#the cast are all great but some of them specifically are capable of clown to clown communication

[utilitycaster]

Won't get to the back half until this afternoon but genuinely it's still so funny that Travis showed up like "Matt, you have an opportunity to stop my silly little d100 games that could fuck with everything, for good!" and Matt looked him dead in the eye like "I could, but is that what you TRULY want?" and Travis was like "Upon further reflection? No! Thanks for checking."

[firelxdykatara]

gods, ok, apparently i’m not done.

atla fandom? we need to have a chat.

(....ok that made me sound pretentious as fuck. and maybe i am, but this needs to be said, cause i’m getting....real, real tired of a Certain Corner of this fandom and as a result, this is gonna be a discourse-heavy post so feel free to scroll past if that’s not your bag. as always, my salt posts all carry the catch-all #salt for ts tag, which you’re free to blacklist/filter at your leisure. i’m Very Annoyed at the moment, which will probably come through in the following post, so just. yknow. be prepared for that. or ignore it, that’s perfectly valid too.)

under a cut bc i do care for my followers and their sanity i swear lmao

there’s a real serious issue in this fandom with not understanding what queer terminology actually means or implies, especially when applied to a fictional narrative.

i’m specifically talking about ‘coding’, here. (if i were in a more meme-y mood, i might have said ‘the atla fandom found out about the term “gay-coding” and haven’t shut up since’.)

to the people who say ‘zuko is gay-coded’, i have this to say: you keep using that word. i do not think it means what you think it means. because he isn’t. i’m sorry, but he’s not! and the fact that this is such a prevalent claim in this fandom is distressing, bc it says to me that none of y’all know what gay-coding is or when and how to apply it! please, i’m begging you, go and look up these terms and what they mean and when they should be used before actually trying to plug them into your critical analysis, because when you misuse them and then call other people delusional for disagreeing with you it casts a pall over the entire fandom and is, i think, the root of some of the worst toxicity this fandom has to offer.

and the thing is, there are cases where gay-coding would apply--for instance, a couple series that are famous for queerbaiting their audience by coding their main characters as being attracted to one another (sometimes even despite their openly stated sexualities) come to mind, but those shows bare no similarities at all to atla and how zuko was written and portrayed! (and it would be funny, if it weren’t so obnoxious and infuriatingly wide-spread throughout the fandom, because the only queer couple we actually seen on-screen in either show wasn’t even queer-coded in any respect, and they’re canonically bi! [yes, i’m shading korrasami, or more accurately i’m shading bryke for refusing to give ka the build-up and development they deserved].)

this absolutely isn’t to say that headcanoning zuko as gay is a bad thing or invalid in any respect. (although the tendency for zukka shippers to do this specifically to keep zuko away from katara and/or invalidate his canon relationship/attraction to girls is more than a little eyebrow raising. especially since sokka is usually allowed to be bi, bc fans have no problem letting sukka stay in the background bc it’s no real threat, while jetko shippers are happy to have both boys be bi. [possibly bc katara is less a threat to jetko bc jetkotara is every bit as valid as any single ship between the three, but zukka can’t exactly let katara join in, and if the potential exists for zuko to be attracted to her then canon giving them the far deeper emotional bond becomes a threat to zukka’s existence? idk for sure--you be the judge.]) i prefer to hc zuko as bi (and always have, long before the atla renaissance), bc i don’t think zuko being attracted to boys is outside the realm of possibility, and it isn’t a threat to my ship since zuko&katara had a deep and emotional bond in canon that is very easy to develop further into something that becomes explicitly romantic--but the headcanon itself isn’t really the problem (although what it’s often in service to can be).

it’s the strange insistence that this is the only way to read his character, bc he was coded that way and so anyone who doesn’t see it must be too straight to understand--and i really shouldn’t have to say why and how that is so incredibly fucking insulting. (the ‘hetero lenses’ comment wasn’t cute when it came from bryke six years ago, and the same sentiment being repackaged and delivered by zukka shippers ain’t cute now.)

calling zuko gay-coded not only demonstrates ignorance as to what the term actually means, and how to usefully apply it in critical analysis, but also validates the frankly bullshit insertion of institutionalized homophobia in the world of atla where it was neither needed, nor wanted, nor ever hinted at in canon. as a queer woman i’m still infuriated by one fucking comic panel shoving institutionalized and systemic homophobia into a world where it was entirely unnecessary (and doing this in the first installment of the franchise showcasing a queer relationship??? making korra and asami worried about ‘coming out’ when they could have just gone on to have cute adventures together and tell people ‘hey we’re dating’ and have everyone else be ‘that’s awesome =DDD’ [because it is, in fact, possible to just have a world without homophobia i promise!!!!!] double yikes, i’m still pissed at bryke about it), and i doubly hate that ‘zuko is gay coded’ has become so widespread that ‘ozai hates him bc he’s gay’ has become a staple in that part of the fandom.

not only does making zuko gay and implying (or outright stating) that ozai hated and abused him because of it completely undermine zuko’s character arc by making his abuse about his sexuality rather than ozai’s toxic pride and anger at seeing himself reflected in his ‘weak’ son, but it comes very close to outright stating that abuse and trauma are inherently gay experiences, and they aren’t!!! they really aren’t, i promise!!!

abuse and trauma narratives exist outside of ‘my dad hates me because i’m gay’. and, quite frankly, there are MORE THAN ENOUGH queer trauma narratives out in the world. we do not need to start trying to retroactively make them canon in a series where they didn’t exist! if you’re gay and see yourself in zuko and project your own experiences on him, that’s understandable and valid. that does not make zuko gay-coded. and honestly, the insistence that he is makes very little sense to me, because you’re essentially trying to give the show credit for work you put into interpreting the characters! why would you want to do that? why not own your own headcanons and take credit for them, rather than insisting they are canon and everyone else is wrong for not seeing them??? like, i’ve said before that i’ve always headcanoned zuko (and katara) as bi, and even support it with my interpretations of evidence from the show, but the difference between ‘i think zuko is bi’ and ‘zuko is definitely gay-coded’ is that i know that bi zuko is my interpretation of canon, and that it is work i’m putting into the show that wasn’t actually intended by the creators/writers, no matter how much sexual tension i read into the jetko swordfight.

and like, zuko’s character arc doesn’t actually parallel a queer one all that well to begin with. it’s easy enough to do the work and twist it sideways just enough to make the general points fit, but the fact is, zuko’s arc is not one of self-discovery. it’s not one of coming to understand something fundamental about himself that he can’t change, that he was hated for, and coming out to his father in a dramatic confrontation where he shows that he understands himself and doesn’t need his father’s acceptance to be fulfilled.

zuko’s arc is actually one of trauma and healing. and those can (and often are--like i said, there are more than enough queer trauma narratives in the world, atla really doesn’t need to be one of them) be part of queer narratives, for sure! but they aren’t uniquely queer. and zuko’s confrontation with ozai during the eclipse doesn’t read like a ‘coming out’ at all. (yes, i’ve seen that post. yes, i rolled my eyes and moved on, bc unlike some people, i’m capable of not clowning on correctly tagged posts i disagree with.) zuko is specifically confronting ozai over his abuse, because his arc wasn’t about discovering anything fundamental about himself (and therefore realizing that ozai was hating him for something he couldn’t change)--it was about realizing that he was not at fault for the way his father treated him. it was also about realizing that the fire nation was broken and corrupt at its core, and that his father was an aspect of that he needed to break away from so that he could help the world begin to heal.

he says it himself:

Zuko: No, I've learned everything! And I've had to learn it on my own! Growing up, we were taught that the Fire Nation was the greatest civilization in history. And somehow, the War was our way of sharing our greatness with the rest of the world. What an amazing lie that was. The people of the world are terrified by the Fire Nation. They don't see our greatness. They hate us! And we deserve it! We've created an era of fear in the world. And if we don't want the world to destroy itself, we need to replace it with an era of peace and kindness.

making this about zuko being gay and rejecting ozai’s homophobia, rather than zuko learning fundamental truths about the world and about his home and about how there was something deeply wrong with his nation that needed to be fixed in order for the world to heal (and, no, ‘homophobia’ is not the answer to ‘what is wrong with the fire nation’, i’m still fucking pissed at bryke about that), misses the entire point of his character arc. this is the culmination of zuko realizing that he should never have had to earn his father’s love, because that should have been unconditional from the start. this is zuko realizing that he was not at fault for his father’s abuse--that speaking out of turn in a war meeting in no way justified fighting a duel with a child.

is that first realization (that a parent’s love should be unconditional, and if it isn’t, then that is the parent’s fault and not the child’s) something that queer kids in homophobic households/families can relate to? of course it is. but it’s also something that every other abused kid, straight kids and even queer kids who were abused for other reasons before they even knew they were anything other than cishet, can relate to as well. in that respect, it is not a uniquely queer experience, nor is it a uniquely queer story, and zuko not being attracted to girls (which is what a lot of it seems to boil down to, at the end of the day--cutting down zuko’s potential ships so that only zukka and a few far more niche ships are left standing) is not necessary to his character arc. nor does it particularly make sense.

(and before anyone brings up his date with jin--a) he enjoyed it when she kissed him, and b) he was a traumatized, abused child going out on a first date. of course he was fucking awkward. have you ever met a teenage boy????)

anyway, uh, that was a lot of words, so have a tl;dr: zuko is not gay-coded. there is nothing uniquely gay (or even uniquely queer) about his character arc or characterization, and he was certainly not coded gay in an attempt to sneak a queer character past the censors. if anyone involved with atla was gonna try that, it would’ve been in lok, and as established, they didn’t even manage to queer-code the actual queer relationship before the last few minutes of the final episode. headcanoning zuko as gay is absolutely fine (though if it’s only done to keep him away from female characters he may otherwise be attracted to, that smells more like misogyny than anything else), but insisting that this reading is the only one that makes sense, and anyone who doesn’t agree must be straight (hello, queer woman here making this insanely long thinkpiece) is very much not.

ship what you like, but stop trying to invalidate other ships and other interpretations of characters just to make your ship seem more plausible. it’s really not a good look.

