#honestly i respect the creators (mostly) but they do things that make my writer brain unhappy

[begay-doocs]

Well well well, look who's art tablet adaptor got lost.... I've noticed that traditional art doesn't do as well on the internet, but eh. I post mostly for myself. and also because I think a blog will be a neat experiment.

This is My Version of Marc!! otherwise known as Apollo, the holder of the Wolf Miraculous. (new name pending, because lucy and I have decided to do that I think) He's so very dear to me, and I'll probably ramble about him so much more on the alcohol marker pieces im working on.

there is so much lore based on this au, and I can't decide if I should put it all here, or in a new post. either way, lore will be posted soon. Because there is Much To Ramble About. The show lore is a Suggestion and only somewhat considered.

(@lucydoodlessometimes)

showing off the gold pen shinies under the cut

[popculturebuffet]

Animaniacs: King Yakko Review (Comission by BlahDiddy)

Hello my beautiful technicolor rainbow! It’s time for Animaniacs, and while there is no balonga in my slacks there is one last christmas review for my friend to finish up, and after two visits to Acme Lab for the spinoff we’re finishing up with a look at Animaniacs proper.  Suprisingly for a show that stands so easily on it’s own it’s existance is entirely thanks to another show: Tiny Toon Adventures, which had largely the same staff, including ep and co-creator stephen speilberg and Todd Ruegger, who was brought aboard from A Pup Named Scooby Doo. Since TIny Toon was a colossal hit with tons of awards and merch, including some very good video games I wish Warner would find a way to re-release, I mean.. come on if disney can rerelease the disney afternoon games (If...not..for..switch), and LIon King and Aladdin games (If somehow FOR switch), then Warner, which has it’s own game stuido no less, can put together a collection of the good Tiny Toons games when the new show comes out soon. 

Point is it was a mass sucess and Warner Bros likes money, so they had Speilberg try to get Rutger to come up with another show for the two of them to do, something with name value. Rutger found his inpsiration when seeing the iconic warner water tower and taking some platypus characters, came up with our heroes and the rest is history.. well okay he retooled them from plataups’ to early looney tunes and other toons style characters minus the racisim of say bosko the tall ink kid but still, the rest after that is history. And the rest of this review is after the cut

The show was, and KINDA still is, a variety show: taking a page from looney tunes, as well as tex avery’s other work, the crew decided rather than just focus on the warners, to instead create a whole cast with various ensembles to work with so we got Pinky and the Brain, The Goodfeathers, Rita and Runt,  the Hip HIppos, Katie Kaboom, Chicken Boo, and my personal faviorite Slappy Squirrel.. and the bane of my existance, Buttons and Mindy.. or rather Mindy’s Mom. The kid did nothing wrong.  So naturally the first thing Animaniacs related I cover.. is an episode entirely breaking from format for one 20 something minute Warners cartoon. I do intend to do more animanics stuff in the future, so i’ll hopefully get a chance to talk about everyone, I just feel unlike with say house of mouse most people reading this probably know who they all are, and I can save any deep dives for if I cover the characters specifically. Spoilers: there’s probably never going to be a buttons and mindy deep dive unless someone tourtues me by paying for it. 

So with that out of the way, we can dive into the episode.. which I won’t be covering in my usual recap it point by point because the writers have freely admitted that’s not what Animaniacs is about. While some of i’ts SEGMENTS are more story based like Pinky and the Brain, Goodfeathers and Rita and Runt, most are just based on simple set ups to reams and reams of gags. And I love it. I grew up with this stuff not just Tiny Tunes and Animaniacs but the classic Looney Tunes, Tom and Jerry and Droopy shorts. 

Their well timed, well executed feats of comedy and most have aged pretty well.. emphasis on MOST. I’m keenly aware why there are several gaps in the shorts for both Tom and Jerry and The Looney Tunes on HBO Max, including all of the Pepe LePew and Speedy Gonzalez shorts. Also all of Droopy is missing. 

My grumblin aside though, it is VERY NICE to have all the classic Warner and Tom and Jerry shorts at my fingertips and it was one of the biggest selling points of Max for me. Last year I gained an intrest in the old disney theatrical shorts, hence my various birthday specials, so I BADLY wanted to revisit the theatrical shorts I grew up with. And honestly.. Max is the best way to do that: their in crisp hd, in neat season collections (Though the Looney Tunes one is better sorted, tom and jerry’s seasons are just.. random smatterings of shorts across various eras), and most importantly EVERY SHORT they felt comfortable with putting up there is on there. Every. Single. One.  I make a big deal about this because Disney.. has only maybe 30-40 of their hundreds of shorts on there. Now lucky for me the vast majority are still on youtube and I get why some really arne’t suitable.. we probably don’t need the donald duck short where he prepares to shoot a penguin in the face or the Goofy short where his own reflection, the goofy equilvent of tyler durden I guess?, keeps saying “Hey Fat” to him. And yes BOTH of these actually happened. But.. there’s MANY shorts with no clear excuse why their absent like the triplets first apperance, gus’ only apperance, and one a friend told me about.. that time mickey built a robot to box a gorillia. Again not making this up, just wondering why you can’t restore the rest of these for plus. They’ve ADDED shorts ocasionally, but it still dosen’t make a whole lot of sense to just.. not have them all up there. and to not put them in some sorta collection for easier consumption but hey it’s Disney. They either full ass things or half ass it. There is no middle ground.  Point is Warner.. actually cares about their heritage in shorts and honors it and thus has everything avaliable in the best quality, so tha’ts nice.

My point after that detour is I really love this kind of humor, and now as an adult I can see the effort the timing, pacing and character chemistry these shorts had takes. And Rugger and co.. they got it. They got it down perfect. And this episode is a great show of that and just how they barely updated this format for the 90′s. But as I said it’s more about the jokes and basic setup, our heroes are slotted into x scenario and just left to run wild. It’s been the basic seutp for looney tunes, tom and jerry and all the gag based greats, and it works perfectly here. Sure there’s some setting and continuity with the warner lot, scratch n sniff, ralph, plotz and in the reboot Rita, but it’s mostly just our heroes go up against “X asshole” and it just works. 

And that’s.. entirley what this episode is. The short is an homage to the graucho marx film Duck Soup, which given the warners were based on the marx brothers that isn’t a huge suprise, a film like brian’s song I have not seen, but genuinely want to. The basic setup is the same: An underqualified womanizer, though since htis is Yakko it dosen’t get past hitting on his chancelor, played by hello nurse, constantly, which is still.. ewwwww... but clearly not the same thing, becomes king of a small nation and ends up at war with another country. There were spies and other stuff in the original short but that was left out to streamline things.  But this homage stands on it’s own fine: The basic plot is this: Yakko, due to being a distant relative and the last one alive, becomes king of the small happy and very musical, as the wonderful opening number shows, country of Anvilania, which makes anvils and why yes there is one MASSIVE anvil gag as a result at the end. Yakko says he’ll try his best and geninely tries to with the shenanigans you’d expect, including Dot not gettnig Polka Dot’s are a thing and instead taknig any mention of it as a sign to polka, Yakko again hitting on his colleague and wanting ot get a new anthem because the current one by “Perry Coma’ puts people to sleep. Honeslty that gag didn’t do it for me: Partly because I genuinely know next to nothing about Como and he’s far past my generation.. and because despite this, SCTV did a MUCH better Perry Como gag over a decade before this episode that while still left me baffled as to why anyone cared about mocking him, was 80 times funnier and felt far less like you needed to know who he was to be funny. 

