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sashayed · 3 months ago

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ok now it is time to air my grievances with severance s2, a season of television i thoroughly enjoyed and looked forward to every week. s2 is mr milchick putting on a spectacular drumline Just For Me and what do they get for it. trapped behind a vending machine (readmore cut) while i batter them with a trombone. classic ingratitude.

my umbrella gripe btw is that showrunner dan erickson's figurative innie is actually Ricken and he won't admit it and until he does we are never going to see the show that severance Could Be. like ricken is a pretentious nightmare who is insulated from the consequences of his own actions. he's also got a fascinating way with words (fond, derogatory) and a heart that yearns for love and he is really trying to Say Something. ok well that's what this show is. accept this and reconcile with yourself Dan Erickson (or should I say DAN: SO RICKEN??? boom anagrammed!!) or keep displacing all your sins onto that one character and doom this show to eternal alienation from its own core themes.

i think we can all admit that pacing in this season sucks and they had enough time to do it better. and the thing is imo if you were really committed to storytelling you would have to cut some of the most fun/fanservicey individual scenes of the season. i can see why you might choose not to do that! like for instance the baby goats thing. i get it. it looked soooo fun to film with the baby goats. visually the pasture room is great. gwendoline christie is a gift. it's fun! but it doesn't actually uhhh serve the story to spend all that time on it. it doesn't shed any new light. "they are sacrificing the goats because lumon is a creepy cult." we KNOW they are a creepy cult. "lumon thinks innies are non-people who don't experience love and care, but they DO experience love and care and that motivates them." brother we know that too!! "ok but wasn't it all worth it for that heavyweight christie/olafsson finale fight scene." i will concede this point. that ruled.

pacing problems never worse than in "sweet vitriol," an episode i actually enjoyed more than everyone else, but it didn't need to be a standalone and in fact was badly served by the format!! many in your audience have forgotten to give a shit about ms cobel so the revelation that she invented severance doesn't hit for them. splitting her storyline up and dividing it among episodes starting earlier would have kept her more consistently in play and opened up space for underserved character arcs, like dylan aND IRVING—

—because as much fun as burving demon threesome is it is so underbaked and wastes one of the show's coolest characters. WHO IS IRVING. WHY IS HE SLEEPERAGENTING LUMON. you're gonna put him on a train to the farm for old dogs and be like "all was well because love is more important than revenge :)" ??? like sure but again it DOESN'T HIT because it doesn't require the viewer to struggle with WHAT IRVING'S DRIVING FORCE ACTUALLY WAS. and he doesn't even get to kiss. let him kiss!!!!

I actually think having reintegration move at an unpredictable pace and having its side effects be unclear is not the worst idea, and in fact as an allegory for like, real life healing and becoming a Whole Person i maybe even prefer it. but the pacing problems move it beyond "this process is unfolding gradually and erratically" into "we have forgotten this is happening" and it just didn't have to be that way, man. side note there is something fascinating going on with helly's uncomfortable, unwilling quasi-reintegration from the innie side! from the moment she finds herself in front of that gala to hearing jame say he doesn't love his daughter, she is accepting the fact that SHE IS HELENA. she is thinking about how She as a first-person experiencer of the world could find herself in helena's position (which helena—who is less of a grownup than her innie—is still unable/unwilling to do). i've read some criticism of that final scene (which i loved btw) that was like "helly's goal has always been to dismantle lumon, why would she give that up for A Man? wouldn't she push mark s. out the door and be like BURN THIS PLACE TO THE GROUND?" sure, but i think that doesn't engage with helly's arc either—which is not about revolutionary conviction OR about A Man but about about discovering that SHE wants to live, she doesn't want to hang herself in the elevator out of spite, she wants her half-a-life even if it means a degree of complicity with her evil outie. on the other hand, does the WRITING actually engage with helly's arc? or am i getting all that from britt lower??

speaking of making actors do all the work: we as a show are going to grapple with corporate racism and the Black experience :) no we're not :) or are we? ;) you're welcome :)))

i don't love gemma's backstory boiling down to Woman Want Baby. "Greatest Agony for Woman Is Want Baby and Can't Have Baby" is a storyline that makes me personally grimace. but i accept that that's a personal preference and honestly dichen lachman sells her character/s so beautifully that i didn't even remember to bitch about it when i originally wrote this. i just remembered it and had to edit this post because god forbid i don't complain about something. (although. now that i AM complaining about it: putting someone through three years of torture and then being like "we'll prove this fresh consciousness is unaffected by suffering by going all the way back to the baby thing, because 'no baby,' not years of torture and isolation, is the fundamental pain at the root of this woman's being," is...........a choice!!!!! it's a choice. and if it were a deliberate narrative choice, like if it were about how the lumon ideology fundamentally conceives of women, that would be one thing! but i just don't think it is.)

did i mention i really liked this season and had a great time. i did. i am bitching about it because i have a fun time rotating it in my mind. maybe it's actually very brave and artistic to make a show that is not as well-crafted as it could be because then you are opening up intellectual/creative space for your viewers. what about that. if you think about it maybe a slightly less good show is better than a great show. in a way. checkmate haters

#severance spoilers #if u see this in the real tags: no u don't. pretend i'm not here.

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sepublic · 2 months ago

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Dana Terrace Q&A at Weebcon 2025!!!

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Since I don’t see anyone else posting it (despite not being the only person recording, I noticed at least two others), I may as well show my recording of the Dana Terrace Q&A from Weebcon 2025! I actually got to ask Dana a question myself, more on that a bit; But as for the rundown:

If she was transported to the Boiling Isles, the person to teach her magic would of course be Eda; Dana sheepishly hesitated as she said it because it was so obvious, but at the same time what other answer would there be, besides maybe Bump??? She joked that Eda would probably get her killed, but still!

Out of the voice cast, Wendie Malick as Eda really stuck out to Dana, being a professional who knew exactly what to do, and a pretty well-known one at that; It was Dana’s first time as a showrunner so she was inexperienced in guiding the VAs, but Wendie helped encourage Dana to offer her input.

If asked what track she’d be in, Dana acknowledged her self-insert and acknowledged they were an Oracle, and also Beastkeeping, though noted it’d been two years, so she had trouble remembering; Indeed, IIRC she said in a Post-Hoot after the finale that her self-insert was supposed to be in Construction? Or maybe I’m just making that connection because back during the 2020 Reddit AMA, Dana brought up Construction due to being a more artsy coven.

Dana was excited how she, JBO, and Zach now had the opportunity to do all of the grosser, tense, emotionally intense things they wanted to do with The Owl House in Knights of Guinevere. KoG was actually developed towards the end of TOH’s run, in fact; During Dana’s freetime, she’d keep herself from going insane by working on this project, and eventually pitched it to her fellow head writers, who helped Dana develop the idea further. Eventually they pitched KoG to Glitch a year later. Dana described it as “messy” and “experimental” but also “fun.”

