#elizabeth likes media generally i have Decided This. she just likes stories. anything good OR fun OR interesting will do it for her.

[words-writ-in-starlight]

White Collar ot3 number 14, 18 and/or 29 for the ship asks because you just reminded me how much I adore them today. Thank you and happy birthday!!

I cut this bad boy for length because I sure can go on about these three. That first one is basically a whole fic. Thank you, my birthday was great!

14) When one has a cold, what does the other do?

This feels like a great opportunity to talk about one of my favorite things to think about with this OT3, which is The First Time Neal Gets Sick, AKA The Time Peter And Elizabeth Almost Had A Heart Attack.

The thing is, they expect dramatics. Neal is someone who leans on dramatics as 70% of his social charms, and if you'd held a hot brand to Peter's skin while he was chasing Neal over half the godforsaken country, back in the day, he'd have said that Neal would be the type to wring every minor illness for all it was worth. Not, like, out of any particular irritation for that particular behavior--Elizabeth is the kind of person who gets dramatically sick even if all she has is a cold, and if he's being perfectly honest Peter kind of enjoys babying his wife for a few days--but just because. Well. All Neal ever does is make sure all eyes are on him, seeing exactly what he wants, doing exactly what he needs. It's the con he's best at, Neal's favorite magic trick: sweep everyone up in the delirium of those blue eyes and that shattering smile and take everything they've got in their distraction.

So anyway, then Neal doesn't show up to work. He's an hour late. Two hours late. By the third hour, Peter is silently doing the math for how far Neal could get on his anklet without setting it off, and then for any loopholes he might have missed--faking the signal somehow? Neal's passable but not phenomenal with computers, but could he have hired someone? Peter's never heard of someone pulling that off, but Neal's got an aura about him, that makes the impossible seem merely improbable.

It is very important that this be an issue of Neal trying to run, because if it's not, then something might have happened to him. Neal hasn't exactly been endearing himself to the criminal underworld lately.

At three hours and forty-nine minutes past Neal's appointed arrival time, Peter takes an early lunch break and goes to June's. He knocks on Neal's door for a few minutes, and then goes and politely 'acquires' the spare key from the staff and lets himself in.

Neal is asleep on the couch, buried in every blanket he could find in his apartment, and he blinks hazily at Peter for a second when Peter shakes him and then bolts upright so fast that Peter has to move or get concussed.

"Peter," Neal says in a good approximation of his usual good humor. "What are you doing here?"

"You didn't show up to work," Peter says, reaching out toward Neal's forehead automatically. Neal dodges him and Peter sees the dizzy wave cross his face. "Are you sick?"

"I'm fine," Neal says, and then immediately starts coughing, a wet sharp cough that hurts to listen to. "Sorry I'm late, I--fuck, is it past noon? Okay, just--give me a second, I can get ready to go--"

"How long have you been sick, Neal?"

It takes Peter the better part of fifty minutes to wring the facts out of Neal, and he does not like the facts, thanks. He more or less forces Neal back into the blanket nest on the couch and calls El, apologizes for interrupting one of her rare days off and asks her to bring Neal literally anything, and shuts down Neal's fourth attempt to convince Peter that he's fine.

Neal seems...really bothered by the idea that Peter knows he's sick, let alone Elizabeth, and Peter doesn't like what that implies. About anything. At least it doesn't seem personal--Neal doesn't seem to want anyone to know that he's sick, so much so that he's been taking double doses of DayQuil and drinking straight espresso in order to smother all his symptoms at work for the past three days. Peter does some quick math in his head about the number of DayQuil that would require and says "You're lucky you're not in the ER," and Neal says, "I know what I'm doing, Peter," in that voice that means he's thinking about getting offended.

"You're going to give yourself liver failure, is what you're doing. Why didn't you just call out sick, Neal, Jesus Christ." It's blunter than he meant to be--actually, Peter meant to let El work on Neal for a few hours before he came back to play Blunt Cop--but Neal looks awful and he has a fever and he's been taking ten DayQuil in a ten hour work day and Peter does actually read labels and Peter made him stay late at work two days ago because Peter didn't know he was sick.

And maybe it's because Neal's sick, maybe it's because the fever is blurring his reaction time, maybe Peter just knows him really well by this point, but he sees the second that Neal's face closes up and he goes from "defensive" to "ready to do whatever he needs to do in order to get Peter to back down".

And then Neal smiles, all guileless blue eyes and blithe schoolboy innocence, and he says, "Come on, Peter, you'd have thought I was trying to run."

It stings inordinately. Peter did think that, this morning, but only because Neal fucking vanished, didn't come in, didn't answer his phone, didn't even leave a message with someone when Peter showed up. If Neal had said he was sick, Peter might have come by to check on him--and sure, seeing that he was really sick would have put those concerns to bed, but--

"Besides," Neal is continuing, and his voice is starting to show the effect of the coughing now, and he's trying to get up again, wavering on his feet a little before he blinks twice and visibly forces himself to steady. "I'm fine. And even if I wasn't, it's what, seven hundred dollars a month? That's not covering a doctor, and it's not like I have pneumonia. It's just a cold, Uncle Sam, I can still go to work."

And then Neal gives Peter the slip while Peter's still sitting there, stinging.

And the thing is, he doesn't even know if Neal really thinks that of him, or if Neal just knew it would make him shut up long enough for Neal to walk into his bathroom and take more fucking DayQuil.

Well, fine, then. Peter can fight dirty too, and to prove it, he walks the ten feet to the door and leans back against it, just out of an excess of caution, as he pulls out his phone. First he texts his wife, because she's a very smart woman and deserves to have all the information. Second, he calls his boss, because he's already well outside his lunch break and he might as well do the thing properly. Neal comes out of the bathroom, wearing fresh slacks and an unbuttoned white shirt, just as Peter says, "Yes, sir, I'll keep an eye on him."

Then Peter hangs up and points his phone at Neal and says, "Lie the hell back down before I taze you. You're off until next week, and I'm taking the day off to make sure you don't go into organ failure. Don't you dare," he adds when Neal takes a purposeful step toward the kitchenette and its coffee maker. "El is going to be here with actual cold medicine in thirty minutes. Take those slacks off and lie down in your actual bed."

"I'm fine," Neal says again, as if he's not struggling with a shirt button for the first time since Peter's met him, including multiple occasions of being handcuffed.

"You're really not," Peter says, and then he pauses for a moment, and looks at the way Neal's fingers pause on the button, and then he says, a little cautiously, "And that's fine. Everyone gets sick, Neal."

"I don't need you to babysit me," Neal mutters.

"I'm only babysitting you because, apparently, you take life-ending doses of caffeine and cold medicine when you're left alone. Come on, Neal, this won't be the end of the world, El will bring you some food that won't hurt your throat and I'll let you make me watch one of your boring foreign films."

"I know your secrets," Neal says, and then pauses to cough up what's probably part of his failing liver, not that Peter is feeling any doom and gloom about this whole thing. "You watch romcoms with Elizabeth, she told me you enjoy things other than football and you'll never fool me again."

"Yeah, you got me," Peter says with a faint grin. He walks away from the door like he's approaching a feral dog, and closes his hands gently but inexorably around Neal's wrists, and then steers him firmly back onto the couch. Neal's skin is hot even through his shirt, and he trips twice, and he lets Peter push him down into the blankets like he's too tired to do anything else. "I'm going to go get you pajamas. Where do you keep them?"

"Second drawer," Neal says dismally.

"Okay," Peter says, and doesn't give into his impulse to maybe, like, brush Neal's rumpled curls out of his face or something. Half the reason that Peter caught him in the first place is because Peter knows when to press his advantage. He takes the win and gets Neal some pajamas.

18) When they fight, how do they make up?

Elizabeth is the best at this, because she works with vendors all the time and that makes her a literal professional at conflict resolution.  She has a temper and she’ll lose her cool with the best of them, but she knows how to say “I need a minute” and then she’ll leave and come back when she can be reasonable.  She’ll lay out what she’s upset about, hear the other person out, and then either apologize or expect an apology.  Then she’s the physical touch kind of person after a fight--she’ll take Peter’s hands and link their fingers together, or wrap her arms around Neal from behind with her cheek between his shoulder blades, and just kind of...rest against them until everyone’s tension starts to bleed out of them.

Peter isn’t an innately high-empathy person and he knows this, so it’s sometimes hard for him to figure out when a fight even started, let alone how to fix it.  He gets frustrated with himself for not knowing what to do, and then it’s easy for Elizabeth or Neal to feel like he’s mad at them for being mad at him, and then everyone gets madder and it’s just stressful.  So Peter’s the type to ask explicitly “wait, are we fighting” because, first of all, he would like to know so he can figure out how to resolve it, and, second of all, he’s discovered that being clear about it will sometimes shock everyone involved into taking a step back and figuring out if they’re arguing at all or if they’re both just frustrated.  After they’ve managed to figure out what’s wrong and talked it out, Peter’s an acts of service kind of person after a fight--his specific brand is to make someone’s favorite meal, regardless of who was doing the apologizing.  

Neal is...not good at conflict.  For obvious reasons, he’s inclined toward avoiding conflict when he can, and bailing immediately afterward when he can’t.  The first time he actually fought with Elizabeth, she had to come to his apartment and hammer on his door until he let her in.  Neal’s never really been able to argue with someone and then have them still be there except for maybe Mozzie, and it’s an extremely rough adjustment for everyone.  It requires a lot of patience from Elizabeth and Peter, and a lot of anxiety from Neal, for them to find a balance about it.  But Neal is a gifts person after an argument, once he learns to be anything after an argument, and not just extravagant things.  He brings flowers or Elizabeth’s favorite mixers or one of the boring patterned ties that Peter loves, he brings a paperweight or a mug, a hair pin, a new set of dress shoe laces, a pair of beautiful earrings, a six-pack of beer, whatever hoves into his field of vision and he can afford to acquire.

29) Why do they fall a little bit more in love?

One time when he got home from work, Peter caught Neal and Elizabeth waltzing in the kitchen while the radio played the Top 40 Hits station, and they were giggling while they tried to keep time to Umbrella, and Neal was complaining about El not letting him play classical while she was cooking, and Neal dipped El so that she could wink at Peter upside down, and they burned dinner because they left the stove on and the three of them got takeout ramen instead.

Peter thinks about that evening sometimes when he’s stuck in traffic.

[avani008]

Historical Make Me Choose! 2. Mughal or Maurya, 8. Religion or Art. Talk About: 3, 6, 9, 15

Make me choose between the Mughal and Maurya dynasties:

This is especially grueling, because--well, luck being on my side--I want to someday write origfic historical fantasy based on both of them. So, to start with, I will take the coward's way out and say both, because they're both entertaining in different ways.

The Mughal dynasty is well-documented, which is amazing for finding out hilarious anecdotes (Hamida Banu dissing Humayun! Akbar's cheetah obsession! Jahangir's hilariously honest autobiography) as well as--reading between the lines--some pretty amazing women. The Mauryas, in contrast, are so spottily documented, we can't even be entirely sure that the Buddhist and Greek/Macedonian sources are even talking about the same events/rulers, but assuming it is so--it's a wild ride, starting with a teenager overthrowing the dominant dynasty and his line conquering most of India within two generations. From a writing standpoint, having so much left empty is a gift, leaving so much available for the imagination. And yet, I wish we knew of more ladies from that history, because what little we do get is so fascinating (Durdhara's family connections and bizarre death! Dharma who sounds steely enough to be a second Kunti! Most of Ashoka's wives, who all seem super strong-minded in their own right.)

Make me choose between studying religion and art.

Oh, religion definitely. Not that art isn't great (it is!), but religion involves so much stories, and such insight into the psychology of any given culture. I had a college instructor who argued that religion and the afterlife told you more than anything about the general optimism/worldview of a culture (ie, Mesopatamia which had erratic floods and a harsh worldview had gods who really didn't care about them; whereas ancient Egypt, with regular floods and prosperity, had an afterlife that, assuming you could get in, was one big party.) Plus, religion affects passing references (how many casual Mahabharata and Ramayana references do you see in India media? Or just in conversation?) and swear words (such that an utterance as hilarious as the word "Zounds" could be an actual profanity. Amazing.)

A historical misconception that you hate.

AHHH there are so many--the inherent classism in deciding Shakespeare couldn't actually be a dude from Stratford, but a university-educated nobleman!--but at the moment, one of the most bemusing is the claim that Mughal princesses were forbidden from marrying. I keep on running into this as fact, and...don't actually see that it has any actual basis in fact, at least not during the reigns of the six major emperors. For evidence, I present the following deep dive:

(behind the cut due to length)

Most of the time I see this cited as "Akbar forbade princesses from marrying" so we'll start with him. Certainly Akbar's aunts and sisters were mostly married, so that's not an issue.

Of Akbar's daughters that I can find: Mahi Begum died young, so she doesn't count. Aram Banu Begum seems to have been --well, if we believe her brother Jahangir--kind of A Lot, despite being her father's favorite, so it seems likely marriage either wasn't her thing, or no one was agreeable to marry her. His other two daughters, Shakr-un-nissa and Khanum Sultan, were both recorded as having married, however, with their marriages arranged by Akbar himself.

But, hey, maybe he came to that decision later. So let's look at his granddaughters: Jahangir had plenty of daughters, and I can't find references to the marriages of all of them (or even how long they lived, for that matter)--at least one, Bahar Banu Begum was married to her cousin Tahmaras, and probably others too. Another of Akbar's granddaughters, Jahan Banu Begum (daughter of Murad) was also married to her cousin Parviz.

Of the generation following: let's put aside Shan Jahan's three daughters for now, since none of them married but i would argue they're a special case. Parviz, who I mentioned before, had one daughter Nadira Banu, who married her cousin Dara Shikoh; his brother Khusrau also had a single daughter Hoshmand, who married (you guessed it!) a cousin. The final granddaughter was Arzani begum, also granddaughter of the disgraced Nur Jahan, about whom I can't find a reputable death date, much less whether or not she was married. So--yes, for the most part, these women all ended up married cousins, but it's not strictly accurate to say they couldn't marry period.

A final note on Aurangazeb, who also gets accused of hte "prevented daughters from marrying" stance: yes, his most prominent daughter Zeb-un-nissa never married, but it certainly seems she had proposals aplenty and her father only vetoed the most prominent because he disapproved of the groom's father (who was his brother. the cousin thing, again.) Two of his other daughters did marry, with no objections recorded.

So honestly? It seems marriage wasn't forbidden by any means. And for those women who didn't--well, is it so impossible to believe that these princesses figured that a life in the imperial harem (which isn't the Orientalist boring fantasy most people imagine, but instead a city of women, with libraries! and schools! and markets! hunt! play chess and polo! From the harem, women could watch politics, or engage in trade, or create architecture, or participate in community service. By no means, it was great, but opportunities sucked all-around for anyone who wasn't a cis-male in that time, and this life must have seemed preferable....) with a loving father/brother was much better than being married to some rando. Plus, esp in the case of Shah Jahan's daughter, their mother died in childbirth, quite infamously--to me, it makes perfect psychological sense that they might all be leery of marriage/childbirth.

A historical figure you think is underrated.

Sadly, most figures from Indian history, but picking one at random: Razia Sultan! Not only awesome for being the first female Muslim ruler in Indian history, but also a really really good one--committed to public service, working for civil rights for the poor and those who didn't share her racial/religious/cultural background, and also open-minded/anti-racist enough to, at the very least, make a man of African descent her foremost advisor and friend. (I ship Razia/Yakut, and NOTP her relationship with Altunia pretty strongly, but even otherwise; she clearly respected Yakut as an equal, which says a lot about her. LOVE HER.

A historical myth/legend/rumour/story (flexible)

Oh, forget it, we're going to talk about Razia and Yakut, or at least the rumor they were romantically involved. A few words on Yakut: he was of Abyssinian ancestry, and actually came to her father's court as a slave, but was soon freed and allowed to rise up the ranks (this was very much a socially accepted Thing in the Mamluk court--more on this later--but he definitely had to face significant racism. Sure, there's no actual proof that he and Razia were involved, but--she made him her Master of the Horse (you know who else did? Elizabeth I for Robert Dudley. Just saying.); she never turned from him, even in the face of nasty rumors, and his loyalty to her meant he died in battle defending her throne; and fwiw, she didn't marry another as long as he lived. It's...questionable, too, how voluntary her marriage to Altunia was to me; certainly, being held hostage by the dude doesn't make for a great start. Now, again like Liz I/Robin Dudley, they could just have been BFFs/platonic soulmates, but if so I don't care--their dynamic is just A+ to me and I love it.

A historical headcanon that you have.

Akbar was dyslexic, and this was the reason behind his famous illiteracy.

[pixiedane]

Fic Writer Review

Thank you for the tag, @ussjellyfish ! I don't know whom to tag so I will just say to all of you: TAG, you're it (scroll to the end to copy paste the questions).

how many works do you have on AO3?

187

what’s your total AO3 word count?

373,260

how many fandoms have you written for and what are they?

The count is 74, but they're not wholly individual (lots of "all media types" for example). I have pseuds for Star Wars (68 works), Star Trek (63 works), and Marvel (18 works). There are 38 works in other fandoms including Leverage, Killjoys, Harry Potter, The Hobbit, House MD, Game of Thrones, Once Upon a Time, Law and Order, Peter Pan, Willow...

16 more questions beneath the cut.

what are your top 5 fics by kudos?

512 kudos, Let's Go Steal a Family (Leverage), 2044 words | The Leverage team decide they don't need to settle down in order to start a family.

This was written for the "Leverage-a-thing-a-thon" run in August 2015 (making this fic almost exactly six years old). It's about found family in the most literal sense.

415 kudos, catch a glimpse of sunlight (Star Wars), 2324 words + a fanvid | What if Anakin listened to Padmé more than Palpatine and Obi-Wan listened to Anakin more than Yoda? tldr; galaxy saved

Created for the 2016 Star Wars Rarepairs exchange, a canon divergent au where Anakin, Obi-Wan, and Padmé work together to take down the Chancellor and raise the twins as a triad.

253 kudos, and a softness came from the starlight and filled me full to the bone. (Star Wars), 726 words | Luke wants to know about his mother.

Written for PadMay 2018, for the prompt "How should Padmé be remembered?". Wow, I'm surprised this is in the top five given it's a tiny ficlet in a giant fandom written for a challenge I made up myself. But I'm pleased! Padmé deserves to be remembered, that's why I started PadMay.

247 kudos, Serendipity (Star Wars), 1914 words | That time Padmé accidentally walked in on the wrong naked Jedi.

Another ObiAniDala AU written for the Star Wars Rarepairs Exchange, 2018 in this case. Two years earlier I'd made a random photo manip of Natalie Portman and Ewan Mcgregor drinking tea and it eventually inspired the fic.

221 kudos, Your Beating Heart Tonight (Star Wars), 3121 words | Padmé develops feelings for her other Jedi protector.

And another written for the Star Wars Rarepairs Exchange in 2016! And also another AU based in a storm of emotions between Anakin, Padmé, and Obi-Wan. I have a specialty.

All five of these are about family first and foremost. Three and a half feature polyamory. Three and a half are canon divergent AUs. None breaks 3200 words. All were written for an event/exchange.

do you respond to comments, why or why not?

For the most part. Sometimes I don't right away and it becomes awkward. And I generally don't respond to negative comments because who needs that.

what’s the fic you’ve written with the angstiest ending?

Probably Abduction, a mirror universe story vaguely inspired by The Handmaid's Tale. My author's note: "It is not a happy story for anyone and implies the extreme emotional abuse of a child, as well as the coercion and torture of adults."

do you write crossovers? if so what is the craziest one you’ve written?

I love crossovers! I've completed a few and have fifty more in wip folders. The most ambitious is War of Stars, a Star Wars/Game of Thrones fusion with 26,480 words, thirty chapters, and five different povs (Cersei, Anakin, Daenerys, Ahsoka, and Boba). Niche, but I am very proud of how it worked out.

I've also blended Star Wars with Mad Max, Kelvin Star Trek, Star Trek Discovery, Deep Space Nine, Sleeping Beauty, and Black Widow.

have you ever received hate on a fic?

