#and this is finishing writing the episode then producing it and filming it then editing it and finally posting it

[waitmyturtles]

Turtles Catches Up With Old GMMTV: He’s Coming To Me Edition

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, I’ll cover He’s Coming To Me, how this show centers Thai-Chinese/Asian culture, shipper culture, and the brilliance of Ohm Pawat and Singto Prachaya. THIS IS A LONG POST.]

I’m gonna have to hold myself down for this one. He’s Coming To Me. This kind of show. HCTM is ABSOLUTELY the reason why I created this project watchlist in the first place -- to watch this kind of show. This show cements my utter respect and passion for the work of Aof Noppharnach. This guy’s work needs to be taught in schools. 

I’m like -- after days of finishing HCTM, and furiously and hungrily rewatching episodes, I am still shaking my damn head at this show. I knew it was great, but y’all didn’t prepare me for ITS GREATNESS. (And to be watching it the same week as Our Skyy 2 x Bad Buddy x A Tale of Thousand Stars -- it’s been an Aof-themed moment, and I’m a touch overwhelmed by EVERYTHING I’ve absorbed.)

I am actually contemplating -- I’m seriously contemplating this! -- if I like this show better than either Bad Buddy or Moonlight Chicken. I know, I KNOW. I’m not talking about the story, the structure, the filming, the writing and direction. I’m literally just talking about my own damn preferences. I might just LIKE this show better, for what it held, what it told, and how the show showed so much respect for its story.

And there’s a lot I want to touch on in this piece, so as usual, a little list for myself:

1) Where this show came from vis à vis the watchlist, and what I think it meant by way of previous BLs 2) The Asianness of the show and how it transcended the usual BL tropes 3) A celebration of Aof’s favorite themes, and how cool it was to see them being born in HCTM (including the theme of young/first love that I haven’t seen before in his work) 4) A hopefully brief and not angry reflection on shipper culture, homophobia, Ohm, Singto, and how that affected HCTM in the annals of Thai BL

Without having seen his My Dear Loser work, or his screenwriting for Gay OK Bangkok 1 and 2 (which I plan to watch after the OGMMTVC is over, in preparation for Only Friends): HCTM is the first full Aof vehicle to enter my watchlist. So just quickly looking behind me: I’ve had shows like Love Sick, SOTUS, Together With Me, Love By Chance -- shows that began to toe the line, then define the line, then sharpen the line of what BL was. As I wrote in my Love By Chance review last week, I felt that LBC was the first show on my watchlist that felt like a true derivative BL, complete with tropes that had been born during Love Sick and SOTUS, and sharpened over those first few years of the Thai BL industry growing.

So it’s 2019 now, and we get He’s Coming To Me, both written and directed by P’Aof. Tropes? No tropes. What a flip from LBC.

Instead, we get an absolute head-first dive into many of the themes that we see Aof continued to play with in his later works. For me, HCTM evoked Moonlight Chicken the most, especially for what I call the Asianness of this show -- Aof’s unabashed focus on Asian cultural themes and threads that create structure and movement for his characters.

Before I get ahead of myself, I want to thank @telomeke very deeply for chatting with me about how I could learn more about Thai-Chinese culture, because themes and behaviors related to Thai-Chinese demographics are clearly common in Thai BLs, and I’ve felt that it behooved me to learn more about the culture (or as much as I can from the internet) as I continue to review these shows. But @telomeke reminded me that a lot of the assimilation of Chinese cultures and populations mirror the cultural mixing that took and takes place in Malaysia, where a part of my family hails and where I’ve spent a good portion of my life. So I’m relieved that I actually understand more about Thai-Chinese culture than I gave myself credit for, BUT -- that’s only a caveat, because I still have so much more to learn.

I say this because I’m using this word, “Asianness,” to describe in part at least one impression I have about HCTM, which is taking seriously the theme of ghosts and what role ghosts play in a human’s life. We see very often in Japanese doramas the practice of praying at an altar honoring past ancestors -- ancestor culture and worship are big in Japan, and the doramas don’t shy away from that. We see temple trips all the time in doramas and BL doramas -- especially during New Year’s. (Our Dining Table being just the most recent one.) We see Buddhist temple culture in Thai BLs often -- in KinnPorsche, in Bed Friend, in Big Dragon, and very especially in Moonlight Chicken.

I think what I want to point out here, if I can say it eloquently, is that a Western viewer might find more notable in an Asian drama, than in a Western show, the inclusion of practices of spirituality. In the West, spirituality might be indicated by a trip to a church, or prayer. But it strikes me -- and maybe this is because I’m a first-generation Asian-American, my eyes open to ALL the differences between my culture and America -- that Asian dramas incorporate the practices of spirituality more seamlessly, because practices like lighting an incense stick and giving a quick prayer before breakfast is more culturally embedded in places like Japan or Thailand. The practice is there, and you just do it, because that’s what you do for your culture. (I often see a stick of incense lit and burning next to a plate of fruits in the early mornings when I jog past Thai restaurants. It’s just -- what you do.)

It struck me, and I still wonder about it, if Western viewers may have thought that Thun was going overboard with his interest in Thai-Chinese Buddhist practices, including being so diligent about offering alms to the passing monks, going to the temple for merits, and keeping electric incense sticks on him to make sure that Med wouldn’t disappear. An auntie on Whatsapp might cock a curious eyebrow, but also regard Thun as a “good boy” who’s devoted to the temple.

In any case, this struck me particularly deeply, because I think, if P’Aof had been a little more abashed, that he could have toned this theme down -- the theme of the everyday practice of Buddhism.

And he didn’t. He didn’t tone it down. He leveraged it as THE major theme of the drama: that ghosts exist in Thai-Chinese-Buddhist culture and practice, and that some people can communicate with ghosts, including both Thun and his mom. 

The ABSOLUTELY wonderful @telomeke​ affirmed this for me, writing so eloquently: “Underlying HCTM is an unshakeable belief in the spirit world, and it's also a given ... for a majority of people in SE Asia and Thailand in particular that the spiritual realm is as much a part of the everyday world as much as the physical reality of what we can see and touch.”

The reason why I’m hammering on this in particular is because it categorizes the show as one that is utterly representative of A SPECIFIC CULTURE -- just like Moonlight Chicken, with its commentaries on spiritual and economic practices of the particular place of Pattaya. @telomeke​, I know you have specific feelings about the ending of HCTM, which I’ll get to in a moment, but I think for me, the ending of HCTM is deeply satisfying BECAUSE of this connection to Thai-Buddhist culture, what it says about ghosts and spirits, and how they continue to be incorporated in the ongoing life of a young Thai adult like Thun. AND, I appreciated that the ending skirted, just slightly, what we might have expected about someone losing their lover (à la Eternal Yesterday). Thun only temporarily lost Med... but Med still doesn’t quite exist. And I think there’s layers there that I’ll hopefully get to teasing out, either here or in a future post.

Going back to BL tropes and structures... I mean, HCTM was just like, yo, I’m gonna play in another ball field. I’ll have more thoughts on this after I watch Dark Blue Kiss, but at least, as far as I’m aware WITHOUT having seen DBK yet, that it’s not until late 2021 that P’Aof begins playing in the BL sandbox, takes his toy dump truck, and turns the tropes upside down in Bad Buddy.

And I see, in HCTM, P’Aof laying the groundwork for the themes that he DOES love, that I happen to love, and that get repeated in his oeuvre:

- The theme of community: the need for young and old queer individuals to interact with other queer individuals (most recently depicted in OS2/BBS/ATOTS) - The theme of NOSTALGIA: Med having never left his moment 20 years prior, listening to the same music of Thun’s mom’s generation (nostalgia being most recently depicted in Moonlight Chicken) - The parable of 1,000 stars: what it means to be the last star on which to make a wish (most recently depicted in ATOTS and OS2/ATOTS) - The anguish of coming out: Thun, Uncle Jim, Li Ming, Pran coming out to Dissaya -- all heavy, all impactful, all different stories that carry heaviness and their own meaning to each of these incredible characters

And there’s so many more. But what I really want to do, to get up on the rooftops that P’Aof loves so much, and YELL TO THE AIR is:

THE GENIUS, THE SHEER GENIUS, of linking these themes -- many of these as ASIAN themes! -- to specific issues that face the queer community, such as coming out, and being invisible (like a ghost) in a majority cishet society. 

GAAAAAAAAHHHHHHHHHHHH. Oh, the pain in my heart. This is exactly what I wrote in my notes while rewatching the show: “This is the first time we get Big Cultural Themes outside of issues with the queer community -- and Aof LINKS the Big Cultural Themes WITH queer issues -- the brilliance of it all.” Just like he did subsequently in Moonlight Chicken.

What was so beautiful to me about He’s Coming To Me -- and how it was channeled with GENIUS TALENT AND GRACE from Ohm and Singto -- is that, unlike Moonlight Chicken, this was the story of one young man who needed to sort out his feelings. And there was another young man, a young man who was killed, who HAD begun realizing his feelings, but was trapped by station (from a rich family) and role (the only son in a family). Med even said, it would have been impossible for him to come out as the only son of his family.

As far as we knew, Med had only come out to Kwan, Thun’s mom, before he died. Med may have very well been attracted to other men before he died -- but we see him VISCERALLY attracted to Thun, and vice versa, and that burst of first love for both young men, IN THE CONTEXT OF Thun’s spiritual practice and abilities to BRING Med to “life” in Thun’s life -- I mean. I’m shaking my head. It’s a parable for manifesting what you want in your life, and making it happen. 

And yet, what HCTM also touches on, is that many times, you DON’T get what you want in life. Med WILL disappear one day. He will be reborn. It wasn’t his time at the moment of the ending, but it will be his time one day. Thun only has Med temporarily -- we don’t see the WHEN of that. 

BUT. I would posit (and @telomeke​ and @wen-kexing-apologist​, I wonder what you think of this), à la OS2/Bad Buddy, that P’Aof is OKAY with us not seeing this, and not necessarily considering the ending of HCTM to be a happy ending for Thun and Med. Because he knows -- and he knows that his Asian viewers know -- that Med WILL leave Thun one day. Not yet, though. Thun still has a little time to grow wiser and older and stronger. But Med WILL disappear one day. He had been hinting at it all throughout every episode of the series. He will have to leave Thun’s side. 

I think the way the show ended was graceful. It leaves that door open for Med to find his rebirth, because was a good kid and deserves to be reborn in a happy life. It allows Thun time to grow through his first love -- first love being such an important theme to this show. It’s COMPASSIONATE to Thun, very similar to me to the kind of compassion that P’Aof showed to Uncle Jim throughout Moonlight Chicken, and just now in OS2/ATOTS to Phupha. But it’s also rooted in the SPIRITUAL REALITY that Med WILL leave -- just not yet. And P’Aof is saying, I didn’t need to show y’all, because y’all Asians already know, Med’s outta here one day. 

The other thing to note about the ending is that P’Aof had already shown a tremendous amount of Thun’s pain. Thun wasn’t necessarily HAPPY in this show. He was curious, exploring, and loyal to Med. While Thun is clearly a young man who DEMONSTRATES happiness -- MY GAWD, the 19-year-old smile of Ohm Pawat!!! -- I wouldn’t say that he was a happy child. He lost his dad young. He was SCARED as hell for potentially letting his mom down. And: he had a lot of secrets to keep. The secret of being gay. The secret of being able to see and talk to ghosts.

“He’s coming to me.” Thun comes out, twice. He’s gay, and can see ghosts. 

Even though others can’t see ghosts, I can. Even though others aren’t gay, I’m gay. Mom: I’m different. 

When Thun sobs for Med while holding onto the jar of stars in his bedroom. When Thun spins around, looking for Med on the rooftop in episode five. When Thun calls for Med and Med isn’t there. Thun is alone. He is alone with his secrets, and Med is not there -- he is NOT coming to Thun in those moments -- and Thun is left alone, different and unique, as he has been his whole life.

