#dq eight

[uniguinflutist]

You know what's weird? I actually ship Eight with Medea, and I actually LIKE her character. But I don't ship Gemma with Eleven, and I generally don't like her.

I think the reason is that Gemma mostly stays the same throughout the whole story and doesn't get much in terms of character development. She's the girl-next-door childhood crush from beginning to end with the same motivations of marrying Eleven. She never even leaves Cobblestone.

Medea, on the other hand, has literal transformations from human to horse and she goes from a sheltered princess who always does what she's told to a woman who stands true to her feelings.

In the very end, Medea rebels against being married to Charmles by running away with Eight. She openly says that she'd rather be a horse and be able to travel the world with someone she loves than be tied down. She's no longer a passive character in her own story by the end of the game.

I know a lot of people have issues with Medea, and that's fine, but I think she's pretty neat. I wish I could say the same about Gemma.

[poizonedapplez]

Friend sent this tweet, and I desperately needed to make it into a gif 🥺

[captaincrowe]

Replaying Dragon Quest XI... Writing a Luminerik fic as I go... Might fuck around and actually post it because I am so, SO happy with it in a way that might let me overcome my residual fear of posting fics

[okameeznuts]

Found some SSBU DQ Heroes edits on my gallery 😭😭😭

I forgot the name of the artist of who drew Eight at the first photo, if you know that artist add credits in the comments or share.

[mystic-story-lover]

~ Save Me ~

Save Me

Matthew Justice x Lana (Gem’s OC!Female Reader)

Word Count: 863

Warnings: Injury kinda sorta

Type: Fluff

Summary: During her match against Vert Vixen, Lana is attacked by RED. To protect her from their wrath, SGC comes to the rescue.