[bao3bei4]

girlbosses, male wives, and other lesbian genders

a post about jing wei qing shang. but also mostly about another unrelated movie. spoiler-free.

for a lot of people, mulan 1998 is their definitive “ohhh i’m a chinese woman dressing as a man for contrived reasons and i get absolutely nooo erotic pleasure from this” movie. 

however, because i am very special and unique, for me it’s the love eterne 1963. it’s the shaw brothers adaptation of butterfly lovers, the classic chinese folktale. here’s how i’d summarize the movie: 

zhu yingtai, an aspiring scholar, convinces her parents to let her dress as a man to attend school. on the way there, she meets liang shanbo, another prospective student, and they become sworn brothers. they study together for three years, growing closer, until zhu yingtai returns home. liang shangbo accompanies her for the eighteen-li journey home while she hints she’s a woman, but he remains oblivious. by the time he learns her gender, her parents have engaged her to another man. he dies of grief, and while she mourns at his grave, it splits open, and she buries herself inside with him. two scraps of her torn outfit turn into butterflies and fly away.

it’s worth noting here that like. this movie is made in the huangmei opera style. so both zhu yingtai and liang shanbo are played by women (betty loh ti and ivy ling po respectively). because of this, basically every level of the film is preoccupied with gender: if we take zhu yingtai’s male performance as credible (as the characters in the movie do) the leads bond through male homoeroticism; the text is ultimately about a heterosexual romance; it is acted out by two women, in a performance that is difficult to mistake as heterosexual or even feminine; and the dialogue of the movie can’t help but remark on this.

basically it asks: what if lesbians could be gay both ways? wouldn’t that be based? 

like opera was traditionally made by single gender casts, so roles tended to be genderless, in that the gender of the actor doesn’t determine the gender of the role they play. roles are instead typed into four categories: dan (fem), sheng (masc), chou (clown), and jing (painted face). it’s a sick gender quadinary. each of these roles has further subtypes that are represented through stylized patterns of singing, makeup, costuming, movement etc.

so in butterfly lovers, betty loh ti plays a dan, and ivy ling po plays a sheng. but because of the textual cross-gender play, you end up with a woman playing a woman playing a man who falls in love with a woman playing a man.

i’m going to make a brief digression here into talking about like.. acting theory. in the european tradition, you see it evolving out of early concerns (from stanislavski, brecht) about the fourth wall, and its permeability or lack thereof. in chinese opera tradition, the fourth wall didn’t ever really exist. and mei lanfang, the legendary fanchuan performer, claimed that his success wasn’t just due to his appearance, but rather, his mastery of some nonliteral feminine subjectivity. 

If I kept my male feelings, even just a trace, it will betray my true self; then how can I compete for the audience’s affection for feminine beauty and guile?

i’m not going to argue that there’s like, an essence to being a woman because i’m not a fucking idiot. but there’s something to be said for the idea that the gendered interplay between the audience’s perception of the actor, the actor’s perception of themself, and the character they play is a massive part of the appeal of fanchuan performance.

this is echoed by david hwang’s m. butterfly, in which gallimard memorably says, “i’m a man who loved a woman created by a man. everything else—simply falls short.” btw sorry for having the type of brain disease where i constantly reference chinese crossdressing related media. you already know why i have it. 

anyway. parallel to that (but far less morally detestably), jin jiang argues “young male impersonators in yue opera embody women’s ideal men—elegant, graceful, capable, caring, gentle, and loyal.” so, trivially, 1) the eroticism embodied by fanchuan performers is distinctly different from their “straight” counterparts, and perhaps less trivially 2) it’s way better. 

back to the love eterne for a bit. one of the many reasons it’s lodged itself into my psyche is because there’s something more interesting at play than just all that. normally in opera, to compensate for any perceived residual femininity in the sheng, the dan camps it up even further. so this is how zhu yingtai first appears, this bratty femme pastiche of womanhood. yet within a couple minutes she’s dressed as a man, which she’ll stay as for the bulk of the movie. they do however make compromises with the makeup--more gently lifted eyebrows than the steep angles of the sheng opera beat, and an improbably masculine smoky eye. 

that’s right. they performed girlbossification on her. 

i don’t want to suggest that she’s straightforwardly feminine. i could write an entire other thing on her relationship to masculinity. instead i want to highlight the erotic interplay not just between the “girl” and the “boss” but also between her and her counterpart: the male wife. 

liang shanbo is ostensibly straightforwardly male, but his relationship with zhu yingtai isn’t gay in the ahaha what if i was into my bro way-- it’s a what if i was into my bro and i was his wife way.

that’s right. they performed force fem on a cis woman-man. like when zhu yingtai tells him he can’t watch over her as she recovers from an illness because “boys and girls can’t sleep together,” liang shanbo asks “are you implying that I’m a girl?”

there’s a lot of shit like this that builds up over the course of the movie. it all culminates in that final 18 mile journey. along the way, zhu yingtai compares them to a pair of mandarin ducks, one male & one female. liang shanbo sputters “i am a man inside out-- you shouldn’t--” before graciously conceding, “you may compare me to a woman.” 

this is like. a simple punchline. but it’s incredible. it’s true! liang shanbo isn’t a man inside out in that he’s a man and only a man, but rather that he’s a man seen inside first, built for desiring, by a woman & for a woman. as a perpetual object, he becomes a more believable woman than zhu yingtai. and at least in his view, it seems more likely that he could be a woman than her. but beyond that, his permissive tone reads as a kind of wanting in itself--recast, if she wants, “for you, i’ll be a woman.” 

obviously this is a classic lesbian mood. who among us has not seen “no gender only lesbian” posts. and speaking of classic lesbians, you might ask. did you just tiresomely reinvent butches and femmes but with a more annoying name? yes. no. okay. well. 

first, like butch/femme dynamics have both historical specificity and a classed character such that it’s not rlly that appropriate to impose them on the love eterne. and i guess more importantly, i wanna talk about stuff that isn’t real.

we fight all day about people who confuse performance with performativity, (i use we lightly here. for instance, i go outside every day so i don’t care about discourse) but what if we actually wanted to talk about the former for once? something specifically, whether we choose or are forced into it, that we pretend to be? 

anyway. what the hell does all that have to do with jing wei qing shang. i’m going to start by first making the argument that there’s no such thing as a naturally occurring girlboss. i think, honestly, she’s a product of capitalism (“boss” should be the tipoff here) but because both of these stories are set in ambiguously historical china, i’m going to say, instead that she’s a product of uhhh primitive accumulation.

semantics so that i can be canon compliant with marxism aside, if girlbosses are made not born, can you choose to be a girlboss? sheryl sandberg says yes. i don’t disagree, i guess, but i will say: stop glamorizing it! humans only become girlbosses when they’re greatly distressed. 

you become a girlboss when you have no other choice not to be one. when your wants are too great to be a woman, when the things you want are not things that women should want-- whether that’s something that really no one should want, like being a ceo, or whether that’s just something like loving a woman (or, as it is quite often, both) -- you have to become something else. 

another important part of being a girlboss is that other people are not. your excesses mean that not only do you lose something in the process, but your bosshood comes at the expense of others. the girlboss necessitates a girlworker, or so to speak. 

now we’re getting to jwqs. i’m assuming that you haven’t read jwqs, because most people haven’t. that was me until like four days ago. in broad strokes, the novel is about a woman, qiyan agula, who was raised as a prince, and her quest for revenge against the kingdom who slaughtered her people. of course, this involves marrying one of the princesses of that kingdom. it’s all very exciting (lesbian). 

what’s striking about jwqs is that both of them seem to fit the girlboss paradigm, in vaguely similar ways. qi yan (agula’s assumed name) seems to follow the lineage of zhu yingtai, who pretends to be a man to achieve her goals. she’s forced to give up much in the process, and also sacrifices a, uh, lot of innocent people. similarly, nangong jingnu, the princess, is inherently a girlboss because royalty sucks. but also, qi yan girlbossifies her over the course of their relationship. 

but i wouldn’t say jwqs is girlboss4girlboss. there’s something a little more complicated happening. qi yan isn’t zhu yingtai in that she’s a dan pretending to be a sheng. it seems more like that she was a sheng all along. it’s something that the women of the novel return to often: qi yan seems to be better than a man.

for instance, nangong sunu, jingnu’s older sister, reflects on this. 

Nangong Sunu had seen many foolishly loving women who sacrificed everything for the sake of their husbands, but there were rarely any men who would do the same for them. 

(...) 

Thinking it through, Nangong Sunu felt that Qi Yan was truly becoming more interesting. She intended to observe discreetly for a while, to verify if such a man truly existed in this world. (ch 221) 

and i forgot to write down the citation for this, but nangong jingnu also seems to argue that not only is qi yan prettier than a man, but she also seems to be prettier than a woman. (it’s the bit where she’s watching qi yan sleep. help me out here.)

moreover, the way qi yan relates to nangong jingnu is suggestive. jingnu brings out the elements of wanting to be a woman in her. it’s jingnu’s body that makes her wonder what she would look like if she was more feminine. it’s jingnu’s happiness that she resents, wishing that her people could have that as well. it’s her desire for jingnu that makes her a woman. 