I’d posit that that uniqueness is particularly difficult to deal with in collectivist Asian societies as in Thailand -- which led, in part, to Thun not knowing the language of his feelings as he came out to Med in episode five on the rooftop, and being SCARED, to his bones, to come out to his friends and his mom in episode six.

For 2019: I see this show as being ahead of its time, way ahead of its time. I have lots of theories as to why this show isn’t considered a more striking part of the canon of Thai BLs, and the incredible @bengiyo​ and @shortpplfedup​ have helped me to understand the magnitude of the impact that P’Aof made in breaking up the KristSingto ship to pair Singto with Ohm -- and how the fan shippers came for HCTM, and pushed GMMTV to hide this show for years before finally releasing it on YouTube with subs.

But besides that fucking bullshit, which I’ll return to in a second, I also want to note that maybe -- considering that we have more years now, after 2019, to consider the massive trove of Thai BLs that exist now -- the skirting of the still-nascent BL tropes framework was too early for many when this show came out. As I’ve demonstrated here in this piece -- this show’s complicated. There’s A LOT A LOT. I mean, I’m in love with P’Aof’s work because I LIKE HAVING A LOT in my shows. But you go a flip side and you get Together With Me and MaxTul with love bites and throaty kisses (in the words of Seinfeld, not that there’s anything wrong with that). 

HCTM is heavy. It carried a lot that wasn’t overtly sexual by nature, like many BLs at that moment in 2019 and right beforehand (randy Perth, randy MaxTul, etc.).

I understand from @bengiyo​ and @shortpplfedup​ that, because Ohm needed to move on from Make It Right and the OhmToey ship due to Toey leaving BL after MIR, and Ohm joining forces with Singto, that Ohm received massive criticism, and continues to be a subject of criticism and bullying today (some of which I’ve seen on this site). And that Singto was also the subject of online bullying as well.

With all of this in mind -- Ohm, Singto, and the unique nature of HCTM -- I’m continuing to mull over the issue of homophobia in shipper culture. If BLs are reduced down SIMPLY to the pairings that lead these shows -- and that there’s an EXPECTATION that the shows NEED to depict certain acts of queer sexuality, SPECIFICALLY among actors who identify as straight -- that seems straight up homophobic to me.

I can see HCTM being too ahead of its time to begin shifting that paradigm. I’ll see what Dark Blue Kiss does next in the Aof oeuvre from this purview, but what I want to get at is:

IT IS CRIMINAL THAT HCTM ISN’T MORE WIDELY KNOWN. This show is affecting me literally at the same level as Bad Buddy and Moonlight Chicken.

What HCTM HELD by way of Asian culture and spirituality, by the RESPECT IT HAD for the experience of first young queer love, by LEVERAGING the ABSOLUTE BRILLIANCE OF ACTING OF OHM AND SINGTO (omg, AND SINE INTHIRA, are you kidding me?!?!?), and, oh shit, by BRINGING THAT ALL TOGETHER? To TELL a story of queerness and spirituality in Thailand?

Fuck. I’m just shaking my head. If it’s too much for the shipper folk, then... okay, go off. Leave the good stuff to me and the fam that GETS IT — the fam that gets that what we’re watching is ART, and not intended vessels for fantasy and fetish.

Last notes. I just want to say that in my SOTUS reviews, that I theorized that Singto would be brilliant when paired with a really good actor, and HCTM proved it to me. If it weren’t for this fucking shipper bullshit, I would have liked to see Singto and Ohm paired again.

Ohm is probably the most prevalent actor on my Thai BL list. I get that he was nicknamed “the king of BL,” and that he’s been the target of bias for that label and his predilection for being utterly brilliant in telling queer stories (thank you to @bengiyo​ and @miscellar​ for helping to fill me in on this).

Let me just say that this man is a goddamn MASTER. @shortpplfedup​ nailed it in her Ohm appreciation post.  @absolutebl summarizes why Ohm is singular in this BL space. Shippers who want to bully the mans, bring him down or whatever, spread misinformation, I want to say, angrily and rudely -- fuck off, and be afraid of talent in y’alls lives. 

With the tangle of homophobia and cyberbullying that seem to have an overstated impact on the Thai BL industry, it is a damn shame that Ohm doesn’t get more of his flowers, because he makes shows better. I mean: this guy OWNS ROOFTOPS. Episode five of HCTM?! Episode five of Bad Buddy?! Get this guy on a rooftop and he will SLAY. Pair him with people -- Singto? Nanon? Perth? OHM MAKES THESE GUYS BETTER ACTORS than they ever were previously.

I say the following, in all honesty, with a touch of disdain, of condescension, and sadness, for the people who don’t watch this show because it doesn’t have pectorals or hot make-out sessions, and because it features actors that many fans might want to bully:

HCTM does not have the reputation that it deserves. It’s not just a good show. It’s an HONORABLE show. For me, it pays homage to Asian cultures and practices that I relate to. It features a story of queer revelations and love that is written with passion and respect. It features probably the best acting I’ve seen so far on my watchlist. And it features two actors who were willing to subvert expectations, at the risk of their own careers, to tell this story, as written and directed by one of of the most brilliant, subversive, experimental, and creative filmmakers I’ve ever watched in Aof Noppharnach.

I want and need BL fans to appreciate Asian culture more in these shows. And I want and need BL fans to appreciate human behavior development as well. Because P’Aof is telling stories out here, stories that can enrich our lives. I wrote in my Bad Buddy thesis that BBS will be required viewing for my children. HCTM joins that list. HCTM makes me want to be a better Asian mother, and to make a world for my children where the experience of first love and coming out can be regarded not with pain, but with celebration and joy.

[It’s going to take me a while to get over HCTM, but I’ve already begun Dark Blue Kiss, and am having a FABULOUS time with it. That opening theme! P’Aof and JOCKS! Yum. Another frappé, please.

Here’s the updated list! Much to the chagrin of everyone-I-know-on-Tumblr (I’M SORRY @shortpplfedup​), I’m adding a VERY fast rewatch of ATOTS. Blame it on Our Skyy 2. I’ll want to watch ATOTS after the cinematic affair that is ITSAY, and after I’ve seen P’Aof do his thing on two existing series in DBK/Kiss and Still 2gether. ATOTS was my very first P’Aof series, and I want to rewatch it in chronology.

Here we go. As always, I’ll take recs, comments, etc.!

1) Love Sick and Love Sick 2 (2014 and 2015) (review here) 2) Make It Right (2016) (review here) 3) SOTUS (2016-2017) (review here) 4) Make It Right 2 (2017) (review here) 5) Together With Me (2017) (review here) 6) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 7) Love By Chance (2018) (review here) 8) Kiss Me Again: PeteKao cuts (2018) 9) He’s Coming To Me (2019)  10) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (watching) 11) TharnType (2019) 12) Senior Secret Love: Puppy Honey (BL cuts) (2016 and 2017) (I’m watching this out of order just to get familiar with OffGun before Theory of Love -- will likely not review) 13) Theory of Love (2019) 14) Dew the Movie (2019) (not an official part of the OGMMTVC watchlist, but I want to watch this in chronological order with everything else) 15) Until We Meet Again (2019-2020) 16) 2gether (2020) 17) Still 2gether (2020) 18) I Told Sunset About You (2020) 19) Manner of Death (2020-2021) (not a true BL, but a MaxTul queer/gay romance set within a genre-based show that likely influenced Not Me and KinnPorsche) 20) A Tale of Thousand Stars (2021) (review here) 21) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS 22) Lovely Writer (2021) 23) I Promised You the Moon (2021) 24) Not Me (2021-2022) 25) Bad Buddy (2021-2022) (thesis here) 26) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch 27) Secret Crush On You (2022) [watching for Cheewin’s trajectory of studying queer joy from Make It Right (high school), to SCOY (college), to Bed Friend (working adults)] 28) KinnPorsche (2022) (tag here) 29) The Eclipse (2022) (tag here) 30) My School President (2022-2023) 31) Moonlight Chicken (2023) (tag here) 32) Bed Friend (2023) (tag here) (Cheewin’s latest show, depicting a queer joy journey among working adults)]

[bengiyo]

I am curious for your perspective on the way the OF creators are interacting with fans and have even admitted to editing the show based on fan reactions. It strikes me as an unusual level of interaction and capitulation, though of course TV is a live medium that is nearly always responsive to reactions to some extent. My preference is for a lot less of this kind of thing, but I know you have experience with direct interaction with media creators and have found it enhances your experience sometimes. What do you make of how these dynamics are showing up in OF and the effect it’s having on the show?

TV and Critic Background

So, I am actually the worst person to talk to if you think the creators should be quiet about their work, because I really enjoy talking to directors, producers, actors, cinematographers, and especially editors about their work. I often go to film festivals just to talk to the creators about their processes.

I've also been in the TV space a really long time, and I am used to this kind of behavior. I don't think a lot of folks who are in BL are used to being in the process of TV itself, and I think a lot of people have let the Netflix binge model inform the way they view TV. TV is not like movies. When you get a movie, you are seeing the end product of filming, editing, test screenings, re-edits, etc. TV is usually only an episode or two ahead of the viewers.

It's extremely normal for a show to respond to feedback when characters test well. The 100 did this with Jasper. He was supposed to die in the pilot when that spear entered his chest, but he tested well with audiences so they revived him.

Fun Fact: This is why Kiseki: Dear to Me didn't just move their release schedule up when episode 8 was leaked early. They probably weren't finished assembling episode 9.

I followed Sense8 through its entire development process all the way from rumors and then J. Michael Stracynski's posts about it, to the things Lana and Lily said about it, to the commentary from the cast.

I have a special hatred for Rick Behrman over Star Trek.

I absolutely hate Russel T. Davies because of Cucumber.

I bailed on Supernatural because of the way the writers condescended to us at comicon after killing Kevin.

I know some fans are upset about the idea that scenes they wanted to see got cut, but I was there for Noah Galvin opening his fucking mouth to talk shit about other actors at ABC who were playing beloved gay characters and that subsequently getting The Real O'Neals canceled. The show had a very short second season and I feel forever salty about that.

What does this mean for Jojo and Ninew and Den?

I actually think Jojo, Den, and Ninew are fine. I don't think they usually poopoo on valid reads from what I've seen, and mostly they're having fun with the fans, too. I just don't think people are used to the creators being so honest about how feedback affects the editing process.

I think this is the first time we've had a big show in a while where the creator was fairly active on socials about the show. Aof and Au are usually pretty quiet when their shows are airing, and only give small tidbits while they show is airing. Jojo is silly and likes to play with fans. Den is feisty and has a gay agenda to pursue.

Truly, I don't think Jojo and friends are that bad about anything with this show, because they're mostly just laughing and stating things that are obvious to people who pay attention to how the sausage is made.

Shipping

That being said, the biggest struggle OF is having is shipping. The FK girlies are so loud and their heavy breathing has likely influenced the way Jojo and friends decided to write Ray. The FB girlies are so into them that it's made Jojo and them dial back some of their Top content because the audience hates him so much. Only Boston and Nick feel like they've made it through the shipping gamut intact because Neo and Mark aren't bringing a bunch of preexisting shippers to the table.

Coming off of episode 10, you can see this plainly with the nasty4nasty dynamic with Boston and Nick. The emotional core of their dynamic feels true, even down to the way their moments in the store mirror their first interactions again. Boston came in for service about his phone and intentionally showed Nick something on it.

I don't think Jojo has ever had to work with multiple acting pairs that were big branded pairs prior to this, and this is only his second time really dealing with that. With Never Let Me Go, Pond and Phuwin weren't that big yet, and he wasn't threatening their ship with anything complicated. OF is challenging for people who just watch BL as fap material and have to deal with their faves not being easy people to parse.