That being said it’s one of only three running gags, and jokes period that didn’t land for me. The other ones being the hello nurse bits, because it’s aged really badly to have Yakko harass one of his employees and his age is hte only thing that keeps it from scuttling the episode as he’s just 13 or 14. Maybe 15. 

So SO glad I now have that on hand whenever i need it. The other being the “Your highness” joke as it just.. dosen’t make much sense and isn’t very funny. But that’s it: a refrence i specfically don’t get and I doubt most of you will, and if you do fine we all have our frames of refrences, a joke that’s dated very poorly, and one that just.. didn’t land. And even then the Perry Coma thing’s third use to knock out the opposing army DID work for me as did the VERY clever joke of “Sire” “Maybe later”, so even the weaker bits still had some legs.  But getting back to what little plot there is the king of the rival country, upon hearing this, assumes he can easily intimidate a child into giving him the throne and goes to a royal reception. Instead, as you’d expect, the Warners mistake him for a party clown, show him no respect and fail to take his delcration of war seriously, and while in a REALLY great gag, and the reason i’m not doing a strict summary is 90% of the review would be me saying something to that effect, Yakkos’ call to action for his troops ends up having them all run off in fear, the Warners take out the army as noted above and then in one of the most GLORIOUS climaxes in the series history...

 In which the Warners give the bad guy “all the anvils” as he requested. I sadly coulnd’t find a clip of it but seek it out if you got hulu, my words can’t do it justice as they hit him with anvil after anvil in increasingly clever and insane ways till the guy finally gives up and it .. is glorious.  Other highlights not already mentioned include: The opening song, the bad guy dictator from the other nation not being able to hear because of his helmet and his attendee having to lift it, leading to Yakko taking off his helmet just to end the “what’ running gag, Yakko’s bit explaning his distant relation and more.  So yeah not a ton to say on this one. It’s a very good, very funny episode but also very typical of a warner cartoon in structure, just stretched over 22 or so minutes. As I said with few exceptions the jokes work, the anmation is crisp as always, and the climax is one of the series best. A crisp, quick watch and a nice quick review after a week of with some really tough ones behind me and ahead of me and a month of rather large ones a few weeks out. So yeah if you like animaniacs, even ifyou’ve seen this one worth a watch, if you have any more animaniacs you’d like me to take a look at feel free to comment or comission and until the next rainbow..

[anhed-nia]

BLOGTOBER 10/4/2020: SOCIETY

Without having a survey to back me up, I feel comfortable asserting that as a horror fan, you go through different phases with SOCIETY. It’s a basic fact of life, and yet it morphs and mutates underneath you, shocking you anew just when you think you’ve got a grip on it. You never forget your first time, because there is simply nothing like it. Then, after you get over the initial shock of its patented brand of body horror, you start to take it for granted; it's so broad and monolithic that it becomes something like the Grand Canyon--when it’s not right there in front of you, you begin to experience it more iconically, as part of the wallpaper of existence, rather than an in-your-face confrontation with the limits of experience. Then, you revisit it every few years (or months, depending on what sort of person you are), and the prophylactic layer that your brain has wrapped around your memories of it--the one that allows you to think of SOCIETY as a fun, wacky cheap thrill--begins to crumble, and you realize all over again how iconoclastically vile it is. Wherever you happen to be at, with this inimitable genre landmark, you'd be hard pressed to deny that it earns its royal status among horror movies, just for being so uniquely fucked up.

Filmmaker Brian Yuzna is best known as the co-creator of the indispensable RE-ANIMATOR (or as the co-writer of HONEY, I SHRUNK THE KIDS...depending on what sort of person you are, again), itself a milestone achievement in the blending of sex and gore that so characterized '80s horror production. That film clearly brought out the best in Yuzna and frequent collaborator Stuart Gordon (also of HONEY, I SHRUNK THE KIDS fame...among other things), but it's interesting to see how they operate apart, to understand the unique ingredients that each filmmaker brought to the more perfect union of their classic Lovecraft adaptation. Gordon skewed darker and more intellectual, as evidenced by the end of his career with the shattering mob thriller KING OF THE ANTS, the disturbing true crime drama STUCK, and the Mamet-penned EDMOND. Yuzna, for his part, is almost anti-intellectual, preferring to cook up blackly comic, semi-pornographic nightmares like his two increasingly horny RE-ANIMATOR sequels, the terminal S&M fantasy RETURN OF THE LIVING DEAD 3, and the shamelessly hokey comic book adaptation FAUST: LOVE OF THE DAMNED. Yuzna's lack of shame is really his defining feature as an artist, and nowhere is this more obvious than in his directorial debut and signature masterpiece, SOCIETY.

Salvador Dali's "The Great Masturbator," a chief visual inspiration for SOCIETY.

Yuzna was able to leverage the success of RE-ANIMATOR to lock in two directorial opportunities, BRIDE OF RE-ANIMATOR, and a bizarre body horror exercise about a Beverly Hills orphan who discovers that not only are his adoptive family from a different bloodline, but they're not even from the same species. That both pictures employed the writing team of Woody Keith and Rick Fry gives you a little taste of what to expect from SOCIETY, but to be frank, the latter threatens to make the former look like a very special episode of ER; "overkill" barely begins to describe SOCIETY’s ambitious assault on the human body. In a recent interview, the philipino-american director giggles perversely, "I think my friends were a little embarrassed for me (when they saw SOCIETY)," and this sound bite reminded me that the last, most important ingredient that Yuzna contributes to any project is unabashed joy. It's a little hard to imagine stomaching SOCIETY without it.

In this unusual scene from the class struggle in Beverly Hills, Billy Warlock (son of HALLOWEEN 2's Michael Myers, Dick Warlock) plays Bill Whitney, a rich, handsome, athletic high school student with a heavy duty anxiety disorder. Although he appears to have it all, he is plagued by nightmares and hallucinations, reflecting suspicions that the family that spoils him is also out to get him. Perhaps this is all understandable, though. Bill is under a lot of pressure these days, with his parents devoting all of their attention to his sister's coming out party, and his narcissistic girlfriend pushing him to ingratiate himself to the assholes higher up the social ladder; it's enough to make any teenager feel alienated and insecure. But, do these garden variety anxieties account for his visions of his sister's body deforming itself unnaturally, or the dubious evidence he finds that her debutante ball involves incestuous orgies and human sacrifice? Is Bill simply crumbling under the strain of societal expectations, or is the friction with his shrink, his parents, and his peers all symptomatic of an elaborate plot against him by elites who are truly less than human?

