#do not get me started about alex hirsch’s whole ‘we needed a character who was just there to push stan’s buttons’ thing about ford | Explore Tumblr Posts and Blogs

popculturebuffet · 4 years

Text

The Owl House: Enchanting Grom Fright: Happy Valentine’s Gays

Happy Valentine’s Day owl ladies, gentleman and non-binary folks! It’s time to finish off this holiday in proper style with a LONG overdue review of enchanting Grom Fright and even longer overdue coverage of the Owl House. The Owl House was one of the best debuts of last year if not THE best, only in contention because Close Enough also started last year and looks to surpass regular show in terms of quality. But with stunning animation, tons of representation, and colossal worldbuilding. And given how i’m on record for thinking Star Vs went so far down the tubes they bumped into where Cthulu is sleeping, it’s nice to have another magic based show that seems to be on the right track: carefully building i’ts world, supporting cast and for today’s topic main romance. It also rather than just obliquely hint one character was bi and the other pan, actually goes out of it’s way to have a bisexual protaginst with a gay love intrest. As my good friend @jess-the-vampire has brought up quite a bit, star had plnety of options. .but no willingness to actually campaign for any queer rep, the way Gravity Falls head Alex Hirsch tried to, he still gets credit for trying, and Owl House creator Dana Terrace gets full credit for.

Terrace got her start working on Gravity Falls in line production before working her way up to directing for ducktales, being instrumental in how Webby was animated and how she moves and acts, and being the director for several classic season one episodes including “Woo-Hoo!”, “The Spear of Selene” , “Day of the Only Child!” which was one of my faviorites from season 1 and “The Beagle Birthday Massacre!”. And while I can’t 100% confirm she’s the only part responsible for starting Weblena, given she was director on an episode where a lot of the romantic subtext was in the visuals, she certainly helped so thank you Dana. Thank you a lot. Their adorable. Point is she’s a talented lady and wasn’t satisfied with directing, so she pitched her own show, combining tons of ides and stuff including of all things, Pokemon Red. I checked the article wikipedia had sourced, it was one of her happy childhood memories as it was one of the last things her dad gave her. Awwwwwww. That’s as sweet as it is painful. She’s also currently dating Alex Hirsch, something I was entirely unaware of but find also adorable. Point is i’m glad I looked into her as she’s a very nice person, and very much my kind of weirdo and i’m happy for her sucess and her singuarly weird show that sprung from that sucess.

Now that part of it’s out of the way the episode itself was an uphill battle as you’d expect. As anyone familiar with this blog is aware, but just in case your new, you tend to hear me bitching about Disney’s handling of queer represntation a LOT

For the most part Disney’s pretty bad at it: There was the string of “FIRST GAY CHARACTER IN AN X” they had going for a while.. that consisted of a character I dind’t realize was gay, a kiss I didn’t see, and a talk with a character who I honestly wouldn’t of been looking for had disney not patted themselves on the back with some giant sized hands because htey saved some pym particles for that occasion. Ducktales was unable to have Penumbra come out as gay more clearly because I don’t know Ducks can’t be day.. but they can be IMPLIED to be gay or pansexual as hard as the crew possibly can so they win anyway. Pixar was able to have a gay lead character for one of it’s sparks shorts out and even focused on him coming out of the closet and it’s very good and something I WILL give Pixar credit for... but not Disney Plus who go out of their way to not mention the lead being gay.. despite the fact the short opens with a gay space cat riding a gay space dog out of a rainbow and then it being revaled our lead is in a relationship not long into the short. My point is the idiots who won’t watch this for having gay characters are just going to turn it off, who cares what they think, why are you like this Disney. They need to do better, and be better and i’m getting tired of this shit.

That being said... this episode is a step in the right directoin as despite having to get past one obstructive asshole, not her words but damn if it isn’t the truth, as the rest of hte execs were fine with having a gay character, Terrace fought hard for it and WON, having a clearly gay character, and a clear road to a gay romace as the lead one, all because she wanted some representation in her works. So to honor this, I present this review in honor of love, effort and saying screw you to not having represntation because money. Join me under the cut and allt hat.

We open in the owl house, in the owl house, duck dodge push and shove, it’s how we show our love in the.. you get the point. Luz is learning yet another Rune, this time plant runes.. and already something I love about the series pops up: the fact Luz’s rise in skill is gradual but noticable. Each spell noticably improves in potency with time, going from simple lights to shaping them into simple constructs, and learning to control or time her spells and glpyhs so they launch she she says so, with each one getting more powerful the more she learns. And on top of that osmething I just noticed on rewatch of this episode is her tecnique in finding them evolved, something I dind’t notice the first time because I hadn’t fully caught up and checked this one out to see if Disney would actually let them go through with it.. and they did. Point is her first spell is found by accident, her second by realizing how her magic works fundemntally, both require skilled deduction and on the fly thinking and casting, so she’s already pretty skilled.. but now sh’es ACTIVELY seeking out a new spell here for the first time. She knows how she gets them, she knows each school is tied to a form, and she likely got the plant from williow since that’s her thing and she’s a saint. A demon but also a saint. They can have those too. It’s what I assume relicor is.

I miss that goblin demon bat man. Point is it shows an evolution in Luz’s thinking: while it’s a subtle thing she took a more proactive approach this time even if it took a lot of practice.. and it pay soff as by the time of her next rune, while it’s once again sorta handed to her she has less time to learn it, almost none, and finds it singed onto a ball.. and learns it effortlessly to the point where by the next episode it’s a crucial plot point. IT’s subtle but clever character progression, and stuff I really enjoy, showing our hero going from a bit inept but not helpless or incomptient.. to a force to be reckconed with and far more clever and strategic than yo’ud expect given her sometimes reckless and almost always happy go lucky attitude.

Luz worries teaching King about the internet was a bad idea because he gets excited about a literal cat fight which .. yeah... it was a bad idea but not because of that.. but because next he finds someone saying the earth is flat and she wisely yanks it away. It’s.. very sad that the absolutley maddening and easily debunked flat earth theory is still RELATIVLEY more sane than the stuff we’ve had pop up during the trump era and the cornoavirus pandemic.

But one of the main conlficts of the episode pops up as Luz’s mom messages her and Luz can’t bring herself to tell her anything and just sends a thumbs up. I do think this episode helps even things from the pilot a bit as it was a bit lopsided: While I got that Camillia was genuinely struggling with how to deal with Luz, and was offered an out and had to take it... the fact she sees NO problem with the normalcy camp, which comes off intentioanlly or not a sa parallel to conversion camps or camps to make autistic kids “Normal”. And as someone whose both bisexual and autistic, I naturally relate to luz way more as someone whose intrests sometimes just don’t quite fit with everyone else, and who dosen’t get how bad some of their actions were. THat’s why this episode feels like a necessary course correction: Luz is shown to genuinely love her mama and feel guilty.. but we see camilia genuinlely loves and supports her daughter a bit more. While it was clear from the pilot this shows it more, with her genuinely just wanting to know her daughter’s okay and checking up on her, and giving me the feeling that possible consequences or no if something bad WAS happening or she didn’t hear from her for a long time, she would’ve drove up there to get her. It feels like the writers realized the implications they accidently created and wanted to fix it, though I can’t say for certain. But if so good on you for course correcting, not every show does that.

But King encourages her, telling her she’s doing the right thing by lying and to “trust the demon on your shoulder”. Keep this in mind for later, but that joke is great on it’s own. But soon i’ts time for school and Hooty.. barfs out Luz’s books for her.

I haven’t been this disturbed since.. (Looks at the clock) About 2 maybe three hours ago when I watched a man have, if apparently shorter than the oriiginal cut as I wanted to see everyone else’s reactions dammit, sex with hiis car which was possesed by the mad ghost of his dead wife. Because that’s the kind of stuff i’m into when i’m not reviewing stuff. And before that Tinky.. just everything about tinky.

I do not have enough time to get into TInky here or why he exestially horrifies me. Or why Jeff blim is a living god. I will save that for a proper review if I have the time tomorrow. Point is I saw a lot today and that still tops it. Willow and Gus are likewise grossed out and want to leave.

Cut to school where Luz wonders what’s with all the decorations.. that remind me of this honestly

And frankly given the whole state of the boiling isles it REALLY wouldn’t surprise me if the decorations were indeed well cooked faces. But i’ts Grom time, which means elaborate gromposals (Some Dude asks Skara out with a beating heart and an elaborate medical proposal.. which.. points for effort. And for using an actual heart. Couldn’t get one for mine. ), dancing and someone being chosen for Grom Queen. WHich Willow hints isn’t as nice as that sounds. Before we can get into that though Amity bumps into them and gets into a tizzy before meekly greeting “Luz.. and Co”. which.. not going to lie.. is my faviorite gag of the season. Just htw way she adds them and just the way Willow and Guz both smile widely at it as if to say “That’s us!”. Amity drops a note and snatches it back. This will be important later, you all know why, point is Amity becomes Grom Queen.. and is heavily depressed with Luz following her to find out why. At the gym.. she does indeed ifnd out why: Turns out Grom is not some mutation of an earthname but is based around a horrifying entity lurking beneath the isles, Gromethious the Fear Bringer, who emerges from his slumber once a year and must be fought back and brings out his target’s greatest fears. Just like groundhog day only with less time loops and rodent abuse. Amity is scared of hers, and i’ll obviously get into this more later, and Luz simply suggests asking bump to opt out and Amity appricates the support. Awwww.

Luz heads home and we find out Eda is chaperoning and King is mcing. Eda is also rocking a suit. Just damn girl, damn. But Luz considers taking her place.. and gets laughed at, with Eda assuming she’ll have to save her and King just being kind of a dick. I mean he’s a loveable thoroughly cuddly dick but he’s still a dick... just more like a stuffed plushie of one. So basically exactly like Tinky. Look I mention him more than once in this review he dosen’t put me in the bastard box. It’s a great system. Naturally this makes Luz more determined than ever to prove herself and she finds Amity in the night, with Amity having been unable to get out of it.. and Bumps a resonable guy, he just wants a substitute and no one wants the job.. except Luz who galdly volunteers and insists ntohing scares her before the giant spider on the back of her head proves otherwise. Because of course it does, spiders are fucking terrifying. Kill then all.. except the pokemon ones. Galvaltula are sweethearts. As are Ariadoses. Sweethearts who can elctorcute or poison you but still.

So the next way Luz begins preparing.. and by that I mean it’s time for training. Sadly we don’t get an episode of Luz and Amity getting trapped in an 80′s fashion montage... I mean yes Rise of the TMNT also did that plot the same year, but we had two diffrent plots about someone getting trapped in an eldtrich sitcom and a THIRD this year, all entertaingly unique. Though we do get Luz pulling out an otter suit that’s adorable and she sadly still hasn’t worn yet. “This one says i’m an otter, with a dark side”. She also got thrown out of a school dance for.. wearing an otter suit. Okay the other things we saw in the pilot were understandable but htis is just.. baffling. Who cares what you wear to a dance as long as it isn’t horribly racist of nothing at all.

Damn you flanders and your glorious ass. Point is Amity shows up and threatens hooty’s life because.. he’s hooty. The fact he isn’t dead already is a testiment to how badass he is and how much money he’d cost Eda to replace. Owl Tubes don’t come out of a stygian hole in the unvierse every day you know. That’s only every three years. It’s basic styigan owl tube science.

But Amity wants her to be ready and that she’ll have to face her greatest fear.. and cue hooty popping up, poking amity in the face and asking if she wants to know her greatest fear. Really he can clearly hear everything in the house given he heard that, so he heard the death threat he just chose to ignore it. That.. was a mistake. And by mistake I mean we get a hilarious cut to the outside of the house as Luz tries to stop her love intrest from murdering her second mom’s tube monster. The result is some bandages and an eyepatch. To be fair that last one was just flaring up from a previous beating.

For this solem task of training, Amity has brought in her local disaster bisexuals.. aka her twin siblgins Eldric and Elmyra, whose greatest fears are dying alone and being stuck with Eldric. Both understandable. They conjur luz’s greatest fears which are.. some of the funniest shit I heard all year.. and also very relatable. Human souls in cat bodies, which is genuinely terrifying good job Luz, Jerks on the internet who mansplain things, relatable, and soy milk.

But Amity knows this is just the openign act. it needs to be something deeper.. so while Luz dosen’t realize it’s probably her mom issues she brings up her issues with her other mom: that Eda dosen’t think she can do this. Hence we get a giant eda putting Luz in a babychair. Before we can unpack how wrong that sentence sounded, Eda comes out, and marvels at how hot giant her is. But she’s quickly distracted from sex with a giant version of herself, which is not an easy feat, by the relization “Wait Luz is going to fight grom isn’t she.. fuck i’m going to have to save her”, though Luz holds firm on doing it to prove she’s fine and dosen’t need to be saved constantly. it’s a good conflict. Eda IS right that Luz is not ready for this alone, that she’s overcompensating and that Eda would, in normal circumstances be the one to rescue her. As we’ll see it’s not her who does it but still, were this any other foe she probably would be. But Luz’s motivations are equally understandable: She wants to help her friend not have to do this and she wants to prove she can do it. She just wants her mentor, the only person in her life up to meeting her that GNEUINELY supported her in magic to respect her. To have faith in her and actually see how far she’s come. And given how her own mother writes off her dreams, if not unrealistically, and before this she had no friends or support system to speak of outside her mom, it’s easy to see why this is so improtant to Luz: she just wants to make the one person in her life whose ever support her actually think it was worth it when in truth Eda already thinks it does and just dosen’t want her to die.

She’s just not good with talking to her or not condescending to her as her own ego is stacked sky high, probably because the whole curse thing meant Eda was an outcast by default and the system wants to either chain her to one form of magic and one only or shackle her to them as a hired goon. Her ego, while justified, is also a defense mechanism: a way to shield herself from the fact almost no one cares about her and one of the few people who DOES, dosen’t care what she wants or needs. Once the curse happened she lost just about everything and had to rebuild and thus build up walls around herself and kept everyone else at arms length till Luz changed her for the better. It’s just a tragic clash of two wills both with similar problems but both unwilling to talk about them.

But with time up, our heroes need to get to the diggity dance. So they indeed do and we get some fun sight gags, Willow makes corsages, that one girl with the cresent head somehow ended up with Mathomule and is not happy, as anyone who ends up with him should. And it’s time for Luz to face her destiny.. in a tux with a tutu because of course, and Amity likes it because also of course.

IT’s time to rumble, with King getting nervous due to eda’s prodding about mcing since his co-mc gus is really good at it, and introducing our champion.

No wait sorry he’s still trapped in Mojoworld. no it’s still Luz who shows off a seasons worth of skill by easily dispatching the first few fears and saying to grom let’s finish it.. before grom puts a tentacle on her head.

It’s to downlaod her fear.. which is Camillia. Granted we could all see it coming but still Luz obviously can’t fight her own mother or her own overwhelming guilt.. her mom did hurt her.. but she gets why and just loves her and wants her to be proud but dosen’t know what to do: tell her the trutha nd possibly loose a happy and fufilling life or wait until it all blows up. It’s a painful choice. So luz and king end up running. King runs first because he can’t handle it and Gus talks him back into the groove while Luz runs away because she can’t fight her own mom, understandable, and Gus encourages king to lead the crowd which he does. Amity and Eda follow Luz.

So Luz is backed down, facing down a monster tha’ts going to go on to everyone else next if she fails... and Eda prepares to interfere.. but it’s AMITY who faces her fear and dives in. And we find out just what her fear was as grom turns into a humanoid shape and rips the letter in half.. it was a grom invitation. Though conviently the who it’s adressed to was ripped out.

And yeah not going to save this one: It’s Luz. You know it I know it I didn’t even hide it in the intro. Even before the reveal in a bit it was obvious. But it also makes perfect sense. I’ve avoided talking about her character arc up to this point because I was waiting for now. Amity’s growth is the third major arc of the season behind Luz’s slow learning of magic and eventually induction into hexside and eda’s curse, which I lump in with Lilith chasing her since both were mildly entertwined and then entirely are once the reveal hits in the finale. When we meet her she’s an outright bully.. but we slowly see there’s more there. That she’s not really HAPPY or content, is contstantly under pressure by her family name, is outright bullied by her own siblings who don’t understand her. So Luz coming in, seemingly only being intrested in magic because i’ts neat.. understandably bothers her. She’s not a great person, bullying her old best friend because tha’ts what’s expected and being close with outright bullies because of that.. but it’s through Luz she starts to grow, realizing Luz is genuinely nice and genuinely sorry for any trouble she caused Amity, and evne then both cases were causaed by Amity’s own dickishness and outside forces, so it’s easy to see why she defrosts faster. Her siblings realize they’ve genuinely hurt her, and actually try to be good siblings from then on and help her, and slowly Amity learns to truth luz, trust in her, and accept her... and thus accept her feelings for her. There are gradual hints she’s growing attracted to her.. but her walls had to come down first, and it wouldn’t of worked from the outset. The show cleverly has the two build a genuine friendship, two opposities who work well together, so when feelings do happen it feels natural. It’s not “I’m in love with this person because I have to because you can’t be friends with someone your attracted to” bullshit or anything like that, cough star vs cough, it’s just well built catching feelings. I’ts how this kind of thing SHOULD go: niether went in intending for this to happen.. it’s just happening.

And Amity’s reluctance is painfully understandable, as Luz is the ONLY friend and support she has. Sure she and willow are patching things up, but WIllow would understandably choose luz over her and she’s terrified of loosing the one good thing in her life. Of course Luz would either say yes, and probably will some day, or let her down gently, she’s nice.. but it’s also understandable to be afraid that someone won’t take the reveal well. I’ve been there trust me, it’s easier when you let it out even if you get rejected, but I get it being hard to let out because you don’t want to loose a friend. I did not, and niether would she, but I can see why she wouldn’t want ot take the plunge. At least not yet. We’ll see this summer hopefully.

But we do get a shiptastic, gorgeously aniamted scene of the two dancing an fightin gin perfect synch, combinging luz’s new use of plant magic with amity’s mastery of abominations resulting in the two utterly decimating grom, likely in part because with two fast moving targets he can’t get a lock on and likely nees more fear and mass to attack multiple targets at once. Or just more tendrils. it’s a quick, beautful sequence that’s utterly glorious, being framed as romantic as any hetero scene of the type and rightfully so. A triumph and well deserving of this praise.