As usual, we go back to that post that goes around all the time, thought I think the OP deleted it:

"Never ever be normal about fictional characters but please GOD be normal about the people who play them, I am begging you" -tumblr user mantorokk-writes

[ophernelia]

! LONG READ

I heard you want to make a machinima. I think I could help with that. Welcome to the first session of machinima bootcamp!

Alright, stop booing me. I know I kept you waiting for months. It took time and I had so much more learning to do myself! I am by no means an expert, but I think I could offer some helpful advice. This is just how I do things so feel free to use what resonates. “Where do I start? It’s as easy as opening the game up and recording, right?” That’s one way to do it for sure. The way I do it requires a lot more planning. Blame it on me being a Capricorn lol. A LOT of work goes into making Lykaia. Episodes usually take me a week or two to make. From writing the script, to filming and editing, it takes hours upon hours to produce. I love doing it. It's like a passion project, so the hours of free time I pour into it are really healing. Whatever you create, make sure it’s something you really do love. Here’s how I made Lykaia and how I intend to make other series going forward. 

*Lykaia specific info is annotated.

One thing you have to have before anything else is a story. One that you are genuinely interested in and enjoy telling. It’d be best to refrain from doing whatever gets views or whatever you think the community might enjoy. In order to stay consistent, you have to enjoy what you’re making. You have to know what story you want to tell. You don’t have to have everything planned out from start to finish, but get a good idea of what you want to explore first. The first season of Lykaia was just for me to try out machinima making. I didn’t have much direction with the story. Lykaia is just the cinematic version of my gameplay save. Lou and Imogen were my current household, so I figured I’d tell their story. It can be something as simple as that. A favorite household you love playing. A favorite story trope you’re into. Whatever inspires you. Try not to focus on how the masses will react to it. There’s an audience for everything. The viewership will come. Don’t let that discourage you or be your main focus. Enjoy the process of creating. Create for creation’s sake, not for praise or viewership. 

What makes a good story? I’m not sure. Sorry! I still wonder if Lykaia’s story is good. Though, even if it isn't, I just like telling it! Having interesting or complex characters is a good tip though. I quite like the idea of there being very few or no true villain in a story. Complex lives, complex people. It’s good to get an idea of who your characters are. What do they like? What do they dislike? How do they behave around people they’re close with? What was their childhood like? How do they speak? What do they look like? Where are they from? How do they handle conflict? How do they handle romance? There’s a bunch of questions you can ask to work on building out your characters. Once you’ve got a good idea of who your characters are at this starting point, you can build outside of their world. Make their friends, make their family. Figure out where they’re from geographically. How does their environment impact their life? What’s the place they live in like? Do they like living there? Where is it? What’s the climate? Are you using in-game world names, making up your own, or using real life places? How does all of that impact the story line? Are they a small town person or a city person? Go in depth thinking about all these questions. I’ll include a list of these questions for you to answer. You don’t have to share these with me! It’s simply for you to plan things out on your own. Again, you don’t have to have everything planned out. Nothing has to be permanent. Watching characters grow and their environment change is entertaining. Just know where you want to start at least. Playing the game can help give you some inspo too! The sims have a habit of being pretty messy on their own. Once you figure out what story you want to tell, you’re ready to move forward. 

*Like I mentioned previously, Lykaia is essentially the cinematic version of my gameplay save. The stories I told myself when playing their household, I am now telling to you. However, over the course of making the show for the last few months it’s really grown and developed. With the addition of characters like Savannah and Owen, to developing a thoughtful storyline for Rory, all of that has come as I’ve worked on the show. I’ve always had a thing for storytelling growing up. Won young authors competitions all throughout my schooling, but never did much with it in adulthood until now. When I say I take the time out to really develop the cast, I do. Lykaia takes place in several worlds. I even develop those out too. I think about the culture there. How close they are to other worlds. All of that really helps build a deep lore for your series that your audience and yourself will enjoy. 

As for making the cast, I won’t go in depth about actually making your characters in CAS. That process is pretty straight-forward and solely up to you. Make your cast look however you want them to. Use cc, make the cast with vanilla TS4, it’s up to you. I can’t offer much advice about that. It’s a pretty personal process. (Personal as in, you do what you wanna do lol. Not in a ‘I don’t wanna share my process’ type of way.) 

The next step after that is world building. This part should be a lot more simple if you’ve planned out your story. I mean literally world building. If you want a really unique looking series, it’s time to start building babe. Build your own lots, edit the worlds, do it all. I mean really go in! You can use inspo from Pinterest to help. I do that often. Check out the world building inspo for Lykaia here. On occasion I’ll use a build made by the community, but for the most part I make my own. It makes you feel like you’re actually immersed in the world of Lykaia. It’s a different San Sequoia, a different Copperdale, etc. It’s important to make your worlds your own. Get an idea of street layouts and everything. Try to envision the world your characters live in. “But there’s only so much you can do with TS4!” I actually disagree (Well, since discovering these mods.) and there’s a few mods that really help drive that home. These are the most pivotal, but there’s a variety of other ones that are helpful too! Like the Better Build/Buy mod and even CAW by TwistedMexi but it isn’t out yet. Still in development. 

The TOOL Mod by TwistedMexi. The TOOL mod allows you to take objects off a lot, but that’s not all you can do. Rotate, duplicate, scale objects and more. If you ever wonder why my game looks different from the EA base worlds, it’s because I edit all of them. Add more trees, add more deco buildings, add more debug objects, etc. World customization is essential. However, it is a very tedious process. Editing San Sequoia for S2 of Lykaia took me about a week in total. Primarily because I’m still learning how to use TOOL effectively, but because I put a lot of details into my worlds. I add cars around. I use S4S to make hidden objects show up in-game. It’s a long process, but having a world that’s really unique is so rewarding. Sure, we all have access to the same sandbox but we don’t all make the same things. That’s the best part about the community. The creativity is boundless. Have you seen that one person with an Ancient China savefile? Bonkers. So creative. You can do some crazy stuff with this game. Don’t be afraid to push it to its limits. 

The All Worlds are Clickable Mod by Awingedllama works so well in conjunction with the TOOL Mod. I’d say it’s almost necessary to have both. This mod does just what it says on the tin. It makes all worlds in TS4 clickable. No longer will you see that red circle with a line through it. You can walk anywhere. It also helps to place objects using the TOOL mod. Sometimes figuring out the grid is hard, it's easier to point and click. I highlight an object with TOOL and click wherever around the world I want to place it. Now, this will cause some routing issues with your sims. They’ll walk through stones, lakes, etc. Taking the mod out is an easy fix for this whenever you want to just play your game normally. I rarely play my game these days, but when I do I leave it in, it’s kinda funny to see Victor Feng running through the lake in San Sequoia. 

Emptied Newcrest & Willow Creek by Awingedllama is also a great mod if you want to take things a bit further. It gets rid of everything and I do mean everything. Think TS3 empty create-a-world. It does so by hiding certain objects, so don’t be surprised if they don’t show up in game for other worlds. It makes things look a bit wonky, but if you really wanna start from scratch, then this is a great way to do it. You can completely customize the look and layout of your world. Add more tropical vegetation or more tepid vegetation. It’s up to you. It does take an immense amount of work and I’d recommend following this tutorial to get the backdrops for the worlds in game. Also this tutorial if you’d like to add custom debug houses.

* Lykaia’s world is based on TS4 worlds, but with real life influences. Copperdale is meant to give that east coast small town vibe. Heavily wooded areas that experience a lot of rain. (Just because I love really gloomy weather irl.) It also makes doing ambience easier. The sound of rain is easy to throw in. San Sequoia is meant to be like San Francisco. Del Sol too. I usually just go in and add more trees and vegetation. Place more cars and deco people to make the worlds feel more full. I also add in other little objects that are specific to the series. More places to sit. Just to overall make the worlds feel more lived in. TS4 can feel like a ghost town at times. Green Haven is a new area within Lykaia that I am currently working on. It’s a full town I’ve built from scratch using the emptied Newcrest and Willow Creek mod. Inspo for it is on my pinterest. It is supposed to mimic small towns in upper Cali. 

In the next session we'll start talking about filming, sets, lighting, etc. If you ever have any questions, just send me an ask!

[threewaysdivided]

How Different do you think Young Justice Season 3 would have been had Jay Olivia and Michael Chang returned?

[For context, we’re referring to this post where I broke down the major writing/directing credits for each episode of Young Justice Season 1 and found that former Teen Titans 2003 directors Jay Oliva and Michael Chang had handled over 75% of the episodes in Young Justice Season 1 before vanishing from the credits of all later entries, and this post where I summarise how those later entries actively destroyed the arcs, themes and narrative of the original season.]

TBH it’s kind of hard to tell.  I have a few ideas, but like I was saying in that first post, it can be unwise to pedestal one or two members of a creative team when there are so many factors that can impact the final quality of a work.

Here I think it’s important to mention what a director does.  In situations where the director and writer are separate roles, the job of the director is to adapt the script to a visual form – working with the writers/editors to make changes as needed.  Directors direct how scenes are constructed, presented, acted and “shot” – which affords them a great deal of subtle influence over the pacing, focus and framing of a story.  The visual language of film can do a lot to control what information the audience prioritises as important, and how they interpret/perceive it.  Unsurprisingly, when you have bad, fragmented or inconsistent directing, you end up with stories that lack direction.

While Chang and Oliva having such a presence in the direction of Season 1 definitely lent it some of their specific personal creative flavour, I also think a lot of the major benefit came purely from having two people (and likely others who formed part of the S1-specific creative team) who were experienced in working together and had direct input/oversight of more than 75% of the season from start to finish.  That kind of creative cohesion makes it easier to track and maintain the continuity and progression of a narrative.  Compare and contrast with Outsiders, where you have a rotating shift of three less-experienced directors and a huge revolving door of new writers, with no-one working on more than a single episode in a row, the same directors almost never getting paired with the same writer twice, and a general sense that the story was being produced episode-by-episode with very few people having a clear sense of what had come before or would follow after.

One of the challenges is that the declining quality from Season 2 onwards points to something being fundamentally broken in the creative process at DC Comics/ Time Warner productions.  Young Justice Season 3 was the straw that finally broke my trust in Detective Comics Comics but it came on the heels of things like the original Suicide Squad movie (see this Folding Ideas video for an excellent dissection of those production and editing issues) and the transparently marketing-driven disaster that was Batman vs Superman.  It feels rather like modern-day DC is producing the in-house equivalent of shovelware: underinvesting in the timing and budget that its creative teams need for proper writing, editing, revisions and post-production in favour of churning out superficially saleable high-profit-margin products to cash in on recognisable IP’s and existing fandom markets.  Faced with that kind of incentive structure and production-crunch it can be very hard for a single (or handful of) creative team members to make course-corrections.

That isn’t to say that good media can’t be produced under tight conditions, but doing so generally requires a well-thought-out creative plan for the project.  And unfortunately, that kind of plan is something Greg “I don’t write endings” Weisman is notoriously bad at both creating and sticking to.  This was one of the problems I ran into when doing my YJ: Invasion autopsy: while you can correct some of the surface level problems, the root issue lies in a core story that’s bad from base principles and fundamentally incompatible with what came before.  Again, this can be overcome if other production team members are given enough time and creative authority to review and revise that story-core, but that doesn’t seem to be the production environment S2+ was allowed.

With all that said, I think it’s safe to conclude that, under the circumstances, Young Justice: Outsiders was likely always doomed to be a mess.  The combination of a lack (or even discarding) of a clear show-bible to act as a guide, a lack of clear project-plan (or, at least, plan-communication) from the showrunners,and a lack of pre-/post-production time for other team members to figure out what story they were even telling is pretty much a guaranteed recipe for narrative failure.