I can’t believe they use this cheapo blanket trick MORE THAN ONCE in a movie that is famous for its unforgettable special effects, and I guess I kind of love it.

In case I haven't made the answer abundantly obvious, I'll add that while SOCIETY is the purest expression of Yuzna-ness on the market, it has an important co-author in Screaming Mad George. The eccentric japanese FX master, whose name is apparently an amalgamation of Mad Magazine, Screamin' Jay Hawkins, and...George, has produced some of horror's most outrageous makeup and visual effects, mostly for Yuzna, many of them in SOCIETY. If you've seen even a trailer for Alex Winter's 1993 oddity FREAKED--which is itself a grossout criticism of American social standards--then you are already familiar with SMG's trademark style. He specializes in twisted perversions of the human form that would make a cenobite blush, driven by a penchant for puns, and influenced equally by THE THING's Rob Botin, and Big Daddy Roth’s Rat Fink style. Screaming Mad George is instrumental in articulating Yuzna's premise: that behind the shimmering veneer of success and sophistication, the upper class are just a bunch of degenerates, who literally degenerate into something unimaginable behind closed doors. It's impossible to imagine SOCIETY without his sinuous, slithering monstrosities, or his indescribable realization of their most important social event, "the shunt".

One of many great images from a zine I wish I owned, on SMG’s Facebook page.

It's easy to get overwhelmed by SOCIETY's visual impact, but its message is just as potent now as it was at the end of the Reagan era: Rich people are not only different from the rest of us, but in fact, they aren't even human. Writers Keith and Fry make an interesting choice of hero to help put this across. A lazier writer would have selected any archetype from the Freaks and Geeks set to create an easy Us vs Them tension, but SOCIETY is led by a promising young man who, for reasons he himself does not yet understand, is just not "the right kind of people". Bill appears to have every advantage in life, including a level of popularity that wins him presidency of the debate team despite his nerdier rival’s superior prowess--and yet, he suffers from a stigmatizing psychiatric disorder that is the natural result of feeling indefinably different from one's peers, and intuiting that, as a consequence, they don't even really like you. The shallow jock with deep-seated emotional problems is a much more interesting protagonist for this kind of social allegory than the charismatic outcasts that you get in movies like THE FACULTY and DISTURBING BEHAVIOR, for whom the idea that the elites could be aliens is just de rigueur.

It's worth noting that this complexity of character extends to Bill's love interest, sympathetic society girl Clarissa Carlyn (Playboy Playmate Devin DeVasquez). At first, she seems villainously eager to introduce Bill to the many splendors of "the shunting", but as the plot against him mounts to its horrifying conclusion, she defects. There appears to be a reason for this, although honestly, this is the most difficult part of SOCIETY for me to wrap my head around. Clarissa lives as an essentially independent adult, only burdened by her mother (Pamela Matheson), a possibly brain damaged hulk who lurks in and out of various scenes just to be disturbing, always announced by some toots on a tuba, before eventually siding with our heroes. I'm really not sure what's supposed to be going on in this part of the movie, except that this character contributes to a number of distasteful jokes. But, I hold on to the idea that by virtue of whatever disorder Mrs. Carlyn suffers from, she serves the purpose of priming Clarissa to rebel, since her very existence makes her daughter something of a societal outcast herself. That's the best I can do.

In any case, everyone working on SOCIETY commits completely, with Mrs. Carlyn being no exception. The movie's climactic orgy of the damned is an all hands on deck operation, just as reliant on Screaming Mad George's artistic abilities as it is on the actors' responsibility to make you believe that this fucked up shit is really happening. There's a visceral patina of sleaze spread over the entire film, dripping from the way that characters talk to and touch each other, flirting and flaunting their bodies in a distinctly unseemly fashion, even when it stays within the realm of mundane reality. This constant sinister, insinuating attitude on the part of the whole cast lays the foundation for what is to come, and while I appreciate everybody's hard work, my favorite performance is from an actor who only comes in at the very end: David Wiley as society king Judge Carter. Wiley's career consisted almost exclusively of the most ordinary sort of television work, which makes his outrageous turn in this alien porno flick all the more respectable. While other characters transition from suspicious pod people to full-on mutated perverts, Judge Carter has to show up just for the finale, establish his authority, rip off his clothes, and plunge straight into a sea of slime, happily fisting his way through the cast. Wiley meets this challenge with aplomb, making of himself a hybrid of Robert Englund and Gene Hackman, perfectly embodying the movie's joyful absurdity, and never betraying the slightest hint of embarrassment. 

SOCIETY is very much a don't-look-down type of endeavor, a fairy that could expire at the slightest lapse in faith. There's a visual pun in the last act that's so gross, so offensive, so frankly idiotic, that I don't have the courage to describe it; my whole body tenses up when I know this scene is coming, as if it were the meat hook scene in TEXAS CHAIN SAW MASSACRE or the brutal rape in the middle of SHOWGIRLS. I don't like it, but at the same time, I respect Yuzna's unhesitating commitment to show it to me, and I think that actor Charles Lucia should get some kind of award for shouldering the burden so valiantly. SOCIETY is a daring movie in the truest sense, a film with more balls than brains, and in this it exposes the limitation of intelligence and taste, and the real need for pure transgression, in producing art of any real value. You might argue with me about whether Yuzna's masturbatory magnum opus really qualifies as art, but to respond to that, I'll quote the great transgressor Alejandro Jodorowsky: "If you are great, EL TOPO is a great picture. If you are limited, EL TOPO is limited." So stick that in your shunt and smoke it.

undefined

PS Here, have this stuck in your head for the rest of your life.

[cheseyre]

good news, sluts! my brain's no longer being completely stupid (only mostly), i've seen the new asides and...have some thought-y thot thoughts:

*deep inhale*

Okay, first things first: this art style is soooo fucking cUTE and I'm a jealous, squealing bitch. Anyone who knows who the artist is, could you link me to them, stat? I think Thomas mentioned them at the beginning of the ep, but nYeh, brain hurt, doesn't wanna do wooork-

Okay, I'll admit, I was a little...apprehensive when I first saw the thumbnail and title. Part of it's just me being a bitter Remus Stan, but also...okay, deep breaths, controversial opinion time, get ready:

I don't ship Prinxiety.

Like, at all. 

I can see the appeal, and these dorks were so very, VERY cute in this particular ep, but I was honestly turned off by the ship long ago due to how overwhelmingly popular it is and how some fans characterize these two and treat this relationship as if it's the only valid one, y'know, the works—slight tangent, but that's also why I don't ship Logicality or Remile. I honestly vibe much better with ships like Roceit or Analogical, y'know?