(another important distinction i suppose--while one person can’t be both a butch and a femme, because the girlboss and the male wife are things we pretend to be until we embody them / them us -- there’s greater slippage between the two.)

anyway, the girlboss/male wife dynamic is reversed wrt who’s actually dressing as a different gender. that suggests an inversion in the implications we see from the love eterne, if we are to take the love eterne as the paradigmatic girlboss text. which i do, for no reason in particular. 

so then, is qi yan pretending to be a man? under the opera framework, we’re forced to say no. she’s not pretending to be a man any more so than liang shanbo (as acted by ivy ling po) was. but that, of course, feels incorrect, just looking at the text. is she, then, pretending to be a sheng? i’d strongly say no. the things that others see in her, they authentically see; and she does authentically feel the same things as liang shanbo wrt femininity.

so it has to be the opera framework that jwqs is subverting then. if qi yan kept some trace of her once-womanhood, if qi yan reveals her true self, and yet she still can compete for the audience’s affection-- jwqs’s inversion of the opera framework seems to argue instead that it’s that true self that allows you to compete. it’s being masc that lets you be a desirable woman; it’s being feminine that lets you be a desirable man.

there’s an increased gender ambivalence to jwqs, which make sense, i guess, seeing as it’s not meant to be a het story the way that the love eterne was. for instance, nangong jingnu crossdresses to go out in public, and qi yan remarks that jingnu’s disguise fooled her on their first meeting. when qi yan and jingnu go out in public, both disguised as men, they’re repeatedly perceived as a gay male couple. there’s freedom in that: they could be gay women only privately, they could be straight officially, but they could be anonymously gay publicly. 

so it’s through the gay male pretense that they can be gay women; it’s through the qi yan pretense that agula can love women; it’s the qi yan caring husband persona that coaxes jingnu in caring for qi yan in return-- jwqs, more precisely, argues that you can’t be a woman if you’re going to love them, and even less so if you’re going to be loved by one. 

this is perhaps well-trodden ground for anyone who has read wittig & certainly many people who haven’t. but it’s the layer of pretense that for me complicates these two narratives. 

i think it’s a relatable feeling: wanting something anticipating getting something, or wanting something for yourself anticipating knowing that you already had it. that is, desire in itself being constitutive of that reality. 

or less abstractly, knowing that you’d want to be a lesbian if you could, knowing that you’d want not to be a woman if you could-- anticipating any realization of either. 

the dramatic excesses & wants of the girlboss, i think, are a decent literary stand in for being a lesbian. 

i wanna note here that this is rlly just based on my experience being a transmisogyny exempt nonbinary diaspora lesbian lol. it’s fun & cathartic to overread this history & place myself in the accidental implications.

i don’t think most of the things i say are literally true. and i don’t want to overstep & say any of this can be generalized. please lmk if something here doesn’t read right! ok kisses bye

[adultswim2021]

Sealab 2021 #34: “ASHDTV” | June 20, 2004 - 11:45 PM | S04E01

The Sealab crew get an “asteroid smashing high definition television” delivered to them by mistake (it was supposed to go to Spacelab, where racially-flipped versions of Quinn, et. al reside). So they all get together and watch inter-dimensional cable I mean, crude parodies of things like Will & Grace, G.I. Joe PSAs, and most notably, Adult Swim programming itself. Tornado Shanks is fully part of the cast and is completely a useless afterthought, serving no purpose to the show whatsoever. And there’s an asteroid hurtling towards the earth while Space Quinn emphatically tries to get the crew to use the TV’s asteroid-smashing capabilities to save earth. Will they succeed? At telling one funny joke, I mean? No. No they will not.

Where were you in the summer of 2004? I'll have you know I was working at a movie theater, and getting ready to go to San Francisco State University in order to start and quickly quit going to film school. I was also not really watching Adult Swim so much. But there was still an ounce of me that felt like I was a loyalist to a few of the specific Adult Swim shows still offered on the block. For example: Sealab 2021. Sure, it had taken a turn for the not-that-great, but I was still interested enough in seeing the show to make a point to TiVo it. Yes, I had TiVo in the Summer of 2004. Things were looking up!

Then this episode aired.

So the one thing I remembered about this episode was this sense of dread that Tornado Shanks was actually part of the series. Like, he's in this episode. And they gave him stuff to do in the episode as though they weren't joking about the previous episode.

There are other odd moments, like the TV's shifting from 4:3 to 16:9 depending on what angle it's being shown at. They do a callback to Sparks' "selling pot" joke from season one or whatever it was. The phrase "raped by a clown" shows up in one scene, a “joke” that I can only ever imagine coming out of a smirky college-aged amateur comedian. Quinn acts like a crazy idiot in one scene where he talks to his Spacelab equivalent which is dumb and out of character. But for better or for worse, you get to see a guy shoot another guy at point blank range, which is something rarely seen in cartoons since classic Looney Tunes, so that's cool I guess.

Anyway, this is one of Sealab's worst. Enjoy the steady decline.

MAIL BAG:

Maybe you just like birdman lol.

:(

Popeyes chicken is back. We got crispy tender chicken ready to eat. I'm talking about a buttery biscuit. Mashed potatos with cajun gravy. Piled high with your choice of soft drink? Wow. Is it really that simple to get the things you both want and need in life. I'll go get you a towel.

I ate a bag of vegetables for lunch yesterday and I had some severe diarrhea all night, the worst I’ve had in a while. It was insane, there was like, clear slime and broccoli leaves floating around in the top of the bowl. I guess I just OD’d on fiber or something. Or, perhaps the vegetables were poisoned. If I had eaten at popeyes maybe I would have shit out some hot mud instead of leaves, which would be refreshingly normal, and feel like a warm blanket comparatively. Makes you think

Do you still like Tina Fey?

She is a dogshit woman, but maybe a little

[phoebehalliwell]

So I LOVED your Sheridan and Warren fic!! The two of them are hilarious because that are just trying their best those poor boys! I had a hypothetical, so like in all those AU where Prue is wished alive in I Dream of Phoebe, what would happen in this situation? Would Prue go see her sisters or would she go find her kids? ALSO Prue as the boys magical (deceased) guide is Perf 👌🏻

AAAAAAAAAAAAAAAAAAAAA tysm !!!!!!!!!!!!!!!!! i love my boys so much i’m really trying to keep them like. like as removed from proper magic as possible bc i just think it’s really fucking funny to just follow two bimbos around as they try their best. i’ve also def like tinkered w canon a lil bit as explained in this post here only to keep them further away from aunts who could explain everything like they don’t even have a whitelighter bc paige was supposed to fill that role really the only person they have is prue who gave them a crash course when she unbound their powers as explained in this post and they will occasionally summon her but even then it’s less for advice and more bc like. they want 2 talk to their mom. and i do think prue will occasionally try to make like guest appearances on their birthday she’d def be a presence kinda like how grams was a presence for the girls if they had a book of shadows prue would do the flipping. but they don’t. she did guide their familiar to them!! the cat’s name is swizzlesticks and yes it is just kit again lmao. But. Ur Question. so basically in w&s’s origins jack raised them post prue death and like he kinda fucked off to japan for the rest of the show (sidenote both warren and sheridan are quasi fluent in japanese like jack the only difference is while jack uses his bilingual talents for business the twins almost exclusively use this ability to multitask while watching anime) so i think piper and phoebe had like Zero contact w their nephews and paige actually has never met them like she didn’t even really know they existed bc deadass just no one mentioned them. so like if prue is wished back to life in i dream of phoebe for starters she’s gonna know chris is piper and leo’s son bc she’s been keeping an ear to the ground and Heavily monitoring this chris situation before she assessed that he was good she spent a lot of time trying to figure out if a ghost should beat the shit out of an alive witch so idk who’s wishing prue alive in this specific au tbh u know what richard’s kinda off the shits this ep he’s probably wish prue back to life to try to prove to paige that she doesn’t have to be a charmed one she can just be paige :) and paige would lose her SHIT bc like oh my god that was not what she wanted and she’s so not ready to meet prue but here she is lmao and chris is freaking out bc now he really knows he’s altered the future in Major ways i think piper would see prue and immediately pass out and while i think prue would really really want to see her kids her first task would definitely be fixing the future and she would entirely dedicate herself to making sure wyatt doesn’t become evil but i think like she would pull chris aside and be like hi in your future where are my kids and chris would be like who? and prue would be like my sons?? warren & sheridan???? and chris would be like what?????? bc this whole time if wyatt was indeed not the eldest son like are you Fucking Kidding Me????? but no he’s never even heard of warren and sheridan bc in the dark future their powers were simply never unbound and they just continued to live as mortals and may or may not be dead depending on how good the witch finder bots are but like. i don’t think even if wyatt knew they existed he would want to find them bc that just draws attention to the fact they existed and he’s not the firstborn of the next gen so either they’re doing fine-ish all things considered or they just like died lowkey. but chris didn’t even was remotely aware of their existence. and i think this would kinda send prue into a bit of a tailspin bc her boys are so far removed from their legacy and their family (and they’re being raised by jack yikes!!) and she’s like no these are my kids but if she wants to get where they are she either needs to book a fight or find a whitelighter so i think this would specifically be a prue/paige adventure which is also nice bc paige is omnilingual and prue does not speak japanese so like. idk cute adventure. probably use some monster from japanese mythology to save either some smallish town or alternately a major city bc both of those r fun. i think if jack saw prue again he would start throwing things at her and stuff bc he’d be convinced this is some demon here to kill his kids just like they killed her bc haha that’s not a recurring nightmare lmao so i think prue would cast the truth spell right then and there to prove she’s really her which also leads to some good comedy and character development bc jack paige and prue are all under a truth spell and there is a lot unsaid between all of these characters with paige’s inferiority complex and prue and jack’s true feelings for each other and issues caused by prue’s death y’know blah blah blah but i think prue would really use this opportunity to bring warren & sheridan back into the fold so to speak and bring them to the manor and properly train them in the craft and tbh in this specific au i think prue and jack would actually end up together. bc in any other world i’m saying they literally just coparent like they’re fond of each other and will always love the other in like some way but it’s not like Love but i think here specifically it’s like. like the time spent apart where jack just like fucking wishes prue was there and realized what an absolute sap and hopeless romantic he is bc yeah he always like grand gestures and clowning around but like. warren and sheridan’s first steps? and jack was just fucking alone like ngl he almost cried bc he just wished. like prue should have been there. she would have been a great mom. she was a great mom. and his kids deserve their mom and like. he just wishes he could have shared that moment with her. completely unbeknownst to jack prue actually does like you know watch over them all and she’s just like. like blown away by jack. like never in a million years would she have thought he was capable of doing what he did. like. like wow man. and i think the combination of those two like actually having them together again and raising their kids i think romance would blossom again. and i think it would be this insane slowburn bc i think y’know like. like it only happened the first time bc jack pursued prue and was like stubborn and stupid and he like knew she was outta his league but it didn’t matter bc that relationship was just for funsies it was a fling it was never meant to be permanent but if jack were to pursue it know it’s be like. permanent. you know? and jack just doesn’t think prue feels the same way like jack’s a fuckin idiot he knows that and prue’s like a witch? like an insanely talented with and a successful photographer back from the dead don’t worry about it lmao and she just like. she takes the world by storm she balances her career and motherhood and saving the motherfucking world like how could she ever. she would never want to be with someone like jack like that’s just. it’s not in the cards. and prue on the other hand keeps waiting for the penny to drop she keeps waiting for like. jack to realize he doesn’t have to be here anymore. she’s convinced he’s gonna hop town and continue being the man she knew while she was alive now that he doesn’t have to keep watching over the kids now that he’s free in a way but that just never happens because jack doesn’t want to leave like those are his kids also he’s in love with prue lmao but she just can’t. she doesn’t get it. men leave. that’s what they do. that’s what they’ve literally always done she can’t like. she can’t open herself up to something serious only to have jack just ditch and leave her kids with the memory of his back walking out the door so she lowkey starts to push him away put her walls up which only furthers jack’s belief that this is never gonna happen but sometimes it’s like they’ll accidentally fall asleep on the couch together in the middle of the afternoon with the sunlight on them and they’ll wake up like Horribly Embarrassed like oh my god which they’re like this isnt weird okay like we have kids together they’re right there like. we have had sex multiples times before piper walking in on up taking a cat nap in the living room is literally it’s nothing!! oh but it so is something meanwhile phoebe the empath is about to lose her Fucking Shit like guys!!! guys!!!!!!!!! and piper’s just trying to reign her in like no don’t interfere bc piper knows prue’s fear of abandonment and she does not know this new iteration of jack she just remembers what he was like and she doesn’t want to see prue get hurt paige is on the opposite side bc she has literally never met any previous iteration of jack or prue and she’s like hello?? they’re in love?? and chris is like hi okay but like. the task at hand? and the girls are like no shh like trying to covertly spy on prue/jack/warren/sheridan/wyatt all playing in the solarium prue’s doing the telekinetic mobile thing again and jack’s expression of wonder is the same as his sons like !!!! and chris is like deadass i do not get it okay evil wyatt tho. but blah blah blah slow burn i think prue and jack would get married like s8. their wedding would replace paige and henry’s bc as mentioned before paige and henry having a wedding esp a wedding that early was like. dumb. but yeah. prue x jack brainrot. i’m mentally ill i love them so much.