Our heros have won, get crowns, and King gets praise. All is well.. except Luz drops the crown once she gets home because she feels like she failed and feels lost about her mom.. though at least king gets it “I’m king and queen, best of both things!”. You tell em sister.

So we end with Luz genuinely responding to her mom, with some montage stuff as we see Gus and Willow poke a fear blob, willow fears bugs, understandable and Gus fears clowns...

Also understandable. Though I didn’t put up a bug picture because

And Amity looks out folornly into the night. Camilla responds to Luz.. and mentions letters.. which while Luz brushes those off.. we see someone sent them. And by someone I probably mean king since we now know only eda and him had acess to the portal, and given he was actively encouraging her to lie.. yeah i’m supscious. But we’ll see next season. For now this episode is fan fucking tastic, showing off tons of character development, being representative and sweet as all hell.. and being really funny. Tons of great gags in this one including the turtle guy from an earlier episode being forced to be adisco ball. This is easily the series best so far and if you haven’t checked it out, please do it’s fantastic as is this show. Check both out. Until the next rainbow i’ts been a pleasure. Tommorow more disney shenanigans this time with pete. And also more of this possibly we’ll see what I get done.

Goodnight everybody!

#the owl house #lumity #luz noceda #amity blight #willow park #gus #eda clawthrone #king #principal bump #grometheious #enchanting grom fright #lbgtq+#disney #disney plus

37 notes · View notes

disneytva · 5 years

Photo

‘The Owl House’: It’s a Hoot!

You would never think that the dark art of 15th century Dutch artist Hieronymus Bosch would serve as the inspiration for a children’s cartoon. Well, thanks to Dana Terrace and her wild imagination, the strange creatures conjured by the European painter have found their way in the new Disney Channel series The Owl House. The show, which debuts in January, and is already in production of its second season, follows the adventures of a young teenage girl named Luz who decides to pursue her dreams of becoming a witch after she stumbles into a strange realm, inhabited by feisty witch Eda and her tiny warrior friend King.

Terrace, a former director on DuckTales and storyboard artist on Gravity Falls, recalls starting to collect her notes and images and putting together her pitch for the story back in 2015. Then, she finally began pitching her story about a young girl who becomes a witch’s apprentice only a few months after she started directing DuckTales.

“Many of the characters have barely changed since then,” recalls Terrace. “I knew I wanted an older witch mentor figure and a young optimistic girl who was the main character, who learns and grows throughout the show. There’s also this trickster little jerk character named King (voiced by Gravity Falls creator Alex Hirsch).”

The setting for The Owl House changed a little bit since its early days. Terrace says for a brief time, she was toying with the idea of the whole show being set after the young character dies, so that the Owl House is all set in the afterlife. What really had a clear impact on her work is the work of artists such as Bosch, John Bauer, Remedios Varos and the puppetry of Jim Henson.

Real-Life Models

In addition to the crazy creatures of Bosch and religious illuminated manuscripts, Terrace found inspiration in some of the familiar elements in her life as well. “I have always wanted to tell a story about a rough-around-the-edges mother figure, based off of my aunt, nana and mother who raised me,” she recalls.

Terrace says the show’s central character Luz evolved from late-night conversations she used to have with her former roommate roommate and close college friend. “We were both dorks together,” she recalls. “We tried to cut our own hair and it never worked out. We didn’t have many friends. So, in a way, Luz bubbled out of our conversations. When I told her that I was going to base the main character on her, she said, ‘Yes , but you’ll have to make her Dominican.’ So that’s what happened. Luz now also works on the show as a storyboard artist and consultant, and I get to work with my best friend every day.”

As a young girl, Terrace used sneak into the living room to watch cartoons and copy what she liked in her flip books. Her love for shows such as The Simpsons, Pokémon, The PowerPuff Girls and Studio Ghibli movies finally lead her to study animation at School of Visual Arts in New York and make her way out to L.A. to pursue a career in the animation business. Her first big break happened when someone discovered her art blog and sent her a storyboarding test, which led to her landing a job at Gravity Falls and opened other doors as well.

During her big pitch to Disney, Terrace says she was a bit worried to mention Bosch and his odd, evil creatures, but to her surprise, one of the executive’s response was, “Heck, yeah!” “They have been nothing more than enthusiastic and helpful from day one,” she notes.

After spending a good year writing and making the pilot, Terrace began building her production team in 2018. Art director Ricky Cometa and supervising producer Stephen Sandoval also joined the Disney TV Animation production. At capacity, the show has about 50 staffers as part of its pre-production crew, and an overall count of 120 including the overseas teams at Sunwoo, Rough Draft and Sugarcube in Korea. We’ve been very fortunate to work with all of them,” says Terrace. “They’ve made the show really, really spark.”

The Owl House has attracted a top-notch list of vocal talent as well, including Wendie Malick as Eda, Hirsch as King and Sarah-Nicole Robles as Luz. Among the guest star lineup for the show’s first season are Matthew Rhys, Isabella Rossellini, Tati Gabrielle, Issac Ryan Brown, Mae Whitman, Bumper Robinson and Parvesh Cheena. Terrace points out that having a sterling class led by Malick has been a real treat. “Our witch could have been a very hard character to cast, because we wanted to have sass and energy, and Wendie was absolutely perfect. She came in with all her talent and experience, and my first instinct was ‘You don’t need any direction. Do whatever you want to do because you are amazing!”

She also mentions that she knew Alex Hirsch was going to end up playing the little sidekick King. “I used to hear him pitch when I worked on Gravity Falls. I knew that he can bring a lot to the characters he plays. He would also give me some helpful advice about running his own show and working at Disney.”

Art director Ricky Cometa (Steven Universe, Costume Quest) says he was swept away by Terrace’s wild ideas and spectacular imagery, things that were not usually seen in children’s animation. “The second she came in and said, ‘I want you to read this show bible. The first thing that caught my eye was ‘Bosch and the demon world?’ I very much needed help to figure out what this world looks like. We had this blank canvas and there was a lot of religious iconography. I knew we were going to push the boundaries. I mean we are doing the demon realm on the Disney Channel? You bet I’m in!”

Cometa points out that it was clear that they needed to balance the darker aspects of the witch’s world with the more light-hearted and fun components of Luz’s comical adventures. “At first, I wasn’t sure how dark we could have made the world this world that Luz jumps into initially. We had to make clear decisions about when the story needed to be scary— when do we highlight the darker moments versus when the story is lighthearted and welcoming. It was all about finding that right balance of warmth and spookiness.”

Terrace agrees. “If we made everything super scary and spooky — which is something I’m not afraid of, scaring my audience — but if we made everything the same color, then the scary parts and the day-to-day light-hearted parts wouldn’t have popped. We needed that contrast for writing purposes.”

Amazingly enough, Terrace is only the fourth woman to solely create and run an animated series for Disney — following in the footsteps of Sue Rose (Pepper Ann), Chris Nee (Doc McStuffins) and Daron Nefcy (Star vs. The Forces of Evil). She says one of her biggest challenges on the show was going through the learning process to run a writer’s room, which includes four other writers and a writer’s assistant. “Before this show I had always written and drawn my own comics and cartoons, but this was the first time I had written scripts professionally. Learning the process of writing scripts and learning to run a writers’ room was probably the biggest challenge for me. Luckily, I was with a team of talented writers, and we all kind of learned together. Most of that team has carried on to the second season, and we’re very excited to keep writing together.

As the show begins its run on Disney Channel, Terrace says that ultimately she hopes audiences will be entertained by Luz’s world and her off-the-wall adventures. “There are so many different kinds of animated shows out there and so many traditional and streaming services, that I don’t think it’s possible to have a gigantic blowout hit anymore. At the end of the day, no matter how much stuff is out there, stories with interesting core characters and relatable, understandable stories will shine through.”

#The Owl House #Owl House #Dana Terrace #Disney Channel #Ricky Cometa

1K notes · View notes

tuiyla · 4 years

Text

So I finally watched The Owl House

I wish I’d do this with every show I watch but it seems like only a lucky few get the She-Ra style rant of love treatment. Well, I finally watched The Owl House after my dash having been flooded for the past couple of weeks and I have some thoughts. Slight spoilers below.

First off, I love the whole vibe. I had a faint idea that this show would be about magic but I didn’t know much before watching - except for one thing, we’ll get back to that. The way it builds its world and deals with magic, though, is so refreshing. And I just have to mention here that I laughed out loud at all the Harry Potter jabs, they were hilarious. I expect we’ll learn much more about magic and its users as the show goes on but as far as the first season goes the introduction was really solid. It strikes the right balance between leaving things to the imagination but being more than “wave wand and magic happens”. It’s colourful, it’s creative, and I even like the ovens and school tracks, despite knowing that the story is about not conforming to those. It makes the Boiling Isles unique and make me want to learn more about the world even beyond the characters and the main plot.

TOH also presents a world that’s much more macabre than I was expecting from the Disney Channel, not that that’s a bad thing. I found myself thinking of Adventure Time at certain points and pondering, at scary moments, how kids would react. I think kids love this, though, and besides, nothing can be more scarring than Courage the Cowardly Dog was. It’s not that terrifying, of course, just daring enough to stand out. Overall the show has what I would classify as more of a Cartoon Network vibe than a Disney Channel one, but I admittedly haven’t really been following many Disney shows. In any case, I dig it. I dig the weird creatures and the beautiful backgrounds and I appreciate how alive the Boiling Isles feel. It doesn’t take long for TOH to immerse you in its world so I’m for one am hooked.

I make a big deal of loving the world itself because rarely does it happen that world-building stands out to me so soon in a series. I do love carefully constructed fantasy worlds but for the most part I’m more interested in the characters themselves. Here, I’d say it’s close to being a 50-50, which is something that even Avatar can’t say with its elemental masterclass in world-building (which is mostly because the character depth there is unrivaled but still). So yeah, kudos to The Owl House for achieving this. From Luz’s glyph magic to the covens and the titans, I’m excited to explore this world more.

Now, the characters. The real meat of any story. Starting with Luz, I have seen some criticism that she’s a generic hero so far, the “I’m a weirdo”, heart of gold, upbeat variety. I don’t think this makes her bland, though I do admit that being told over and over again that she’s weird makes me less engaged, even she’s also shown to be weird. I like the message of her arc and that the chosen one trope was deconstructed almost right away. I like that she’s relentlessly enthusiastic and kind to people and I like that she doesn’t have to get more bitter in order to get development. Instead, she learns from her mistakes but keeps being herself and brings her unique spirit to the Boiling Isles. We need protagonists like Luz, not just because she’s latina and bisexual but because her learning process doesn’t involve cynicism. Sure, there is a lot she needs to learn but her heart is presented as an asset and a sort of source of magic. I’m excited to see where her story goes, for sure.

I’m gonna write briefly about the other characters before I get to my favourite one. Eda is super cool and I quickly got over the fact that she’s not Beatrice Horseman, lol. She embodies such a youthful energy but the show also allows her to be a middle-aged woman comfortable in her own body - well, owl curse notwithstanding. Also, her relationship with Lilith is one of my favourite parts of the whole show. Eda subverts so many of the mentor’s traditional tropes and I’m here for it. I kinda thought she was the villain based on her design and when I didn’t know anything about the show but hey, happy she’s not.

I don’t think I’d even seen a picture of King before starting to watch the series and at first I thought I’d get tired of him real quick. He’s the type of character who can get really annoying instead of endearing really fast if he’s not given any depth or charm, both by way of writing and voice acting. Luckily, I ended up liking King and his antics. His design is indeed adorable and Alex Hirsch is a genius. The only time I felt like he went too far was, perhaps surprisingly, in the book writing episode, “Sense and Insensitivity”, but even there going too far was the point. So yeah, King’s also great, there’s much potential in his backstory and general character.

Alright so really quickly, other characters: Willow and Gus are generic best friend characters and though they already have other things going on, I expect more development as the series progresses. I like that Willow is actually super powerful, just not in the way people expected her to and Gus is clearly also talented despite being younger. I’d be happy to see more of the other kids, get more familiar with Hexside. Edric and Emira are fun characters but they were really shitty in their first episode so I was kind of surprised they weren’t more of a nuisance to Amity later on. I’m all for supportive siblings so I wouldn’t mind a good relationship between the three but I feel like it’s more complicated than that with the Blights.

Finally, I also have to mention that Hooty is... well, quite something, isn’t he. Much like with King, I thought he’d be much more annoying but somehow the show is self-aware enough that it makes Hooty tolerable. I’m almost always torn between feeling sorry for him and being thoroughly weirded out, and I think that’s the intention? It’s fitting that he’s the titular character as he embodies the tone of The Owl House well in my eyes. He’s there for the comedy but there’s just enough there to hint at something more. Very bizarre, strong CN vibes, here for it.

Now that I’ve written a paragraph more about Hooty than I expected to, let’s talk about Amity. Listen, no other character stood a chance to be my favourite as soon as I learned Mae Whitman voiced Amity. That woman gave me Katara so now I have a quasi Pavlovian response to her voice. I’d also say that I knew more about Amity going into the show than I did about any other aspect of TOH. I heard somewhere that she started out as an antagonist, I knew her parents were abusive, and the reason the show blew up on my dash and my general online bubble is the Grom episode. Lucikly I only saw stills of Lumity beneath the crescent moon but the pure Sapphic energy of that was enough to gay migrate me to this show. I’d like to note it here though that The Owl House is a good show in and of itself, the queer rep is just a nice extra. I’m gonna spend the next couple hundred words going on about Amity and her crush on Luz but I don’t value only that. The Gay Migration is great and rep is great but I’m also grateful to have a solid show behind it. That being said.

I’m a total dyke for Amity Blight. I was very biased before even being introduced to her character but I genuinely find her to be fascinating and she has great potential. She’s developing quite quickly, like much of The Owl House, but an arc not being stretched out for several seasons before getting a rushed conclusion is refreshing. The progress hits all the beats and the only note I have is that I want more. She starts out as a generic bully but the opportunity to be more is there from the beginning. We find out early on that she used to be friends with Willow, we see that she works hard and values honest work. When she becomes Luz’s rival, it doesn’t last long before Amity shows that she’s open to new perspectives. That’s not to defend or even justify her earlier and nastier moments, Amity was rude to both Luz and Willow. But through all that, she becomes a complex character who does bad things but isn’t a bad person and grows when she gets the space to. I think that’s neat.

Luz’s decision to befriend her might be cartoon logic but as someone who subscribes to the “kill them with kindness” ideology, I can totally relate. Amity’s softer side doesn’t take long to show and “Lost in Language” is such a great episode to show how complex people can be. Again, I was already biased when it came to Amity but she’s consistently shown to be capable of self-reflection and growth when others give her the chance. I think her past and potential future friendship with Willow is a great way to explore many different topics and I’m trusting the show to do it justice. I also can’t wait to meet the rest of the Blights, if only to get me some angst and further develop Amity. I half expected Grom to take the form of her parents. Too dark for Disney? Well, we don’t know Amity’s dynamic with her parents, exactly, but there’s so much subtext and potential. I love what we’ve already seen from her but I’d also say that she has one of the greatest potentials in the show.

Another way in which this potential manifests is Lumity, of course. Again, they’re developing quite quickly but that doesn’t mean it’s rushed. I’d love to explore Amity’s crush more and what Luz means to her. The Grom episode surpassed all expectations, still and gifs don’t do the stunning dance sequence justice. The animation is so smooth, the colours are amazing, the music is on point and the Sapphic vibes complete the picture. Poetic cinema, truly. Molly Ostertag and Noelle Stevenson are really out there giving wlw animation fans everything we ever wanted, huh. It also warms my heart that the crush is made very clear, not just by Luz’s name being on the note but by the delightful gay disaster that is Amity in “Wing It Like Witches”. I never thought I’d ever see such a relatable useless lesbian in animation so kudos to Dana Terrace and the whole crew. Wow, how far we’ve come.

So yeah, Amity is a funky little lesbian and I’m a 100% here for her gay disaster moments, but I also love where Lumity is going thematically. They’re great as foils and I’m hoping that they won’t get together at the very end. Look, I love me some Bubbline, Korrasami and Catradora, but it’s time a wlw relationship had the chance to exist onscreen and not only in the last episode. The Owl House has a great chance to do that. I know the creators don’t want romance to be the main focus and I respect that, I think the world they created deserves to showcased and explored to its full potential. Lumity could be a great subplot though, as representation on the one hand and as a thematically interesting dynamic on the other. Plus, Luz and Amity are just cute and sometimes, it’s as simple as that. Oh, and also the whole Little Miss Perfect thing? One of the best fandom discoveries I’ve made in a long while. Not only is the song truly perfect for Amity, I love that Joriah Kwamé went on to write Ordinary as well. This right here is why fandom is beautiful.

I think that’s about it for season 1 initial thoughts. The moral can be a bit on the nose at times, especially in the early episodes but the show is ultimately for kids and I appreciate its message. Interesting world and magic system, good characters, great potential for later seasons, just a well put together show that I’m really glad I started watching. I’m kind of sorry I didn’t keep up with season 1 as it was coming out but I would not have been able to wait between episodes. The pacing is good overall, deffo moves fast but I wouldn’t call it rushed, and the “filler” episodes still add something to the story. I’m not sure if I would still feel like the show moves at a fast pace if I hadn’t binged it but in any case it isn’t rushed, the necessary beats are all there and have time to sit. I’m going to watch as it comes out from now on so hopefully season 2 will arrive early next year.

Oh, and: I’m very new to the fandom, barely just found out about Little Miss Perfect, so any and all tidbits, fun facts, and fic recommendations are welcome. Also if you just want to chat my inbox is always open!