A/n: Due to a special request from Gem, this story is based with her OC instead the one I’ve created.

~~~

For the first time in Revolver history, there was to be an all women’s show,  one that would be special for everyone involved. Eight women in the tournament, two non tournament matches, plus the show later that evening. While she wasn’t scheduled for the earlier show, Lana would be facing Semi-Finalist Vert Vixen in singles competition, a match that was planned to happen ten months prior. If it weren’t for her injury, the match would’ve happened then, and there should’ve been a new DEFY Women’s champion, or so she wanted. Tonight would change that for her, and she’d be damned if anyone took that from her a second time.

“Hey, you okay there?” Vert questioned, appearing from the left side.

“Stressed, honestly. I chased that title for so long, just to lose it to injury once.” Her sigh was met with a nod, and the champion patted her on the back.

“Believe it or not, I know how that can feel. Tonight, though, we’re getting our match.” Before the two women could say more, Lana’s music began to play, and she shifted herself  into focus. 

The fans screamed her name as she strode her way to the ring, the rush of adrenaline in her veins. She knew it far too well, and it sent chills down her spine every time she stepped in the ring. The ropes moved under her body as she leaned against them, finishing her entrance, and she stepped out of the ring as Vert’s music began to play. Carefully, she watched as the woman bounced her way to the ring, the fuel rising in Lana’s veins. It wasn’t solely her who wanted the match, Vert did too, if only to prove herself. Not that she really needed to, but she swore to be the best DEFY Women’s champion, which is why she desired to win this. The bell sounded, and the two women locked up, the other trying to show their strength the fastest. As the match continued, Lana could feel the sweat dripping from her body, and groaned in pain as her leg came in contact with the floor. Before she could pull herself off the floor, the RED music blasted through the arena, distracting her from the match.

“What the hell?” She asked herself, trying to pull herself up to help out, but it was to no avail. The boot of Kelly’s falling on her stomach, preventing her from standing. A twisted smile lied on her lips, and she waved at Lana.

“Hi sweetie, sorry to break it to you, but Vert was attacked. She wins by DQ.” Kelly laughed, lifting her foot to stomp on her again.

Lana wanted to scream out, frustrated at her loss and the scene unfolding on her, but it was no use. This was RED’s game now, and she’d have to abide by the rules. There’d be a time for revenge, and she would get it, but it wasn’t here or now. Squirming around to break free of the hold, she heard the theme for Second Gear Crew, much to her confusement. However, when she saw Vert from her peripheral vision to attack Kelly, a sense of relief washed over her. Whilst she tried to pull herself from the ground, a hand appeared over her head, causing her to flinch, only to see that it was extended from Matthew.

“Hey, I’m here. It’s going to be alright sweetheart.” He condoled, making her smile softly. It wasn’t hidden, her feelings for him, nor was their recent flirting. They’d find each other at shows, and somehow find some way to have their hands on the other, whether it be in a hug or just hand holding. 

Getting her to her feet, Matthew reached under her legs and carried her to the back bridal style. Her head rested against his chest, listening to his heart while he walked. It wasn’t the normal beat she’d come to fall asleep to some nights, but it was still his beat. As he carried her to medical, he kept whispering sweet nothings to her, reminding her she’ll be okay. When the doctor finished checking her out, he helped her leave for the hallway, where she needed to rest a moment.

“You didn’t need to do this.” She groaned out, holding her stomach.

“Yes, I did sweetheart. You were hurt, now hush and let me get you to catering.” He insisted, resting his hands on his hips.

“No need, I got her water for meds.” Manders called out from down the hall.

Matthew didn’t say anything, only nodded at his friend and tag partner. Manders passed her the bottle when he reached their destination, and she thanked him. As she took the meds, Matthew smiled lovingly at her, wanting her to be okay.

“Hey buddy, maybe we stop staring, yeah?” Manders chuckled, slapping his friend on the back.

“Shit, sorry sweetheart.” A whisper on her nickname, something he’d hadn’t done around friends before.

She didn’t say anything, just brought a hand up and grabbed a handful of his shirt. With ease, Lana pulled him down, and kissed him.

“Keep calling me that and I just might do that again.”

[morally-grey-girlbosses]

Look guys, the "does x qualify" polls were funny the first time, but I feel like theyre getting too obscure by now. If you want to make jack sparrow, blobfish, and patrick bateman fight for morally questionable girlboss, then maybe don't submit them to the poll that is explicitly about mainly female characters? Go make your own.

Sorry if this sounds rude, but I'm really looking forward to this poll and fear all these preliminaries are just gonna make it into a mess because random people will go "haha funnie"

You have a point. Sorry, I got swept up in the memes and forgot that my job as a moderator was, you know, to moderate.

Stock photo man and his blobfish are officially disqualified. I do not believe their submissions were made in good faith. The qualifier polls for Miles "Tails" Prowler, Captain Jack Sparrow, and Patrick Bateman will remain up, and we will abide by their results - I believe that their submissions were made in good faith and I do not think it would be fair to their fans to disqualify them at this stage, as by publishing their polls I've already implicitly agreed not to auto-DQ them. However, moving forward I will be more willing to exercise my own judgement on whether a character qualifies, and leave the polls for cases in which I cannot make that judgement myself.

It's also worth pointing out that the submissions I've held qualifier polls for represent only a small portion of the total submissions - as of writing this I've received 109 submissions, only eight of which fall into the joke or non-qualifying category. We aren't in danger of them diluting the whole bracket just yet.

[buttdawg]

Dwayne