Cutting in for another brief tangent: I'm surprisingly okay with Demus/Dukeceit/Receit/Trashnoodle/Whatever-Their-Ship-Name-Is-Oh-God-Why-Do-They-Have-So-Many-Fucking-Names; maybe it's cause they haven't actually interacted in canon and the fan content gives me such good Gay Disney Villain content, idk man im weird—).

Still, their interactions were both hilarious and sweet and like I said, I see the appeal, it's just not my cup of tea. y'all Prinxiety fans got fucking FED and I'm happy for you nerds. Enjoy ze happy boys!

I guess another factor in my...low-key hesitance when I first saw what the ep was about is that...okay, get ready, another controversial opinion, le gasp: well, I'm not a big Virgil fan. In fact, at times, he swaps places with Patton as my least favorite sides—especially with some of his recent behavior in eps like DWIT (the "prohibit your breathing comment" really triggered me, for example). Sometimes, his attitude, especially around other sides like Roman or Janus, reminds me a little too much of my sister, who I don't have...a very good relationship with. Add to that how the more...intense side of the fandom has a disturbing tendency to turn him into the 'uwu precious woobie emo baby who can do no wrong' while unnecessarily villainizing other CERTAIN sides in the process, and...I think you all see where I'm going with this little rant 😅

However, upon actually watching the ep, he wasn't...that bad? I don't think? I enjoyed watching him be a flustered, disaster-y mess and genuinely excited at the end, his interactions with Roman were nice enough, and him literally pushing Thomas to make a move with Nico despite his obvious panic attack was a nice moment of genuine character development. I like seeing that, that's the good shit right there. And him being all flustered and shit, and smiling so much at the end of the vid was just...well, adorable. This man has no fucking right to be this cute, my god

alsoooo 

pURPLE EYESHADOW

PURPLE EYESHADOW HE LOOKS?? SO GOOD?? WTF?? SLAY EMO, SLAAAAAAAY FUCK, DOES THIS MEAN I HAVE TO CHANGE MY HALLOWEEN COSTUME NOW?

alsoooo 

hAPPY ROMAN

YESSSSS~ MAH BOI MAH SON MAH DUMB BITCH HIMBO PRINCE MAH EXTRA MESSY CINNAMON ROLL

ITS  BEEN SO  LONG

AND HIS LITTLE HEART EYES THROUGHOUT THE VID, OH MY GOD-

IMMA JUST IGNORE THAT "ADDING [MISTAKE] TO THE LIST" COMMENT I AM LOOKING AWAY I DO NOT SEE IT LALALALALA

THOMATHY, SIR, YOU HAVE NO RIGHT MAKING THESE TWO GAY IDIOTS SO BAEBY

Okay, but Virgil not realizing that "cyberstalking in real life" is literally just stalking is both a big ass mood and further proof that, yes, Logan is indeed the only one holding the braincell out of this disaster of a lot. God help them all if he ducks out in the next ep.

👀

And Thomas x Trash Can is my new OTP.  I dub thee ✨ "Trashmas" ✨

we sTAN TRASHMAS

Wait, does that mean Remus actually WAS in the ep? Cause, y'know, trash man?

hmmm

👀 👀 

Okay, okay. 

With how much Virgil and Roman were going off about Thomas constantly lying, I was (understandably) a tad bit disappointed my snek son didn't even make a fucking cameo, but y'know what? In hindsight, I'm okay with this it's fineee~

He was just off playing with shadow puppets and stealing money from us desperate, content-starved peasants with his sheer extra-ness and, honestly? Gotta respect the hustle. 

Get that precious, precious coin, dapper snake! Wring us poor losers dryyyy!

*evil snek laugh*

Also, this is a breather ep and adding Janus in probably would've caused unnecessary drama with the Roceit breakup and the constant antagonism between Virgil and him. It probably would've distracted from the point of the ep (flirting with social anxiety, exactly what it says in the tin)—much like it wasn't really Virgil or Remus's place to show up during POF. Does that make sense? I think it makes sense. Sorry, brain going brr-

Still, I can't believe the "Fuck Janus Sanders" Club is actually canon now 😂

God, first Patton in a skirt and now this. 

Thomas Sanders, you delight in fucking feEDING this gremlin nest of a fanbase, don’t you? You RELISH our screams of joy and pain and suffering, dON’T YOU?

What's next, actual canonical Janus and Remus interaction? Patton saying the fuck word? The Dragon Witch comes back? Janus's bowler hat gains sentience and takes over the world, Doris-style? What do you have planned, Thomas? Joan? WHAT ART THOU PLANNING, I MUST KNOW YOU HEATHENS YOU FIENDS-

And Virgil's little "would it be fair to him" comment, tho.

👀

Like, I get in the context of the ep, he was likely talking about Nico and how it wouldn’t be good for a potential relationship with Tomas to be founded on lies, but still...my anxceit heart aches, man. 

Gimme that sweet, sweet angst with a side of mutual regret and possible future reconciliation and maybe something more wink wink nudge nudge on top, pls

...and fries.

Honestly, tho, that entire bathroom monologue was fucking beautiful, man. And relatable, too—i can't tell you how many times I've talked to myself in public restrooms because I just didn't know how to get the words I wanted to say out. It's...kind of embarrassing, tbh

Speaking of embarrassing, uh, crying stall guy.

Just...

Crying Stall Guy

Like, I was expecting someone to come out the bathroom stall after Thomas stopped talking, but...I honestly wasn't expecting that. God, that whole scene was so cringe worthy and fucking hilarious

Honestly, Thomas in the ep in general was a huge ass mOOD and we collective gay/bi disasters ALL related with him, and if you say you don't, you're either lying to yourself or a demon. 

There is no in between 

sorry I don't make the rules

Like, I get this series is literally a gay disaster talking to himself for thirty minutes or longer, but like- EMPHASIS on the 'disaster' part 😂

Like...Thomas, you're lucky you're such a goddamn bean, because GOD, I cringing so hard when he first started talking to Nico

Although, I too have apologized profusely for genuine mistakes and am a flustered bi mess around my crush sooo

😅

And god, Roman's "thirty = old man" jokes made me feel old...and I literally just turned twenty, like, come on, man!