However, assuming that a pair of Oliva/Chang-like directors had been on the revival team, with input into most of the episodes, I think we might have at least seen some improvements to execution:

Firstly, we may have seen better cohesion and focus.  In the multi-layered onion of bad storytelling decisions that is the later seasons, the outer layer that many people seem to have bounced off is that it’s hard to care about what’s happening.  YJS2+ are boring and badly paced on rewatch, and a not-insubstantial part of that is bloat.  There is a plague of random new characters, exposition and world-details that don’t meaningfully contribute to the narrative (and for the record, I should clarify that ‘narrative purpose’ is a lot more than just ‘plot advancement’ – the problem here is that these elements are actually purposeless to the point of being distracting), scenes and ‘jokes’ that overstay their welcome due to a lack of proper substance, and ‘twists’ that exist for expectation-subverting ‘shock bait’ rather than moving the story. 

At a surface level, the later seasons desperately needed someone to ask: both ‘what is the focal point?’ AND ‘what is the purpose of this moment/scene for the story?’ and actually make Greg Weisman give them a coherent answer beyond ‘just trust me, it’ll be totes smart when you (read: I) figure it out later’.  Like I’ve said before, there’s a lot of fat that could have been trimmed; shallow scenes that could have been reworked to serve characterisation and themeing, ‘references’ that could have had their screen-time reduced to passing easter-eggs, and other wasted time that could have been better allocated to developing a core cast of ‘focus characters’ with an understandable dynamic to help anchor the broader character web in a relational status quo.  Considering what we saw of Season 1’s character-focus, and Oliva and Chang’s previous involvement in Teen Titans 2003 (which was also very good at prioritising, reinforcing and maintaining characterisation/ character dynamics) I think some improvement in story-focus, especially towards characterisation, could have been achievable.

The other gain we could have potentially seen is more sensitivity and tactfulness in the presentation of certain story beats/ characters.  For this I want to highlight framing:  whether something is respectful or offensive comes down less to the inclusion/exclusion of particular elements and more to the way in which those elements are presented to the audience – the priorities, assumptions and worldview revealed by the delivery.   

Let’s do a couple of case studies just to get our heads around the idea:

For Example One, we’re going to make the point by jumping straight in the deep end of sexual assault and fanservice in media feel free to scroll to the next paragraph if this is a no-fly topic for you.  Our contrasting studies will be The Millenium Trilogy (a noir series I’ve previous referenced in contrast to the YJ revival) and the shounen anime Sword Art Online, both of which contain assault and rape scenes.  Millenium’s depictions of assault keep the perspective on the victims, focusing on the pain/ powerlessness/ degradation/ anger they experience during and after the violation, and examining their reluctance/ aversion to reporting these crimes, while maintaining a respectful detachment towards describing the acts themselves.  In contrast SAO contains an infamous scene where an arc villain attempts to rape the female lead, while the camera fixates on the fanservice of her breasts quivering as he tears her shirt off (in addition to a concerning amount of other fanservice scenes where female characters are penetrated, groped or “peeped on” in ways that are clearly nonconsensual and unwelcome).  From this we can conclude that the issue isn’t inherently with sexual assault being present in a story – how it’s framed makes the difference.  The Millenium Trilogy respects the autonomy of its female characters, using assault scenes as an important narrative device to confront the audience with the violence of systemic sexism and condemn the cowardly entitlement it enables as part of its wider critique of misogyny; Sword Art Online degrades, objectifies and disregards the autonomy of its female characters by using narratively unnecessary sexual assault as a vehicle to ‘reward’ its target audience with fanservice.  What matters is how the subject is handled: is the sexual assault of women treated as a serious problem in need of criticism or as a guilty-pleasure ‘treat’ for boys to enjoy?

Moving to a gentler and more home-field example, let’s compare how pregnancy is handled in Young Justice Season 1 vs Outsiders.  It’s easy to overlook in the wake of the brick-to-the-face that was “you got a baby in there!” but Season 1 also included pregnancy as a plot-beat; Queen Mera announcing the news that she is “with child” during the episode Downtime.  However, there’s that difference in framing:  after it’s announced, Downtime quickly moves past the physicality of Mera’s pregnancy to focus on why it’s narratively important - because Mera and Orin are the royals of a hereditary monarchy and their child will be first in line to the throne of Atlantis.  Despite this being her only episode in Season 1, Downtime also gives Mera multiple characterising moments outside of child-bearing; introduced her first as a Queen and teacher/mentor to the students of the Conservatory, and later demonstrating her power as a battle-mage during the Manta-trooper attack – her pregnancy being almost a footnote outside its narrative-relevance.  By contrast, I think the reason that “baby in there” line from Amistad gets memed so heavily is because it highlights Outsiders unnecessary fixation on the physicality of female characters being pregnant, in addition to a disproportionate tendency to depict female characters as married, pregnant or mothering in the absence (or even at the cost) of narratively meaningful plot or character development – reducing these characters to little more than “pregnant sexy lamps” (as @mimeparadox so eloquently put it in their recent review of similar issues with the Gargoyles revival).  Again, the difference is execution: where Season 1 used pregnancy in a character-specific and narratively-relevant way, Outsiders not only assumes but enforces it as the expected path for female characters – sacrificing both characterisation and screentime for a subtler form of fanservice: one that reinforces and validates a specific worldview of gender (and which has been increasingly revealed to lurk beneath the surface of performative ‘feminists’ like Eric Schneiderman and Joss Whedon).

At this point, I think it’s worth noting that Jay Oliva and Michael Chang are both Asian-American men (i.e. less likely to be blinded by privilege a problem that Greg Weisman has always struggled with), that Chang himself was lead director on TT2003’s anti-bigotry episode Troq and that TT2003 on the whole is often praised for its respectful depiction of female characters (and also Victor’s cyborg status).

Given this, I think similar direction could have resulted in more respectful depictions of non-white and disabled characters.  As it exists, the revival at large (and Outsiders in particular) has a HUGE issue with unnecessary and disproportionate violence towards and villainization of characters-of-colour in a way that inadvertently reveals the bias of the creators; shock-value violence towards marginalised characters being treated as more acceptable and less needing of commentary because they clearly weren’t expected to be as relatable or worthy of empathy as the “main” characters.  Different direction could have seen some of the more needless violence removed in favoured of equally-shocking-but-more-narratively-purposeful elements, some of the narratively-justified violence reframed in a way that was more empathetic to the personalities and bodily autonomy of the victimised characters, or - given more time for revision - used to make a critique of in-story bigotry by presenting the disproportionate targeting of marginalised protagonists as being the product of systemically prejudiced antagonists (rather than casually-bigoted producers).

Similarly, I think better direction could helped respect female/femme characters more.  From Season 2 onwards Young Justice has an increasing problem with the male gaze in how it frames and poses women; Outsider’s borderline-fetishistic obsession with depicting late-term pregnancies again being a particularly egregious example.  Many of these scenes either didn’t need to be included (hence the meme-potential of wasting screen time on a toddler explaining how pregnancy works to a mature audience) or could have been made more narratively meaningful by prioritising specific characterisation over generic ring-fingers and pregnant bellies.   This male gaze issue was at its most insulting with Halo; even if different directors couldn’t change the incredibly disrespectful character-design decision to vacuum-seal a nonbinary, hijab-wearing minor inside a boob-socking, ass-grabbing, wasp-waisted super-suit, they could have worked to preserve Halo’s modesty and gender identity with posing and camera choices that minimised the attention drawn to Halo’s sexual features, and presented their body-language and posture in a less-feminising way.  

This likely wouldn’t have fixed the underlying biases baked into Outsiders’ plotlines but I think there was the potential to soften the execution to the point that they could have felt more like a “missed the mark” than the farcical offensiveness that we got.

That said, I don’t think anything could have truly saved this series.

As I said at the start, I think the thing that ultimately doomed Young Justice was the lack of a long-term story vision; the ego and overambition of showrunners trying to build a story that runs on teasing twists, mysteries and future-resolutions while also openly wanting it to go on forever.  Those two elements are fundamentally incompatible if you want a satisfying experience, and without a clear guiding plan you can’t expect the underlying creative team to successfully find a story’s identity during a rushed pre-production.  You can’t provide direction if you don’t know where you’re going.  It would be like trying to invent an entirely new plane and build it as it’s taking off: a crash is inevitable, the only question is the extent of the damage.

At best, I think we could have seen another Invasion-level non-story: a few isolated good character moments bogged down within a season that, while not overtly offensive, was still thematically confused, overstuffed with characters, driven by contrivance and insulting to the intelligence of anyone actually trying to follow the narrative.  A slow zombification, riding out a few extra seasons on plausible deniability, rather than Outsiders’ rapid crash-and-burn seasonal rot into an offensive cash-grab parody of itself.

And, in a way, I’m kind of glad that Oliva, Chang and the other Season-1-only creative team members didn’t come back for that.  Because, even if it would have resulted in a more palatable product, it would have come from forcing a group of marginalised creators to salvage a privileged dude’s mess.

I’ve spent far too many words over the last few years trying to unpick the layers of why Young Justice is such a narrative failure post Season 1 and now I feel like Benoir Blanc.  Because these problems are a glass onion and at their clear centre, Greg Weisman is an idiot.  He’s a demonstrable bigot, who had a publisher back away after he trashed their franchise with misogynistic queerphobia.  He’s a sex-obsessed loser who tried to launch a Not-Safe-For-Work production company writing Gargoyles Parody Porn while wearing an eye-patch and pretending to be a ‘fan collaborator’.  His writing reveals a consistently toxic attitude towards abuse, consent, boundaries and power dynamics.  Based on some of the creepier things he’s said/written, he could be potentially unsafe for certain fans to be around.  And even setting all that aside (and it’s a lot to set aside) he’s just obviously a hack: he claims things that are neither present in or even supported by the text, he promises future developments and fixes/explanations that he rarely if ever delivers, and he uses those holes as a springboard to pitch separate-purchase side-content that also seldom delivers, in a way that suggests he either has no idea what he’s talking about or is intentionally lying to grift his fans.

And, look, this problem is far from exclusive to Weisman: it certainly didn’t start with him, and it’s not even exclusive to the arts.  Across industries we are currently realising that we’ve let privileged guys who can talk a good game coast by on an assumption that they were qualified to hold their positions of influence, even as we held them to far lower standards of scrutiny than we would equivalent people of any other demographic.

Young Justice was never going to survive long-term (any more than the Gargoyles revival is) because the creative load was always resting on that rotten core.  I think we as a fandom were very lucky that Season 1 had both a sincere creative team and the production schedule needed to overcome it and give us something as good as they did.

I wish we could have seen that quality continue. But, at the end of it all, I’ll make peace with the disaster we got.  Because it was at least a somewhat honest reflection of its lead creator, rather than enabling him to keep failing upwards on the back of his colleagues' contributions.

So yeah. Better directors would probably have resulted in better surface-level polish... but you know what they say about polishing turds. No matter how much sugar they added, Outsiders couldn't be turned into a brownie. You'd still be being fed crap.

And frankly, whether it’s his characters, his audience or his co-creators, I’d rather not continue the pattern of letting Weisman shove the burden of dealing with and correcting for his bullshit onto less-privileged people.

[denimbex1986]

'Some have hailed the show as one of the best original series produced by the streaming company in a while, but others can’t get past the first episode.

Ripley, starring Andrew Scott and Dakota Fanning, is one of the most popular additions to the Netflix catalogue this year.

The eight-part miniseries, based on the 1955 Patricia Highsmith psychological thriller, The Talented Mr Ripley, boasts a riveting serial killer narrative and a stellar performance from one of the hottest names in TV and film at this moment in time.