[thewidowstanton]

Stav Meishar, multi-disciplinary performer and creator – The Escape Act: A Holocaust Memoir

Stav Meishar – a stage artist who mixes theatre, circus, music, dance, poetry and puppetry – was born and raised in Tel Aviv in Israel. She attended the Thelma Yellin High School of the Arts and has worked professionally as an actress since childhood, notably starring in Wicked’s original Israeli cast. 

After moving to the US in 2008, Stav has performed internationally in Hebrew, English and Yiddish. In 2012 she founded Petit Mort Productions to provide an outlet for multi-disciplinary artists whose works are “innovative, unique and perhaps a bit strange”. In 2013, her play The Dreamer and the Acrobat ran at the NY Frigid Festival, and she made her circus debut on silks in the Off-Broadway revival of The Megile of Itzik Manger.

Stav is now based in Bristol and this month embarks on a UK tour of her solo show The Escape Act: A Holocaust Memoir, which is based on the life of Jewish-German circus artist Irene Danner. Stav chats to Liz Arratoon in the run-up to its UK premiere at Jacksons Lane in London on 23 September 2019.

The Widow Stanton: Is there any showbusiness in your background? Stav Meishar: Almost everybody in my family is in love with the arts but nobody else makes it. Everybody does other things around it. My mother is an arts critic, lecturer and guide. She knows everything there is to know about arts but when I asked her if she ever wanted to make any, she said: “Heavens, no!” My dad owns a business he funded… it’s kind of hard to explain but it’s like an archive of Israeli folk dancing. So ever since I was little whenever a new Israeli folk dance would be created, he’d get the choreographer and a bunch of volunteer dancers and videotape it, with instructions, so that enthusiasts around the world can learn how to dance.

How did you start performing so young? I’ve always loved attention [laughs]. There’s video tapes of me when I’m two or three years old doing, like, hand puppetry. Not with actual puppets, just with my hands. I think it was a Mr and a Mrs who met at a movie theatre and fell in love. It was always something I wanted and I used to scour the newspapers when I was little for audition notices. So when there was one for an Israeli production of Oliver Twist I figured, why not be an orphan? [Laughs]

So you just auditioned and got the part? Yep! The production was first in Tel Aviv. There’s a big tradition in Israel on Hanukkah to have shows for the family because everyone’s off from school and the parents are going crazy trying to find something different for the kids. I was… 11, I think, and then the following year it toured all around Israel. I had a lovely time.

What happened about your schoolwork and all that boring stuff? If I remember correctly, the rehearsals were about a half-hour bus ride from my school and I had to get special permission to leave the last class a bit early, so that I could make it on time. All the kids were really mean to me about it: “Oh, you know, she’s hoity-toity with her rehearsals.” I’d rehearse every day and get home at about 7pm.

But being on tour… I think because Israel is so small it’s a bit different to what we think of as tours in the UK or US. There were about 50 kids in the cast so the production would hire a bus and I think there was at least one adult from the production with us.

Was the Thelma Yellin school like a Fame school or something? [Laughs] It’s pretty much what you imagine when you think of a performing arts school; a little bit like Fame. It’s a great school in Israel that still exists and has a great reputation. All the students have to be good at all the regular subjects. You can’t slack off in any of that but you also have to choose one of six artistic majors: theatre, classical music, jazz, cinema, visual arts and dance. So mine was theatre. I was there from 14 to 18.

Why did you move to the US? I always wanted to be in musical theatre, and originally the dream was London. I got accepted at a few schools here but none of them had international scholarships. There was a lot of crying and sadness around that [laughs] and then I picked myself up by the bootstraps and figured, ‘Well, I’ve got to come up with a plan B’, and I got accepted to a musical theatre programme in New York at the American Musical and Dramatic Academy that did have quite a generous international student scholarship.

I worked my arse off for about two years saving every shekel I could and got some help from my parents as well, God bless them, and yes, I moved to the States and studied musical theatre. I graduated and worked in professional musical theatre in New York for about a year and then one day I woke up and realised, ‘I hate it!’. Not musical theatre, I still love that, but the business around it; how mean everybody is and how soul-crunching open calls are. I couldn’t do it anymore.

This crisis was in about 2010 and I was in a really dark place for a while and decided, ‘I’m just going to see as much theatre and performing arts as I can and see if I can get inspired by any of it, and take as many classes as I can in all kinds of different things’. So I took yoga, and I took Pilates and all kinds of stuff… and I took a silks class and uh… well… yeah, fell in love. [Laughs]

Where did you learn your circus skills? I trained for a long time at the Circus Warehouse in New York, which is a fantastic space with really high-level professional training. It’s not a university, it’s not accredited, but the level is super high and the coaches are all fantastic.

I see also you play ukulele and do poi spinning… have you got anything else up your sleeve? I had a year or two of trying a bunch of different things. I still play the ukulele mostly for my own pleasure. I took a street show to the Edinburgh Fringe for a couple of years where I put together Shakepearean monologues with whatever was popular that day on MTV, on the ukulele. So Taming of the Shrew and how badly he treats her, how awful he is leading into  Bad Romance by Lady Gaga. That was fun for a little while.

Oh, and poi spinning… I do a lot of things none of them in any way as professional as I do theatre. You can’t do too many things well. You do a lot, you end up being OK at most of them. I’m skilled in a lot of things but wouldn’t consider myself expert in all of them. Theatre is where I’m most confident… history, specifically World War II history is something I’m very confident in, and Jewish education is something I feel an expert on. Circus is always a tricky thing because I’ve been doing it long but I have never done it with enough… let’s put it that way, I started late and I’m lazy.

Have you done stuff at Circomedia, being in Bristol? Yeah, I just did one year full time there, basically shadowing their foundation degree students doing all the practical stuff but none of the academic stuff, because I already have my degree. It sounds much more than I’m capable of. Yes, I just graduated from a full-time programme; I’m still pretty shit at circus but I never intended, like, I don’t market myself as an acrobat. I’m a multidisciplinary artist who has a lot of tools and because this current project is about a circus artist, I had to have some circus skills thrown into the melting pot of the show, but I’ve been really adamant with everybody where I’m performing, don’t market it as circus show or people will be really disappointed. It’s a theatre show. It has puppetry, it has circus but I’m no more a circus acrobat than I am a puppet master.

So let’s talk about The Escape Act. How did it come about? It was completely random. I started my Jewish education company, Dreamcoat Experience, and our niche, so to speak, was teaching progressive Jewish education using performing arts: drama, music, puppets, thing like that, and I started weaving circus methods into our curriculum. I was curious if anyone had done that before and I went to Google and I typed in ‘Circus Jews’ and one of the first things to come up was the New York Times obituary for Adolf Althoff, the German circus owner who saved this Jewish family. I just remember reading it and my jaw dropping to the floor going, ‘How is there not a movie about this?’. It was incredible. I just started going into this Alice in Wonderland rabbit hole from which I never emerged.