If you can believe Twitter, everyone hates The Rock now. Twitter renamed itself X eight months ago, but the URL is still "twitter.com", so you can't always trust what you hear there.

Still, the impression I get is that WWE fans are upset about this week's TV, where Dwayne "The Rock" Johnson returned and basically usurped Cody Rhodes' WrestleMania 40 match with Roman Reigns. I didn't see this happen, so I don't know the exact details, but the whole thing sounds like a rumor, because fans have been talking about Roman/Rock for years, and they've been talking about Cody/Roman II ever since their last match at WrestleMania 39. Now, it seems like the stars have finally aligned for both matches, so WWE has to pick one or the other.

Some guy on Twitter posted a picture of Rock and Roman staring each other down, and asked users to describe the image in three words. My caption is "business as usual".

WWE's always had trouble making big decisions. In the final years of my viewership, I quit watching Raw and Smackdown because the shows never seemed to matter. Much of the airtime was spent haggling over the PPV matches and speculating over who would fight who. So I just started watching the PPV's only, since those decisions would already be made. Then the James Khahshoggi murder happened, and WWE had to decide whether to go forward with the 2018 Crown Jewel show. It took them three weeks to figure it out, and then they just did the show anyway. I canceled my WWE Network subscription and never looked back. Those who stuck around got to see Crown Jewel 2018, which absolutely sucked, so WWE ended up pleasing no one.

After Vince McMahon stepped down in 2022, there was a renewed optimism about WWE's product, which was dampened by Vince's return in early 2023, but there still seemed to be an improvement in morale. There was a lot of frustration over Cody vs. Roman at Mania 39, because it seemed like Cody was due to "finish the story", but Roman defeated him to retain his title. But at least WWE made a decision. They didn't do some bullshit double-DQ, or a no-contest, or have Hulk Hogan come out to win the title in an impromptu match, or send Seth Rollins out to make it a three-way. They just had Roman beat Cody. The end. Cody will have to try again next time.

That might have been the wrong call, but at least WWE made a call and stuck with it. Roman's record-breaking title reign is kind of incredible for modern WWE. Back when I was watching, everyone knew WWE wanted to book Roman as a top guy, but they kept getting in their own way, spoiling all of his triumphs in a vain effort to set up some bigger triumph that they could never quite get right. Now that's he's finally been established, I can appreciate WWE's reluctance to change the status quo. Roman represents stability.

But now it's starting to look like WWE has the same problem in the opposite direction. One of these days, someone needs to upset Roman to win his title, but they can't seem to decide who that person is, or when it should happen, or how it should happen.

The way I remember it, Rock vs. Roman was something WWE wanted to do for a while now, and it seemed like WrestleMania 39 was a good time to go for it, except the Rock couldn't make it so they had to shelve those plans. So Cody got the spot instead, and fans really got behind that idea. Maybe he should have won the title then, but you could argue that it builds to an even bigger rematch at WrestleMania 40 this way. And that seemed to be the idea, since he won the Royal Rumble. Except this year the Rock seems to be available, so here we are.

The dilemma here is that fans had a whole year to get invested in Cody's quest for a rematch, while the Rock is this super-megastar who only comes around once in a great while. He's 51, so if they don't do this Rock/Roman thing soon, they may never make it happen. Cody will still be around for a while, but it strains credibility to have him chase Roman for three years. It also doesn't make much sense for him to just pass up a title shot at WrestleMania when he has first dibs on it.

Instead, Cody seems to be pivoting to a match with Seth Rollins for the World Heavyweight Championship. This leads to speculation that he might win that match and try to unify the belts or something, but it says a lot that any of this is an option. Over the past twenty-two years, WWE has established two "brands" and two world titles. Sometimes they recombine them, only just just split them off again. These days there's even two nights of WrestleMania, so it shouldn't matter that Rock and Cody are kind of occupying the same spot. There's plenty of main event space for both of them.

And yet, the fans still appear unsatisfied. Cody was going after Roman specifically. He wanted his title. That was the way the story was presented, right until the Rock showed up and then Cody graciously stepped aside.

I think it's that stepping aside that ticks the fans off. It reminds me a lot of when Batista came back in 2014, and fans booed him out of the building because they wanted Daniel Bryan to win the title, not him. And WWE did the smart thing and worked Bryan into the match, but I'm not sure that would work here. In 2014, Batista won the Royal Rumble, and Bryan defeated Triple H to get into the main event. So they each had a claim to challenge for the title. But in 2024, Cody won the Royal Rumble, and he's the guy everyone wanted. What claim does the Rock have to any of this?

I mean, he's a big celebrity, sure, but there's a lot of fans who are too young to remember his heyday. They grew up with the Rock being this guy who comes out sometimes to beat up heels and lead the crowd in silly chants like "Kung Pao Bitch" or "Tofu Anus". Cody's actually on TV every week. I think WWE may have been so starstruck by the Rock that they failed to notice that their active roster has a greater rapport with the fans.

This could all work out in the end. I think the best bet would be to do some Double-Gold Double Dash thing like they did at WrestleKingdom in 2020. Do Rock/Roman and Cody/Seth at Night 1, and then do Cody/Roman in a unification match at Night 2. That ought to please everyone, and maybe WWE's going there, but they can't reveal i yet because the story just started.

But it says a lot to me that they invented all these extra shows and extra titles and extra events just to give themselves wiggle room, but it still feels like threading a needle every time. Everything has to be done a certain, exact way, or we have to scrap everything and wait another year to get it right.