Ripley follows the story of a grifter scraping by in early 1960s New York who is hired by a wealthy man to travel to Italy to try to convince his vagabond son to return home. His acceptance of the job is the first step into a complex life of deceit, fraud and murder.

The show landed on Netflix in the UK and Ireland in April, and immediately received rave reviews for it’s eerie opening episode.

However, it seems many fans have disembarked after realising that one stylistic cinematography choice remains in place throughout it’s eight episodes.

In a five-star review, the Guardian said the series surpassed Matt Damon’s 1999 film version “largely thanks to Scott, who is just mesmerising.”

BBC Culture also handed Ripley a five-star rating, saying: “The great Andrew Scott brings a hum of sinister energy to the role of Tom Ripley, in a psychological thriller full of suspense from the start.”

Meanwhile, Collider said Ripley is a “near-perfect series” thanks to its “ensemble cast, stellar cinematography, and adept direction.” The publication added that the show is “easily one of the best shows Netflix has ever done.”

And, in a four-star review, Empire described the show as “a slick, stark series”, adding: “It is rare to find television this genuinely ambitious or finely tuned.”

However, as often the case, opinions of the experts vary greatly from that of the general viewer at home on their sofa.

Many were left frustrated as soon as they clicked on the ‘next episode’ feature at the end of the first episode, and realised within the first few seconds that the black and white filmography wasn’t just a feature of the opening chapter.

Writer-director Steve Zaillian opted for the old-fashioned black and white technique as a tool to tell the story, which is set in the 1960’s in both New York City and on Italy’s Amalfi coast.

In an interview with Variety, Zaillian revealed that he decided on the choice to make the show in black and white from the get go. “The edition of the Ripley book I had on my desk had an evocative black-and-white photograph on the cover,” he said. “As I was writing, I held that image in my mind. Black and white fits this story—and it’s gorgeous.”

Zaillian elaborated: “I also felt that this story—the one that she told, the one that I wanted to tell—was quite sinister and quite dark,” he said. “I just couldn’t imagine that taking place in a beautiful Italian setting with bright blue skies and colorful outfits and things like that.”

While the American filmmaker’s reasons for filming in black and white seem entirely reasonable, it may have cost him a certain contingency of viewers.

One person took to Twitter to express their annoyance at the retro cinematography choice.

“I didn’t last the first episode. The cinematography is so annoying,” they wrote.

Another commented: “Why on earth is Ripley filmed in black and white? Surely the only reason to not film in colour previously was technology. Totally killed it for me, the dog seems quite OK with it though.”

“Black and white is a good way to keep the budget down but adds nothing,” another wrote.

Others seemed to be able to overlook the stylistic choice, and were completely gripped by the actions and reactions of Tom Ripley.

Twitter user Sarah Phelps wrote: “Ok so I’ve already done two hours work and I’m having a big cuppa tea and watching the first episode of Ripley on Netflix and I;m here to tell you that it and Andrew Scott are both astonishingly beautiful and strange and deeply unsettling and you should watch it.”

If that monologue isn’t enough to convince you to press play, I don’t know what will.'

[hoopearringsunlikemine]

okay

don’t get me wrong. I LOVE THOMAS A WHOLE LOT! I acknowledge that he has been going through things with his personal life which created a big impact on the content being produced, and I understand that.

however, Thomas has repeatedly shown us different forms of content that ISNT the finale!!! He made a ENTIRE NEW SERIES before the finale! People have been paying him trumps arm and leg to make this series and the way he repays them is by making MORE ADS in the form of a minisodes!

Like I said, Thomas has been having many issues—and I am not mad because of him taking a break and time to himself! I’m upset because it feels like he is actively avoiding the final!

And when he says he gives us updates, there not update they’re VAGUE telling of actions. Think I’m exaggerating? I need you to think and think reaaaalllllyyy hard about the last time Thomas gave us an actual update? I’m not talking about thoes shitty “first page done!”, “fun day writing Sander sides.” I’m talking about “we finished up a couple scenes and it should upload around ____” , “we finished all the writing we should start filming ____” ect.

NEVER!!!!!

also Thomas made a post say it would be posted this year! Well you wouldn’t believe it, three days till this year is over and I haven’t heard a peep from Thomas or his team about when will see the episode.

and the way that he responds to people asking him questions about it is just so immature. He gets not only defensive, but passive aggressive to someone who was asking A QUESTION that was sensible to ask!

And I thought (ex) Fanders were crazy for say that this could just be the finale( of the series) and they wouldn’t be mad but it makes sense now.

I don’t want to be in a fandom where I am starved of content for years practically surviving off of minisode covered ads, and I don’t want the person creating it to be practically bending their back with task and other social medias just so we could get a episode.

lol so sorry don’t know were all that came from.

edit:

with Thomas’ latest update it does make sense onto why he did a big hold up (why didn’t he say it earlier??? I’m assuming for personal reasons?) most of my opinions still kinda stand. He was attempting to understand his characters more and it caused a hold up because all hell broke loose when Joan (I miss Joan) had to go. After Joan left he it caused a lot of panic to Thomas because he didn’t know how to write his characters…he forgot how to write his characters so he was slowly building back his characters and it’s been taking… F O U R y e a r s but it is what it is

[scorpio-marionette]

Anxiety

Pairing: Dieter Bravo x F!reader

Rating: PG

Warnings: anxiety, bad coping mechanisms, sadness, confusion, assumptions, age gap

A/N: Forgive me guys. I am currently in a depressive episode and I just binged @fuckyeahdindjarin 's Consent series (instead of writing like I should have) and it has put me deep into my feels. This little fic is very personal to me. Again, I'm sorry it's so sad. I just hate being attracted to a man I can get to know, let alone actually date, sometimes. (I'm looking at you Pedro.) But a girl can dream, right?

Part of @toomanystoriessolittletime December Writing Challenge

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You're not quite sure what you should've expected looking at Instagram, at his Instagram. Of course he'd be surrounded by starlets. Gorgeous women, who are actually his, mind you, clinging to his arm. Kissing his face. All heart eyes and smiles. The same smile that swept you away a year ago….

It had happened by sheer chance. You and your best friend happened to be in the right restaurant to overhear a writer and producer talking about a script. The story as a whole was interesting enough, but certain parts made the flow of the story choppy. As a writer you were dying inside from trying to keep quiet. More than positive that you weren't supposed to know about the script at all. Fortunately or unfortunately, you couldn’t keep it together anymore. You rose from your seat to make your way over to their table. You politely ask that they forgive your interruption (and eavesdropping) and ask if you may provide an outside opinion. Once given the green light you go to town. Much to your surprise, the two were very interested in your outlook on the story. So much so they invite you and your friend to finish having your food at their table. Minutes blur into hours as you all work. Once satisfied with their edited story, they bid you farewell with the promise of compensation for your contribution. 

Months would pass before you heard anything else. Not that you had been expecting to, or hoping. Your check had come and long since been spent. What else could they need? More edits? Apparently you because they couldn't seem to find the right actress to play the leading lady. Upon your arrival to set you had asked why. You were merely told that no one knew the character better than you. No one understood her like you did. A valid point. You had almost completely rewritten her. In light of the trouble, you accepted the task. You didn’t have an ounce of acting experience under your belt though. The director assured you that you would be fine. That’s about the moment you found out who your co-star was. You had heard of him, and frankly you heard him before you saw him. Demetrio Bravolinski, a.k.a. Dieter Bravo. Hollywood heartthrob. The man to be because he was getting cast in everything after the documentary for Cliff Beasts.

You had it bad for him, regardless of having never met him prior. You knew it was ridiculous to be so sure of your feelings. You had no real reason to feel what you felt. You couldn’t help it though. Something told you deep down that the man before you was more than the designer shirts his agent had rented so he could be a human product billboard. More than the recreational drugs he’s known for using in the tabloids. He felt and dreamed like any other being. Keeping that in mind, you let the director introduce you. At first he seemed put off by how young you were. Quick to question why such a young actress was cast. His failed relationship with the young Anika came to mind. The director explained what happened with you and the producer and writer. He instantly perked up. He hadn’t been excited to take the role at first, but was promised that it would be in the running for movie of the year. When rewrites for the script had made their way to him, his opinion on the film took an instant one eighty. He had not only fallen for his character, but also what would now be yours. No one would have ever taken Dieter for being a secret romantic. 

With that, production had been a whirlwind. At first you kept very much to yourself. Feeling incredibly out of place among all the Hollywood regulars. Your anxiety winning out over making friends. Dieter had other plans though. He took you out to dinner when you weren’t too tired. He took you sightseeing on your days off. He bought you gifts that suited your tastes and interests. He asked you for your opinions on books, movies, and pieces of art. You couldn’t lie about it. You couldn’t have made it up. You seemed right about Dieter. He was more than what was shown. And your heart had completely fallen for him. First his voice, then his smile. The light in his eyes. His sometimes god awful humor. Then production wrapped. Reshoots barely needed you so you were released early. You thought he would want you around. To hang out after he finished his work, but he just went to the wrap parties. All the ones you weren’t invited to. 

When it came time to promote the movie, you were nowhere to be found. The contract you had drafted with the studio miraculously got you out of press tours. How, you’re still not sure, but after a month and half seeing Dieter at parties with ladies he’d actually be interested in you weren’t complaining. You had merely slipped away into the background where you were supposed to be. Going home wasn’t easy though. While no paparazzi followed you, eager friends and family were desperate to hear how it had all gone. You were truthful to a point. You had fun and explored what you could. One question from a friend was unexpected. She had asked if you told Dieter how you felt about him. Hesitating at first, you tell her that you never had a good moment to do so. He was either being far to sweet for you to drop a bomb like that on him, or had a beautiful woman on him, looking like they were already happily committed. 

And that’s how you’ve found yourself here, under a rainfall of crystal blue lights on a chilled winter’s night. Longingly staring at the photo of a man who will never be yours. Not just because he’s older than you, or a celebrity, or even because of the beautiful blonde on his arm. It’s because he isn’t here in New York. In your little corner of the world. He’s jetset off to London with the woman in the photo for the world premiere of the movie you starred together in. He’s gone, just like he was the day you had shown up to the studio to see if he wanted lunch. The same day that woman had sneered in your face. Asking a haunting question.

“Why on earth would a man like Dieter waste his time on you? You’re a little girl! A child! He may actually be a very sweet man, but he knows jail bait when he sees it. Go home and cry to mommy, hun. He has no need to babysit you anymore.”

Even now her words still hurt. They’re true though. Dieter was just being nice to you. You don’t fit in his world. He drinks and smokes and takes edibles before going out to party. Hell, he has a social life. Friends to hang out with, fake or not. The man does stuff with his life. All you’ve done is this one, crazy, fever dream of a filming opportunity. Now you’re home. Back to nothing. Perhaps it was just the universe’s idea of an early Christmas present or something?

“Why didn’t you come back?”

Your head whips around to the source of the voice. A snuggly, sleepy looking Dieter stands just outside your protective cage of icicle lights. His large hands tucked out of sight into the pockets of his peacoat. A new pair of black sweatpants shielding his legs from the air. Bewilderment. Disbelief. Fear. All very present on your face as you take in his appearance. You’re sure you must look like a gaping fish, but how else are you to react to him not only finding you in your own home town, but in your favorite spot in town. Surely your mother sold you out to him. 

“I-I did… you weren’t there,” you finally answer. “You left to go to a party.”

“Then why didn’t you meet me there?” he continues to question.

“Because I wasn't wanted there.”

“Who told you that?”

You hesitate to throw his girlfriend under the bus. Positive that even if he wouldn’t get mad, he would still side with her and claim that she would’ve wanted you to attend as you were his co-star.

“Who said you weren’t wanted there? We all waited for you to come. We were going to surprise you with gifts for completing your first ever movie!”