#the owl house #toh #amity blight #lumity #luz noceda #my thoughts #down another rabbit hole i go

69 notes · View notes

jeremys-blogs · 4 years

Text

The Owl House: Season One Overview

When Owl House first crept onto my radar, back when the first teaser trailer came out, I admittedly didn't think much of it. I thought it had a neat aesthetic and I was confident it would have its appeal, but at the time I just felt that it was one of those shows I might watch once or twice, like, but then not think about again. Then new information started coming my way, most notably that Alex Hirsch, the creator of my all-time favourite Disney show was going to be one of the voices. Now that definitely caught my interest, even more so when I started seeing other notable names attached to the project, like the always-awesome Wendie Malick. So I decided then and there that this was starting to shape up as something special, and that I was going to keep a close eye on it. And I'm definitely glad I did, because the Owl House has proven itself to be a true gem of a cartoon, with characters, animation and stories that haven't engaged and enthralled me this much since the days of Gravity Falls, and that's saying something. With its first season over, and having thoroughly impressed me in doing so, I decided it might be worth me saying just how well this show has fared thus far.

Now, the story of a youth who goes to a magical world and overcomes dangers and adventure is by no means a new idea in fiction. Heck, Disney themselves did that exact premise not so long before Owl House, with Amphibia. But I've always been of the belief that just because an idea is old doesn't meant it can't still be good if you do something interesting with it. Maybe put a new spin on it or explore the idea in ways others haven't. Does Owl House do this? Yes, I'd say it does. We've all heard of magical worlds, but probably not one made from the corpse of an ancient titan. We've all seen stories of witches, but likely not an entire race of them who do magic in the way these ones do. We've seen schools of magic, but again it isn't probably not the kind we see here, if only because of how casual everyone is about danger. There's lots of things here in the Owl House that has been done before, but interesting twists coupled with bizarre and unfamiliar character and background designs certainly help to make it stand out. In fact, I'd call this the least conventional conventional fantasy story ever put out there, if that actually makes any sense. Probably not, but hey, it's the best way I can think to describe it.

Characters are, as always, the biggest draw of any show for me, and luckily the Owl House has a plethora of great ones to offer me. Luz is a fine central heroine and immediately endeared herself to me in her first appearance with her wide-eyed enthusiasm and boundless love for both life in general and the fantastic in particular. However, what I loved about her introduction is that they made it clear that she has a lot of learning to do before her story is finished. She may be the typical oddball who doesn't fit in with her world, but the show doesn't shy away from the fact that she was a disruptive and often dangerous influence back there, particularly to the other kids. And in the episodes following that we see her make mistakes that get others in a lot of bad situations. Normally this would put me off a character pretty quickly, but the show remedies this well by not only having Luz be a very caring and well-meaning person, but also showing her be willing to do whatever it takes to make up for the errors she makes. And that, coupled with her general energy and optimism, makes her a very likeable main character for the show.

Eda and King, voiced by the aforementioned Wendie Malick and Alex Hirsch respectively, also do a great job of impressing me as characters. Firstly, we have Eda, an "outcast and proud of it" type of mentor with a rebellious streak that dwarfs even that which Luz herself had back in the human world. Now, having a mentor who's on the bad side of the law isn't new, but Malick brings a really fun energy to this character, with her snark being easily one of the most entertaining things about the show overall. But she gives her greater depth beyond just being a sarcastic mentor, as Eda is shown to be someone with her own struggles, her own pains, that draw you in and fascinate you in a way you might never have expected from her time in just that first episode. King likewise proves to be a character with many layers to him. Introduced as a demon who has fallen from power and constantly trying to regain that position, he often proves to be a great source of comedy, but also shows himself as capable of warming up to Luz and others and being genuinely caring towards them. These two have both proved to be great otherworldly characters, and ideal companions for Luz during her time in the Boiling Isles.

And like any truly great ensemble piece, Owl House provides plenty of other wonderful characters to enjoy over the course of the show. Hootly, the titular Owl House himself, is a truly entertaining comic relief character, and Hirsch, who voices him as well as King, clearly has a lot of fun in bringing just general random comedy into the mix. Luz's friends at school, Willow and Gus, are as endearing as her, proving supportive and just generally likeable kids that it's always a pleasure to see, with Willow in particular having some real standout moments in the show. And then we have Amity Blight, and here's a character who really does showcase a lot of what makes this story wonderful. Someone who appears as one thing, in this case a quintessential school bully character, and then gets revealed to have far more to her than we might have ever expected. And her growing close relationship to Luz has shown to be one of the most interesting things about the Owl House thus far, at least to me. I could probably write a whole essay on that relationship, and trust me, I have plans to, but for now just know that she, along with the rest of the recurring cast, have shown themselves to be a real delight to watch.

The stories in this show, in a similar vein to Gravity Falls, follow a sort of quasi-serialized format. There will definitely be hints of something larger and ominous building up in the background, with reference and mentions of things happening that we never get to see, but for the most part the show largely seems content to have episodic stories. But there will be interconnectedness there too, as some episodes will come about as a direct result of things established in prior episodes, such as Willow's past friendship to Amity, or Eda trying to get Luz enrolled at Hexside. And I've always had a fondness for that kind of storytelling. Sure, fully serialized stories that tell big, sweeping epics are all well and good, but smaller and more self-contained outings have always just appealed to me more, especially since it always seems that Owl House has character interactions be at the forefront of its priorities. I could honestly just watch an episode of three or more of these recurring characters just hanging out and talking to each other and be completely satisfied with it. But of course, there's the big end-of-season arc, and without spoiling things it definitely upped the seriousness, drama and stakes of the show. There had been risk and danger before, but that finale absolutely took it to eleven, which was fine for me, given how the rest of the show had been.

The Owl House, like any genuinely great show, has a number of themes and big ideas it wants to explore, and above all there seems to be the recurring idea of the individual vs society. Who a person is and what they want to do vs the needs of everyone and needing to be more like the rest of the group. And what strikes me as interesting about this show's take on it is that it doesn't seem to want to demonize one side or another. Throughout the story we're shown both the ups and downs of both sides, and Luz herself even states in the episode "Covention" that she wants to make up her own mind rather than simply blindly follow Eda's stance on individualism as the true right way, which is a nice change of pace for shows like this. The coven system, for instance, restricts all but specific types of magic in those who join, yet by refusing to join Eda has been driven to outcast status, often struggling to get the things she needs, like her elixir. Luz is a free spirit who is drawn to Eda's wildcard mentoring, yet also has a desire to learn from the structured style of Hexside. Granted, the finale does put the society side in a far more negative light, but the show did try a more nuanced approach to the argument than I was expecting, which I really do admire about it.

Overall, I'd say the Owl House is off to a fantastic start. Is it good enough to usurp Gravity Falls as my personal favourite Disney show? Well, it's still a bit early to make that decision, as well as a bit unfair. The show isn't finished yet, so it's entirely possible that the second season might not live up to the standard set by the first. But, as far as that first season goes, I'd say I'm pretty hopeful about it. The characters, the world, the stories it's given me have been hugely engaging so far, and as long as the people making it stick to those things that made this show good in their second year, I have every confidence that they can make it just as good, if not better. It's a fantasy show that does a lot to veer away from what a lot of other stories in that genre typically try to do. It's characters are layered and grow with every passing episode, and by the time this season was over I was even tempted to call some of this cast among the best characters any Disney property has ever shown me, which is some pretty high praise. A first impressions go, the Owl House has definitely done a fine job, and I thoroughly look forward to seeing what Dana Terrace and the rest of the crew do when it eventually returns to us 🥰

#essay #writing #disney #the owl house #my stuff #luz noceda #eda the owl lady #review

14 notes · View notes

signor-signor · 6 years

Text

Trending 27th (July 2018)

Believe it or else, three years have passed since Disney made the biggest mistake in the history of television animation in the 2010s: canceling the well-received Wander Over Yonder before the second season got the chance to prove itself (and several months after the third season was fully conceived).

So, what would my reaction be if a third season of Wander Over Yonder were to happen? The answer is quite simple.

I would rejoice!

Let me expand on my answer, though, in a way that explains why I still support the show.

Before 2008, I had little-to-no interest in Disney Channel because of its heavy reliance on live-action sitcoms. I had no reason to tune into that channel back then, but a certain animated show about a couple of stepbrothers finding ways to spend summer vacation came along and made me change my mind. When I discovered Phineas and Ferb, I was in for a treat. An original premise, quirky characters, subplots connecting with main plots, unique feats not possible in live-action shows... P&F had the whole kit and caboodle and was the one show I would watch whenever a new episode came on.

Then in 2010, we got Fish Hooks. While it had certain moments I would love to forget, it did have a diverse cast of water-dwelling characters living in a pet shop and focused on the life and times of three high school fish. That might be why I kept tuning into the show for new episodes, which, consequently, might have contributed to its chance at getting a third season, giving the show the privilege of spanning four years of high school.

Believe it or not, one thing that got me interested in Gravity Falls in 2012 was the fact that its creator happened to be the voice of Clamantha from Fish Hooks. I never knew Alex Hirsch was capable of doing many voices. I often think of the voice of Grunkle Stan as his take on Krusty the Klown from The Simpsons. And I did find his voice for Soos fun to hear and imitate. I think what got me even more interested back then was the involvement of Matt Chapman, one of the many men of hundreds of voices and one of the two brothers who created the Homestar Runner body of work, which I’ve been following since 2003. That, and cryptic codes you find in the credits. Truth be told, I had no idea how much of an impact it would have among viewers.

These are just three animated shows that had me stay tuned on the Disney Channel before mid-2013. This leads us to my rising interest in Wander Over Yonder, which also premiered in 2013 on said channel. Knowing this was a feel-good kind of show starring Jack McBrayer and created by @crackmccraigen, the experienced genius behind The Powerpuff Girls and Foster’s Home for Imaginary Friends, I would be a total fool for missing out on it. The characters are diverse and so are the environments. There’s always something brand-spanking new in every episode. I cannot tell a lie. It’s the funniest, cleverest, and most well thought-out cartoon I’ve ever watched. Considering the other Disney shows in the resurgence weren’t in jeopardy, I was sure Disney had succeeded in boosting my interest in their animated fare. Regardless of hiatuses, I saw no signs of the company lousing up their shows’ schedules. I actually thought the show would be too good to fail even after the move to Disney XD in early 2014.

Even though the three aforementioned shows weren’t as impressive as WOY animation-wise and humor-wise, I’d managed to catch up on them. I also watched The 7D, Penn Zero: Part-Time Hero, and Star vs. the Forces of Evil on Disney XD, all because the company was going in the right direction. Like many viewers, I was completely unaware of the actions the heads of Disney were going to take, one of which involved choosing one or a few over the others.

When I got the news of WOY getting a second season (and the 11 1-minute shorts that preceded it), I made sure not to miss it because I enjoyed the first season. Before the bad news broke out in March of 2016, I had already moved on from Fish Hooks, Phineas and Ferb, and Gravity Falls because they had absolutely no unfinished business after they ended properly. When I found via DaBurninator’s DeviantArt account that Wander got canceled one week before S2 started even though a whole third season was planned out in early 2015, I became puzzled and felt betrayed. It’s like the Disney bosses didn’t give any thought to how the fans would feel. “Disney, how could you?” I thought. I had other questions in mind.

“What about Fish Hooks? It may not be as popular as Phineas and Ferb, but it got 3 seasons!”

“What makes them think there’s no need to make more episodes?”

“What did we ever do to be denied to know what happens after the second season?”

“Do they know what Craig went through to get his third season pitch together?”

Craig has been in the business for more than 20 years and his amazing ideas for S3 get snubbed by a company with the notion of dreams coming true? That is absolutely unheard of. He hasn’t done anything wrong before and after leaving Cartoon Network. Sure, he had a student film with an inappropriate title that got a much more suitable name when he got started with Hanna-Barbera, but I know dang well he was giving his all to make one of the best shows in the history of Disney television. He was trying to make a show that takes place in outer space, utilizes characters with structures that follow the “lava lamp theory,” and mixes hilarity and critical thinking. He was making for Disney a show that could leave a good impression on the viewers and show them that kindness can be a good thing. No other show by Disney could ever offer the same satisfaction demonstrated in WOY, that’s why I currently have little-to-no interest in Disney shows not created by Craig. I still suspect the higher Disney bosses like Fish Hooks more than they like WOY.

If people had no interest or faith in WOY, would they have allowed songs from My Fair Hatey to be recorded at Capitol Records? The point is, if the WOY crew members went above and beyond to make WOY good, we MUST give it tons of attention! I still do.

Back to my answer to the question of Trending 27th. If a third season of WOY were to ever happen, I would rejoice by hugging everyone around me and spreading the word. If I made doubly sure that it is the case, I’d probably happily laugh in hysterics, but that’d be because after years of putting up with the popularity of higher-rated Disney shows (especially GF and SvtFoE) and inspiring WOY fans to fight harder, I would know all our efforts would have finally paid off. I’d also have renewed my trust in Disney television.

Just imagine, the lips of Craig and his crew would be unsealed and we would finally get to witness these things in S3.

•The first scene consisting of Dominator grumpily orbbling through space (and maybe looking at the picture she took in The Flower)

•A new angle that’s “delightfully petty but wholly Dominator”

•The construction and launch of The Star Nomad (thanks to Future-Worm, we know who owns it)

•The space primate

•The threat worse than Dominator

•Peepers’s arc

•More Wander/Sylvia/Hater/Peepers team-ups

•More info on Demurra and Dracor’s children

•More Eye on the Skullship

•Emperor Awesome’s “ultimate comeuppance”

•Major Threat being a recurring character

•Returning characters (like the Black Cube, Ripov, Neckbeard, to name a few)

•What the other villains have been up to since The Bad Neighbors

•New characters (that means new ALFs - Alien Life Forms)

•Possibly a new musical

•Lord Hater’s origin story and how he and Peepers met (still waiting for it!)

•And most important, Wander being tested in a cool way

•And also most important, a message saying, “Thanks for watching!”

Get the picture? We would see all this and more become a reality if we leave shows with no unfinished business alone, ease up on shows that aren’t in danger of cancellation, and pay more attention to discontinued shows calling for proper closure. We can’t stand idly by while that space pod accident remains unexplained. We must let Disney know there IS a need for one more season (or TV movie) so we can see WOY end properly before Craig decides to retire.

52 notes · View notes

jewelridersarchive · 6 years

Text

Why do we love seeing new versions of the same thing? Is it simple nostalgia? Is it the desire to engage with some sort of content that once moved us in a new and different way? Is it new creators wanting to stamp something they loved from their own childhood with their mark? Or is it all of the above?

I’m not immune to loving reboots. I devoured the new DuckTales on Disney XD, I’m reading the new Rainbow Brite comics from Dynamite, I’m watching the new iteration of Will & Grace, and continue to watch My Little Pony: Friendship is Magic. Reboots are fun; they not only allow fans who loved something to have a nostalgia party, but also allow potential new fans entry points into what sometimes appears to be never-ending streams of content (I’m looking at you, Transformers). But things seem out of hand when even ReBoot, the mid-90s CGI cartoon, has a reboot on Netflix (ReBoot: The Guardian Code). Have reboots become the “safe,” risk-averse way companies can cash in on portfolio properties that already have known fanbases? It’s the equivalent of an artist only drawing fanart because they know it will get thousands of likes versus hundreds on original content.

And I fully admit some level of fatigue with franchises that just keep chugging along, seemingly forever. Every movie that comes out seems to want to be a tentpole franchise builder. Or a reboot of an existing franchise, or a soft reboot that only takes some elements going forward, or an alternate universe or…well, you get the idea.

I love original content. One of the best shows I watched this year was Alex Hirsch’s Gravity Falls (yes, I know I’m rather late to the game). It was a bright spot of originality, something new and not tied to any other content or previous iteration. Many of the anime I watch and enjoy are either original or straight adaptations of an existing manga. I think original content and ideas are important in entertainment. They allow a generation to experience a piece of entertainment in its prime, and have something uniquely “theirs.” Kids of the 60s had Star Trek, kids of the 70s had Star Wars, kids of 80s will always be the original audience for Jem & the Holograms and He-Man/She-Ra, kids of the 90s will always have X-Men TAS and Sailor Moon. (And PGJR, of course haha). No matter if they are rebooted down the road or not, that original experience belongs to the original viewers.

Which is why it’s always hilarious to me when people who hate on the new version of something say “It’s ruining my childhood!” Your childhood is whatever it was, frozen in time. Those original cartoons obviously still exist, and if you have the desire you can watch most of them. A reboot doesn’t destroy the original, no matter how many changes it makes to the original idea. The best reboots can often give us (as adults) what we thought we were watching as children. And often, the reboot can drive traffic back to seek out the original, as adults want to share with children the version they loved at that age.

Which brings us to She-Ra. I didn’t watch any He-Man or She-Ra as a child, for whatever reason. I found He-Man & the Masters of the Universe through the 2002 anime-influenced incarnation (also a great reboot IMO), then went back and watched the 1983 cartoon, followed by the 1985 She-Ra: Princess of Power. I loved it all. Sure, sometimes it was goofy, and there was lots of animation reuse in the older versions, but the core concepts were really strong. They are classic good vs evil, freedom vs tyranny stories, told with engaging casts and crazy creative worlds.

I powered through all 93 episodes of She-Ra during the summer of 2010 while I studied for my board exams. It holds the special place of being the series I turned to to relieve the stress of studying. I love the 80s fantasy girl designs, the color schemes, the powers, the sheer kookiness of the side characters. She-Ra was the OG American magical girl, and I finally understood what all the fuss over this franchise was about. She-Ra feels iconic in the way that characters like Wonder Woman and Sailor Moon do. Yes, she starts out as a spin-off of the successful He-Man franchise, but he makes very few appearances in She-Ra’s cartoon.

But after her initial run, She-Ra remained a virtually dormant property for the next 30 years. He-Man had two different reboots in 1991 and 2002, but She-Ra was stuck in limbo. Only once the Masters of the Universe Classics collectible figure from Mattel released in 2010 did She-Ra finally see the light of day again. Story-wise, the bios on the back of the toy packages gave us a little info about She-Ra’s further adventures, but it wasn’t until the 2012/2013 Masters of the Universe comic from DC that She-Ra comes back, this time in the guise of the villainous Despara. It’s a dark but interesting take on the characters; an exploration of what being raised by the Evil Horde would really do to a person.