I find this revelation interesting, because given how long production in animation takes, it always amazed me how quickly Dana was able to get another show running, after TOH ended! So learning it was technically in the works since before TOH ended fits things nicely into a timeline here; Dana didn’t simply take a surprisingly short showrunning hiatus and then come up with this, it was being formulated as TOH was wrapping up!

No surprise, Disney and Glitch are “Night and day” in their treatment of artists and showrunners, with Dana mentioning she feels taken care of by Glitch, treated nicely.

If Dana had the opportunity to voice one of her characters, she said –if she was suddenly good at voice acting- King, due to his “explosive range” while mentioning a KoG character who has yet to debut.

Pitching a show is starting an idea, working on it from months to year; TOH only took a couple months before Dana pitched it to Disney, because she needed to do this, to try and see if it got any traction. She brought it a room of 2-3 people who pretended to be interested, because they’d heard a bunch of other pitches that day, so when Dana stood out, it felt nice. It takes three months for executives to decide if they want to move forward on it, and then another 3-6 months, etc.

Dana got be involved with the voice actors as much as she wanted to and could, with seasons 1-2, she was there for almost every performance. With S2B and S3, Dana could trust Eden Riegel to direct in her place as she was more involved with writing at the time. Dana was mostly involved in writing, in figuring out the scripts and working with the weird curveballs Disney threw them; Some solutions were successful, others not as much. There were many limitations in S1.

Every performance of Hooty by Alex in the booth was hilarious; He’d often start riffing in Hooty’s voice and going a full minute longer than his actual two lines to say. They were able to use a couple of Hooty lines, but most were unused.

This was the part where us fans were invited to line up and ask questions!!!

If Dana could change one thing about the show (other than the cancellation) she admitted to wanting to rewrite Once Upon a Swap LMAAAAOOOOOOOOO-

To come up with the concept of TOH’s universe, Dana started off with the initial concept that she disliked a lot of fantasy novels and stories. So when she created, it came from a place of cynicism and negativity (not always great, in her words), and she liked to challenge herself to take something she disliked and found frustrating, and figure out a version of it she could love. So Dana turned this fantasy world into something more gruesome, scary. She put a horror spin, gave everything teeth and claws; Make it fun for her!

Five years ago, the character Dana related to the most was Luz because of plenty of her stories, esp in regard to her father’s death at a young age and not fitting in. But now that Dana’s thirty-four, she relates to Eda a lot; She finds herself becoming more isolated and against the world. At some point she might start wearing solely red dresses.

When creating the concept of the Collector, Dana’s thought process was wanting to create someone very ethereal and childish, and had this thought of a child flying through space, who never understood death, and liked to create chaos and destruction in his wake. She doesn’t really know why. The thought process and the galactic aesthetic of someone like that was very interesting to Dana; The Collector ended up being one of her favorite characters.

(I find this info very vindicating, as I’ve seen people speculate that the Collector not knowing of death was a contradictory retcon done in S3 to make them more sympathetic; No, that was always the idea, since the very beginning! Since they rewrote the Collector prior to S2B, mind you; Before that, Dana confirmed during her Gallery Nucleus that they originally had a different personality and direction as seen in 2A, which is likely why that depiction was made into a separate character, an Archivist. But by Elsewhere and Elsewhen, a Collector oblivious to death was always the goal. We’re getting Ship of Theseus here about characters during the development process.)

Onto my question!!! I asked about the Watching and Dreaming storyboard in which Odalia would’ve been there alongside the Hexsquad, watching the horizon after Belos’ defeat, and how Rebecca Bozza confirmed there was a cut confrontation between Camila and Odalia in the Archives.

Dana mused that if Camila ever met Odalia, it probably wouldn’t be a pretty situation; There’d be a lot of glares. But there’s no canonical confrontation, so Dana could only pretend that Camila would’ve smacked her.

I think Dana may have misheard my question? And/or she didn’t recall what they had planned for the finale (I was too shy to clarify, press her about it); It makes me wonder if the idea had been too shortlived, and the writers juggling so much (in addition to Dana handling KoG, as we’ve just discovered), that it’s since slipped her mind after two years. This does make me wonder if it was, in some part, a fluke by the storyboard artist; After all, Clouds on the Horizon had storyboards in which Amity wore the portal key necklace while confronting her mother within the Abomaton bubble.

Of all the TOH scenes Dana wrote, her favorite was the whole third act of King’s Tide; She co-wrote it with Zach Marcus. Dana handled a lot of how it paced out, the way the dialogue came out. Sometimes Dana writes a script and it’s the most painful, struggling experience for her; So difficult to perfect and get out, requiring a thousand changes. But for King’s Tide, there it was! And she’s very proud of it. Dana has a hard time looking back at the show, because it’s like an old sketchbook for her; She’s always wishing she could’ve done something better. But King’s Tide is one of the few episodes she can say she nailed that one.

(God I feel that. Personal aside, I think something a lot of writers take for granted is their ability to always look back and edit and revise at their own leisure, even after posting, whenever they want, until the end of time. But writers for shows don’t exactly get that luxury, especially when a script needs to be finalized so animation and everything else, its own beast, can follow suit. Can’t easily update a script –esp at the last second- without demanding the rest follow!)

Two questions about KoG; What was the moment when Dana worked with Glitch that made her realize the difference between it and Disney? Dana was very cautious going into Glitch, and as she told some there, that she was going in like a stray cat who didn’t trust anyone, like she was left out in the cold. But slowly, over the course of the year, Dana realized Glitch actually treated their artists with respect; If someone says something isn’t working and offers another way, Glitch actually listens and changes! Wild! They’re a company (she’d rather say “group of people”) that seem very determined to learn and grow and make sure everyone’s doing right. Glitch is a far cry from Disney.

The other question was what was the process of Glitch doing 2D animation for KoG instead of its usual 3D; Did Dana have to convince them, or were they open from the start? Dana thought Glitch was always excited to do 2D, and one of the things she was able to offer was her experience in doing a 2D show and how production for it would look. It was an arrangement that worked out for everyone, where Dana got to create her own pipeline for the show which has been working very well this far. There’s no odd restrictions from Glitch’s management, it’s been very nice.

In regards to cosplays she’d like to see of her characters, or which stood out to her, Dana once saw a 7-foot tall (before the horns!!!) Belos cosplay that was size-accurate via giant platform boots underneath the cloak; It was awesome. Dana always loves seeing King costumes because they’re essentially giant furry suits, but she speculates it’s also why she doesn’t see many of them, because furry suits can be very intense to make. But Dana was very excited to see any KoG cosplays in the future.

This part intrigued me, because the day prior, a fan dressed as the princess from KoG had shown up to meet Dana Terrace and I’d come across them, exchanged info, and clarified that the schedule for Dana had updated since it was announced back near the end of February; At first she was going to be there for all three days of Weebcon, but could only be there for two (On her Bluesky account, she did allude to some trouble occurring to her that Friday, which may have been the reason for this change). I’d reassured the cosplayer they hadn’t missed Dana or done anything wrong…

And lo and behold, the person who asked the question had also met this cosplayer, and brought it up to Dana! Dana was excited and wished she could’ve seen, and asked for anyone with a photo of the cosplay to tag her on Twitter or any other social media.

