#best uk franchises

[themarketingagencyfranchise]

Tips and Tricks for Launching Your Own Venture

Are you ready to start your own business and be your own boss? Launching a venture can be an exhilarating journey filled with opportunities and challenges. Whether you're exploring your own boss ideas or considering the best UK franchises, this blog post is here to guide you through the process with valuable tips and tricks.

Define Your Vision and Goals:

Before diving into the details of your business, take the time to clarify your vision and establish clear goals. What problem are you solving? Who is your target audience? What do you hope to achieve in the short and long term? Having a clear vision will serve as your guiding light throughout the startup process.

Conduct Market Research:

Understanding your target market is crucial for success. Conduct thorough market research to identify potential customers, analyse competitors, and assess market trends. This will help you tailor your products or services to meet the needs of your audience and differentiate yourself from the competition.

Develop a Solid Business Plan:

A well-crafted business plan serves as a roadmap for your venture, outlining your objectives, strategies, and financial projections. It provides a structured approach to guide your decisions and attract investors or lenders. Take the time to develop a comprehensive business plan that outlines your business model, marketing strategy, operational plan, and financial projections.

Secure Funding:

Launching a venture often requires a financial investment. Explore different funding options, such as bootstrapping, seeking investors, crowdfunding, or applying for small business loans. Choose the option that aligns with your goals and financial situation, and be prepared to pitch your business idea convincingly to potential investors or lenders.

Build a Strong Team:

Surround yourself with talented individuals who share your vision and complement your skills. Building a strong team is essential for success, as your team members will play a crucial role in executing your business plan and driving growth. Invest time and effort in recruiting, training, and retaining top talent who is passionate about your venture.

Focus on Branding and Marketing:

Effective branding and marketing are essential for attracting customers and establishing your presence in the market. Develop a compelling brand identity that resonates with your target audience and communicates your unique value proposition. Invest in strategic marketing initiatives to raise awareness, generate leads, and build customer loyalty.

Embrace Technology:

In today's digital age, technology can be a powerful enabler for startups. Leverage technology tools and platforms to streamline operations, enhance productivity, and reach a wider audience. Whether it's building a user-friendly website, implementing digital marketing strategies, or leveraging data analytics for insights, embrace technology to drive innovation and growth.

Stay Agile and Adapt:

The entrepreneurial journey is filled with ups and downs, and it's essential to stay agile and adaptable in the face of challenges, especially when considering the best UK franchises. Be open to feedback, learn from failures, and pivot when necessary. Stay attuned to market dynamics and be willing to adjust your strategies and tactics to stay competitive and capitalise on emerging opportunities.

Focus on Customer Experience:

Providing an exceptional customer experience is key to building a loyal customer base and driving repeat business. Listen to your customers, solicit feedback, and strive to exceed their expectations at every touchpoint. Invest in delivering personalised, seamless experiences that delight customers and differentiate your brand.

Stay Persistent and Resilient:

Building a successful venture takes time, dedication, and resilience. Stay persistent in pursuing your goals, even in the face of setbacks or obstacles. Celebrate your successes, no matter how small, and learn from your failures to fuel continuous improvement. Remember that entrepreneurship is a marathon, not a sprint, and stay focused on the long-term vision for your venture.

Conclusion

You can explore the best UK franchises or explore be your own boss ideas when you launch your own business. With Activ Franchise as your partner, by following these tips and tricks, you can navigate the complexities of entrepreneurship with confidence and increase your chances of success. Embrace the journey, stay true to your vision, and never stop learning and growing as an entrepreneur.

Reference:

https://telegra.ph/The-Role-of-Online-Platforms-in-Franchise-Marketing-Success-01-25

https://www.bunity.com/-9feb2ead-14a9-47e1-bcab-19bf20fa9596

https://www.tuugo.co.uk/Companies/activ-franchise/0300004348301

[doyoulikethissong-poll]

Harold Faltermeyer - Axel F 1985

"Axel F" is an electronic instrumental track by German musician Harold Faltermeyer. It served as the theme song for the 1984 film Beverly Hills Cop, its eponymous character (as portrayed by Eddie Murphy) and the film franchise it is based from, which became an international number-one hit in 1985. The track reached number one in Ireland as well as on the US Billboard Hot Dance Club Play chart. Additionally, it was a number two hit in Belgium, Canada, the Netherlands, Switzerland, the UK, and West Germany. In addition to the Beverly Hills Cop soundtrack, the song appears on Faltermeyer's 1988 album Harold F. as a bonus track.

Faltermeyer recorded the tune using five instruments: a Roland Jupiter-8 provided the distinctive saw lead, a Moog modular synthesizer 15 provided the bass, a Roland JX-3P provided chord stab brasses, a Yamaha DX7 was used for the marimba sound, and a LinnDrum was used for drum programming. All instruments were played by Faltermeyer. According to Faltermeyer, the initial reaction to his first presentation of the track to the film's producers and director did not result in an immediate approval; it was not until director Martin Brest voiced his approval that the producers showed enthusiasm. A music video was produced to promote the single, directed by Faltermeyer.

"Axel F" has been sampled in many songs, including "Champion" by South Korean singer Psy. In 2005, Crazy Frog's version became a summer hit. It topped the charts in the UK, with some of the best weekly sales of the year, and remained at the top of the UK Singles Chart for four weeks to become Britain's third-best-selling single of 2005, outselling and outperforming the original version. It also reached number 1 in Australia, the Republic of Ireland, Belgium, Denmark, New Zealand, Norway, Ukraine, Spain, and Sweden. In France, the song stayed at number 1 for thirteen weeks, only to be dethroned by Crazy Frog's second single, "Popcorn". This was only the second time that an artist had ever dethroned themself in that country. It peaked at number 3 on the US Digital Sales chart, and number 2 on the US Adult Contemporary Top 20. In 2024, as part of a tribute to celebrate the release of Beverly Hills Cop: Axel F, the Crazy Frog Youtube Channel made a special crossover music video with Netflix, featuring scenes from the movie, but re-edited to feature Crazy Frog in them, being chased by the Beverly Hills Police and Axel Foley.

"Axel F" received a total of 88,3% yes votes!