Interestingly, this seems to be the jumping-off point for the new “She-Ra and the Princesses of Power” animated series from Dreamworks and Netflix. This show takes as its central theme the relationship between Adora and Catra. When Adora finds the sword that lets her turn into She-Ra, she leaves the Horde – an organization to which she has devoted her life. Almost more importantly, she leaves behind Catra, her best friend. It’s this broken relationship that informs the emotional tone of the rest of the show.

Unlike the 80s version, this time around the Rebellion knows Adora’s identity as She-Ra. It’s an interesting change – shows of the 80s were obsessed with secret identities, and sometimes it could get ridiculous making up excuses for what happened to the other identity of the character every time. Thankfully, that is avoided here, and instead of angst over whether or not you can let people know the real you, we are treated to relationships that ask whether we can accept someone who we know has wronged us before.

Much has been made over this update’s reworking of the body types and ethnicities of the main princesses. While I confess not loving all the updated designs and missing the 80s fairytale warrior goddesses of the original, I understand and fully support the change. Reboots are about viewing something old through the lens of today, and audiences of today want to see themselves in the media they watch or read. We can’t (and shouldn’t) go back to mostly-white casts. The world is a rainbow of colors, and the show feels richer for including them.

Speaking of rainbows, I have to mention the new show’s decidedly queer bent. The relationship between Adora and Catra is somewhere between ex-best-friends and ex-girlfriends in tone. Netossa and Spinerella, long shipped by the fandom, are finally outed in a true relationship this time around. Other characters like Scorpia, Bow, and Entrapta all tap into queer mannerisms and norms as well. The end result is unlike anything else I’ve ever seen in children’s entertainment, and I couldn’t be happier. I wish I’d had something similar as a child, but I’m grateful today’s queer kids have their own heroes.

When we talk about a successful reboot, what are we looking for? Here’s what I think a good reboot need to accomplish.

Bring the characters and concepts of the original property up to date for current audiences.

Explore the characters or world in new and different ways.

Add depth to the original concept.

She-Ra and the Princesses of Power does all of these in spades. I think it’s the nicest treatment an 80s female-driven property has gotten in a reboot. The show is full of strong characters with interesting dynamics, great writing, and interesting world building. Yes, some of the episodes can be a bit predictable and the designs are not always my favorite, but everything works together toward a greater whole. I won’t spoil the story for you, because seriously if you haven’t watched this, get thee to Netflix and enjoy!

For the Honor of Grayskull!

Chris

P.S. Can you imagine getting a ✨Princess Gwenevere and the Jewel Riders✨ reboot that brought all this to the table? I’d die!

Read the complete blog at The Jewel Riders Archive! http://www.jewelridersarchive.com/posts/she-ra-the-princesses-of-power-and-reboot-culture/

#jewel riders #princess gwenevere and the jewel riders #princess gwenevere #unicorn #unicorns #animation #mattel #She-ra #she ra #princess of power #heman #he man #he-man #masters of the universe

5 notes · View notes

codylabs · 6 years

Text

CodyLabs Guide To...

Specifically, I will be analyzing Time Travel in Gravity Falls. Yes it’s a kid’s show and I’m an adult man, but I hecking got myself INTO this, alright? This is IMPORTANT TO ME.

(This also serves as an appendix for my fanfiction, The Forest of Daggers. So if you’ve been linked here from that, good for you. You’re in the right place.)

Anyway.

So.

If you’re ready for some weird science, press the ‘Keep reading’ button and hang onto your butt.

Whenever I watch a time-travel movie, I want to know and understand what’s happening. That is, I want to understand the rules that the movie assigns to this fictional phenomenon. What power or technology allows it? Can you travel to the past? Can you meet yourself? Can you change the past (i.e., is the time travel stable or unstable)? How far can you change the past? Are you yourself affected by changes the past incurs? Does changing the past ‘replace’ the old reality, split the universe into two realities, or warp the reality that is? Do you have free will while in the past? What kind of paradoxes (if any) are likely to pop up, and what the heck does a paradox even do anyway?

Every movie, book, or piece of media seems to have different rules.

Back to the Future (perhaps the most well-known version) uses a freaky-looking car as a means to ‘time-drive’ to the past. It does allow changes to the past (that is, it is unstable). Changes to the past do affect the time traveler himself (when he accidentally prevents his parents from hooking up, he himself begins to disappear.) He does retain free will. And this movie clearly threatens an unstable time paradox: changing the past would kill the time traveler or else remove his means of ever changing the past in the first place, thus generating an inconsistent loop of causality that just doesn’t add up, no matter how hard you think about it.

In Groundhog Day (a classic comedy that uses the same exact rules as one of my all-time favorite movies, Edge of Tomorrow) the main character ‘time-resets’ back to the previous morning via his own mysterious innate power. However, his entire body isn’t transported back in time, but only his brain, skills, and memories. He replaces himself, and then has complete freedom to change the past however he can. Although he has complete free will, his memories and everything he brought with him remain unaffected by his changes, thereby never resulting in a messy paradox. The old reality from before the changes is assumed to disappear without a physical trace.

Terminator goes a whole different route. In Terminator, one cannot change the past at all (doesn’t stop the murderous Austrian robots from trying, but hey, to each his own.) In terminator, time travel is accomplished via a big, ominous time portal, which ‘time-teleports’ folks back without equipment or clothes. Once in the past, the time traveler’s actions inevitably result in the future happening the way it already did. A killer robot tries to kill the mother of the leader of the human resistance, and fails. A human resistance member goes back and makes him fail, along the way getting the mother pregnant with said leader of the human resistance… And to further complicate things, the time-traveling killer robot is reverse-engineered by human scientists, and accidentally used to create the robots that started the whole mess in the first place. This is a clear-as-mud example of a stable time paradox: wherein time travel occurs, and the reason it occurs is because it did. (Sure, if it didn’t occur then it wouldn’t occur, but instead it did so it would, which makes a better movie, so ha, so there.)

Yeah.

All that being said, what rules does Gravity Falls follow?

Well, let’s start with the basics.

Time travel is accomplished by using small, tape-measure-shaped devices to ‘time-teleport’ one or more passengers at once (along with their equipment and clothes, thanks a lot for making that distinction necessary, Terminator…) to any time in history. In order to be time-teleported, passengers must be either touching the device, or in direct physical contact with another passenger who is.

Since time machines have been stolen in the show from time to time, and the time-authorities have to physically chase down the time-criminals to retrieve them, we can assume that they are totally independent devices that run under their own power and control. It is never specified in the show how long it takes them to run out of fuel, or if they even require fuel at all.

Now, as for the actual rules of how time travel behaves, the particulars are never really laid out very precisely. But if you happen to be writing a hard sci-fi fanfic (the unfortunate and uncomfortable predicament in which I find myself), you need to interpret Alex Hirsch’s unspoken rules properly, and need to make your writing fit with his. (Note: In this analysis, I’m going to be ignoring the book “Dipper, Mabel, and the Curse of the Time Pirates’ Treasure”, firstly because I haven’t read it, secondly because it isn’t canon, and thirdly because its many alternate endings don’t fit with the natural stability of time that we see in the show.)

So let’s look at the evidence from the show’s 2 episodes where time-travel is prominently featured.

Diagram of Blendin’s Game:

Blendin’s Game is very clear-cut, so I’ll start there. In that episode, the time-travel behaves in a highly stable way. Changes they make to the past are already a part of history. (For example, when Dipper and Mabel go to fix Soos’ b-day, they accidentally leave a screwdriver in Young-Soos’ yard. Young-Soos found the screwdriver and returned it, resulting in him getting the job at the Mystery Shack, which is already how things were. Indeed, his job even indirectly resulted in Dipper and Mabel time traveling to fix his b-day.) The alternative (where he never gets his job) never happens. And, since the Time Paradox Avoidance Enforcement Officers either ignore this causality loop or fail to detect it, we can assume that such stable paradoxes aren’t considered much of an issue.

Diagram of a hypothetical Time-Wish use:

In order to significantly and neatly change history in an unstable way, an enormous power source such as a Precious Time Wish is required. (The key word ‘Precious’ here implies that significant unstable change is NOT normal. It is, in fact, worth Globnaring to access.)

Also, since Dipper and Mabel went 10 years into the past when they themselves were only 12, we can assume that they existed concurrently with their past toddler selves who were likely in the nursery in Piedmont. As would make sense.

As an aside, we also see Blendin freezing local time to talk with Soos and give him the Time Wish. So time machines must therefore have an optional feature to freeze time (except for the time travelers themselves and certain persons of their choosing.)

That’s all clear enough, eh?

Diagram of Time Traveler’s Pig:

However, ‘The Time Traveler’s Pig’ confounds things a bit. In that one, Dipper and Mabel loop through a day back to “high noon!” several times.

This marks the one and only time we ever directly saw an unstable version of time travel in the show. Dipper tries to loop back around to undo creaming Wendy in the eye, and ends up causing her to get creamed again. As Dipper stated in such impressively large words: “The forces of time naturally conspire to prevent any new outcomes.” So, even though we see multiple ever-so-slightly-different realities arise and fall over the course of the day, only one reality, one that is extremely close to the original, is all that remains after all is said and done.

This means, in a way, that Mabel and Waddles were DESTINED for each other. Unfortunately, this also means that Dipper will need to devote more to this relationship than just a baseball. Poor guy. Nothing worth having comes easy.

Anyway.

‘The Time Traveler’s Pig’ also features one extremely weird detail: when time traveling through the day, Dipper and Mabel never seem to encounter their past selves. (Plus their clothes and bodies never seem to carry changes back in time, nor get older or dirtier. Even Mabel was instantly restored to her former beauty after a month of standing out in the sun headbutting a chunk of solid plastic.) Therefore, it can be assumed that only their brains and memories (and the time machine itself) do any real time-travel. Their minds take the place of their original bodies at the start of the day.

However, the whole brains-only rule doesn’t fit with the rest of the show, or even the rest of the episode. When they start traveling beyond the day, they visit prehistoric times where they wouldn’t have been born yet, the distant future where they would have been long dead, and even appear briefly at previous points in the Summer, while past versions of themselves lurked nearby.

So that’s weird. Part of the episode (the part where they’re only traveling on the scale of hours/days) seems to follow one set of rules, and another part (where they’re traveling on the scale of weeks or more) seems to follow some different rules…

There doesn’t seem to be a clear answer here. Therefore, I will make something up to make it make sense. Namely, I will make up a ‘GroundHog Day switch’ (or GHD switch). When the switch is ON, the time machine will scan the target time for instances of the user’s body. If the time interval is very short (less than a week) and if the user’s past version is nearby, it will attempt to save fuel by locking onto a past version and transporting only the time traveler’s mind, soul, and self. If the time increment is more than a week, or if it cannot find a viable past self for replacement, or if the switch is OFF, then it will transport the whole body.

Over the course of TTP, Dipper and Mabel left the GHD switch ON, which allowed them to repeat the day without countless past versions getting underfoot. Whenever traveling beyond their local week, the Time machine defaulted to non-GHD travel. In Blendin’s Game, however, they probably left it off.

BUT THAT’S JUST A THEORY. A CODYLABS THEORY. THAYNKS FOR WACHIN.

Anyway.

In conclusion to all that nonsense above, here is my personal list of rules for time travel in Gravity Falls, that pretty much encompasses all we’ve seen.

These are the rules that I have been/will be writing from, and that I invite you to use as well.

Small, handheld time machines can be used to quickly and easily transport multiple people at once, along with equipment. The time machines can travel to most, if not all, points in history. Past, present, and future indiscriminately.

Time machines are capable of freezing local time, at least temporarily. Somehow, this freezing does not harm the freezer or the frozen. (Logically if time were frozen, everything would be perfectly cold, infinitely dark, and the air would be hard as rock, but that’s no fun so we ignore that.)

Time machines can be set to either replace the user’s past self in the target time, or not. If the past version targeted for replacement is more than a week distant, the replacement will not work. The function can be toggled on and off depending on need. (This is just a theory of mine, but I’ll roll with it because it makes enough sense. Plus a story I’m writing kind of depends on it. :P)

Time travel always defaults toward stability. From a practical standpoint, this means that any action undertaken in the past is most likely already a part of history. However, if significant effort is undertaken to deviate from set history, (especially replacing a past version of yourself), unstable change is somewhat possible. Which leads to my most important point:

The wrinkles of instability are usually ironed out by ‘the natural forces of time’. These natural forces take the form of poignant, improbable events: anything from a ball improbably striking an eyeball, to gusts of wind improbably blowing a ball off-course to strike an eyeball, to a girl improbably losing her delicate sanity in order to elicit pity from her brother and convince him to throw a ball in such a way that it could have the chance to strike an eyeball.

Stable time paradox loops form randomly and with some frequency, for no apparent reason besides general weirdness. Any closed, time-like curve, from Soos’ screwdriver loop to the dropped calculator loop, may form and become a ‘canonical’ part of established, stable history. These stable loops are not particularly significant, even if their causality is pretty weird.

Time travelers always maintain their own personal memories of observed events. This includes memories of any realities they have experienced, even those unstable realities which have since been altered or replaced. (This is important, because it allows for linear character arcs amid a nonlinear story.)

Oh yeah, and unstable change is possible and easy using the mighty power of the Time Wishes… And you get Time Wishes by fighting to the death for them. So have fun with that.

17 notes · View notes

advocatewrites-blog · 7 years

Text

Into the Unknown Part 2 Chapter 3

Into the Unknown

Fandom: Undertale, Coraline (book), Over the Garden Wall, Paranorman, Gravity Falls (season 2)

Characters: Frisk, Norman B., Dipper P., Mabel P., Coraline J., Wirt, Greg, the Cat, the Frog; Sans, Toriel, Papyrus, Undyne, Alphys, Asgore,; the Other Mother, the Beast, Agatha P., Bill Cipher, Asriel D., Chara D.,

Pairings: Not the focus. Alphys/Undyne, with mentions of Papyrus/Mettaton, sans/Toriel/Asgore, and Wirt/Sara. Due to the nature of Undertale and the dating segments, there is also interpretable Papyrus/Wirt, Undyne/Mabel, Alphys/Dipper, Napstablook/Norman, Mettaton/Norman, Mettaton/Mabel, Sans/Dipper, Sans/Norman, and Sans/Greg.

Rated a high +K for violence, mild language, horrific elements that may be disturbing to younger readers, mentions of child abuse and bullying, character death that is sometimes permanent, and mentions of suicide that may be triggering. These elements remain relatively unchanged from their source material, which most all are for children, but discretion is advised nonetheless.

Disclaimer: Undertale was created and owned by Toby Fox. Coraline was created by Neil Gaiman and owned by Bloomsbury and Laika. Over the Garden Wall was created by Patrick McHale and owned by Cartoon Network. Paranorman was created by Sam Fell and Chris Butler and owned by Laika. Gravity Falls was created by Alex Hirsch and owned by Disney. Any other work mentioned or homage are property of their respective owners. This is a fan-made, nonprofit work that only seeks to entertain. Please support the original franchises.

Start from beginning / Previous chapter / Next chapter

Chapter 3

Wirt held his breath as he fought to hold still. Even Greg, for once, froze in place, the frog clutched around his torso tightly.

Undyne moved closer. The grass rustled as she approached. Wirt held his breath as he waited for the inevitable.

He jumped when the hand reached down, and for a moment, he dared not look. He only did when he heard the hand reach back down and something hit the ground.

Wirt opened his eyes and looked around frantically. It wasn’t until he heard the rustling grass and hard armor footsteps drift away did he feel safe enough to run out of the patch of grass.

Greg followed right behind him, looking somewhat confused but no worse for wear. The frog followed. Someone else followed.

“Yo, did you see that?!”

It was a monster kid. Wirt recognized him somewhat from Snowdin. It looked something like a dinosaur, only taller than Greg because of a few spikes that ran along its back.

“Undyne just…TOUCHED ME!” They exclaimed. “I’m never gonna wash my face again!”

“Congratulations!” said Greg.

The frog ribbited in agreement.

“Man, were you unlucky,” said the monster kid. “If you guys were standing just a LITTLE BIT to the left…yo, don’t worry! I’m sure we’ll see her again!”

That was what Wirt was afraid of.

The monster kid ran off, faster than little legs could take them. They toppled over and fell, colliding face first onto the hard ground. They were back up before Wirt could even try to help.

“I like his resolve,” said Greg.

The frog ribbited again.

The panic faded. Wirt refocused. Undyne wasn’t like Papyrus. They would have to get away from her fast. And Papyrus…

“Come on, Greg. We’re leaving.”

“Do you think we should call Papyrus?” Greg asked.

“No! You saw him; he just sold us out!”

“I guess you’re right,” Greg sighed. “And he even went on a date with you…”

“That was not a date! I don’t even think he knows what a date is!” Wirt said.

“Better to have loved and lost than to never love at all,” said Greg. “That’s what the old people say!”

It was not worth arguing with Greg. He walked forward, and tuned out the sounds of Greg chattering.

He shouldn’t have trusted anyone.

It was the Cat who first discovered that Beatrice was missing. It was Frisk who decided to look for her. The Cat did most of the searching, mostly because he was faster and because he could rely on smell.

The Cat stopped by a building, more shack than house. The lights were still on. Voices were still audible through the glass. Frisk knocked and opened the door.

“Close that door, child! I’ll catch by death with this night air!”

Frisk jumped and scrambled to follow the instructions. The Cat barely had time to slide in. Their heart was lodged in their throat even before they were caught in the trap.

“Welcome home, child…” The voice was old and raspy, with a saccharine tone to it that Frisk recognized all too well.

Frisk’s Soul seized. They could only watch as the Cat untangled himself from the web of yarn and launched himself towards the speaker. They met Beatrice’s eyes, and saw all the hurt and guilt though they couldn’t quite tell who it was directed at. They watched as Beatrice flew away, behind them towards the window.

The room filled with dust and screams, and they panicked.

*RESET

“Yo! You got an umbrella?”

It was that monster kid again. They were crouched under the cliff, waiting out the rain. Wirt fought the urge to scowl, and avoided looking their way. There were umbrellas not even ten feet away, why wouldn’t they grab one?

A sickening feeling hit Wirt’s stomach as he realized. The monster kid did not have arms. It probably would not be easy for him to cross, Wirt realized. They already had to scale one cliff to get ahead.

