#between this and the pre-workshop script

[joy-crimes]

HEY GAMERS it's really early in the morning when im typing this but i literally couldn't wait any longer LOL

I'm PROUD TO ANNOUNCE that Dread Me Not: The Animated Series is currently in PRE PRODUCTION!

So whats that mean exactly?

Dread Me Not is a series I started in 2018 as a webcomic. It only lasted about 50 pages, but I eventually decided a webcomic was NOT the best way to tell the story, and would require me to compromise on my original vision for the series, so I put it on an indefinite hiatus.

I've continued workshopping it over the years, and a lot of things have changed since the initial release! I hope those who enjoyed the comic before will like this story even more!

The changes in the series story are the result of a clearer vision overall of the messages I'd like to convey.

The series officially entering pre-production means that you'll start to see more and more updates as time goes on!

The plan at the moment is to produce six episodes (between 10-20 minutes each) as a first season, and then begin releasing them publicly.

There is currently no release date because this project is just starting to get off the ground. Many portions of the script are completed, as well as multiple pages worth of storyboards.

In the coming [Amount Of Time], you may see posted casting calls, or announcements about the official Dread Me Not team! I've already gotten a few folks together (to be announced at a later date) that will be helping me along with this project, and I'm so excited to share more details with you!

Again we all have a lot of work ahead of us, and it'll be a while before DMN is actually something you can sit down and watch, but despite this, I hope I've at least gotten you a bit interested in what the future holds for these characters.

I'd like to cap off this long thread with a brief story synopsis:

Dread Me Not is the story of 3 strangers meeting in a desolate place known as "The After". There are very few other people around, and powerful creatures known as "Rave Demons" roam the land, attacking anyone they see.

When the cast awakens in this strange wasteland, they resolve to team up, protect each other, and help anyone in need that they come across.

Dread Me Not explores themes of loss, friendship, queer relationships, reconciling personal trauma, navigating the slow and difficult process of healing, and much more!

Please stay tuned for more updates. As a small team of myself and friends that volunteered to help, I ask that you please be patient while waiting for more info. This is very much a "long-haul" passion project that I will be hard @ work on for many months, and likely years ahead.

Thank You!

[7serendipities]

Healing the Morrigan’s Crows: A Recorded Ritual

So, the other day, I did a healing ritual the Morrigna had me develop originally for the Morrigan’s Call Retreat 2020, which was going to be my first year heading up there… until Covid happened and it ended up being online instead. Still, nervous as I was, the ritual did work in an online format, and now I’ve done it twice more since then. I was asked by someone who couldn’t make this last one if I would record it, and while I opted not to record the entire Zoom session, I did do a stand alone recording of just the ritual and journey, and have now edited that and uploaded it as an unlisted Youtube video, which I’ve embedded below. The lighting isn’t great, and the quality isn’t great, and the titles are very basic, but it EXISTS, and if this works out well for folks, I’ll be doing more like it in the future.

This workshop has two main parts.  In the first part, I normally discuss a few examples of battlefield healing from Irish mythology (including the use of the Well of Sláine in the Cath Maige Tuired, and the exchange of healing between Cuchulainn and the Morrigan in the Ulster Cycle), and talk about how that informs my own spiritual healing practice, as a healer called to serve the Morrigan and her community of Crows.  I did not record that part; that information (as well as the entire ritual and journey script) is available in a shared PDF document I’ll put a download button for, below. In the video, I refer to this as the “packet”.

In the second part, which I did record. I lead a short healing ritual focused on cleansing away all wounds that prevent the Crows from doing their sacred work, so that we can return to the battlefield, renewed and ready. This includes invocations of deities of healing, a chant to help create focus, self-anointing or -asperging with blessed water, and then a journey to travel to the Well of Slaine. To follow along at home, you’ll need a few things on hand before you start:

Vessel to be the Well, full of water

Small dish to hold the salt

Small dish to hold the 9 pre-mixed healing herbs

Bottle to pour out offerings from

Vessel to pour offerings into

Stirring implement

For the herbs, I generally use nine that I have on hand and most of which I have grown myself, selected intuitively for the need I sense at the time, but the idea is mostly that whichever nine you pick will align themselves with the 365 that Dian Cecht and his children strew in the water, and allow for a resonance. Choose based on what your specific healing concern is, or based on whether you want to drink the water after rather than just anointing, or based on what you’ve got in your spice cabinet. It should work just fine!

[shreyasonkar]

Be An Animation Campus course in Sonipat.

Here's a detailed course outline for the "Be An Animation Campus" program offered by Pickles Animation. This program is designed to provide comprehensive training in animation, covering both 2D and 3D techniques, as well as essential design principles and industry-standard software.

Be An Animation Campus Course Outline

Module 1: Introduction to Animation

History and Evolution of Animation

Early animation techniques

Milestones in animation history

Modern trends in animation

Principles of Animation

The 12 principles of animation (squash and stretch, anticipation, staging, etc.)

Application of these principles in both 2D and 3D animation

Module 2: Fundamentals of Drawing and Design

Basic Drawing Techniques

Understanding shapes and forms

Anatomy and figure drawing

Perspective and proportion

Character Design

Designing characters from scratch

Character turnaround sheets

Expression sheets and pose sheets

Module 3: 2D Animation

Traditional 2D Animation

Basics of hand-drawn animation

Keyframes, in-betweens, and timing charts

Flipbook and pencil test techniques

Digital 2D Animation

Introduction to software like Adobe Animate and Toon Boom Harmony

Creating digital keyframes and tweens

Working with symbols, layers, and scenes

Advanced 2D Animation

Character animation (walk cycles, lip-syncing)

Special effects (fire, water, smoke)

Combining 2D animation with live-action footage

Module 4: 3D Animation

Introduction to 3D Animation Software

Overview of Autodesk Maya and Blender

Navigation and basic tools

Creating and manipulating basic 3D shapes

3D Modeling

Polygonal modeling techniques

Creating characters, props, and environments

Texturing and shading

Rigging and Skinning

Creating skeletons and rigs for characters

Skinning and weight painting

Setting up controllers for animation

3D Animation Techniques

Keyframing and using the graph editor

Principles of 3D character animation (walk cycles, run cycles)

Motion capture integration and refinement

Module 5: Visual Effects (VFX)

Introduction to Visual Effects

Basics of VFX in animation

Particle systems and dynamics

Simulating natural phenomena (fire, water, explosions)

Compositing

Introduction to compositing software (After Effects, Nuke)

Layering and combining different elements

Adding final touches and adjustments

Module 6: Lighting and Rendering

Lighting Techniques

Types of lighting in 3D environments

Setting up lighting to create mood and atmosphere

Using light to enhance storytelling

Rendering

Understanding rendering engines (Arnold, V-Ray)

Optimizing render settings

Rendering stills and animations

Module 7: Storytelling and Pre-Production

Storyboarding

Creating storyboards from scripts

Visual storytelling techniques

Planning shots and sequences

Animatics

Creating animatics from storyboards

Timing and pacing in animatics

Refining animatics for production

Module 8: Sound Design

Basics of Sound Design

Understanding sound recording and editing

Adding voiceovers and sound effects

Synchronizing sound with animation

Module 9: Portfolio Development

Building a Strong Portfolio

Selecting and showcasing your best work

Creating demo reels and case studies

Designing an online portfolio

Industry Insights and Career Preparation

Understanding different roles in animation

Networking and professional development

Preparing for job interviews and pitching projects

Module 10: Capstone Project

Project Planning

Concept development and client briefing

Creating design proposals and presentations

Executing and managing a comprehensive animation project

Project Execution

Collaborating with peers and instructors

Regular feedback and critique sessions

Final presentation and assessment

Additional Features

Guest Lectures and Workshops: Sessions by industry experts on various topics.