[carpe-mamilia]

AHHHHHHHHHHH

Bloomsbury has acquired a companion book to the BBC television series “Ghosts”. Katy Follain, head of Bloomsbury general, acquired UK and Commonwealth rights to Ghosts: The Button House Archives from Paul Stevens at Independent Talent. It is her first acquisition since she joined Bloomsbury. The companion book will be published on 26th October 2023. “Ghosts” was first broadcast in 2019 and has been nominated for multiple national comedy awards. It returns for the final season this September. The tie-in book is described as “a hilarious, colourful and entertaining compendium of surviving artefacts and documents relating to the ghosts of Button House’s past lives”. Ghosts: The Button House Archives will be written by Mathew Baynton, Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard and Ben Willbond – six of the ghosts who also co-starred in the franchise Horrible Histories. They will be signing books at events around the country in the run-up to Christmas. They said: “We started kicking around the idea of a ‘Ghosts’ companion book quite early on in the life of the series and got very excited about how the characters could show up in all kinds of documents and artefacts. We’re delighted to finally be bringing this idea to life with Bloomsbury to produce something we hope fans will treasure.” Follain added: “To be working with this hugely talented group of writers on the tie-in book of such a massively popular comedy series is complete heaven. It combines everything I want the non-fiction Bloomsbury General list to be: quality and best-in-show entertainment with broad appeal. It is the perfect Christmas gift and I’m looking forward to seeing the fans dressed up in their favourite ‘Ghosts’ costumes for the events.”

[maxknightley]

Can you tell me why Harry Potter is particularly bad and egregious?

well for one thing its creator uses her cultural clout to endlessly scaremonger about Transgenderism and then whenever anyone calls her out on it she's like "what nooooo I love trans people I'm just Asking Questions. just Raising Concerns. about the rights of Real Wombyn." or she threatens them into silence using the UK's insane libel laws

everything from supplemental setting information to character names in her flagship series betray a view of the world that is - if not virulently racist - at the very least embarrassingly provincial. (the writing in her cormoran strike novels is even worse in this regard.) the less said about the house elves, a funny slave race who like being slaves actually and advocating for their rights is silly and wrongheaded, the better.

from what I recall she's also a member of the same ghoulish """""labor""""" party undercurrent that actively crushes any hope of meaningful reform within UK parliamentary politics.

but on a more personal and less political level: it's a children's fantasy series that was never really designed to have more depth than a children's fantasy series, and the constant attempts to make it an Ongoing Franchise are embarrassing at best and actively frustrating at worst. it's like if Willy Wonka got six sequels plus a spinoff about veruca salt plus a spinoff about grandpa joe plus three years of increasingly bizarre supplemental material and literally none of it reckoned with the uncomfortable colonial overtones of the oompa-loompas. at some point you would end up being sick of the whole goddamn thing, even the parts that weren't trash in and of themselves.

[angel-princess-anna]

Hugh Bonneville promises 'new elements' and 'thrills and spills' in Downton Abbey 3

The actor tells Yahoo UK that he thinks the new film is the "best" of the franchise

Downton Abbey made some big changes on the big screen with 2022's A New Era, but Robert Crawley star Hugh Bonneville assures Yahoo UK that the upcoming third film will be even bigger and better than anything that has come before it.

Speaking with Yahoo UK for a Role Recall interview, the actor shares that the film feels like a "lovely coming together of people". Fans will be rivetted by what is to come for Robert and the Crawley family because the film is full of "spills and thrills" according to Bonneville, who took a break from production to promote his new ITV series Douglas is Cancelled.

"For my character, I think the usual [can be expected], which is that he's a sort of dinosaur trying to be led into the future reluctantly, and then eventually he stumbles forward a bit," Bonneville teases.

"So as always, there's that rhythm of things changing with glacial slowness, and Robert finally accepting that things [are changing] — it's time to move the story on, so to speak. It's got the usual tropes, if you like, of thrills and spills in a very Downtown [sic] way, which means spilling a tea cup pretty much!

"People who've watched the show over the years and have loved it will miss Maggie Smith's presence. She doesn't step out of the shower and it's all been a dream, she is gone.

"But, I think there's so much warmth and fun to enjoy, and new elements as well — which I won't spoil — that I think it'll certainly be the best iteration of the film versions yet."

The third Downton Abbey film will see the original cast return including Michelle Dockery, Elizabeth McGovern, Jim Carter and Laura Carmichael, while A New Era's Dominic West will also reprise his role as Guy Dexter. They will be joined by a host of new characters played by Paul Giamatti, Joely Richardson, Simon Russell Beale, and Alessandro Nivola.

Details of the story have not yet been revealed, but Bonneville's positivity about it seems like a good sign. The actor also spoke of how it still surprises him that the franchise has become as beloved as it has since the show first premiered in 2010 because it didn't originally seem like it would.

"It never ceases to amaze me, it did when it first started in 2010 and here we are, 14 years later, we're making a third movie," he explains. "At least one of our producers said, 'well, it's never gonna last beyond seven episodes anyway so don't lose too much sleep about this', and here we are all those years later still together.

"What's been really interesting is there's a whole new generation of people watching it and still finding it engaging, and also what's been rather touching, particularly over the pandemic, [was] when people were stuck at home and they revisited a show that had finished five years before.

"Each of us have had lots of letters from people saying: 'I used to watch it with my Gran', or 'my son who is now married', or 'my husband, who's now passed on', or whatever. It had an emotional resonance for the period of time that it was on, and people find comfort in it, and revisited it like a warm bath.

"I'm not complaining because it's been a wonderful part of my life and we're filming the third film at the moment, it's a lovely coming together of people I care deeply about, and that's just the fictional characters."

[nostalgiamare]

NOSTALGIAMARE ENTRY 32

NAME: THE MR MEN SHOW

COMPANY/FRANCHISE: MR MEN AND LITTLE MISS

RENEGADE ANIMATION

CHORION

CATEGORY:TV SERIES (ANIMATED)

YEAR: 2008

DESCRIPTION: Based on the popular Mr Men children's book series by British author and illustrator Roger Hargreaves from the 1970s. The Mr Men Show is a variety sketch comedy series from the United States in hopes of introducing the media line to an American audience. It features new and unique redesigns of the book characters as well as some brand new one's created solely for the cartoon, with each episode following the daily lives of the Mr Men and Little Misses tying into a specific theme (Food/Dance/Cars/etc). Whilst production and voice acting was done in the states, the show would also receive a British dub the same year.

MOD THOUGHTS

1: From some average meat shaped sleepy dude to an all-out cool asf hippie with no life goals, I call this one of the best glow ups I've ever seen-

Wait what do you mean I'm only saying that because he's my favourite character in the show no he isn't!

...On the other hand...

2: The music? What about the music? Do you mean it's a BANGER?