Now this is news to you. No one from production had ever mentioned this. There weren’t even gifts sent to you after the party. Just copious amounts of pictures of Dieter dancing with every stunner of a woman in the club. Kissing. Duck faces. Megawatt smiles. Nothing about you. No inquiries to your whereabouts. Request for ETAs. You were sure everyone forgot about you since you weren’t a star.

“I ended up taking everything home with me,” Dieter informs you. “I’ve just been sitting on a mountain of presents waiting for you to come by, but you never did. You didn’t even come on the press tour. You missed the premiere.”

“I couldn’t…” you start, but you choke up. Your throat seems to be closing. Your chest feels like it’s collapsing in on itself. You rise and turn to run from him. A hand gently grasps your elbow to halt your escape.

“Why didn’t you come back?” he asks again. 

Fear gives way to irrational anger. Your involuntary response to being mentally cornered. The ugly part of your personality.

“Because you didn’t really care for me!” you all but scream. “Your girlfriend told me as much. And here I was stupid enough to think you might like me.”

“Girlfriend?” He pauses. “ Do you mean Alexandria? She’s not my girlfriend. She’s an old friend from my short stint on Broadway. Wait, what did she tell you?”

“She said you didn’t need to babysit me anymore and said you didn’t care about me because I’m younger than you.”

Dieter laughs - no, bellows at your answer. Apparently finding great humor in his friend’s statement. You shrink into yourself at the sound. His wide grin confirms what you have since believed. Again, you turn to exit the park; to recede back into the shadows. Again a hand stops you from leaving. Pulled around to face him, you see that bright spot of warmth and sunlight that radiates from somewhere behind his eyes. It’s all for you. Your head droops. His eyes soften.

“Did you really think I wouldn’t like you because you’re younger than me?” he inquires as he lifts your face back to his. “And did you really think I couldn’t see the way you look at me?”

A blush blazes across your cheeks. You thought you had been discrete. Neutral at least.

“I’ve known this whole time that you’ve had a thing for me, sweetheart. I was just wondering how long it’d take for you to admit it. I even found all your social media pages you have about me.”

His smile widens like the Cheshire Cat he is. Mischievous, but honest. Devious, but true.

“I’ll let you in on a little secret, darling.” He leans down to your ear and nuzzles in. 

“I love you too.”

[thefringespod]

This week has flown by and it's #AudioDramaSunday once more! We're gonna start this week off with @re-dracula because I got mostly caught up this week and I was right Alan Burgon can do whatever he wants forever I'm obsessed with his Van Helsing

I finished season 1 of @thesiltverses this week and wow. Just wow. There is a lot a love about this show from the incredible cast to the ways in which it represents religion and gods finish season 1 I felt every emotion under the sun its so so so fucking good

Hey. Hey @doyoucopypod . HOW COULD YOU. This is a compliment I swear but HOW DARE. I'm so in love with this show and how it presents the same event from different perspectives but gods it punches me in the chest. Idk if I'm excited or scared for what comes next but it'll be great

@kingmakerpod SEASON 2 STARTS SEPTEMBER 23!!!!!!!! I cant wait to hear from the wonderful trio of criminals, especially given how season 1 ended. It's gonna be so so so good

@eelerschoice has announced their cast and yeah. YEAH!! I was already excited for Eeler's Choice just from name alone and the cast they've got??? Spectacular

@chainofbeing has 2 days left to get to the 80% they need to be greenlit. This is an incredible show in a fascinating universe being produced by some of the coolest and kindest people out there. Please chip in to support them if you're able

@levianpod has a week left in their campaign and also really needs your support if you've got some coins to spare. One episode in and im already in love with the world and the characters, please please please help them be able to release more Levian

Here on the Fringes: cast members are sending in their recordings, I'm working on editing season 2 and writing season 3, and also working on my secret side project that I will probably make social medias for soon just to claim the username. Lots going on!!

I'm doing a lot of training stuff for my day job (onboarding to work on a new client/preparing to train someone to take my position) which means there may or may not be an audiodrama Sunday post next week.

Things! They're happening! And for the better for once!!

[canmom]

Animation Night 146: Leiji Matsumoto

Tragically there is a death in the news this week: Leiji Matsumoto, renowned creator of Space Battleship Yamato, Captain Harlock, and Galaxy Express 999. I’d like to commemorate him with an Animation Night...

It would be hard to think of a scifi mangaka or anime director more influential than Matsumoto beyond, well, Osamu Tezuka himself. Sure, Tomino, Anno, Rintaro - but who were they influenced by? Space Battleship Yamato is the bridge from goofy monster-of-the-week super robots to the dramatic anime that would eventually develop in the 80s onwards. So let’s start there.

As recounted in some detail here, Leiji Matsumoto grew up during the second world war; he struggled to find much of an audience for many years until his Senjō WWII manga started to become popular in 1971. This led, in turn, to Matsumoto joining the Space Battleship Yamato project in 1973 alongside producer Yoshinobu Nishizaki, and Eiichi Yamamoto of (no seriously) the ‘Animerama’ trilogy of erotic films, notably Belladonna of Sadness.

When Matsumoto joined the project, the plan was for it to be a dark ‘Lord of the Flies in space’ space drama. Matsumoto was at this time a WWII mangaka, so with WWII on the brain, it’s not entirely surprising that he drew most of his ideas from the war. It was his idea to design the spaceship after the actual battleship Yamato, a major symbol of Imperial Japan that in fact did very little before she was sunk in 1945.

Space Battleship Yamato shows a spaceship built in the ruined shell of the battleship, sailing around in space to fight against an alien invasion. It is armed with a superweapon called the ‘Wave Motion Cannon’ (波動砲 hadōhō), which became a standard term for a huge scifi laser weapon. Matsumoto planned to pattern events in the series after real battles in the world war. But the production was cut down, from 52 episodes to 26, and the story simplified, losing a lot of the antagonist’s motivation. Even so, it was a lot more complex than TV anime at the time was used to, a first step on the path to the complex, dark sci-fi anime and manga of the 80s and 90s.

The TV series struggled for ratings until the release of a compilation film in 1977, which kicked off a surge of ‘Yamato fever’. Its character archetypes, like the gruff paternal bridge captain, became stock characters. And while for most part the animation in the series was limited, it was an opportunity for Kazuhide Tomonoga to create some landmark mechanical animation of the sinking of the original Yamato.

Yamato was among the earliest wave of anime to be released outside of Japan. It gaining a following in Europe, and in America it was retitled and edited as Star Blazers. Contemporary critics dismissed it as a poorly animated knockoff of Star Wars, yet it continued to snowball in popularity. You might spot nods to it in various places; Miyazaki put a wrecked Yamato in Nausicaa as a gesture against its militaristic themes.

And it’s hard not to see something almost ludicrously nationalistic in a story about a resurrected Japanese battleship defending the Earth against invaders in a way it couldn’t defend Japan during its actual operation. We might think of the scene in Grave of the Fireflies where Seita imagines his father sailing away on a mighty warship. Matsumoto’s later works would generally veer away from such themes towards more personal stories in the same wide, imaginative scifi setting.

Captain Harlock is a kind of ‘eternal warrior’ type figure; the above cited article compares him to the characters of Michael Moorcock. He’s based on a character created by Matsumoto in highschool, and indeed he is kind of chuuni as a character: he’s a badass space pirate with a skull and crossbones and a cool scar and a swishy cloak. But Matsumoto was way ahead of the game with these motifs, and before long he got the opportunity to give Harlock his own show... at Toei.

But Matsumoto was finished in the director’s chair. He’d write the manga, and Rintaro (c.f. Animation Night 134) would get to direct it, drawing on his time under the wing of Dezaki. Harlock was an enormous success, one of the defining anime of the 70s, wildly popular in Europe as well as Albator.

Harlock spawned numerous TV series - for our purpose the notable one is Arcadia of my Youth (1982), which serves as a kind of prequel to the series with the origin story of Captain Harlock. What better place to begin than the beginning? Its director, Tomoharu Katsumata, is otherwise known for adapting many of Go Nagai’s works to film. The story sets up Harlock as belonging to a lineage that belongs on Earth with pilots called Phantom F. Harlock I/II, setting up the unsettling characterisation of Harlock II as fighting for the Nazis out of a sense of feudal obligation despite his misgivings towards the war.

This highlights the sort of strange tension that seems to exist in Matsumoto’s works. Many of his WWII-set stories are tragedies about pointless and futile deaths in war, featuring reluctant soldiers for the Axis who are not fascist ideologues but nevertheless fight for the cause. But he also likes to imagine that these figures could be redeemed and resurrected fight against the space imperialists. I imagine growing up in Imperial Japan during the war really does something to a person! Anyway I don’t know if I’m reading this right - I need to experience more of Matsumoto’s work to fully see if I think I understand what he’s going for, I think.

In any case, the enormous success of Harlock led to many further adaptations of Matsumoto’s manga such as Starzinger (Journey to the West in space), Danguard Ace (super robots), and ultimately of course Galaxy Express 999, a long bildungsroman about a boy who leaves Earth on a spacebound train - first as a TV anime and then the pair of movies directed by Rintaro in 1980 and 1981.

Compared to the somewhat formulaic TV series, the films were tight and compelling. By this time the renowned ‘charisma animator’ Yoshinori Kanada had really hit his stride, and was ready to essentially duel Tomonaga over who could create a more impressive depiction of a planet exploding into liquid fire, making Galaxy Express 999 not just an influential classic film but a real landmark of animation.

All of these scifi projects are closely tied in together; if you start digging with Matsumoto you start finding all sorts of intricate connections, characters recurring in different series, altogether comprising a ‘Leijiverse’. And of course in such a big body of work there are many recurring themes - conquering empires and mysterious women who are probably queen of somewhere. His most popular works, meanwhile, spawned remakes and sequels in abundance. Matsumoto became less central after these major successes, but continued to inspire anime productions - often at Toei and Madhouse - throughout the 90s. Read about them here if you’re curious!

One of the most surprising twists is the Daft Punk film Interstella 5555: The 5tory of the 5ecret 5tar 5ystem. The French duo had grown up watching adaptations of Matsumoto’s works on French TV, and when they decided to make a film to support their album, his style was a natural fit. So Matsumoto was called back up to Toei to supervise the film. We’ll talk more about this soon - I’m planning a music themed Animation Night, which was going to be tonight but I realised there’s more than enough Matsumoto here in its own right to fill out one of these so, hold on tight!!

The other note is The Cockpit (1993), a compilation OVA collecting three of Matsumoto’s WWII stories from the beginning of his career as envisioned by Madhouse star Yoshiaki Kawajiri, Takashi Imanishi and VOTOMS creator Ryōsuke Takashi. Although the animation style is much more 90s, it does serve as an illustration of the sort of stories that Matsumoto was telling with the WWII material.

All the stories focus on Axis soldiers; the first one sees a Luftwaffe pilot who deliberately allows Germany’s prototype atomic bomb to be destroyed by the enemy, the second on a kamikaze pilot fighting on the day of the atomic bombing; the third on a pair of Japanese soldiers in a futile race to reach an air base.

Tonight, then! We’ll be looking at the early parts of Leiji Matsumoto’s long career, in anticipation of visiting his later works down the line. That means starting with The Cockpit to see where Matsumoto himself started, then heading into Arcadia of My Youth to see the origins of Harlock. Which means yeah, we’re gonna be looking at a lot of Nazis and their planes tonight; if that’s a no-go I totally understand.

Animation Night 146 will be going live in about 10 minutes at 8pm UK time at twitch.tv/canmom - hope to see you there!

And rest in peace, Leiji Matsumoto.