Hands-On Projects: Real-world projects to apply learned skills.

Field Trips and Studio Visits: Visits to animation studios and industry events.

Online Resources and Community: Access to tutorials, forums, and networking opportunities.

This course structure ensures that students gain a thorough understanding of both 2D and 3D animation, practical experience with essential tools and techniques, and preparation for a successful career in the animation industry.

[onewingedsparrow]

Tell me about a story that you've written that you're really proud of (wip or finished).

Hiya ~ ~ I'd be delighted to! :D This WIP I shall speak of is one I have yet to post to AO3 or to Tumblr, but I'm very proud of it because it unknowingly became the first domino in a great line of stories that I have posted. This WIP is the forerunner of a dynasty. It doesn't have a proper title yet; it's just called "Skyward Sword fic." I intend it to be a dual story, meaning that the story switches between telling Link and Zelda's story in the present day during canon, and telling the story of Hylia and the First Hero in the ancient past pre-canon. The reason this story is a "forerunner domino" is because, when I began to write it, I wanted a distinct way to linguistically separate the Present story and the Past story. I wanted the Present story to make the readers feel as if they were reading an ordinary book, something down-to-earth and familiar. For the Past story, however, I got the beautiful idea to write it in poetry, to cause the readers to feel as if they had turned the page of the ordinary book and been instantly swept away into a different kind of book altogether—a storybook filled with paintings and flowing script, passed down from long ago. Each sentence within breathes rhythmic insurance; all pulsating words bleed intrinsic purpose. The goal with the voice of the Past story was to make the legend about Hylia and the First Hero seem fancifully fictional, for their era was so far in the distant past that Link and Zelda don't truly realize how important that legend is...until one fateful day. The WIP is still in bits and pieces at the moment. I'm still workshopping the full backstory for the First Hero, since Nintendo has given me a lot of free headcanon real estate :P It's nowhere near ready to be posted but I'm still so glad I started it! Beginning that story many years ago was unknowingly a crucial exercise for me in my writing journey. Metaphorically speaking, my dear untitled "Skyward Sword fic" tossed me the keys to a great gate, perhaps as stately and regal as the Gate of Time; and once I unlocked it and passed through the gateway, I found the freedom to compose many more stories in that same narrator voice as the Past story. The forerunner domino tipped over the chain, and I am still watching the next ones fall! The most obvious work of mine inspired by "Skyward Sword fic" is "Over the Edge," written to be read like a fairytale. However, my "Deku Tree Link AU" also relies heavily on a similar voice, because Link, as the Great Deku Tree (in title), carries an archaic, romantic, poetic air compared to the other people in Hyrule. This narrator voice is not limited to fairytale or fantasy, however; I leaned into it to write "Insult to Injury," a three-sentence poem about Transformers: Prime Soundwave (which I am also very proud of). I do hope to finish my "Skyward Sword fic" someday. <3 I'm very proud of it already; it'd be a shame not to carry it to the finish line. Thanks for the ask!

[stripchatcams]

From Screen to Truth: Witnessing the Credibility of Web Cam Pornography

Introduction

In today's electronic age, the world of adult home entertainment has actually expanded beyond the boundaries of standard porn. With the advent of web cams, individuals can now experience an entire new level of intimacy and also connection through cam pornography. Live totally free porn, watch porn as it takes place - these expressions have become common in our modern society. Cam pornography is just as prominent as porn videos, using a distinct as well as genuine experience that reverberates with customers around the world.

The Appeal of Cam Porn

Webcam porn is a kind of adult enjoyment where performers engage with audiences in real-time through real-time video streams. Unlike pre-recorded porn video clips, cam programs use a feeling of immediacy and also interactivity that can not be replicated elsewhere. Visitors have the opportunity to communicate with their preferred entertainers, request specific acts or scenarios, as well as also construct personal connections.

The appeal of web cam pornography hinges on its authenticity. Rather than scripted scenes and modified footage, viewers get to witness real minutes shared in between performers as well as their target market. This raw as well as unfiltered experience produces a feeling of intimacy that standard pornography typically lacks.

The Evolution of Web Cam Porn

Over the years, web cam porn has actually developed and also grown tremendously. What as soon as began as a specific niche market has now end up being a prospering industry with committed systems as well as communities. Entertainers are no longer restricted to traditional workshops; they can broadcast from the convenience of their very own residences or personal spaces.

With innovations in innovation, web cam shows have also come to be extra immersive. High-definition cameras, interactive sex playthings, and digital reality experiences have actually boosted the general high quality as well as realistic look of webcam porn. Audiences can now feel like active individuals in the activity, obscuring the line in between fantasy and also reality.

The Advantages for Performers

Webcam porn uses countless advantages for entertainers also. It offers a different job course within the adult sector, allowing people to regulate their very own web content as well as schedule. Entertainers have the freedom to express their sexuality in a safe as well as consensual environment while gaining a living.

Additionally, cam pornography empowers entertainers by cultivating individual connections with their audience. Many audiences establish a devoted following and also actively sustain their favored performers through suggestions and also gifts. This level of interaction and support can be extremely fulfilling for performers, both financially and emotionally.

The Duty of Count On and also Safety

Trust as well as safety and security are critical on the planet of cam pornography. Platforms strive to create secure environments where performers feel comfortable as well as viewers can appreciate their experience without anxiety or harassment. Stringent verification processes, age constraints, as well as content guidelines are applied to shield both events involved.

Performers also have the alternative to establish boundaries and establish approval protocols throughout their programs. This guarantees that interactions remain respectful as w

[parametrichouse]

Optimizing Workflow Efficiency: Tips and Tricks for Rhino Grasshopper Users

In the fast-paced world of design, efficiency is key, and designers are constantly seeking ways to streamline their workflows. For users of "[Rhino Grasshopper]," a dynamic duo in the realm of parametric design, optimizing workflow efficiency is a journey of exploration and innovation. In this blog post, we'll delve into valuable tips and tricks to help Rhino Grasshopper users make the most of this powerful toolset.

Mastering the Basics: Before diving into advanced techniques, it's crucial to have a solid understanding of the basics of Rhino and Grasshopper. Familiarize yourself with the interface, core functionalities, and the relationship between Rhino's 3D modeling environment and Grasshopper's visual programming canvas. This foundational knowledge sets the stage for more efficient and effective parametric design.