What Dana listens to when doing art is True Crime podcasts, which sucked her in during the pandemic. Other than that, she listens to classical music, as it fires certain neurons within her brain that get her very focused; She has a hard time watching anything when drawing. Sometimes Dana goes into psycho mode, pure silence; Earplugs in, nothing but the beat of her own heart, and pure focus. Locked-in, takes a certain insane mood for sure.

A fellow Raine cosplayer asked Dana what she was most excited for in regard to KoG, and she said Episode 4!!! There’s lots of stuff Dana and co. are planning; Obviously the pilot’s not finished right now, but the things they’re thinking about are very exciting and she’s excited for everyone to see the character designs and stunning animation. Dana lamented that if she kept going, she’d end up saying something she wasn’t supposed to. She’s so quiet posting online, because otherwise she’d just be posting KoG and inevitably slip up. Overall, she’s excited.

If Dana got to do Owl House with no restrictions, Dana absolutely would’ve leaned more into the horror theme; She initially pitched it as PG-13 and leaning more into horror, though this doesn’t mean they would’ve taken away any of the heart or sweetness between the characters (Which I’ve suspected and really appreciate to hear; Always good to have the heart beneath it all). All this means is that the intense scenes would’ve been more intense, and the tension between characters more intense.

Overall the art direction might’ve been grittier; But during development, executives kept suggesting the crew round out the characters to make them more appealing, and at some point Dana was frustrated because her personal art style has a lot of straight lines. She would’ve liked to have leaned more into horror and the original vision, BUT she’s still very happy with how it came out.

Someone I met and talked to earlier about Isabelle Rosalini’s role in the show, and the enormity of the feat, also brought it up again with their question about whether there was a TOH design where Dana had a specific actor in mind to play them.

The interviewer, at that point, had the perfect segue to bring in none other than Zeno Robinson himself, who I’d just found out was going to be at Weebcon the first day I attended, and even got a signed print from him! I’d wondered if he was going to be there at Dana’s QnA and forgot to ask him about it, but of course he was. There was no way he wasn’t going to be.

Going back to the question, Dana decided she’d want everyone to be voiced by Zeno. But in all seriousness, Dana said she wasn’t allowed to answer that question.

If Dana hadn’t made TOH through Disney, was there a specific plotline she wanted in the show that couldn’t be added or was axed because of “the rat”? Dana would’ve loved to explore the Bat Queen’s arc (talk about good timing with the prior question mentioning Rosalini, which Dana acknowledged) and had a whole thing planned, it was going to be very sweet and somber. Dana loves drawing the Bat Queen. But when they had to cut down plotlines, BQ unfortunately had to be cut.

Dana’s reaction to the internet’s reaction to various TOH developments wasn’t a specific one; Her stomach was always in a knot whenever an episode dropped, and she and some of the crew would watch the comment section on the sides of livestreams. It was always stressful, even if overwhelmingly positive; Zeno could relate.

Zeno mentioned how when an artist gives so much of themselves, the art is never finished in their eyes; They could’ve always done this, or added this thing. (“It was like 90% there” Dana concurred). It’s the most presentable version within the time constraint they’re given, but sometimes it’s never like that 100% finished product one wished they had, so it’s tough as an artist to look at something objectively because you just don’t get why everyone likes it. Zeno sometimes re-listens to his Hunter audition, which Dana found so good, and wonder how he got cast. Dana clarified it was the part where Zeno freaked out.

(Can I say how much we take for granted as fans that we can always, at our leisure, go back to update and improve our own works? Or take as long as we need to create the best version of something, without any deadlines to meet?)

If there was a full S3, Dana confirmed to Zeno he would’ve voiced every single hypothetical Grimwalker, and that they would’ve alluded more to Darius’ mentor, talked about it more plainly for sure. Dana joked about doing it in a S4, but also clarified that would never be in the cards… Supplementary materials on the other hand!!!

Zeno mentioned wanting to see an exploration into the past of Hunter and the prior Golden Guards, and their connection to Caleb and Belos; Like a single graphic novel, Dana concurred, as there’s so many storylines in TOH that would make awesome TOH one-shot comics. She joked to Zeno about it being time to pitch spin-offs, with Zeno replying it’s been enough time.

When coming up with the magic system for TOH and how it contributed to the characters, and what her inspirations were, Dana explained it all stemmed from the basic idea that Luz herself can’t do it; Everyone else around her can do it so easily, with a literal flick of their wrist. Luz has to work extra-hard in drawing the complicated designs each time and remembering them, learning how to combine them in different ways, and the worst part, finding them in the first place, which Luz didn’t even know she had to do at first.

So it might not have been the most elegant place to begin building a magic system, in Dana’s words (if she could go back and redo it, she’d have some better solutions to some walls they ran into), but for her any kind of system, be it worldbuilding or magic, has to start with how it affects the main character, why it affects the main character, what’s the purpose of the system in the first place.

In regard to the (leaked!!!!) pitch bible, which Dana was chill about, there are a lot of things she wished she’d kept from it; The main thing she learned as a first-time showrunner was that she needed to stick to her gut more. She had to trust her instincts more, because if she didn’t like what she’s doing or the suggestions being made, then she’s going to have a miserable time for the next four years.

One of the changes Dana did like was Lilith going from Hexside’s principal to head of the Emperor’s Coven; Being a principal just wasn’t as exciting as being behind enemy lines. Plus we got to see her fall from grace, which was really funny for Dana (same here for me). It’s tough; One needs to learn to stick to what they love, but also learn not to be precious(?) at the same time, because new and better ideas come all the time, and one needs to learn to let go of old things to embrace the new and cool things. At the same time! You need to learn how to see what’s unnecessary, and stick to an older idea; It’s a balance.

(I feel this one a lot with GEverse.)

Dana can’t clarify on how many KoG episodes there will be, just that the pilot is in production.

Dana has taken inspiration from artists such as Tatsuyuki Tanaka, who she’d murder to draw like; She was just looking at some of his works before arriving to Weebcon. Hieronymous Bosch was a huge inspiration for TOH, though she doesn’t necessarily want to draw like him; She still derives from him. She loves Naoki Urasawa, and Dana and Zeno love his Pluto, which makes Dana cry everytime she reads it; She admires Urasawa so much as an artist and storyteller. He’s one of her top favorites ever.

What’s the deal with Hooty and the Titan? It was a symbiotic relationship. Worms are a type of parasite.

Dana would’ve loved to put a scene in S3 (it was one of her original ideas for it!) building off of how Belos tried to manipulate Luz in King’s Tide on the basis of her being human like him and so he’s trying to “help” her; She wanted to make that moment so much more longer and manipulative by setting a scene in an autumnal forest, where the leaves are falling, it’s quiet and serene and creepy, and Luz and Belos are speaking about their experiences with death.