I've had a few mean comments but they're basically "I don't like this pairing and I want you to feel bad about writing it" and I won't.

do you write smut? if so what kind?

No. Just not my thing.

have you ever had a fic stolen?

Not that I am aware of.

have you ever had a fic translated?

Yes, I've had a few translated into Russian, which just adds to the headcanon that I'm secretly Black Widow.

have you ever co-written a fic before?

Yes, back in the LiveJournal days I wrote many thousands of words with @vasnormandy. I am slowly posting those stories to AO3 under my Marvel pseud Amelia Danvers, my OC and main character.

what’s your all time favorite ship?

An impossible question because I multi-ship like my life depends on it. Anakin/Padmé is my most prolific ship followed by Rey/Ben, Kat/Lorca, and Carol Danvers/Peter Parker (the parents of Amelia above). But I've written alternate ships for all of the above.

You can read more about my shipping interests here.

what’s a WIP that you want to finish but don’t think you ever will?

Oof. I have a lot of WIPs that I would like to finish but it's hard to get back to.

what are your writing strengths?

Dialogue. Introspection. I'm good at writing a specific point of view. Characters addressing their issues. I like to pull at threads so I've built up those skills. I love mixing and mashing fandoms and pairings. Complex relationships and the discussion thereof.

what are your writing weaknesses?

Action, like sex scenes or fight scenes, and anything plot heavy. I'm more interested in character and it shows in my writing.

I am also terrible at follow through and finishing things. It's why so much of my fic is written for challenges with external deadlines.

what are your thoughts on writing dialogue in other languages in a fic?

I'm not fluent in any other languages and I wouldn't want to do it without extensive research.

what was the first fandom you wrote for?

Either Star Trek (TNG, mainly the adventures of Beverly Crusher - as a preteen, at the Academy, as a single mom, and because I'm me I also gave her a Romulan lover) or Star Wars (the adventures of Han and Leia's daughter who was ME but also Jaina Solo before Jaina Solo existed because she was a twin who wanted to be a pilot more than a Jedi). These stories were written on notebook paper in colored pen and I'd do dramatic readings in the backyard, in costume, with only the trees (all of whom I'd named, mostly after heroines in books, like Elizabeth, Jane, Anne, Alice, Mary, etc.) as the audience.

what’s your favorite fic you’ve written?

Well, the one I imagine as something more is Pas De Deux, my Jedi Dance Academy AU. I can picture the senes in my mind and I really enjoyed the adaptation process, melding two things I love into one. The characters and events are recognizable, but also very different and that's something I enjoy.

Questions for anyone who wants to complete it:

Fic Writer Review

how many works do you have on AO3?

what’s your total AO3 word count?

how many fandoms have you written for and what are they?

what are your top 5 fics by kudos?

do you respond to comments, why or why not?

what’s the fic you’ve written with the angstiest ending?

do you write crossovers? if so what is the craziest one you’ve written?

have you ever received hate on a fic?

do you write smut? if so what kind?

have you ever had a fic stolen?

have you ever had a fic translated?

have you ever co-written a fic before?

what’s your all time favorite ship?

what’s a WIP that you want to finish but don’t think you ever will?

what are your writing strengths?

what are your writing weaknesses?

what are your thoughts on writing dialogue in other languages in a fic?

what was the first fandom you wrote for?

what’s your favorite fic you’ve written?

[tthael]

I really admire so many things about your writing - the introspection and deep meaning, the realistic and sensitive way that you handle topics. Do you have any recs for fav media/books/tv shows/fanfics ? I guess I'm curious if there are any you think might have similar qualities/themes?

This is a tough one because basically everything I consume gets picked apart and reused in some way. However, I’ll give it a shot:

The Book Thief and I Am the Messenger by Markus Zusak. There’s quite a lot I like about Zusak’s use of language and have since 2007 when I read The Book Thief for the first time, and there’s something very cinematic and magical about I Am the Messenger (particularly in the chapter with the young track runner).

The Bone Clocks by David Mitchell. He’s most commonly known for Cloud Atlas, but he has an ongoing theme of vampires and cannibalism reappearing in his work (I just read Slade House for the first time while I was in quarantine) and there’s something deeply satisfying about the way that all of the disparate pieces come to fruition at the climax of The Bone Clocks. Not a perfect book, but deeply satisfying.

The Lacuna by Barbara Kingsolver. Again, she’s most commonly known for The Poisonwood Bible, but I liked that well enough to read The Lacuna in 2013, and I completely hated it for the first half of the book until finally something clicked in my brain and I activated the literary critic within, who doesn’t care so much about whether they enjoy something and more cares about how well something is done. The description of US American rationing during World War II really got me onto the novel’s side, if that makes sense; and I do love a good family epic, and while this only focuses on one protagonist instead of generations of them, it’s interesting in a similar way to The Bone Clocks where you see everything start to snowball together.

Literally anything by Ursula Vernon/T. Kingfisher. I particularly recommend The Raven and The Reindeer, which I read shortly after being diagnosed with my chronic illness and really helped me to understand the irrelevance of shame. There’s something very satisfying about saying “a reindeer doesn’t care if it smells bad, so I’m going to lean into that particular apathy and not allow a bully to take me down over it.” Something comforting about taking shelter in the animal and in survival, when you and your body are in one place and working on the same side, and it’s your brain that’s ready to give up first but your body will keep dragging you through because that’s what it does. Certain lines in Indelicate were inspired by her adaptation of Tam Lin in Jackalope Wives and other Stories (https://www.amazon.com/Jackalope-Wives-Other-Stories-Kingfisher-ebook/dp/B071946RLN). Lots of her short stories are available at this link for free: http://www.redwombatstudio.com/portfolio/writing/short-stories/

TV’s a little harder to unpack, since I don’t always think in terms of visual media, I tend to default to words first. Recently I’ve been enjoying New Amsterdam on NBC--it’s nice to see the radical socialist doctor doing his damnedest to secure the right thing--and Call the Midwife--similar reasons. There’s a lot about meeting someone where they are in both shows that I appreciate.

There’s also a lot of music that inspires my writing so I’ll have to dedicate a post specifically to that in my methods and materials.

Fanfic, though! Lots of my favorites, lots of genres. Here we go:

we are all stardust by synergenic (Losseflame) (https://archiveofourown.org/works/5682496) Star Wars Episode VII: The Force Awakens, pairing Finn/Poe Dameron. Sexually explicit, but also leans a lot into physicality. You can probably see the influence on the very first chapter of Indelicate when Eddie’s waking up in pain and Richie’s at his bedside. It’s very much inspired by a similar sickbed scene here.

If They Haven’t Learned Your Name by silentwalrus (https://archiveofourown.org/works/6329503) Captain America/Marvel Cinematic Universe Steve Rogers/James “Bucky” Barnes. The holy grail of Steve/Bucky fanfiction. If you want independent character exploration, this is the place to go. Natasha shaving her head? Yes. Sam pleading with Steve to keep his shit together while thirty Koren grandmothers assume they are American celebrities? Yes. Bucky defiantly hunting down his sense of self while bingeing romance novels in a space ship? Yes. Pay particular attention to the Sam chapters, because they’re a beautiful way of defining Steve’s characterization from an outside perspective, and I’m trying to do the same with Eddie looking at Richie in Indelicate.

An Ever-Fixed Mark by AMarguerite (https://archiveofourown.org/works/8523001) Pride & Prejudice (Jane Austen) Elizabeth Bennet/Colonel Fitzwilliam, Elizabeth Bennet/Fitzwilliam Darcy. Soulmark AU. This is one of my longtime favorite fanfictions and what it taught me was cause and effect. The characters move the plot forward based on their assumptions and decisions. Definitely very helpful when I was writing TTHAEL by the seat of my pants.

You Can Keep Holding On by NorthernSparrow (https://archiveofourown.org/works/7233709) Supernatural Dean Winchester/Castiel. Sexually explicit. A lot of the summary I can give here is spoilers, but if you read this one through, you’ll be able to see the inspiration for the “Can you tell me where I can get another Eddie Kaspbrak?” scene in Indelicate.

Work of All Saints by antistar_e (kaikamahine) (https://archiveofourown.org/works/15006644) Coco (2017) Imelda Rivera/Héctor Rivera/Ernesto de la Cruz. Sexually mature. Oh my GOD this is a beautiful coming-of-age story set in turn-of-the-century Oaxaca, this is the best complete expansion of canon that I’ve ever seen; the author takes the pieces and runs with them and it is WONDERFUL.

Lycanthropic Studies by Eiiri (https://archiveofourown.org/series/575263) Harry Potter, Remus Lupin/Sirius Black canon-divergence AU. I very much enjoy the meditation on lycanthropy as a chronic illness and I sometimes reread this for comfort. Particularly early on Remus has a rant about how he’s sick and he’s always sick and his life doesn’t stop for it, despite holidays and birthdays he still has to deal with the consequences of his illness and take the devastating medication, and there’s a lot about that that speaks to me. I haven’t kept up with the series for some time, though.

Careful Truths by SassySnowperson (https://archiveofourown.org/works/12111966) Rogue One: A Star Wars Story, Bodhi Rook/Luke Skywalker canon-divergence AU. Sexually explicit. Honestly identity p!rn fics are a good inspiration for that third-person limited perspective I’ve been working on in Indelicate. Also I love love LOVE Bodhi Rook. It’s fun watching him run in circles trying to conceal his identity from Luke while completely oblivious to Luke doing exactly the same thing.

Stammtisch by chaya (https://archiveofourown.org/works/15060152) Critical Role: Season 2, Caleb Widogast/Mollymauk Tealeaf, AU. Sexually explicit. Long before Caleb actually leveled up enough to cast Mordenkainen’s Magnificent Mansion, chaya speculated about what kind of spaces he might create for each of his friends. I think it’s a very good resource for really condensing characterization down into lots of images and concepts and deciding what other characters know about them. The idea of making space for someone else is something that I lean into a lot when I write Ben, who’s the kind of man who will set himself on fire to keep those he loves warm, and even though Critical Role has far more material than even IT for determining characterization, and even though this particular moment has already occurred in canon--it’s just a wonderful homey story, and has the kind of found family vibes I like for the Losers as well.

I know that’s a lot to unpack there, but all of those fics are very good and I recommend reading any assortment that appeals to you. (Work of All Saints in particular you don’t have to be familiar with the source material beyond the basic premise; it stands on its own.) Thank you for asking, and thank you for reading!

[random-imagines-blog]

Animal {Avengers Cast x Male Reader}

Requested by: @gameloversblog Wordcount: 1715 Summary: You play a Marvel antihero who has a pretty bad pottymouth. You finally get your own standalone film and invite your castmates over to watch. Warnings: Foul language.

To say that you brought a new life to the controversial character that you were playing was an understatement. Ever since you were young, you wanted to play a comic book superhero, or perhaps more aptly, an anti-hero because you were always a bit naughtier than the characters you grew up with. You swore an almost unprofessional amount, but your charm and skill was enough for you to keep the roles that you had, you requested to do a lot of your own stunts for the thrill of it, and, well, you were a bit of a flirt with everyone that you came across. So when there was a role opening up in the MCU as an anti-hero with a bit of a potty-mouth, you called your manager and told her that she would receive a big bonus if she managed to get you that audition. Needless to say, she got that bonus, and when you got the role, you bought her a brand new car, complete with a big bow on top, and a cut out of yourself for the backseat so she wouldn’t get lonely.

Unfortunately, these were meant to be family movies, and you didn’t get to swear as much as you had initially hoped. You did continue with your language when you messed up, which would never be in the bloopers unless they wanted to get an R rating on their own, and it became a bit of a joke with your castmates. In one scene that you filmed with Chris Evans and Scarlett Johanson, you actually shocked Evans so hard with your language that you missed a fighting cue and genuinely got struck in the head. He didn’t let up about that for a good month, but it was all light-hearted.

The movie was incredibly successful, as you had hoped that it would be. The critics loved it, and there was even praise on the way that you accurately portrayed your character - but there was one complaint. It wasn’t completely true to the character as you hadn’t been able to swear as much as they did. You brought in a couple of ‘hell’, ‘goddamn’ and ‘what the f-’ before you were cut off, but that was the extent that Marvel would let you do. It was literally signed into your contract that you could not improvise.

But now you were all smiles to the press, though your publicist was always on hand to give you a stern look, or clear your throat if your language started to go downhill. “It was fucking amazing!” was something that you couldn’t help but say when journalists asked about your experience. During one particularly memorable interview, you spewed out, “It was so fucking cool, like have you seen this shit? There’s like explosions all the goddamn time, and those are real, they don’t just put that shit in during editing, it’s right there, like holyyy mother of God, there was a time when I was scared I was going to be actually on fire, because of how close it was. Fucking burning up hot like Rhianna’s newest cd, you know?”

That interview showed on TV and had more bleeps than an episode of COPS. And you know that to be true because Robert Downey Jr called and told you that he had compared them as something fun to do. That interview also ended up on some videos of ‘Most cringy interviews’ which you didn’t completely understand. You had a blast, you were being yourself - it was the show hosts who looked baffled.

Out to celebrate the success of the movie making millions in the box office, you and co-star Jeremy Renner decided to hang out at his house with a couple of beers. Now that most of the press was over, and you didn’t have to go to any more premieres, it was so nice to be able to just hang out with friends. You were lounging in his living room, bottle in hand, telling a story about a scene that you did when you were in an action-comedy movie with some other famous actors. “So Mark Wahlberg has that expression on his face, you knew the one, where he looks all confused, like he needs to take a shit and doesn’t know how to get it out?” You laughed, and Jeremy nodded, knowing what you were talking about. “So I took the chance man, I had to take it, I just blew into my elbow and it made the biggest fucking fart sound, I’m talking about camera breaking loud man.”

Between laughs you heard your phone ringing. When you saw your manager’s name, you were expecting her to come down on you hard for swearing in the interviews. You had no idea that your life and your career were about to make a huge turn for the better. “Yo and hello,” You said, smiling at your cheesy line.

“I’m not calling to bitch at you, believe it or not,” Your manager sounded excited about something, which peaked your interest.

“I would never use the word bitch - I’d more say it’s complaining mixed with nagging,” You started. “All of which I know that I deserve. So what’s up, buttercup?”

“You managed to get a starring role, and I mean, big time starring role.”

“Oh, is someone trying to get a big Christmas bonus? What a coincidence that this is happening around the oh so busy clusterfuck of a holiday. You know - I don’t even remember auditioning for anything lately. What is it, what is it?”

Your manager said the name of the character that you had just played, who was originally just supposed to be a one-off character. “You were recieved really well, so they want to give you your own film. With at least a Mature rating so you can use those words you love so much.”

“I can finally say shit, dick, asshole, fuckfest?” You said, growing happy. You legitimately got up from Jeremy’s couch and started to do a happy dance.

“To a degree,” Your manager warned. “We’re still in talks about who is going to do the script, so you might be able to have some say in it...”

“Thank fuck for that. Do you know how hard it was to say darn with a straight face? Who says darn anymore? I wasn’t playing Cap!” Jeremy snickered behind you and you shot him a wide grin. “I’ll even write the script myself if they can’t find the perfect person. I practically am my character, you know.”

“Yes, I know. Everybody knows.” Your manager sighed. “I’ll put in a good word for you, you know that. Just hang tight. They’ll be sending you an announcement soon enough.”

-

Just over a year later, you were sitting in the living room of your spacious home with your best friends and castmates all around you. You managed to get a copy of the film before the premiere, and managed to talk everyone into coming over and watching it. And you, being a devious little thing, created a drinking game.

“Alright, so here’s the rules,” You said, standing in front of the TV before the film started. Your friends stopped talking amongst themselves and looked at you. You grinned like a maniac. Some of the biggest names in Hollywood were hanging out in your house right now. Suck on that critics who thought you’d never make it this far. You were one of them now. “I don’t have enough alcohol in the house to make you all take a shot at every swear-”

You were interrupted by a couple of laughs, so you gave a wink to Paul Rudd who had been the source of a couple of them. “-So how about you guys just have to take a swig of your beer? And a double if you’re referenced in the film.”

“I guess that sounds fair,” Jeremy said, settling into your second-favorite armchair.

“Why do you want us to get so drunk?” Scarlett Johansson asked, raising one of her perfect eyebrows in your direction. You shrugged before taking your seat, the best seat in the house, your favorite overstuffed chair.

“Instagam, snapchat, facebook, tumblr,” You listed off the various social media sites that you could put their drunken pictures up on.

“I think my publicist would actually kill you,” Elizabeth Olsen chimed in, cracking open her own beer.

“Great! Think of the publicity that would generate for the film!” You joked with that same grin. “Marvel Superstar murdered by publicist of Elizabeth Olsen! The tragic story of a drinking game gone wrong! More details inside if you want to play along...”

“Alright, alright, we’ll play along but no cameras, okay?” Chris Evans said, opening a beer of his own. You couldn’t stop smiling. You absolutely loved when you got your way.

“Alright, ladies and gentlemen, are you ready for the best Marvel film in the world? Now presenting - me!” You pressed play and the movie started.

Almost immediately, your friends had to start taking drinks because of how often there were curse words. Nothing too bad, but just the usuals. Fuck, shit, damn. Not the overly offensive ones.

Your favorite part was slowly coming up. You kept shooting glances over at Chris Evans, which the others noticed, but said  nothing about. Chris was oblivious, paying more attention to the film rather than to the people around him.

“Darn,” A character in the movie said, albeit a young one.

“Language!” The camera whipped to your character, who was standing there in a heroic pose. Weapon in one hand, charming smile, looking good for the victim whom you just saved. “In this movie, we say fuck.”

The scene had the right effect. Everyone started to laugh, and Anthony Mackie was nudging Chris, encouraging him to take double the drinks.

“You know, I wasn’t in charge of writing that line, but I keep getting the flack from it.” He grudgingly picked up his beer and finished it off while the rest of the group cheered.

[tswiftdaily]

In the 2010s, she went from country superstar to pop titan and broke records with chart-topping albums and blockbuster tours. Now Swift is using her industry clout to fight for artists’ rights and foster the musical community she wished she had coming up.

One evening in late-October, before she performed at a benefit concert at the Hollywood Bowl in Los Angeles, Taylor Swift’s dressing room became -- as it often does -- an impromptu summit of music’s biggest names. Swift was there to take part in the American Cancer Society’s annual We Can Survive concert alongside Billie Eilish, Lizzo, Camila Cabello and others, and a few of the artists on the lineup came by to visit.

Eilish, along with her mother and her brother/collaborator, Finneas O’Connell, popped in to say hello -- the first time she and Swift had met. Later, Swift joined the exclusive club of people who have seen Marshmello without his signature helmet when the EDM star and his manager stopped by.

“Two dudes walked in -- I didn’t know which one was him,” recalls Swift a few weeks later, sitting on a lounge chair in the backyard of a private Beverly Hills residence following a photo shoot. Her momentary confusion turned into a pang of envy. “It’s really smart! Because he’s got a life, and he can get a house that doesn’t have to have a paparazzi-proof entrance.” She stops to adjust her gray sweatshirt dress and lets out a clipped laugh.

Swift, who will celebrate her 30th birthday on Dec. 13, has been impossibly famous for nearly half of her lifetime. She was 16 when she released her self-titled debut album in 2006, and 20 when her second album, Fearless, won the Grammy Award for album of the year in 2010, making her the youngest artist to ever receive the honor. As the decade comes to a close, Swift is one of the most accomplished musical acts of all time: 37.3 million albums sold, according to Nielsen Music; 95 entries on the Billboard Hot 100 (including five No. 1s); 23 Billboard Music Awards; 12 Country Music Association Awards; 10 Grammys; and five world tours.

She also finishes the decade in a totally different realm of the music world from where she started. Swift’s crossover from country to pop -- hinted at on 2012’s Red and fully embraced on 2014’s 1989 -- reflected a mainstream era in which genres were blended with little abandon, where artists with roots in country, folk and trap music could join forces without anyone raising eyebrows. (See: Swift’s top 20 hit “End Game,” from 2017’s reputation, which featured Ed Sheeran and Future.)