Utilize Pre-Built Components: [Rhino Grasshopper] comes equipped with a vast library of pre-built components that perform specific functions. Rather than reinventing the wheel, explore and leverage these components to streamline your workflow. From basic geometric shapes to complex mathematical operations, these pre-built components can save time and effort.

Organize Your Grasshopper Definitions: As your designs become more complex, organization is key to maintaining a clear and efficient workflow. Group related components, use descriptive names, and color-code wires to visually organize your Grasshopper definitions. This practice not only enhances readability but also makes it easier to troubleshoot and modify designs.

Take Advantage of Data Trees: Understanding and effectively using data trees in Grasshopper can significantly improve workflow efficiency. Data trees allow you to manage and manipulate hierarchical data structures. By grasping this concept, you can efficiently handle arrays, lists, and branches within your designs, leading to more robust and adaptable parametric models.

Custom Scripting with C# and Python: For advanced users, custom scripting in languages like C# and Python can unlock additional capabilities within [Rhino Grasshopper]. Scripting allows you to create custom components tailored to your specific needs. While not necessary for all users, having a basic understanding of scripting can provide a powerful extension to your design toolkit.

Parametric Iterations for Design Exploration: Harness the power of parametric design by setting up dynamic iterations. Define parameters that control key aspects of your design, allowing for real-time adjustments and exploration of various iterations. This iterative process fosters creativity and enables you to fine-tune designs based on changing criteria.

Explore Third-Party Plugins: Extend the functionality of [Rhino Grasshopper] by exploring third-party plugins. There is a wealth of plugins created by the community and other developers that cater to specific design needs. Whether it's structural analysis, environmental simulation, or advanced geometry manipulation, these plugins can enhance your workflow.

Stay Connected with the Community: The [Rhino Grasshopper] community is a valuable resource for learning and collaboration. Engage with forums, attend workshops, and participate in collaborative projects. The insights and experiences shared within the community can provide solutions to challenges, introduce new techniques, and keep you updated on the latest developments in [Rhino Grasshopper].

Conclusion: Optimizing workflow efficiency in [Rhino Grasshopper] is a continuous journey of learning and exploration. By mastering the basics, organizing your definitions, leveraging pre-built components, and staying connected with the community, you can unlock the full potential of this dynamic duo. Whether you're a beginner or an advanced user, these tips and tricks are designed to enhance your parametric design workflow, making [Rhino Grasshopper] a more powerful and versatile tool in your creative toolkit. Happy designing!

[caramariafilm]

WEEK 6 - Dinner Scene

Pre-Production

Building off of the dinner scenes we initially filmed two weeks ago, we were asked to develop a second character into the script and had the a couple hours to do so - alongside other paperwork and the production design. For our group, we decided to make this a dinner table between a couple, the first partner - played by Max - putting in effort to make the dinner special. The second character - played by Vanessa - would then come in disinterested and impatient.

For the set design, myself, Abbie, and India decided to keep it similar to last time even though the plot had changed. We wanted lots of personal details on the table to show a level of thought and care Max’s character had put into the decoration. With both height and colour balance, we didn’t want the dynamic to differ much over the table and for everything to feel natural.

After setting up, we had a quick break to assign roles for Film Workshop, which I’m super excited for!!!

Doing some final touches to set design, we broke for lunch and after we came back it was time to start filming.

The way this worked was each group had time to set up between cuts and then it would work in a circle system where we would go around and shoot each take one at a time.

My group took a little longer figuring out lighting however I think it really paid off and gave the production designers time to sit with the table layout itself and figure out if the decorations worked from each angle we were shooting at.

I feel as though the takes ended up going really really well. Both Max and Vanessa were really good at acting and just both worked for the scene. Ideally we would’ve had a bit more time to get a few more variations of shots but I also think that the time pressures allowed to get better at making impulsive decisions - something Mark Leese had taught us about in the previous week. Overall I really enjoyed this exercise and I’m starting to feel a lot more comfortable in my set design abilities!!

[waffle-bubbles]

Here are my notes from my theatre textbook, if you're interested :)

Chapter 1: What is Theatre?

Theatron: seeing place (Greek) (those who watch, those who are watched)

Separation: distance between viewer and play

Theatre building, company

Theatre of Perception: watching everyday life as if it were onstage (romanticize)

Random people you see on the bus (their actions important)

Invisible Theatre: what would you do tv show

Quite Theatre: actors speak with backs turned, scribes write mumble fragments (Japan)

Theatre skills can be used in business, law, education, etc. 

Building: 

Theatron: empty spot of Earth people preformed at (minimal building)

Hillside: seat more people to see stage

Acustocis: make sure audience can hear (way to project/bend voice)

Company: people who participate in theatre productions

Childs play: hide-and-seek prepares child for facing anxieties/uncertainties

Adult games do same things, but theatre has pre-determined ending

Art: abstract concepts (beauty), answers existential questions

“Art is accessible without subscribing to any particular set of beliefs.”

Impersonation: “viewed as artistic creations rather than themselves”

React to character/plot as if they were real

Hard to separate actor from character

Physical masks to denote actor was working/changing characters (Greece)

Actors are expected to leave their life behind when they walk onto stage

Performance: “action taken for the benefit of someone else” (enlightenment, entertainment, etc.)

“All theatre is performance, but not all performance is theatre” (baseball games, medical examination, horse play, etc.)

“Theatre makes art out of performance” 

Presentational: respond to audience

Representational: staged as if there was no audience

Suspension of disbelief: concentrate on staged event rather than nature of presentation (envokes empathy)

Live Theatre: audience/actors fully aware of others presence (respond together)

Scripted/Rehearsed: “repetition with difference”

Developed through workshops, collaboration, improvisations (devised rather than written)

[obstinaterixatrix]

I have to be slightly crude for a second so it’s banished to the tags

[lesbiansforboromir]

I had a very disturbing experience reading the pre-production section of the lotr film’s wiki today, and now you all also need to know how many fucking TERRIFYING near misses we had, along with a bunch of wild shit I’m quite... for! So, here is an incomplete list of things included in earlier scripts for the films;

At the end of the first film, Saruman is shot by an overhead Nazgûl and, before his death, is redeemed through issuing the Palantir to Gandalf.

Elladan, Elrohir and Erkenbrand join Aragorn on the Paths of the Dead (the latter dying in the process)   

Gandalf is more frail and has given up pipe-smoking, and Gimli's dialogue contains several vulgarities.   

The Nazgul skewer Barliman Butterbur and Wargs attack the Hobbits near Weathertop.   

Lothlórien was cut, with Galadriel doing what she does in the story at Rivendell. Denethor attends the Council of Elrond with his son. 

Arwen rescues Frodo instead of Glorfindel, and later joins the battle of Helm's Deep, where a Nazgul sweeps in, only for its fell beast slain by Gimli.

On the seat of seeing Frodo puts on the Ring to draw away a fell-beast, which Sam lasoos to the structure. The Nazgul attack Sam before Frodo kills it.

The second script included a sex scene between Aragorn and Arwen in the Glittering Pools, interrupted by Legolas and Gimli's sight-seeing the caves. ��

Arwen later fends off a Nazgul that menaces Pippin and joins the Rohirrim. The writers also considered having Arwen absorb Éowyn's role entirely by having her kill the Witch-king, with the resulting wound becoming the source of her illness.

