At the end of the day, I hope the actors know none of this is on them when people are upset or don’t like this season. They carried the show and their characters on their own when the writers clearly don’t understand any of them.
They were all perfect in every way.
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HELLOOOOOOO MY DARLING FELLOW ADORERS OF SPOOKY AUDIOFICTION
Hello hi it's me I'm back on my bullshit! Remember a while back I talked a lot about how fantastic the podcast Shadows at the Door is? They're still amazing, they're in the middle of producing season 3, and they are working on a WHOLE-ASS MUSICAL.
As in, multiple songs, a fantastic cast, amazingly talented people writing and producing it, it's going to be phenomenal.
Fan of shows like Re: Dracula? David Ault (Re Drac's very own Friend Arthur!) voices the protagonist, beloved fan favourite Doctor Geoffrey Troughton.
Professor Elemental (Fighting Trousers, anyone?) is writing several songs and voicing the production's deeply creepy antagonist.
Did you like The Silt Verses or The Secret of St Kilda? Shadows has got Erika Sanderson and Michelle Kelly on the cast, as well as a slew of other phenomenally talented voice actors.
Please check out the production's kickstarter page for more details about this beastie, and if you're interested and can spare a few bucks to help get it off the ground, please consider doing so! Shadows is well-made queer media created by hugely talented queer people and will more than meet expectations if they can meet their funding goals.
THANK YOU I LOVE YOU MUAH
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JSTOR Wrapped: top ten JSTOR articles of 2023
Coo, Lyndsay. “A Tale of Two Sisters: Studies in Sophocles’ Tereus.” Transactions of the American Philological Association 143, no. 2 (2013): 349–84.
Finglass, P. J. “A New Fragment of Sophocles’ ‘Tereus.’” Zeitschrift Für Papyrologie Und Epigraphik 200 (2016): 61–85.
Foxhall, Lin. “Pandora Unbound: A Feminist Critique of Foucault’s History of Sexuality.” In Sex and Difference in Ancient Greece and Rome, edited by Mark Golden and Peter Toohey, 167–82. Edinburgh University Press, 2003.
Garrison, Elise P. “Eurydice’s Final Exit to Suicide in the ‘Antigone.’” The Classical World 82, no. 6 (1989): 431–35.
Grethlein, Jonas. “Eine Anthropologie Des Essens: Der Essensstreit in Der ‘Ilias’ Und Die Erntemetapher in Il. 19, 221-224.” Hermes 133, no. 3 (2005): 257–79.
McClure, Laura. “Tokens of Identity: Gender and Recognition in Greek Tragedy.” Illinois Classical Studies 40, no. 2 (2015): 219–36.
Purves, Alex C. “Wind and Time in Homeric Epic.” Transactions of the American Philological Association 140, no. 2 (2010): 323–50.
Richlin, Amy. “Gender and Rhetoric: Producing Manhood in the Schools.” In Sex and Difference in Ancient Greece and Rome, edited by Mark Golden and Peter Toohey, 202–20. Edinburgh University Press, 2003.
Rood, Naomi. “Four Silences in Sophocles’ ‘Trachiniae.’” Arethusa 43, no. 3 (2010): 345–64.
Zeitlin, Froma I. “The Dynamics of Misogyny: Myth and Mythmaking in the Oresteia.” Arethusa 11, no. 1/2 (1978): 149–84.
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There’s a weird recurring take in D20 fan circles that Zac doesn’t play “complex” characters and that people are just waiting for the day when he “finally” plays an asshole, which kind of baffles me. Quite apart from the idea that only morally grey characters are complex or compelling, are you sure we’re watching the same show?
In Fantasy High, we have Gorgug, an adopted biracial teenager whose journey includes realizing his self-worth, coming to terms with his rage (literally), seeking out and navigating new relationships with others (his birth parents, the Bad Kids, Zelda), and discovering what he’s capable of.
From The Unsleeping City we have Ricky, a second-generation Japanese-American, who has a very personal struggle across two seasons between doing the dutiful/sacrificial thing for other people’s benefit and expressing his own needs, wants, thoughts, and feelings; it’s a very particular exploration of immigrant generations and the relationship between the sacrificial model of your ancestors and the culture you grew up surrounded by which emphasizes the self.
There’s A Crown of Candy and Lapin, whose snark and one-liners are honestly less interesting than the way he engaged with and sought to understand religion and faith; the different yet similar ways in which both the Sugar Plum Fairy and the Church exerted control over their followers, and the search for spiritual meaning beyond these figures/institutions.
Then there’s Cumulous, whose every character aspect navigates a space of tension - the ultimate war guy who made himself hardened (literally) and pragmatic to get the job done but who also remains soft and caring and empathetic at the same time; wielding the power of death without glorifying or giving into it; the cousin who both is a member of the family and yet who remains at somewhat of a distance from the centre; a literal warrior-philosopher who is single-minded in battle and quietly thoughtful about the mysteries of life and death outside of it.
As for actual assholes, we have Norman Takamori in A Starstruck Odyssey, a bitter man who is the living embodiment of both the Superior Orders excuse as well as scapegoating. On a side note, the amount of absolute vitriol and double standards which people threw at Norman during ASO for being an unapologetic asshole -and he had less than two full episodes of screen time- kind of underscores the calls for Zac to play a “real” asshole. Zac can and will play whatever type of character he wants, but is fandom really ready for him to play an asshole if that asshole doesn’t have a secret heart of gold?
From the same season, we have Valdrinor/Skip, who starts as the “prince running from his destiny” archetype with a dash of brain slug possession, has a humorous yet oddly profound exploration of what humanity is and what it means to be human, and springboards from there into “wait, who am I really and actually, why are we doing things (brain slug possession) this way when there are other ways to engage with the universe.”
Most recently in Neverafter, we have Pib, who apart from the fascinating meta element of being a literal character archetype, constantly straddles the line between self-absorbed self-interest and putting himself on the line to help others; his repeated demonstration of both at various points throughout the season is a subtle yet intriguing manifestation of free will and choice-making in a story all about lacking free will and agency.
So, I mean, lack of complexity where? Does a character need to be an asshole in order to be deep or compelling? And because I’ve heard this specific rebuttal quite a few times now, does a character need to vocalize their innermost thoughts loudly and frequently in order to prove their complexity? If a character is “less vocal” compared to other characters, does that mean they lack interiority?
Also, other people have brought this up before, but I am once again asking that people remember the difference between fictional characters and real life people. Zac playing one (1) himbo on the show does not make him a himbo in real life, nor does it make him incapable of creating or playing complex characters (especially as said himbo is himself an extremely complex character), nor does it make him a lesser player than other cast members. You don’t have to find all or any of his characters interesting or complex, but can we stop conflating character with player?
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It always makes me incredibly mad seeing people make fun of how the characters look in stranger things. If you find the character unattractive, that’s fine, but please for the love of god keep it to yourself because calling one of the characters ugly is indirectly calling the actor ugly
I feel like we tend to forget that actors are real people who can be hurt by others words. And I wouldn’t be surprised if one of the actors had seen somebody online calling them(/their character that is literally them appearance wise) ugly, and I would be even less surprised if it genuinly ruined one of their days. Be careful what you say online please. And this doesn’t just go for the stranger things fandom
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