Swift’s new album, Lover, released in August, is both a warm break from the darkness of reputation -- which was created during a wave of negative press generated by Swift’s public clash with Kanye West and Kim Kardashian-West -- as well as an amalgam of all her stylistic explorations through the years, from dreamy synth-pop to hushed country. “The skies were opening up in my life,” says Swift of the album, which garnered three Grammy nominations, including song of the year for the title track.

She recorded Lover after the Reputation Stadium Tour broke the record for the highest-grossing U.S. tour late last year. In 2020, Swift will embark on Lover Fest, a run of stadium dates that will feature a hand-picked lineup of artists (as yet unannounced) and allow Swift more time off from the road. “This is a year where I have to be there for my family -- there’s a lot of question marks throughout the next year, so I wanted to make sure that I could go home,” says Swift, likely referencing her mother’s cancer diagnosis, which inspired the Lover heart-wrencher “Soon You’ll Get Better.”

Now, however, Swift finds herself in a different highly publicized dispute. This time it’s with Scott Borchetta, the head of her former label, Big Machine Records, and Scooter Braun, the manager-mogul whose Ithaca Holdings acquired Big Machine Label Group and its master recordings, which include Swift’s six pre-Lover albums, in June. Upon news of the sale, Swift wrote in a Tumblr post that it was her “worst case scenario,” accusing Braun of “bullying” her throughout her career due to his connections with West. She maintains today that she was never given the opportunity to buy her masters outright. (On Tumblr, she wrote that she was offered the chance to “earn” back the masters to one of her albums for each new album she turned in if she re-signed with Big Machine; Borchetta disputed this characterization, saying she had the opportunity to acquire her masters in exchange for re-signing with the label for a “length of time” -- 10 more years, according to screenshots of legal documents posted on the Big Machine website.)

Swift has said that she intends to rerecord her first six albums next year -- starting next November, when she says she’s contractually able to -- in order to regain control of her recordings. But the back-and-forth appears to be nowhere near over: Last month, Swift alleged that Borchetta and Braun were blocking her from performing her past hits at the American Music Awards or using them in an upcoming Netflix documentary -- claims Big Machine characterized as “false information” in a response that did not get into specifics. (Swift ultimately performed the medley she had planned.) In the weeks following this interview, Braun said he was open to “all possibilities” in finding a “resolution,” and Billboard sources say that includes negotiating a sale. Swift remains interested in buying her masters, though the price could be a sticking point, given her rerecording plans, the control she has over the licensing of her music for film and TV, and the market growth since Braun’s acquisition.

However it plays out, the battle over her masters is the latest in a series of moves that has turned Swift into something of an advocate for artists’ rights -- and made her a cause that everyone from Halsey to Elizabeth Warren has rallied behind. From 2014 to 2017, Swift withheld her catalog from Spotify to protest the streaming company’s compensation rates, saying in a 2014 interview, “There should be an inherent value placed on art. I didn’t see that happening, perception-wise, when I put my music on Spotify.” In 2015, ahead of the launch of Apple Music, Swift wrote an open letter criticizing Apple for its plan to not pay royalties during the three-month free trial it was set to offer listeners; the company announced a new policy within 24 hours. Most recently, when she signed a new global deal with Universal Music Group in 2018, Swift (who is now on Republic Records) said one of the conditions of her contract was that UMG share proceeds from any sale of its Spotify equity with its roster of artists -- and make them nonrecoupable against those artists’ earnings.

During a wide-ranging conversation, Billboard’s Woman of the Decade expresses hope that she can help make the lives of creators a little easier in the years to come -- and a belief that her behind-the-scenes strides will be as integral to her legacy as her biggest singles. “New artists and producers and writers need work, and they need to be likable and get booked in sessions, and they can’t make noise -- but if I can, then I’m going to,” promises Swift. This is where being impossibly famous can be a very good thing. “I know that it seems like I’m very loud about this,” she says, “but it’s because someone has to be.”

While watching some of your performances this year -- like Saturday Night Live and NPR’s Tiny Desk Concert -- I was struck by how focused you seemed, like there were no distractions getting in the way of what you were trying to say.

That’s a really wonderful way of looking at this phase of my life and my music. I’ve spent a lot of time recalibrating my life to make it feel manageable. Because there were some years there where I felt like I didn’t quite know what exactly to give people and what to hold back, what to share and what to protect. I think a lot of people go through that, especially in the last decade. I broke through pre-social media, and then there was this phase where social media felt fun and casual and quirky and safe. And then it got to the point where everyone has to evaluate their relationship with social media. So I decided that the best thing I have to offer people is my music. I’m not really here to influence their fashion or their social lives. That has bled through into the live part of what I do.

Meanwhile, you’ve found a way to interact with your fans in this very pure way -- on your Tumblr page.

Tumblr is the last place on the internet where I feel like I can still make a joke because it feels small, like a neighborhood rather than an entire continent. We can kid around -- they literally drag me. It’s fun. That’s a real comfort zone for me. And just like anything else, I need breaks from it sometimes. But when I do participate in that space, it’s always in a very inside-joke, friend vibe. Sometimes, when I open Twitter, I get so overwhelmed that I just immediately close it. I haven’t had Twitter on my phone in a while because I don’t like to have too much news. Like, I follow politics, and that’s it. But I don’t like to follow who has broken up with who, or who wore an interesting pair of shoes. There’s only so much bandwidth my brain can really have.

You’ve spoken in recent interviews about the general expectations you’ve faced, using phrases like “They’ve wanted to see this” and “They hated me for this.” Who is “they”? Is it social media or disparaging think pieces or --

It’s sort of an amalgamation of all of it. People who aren’t active fans of your music, who like one song but love to hear who has been canceled on Twitter. I’ve had several upheavals of somehow not being what I should be. And this happens to women in music way more than men. That’s why I get so many phone calls from new artists out of the blue -- like, “Hey, I’m getting my first wave of bad press, I’m freaking out, can I talk to you?” And the answer is always yes! I’m talking about more than 20 people who have randomly reached out to me. I take it as a compliment because it means that they see what has happened over the course of my career, over and over again.

Did you have someone like that to reach out to?

Not really, because my career has existed in lots of different neighborhoods of music. I had so many mentors in country music. Faith Hill was wonderful. She would reach out to me and invite me over and take me on tour, and I knew that I could talk to her. Crossing over to pop is a completely different world. Country music is a real community, and in pop I didn’t see that community as much. Now there is a bit of one between the girls in pop -- we all have each other’s numbers and text each other -- but when I first started out in pop it was very much you versus you versus you. We didn’t have a network, which is weird because we can help each other through these moments when you just feel completely isolated.

Do you feel like those barriers are actively being broken down now?

God, I hope so. I also hope people can call it out, [like] if you see a Grammy prediction article, and it’s just two women’s faces next to each other and feels a bit gratuitous. No one’s going to start out being perfectly educated on the intricacies of gender politics. The key is that people are trying to learn, and that’s great. No one’s going to get it perfect, but, God, please try.

At this point, who is your sounding board, creatively and professionally?

From a creative standpoint, I’ve been writing alone a lot more. I’m good with being alone, with thinking alone. When I come up with a marketing idea for the Lover tour, the album launch, the merch, I’ll go right to my management company that I’ve put together. I think a team is the best way to be managed. Just from my experience, I don’t think that this overarching, one-person-handles-my-career thing was ever going to work for me. Because that person ends up kind of being me who comes up with most of the ideas, and then I have an amazing team that facilitates those ideas.

The behind-the-scenes work is different for every phase of my career that I’m in. Putting together the festival shows that we’re doing for Lover is completely different than putting together the Reputation Stadium Tour. Putting together the reputation launch was so different than putting together the 1989 launch. So we really do attack things case by case, where the creative first informs everything else.

You’ve spoken before about how meaningful the reputation tour’s success was. What did it represent?

That tour was something that I wanted to immortalize in the Netflix special that we did because the album was a story, but it almost was like a story that wasn’t fully realized until you saw it live. It was so cool to hear people leaving the show being like, “I understand it now. I fully get it now.” There are a lot of red herrings and bait-and-switches in the choices that I’ll make with albums, because I want people to go and explore the body of work. You can never express how you feel over the course of an album in a single, so why try?

That seems especially true of your last three albums or so.

“Shake It Off” is nothing like the rest of 1989. It’s almost like I feel so much pressure with a first single that I don’t want the first single to be something that makes you feel like you’ve figured out what I’ve made on the rest of the project. I still truly believe in albums, whatever form you consume them in -- if you want to stream them or buy them or listen to them on vinyl. And I don’t think that makes me a staunch purist. I think that that is a strong feeling throughout the music industry. We’re running really fast toward a singles industry, but you got to believe in something. I still believe that albums are important.

The music industry has become increasingly global during the past decade. Is reaching new markets something you think about?

Yeah, and I’m always trying to learn. I’m learning from everyone. I’m learning when I go see Bruce Springsteen or Madonna do a theater show. And I’m learning from new artists who are coming out right now, just seeing what they’re doing and thinking, “That’s really cool.” You need to keep your influences broad and wide-ranging, and my favorite people who make music have always done that. I got to work with Andrew Lloyd Webber on the Cats movie, and Andrew will walk through the door and be like, “I’ve just seen this amazing thing on TikTok!” And I’m like, “You are it! You are it!” Because you cannot look at what quote-unquote “the kids are doing” and roll your eyes. You have to learn.

Have you explored TikTok at all?

I only see them when they’re posted to Tumblr, but I love them! I think that they’re hilarious and amazing. Andrew says that they’ve made musicals cool again, because there’s a huge musical facet to TikTok. [He’s] like, “Any way we can do that is good.”

How do you see your involvement in the business side of your career progressing in the next decade? You seem like someone who could eventually start a label or be more hands-on with signing artists.

I do think about it every once in a while, but if I was going to do it, I would need to do it with all of my energy. I know how important that is, when you’ve got someone else’s career in your hands, and I know how it feels when someone isn’t generous.

You’ve served as an ambassador of sorts for artists, especially recently -- staring down streaming services over payouts, increasing public awareness about the terms of record deals.

We have a long way to go. I think that we’re working off of an antiquated contractual system. We’re galloping toward a new industry but not thinking about recalibrating financial structures and compensation rates, taking care of producers and writers.

We need to think about how we handle master recordings, because this isn’t it. When I stood up and talked about this, I saw a lot of fans saying, “Wait, the creators of this work do not own their work, ever?” I spent 10 years of my life trying rigorously to purchase my masters outright and was then denied that opportunity, and I just don’t want that to happen to another artist if I can help it. I want to at least raise my hand and say, “This is something that an artist should be able to earn back over the course of their deal -- not as a renegotiation ploy -- and something that artists should maybe have the first right of refusal to buy.” God, I would have paid so much for them! Anything to own my work that was an actual sale option, but it wasn’t given to me.

Thankfully, there’s power in writing your music. Every week, we get a dozen synch requests to use “Shake It Off” in some advertisement or “Blank Space” in some movie trailer, and we say no to every single one of them. And the reason I’m rerecording my music next year is because I do want my music to live on. I do want it to be in movies, I do want it to be in commercials. But I only want that if I own it.

Do you know how long that rerecording process will take?

I don’t know! But it’s going to be fun, because it’ll feel like regaining a freedom and taking back what’s mine. When I created [these songs], I didn’t know what they would grow up to be. Going back in and knowing that it meant something to people is actually a really beautiful way to celebrate what the fans have done for my music.

Ten years ago, on the brink of the 2010s, you were about to turn 20. What advice would you give yourself if you could go back in time?

Oh, God -- I wouldn’t give myself any advice. I would have done everything exactly the same way. Because even the really tough things I’ve gone through taught me things that I never would have learned any other way. I really appreciate my experience, the ups and downs. And maybe that seems ridiculously Zen, but … I’ve got my friends, who like me for the right reasons. I’ve got my family. I’ve got my boyfriend. I’ve got my fans. I’ve got my cats.

[britesparc]

Weekend Top Ten #467

Top Ten Romantic Couples in Superhero Movies (& TV)

It’s Valentine’s Day this weekend. Woo, I guess? I dunno. I’m not generally cynical about holidays but Valentine’s Day does seem to be entirely focused on selling cards without any of the associated pleasantries of, say, Christmas or Halloween. I’d rather just try to be nice to my wife all year round. At least because of the apocalypse all the restaurants are closed so we can’t be tempted to pay through the nose for a set menu. Anyway, it gives me a strained excuse to tie this week’s Top Ten to something vaguely romantic.

Superheroes are often horny. This seems to be a defining characteristic of the artform. Whether it’s their descent from ancient myths, or their creators’ origins in writing romance books, or just a function of genre storytelling in the mid-twentieth century, there’s quite a lot of romantic angst in superhero stories. Pretty much every superhero has a significant other; Lois Lane even got her own comic that was actually called Superman’s Girlfriend, Lois Lane. It’s hard to conceive of many heroes without their primary squeeze, and often – as we get multiple media adaptations of characters – we can add diversity or a twist to the proceedings by picking a lesser-known love interest, or one from earlier in the character’s fictional history; for instance, Smallville beginning with Cark Kent’s teenage crush Lana Lang, or The Amazing Spider-Man swapping out Mary Jane Watson for Gwen Stacey.

Anyway, I’m talking this week about my favourite superhero couples. I’ve decided to focus on superhero adaptations – that is, the characters from movies and films based on superhero comics or characters. I find this a little bit easier as I don’t have a phenomenal knowledge of sixty years of Avengers comics, but I have seen all the movies a bunch. As many comics as I’ve read, and as much as I love various ink-and-paper pairings, I can arguably talk more authoritatively about the fillums than the funny books. And let’s be real here, kids: my favourite comic book romantic couple is Chromedome and Rewind in Transformers. Also if I split them in two I can talk about comic couples next year. Woohoo!

It really is hard thinking of these things nearly nine years in, folks.

So! Here, then, are my favourite movie-TV Couples in Capes. Obviously there’s a fair bit of MCU in here. And I’ve been pretty specific about “superhero” romances: so no Hellboy and Liz Sherman, sadly (and I do really like them in the movies, of which they really need to make a third). Some are civvies-and-supes; some are capes-and-capes. You’ll work it out.

Superman & Lois Lane (Christopher Reeve & Margot Kidder, Superman, 1978): who else? The most famous romance in all of comics, a combo so strong it remains the focus of pretty much every interpretation of the character, but arguably never better than here; so good are Reeve and Kidder that their fast-talking banter and inherent goodness set the template for a huge swathe of other comic adaptations to follow. She’s sarky and streetwise; he’s gormless and good-hearted. She leaps in where angels fear to tread, he’s an invulnerable alien in disguise. They have buckets of chemistry and an utterly believable (tentative) romance. They’re perfect performances and the scenes of Clark in Metropolis for the first time (including Superman’s balcony interview with Lois) are the best bits of an already excellent film.

Raven & Beast Boy (Tara Strong & Greg Cipes, Teen Titans Go!, 2014): on a totally different register, we have the comedy stylings of the Teen Titans. Raven and Beast Boy had a flirtatious relationship on the original Titans series, but on this longer-running and much more demented comedy follow-up, they were allowed to make the romance more official (I nearly said “explicit” but, y’know… it’s not that). The jokes and banter – BB the love-struck, jealous suitor, Raven the too-cool partner who feigns nonchalance – build and build, but every now and again they’re allowed a moment of genuine heartfelt romance, and it hits all the more strongly amidst the ultra-violence and outrageous comedy.

Captain America & Agent Carter (Chris Evans & Hayley Atwell, Captain America: The First Avenger, 2011): the premier couple of the MCU, Steve and Peggy spend a whole movie flirting (she sees the goodness of him even before he gets all hench) before finally arranging a date that, we all know, is very much postponed. Peggy casts a shadow over the rejuvenated Cap and the MCU as a whole, founding SHIELD, inspiring dozens of heroes, and counselling Steve to her dying days. She remains Steven’s true north (like Supes with Lois, Peggy’s an ordinary human who is the actual hero of an actual super-powered hero), guiding him through the chaos and tragedy of Endgame, until they both get to live happily ever after. Even though he snogged her niece.

Batman & Catwoman (Michael Keaton & Michelle Pfeiffer, Batman Returns, 1992): Pfeiffer delivers a barnstorming performance as Selina Kyle, all barely-supressed mania and seductive feline charm. The chemistry between her and Keaton is electric, and propels the film forward even when the Penguin-runs-for-mayor stuff gets a bit daft and icky. There are beautiful moments of romantic comedy when they’re both trying to cover up injuries they gave each other, and of course there’s “mistletoe can be deadly if you eat it” – a line that runs a close second to “dance with the devil” when it comes to Burton-Batman quotations (just ahead of “never rub another man’s rhubarb”). Burton, generally favouring the macabre villains over the straighter edges of the heroic Batman, nevertheless makes great play of the duality of the character, and how this is something he and Catwoman can share – both “split right down the centre” – but also how this means a happy ending for either of them is impossible.

Spider-Man & Mary Jane (Tobey Maguire & Kirsten Dunst, Spider-Man, 2002): whilst a lot of this is really down to the sexiness of them kissing upside-down in the rain, there’s a nice duality to Peter and MJ seeing through each other too: he sees the wounded humane soul beneath her it-girl persona; she sees the kind, caring man underneath his geek baggage. This arc plays out beautifully across the first two films (ending in that wonderfully accepting “Go get ‘em, tiger”) before sadly getting all murky and unsatisfying in the murky and unsatisfying third film. Still: that kiss.

Wonder Woman & Steve Trevor (Gal Gadot & Chris Pine, Wonder Woman, 2017): probably the film that hews closest to the Clark-Lois dynamic of the original Superman, to the point where it includes an homage to the alleyway-mugging scene as Diana deflects a bullet. Steve is Diana’s window into man’s world, showing her the horror of the First World War but managing to also be a sympathetic ally and never talking down or mansplaining anything. He’s a hero in his own right – very similar to another wartime Steve on this list – and very much an ideal match to the demigod he’s showing round Europe. And, of course, Gadot’s Diana is incredible, both niaive and vulnerable whilst also an absolute badass. There is an enduring warm chemistry to the pair, with a relationship which we actually see consummated – relatively rare for superheroes! The inevitability of his heroic sacrifice does nothing to lessen the tragedy, and no I’ve not seen Wonder Woman 1984 yet.

Hawkeye & Laura Barton (Jeremy Renner & Linda Cardellini, Avengers: Age of Ultron, 2015): I love these guys! I love that Hawkeye has a relatively normal, stable family life. He has a big old farmhouse that he wants to remodel, he’s got two kids and a third on the way… he’s got something to live for, something to lose. It humanises him amidst the literal and figurative gods of the Avengers. And they’re cute together, bickering and bantering, and of course she is supportive of his Avenging. I hope we get to see more of Laura and the kids in the Hawkeye series, and I hope nothing bad happens to them now they’ve all been brought back to life.

Wanda Maximoff & Vision (Elizabeth Olsen & Paul Bettany, Avengers: Infinity War, 2018): theirs is a difficult relationship to parse, because they’re together so briefly. They cook paprikash together in Civil War before having a bit of a bust-up, and by Infinity War they’re an official couple, albeit on the run (and on different sides). That movie does a great job in establishing their feelings for each other in very little screentime, with their heroic characteristics on full display, before the shockingly awful tragedy of Wanda killing Vision to save the galaxy, before Thanos rewinds time, brings him back to life, and kills him again, and then wins. Their relationship going forward, in WandaVision, is even trickier, because we don’t know what’s up yet, and at times they’re clearly not acting as “themselves”, defaulting to sitcom tropes and one-liners. Will Vision survive, and if he does, will their relationship? Who can say, but at least they’ll always have Edinburgh, deep-fried kebabs and all.

Batman & Andrea Beaumont (Kevin Conroy & Dana Delany, Batman: Mask of the Phantasm, 1993): woah, Batman’s back but it’s a different Batman, say whaaaat. Animated Batman has had a few romances, from the great (Talia al-Ghul) to the disturbingly icky (Batgirl, ewwww), but his relationship with Andrea Beaumont is the best. Tweaking the Year One formula to give young Bruce a love interest that complicates his quest is a golden idea, and making her a part of the criminality and corruptiuon that he’s fighting is a suitably tragic part of the Batman origin story. Conroy and Delany give great performances, him wringing pathos out of Bruce, torn between heart and duty (“It just doesn’t hurt so bad anymore,” he wails to his parents’ grave, “I didn’t count on being happy”), her channelling golden age Hollywood glamour. The tragedy of them rekindling their relationship years later, only to wind up on different sides again, is – again – so very Batman. It’s a beautiful, earnest, very Batman relationship, a great titanic tragedy of human emotions and larger-than-life ideals. And they both look good in black.