You’ve written about Irene Danner’s story for Circus Talk, but give us a brief outline of her story. In seven years of research, I uncovered a lot and it’s a big story. The short of it is, Irene, born Danner, was a descendent of the Lorch family, Jewish Circus royalty; they were the most famous Risley act of their time. They performed with the Ringling Brothers in America, they went on tour with Circus Sarrasani in South America, they really were the celebs of their time. The circus closed when she was about seven years old; they went bankrupt around 1930 with the rise of anti-semitism and people not really wanting to see ‘the Jew circus’ anymore.

Irene trained as a acrobat from when she was little and got her first job when she was 13, with Circus Busch. She was the flyer for the horse-riding troupe The Carolis and was there for three years until the law changed and Jews weren’t allowed to work anymore. About three years later she went to see the Circus Althoff and fell in love with their clown, Peter Bento. Peter asked Adolf if he would give her a job. Adolf knew it wasn’t legal but he didn’t really give a shit, excuse the language. That’s his, not mine. She was not allowed to marry Peter because of the racial laws of the time but they had two kids during the war and three more afterwards.

At some point when the Jews were starting to get deported, she persuaded Mr Althoff to let her family join as well; so her sister and her parents, and all four of them survived the war. Other members of her family didn’t make it. If you visit their house there are a few stumbling stones outside for all those who perished. The idea is that you shouldn’t just be reminded of the Holocaust when you decide to be by going to a memorial, but that you stumble upon them.

The Escape Act is as faithful to the story as I could make it but I took some artistic liberties. For example, she joined the Althoff circus because she fell in love, but in the show I’ve made it that she joins because she misses performing and she wants to do what she loves. It’s a bit of a feminist twist; she’s making her own path.

So in the show, you’re doing a bit of trapeze and juggling but it’s a theatre show? It is definitely a theatre show. It’s quite text heavy.

How did you go about your research? I started at the Yad Vashem Museum – the big Holocaust museum in Israel – because the obit mentioned that Adolf Althoff and his wife Maria, had received the honour of the title ‘The Righteous Among the Nations’ from Yad Vashem, which is a special sort of order, I guess, for Gentiles who saved Jews during World War II. As they’d given them this honour I assumed they’d have files on them and indeed they had.

They had interviews with both Adolf and Irene… photos… and then I just started visiting museums, archives, libraries, just picking information wherever I could, speaking to whoever I could. I wish I spoke German; my research would have been so much better. A lot of my info came from a wonderful book called Jewish Identities in German Popular Entertainment. It’s the only English book available that talks about circus performers in Germany during that era. Of course I looked at the bibliography and saw where I could branch off from there.

One of the books I got in German is this tiny little book that’s all interviews and testimonies from Irene, her husband, Adolf, basically everybody involved. I crowd-sourced the translation. I just reached out on Facebook and got something like ten German speakers to translate two chapters each voluntarily. So I got the whole book translated out of the goodness of their hearts. One of my favourite things described was the friendship that Irene and her husband had with a Moroccan acrobat called Mohammed; Muslim, of course, and being Jewish, I was like, yes, Jewish/Muslim friendship, yay! He was their best friend during the war and he helped hide them, he protected them, they were really each other’s backbone.

Years later when I went to Irene’s town and interviewed her kids, who are now in their seventies, I asked them if they were still in touch with any of the saviours. Her eldest son was like: “Ja, ja, we still speak, Christmas cards, birthday cards, but the one we are really in touch with, we speak every week on the phone, is Uncle Momo.” It just took me a second… I’m like, ‘Do you mean Mohammed?’. He goes: “Yes, yes, he lives in Tangier now.” ‘I’m sorry, is he still alive?’. “Yes, he just celebrated his 94th birthday.”

It was just incredible! So here I am in a living room in Germany, learning that there’s one person still alive from that era, and here’s the real amazing thing… this was in May and in June my husband and I were booked on our honeymoon, guess where? Morocco! That was incredibly random. It was meant to be. I told Irene’s son, ‘It so happens we’re going to Morocco. Will you please connect me with Mohammed?’. So a few weeks later, there we were in his living room in Tangier.

What does it mean to you to be performing the show in Germany on the anniversary of Kristallnacht? I think I’m actually more terrified than honoured, because her kids are probably going to be there and I’m so terrified that they’ll be angry at me for making changes. That’s my own demons and whatnot. I think as an artist it’s something of a trait to imagine a worst-case scenario. It’s something we do to ourselves but I’m sure it will a wonderful experience and hopefully her kids will love it. I did ask for their blessing and they gave it to me.

But just talking to you I get emotional about bringing the show on Kristallnacht because this is where it all took place. Even when I visited there last year it was really emotionally difficult to be in that synagogue where I know Kristallnacht happened, and to be in the family’s home where I know Irene saw her own grandmother being snatched away. In those places there’s a visceral element to being in the spot where it happened. Like visiting Auschwitz is different than reading about it. And there is a scene in the show that takes place on Kristallnacht, so to be at the synagogue where it actually happened, in the town where it actually happened, in front of that family, I mean, it’s… ahh! It’s an incredible gift that they’ve given me to invite me to do my show there.

Do you feel, with the rise of the far right, that your show is even more relevant now and it’s even more important that people should hear this story? Yes, absolutely. It’s been in my mind ever since I started researching this history, and every time I think it’s going to become less relevant, it has to get better from here, it doesn’t. It’s getting worse. Every historian has this feeling of helplessness where you see history repeating itself and yet people do it anyway. Even with Germany and all that history, when I talk politics to people, they’re like: “Oh, but it’s getting better now. Gays have the right to marry, trans people are accepted.” But if you look at history, the Weimar Republic happened right before the Nazi regime. They had, like, the biggest gay parties, they had cross-dressers, they had cabarets, they had this amazing period of artistic and sexual liberation and then this happened. I’m not sure that an improvement necessarily says an upward motion.

When I first starting working on the show the thing I really kept thinking about was how the Holocaust was taught to me. Growing up in Israel it’s a big subject in our curriculum. We study it, I dare say, a bit too early, but one of the most powerful experiences that I had growing up and that I saw as a Jewish educator in America is that schools would bring survivors to tell their stories first hand. And that’s always been for me and my students the most powerful experience, more than watching movies, more than seeing pictures of naked skinny bodies. Just having a person there telling you this is what happened, this is what they did to me, to my sister, to my parents, it’s different. And it’s a resource that’s not going to be available forever. Survivors are dying out and the thought that led me in this work is, ‘OK, what experience can I create that would get as close to a first-hand telling as possible?’.

I’d like to think this show is a good alternative. It’s not perfect, it’s never going to replicate that, but telling a story in the first person as if it were my story and taking those moments of stepping away from the character, and being myself and telling my own experiences, more about the after-effects it has, I think that’s powerful for everyone. What’s it like for someone who is descendent of refugees from a genocide? How does that affect you? Here’s this person who was never in the camps, who never starved and who had a pretty cushy, privileged life and yet there’s this scar that was her inheritance, and it’s never going to go away.

Would you say this show is the highlight of your career so far? It’s definitely the most ambitious project I’ve taken. I’ve been a performer for most of my life but I’ve always interpreted other people’s work. That’s what actors do, and this is not the first time I’m doing my own project but it’s the first time I’m doing, first of all a project that I’ve vested so much time and effort in, but it’s also the first project that has autobiographical elements. So the show I would say is 95 per cent Irene’s story but the rest is me and my history.

The way it’s structured is when there are points when her experiences sort of trigger my own memories growing up, I take a step out of Irene and become myself, the house lights go up and I talk to the audience about my own experiences. It’s a wonderful thing as an artist to be able to share that sort of vulnerability with an audience, and it’s absolutely terrifying and it’s difficult. It’s so raw and it’s weird because those things haven’t happened to me. I’m telling the stories of my ancestors and still, yeah, it’s right there in the really innermost parts.

Stav Meishar performs The Escape Act: A Holocaust Memoir at Jacksons Lane in London on 23 and 24 September 2019, before a UK tour.

Picture credits: Michael Blase; Asaf Sagi; Kati Rapia: Shirin Tinati: Gilad Kfir

For Jacksons Lane tickets, click here 

For tour dates, click here

Stav’s website

Twitter: @stavmeishar

Follow @TheWidowStanton on Twitter

[satincrow]

𝓗𝓪𝓻𝓻𝔂 𝓟𝓸𝓽𝓽𝓮𝓻 𝓥𝓮𝓻𝓼𝓮

So There is Magic After All

Basics

Name: Satin Flowers Nationality: English Age: 11-18 Blood: Muggle-born House: Hufflepuff Wand: Vine wood with a dragon heartstring core, 11½ inches and quite bendy flexibility Patronus: Russian Blue Cat (later Wolf in some verses) Animagus Form: Russian Blue Cat

Bio

Satin’s HP verse follows his default modern verse except the location is specific to him attending Hogwarts, and obviously, he is a wizard. In this verse Satin is from Oldham in Greater Manchester. He lives with his young mom, Rosabel, and her abusive boyfriend Lyn Corbray.

One day, when under great distress, Satin performs accidental magic and makes a kitchen knife fly and stab Lyn. Satin is overwhelmed with panic at what he did. Luckily, members of the Improper Use of Magic Office arrive and are able to heal and obliterate Lyn. Dumbledore comes soon after to explain to Satin and his mother that he is a wizard and offers him a place at Hogwart’s where he is sorted into Hufflepuff.

Though he is ecstatic to be attending Hogwarts, he doesn’t do very well at first because he is afraid to use his magic due to what had happened with Lyn. He gets a reputation as one of the worst students and classmates begin calling him “mudblood squib.” But when a Gryffindor boy named Jon ( @killthebxy ) takes him under his wing, Satin begins to grow in confidence. After some initial mishaps, he finds he takes to flying rather easily and also earns high marks in Herbology, Potions and Charms. Later on he finds that he had a talent for the care of unicorns- which is very rare in a boy and earns him the respect of Professor Grybbly-Plank, who he continues to visit for years after leaving Hogwarts.