With Luz it was her father Manny, with Belos it’s his brother Caleb; Obviously, it’s very different circumstances, with Luz pointing out her father died. Belos killed Caleb. Them having a very intense conversation was something Dana always wanted to do, and she’s so sad she never got to do it.

(To go on a tangent, I find this fascinating for obvious reasons, and I think the writers managed to somewhat adapt the concept into the final episode? There’s the parallels in Belos bringing up their similarities as “witch hunters” in order to gaslight Luz, as well as his Woe Is Me schtick about Caleb, only for Luz to shut it down with the very blatant point that Belos murdered Caleb, he brought that entire situation upon himself!

In general, the parallels still manage to speak for themselves, so you can feel them shadow that canon callout by Luz. So even if the exact idea didn’t go through, I think the spirit of the contrast between these two deaths that motivate Hero and Villain in opposite ways, because of opposite roles they played, culminates in Luz having every right to call out Belos’ hypocrisy, as the theme of Death asserts itself before the Collector learns later on.)

If TOH was given a PG-13 rating and Dana could insert one F-bomb, she deliberated on either Hooty or Eda saying it; It would take her so long to figure out where in the show. Perhaps if Hooty met Belos, he’d say it there.

The final question: How much does an actor know about a character when coming into an audition, and how long have they known that information prior to the audition? According to Zeno, usually there’s a description and a bit of what the character is about, maybe there’s a bit on their arc. Sometimes productions are incredibly detailed, or just detailed enough. Sometimes he gets a basic idea of a character’s trajectory, their traits and inspirations, other times it’s just the main personality traits and what they like; You usually know what you need to know, and not much more than that.

For example, Zeno didn’t know Hunter’s real name when he auditioned; He was just the Golden Guard, with Dana explaining they were being very cagey about his name, not sure of how much they could put out about him. Zeno saw his face and five lines, but one can infer things from lines; It can provide more insight into personality than the description itself.

All in all, it's surreal to not only be in one of these Q&As, but to have recorded it myself, rewatch my own recording as I transcribe, summarize, and analyze as I normally do, and even get to ask a question myself! It was difficult figuring out which question to ask, though it appears some got away with two, but alas I was shy about appearing greedy. I suppose I overthought it, and in the end everyone who lined up got to say theirs! I guess one could say I didn't actually get my question answered after all; But if I get the fortune of another chance, I'll try something different, both as a question and potentially a drawing request! If fate deems it so.

#The Owl House #Dana Terrace #Zeno Robinson #Weebcon #Weebcon 2025 #Luz Noceda #The Owl House Collector #The Owl House Bat Queen #The Owl House Hooty #Knights of Guinevere #Emperor Belos #Philip Wittebane #PSA #Youtube

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chuwenjie · 5 months ago

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i really enjoyed you sharing your intern story, but i was also keenly aware while reading that it seems like that trajectory is only possible if you have enough money to jump at the opportunity. things like buying a plane ticket, potentially break and lease, and sign a new one with just a few weeks' notice, and then work minimum wage only a couple of days a week while there? do you have any advice for how you were able to make that financially feasible, or in your opinion is breaking into the industry only possible by having a ton of cash to burn on last minute and under-compensated internships? this is asked without judgement; i do really appreciate your insights, and am asking out of desire to carve this path for myself with limited resources. thank you!

(Note: this reply is regarding this post)

You're 100% right - the way that studios structure internship positions highly favor students that have the financial means to drop everything and move to California for a few months, for little to no compensation. The fact that they don't offer any form of housing assistance or travel stipend makes it incredibly difficult to take on an internship without already having savings ready to go.

I was very thankful and lucky that my parents had saved funds for my higher education, which is how I had money to do the internship, but I totally recognize how much of a privilege that is. I think the fault is on the studios for making these programs inaccessible, especially when it could be an experience with the potential to shape the course of an artist's career.

There are a couple things that could possibly help - the first is that internships already require you to be a student enrolled in college, and it's possible you could try asking your school for financial assistance for the internship. Some schools have special funds set aside for things like this and it's always worth to see if your school does.

The second would be that the pandemic vastly changed the way studios operate, with many of them now allowing full-time or hybrid remote employees. During the beginning of COVID, internships were done virtually, and perhaps it's still possible to ask if the studio is willing to accommodate a remote internship.

My last advice though, would be that being unable to participate in an internship is NOT the end of the world. Getting an internship in the animation industry is WAY harder than getting a job - the vast majority of artists I've worked with never had internships, and many of them transferred into animation from other disciplines like engineering or computer science. The way I got my first job also was not directly through my internship, it was actually through a Dreamworks showrunner discovering my artwork on Twitter and reaching out to me about a job. These days, social media has so much power to connect us to opportunities that would have been extremely hard to get in the past and I would definitely keep that in mind as you continue your journey! Wishing you all the best of luck.

#q&a #cartoon network #internship #animation

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hotdaemondtargaryen · 1 year ago

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EWAN MITCHELL — talking about matt smith.

He used to watch Doctor Who with his grandmother.

Idolising Smith-as-the-Doctor turned out to be very useful for playing Aemond, who idolises Smith-as-Daemon.

It is, admittedly, a complicated relationship: Aemond imitates, reveres and despises his uncle.

“I thought there was something interesting in never taking Matt off that podium.”

“I just kept him there, from where I saw him as a kid.”

He found it so interesting, in fact, that he spoke to showrunner Condal and proposed avoiding Smith on set so that the they would only ever interact in character. Smith was up for it.

There is a resemblance between the actors, something noted by his grandmother then and by me now.

about the scene from episode 8, season one.

“That was the first time I’d looked at Matt or Daemon for longer than three of four seconds.”

“It was lightning in a bottle.”

“We have these two sides of the family, so I don’t really see him.”

“There’s a romance to it in a weird way.”

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ironworked · 3 months ago

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Bucktommy in 8.11 and what's next

If the writers believed they'd closed the door with the 8.06 breakup, they wouldn't have brought Tommy back.

They did bring him back, though (and secretively!), but instead of any of the paths to create closure, like showing Tommy had moved on, or having them both realize their feelings had changed, or have Tommy state that that night changed nothing... what they did was 8.06 Breakup Redux 'The Soft Version':

I can't move in with you -> I'm not ready to move in

This is new to you, I'm not your last -> 'what about Eddie?' 'I'm not in love with Eddie'.

Buck -> Evan

You'd end up breaking my heart -> 'You're not afraid now?' 'not so much'

Impractical loft -> Family house

Wanting to call Tommy + Baking [downward spiral of abandonment issues] -> Wanting to call Tommy + Baking [learning to be okay alone]

Buck making an impulsive decision asking Tommy to move in -> Buck wondering if his loneliness was a factor.

We know the callbacks are intentional because they've happened before, and they had them dressed in basically the same outfits as in their 8.06 breakup.

Buck is in a better headspace now after 8.11, and I think 8.12/13 will show that (and probably rest on the Tommy mentions/baking, though if they don't they might as well start playing the wedding march) and that the point is to have Buck be OK so that when he meets Tommy again there's no doubts about where his feelings come from.