Harley Quinn & Poison Ivy (Kaley Cuoco & Lake Bell, Harley Quinn, 2020): this one’s a little bit of a cheat, as I’ve only seen the first season of the show, where Harley and Ivy don’t even get together. But in the wider, non-canonical sense of these being characters who are part of the pop-cultural ether, Harley and Ivy will always be a couple, I feel; and there’s definitely enough in there already to see the affection between them, not yet consummated. They adore each other, are always there for each other, and as the season follows Harley getting out of her own way and acknowledging the abuse of her relationship with Joker – and finally getting over it in the healthiest way possible for a bleached-white manic pixie in roller derby gear. And all through this, holding her hand, is Ivy. They’re utterly made for each other, and I’m glad that they do get together in season two. I hope that Margot Robbie’s rendition of the character can likewise find happiness with a flesh-and-blood Ivy. Hell, just cast Lake Bell again. She’s great.

Just bubbling under – and I’m really gutted I couldn’t fit them in – was Spider-Man & M.J. from Spider-Man: Far From Home. Like Batman, I’m comfortable including multiple continuities here, and those cuties offer a different spin on a classic relationship.

[vandorens-archive]

ten questions tag | i was tagged by: @mshelleys, @emdrabbles, @pe-ersona, @evergrcen and @septemberliterature. thank you so much, and i’m so sorry i’m getting to this so late!

everything is under the cut!

@mshelleys

i. if you could change the genre of one of your wips, what would you change it to and how would the story/characters change?

So, trahison already features a ghost and a brief stay at a manor. have i considered turning it into a full fledged horror because of that? perhaps.

ii. do you think of your characters as actors playing a part in a movie or as people in history actually doing things that effect the future?

i think of them as actors playing in one long, crazy, unpredictable play. 

iii. role swap your protagonist and antagonist but keep their personalities the same; how different would your story be?

honestly, not different at all, because when it comes to it, the subject of trahison’s antagonist (s) is pretty complex. 

iv. are any of your characters based on you, family, friends, or someone else you know?

oh, absolutely. my characters range between self inserts, to characters i wish i was more like, to characters that are essentially walking, talking, breathing love letters to the people i care about.  

v. how long have you had your main protagonist(s) of your wip(s)?

I’ve been working with marin, nate and ruby for years, long before they were even called that and were a part of a dystopian crime novel (don’t ask). antoine joined them soon after, followed a while later by beth and isadora, and miles was invented during the plotting stage. 

vi. do you prefer to write chronologically or just make a bunch of scenes and order them after they’re written?

it depends on what i’m working on and how serious i am about it, but if we’re only talking about trahison, then chronologically!

vii. imagine the problem in your wip is sorted out, how would the protagonist recount the story to their children if they asked?

with a far away look in his eyes and an uncharacteristic fondness in his voice, marin would turn to his children, and tell them how extraordinary his friends were during his university years—their zeal, their inquisitiveness, and conveniently leaving out the uncomfortable loyalty they all had towards each other, until time and life’s commands separated them. 

viii. favorite (non-spoilery) line(s) of your current wip(s)?

This small bit of description, albeit a little purple prose-y, is one that i’m very, very proud of.

“ The morning rain had made its grave in the dirt, the bittersweet smell—like exotic black tea—rising into the air. It was the night pluviophiles came to dance. If I think hard, I can still taste the ghost of the raindrops on my tongue and sense Beth’s radiating warmth beside me; its own ghost ” - trahison, chapter three

ix. if your wip was a movie, could you see it be done in the 70s, 80s, 90s, 2000s, or 2010s? why that decade in particular?

so, fun fact, i hadn’t decided when to set trahison (see: the big question mark in my plotting notebook) but i have recently made up my mind and decided to set it in the seventies! if it was a film, then i could see it being made in seventies france! very a la the dreamers.

x. are you able to just make up a story on the spot, or do you need help (plot generators or other outside influences)?

sometimes i’ll take the help of prompts or media, but otherwise i just come up with things on my own!

@emdrabbles

i. what do the names of your main characters mean? did you pick them for the meaning or another reason?

i picked the trahison characters’ names based on two things: how much it related to the character’s backstory or personality, and how pleasing it sounded out loud. here are the meanings of their names:

marin — of the sea

ruby — deep red; precious stone; behold a son

elizabeth — god is my oath

nathaniel — gift from god

antoine — priceless one; beyond praise

isadora — gift of Isis

ii. what book are you currently reading?

I’m currently reading the time machine by h.g wells!

iii. last sentence written?

“ When the end of the world comes — I’ll film it ” — copycat, or the one where i predict the future. 

iv. who are some of your faceclaims?

i usually don’t use faceclaims, but if i had to choose:

marin van doren (trahison) — timor simakov

eloi hill (psychophantia) — maxence danet fauvel

cass parker (penny lane) — monica tomas

v. gimme some worldbuilding facts!!

alright, here’s one: in the world of psychophantia, not only is the magic system and your powers controlled by your morals, but so is your social ranking, your education, and any future you may have—to an extent. 

vi. do you outline? if so, do you have a specific method?

i’m a plotter and only really work well with a solid outline, however, my outlines range from a series of messy, incoherent bullet points to meticulous scene-by-scene planning based around the three act structure. this post is my go to for plotting assistance! 

vii. favourite author?

Like every tumblr user ever, i love donna tartt and maggie stiefvater, but i’m also a huge fan of f.scott fitzgerald, agatha christie and vera caspary!

viii. what is your oldest wip?

trahison! It went through many, many changes — from changes in genre to changes in character names, and there’s still a possibility that it could change even further. 

ix. what is your favourite wip?

every wip i reblog under my #others. tag! You all are so damn talented!

x. where do you get your inspiration from?

everywhere around me! from conversations i have with people, from films and books i consume, from the music on the radio — i like that anything and everything can inspire me to create.

@pe-ersona

i. in one sentence, explain your current wip!

a group of secretive students attempt to become immortal, only to uncover the worst parts of themselves — and each other — as they do. 

ii. was writing your main interest or did you have other interests?

although writing is my main interest (see: my social media bio on every platform ever), i also like to journal, sew, cook and make videos! my interests usually do have to do with the intention of creation. 

iii. what’s your favorite genre to write? to read?

I love writing horror and mysteries. those are my favourite genres, but i also love reading a good contemporary romance!

iv. what is one goal you have for your wip this year? how’s that goal going?

to finish the first draft! so far, not so bad, though i do wish i could write more, but unfortunately, time constraints plus school restrict me from doing so. 

v. how old is your wip? or when did you start writing your wip?

trahison is nearly three years old, but i only started writing the current version of it a year ago. 

vii. what scene made you cry or laugh or both?

these lines made me laugh out loud the first time i wrote them:

“ Up the stairs stumbled Miles, my slovenly genius roommate. He grinned at the giggles and winked at the exasperated stares. 

The gall of him! 

I wanted to be him. 

He managed to find his balance enough to reach our dorm. I immediately stepped back to let him in, and to make sure I was in no association with his uncomposed state. Nate gave a disapproving look at his back as he staggered in. 

I took another step back, raised a pointed eyebrow, and closed the door ” — trahison, chapter three

vii. how many ocs does your wip have? who’s your favourite?

my main wip, trahison, has six main characters. out of the main six, my favourite has to be nathaniel. he is very much the epitome of pure, and sometimes i wonder how he ended up in the middle of such a dark plot. 

vii. you have a brand new idea for a wip, what do you do? 

brainstorm, brainstorm, brainstorm. scribble down whatever the hell pops up in my brain, attempt to link it together by a thin string of yarn, cross my fingers and hope for the best.

ix. you are having your first book-signing, where are you?

i’m in a small bookstore, nestled in a corner near the storage room. almost no one knows about this town, so the line is small but chatty, fans exchanging theories and analysing certain paragraphs. the sight of them makes me feel warm inside. 

x. you have the ability to live in any book, publishing or not, what would it be?

would it be too cliche to say the harry potter universe? other than that, other worlds i would love to be a part of is the world in my novel penny lane, or in midst of a detective story.

@evergrcen / @septemberliterature

i. how did you come up with your wip’s title? what does it mean in relation to the story?

okay, so i discovered the word ‘trahison’ after hearing my french teacher say it, and immediately knew i had to use it for something. ‘trahison’ means betrayal or treason in french, which is one of the main themes in the novel. 

ii. do you title your chapters? if so, what’s your favourite?

I don’t, but I would love to!!

iii. what’s a recent line you really like?

Not a very dramatic or noteworthy line, but here’s one from a poem i’m writing:

“ So the two of you get in the car, proceeding to have an argument with the radio ” — examples of easy solutions, or the one where the internet has no answers. 

iv. are there any writing-related quotes you really like?

“i think a lot of art is trying to make someone love you” — keaton henson

v. do you have an idea for a cover design for your story?

A black background with serif text, that’s it. It’s simple. It’s mysterious. It’s the type of vibe I want to exude. 

vi. what sort of au can you imagine your story being?

...dark academia au anyone?

just kidding. in all seriousness, though, i can see a royalty/political au for trahison, or a medieval fantasy au!

vii. which oc would be the most angry with you as the writer?

eloi. i really need to give that poor boy a break. 

viii. if you had to tell the story from a different pov, which character would you choose?

ruby! she’s the token enigma of trahison, so i think her point of view would be very interesting to see. 

ix. what would be your oc’s taste in music if they lived in our world?

OKAY let’s see:

marin — classic rock, so the who, queen, def leppard.etc

ruby — that one person who you’re pretty sure only listens to classical music, but is actually very attuned to modern day music. she would mostly listen to female singer-songwriters, so take lorde, marina, lana del rey, and other such artists. 

beth — take one look at her playlist, and you’ll see that ninety five percent of it is mitski, while the other five percent is bedroom pop. she would like very tender, calm, cry to in bed music. 

Antoine — same as marin, but add other modern day music artists with eclectic sounds, such as twenty one pilots, arctic monkeys, that sort of thing.

nathaniel — classical music, instrumentals, and film soundtracks make up his playlist. if it has sung words, he won’t listen to it. has little to no understanding of modern day music and is too scared to find out more about it.

isadora — 2000’s diva pop plays in the background of her life. rihanna is her go to whenever she gets to control the party. Don’t be surprised if ‘rich girl’ by gwen stefani starts playing in your head at the sight of her. 

x. what’s one personal goal you want to achieve by the end of the story?

finishing it with pride!

[wolfpawn]

Once Bitten, Twice Shy

Previous Chapter

Chapter Summary -  Paige does an interview at the BBC with a host who very much wishes to see if she can pry information from Paige regarding her relationship with Tom but Paige is aware of such.

Tag, @wolfsmom1 @sweetkingdomstarlight-blog @nonsensicalobsessions@damalseer   @standing-onthe-edge

anyone else who wishes to be added to the tags, just ask :)

Paige tried to settle her nerves. She had done so many interviews before, this would be no different. Yes, they could mention Tom, in fact, she was sure they would, but she had prepared herself for almost anything they could throw at her. Though most of the time, her work in media had been to do with her books, something she was well versed on, she decided to study her new topic of conversation that she was certain she would have in Tom. She read his interviews, she recalled his mother's comments, his conversations with her on different matters and compiled what would be sure-to-be asked questions and appropriate answers that she would need to know to keep up the pretence of a relationship with the actor.

She smiled as the radio station manager showed her where to sit in the studio and offered her some water. “Please, if it’s no bother.”

“Of course.”

She looked at the headset in front of her and took a deep breath before readying herself more.

“Ms Winters?” She looked to the side to see the radio host, Davina Curren looking at her. “Hello, thank you for your time. I can imagine you are a busy woman.”

“Please, just Paige. I am more than happy to oblige. I haven’t been here in over two years. You were in the evening slot then, weren’t you? I remember I used to listen to you on the Underground on the way home from different things. I loved your piece on Aristotle you discussed with the College Professor from London.”

Davina’s face became more animated on hearing Paige knew her work. “Wow, thank you. Yes, that was an interesting piece. Well, as Mike, the manager here would have told you, we will discuss mostly your work and if there is time at the end, some other bits and pieces.”

“Yes, he said. We’ll see what we get through.” She smiled politely.

“Well, we start in three so we will get ready now.” Davina indicated for her to put on her headphones before sitting in her own seat and doing the same. “You put the volume to a level that suits and please remember to speak clearly into the microphone, you can adjust it as required.”

“Okay.” Paige did so to allow her close to the microphone with comfort.

When the light flashed for thirty seconds, she readied herself.

“Can you hear me?” Davina checked.

“I can indeed.”

“Perfect, let’s begin.” The light ceased flashing and turned on fully. “Good morning, Britain, Davina Curren here with you again on this lovely Thursday morning, and my guest today is a woman that has been in a few of the celebrity headlines of late but whose name has been gracing the more prestigious world of literature for the better part of the last decade, Britain's very own Paige Winters, author of many pieces but most known for ‘Rumour Has It’, the Costa book of the year in 2016. Paige thank you for joining us in the studio here today.”

“Thank you for having me.”

“So, we will start at the beginning, what got you into writing?”

“Well, there’s no straight forward answer to that.”

“Surely you had some inkling, even in school?”

“Interestingly, when I was doing my GCSEs, I had this teacher who literally told me I had no right to be doing English. I could not comprehend the work and if I passed, it would be a miracle.”

“Really?”

“No, honestly. She had no faith in me. Thankfully, she retired that summer and the most incredible teacher, Benjamin Shakespeare, no relation to the playwright we checked, came in to fill the void and honestly, I would not be in this profession today had he not sat me down one day and talked to me about why I wanted to keep on English with such mediocre grades. Being honest, I loved English, I loved literature, but that other teacher drained my love of it but on her retirement, I hoped I could regain my love for it. Thankfully, he was able to see I had some potential and allowed me to remain in his class.”

“And that was it?”

“Sort of. I did a piece the summer before and sent it into a competition. I didn't think anything of it, I thought at the time I didn't send it to the right place or it was not good enough, in fact, I did and on the 8th of February, 2005, Blue Peter published my story as part of their short stories book. I knew then that I wanted to write and see my name on the cover of books.”

“That's amazing.”

“Yes, I still have the original Blue Peter book I was sent for writing a contribution to it, my mum has it safe at their house.”

“So you have a Blue Peter badge too.”

“Yes, I do. It is in my jewellery box to this day.”

“That's lovely. So, can I ask, your books, they're not conventional love stories, are they?”

“I personally don't class them as romance if I'm honest. They are stories that have romance in them, yes, it's true, but that is merely a part of it, not the entire basis of the story.” Paige explained.

“Is that how you see life in general?”

“Well, yes. Romance is not the reason to live but an enhancement of the act of living, in my opinion.”

“And your characters are always strong women.”

“Every woman has her own strength, it's not always conventional muscles and power strength. Strength is different things to different people. A person who is kind, even when others are not kind to them. Someone who suffers some form of pain and stands straight again after. I try to display that in my work so women of differing personal strengths can relate to the situation at hand. In writing, you need to make the character relatable for it to resonate with the reader.”

“People seemed to resonate with an alien ice-being with magic more than actual human characters before.” Davina pointed out.

Paige knew she was clearly referencing Loki. “Yes, because of the portrayal of said ice-being and how well the character was acted out. People gravitate towards characters that are well portrayed and in that case, the most relatable and likeable character was the abandoned ice baby, raised on lies who, on realising it was all a lie was acted with anger, resentment, feeling incredibly inadequate, these are things that people feel empathy for.”

Davina looked at her for a moment before returning to other questions. “What book would you say would be a personal favourite of yours that people would not usually agree with?”

“Of my own or of another author's work?”

“Another author's.”

“People are startled when I say this though it is a very common choice but Pride and Prejudice.”

“You don't seem the type for conventional romance stories.”

“But you see, that's the thing. It's not conventional, or it wasn't, not in its day, it was groundbreaking in many respects. I was asked before at a gathering of friends if I could time travel just once into the past, when and where would I choose, and why. I said England, 1813, a week or so after that book was published and my reason being; that for a woman of no significant name, wealth or titles to decline the hand of a man of such considerable wealth and standing and citing her reasoning for such at a time where to do so was unheard of would have been an incredible experience. You know men were appalled by it, women of a certain mindset would have been scandalised by it and amongst them all, young women flabbergasted and enthralled. It would be called feminism in the modern age.”

“But she went and wed him in the end.”

“Yes, once both put aside their pride and prejudice. In it, you also see Elizabeth grow, acknowledge her own faults and become a better person too. I think a lot of people need to realise we all have negative faults we need to look at in ourselves too and Austin married it accordingly in her main characters, but also that people do change or at the very least, acknowledge themselves they are not perfect and work on it.”

“And you have faults?”

“Find me a person who claims they are without fault and I will show you a liar.”

“What would you say is your greatest fault?”

Paige thought for a moment. “I don't know which would stand over others, but I would say that I often lack social etiquette in particular situations. I don't believe in entertaining ideas of grandeur and in my world, many would argue that to be a considerable fault.”

“Many would commend that too.”

“Most people say they like an honest opinion until they receive one they do not like.” Paige countered.

“True.” The radio presenter agreed. “You pride yourself in never having to do too much publicity to sell your books, so I have to ask, do you still feel that way now, in your current situation?”

“I don't follow.”

“Well, since you went public with your current relationship, as I stated at the beginning of the show, you are now in the celebrity news for being with one of the most eligible men in Britain, surely you've noticed the increase in sales for your work? That is mostly due to the publicity of your relationship.”

“Well, I would argue it was not as though it was decided to go public since it was a photographer taking a photograph of a private brunch that alerted the world to this information, not a conscious decision to declare it publicly that made this information known, but yes, I am aware of the renewed increased sales and I have little doubt that that has been in part due to people hearing my name for what is, to them, the first time and deciding to see if they like my work resulting in these figures.”

“Do you think you will become a charity shop book now?”

“I have no idea nor do I have a say in it. I cannot force people to like my work, nor would I wish to force it as I believe in 'a pat on the back, not a pat on the head’. I want to be acknowledged for my work and it's quality, not because of the company I keep or who I may choose to be in a relationship with.”

“So you are not upset that many of your newest followers are only discovering you by these means?”

“Not everyone discovers the same people at the same time. Some only learn about certain authors, actors and singers after they have been around a while, for whatever reason, this is the very same. My soon-to-be sister-in-law only heard of Saoirse Ronan from her part in Mary Queen of Scots even though she has been the lead role in many movies and has been around since Atonement. That is not something to ridicule. People are only hearing of me now because of whatever reason, I am delighted they are and truly hope the like my work.”

“You are close to your family, aren’t you?”

“Yes, I consider family the most important thing in my life, my brother, his fiancée, my parents, they are so precious to me.”

“It must also be hard being in your current situation, supporting your significant other in a role centred around being betrayed when you, yourself have a similar experience.”

Paige shifted anxiously. “Well, I do not dwell on the past, it’s not a healthy way to live life.”

“But you were cheated on by your fiance, weren’t you? And to be with a man now that in many people’s eyes split up a music couple, how do you marry that?”

“I am not sure if that sort of drama-fishing warrants an answer if I’m honest. The only people who need to take account of their actions are those who are the guilty parties, namely, those who elect to cheat, I am told there was no infidelity there and until such time as I am led to believe otherwise, I would not speculate to such.”

“Do you like her, Taylor?”

“I don’t know three things about her. I never really found myself listening to her music, I never was overly into pop, so that is not a slight on anyone. I know the name to hear, of course, I don't live under a rock but I don't know her in any manner that would cause me to form an opinion on her as an individual.” Paige stated diplomatically, uncomfortable with the situation.

“And have you been to the play?”

“I have actually, yes. I quite enjoyed it too.”

“You seem somewhat startled by that.”