Satin is an active member of SPEW and also started WAPT ( Werewolves Are People Too) after becoming friends with Theon Greyjoy ( @saltveined ) who is a werewolf. In spite of his muggle-born / werewolf sympathizing status at Hogwarts, he actually manages to make many friends in all the houses, even if they despised him at first. In the Battle of Hogwarts, he fights alongside those who oppose Voldemort.

Wand

Vine wood

The druids considered anything with a woody stem as a tree, and vine makes wands of such a special nature that I have been happy to continue their ancient tradition. Vine wands are among the less common types, and I have been intrigued to notice that their owners are nearly always those witches or wizards who seek a greater purpose, who have a vision beyond the ordinary and who frequently astound those who think they know them best. Vine wands seem strongly attracted by personalities with hidden depths, and I have found them more sensitive than any other when it comes to instantly detecting a prospective match. Reliable sources claim that these wands can emit magical effects upon the mere entrance into their room of a suitable owner, and I have twice observed the phenomenon in my own shop. (from pottermore)

Dragon heartstring core

As a rule, dragon heartstrings produce wands with the most power, and which are capable of the most flamboyant spells. Dragon wands tend to learn more quickly than other types. While they can change allegiance if won from their original master, they always bond strongly with the current owner. The dragon wand tends to be easiest to turn to the Dark Arts, though it will not incline that way of its own accord. It is also the most prone of the three cores to accidents, being somewhat temperamental. (from pottermore)

Patronus (es)* -

Russian Blue Cat

The Russian Blue Cat is known as a royal cat. Regal in form and frame, they love attention and actively seek it out. They love their humans, often doing small acts of kindness to cheer you up such as patting your face or clowning about to entice a laugh. If any Patronus will chase away a Dementor by staring disdainfully at it, this is the Patronus! ( @killthebxy is this not Satin? haha ) ( from mugglenet.com )

*In some threads, Satin doesn’t have a happy enough memory to cast a patronus until his friendship with Jon at which point the patronus takes the form of a Wolf because Satin associates Jon with Ghost. And then in other threads, his Patronus changes from a Russian Blue cat to a wolf after his relationship with Theon @saltveined who is a werewolf. For the thread where he is unable to cast a patronus at first, I still  headcanon his original patronus as a Russian Blue Cat because that is what his animagus is.

Wolf

Wolf Patronuses see their casters as part of their pack, and they are ready to defend them at any cost. Wolves have incredible instincts; they will attack all Dementors in the immediate vicinity and hunt down any stragglers remaining at a distance. No Dementor should cross a wolf Patronus – they are fierce protectors and loyal to their casters beyond any other guardian ( from mugglenet.com )

[glassrain83]

Dear Yuletide Writer

I am GlassRain on AO3, and thank you for writing for my tiny fandom(s)!

Any fic about these characters will be exciting. This is all just extra information to use if you want inspiration or guidance or specific prompts to think about.

Yes please: gay stuff, outer space, magic, microphilia. Non-con, dub-con, and mind control. Relationships where there’s a power imbalance but they also truly love each other and do the work to make it good. Identity porn or any other kind of reveal where the audience knows something and gets to enjoy watching the characters figure it out.

No thanks: Gore/body horror/graphic depictions of violence, embarrassment, extreme underage (teenage sex is fine), bodily fluids (except the usual ones for sex scenes), non-canon character death, mundane AUs.

Mini-challenges: Yuleporn, Make The Yuletide Gay, canon trans/nb relationships

Fandoms:

Doctrine of Labyrinths - Sarah Monette

Characters: Felix, Mildmay

The Doctrine of Labyrinths is a series of fantasy novels by Sarah Monette. It is set in the secondary world of Meduse and tells the story of the adventures of the wizard Felix Harrowgate and his half-brother, former assassin Mildmay the Fox.

Lush fantasy melodrama full of codependence and great hurt/comfort. I’ve read the whole thing by now, so spoilers are welcome.

Prompts:

Sci-fi/cyberpunk AU. Make the hocuses into hackers, the magical curses into corrupted cybernetics, the petty thieves into data pirates. Write this version of some event from Melusine, or use the AU to give the course of the plot a new twist.

Missing scene from Felix and Mildmay’s journey across the continent in book 1, something where Felix has a bad turn and Mildmay successfully calms him down. Just lean all the way into the h/c in their weird-but-deep sibling bond.

This is one fandom where I would love some guilty frantic brothercest. (During a time in canon when they’re both mentally capable of consenting.) Especially if it’s already an ongoing situation when the story starts, so it’s not a story about how they fell into it but about how they can’t seem to get out.

The Good Place (TV)

Characters: Tahani Al-Jamil

The series focuses on Eleanor Shellstrop, a woman who wakes up in the afterlife and is introduced by Michael to “The Good Place”, a highly selective Heaven-like utopia he designed, as a reward for her righteous life. She realizes that she was sent there by mistake and must hide her morally imperfect behavior and try to become a better, more ethical person.

Ongoing TV fantasy sitcom. The final season will have ended by reveals, and spoilers for all of it will be welcome. I don’t ship Tahani with any of the male characters, but would love either gen or f/f.

Prompts:

AU where Tahani was the one who was “mixed up” with a different “Tahani Al-Jamil”. Where is she placed instead of a creepy clown house? How does she cope? How does Vicky (or whoever) craft the role of her most torturously-unsuitable soulmate?

Kidfic about the terrible family dynamics in Tahani’s childhood. Especially things that her POV frames as happy, or fine, or at least justified...but the reader can tell how much it’s not.

Friendship fic with Eleanor and Tahani during their time on Earth. They couldn’t possibly know each other for a whole year without bonding.

Leif & Thorn (Webcomic)

Characters: Any

Leif is a gardener in thrall to a mysterious debt, serving his native Sønheim at a foreign embassy. Thorn is a Knight of Ceannis who got severely burned while dragonslaying, and was rewarded with a cushy job guarding the embassy gates. Thorn doesn’t speak Leif’s language too well at first — but as they get to know each other, he finds a lot of reasons to learn.

Ongoing fantasy dramedy, with a cross-cultural romance and a great ensemble cast. (Read it here.) Leif/Thorn is canon. I’d love fic about them, and/or any romance (canon or not) that doesn’t break them up, and/or gen about anyone else.

Prompts:

Violet’s participation in fandom on the magic-crystal-internet. And maybe off of it, if a convention comes to town. What is magical-crystal-Yuletide like? Which series have split fandoms over badly-translated Ceannic-language dubs? Who else in the cast loves Violet’s fic without realizing she’s the one behind the pseudonym?

Something sexy from the “Thorn studied magic” AU, where Thorn uses his powers to suppress the consent-subverting functions of Leif’s microchip.

Canon divergence AU where Thorn joined the Secret Order of Monster Hunters instead of the knights. Does he sneak back to check on Leif later, Batman-style? Or just straight-up steal Leif in the moment? How does Agent Delphinium feel about all this?

Holiday fic where Leif and Thorn share their traditions with each other. Warmth and fluffiness a plus.

Tender, loving, slow-and-thorough Thorn/Kale -- with Leif’s permission and/or participation. In which Thorn notices how touch-starved Kale is and makes every effort to rectify that for him.

Jeeves & Wooster

Characters: Jeeves, Wooster

Bertram Wooster, a well-intentioned, wealthy layabout, has a habit of getting himself into trouble and it's up to his brilliant valet, Jeeves, to get him out.  

Completed TV adaptation of the books by P.G. Wodehouse, starring Hugh Laurie as Wooster and Stephen Fry as Jeeves. I’ll take gen or m/m between the two of of them.

Prompts:

Magical AU where they’re supernatural creatures -- fae, elves, angels, demons, nature spirits, things in that category -- and still manage to have the same dynamic, over much more ethereal problems.

Role-swap where Jeeves is a smart-but-disaffected member of the idle rich, and Bertie is a fanciful valet. Problems are solved by a mix of Bertie’s own talents and his ability to inspire Jeeves into thinking harder.

Bertie discovers the fandom for his published writing. This can be a modern AU if you want to get the internet into it.

[danschkade]

PAGE x PAGE ANALYSIS-- BATMAN: GOTHAM ADVENTURES #1

PUBLISHED: DC Comics, June 1998

SCRIPT: TY Templeton

PENCILS: Rick Burchett

INKS: Terry Beatty

COLORS: Lee Loughridge

LETTERS: Tim Harkins

EDITORIAL: Darren Vincenzo

For the last couple weeks, the time I might have otherwise spent writing more Page x Page Analyses was instead spent writing, revising, and thumbnailing the first issue of a new series. If the winds stay southernly, I’ll have more to say about that soon -- but in the meantime, it’s got me thinking about what goes into making a successful first issue. Charged with introducing the cast and premises as well as telling an engaging money’s-worth story, they're tricky beasts, even when you’re dealing with established characters. Maybe even especially when you’re dealing with established characters. For kids. 

Such is the case with 1998′s BATMAN: GOTHAM ADVENTURES #1!

I looked at issue 17 of this series in the debut installment of this feature. Aside from writer Ty Templeton and penciler Rick Burchett, the same creative team was here at the beginning, and all of the same good qualities are in play: strong meat-and-potatoes storytelling, muscular use of color to set location and mood, clear, clean inking, and solid lettering that invisibly guides the reading flow. With its intelligent use of simple character-driven plotlines and dynamic visual direction, BATMAN: GOTHAM ADVENTURES #1 is a prime example of how to introduce new readers to a full, lived-in world -- even if that world has been on your TV since 1992, and in continuous publication since 1939.