They clearly didn't use 8.11 for closure, but they made sure the audience knew it was needed by having Buck repeat he should call Tommy and by his baking.

And we know they'll meet again, and it'll be in a Big Emergency. So in my opinion the options are, from least to most likely:

Killing Tommy: killing characters is showrunner catnip, but not something 911 does. It's also weird to do it when Buck is on the up and only 3 eps from the end of the season (episodes that have more focus on Bathena and tying up loose ends).

Bad Timing Couple: another rom(com) classic, the couple that wants to be together but it's never the right time! Maybe Buck says he needs time alone; maybe Tommy says he's in therapy, or he accepted a job in Alaska. It's possible, but I'd think it'd be a letdown of a resolution for Buck's arc this season (and pretty much sets Tommy as The Endgame for Series Finale so if they try another LI they're going to be dead on arrival). Also... why not do this directly in 8.11?

Romantic Reunion: maybe Tommy is in danger, or saves Buck, or they kinda recreate the night they met as they work together to save the 118... they talk and/or make declarations and get back together. This would give Buck a deserved and climactic win, but they'd lose one of their bachelors (maybe if Eddie does leave and they incorporate Ravi, this is less of an issue).

I think it's also important to note that (afaik) 8.14/15 isn't the same filming block as 8.11, so it's not like they already had LFJ on set and went 'hey since you're here, mind hoping into that helo so we can do some action scenes?'. And they're not going to spring more money on an actor if their role could've been played by anyone (or even not have been a role to be filled at all).

#Tv: 911 #911 spoilers #911 speculation #bucktommy #long post #and that's why my money is on option number 3: getting back together #who'd use a big emergency 2-parter close to the finale to disappoint a beloved character AGAIN (and as he's starting to heal)?!#I'm probably forgetting something but this is long enough already hit send #My stuff: 911

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brian-in-finance · 5 months ago

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Photos: Screen Rant

⚠️ This post is ridiculously long. It includes three passages from Bees that relate to Season 7’s surprising cliffhanger ending, and an explanation from Diana Gabaldon on what put that crazy idea in the scriptwriter/showrunner heads.

From “the book”

"This is all I have," she said, her voice hoarse as a young toad's. "Just this and her wock — locket."

"This?" Jamie stirred the little pile gently with a big forefinger and withdrew a small brass oval, dangling on a chain. "Is it a miniature of Jane, then, or maybe a lock of her hair?"

Fanny shook her head, taking the locket from him.

"No," she said. "It's a picture of our muv — mother." She slid a thumbnail into the side of the locket and flicked it open. I bent forward to look, but the miniature inside was hard to see, shadowed as it was by Jamie's body.

"May I?"

Fanny handed me the locket and I turned to hold it close to the candle. The woman inside had dark, softly curly hair like Fanny's — and I thought I could make out a resemblance to Jane in the nose and set of the chin, though it wasn't a particularly skillful rendering.

Behind me, I heard Jamie say, quite casually, "Frances, no man will ever take ye against your will, while I live."

There was a startled silence, and I turned round to see Fanny staring up at him. He touched her hand, very gently.

"D'ye believe me, Frances?" he said quietly.

"Yes," she whispered, after a long moment, and all the tension left her body in a sigh like the east wind.

Jemmy leaned against me, head pressing my elbow, and I realized that I was just standing there, my eyes full of tears. I blotted them hastily on my sleeve and pressed the locket closed. Or tried to; it slipped in my fingers and I saw that there was a name inscribed inside it, opposite the miniature.

Faith, it said.

…

Faith. Our mother, Fanny had said. I'd looked more than once at the miniature in the locket — but it was too small to show anything more than a young woman with dark hair, maybe naturally curly, maybe curled and dressed in the fashion of the times.

No. It can't be. I rolled over for the dozenth time, settling on my stomach and burying my face in the pillow, in hopes of losing myself in the scent of clean linen and goose down.

"It can't be what, Sassenach?" Jamie's voice spoke in my ear, sleepily resigned. “And if it can't, can it not wait 'til dawn?"

I rolled onto my side in a rustle of bedding, facing him.

"I'm sorry," I said, and touched him apologetically. His hand took mine automatically, warm and firm. "I didn't realize I'd said it out loud. I was... just thinking about Fanny's locket."

Faith.

"Ach," he said, and stretched himself a little, groaning. "Ye mean the name. Faith?"

"Well... yes. I mean — it can't possibly... have anything to do with—”

"It's no an uncommon name, Sassenach." His thumb rubbed gently over my knuckles. "Of course ye'd... feel it. I did, too."

"Did you?" I said softly. I cleared my throat a little. "I — I don't really do it anymore, but for a time, just—just every now and then — I'd think of her, of our Faith — out of nowhere. I'd imagine I could feel her near me."

"Imagine what she might look like — grown?" His voice was soft, too. "I did that, sometimes. In prison, mostly; too much time to think, in the nights. Alone."

I made a small sound and hitched closer, laying my head in the curve of his shoulder, and his arm came round me. We lay still, silent, listening to the night and the house around us. Full of our family— but with one small angel hovering in the calm sweet air, peaceful as rising smoke.

"The locket," I said at last. "It can't possibly have anything whatever to do with—”

"No, it can't," he said, a cautious note in his voice. "But what are ye thinking, Sassenach? Because ye're no thinking what ye just said, and I ken that fine."

That was true, and a spasm of guilt at being found out tightened my body.

"It can't be," I said, and swallowed. "It's only…” My words died away and his hand rubbed between my shoulder blades.

"Well, ye'd best tell me, Sassenach," he said. "Nay matter how foolish it is, neither one of us will sleep until ye do."

"Well... you know what Roger told me, about the doctor he met in the Highlands, and the blue light?"

"I do. What…"

"Roger asked me if I'd ever seen blue light like that — when I was healing people."

The hand on my back stilled.

"Have ye?" He sounded guarded, though I didn't know whether he was afraid of finding out something he didn't want to know, or just finding out that I was losing my mind.

"No," I said. "Or not — well, no. But... I have seen it. Felt it. Twice. Just a flash, when Malva's baby died." Died in my hands, covered with his mother's blood. “But when Faith was born, when I was so ill. I was dying — really dying, I felt it — and Master Raymond came."

"Ye told me that much," he said. "Is there more?"

"I don't know," I said honestly. "But this is what I thought happened." And I told him, about seeing my bones glow blue through the flesh of my arms, the feeling of the light spreading through my body and the infection dying, leaving me limp, but whole and healing.

"So... um... I know this is nothing but pure fantasy, the sort of thing you think in the middle of the night when you can't sleep..."

He made a low noise, indicating that I should stop apologizing and get on with it. So I took a deep breath and did, whispering the words into his chest.

"Master Raymond was there. What if — if he found... Faith... and was able to... somehow bring her… back?"

Dead silence. I swallowed and went on.

