Perfect Now series, Vol. 14 (2023) 1/28
↳ Auckland - 7 March 2023
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Welcome to Coffin city. What could possibly go wrong here?
[First] Prev <--> Next
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not P'Jojo saying he had to beg Neo and Mark to stop while shooting their first sex scene on Neo's very first day on set 'cause they are competitive little shits and they just kept going after he called for the cut 😭😭😭
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I try to generally be constructive and engaged with the show I love on here, so on this day, I’ll just say that one of the most thematically important aspects for me from the original ATLA is Aang’s emotional core of real shame for running away when he was hurt by the monk’s decision to send him away. People who feel the kind of deep-seated shame that Aang feels from this decision can understand how that kind of all-encompassing shame is not built around a simple failure or a lie they tell themselves; it’s constructed from real misbehaviors and transgressions of their own sense of ethics—lashing out, telling lies, attempting to hurt others intentionally—that then have consequences (abuses, abandonments, or deaths) which seem to far exceed their expectations or even basic logic.
The combination of the misbehavior with exaggerated existential punishments (along with a lack of support and amend-making in the immediate wake of the events) is what transforms a sense of guilt (I fucked up) into shame (I am a forever fuck-up). Then shame, that sense of being a secret monster ‘no matter what I do or how good everyone thinks I am,’ invites all the avoidance strategies (Aang puts on big smiles, makes lots of jokes, constantly tries to make everyone happy, hops from town to town without building deeper connections). One doesn’t want to acknowledge one’s true feelings or let others in to see those feelings and experiences because it’s too painful to face the grief at the same time that you have to look at yourself for being responsible—even when you recognize it wasn’t totally your fault. It’s just that if you had just been good, less emotional, less human, then maybe the world wouldn’t be so messed up. Of course, in a zen view of things, the world will always be messed up in the same way it will always be beautiful. These are constant facts that always coexist in balance, and this is the truth that Aang learns and that undergirds the whole series.
So I always loved that Aang ran away. It was his sin and his salvation. And it becomes this constant tension for the series—he gets hurt in Bato of the Water Tribe and starts to run away from Katara and Sokka, he runs away to the Guru in the Crossroads of Destiny and his best friend is attacked, he and the gaang retreat after the Day of the Black Sun failure, he runs away to meditation in Sozin’s Comet when everyone wants him preparing for war. Aang’s reluctance to be a hero and the attachments and petulance for which he gets criticized are what metamorphasize to become his most noble attributes. They allow him to empathize with others shame and, ultimately, wield the kind of compassion that can deconstruct the power and perfectionism of imperialism.
So yes, Aang ran away from his temple 100 years ago. It wasn’t the mentally healthy choice. It wasn’t the ethical choice. It wasn’t the wise choice. It was human and emotional and shameful and real. Aang is a better character for it. ATLA is a better show because of it. And we are better people when we understand these kind of tragic emotional experiences that people are trying so hard to grow through.
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*SQUEE!*
The first two episodes of Love for Love's Sake are perfect.
He is perfect.
He's gonna be perfect.
These two are perfect.
And I think there is color coding when they are together.
Cha Yeo Woon wears a white undershirt with his white backpack and white phone, and Tae Myung Ha wears a black undershirt with a dark backpack and has a dark phone (which I think are actually blue!).
I already love ALL of them.
They are perfect, but Ahn Kyung Hun is the most perfect.
LOOK AT HIM!
Perfect.
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Okay inspired by this post by @irispurpurea and this post by @ouidamforeman (both of which are excellent, please read) I wanted to add some thoughts about the structural weirdness of season 2.
The reason season 2 feels so structurally WEIRD is that it's the second beat what is now a three act story, but that wasn't written as one in the first place.
Season 1 was a complete, self-contained story arc with completed character development, based on a complete, self-contained novel. The story of Good Omens is about an angel and a demon going from opposite sides to their own side, aligned with earth and its humans. And at the end of season one this story has been told! It's done!
If you want to keep the story going, then, you have two options -- either you find a completely new story to tell with these characters, or you do what Neil Gaiman et al have chosen to do and you complicate and unresolve the conclusion from the first story in order to tell the same story but in an even bigger and more nuanced way.
The challenge of season two, then, is to reframe the events of season one not as a completed story but as the first act of a three-act arc.
And genuinely I think this is just not the way that most TV shows tasked with writing their second season go about doing it. Not that this is a bad choice! But the reason it feels weird on first glance is because it's taking its structure from like... half of the sequel to a novel, not a TV show that gets a second season.
This is the point of all of the historical flashbacks in season 2-- to make us understand that Crowley and Aziraphale are not on the same page and haven't been for 6000 years, despite appearing to be by the end of the first season.
The other thing I think season 2 does is make the whole story about Crowley and Aziraphale's relationship in a way it just wasn't in season 1. Taken on its own, season one's A-plot is the apocalypse, and the B-plot is relationship between this angel and demon.
What season two does then is literally FLIP the importance of those two things structurally. Season one's apocalypse and various side characters now occupy the same place as the Gabriel mystery in season 2. Which is also why it feels so weird to be like "wait this thing that felt like The Big Important Thing before is now suddenly the background of something else."
All this to say, this season is SO structurally interesting because it's just straight up not like other TV shows in structure, and because of the way everything now has to be marketed and framed in trailers as one, more typical kind of story, AND because the first season was a complete story that has now been reframed as an incomplete story, Good Omens season two feels very weird but imo much less weird upon rewatching, and will again feel less weird once we have season 3 and the story gets to complete its arc.
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Shut up she's doing her best and sometimes your best hurts.