3: Nearly forgot to mention that there was a super fun website for the show's promotion with a ton of mini-games and exclusive clips that's original American and British version is now lost media. Tragic because I remember stumbling upon it years ago and having the time of my life with it. Sad shit man... ;(

LINK TO SOURCES:

US DUB: https://www.youtube.com/watch?v=ZnRk-UAPUFw&list=PLzYs7NGGm9ADVtQnwVjTUwVRlZJMwLM85

UK DUB: https://www.youtube.com/watch?v=EdUBEZ6aH1A&list=PLJf6ALAiRiV-SDpIXbXQNUg11OVToCEfp

[hips-like-battleships]

The more I see photos of Emmrich Volkarin, the more I’m absolutely convinced that my husband is right when he suggested his look is based off British actor David Niven.

Let’s compare:

BioWare has a history of modeling characters after classic actors—Jack from Mass Effect, though styled very differently, is clearly modeled after Sophia Loren.

David Niven served in the British army in the 1930s and re-enlisted again during World War II. During his break from the army, he acted in several films and resumed his acting career after the end of the war. He was very popular in both the UK and America, and well respected in Hollywood. He either hosted or co-hosted multiple Academy Awards ceremonies back in the day, and won the Best Actor Oscar in 1958 for his role in Separate Tables. Niven played James Bond in the 1967 version of Casino Royale, and was supposedly Ian Fleming’s first choice to play Bond even though he wasn’t the first actor to do so. He was also in the first Pink Panther movie in 1963!

I have not seen any posts about this yet (may have missed them, though!) but wanted to make this because I think my husband is right on this call, at least to my eyes. I would not have recognized it myself. Niven died in 1983, long before most Dragon Age fans were born, so I don’t think many of us have a frame of reference for him even though he was a huge star connected to franchises we do still know today.

I do wonder if the character designer liked his look, or if there is more to it—does anything specific to David Niven’s history, or characters he played, line up with Emmrich? I am excited to find out.

Screen grab of Emmrich from a post by @nostalgiaclown !

[insanityclause]

EXCLUSIVE: Tom Hiddleston (Thor franchise) and Mark Hamill (Star Wars) are set to star in new Stephen King adaptation The Life Of Chuck, which will be a hot package at the upcoming Cannes market.

Doctor Sleep and The Haunting Of Hill House helmer Mike Flanagan is directing, scripting and producing for Intrepid Pictures alongside fellow producer Trevor Macy.

FilmNation will handle international sales with WME Independent handling domestic.

Based on the short story from King’s 2020 anthology If It Bleeds, The Life of Chuck is three separate stories linked to tell the biography of Charles Krantz in reverse, beginning with his death from a brain tumour at 39 and ending with his childhood in a supposedly haunted house.

The script, which was adapted prior to the WGA strike, has been in the works for several months with Hiddleston set to play the title character and Hamill joining for the role of Albie.

According to the production, the genre project will draw tonally from Stand By Me, The Shawshank Redemption and The Green Mile.

Golden Globe and Olivier winner Hiddleston is best known for Thor, Avengers and TV series The Night Manager, as well as stage projects such as Betrayal and Hamlet for Ken Branagh.

Hamill is best known for his portrayal of Luke Skywalker in the original Star Wars movies and reprised his role in both the sequels as well as the second season of The Mandalorian and season one of The Book of Boba Fett. He recently appeared in Netflix’s Sandman and will star in Intrepid and Netflix’s House Of Usher, which will air later this year.

Stephen King, aka ‘The King Of Horror’, is among the all-time best-selling authors. Among his books and short stories to have been adapted into hit movies are Carrie, The Shining, Pet Sematary, It, Stand By Me, The Running Man, The Shawshank Redemption, and The Green Mile.

This is the latest project to join a bumper Cannes market slate for FilmNation. Also on the lineup are Amy Adams-Paul Rudd comedy The Invite, Dave Bautista action-thriller The Cooler, and Andrew Garfield project Voyagers, among others.

Hiddleston is represented by UTA (US), Hamilton Hodell (UK), and Johnson Shapiro Slewett & Kole; Hamill is represented by Gersh and Kleinberg Lange Cuddy & Carlo; Flanagan, Macy and Intrepid are represented by WME, with VanderKloot Law also representing Flanagan and Reder & Feig handling Macy.

[stephensmithuk]

The Hound of the Baskervilles: The Stapletons of Merripit House

A mullion is a vertical divider in a window.

A scullery maid was the lowest ranking female servant in the household, who would wash the dishes and sometimes the clothing too. Snow White and Cinderella started off in this role.

It would take Watson around two hours to walk to Grimpen. I've done longer walks and I suppose he would have done so in his Army days.

A grocer is a person who runs a grocery, which in British English is analagous to a general store, where you would buy most everyday items, including the most common newspapers and magazines. We would also distinguish these days between the larger supermarket (grocery store) and the smaller corner shop (what New Yorkers would call a bodega); frequently run by immigrants or their immediate descendants. This is an example of the latter.

I do not know how common it was then, but today it is very common, even in major cities, to have a Post Office counter as part of another store such as a corner shop; these franchised businesses are run by subpostmasters. The Post Office, as well as post, provides banking services for both its own financial business and for other banks or building societies. The computer system that was used for financial transactions by them, Horizon, is currently at the centre of a major scandal.

Dartmoor has many peat bogs. The Ordnance Survey maps give their general location, but their exact size varies depending on conditions. Walkers frequently end up in them by accident or lack of experience; safe routes are marked out, but not always easy to see. The vast majority are not that deep and the worst that will happen is a case of smelly, muddy embarrassment. However, some are deeper, where you can end up with a risk of hypothermia - there are no less than four volunteer Mountain Rescue teams in the area to help people in difficulty.

Then some are straight up lethal, especially to animals. A gallop is the fastest horse speed setting - a horse can run at around 25 to 30mph for up to three kilometres before getting winded. So, not a good idea to do it on boggy land.

Grimpen Mire is believed to have been inspired by Fox Tor Mire:

There are 14 species of bittern. One of them is the Eurasian bittern, which was indeed extinct in the UK for a while when this story takes place and is still only here in limited numbers with its habitat. The species as a whole currently rated "Least Concern" but in decline.

The Neolithic period lasted from c.10,000 BC to c.2,000 BC, being the final period of the Stone Age. There is a timber track pathway in Somerset, the oldest recorded road, dating back to c. 3,838 BC.

