into an interesting structre, so it comes off neither overly in your face nor one dimensional.

Lance - ‘Average Joe Relatable PoV character’ except they made him not-boring by making him the snarky/funny one & giving (he’s got ice powers & is the designated long range fighter, both very cool powers, pun not intended but retroactively appreciated) as well as drawing logical consequences (He’s the most attached to earth because of his relatively ‘normal’ background & wants to prove himself because it seems he was the midle child among numerous siblings, hence the rivalry with the local ace pilot.) Sorta calls to mind the likes of Kyon from Haruhi or Sokka from Avatar.  

Hunk - For once the “all around nice heart of the group with the more intuitive, roundabout type of reasoning” isn’t the token girl but I’m glad that role’s still there because niceness & group cohesion is a valid attribute. The “nice person” is typically the healer or magic user but making them the defensive fighter makes just as much sense, especially with his personality as the more cautions common sense-y one who becomes committed to the mission through the desire to protect innocents. 

Pidge - The “secretly a girl” thing is kinda trite but it makes sense as a reference to the original and they still eschewed the tropes by how she was badass well before & doesn’t get treated any different afterwards - The plot twist is more that she’s related to the scientists from the prologue. Otherwise another potential spirit animal of mine, VERY relatable in ways I can’t count, fro the nerdy reactions all the way to the short stubby arms XD I’m also grateful that they didn’t give us that trite old “nature vs science” contrast but instead portrayed these as connected.  It’s like Kensuke from Evangelion, except as a girl & she actually got to be a pilot. 

Keith - The Rival Character. Second-best fighter  of the paladins, sort of a ‘larger-than-life’ superhumanly good ace pilot, to Lance’s ongoing chagrin (and indeed he turns out to be part warrior alien), also, predictably, the local cynic. Seems to have the least ties to earth/ have been looking for a purpose in life anyways.    Not quite a ‘stoic number two’ though - He’d probably like to be but he absolutely doesn’t really know when to shelf it, hence his being highly suceptible to Lance’s provocations & flunking out because of a “discipline issue” despite his aparent talent. 

Shiro - Former Ace Pilot & personal hero for both Lance & Keith. Got alien abducted & subjected to the full repertoire (gladiator fights, experimented on, augmented etc.) & is understandeably still rather shook from it. Serious disciplined military type & natural leader, hence ends up taking over almost immediately wheen stranded with a bunch of ragtag space cadet rejects and, as a result, becomes everyone’s beloved big brother figure./mentor. Supposedly just as loved by the fandom?  Actually still pretty young, he just looks mature in comparison to the others but he’s not above getting in a snowfight. 

Allura - There’s the “sweet princess classic”, the “fierce alien warrior princess” and the “glittery plot magic princess” and in Allura’s case they seem to have been thrown in a blender & put together in such a fashion as to make a more complicated character - She’s certainly fierce, somewhat agressive, suspicious & hellbent on her mission but she also has the diplomatic grace one would expect of a royal & ultimately she does have a sweet side (hinted at early on with her adorable animal companions) - The basic gist of it is that she’s a regular teenage girl somewhere, but has been trained for asskicking & diplomacy all her life, & now she’s the last survivor & feels the pressure to carry on her father’s torch & stop the evil empire so she affects a comanding presence most of the time. 

Also there seems to be some meme about calling her a racist (Ugh tumblr) ? This seems to me as one of this stuations where people want complex characters but cannot handle it if they’re not perfect or fitting into easy boxes. 

The whole point of her is that she comes from a different time & culture with it’s conlicts outside of the human character’s PoVs. Like point me at any angry alien princess who is NOT suspicious. Both being unfrozen and heck, even Zarkon’s betrayal are still relatively recent for her, and in the end she was just kinda avoiding Keith (granted, in what must’ve been a confusing uncertain time for him) more than actively being mean and she came through on her own & apologized. Like, it was just like Hunk said: She just needed processing time, something she’s been afforded preciously little of at any point ever, I mean she goes straight from realizing everyone she ever knew (except Coran) is dead to launching an offensive.  

Bonus: I shall attempt to MBTI the bunch

(In Order of certainty)

Hunk - most obvious ISFJ to ever SiFe 

Allura - ESTJ

Pidge - INTP

Keith - ISTP or possibly ISFP, certainly Se-aux tho. One the one hand he uses Fi-ish language in places (”If I don’t do this, I’ll never find out who I am...”) on the other hand he tends to prioritize the mission & is the most cynical/pragmatic of the bunch & tends to be stoic & objective unless provoked (”The rest of the universe has families too.” “Yeah but can we afford to rescue the princess?”) - His relative reactiveness when provoked is sufficiently accounted for by Se. 

Zarkon - ESTJ 

Shiro - ISTJ (though his instant commanding presence makes me doubt the I somewhat that said politician/leader ISTJs do happen. He seems to have been serious & dilligent even before all the trauma tho.)

Lance - ESFJ or possibly Se-dom, ESxx for sure tho. 

Coran - Clearly has Si and Ne but not sure in which order. If I had to guess I’d say he’s either a very dutiful ENFP or a very quirky ISTJ. 

[cloudravine]

Fairy tales and their significance in SKAM

Here’s a translation of an excellent comment written by #teamtruelove about the “Ønske deg av hjertet alle gode ting” clip. 

The original fairy tales which are discussed can be found here and here.

Please let me know if there’s anything in my translation that you don’t agree with! <3

In the fairy tale translation challenge on the Hei Briskeby channel, the boys read out excerpts from two fairy tales: “The Twelve Wild Ducks” and “The Town-mouse and the Fell-mouse.”