[docrotten]

BLUEBEARD (1944) – Episode 179 – Decades Of Horror: The Classic Era

“I don’t smoke. But I always have matches with me. I find they frequently come in handy.” You never know when you or someone you’re with might want to signal someone by lighting a match. Join this episode’s Grue-Crew – Daphne Monary-Ernsdorff and Jeff Mohr with guests Michael Zatz and Gregory Crosby – as they discuss Bluebeard (1944), a film far exceeding its poverty-row origin.

Decades of Horror: The Classic Era Episode 179 – Bluebeard (1944)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

  In Paris, an artist hires portrait models, and after he finishes their portraits, he strangles them.

Directed by: Edgar G. Ulmer

Writing Credits: Pierre Gendron (screenplay); Arnold Lipp (as Arnold Phillips) and Werner H. Furst (story)

Produced by: Leon Fromkess (producer); Martin Mooney (associate producer) 

Music by: Leo Erdody (as Erdody)

Cinematography by: Eugen Schüfftan (uncredited); Jockey Arthur Feindel (camera operator) (director of photography) (as Jockey A. Feindel) (credit only)

Production Design: Edgar G. Ulmer (uncredited)

Selected Cast:

John Carradine as Gaston Morel

Jean Parker as Lucille Lutien

Nils Asther as Inspector Jacques Lefevre

Ludwig Stössel as Jean Lamarte (as Ludwig Stossel)

George Pembroke as Inspector Renard

Teala Loring as Francine Lutien

Sonia Sorel as Renee Claremont

Henry Kolker as Deschamps

Emmett Lynn as Le Soldat

Iris Adrian as Mimi Robert

Patti McCarty as Babette

Carrie Devan as Constance

Anne Sterling as Jeanette Le Beau

Harry Cording as Policeman (uncredited)

Frank Darien as Inquiry Judge (uncredited)

Bess Flowers as Courtroom Spectator (uncredited)

Mabel Forrest as Woman (uncredited) (unconfirmed)

Eddie Hall as Paul (uncredited)

John Maxwell Hayes as Man (uncredited) (unconfirmed)

George Irving as The Duke of Carineaux (uncredited)

Ethelreda Leopold as Laughing Courtroom Spectator (uncredited)

Jeff and Daphne are joined by guest hosts Gregory Crosby and Michael Zatz, for a John Carradine extravaganza. Director Edgar G. Ulmer, along with Carradine, an accomplished cast, and a ringer for a cinematographer spin an effective and atmospheric tale about the serial killer known as “Bluebeard” with style, class, and unexpected charm. While on the fringes of horror, Bluebeard should not be missed. Check out what the Grue-Crew has to say if you need more convincing.

At the time of this writing, Bluebeard is available to stream from the Classic Horror Movie Channel, Wicked Horror TV, Amazon Prime, MGM+, Screambox, Tubi, and PlutoTV. It is also available on physical media as the standard Blu-ray format 80th Anniversary Edition from Kino Lorber.

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Up next in their very flexible schedule, as chosen by Doc, is The Lost Continent (1968), the Hammer film that features blood beasts, torture pits, giant jaw-snapping mollusks, a floating death ship, crazed kelp monsters, and fiery destruction … at least, according to the poster. A couple of familiar faces will join the Classic Era Grue Crew: Bill Mulligan (Decades of Horror 1970s and 1980s) and Richard Klemensen, the publisher of The Little Shoppe of Horrors: The Journal of Classic British Horror Films and the voice you hear on the commentary for the Scream Factory Blu-ray of The Lost Continent.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

[spectaculardistractions]

To Luis Alcoriza

Paris, 31 March 1974

Dear Luis, I’ve been meaning to write to you for a while and you may have felt the same way, because every time I take a trip to Europe we exchange a few brief letters. Let’s offer mutual forgiveness.

I’ve been filming for eight weeks, five days a week, and still have another two to go. I haven’t even had a cold, although I’m sick of the bloody camera. I’m pleased with some bits of the film and dissatisfied and annoyed with most of it. I’m in the doldrums, because I have no enthusiasm, and I need it to get the project going. Our ‘dear’ public will have ‘the last word’.

I’ve heard something about your film from Jeanne, who was there for some of Jeannette’s (is that how you write it?) physiognomic transformation. Amongst other things, she told me you could have murdered Pancho Córdova, because you had to do one take 21 times. Still, I imagine the film will be good thanks to your interest and abilities as a metteur en scène. How did the 50 vultures go? When I get back to Mexico at the beginning of June the editing will be done, and I’d really like to see it, even if the sound mixing isn’t finished.

You know my thoughts on Jodorowsky. His film La montaña sagrada, in terms of filming and production quality is fantastic. By comparison, Fellini looks like a modest director of little technical skill. Of course, I could do without all that Zen and Buddha; but as a director he’s extraordinary. Over here, the press claim I inspired him, but I know I don’t hold a candle to him. By my calculations, the film must have cost about four million dollars. How did he manage to convince a producer to let him handle that much money? Genius! What a shrewd businessman!

As you know, my film is made up of twelve ‘episodes’ you might call them, linked by some anecdotal character who joins the end of one to the next, providing a kind of overall continuity. One of those episodes is the idea about the kidnapping of a girl, it lasts about five minutes; two scenes, one at a school and the other at the police station. Our treatment didn’t fit in a two or three-reel film, because it was too long and when the disappearing trick had been used once, to repeat it would have been an annoying tautology. Obviously, we didn’t use it, which is why I think I should pay you for any hypothetical sale we might have made. If you agree, I’d like to give you 50,000 pesos compensation. Or more, if you think that’s only fair. Let me know and I’ll pay you whenever you like. This is a personal offer of course, nothing to do with the producer.

I was also thinking of making a film with you that I would just produce, nothing else. But we can discuss that later. We’d have to forget that joke about what a tyrant I’d be to the director of course. I could put up some of the capital with… Alatriste?

Marciano de la Fuente, a Spanish producer, came here to see me and told me you were definitely going to Spain to make Misericordia by Galdós. That could be a stupendous film. It was one of my favourite projects back in the day. When you write back, let me know when you’re going to Spain. I’m thinking of going before I return to Mexico.

Tired out by all this writing, I leave you. Kisses for Janet.

Warm regards, Luis

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

[diegomonique-blog]

Discussion Board 6.1: Film Consistency

It is vital to ensure that a film's continuity is kept from start to finish even if it may be hard to avoid all mistakes from occurring, which is why editing a film is as crucial as writing and producing it. Editing can spot and remove errors, improve film flow, and enhance the overall message and style of the film. In the recap of the pilot episode of Mulawin vs. Ravena that aired on May 23, 2017, some audiences were surprised to see an iPhone peeking out of Heart Evangelista's Alwina costume in one scene. Wardrobe slip-ups and malfunctions are prone to happen in shooting films, so final editors must keep a keen eye for mistakes since the presence of the iPhone makes the scene inaccurate for their fantasy set-up and inappropriate to the time and culture in which the film takes place. Mistakes are part of filmmaking, which is why consistency and maintaining the story's continuity are essential to the film's entirety.

Reference of photo: https://www.pep.ph/guide/tv/155183/teleserye-bloopers-a724-20201126-lfrm

[matan4il]

Do we know if there was ever really any reason why they broke up the last half of 5 A?? It was weird when it happened but I never revisited it. It was such an odd choice to have the Halloween episode in between the hostage and hospital fire IMHO. Especially because it aired 2 weeks later. Just wondering if there was a significant reason why.

Hi Nonnie!

Yeah, everything around the Halloween ep that ended up being re-edited so it wouldn't be a full on Halloween ep was weird. Two things happened around it: this ep was originally meant to air as 506 (meaning on Oct 25, 911's ep right before Halloween). Eventually no new ep aired on that date, the ep that was supposed to air after it, "Brawl in Cell Block 9-1-1" aired the following week (Nov 1, meaning on its original due date, but now being the new 506), and the Halloween ep, "Ghost stories," ended up airing on Nov 8 as 507, two weeks after it was supposed to air.

I heard two versions of why this ep was pushed back. One is that they had a special ep for The Masked Singer (it was the all-time countdown) for which they decided to use 911's Monday slot. The other is that due to covid, they didn't finish production for "Ghost stories" and needed some extra time. The latter explanation always felt off to me, because once they moved the ep, they also had to change the Halloween theme, cut off some scenes they had already shot (we know Eddie was supposed to be in this ep originally), which might mean they also needed to write in and shoot and edit new scenes to replace the ones that were cut off... All of this would have meant they would need even more time to complete this ep. Which might explain why they only took one week off and aired "Brawl" first, but... IDK, feels like this would have made it worse. Since they took a week off in any case, why not just air "GS" on Nov 1 and still leave it as a Halloween ep? It was still close enough to Halloween to pass.

So out of those two possibilities, I'd think the Masked Singer explanation made more sense. But only marginally, 'coz surely there could have been better time slots for that special that wouldn't hurt the production of their #1 scripted drama.

Another option, which I only offer as my own personal guess in hindsight, is that maybe around filming this ep they realized they'd have to fire Michael's actor, so maybe they needed to cut out some stuff with him that was originally meant to be in this ep. It's complete conjecture! I'm only entertaining this option now 'coz 508 was the ep in which Michael and David exited the show. That was surely a drastic change in plans for the show producers, and it seems to fit IMO with the drastic measures they took with their schedule AND filming. But I don't know anything for sure, we have no idea how things went down with the firing of Rockmond.

And yes, I also thought about this quite a bit, 'coz switching the two eps around (506 and 507), plus separating "Brawl" from "Defend in Palce" (508), made certain things not work quite as well.

I hope I managed to kinda help? Have a great day, lovely! xoxox

If you're looking for my ask replies, here is my ask tag! xoxox

[skellebonez]

Happy Birthday Winter!

Hey @winterpower98 it's your birthday! I really hope you enjoy this, I know I had a ton of fun writing it for you! Actor AU is one of my favorite AUs you've made and coming back to play around with it again was a blast and a half!

Painter MK cackled, taking the brushes filled with bright pink paint into his fists.

“Yes, yes!” He exclaimed, brushing them against his cheeks and bringing another to run up the center of his face. “The art is-OW! OW, THE ART IS IN MY EYE!”

“Cut!” The director yelled, bringing the entire film production to a halt in an instant. “Xiaotian, what happened?”

The young actor dropped the paintbrushes into the hands of a stage worker to rushed over to help him, one hand covering his right eye as he tried to keep himself from laughing. “I think some of it splashed when I waved the brush at my face. I guess the art really IS-”

“Don’t say it,” Heshang said from the other side of the set, doing his best not to join his co-star in laughter.

“-seeping into my pores!”

The entire cast and crew groaned as Xiaotian cackled again, with a few added ows, before another stage hand came by with a bottle of water.

~3…2…1~

“Uh…” Xiaojiao pulled, attempting to pull the prop sword from above her head out of the wall only to be met with… a lot more resistance than should probably be there. “UH…? It’s stuck?”

She stood, attempting to pull it out normally only to be met with just as much resistance.

“It’s stuck!” She laughed, out, bracing a foot on the wall with no change.

“Let me try,” General Ironclad, or rather Red in the costume of General Ironclad for the episode, offered, attempting to do the same with the exact same result as his co-star. “What did you use to hold this in place? Cement!?”

“It should have only been stuck in with force!” A stage hand yelled as Xiaotian and Heshang joined in, both failing to pull the sword out from the false wall and Heshang nearly toppling over backwards with his additional costume pieces.

“Whoever stuck that in there needs to be moved to making sure the safety equipment stays connected!” Xiaotian offered, watching as even more people tried to remove the sword. “That is not coming out.”

~3…2…1~

Heshang held Mo in his arms, waltzing around the set as he waited for places to be called for with the shockingly content feline in his arms.

~3…2…1~

“You are selling beautiful vegetables today?” Pigsy said, leaning over the the display to give an awkward smile to the disguised Spider Queen.