Maybe that's because I was literally watching this ep after finishing my ACT and had been sitting with a bunch of high schoolers, with their tiny fucking desks and tiny fucking water fountains smeh

*clears throat*

Anyways, uh, we STAN Nico Pintrovert Florés in this house

Like

He gives me such big Carlos from WTNV vibes for some reason and this makes me sooo happy

and YESS, he's a WRITER

And he's??? So sweet?? A pure bean?? Just sits on his laptop at the mall food court all day, like a god-fucking iCON?? A Nightmare Before Christmas fan?? weARS GLASSES??

my hEART

*cries*

The fandom seems torn between "Nicomas" and "Karrot Kings" as a ship name atm—personally speaking, I'm casting my vote for the latter

*crosses fingers* please dont be another janus x remus multiple ship name issue guys, please please please I can't keep track of them all-

*clears throat*

On that note, I'm guess I'm gonna go try and whoo over my crush with carrots now. If THIS disaster can do it and make it actually fucking work, god damnit, so cAN I

Meanwhile, in hell, my brain's just screaming "CANON LOVE INTEREST CANON LOVE INTEREST CANON LOVE INTEREST-"

God, I hope Nico isn't just a one-shot character, he's too pure and Thomas and him are adorable gay Disney fans and I stan

Oh, I wonder how the other sides'll react to him.

Wait.

Oh god.

Oh god.

This ep just unleashed a new fresh hell of potential Nico x Sides ships, hasn't it?

Welp, time to prepare for ze incoming flood of fanfics, I guess. I'll get my umbrella and rain boots.

That last shot of Virgil during the endcard was so fucking ominous oh my god mom im scared can you come pick me up-

Goddammit, Thomas and Joan, I'm NOT fucking ready to be traumatized again, fUCK

I wish I wasn't a broke ass university student so I could contribute to Thomas's gloriously extra Patreon—both so I can support my favorite content creators who make this amazing blessed content and also, to join my boi Janus in fucking  destroying society by giving money to the people who actually deserve it, fuck YOU GOVERNMENT-

Okay. 

Okay. 

New headcanon time as to why Patton, Remus, and Logan weren't in the ep: they were helping Jan film that Patreon promotional video. 

Like

Remus directed it, Logan helped with the lighting and script, and Patton was just there as the cheerleader. 

The reason Janus made a dog with shadow puppets wasn't just to flaunt his deity status and prove how he is truly above us mere wretched mortals 

despite that being the absolute truth and we all know it, don't lie to yourselves

No, it was really him trying to do something cute and silly for Patton, because Moceit rights, daMMIT

*inhales*

noww 

guys, gals, and nonbinary pals

it’s time forr

the most wonderful time of the yearrr

WAITING FOR THE NEXT EPISODE

Step right up, folks! Hear ye, hear ye, my prediction for the next episode: Prinxiety v. Moceit! With special guest stars: Karrot Kings vibing in adorable gay and Intrulogical, bitter at being excluded aGAIN

Who will win? Who will lose? 

here’s a hint: we all will because in this sick twisted game they are no winners only losers-

Place your bets, folks! ✨

Haha im not readyyy~

tl;dr

this episode has cleared my skin, watered my crops, and ended my suffering—an adorable calm before the... angsty fucking shitstorm that’s coming far too soon. Prinxiety stans, enjoy your food. Place an 'F' in the chat for me and my fellow grieving Remus stans. Trashmas is the true OTP, but Karrot Kings is cute too I guess. I've only had Nico Florés for 24 minutes, but if anything happens to him, I'll kill everyone in this room and then myself. Purple eyeshadow Virgil makes me question my sexuality aGAIN, and happy gay disney prince rights y'all. Say a big ole 'fuck you' to capitalism by giving your local dapper snake moneys. Concussion makes brain go brr and imma go buy some carrots and be gay now.

psst hey @quarantinevibes2020​ you wanna join me in being disaster-y? i’ll bring my best gay stare and you bring the wine

Until next time, my lovelies! ~ Ches 🖤

[jyndor]

I swear, WHY are these people harassing MINORS. The atla fandom is mostly adults at this point, that they're SEARCHING KIDS OUT is just so absolutely disgusting. Those kids got to miss the initial ship wars, let them go through 2020 in peace.

Anon I feel you. Full disclosure, I have had a bottle of wine and spent four hours talking to my family on zoom so I’m heated. Okay, here we go. Let me say this. I am 29 and neurodivergent/ADHD so I prefer explicitly-stated social rules of engagement. Like I don’t always pick up on social cues and that has gotten me into interpersonal conflicts in the past with my peers.

BUT. I am 29 so I also understand that I am in a different place than I was when I was 15 or 12 or 17. I have different needs, different expectations, from those who interact with me than I did when I was a kid. Fuck, I know how it might have felt back 15 years ago to hear adults say “she’s a kid, she doesn’t know what she needs, her brain isn’t fully developed and she can’t legally consent” yeah that pissed me off and in some ways it wasn’t true but with regard to consent it was. Of course it was. But what I’m hearing from these minors, these teenagers who I don’t know if they’re 12 or 17, but they’re not asking to be treated like adults - they’re asking to be treated with respect.

Now all of what I am about to say is not me excusing this behavior, but analyzing why it happens. And yes, I am about to say that all of these anons are white I can smell the entitlement in the air.

I know why these fools are targeting minors and poc zutara shippers. I know why. You know why. We all know. They are EASY fucking targets. It’s sick, picking on kids. Absolutely sick. Harassment, predatory. And they are also acting in bad faith - if they were working in good faith, they would come off anon and say, “hey x I truly believe that zutara is harmful and I am confused as to why a poc would be cool with something that other poc say is harmful to them, can we have a discourse?” now granted, this is fucked up and essentialist garbage, and no one is entitled to discourse~ with random people on social media.

Now I want to make something clear before I get to my next bit: the zutara fandom is not the r*ylo fandom. First off, the zutara fandom has experienced hateful shit from TPTB since early on in fandom; we don’t have a lot of support from the creators. In fact, the creators have been outwardly misogynistic and hostile to us. Okay, Dante Basco and some of the writers MIGHT ship zutara but that’s like, not institutional support. And also there is a history of SOME fan creations being really fucking racist. That shit, the “dark enemies hate sex” shit that zutara is stereotyped as being about, is almost completely purged from fandom. Not that it doesn’t exist still. And not that it shouldn’t be corrected and that we shouldn’t try to grow as a fandom. Have I seen shitty politics from zutara shippers? Yes. And I cringe every time, but like I don’t expect every person to agree with my politics. We have grown so much as a fandom - and you can tell by the fan creations. Fanworks are not about non-consensual domination anymore (like they often were in the early days of atla), they are about respect and reconciliation. And they have been for YEARS, like I’m talking s2 onward, when zutara took off. *sips wine*

‘cause here’s the thing. Fandoms are groups of people. People, as a result of centuries-old imperialist/racist constructs, are racist. We have to actively unlearn so fucking much. And any fandom is going to have its shitty elements. This is not something non-zutara shippers are exempt from. Actually, the zutara fandom has done a lot of work to make the fandom safe for poc and minors over the years and I am so proud of it. I have never seen that in a fandom. Ever. It’s not to say it’s perfect, of course not.