Personally, I'd just have Cody beat Roman at Summerslam and get it over with. WrestleMania is overrated, and they run a dozen other PPV's with the same roster, so just do a big moment at one of them for a change. Not everything has to happen at WrestleMania.

[420hamlet]

Time Keepers II- Raul Victoria III (#102)

Then, I broke my chronometer. The girls were all getting prepared for a big race next weekend. We were busy. From the sun rising in the cold, to the setting in a finally refreshing warmth. We were thirsty and tired; the girls were training like heroes. Suddenly it was eight at night and I hadn’t arrived home. So, you called.

“Hey hun, is everything well?” you asked concerned but unworried.

“Oh baby, I’m sorry!” I immediately realized what had happened.

“Don’t worry about it…” you were genuine.

“We’re just here training with the girls, say hi girls!”

“Hi girls!!!” all the girls responded in unison.

“Hi girls” you said to them, they didn’t hear you of course.

“I lost track of time, I’ll be there, but go ahead, eat without me” I urged you.

“I can wait…”

“Eat and rest…” we interrupted each other in kindness.

“I ca…”

“I’ll arrive, eat and shower, and then I’ll wake you”.

“I…”

“I’ll wake all of you” and you finally stopped.

“I shall eat and rest” you agreed.

We both laughed, we were good, life was well, and we loved each other. I called the girls for one last exercise, my brave girls reluctantly agreed. We readied and set ourselves, I whistled and started the clock…

Ashley ran directly towards me.

We crashed with fast acceleration, great job there Ash, I’ll give you that, and smacked ourselves all the way to the fence. And. It. Hurt.

These things happen sometimes. An imbalance due to being tired, physically, or mentally, or simply the low light we work underneath off, a trip and fall, anything. We checked ourselves, we felt everything. In the end we were fine, it was only pain, but we would be alright. Ash would probably still compete next weekend. We got up and gathered our things, laughing about it already. I found my chronometer on the track’s floor, it was broken, I could notice it working still, but the glass was so smashed that I could not see through. It was a big cloud of white cracks making all behind invisible. The girls murmured:

“Hey Ash, I think it’s gonna rain, wanna ride?”

“Yeah, can we go to DQ on the way?”

“Don’t eat too much girls!” I yelled from a distance.

“Yes coach” they were dedicated.

“But enjoy it very much!” I was nice.

“Yeah coach!” they knew it.

“See you tomorrow” I loved them.

“Byeee” I like to think they did too.

The girls were right, it was about to rain. I could hear the distant thunder on the fields. All the girls left, I got in the car and got back home, as rain started to fall.

(...)

Instagram: @thevictoryville

[pius2017]

What influence does public opinion have on health care policy?

dq 1What influence does public opinion have on health care policy? Provide a recent (last eight weeks) poll or news article on healthcare policy illustrating the power of public opinion to affect policy.dq 2 AFTER reading the Lesson 2 readings this week, which address numerous historical political campaigns, please answer the following question. Using concepts and terms from the readings, compare…

[qnewslgbtiqa]

My First Time: New series delves into the 'first times' of queer Australians

New Post has been published on https://qnews.com.au/my-first-time-new-series-delves-into-the-first-times-of-queer-australians/

My First Time: New series delves into the 'first times' of queer Australians

For all members of the LGBTQIA+ community, stories of our ‘first times’ (whether they be first lovers, first crushes or coming out) are sacred. And while many queer people share similar experiences, each person’s narrative is unique, shaped by their own identity, background and lived experiences.

To honour these sacred stories, an exciting new series hitting the We Are Pride platform has asked queer Australians from all walks of life to get vulnerable and share the stories behind their first times.

QNews was lucky enough to watch the first episode of My First Time before its official premiere, and let us tell you, it’s something special.

READ MORE: We Are Pride: Queer channel champions LGBTQIA+ representation

From Aurelia’s experience of growing up in a conservative family and how this shaped her coming out experience to Rosie and Katherine’s stories about navigating and embracing their gender identity- My First Time shared unfiltered stories that each of us at QNews could relate to in some way.

Personally, what I loved most about this series is that it’s not just about finding similarities in my own experiences. It’s also about hearing from folks whose stories might be completely different from our own. It really is like a window into the diverse tapestry that makes up our community.

And for fans of RuPaul’s Drag Race Down Under, season two runner-up Kween Kong is one of the brave souls getting into the hot seat to share some of their first times!

Overall, My First Time celebrates our shared experiences, our differences, and the courage it takes to be authentically ourselves. So be sure to subscribe to We Are Pride, as this is one series you won’t want to miss!

The Inspiration behind ‘My First Time’

To learn more about how the series was created, QNews chatted with My First Time’s Executive Producer Hannah Barnes and Director/Producer Carolyn Cage.

What is My First Time?

Carolyn: My First Time is a 10-part series that takes an unfiltered and heartfelt look at the transformative, yet sometimes challenging first experiences of 10 members from Australia’s queer community – featuring Kween Kong, Aurelia St Clair, Wesley Enoch, Katherine Wolfgramme, Seren Bakir, Adrian Mouhajer, Rosie Delaney, Dyan Tai, Steve Spencer and DQ.

Each themed episode delves into topics such as ‘coming out’, self-discovery, and exploring identity through fashion — covering everything from first crushes and heartbreaks to the first time navigating stereotypes and finding community. It’s a series that will warm your heart, make you laugh out loud, and at times reach for the tissue box!

This is the first original production for the We Are Pride platform, why was this concept the first choice?

Hannah: Everyone remembers their first so as soon as you share your own story, people immediately want to share theirs. It’s a global experience and that really interested me. Of course, often people equate their ‘first time’ with sex, but we wanted to expand on that and share all these different stories and experiences that are also ‘first times’.