“Wanna come with?” Greg asked.

“Sure!”

“Hey, Wirt, can you take Doctor Cucumber so we have room?”

“Oh, sure…” Wirt was too upset by the revelation to really think about it.

The frog hopped to under his umbrella.

Their party became four.

“So, this one time, we had a school project where we had to take care of a flower,” said the Monster Kid. “The king—we had to call him ‘Mr. Dreemurr’—”

Wirt tried to tune them out. He had no idea what he was going to do next. Undyne was going to find them, or there’d be some other threat that tried to kill them. And they would have to make it past the barrier.

Papyrus said that the king was a good guy. Papyrus also thought wearing clothes was a sign of affection.

They would have to find a way to get past Undyne. That was what Wirt needed to figure out next. There was no way she would give up the fight like Papyrus or Toriel. They might actually fight back against her. The only weapon worth its weight that they had found were a pair of ballet slippers, but if it was what separated them from dying and going home again…

Something tugged at his heart, or Soul, or whatever organ was in his chest now. It tightened.

Tree roots. Something about tree roots. Tree roots covering his entire body and fusing into his skin—

The world flashed red, then yellow.

Wirt snapped back to attention. What was that?

“So, this one time, we had a school project where we had to take care of a flower. The king—we had to call him ‘Mr. Dreemurr’—”

“Didn’t you already finish that story?” Wirt asked.

The monster kid and Greg stared back at him.

“I haven’t heard it yet!” said Greg.

“What?” Wirt asked.

Wirt looked around. They weren’t in the same area they were a second ago. But they had been in that area, just before Wirt got lost in his thoughts.

He looked down at the frog. The frog stopped his hopping long enough to stand up and shrug at him.

The Underground was weird, Wirt decided.

They were back at the campsite. Beatrice was not with them. The cat was still asleep. There was no LOVE in their Soul, they realized, and they clung to it like a lifeline.

“It’s been a long time since I’ve seen a Soul User in these woods…”

The voice was old and raspy, with a malevolent tone to it that Frisk recognized all too well. Frisk looked up to the source, and saw a monster. “Tell me, how did you end up over the garden wall?”

“Behind you.”

Wirt tensed up at the Echo Flower’s message. The sound of metal footsteps grows closer.

“Don’t tell me she’s right behind us,” said Wirt.

“Okay,” said Greg.

“Seven,” said Undyne. “Seven human souls. With the power of seven human souls, our king, King Asgore Dreemurr, will become a god. With that power, Asgore can finally shatter the Barrier. He will finally take the surface back from humanity, and give them back the suffering and pain we have endured. I suppose…he will have a use for two.”

Wirt turned in time to see a flash of blue magic form into a solid spear. He closed his eyes as Undyne charged towards them.

“YO! UNDYNE!!! I’LL HELP YOU FIGHT!!!”

The monster kid rushed out from the reeds. They stood between them, looking back and forth until they settle on Wirt and Greg.

“Hey!!! You did it!!! You got front stage views to Undyne’s fight!!”

Wirt is sure the look he gave the monster kid is what gave the whole situation away.

“…wait. Who’s she fighting?” The monster kid asked.

Undyne moved first, surprisingly not to fight. Her spear vanished as she grabbed the monster kid’s spikes, a gesture that looks no more painful than grabbing someone by the ear. She walked away, the monster kid dragged behind her.

“That was too close,” said Wirt. “We’re not going to be able to outrun her forever.”

“I guess,” said Greg. His attention was on what Undyne had been saying.

Seven human souls, and the monsters would go free.

Author’s Note: Happy holidays, merry Christmas, prosperous Hannukkah, cheerful Kwanza, spiritually-fulfilling Yule, whatever it is you celebrate, I’m just happy that I’m not at school anymore. Seriously, I barely remember this chapter and I wrote the dang thing.

#fic #Into the Unknown #Undertale #Over the Garden Wall #Frisk #Wirt #Greg #the Frog #the Cat #Beatrice #Undyne #featured

2 notes · View notes

smilesthroughfandoms · 7 years

Text

The Battle for Mewni: Final Thoughts and also it’s a review... kinda

So after binge watching the aforementioned episode non-stop for a week, I’ve decided to pull all my (cohesive) thoughts on it all together for this post. Buckle up kiddies this is gonna be a long ride.

OK FIRST WE’RE GOING TO START WITH SOMETHING THAT IS AS CLOSE TO AN ACTUAL REVIEW:

Over all the movie event was quite thrilling. There were parts where you can tell the actual episodes will be split. However, at times I thought the pacing was a bit slow (I mean, it was funny to watch, but did we really need all those shots of The Book kicking Ludo’s ass?). Overall it was a great episode!

Now to get to the nitty gritty of it all.

THE MAGIC HIGH COMMISION OR COUNCIL OR WHATEVER THEY’RE CALLED I FORGET AT THE MOMENT

Ok so Heckapoo, Rhombulous, and Omni are still alive but just need to... recharge? I don’t know. But Lekmet is dead. As in dead and gone, he’s not coming back dead? I’m not gonna lie that saddens me. He was such a good character. Plus, it’s gonna break Rhombulous’s heart. Poor crystal fool. Hopefully his snake arms can calm him down... or Star. Either way. RIP Lekmet.

(Also can we just apppreciate the Queen’s Sanctuary for a moment?)

MOON’S MOTHER

Just look at her!

I can definatley see similarities between Moon and this woman, but it looks like Moon inherited some of her looks from her father... whoever that was. Also this Queen has Butterfly cheek marks. Maybe she was the one true Butterfly before Star came along? Idk, I just thought that was cool.

TEEN MOON, TEEN RIVER, AND LORD MILDREW

Look at her!

Look at him!

Look at them!

Also Mildrew... I can kinda see why Moon didn’t marry him.

Kind of a wimp, don’t you think?

TEEN MOON IN GENERAL LIKE HOLY HELL

She lost her mother, who she clearly loved very much, and was thrusted into Queendom at an earlier age than most and was then given the responsbility to end a war by either continuing it or signing a peace treaty.

Me to, girl. Me too.

However, she took initiative and made a metaphorical deal with the devil. And by devil, I mean Eclipsa. And by metaphorically I mean literally.

And used that power to defeat Toffee’s army and excepted her role as Queen.

And props to her for blasting Toffee’s finger as a way to go around her original deal with Eclipsa. Also Mina was there and she wasn’t as crazy... so... cool?

ECLIPSA’S ALIVE AND SHE SEEMS PRETTY CUTE AND ALSO MAYBE EVIL I DON’T KNOW.

Ok we saw as far back Crystal Clear that she might have been in the crystal’s in Rhombulous’s dimension but to actually have confirmation is something else entirely!

I’m not sure if I’d call her evil just yet but she seems to be taking Toffee’s place as main antagonist... I guess I’ll have to wait until November to tell.

(Also the first she wanted once she was unfrozen was a candy bar. Like, same madame. Same)

GLOSSARYCK... THE TRUEST NEUTRAL TROLL SINCE ALEX HIRSCH.

It was nice to see more of Glossaryck showing some emotions (though he said he had no feelings earlier in the series but that doesn’t necessarily mean the same thing)

And I’m impressed how this show handled the book burning.

This makes me glad that Star has started writing down her own book of spells. This means that not only will everyone have a fresh start, but maybe the years and years of prejudice against Monsters by Mewmans will start to fade...

And then their’s Glossaryck’s fate himself. I mean, first we saw him burning in Book Be Gone

(Sorry, this is the best picture I could find)

Now Im not sure if Glossaryck is truly “dead” or if he’ll stay “dead” and hell I’m not even sure where he is or if Star can go get him but... hey we still have another season to figure all this out so... good luck, you neutral jerk...

STAR AND MARCO OMG THEY WERE CO CUTE!!!!!!

Look at all this Starco we got!

And of course the safe kid finally got his wish to punch Lizard-Loki only after he realized the ass killed Star

While neither really got the chance to actually talk about their feelings for each other (which I’m kind of disappointed they never did) I expect that to be a plot point for future episodes... Also Jackie because I’d love to see more Jarco as well.

*Starco shippers*:

Hey! I’d love to see any of Marco’s relationships fulshed out more! So shut it.

AND BECAUSE I’M GETTING TIRED, THIS WILL BE ONE OF MY FINAL POINTS OF INTEREST

TOFFEE

Just fucking Toffee guys! Ok, first of all. Moontoffee shippers... I don’t care if you ship them... I have LITERALLY seen people ship crazier pairs. I’m not a big fan of it but I can kinda understand the appeal. So... whatever. I don’t care what you people do.

Second, I am a little pissed that Toffee appeared to be nothing more than a plot device. Especially sinc he had so much potential! And now he’s dead. Yeah, sorry conspiracy theorist. His ass is grass. He’s dead. Maybe we’ll see more of him in flashbacks but honestly... I think Eclipsa’s our new baddie. Kind of a let down here, I’m not gonna lie.

Ok, but can we just talk about how petty and extra Toffee was in this entire movie? I mean don’t get me wrong, I’m disappointed that the whole “Missing Finger thing” was nothing more than a petty grudge

but the fucking lengths he went to get it back. I mean, first Moon blast’s his finger off.

(How has his face not turned into a meme yet?)

“She dramatically chopped off a small finger!”

“All hope is lost!”

(Really Rasticore? I expected more of you...)

And his damn face. Like, it’s not some dramatic afer-battle moment like the tapestry depicted

But more like

*frustrated sigh*

“Well then.”

“This is inconvient.”

And we don’t here from him for at least another twenty years (Hey Star Crew could we get a timeline of events here?). And what does he do once he comes back?

He hires himself into Ludo’s army, convinces them to overthrow Ludo, gets Star to destroy her wand, nearly kills all of Ludo’s army, manipulates Ludo and nearly drives him insane, practically kills the Magic High Commision, taints all of the universe’s magic, practically manipulates Ludo into toppling a majority of Mewni, nearly kills Star, and destroys the Magic Instruction Book...

... just to get his fucking finger back.

How god damn petty do you have to be to go to those lengths just to get one finger back? Like what the hell?

And I’d like to point out that Toffee was a very excellent source for nightmare fuel in these past few episodes like...

Dude

Toffee, stop

This is a kid’s show, Toffee.

toFFEE!

And we can’t forget this little gem:

Not gonna lie, this is the only time I pitied the damn lizard.

All of what Toffee did to me is just so funny. Like in retrospect, the concept of it all just strikes me as hilarious.

And that is the brunt of my final thoughts on the season 3 premiere of Star vs the Forces of Evil, The Battle for Mewni. If you guys have any questions, don’t hesitate to ask. I might come back and update a few theory posts eventually and I’ll definatley update my Star vs episodes in one sentence posts, I just have to watch each episode indivually again to get a better feel for it.

Until then, stay weird and wild fellow fans!

#star vs the forces of evil #svtfoe #svtfoe 3 #battle for mewni #star butterfly #marco diaz #glossaryck #moon butterfly #eclipsa #toffee #after ultron #long post #like really long #review #final thoughts

169 notes · View notes

allieinarden · 7 years

Text

An anonymous asker wanted me to comment on a certain analysis of Dipper and Mabel’s relationship, encountered elsewhere on the Internet, which interpreted their bond as a destructive and unhealthy one. Anon shared the original analysis with me in full, but was kind enough to provide me with a point-by-point summation of the poster’s arguments, each of which I will address herein.

A) Mabel may learn lessons, but she easily forgets them later on and doesn’t actually tangibly change as a person and doesn’t actually learn anything as her behaviour is still roughly the same.

Mabel’s a more static character than her brother, I grant you that. Dipper’s the protagonist, and as such the character whose growth is the series focus; he’s an avatar of creator Alex Hirsch himself, so there’s a lot of gentle self-deprecation in the way he’s written. But I tend to think that, in terms of story, it makes sense for Mabel to maintain a certain childishness, because that part of her comes to a head during the Weirdmageddon arc, when she has to choose between eternal childhood and the hard reality of growing older.

Dipper himself doesn’t change much during the series; he learns various smaller lessons to the effect of “just let things happen and don’t try to rush them,” but, until the finale, fails to fully imbibe the larger lesson about growing up. The events of Weirdmageddon give us Dipper at his best; he sheds the pervasive need to be seen as an adult that has characterized him from the beginning and in so doing appears at his most mature. He becomes a realist. He stops getting in his own way. At the same time, Mabel relinquishes her selfishness, the world which revolves around her, and her unwillingness to move forward, even granting Dipper the freedom to stay with Ford if he so chooses. They each grow in a far more definite way than they did over the course of the series proper, in which their character flaws were excellent plot fodder. (It’s also worth noting that in the show, as in real life, maturation is a process; we tend to revert to type, and it’s rare that one definitive “lesson” alters our tendencies. We have to learn again and again.)

B) The review ... points out that Dipper has been told the entire summer and probably his entire life that his sister is better than him, meaning his relationship with this sister, no matter how stable it might seem superficially, is actually unstable and based on one of the siblings having a lower-sense of self-worth than the other, at least subconsciously.

I don’t see any evidence that he’s received this kind of treatment, then or now. Stan is tougher on Dipper than on Mabel because he thinks the nervous, noodle-armed Dipper could use the toughening up in a way that his more energetic twin doesn’t. Wendy tells Dipper in “Sock Opera” that he should roll with Mabel’s weirdness because it makes life worth living–but note that it’s Mabel who learns a lesson in “Sock Opera,” in a deliberate reversal of various Season 1 episodes (“Time-Traveler’s Pig,” “The Deep End”) in which Dipper takes the fall. The episode starts with that message rather than ending on it because this time it’s going to be subverted; Mabel is the one who will need to compromise.

Dipper’s under no illusions that his sister is perfect; he complains about her plenty, her behavior often gets on his nerves (as his does on hers) and he asserts himself whenever it’s necessary. But he loves her–loves her, in fact, in the fullest agape sense.

The fact he values his sister’s life over his own can be used as evidence to support this, as this dovetails right into him thinking he is inferior to her, and is an unhealthy thing for him. And his motivation isn’t that he wants to save as many of his friends as possible, but rather that we wants to live long enough to find Mabel, further supporting the theory. Basically, he is his sister’s “emotional slave” as said in the analysis I quoted above.

Dipper’s willingness to put his life on the line for his sister is no evidence of an unhealthy relationship or of an inferiority complex; it’s a testament to his love for her that shows his character in its noblest light. His feeling is one that anyone with a beloved family member, be it brother, sister, parent, or child, is likely to relate to. It’s not an indication that he devalues his own life, but rather that he values her life more. There’s nothing passive or suicidal in Dipper: he has dreams, ambitions, goals for his future (if anything, his flaw is to dwell in the future too much and forget to be twelve). Like Ford before him, he harbors a hope that the things that make him different are signs of a higher destiny, one he would like to get to as quickly as possible. It’s because he values his future highly that the risk he takes for Mabel carries the weight it does. (By contrast, Mabel fears the future so much that she’s willing to throw her life away and idle indefinitely in the prison bubble; for her the heroic action is not a decision to risk her life but a decision to embrace it.)

In fact, however, Dipper does want to save as many of his friends as possible; when Weirdmageddon hits, his first move is to follow Ford into an incredibly dangerous attempt to take out Bill Cipher, cutting off the apocalypse at its source. When that falls through, it’s completely natural that he should try his hardest to find Mabel; she’s his sister, she’s been missing since the whole thing started, he has reason to fear that she might not even be alive. Worse still, the last conversation they had was a fight. With Ford down for the count, his only other “surviving” relative in Gravity Falls at this point is Stan, an adult well-capable of caring for himself.

What’s more, the revelation that Bill has locked Mabel in his prison bubble comes with the idea that rescuing Mabel is in fact the best thing Dipper can do for Gravity Falls; after observing the twins in action all summer, Wendy sees their teamwork as a sufficiently potent force to topple even Bill. She throws in her lot with Dipper because she cares about Mabel, yes, but also because she firmly believes that reuniting the twins is the key to undoing the apocalypse.

C) This right here has to do with the ask you answered last time. The person above who wrote the analysis points out that, even though both Dipper and Mabel have desires that are equally selfish and mean everything to them, Dipper still has to sacrifice more of his desires than Mabel has to as a whole. He also points out how it seems that Mabel might be a bit spoiled, as she can afford to forget the lessons she has learned while Dipper cannot do that, putting her in a privileged position.

As a beautifully-written response to my original post points out, Dipper’s and Mabel’s sacrifices add up evenly. But I think it’s also worth pointing out that Dipper, while experiencing temporary pain, doesn’t lose much from his sacrifices on the whole; where it counts (when, for instance, the journal is on the line), Mabel takes the hit. Several of Dipper’s wants over the course of Season 1 had to do with his crush on Wendy, a doomed affair regardless of what he did. In “The Time-Traveler’s Pig,” for instance, he went back in time and took away Robbie’s opportunity to ask Wendy out, childishly attempting to spare himself the pain of seeing them together. Not only would this hardly have prevented Robbie from asking her out in the future, it left the root difficulty unaltered–namely that, given the chance to go out with a boy her own age, Wendy would do it. Dipper blames circumstances and timing because it’s less painful than acknowledging that Wendy wants to date someone else. (That Wendy has her freedom is a lesson Dipper is slow to learn; he grasps it in “Boyz Crazy,” around the time Mabel is learning a similar lesson about the clueless boy band she’s hiding in the Shack.) It’s an impulsive, band-aid solution and one that can hardly help Dipper in the long run, whereas Mabel will be deeply affected by the loss of her pig, a complication Dipper caused himself when his denial made him meddle with the timeline. His sacrifice on this occasion is simply a decision to let things unfold as they did to begin with. He watches the girl he likes go out with another person and suffers some pain because of it; that’s part of growing up.

Mabel is a little spoiled, but there’s no evidence that she can “afford” to forget what she’s learned in a way that Dipper can’t; she suffers for her flaws as he does, particularly when her need for control lands her in the prison bubble.

D) Mabel seems to depend on the positivity of others to make her feel she is doing the right thing, instead of learning it objectively and maturely like other characters.