Cyclopides was an old name for several species of South African Skipper butterflies. They tend to be found in southern Africa, not Dartmoor:

Miss Stapleton must deem the situation urgent to leave without her hat; people did not as a general rule go hatless in this period, even the poorest usually had some form of cap.

[doyoulikethissong-poll]

Billie Eilish - No Time to Die 2020

"No Time to Die" is the theme song for the James Bond film of the same name. Performed by American singer-songwriter Billie Eilish and written by Eilish and her brother and collaborator, Finneas O'Connell, the song features orchestration by Hans Zimmer and was produced by Finneas O'Connell and Stephen Lipson. Seventeen years old at the time of recording, Eilish is the youngest artist to have recorded a James Bond theme in the history of the franchise.

The song debuted at the top of the UK Singles Chart and the Irish Singles Chart. It became Eilish's first number-one single in the UK and made her the first artist born in the 21st century to top the chart. The song is the second Bond theme overall to top the UK chart. "No Time to Die" debuted and peaked at number 16 on the US Billboard Hot 100.

"No Time to Die" received various accolades, including the Grammy Award for Best Song Written for Visual Media, the Golden Globe Award for Best Original Song, the Critics' Choice Movie Award for Best Song, and the Academy Award for Best Original Song, making it the third-ever and third consecutive Bond theme to win the Academy Award (after "Skyfall" by Adele in 2012 and "Writing's on the Wall" by Sam Smith in 2015). Eilish became the first person born in the 21st century to win an Academy Award.

"No Time to Die" received a total of 62% yes votes! Previous Billie Eilish polls: #10 "NDA"

[yen-sids-tournament]

Animated 2: Return to Neverland v The Pirate Fairy v Tinker Bell and the Legend of the NeverBeast

Return to Never Land {originial-Peter Pan (1953)} *spoilers?*

It follows Wendy's canonical daughter Jane, in every version of the story where Peter returns to the Darling's window, he meets Jane, and this story gives her her own adventure. with Wendy as a turn of the century child, it isn't too much of a stretch to assume Jane would be growing up in the middle of a deeply contentious time in British History, that being the London bombings of World War 2, and Unlike Wendy, whom needed to understand that she didn't WANT to never grow up and embrace her coming maturity as it arrives, Jane had been thrown into a position in her family where she had needed to grow up too fast, and in her trip to Neverland understand the importance of that child-like wonder she had nearly lost. As such, she starts out deeply skeptical and frustrated by the nonsensical nature of Neverland, and being more trusting of adults than of children whose attempts of 'playing with her' were little more than bullying with the thin veneer of 'just a game', which ultimately allows her to be manipulated by Hook. But even then manages to grow attached to the lost boys and connect with Peter and due to her inability to fly for most of the movie had almost fully integrated into the world of Neverland and became the first Lost Girl by the time of the third act. While it's held back by the painfully early 00's music it's ultimately a very compelling story about a child in a deeply traumatizing situation finding temporary haven in a place untouched by the war that had so deeply distorted her worldview and ultimately reclaiming her right to have a childhood after constant danger of death and destruction had nearly wrenched it from her entirely. (also there's no racist Native American stereotypes that exist just for the sake of themselves and could have easily been some sort of fantasy species but nahhh it was the 50s so native americans were SUPER okay to be racist about/s)

The Pirate Fairy {original-Tinker Bell (2008)}

>none submitted<

Tinker Bell and the Legend of the NeverBeast {original Tinker Bell (2008)}

It centres around Fawn aka the best Disney Fairy, KT Tunstell did the soundtrack which absolutely slaps and is unironically on my main playlist to this day. It made me cry when i watched it for the first and subsequent times. Its just so sweet and wholesome. Also apparently spice girl Mel B voiced a minor character in the UK release??? The voice casting alone makes this one of the franchises and films of all time.

[wushigod]

The Harry Potter actor pays tribute to his “favourite human”, who died on 24 March, saying: “I miss her hugs.” “Her passing has left a huge hole in our lives as a family,” he added. Mrs Davis was also an actor, appearing alongside her husband in the final Harry Potter film in 2010, in which she played a goblin. The couple, who lived near Peterborough, met on the set of the film Willow in 1988, before marrying three years later. The Star Wars star described Sammy, as he called her, as his “most trusted confidante and an ardent supporter of everything I did in my career”. She was a unique character, always seeing the sunny side of life she had a wicked sense of humour and always laughed at my bad jokes,” he said. Davis said that with his wife by his side, he felt sure he could achieve anything, adding: “It was like having a super-power.” “Without Sammy, there would have been no Tenable quiz show, no Willow series. No Idiot Abroad Series 3.” He added it had been his wife who persuaded comedian Ricky Gervais to send him with Karl Pilkington for the travel series. The couple’s children, Harrison and Annabelle, joined their father in paying tribute, saying “her love and happiness carried us through our whole lives”. “Mum is our best friend and we’re honoured to have received a love like hers,” they added. Davis played both Professor Flitwick and the goblin Griphook in all eight films in the Harry Potter franchise. He also played several characters in the Star Wars film series, and starred in both the Willow film and the 2022 sequel. His wife’s other acting credits include the children’s series Through the Dragon’s Eye (1989). Outside of acting, Samantha Davis and her husband founded the charity Little People UK in 2012 to help individuals with dwarfism and their families. “She was passionate about helping people, without judgement. She had time for everyone and a genuine listening ear,” the Tenable host said. Davis said in recent years his wife’s mobility had become impaired but she was “determined that it would not impact her quality of life”. Disney, the network the Willow series was on, said Samantha was “beloved member of the UK film and TV community”, adding: “Our thoughts are with the Davis family during this difficult time”.

[chaos0pikachu]

Trends in BL (Sorta): Genre Trends

So I've seen a few posts discussing trends in BL and I wanted to talk about that from a different angle. Specifically discussing what trends are, how they're formed, and to not remove BL from the rest of their countries own media.

The latter is something I see a lot when discussing BL this kind've ~separation of church and state~ but it's BL and Country's General Media. As though BL lives in a separate bubble outside of all other media and thus never influenced by the media being made in its country of origin nor the countries they share direct borders or trade with. Or all influence began and ended with seme/uke dynamics imported from Japan and nothing beyond that (no, Pit Babe was more than likely not inspired by Supernatural) and it's been static ever since.

All of that is, untrue, but also a really limited way of viewing international media. These countries are places with their own history, culture, politics, and of course, media arts. BL is a part of all of that. Which also effects the trends and potential trends we'll see in BL individually (as it's going to change country to country with some crossover).