“I stated in the not too distant past that I did not feel it to be the best of Pinter's work due to him writing it with the aspect of the one being cheated on as a main point when he clearly cannot comprehend the sensation. The actors and actresses that put their hearts into the roles, the stage crew, everyone backstage, they put everything into this and it shows. I cannot commend them enough, they brought it to life brilliantly.”

“So what is next for you?”

“I am not sure really. I find I am asked that and indeed, asking myself that a lot of late. I still scribble a few things down, to keep myself fresh, but of yet, nothing is really coming to me.”

“Do you think it is partly because of a content home life? Having another you can depend on surely makes you complacent in many ways, I know when I got married, my husband’s income really gave me the security to try and get the job I sought.”

“I think there is a considerable difference between someone leaning on their spouse for support and leaning on those they are not so bound to. I always prided myself, since the day after my A-levels, of having my own income. My parents assisted me until then, I would never deny it, something not everyone is lucky to afford, and I don’t ever plan on that changing. I think it is imperative people have security in themselves if possible when doing something like writing a book. I wrote four pieces that were outright ignored before I ever even got a hint of interest from a publishing house. While doing that, I needed to afford to live and that meant housing that I am fairly sure dogs in a kill shelter reside in, because this is London, after all, and two jobs, one as a receptionist and one in my local all-night cafe. Even now, I make sure I am smart with my finances and this is the life of a writer, I would very much want others to understand, not everyone turns to JK Rowling with millions, or in her case for a short time, billion, in the bank. Even George RR Martin is not as wealthy as people think and though it affords him a comfortable life, writers rarely are that well off and if you are expecting others to fund you, especially in this world, you may be a long time looking.” Paige could see the presenter didn’t like her going off course slightly, but she used a technique to volley the conversation into a more impersonal and vague area.

Davina frowned as she realised Paige would not say or do anything controversial as a guest, to which Paige smiled politely back. “Good sound advice there. What do you think of Tom’s online fans, they are enthusiastic and protective of him, aren’t they?”

“I do believe so, yes. I am not a big fan of social media myself. I don’t do Instagram or Twitter and my Facebook is dormant for nearly two years at this stage. I think personally, I am more at home in a less technological era. I would have done well back in the eighties, I think.” She laughed. “With regards fans, people gravitate towards some people. They hold your attention more than others do and some for the wrong reasons, some for some very right ones. Some people light up the room they are in, they smile and are wonderful people and of course, people would want to be around that and wish to project towards that, I cannot blame them. It is great and alluring quality.”

“You don’t seem to mention Tom by name,” Davina noted.

Paige laughed slightly. “I don’t seem to have to really, do I? I think people will know who I am referencing, those who care for such things, those who do not will be glad not to be bombarded with it.”

“Not really no.” Davina looked at Paige’s polite smile. It was clear Paige was studying every question before answering, making sure not to say anything that could be construed as controversial. “Finally, is there any advice you have for young aspiring people, not just in your own field, but in general?”

“Well, I suppose the best thing I can say is not something I personally have said. But I think it is a great quote. ‘Never, ever, let anyone tell you what you can and can't do. Prove the cynics wrong. Pity them for they have no imagination’.”

*

Tom huffed slightly as he listened to the words Paige spoke on his phone, Luke beside him.

“What’s so funny?” Luke asked curiously.

“That’s something I said.” Tom pointed out.

“She’s done her homework. Oscar said she is thorough, I didn’t realise how much so.” Luke commended. “She handled that perfectly.”

“She’s an incredible and intelligent woman.” Tom agreed.

Luke studied his friend/client carefully, noting the manner in which he smiled as he listened to Paige speak.

[natsthinkitythinkthinkthonk]

I’m just going to be transferring the article here for those who want to read it on Tumblr!

In addition to these interviews, I highly recommend checking out some other posts and interviews that I’ve posted and/or transferred to Tumblr!

Maaya Sakamoto LONG Interview

MONOGATARI Interview

Birthday Post (2019)

Thoughts on Marriage

“On My Own” from Les Miserables

Kenichi Suzumura’s Message for her

Song Recommendation List

Name: Maaya Sakamoto (坂本 真綾) Birthday: 31st March 1980 Birthplace: Tokyo, Itabashi City Nicknames: Maaya Agency: fortunerest

Maaya Sakamoto actually began her career as a child actress joining Gekidan Komadori. Joining a troupe where studying was the main focus, she focused most of her time in the troupe doing CM songs and dubbing.

She got her first big break as the Hitomi Kanzaki, the main character of The Vision of Escaflowne. She also did the opening theme song Yakusoku wa Iranai and began her first radio show titled “Sakamoto Maaya no Naisho Banashi.”

In 2003, she also started her first actress role in the musical edition of Les Miserablesperforming as Eponine for 6 years straight until 2009.  She also made sporadic appearances as Junichi Okada’s ex-girlfriend in the TV drama Suekko Chonan Ane-Sannin.

In 2005, she wrote her first essay collection titled Idea..She also began to self-produce her own music from then onwards.

First role:

Her first big starring role as we mentioned earlier was Hitomi Kanzaki from The Vision of Escaflowne. While this wasn’t her first role, as she has done many roles as a kid, it was thanks to her role as Hitomi that she had her big break and at the same time, begin her career as a performing artiste.

Current season:

You can see her in the upcoming anime BEM, where she will be playing “the unidentified Girl”. She will also be voicing Elizabeth in another upcoming anime, To The Abandoned Sacred Beasts. Two Maaya Sakamotos in the upcoming season that you’d be spoilt for choice. She will also reprising her role as Annerose von Grunewald in The Legend of Galactic Heroes ~Die Neue These: The Stellar War later this year.

Famous Roles:

Lunamaria Hawke – Gundam Seed Destiny

Alright, let me get this character out of the way, first and foremost. I am the generation that grew up with Gundam Seed and Gundam Seed Destiny. So it’s natural for me to immediately put a voice to the character when you asked me what I think of when I hear Maaya Sakamoto. She was a great foil for the protagonist Shinn Asuka (who just so happens to be voiced by her husband Kenichi Suzumura) and they’re practically inseparable when it comes to later rendition of their characters in other media. Personally, I really enjoyed using her Gunner Zaku Warrior in Gundam games with that massive gun so she’s pretty special for me.

Shiki Ryougi – Garden of Sinners

Now if you asked me my favourite character voiced by Maaya however, it has gotta be Shiki Ryougi from Garden of Sinners. A friend of mine invited me to watch the newest Garden of Sinners movie many years back and I instantly fell in love with Maaya’s portrayal of Shiki. The mysterious aura surrounding her character is what really grabs you. She has this ability called Mystic Eyes of Death Perception where she by simply these lines in front of her, it could kill her opponents. She was such an iconic character for me I’d like to see Shiki again. Maybe playing Fate/Grand Order sounds great talking about this.

Aerith Gainsborough – Final Fantasy VII Series

Now I play a lot of games, so naturally, I had to mention Aerith. Back in my teenage days, Crisis Core: Final Fantasy VII and Final Fantasy VII: Advent Children were my jam and Aerith was one of many central characters in the series. Unlike the cold-hearted Shiki Ryougi, Aerith was the opposite end of that spectrum. She’s warm and full of life. Her interactions with Zack Fair (who, also coincidentally is voiced by her husband Kenichi Suzumura too) in Crisis Core, always looking forward to his next visit.  As for the fate of Aerith in Final Fantasy VII? I believe the story tells itself.

Music

As mentioned earlier, she began her career singing the opening theme song for The Vision of Escaflowne titled Yakusoku wa Iranai. At the same time, it began her career with Yoko Kanno being her main producer until 2013 when she decided to part ways and produce her own music.

[VIDEO] CLEAR

One of her more recent tracks was the opening theme song from the popular Cardcaptor Sakura Clear Card Chapter, CLEAR. She also sang Platina for the original Cardcaptor Sakura as well, it is her 5th single. I love how this song succeeds from Platina and follows the same style which brings back memories as I myself watched the series as a child. It’s a great successor to Platina.

[VIDEO] Anata wo Tamotsu Mono/Mada Ugoku

Another of her more recent songs, this single in particular is one I have personally purchased. I’m a big fan of Ghost in the Shell, and Maaya actually played Motoko Kusanagi in the recent Ghost in the Shell: ARISE series succeeding Atsuko Tanaka. These songs are the opening theme songs for the TV anime and the film versions of the series. The world-view of these songs are so perfectly in-tune with the elements of the series due to Cornelius’ electric tones and dissonant elements, topped off with Maaya’s vocals giving it a very haunting, GITS song.

[VIDEO] Triangler

We can’t end this section off without mentioning Triangular from Macross Frontier. One of the most iconic songs of the series-and it’s not even by the songstresses in the series! While I’ve only seen bits and pieces of the TV series at all but the song is so famous even I understand the impact of the song itself. Did I mention it won the 2008 Animation Kobe award for the best theme song and the best selling single from Maaya? You absolutely have to go listen to it. Listening to it will make you understand how amazing it is.

She has many notable fans in the industry such as Motoo Fujiwara from BUMP OF CHICKEN, Shoko Nakagawa and even seiyuu Minori Suzuki who is well known to have gone to see Maaya’s concert just one day before the audition to become the next Macross star even.

Personal Impression

I really love her clear voice, plain and simple. She is one voice you will cannot get tired of listening. Sure sometimes she is said to lack range because she only has one type of voice. But when you sound so good in one voice, do you really need any other? She has a simply perfect voice that fits someone who’s emotionless like Shiki Ryouki or Motoko Kusanagi.

There are people like Koichi Yamadera who can basically do anything and everything and sometimes we have the Maaya Sakamoto’s who just have a wonderful speaking voice, she was practically born to be a seiyuu. I’d love to listen to her narrate forever.

And on top of being able to sound perfect during afureko, she sings even better. No wonder Yoko Kanno picked her and worked with her for so many songs. With such a deadly combination of Yoko Kanno and Maaya Sakamoto, we were blessed with so many timeless songs, I’m ever so thankful.

I recently heard that she even released an essay collection titled Idea.. For someone so eloquent as Maaya, you’d probably assume her essay collection would be a thrill to check out. So much so that I’ve been looking around just to see how it is.

[wellesleyunderground]

WU Reviews: Elizabeth Holmes and the Theranos Scandal

When brainstorming ideas for the next WU Review, we discovered that Tiffany Chan ‘15 had read Bad Blood, a book chronicling the rise and fall of Theranos; Cleo Hereford ‘09 had gotten the whole story via The Dropout podcast; and Shloka Ananthanarayanan ‘08 had watched the events unfold via the HBO documentary, The Inventor. Therefore, we three editors decided to combine forces to give you one mega-review about this fascinating story. Settle in!

Bad Blood reviewed by Tiffany Chan ‘15 (@omgitstiffyc)

Bad Blood: Secrets and Lies in a Silicon Valley Startup is a book written by John Carreyrou detailing the meteoric rise and fall of the blood diagnostics company Theranos. While many of us came to know this story relatively late in the game, John Carreyou was the Pulitzer Prize-winning reporter who originally broke the story of Theranos in 2015. The format of the book allows for the stories and characters involved in the downfall of Theranos to be developed richly.

The book takes the reader on an emotional rollercoaster ride. The beginning is a slow build, as Elizabeth starts the company. Over several years, the company grows steadily, and towards its late phase, it is a full sprint towards chaos. I was struck by how many people tried to stop Elizabeth Holmes and failed. Part of what makes this story enthralling is the number of people who simultaneously saw through the mirage and those who were sucked in. She managed to survive a for-cause audit by the FDA and almost being ousted as CEO by her board of directors. Then Vice President Joe Biden took a tour of her lab and was impressed by her work. Frankly, I started to wonder if she was some sort of Superwoman, immune to the rules us mere mortals live by.

While other accounts may focus on Elizabeth’s charisma, Bad Blood focuses on the people who were hurt by her actions. Each excited and talented employee was initially taken in by the promise of Theranos and all ultimately left disgraced and disappointed. The book underscored Holmes’ secretive, ruthless, and litigious nature where Theranos’ intellectual property was concerned. For me, this book also most clearly demonstrates Holmes’ failings as a leader. She made so many people collateral damage in the pursuit of personal glory. This point was most poignant in the case of Ian Gibbons, a long-time Theranos employee who was called to testify in court and tragically took his own life, balking under the pressure he was facing from the company to not say anything. Additionally, the narrator enters as a player in the third act and I found this to be really effective because we the readers empathize with him and understand his frustrations as he tries to tell this story while facing Theranos’ intimidation tactics. By building this cast of smart and relatable people, Carreyrou builds a sense of horror and outrage on multiple levels.

Simply put, this book was a trip for me to read because of all the ways it intersects with various aspects of my life. As someone who spent time working in the pharmaceutical industry, it was incredibly discouraging to hear about all the ways Theranos circumvented the checks and balances designed to keep people safe. While we might not be happy about all the regulatory hoops we need to jump through sometimes, they exist to ensure that our drugs and devices have been tested rigorously and I think people need to know that a majority of people in the industry take those standards incredibly seriously. As a Longwood Medical Campus student at the time, I can easily see how this young, female Silicon Valley CEO was lauded as THE lecturer of the year, the next big innovator. As a bench scientist, it was obvious to me from the beginning that Theranos’ pitch was pure fantasy but I had my doubts about whether I would have had the wherewithal to realize it without the gift of hindsight.

I liked the medium and content of Bad Blood because it underscores how much of Theranos was visual facade. Elizabeth LOOKED (and sounded, ha) like the next Steve Jobs. The Edison LOOKED beautiful when really it was just a sleek box with a robotic pipette inside. This story has been endlessly sensationalized in popular media but Bad Blood grounds us in what was the ludicrous and sometimes frightening reality for Theranos employees. I think this format allows for us to truly focus on the actions of the company and keep that in mind without getting sucked in by the ersatz company.

The Dropout reviewed by Cleo Hereford ‘09 (@cleoc87)

The Dropout is a 6-part podcast produced by ABC News and narrated by chief business, technology and economics correspondent Rebecca Jarvis about the emergence and downfall of Theranos CEO Elizabeth Holmes. Each episode is between 37 and 45 minutes, giving the listener a brief but comprehensive overview of Holmes, the founding of her company, and Theranos’ eventual demise. 

The podcast does more than simply narrate the series of events; it also includes interviews with a number of the key figures including Stanford Medical School Professor Dr. Phyllis Gardner (who heard early plans for The Edison technology and questioned its viability), whistleblowers Erika Cheung and Tyler Schultz, and Bad Blood author John Carreyrou.  The most striking interview, however, comes from the widow of Ian Gibbons, a biochemist who worked as Theranos’ chief scientist before taking his life in 2013 in the context of what is described as a toxic work environment and a pending patent lawsuit. 

What I walked away with after listening to The Dropout were the parts of the story perhaps touched upon but not fully highlighted in the hype surrounding the scandal: just how many lives were negatively impacted through the scheme either by Theranos’ work environment, the technology’s misdiagnoses, family disagreements or in Gibbons’ widow’s case, death, among the many issues that existed outside of or leading up to the truth behind Theranos being made public. Oftentimes, those affected by a particular person, organization or incident are forgotten in favor of whatever emblematic figure perpetrated the wrongdoing. The strength of The Dropout is that it does center Holmes while also highlighting the stories of and giving a voice to those she hurt. For those with longer commutes, I would fully recommend this highly engaging podcast.

The Inventor reviewed by Shloka Ananthanarayanan ‘08

My first thoughts upon starting this documentary - that lady really talks like that? I know we as a culture are entirely too obsessed with policing women’s looks and voices, but Elizabeth Holmes specifically cultivated her look (a wardrobe solely composed of black turtlenecks, à la her hero Steve Jobs) and apparently employed a fake voice, dropping down to a lower register, perhaps in the hopes that this would imbue her with more authority. Many people in the documentary also comment on her almost reptilian stare, and how she wouldn’t blink for ages. Thus, from the outset, you get a sense that this is a terrifically odd woman. And as the documentary progresses, you watch with spellbound horror as she cons some of America’s most senior business and political leaders, with seemingly no remorse once she gets caught. The woman is undoubtedly a villain, but she is a compelling one.

Directed by Alex Gibney, the film is a fascinating look at Theranos in particular, but Silicon Valley in general, and how entrepreneurs like Elizabeth Holmes can take advantage of certain loopholes and privatization to orchestrate scams of this magnitude. It’s well and good for Silicon Valley to embrace a model of disruption and to “keep breaking things,” but in the case of Theranos, when you are trying to create a revolutionary diagnostic product that human beings depend on for vital medical information, you can’t simply barrel ahead without appropriate testing, rigorous scientific discipline, and a basic understanding of regulatory compliance and ethics. The film features many interviews with employees, who initially started working at Theranos with bright-eyed optimism and visions of changing the face of healthcare, and who ended up disillusioned, terrified that they had harmed the public, and personally fearful of lawsuits and ruination. Through it all, we have Elizabeth Holmes as the Messiah, promising the world that she could diagnose hundreds of diseases by testing a single drop of blood, and lying through her teeth every time she was questioned about the technology behind this miracle.

Indeed, this film is about a cult of personality. At one point in the film, someone defines the word “credit” as deriving from the Latin “credo,” which means, “I believe.” Ultimately, Holmes managed to con many powerful people in America and make them blindly believe in her. She put many patients’ lives at risk as she sold a product that did not work and tried to orchestrate a cover-up that was laughably audacious and destined to come crashing down around her feet. I honestly don’t know how she thought she was going to be able to get away with her scheme, but it’s certainly thrilling to watch the faces of her employees as they detail what was happening in the office and get increasingly agitated as they realize the magnitude of the criminal enterprise they were involved in. 

If you don’t have time to read a book or listen to a podcast, The Inventor is a breezy 2-hour thrill ride through this scandal, and while it may not have all the details, it certainly has enough content to make you slightly sick to your stomach about how easily we can all be fooled by bright and shiny things that lack any substance whatsoever.

[theliberaltony]

via Politics – FiveThirtyEight

Welcome to FiveThirtyEight’s weekly politics chat. The transcript below has been lightly edited.

sarahf (Sarah Frostenson, politics editor): Special counsel Robert Mueller’s investigation into Russian interference in the 2016 election is at long last over. After nearly two years, we have a summary of Mueller’s report from Attorney General William Barr, and that summary, in a letter to Congress, says that the Trump campaign did not coordinate with Russia. What’s less clear is where Mueller landed on the question of obstruction of justice: Barr’s summary says that the special counsel didn’t reach a conclusion, and we still don’t have the report.

This means we can expect a political fight until the full report is released, but how should House Democrats proceed in light of what information we do have? And how this could affect the 2020 election?

nrakich (Nathaniel Rakich, elections analyst): I don’t think it will affect 2020. None of the Democratic candidates was really hammering the Trump-Russia thing. And it doesn’t seem to be a major focus with voters either. In a recent CNN poll, respondents were asked to name what issue will be the most important to them in deciding whom to support in 2020, but not a single respondent mentioned the Russia investigation. And as for the campaign trail, Elizabeth Warren recently said to reporters that she wasn’t getting questions on the Mueller report from voters during events in Iowa and New Hampshire.

sarahf: I don’t know if it’s quite fair to say that 2020 candidates haven’t hammered the Trump-Russia thing at all. Beto O’Rourke did accuse President Trump of collusion with Russia in the 2016 election in a speech he gave on Saturday (before Barr’s letter was public).

natesilver (Nate Silver, editor in chief): Are you saying that it won’t affect the 2020 general election? Or the 2020 Democratic primary?

nrakich: The primary.

There’s more of a chance it affects the general election. But attitudes do seem pretty baked in at this point.

natesilver: On the primary, I tend to agree, although the counter-factual where Mueller finds some huge smoking gun … it seems like things might be different then. At the very least, Democrats would have to stake out a clearer position on impeachment.

It is somewhat telling that none of the 2020 candidates had made the special counsel investigation a particular focus of their campaigns. Maybe you have someone like Beto who has talked about it, or maybe even said a few things he might consider walking back, but it’s not like it’s “Beto O’Rourke, the Russia candidate.”

Eric Swalwell sort of has tried to run on that in the invisible primary, and there doesn’t seem to be much interest in his campaign.