Miramax became increasingly worried and asked for cost-cutting rewrites such as killing one of the four Hobbits.

Jack Lechner sent a memo in which he suggested cutting Bree and the Battle of Helm's Deep, "losing or using" Saruman, merging Rohan and Gondor with Éowyn as Boromir's sister, shortening Rivendell and Moria (losing the Balrog and the fight in Balin's Tomb in the process) as well as having Ents prevent the Uruk-hai from kidnapping Merry and Pippin.

Arwen follows the Fellowship to Lorien, and later rejoins them in Rohan after she rescues two refugee children from the Orcs, delivering them to Helm's Deep where a love triangle develops with Eowyn, who delivers a child while fending off Orcs in the Glittering Caves. This culminates in her riding to war with Eowyn, who saves her from the Witch-King.

I will also include a special mention of this apparently real thing that happened; 

In a meeting, Peter Jackson tried to convince Harvey to make the first film on-budget and then make the second film, and later suggested making a one-film version under the provision that it would be four-hours long. Harvey refused, insisting on telling the whole story in a two-hour film. Jackson balked, and Miramax declared that any script or work completed by Weta Workshop was theirs, and that they would commission Hossein Amini to rewrite the script with Fran Walsh. When Jackson and Walsh refused to co-operate with making it a one film project, Harvey Weinstein said he had John Madden ready to direct it. In a later phone-call to Jackson's agent, Harvey instead mentioned Quentin Tarantino. Jackson and Amini both believe this was a bluff to get Jackson to agree to make one film.

I have to admit, whilst I still maintain all my positions on the films, as well as my assertion that the films were good in spite of Peter Jackson’s directing, not because of it.... I also may be feeling quite a few positive emotions towards the man for fighting the higher ups so hard on all this and putting so much effort into ensuring the films had the best chance... Perhaps. 

[whistlingstarlight]

Okay having now seen a subtitled version of the post-2018 update, ngl I still think it’s a hot mess. The script looks uncannily similar to the 2017 workshop (minus the Ich Bin Ich intro, which is better but honestly that’s not a high bar to clear given how horrifically sexist the workshop version is), and my verdict hasn’t changed.

Dinah is still frustratingly inconsistent, Caboose is... admittedly better than the “crazy” interpretation but I still believe he peaked in the 2017 Workshop, I still hate that the engines and coaches are rivals rather than getting along now, Carrie and Belle are made of cardboard and have less individual personality than the workshop coaches, the lighting makes it very hard to watch at times, choreo fluctuates between literally nothing and way too much at once, and my god do I fucking despise CoCo and her shitty writing. Despite all this, I do not hate the update. I had a lot of fun seeing it live. But honestly if I had a button to reverse the changes, I would press it. The things I like about the update are still outweighed by the things I like pre-update. It’s not terrible, but I still question if it was necessary.

And for the love of everything please don’t come in here trying to change my mind. I’ve acknowledged and appreciated several aspects of the update, but it’s totally fine for me to not like it as a whole. I’m not saying you have to agree with me, this is my OPINION.  This version is not terrible. But I don’t think it works overall.

[greatmuldini]

[expect he has lost most of his shirt by now and some nice whip weals will add to charm of back view]

Blacklisted by Senator Joseph McCarthy for alleged "anti-American activities" and unable to work in Hollywood, Joseph Losey along with dozens of like-minded actors, directors, and creative personnel fled to Britain in the 1950s. Since before WWII, the trans-Atlantic relationship between the two entertainment industries had been a complicated one but in the prevailing climate of disintegration and consolidation, the influx of major (and minor) Hollywood talent was warmly welcomed. The Rank Organisation cultivated a reputation for going on indiscriminate spending sprees but invariably found itself having to release its expensive acquisitions for lack of meaningful employment.

Among the post-war Rank recruits, content creators were the exception, and this affected the quality, if not the quantity, of the Organisation's cinematic output. When Joseph Losey finally did receive his first assignment, to direct The Gypsy and the Gentleman, it bore the hallmarks of a case in point: no records have as yet emerged that would explain the somewhat eccentric choice, for the politically left-leaning Losey, of a lavish costume piece about the demise of a weak-willed nobleman at the hands of his ruthless gypsy lover - unless one is inclined to see in the material a parable of Western decadence, as Marxist observers have done.

While a strictly ideological interpretation produces interesting speculative conclusions, perhaps the more productive approach is a purely visual one: dismissive of the subject-matter and unable to shape the material to his liking, Losey never attempts to explain his characters or their motivations. The result is a very deliberate focus on the process of telling the story rather than why it is being told, and Losey turns to the expertise of the painter and art school teacher Richard MacDonald to direct what he would later describe as a study in style. Losey and MacDonald subsequently collaborated on a number of films but it is in the development of The Gypsy and the Gentleman that their idea of "pre-design" begins to emerge.

And concrete shapes are Richard MacDonald's primary concern: long before the cast arrived for initial rehearsals in June of 1957, MacDonald was creating actual three-dimensional spaces (rather than trompe-l'oeil, i.e. painted, theatrical backdrops) for a quasi-authentic Regency environment. Faithfully executed by the Pinewood workshops, the sets delivered exactly what the director had ordered: a static tableau of period décor, unlikely to interfere with the dynamic action of the living, breathing human beings assembled to animate the scenery. Ideally, it would have been assumed, they would somehow combine to form a meaningful whole. The dynamism of the human component and the critical role of capturing the perfect - moving - image is not lost on MacDonald. From the final shooting script of 12 April 1957 he prepared a frame-by-frame storyboard pre-visualizing camera angles, editing suggestions and emendations where the script omits important visual clues.

The final dramatic coach chase in SCENE 226 lacks precisely such clues. It has Jess and Belle racing after the vehicle containing Deverill's sister Sarah - and their last hope of swindling the young woman out of her rightful inheritance. Jess deftly dispatches Sarah's fiancé before catching up to Belle's commandeered coach. The script describes how Jess clings to the back of the coach, then climbs over the top and joins his partner on the box, taking the reins from her. Translating the verbal instructions into "actionable" images, the sketch artist is faced with crucial choices: whose point of view will we be sharing, where are we in relation to the characters, what are the characters doing and how are they doing it?

In MacDonald's concept the camera follows the coach and allows us to watch Jess, from a slightly elevated vantage point and at a medium distance, which frames his figure framed atop the speeding coach. His technique, crouched low on his stomach, and the fact that he is moving with a natural ease and grace suggests he has done this before: Jess knows what he must do to get what he wants. The "savage" man's essential virility (in stark contrast to Deverill's effete decadence) is sketched out by MacDonald in a few sparse pen strokes not of his face but of his obviously well-endowed body in the act of taking control. We do not need, indeed it would be beside the point, to read his face for signs of physical strength and determination, which are required in the situation and which Jess does have in abundance.