I think a way of identifying trends in BL and also the root of those trends is by looking at the media of the country of origin their surrounding countries, and what BLs have unprecedented success and what has the industry learned from them?

So I'm gonna break this down by: genre, technical and business trend(s) in 3 part posts. In this post I'm just going to talk about genre trends in Thai and Korean BL as that's what I'm most familiar with.

Basically this post got hella long, I'm not in college anymore, and my motivation was tied to the length of my Jennifer Hudson Best Of playlist. So I had to split it up, es lo que es.

[This will not be a comprehensive list of like all BL trends ever respect to y'all who do but I do not and will not watch every BL in existence, bendicion]

To start we gotta talk first about how trends in media tend to work and also what we mean by "trends". Because there's genre trends, technical trends, and business trends.

Here's a good article breaking down various aspects of all three. When we talk "trends" in film it's not as simplistic as "office romances" or "cross country remakes" of which, one is a genre trend and the latter a business trend.

Some examples of what I mean:

Shared Universe (genre trend)

3d boom (technical trend, trended a few times in the industry, first in the 1950s until the 1960s and then again in the early 2000s until the mid 00s thanks to James Cameron)

Remakes/Reboots (business trend, this is a business based decision b/c the risk threshold for a pre-established work is lower than for an original work that may or may not have financial data backing it)

Trends in media, whether they are genre, business, technical or a combination, tend to take time to build up, and also tend last much longer than a singular year (generally for as long as something is profitable).

Example: it took time for the Shared Universe genre trend to gain traction.

Batman v Superman (2016) wasn't released until five years after Avengers (2012). Following this, The Mummy (2017) starring Tom Cruise was meant to kickstart Universal's The Dark Universe was released six years after Avengers. Before that Dracula Untold (2014) was supposed to be reworked to also start The Dark Universe (both these films flopped so no Dark Universe, rip).

Since the Avengers release, we have the shared universes of: Monsterverse (which combines Godzilla and Kong franchises together, technically started in 2014, officially started in 2017 with Kong Skull Island), and the Sony Spiderverse (Venom, Spider-man, Madam Web, Mobius lol) and The Conjuring Universe (Annabelle, La Llorona, The Conjuring, The Nun).

It's been almost 12 years since Avengers was released (fuckin'a) and we're only now starting to see some minor diminishing returns (Disney had a horrid year financially last year) for this genre trend, and not even across the board.

I want to iterate that Avengers did not 'invent' the idea of a cross-franchise shared universe. Things like Xena and Hercules, or Hanna Barbara cartoons existed long before the Avengers. However the Avengers kickstarted a genre trend in film. Just because a piece of media started a trend does not mean it invented the genre or technical innovation (James Cameron didn't "invent" 3D but he did revolutionize it with Avatar and I suffered through many 3D horror movies because of it).

[I point this out because sometimes ppl be getting testy when ppl say kinnporsche influenced the increase in mafia/crime BLs with well, um, actually history trapped/manner of death came first - yes, yes we know this. And Bi No Isu came out before all of them so everybody drink some tea and relax, everybody's faves are pretty okay😘]

Okay to let's get to what ppl actually wanna talk about, BL.

(Some) Genre trend(s) in Thailand and Korea:

In Thai BL genre trends I'm noticing are: horror, supernatural, paranormal, action crime, and magic/magical realism. A lot of these crossover, horror shows typically are also paranormal - Ghost House Ghost House (2022), After Sundown (2023) - supernatural shows tend to cross over with magical realism like time travel, or other soft magic elements - Time (2024), I Feel You Linger in the Air (2023), Cherry Magic (2023).

For the horror, supernatural/paranormal genre trend, this isn't at all surprising if you look at Thailand's recent film output from 2020 to 2023: The Medium, The Whole Truth, Ghost Lab, Haunted Tales, Cracked, Death Whisperer, Home for Rent, The Maid, Waning Moon, School Tales, and others, are all horror, paranormal, or supernatural films of some sort.

The horror genre trend especially has been around Thailand for a while, as far back as 2018 with the smash success of Girl from Nowhere which only gained a larger following when it hit Netflix in 2021. I'd almost argue the horror genre trend really picked up with Girl From Nowhere as now one of the main acquisitions of Thai series and film on Netflix are of the horror genre.

That larger media trend is now trickling down into BL with series like: Shadow (2023), After Sundown (2023), Dead Friend Forever (2023) and upcoming projects like Vampire Project.

While supernatural/paranormal series like Ghost House Ghost House (2022), 1000 Years Old (2024), I Feel You Linger in the Air (2023), Two Worlds (2024), Golden Blood (2024?) are increasing. OMG! Vampire (TBD?) will at least be supernatural but we can't say with certainty if OMGV will be horror or not as we only have a poster.

I imagine with the success of Dead Friend Forever, and I Feel You Linger in the Air we'll see the trend of horror and supernatural/paranormal series (I know some have already been announced) continued.

Then there's the genre trend towards more action and crime focused series; which more than often crossover but not all~ the time.

In terms of the increase in crime based Thai BLs I'd argue it was a joint combo of Kinnporsche's (2022) wild skyrocketed success, and the success of Manner of Death (2020). Alongside the influence of rise of crime and thrillers from Korean media (The Gangster, the Cop and the Devil (2019) and Unstoppable (2018))

Manner of Death I'd argue influenced projects like Never Let Me Go (2022), Unforgotten Night (2022), and Big Dragon (2022) if only because of their release times and taking into account the time it takes for a production to film and be edited down.

Whilst all these series came out after Kinnporsche - NLMG released a trailer in Nov, Big Dragon in Oct, and Unforgotten Night in Jun, while Kinnporsche dropped their trailer in Apr - they're series releases are so close to Kinnporsche that I don't feel confident in saying Kinnporsche 100% influenced their acquisition. Ngl it's hard not to see influences of KPTS in at least Big Dragon & Unforgotten Night if only in terms of technical film making, so there could~ be influence but I can't say that definitively. I'm gonna attribute these to Manner of Death since it came out two years prior to these other series.

Meanwhile series both released and unreleased My Gangster Oppa (2023), Red Peafowl (TBD?), Chains of Heart (2023), Kidnap (TBD?), are def riding the crime genre trend that Kinnporsche started and I'd argue series like Pit Babe (2023), Playboyy (2023) were acquired for production in part because of the crime elements included in their respective series.