That’s a character flaw, and it’s addressed head-on in “The Last Mabelcorn”–Mabel is overly-reliant on outside affirmation and reassurance. She has a very real anxious streak and wants (as seen in “The Love God”) to make the people around her happy; she’d do well to learn that it’s impossible to please everyone, but so would a lot of preteens.

E) Mabel is responsible for opening the portal in the end which causes Weirdmageddon. People should have confronted her about this, at least mildly and without anger, but nobody did. And Dipper should have been angry with Mabel about this, but he somehow wasn’t. The theory says this is because Dipper had an emotional attachment to Mabel that was destructive & unhealthy for both of them, which is why he didn’t confront her and continued caring for her more than himself.

In fact, Dipper never found out (onscreen, at least) about Mabel’s encounter with Blendin Blandin and the subsequent opening of the portal. But even if he had, I don’t tend to think that he would have been angry, nor that he should have been.

Mabel didn’t knowingly cause the apocalypse. In an incredibly vulnerable moment, when she was at her absolute lowest, she was tricked by Bill Cipher, who had taken hold of someone she trusted. She was completely unaware of the significance of the rift–she had never seen it before, and Ford had forbidden Dipper from telling her anything about it. She had not been warned about Bill’s endgame and was unconscious of any impending apocalypse save the immediate vision of her world crumbling before her eyes. As far as she could see, she was trading a worthless item of Dipper’s for something she desperately wanted: security. What’s familiar about this? It’s exactly the situation Dipper found himself in during “Sock Opera.” He was so desperate to fight time, so frightened of losing everything, so powerless against the clock (“Tick-tock, kid!”) that when Bill seemed to be asking him for one of Mabel’s sock puppets in exchange for what he wanted, he took the bait, inadvertently handing over something far more valuable. No one confronted Dipper about this because no one needed to; the events of the episode were lesson enough.

Should Mabel have been smarter about the whole thing? Perhaps. But keep in mind that Dipper, in a similar situation, knew he was talking to Bill. He made the deal in the full knowledge that he was shaking the hand of a fundamentally untrustworthy creature. Mabel believed that she was speaking to a friend. I don’t see any reason why Dipper should have been angry at Mabel for being tricked by a force which had not only tricked him also, but which had even played their great-uncle Ford, a highly intelligent adult and the person he admires most, for a sucker--particularly considering that Mabel acted out of a desperate fear of losing him.

The reviewer also points out how it would have been much better if Dipper and Mabel had developed by “finding their own hobbies, clubs, and friend groups while still living together and staying just close enough to remain best loving friends but not be dependent on each other to be mentally and emotionally stable” instead of the way their relationship existed in the show.

According to Alex Hirsch, the twins are in fact more independent under ordinary circumstances, when they’re at home; the unfamiliarity of a new situation pulls them closer together. But even in Gravity Falls, the two are consistently depicted as living distinct and individual lives, with their own separate hobbies and groups of friends. Mabel finds “her people” in young eccentrics Candy and Grenda, while Dipper gravitates toward the more advanced high-school social dynamic of Wendy and her crew. Mabel loves boy bands, stuffed animals and the 80s; Dipper’s steeped in paranormal research, mystery novels and fantasy RPGs. Their lives and interests intersect and conflict, but never overwhelm each other; in the end there’s room for Dipper’s ballpoint pens and Mabel’s crayons under the same pointed attic roof.

Dipper and Mabel won’t live with each other forever. They’ll grow up like any brother and sister, go to college, have lives of their own, get jobs, spouses, kids. But that’s exactly why the time they have is so important. They’re not ready to be adults yet. They still have a lot of growing up to do, and it’s right and natural for them to be able to rely on each other, to draw strength from each other, to support each other through this particularly turbulent phase of their lives, just as they’ve always done.

#Gravity Falls #Dipper Pines #Mabel Pines #Mystery Twins #meta #analysis #anonymous asks #animation #television #Alex Hirsch #Weirdmageddon #Sock Opera #The Time-Traveler's Pig #Boyz Crazy #The Love God #The Last Mabelcorn #Dipper and Mabel vs. the Future #long post #like really long

273 notes · View notes

jheselbraum · 8 years

Note

So Alex Hirsch can write abuse victims well after all. Thanks for clearing that up.

Originally was going to delete this ask, but hey. You’ve got some nerve trying to start shit in these parts, so I figure you at least deserve to get what you asked for.

First of all, I never said that he can’t write abuse victims well! I think Ford is great representation of an abuse victim.

The problem is that Hirsch seems to be completely and totally unaware of this fact.

Okay so when we look at Gravity Falls characters, and we look at the characters who we know for sure are survivors, you have five (six? seven? depends on your definitions re: is making a deal with Bill inherently an abusive relationship? Or just a bad experience? If yes, throw Dipper and Gideon in there, if no, leave ‘em out) characters who come to mind:

Ford, Stan, Soos, Pacifica, and Mabel

Ford was abused by Bill, Stan by his father (Darlene, Marilyn potentially? Any marriage that ends in 6 hours couldn’t have been healthy), Soos by Giffany (like… Giffany is more of a textbook abuser than Bill, and Bill is pretty textbook. Remind me to do a meta about that, that’s really an issue that needs to be addressed in fandom), Pacifica by her parents, and Mabel by Gideon (that being said, I’m glad Gideon is changing his ways, or at least he was starting to in the finale. Kid might be a huge jerk, but he’s still a kid. Still time to grow and learn as a person, and some abusers do change. Key word there being some: never assume that it’s the norm and never assume that just because they say they’re going to change that they will).

Okay so we’ll set Ford aside for now and look at Stan, Soos, Mabel, and Pacifica’s character arcs:

Stan’s arc isn’t just about being a survivor. Being a survivor is his backstory, and it’s resolved by the finale, but being a survivor isn’t the only thing to his character and it’s not necessarily his primary motivation.

Soos’ arc isn’t about being a survivor either. The thing with Giffany lasted one episode and was never brought up again.

Mabel’s arc isn’t about being a survivor, either. She holds a grudge against Gideon, sure, but what he did doesn’t really get brought up again. At least, not with Mabel.

Pacifica is the only character besides Ford whose character arc is specifically about being an abuse survivor.

So regardless of whether or not Stan, Soos and Mabel are good representation (they are!), Hirsch either did this unintentionally or he’s actually a huge jerk who only supports survivors if they behave certain ways or do certain things.

Because you want to know what Hirsch thinks of Pacifica?

So in short: I will trash the way Hirsch writes abuse survivors all I want because based on his attitudes towards both Pacifica and more tellingly Stanford (what with the constant victim blaming and all) and any good representation for abuse survivors that came out of Gravity Falls was either the result of: Hirsch’s own refusal to acknowledge what he has written, another writer on the Gravity Falls crew, or sheer accident.

You can write good representation and be completely oblivious to that fact.

Also, I know this whole thing you’re trying to pull is in reference to these posts so I can safely say that if you’d done anything more than glance at my blog once you typed ‘alex hirsch’ into the search bar, you wouldn’t have bothered to send this ask attempting to ‘logic’ your way into getting me to ‘prove’ that I’m ‘wrong’ and believe me, I’m using the term logic very loosely here.

I know my shit. I come prepared. And I’ve been doing this for a long time. So maybe next time, before you hit ‘send ask anonymously’ consider actually reading my posts before you try to convince me I’m wrong about something that I never actually said.

#Anonymous

43 notes · View notes

networkingdefinition · 5 years

Text

Tv Shows Quotes

Official Website: Tv Shows Quotes

(adsbygoogle = window.adsbygoogle || []).push();

• A great day for me is not getting out of bed. I like to see how many snacks I can eat..and how many really bad TV shows I can watch – Gwen Stefani • A TV show is constant work, which is the great thing about it. – Seth Rogen • An actor gives voice to the many multitudes that we all contain. That’s why we love the movies, why we love TV shows: we watch different people portray an aspect of ourselves, maybe even one we don’t like. – Kristen Stewart • And I don’t think that success can be measured by how many TV shows you’re on. – Clay Aiken • And so as a director, as a leader, and myself as a director and a leader, I kind of try to make sure that we hold onto the vision and kind of corral it, but by the time you finish whatever the project is, a TV show, a series, a movie, a stage show, it should be a product of what all those people can do, and therefore, it can never be what you imagined it would be in the beginning. – Brian Henson • And the consumer doesn’t care. They don’t watch networks, they watch TV shows. – Dick Wolf • As an actor, you very rarely have the experience of picking up a script and getting a few pages into it and realizing that what you’re holding in your hands is not just a role on a TV show, but it’s one of those special parts that comes along, once or twice in a career. If you’re lucky, you get an opportunity to do something really memorable and to be part of one of those rare shows that passes into that special category. – Holt McCallany • At the end of the day, the TV show is the best job in the world. I get to go anywhere I want, eat and drink whatever I want. As long as I just babble at the camera, other people will pay for it. It’s a gift. – Anthony Bourdain