What is about this project that first piqued your interest?

Carolyn: Creating this series has been a deeply personal journey for me as I’ve documented many of my own first experiences in diaries since I was eight. Occasionally one of them will resurface, allowing me to reflect on the growth from past struggles – or find humour in events that once seemed monumental, but are now a transient memory.

While it can sometimes be challenging to look back at the past, it can also be extremely cathartic and rewarding – and it was great to be able to capture those intimate moments with the talent on camera. I also wanted to share something with those who may be struggling or feel isolated in their journey and let them know they’re not alone.

Who is this series for?

Hannah: This series is made for the community. I think that streaming services and networks still make queer content for straight audiences and that’s not what we’re doing. We’re making queer content for queer people. If allies want to come along, great. If it resonates within a wider audience, that’s fantastic, but first and foremost, this is a queer show for queer audiences.

For the queer community, these ‘firsts’ are often very sacred. How was it finding talent for this series who were willing to get vulnerable?

Carolyn: First experiences, particularly for the queer community, are often extremely personal or difficult to talk about. We explore a lot of hard-hitting topics in the series, so developing trust with talent and creating a safe space for them to share their stories was extremely important.

Many of them mentioned that although speaking so candidly on camera was at times nerve-wracking, one of the main reasons they took part in the series was because they didn’t have this kind of visibility growing up, and wanted to contribute their voices to making things just that little bit easier for the next generation.

Hannah: We also worked with a predominantly LGBTQIA+ crew and that was a really deliberate choice. The feedback I’ve had from talent is that the crew was so thoughtful and sensitive and as a result, the filming process felt really relaxed. I think finding the right crew for this project was as important as casting the on-screen talent.

Is there a storyteller or story that has stayed with you?

Carolyn: It would be impossible to pick out just one! Many of the stories shared have left an impact on me, whether it be because they were deeply relatable, or completely raw, honest and impactful. What stands out is as a collective narrative, there is a powerful mosaic of honesty, struggle, and triumph, which I’m sure will resonate with anyone who watches the series.

Hannah: The most poignant moment for me is actually in our last episode and it’s when Wesley speaks about the need for LGBTQIA+ safe spaces. And I don’t want to ruin the moment for viewers, but when he said his bit, myself and all the crew were crying. So that’s the moment that has really stayed with me.

The first episode of My First Time premiered globally on the We Are Pride Youtube channel on Saturday, 17 February.

New episodes will continue launching every Saturday until 20 April.

For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.

[thef1nalb0ss]

Faction Rankings: Week of December 19, 2023- December 24, 2023

It's the last regular ranking of 2023. Next week each factions rank across all weeks will be counted up and averaged to see who did the best throughout 2023. Until then, though, here's this week's rankings.

10. The Brawling Brutes

Sheamus has been gone since August, Ridge is apparently in a worked injury angle with Ilja, and Butch lost to Dragon. They're not doing great. For the New Year's Revolution edition of Smackdown, Butch will team with a mystery partner against Pretty Deadly. Could that be the return of Sheamus? Or is somebody else joining The Brawling Brutes?

9. Damage CTRL

They lost the Holiday Havoc match, with Mia pinning Iyo. Of Course, Alba and Isla emerging from ringside gift boxes and attacking Asuka and Kairi might've had something to do with that. Regardless, Iyo now has a title defense against Mia for the New Year's Revolution edition of Smackdown.

8. OTM

They are one match away from a match with the Tag Champions. If they defeat Chase U, they get a Tag Title match against The Family. If they lose, they pay off all of Andre's debt.

Just a typical stipulation match over in NXT.

7. The Bloodline

Roman's next defense will either be against AJ, LA, or Randy at the Rumble. Solo had a match with AJ, but interference from Roman led to a DQ.

6. The Viking Raiders

Ivar picked up a win against Tozawa. Towaza did put up a fight, but in the end, it was no use against Ivar.

5. Diamond Mine

The Creeds Brothers lost their Tag Team Championship match against The Judgement Day. Ivy, on the other hand, has a Women's World Title match for the Day 1 Raw after she confronted Rhea after her match with Maxxine.

4. The OC

The good news is Mia pinned the WWE Women's Champion in a eight-women tag match, and now has a title match for the New Year's Revolution edition Smackdown. The bad news is AJ is detached and even hostile towards them at the moment.

3. Briggs, Jensen, and Henley

Fallon won against Tiffany, but Tiffany attacked her afterwards and dumped a can of trash on her. Josh has a Hertiage Cup match this week, but has told Brooks and Fallon not to be ringside.

2. Imperium

Gunther retained against Miz, but Kaiser lost to Jey. Gunther told them he's taking a few weeks off, and expects them to be better when he comes back.

1. The Judgement Day

Finn and Damian retained their Tag Team Championships against The Creed Brothers, and Rhea won against Maxxine. However, JD lost to Truth with a match stipulation that the loser leaves The Judgement Day, although later they said that wasn't official and JD is still part of The Judgement Day. Other than that, on the Day 1 Raw, Rhea has a title defense against Ivy.

[abigailshorel6]

Bibliography

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Of the three European dramas so far remade for UK television by Eagle Eye Drama – the production company set up by the team behind streaming service Walter Presents – Belgian director Dries Vos has worked on two.

The first was Professor T, with Vos directing 12 episodes over its first two seasons. Debuting in 2021, the ITV series is based on the Belgian show of the same name and stars Ben Miller as a university criminologist with obsessive-compulsive disorder who assists the police in solving crimes.