Meanwhile series like Law of Attraction (2023) (crime/action) and The Sign (2023) (crime/action/supernatural) are combining crime, action and supernatural elements together.

I've said before Kinnporsche takes a lot of cues from Korean and Hong Kong crime films like Jet Li's The Enforcer, and Fist of Legend, Donnie Yen's Flash Point, Raging Fire, and Kung Fu Jungle, Han Dong-wook's The Worst of Evil, Kim Jin-Min's My Name, along with Japanese manga like Bi No Isu and KeixYaku.

Meanwhile The Sign is def taking cues from Chinese costume dramas like Ashes of Love, Fairy and Devil, White Snake (and it's many adaptions), Guardian, & Ying Yang Master Dream of Eternity. Alongside Hong Kong and Korean cop and romance shows like Tale of the Nine-Tailed, Hotel Del Luna, Director Who Buys Me Dinner, First Love, Again.

[I think the only reason Thailand or Korea hasn't jumped on the full fantasy train and pulled an Untamed is because of budget. The Sign has done very well for Idol Factory so I could see more studios trying to go in that fantasy direction if they can get the funding for it.]

Meanwhile shows like Time (2024), Two Worlds (2024), and Cherry Magic (2023) are leaning more into a combination of magical realism and a supernatural. Which is something that's been popular in Korea (Mr. Queen (2020), The King Eternal Monarch (2020)) in the past and obviously Japan (Cherry Magic (2020).

This, again, isn't a fully comprehensive list. I'm sure there's shows I've missed, and there's going to be evergreen genres that are always produced - university, high school, office all with a general romcom flavor - because they're cheap, easy, low risk and for the most part reliable.

That's not an insult to shows like Cherry Magic TH, or Middleman's Love or Cooking Crush or whatever.

Cooking Crush is just going to cost way less than The Sign it's simply a fact. Likewise Middleman's Love cost less than The Next Prince (TBD?) and was less risk as an office romcom. What helps offset the risk of something like The Next Prince is casting Zee and NuNew in the lead roles.

[watch these two trailers and tell me they cost the same]

Think of it of like, the 50 cop procedural dramas networks are always churning out; they do so because they're cheap, easy, low risk, and reliable.

Gmmtv made Cherry Magic not for the art of it all but because it was low risk and low cost to produce with a high value return. I imagine that's also why gmmtv cast Tay and New because while I don't know who the hell they are, lots of folks in BL fandom do because of Dark Blue Kiss and the reuniting of a well liked costars will also help offset financial risk for the project. Studios will often only greenlight a project if "a name" is attached to said project.

Anyways, Korea's turn.

The data for Korea is less because Korea comes out with fewer series than Thailand. Like currently Thailand has 9 ongoing BLs in 2024 while Korea has 1 (oh City Boy Log you lonely thing you).

For Korean BLs I'm still seeing mostly evergreen genre trends: the workplace (The New Employee, Oh! My Assistant, Roommates of Ponngduck 304,), high school/university (Light On Me, Cherry Blossoms After Winter, Semantic Error, Love Class, Love for Love's Sake) and Joseon (Nobleman Ryu's Wedding, Tinted With You, Director Who Buys Me Dinner) romances - which make sense, a lot of these were the trends of romance kdramas in the early to mid-00s.

What I am hoping, is we'll start seeing the acquisition of KBLs that are closer to what's currently trending in Korea: revenge (Revenge of Others, The Glory, Marry My Husband, Perfect Marriage Revenge), thrillers (My Name, Midnight, Somebody, Celebrity, Mask Girl), more class based social commentary (Devil Judge, Golden Spoon, Vigilante, Kingdom), and an increase in both sex and violence (Somebody, A Shop for Killers).

I could totally see more revenge based KBLs in the coming years since revenge and thriller shows can be combined pretty easily and you don't need a huge budget for either. You can also set them in evergreen settings like the workplace (Marry My Husband) or high school/uni (Revenge of Others).

KBLs have mostly stuck with evergreen settings with a couple outliers like Kissable Lips (2022), Once Again (2022) for example. I enjoyed Love for Love's Sake but it stuck in that evergreen space of school based romance, with magical realism. Again, not surprising given KBLs are just following trends of romance kdramas of the past.

Whilst not a bad~~~ thing, it can be a bit stale and hopefully with a bit more budget/investment we'll see the acquisition of series that are more in line with what's trending with Korean audiences currently.

There's other things I'd like to see develop into trends for KBLs but they're mostly technical and business trends.

That's all I got in the tank, this post took me almost six hours to write b/c of all the sourcing and research I'm freaking peeked.

See y'all next time ✌️

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]

[turneradora]

NEW ABOUT RIVALS 💯💯💯💯

New article in the Harper's Bazaar UK, October Issue, to promote "Rivals"!

Amazing photoshoot !

Here is the article of the Harper's Bazaar Uk magazine !!

Thanks to Emma Jones for the written transcription ! 🙏👍🌺

Harpers Bazaar - October 2024

BEST OF ENEMIES

Bazaar recreates the fictional county of Rutshire to meet the cast of Rivals, a new TV adaptation of Jilly Cooper’s racy 1980s blockbuster

As Jilly Cooper’s Rivals leaps rambunctiously to our screens, we meet the cast of the saucy new show

It’s 1986 and, high over the Atlantic, a London-bound Concorde is about to break the sound barrier. Most passengers continue smoking, flicking through magazines and ordering martinis, while the rattling WC door indicates that two are currently joining the mile-high club. Moments later, an unruffled, glamorous couple emerge triumphantly from the loo and the tannoy announces that supersonic speed has been reached: everyone whoops; glasses are clinked; and the thumping chorus of ‘You might as well face it/you’re addicted to love’ is amped up. This is the opening scene of Rivals, the much-anticipated new television adaptation of Jilly Cooper’s bestselling novel, and it’s so unsubtle that, even alone in a dark screening bunker below the streets of Soho, it makes me splutter with laughter. It is also irresistible.

The 1988 book is a classic of the Cooper canon and part of the Rutshire Chronicles, a series based in a fictional Cotswolds county that follows the lives and loves of the affluent elite – an area the team behind its new, and first, on-screen adaptation are well-versed in bringing to life. Produced by A Very English Scandal ’s Dominic Treadwell-Collins and written by Laura Wade, who was behind The Riot Club, Disney+’s eight-part drama is also executivelyproduced by both Cooper and her literary agent Felicity Blunt. It is largely faithful to the novel but, as that has 700 pages and 79 characters listed by name and personality trait in an A-Z at the front, the show necessarily homes in on the central plot lines.