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i stand by that a better, more sensible, and more intriguing plot for TSATS would have been, instead of retconning literally everything:
Bob is dead (because he was very explicitly absorbed/killed by Tartarus Himself in House of Hades, alongside Damasen), and nobody is going into Tartarus to save him. He made his sacrifice and is gone. However. Remember how the Titans, including Bob, were just kind of kicking around for several years? Particularly. On a cruise ship full of mortals. And Bob happened to be kicking around in general for an extra year versus all the other Titans. And he mythologically sometimes has a mortal demigod son who partook in the Calydonian Boar Hunt (Dryas of Calydon). Yeah.
So turns out, Bob/Iapetus leaves behind a demigod (demititan?) child. And because Nico was pretty much his only friend, he named Nico his child's godfather. And while he's not being left in charge of the child, as a son of Hades and godfather to this kid, Nico is duty-bound to fulfill Bob's last will and go find this like 2 year old to make sure they're safe. So Nico has to undertake this very unusual quest (that raises many questions, such as "demititans are a thing?" and "DOES THIS MEAN THERE'S POTENTIALLY MORE-?!" and "SHOULD WE BE CONCERNED ABOUT THIS?") and is kind of freaking out because. He's the son of Hades! He's notoriously bad with living things, and animals, and definitely small children! Even if he does find this kid and assure they're safe, he is the last person who should be undergoing any kind of quest involving even potentially having to babysit. Fortunately, his boyfriend is the human embodiment of sunshine and calmness and good vibes, and also once helped a nymph give birth, so he feels Marginally More Confident in theoretical demititan babysitting and offers to come along on this Epic Journey of Figuring Out What In Hades' Name Is Up With This Demititan Baby Business.
Proceed with wholesome epic shenanigans quest of Nico and Will scurrying around trying to locate this random OP baby while Nico has an existential crisis about the nature of his powers because he doesn't want to let Bob down! Both for Hades Kid Honor Reasons and because Bob was his friend! But what if he's destined to fail this quest just because of who he is? Because he's simply not built for hanging out with the living/mortals? And Will reassuring him that He Will Probably Not Traumatize The Weird OP Titan Baby And It'll Be Fine, and simultaneously getting a peek into the weird other life Nico leads hanging out with immortals much more than the average demigod, which Nico considers his norm. Bonus shenanigans of both of them getting caught off-guard and culture shocked from where each other's respective worlds (Nico's mostly-immortal versus Will's mostly-mortal) cross over and learning to navigate those for each other - Nico finally starting to make some mortal connections and get glimpses at modern mortal American life, and Will trying not to get his brain literally incinerated while Nico's happily casually catching up with some of his old friends who happen to be literal gods.
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THEEEEE POINT of rand is that, in the end, the reason he's able to succeed where lews therin failed is NOT his power, it's his good heart and the support of his found family. in the end, he's not a warrior hero, he's a philosophical hero. rand's fight in the last battle is a fight of philosophy and ethics, and it's his friends who are out on the frontlines of the physical fighting, leading armies and protecting him.
so people complaining that the battle with ishy was changed from Solo Rand Power Trip To Show Why He Is More Special Than The Other Characters to a moment of all his friends gathering together to support him, protect him, fight with him, and remind him that he is not alone in this and that they're stronger when they're together...............i'm sorry, but i truly don't think you read the same books i did. (and before you come for me, rand is my second favorite character in the whole series after elayne, so don't come in here saying that i Just Don't Get It because i don't love him enough.)
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[<==PREV PAGES] [NEXT PAGE==>(not out yet.wait a year.or maybe more.imagine.]
saw alot of comments on prev pages; saying 'i HATE that mean teacher! im gonna FIGHT HIM!!' & i LOVE the energy!! it WOULD be nice. to have that catharsis. but the story of young tidestrider is Not one of catharsis. it is a story of being so small and so special and sucking so bad.
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You ever just see people talk about the Percy Jackson books and know somewhere, deep in your heart, that none of these people have understood that this is a series made for middle schoolers. And that fandom will very frequently lie to them like, all the time. No, that character probably isn’t ooc, you’re just thinking of what the fandom turned them into. No, this book isn’t a horrible stain next to the others before it, literally all of them were like this. It’s Percy Jackson. It’s cheesy and occasionally makes a very questionable writing decision.
You gotta be in this for the long haul or jump ship my guys. Be cringe and free or be gone
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Leah Sava jefferies and Walker scobells ability to show growing emotion, play off of each other, and demonstrate foreshadowing of where their characters and relationships are supposed to go is so phenomenal and better than most grown professional actors.
Like these two 12 year olds DO NOT have an understanding of what love is yet, in fact that is a common theme in the series-them debating over what love looks like.
Percy and Annabeth are 12 they aren’t in love yet, they don’t know each other they are still learning about each other. But they are 12 year olds who DO know that there is this person next to them who has demonstrated putting the other first instead of themselves. The only thing they know what right now is that they are becoming friends. They might know what they think it means to “like” someone in that superficial 12 year old way. But they don’t know what love is.
And Leah and Walker grasp that concept so well. They know that Percy and Annabeth are going to end up together, AND THEY KNOW HOW TO GET THEM THERE!
We’ve all seen book/comic to adaptation where the actor’s chemistry with their supposed love interest DOESN’T get them they’re and the relationship looks forced.
But these kids KNOW what there doing and they know how to get there characters to a relationship that’s going to be convincing.
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Give me a better man than Boeing. Just look at him. Such a fine man and Top didn't keep him. Rude.
That V-line is going to live rent free in my mind.
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That's it, I've started the tv show.
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