And Michael Avenatti was sort of running on that basis before he encountered … uh … other problems. And there wasn’t much of an appetite for an Avenatti campaign either, with him polling at 1 percent or so back when he was included in surveys.

nrakich: Yeah. Democratic congressional candidates in 2018 won largely by running on bread-and-butter issues, like health care. The 2020 candidates understand that.

And speaking of health care, Trump may have already stepped on his good-news surge from the Mueller report by bringing up Obamacare repeal again.

natesilver: Yeah. I mean, there’s just sort of so much that Trump is putting into the washing machine that both good stories and bad ones sort of all come out in the wash. (I think I butchered that metaphor.)

It’s not crazy to think that the Affordable Care Act could be more consequential to 2020 than the Mueller report. I don’t think I think that, but it’s not crazy. Rank-and-file voters care a lot about health care.

sarahf: But don’t you think that if House Democrats continue to pursue an investigation-heavy agenda, they risk alienating voters?

natesilver: I mean, I think the Michael Cohen testimony was fairly effective for Democrats. It was pointed and dramatic, and it took a day, rather than dragging on for months.

nrakich: And there are other investigations of Trump going on, including those over allegations of campaign-finance and emoluments clause violations.

natesilver: So, like, Democrats have to pick their shots. And maybe the threshold is higher, post-Mueller. But I don’t get the notion that they can’t pick their shots fairly effectively. House Speaker Nancy Pelosi seems to have pretty good control of her caucus.

sarahf: But I guess that’s my question. Will the American public have the same appetite for those investigations? Or do Democrats risk their investigations being viewed in too partisan of a light?

nrakich: I just don’t know that it will matter one way or the other.

natesilver: Remember that the Mueller report itself has not been released. And even though I’m quite skeptical that what’s in the Muller report can be that much worse for Trump than what’s in Barr’s summary, it will affect public perceptions quite a bit if Republicans are slow to release the Mueller report.

sarahf: That’s true — that could work in the Democrats’ favor. (House Democrats have demanded the Justice Department turn over the full report by April 2.)

perry (Perry Bacon Jr., senior writer): Some of the Democrats in Congress are suggesting that the party should broadly back off of Trump-related investigations (not just the Russia probe) and focus more on policy. I think that’s an important internal debate where there will be different views in the caucus. Some members from purple/red districts have never been that excited about an anti-Trump focus, and I assume that the Mueller report news from last weekend will push them even further in that direction.

nrakich: Perry, I would agree with that if I were advising a presidential candidate, but I’m not sure that it’s going to matter what Congress does.

natesilver: Part of me wonders whether House Democrats will investigate Trump more than they “should” in the sense of it being politically optimal just because they have a lot of time on their hands.

They can’t really pass much legislation that’s going to get through the Senate and through Trump. But they sure as hell can investigate.

nrakich: It’s pretty normal for the House to ramp up the investigations under divided government.

And just glancing at the data, it doesn’t seem that the party in control of the House at that time suffered political consequences for it later on.

The strength of the candidates at the top of the ticket is probably what’s going to dictate if those red-district Democrats keep their seats in 2020.

perry: I do think the “release the report” argument from Democrats is important. Media reports that Trump tried to stop or stall the investigation are different from an official Justice Department report saying it and giving lots of details.

I think the Democrats can only gain from the Mueller report’s release. I’m not saying that it will change anyone’s vote in 2020 necessarily, but it will be useful for the Democrats to have the details out there.

sarahf: But OK, what does this mean for Republicans? How will they use the investigation in 2020?

perry: One way to look at it is that the results of the investigation weren’t great news for someone like Maryland’s Republican governor, Larry Hogan, who has been hinting that he is open to challenging Trump in a GOP presidential primary.

Not that Hogan had much of a chance to begin with, but this closes one potential avenue for a GOP challenger to Trump.

nrakich: Yeah, basically the only prayer for Bill Weld or another Republican hopeful was for Trump to be indicted, AND the economy to tank, AND the pee tape mentioned in the Steele dossier to come out … it had to be a perfect storm.

natesilver: I do want to push back at something Perry said first. Clearly, Democrats would not gain from the report being released if it’s extremely skeptical about anything resembling collusion.

perry: I felt like Barr’s summary was already pretty skeptical, so it’s hard to imagine the full report being even more skeptical.

natesilver: I just think there’s a middle ground where Barr can probably spin things a bit, but if he spins too much, it’s very risky if the report eventually gets released or if details surface through other means (i.e., leaks).

perry: In terms of the Republicans, I think Trump and his allies were going to attack the Justice Department officials who were involved in the Russia investigation and the media outlets that covered the investigative intensely no matter what. But that instinct to attack the media and the group of people who started the Russia investigation will be reinforced by this report.

I think a big part of Trump’s 2020 campaign will be an anti-institutional argument. Which he was making in 2016 too, I suppose, but the anti-media, anti-“deep state” part will be even more aggressive.

natesilver: It’s a thin line, though, for Trump to attack the media while also getting relatively friendly coverage about the Mueller report. And I’m not sure that I trust the White House to walk that line effectively. Like, I think they’ve been dunking a bit too much and not using this report to maximize their standing with swing voters.

sarahf: But just think of the chant at the rallies: NO COLLUSION!

natesilver: It will be “WITCH HUNT!!” “NO COLLUSION!!” like the old “TASTES GREAT!!” “LESS FILLING!!” commercials (dating myself here).

perry: I’m not sure this is a good election strategy. I just think it’s likely to be what happens — hating the media and the “deep state” is going to become a bigger part of GOP politics now.

natesilver: Yeah, and as I wrote a couple of days ago, Trump could stand to gain among Trump-skeptical Republicans who are also skeptical of the media.

sarahf: A key demographic to watch will also be independents and how they respond. As Nathaniel wrote previously, there was some polling that showed independents weren’t against the investigation. But I wonder if that changes or shifts now.

natesilver: Also given the timing of this … the Mueller report is coming early enough that if it had been really bad, Republicans could have considered taking an off-ramp from Trump.

But suppose, hypothetically, that there’s some new scandal. It’s going to take a lot of time to metastasize into something. And it’ll be too late for Republicans to nominate someone else for 2020, most likely.

So they’re probably fairly committed to Trump as their nominee at this point, and that’s likely to start affecting their behavior right away. Not that there was ever much of a chance that Republicans would nominate someone else, but if there was just the slightest bit of daylight, there’s less now.

perry: And you’re already seeing signs of that. Republicans like Nebraska Sen. Ben Sasse, who used to criticize Trump a lot, are now trying to portray themselves as more pro-Trump.

Will it be harder for elected Republicans to criticize Trump when he does more outlandish things? I think so.

Trump has gained more and more control of the GOP over the past two years. And I think he’s strengthened by the ending of the uncertainty that surrounded the Mueller investigation while it was underway.

natesilver: So maybe that’s the simplest effect. It will increase the degree of party unity behind Trump.

perry: Jumping back to the Democrats, there are basically two camps among the presidential candidates. One group says that Trump is bad, but the country’s problems are much broader — rooted in the unequal power that the wealthy and elites wield. (Elizabeth Warren and Bernie Sanders fall into this camp.) The other group says the problem is Trump and to some extent the Republican Party. (Most of the other candidates fall into this group.)

Because Trump has not been implicated by the Mueller investigation (at least based on Barr’s summary of the report), I think we’ll see Democratic primary candidates move toward the Warren-Sanders view. And that’s important.

I’m not sure if Warren or Sanders will win the primary, but it will be interesting to see if their broader vision takes hold within the party.

natesilver: My initial instinct, FWIW, was the opposite — that if the Mueller report has any effect (it probably/might not), it would help the more centrist candidates because Trump will be seen as more formidable now and therefore a higher premium will be placed on “electability.”

nrakich: It’s not a single spectrum, though. Perry is right that, say, Kamala Harris and Kirsten Gillibrand have been running more explicitly anti-Trump campaigns than Sanders and Warren have. But they’re all still lumped together as “progressive.”

natesilver: What about the Booker/Buttigieg/Beto gang, who have been running on a more upbeat, optimistic message?

perry: Electability is a huge focus of this primary. Full stop. But I also think the day-to-day exchanges in this campaign are about policy, and even people like Booker/Buttigieg/Beto

are moving toward more aggressive ideas like getting rid of the filibuster and the Electoral College.

It’s complicated. I feel like the primary is moving to the left on policy but is also really shaped by electability.

natesilver: It does seem like there are four quadrants. On the one hand, there’s “everything is going to hell” vs. “everything is going to be OK.” On the other hand, there’s “Trump is the biggest problem we’ve got” vs. “Trump is just a symptom of larger issues.”

sarahf: OK, so it sounds as though we think the effect of the Mueller report could be felt in two key ways in 2020:

There will be greater party unity behind Trump, regardless of how he chooses to spin the report’s findings (and setting aside the question of whether that’s a good strategy for winning swing voters).

Democratic presidential hopefuls might redirect their focus from Trump to saying the problem is bigger than Trump.

What else would you add?

nrakich: I’d just qualify No. 2 by saying that I don’t really think the Mueller report will have any effect on the primary. Primary voters are already partisan Democrats and have made up their minds about how shady Trump is.

natesilver: I don’t know. There was a mainstream media perception post-midterms, post-shutdown (Remember the shutdown? It wasn’t that long ago!) that Trump was in deep trouble and wasn’t so Teflon after all. Now you literally have headlines saying “TEFLON DON” and scoldy media people scolding other people in the media for underestimating Trump again. So the background climate changes a little bit.

Does it precipitate a change in behavior from the Democratic candidates? Maybe not.

nrakich: Yeah. Maybe it makes Democratic voters more concerned about the issue of electability in the short term. But “electability” means different things to different people. And in the long term, who knows?

natesilver: I’d just say that the Mueller news cycle already feels pretty different 48 hours later. You have some crazy stories — Avenatti, Jussie Smollett. You have the Justice Department taking a new position on Obamacare. You have this controversy over when and whether the Mueller report itself is going to be released. The news cycle moves on pretty quickly.

nrakich: Exactly.

I look forward to summer 2020 when we’re all talking about the political implications of Oprah giving every American a universal basic income.

[filmfreak1994]

Change the Channel

A lot of people have been talking about their experiences with Channel Awesome in the wake of the 60+ page document released by Allison Pregler and several other former content creators for Channel Awesome. I figured I might throw my own experience with the site and its people (mostly Doug) too while the topic is relevant, even considered dusting off the old camera I got for Christmas to film a video but allergy season is upon us and I’m coughing up my lungs so the written word it is.

I was a frequent user of YouTube in the early days of its inception, mostly to look up viral videos and just go on a stream of pointlessness for hours on end with each recommended vid in the sidebar (mostly consisting of parodies to Star Wars, LotR, and entire Simpsons episodes uploaded before the great purge of early 2008). In all that time between 2006 and 2007, reviewers like the Angry Video Game Nerd and The Nostalgia Critic eluded me. I saw plenty of the 5 Second Movie clips and thought they were hysterical but didn’t even make the connection that they were made by a “Nostalgia Critic” until around the end of 2009, when a friend of mine at school told me to look up NC’s review of Sonic the Hedgehog (the weird TV show and the futuristic evil Jim Cummings one). I finally gave in which led me to watching some of his other, recent reviews like the “Star Wars Holiday Special” which was freaking hysterical (and still brings a warm smile to my face just thinking about it). By the time the new year rolled around and I had discovered That Guy With The Glasses I was hooked.

For a while I stuck to watching reviews on YouTube when fans would rip them from the main site, but decided to eventually support the site itself where I mostly stuck to NC videos but also watched content from the other producers when it interested me; Spoony and his Final Fantasy reviews, Linkara and any comic with a subject material I was familiar with, Marzgurl and her Don Bluth retrospective, so on and so forth. Like many other people, I wasn’t keeping up with every producer’s videos weekly like I was with NC, but when I decided to watch something else their content was worth it, being funny and informative all at once, even creating new branches of my interest and giving me new perspectives on media criticism.

I watched Nostalgia Critic religiously every week and, sorry to say, started to take his opinion as gospel, and the opinions of other reviewers as well, treating certain movies and shows as bad just because they said so and didn’t have an opinion for myself for the longest time. It was when I started to pay attention to Doug Walker himself and his philosophy that you should like what you like and every movie is a miracle that I started to chill out and even disagree with his opinions at times (I remember his “Little Nemo” review made me seek out that movie and I actually quite enjoyed it).

TGWTG was a formative site for me in my high school years, developing much of my sense of humor and how I look at movies. I watched all the anniversary specials, started to watch a greater portion of producers that included Lindsay and Kyle’s more analytical reviews and Brad Jones’s and Matthew Buck’s mix of cynicism and snark with genuine analytical praise and criticism. I even started to look at music critics like Paw or Todd even though I can’t judge music for shit (if it has a catchy beat I’ll more or less dig it, I’m not picky). I always imagined when I moved out for college (yeah, how’d that work out for ya, younger me) that I would start my own review series in the vein of these online personalities and even be picked up for the site where I too could join in on the anniversary movies and have a swell time and make friends with the people I looked up to and have a good time filming huge crossover events with them (in hindsight I can only imagine what role Doug would have me play in them, if I was even deemed important to be in them at all). Whenever people criticized the anniversary movies I just shrugged it off and said, “Yeah, they’re dumb, but I like em anyway,” and when rumors starting going around about some upside down crucifixion going on I shrugged them off as just rumors (and to be fair it wasn’t upside down but the real thing isn’t much better).

Anyway, around the time when To Boldly Flee came I enjoyed the movie a lot (I only saw it the once and I was eighteen, eighteen-year-old me and present me don’t get on anymore) and thought it was a bittersweet conclusion to The Nostalgia Critic but was excited to see what new projects Doug and the company would do after its conclusion. Plus the other contributors still had their content to keep TGWTG going strong into the foreseeable future. At least I thought.

I didn’t hate Demo Reel, but I didn’t like it all that much either. I only caught around a few episodes before losing interest, saying I’d get back into it eventually but never going out of my way to see them. By accounts they got better as they went along and I was interested in the episode that paid tribute to Elizabeth Hartman (which I think is the same episode that had Mara Wilson and Arin Hanson? I might be wrong (I didn’t even know who Arin was at the time but hindsight is 20/20)), but I just put off watching them until, oh look, NC’s back. At the time I thought this was interesting, there was plenty he could still do with the character given his new ground rules and the emphasis on skits gave the show a different tune that I felt, at the time, kept it fresh from what it was before. I missed the simplicity of the earlier reviews but I happily stuck with the NC again, as well as the same creators I’d happily watched before and plenty more I started to watch like Phelous (around the time he did that weird Aladdin meets Pagemaster movie, I used to rent that from Hollywood Video all the freaking time).

It was around this tumultuous time that Doug actually kinda started to annoy me. Never to the point where I stopped watching NC, but he sort of seemed to forget his whole “Like what you like,” message and outright attacked fans who disagreed with him. Certain jokes in his reviews rubbed me the wrong way (if Irate Gamer can’t get away with blowing up Ubisoft cuz they wouldn’t let him into a conference, you can’t get away with pretending to blow up Happy Madison just because they make shit movies) and he had a general vindictiveness to those who liked movies like “Man of Steel” or “The Lorax” that just seemed mean spirited and not a funny little video meant to entertain (though I guess the signs were always there like when he added in a dig at “Avatar” in his “Conan” review for no reason). But by and by he seemed to mellow out (no doubt dealing with problems letting go of Demo Reel and how big a success he thought it would be) and I still watched his stuff, including the vlogs he did with Rob regarding “Avatar” (the good one, hey I did it too!), “Korra,” “Adventure Time,” and any recent movie that came out. I started to agree with them less and less but they were still entertaining guys and I liked what they were doing.

Some of the shadier stuff going on at the site more or less flew over my head. The game show they did was pretty much “Demo Reel” part two for me in how much interest I had in it and that faded from public consciousness pretty quickly, and it was around the time the site switched from TGWTG to just Channel Awesome that a real shift began to become more noticeable. People were leaving. People I may not have watched all the time, but they were leaving, often times unannounced and seemingly unprovoked (because quite a few of them were). I read about what happened to Allison, aka Obscurus Lupa, who I had watched on and off again and thought that was pretty shitty, and got a general grasp that the management of CA itself wasn’t very good from what she and Lindsay alluded to (or just straight up said, they really should’ve had some NDAs if they cared so much about how they look) in some posts on Tumblr or Twitter but I still carried on watching NC and the other creators on the site mostly because I just figured what every fan figured at the time, Doug was mostly innocent and it was Michaud and Rob who were the real strings behind big decisions like who stays and goes (I liked Rob fine, but even back then I knew he could be kind of an ass).

More and more people from the classic era of TGWTG were leaving or not producing as much for the site as they did and that was a shame. CA was never what TGWTG felt like to me, even if the purpose was to put more focus on the other producers (supposedly (hell, TGWTG did a way better job of featuring producers in my opinion even if it wasn’t perfect)). But whatever, I carried on every Tuesday watching NC, watching other creators when their stuff interested me, but it still wasn’t quite the same as before, and I had become more aware of the general bad experience most people had filming the anniversary movies even if the full extent of that didn’t come until a few days ago.

It was really when Lewis announced that he had left and I found the Change the Channel hashtag that I started to take notice of these stories, finding plenty of them on my own from the links to Twitter conversations many of the former contributors were having before reading them on the Google doc. I was torn, wondering if I should boycott NC with all that I had read and decided to make it a temporary one until the doc came out and to see if he or CA would provide a statement. Well, the doc came out and the apology not long after. And yeah, I moved it to a permanent ban after that bullshit.

I’ve given up watching people I loved before, JonTron and his racist bullshit was the last straw in supporting anything he did, and even with the Me Too movement I’ve given up any kind of support for people like Kevin Spacey who I used to love as an actor (now it’s pretty easy to see how he was able to play such scumbag villains over and over again). I know Doug isn’t a Nazi or Nazi sympathizer, and to my knowledge he hasn’t used his position to sexually take advantage of anyone (though he has turned a blind eye to others doing the same and the same can’t be said for taking advantage of people in other ways), but I just couldn’t watch stuff directly made by him and for Channel Awesome with all this information. It wouldn’t be right, even with an adblocker. 

I don’t mean to threaten the livelihood of people on his team like Malcolm or Tamara, I like them a great deal and they’re very talented, heck I even enjoyed the skits on NC a lot more than most because of them (and Rachel, she was great too). But I said to myself until an actual apology is listed and some form of action is taken to truly better the site, I wouldn’t watch them. Others have suggested and I have thought the same, that the best thing to do would be to fire Michaud, though I realize this would create a slew of problems given that he owns the IP for NC and is the founder of CA. Still, some form of acknowledgement from the Walkers would go a long way to bettering the public response to all this. More and more contributors have left in the wake of this document, either out of fear for their own image or to show solidarity with the many complaints levied toward the site (and their reasons are completely valid no matter what, they’re trying to make a living), looking at the site today it’s practically a ghost town. I don’t blame those that have stayed for anything, but the reputation of CA is tarnished and at this point, especially with that piss-poor “apology,” it’s going to take several huge leaps to get it back.

I realize the purpose of Change the Channel was never to create a boycott of NC or any of the Walker’s content, at least by the majority of those who contributed to the docs, and those who choose to boycott do so of their own volition. Well, that’s my volition. No matter how much NC shaped my sense of humor in my younger years and inspired me to look at movies critically myself, I can’t deny the damage that Doug and Rob have been complicit in nor turn a blind eye to the shady practices they, Michaud, and past executives on the site have done. 

I really do wish that what was seemingly apparent in front of the camera, that this was a site filled of talented people who were also good friends having a good time, was true behind the scenes as well. People have been hurt, assaulted, taken advantage of, and tossed aside when they were no longer useful to the site. It’s not right, and I’m literally changing the channel until actual change is made.