"People… aren't always dead, even though it looks like it. Look at old Mrs. Wilson! Every doctor knows — or has heard — about people who've been declared dead and wake up later in the morgue."

"Or in a coffin." He sounded grim, and a shudder went over me. "Aye, I've heard stories like that. But — a wee babe and one born too soon — how…”

"I don't know how!" I burst out. "I said it's complete fantasy, it can't be true! But — but —" My throat thickened and my voice squeaked.

"But ye wish it were?" His hand cupped the back of my head and his voice was quiet again. "Aye. But... if it was, mo chridhe, why would he not have told ye? Ye saw him again, no? After he'd healed ye, I mean."

"Yes." I shuddered, momentarily feeling the King of France's Star Chamber close around me, the smell of the King's perfume, of dragon's blood and wine in the air — and two men before me, awaiting my sentence of death.

"Yes, I know. But — when the Comte died, Raymond was banished, and they took him away. He couldn't have told me then, and he might not have been able to come back before we left Paris."

It sounded insane, even to me. But I could — just — see it: Master Raymond, stealing out of L'Hôpital des Anges after leaving me, perhaps ducking aside to avoid notice, hiding in the place where the nuns had, perhaps, laid Faith on a shelf, wrapped in her swaddling clothes.

He would have known her, as he'd known me...

Everyone has a color about them, he said simply. All around them, like a cloud. Yours is blue, madonna. Like the Virgin's cloak. Like my own.

One of his. The thought came out of nowhere, and I stiffened.

"Jesus H. Roosevelt Christ." What if — all right, I was insane, but too late for that to make a difference.

"What if he — if I, we — what if Master Raymond is — was — somehow related to me?"

Jamie said nothing, but I felt his hand move, under my hair. His middle finger folded down and the outer ones stood up straight, making the sign of the horns, against evil.

"And what if he's not?" he said dryly. He rolled me off him and turned toward me so we were face-to-face. The darkness was slowly fading and I could see his face, drawn with tiredness, touched with sorrow and tenderness, but still determined.

"Even if everything ye've made yourself think was somehow true — and it's not, Sassenach; ye ken it's not — but if it were somehow true, it wouldna make any difference. The woman in Frances's locket is dead now, and so is our Faith."

His words touched the raw place in my heart, and I nodded, tears welling.

"I know," I whispered.

"I know, too," he whispered, and held me while I wept.

— Go Tell the Bees That I Am Gone, Chapter 24, Alarms By Night

"Ian — I wanted to ask you a favor." One eyebrow went up.

"Name it, Auntie."

"Well... Jamie said that you plan to stop in Philadelphia. I wondered.." I felt myself blushing, much to my annoyance. His other eyebrow rose.

"Whatever it is, Auntie, I'll do it," he said, one side of his mouth curling. "I promise."

"Well... I, um, want you to go to a brothel."

The eyebrows came down and he stared hard at me, obviously thinking he hadn't heard aright.

"A brothel," I repeated, somewhat louder. "In Elfreth's Alley."

He stood motionless for a moment, then turned and put the cheese back on the shelf, and glanced down at the clear brown water of the creek rushing past our feet.

"This might take a bit of time to explain, aye? Let's go out into the sun."

— Go Tell the Bees That I Am Gone, Chapter 59, Special Requests

IAN CAME BACK from his visit to Elfreth's Alley in something of a brown study, oblivious to the shouts of dairymaids and beer sellers.

He'd thought he might have to expend considerable time and money in order to get the inhabitants of the brothel to talk, but the mere mention of Jane Pocock's name had opened floodgates of gossip, and he felt as one might after being washed overboard from a ship and carried ashore in a flurry of foam and sharp deb-ris.

Now he wished he had paid more attention to Fanny's drawing of her sister.

The loudly stated opinion of Mrs. Abbott, the madam, was that Jane Pocock had been strange, plainly very strange, demented and probably a practitioner of Strange Arts, and how it was that neither she nor any of her girls had been murdered in their beds, she did not know. Ian wondered why a young woman with such skills would have been working as a whore, but didn't say so, under the circumstances.

It took some time for the talk about the murder of Captain Harkness to die down, but Ian Murray did ken his way around a brothel, and when the flow diminished, he at once ordered two more extortionately priced bottles of champagne.

This altered the air of accommodation to something more focused but less vituperative, and within half an hour, Mrs. Abbott had retreated to her sanctum and the whores had reached their own silent accommodation amongst themselves. He found himself on the red velvet sofa common to such establishments, with Meg on one side and Trixabella on the other.

"Trix was friends with Arabella — Jane, I mean," Meg explained. Trix nodded, doleful.

"Wish I hadn't been," she said. "That girl hadn't any luck at all, and that kind of thing can brush off on you, you know. What are those things on your face?"

"Can it?" lan touched his cheekbone. “It's a Mohawk tattoo."

"Ooh," said Trix, with slightly more interest. "Was you captured by Indians?" She giggled at the thought.

"Nay, I went of my own accord," he said equably.

"Well, me too," Trix said, with an uptilted chin and a wave of the hand presumably meant to draw his attention to the relatively luxurious nature of her place of employment. "Not Arabella, though. Mrs. Abbott got her and her sister off a sea captain what didn't have the scratch to pay his bill. Those girls were indentures."

"Aye? And how long ago was that? Ye canna have been here more than a year or two yourself." In fact, she looked to have been in the trade for a decade, at least, but minor gallantries were part of the expected pourparlers, and she laughed and batted her eyes at him in a practiced manner.

"Reckon it would have been six — maybe seven — years ago. Time flies when you're havin' fun, or so they say."

"Tempus fugit." Ian filled her glass and clinked his against it, smiling. She dimpled professionally, drank, and went on.

"Mind, I wasn't but two years older than Jane..." Bat-bat. "Mrs. Abbott wouldn't've bothered with them, save they were pretty, both of 'em, and Jane was just about old enough to... um... start."

Ian was counting back; six years ago, Jane would have been about the age Fanny was now. Old enough...

After a few accounts of harrowing initial experiences in the trade, he managed to drag the conversation back to Jane and Fanny.

"Ye said a sea captain sold the girls to Mrs. Abbott. Do either of ye by chance recall his name?"

Meg shook her head.

“I wasn't here," she said. "Trix...?" She lifted a brow at her friend, who frowned a little and pressed her lips together.

"Has he come back here — since?" Ian asked, watching her closely. She looked startled.

"I — well... yes. I only saw him twice, mind, and it's been a long while, so I maybe don't recall his name for sure."

Ian sighed, gave her a direct look, and handed her a golden guinea.

"Vaskwez"" she said without hesitation. "Sebastian Vaskwez."

"Vas — was he a Spaniard?" lan asked, his mind having smoothly transmuted her rendering to "Sebastiàn Vasquez."

"I don't know," Trix said frankly. "I've never had a Spaniard — knowin'-like, I mean-wouldn't know what they sound like."

"They all sound the same in bed," Meg said, giving Ian an eye. Trix gave her friend a withering look.