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'Tv', orderby: 'rand', order: 'DESC', template: '1', limit: '32', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_tv').html(obj); jQuery('#thelovesof_tv img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'Show', orderby: 'rand', order: 'DESC', template: '1', limit: '32', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_show').html(obj); jQuery('#thelovesof_show img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); ); • Basically, growing up, and being a teenage kid, I’ve always been interested in charity. And one of the benefits of being on a TV show and having a fan base, you kind of have the power to spread news around. – Gregg Sulkin • Before the TV show of Jessica Jones, the response to Miles [Morales] is so overwhelming, and so constant, and it’s been five years now. I can’t even express to you how powerful it is on my end. It’s overwhelming how much it was needed, that I didn’t know that’s what was needed. – Brian Michael Bendis • But long story short, I didn’t start doing stand-up because I wanted to have a TV show or be an actor or even wanted to write sketch comedy. I got into stand-up because I love stand-up. – Demetri Martin • Cancer is so much bigger than a TV show. – Laura Linney • Critics say it’s illegal for Donald Trump to run for president while hosting a TV show. It’s also illegal to run for president if your hair wasn’t born in this country. – Conan O’Brien • Doing films as an actor, you spend maybe 40 percent of the year doing your chosen profession. If you are on a successful TV show, you spend 80 percent of your year doing the thing you love. – Christina Ricci • Dont take Portlandia too personally – Its just a stupid TV show – Greg Graffin • Especially for people who are unknown, it’s easier to get a TV show because you don’t have to put a certain amount of people in movie theaters for a box office weekend. It’s really difficult to get a great lead role in some big film, if nobody knows you. – Eve Hewson • Especially with the video games and social media we have now, I think that turning point from kid to sort of adult has gotten earlier with TV shows that are on right now and video games. They all contribute to that. – Gage Munroe • Even if you go out there and try to make the most vanilla, non-offensive TV show possible, people are going to criticize you for doing that. It’s just part of the game. You can’t let it get to you. – Thomas Sadoski • Even when people are rich and successful on TV shows, there’s always some trouble – you have to poke holes in them, throw them out of a job, put a pie in the face. – Drew Carey • Every single job I do. It sounds goofy but I did a music video for Fergie. I was in full on tattoos, ponytail, but it’s like even things like that they help other people to see you in a different light. They give me opportunities. I try and change the image with every job that I can, it’s just hard when you work on a TV show and you work so many months and trying to get away from that. – Milo Ventimiglia • Every TV show I’ve ever made, every game I’ve ever built, and every book I’ve ever published has had the common thread of building the biggest, brightest spotlight imaginable and then flipping it around to shine on you. – Elan Lee • Everyone has days where they don’t get their way, where you have to go to bed early or you have too much homework to do or you can’t eat the candy that you want or you miss your favorite TV show and, in those moments, you just want to tear the whole world down. – Alex Hirsch • Film and television are very different. On the TV show, we do seven or eight scenes a day, so time and money are of the essence, and we have zero room for creativity because you’ve got to do each scene in only five takes. Whereas, on a film, you have an entire day to film one scene, so you have so much time to choose how you want to fill in a scene. – Shailene Woodley • Going out hanging out with the troops, and you know it’s kind of all summed up in the TV show, I don’t what else I can say about it. It’s a great thing to do, something I’m definitely proud of. – Kid Rock • Good comics stick around. There are people who have TV shows that might be successful, but comics can’t really fake it. If you say, ‘Hey, I love what you guys are doing – you’re funny,’ then you’re in. It’s legit. – Wanda Sykes • Government and politics isn’t like a reality TV show. It’s not about voting the bad guys out of the house. You know, it’s about what do we need to take our country or our state or our city forward? And people, frankly, would be well advised to really get back into understanding politics. – Campbell Newman • Growing up, I remember my parents feeling a little wary of ‘The Simpsons.’ This was the late eighties, and there was a wave of articles about TV shows that were bad for America. Then we all started watching it and loved it. – Mindy Kaling • Hailey [as a character] was born when I left the courtroom and moved to New York for Cochran and Grace, my TV show with Johnnie Cochran. I moved with two boxes of clothes, a curling iron, and $300; I didn’t know a soul in the city, so I would come home at night and I’d be all alone and just write. I missed the courtroom and [what led me to the courtroom] so much I wrote about it. After my fiancé Keith’s murder, I had never thought I would have children – I thought that it was not God’s plan for me to have a family. – Nancy Grace • Here’s my proposal, which is based on the TV show Survivor: We put the entire Congress on an island. All the food on this island is locked inside a vault, which can be opened only by an ordinary American taxpayer named Bob. Every day, the congresspersons are given a section of the Tax Code, which they must rewrite so that Bob can understand it. If he can, he lets them eat that day; if he can’t, he doesn’t. – Dave Barry • Honestly, after doing a TV show for eight years and a cartoon for more than a decade, you are, financially speaking, in a very lucky position where you don’t have to work for the sake of working. And I decided to take advantage of that. – Mila Kunis • Hosting a TV show is a full-time job in which success is defined by it never ending. – John Hodgman • I acted in millions of TV shows. – Sebastian Bach • I always did TV commercials and made great money to put myself through school. That became guest starring roles on TV shows. – Malin Akerman • I always looked at magazines. Ever since I was little I was obsessed with Elle magazine and the models. I would watch the model TV shows, like the specials on Milla Jovovich. – Katherine Bernhardt • I always wish the hotels were like they are in movies and TV shows, where if you’re in Paris, right outside your window is the Eiffel Tower. In Egypt, the pyramids are right there. In the movies, every hotel has a monument right outside your window. My hotel rooms overlook the garbage dumpster in the back alley. – Gilbert Gottfried • I am a little suspicious of industry paradigms. I feel like so many movies and TV shows feel so familiar because of over-reliance on these paradigms. – Alan Ball • I believe I’m just getting started. The TV show is just the foundation…. If you’re open to the possibilities, your life gets grander, bigger, bolder! – Oprah Winfrey • I believe that, not only in chess, but in life in general, people place too much stock in ratings – they pay attention to which TV shows have the highest ratings, how many friends they have on Facebook, and it’s funny. The best shows often have low ratings and it is impossible to have thousands of real friends. – Boris Gelfand • I came down to Orange because I sold the Smothers Brothers a song called ‘Chocolate,’ and that gave me enough money to move down here. I was washing windows down in Orange County when they called me up and said they wanted me to do their TV show. – Pat Paulsen • I came into the ‘Comedy Bang! Bang!’ TV show with a level of confidence that I don’t think I would’ve had if I hadn’t been doing the podcast for three years already. I certainly had to figure out in those three years the sense of humor I wanted to do and the way to talk to celebrities without being incredibly intimidated by them. – Scott Aukerman • I can’t do anything I want to. I mean, I can’t have my own TV show. I can’t have my own movie. But within my little world, nobody tells me what to put on the albums. – Lou Reed • I definitely want to start my own production company at some point. I’m actually teaming up with Funny or Die to put together a TV show right now, that I can’t really talk about because it’s still in the very preliminary stages, but if it pans out this will be the first project under my production company, which I have yet to name. – Dave Franco • I did a lot of terrible TV shows and was really terrible in them, and I’ve done terrible films I was terrible in, but nobody really noticed. – George Clooney • I did this TV show, which was my first job ever. It wasn’t a real acting part. It was like this promo for this sitcom and the main actress was meeting three different real people and then she was going to decide who was going to be on the episode. – Sean William Scott • I do a TV show about a priest in London, and he is also slightly beleaguered and is subject to fate and misfortune and daily difficulty. – Tom Hollander • I do think a lot of sexual violence stems from experiences in childhood or at puberty. Some people become sadistic after suffering early abuse at the hands of parents, relatives or friends. But for others, the seed is planted in the formative years by the conflation of images of violence with those of sexual arousal. Magazines, TV shows and, especially, slasher movies are masters at doing this. – Park Dietz • I do think that people get really emotionally involved in the TV shows that they love and I think that is fantastic. Of course they are going to have opinions. The other thing is that people project onto their television shows. They see a character and layer on many traits that are actually their own or their idea of what that character is. – Lisa Edelstein • I don’t care if I never do another TV show in my life. – Bobby Darin • I don’t really like to arrange shows by best performances. That’s why Emmy season is kind of a chore for me. Unlike movies, where it’s easier to decide who was the best performance, a TV show goes up and down, including characters/portrayals. – Hank Stuever • I don’t want my dad to say, ‘My daughter is an actress on a TV show.’ I want him to say, ‘My daughter cares about people.’ I would love to know that I’m a role model in Hollywood. – AnnaLynne McCord • I don’t want to be a TV star for the sake of being on TV. I want to have a TV show that’s based around my comedy. – Jim Gaffigan • I download TV shows more and more, especially from the US. – Julian Ovenden • I find America falling in love with a TV show flattering and interesting, but at the same time a little sad. – David Schwimmer • I find the film world very romantic. I want to try to be in more movies. When you’re on a TV show and you do the same thing for years and years, it can get a little bit boring. – Jane Levy • I found myself in Zurich Airport. I’d done a TV show, oddly enough, with Mavis Staples. That’s the way they do it in Switzerland. And I’d had a bit of a late night with members of her band. And I was – my flight was delayed. And I was sitting in the airport, and I just came up with the idea. And by the time, we landed at Heathrow, I’d pretty much sort of got it. – Nick Lowe • I get bored easily, so I need to do a lot. I’ve started a record label, so I get to nurture new talent and talk about music, which is a passion of mine. I’ve written another book. And I get to come to work and do the TV show, which is always really fun. – Ellen DeGeneres • I got on the TV show at 40 and that is something very rare. So, I know that God gave me that role (on) One Life to Live – the role of Carlotta, the role of a mom. – Patricia Mauceri • I had a TV show called ‘The Apprentice’ and it’s one of the most successful reality shows in the history of television. And now I’m doing something else. – Donald Trump • I had started acting when I was 7, and I was always wrong. I would always get to the very end [of the audition], but I wasn’t a perfect package of one thing. I wasn’t a cliche, and it always worked against me. I wasn’t pretty enough to play the popular girl, I wasn’t mousy enough to be the mousy girl. Then there was a TV show that Toni Collette was starring in. And when a role to play a girl who was struggling with identity came, I thought: “Oh, this is what I was supposed to do. Everything’s leading up to this moment.” I was 18. I was like, “This is it.” I didn’t get it. And I was devastated. – Brie Larson • I had told my agents that I never wanted to do an hour-long TV show. I said, “I’m not that stupid.” Because it’s the worst lifestyle in Hollywood. – Geena Davis • I hate remakes of TV shows – I didn’t like the new Charlie’s Angels at all – and I just don’t see the point of going back and doing the same thing over again. Baywatch was fun and successful, probably because we didn’t know what the heck we were doing. – Pamela Anderson • I hate those TV shows where characters talk about one thing, such as their patient on the operation table (let’s say they’re a doctor), then you realize they’re actually talking about actually talking about themselves. The patient’s open-heart surgery is nothing compared to their own messed-up heart or whatever. It’s selfish. And means they’re not concentrating, which is medical negligence. – Jaclyn Moriarty • I have a hit TV show. – Kim Kardashian • I have no plans to get an iPad. I know it will do more things than my Kindle, but I don’t want more things. If I want other stuff – movies, TV shows, weather forecasts, the forthcoming Josh Ritter album – I have my Mac. – Stephen King • I have not watched the TV show. I do not generally watch TV sci-fi drama shows. They make me itch. – Charles Stross • I have to be careful of what TV shows I choose, particularly ones that have commercials in them, because it’s going to be a different kind of television show. – John Hawkes • I just remember the early days of Tenacious D. There was no talk or thought about doing a TV show or a movie. – Jack Black • I just watch a lot of different films and different TV shows. Really for me, it’s just looking at how people react to different shows in different genres. For me, it’s more a study of people than a study of acting. – Sterling Beaumon • I keep it real normal, like I don’t try to act like a celebrity, or say that just because I’m on a TV show I can do other types of TV. I take it very seriously and I respect the art of acting. – Vinny Guadagnino • I know artists that have tried for a long time in the Christian industry and then they were on a TV show and all of the sudden the doors swing wide open. Christians want to connect with things that are mainstream.- Anthony Evans • I like doing both comedy and drama. I’m not really feeling more drawn to one over the other. I also like dramedies. I like movies and TV shows that are mixtures of the two. – Jane Levy • I like to know why a video has suddenly gone viral, why a song has broken, why a TV show is suddenly rating out of pattern… I’m pretty good at understanding why things are becoming popular. – Simon Cowell • I like working on the house, small carpentry stuff. I also like working on the van. That’s about as quiet as my mind gets, I think. I always loved working on the How’s Your News? TV show and at Camp Jabberwocky too. – Chad Urmston • I love Godzilla, but my favorite was on this TV Show, Johnny Sokko and His Flying Robot. I used to love the idea of having a giant robot under my control. That was like a dream come true for a kid. – Ice Cube • I love going to work, doing acting. I love when I’m done with a movie or a TV show. I love hitting the road or being in the studio or going on tour. That’s what I get off on. I don’t need to have my business in the press and all that stuff. I’m pretty low key. It’s all about the work for me. – Bryan Greenberg • I love hanging out with friends and family, going to the beach or just being a couch potato and binge watching TV shows or watching a good movie. – Yvette Gonzalez-Nacer • I love ‘Homeland.’ I think it’s such a well-done, well-acted TV show. – Victoria Justice • I love TV. I love being behind the scenes on a TV show but there’s something about, I don’t know there’s something very special when you’ve signed an artist and that first record comes in and it’s a good record. It is an indescribable feeling. – Simon Cowell • I owe my whole acting career to the fact that I’m a singer. I went out to Los Angeles and auditioned for a TV show called ‘Fame L.A.’ The original role was for a comedian, but they said I wasn’t very funny, so they asked me, ‘What else can you do?’ So I played a singer. – Christian Kane • I played some shows, but I’m disappointed it didn’t do better. I wish all my shows sold out, I wish I had sold more copies, I wish that a song was picked up to be in a TV show – whatever these little benchmarks are. You always want something more. – Eleanor Friedberger • I practice yoga at home to a TV show called ‘Inhale,’ taught by Steve Ross. I figured that if the people on the show could stretch that deep then I could too. I ended up pulling my hip flexor. But that’s how I met my husband. Paul was the physical therapist my coach called to meet with me after hours. – Danica Patrick • I push to be in good films and good TV shows. I don’t really pick and choose. I pick and choose what I will read for, and I’ve gotten to the point where I’m being offered stuff. – Darren Shahlavi • I rarely watch TV, and in the past two years, I’ve done three TV shows. It’s quite interesting. – Oliver Jackson-Cohen • I really like ‘Batman.’ Not the TV show, but the dark ‘Batman.’ – Denis Leary • I remember my first show was a live TV show in Ireland, and I was just petrified. It was horrific. – Caroline Corr • I sort of knew very early on that I wanted to be a writer. Even in high school, I was a big movie buff, very much into TV shows, and would critique them. – Lena Waithe • I spent my entire first pay cheque from Cracker, a TV show on ABC, on an Audi because my other car broke down and I needed to get to work. – Josh Hartnett • I started out dancing on a reality TV show, but always with the intention of making my way over to film. I transitioned into the film world by doing certain things that my fans had been used to seeing me do. My dancing and singing gave me the confidence to act. – Julianne Hough • I started using the Internet in 1999. That was pretty late. But as soon as I did I just stopped watching TV. The idea of sitting down and waiting for a TV show at a certain time, I couldn’t do this anymore. The Internet is a better form of entertainment to me. – Tom Anderson • I think comedians should focus on what makes them happy, what art form fulfills them the most. Don’t be calculated about it and say, ‘Okay, I’m gonna tweet, and I’m gonna podcast, and I’m gonna do standup, and one of those things is going to lead me to my own TV show.’ I don’t think that should be the goal. – Scott Aukerman • I think my biggest problem was, as a celebrity on a TV show, you get an inflated ego and you think you’re the center of the universe. – Kirk Cameron • I think that it’s just extremely rare to see any kind of TV show that’s completely written by one person, regardless of what any showrunner will tell you. – Judy Greer • I think TV shows have usurped films! – Edie Campbell • I want to do more comedy… I’ve done a couple TV shows that had some comedy going on. – Sunny Mabrey • I wanted people to see that I really am a real person. I’m not just some guy who was on a TV show, some guy engulfed in the Hollywood life. I’m just a normal guy when it comes down to it. – Scotty McCreery • I wanted to end it now, like a bad TV show turned off in the middle. – Tawni O’Dell • I was able to make the jump to theaters without having a TV show. My passion for getting a TV show just plummeted. It was like I had already achieved what I wanted to achieve. – Jim Gaffigan • I was on some TV shows with Lady Gaga the other week, and you could see the difference in reaction between her fans and my fans outside. She comes out, and she looks like a star, and the reaction is just tears, crying, people going, ‘Oh my God, Oh my God.’ My fans are like: ‘Alright, Ed.’ – Ed Sheeran • I was once asked if I had any ideas for a really scary reality TV show. I have one reality show that would really make your hair stand on end: “C-Students from Yale”. – Kurt Vonnegut • I’d always wanted to do a film than TV show because film is always where my heart has been. I like diving into the character for a few months, and then leaving it behind. I love the idea of that. – Shailene Woodley • I’d love to be on a TV series someday, but I believe you get the jobs that you’re meant to get. If the job that I’m meant to get is another musical or another play or film or TV show, I’m just happy to keep working. – Stark Sands • If by that you mean that I dislike celebrity magazines, prefer food to anorexia, refuse to watch TV shows about models, and hate the color pink, then yes. I am proud to be not really a girl. – John Green • If I did a TV show, it would have to be in North London because I’m a bit of a homebody, and my work takes me away from home enough. But yeah absolutely. Television has never been more exciting than it is now. – Simon Pegg • If I only did TV show, I’d probably not be the happiest girl. I love the show, but I’m an actor and I want to work on different things. TV lasts for so much of the year that you’re just aching to play a different part. And I love movies so much that I want to be a part of as many as I can. – Jane Levy • If you get on a TV show that’s successful, odds are that you’re playing the same character for as many years as the show is running, which can be its own blessing, but it can also be a curse because you’re playing the same thing and that can be tiresome. – Sarah Paulson • If you’re going to do a guest spot on television, they need bodies on those procedural TV shows. You’ve got to keep working, and that’s where a lot of the work is. – William Mapother • If you’re in a popular TV show, you can attract attention, and I like to help focus that on stories that deserve to be told – which is what politicians do. But I would lose my autonomy, and to get things done I would have to compromise and get into the weeds of policy. I don’t know if I’m smart enough. – Tony Goldwyn • I’m a character-driven director, and I tend to fall in love with the characters in my movies and TV shows. – Doug Liman • I’m a guy here to play football. I’m not here for photos or newspapers or TV shows or trophies or awards. I’m not into all that. – Randy Moss • I’m a huge fan of film primarily. But, you can get a great TV show and get attached to it. Making a great film is forever though; so I always want to be part of film. It’s my first love. – Aml Ameen • I’m actually really lazy. I tell myself, “Okay, you work six months out of the year and you have to get up at 4 a.m. …” I’ll relish the downtime by chilling on the couch and watching my favorite TV shows. – Liana Liberato • I’m always feeling like I don’t belong, no matter where I am. So I’m just searching for a family nonstop, and sometimes I find it in the mosh pit, sometimes I find it when I’m doing some French TV show with the president’s wife. – James Hetfield • I’m fortunate enough to act in a TV show that makes me a lot of money so I can pay for my own movies. I don’t have to wait for anybody and that’s more of what I like doing. But I still think that you don’t have to be connected in the industry to make your movie. You just have to write something that is meant to be made cheaply. – Mark Duplass • I’m in a play on Broadway, I have an animated TV show coming up, I have a few movies that just came out. – Neil Patrick Harris • I’m just saying stupid, funny things when I’m hanging out on the TV show. When I’m making music I’m in a completely different zone. – Chanel West Coast • I’m looking for a deal from one of you TV networks to give Snoop Dogg his own hood TV show where I can find America’s hottest hood artists. – Snoop Dogg • I’m not disciplined in terms of scheduling. I work best late at night, but I can’t do that when I’m on a TV show – our hours are roughly 10-6:30, so I have to go to sleep at a reasonable hour. So I’ll sometimes write fiction for an hour or two in the evenings, or several hours on the weekend afternoons – unless I’m actively writing a script for the show I’m working on, in which case there’s no time to write fiction at all. – Nick Antosca • I’m not going to watch two TV shows with vaginas in them unless somebody tells me why they’re different! – Ilana Glazer • I’m obsessed with voices in film. I have this memory of how people say words, even on the most intensely stupid reality TV show. – Jenny Hval • I’m proud of everything I achieved with ‘Idol,’ and away from ‘Idol’ also. It’s just such a different show now to what it was when I was on it. I didn’t even know it was a TV show until the third audition. – Kelly Clarkson • I’m really excited about my TV show. I wrote it with my best friend. – Pell James • I’m scared of watching a TV show about vampires. I can’t fall asleep. – Maurice Sendak • I’m so grateful to be living doing what I love. Whether it’s acting in Films or TV shows or writing and directing my own projects. – Kyle Cassie • I’m used to seeing it, but it’s weird having an Academy Award. You usually only see one of them on the TV show when they give them out, so it’s kind of surreal to have one in your house. – Steven Wright • I’m very grateful for work especially in film industry. It’s highly competitive and there are a lot of people standing behind me jumping at the opportunity to only do one thing, like one movie or one TV show or one episode. – Famke Janssen • In California, they don’t throw their garbage away – they make it into TV shows. – Woody Allen • In France, anyone can use your music on like a TV show or whatever – they don’t need to ask permission. It’s almost like a child when it has its own life. – Thomas Mars • In some ways, a novel isn’t as structurally rigorous as a screenplay or a TV show, which have finite real estate. In a novel, you can more deeply illuminate a character’s interior and get away with digressions. – Howard Gordon • In the middle of Beaches there’s a scene from the “Laverne & Shirley” TV show so they see some history of my work in each film. – Garry Marshall • It is tough, every time. The ensemble is great. I would always ask Andrew, “Is this how Hollywood is? Is this how every TV show and movie is?” And he was like, “No, dude. This is not. Do not get used to this. Be thankful that this is how your first gig is.” – Steven Yeun • It was actually the production group that ended up producing the show for us…Every musician, especially in the hip-hop community, you always make these show recaps or vlogs, and essentially what “Touring’s Boring” was is, we tried to make our vlogs interesting and almost more like a TV show. That’s how we got discovered by TV. – Mike Stud • It was feminism that made it possible for women to go to the Ivy League and women to be astronauts and women to have their own TV shows. What happened, though, was that the generation after feminism, which is my generation, misunderstood what feminism was saying. – Debora Spar • It was such a bigger picture [ Westworld] than what I thought it was. It’s more of a revolution than a TV show. – Evan Rachel Wood • It’s a lot of hard work to do a weekly TV show. It’s certainly not