MacDonald would have drawn his inspiration from the characterizations of Jess throughout the script, but he goes above and beyond the written word where continuity is less than assured and actions must and will have visible consequences. Following the coach man's ferocious use of the whip against his attacker, MacDonald's instinct is to zoom in on the gory details - with a flair for unflinching hyper-realism only the true aficionado would have appreciated had the sequence been filmed as planned. Unfortunately for the aficionado, in the finished film the coach man no longer wields his whip, and the only drastic imagery we are being exposed to is the crude back projection footage that has taken the place of MacDonald's charming back view proposal. Ultimately, of course, only those images that make the transition from sketchbook to screen will live to tell the tale.

Making those life-and-death decisions is the director's prerogative; his omnipotence however does not extend beyond the telling of the tale: Joseph Losey does not choose his fictional characters, nor does he decide what happens to them. His selection criteria are practical rather than ideological, aesthetic rather than commercial - or they would have been, in an ideal (fictional) world. The bold proposals of his draughtsman may have presented Losey with a variety of stubborn obstacles, but an equally plausible explanation for the use of conventional studio footage in place of the more experimental tracking shot could be post-production objections to the pre-designed perspective. Scenes could have been rewritten and re-enacted at the behest of unhappy Rank executives, to add close-up shots of the actors' bankable faces amid the racing carriages.

Beyond the promise of commercial appeal it is an intriguing question to ponder whether the studio inserts offer valid or even valuable alternatives to the aesthetic aspirations of MacDonald's narrative. In the end, the project proves its own premise: art may exist for art's sake but no such claim has ever been made for style. As a medium in search of its message, Joseph Losey's visual and perhaps visionary experiment remains strangely incomplete, a promise unfulfilled.

[gedankenspaziergang]

Diversmagazin Interview  Translation

Diversmagazin released an interview with director Sarah Blaßkiewitz and Head-Writer Jasmina Wesolowski today. Read it here in German.

Jasmina (she/her), DRUCK writer since season four and head writer since season six together with Jonas Lindt. In a writers Room with Paulina Lorenz and Raquel Kishori Dukpa (Jünglinge)

Sarah (she/her) director of the last four episodes from season six

I’m leaving out the general introductory questions.

Alicia: Can you talk about the writing process? And what’s the most important thing for you while writing and telling stories?

Jasmina: We especially wanted the profound exchange with young adults who represent our protagonists. For season six we had the challenge that we wanted to tell the lovestory of a Gambian-German girl and a Vietnamese-German girl, perspectives that aren’t represented in the writer’s room. That’s why we talked a lot to research partners, to make up for our lack of knowledge/ experience, but we also talked to the actors and actresses.

Alicia: Why do different directors work on DRUCK?

Sarah: We try to produce as much in real-time as possible. And of course, we have to pre-produce but still have to work [overlappingly]. While one director is already in the editing phase, the next one already starts to shoot. Another reason is of course, that this way, also in the writer’s room, there’s more space for diversity.

 Alicia: It’s similar to the writer’s room. You’re also dividing the writing of scenes between different people. … Are you working together with racism and LGBTQIA+ experts?

Jasmina: I think we all have blind spots and that it’s absolutely impossible to end up with a perfect result. It was an important first step, that the Jünglinge collective joined. They are big advocates for queer BIPoc representation in German media. They were always present for feedback loops and made all of us, crew, actors and actresses, participate in an anti-racism workshop. We were lucky to have the brilliant author and anti-racism trainer Arpana Berndt, who advised us on these topics. On top of that, we did a lot of research on different topics. I think now it should be the only way to produce movies and shows this way, with an intensive research phase. This way you don’t appropriate the stories of others and also don’t tell inauthentic stories or, in the worst case, use hurtful clichés/stereotypes. It was helpful and needed that Black perspectives were present also behind the camera – Sara as a director, but also in the social media team, make-up department or costume design. But we are also aware that more can be done.

Sarah: It’s important to me to highlight the make-up and costume design department. When I, an afro-German person, joined this project and met other afro-German women in those departments, who can relate to me, the character of Fatou and Ava, I was really glad. I can say from many years of experience that that’s not a given.

 Alicia: How about experts on LGBTQIA+ issues?

Jasmina: To talk a bit about the process: We were set on Fatou being a lesbian pretty early on, and that was already discussed in the earlier writer’s room, where that perspective wasn’t present yet. In the beginning, those were loose ideas, and we had to implement them with the casting. The casting team Raquel Kishori Dupka, Melek Yaparak and Angelika Buschina worked closely with the directors and contacted different institutions and specifically asked for actors and actresses who could be queer. At this age this is of course a super sensitive topic. You don’t want to force young people to [define themselves/come out]. It’s a huge challenge to handle that with care and it was extremely important that the Jünglinge collective was part of the casting process.

But also, apart from the casting process, we profited a lot from the queer people in the writer’s room in the cast.

Sarah: For my part I asked the authors and queer people “What would you like? What is nice? What hurts? What’s important? Or what have I never seen before?” And then I put those different experiences into the different scenes. On top you of course need common sense (?) to portray something that you haven’t experienced yourself.

 Jasmin: I just thought of a small really beautiful example: How Fatou was given these rainbow socks as a Christmas present. You immediately notice, that was the idea of a queer person who knows what non-queer parents give to their kids as gifts. The fans notice: Queer people were in the writer’s room. Or “Ah, these actresses know, what they’re doing.“ And those are the small things that make a difference.

 Alicia: For sure! In DRUCK you notice that queer people were part of this in really subtle ways, and that [resulted] in really nice fan-moments. I can confirm that.

Right now, the community is discussing the conflict between Mailin and Ava a lot. What role does that conflict play for you and what does it teach us?

 Sarah: I’m editing the last episodes right now, so I really feel it, also because you already see the reactions online.

For me, the conflict is important because it shows over a long period of time, that not everything is always only good or only bad. That it takes a lot of time, patience and confrontation to understand all nuances of that kind of conflict.

That Ava could be prevented to outright say what’s bothering her, because we’re talking about a really serious trauma of exclusion. How do you even tell people really personal stuff when you were bullied for years? And now we have that conflict, that seemingly takes forever, and you’re always asking yourself: “Why aren’t they talking to each other?” But it’s only in real time that you realize how hurtful this conflict is. How hurtful it is what they experience. What racism means, and also what it means to [deal] with that topic as a white  German girl. And I think it’s really important that everyone is going through that with this season. That takes time and sometimes hurts. And you don’t always understand Ava and you don’t always understand Mailin. When we really [dedicate ourselves to understand this conflict] then I think, we can experience what for example a person like me experienced their whole adolescence. I’m not saying I was bullied my whole adolescence, and maybe it wasn’t because of the color of my skin, but because of something else. But that went on for half a year. After being bullied in school for half a year you’re not up for school and your classmates anymore. And you don’t talk to them anymore. And if people realize that because of this season then I’m glad. I think it’s really touching that this conflict takes up so much space.

 Jasmina: I found it really interesting what you said about the nuances, because it was a real process for me to learn how many facets this conflict has. And especially that us white people, who grow up in a society with structural racism, have a particular idea about what racism means. And that’s not a detailed and uncritical perspective of that topic: As soon as you call me racist, I feel attacked and start defending myself.