The two main protagonists are Rupert Campbell-Black (played by Alex Hassell), a former Olympic-gold show jumper turned Conservative MP (and, incidentally, the ‘best-looking man in England’); and Declan O’Hara (Aidan Turner), an Irish broadcasting star who leaves the BBC to move to Rutshire with his actress wife Maud and children Taggie, Caitlin and Patrick. Declan’s new employer, Corinium Television, is run by David Tennant’s vile Lord Tony Baddingham and his sidekick Cameron Cook, an American producer he has lured over from New York, depicted by the US native Nafessa Williams. They are joined by a large supporting cast that includes Danny Dyer and Emily Atack.

The titular rivalries are many and varied, primarily centred on the struggle to win the local TV franchise; simultaneously, characters lock horns over love, money, class, pets, politics and property, while presenting chat shows, throwing parties and playing nude tennis. The resulting viewing experience is both a period drama that seems set on another planet and a series exploring themes that still resonate today.

Cooper – who, at 87, is still in full ownership of her signature cloud of coiffed hair, inimitable charisma and a hundred-mile-an hour conversation – loved working on the project. ‘It’s terribly exciting,’ she tells me, with an amazed shake of the head. ‘Other books of mine have been televised and it was awful – but with this, we took casting very seriously and I can’t fault any of them.’

During a break on Bazaar ’s shoot, Turner tells me how Cooper gave a cocktail party for the cast in her garden, and what a ball they all had filming in the West Country last summer. (The latter is clear: he’s delighted to see his co-stars, including the mongrel Pontie, who plays Gertrude, the O’Hara family dog, and some of her canine colleagues brought along for a day in front of the camera.)

The series appealed to the Poldark star immediately. ‘I thought the scripts were really, really funny – line-wise, I have some crackers,’ he says. Turner’s Declan is a big-hearted if self involved journalist, wrestling to reconcile his bosses’ desire to monetise his charm, his own dream of writing a Yeats documentary and the need to bread-win for his profligate family. Although this push and pull between being commercial and creative, between the professional and the personal, plays out in a larger-than-life fashion, it still somehow feels familiar to a modern viewer. ‘That’s the sign of really good television, isn’t it, when it holds the mirror up to our present,’ says the actor. ‘What have we thrown in the trash? What still needs to change?’

The ways in which prejudices have evolved in the past 40 years are thrown into quite harsh relief in the show. Casting a Black actress to play Cameron Cook, the damaged but resilient hot-shot American producer, gives the series an opportunity to delicately include a glimpse of the regularity of what we’d now recognise as racist micro aggressions. Equally, Cameron’s strength is joyful to witness. ‘Such a spicy, smart character – especially a Black woman, who can carry her own and get her way in the male-dominated world of that time – I wanted to sink my teeth into that,’ Williams says. ‘I also love the glamour: the red lip, the red nails.’ (The cast have embraced the scarlet-stiletto emoji – a replica of the original image on the classic book cover – as their unofficial series motif when posting on social media.)

The changing dynamics between men and women are portrayed with a light touch. Victoria Smurfit read Cooper as a teenager, and has now adored playing Declan’s wife Maud O’Hara – an insecure, attentionseeking former actress, the kind of mother who arrives at her son’s New Year’s Eve 21st-birthday party in the Cotswolds on a camel. ‘There are aspects of Rivals that make you think, “Oh my Lord, can you believe they got away with this back then?”’ the Irish actress says. ‘But in the show, it’s delivered in such a clear, fun, gentle, appalled way that a 2024 audience can digest it very easily.’ When I suggest the series has made more of the women and ensured they have three dimensions, perhaps to modernise the story a little, she makes a good point: that Cooper’s male characters – be it the rakish Rupert Campbell-Black or the angelic Lysander Hawkley of The Man Who Made Husbands Jealous – may seem the most famous because it was mostly women reading the books, and the author had designed her heroes – or antiheroes – to be ‘their perfect man’. ‘But look closely, and the women are not less than the men,’ she says. ‘Essentially, every character wants something they don’t have – usually love and safety – whether from their partners, animals or colleagues. Women in this world are entering the era of “having it all” and are learning to be open about what they want – and, by the same token, we are starting to see a softer side to the men.’

This is embodied perfectly in Bella Maclean’s Taggie O’Hara, the delightful, very dyslexic cook and daughter of Declan and Maud: on screen, she has slightly more twinkle in her eye than in the book – a good decision, as otherwise Taggie could be seen as almost too virtuous to be true to a modern audience. ‘But it’s so nice playing someone with a really strong backbone – it slightly rubs off on you,’ says the actress, who appeared in the latest Sex Education series and has just shone as the lead at the National Theatre’s London Tide. ‘Among all the silliness, the shoulder pads and mad hairdos, there’s always an undercurrent of something thought-provoking,’ she says of the show that could prove to be her career’s turning point. ‘There’s a love story that blossoms out of something really unpleasant. There’s light and shade.’

But the figure with perhaps the most chiaroscuro is Rupert Campbell-Black, Cooper’s number-one character, into whose shoes Alex Hassell is amazed to be stepping. Hassell is a seasoned RSC actor, with turns in The Miniaturist and His Dark Materials, whose theatre company The Factory counts Mark Rylance and Emma Thompson among its patrons. ‘I’m also from Essex, with dark features,’ he points out wryly, in reference to the white-blond locks and blue eyes of his new alter-ego, both of which are oft-alluded to in the books, and about which many young women dreamed in the 1980s and 90s. (Cooper was initially appalled.) ‘Rupert exudes privilege and confidence, so I had to learn a loucheness. It was helpful that everyone was told to treat me as if I was extremely attractive,’ he continues, laughing. ‘When you walk into a room of supporting artists who’ve been briefed to fall over themselves looking at you, smouldering becomes a lot easier. They imbued me with a certain power.’

In the Rivals prequel Riders, there are some pretty unpalatable aspects of Rupert’s personality – particularly the way he treats women and animals – that haven’t aged well. ‘We never explicitly had this conversation, but for my portrayal of Rupert, we’ve kept some parts of that history and taken out others. In our version, there’s a loneliness to him: he is a shit, but he has a kindness.’

However, there are two elements of Cooper’s storytelling to which the show stays steadfastly loyal: the abundance of sex and wordplay. Rupert’s dialogue is riddled with quips – some very clever, some very… Eighties. Hassell’s favourite is delivered just as Rupert is getting down to it, and involves a pun that combines Tories and the clitoris. ‘It was a hard sell,’ he says, laughing.