BATMAN: GOTHAM ADVENTURES #1 and all characters contained therein are property of DC Comics, reproduced here solely for educational purposes.

***

PAGE ONE

We kick off our new Batman comic by having The Joker leaping straight at the reader as the entire Batfamily gives chase.

Why mess around if you don’t have to, y’know?

This is not, strictly speaking, a splash page. The inclusion of that little “With a price on his head!” panel to go along with the title is blatantly non-verisimilitudinous (meaning it explicitly breaks any illusion we have that what we’re seeing is real, immersive). I think this was a canny move; this issue is going to do some really tricky tone-juggling where the Joker is concerned, so starting out with these two very different deceptions of him right on the first page immediately lets us know what to expect. Lee Loughridge’s colors are on the job to keep this from being confusing, clearly placing the first panel in a different spacial and temporal plane than the main image. 

PAGE TWO

The first panel follows immediately from the opening page, establishing a nice fast pace of action. I love how the Batfam looks sort of like a flock of birds -- it’s a cool way to add a dynamic, distinctive element to what is essentially just a footchase. 

This whole sequence has particularly clear lines of motion, beginning with this page:

Having Batman point directly at the reader in the last panel is an effective way to snap off the action flow of the page, making it feel more three-dimensional than the simple zig-gag it would be otherwise. Side note: how great are those sharp silhouettes in panel three? Funky and distinctive, selling the force of the explosion while still letting us know who’s who. 

PAGE THREE

Lots of good stuff going on with this page. Again, the action continues directly from the previous page as Robin follows through on Batman’s order and saves a civilian from the falling debris. We get a nice little bit of characterization-through-action -- Robin is a good soldier, a capable superhero, and a wisecracker -- as well as demonstrating how the Batfamily is concerned with protecting the people of Gotham City just as much as they’re concerned with catching criminals. Seems pretty basic, but it’s surprising how often that simple mission statement gets lost in the shuffle of telling a new superhero story. 

See also how the space where the flaming debris land in panel two is along the same latitude as where the civilian was standing in panel one. The arc of Robin’s swing also passes through that same point. This is a helpful touch, showing us how narrowly she just avoided a fiery demise.

We do lose track of Batgirl for the rest of this scene, which could be considered a structural error in the script. 

Burchett makes sure we don't lose track of Batman and the Joker by turning them into there sharp, easily identifiable silhouettes, backlit by Loughridge’s  distinctive colors in the explosion and the screen. You really can’t miss them. Tim Harkins continues to help us out on the lettering front, drawing a line between Batman, the Joker, and Summer Glisan’s news report. The citizens below add to the general danger by making the city feel full of vulnerable citizens, as well as helping us get a sense for how high off the ground the action is.

PAGE FOUR

This is such a great way to get exposition across. Where an infodump like this can often kill a story’s momentum, the ongoing Batman/Joker fight keeps up the intensity of the scene in a way that really doesn’t take up all that much real estate on the page. This device also connects our main characters to the exposition by allowing the Joker to directly react to it. He really is a loathsome villain; Templeton’s script does a deft job of balancing out the goofy, whimsical elements of the Joker with the lethal. Too far one way and he’s just a clown who makes Batman look silly for having to contend with him -- too far the other and he’s a shrill, boring serial killer. 

More clean movement on this page:

Note how this layout draws our attention to the horrible rectus smile in panel three from two different directions; the action line from the previous panel as well as the Joker’s shaking fist, with Batman’s head in the bottom left corner pointing up to it for good measure. All conflicts in the issue derive from the fact that the Joker murdered this young man, so it’s very important that we absorb this image before we move on to the next page. 

PAGE FIVE

See, again, the great balancing act. The anti-bat spray and the giant inflatable glove are patently ridiculous, but when laid over the face of a father driven mad by grief, the clownish gadgets become salt in the wound. The reader really identifies with the father here; imagine if you lost the person you loved more than anyone in the world, and this prancing asshole is the one responsible. Even when you put a price on his head, he just laughs at you. Look how sinister he is in panel three. He’s the most killable man in the Gotham City, this guy. 

PAGE SIX

Man, how do you not read that first line in Mark Hamill’s voice? 

There’s a really interesting use of space here. The action takes place all around the edges of the page, giving the whole sequence this great sense of verticality -- even if there is a slight gaff in that Burchett and/or Beatty forgot to draw the Batline in panel four. That said, I do love the inclusion of the reporter and cameraman in that panel, giving the environment a nice sense of depth that emphasizes the splattery fate from which Batman just saved the Joker. 

The action, and with it the scene, ends in the left of the last panel. This leaves the city shot in the right on that panel to act as a sort of ‘pan away’ moment, creating a quiet beat without cluttering the page with another panel. It’s super effective. 

Something I forgot to address elsewhere: Burchett is always contrasting the rigid, unflappable Batman with the constant mugging of the Joker. This is largely down to Bruce Timm’s terrific character models, but Burchett is a sharp enough cartoonist to know how to stage them so those contrasts really land. 

See also: this great juxtaposition at the top of this page.

PAGE SEVEN

I’ve always loved this lady in the bottom corner. No analysis, just crushin’.

PAGE EIGHT

Weirdly enough, The Joker is our POV character for this page. Despite being a comic book tie-in to a very popular tv show, this is still technically the first time we’re seeing the Batcave in this comic book series, so Templeton and Burchett give us this nice spacious look at the pace. The Joker’s reaction helps sell it as an impressive space, even if he’s mostly just talking nonsense. Loughridge uses this scene to establish the cool teals and greens that will indicate Batman’s private environments from here on out, such as the cave or the inside of the Batmobile.

Cutting from the huge shot of the cave to the narrow horizontal final panel adds to the suddenness of Batman cuffing the Joker to the railing. 

“Awp!”

PAGE NINE

This is our introduction to Nightwing, so of course the wayward bad boy Batchild has to come screeching into the panel on his badass black motorcycle instead of just walking in like a normal person. Templeton and Burchett give Robin something to do by having him goof around on the railing, which avoids having the scene become just a bunch of people standing around in capes. See also: wringing a moment of tension out of Alfred’s introduction. I dig Batman’s snarl in the last panel -- the most emotion we’ve seen from him so far. Alfred being in danger will do that. 

 PAGE TEN

Burchett adds dynamism to panel one by tossing a dutch angle into the mix. It’s a smart move -- having a diving action like a tackle go directly towards or away from the reader can sometimes come across as static or just unclear. The dutch angle gives this panel enough energy to sell the action. 

Also, a rare continuity gaff: the stairway entrance has a doorjamb here, where on the previous page it’s just a rough opening in the cave wall. The Joker looks a little bit off to me as well -- could this have been one of the first pages Burchett drew in the new B:TAS style? It’s a pretty common practice for an artist on a new book to initially draw some pages from the middle of the issue, just to get a feel for the new project on some pages of lesser relative importance. When it comes to this specific page, of course, I’m purely speculating. 

Regardless, Robin looks excellent in panel four. 

PAGE ELEVEN

What a great page. This is the point at which the main plot splinters into its various subplots, emphasized by seeing all our players head off in their own directions in panel one. Batman hands the scene off to Batgirl in panel two, and in panel three we fully establish her as the new POV character for the Batcave scenes going forward. In the next panel, we see the rest of the Batfamily drive away on their various conveyances, the looming silhouette of the Joker’s handcuffed arm, and Batgirl herself in the midground between them, really selling how suddenly isolated she is. The last panel says it all -- even if he’s handcuffed and weaponless, no one wants to be alone in a room with the Joker. 

Here, we end the first act with all our plotlines well in play:

Batman and Robin try to crack the case Gordon has for them (which, if you were paying attention on page seven, you know involves The Riddler)

Nightwing on patrol, which will almost certainly involve...

All the Gothamites who’re scouring the streets looking for the big payday

Douglas Reid using all his wealth to get his revenge on the Joker

And Batgirl, guarding the man himself in the Batcave.

All of which will unfold over the remaining twenty seven (!) pages, each of which is as dense and active as what we’ve seen so far. 

There’s a lot to love about this comic, and I’ll be coming back to it in the weeks to come. But today, I just wanted to look at the opening pages of a comic that does an exceptional job of using a clever, character-driven premise to set up its world. 

***

You can get this entire issue -- for free! -- on Comixology, along with every other issue of GOTHAM ADVENTURES for, like, a buck or two apiece. 

For a couple of my own comic creator bona fides, check out WILL EISNER’S THE SPIRIT RETURNS and SAN HANNIBAL, and pre-order the trade collection for BATTLESTAR GALACTICA: GODS AND MONSTERS. 

Additional content can be found on my website, danschkade.com, as well as my twitter!

Be well, talk soon, etc

PREVIOUS PAGE x PAGE ANALYSES:

GANGBUSTER: SWING ANNA MISS 

MINI-ANALYSIS — FIRST SIGHTING: SUPERBOY

ULTIMATE SPIDER-MAN #69 (with Aud Koch)

THE SHADOW STRIKES! #13

PETER PARKER: SPIDER-MAN #13

BATMAN: GOTHAM ADVENTURES #17

[comicteaparty]

March 4th-March 10th, 2019 CTP Archive

The archive for the Comic Tea Party week long chat that occurred from March 4th, 2019 to March 10th, 2019.  The chat focused on O Sarilho by shizamura.

Featured Comment:

Chat:

RebelVampire

COMIC TEA PARTY- WEEK LONG BOOK CLUB START!

Hello and welcome everyone to Comic Tea Party’s Week Long Book Club~! This week we’ll be focusing on O Sarilho by shizamura~! (http://sarilho.net/en/)

You are free to read and comment about the comic all week at your own pace, so stop on by whenever it suits your schedule! Remember, though, that while we allow constructive criticism, our focus is to have fun and appreciate the comic. Below you will find four questions to get you started on the discussion. However, a new question will be posted and pinned everyday (between 12:01AM and 6AM PST), so keep checking back for more! You have until March 10th to tell us all your wonderful thoughts! With that established, let’s get going on the reading and the chatting!