[postguiltypleasures]

Goodbye to Younger

Unfortunate to say, I don’t think I have ever seen Sutton Foster on Broadway. I watched her previous show, the one season wonder, Bunheads, and felt obliged to follow her to Younger. I don’t have particularly strong feelings about Sex and the City, show runner Darren Star’s previous hit. There are huge gaps in the episodes I’ve seen, and I haven’t seen any since the first movie came out. I enjoyed watching it with friends, but never tried it alone. I bring this up, because I have mostly watched Younger all alone. The series about a recently divorced forty year old woman named Liza who lies about her age to get a job in publishing after years of being a stay at home mom. She lives with an artist friend her real age (Maggie), befriends a colleague her fake age (Kelsey) and quickly get in a love triangle with men from each age group (Charles and Josh, respectively). The first season wasn’t that well received. There were times while watching it that if felt cringeworthy. Criticism of being out of touch with the publishing industry was definitely warranted. I remember reading a review that called out an early plot involving Joyce Carol Oates not having a Twitter account when she really does have one and frequently trends for not great reasons. I cringed while watching that episode. (The reviewer, Miriam Krule was wrong about the long term treatment of the character of Diana. Younger would have been unwatchable if she were right long term.) After the first season Breanne L Heldman published an interesting interview on Yahoo! News with Darren Star and Marti Noxon about having buzzy shows on unexpected networks. But also Kate Dries at Jezebel also wrote an item about Hilary Duff, who plays Kelsey, covering Fleetwood Mac’s “Little Lies” that doubles as a “who’s actually watching Duff’s new show?” bit.

With the second season the press got immediately better. New Yorker critic (and long time SATC fan) Emily Nussbaum wrote a positive review about how the show mixes froth with more serious subjects like agism and difficult divorces. And from then on the critical response was generally good-but inclined to dismiss as fluff.

(I have to interject, the episodes that Liza’s ex-husband showed up seem to dampen the real reasons for their divorce and I am torn between seeing this as a sign of him actually being charming, and the show needing to move on quickly from exploring too dark topics.)

The ensemble gelled and I wanted to highlight this charming interview Molly Bernard, who played Lauren, did an

interview with Maria Elena Fernandez back in 2016. I liked this interview. She talks a lot about what her grandfather meant to her, as a person and acting coach. It covers too many of her gigs to be really insightful for Younger, but that is part of the charm. It’s interesting to focus on Lauren as a character representing the spirit of the series. My first impression was an impersonal, crass caricature of a millennial, what Liza had to work against to convince people that she is a millennial. At the end of the first season she threw herself a “Hot-Mitzvah”, like a Bat Mitzvah for when the awkward years the celebration normally occurs during are over a. The first episode of the final season includes a party for her thirtieth birthday, making something of a full circle moment. The first party definitely worked more for the show’s dramatic purposes, which is related to a theme in this good bye.

During the penultimate season, while the show was was at its peak of being loved by the people, Alissa Wilkinson dedicated one of Vox’s (now defunct) Episode of the Week columns to her changing thoughts on the series’s central love triangle. wrote about. I chose to include this article while I started drafting this, before the season actually aired, in the hopes that I would finish writing by the end of the season. (Obviously, it really didn’t work out.) The article covers Wilkinson’s impression of the show from the beginning. She was Team Charles in the love triangle, but plot points within the first four episodes of the sixth season made her rethink that. As the final season disappointed some of the show’s biggest supporters were disappointed, I thought of it as insightful on how the show could make terrible missteps, and that the love triangle was not as well weighted as viewers hoped earlier on.

The first article I saw going into the final season was on the AV Club written by Innes Bellina. The headline promised that the new episode would remind fans why they love it. Interestingly, it seems positive to optimistic about some aspects of the plot that others would later said made the season terrible, such as Maggie’s plot. It’s even warm towards a plot involving a Greta Thuneberg stand in, that I watched wondering, “will people who like this show more than me love this?” Based on Twitter anecdotes, they mostly didn’t.

At TVLine there were a couple of interviews with the cast. The first, written by Andy Swift is filled with assurances that despite the extended hiatus things will be exactly as intended and as the viewers have always loved. The second is also by Andy Swift and focuses on the Josh/Liza/Charles love triangle. Interestingly they insist that the Love Triangle was never that big a deal, it was always about Team Liza. There is a certain amount of sense to this, but it might also be related to one of the bigger problems fans had with the final season, which is how isolated Josh felt from the rest of cast, especially if they were going to have (spoiler) the implied rekindling of his relationship with Liza that the final scene suggests.

Before the season premiered, Scarlet Harris published an essay in Bitch praising the female friendships, in particular between Liza and Kelsey and Liza and Diana. The essay clearly loves this aspect of the show, but also highlights how dissappointing the the men and the cis hit romantic relationships with them are frustrating. It comes with the hope and the final season would have Liza choosing herself and focusing on her and Kelsey’s friendship and professional goals. It’s an interesting pice to look back on and consider why the final season didn’t satisfy many fans. Ultimately the show was attempting to spin off Kelsey, (in the final episode she announces plans to move to Los Angeles) and it spent a lot the season with her trying to make her job after demotion better, but ultimately deciding that she had to move on. I did kind of like how Kelsey being demoted and Charles returning to his position as publisher wasn’t treated as a reset. That there were lingering frustrations all around. It’s just that some of these frustrations led to real non starters of plots.

If anything prepared me for the change in temperature for this season when the New York Times ran an article by Alexis Soloski pondering if Younger and The Bold Type ending this season meant that this was the end of portraying media jobs as glamorous, well paying and aspirational. It focuses more on The Bold Type, but the general idea that Younger was out of step with the now.

Then came some surprise tweets from Emily Nussbaum:

Man, Younger is bad this season The Maggie plot feels ripped from Californication, of all bad influences A full-on bummer-wish they found a way to just tie things up & end it. It’s not even parodying publishing anymore (and avoiding subjects like race entirely.)

Also, I’m happy to suspend belief, but in what universe would Kelssey [sic], a hardened, trend-spotting Millenial publisher, and Lauren, an influencer publicist, credulously join a reality show & non imagine a bad edit? C’mon.

It’s so bizarre that Younder has shriveled into full hate-watchability in a single season. I can’t remember a steeper quality decline! What the hell happened over there.

So the things that I thought of as quirks of the series that I learned to leave on a curve, were actually things that made people who loved the series deeply dislike the season. This confused me. How to make sense of it?

I'm going to look at a couple of final season interviews and try and make sense from that side.

Laura Benanti, who played the Billionaire (and Liza’s romantic rival) Quinn, was interviewed by Vulture Devon Ivie. She discusses her character’s Sound of Music speech in which she identifies as the Baroness and identifies Liza as Maria. Benanti relates to this speech as she has played both roles. They discuss how the fans frustration with the love triangle directs most of the anger towards Charles, instead of Quinn. While they praise this as an enlightened response, it might also be fans turning on the show. Why invest in a story about Liza’s relationship with Charles when he doesn’t seem worth ending up with?

After the season ended, Sutton Foster gave an interview to Elizabeth Wagmeister at Variety. Foster is very enthusiastic about the final season. She loves how open ended it is about Liza’s love life, (she and Josh reenact their meet cute in the final scene) and that Liza is in a good place professionally. The various frustrating steps getting there aren’t addressed. I like that she and Charles realize they aren’t going to work out and ending things. That might have played better if so much of the season wasn’t about pining for him while he got in a bad relationship with Quinn. The possibility of rekindling things with Josh might have played better if they interacted more in the season. (That said, Josh was always closer to the spirit of the show than Charles. Also this is at least the third show I’ve watched in which the solution to a cis-het couple disagreeing about having children, where the man wants one and the woman doesn’t is resolved by him having a child with another woman. Individually I’m fine with the stories, but I hate that it’s a trend.) Foster also discusses how the show is escapist, and a fantasy while talking about how the show didn’t address COVID-19.

Earlier, I wondered how the show would address the Trump administration, and ultimately, they didn’t. Part of me thinks the thing that went wrong for former fans is related to the attempt to stay light and fantasy like in the face of so many painful changes. For most of the show’s existence I wanted someone to talk to about it in comparison to Sex and the City. It had a more regular plots about not having money and gentrification. Its take on its main four female leads romantic lives ended up differently, but they may have had similar problems with the romantic relationships. Somehow, trying to stay a light fantasy seems to turn into not really learning. I’m not sure if the final season was disappointing because of a decline in quality, or circumstances highlighting its worst tendencies. In any case, it was the show ending I was most ready to say good bye to, and now I have.

[centeris2]

Broken Seals (part 6) (Final)

Derek, and Linda, were thrilled to have all four accounts.

Lisa turned to her music, and Linda to her studies, and Anne focused on her dressage. Alex tried to keep them all together, and they humored her by continuing weekly lunches together. To Alex’s horror the other three seemed fine with drifting apart and going their own ways. Unfortunately, her attempts to remedy what she saw as a problem only brought out their clashing personalities, all four girls strong leaders in their own right, none of them wanted to be forced into anything.

Lisa found that her nightmares decreased as she focused on her music and attending Star Academy, and that relief made music all the more enveloping. Music helped her process and heal, from her mother, from the move, from saving the world. The friends she made through music didn’t make her remember the trauma and pain, and so she drifted into her new friend circle.

Linda sought to cope through understanding and so she read and researched and did everything she could to uncover what had happened to the soul riders of the past. The more she learned the more she could help the future soul riders end the threat of Garnok once and for all. Plus any information she turned up on Mr. Sands could help Derek’s investigation, and the government could no doubt throw some wrenches into Dark Core’s operations as a business.

Anne’s dressage and modeling took off, thanks to Derek’s photography and constant practice with Concorde. To Anne’s surprise she found herself missing school as she traveled. The snide and demeaning comments from coworkers in the modeling industry wore Anne down, the constant reminder that she wasn’t smart discouraging her. Linda sent Anne a copy of Legally Blonde and a note of encouragement, and a movie night and many tears later Anne was arranging for tutors and classes, determined to prove everyone who had insulted her intelligence wrong. The nightmares stayed away when she kept herself busy.

The weekly lunches shifted to every two weeks, then every month, then less often than that. Alex hated how their contact and friendship degraded to the occasion text or social media message. She felt as though somehow they had lost, like Dark Core had won because the Soul Riders had not kept together. And it was isolating, left with no one who could really understand what she had been through. Alex didn’t understand how the others could just bury everything and move on, how they could want to move on. Didn’t their friendship mean anything? It had been beautiful, a wonderful thing that had been born and forged in fire and pain. It was their symbol of victory and now…

Now Alex only had Linda left.

So Alex coped on her own, returning to the Secret Stone Circle to speak to Fripp again and again, desperate to know when Garnok was returning. Was it possible Dark Core would return sooner? Was there a way to destroy them for good? A way to end it all? Alex hated the idea of future generations going through the same war over and over again, there had to be a way to end it, and she would find a way.

Fripp sat in the Stone Circle on a perch, looking at Elizabeth.

“We were lucky this time,” Elizabeth muttered, “they were able to do it on their own.”

“Alex remains interested in learning more, she wants to end this,” Fripp informed the druid.

“Doesn’t she always?” Elizabeth offered the blue squirrel a smile.

“She would make a good druid,” Fripp acknowledged before adding, “what of the measurements?”

“Not good,” Elizabeth admitted, “there is no examples in the records of Pandoria being so active after the Soul Riders’ defeat Garnok. Not like this,” Elizabeth showed the energy readings she had recorded to Fripp.

“It isn’t… unprecedented,” Fripp commented, “but it has not happened since Aideen walked with us.”

“What does it mean?” Elizabeth asked, worried.

“It means we must prepare, you must meet Alex,” Fripp decided.

Alex was caught off guard by a woman waiting for her at the Secret Stone Ring along with Fripp. She introduced herself as Elizabeth, as a druid and Keeper of Aideen. Alex was less than pleased to find out Fripp had more secrets, including an entire organization that could have helped the soul riders defeat Garnok.

“If you knew why didn’t you warn us! Why didn’t you find us and tell us ‘oh by the way stay away from these three girls they are actually evil!’ That would have been great to know!” Alex stormed.

“It was not necessary for us to intervene,” Elizabeth said gently.

“We’re just kids! We could have lost! I could have lost my brother! We could have used all the help we could get and you just… left us!” Alex did not calm down, furious until Fripp landed on her forehead, smacking a small hand against her skin.

Alex froze, eyes going blank. Tincan reared up, bellowing a battle cry to defend his rider.

“Right,” Fripp muttered, knowing he had to remove Tincan’s protection.

“On it,” Elizabeth cast a simple wall around Tincan, enough to trap the horse long enough for Fripp to jump, striking Tincan between the eyes. There was a flash and scream of pain, a shattering echoing through Elizabeth’s mind. Tincan dropped to the ground, unconscious, Alex on the ground as well, hand on her forehead.

“Trust will be easier to establish if they’ve know you all along,” Fripp explained and returned to Alex. Elizabeth nodded and approached the fallen girl staring blankly at the sky as she cried in pain.

“Hello Alex, I am Elizabeth, I helped you understand your powers and introduced you to Tincan…”

The stories of the soul riders changed, they now remembered the druids being with them every step of the way. Alex went to Valedale regularly, hadn’t she always? Anne exchanged letters with Elizabeth, they were both Sun Circle after all, they always talked about the finer points of Sun magic. Linda and Avalon met regularly to discuss books, just like always. Lisa found herself exceptionally self conscious of her birthmark, why wasn’t it a five point star like her symbol? It was a stupid four point star, a botched marking that should have been a perfect five point star. The druids reassured her that it was normal for Star Circle members to be born with different numbers of points. Lisa found comfort in their words, after all they had guided the soul riders this far, why wouldn’t Lisa trust them?

Derek said nothing, knowing something was wrong when Anne began to speak of people she had never mentioned before. He knew whatever force had gotten into the soul riders’ and soul horses’ minds would easily be able to erase his mind as well. So he hid the accounts of the soul riders, knowing they would be important, and did what he could to watch over the soul riders.

But he couldn’t protect Anne in France, or Lisa, or Linda. One by one they vanished, and Derek had no idea what to do.

And then, one day, a new girl arrived in Jorvik.

[aion-rsa]

Winter 2021 TV Preview

https://ift.tt/3oETRt7

Every New Year’s celebration comes along with some excitement, pomp, and circumstance, but rarely has the countdown from 10 felt more urgent in the waning seconds of 2020. Yes, 2020 is just a number and yes, time is just an abstract concept created to explain celestial bodies moving around one another. But darn it all, it still feels great to see “2021” at the top of this article.

2021 will hopefully come along with some good news (though admittedly early signs aren’t looking great on that front). At the very least, however, it should come along with some interesting TV options. Due to COVID-19 production delays, there perhaps aren’t as many confirmed release dates for early 2021 as we’ve seen in years’ past. Still, there are plenty of exciting new and returning TV shows to keep you occupied throughout the chilly season.

Winter 2021 is when Marvel makes its triumphant return to television. The official MCU canon gets started with WandaVision in January before continuing on with The Falcon and the Winter Soldier in March. The newly-branded CWverse will make its debut this season with Javica Leslie’s Ryan Wilder taking up the mantle of Batwoman. And that’s not even to mention other genre options like Netflix’s Fate: The Winx Saga or season 2 of TNT’s surprisingly good Snowpiercer.

What follows are all the new and returning shows in winter 2021 that we’re excited about. You can also check out a list of our most anticipated returning British series here and new British series here.

Prodigal Son Season 2

Jan. 12 on Fox

Audiences were captivated by a shocking season 1 finale for Fox’s crime thriller Prodigal Son, and season 2 will continue the story of police profiler Malcolm Bright (Tom Payne), and his notorious serial killer father Martin Whitly (Michael Sheen). Malcolm’s sister Ainsley (Halston Sage) has gone from intrepid reporter to protector of family secrets by following her father’s deadly instructions.

With Malcolm’s life in disarray as a result, Prodigal Son season 2 will find him protecting his mother Jessica (Bellamy Young) from a secret that could tear the family apart even worse than before. Martin, meanwhile, is determined to strengthen the growing bond between him and his “prodigal son,” and the relationship is bound to produce more twists and revelations when the show returns on Jan. 12, 2021. – Michael Ahr

Superstore Season 6

Jan. 14 on NBC

Superstore will be taking a bow with its current sixth and final season, but there’s a big status quo change that will add plenty of drama to its final episodes. Jonah (Ben Feldman) will have to find out how to move on from Amy (America Ferrera) after her exit from the series less than three months ago. 

So far we know that Jonah’s ex Kelly (Kelly Stables) has returned to the Ozark Highlands store. Also, there are rumors that though Superstore is coming to an end, characters Bo and Cheyenne could be getting their own spinoff. Perhaps we see some sort of backdoor pilot? Superstore will air 11 more episodes before concluding in the spring. – Nick Harley

Search Party Season 4

Jan. 14 on HBO Max

In addition to being a great TV show in general, Search Party belongs on a short list of the best “well…how did we end up here?” entertainment properties. This dark comedy from Sarah-Violet Bliss, Charles Rogers, and Michael Showalter began with one young millennial’s decision to go looking for a missing acquaintance. Somehow that led to no fewer than two murders and the trial of the social media century. For its fourth season, Search Party will up the ante yet again.

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Search Party Season 4 Review (Spoiler-Free)

By Daniel Kurland

TV

Cassidy Diamond is Search Party Season 3’s Vocal Fry Queen

By Alec Bojalad

As evidenced by the end of season 3, Dory Sief (Alia Shawkat) finds herself kidnapped and held by her stalker (Cole Escola). While Dory is missing, her friends Elliot Goss (John Early), Portia Davenport (Meredith Hagner), and Drew Gardner (John Reynolds) try to move on with their lives before deciding to make the name of the show make sense again. Search Party proved to be a modest cult  hit when it originally aired its first two seasons on TBS. That was enough to get seasons 3 and 4 to HBO Max, where hopefully it will confuse and delight audiences for years to come. – Alec Bojalad

WandaVision

Jan. 15 on Disney+

Give it up for Marvel Cinematic Universe’s wackiest installment yet. Partially filmed in front of a live audience, this nine-episode TV series centered around Wanda Maximoff, aka Scarlet Witch (Elizabeth Olsen) and The Vision (Paul Bettany), is poised to herald in the new, Disney+ era of MCU. 

While showrunner Jac Schaeffer has kept mum on the exact details of the plot, trailers tease a trip down TV sitcom memory lane that appears to be some kind of collective (forgive us) vision shared by Wanda, her late boyfriend android Vision, and others. We’ll have to wait to find out if it is a reality created by the uber powerful Wanda herself, driven by her grief over Vision’s Infinity War death, or if there is another force at play here. Whatever the answer, WandaVision looks to be a wild ride. – Kayti Burt

Disenchantment Season 3

Jan. 15 on Netflix

While Matt Groening is best known for a certain animated on Fox series that’s run for…a few seasons, to some he will always be known as the mastermind behind beloved cult animated hit Futurama. And it’s that series that fans hoped for more of with the announcement of the fantasy kingdom set Disenchantment for Netflix. Through two seasons, Disenchantment hasn’t reached Futurama’s heights yet (because really: what could?) but it has delivered on the promise of exciting, serialized storytelling in a wacky animated world.

Disenchantment season 3 is set to open up the show’s storytelling even more. The end of season 2 (or Part Two, per Netflix) finds Bean (Abbi Jacobson), Luci (Eric Andre), and Elfo (Nat Faxon) trapped in a catacomb surrounded by “Trogs” and Bean’s villainous mother Queen Dagmar. Season 3 trailers reveal that Bean and the gang won’t spend much time here, however, and will instead eventually make it to the previously hinted-at steampunk world known as Steamland. With the show transitioning from magic to science only three seasons in, perhaps it’s not much longer before we get a proper Futurama crossover. – AB

Servant Season 2

Jan. 15 on Apple TV+

The premise of Servant’s first season was a simple yet unnerving one. The M. Night Shyamalan-produced Apple TV+ series found two parents, Dorothy (Lauren Ambrose) and Sean Turner (Toby Kebbell), dealing with the death of their son by caring for a “reborn” doll named Jericho. The doll was creepy enough to begin with but made creepier by the Turners bringing a young nanny named Leanne (Nell Tiger Free) aboard who immediately accepts the doll as a real child without questions. And that was all just the setup for a show that absolutely wasn’t satisfied to let weird enough alone. 