The queen's nosebleed is what starts off “The Twelve Wild Ducks,” whereas the SKAM trailer ends with Even's nosebleed. “As she leaned against the fence and looked at the red blood and the white snow, she reflected that she had twelve sons and no daughter, and she told herself: had I a daughter white as snow and red as blood, then I would wish the same for my sons.” The nosebleed is what reminds the queen of something she’s been missing and yearning for all her life, and so, in SKAM, I don’t think it means that Even is going to get hurt. It means that he’s going to get the balloon squad back.

When her blood falls on the snow, the queen gets a daughter as she wished — but the price for this is that she loses her sons, who are transformed into wild ducks and take off. When the boys' sister Snehvit og Rosenrød becomes older, she goes and looks for them. She’s given the chance to save them, under the condition that she picks cotton clothing for each brother without saying a single word until her task has been accomplished. At one point, she’s condemned to be burnt at the stake because her stepmother has taken her children from her and, having smeared blood on her mouth, claims Snehvit og Rosenrød has eaten her own children. The innocent woman can’t speak out, for talking would break the spell and make it impossible for her to save her brothers — but her brothers appear at the last moment, giving her the chance to finally speak again. In the SMS roulette video, the balloon squad uses flame emojis when they’re talking about Even. Now, Even must be given the opportunity to speak for himself. Are the Bakka boys going to be the ones to make this happen at last? I believe we’ve been looking at this the wrong way the whole time. Many have been saying that the balloon squad is after Even and that they're going to sacrifice him to the bonfire — but actually, they’re going to save him, and he’s going to save them back. Just how many constellations of people saving each other are there left this season?

Before getting into the second fairy tale, I’d like to mention this: someone has pointed out to me that Twin Peaks has a long scene in which the characters eat carrots and talk about the importance of telling the truth. In SKAM, what if carrots are not only a reminder of something beautiful Sana and Yousef shared, but also a symbol of truth? Sana eats the first carrot and tells all the truth that there is to tell about herself — or at any rate one of her truths, namely that about Saranors2. The next to eat carrots are the Bakka boys, though Yousef appears to be dejected in contrast to the others in the group and ends up taking a noticeably smaller carrot. The last carrot we’ve seen so far is eaten by Noora.

“The Town-mouse and the Fell-mouse” is about two mice from two very different worlds. They’re not able to agree on who has the best life, but they decide to visit each other. First, the Town-mouse goes to the fell. She thinks it’s okay, but in her opinion it can’t compare to the luxury of the town. Then, the Fell-mouse goes to town and is met with an abundance of food and drink, so much so that the Fell-mouse gets drunk on beer (which she had never tasted before) and ends up dancing so thoughtlessly that she’s almost devoured by a cat. She narrowly manages to escape and goes back home, saying: “You say that this is a good life, a better life than mine? May God grant me less, then, rather than such a big farm and a hawk for futility! I was lucky to slip away alive.” The town and the fell represent the buss vs. the looser van in SKAM. Sana is the fell-mouse who is almost lured into the russebuss and behaves in an irrational, dangerous way, but eventually manages to escape the claws of the buss without losing her friends in the process.

However, I also think the fairy tale about the mice can be flipped around. When Isak and Sana talk in “Fakker over vennene sine,” they end up disagreeing in some respects, just like the two mice do. Their main disagreement revolves around who has it worst. Isak has been criticised (rightfully so) for not quite understanding the scope of Sana’s predicament, but the same can be said of Sana as well. When she tells Isak that nobody can see that he’s different, she seems to imply he has it easy in comparison to her, but that’s not ncessarily true. She’s right, nobody can see that he’s gay — and that means that Isak must constantly decide whether or not he wants to make people aware of it, or whether he should simply let people think that he’s straight (which is what most automatically assume without even realising). Isak must take the conscious, active decision to do something which Sana’s hijab does for her. No wonder that many queer people embrace some of the stereotypes out there and make them into their markers, their banners, their hijab! I feel like this is a way of taking away the haters’ weapons. “Gay” can’t be used as an attack when one is comfortable and proud of being it. But this also means that LGBT people must go around continually affirming their identity, without necessarily having a coming out talk with each person they meet. Another consequence of homosexuality not being visible externally is that the feeling of being an aberration can be aggravated every time someone assumes one is hetero. That is a very real struggle, just like hate towards Muslims is real. But, like Isak told Sana, I think a lot of it is caused by ignorance. Much of the perceived criticism against homosexuality which gay people living under the radar have to deal with every day is usually plain thoughtlessness and lack of awareness. The use of the word “gay” as an insult is actually not only thoughtless: it’s also intrinsically wrong. Be it as it may, “gay” is a word which has become part of our day-to-day language and is often uttered without thinking and without any ill intention. Not everybody who uses it is homophobic. This is illustrated in Mahdi’s remark to Isak in “Ikke vær frekk”: “What’s your deal, are you a homo or what?” We know by now that Mahdi is anything but homophobic, and yet even he makes that kind of comment without really considering the implications it could have.

I suspect that the impending drama at the end of this season will give both Sana and Isak the opportunity to better understand the full extent of each other’s situation. They’ve learnt so much from each other already, and they can still learn much more.

Sana and Even are placed at the two ends of the trailer. The trailer starts with Even and ends with Sana, whereas the chain reaction starts with Sana and ends with Even. The only thinkable option in my mind is that Sana and Even’s stories belong together somehow. Their experiences have so much in common. And we see them both from their own unique perspective: Sana on the inside, Even on the outside. Sana in the present, Even in the past. For me, it’s obvious that the two characters’ subplots are connected to each other. Sana starts a chain reaction which (as it seems right now) might end up with Even finally getting the chance to get back together with the Bakka boys — but could this process also set something off which might have repercussions for Sana as well? After all, this is Sana’s season, so I assume it’s her who’s going to be the most affected by all this drama.