Last year then saw the release of Channel 4 drama Suspect, an adaptation of Danish series Forhøret. It stars James Nesbitt as a detective retracing the final days of his murdered daughter to find out what happened.

Vos directed all eight episodes of Suspect, which has been recommissioned for a second season, and he has now directed all six parts of The Couple Next Door, the latest Eagle Eye adaptation, again for Channel 4.

A dark, psychological and emotionally charged thriller written by David Allison (Bedlam, Marcella), the series is based on Dutch drama New Neighbours and aims to explore the claustrophobia of living in suburbia, where you never quite know what goes on behind closed doors.

Eleanor Tomlinson and Alfred Enoch star as Evie and Pete, who move into a new house in an upscale neighbourhood and quickly befriend their neighbours, traffic cop Danny (Sam Heughan) and his yoga instructor wife Becka (Jessica De Gouw). The two couples then becoming increasingly close until events on one fateful night change all their lives forever.

In Belgium, Vos is known for comedy series and crime dramas such as Women of the Night and De Dag (The Day), which dramatised the events surrounding a bank robbery from the point of view of both the police and the robbers.

“But I’ve always wanted to do some kind of sexy thriller,” the director tells DQ. “I’ve always done these more heist stories like De Dag, for instance, but this was completely different. Eagle Eye talked about it in September 2022, when they had two scripts, and I started reading it and immediately felt it could be something. We then started working on it first at a script level, of course, and then we started shooting at the end of March this year.”

Having worked on remakes in the past, Vos adopted the same approach for The Couple Next Door that he used when working on Professor T and Suspect, which is to ignore the fact it is based on another series and to treat it as if it has been created from scratch.

“I never watch the original series. I never read anything about it,” he says. “For me, it’s just the same as if it’s a new script. Otherwise, you’re in danger of stealing stuff.

“If all this influence comes my way, I might maybe try to change my vision and I just want to be clear, so I always start by trying to search for some pictures, some stuff from other movies, some references. I had some pictures that I showed the writer – there were some stills from a movie I love with some koi carp, and we ended up writing some scenes with koi. We influenced each other the whole time. But if you watch the original series then you’re too attached to what you see. That’s not always helpful.”

With international dramas more accessible to viewers than ever – and Walter Presents doing as much as any other streamer to take local-language dramas around the world – remakes may seem unnecessary. But Vos still sees value in adaptations, believing the same story can evolve through the work of new storytellers in front of and behind the camera.

“It’s easily said, ‘Oh, it’s a remake,’ but you always try to invent it from scratch,” he says. “It’s the way you approach it visually [as a director] but also the way you’re directing those actors. They bring some other stuff with them as well. A writer brings some other stuff, so it’s good if you get the freedom to make it your own.

“If you don’t have that freedom and people just want to see the same as the original, there’s no point making a remake. It’s always got to be filtered through the eyes of a director or through the eyes of a writer so it’s got another perspective than the original.”

The Couple Next Door doesn’t just stand apart from the series it is inspired by, but from anything else Vos has directed in the past. “You evolve as a director, and you’re influenced by things you see and things you think are cool,” he says. “But what I always try to do is ask, ‘What is this show?’ What does this show need?’

“For instance, I like to play with genres, so this could be a romantic movie but also a fairytale or have some thriller elements, and I put them all in a box and shake it a little bit. Then I put my personality in it and there’s something new or a new visual language, or just the way you’re blocking actors or their language is different or whatever. There are so many parameters you can play with. You can still just remake something on a shot-by-shot basis, but what’s the point of it all?”

Taking a cue from De Dag, a key visual trick Vos uses for The Couple Next Door is the multiple perspectives at play as characters constantly watch each other. And it’s not just Evie, Pete, Danny and Becka, but also another neighbour, Alan (Hugh Dennis), who seems to have a particular interest in Becka.

“It’s a story about lots of people. My first instinct was like, ‘Ah, this is a story about Evie.’ But if you dig into it, it evolves a little bit more towards a story about Danny and Becka as well because they have problems in their relationship,” the director explains. “There is also some stuff happening with Pete and Evie at the same time, and so it evolves by having those two couples. In the first episode, we focus more on Evie but then some episodes shift a little bit more towards Alan. I always like to have more perspectives on the same story.

“Those perspective changes are really interesting to play with narratively, but also visually. It’s about the ensemble. When you finish episode six, you will have a complete storyline for everybody.”

The filming locations also added to the claustrophobic atmosphere. Location scouts discovered a cul-de-sac in the Netherlands with homes that create a suitably heightened atmosphere owing to the fact they look like they belong in American suburbia. Filming also took place in Leeds and in Belgium.

“It’s a completely strange setup but that’s why I love it,” Vos says of the exteriors location. “So having that and also having people watching through curtains and watching each other, that’s a cool thing to play with.

“It’s also a bit soapy – it’s got some soapy elements in there. But the series evolves to something completely different and completely dark by the end.”

Throughout the course of the series, it’s safe to say not everything goes to plan for the two couples, as Evie and Danny become drawn to each other over the course of the first episode. Vos used the camera to demonstrate the distances between characters, sometimes starting off distant and drawing closer, and on other occasions becoming more separated.