"He sounded foreign-like, no doubt about that. And no talking through his nose or that gwaw-gwaw sort of thing Frenchies do. I've had three Frenchmen," she explained to Ian, with a small showing of pride. "Was a few of'em in Philadelphia while the British army was here."

"When was the last time Vasquez came here?" he asked.

"Two... no, maybe close to three years ago."

"Did he go with Jane then?" Ian asked.

"No," Trix said unexpectedly. "He went with me." She made a face. "He stank of gunpowder — like an artilleryman. He wasn't one, though; they've all got it ground into their skin and their hands are black with it, but he was clean, though he smelled like a fired pistol."

A thought occurred to Ian — though thinking was becoming difficult. He wasn't bothered by the fact that his body was taking strong notice of the girls, but arousal seldom did much for the mental faculties.

"Could ye tell if he was still a sea captain?" he asked. Both girls looked blank.

"I mean — did he mention his ship, or maybe say he was taking on crew, anything like that? Did he smell of the sea, or — or —fish?"

That made them both laugh.

"No, just gunpowder," Trix said, recovering.

"Mother Abbott called him 'Captain, though," Trix added. "And 'twas clear enough he weren't a soldier."

A few more questions emptied both bottles, and it was clear that the girls had told him all they knew, little as it was. At least he had a name. There were sounds in the house, opening doors, heavy footsteps, men's voices and women's greetings; it was just past teatime and the cullies were beginning to come in.

He rose, arranged himself without shame, and bowed to them, thanking them for their kind assistance.

— Go Tell the Bees That I Am Gone, Chapter 80, A Word For That

From “the author”

“They actually did get the (general) idea from me, though,” she admits. “When chatting with [showrunner] Matt [Roberts] about All Things plot wise, I mentioned that if I had written a second graphic novel (I didn't, for assorted reasons), I would have shown what actually happened after Faith's presumed death at the Hopital des Anges, and how/why Master Raymond resuscitated and nurtured the baby secretly, but wasn't able to come back with her before Claire and Jamie left France. So, they liked that idea and ran with it.” — Diana Gabaldon, Parade

Remember… Claire is only one of more than a dozen time-travellers in the story… Brianna was conceived in 1746 and born in 1948… Family Beardsley is a threesome… it’s Outlander, anything can happen.

@marian4456 @saint-hildegard-of-bingen @kiaora45 @dlansing53 @young2evans @gotraveltheworldluv @krisrose16 @frenchyses @bcacstuff @pinkblizzardgladiator @thetruthwilloutsworld @its-moopoint @stellarpuffin @outlanderfandomfollies @loveisloveislove76 @castlemaine123 @dragonflydreams47

#Tait rhymes with hat #Good times #Outlander #S07E16 #A Hundred Thousand Angels #Faith #Go Tell The Bees That I Am Gone #Chapter 24 #Alarms By Night #Chapter 59 #Special Requests #Chapter 80 #A Word For That #Parade Magazine #17 January 2025 #TV #Fiction #Entertainment

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randomness-is-my-order · 1 year ago

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been seeing alot of discourse ensuing in the fandom about the pjo tv show and here’s the thing: there is alot of impetus about what the show didn’t get right but isn’t it absolutely amazing how much the show did get right????

yes, gabe is a bit different. yes, annabeth didn’t show percy around camp. yes, grover snitched on percy. yes, ms. dodds transforming could be a bit underwhleming.

BUT

we also have this: percy being an actual kid with sarcasm and sadness and anger and trauma. he’s not one-note. he’s just trying his best and his inner conflict is so painfully and wonderfully portrayed. grover being a nervous wreck at times but also sweet and earnest and guilt-ridden and brave in his own way. annabeth being a little girl wise beyond her years, with a stoicism that feels like something she was forced to practice and the spark of a dream driving her actions. luke being a likeable teenager with actual empathy towards percy which will drive home his fall from grace that much deeper.

chiron being a mentor figure who still makes questionable choices and can’t always say the words percy wants to hear, despite his best intentions. mr. d being an asshole who is still likeable, if only for his humor. sally jackson being a fierce mother with both tenderness and strength, who isn’t perfect but might as well be in percy’s eyes. clarisse being the unpleasant bully that she is, with all the rage and pettiness that she held within when we were first introduced to her yet with the promise of something more.

camp halfblood’s set and the cinematography deserve their own medals. they’re quite literally perfect.

soooo, where i’m getting at is this:

i don’t believe that all criticism pointing out inconsistencies with the books is just nitpicking. alot of it is well thought out and politely presented, too, and i think it’s important to point it out so the showrunners know where they went wrong and can try and rectify those errors–however small or big–in the next season. at the same time, undermining the entire show, discounting all the efforts made to remain faithful to the source material just because they strayed from a storyline that didn’t land as well as it could have–that’s a bit overblown, yes?

like it is an adaptation, not a word-by-word recreation from page to screen. of course, there will be changes because some things in a book don’t always translate well in a story told on the screen. for me, most changes aim to enhance rick’s work, not undermine it or take away from it in some misguided attempt to appeal to the larger audience like the movies did.

at the end of the day, it is very important to recognise the 90% of the show that depicted our beloved scenes from the book as faithfully as possible instead of constantly criticising the 10% of it that changed directions for a certain end goal that serves the screenwriting for a tv show. there can be balance of both praise and criticism and i’m very much in support of people pointing out genuine problems with the storytelling of the show but these conversations should also try and acknowledge the myriad of aspects in which the show excelled. like just the fact that i get to see so much of my imagination take form in front of my eyes, through a screen, with so much of the same authenticity that the pjo books are inlaid with–that’s genuinely mind-boggling to me.

#pjo tv spoilers #pjo tv series #pjo tv show #pjo series #pjo fandom #pjo #percy pjo #percy jackon and the olympians #percy jackson #percy and annabeth #walker scobell #leah jeffries

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fatcatlittlebox · 8 months ago

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It may be a bit late but since the ROP showrunners have said just one line from Galadriel in FOTR served as the inspiration for the show, we can examine it in light of the events of the past 2 seasons.

“…even as I speak to you, I perceive the Dark Lord and know his mind, or all of his mind that concerns the Elves. And he gropes ever to see me and my thought. But still the door is closed!’

So aside from her nightmares, have they shown Galadriel entering Sauron’s mind as he has entered hers? And if they obey the canon properties of osanwe, it means that Sauron never shut the door to his mind from her. He has always left it open. He could have protected himself from her spying on his plans and intentions, but no. And judging by this infamous quote, he is aware that she can see him. He can feel her but not see or hear her. There is something so incredibly moving about that. That he keeps his mind open just to feel her there. Again, Sauron has this undeniable need, contrary to his programming, to be seen by Galadriel. He must have her understanding. He is desperate to keep the tether between them, to feel connected. What a colossal risk he takes but, again, in all things Galadriel, his need for her overrides his self-preservation instincts. It borders on self-sabotage. Whether it’s letting his guard down during a duel to tell her, “Not all of it.” Or diving into the depths of the ocean, in his weakened form, to save a bossy elf princess from drowning. Or even instructing her on his methods of manipulation. He can’t resist. The Dark Lord has given his greatest rival an open invitation to his mind or “all of his mind as it concerns the Elves.” One in particular it would seem. So can she see his past, his dreams and his nightmares? What if Galadriel ventures into his mind and sees this?