fun. – Michael Moore • It’s a TV show. Only the emotional damage is real. – Steven Moffat • It’s actually much harder to develop a TV show than I had anticipated. – Diablo Cody • It’s also one thing to see a celebrity or some kind of character on a TV show being gay. It’s a totally different thing when you know your husband… not your husband, but your brother or your friend or the dude you hung out in high school was gay. I mean, that is what changes people’s minds, what changes people’s minds. – Andrew Sullivan • It’s fun being on a TV show and not having to wear heels. – Trieste Kelly Dunn • It’s hard to find success and it’s hard to find hit movies or hit TV shows and to stay relevant. I think it’s a very difficult thing for actors, because a lot of us get lost, frankly. – Dylan McDermott • It’s impossible to overvalue the importance of television – both in its serious and less serious functions. It’s one of our most important ways of finding out the truth – and also of changing the world, and finding out what in the world needs changing. It’s also an immense bringer of joy – I learnt how to laugh through television, and now my children and I, every day of every week, share the joy and stupidity of TV shows – they actually make us HAPPY – Richard Curtis • It’s often the case with successful TV shows that they kind of inadvertently live on past their prime. It’s best to leave the audience wanting more. – Vince Gilligan • It’s weird how with a TV show, you don’t have just the one ending – you have the many. – Vince Gilligan • I’ve always been fascinated, obsessed even, with books and TV shows about unsolved murders, cold cases, forensic science, mysteries, and so on. Many times when I get inspiration for my work, it’s from something in one of these books or TV shows, or perhaps some newspaper article about a specific case. – Scott Heim • I’ve always got five or six things that would either make a good feature or TV show. And you just never know. You go and you pitch and it may be exactly what they’re looking for, or they may stop you after two sentences and say, “Oh, we’ve already done something just like that.” – John Sayles • I’ve been careful to keep my life separate because it’s important to me to have privacy and for my life not to be a marketing device for a movie or a TV show. I’m worth more than that. – Lisa Kudrow • I’ve had lots of things that didn’t work out, like TV shows. You learn a lot through mistakes – I learned that you have to be the captain of your ship. Actually, I own my ship. – Pamela Anderson • I’ve never been on a TV show for more than a season and you have to continually keep it interesting and you have to keep it connected, even as you change. – Ian Somerhalder • I’ve only done two other TV shows [instead of Sex&Drugs&Rock&Roll], one was Rescue Me and the other was a show called The Job, which was at ABC and only on for two seasons. – Denis Leary • I’ve seen [Donald Trump] appear in a film or a TV show cameo or the tabloids, and he’s a grotesquely distasteful human being and always has been, always made me want to take a shower. But other people fell in love with him as a reality star. So does that mean that the entertainment industry is doing something wrong? I think reality TV answered that question a long time ago: Yes, it’s doing something terribly wrong. But there’s some great reality TV, and I’m not bagging on it completely. – Joss Whedon • I’ve seen [Trump] appear in a film or a TV show cameo or the tabloids, and he’s a grotesquely distasteful human being and always has been, always made me want to take a shower. – Joss Whedon • Josh [Friedman] and I have been friends for years, and he said, “Hey, if you ever want to do a TV show, I can take it over and run it,” and I was like, “Yes!” He’s always been so busy that I never dared to ask that, but it just worked out, time wise, that this was the season where we could probably do it, so I jumped at it. So, even though I’m busy with other stuff, I’m excited to be writing this. – John August • Just concentrate on the performers. Make sure you get the performers, and that’s it. That’s all we need to do.” And I was thinking, “Well what if you do both? Of course the performance is important, the writing is really important. But what if you could have the perfect marriage of making it look really slick as well?” I think that’s kind of what I tried to develop as a style, and Spaced was the first TV show I did where all the elements came together. – Edgar Wright • Knowing the right questions is better than knowing all the right answers” Caleb from Pretty Little Liars (TV Show) – Sara Shepard • L.A. ispolluted. It’s overpopulated. But it is very much home. It was inevitable for me, the moving back. I was living in San Francisco, and Joan broke it off with me, and I needed a place to live. I’d been divorced. And I needed to write movies and TV shows to earn a living. Alimony. All that. So I figured what the hell, I’ll go back to L.A. – James Ellroy • Launching a new TV show is probably one of the most difficult things that a writer can do. – George Meyer • Like we were saying, the fact that the relationships on the show are love-based, and in the sense that I wasn’t aware of how special it was in contrast to a lot of the other TV shows that are on right now. It was our audience members that pointed out the love that you see in the show is special. – Steve Zissis • More American young people can tell you where an island that the ‘Survivor’ TV series came from is located than can identify Afghanistan or Iraq. Ironically a TV show seems more real or at least more meaningful interesting or relevant than reality. – John Fahey • Most people get their politics, obviously, from TV shows about senators or movies about them or… all the day-to-day press and the talk shows. – Judd Gregg • Most TV shows don’t reward you for paying attention. – Matt Groening • Movies, novels, TV shows – these are the water fountains of today. We thirst for stories which speak to us by representing us, but we go to the water fountains in the centre of town looking for that, and we’re turned away, sent to the ghetto. – Hal Duncan • My approach to ‘Star Trek’ was, ‘I know science fiction, and I know screen writing.’ That was very arrogant of me, but you really need to be a little bit arrogant to think that what you have to say is good enough to justify the expense of hundreds of thousands – now millions of dollars – to make an episode of the TV show. – David Gerrold • My boy, that was a TV show. I used a stunt double. I always use a stunt double. Except in love scenes. I insist on doing those myself. – William Shatner • My favorite TV show is probably ‘Glee.’ I’m a Gleek, like everyone – else!Victoria Justice • My tastes in all things lean towards the arty and boring. I like sports documentaries about Scrabble players, bands that play quiet, unassuming music, and TV shows that win awards. In that way, I am an elitist snob. And proud of it. – Michael Ian Black • My TV show had been cancelled; nothing else had gone anywhere; some alliances I had made petered out and nothing came of them and I was looking at a long, long year ahead of me in which there was no work on the horizon, the phone wasn’t ringing. I had two kids, one of them a brand-new baby, and I didn’t know if I would be able to keep my house. – Tom Hanks • My wife is like, You finally get your own TV show, you can have any kind of car you want and you get a darned truck. But my brother and I have the same kind of truck now. – Jeff Foxworthy • My wife says I’m much happier when I’m not a regular on a TV show. – Alan Dale • Nasty is the new normal in Florida. Politics here is very gutterlike. It’s like a very bad reality TV show that still gets very high ratings. – Dan Gelber • Nira Park, who is my longtime producer and friend – I’ve know her since we did Spaced, the TV show – she gave me this script the last day of filming The World’s End. She said, “Take a look at this. It’s filming in London next year, and you might like to look at Jack.” I trust Nira implicitly. – Simon Pegg • Nobody’s talking about movies the way they’re talking about their favorite TV shows. – Steven Soderbergh • Obviously, in this day and age, with the TV shows, there are some really interesting ones. I’m not that interested in going and doing a network show, but like everybody else, trying to find something good. – Scott Speedman • Ok so there’s no TV shows, no movies going on fine, but I love going on stage and performing stand up so my situation is a little better than someone who’s strictly just an actor or actress. – Wanda Sykes • On Michael Moore TV show, when he went to the home of the guy who invented the car alarm and set off all the car alarms on the block… pretty funny. – P. J. O’Rourke • One day it was that I wanted to go make a movie with my kid and then another day it was that I wanted to climb Mt. Kilimanjaro and another day it was that I wanted to sit in the studio and figure something out. All those things manifested themselves into what the TV show was. – Casey Neistat • Parodies of commercials are by no means new and have been popular going back to black-and-white TV shows of the ’50s. – Dan Aykroyd • People always ask about the transition from TV show to a movie, but it felt like just going to a different school. You don’t really notice the transition, when you’re in the moment. – Shailene Woodley • People are recognizing that I am an entrepreneur and do more than be on a reality TV show. -Kim Kardashian • People on both sides of any conflict believe they are right, whether it’s on a TV show or in the real world. – Mandy Patinkin • People say that you want to be varied in your career, and I’ve done so many things and am very appreciative. But, the one thing I’ve never done and wanted to do was to be a regular on a TV show, where you get 22 weeks of the year to develop and play a character. I’ve done arcs of five or eight episodes on shows, but I’d like to have a character that’s rich enough and deep enough to want to explore and live with for a few years. Playing the same character, but doing different scenes seems very exciting to me. – Jim Piddock • Phil Harris and Pat Boone were once paired as guests on an episode of Andy Williams’ TV show. During a rehearsal break, Harris suggested the three of them go out for a drink. When Boone declined, explaining he did not drink, Harris asked Williams, “Andy, can you imagine getting up in the morning knowing that’s the best you’re going to feel all day?” – Andy Williams • So I do have to work, you know, and I find as many movies and TV shows that I can, because otherwise I wouldn’t have an income. – Tippi Hedren • Some people may contend that there is no image more charming that a child holding a puppy or kitten. But for me that’s a distant second. When I see a child clutching a book… to his or her tiny bosom, I’m moved. Children can possess a book in a way they can never possess a video game, a TV show, or a Darth Vader doll. A book comes alive when they read it. They give it life themselves by understanding it. – Chris Van Allsburg • Some TV shows are like really good novels in that there are enough episodes that you start to have your own feelings about how the characters should act. When the scriptwriters go slightly wrong, when they make the character make a left turn that he or she wouldn’t do, you know enough about the characters to say, “No, that’s not what she would do there. That’s wrong.” You can actually argue with a TV show in a way that you can’t do as much with movie – you inhabit a TV show in the way you inhabit a novel. – Nicholson Baker • Something economically changed. It used to be that you needed 20 million people to watch a TV show for it to be a hit. Now, with just a few million people watching, you’re considered very successful, for a lot of these streaming services, or cable channels. Now, that allows people to do much more creatively ambitious work, because it’s not lowest common denominator. – Judd Apatow • Sometimes directors get hired into TV shows, and it’s so formulaic and they’re a slave to whatever everybody wants them to do. But everyone came in with their own style, and it blended together with the Helix style that was set, and at the same time, they’re bringing their own ideas and their own input. It was really fun working with all of them. – Kyra Zagorsky • Sometimes you see auteur TV shows and movies, and those are great. – Akiva Goldsman • Sony and Nickelodeon knew they wanted to create a TV show that was a platform for a band they would have for Sony. They knew what they wanted, and it took two years of auditions and screen tests and countless people coming in and out the door until they finally settled on the four of us. – James Maslow • Television is competitive now, and the great stories live on television right now. I’m finding that I’m enjoying television more than film, these days. That was my motivation to take a TV show. – Jaimie Alexander • Thanks to NBC News and thanks to the NBC primetime TV network, Donald Trump has been in living rooms for 11 years being who he is. The Donald Trump running for president is not an unknown quantity. The Donald Trump running for president is the Donald Trump everybody’s gotten to know, and quite a lot of people watch those Donald Trump TV shows, The Apprentice and whatever else on there. – Rush Limbaugh • The Baha’i celebrity, or the Belebrity, is a character actor with a big head playing an annoying creep on a TV show. – Rainn Wilson • The bigger budget films only shoot about a page or two a day, so there’s very specific amount of time spent on detail and getting each tidbit exactly how they want it. In a movie or TV show, you shoot eight or ten pages and you aren’t afforded as much time to do each scene. – Dan Payne • The consumer mentality – we like something, what other flavor does it come in? We like that TV show, does it come in a book form? Does it come in a capsule? How about a soup? – Paul Reiser • The headmistress was a very well-respected theater teacher. She taught me what stage left and stage right were, what a director was, and what all these things meant, which was something I had no concept of. She sent me off to drama school, at age 18, and I stayed there for three years. Before I knew it, I was working on a TV show. – Robert Kazinsky • The Netflix brand for TV shows is really all about binge viewing. The ability to get hooked and watch episode after episode. – Reed Hastings • The only thing worse than a crappy TV show which Paddy Chayevsky couldn’t have conceived in his worst nightmare is two megacorps fighting over who thought of the crappy show first. – Judd Apatow • The really great thing about having two TV shows going on at the same time is that I can go to one and say that I have to go and visit the other and then I can just go home and they don’t know. – Matt Groening • The scheduling thing is really weird with TV shows. Certain projects haven’t been able to work out because of the schedule, so some of it is out of your control. You don’t have very many opportunities. There isn’t much time, so you want to make sure you’re going to be doing something that you really feel good about or that you’re going to have a good creative experience doing. You’re taking up vacation time from your job, so you want it to be meaningful. – Ty Burrell • ‘The Simpsons’ from the very beginning was based on our memories of brash ’60s sitcoms – you had a main title theme that was bombastic and grabbed your attention – and when you look at TV shows of the 1970s and ’80s, things got very mild and toned down and… obsequious. – Matt Groening • The thing about working on a TV show is that it becomes, very quickly, all consuming. – Jonathan Nolan • The truth is that we have to, as American citizens, stop thinking that this life that we’re living, the things that we’re dealing with, is some reality TV show. This is real life, real children, real situations. – Stevie Wonder • The wonderful thing about a TV show is if you get picked up for another season, there’s no happily ever after. – Guy Branum • There are many films and TV shows I make where people find themselves in fantastical situations; as often as possible their reactions to it are very normal. – Joss Whedon • There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can’t do, what they’re good at and what they’re not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast. – Ronald D. Moore • There’s a huge demand for my entertainment, and I can’t meet the need. So I decided to try a TV show to reach as many of my fans as possible. – Tyler Perry • There’s two kinds of press that you get when you put out a TV show: The reviews, and the people that just decide what the reviews say. – Louis C. K. • This election ain’t no stinkin’ TV show. – Bradley Whitford • This is the contradiction we have in the media. We love vigilantes: Batman, Tarzan, Green Arrow – the comic books and the TV shows are filled with vigilantes. We love to promote it. Jesus Christ was a vigilante. We admire these people, but we don’t want to be associated with them. – Paul Watson • This whole thing about reality television to me is really indicative of America saying we’re not satisfied just watching television, we want to star in our own TV shows. We want you to discover us and put us in your own TV show, and we want television to be about us, finally. – Steven Spielberg • Those rosy memories we all share are actually memories from our favorite TV shows. We’ve confused our own childhoods with episodes of “Ozzie and Harriet,” “Father Knows Best,” and “The Brady Bunch.” In real life, Ozzie had a very visible mistress for years, Bud and Kitten on “Father Knows Best” grew up to become major druggies, and Mom on “The Brady Bunch” dated her fifteen-year-old fictional son. – Cynthia Heimel • To a certain degree, with a TV show, people are looking for a certain amount of familiarity. You don’t want to pull the rug out, but you also want to keep things fresh and keep changing it up. – Jonathan Nolan • To me, the greatest thing in the world is downloading TV shows on iTunes because there are no commercials, and yet if I were a working stiff, I could never afford to do this. But I don’t even think about money. – Stephen King • Trying to negotiate getting a couple of kids to watch the same TV show requires serious diplomacy. – Dee Dee Myers • TV and film are very different media with different requirements. In a TV show, you have actors and fellow writers and directors, who are interpreting your work. With a novel, you only have ink, words and your reader. – Howard Gordon • TV is such a success nowadays because it gives back in a way that features can’t. If you go to a film, you only get two hours of great storytellers and performers, and you pay top dollar for that. If you’re subscribing to premium channels and you’re getting all of these amazing TV shows, and you’re watching them as you want, where you want, when you want, on what you want, I think that is the “the golden era of TV” in what television shows are offering to audiences. We’re giving them a lot more. It’s quality. – Milo Ventimiglia • TV series, there’s a lot of everybody talking to you and giving you input for the first couple episodes, and then they’re on such a crazy schedule that you get another episode on a Monday, you have to have it done by Friday and it becomes very solitary work usually, TV shows. – Mark Mothersbaugh • Veep is the best and most realistic political TV show out there. – Christopher Michael Cillizza • Way back in 1979, as a guest on a local TV show in Arkansas, then Hillary Rodham was quizzed about not taking her husband’s last name when they got married and keeping her job as a lawyer while being first lady of the state. – Tamara Keith • We did ‘The Simpsons Movie,’ which took almost four years; it was the same people that do the TV show, and it just killed us. So that’s why there hasn’t been a second movie. But I imagine if the show ever does go off the air, they’ll start doing movies. – Matt Groening • We may not have a sample size larger than one, or we may not have unlimited resources – it’s a TV show, and we generally turn these things around in about a week or so. – Jamie Hyneman • We now have a generation of people who in many cases feel that if they become chefs, they’ll get a TV show. They have a signature haircut, a year into the business, or a branding arrangement with a shoe company. I don’t really relate to that. I guess this is the world we live in now. – Anthony Bourdain • What if it was cats who invented technology, would they have TV shows starring rubber sqeaky toys? – Douglas Coupland • What was bizarre, when I was younger, I never watched TV. I would rather watch a movie 100 times than to watch a TV show, just to find another nuance. I can’t tell you how many times I’ve watched ‘On the Waterfront’, just to find a flaw so that I can learn and try to improve my thing. – Vin Diesel • When I did TV shows and my other movies, I never try to do it for anybody. I just do what I think is good no matter what the genre is. – Will Gluck • When I first started writing for television in the seventies and eighties, the Internet didn’t exist, and we didn’t need to worry about foreign websites illegally distributing the latest TV shows and blockbuster movies online. – Al Franken • When I open many books, or most leading women’s magazines, or see almost all TV shows, I don’t find myself at all. I am completely anonymous. My value system is not there. – Bela Karolyi • When I planned my wedding the first time, my ex-husband and I, we were both struggling comics. I had a TV show that had gotten cancelled. Basically, I rented a wedding gown; the reception hall smelled like feet. – Sherri Shepherd • When I’m writing a theme song for a TV show I always think, “What would be Pavlovian where a kid would be in the kitchen, or an adult would be in the kitchen, and they hear the theme song come on and it would draw them back to the other room so that they would watch the show?” – Mark Mothersbaugh • When my TV show, ‘Sports Jobs with Junior Seau,’ assigned me to be a ‘Sports Illustrated’ reporter for a weekend, I didn’t realize I’d have to squeeze it in around another sports job. I had planned to retire from the NFL to enjoy the cushy lifestyle of a full-time reality TV star, but I wound up getting run over by a bull. – Junior Seau • When you do a TV show, the cumulative intimacy you develop with the audience through your characters is pretty profound. It may be the most profound storytelling there is, because the character gets to live and roll around in the audience’s mind week after week. – Howard Gordon • When you do a TV show, there’s always the fear that it will become tired and you’ll know exactly what’s going to happen.- Mads Mikkelsen • When you say, ‘I spent my summers at the Jersey Shore,’ people always say, ‘Oh, really?’ They think of the TV show. So I just say, ‘A cute little harbor town in New Jersey.’ – Taylor Swift • When you take on a TV show, you give trust to people that you really just met. – Katee Sackhoff • When you’re a regular on a TV show, they give you more of a backstory, so with these recurring gigs, you have to make up your own backstory. – Alan Dale • When you’re recording a TV show, you really feel like you’re in a bubble. – Judy Greer • When you’re writing for a TV show, what’s great is that you always know what actor you’re writing to. – Michael Brandt • Whether it’s being a leading man, making TV shows, being with my family, I’ve learned a lot. – Ashton Kutcher • Whoever calls and asks me to do stuff and obviously, with having your own TV show, people want you to get involved. They know you’re a stand-up comedian so they’re always looking for somebody funny to host an event. – Chelsea Handler • Writing for television is a great job. And it’s a job. Most people watch TV and have a comment about one or two moments of an episode – whether they love it or hate it or something in between. To come up with every moment of an entire season of a TV shows is heavy lifting. – Steven C. Harper • Writing pilots is such a specific thing. It’s not even really writing TV shows. A pilot is its own beast. – June Diane Raphael • You [Bill Maher] seem to have done alright with your TV show… I mean, I don’t get a sense… to the extent that they’re boycotting you, it’s because of your other wacky views rather than your particular views on religion. – Barack Obama • You and your scars. Please! You don’t kill youself like this!” I gesture, holding a wrist turned up to the ceiling, then pretending to cut across it with my other hand. “That’s just a cry for help. That’s just attention. Everbody knows that. Cutting across just gets you to the hospital. That’s just from movies and TV shows and stuff like that. You didn’t really try to kill yourself. you just wanted attention, but you screwed up. Try harder next time. – Barry Lyga • You can say “ass,” but you can’t say “asshole.” That’s why I always cringe when a character in a TV show refers to someone as an “ass.” Unless you’re British, calling someone an ass really doesn’t work. But those are the rules of television. You can be a dirtbag, but not a scumbag. – Gilbert Gottfried • You come to America, and, if you do a big TV show, then you can be overexposed, or old, before you’re new. – Chris Hemsworth • You get a kind of familiarity on a set when you’re on a TV show. – Alia Shawkat • You know, a TV show is a slow build. – Ray Romano • You want to put out a TV show? If you have the money to do it on your own, by yourself, and you have a TV network, you can do it by yourself. But the nature of the beast is, art needs finance. That’s how this industry works. So until the Internet becomes our source of entertainment – and watch it, I believe it will – this is how things go. – Nathan Fillion • You were doing a TV show – you don’t realise that you’re also making social commentary at the same time. – Amber Benson • You’ve got to do something to fill up your day. And I can only play so much guitar and watch so many TV shows. It fulfills me. There are two things about it I like: It makes me happy, and it makes other people happy. – Stephen King [clickbank-storefront-bestselling]

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'a', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_a').html(obj); jQuery('#thelovesof_a img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'e', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_e').html(obj); jQuery('#thelovesof_e img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'i', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_i').html(obj); jQuery('#thelovesof_i img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'o', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_o').html(obj); jQuery('#thelovesof_o img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'u', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_u').html(obj); jQuery('#thelovesof_u img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

jQuery(document).ready(function($) var data = action: 'polyxgo_products_search', type: 'Product', keywords: 'y', orderby: 'rand', order: 'DESC', template: '1', limit: '4', columns: '4', viewall:'Shop All', ; jQuery.post(spyr_params.ajaxurl,data, function(response) var obj = jQuery.parseJSON(response); jQuery('#thelovesof_y').html(obj); jQuery('#thelovesof_y img.swiper-lazy:not(.swiper-lazy-loaded)' ).each(function () var img = jQuery(this); img.attr("src",img.data('src')); img.addClass( 'swiper-lazy-loaded' ); img.removeAttr('data-src'); ); ); );

0 notes

equitiesstocks · 5 years

Text

Tv Shows Quotes

Official Website: Tv Shows Quotes

(adsbygoogle = window.adsbygoogle || []).push();

0 notes