Of course, the actors are key to getting the right chemistry for the series, particularly Tomlinson and Heughan. Vos jokes that he just says “action… and then stuff happens,” but he also spent time with the actors to break down their characters and explain what he wanted from them.

“They went out for dinner, and there’s got to be a minimum level of trust,” he says of Tomlinson and Heughan. “It’s very interesting to see, but what I was doing was always on a gut level. You don’t have a lot of time because there are a lot of stress factors during shooting, so sometimes you have to decide on the spot.”

The challenges on the show didn’t just come down to finding the right locations to create the drama’s pristine appearance – further exemplifying the show’s theme that not everything is as it appears. In particular, “just finding the right tone was the biggest one for this series,” the director reveals, “I think it works and hopefully an audience will think the same.”

The right tone, one that blends psychological thrills with charged emotion, was still being sought on the last day of filming, and continued into the editing process.

“On the last day we were still like, ‘But what is it?’ Visually we found it while we were shooting but, still, story-wise, it’s only when it’s coming together in the edit that you get that feeling,” he says. “I also spent a year searching for the right music, because music on this series makes a difference. Music can change so much.

“Then when we were at a screening, Hugh Dennis said to me, ‘You found it.’”

Audiences can judge for themselves when The Couple Next Door launches on Channel 4 on Monday. It will also air on Starz in the US and Canada in 2024, with Beta Film distributing the drama internationally.

Can Vos envisage returning for a second season? “Let’s see how it evolves, and if people love it, let’s go for a second series,” he says. “But if it’s a flop or people hate it, then it’s over. Let’s just see what happens in the next few weeks.”

tagged in: Channel 4, Dries Vos, Eagle Eye Drama, The Couple Next Door

🤔 The director @driesvos pushed hard if his perception was a romance narrative in a swinger relationship. If his work has anything, taking this from this and that from that and mixing them with copycat moments from films, as we saw in “The Notebook”.

This reminds Quentin Tarantino’s words once said, “I steal from every single movie ever made”. But a shared bonding experience in a lusciously dark way does not seem romantic at all and life is not a fairy tale, there is never “A happily ever after”. This is not “The Notebook” 2 🫤 with a touch from the Psychological/Thriller film “Rear Window”

[ncisfranchise-source]

As long-running crime franchise NCIS expands to Australia, showrunner Morgan O’Neill tells DQ how NCIS: Sydney blends familiarity with scale, ambition and a new cultural perspective.

For 20 years, the special agents of the Naval Criminal Investigative Service (NCIS) have been investigating crimes involving the US Navy and Marine Corps and their families. NCIS, which is set in Washington DC, debuted on US network CBS in 2003 and has led to a number of spin-offs, including NCIS: Los Angeles, NCIS: New Orleans and NCIS: Hawai’i.

Morgan O’Neill Now the series is heading to Australia – but rather than being a local adaptation in the traditional sense, NCIS: Sydney is the first edition of the long-running franchise to take place outside the US.

Launching on Paramount+ in Australia and CBS in the US this November, the eight-part series is set against the backdrop of one of the world’s most iconic harbour cities – and rising tensions in the Indo-Pacific. It follows a multi-national taskforce made up of US agents from the NCIS and the Australian Federal Police (AFP) as they attempt to keep naval crimes under control in the most contested patch of ocean on the planet.

The team is led by NCIS Special Agent Michelle Mackey (Olivia Swann) and her 2IC AFP counterpart Sergeant Jim ‘JD’ Dempsey (Todd Lasance). The cast also includes Sean Sagar as NCIS Special Agent DeShawn Jackson; Tuuli Narkle as AFP liaison officer Constable Evie Cooper; Mavournee Hazel as AFP forensic scientist Bluebird ‘Blue’ Gleeson; and William McInnes as AFP forensic pathologist Dr Roy Penrose.

Produced by Endemol Shine Australia for CBS Studios and Paramount Australia, NCIS: Sydney was created by Morgan O’Neill (Les Norton), who initially sought to uncover what had made the original show and its other iterations so successful – a process that led him to watch countless episodes of the drama over several months.

NCIS: Sydney is the first spin-off set outside the US One key reason the showrunner identified is that the stories are authentic to each show’s setting. O’Neill consequently led a diverse writers room that could offer an insight into Australian culture and society, including First Nations perspectives.

“If you watched those shows, the original, which is still going, is very different from Los Angeles in terms of its tone, its swagger, its tempo, its colour palette, its sonic palette, and very different again from New Orleans, which is in itself different from Hawai’i,” he tells DQ.

“That really informed the decisions I made trying to create this world, because I felt like no one was interested in retelling those stories. They wanted to see what an authentic take on a different part of the world, from a different cultural lens, was going to look like.”

Pitching his take on NCIS, O’Neill was encouraged to “swing for the fences” – a phrase that became his mantra. “And we really did,” he continues. “We really wanted to make sure this show feels distinctively Australian, distinctive from all the other iterations of the show, that we’re looking at it through a cultural lens that is going to be authentic for an Australian audience and is going to be intriguing as a result for an international audience.”

William McInnes, Todd Lasance and Olivia Swann in NCIS Sydney However, the unique Australian take on NCIS doesn’t mean the Sydney edition strays too far from the original story format – a four-act structure with a cold-open teaser. “Usually, within the first two minutes there’s a body drop, and by the end of the hour it’s usually solved,” O’Neill says.

He also points to the self-contained episodes as one of NCIS’s strong points, providing comfort to viewers who don’t need to have followed an entire series – consisting of multiple seasons – to be able to dip into the latest story.