We did that on our own. Not because kataangers or sokka/zuko shippers were like WTF RACIST lol no because poc in the fandom were like, HEYYY before you write capture fic please learn about x, y and z, and the white parts of fandom were like, oh shit let’s get educated, this ship is about reconciliation and growth, let’s live up to that. I mean honestly from what I’ve seen from the larger atla fandom, which has a hard time dealing with the criticisms about why atla is racist (lol shocking that bryke appropriating cultures for their financial benefit would be considered racist but /s) could learn from the zutara fandom. js.

Honestly I assume most of these anons are just fuckin white asshole anti-zutara trolls who have never actually interacted with the zutara fandom. As a white person I do think that we white people have a certain level of entitlement to spaces that are not ours. Like, I don’t see poc who have had to be in more collectivist or communal settings as a result of colonialism and white supremacy invading spaces they don’t belong to in the same way that white people do. This is a LEARNED behavior, not an essence or in our DNA. Like, many white people get pissy about not being allowed by social contract to say certain slurs, but like... A) it’s not a legally enforced LAW lmfao and B) those white people only get annoyed when they realize they aren’t allowed to say it. That’s an extreme example, but I think it’s emblematic of a larger problem - because of colonialist ideology, white people feel entitled to ALL spaces and ALL things. We get annoyed when things don’t work how we feel they should. I grew up expecting things to change when my social class put pressure on those things, so it is always going to be somewhat jarring for me to know that that isn’t the case for marginalized communities.

I know some of my friends who are black have said things like, “lol cait why are you so shocked and appalled that x is the way it is, that’s how it always has been.” Not always, and not all of my friends, but like it happens. In those instances it’s like, I see something happen that is racist or fucked up, and they’re like... yeah. Obviously. But for someone who is not exposed to something, they might find it hard to swallow. When it comes to fascists and capitalists, I don’t have any sympathy left to offer - just get fucking educated or have a fist to the nose. But ships are not at that level. And like people work with political bubbles, where they often get isolated to what discourse is happening in other bubbles, fandoms and subfandoms (like ship fandoms) also exist in bubbles. (I am not saying that fascists/capitalists are soul searching in their bubbles, but they do exist in clear bubbles on and offline and that is terrifying to me; their discourse cannot be GOOD and I hate not knowing what they are plotting).

Example. I don’t interact with r*ylo unless it interacts with ME, and what I see, I don’t like. (let me be clear, I am not comparing zutara with r*ylo because they are NOT equivalent; I would not be a zutara shipper if I thought they were similar). But I don’t go into shipper tags and harass children who support r*ylo. I hate it, I really do it fucking sends me up a wall, but I only ever interact with anti-r*ylo content. and in that way, I don’t know what discourse the r*ylo fandom is doing to correct its horseshit. I only know what I see, and I see r*ylo shippers being toxic and racist.

So I hate fucking r*ylo but you don’t see me going out of my way to interact with r*ylos about their ship. I can’t begin to tell you how much I am ANTI-r*ylo. It is antithetical to everything I believe. But again, I am not going into the tags, searching for r*ylos to harass. Maybe the r*ylo fandom is working on its toxic shit, maybe it isn’t. I have no idea, and I am not going to harass r*ylos about it in their inboxes unless they come into my inbox and harass me. And by the way, even then I am not going to have private conversations with shitty people - that’s all gonna be public, bitch.

Wow... IDK if this is coherent because like I said, wine. At best, these anons are racist white people who think that they are helping the anti-racist cause by attacking people who they think are pushing racist narratives... but are not challenging their implicit biases and so are picking on the most vulnerable people, who because of essentialist garbage, they feel like are traitors of the Cause or whatever, and also are minors so they assume are incapable of fighting back.

It’s racism, my friend. I’m drunk, but it’s racism. Hopefully I don’t have much to edit in this tomorrow morning lmfao. Please tell me if anything doesn’t make sense.

[fortunatelylori]

I think one of the reasons some people hate Sansa is that she represents real people, women mostly, during the medieval times. Even now. People won’t be so annoyed with her or call her useless if this was just a period drama. But they added the fantasy side, with dragons and assassins. Along with women that possesses these. Why couldn’t Sansa do the same? Sansa is the reason why I watched GoT in the first place. I saw myself in her. I don’t have dragons or fighting skills, I only have my mind

Hey, nonnie!

I saw myself in her. I don’t have dragons or fighting skills, I only have my mind

This right here is the reason why I love and identify with Sansa, as well. I’ve never been a fighter. Dragons don’t exist. I’ve always been feminine and proud of it. And I was encouraged from a young age to use my brain to get out of problems. Seeing a character like that on screen is interesting for me because it feels realistic and her slow burn arc makes me feel like I can actually see her developing as opposed to having been granted the fantasy equivalent of super powers over night. 

I thought it might be interesting if I actually talked a little bit about the reasons why I feel Sansa is such a divisive character within the fandom as well as one that is, frankly, overlooked by most of the GA, despite her growing importance to the plot. Because while some of the reasons can be dismissed rather easily, at least one of them is an issue of execution (particularly within the show). 

The issue of femininity, agency and use of sexuality

I’ve grouped all of these together because the root cause for them is the same: Patriarchy, which in turn encompasses such wonderful things like misogyny and victim blaming. 

Sansa’s femininity will always be used against her not only because feminine qualities are seen as lesser than masculine qualities (which is why characters like Arya and Brienne get the stamp of approval from misogynists everywhere) but also because she doesn’t “use them properly”. By that I mean that she’s a beautiful girl who does not weaponize her sexuality and, also, doesn’t put out. And within a patriarchal mind-set that’s the ultimate crime. And that’s further exacerbated by her foil Maergery, whose sexuality is her greatest asset and weapon, as well as by D*ny and her use of sexuality in order to flip the tables on Drogo. 

Sansa doesn’t do that. Instead, she goes as far as to dare to withhold her sexual favors and affections from fan favorite Tyrion which enrages the truly vile of this fandom. How dare she? Doesn’t she know that if she wants to be a feminine girl, she is obligated to give her body away to the men lusting after her? Why is she so stupid? Look how Maergery is playing the game and has Joffrey under her thumb! That Sansa, she’s soooo useless! I mean, we’ve been watching this show for 7 seasons and we have yet to see Sophie Turner’s boobs! The outrage!

This argument can go die in a ditch. I actually love that Sansa has retained autonomy over her body and has refused to use it in order to get out of problems. I’m genuinely tired of seeing “smart” or “important” female characters depicted solely as either women with masculine pursuits or “enchantresses”. I want to have a cerebral female character who uses her brain to win over or defeat her foes and Sansa Stark is developing in exactly such a character. And I love it!

She’s one of only main characters who isn’t magical

You’ve touched on this in your ask and while I agree that, in many ways, Sansa is meant to represent the reality of medieval women stuck in a system that was working against them at every turn, I do think GRRM did Sansa a disservice by eliminating all connection to magic from her arc. 