The role that this conflict played for us was to show how incredibly exhausting it is as a Person of Color, to always have to deal with these problems and that there’s a kind of fatigue, that you don’t want to talk (or should want to talk) about certain topics anymore, especially if you have other things going on in your life on top of it.

On the other hand, we have Mailin, who has a strong desire to understand. She’s not aware of her privileges as a white girl. We want to take this journey together, when she starts to realize things and when she goes through different stages; until she understands, what it is really about. We also have an arc there that isn’t finished. Because in real life, you have to deal with some topics over and over again. We think it’s especially important to show that it’s not the job of Black people to explain racism to their white  friends. By now, they have all the resources to educate themselves and to talk with other white people about this topic, to unburden Black people.

 Alicia: That’s really interesting! The lovestory of Kieu My and Fatou is an important part of season six, which many queer young adults love. How is the relationship between Fatou and Kieu My representative for a generation?

Sarah: I can actually also see it in an older generation. When I send the cuddle clip of Kieu My and Fatou to my grandpa, he says “Wow, how amazing that a Viet-German and a Afro-German girl are lying in bed together, talk in German and are in a relationship.” This generation hopefully isn’t alone anymore, for example in the sense of: being the only Afro-German person in a small city. That changed and now we see it in that second and third generation. And that’s why it shows me something very real and beautiful.

 Alicia: Which scene are you really proud of and why?

Sarah: My favorite scene, and one I’m really proud of and that was really important concerning the pressure of school, was with the main character Fatou. It’s about a path of finding yourself from Fatou and a [Reinigungsmoment] with her brother. Two people, who know each other from the moment of their birth, are sitting together. When I read that scene I thought yes, I can relate, I can feel that, and when we shot that, a world opened for me. And that was partly because of the music, which was decided before we shot this scene. Then we shot it and it was fucking cold, but we shot it again and again but every time we really felt it like the first time. And when I now watch that scene while editing, it really is the perfect moment. Every facial expression is perfect, every reaction. And that’s that kind of truthful (?) moment you’re looking for as an actor, actress, director or author. When everything fits.

 (There’s a script for every social media part, What’s App Chats and ideas for social media stories. )

 Alicia: When can we expect the next season and what will it be about?

Jasmina: For now, DRUCK is finished and we have to wait how it will continue. Fingers are crossed and of course we’re hoping for a new season.

[Note by me: We‘re not gonna spiral, Jünglinge looked for more writers, Black writers, on facebook a while ago. Nothing is safe but they probably don’t want to make any promises]

[gunterfan1992]

“Obsidian” Comic-Con Panel Highlights! *SPOILERS*

If you've missed it, Adventure Time was featured this year at the (virtual) San Diego Comic-Con. The video is right here:

If you do not have the opportunity to watch the panel, I’ve jotted down some highlights. Read on for more (but be warned, as there are spoilers):

Distant Lands was an “older idea” that has its origins during the final season of AT.

The BMO space story and Bubbline story, in particular, were envisioned as miniseries “to fill out the back-half of a longer season” that we, unfortunately, never got.

The writers didn’t want to focus on Finn and Jake too much in Distant Lands because their story was “mostly done—and that was the series.”

When workshopping possible miniseries during the final season, many revolved around minor characters that the writers played.

The producers chose to start with a BMO episode because it is an “easy access point.” Adam also argued that, due to BMO’s kid-like perspective, “the episode [would] feel younger by default.”

“Baby Finn and Jake… I love the look of baby Finn and Jake.”—Niki Yang

According to Niki, “BMO always bounces back!” is her favorite line because “we live in such a strange time,” and that line suggests that “we will bounce back together.”

Curda believes that after BMO departs Y5′s satellite world, Y5 was able to reorganize the Drift and make significant social and political change.

“Obsidian” will touch on pre-series events and post-finale events.

In regard to the previous point, Olson said: “It was really cool to be able to see some of the things in the past that happened between them and how it will affect their, future moving forward.”

Olson was “really excited” when she read the script for “Obsidian,” and she thinks that fans will be able to “tick off a lot of questions.”

The name ‘Obsidian’ is “a metaphor” and the “most powerful fusion” (SU joke, haha), but it has mostly to do with the location of this episode, which takes place in the Glass Kingdom. Adam explained that the name was chosen because obsidian can be protective, but it can also be weaponized (just like Marcy and PB, who can love one another but also be quite mean); he also notes that obsidian can be a “cleansing” material, and this episode will explore some of their “older conflicts” while also considering what their relationship would be like “down the road” after the finale.

Olivia Olson argues that, when she asked Ward about Bubbline in 2014 (prior to her spilling the beans at a 2014 Barnes and Noble panel), she was being “highly speculative” and investigating for the Marceline scrapbook. [Note: Olson was visibly uncomfortable during this portion of the Q&A, suggesting she wasn’t quite OK talking about it.]

“Obsidian” is going to give us a chance to see “so many sides of Marceline.” Much of the episode is focused on her “getting over some of the barriers that she’s put in place for herself.”

“Obsidian” features several new songs, composed by a number of “amazing songwriters.” Many of these songwriters were working hard to replicate Rebecca Sugar’s signature style; the writers also tried to show how Marceline has grown as a songwriter over the years (including from when she was a kid, when she was an “angry punk,” and now as an adult who still has some issues to focus on).

All of the songs were composed before the episode was storyboarded.

Adam and the writers wanted a song in the episode because otherwise, it would be a “missed opportunity.”

It was “an emotional day” for Olivia when she recorded a specific song, and it caused everyone in the recording studio to tear up. She “hopes we get a similar reaction” from the fans.

There are new characters in “Obsidian,” including characters who show up in the beginning as analogs for Finn and Jake. One of them is called “Glass Boy,” and he is a Finn-esque “instigator” who gets PB and Marcy to talk about their past.

Glass Boy is voiced by Michaela Dietz, who played Amethyst on Steven Universe!

The final two specials focus on topics/characters that weren’t explored that well, or might have been explored if the show had gone on for longer. My guess is Peppermint Butler (duh) and the Lich (highly, highly speculative on my part).

Adam notes that the writers didn’t want to go “so far a-field” and focus on D-list characters in these special. The main characters in the final two specials will be major (duh).

One of the songs is called “Monster,” and it was written by Half Shy. It seems to be one of the ‘big’ ones, and of course focuses on Marceline and Bubblegum’s relationship.

Those are the big ones that jumped out to me! Let me know if there were some other cool facts and tidbits that I should’ve added!