Tang looked over the produce from where he knelt, looking back up at his companion with a concerned and confused look. “Are you… a-are-PFT-FUCK.”

Everyone on set burst into laughter as Tang did, both of his fellow actors holding back from laughing themselves.

“Why is it this line!?” Tang yelled in frustration as he continued laughing. “It’s not a hard line! I wrote this line! Why do I keep laughing at the last word!?”

“Maybe if Ganglie wasn’t making goo-goo eyes at me you’d keep straight face,” Zhi-Zhu Jing managed to get out through her laughter.

“That’d be the only thing straight about me.”

~3…2…1~

Dicky Cheung, or the actual Sun Wukong disguised as a human actor in full costume of himself, took a running leap and jumped onto the counter of Pigsy’s noodles, sliding to a perfect stop with a wink toward the camera.

~3…2…1~

“MK, there’s something I wanted to tell you…” Mei said, looking at MK with sparkles in her eyes before snickering. “Stop looking at me like that, it’s hard enough to keep a straight face during this scene!”

“Sorry!” Xiaotian yelled to the camera. “I can’t help it! How are Jin and Yin this wrong about these two in the show?”

“Himbos!” was the shouted answer from Tang at the other end of the set.

~3…2…1~

“One of the rare talents that no one knew the great Sun Wukong possessed…” Xiaojiao said ominously, camera panning over to Mr. Cheung in full costume. “Surprisingly good peach juggling!”

“Gotta keep myself occupied somehow!” The actor laughed out, catching two peaches in either hand while the last one was caught perfectly in his mouth to the applause of everyone watching.

~3…2…1~

“Thanks for the Key los-AH!”

Red flung his arms wildly, key flying into the air as Tie Shan rushed forward and caught him just before he face planted into the ground.

“Mine!” Mr. Cheung yelled as he caught the key mid air and rushed through the frame.

“YOU’RE NOT EVEN IN THIS EPISODE!”

~3…2…1~

“Thank you… for giving me all o-ooh, whoa!” Lui Er Mihou, or unbeknownst to nearly all Six-Eared Macaque in disguise much the same way as Sun Wukong was, yelped as the cable that was supposed to gently raise him and make him look like he was floating yoinked him as good 4 feet off the ground way too fast. “That’s too much power!”

“SORRY!” The line operator shouted, fiddling with the controls. “Someone loaded the weight setting for Xiaotian into your line instead of yours.”

“I already feel bad enough treating him like garbage and beating him up in this role, this is just rubbing salt in the wound,” Liu Er muttered, leaning back and swinging limply much to the amusement of everyone who couldn’t hear him before raising his voice. “When will my beloved friend Sun Wukong come to rescue me?”

“SPEAK MY NAME AND I SHALL APPEAR!”

Liu Er yelped in surprise as Mr. Cheung rushed in and grabbed him from beneath to hold him bridal style with a shit eating grin. He couldn't help the flush on his cheeks in response.

“HOW DO YOU KEEP SHOWING UP IN SHOTS WHEN YOU AREN’T SUPPOSED TO BE THERE YET!?” The director yelled with more than a little amusement in his voice despite the disruption.

~3…2…1~

“You!” DBK said, rounding on Red Son. “You have brought me nothing but failure! Time and time again! I keep telling you I… shit, I can’t remember the next line when you look that sad, I am so sorry.”

“Nothing but disappointment?” Red offered helpfully, immediately breaking out of his downcast somber gaze to the floor with a wide smile.

“It is scary how fast you get in and out of character sometimes, kid,” Niu Mowang laughed out, clearly resisting the urge to ruffle the younger actor’s hair lest he ruin the styling job that took far too long every time they got dressed.

~3…2…1~

The White Bone Spirit stood at the entrance to the Silken Web Cave, looking at the camera before far too much time passed from when she was supposed to say he line. She moon walked backwards out of the frame without changing her expression one bit as the other actors devolved into cackles.

~3…2…1~

“The Year of the Spider starts tonight!” Spider Queen proclaimed from her high vantage point before she muttered something under her breathe, narrowing her gaze and then looking off to the side. “Or next year ‘cause I don’t remember my line.”

~3…2…1~

Huntsman slowly lowered into frame, upside down and gripping the rigging holding him up like Spiderman.

~3…2…1~

“Oh yeah?” Sun Wukong said, appearing in frame as he walked down the wall MK was embedded in. He grabbed his staff, yanking it out of the wall and jumped down and smacked the wall with it.

… only for it to go through the wall once again and crack it. Or, rather, the false wall that was on a tilted angle to make it look like he was talking down it, rather than a heavily slanted floor.

“I’m sorry!” Mr. Cheung yelled, looking at the damage he caused. “I must have hit at weak spot!”

He hoped no one noticed that when MK offered to get the prop staff for this shot and put it into the wall… he grabbed the real one by accident.

~3…2…1~

Nui Mowang held the little bird that was Wukong’s transformation stand in for one of the final scenes, gently petting the little head with a big goofy smile on his face.

~END~

The entire cast sat around on various travel tables right outside the small Lunar New Year Festival set they had set up, various extras that had answered the open invitation for the shoot going about and getting the free food that was available at the functional stalls provided by the catering they had hired.

It was an odd sight to see Red Son and Spider Queen and Sun Wukong and everyone else sitting around together, but Liu Er Mihou being there outside of his Macaque costume broke the illusion a little bit.

It was the final day of shooting for the season 2 opening special to Monkie Kid, Revenge of the Spider Queen, and everyone was there. Even people who didn’t have to come in wanted to give a temporary farewell to Tie Shan, Nui Mowang, and Red before season 2 proper began shooting. There was still a chance they could bebcalled in for bit roles, the scripts weren’t entirely finished yet, but as far as anyone knew the Demon Bull Family wasn’t going to be returning properly any time soon.

Maybe in season 3, Tang had teased, holding the begun scripts for that in his little tablet away from prying eyes. And they were always welcome to help out in bit roles, background characters or voice over or to use their other talents to work other jobs that were needed around the set.

But even before then it would be a while.

And so that’s how Red found himself sandwiched between Long Xiaojiao and Qi Xiaotian, with the newly added member of their quartet in her full White Bone Spirit costume hanging over his shoulder to watch the compilation that Xiaojiao had expertly edited on her phone for them all.

“The director gave me permission to use whatever I wanted and I though that… maybe we could all have it for ourselves,” Xiaojiao offered, pulling up the wireless transfer option on her phone. “To watch when we miss each other being on set together. I know we’re going to probably be back together with Red Son eventually! But…”

“I’ll miss shooting with you too,” Red said smiling softly as he pulled out his own phone to accept the file. “Hopefully Mr. Tang isn’t just teasing us about season 3.”

[manga-and-stuff]

Interview with the English and Japanese voice actors for Asuka from Neon Genesis Evangelion

TIFFANY GRANT

Some time in early 1998, Matt Greenfield encouraged me to write an essay defending Asuka from her critics. I did, and you can read it on my website. At that point, as I recall, about half Of the Eva TV series had been released on home video (two episodes per VHS about every other month for around $30).

Please keep in mind that I had only recently finished recording the TV series. There was as yet no English release of Death & Rebirth, End of Evangelion, Director's Cut Platinum Edition, and there most definitely were no proposed live-action or "Rebuild" films.

Back in 1998, I had not yet read any Of Sadamoto's manga. Having now read all Of it, I was very excited to be able to participate in this project. One especially impactful moment I experienced reading Sadamoto's books was Yuko Miyamura's own essay in volume 4, which touched me deeply. When we first met, I had her autograph it for me!

For this volume, Carl thought it might be interesting if I shared with you how my thoughts about Asuka have evolved over these many years. First, my perspective on Asuka was changed dramatically by working on EOE and even

more so by the Director's Cut footage. I said, "If these scenes had been in the TV show to begin with, people would've had a lot more sympathy for Asuka."

But the main thing that has happened since 1998 is that Neon Genesis Evangelion has become an international phenomenon. When I started recording this loud, assertive character that often swore in German, I knew I was having a great time with the role and that it was enjoyable for me as an actor. There was no way any of us could've known then what lay in store. Eva became a cult phenomenon.

The enormous popularity of Eva is, I fully understand, the primary reason I get invited to conventions around the world. In this way alone, my association with Asuka has forever altered my life.

But I also feel something deeper than the obvious frequent flyer miles is at work here. For several years, I actually denied that I was anything like Asuka—a period I refer to as my "l Am Not Spock" phase. I wrote "In Defense Of Asuka" during that time.

Once I fully embraced my "inner Asuka," I realized the many ways that I related to this complex, flawed character. In the past twelve years, I feel I have become even closer to Asuka emotionally.

I think Shinji behaves in the way that most of us actually would react, but I believe we all wish we were a little more like Asuka—speak your mind, consequences be damned!

I find that I don't just defend Asuka now. I actually admire her. I don't know how I'll feel in another twelve years, but if you don't like Asuka just a little bit, I have only one thing to say : What are you—Stupid?

YUKO MIYAMURA

To be honest, a long time ago, I used to hate Asuka and Evangelion.

If I were to comment using Asuka's words, I would hate, I hate, I hate EVERYBODY!"

As to why I felt this way, well, I think the best way to describe it is to say that it was close to the feeling of being bullied. If a person has been bullied, would they want to remember it? I don't think they would.

Acting the part of Asuka was lots of fun at first. However, as Asuka started to mentally break down, acting her become quite tough.

The part that I disliked the most was during the scene when Asuka finally understood the meaning of the A.T. field. Just when she was able to mentally become strong and confident again, she was attacked by the mass-produced units and brutalized. That time

In the film is really cool and there are lots of characters that I like in it. For Asuka on the other hand, it's the worst situation ever.

Furthermore, after that scene, she is strangled by Shinji with such apathy, and that's where the series ends. The mass-produced units, the Angels, their destiny; it just ends with all of them being defeated.

I closed the Asuka inside Of me deep within my heart. While she was inside there, I didn't really like to bring her out. Remembering my complex feelings for Asuka and Evangelion was quite hard for me, and I didn't like it.

This all changed when I first met and talked to Asuka's English voice actor, Tiffany.

Tiffany, as another person who acted as Asuka, was the only one who could understand the pain that I felt acting as Asuka. We both understood all the difficult emotions about

Asuka and her complex personality, and we talked about many things. After this, the feelings within me toward Asuka became more caring and understanding.

Even though at first I felt anger and dislike for Asuka, I now hold her close to my heart and I think of her like a daughter. Up until then Asuka had to deal with all the pain, sadness and sorrow by herself. Now it's different—I'm with her.

Today I'm a mother myself, and I'm raising my own daughter. The feelings I have for my child are similar to what I feel for Asuka. Even though it's different from my own real-life situation, Asuka is an important existence to me and I feel that I am able to accept her Into my life.

What destiny lies ahead for Asuka?

Furthermore, what choice will she make?

Whatever happens, I will accept everything about Asuka. I will cheer her on because I feel I am close to her. No matter what, I will defend Asuka.

It has been about ten years since the time when the other Units took Asuka and Shinji and tried to strangle her. Now, a new Evangelion has begun!

In the new movies, the once-complex Asuka is now happier. I'm excited to see how Asuka stands and faces her destiny in the new movies, compared to Asuka's fate from ten years ago of being defeated.

If I were to say a comment in the new movie in Asuka's words, it would be: "You hurt my pride... I'LL GIVE IT BACK TO YOU TEN TIMES WORSE." I like this confident side of Asuka.

Whatever becomes of Asuka in the world of Eva, I will always love Asuka the most!

Source: Neon Genesis Evangelion | Shin Seiki Evangerion | 新世紀エヴァンゲリオン

by Yoshiyuki Sadamoto