Season 2 finds Leanne on the run with Jericho and also perhaps with a cult? I don’t know, Servant really is a lot. The real question, however, is what kind of meals Sean will be preparing this year. As a professional chef, the character was always known for cooking up something truly delicious (and usually gruesome) in his expansive Philadelphia home kitchen. Hopefully he still has enough time to cook with all the missing baby and cult stuff. – AB

Batwoman Season 2

Jan. 17 on The CW

Batwoman is gone; long live Batwoman. Ruby Rose’s Kate Kane is out of the picture, but Javicia Leslie’s Ryan Wilder is here to put her own spin on the black and red suit. We’ve seen the first two episodes of season 2, and we can’t wait for more! The series makes room for Kate’s loved ones, Gotham, and the audience, to mourn her, while Ryan quickly establishes her own origin story and relationship to all our favorite returning characters, who have very different reactions to her presence.

Like Kate before her, Ryan opens up the world of superheroics to new communities. Oh and that villain Safiyah they teased all last season, who even makes Alice scared? Buckle up because she’s coming to Gotham and she’s not messing around. – Delia Harrington

All American Season 3

Jan. 18 on The CW

This CW sports drama breakout returns for a third season with a whole new set of problems for Spencer James, who returned to his former school, South Crenshaw, at the end of Season 2 in order to keep it from becoming a magnet school. From the looks of the Season 3 trailer, Spencer continues to be caught between two worlds; his former teammates at Beverly Hills High can’t get past the color of his jersey.

Meanwhile, Coach Baker’s own transition to South Crenshaw is anything but smooth, as he has to deal with a hostile school principal who has raised the required GPA for student athletes. Additionally, All American plans to explicitly integrate th Black Lives Matter protest in Season 3, promising another season that is as relevant as it is dramatically addicting. – KB

Riverdale Season 5

Jan. 20 on The CW

Riverdale’s fifth season will open with the prom, finishing up the season four stories that were cut off early due to COVID-19, with the trailer teasing eerie violence, plenty of twists, and a possible Barchie hookup. Then the show will fast-forward seven years to show the gang in their mid-twenties AKA at their actual ages. The main cast is returning, with Riverdale parents Skeet Ulrich (FP Jones) and Marisol Nichols (Hermione Lodge) leaving the show.

Riverdale has cast Veronica’s husband and he’s not played by KJ Apa or his secret twin, so we’re going to need some serious explanation about what happened to Varchie – and why, if they broke up, it wasn’t so Beronica could finally get together. Vanessa Morgan’s IRL pregnancy will be incorporated into Toni Topaz’s storyline – hopefully that means a gayby for Choni! Whatever comes next, it will definitely be bonkers-drama, stylized as hell, and at least 75% murder-y. – DH

Nancy Drew Season 2

Jan. 20 on The CW

If you skipped Nancy Drew last year because you think there are too many reboots and remakes, take this as an opportunity to correct your error! Part Veronica Mars, part ghost story, and actually as cool as Riverdale hopes to be, this refresh of the beloved books is a take on high-stakes small town crime, the haves vs the have-nots, and every conceivable legend involving a sea witch that fictional Horseshoe Bay, Maine has to offer.

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How Nancy Drew Succeeds as an Adaptation Where The Hardy Boys Fails

By Lacy Baugher

TV

How Nancy Drew Has Reinvigorated the Dark Young Adult Drama

By Lacy Baugher

This season Nancy and friends are left to deal with many cliffhangers – including visions of their own deaths! Season 2 promises more of Nancy dealing with learning who her real parents are and the mysterious and deadly Aglaeca and its connection to the Marvin family. – DH

Walker 

Jan. 21 on The CW

The CW is rebooting the 90s television hit Walker, Texas Ranger for a new action series titled simply Walker, premiering January 21, 2021. Jared Padalecki takes on the titular role in his first outing after wrapping up 15 years on the network’s juggernaut series Supernatural. Texas Ranger Cordell Walker is haunted by the death of his wife Emily (guest star Genevieve Padalecki) as he returns to Austin after two years undercover.

Much of the drama centers on Emily’s suspicious killing, but Walker also must reconnect with his creative and thoughtful son August (Kale Culley) and his headstrong daughter Stella (Violet Brinson) while navigating clashes with his parents and brother. He also finds unexpected common ground with his new partner Micki Ramirez (Lindsey Morgan), one of the first women in Texas Rangers’ history. – MA

Jurassic World Camp Cretaceous Season 2

Jan. 22 on Netflix

Netflix and Dreamworks Animation’s Jurassic World Camp Cretaceous really could have been a phoned-in effort. The formula to success on such a series would appear to be: get the coveted Jurassic World license, animate some dinosaurs, throw the product out there, and profit. It’s to the show’s credit, however, that it sought to be a much more entertaining and enriching experience in its first season than mere IP mining. 

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Jurassic World: Camp Cretaceous – The Origins of Bumpy Revealed

By David Crow

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Jurassic World: Camp Cretaceous Reveals That Friendship is When Trust Defeats Loneliness

By Alana Joli Abbott

Season 2 of the show will find the lead children outside the friendly confines of Camp Cretaceous but still trapped on Isla Nublar and looking for a way out. Camp Cretaceous excelled in creating an intense, yet still family-friendly narrative in season 1 and season 2 seems poised to do the very same. – AB

The Blacklist Season 8 

Jan. 22 on NBC

When The Blacklist returns for the remainder of its eighth season on NBC, expect the already rapid pace to be increased. “The next season, season eight, starts in a much more heightened and dramatic place than normal seasons do,” writer and producer John Eisendrath told Cinemablend. “We are gonna tell the story that we were unable to tell at the end of last season.” 

The latest season continues the ongoing saga of enigmatic antihero “Concierge of Crime,” Raymond Reddington (James Spader), the world’s most-wanted criminal who – unbeknownst to the general public – enjoys an immunity deal with the F.B.I. in exchange for leads about his vast array of criminal contacts (the titular blacklist), frequently shadowed by special agent Elizabeth Keen (Megan Boone), who, as revealed later in the series, happens to be the daughter he conceived with a deadly Russian spy. – NH

Fate: The Winx Saga

Jan. 22 on Netflix

Netflix has taken on the daunting task of adapting Winx Club, a beloved Nickelodeon animated series, into a live action teen fantasy series called Fate: The Winx Saga, which drops its six hour-long episodes on Jan. 22, 2021. The story follows Bloom (Abigail Cowen) as she adjusts to life as a fairy at Alfea College, a magical boarding school in the Otherworld, where she must learn to control her dangerous powers. 

The live action series promises to be darker and edgier than its predecessor as the fairies fight the Burned Ones, but Fate: The Winx Saga hopes to capitalize on the original’s iconic set of strong female characters to build an equally addictive genre series. The male specialists from the animated series will also be on hand, including Bloom’s love interest, Sky (Danny Griffin). – MA

Charmed Season 3

Jan. 24 on The CW

Like many a network TV show, Charmed was forced to cut its second season short due to the COVID-19 pandemic, which left a lot of plot threads hanging—the biggest, a brewing battle against the Faction. Season 3 promises to see that power struggle through, with Macy, Mel, and Maggie jonseing for a fight in the trailer. 

“I’m afraid not even the Charmed Ones can survive the death of all magic,” we hear someone voiceover in the sneak peek. If you’ve given this reboot a pass because you’re loyal to the original, now’s the time to reconsider. This show is forging its own path, and it’s filled with supernatural delights. – KB

Snowpiercer Season 2

Jan. 25 on TNT

The original 2013 film Snowpiercer has gone down in history for two main reasons. First of all, it’s another superb entry into the film canon of director Bong  Joon-ho, who would go on to strike Oscar gold with Parasite. Secondly, it’s the movie where Chris Evans earnestly delivers a line about eating delicious babies. Beyond even those two heavily memeable factors, however, Snowpiercer is a great, exciting, and class-conscious movie.

The real surprise about the film Snowpiercer, however, is that the TV series it inspired is also pretty good! After some behind the scenes difficulties and a slow start, Snowpiercer chugged right along in its first season to become one of the more interesting cable TV dramas on television. Season 2 is set to become only more intriguing with the addition of Sean Bean as the elusive Mr. Wilford and with the train quite literally coming off the tracks. – AB

Resident Alien

Jan. 27 on Syfy

Sometimes a title is so good and so of its moment that the powers-that-be have no choice but to make a TV show out of it. Such is the case with Syfy’s Resident Alien. “Resident alien” is, of course, a (rather outdated) term for an individual residing in a country without having yet achieved citizenship. It also brings to mind the concept of actual outer space aliens. Resident Alien, based on the comic of the same name by Peter Hogan and Steve Parkhouse, takes that latter concept and just runs with it. 

Syfy’s adaptation will star Alan Tudyk as the titular resident alien, Captain Hah Re/Dr. Harry Vanderspiegle. After “Harry” crash lands in a small Colorado town, he must go undercover as a doctor, while also…solving a murder mystery? This all sounds like a fascinating mashup of genres with a satisfying arc at its center. Also Linda Hamilton is involved, so that’s pretty rad. – AB

Firefly Lane

Feb. 3 on Netflix

Veteran actresses and former TV doctors Katherine Heigl (Grey’s Anatomy) and Sarah Chalke (Scrubs) are coming together for a new take on a decades-spanning dramedy a la This is Us for Netflix. An adaption of the bestselling novel by author Kristin Hannah, Firefly Lane finds the pair set on teaching audiences that “the greatest love story of all can be between friends.” 

With a story spanning 30-years, the pair of friends experience tragedy, triumphs, love triangles, and all of the tear-jerker, life-affirming moments one can hope for. Ali Skovbye (When Calls the Heart) and Roan Curtis (The Magicians) will portray younger versions of Heigel and Chalke, respectively, and the rest of the cast is rounded out by Ben Lawson (Designated Survivor), Yael Yurman (The Man in the High Castle) and Beau Garrett (Girlfriends’ Guide to Divorce). The 10-episode series hits Netflix on February 3. – NH

The Equalizer

Feb. 7 on CBS

After successful big-screen adaptations with Denzel Washington, The Equalizer is back on television this winter, this time with Queen Latifah stepping into the role as the titular protector. Latifah stars as Robyn McCall, an underground vigilante who is the crime fighter you call when you can’t dial 911. 

Balancing being a mother with helping the defenseless by any means necessary, McCall must evade those that seek to harm her as well as Chris Noth’s CIA Agent William Bishop. The series also stars Lorraine Toussaint (Orange is the New Black), Tory Kittles (Colony). and Adama Goldberg (Taken, Fargo). The reimagining premieres on CBS on Feb. 7 after the Super Bowl. – NH

Black Lightning Season 4

Feb. 8 on The CW

Black Lightning’s fourth and final season will pick up where its many season three storylines left off. Jefferson Pierce and his family are still fighting to keep what’s left of Freeland safe. Following congressional approval for a boarding school for metahumans last season, expect to see Dr. Stewart working on that, and it’s hard to imagine Jefferson not being involved as well.

Nafessa Williams and China Anne McClain return as Thunder and Lightning, although we’ll be seeing a bit less of Jennifer as McClain had already decided to leave the show after this season before it was announced as the final one for the show. There’s a Painkiller spinoff in development, so expect a backdoor pilot. Crime boss Tobias Whale is still at large and Gravedigger is still out there, and Jefferson no longer has Billy Henderson to have his back, so things might get a little rough. – DH

Clarice 

Feb. 11 on CBS 

How do you make a show centered on Clarice Starling, author Thomas Harris’ FBI agent trainee popularized on-screen by Jodie Foster in Jonathan Demme’s Silence of the Lambs, without her most famous adversary Hannibal Lecter? Well, CBS is going to try. Rebecca Breeds stars as the titular agent in this sequel series, which finds Starling heading back to her native West Virginia to work a case while her mind is still preoccupied by her experiences hunting Buffalo Bill. 

The series will also feature Starling’s FBI colleague Ardelia Mapp, played by Devyn Tyler, and kidnapping survivor Catherine Martin, played by Marnee Carpenter. Speaking with Entertainment Weekly, executive producer Jenny Lumet said, “She came face to face with the worst of what we have and the worst of what we are, and lived through it. If you imagine a puzzle box of puzzle pieces all thrown up into the air – that was the experience that she had with [serial killer] Buffalo Bill.” Unfortunately due to legal reasons, the series cannot mention Lecter, which should be an interesting hurdle, but will explore the shared trauma between Martin and Starling. – NH

Tribes of Europa

Feb. 19 on Netflix 

German science fiction captured Netflix viewers’ hearts with the time travel series, Dark, and now the post-apocalyptic Tribes of Europa hopes to do the same when it drops its six-episode season on February 19, 2021. The series follows warring factions in the harsh future of 2074 who discover a crashed ship containing a powerful, cube-shaped artifact.

Three siblings Kiano (Emilio Sakraya), Liv (Henriette Confurius), and Elja (David Ali Rashed) get caught in the middle of the bloody war over the cube and are forced to forge their own paths. There’s also the question of what caused the apocalypse and what might be threatening humanity’s existence while the tribes fight amongst themselves. – MA

For All Mankind Season 2

Feb. 19 on Apple TV+

As with many an ongoing Apple TV+ show, many missed the first season of this science fiction drama from Battlestar Galactica’s Ronald D. Moore. And, as with many Apple TV+ shows (obligatory Dickinson shout out), it’s time to reconsider. For All Mankind is an alternate history exploring a world in which the Soviet Union made it to the Moon first, and the global space race never ended.

Joel Kinnaman stars as astronaut Edward Baldwin, but this drama isn’t all white dudes in space. The Soviet Union’s emphasis on diversity in its space program has forced America to do the same, training women and other minorities for space exploration in a way that didn’t happen in our reality. A fascinating blend of real-life history and an imagined path, For All Mankind is a worthwhile watch for any sci-fi nerds out there and, with a Season 3 already greenlit by Apple, holds the promise of more narrative to come. – KB

The Flash Season 7

Feb. 23 on The CW

In a post-Arrow world, it’s up to The Flash to bear the standard of the Arrowverse. Err Berlantiverse. Scratch that, CWverse, apparently. And it will do that with the speedforce destroyed, Barry Allen losing his speed, and Iris trapped in the Mirrorverse. Season 7 will pick up with Team Flash at an all-time low, with Cait MIA and Mirror Mistress Eva McCulloch victorious.

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The Flash TV Episode We Almost Saw

By Mike Cecchini

TV

The Flash Season 7: Jay Garrick Will Return

By Mike Cecchini

Of course one person won’t be returning. Hartley Sawyer, who plays Ralph Dibny AKA Elongated Man, was fired for his racist and sexist tweets back in August, what feels like a solid five years ago. Joe West’s story arc will be inspired by, “the societal changes happening in today’s world,” which sounds like a euphemism for systemic racism, white supremacy, and police brutality, a weightier topic that veteran actor Jesse L. Martin would do an excellent job handling. – DH

Superman & Lois

Feb. 23 on The CW

The CWverse is at a real crossroads. With Arrow done, The Flash past its prime, and Supergirl and Black Lightning nearing their ends, DC TV’s hold over small screen storytelling is loosening. Superman & Lois, as well as a new-hero-driven second season of Batwoman, are looking to change the direction of that momentum. The former is betting on a different screen adaptation of Superman than we’ve seen in recent years: Superman as a parent. 

Superman & Lois is looking to tell a small town story, one led by title characters who are firmly into adulthood and have some very relatable problems—namely, the complicated pressures of raising their two teenage sons while also working. In a time when many parents are feeling the immense weight of childrearing more than ever, Superman & Lois may just end up being one of the most cathartic shows of 2021. – KB

The Walking Dead Season 10B

Feb. 28 on AMC

Wait a minute, didn’t The Walking Dead season 10 finale already premiere a few months ago? Indeed it did. The Walking Dead concluded its 10th and now penultimate season with “A Certain Doom” on Oct. 4, 2020. Due to a major delay in airing said episode because of the coronavirus pandemic, however, AMC decided to go ahead and reward loyal viewers with some extra season 10 episodes.

The Walking Dead season “10B” will consist of six loosely-connected installments that each follow different characters and will help bridge the gap to the show’s 11th and final season. In order, the episodes will be “Home Sweet Home” (Maggie-centric), “Find Me” (Daryl and Carol), “One More” (Gabriel and Aaron), “Splinter” (Eugene, Ezekiel, Yumiko, and Princess), “Diverged” (Daryl and Carol again), and “Here’s Negan” (Guess who). While this extra half-season clearly exists in part to milk AMC’s zombie cash cow as it nears the end of its life, the storytelling possibilities under capable showrunner Angela Kang are undeniably intriguing. – AB

The Falcon and the Winter Soldier

March 19 on Disney+

One of several Marvel TV offerings coming to Disney+ this winter is The Falcon and the Winter Soldier, which got pushed from its original August 2020 release date to March 19, 2021. The miniseries picks up after the events of Avengers: Endgame as Sam Wilson (Anthony Mackie) and Bucky Barnes (Sebastian Stan) team up for a global adventure that will apparently test their abilities and their patience.

Daniel Bruhl will reprise his role as Helmut Zemo, the Sokovian citizen turned terrorist mastermind who, in Captain America: Civil War, engineered the rift between Tony Stark and Steve Rogers. Emily Van Camp also jumps from that film to The Falcon and the Winter Soldier as SHIELD Agent Sharon Carter, grandniece of SHIELD founder Peggy Carter. Wyatt Russell will play John Walker, better known to Marvel fans as USAgent. – MA

Solar Opposites Season 2

March 26 on Hulu

Through four seasons Justin Roiland and Dan Harmon’s Rick and Morty has proven itself to be one of the most exciting and narratively complex animated series around. So folks could be forgiven for assuming that Roiland’s next animated effort, alongside Rick and Morty writer Mike McMahan, would be all but an equally brainy carbon copy. But while Solar Opposites has the same animation style and intergalactic environs as Rick and Morty, season 1 proved that this was a hilarious beast all its own.

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Solar Opposites Season 3 Confirmed

By Alec Bojalad

TV

Solar Opposites Character Guide

By Joe Matar

Solar Opposites is essentially Roiland’s version of a wacky neighborhood sitcom. The neighbors at the show’s center just happen to be outer space aliens technically charged with overtaking the citizens of Earth (they swear they’ll get around to it eventually but don’t seem too motivated). Season 2, which was ordered at the same time as season 1, will continue the Earthbound adventures of Terry (Roiland), Korvo (Thomas Middleditch), and their two “replicants” Yumyulack (Sean Giambrone) and Jesse (Mary Mack). Solar Opposites was not afraid of some serialized storytelling in its first season, and who’s to say we won’t get another background story as epic as The Wall saga. – AB

Shadow and Bone

April on Netflix

Netflix has experienced quite a bit of success when it comes to bringing fantasy adaptations to its servers. Shows like The Witcher, Cursed, and Chilling Adventures of Sabrina have all found success (to differing extents) on the service. It’s no mystery then why the streamer would go out and snag the rights to Leigh Bardugo’s Grisha trilogy.

The first novel in the trilogy, Shadow and Bone, lends its name to this live-action adaptation. Shadow and Bone is set in a world that’s divided in two by a massive barrier of perpetual darkness. When orphan Alina Starkov (Jessie Mei Li) discovers she harnesses a particular power, she gets to work trying to unite her country. The Grisha trilogy is well-known for its effective Russian-influenced imagery and is sure to be a production designer’s delight when it premieres in April. – AB

Loki

May on Disney+

The month of May is a bit late to be considered part of “winter” TV season, but depending on where you live in the world, it will probably still be snowing anyway. And plus, it’s not like we can turn down an opportunity to include the third, and in many ways, most intriguing, Marvel Disney+ series.

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Doctor Doom Could be Mystery Villain in Loki Series

By Kirsten Howard

TV

Owen Wilson’s Loki Character is Based on a Beloved Marvel Writer

By Gavin Jasper

By the time Loki rolls out in May, viewers will already have gotten a good idea of what Marvel’s Disney+ offerings are all about thanks to WandaVision and The Falcon and the Winter Soldier. Still, it seems as though Loki (like its titular character) will have plenty of tricks up its sleeve. Based on the bonkers first trailer, Loki (Tom Hiddleston) is primed to jump from the events of Avengers: Endgame right to the offices of the Time Variance Authority where he travels through events in human history…and also somehow becomes D.B. Cooper? Yeah, this is going to be wild. – AB

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