[caelysiiium]

the documentary just has me even more excited for next week oh my gosh

key points about the series for those who are waiting and don't mind knowing before watching it themselves:

p'meen, the new director, isn't from the city, and actually brings the perspective of a "country boy coming to study or living in bangkok" (a reminder that p'boss is staying on as producer)

there is a fixed story already, but how part one was narrated and ended would affect what happens in part two

from billkin: "the director's changed, the crew is changed. it's just like a whole different kind of taste. different backgrounds. different settings. different mood and tone. different storytelling. I feel like it's two different colours, between part one and part two."

the story is about all four years at uni! (I was wondering, because they did show their 1-year anniversary in the trailer and that would indicate at least 2nd year)

we see how living in a new city, meeting new people, having new experiences will affect their relationship

new acting coaches! one pre-production (p'shell) and one on set (p'woon)

p'meen got a sense of their vibes during the first read-through and had the freedom to adjust the script to "help push the character more effectively" or change the character to "merge with the cast"

they had acting workshops with oh-aew's friends group (focused on developing their chemistry as close-knit friends), teh's friend group (focused on maintaining a level of competition because they're from the uni's drama club), and bkpp together (focused on concentrating and exploring various different emotions they'll need to face)

p'shell to bkpp: "are you really okay with that? is the character really okay with that? accept what the character has said. let the characters work. don't put yourselves into it."

p'meen talked about how going from high-school graduates to university students, perspectives change, personalities change, "something within you has grown-up"

[sylvain-writes]

Doors Will Open (Donatello x Reader)

Rated: G

Gender Neutral Reader, pre-relationship, movie night, tenderness, cuddling, supportive brothers

You surprise Donnie with lembas bread for your Lord of the Rings movie night.

for @blancoluna

Donatello is holed up in his laboratory of mischief and oddities when you arrive at the lair bearing treats. But Mikey is there to greet you, jumping out of the Pit to graciously unload the deep tupperware of cookies from your hands. 

His eyes twinkle as he leans in to stage whisper, “You’re my favorite, know that?”

April walks up behind him with a gasp of indignation. “I’m gone five minutes!”

“But, but...” He lifts the box in his defense, “Cookies!”

“Ooh.” April’s eyes go wide and warmth floods your cheeks at their enthusiasm. She rubs her hands together with delight. “Can I grab one for the road?” You nod, of course, encouraging her to take as many as she likes. “You’re my favorite too,” she says with a giddy bounce.

Your laughter draws Raphael and Leonardo from the tunnels, and your excitement for the evening mounts. Rising to your toes hopefully, you try to capture a glimpse of Donatello behind them. The tunnel, however, is otherwise empty. Your heart sinks just a little.

Everyone gathers in the kitchen, welcoming you and trying to convince April to stay, but with each passing minute, the absence of your best friend grows harder to ignore. 

“Wheel of Time is in my bag,” you mention to Leo half-heartedly. It’s a book series he’s been begging to borrow for ages. You’re proud of yourself for remembering to bring it, and you don’t want to get distracted and forget. 

“Thanks!” Leo unlatches your messenger bag immediately, diving into a confession that only serves to prove what a nerd he is. Apparently, he sped through the Lord of the Rings this week in his excitement for the weekend movie marathon. You nod along with an amused smile. You're usually overjoyed to have the fellow bookworm to talk to, but your attention keeps drifting to the empty tunnels. 

A lull in his rambling gives you an opportunity to ask, “Is Donnie coming?” You have trouble meeting Leo's eyes, but you try your best to keep the question sounding casual and light. You don’t want Leo, Raph, Mikey, or April to feel like you don’t value their company, but you brought down supplies for Movie Night under the impression Donatello would be joining in; you don’t want to start without him.

“Oh, I’ll get that knucklehead,” Leo says, stacking the books to carry. “He probably just lost track of time.” 

Turning from Mikey's final, futile plea for April to stay, Leo heads toward his room to drop off the books, then to the workshop to gather their missing brother.

The muted sounds of tools and machinery come through the heavy door in clanks and whirrs. But Leo knows Donnie won't mind the intrusion.  He raps a knuckle against the small frosted window and gives his brother a shout. 

Donatello raises his voice over the buzz of a circular saw to ask, “Emergency?” But the sound of the blade cutting through metal continues without pause.

“No.” Leo won’t lie. He won’t test Donnie’s nerves with trickery, not even when the reveal is something his brother has been looking forward to all week. 

“Password?” Donnie counters next.

Leo screws up his face, searching his memories for the right answer. “I don’t know, dude. There’s cookies? And, like, ten hours of movies, so-”

The saw goes silent before the 'shop door opens with a snap. Leo takes a step back to give his brother room. 

Donnie’s face pops through the gap, his eyes looking unnaturally large through the magnifying lenses perched atop his beak. “What day is it?”

“Uh, Friday.”

“Y/N is here?”

Leo's exasperated answer hisses through the tunnel. "Yes." 

Donatello lets the door swing wide as he pulls off his goggles and hangs them on their hook. “Why didn’t you start with that?” he asks as he tidies up his station. His hands fly over the tables, reorganizing the space for his return. He fumbles his wrenches into their case in his rush. "How long have they been here? Why didn't anyone get me sooner?"

Leo doesn’t hide his grin, so happy to see Donnie this close to admitting his crush. “Oh, so they’re the password, huh?”

Donatello’s blush starts at his neck and rises up to his ears. “That’s not…” He gives a little huff as he rolls his tool cart to its place against the wall. “Shut up, Leo.”

Slinging an arm around Donnie's neck, Leo drags him into the hall. He grinds his knuckles over his little brother's head with a light chuckle.  Though Donnie easily squirms free, Leo knocks him with a shoulder, a tease and a mark of support. 

At first, Leo had been reticent to encourage his brother's feelings for you, but over time it's become obvious that Donnie’s affections are far from one-sided. Being what they are, that came as somewhat of a shock to him, but it was the best kind of surprise.

Donnie's lucky to have you in his life. And Leo hopes that one day soon, the two of you will get your acts together. It's about time you two admit just how happy the other makes you.

*

You're picking at the edge of the countertop, stomach in knots, when you hear the echo of footsteps draw near. Leo and Donnie enter the main living space pushing and shoving, but there's not a hint of anger on their squabble. Laughter stretches their smiles wide. 

You bite your lips together, anticipating the moment when Donatello finds you. There's become a shared second of pause when you meet, though you don't know when that began. You try to prepare yourself for it each time, but it always leaves you breathless. 

When Donatello’s eyes fall on you, his laughter peters out and his smile goes soft. Your lungs ache with the breath you've forgotten to release until Donatello breaks the spell. "I was told there would be cookies?"

You gesture to the box, hoping the slight tremor in your hand isn't obvious. "Lembas, actually." It's silly, your newly developed nervousness around him. Donnie is the person with whom you feel safest, most free to be yourself. He's your best friend in the world. 

Your crush on him shouldn't change that. But it does. It could change everything.

Donatello's eyes slide to the box and his jaw drops comically. "Are you kidding me? How did you-? Why did-?" His long strides bring him to the table before he has a chance to form a full sentence.

"It's our weekend," you say. A blush colors your cheeks as you catch your choice of phrase. "I mean, Lord of the Rings weekend. Remember?" You fiddle with the ring hanging from your neck, your fingers running back and forth over the elvish script. 

"I didn't. I do now! I didn't realize it was Friday until Leo… But Lembas!" He's probably the biggest nerd of you all.

"Go ahead." The mess of crumbs on the counter is evidence Raph and Mikey have grabbed their share. Thankfully, they left some for the rest of you. 