But while viewers might come to the show for the crime, O’Neill hopes they stay for the characters. “One of the things the [other NCIS] series do very strongly is they build this sense of family around the five or six key characters in the show, and they don’t really go home with them very much in the same sense as something like NYPD Blue did years ago,” he says.

“They basically decided that people who work long hours doing arduous jobs actually find family in the people they work with, so we’ve hewed very closely to that. We leave the private lives alone and throw all our attention into trying to make sure these people are interesting and connected.

The original NCIS premiered in 2003 on CBS “I pitched the version of the first NCIS blended family, because that’s what these characters end up being, by hook or by crook. You spend so long in the office working with these people that eventually they take on a sense of genuine family. And in our case, it’s a blended family and everything that comes with that – good and bad.”

O’Neill has worked closely with officers from the real NCIS office in Sydney to make sure the series reflects the work of its staff, as well as the cultural alignments between the NCIS and the AFP.

“What’s really fascinating in the first season is how quickly those cultural barriers fall away, because what the show is at heart is a police procedural with a wink,” he says. “It’s got a twinkle in its eye. It’s not a heavy-handed police procedural where you get into the dark innards of the human psyche. It touches on that but, really, it’s a show that’s profoundly entertaining.

“What’s interesting too is that the show itself and the organisation it portrays is often seen as a bit of an underdog. In a funny way, that sounds like Australia. We’re a very big country geographically, but we’re a very small country in terms of population, and we thrive on the idea that we have to scrap our way out of things. It’s what we do as Australians and it feels like a very good, natural fit that NCIS should arrive here.”

NCIS: Los Angeles made its debut in 2009 The Royal Australian Navy has also been involved during development and production, and was on hand to assist in one action-packed stunt in the opening episode.

“I’d written – I don’t know why I wrote this – that there was a chase across Sydney Harbour with a US Navy Seahawk flying 50 feet above the water, chasing a speedboat laden with explosives,” O’Neill says. “I wrote it and no one questioned it. No one asked how we were going to do it. I kept waiting for that tap on the shoulder to say, ‘What the hell are you doing?’ No one ever did.

“We got to the point where the navy said, ‘What do you need from us?’ I said, ‘Well, we need a fully crewed Seahawk to fly 50 feet above Sydney Harbour and chase down a boat laden with explosives.’ And they said, ‘OK, good, we can do that.’”

On the morning of the shoot, O’Neill’s wife wondered why he was looking stressed, and he explained what they were about to film. “She said, ‘Well, you came up with it. Whose fault is that?’ And she’s right,” he laughs. “There are a whole bunch of moments where I was questioning whether my ‘swinging for the fences’ ambition was actually the right thing to do. But looking back, it was exactly the right thing to do.

NCIS: New Orleans launched in 2014 “We were very fortunate to have partners like the navy who facilitated us to really achieve things you couldn’t otherwise do. What you see is a production value that completely outstrips its budget.”

Working on NCIS: Sydney, which is distributed outside Australia by Paramount Global Content Distribution, has been “the most fun I’ve had in my 25 years working in this industry,” O’Neill concludes. “It’s a joy to be telling really ambitious stories in my hometown with a cast and crew of really talented Australians who are having just as much fun as I am. When people are having a good time doing what they’re doing, somehow it transfers to the screen. You can see a genuine Australian twinkle in the eye, and I’d like to think the Australian audience is going to really dig that.”

[hyrule-warriors]

if the new Dragon Quest Monsters game's soundtrack is still eight to twelve shitty midis like every DQ game for the past twenty years im going to fucking lose it

[frontproofmedia]

Jonathan Gonzalez-Gerardo Zapata Light Flyweight Title Showdown to Stream LIVE & Exclusively on ESPN+

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Published: October 26, 2023

Jonathan Gonzalez-Gerardo Zapata Light Flyweight Title Showdown to Stream LIVE & Exclusively on ESPN+

Puerto Rico’s WBO light flyweight world champion, Jonathan “Bomba” Gonzalez, will defend his world title against hometown favorite Gerardo Zapata this Friday, Oct. 27 at Alexis Arguello Sports Complex in Managua, Nicaragua.   Gonzalez-Zapata and undercard bouts will stream live and exclusively in the U.S. on ESPN+ at 9 p.m. ET/6 p.m. PT.   Gonzalez (27-3-1, 14 KOs) has won five bouts since falling short to Kosei Tanaka in a 2019 bid for the WBO flyweight world title. He then moved down to the light flyweight ranks and positioned himself for a title shot with a pair of victories. In October 2019, he toppled Mexican champion Elwin Soto by split decision to capture his world title. Gonzalez defended the WBO light flyweight twice in 2022 with unanimous decision victories over Mark Anthony Barriaga in Florida and Shokichi Iwata in Japan.   Zapata (14-1-1, 5 KOs), who was born in Managua, fought the first 14 bouts of his pro career in his home country. He lost his ‘0’ when he was controversially disqualified against Rene Santiago in December 2022. Zapata returned in August and was held to a 10-round draw against Panamanian contender Azael Villar.   In other ESPN+ streaming bouts:

Rene Santiago (11-3, 8 KOs), two fights removed from the DQ win over Zapata, will defend his WBO Latino light flyweight title in a 10-rounder against undefeated Nicaraguan Kevin Vivas (7-0, 2 KOs).  

In a six-round female light flyweight contest, Eveling Ortega (5-4, 2 KOs) looks to increase her winning streak to five against Costa Rica’s Silvia Duran (3-1, 2 KOs).  

Welterweight prospect Harvin “Manimal” Aguirre (8-0, 6 KOs) steps up against Israel Lopez (11-3-1, 8 KOs) in an eight-rounder.  

Honduras-born light flyweight Gerardo Sanchez (8-1, 5 KOs) hopes to end the unbeaten run of Peru’s Eduardo Ajito (11-0, 5 KOs) in an eight-rounder.