That’s because all of the remaining Starks are magical to a degree. Bran, of course, is the one with the most magical abilities in the family (and probably in the whole series). However, Jon is pretty magical as well. Not only is he a warg through his connection with Ghost, he is now resurrected as well as the blood of the dragon which makes him, in part, the product of magic. Arya, for her part, is not only a warg but also possesses magical abilities through her Faceless Men arc. 

Sansa’s connection with magic was severed irrevocably when Lady was killed and even prior to that, we never see that warg bond with her. In that sense, she’s the plain Jane of the family and thus seen as less important or special. Which coupled with her lack of fighting skills as well as her prolonged victim arc, makes her seem inconsequential and disposable. This is unfair, of course, because in every other respect, she’s a wonderfully developed character (particularly in the books) but this is a fantasy series. I think GRRM should have retained some sort of magical qualities for her. 

Tyrion, among the mains, is probably her closest analog because he’s not magical either. However, GRRM has imbued him with almost super-human intelligence (an aspect of his character that his fans blow out of proportion even further). Despite that, however, there is still a tendency to try to make him magical in some way to justify his importance, hence the theory of Tyrion as the 3rd head of the dragon. 

She feels like an outdated character

I say “feels” because she isn’t really but the “princess in the tower”/”damsel in distress” archetype that Sansa most resembles has, by and large, fallen out of favor with modern audiences. 

They used to be all the rage and writers always had such a female character. Sansa, in a sense, shares literary references with Ivanhoe’s Rebecca or Robin Hood’s Maid Marion. Personally I love those characters but the archetype has been used a lot in the past and almost never done right. It’s become a prop in a classical hero’s journey type plot, instead of a character in its own right and Sansa, on the surface, feels very much like that type of character. 

Of course, GRRM has really utilized that archetype in the best way possible and instead of making Sansa a prop, he’s exposed us to the reality of the pretty damsel stuck in a tower, to her drama and her tragedy, to her fight for survival and eventual escape. 

But people, by and large, have decided to hate the archetype instead of demanding better stories based on it and because of that, they simply bristle at its mere existence. 

The issue of Sansa’s POV in the show

This is, honestly, the reason that pains me the most and it’s really a combination of how the show has chosen to portray Sansa and well as the fact that the show is now further along than the books. 

This is one reason where I can’t really place the blame on the audience, particularly the general audience. 

For a very long time, I wondered why people weren’t really paying that much attention to Sansa in the show. And I don’t mean youtubers or people on reddit etc. I’m talking about normal people watching this show. I have a lot of friends that watch GOT and love it. They’re definitely not involved in the fandom nor are they specifically fans of one character in the show. They simply love the story and find it entertaining. 

We’ve had conversations about GOT from time to time and they’ve never mentioned Sansa once. They don’t hate her, btw. They simply don’t think about her very much or consider her important within the context of the story. 

And I believe the reason for this is because Sansa started out as a pawn in the Game of Thrones, an arc that lasted for 4 seasons. That’s a long time for a character to have limited to no agency and also enact change in the plot solely through the machinations of other characters. 

However, it’s not an issue that can’t be overcome particularly since Sansa has an ascending arc where she goes from pawn to player. The beginning of her “player” arc is marked by her descending the steps of the Eeryie dressed in her Littlefinger dress. Unfortunately, this is also the moment that marks the creators’ choice of cutting the audience out of Sansa’s POV for long stretches of time. 

Since season 5, they’ve played a hide and seek game with Sansa where we get glimmers of her POV for a short time (her marriage to Ramsay, her reunion with Jon) only to be cut out as quickly as possible in order for the writers to play up the Dark Sansa red herring. 

I believe this reluctance to make Sansa understandable and transparent to the audience is affecting the way the general audience views her. In order to get a handle on Sansa’s character from season 5 onward, you need to watch the seasons a couple of times, think about her character in depth, read some metas as well as be predisposed to like her to begin with. Honestly, that’s too much to expect from a general audience who simply don’t engage with this show as in depth as we do. 

As such the character of Sansa has become, I believe, to most of the GA a mystery wrapped up in a riddle, where questions are raised but never answered, where looks and gestures are left unexplained. The GA is not going to do heavy lifting to get to know this character so they’re simply going to ignore her and focus on the dragons instead. 

This is a huge disservice to Sansa, in my opinion. Because she’s increasingly important to the plot but I doubt season 8 is going to make the GA get to know her enough to root for her. I fear that the fate of show Sansa is to be the Ginny of Game of Thrones. People are just going to be utterly confused how this character that the creators never gave them much reason to care about ends up married to Jon Snow and becomes queen. 

And that, I have to say, makes me very sad. :(

Thanks for the ask! 

[podcake]

Podcast Teatime: The Question Session

A very welcome February day to you all! This is my first Q&A of the new year and I thought no one was better to pick for this beloved series than the creator of The Bright Sessions podcast, Lauren Shippen. 

I’ve been itching to know what this starlet in the podcasting scene has to say about her work on the show, her muses, and what she might have in store for us in the future. 

(The following is a direct copy-and-paste from the email)

Hi PodCake! 

Thanks for reaching out! Here are my answers: 

Question One: What drove you to make the series have therapy as a central plot point? Is it more of a framing device for the overall narrative or is there a more specific reason?

It definitely started as a very convenient framing device. Everyone knows what therapy is, and has an idea of what happens there, so there wasn’t a complicated premise or world that the audience needs to buy into. It also gave me the excuse to keep things confined to two people in one room - those kinds of scenes can be hard to keep active, but with therapy as an activity in of itself, the audience doesn’t get bored (hopefully). 

But ultimately, I wanted to write something that would allow characters to really discuss their feelings and delve into their own emotional lives. People rarely do this in their actual lives, but therapy provides this space. 

Question Two: Is there an ultimate plan you have for your overall story or do you simply make things up as you go along? 

It’s a little bit of both. My writing is always very focused on character, rather than plot, so I usually think about where I want to take the characters and build the plot around that. There are some exceptions to this (which I won’t identify here because: spoilers), but I’m rarely thinking about the big plot machinations first. 

As I start to map out a season, I have a target that I’m trying to hit, whether it’s a reveal about a character, a big change in the dynamic of the group, etc. I then start to write the season with that target in mind, but how I get there is discovered along the way. This has meant that some things have changed pretty drastically from when I started out, but it has also led to some really exciting, organic discoveries about the characters themselves. 

Question Three: Your show has a very interesting cast of characters. Is there a specific character you have the funnest time writing for? Whose the hardest character to put on paper?

I think this shows in his scripts, but I love writing Caleb. That’s why his scripts are usually at least 5 pages longer than everyone else’s. I like getting my brain into that teenage boy voice and I love the contradictions that Caleb contains - he’s smart, but so often oblivious; he’s very caring, but he also has an anger problem; he wants to talk about his feelings, but he can be so bad at communicating. 