Leo skirts around you to take a cookie for himself while Donatello inspects his square of pastry with care. Turning it over in his hands, Donnie hums. "It smells like citrus and almond."

"There's lavender too," you supply gently. It took a few tries and a few tweaks of the recipe you found to get it just right, but you're quite proud of the end result.

"Yeah," he gives a slow nod. "And lavender. I was getting to that." He looks at you in awe. "This is really… it's so cool."

"You didn't even try it." Your racing heart switches gears from nervousness to anticipation for Donnie to have a taste.

"Oh, right." Donatello takes his first bite, follows it quickly with a second, and the cookie is gone. "Wow." Crumbs fall from his lips and you chuckle at his enthusiasm.

"I can make more," you offer as he reaches for another, "if you guys like them so much."

Donnie nods and drops his gaze as he seems to consider it. "...maybe you can make them here," he says finally. "With me, y'know? Show me how it's done."

Your blush returns at the suggestion and you find yourself hesitant to agree to the plan. 

Donatello's eyes blink wide and his almost pout is irresistible as always. You can't fathom why you'd give up the chance to be the one teaching Donatello something for once. 

With a leap of your heart, you give in. "Yeah, of course. We can swing by my place later and grab the stuff. Could be fun."

"Could be," he agrees quietly.

Donnie meets your eyes again and the moment of stillness between you stretches long--

Until Raphael speaks up from the couch with an exaggerated groan. "Can ya please get over here already? There's a whole mess of movies waitin' for us and you're busy yappin'."

Donatello grabs the box of cookies and rummages through the cabinet for Pop-Tarts while you make your way over to the TV. Of course, not even lembas can fill his appetite for sweet pastry. 

In the Pit, the lighting is dim. Title screen music rises and falls, drawing you into the fantasy world of Middle Earth.

Leo has taken a seat atop the back of the couch to give Raph and Mikey room on the cushions below. At the sight of your approach, Mikey scoots toward his brothers to make you a place by the armrest.

It's a comfortable fit, even for your favorite position, sitting with your legs pulled up, criss cross. But when Donnie comes in, there's no real room for him. He doesn't seem to mind. He places the plate of lembas and box of Pop-Tarts on the coffee table. Then, without hesitation, he takes a seat on the floor in front of you.

Mikey starts up the movie and the epilogue scenes cast the room in shadows and flashes of light. Donatello settles in against your legs and everyone's eyes focus on the screen.

The film plays and the temptation to reach toward Donatello increases with his every shift. Though he hasn't complained, you think he must be uncomfortable down on the floor. If nothing else, the way he rolls his shoulders probably means he's feeling stiff. 

It's dark enough, you could lay your hands on his shoulders, work the knots out of his muscles and neck, without attracting the attention of his brothers. But you don't. As you indulge yourself in fantasy, Donatello shifts once more.  He slides into position between your knees and the tails of his bandana catch on the hem of your jeans. 

You stare for a moment, unsure if you're allowed to touch. Then, Donnie leans back and smiles up at you and you could swear your heart stops. It only lasts a second before his eyes return to the screen, but it fills you with comfort, confidence, and calm.

Careful not to tug, you take the tails of his mask in hand and lay the long strips of cloth over your lap. With steady passes, the fabric runs through your fingers. It's soft and worn. Stained and fraying on the ends. The movie plays on, but as far as you're concerned there's only this. 

You twist the tails of Donnie's mask around your fingers. You tie them into loose knots, losing yourself in the quiet intimacy of having Donatello so close. 

Donnie tips his head to the side as you play, turning his body just enough that he can rest his head on your knee. 

You bend at the waist and drop your voice as quiet as it can go to avoid being overheard by the others. "You OK?"

Donatello nods, nuzzling his cheek against your knee just enough for you to notice. "It's nice," he says, and you drag the tails of his bandana through your fingers again. 

As you sit up, you spare a glance at his brothers. Raph and Leo are sitting forward, elbows on their knees, enraptured by Arwen's race on horseback. But Mikey's watching you through the corner of his eye. He gives you a small, knowing smile before turning his attention back to the screen.

When it's time to switch DVDs, everyone agrees it's time for a stretch. 

Donnie's the first one back to the Pit. And he takes it upon himself to lie across all three cushions of the couch with a lazy grin. Mikey doesn't even bother with him, ducking out to meet up with April and leaving his older brothers to fend for spots on the broken recliner and floor.

Donatello makes grabby hands as you return from the kitchen with a pair of sodas. You think he'll sit up, make some room. But to your surprise, Donatello exaggerates his sprawl. He takes the drinks and places them on the floor, then extends his hands toward you again.

You only have a second to register his request before he takes your hand in his and gently pulls you onto the couch with him. 

Cuddled up between the couch and your back, Donatello gives a little shimmy and a wistful sigh. 

Your heart is racing and you're tingling from your hands to your toes, but fitting against the curves of Donatello's bent knees and soft embrace takes no thought at all. And once you're there, you can't imagine ever wanting to leave.

*

The second Fellowship DVD comes to an end, and Donatello's breath tickles your neck, "One more?"

You shrug into the feeling of his words ghosting over your skin. "I'll fall asleep," you admit regretfully. You're so comfortable in his arms, you don't want to go home. But it's precisely that warmth and safety that are making it so hard to stay awake.

"I won't make fun of you if you snore," Donnie teases. There's soft pressure on your scalp and you're sure that's the feeling of him snuggling into your hair.

"I make no promises," Raph chimes in from the recliner. You'd long since forgotten you had company. The sound of his voice should come as a shock, should have you scrambling out of Donnie's arms. But it's only Raph, and he's picking on you the same as always. And there's a kind of approval in that -- the kind you never dreamed of receiving.

You try to shoot him a scowl, but you're grinning because you can't help it. 

*

You were right about having difficulty staying awake. The film isn't on for five minutes before your eyes drift closed.

"Are you asleep?"

"Still listening," you mumble dreamily. Donatello's arms tighten around you and his chin tucks over your head. It's enough to send you adrift into a deep and peaceful sleep.

You wake up in the morning alone but wrapped in a purple knitted blanket you recognize from Donnie's room. You pull it snug around your shoulders as you sit up to check your phone.  There's a text from your roommate and emails that can be ignored, but one notification stands out. You touch the media message from Raphael. 

Though you roll your eyes at the blurry thumbnail, your curiosity has you pressing play. The video is only 20 seconds, anyway. 

It loads immediately and the image clears. You smile at the closeup of Donatello asleep on the couch. The audio is low but you can clearly make out the snuffling rise and fall of his snores. You allow yourself a little laugh as you watch the video play through again. And you don't miss the way Raphael panned to show you and Donnie together dozing comfortably -- your limbs entangled and your face tucked into the crook of his neck.

You're unsure where you two stand and where your relationship will go, but your stomach is full of butterflies and your heart is content.

"Did you sleep OK?" Donnie asks as he comes in from the kitchen. He's brought tea and toast -- a simple but sweet gesture. 

You take a moment to enjoy the sight of him bringing you breakfast 'in bed' and tuck your phone away with a smile. "I slept great."