Can you imagine Galadriel wandering into Sauron’s dreams and she sees his view of her? How he sees her light? His worshipful gaze? How would that change how she sees him? How she views his actions and motives, especially as it relates to her? She will be able to judge truly what his lies were and what was truth. What was his design and what was fate.

Charlie has said that a part of Sauron believes that he can still get Galadriel back. That’s not arrogance. That’s hope. He’s still reaching for the light in the darkness. In return, she’ll always have a view of that ocean of vibrant color. Is that his gift? How can anyone read this line and think Sauron is a one-note evil villain?

#haladriel #saurondriel #saurondriel meta #haladriel meta #charlie vickers #morfydd clark

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ckret2 · 3 months ago

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I have never watched samurai jack. Is aku gay for jack or is it straight up loathing. Cause with the Ford situation, he can be either "I get you" or "what the fuck is wrong with you"

All right let's do a full analysis. Essay time: Is The Evil Tree Gay.

it's loathing, but like, the kind of cartoon hero/villain rivalry where it's gone on so long that sometimes they get weirdly casual about hating each other. Although there's no real evidence to support the idea that Aku's harboring secret adoration for Jack, there's just enough empty space where you could insert that if you decide to. If tomorrow the showrunner declared "btw Aku was secretly gay for Jack" I'd go "sure."

if you WANT it to be gay, here's what you've got to work with:

– when Jack first time travels to the future to hunt Aku, Aku makes a big deal about how he can and will be watching Jack's every move. There are multiple scenes where he's just glowering at Jack through a magic window, occasionally asking why he won't just die. Which isn't affectionate, but IS obsessive.

– Eventually he's so distraught by the fact that this guy just won't die that he gets a therapist who bans him from mentioning Jack's name during their sessions. (The therapist is himself. Aku's not in a great place.) so, like, again: not affectionate, but sooo obsessive. I cannot stop thinking about this guy to the point it's becoming a problem obsessive.

– (and you only asked about Aku's feelings but I'll mention on Jack's end: from the age of 8 Jack spends 17 years traveling the world just to train to kill Aku, and then 50 years solely dedicated to trying to kill him. So, the obsession goes both ways.)

– Aku loves to hang around after Jack's lost just so that he can laugh and taunt him. And when Aku finally captures Jack, he makes a big deal about choosing his method of execution and making a public show of it. So like, he hates Jack but he doesn't hate him so much that he doesn't even wanna look at him. You could even say he likes Jack... as long as Jack's suffering.

– there's an entire episode where Jack searches for a magic jewel that can help him defeat Aku, and he teams up with a pretty gal who tells Jack about how Aku's tormented her. they spend days (weeks? I'd have to rewatch) traveling & camping together. when they find the jewel, the gal smashes it and reveals she's actually Aku in a shapeshifted disguise, at which point he laughs at Jack and leaves. The dynamic between fake-gal & Jack wasn't quite romantic, but it was very friendly and Aku didn't break character once during their journey.

– there's another episode where Aku, this time disguised as a Wise Old Hermit Mentor Figure (albeit a particularly crabby one), tricks Jack into collecting the parts of a weapon for him. This time it's Jack who sees straight through Aku's disguise and only pretends to play along so that he can catch Aku off guard and try to kill him. So, they're mutually willing & able to (pretend to) play nice with each other if it's for some other benefit.

– this is where it really gets weirdly casual: there's an episode where Aku goes "look, Jack, every week or so I pop up and we fight and you almost kill me with your sword and I fly away going 'you haven't seen the last of me!' and a week later we do it again. How about we just have a duel." Jack's not sure where Aku's proposed duel site is; Aku offers to give him a ride there. Also they decide they need to wrestle in loincloths for some reason.

– Their duel rules are no sword, no magic, no minions, Aku restricted to a human form/strength. Aku cheats, so Jack cheats by going for his sword; Aku reveals he's additionally cheated by bringing a minion that already stole Jack's sword; and this conversation ensues:

youtube

– And also Aku left this note when his minion stole Jack's sword:

So, taken all together:

they're mutually obsessed with each other

as long as both of them exist at the same time their lives are defined by each other

they're mutually willing to swallow the hate for extended periods when it gets them something beneficial

Aku's put himself in a position where he was willing to act very friendly/potentially romantic with Jack

Starting with Aku, they're willing to treat this murdering-each-other business like a chore they both just have to deal with rather than something driven by burning loathing

they both know each other so well that they can predict each other's moves several steps ahead

they've fought near-naked, voluntarily

aaand Aku signs notes to Jack "Love, AKU ♡"

And as a bonus, they were both born on the same day, Jack as the heir to the sole weapon that could kill Aku, Aku knowing his whole life that Jack was & is the only person that could destroy him. Something something entwined destinies.

As a bonus-bonus, Jack ultimately hooks up with Aku's daughter so like, you could read into that if you want to. She doesn't resemble her dad much though. I don't count it but I wouldn't knock someone else for counting it.

So, it's not enough material for a shipper to say "this is gay." Neither one of them expresses any hint that they'd feel empty or unfulfilled if the other one was dead; neither one expresses a grudging admiration for any of the other's traits; neither one hints that he has some sort of void in his life that the audience realizes the other one of them could fulfill.

But it's enough material for a shipper to say "I can make it gay."

It'd be easiest to push it straight into "homoerotic foe" "my hatred fuels my passion" "I'm so obsessed with you that it simply transmuted into another kind of obsession" territory.

But a ship based on them liking each other would take more creativity and either a major AU or a major characterization adjustment. Some hero/villain ships you can go "well one's good and one's evil, but that isn't necessarily a dealbreaker"; this is one ship where it's 100% a dealbreaker on Jack's side and 80%-100% a dealbreaker on Aku's side. (It's clear Jack hates evil & evildoers; but we don't know whether Aku HATES good & do-gooders, or just looks down on them and hates them when they're trying to stop him. But however he feels, he sure doesn't admire good.)

Someone claiming they could make them like each other without changing someone's characterization would very much be an "I'm skeptical that you could, yet intrigued that you may" situation.

#(personally i ship it. not my otp but i ship it.)#(not in an 'i think they could have hidden feelings' way but in a 'wouldn't it be fucked up to MAKE them have feelings' way)#samurai jack #aku #(i'm not deep in the samurai jack community; what's the fandom call the ship? jaku?)#(i've seen that but i've also seen 'jaku' used as the name for that one time aku possessed jack so idk if there's another ship name)#meta #anonymous #ask #(i do not care for that particular human aku form in the video. but thankfully that's the only episode he uses it in.)#(and aside from the unfortunate human form Jack And Aku Agree To A Duel With No Cheating is my favorite episode)

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