His character and storyline – which takes Rupert on, dare I say, a journey – are key to the show’s charm, pace, plot and sociopolitical signposting. What would Hassell like viewers to make of the series? ‘I hope people enjoy it, have conversations about the knottier topics it raises, and maybe have sex later,’ he says. ‘I say that jokingly, but – and maybe this is high hopes – perhaps for people who don’t talk to one another that much, as the series goes on, watching it with someone else might allow certain things to come to light.’

Cooper is delighted by this possibility. ‘Well, we’re philanthropists, aren’t we? I keep reading that the birth rate is going down like mad. Putting Rivals on the telly may help,’ she says, with the enthusiasm of a writer who has long had one foot in showbusiness: in her forties, she appeared in her capacity as a celebrity columnist on the BBC game show What’s My Line, and wrote a sitcom about a four-girl flat-share with Joanna Lumley in the lead role.

Revisiting the world she created – and partially lived in herself – 40 years ago has been bittersweet: it made her miss the era (‘it was much more naughty’), but also her late husband (‘there’s a lot of darling Leo and his jokes in the book’). Indeed, what today’s viewers may not clock is the real people Cooper drew on to shape several fictional figures, namely the ‘glamorous aristocratic types who were floating about when I, middle-class Jilly, moved to the country in ’82’. Rupert Campbell-Black, for example, is a patchwork of Andrew Parker Bowles, the late Earl of Suffolk and the fashion designer Rupert Lycett-Green. Her ‘beloved’ Taggie is entirely made up, but the scruffy Lizzie Vereker – a novelist whose husband cheats on her – is, she admits, based on herself: ‘She is nicer than me, though. I love her – that’s terribly narcissistic to say, but I do.’

Like her conversation, Cooper herself still rattles along at a good clip – last year, she released a bonkbuster about football inevitably titled Tackle!; this May, the King presented her with a damehood for services to charity and literature, and she’ll be tapping away at her typewriter on various secret projects right up to the very moment she is dragged out of rural Gloucestershire to the premiere of Rivals.

To all these endeavours, Dame Jilly continues to bring the same philosophies she always has: a disregard for snobbery (like many great minds, she rereads Proust and loves Helen Fielding) and a straightforward goal of contributing to the gaiety of the nation. ‘Maybe one day I’ll write something serious,’ she says. ‘But, at the moment, there’s some terrible sadness and loneliness, isn’t there? So, more than ever, and more than anything, I’d like to cheer people up.’

‘Rivals’ is released on Disney+ in October.

[by-ethan-fox]

So I saw Gundam Seed FREEDOM...

... and honestly it defies analysis.

I will avoid spoilers for major plot elements in this write-up.

I'm a huge Gundam fan. This shouldn't come as a surprise to anyone who has followed my work for a long time, as I frequently bring it up, even in entirely inapplicable situations.

But even though I've been a fan since the late 90s, I'd never had a chance to see any of it in the cinema - so when AllTheAnime organised a special short run of the movie for UK theatres, I jumped at the chance.

What I saw surprised me.

To clarify, I'm not one of those Gundam fans who hates SEED. Sure, I love the UC, but I'm not gonna lie, Wing was my genesis within the fandom so I'm as likely to watch G-Gundam as 08th MS Team, though I do lean towards the grittier side of the franchise, with War in the Pocket being my favourite entry.

But most relevant to this is that while I enjoyed SEED, I've always been critical of Destiny for some really bizarre plotting that, frankly, kinda left the CE timeline in a mess. Like many fans, with the show having been off the air for nearly two decades, I gave up on the idea the movie might exist literally years ago.

With all that out of the way...

The movie does exist. Finally. And is it good? Bad?

The weird thing is I don't know what to say, and that's weird for a writer.

It's awesome. It's terrible. It's goofy. It's clever. It's idiotic. It's bizarre.

But it's over 2 hours long and, honestly, I was never bored, which I guess is a success?

Perhaps most surprisingly, the movie expends ZERO ENERGY on helping you if you haven't seen the near-100-episodes of CE anime which came before this. Like, if you haven't seen SEED and or Destiny, you are just utterly fucked. The show wheels characters and plot-beats from the prior material in-and-out in a manner I could best call aggressive. I last watched Destiny about ~7 years ago, and I'm a self-admitted Gundam nerd; but even I had to look up a few things on my phone afterwards.

Then, fan-service. Of both kinds. All sorts of things get pulled out of cold storage for the movie... But it works. Though that also stands as a testament to how this is, in the truest sense, a 2004 anime throwback. I actually heard some people in the cinema groaning at some of the Gainax Bouncing going on; but then given the jiggly silhouette in EVERY OPENING TO SEED, frankly it would've been stranger if it had been absent.

I think the movie has loads of problems. Even by CE standards, some of the storytelling was really goofy and dare-I-say-it, "cringe". It recycles probably too much and certainly doesn't stand on its own as a piece of media (though that's not so much a failing as a clear, conscious choice).

Also... It has that "anime movie" thing where the plot feels a bit filler. The first time you have this new guy on the scene with shock-white hair, being all edgelord as he talks about war and destiny and fencing or some other weird metaphor you kinda see the entire movie unfurl before you. If you're a longtime anime fan this isn't so much your first rodeo as your daily commute.

From there, the story takes numerous predictable turns, dips liberally into melodrama, sets up some great Mobile Suit fights, with relatively few surprises (note, however, I'm not saying "no surprises", as there are some, and also, I'm not suggesting it's tedious).

And yet...

It's fun.

It's really, really fun.

That's the crux of all this. That's what really matters. And honestly, when that new theme comes out of the speakers, sounding in perfect key with the types of music that ran through SEED's run, and Kira's onscreen, and he's locking onto a dozen targets and beams are spamming everywhere and everything's exploding in that weird pink way that things in SEED explode...

Have you ever tried to play a videogame from the 90s that you haven't played in years? And do you know how touch-and-go that is?

Gundam Seed FREEDOM is, if I'm to compare it to anything, like that.

But thankfully, it's one of the times when your memories might have been optimistic, but they're not wrong. That game may be a bit crude, a bit rough around the edges, and have more boob and ass jiggle than you recall... But it's good. So good that you find yourself sitting cross-legged on the floor in front of your console, grinning like an absolute loon, until it's 2am and you can no longer feel your feet.

If you have fond memories of the SEED era of the Gundam franchise, don't miss it.