I’m also really enjoying writing both Mark and Wadsworth this season. Mark is such a cheery, charismatic person who has been through so much trauma - balancing who he is by nature with what has happened to him is a fun challenge. Wadsworth is just…she’s awesome, and so unbelievably arrogant, but has reason to be, and that’s a lot of fun to write. 

Chloe is definitely the hardest to write. She’s constantly having at least two conversations: the one that’s happening out loud and the one she’s participating in in her head with everyone’s thoughts. Chloe is always at least one step ahead of everyone she’s talking to, so balancing each of those conversations and thinking about how what she’s hearing is affecting her own emotional state can be really difficult. 

Question Four: I tend to use The Bright Sessions as a great example of expressive and effective acting in audio drama and I’m curious as to where you found so many wonderful actors. Did you already know them all or did you seek them out yourself?

I am lucky enough to live in Los Angeles, where I am surrounded by incredible actors that the big shots haven’t discovered yet. Most of the cast are from an acting class I’ve been taking at The BGB Studio for three years. Julia (Dr. Bright), Briggon (Caleb), Charlie (Damien), Andrew (Mark), Phillip (Frank), and Alanna (Rose) all go to that studio and that’s where I met them. 

Anna (Chloe) and I met in a UCB class three years ago, and she introduced me to Ian and Alex M., who play Agent Green and Wadsworth respectively. Briggon, appropriately, introduced me to Alex G., who plays Adam. And then we have Reyn, who plays Charlie Decker, and who I know from ars Paradoxica, which our sound producer, Mischa Stanton, created. So it really is a family affair.

Question Five: The Bright Sessions has been achieving a lot of success in the podcast community over the few years it’s been out. Did you expect it? What do you attribute this success to? 

I definitely did not expect it. I certainly hoped that people would listen, and had lofty goals to have tens of thousands of subscribers, but when we started out I assumed that was a pipe dream. I - and I think this applies to everyone else involved as well - have been delightfully surprised by its success at every turn. In just the 15 months we’ve been doing this, we’ve had so many people listen and send us messages and draw fanart and be enthusiastic, and we are incredibly grateful. 

I wish I could tell you that we followed a very specific set of steps to have a successful podcast, but I honestly have no idea how we’ve gotten to where we are. Obviously, I’m proud of the show - I wouldn’t make it if I thought it wasn’t good - and I think people should listen, but I’m still surprised by how it’s taken off. I spent a lot of time in the early days on Tumblr, Reddit, Twitter, Facebook, etc., just trying to get people to listen and I think putting in those hours really helped. And then I think it’s just been a lot of dumb luck of the right people finding us. 

Being featured in different publications and on iTunes has really helped people find us and those features came up more or less organically - thankfully, there are people out there who actively seek out audio drama and then write about what they like. But mostly, I think the show has done well because we’re telling stories about characters a lot of people can relate to. I’ve certainly made an attempt to write something that is engaging and compelling, but having the actors that we have to bring these characters to life is, I think, our biggest asset. 

Question Six:  What drove you to make this into an audio drama? Do you have any inspirations you’d like to credit?

The reason for making The Bright Sessions an audio drama was two fold. First, there was the practical reason: making an audio drama is far less expensive than making something for film. I needed to be able to do every step myself - the writing, the recording, the post-production - on a tight budget. Audio drama was the solution. 

Second, the creative reason: I like the freedom of interpretation that audio drama provides. I’ve been in fandom spaces for a long time and, though I’ve never been a creator of fan works myself, I’ve always loved consuming them. The wonderful thing about audio dramas is the variety of listener interpretations they spur. Listening to an audio drama is like reading a book - you can fully immerse yourself and imagine the world and the characters however you like. Creating something that encouraged that kind of imagination really appealed to me. There were many creative reasons for sticking to audio, but this was the one I was most excited about.

While there aren’t any direct inspirations for the content of The Bright Sessions, Welcome to Night Vale and BBC Radio’s Cabin Pressure were the two pieces of audio fiction that I listened to before writing The Bright Sessions. WTNV is simple - mostly just one man talking into a microphone, with music. Cabin Pressure is elaborate - multiple scenes with different soundscapes and effects each episode, recorded in front of a live audience, big name actors. I didn’t have the dough for a BBC-like production and I think Night Vale only works as a mostly one-man show because of the magical combination of Cecil Baldwin, Cranor & Fink’s writing, and Disparition’s music. 

That formula is impossible to replicate. When thinking about how I wanted to tell a story through audio, these shows were my two reference points and helped me find the middle ground in which The Bright Sessions exists. 

BONUS: Has creating The Bright Sessions been a major impact in your life? How have things changed for you?

Oh boy, has it ever. The Bright Sessions has become my life. It started as a side project - a way for me to try my hand at writing and do some acting with a couple of friends. It has now turned into a full-time job (or, more accurately, three full-time jobs). On a practical, macro-career level, doing this podcast has completely changed the way I approach my professional life. Whereas before I was mainly an actor, I’m now a “writer/creator”. 

People like the thing I make and they write about it and invite me to come places and talk about it and that could not be more different from the life of general obscurity I lived as an actor. I’m by no means famous or even known outside of podcast circles, but I do feel that I am beginning to experience a level of recognition that is exciting and weird and genuinely a bit confusing. Also on the practical side, the success of the show has opened a lot of doors to me in entertainment that were previously closed. You’ll have to stay tuned on where that leads, because I certainly can’t predict at the moment.

On a personal level, The Bright Sessions has given me so, so much. It’s given me the opportunity to work with people I deeply admire and grow something with them. I cannot ever express how rewarding that is. Beyond the friendships that doing the show has strengthened, and the amazing work I’ve been able to observe in these actors, the show has, funnily enough, been very good for my mental health. Creating the character of Sam was like giving my own anxiety a voice. I wouldn’t necessarily recommend acting out panic attacks for everyone who struggles with anxiety (those scenes are hard) but for me, it has been extremely cathartic. 

Sam and I are very different people in what we want out of life, but our anxieties are the same. It is such a relief to be able to write a scene in which Sam explains why going outside or talking to people or feeling a certain way is terrifying. I now have something to point to and say, “this is who I am, this is how it feels sometimes to just go to the grocery store, these are my fears” and, while that is a vulnerable and frightening thing to lay bare, it has been oddly healing. 

And then to get messages from people saying, “I relate to Sam so much, thank you for her, I feel less alone now” is truly moving for me. It makes me feel less alone and I am unbelievably grateful for that. 

And, mixing the practical and the personal, doing The Bright Sessions finally made me get my act together and actually start going to therapy last year. I thought it was time for me to practice what I preach.

Such elegance. Such confidence. Such charisma towards her field! I want to thank Miss Shippen for doing this Q&A with me and to you all for reading this.

I say you make your appointment pronto and take a listen to The Bright Sessions for yourself. This has been PodCake, end recording.