QUESTION 1. What has been your favorite scene in the comic so far? What specifically did you like about it?

QUESTION 2. What do you think happened to the ancient people who left their satellites and other lost technology behind? Will the people of the present be able to recover this technology as they strive to do? Alternatively, are they going to find out secrets better left forgotten?

Capitania do Azar

Howdy everyone! I'm Shizamura and I'm the creator of O Sarilho and I'm very excited

varethane

I love all the scenes with the augur

it's such a creepy concept but the way they all handle it as being totally mundane and normal is gr8

Kaldra

agreed ^

varethane

also, the initial scene with the alien waking up, as the eyes light up and then gradually focus before the thing starts moving-- chilling. I love it.

Capitania do Azar

Augur is just a regular job for these guys, he

March 5, 2019

RebelVampire

QUESTION 3. At the moment, who is your favorite character? What about that character earns them this favor?

QUESTION 4. Who or what are Argon and Xenon, the gods in the comic’s world? What do you think their original purpose was? Why do you think only Augur’s can deal with them?

RebelVampire

1) the scene where nikita realizes mikhail is, umm, not going to be joining him for anymore adventures. i liked this scene for two reasons. a-the framing was really great because it was fairly normal. like hes injured, of course hed be resting and of course nikita would have to shake him. no reason to suggest anything is off at first until it was all off. b- the pacing was also great. like everything was pretty speedy and then just wham, its like everything got halted for that beautiful moment of horrible realization. A+ adventure retirement scene. 2) I think the ancient people did what all dumb humans do: war against each other until they destroyed themselves. partly cause that be what humans do, partly cause the sense of war in the story seems very ancient and ingrained and i just get the feeling this has existed for longer than anyone can remember. i think eventually they will recover a lot of tech, but i also think theyre going to find out the true price that tech kind of comes at. and that the universe is more than their brains are ready to accept or comprehend.

3) Franquelim. I find him interesting and just in general I like his portrayal. Like you don't even need to know his job to take one look at him and go "this is the weird employee who doesnt fit in and is potentially hated by his superiors despite probably being good at his job." and to me, that makes him a lot of fun. i think he also adds some shenanigans to an otherwise serious and grounded group. and everyone needs some shenanigans in their life. 4) I want to assume Argon and Xenon are AI's that were created in order to advocate for the prosperity of humanity. Granted, probably damaged AIs or incomplete ones since they don't know everything there is to know. As for why only Augurs, I assume its as it was implied: only they can understand them. Which want to go on a limb and say maybe no because magic? It might just be Augurs got the right studying. Like they learned how to read C++ while everyone else only got taught Ruby.

Capitania do Azar

Ah @RebelVampire , these are all very interesting guesses!

varethane

....Franquelim is my favourite too LOL(edited)

Capitania do Azar

He's apparently a fan favourite I suppose it makes sense, he does have a strong personality!

varethane

he stands out in all the scenes he's in

Capitania do Azar

he loves the camera

stealing the show

snuffysam

I'm on team Franquelim as well

like he's just chillin

plus he's one of the few who (rationally) wanted to avoid getting ambushed by the lusitanians

daria is also a fav of mine too though

just, cuz... look at her. every scene she's in she's got the stage presence of someone who just tied a teammate's shoes together

RebelVampire

yeah i have to agree part of the reason i like franquelim is despite his shenanigans, he also is kind of the most grounded in the way. the dude who is like "maybe we shouldnt get ambushed." the dude whos like "hey maybe we should call for backup given the circumstances." he is the beautiful voice of reason in a world gone mad.

RebelVampire

QUESTION 5. What has been your favorite illustration in the comic so far? What specifically about it do you like?

QUESTION 6. How do you think Nikita came to be a “slave” of the Empire, and what else happened that makes him so sensitive about the topic of his past? Will Nikita be able to overcome this obstacle of his life?

5) http://sarilho.net/en/arquivo/comic/ch03p06 This page in its entirety. The contrast here is fantastic between the clean and normal art and the chaotic presence of the piece of god. It's also a fantastic demonstration of pushing the page and website capabilities to bring about a specific feeling, in this case uneasiness and horror. I also like this illustration because it's very well suited to the dialogue. Franquelim is trying to express his ardent belief they need help and this is beyond them. And this sort of illustration really helps connect you to his concerns because you can see with the imagery why he is freaked out. Thus, emotionally it connects you stronger with his emotional state in this moment and scream "YES YES GET THE HELP GET THE HELP." So all in all, I think this illustration has great contrast, pushes the envelope, and does what I think an illustration should do in a comic: make itself so both the story and illustration are needed together to create the full effect.

Capitania do Azar

Frank has had his share of battles and he's not keen to get into newer ones

Steffano knows that if they are caught (or bring an army in), war is bound to happen (again) and he's got his own selfish reasons for not wanting that. He's also not a particularly experienced leader and has trouble making these kind of decisions

The rest of the team kinda reflects what the empire thinks of itself, as Mikhail puts it "we're better trained, we have better resources and we're more talented". That attitude gotta interfere with decision-making as well

RebelVampire

at least mikhail is "retired" now and can no longer preach that sort of thinking? XD

Capitania do Azar

LOOK WHERE THAT SORT OF THINKING TOOK HIM

They're army kids, it's not like they ever had any change of thinking in other terms

Doesn't change the fact that MISTAKES WERE MADE

RebelVampire

6) Maybe some sort of empire betrayal? Like their dad got found guilty of a bad crime or something. As for his sensitivity, I honestly just think it stems from the fact he wants to move on and create his own path and life. And it doesn't help when everyone keeps reminding you and asking questions. That and if he doesnt talk about it, he doesnt have to face the reality himself. As for overcoming the obstacle, I don't feel it'll be solved in a tangible way? More I just feel like the bigger fish that need frying are going to dominant and more and more ppl will just stop caring. Cause again, bigger fish.

Capitania do Azar

ahha I guess people do remind him of that fact a LOT, I never really looked at it that way

what the other soldiers say about Nikita is right for the most part: he does keep a lot to himself and the part where he clearly can't control a lot of things in his life is a point of stress he'd rather ignore(edited)

(I hope I can bring up in the following chapter just how much he internalized his own social situation to the point that he almost forgets that other people can quit their jobs if they so desire)

mangalho

QUESTION wapy can you do a corno/not-corno alignment chart with your cast?

Capitania do Azar

didn't I do that already rsrsr

mangalho

did you????

Capitania do Azar

wait

keep up mango https://twitter.com/Shizamura/status/1096141513514536960

capitania dos azares (@Shizamura)

@Ulisaypo

mangalho

finally

Delphina

Gahhhh, just finished reading, such a good comic! I really liked Shizuka, even though she stayed behind (which turned out to be a SUPER GOOD CALL BECAUSE HOLY DANG). She seems fun, though!

mangalho

How the FUCK is Pimenta in the Corno area @Delphina SAME shizuka is good and also really relatable

Delphina

Daria's scene around the car (http://sarilho.net/en/arquivo/comic/p032) is my favorite fun scene because I love her whole-hearted quest to torment Timoteo. My favorite serious scene is where Mikhail gets his arm shot off because it was such a shocking transition between "here's a squad of kids making jokes and bickering" to "oh shit oh shit oh shit they are in so much trouble for so many reasons" (http://sarilho.net/en/arquivo/comic/ch02p29)

Capitania do Azar

Daria takes self-assigned clown job very seriously!

snuffysam

5) my favorite illustrations in the comic so far have been this page: http://sarilho.net/en/arquivo/comic/oh-nao and the page following it. not necessarily because of the drawing quality itself (these are good, but there's a couple better), but because of how the emotions are conveyed through the pages literally falling apart.

RebelVampire

the page was too strong and murdered my comp with lag XD

i really liked that page too tho

especially the angle

i think the angle really helps express like a sort of feeling of distance

like in the sense youre no longer connected with a person

Capitania do Azar

OMG maybe I should drop the resolution a bit hehe

RebelVampire

QUESTION 7. Which characters do you enjoy seeing interact the most? What about their dynamic interests you?

QUESTION 8. What do you think happened in Franquelim’s past that has him so terrified of being captured by the Lusitanians “again?” How might this affect his judgement in whatever situations are to come?

ShaRose49

Gah I didn’t realize this had started already I only barely got past the prologue! Really nice art and lots of character profiles

Delphina

The character profiles are SO HELPFUL, I also appreciate the role call at the end of the last two chapters.

Capitania do Azar

eheh I really like coming up with silly descriptions for characters, so figures it's a good idea to add them

ShaRose49

I just made my first character profile sheet a couple days ago and it’s not as in-depth as this one

Capitania do Azar

It's not that hard! I make most of my characters by making up a number of random facts, which eventually become the text

The stats are mostly out of comparison like this character is more talented than this one, but also slower..and so on

RebelVampire

QUESTION 9. What sorts of art or story details have you noticed in the way the comic is crafted that you think deserve attention?

QUESTION 10. What is the strange entity that Nikita and company discover, and what do you think its purpose is? Also, is it really a piece of God somehow? What implications do you think that has for the story in general, especially given Lusitanian involvement?

RebelVampire

7) Well I did enjoy seeing Nikita and Mikhail. I found their dynamic to be interesting due to the contrast. they were just both very different ppl who viewed themselves differently, viewed the empire sort of differently, viewed their place in the empire differently, etc. This kind of made their conversations really insightful into getting two diff perspectives on "the way things are." its too bad mikhail retired. 8) I assume torture at best, hardcore torture at worst. Though for him torture might have consisted of just keeping him eternally connected to god? cause thats be torturous info overload that probably wouldve hurt a lot. As for affecting his judgement, I def think he's the most likely to do something stupid based on it. Like do some drastic thing like set off a bomb just so he doesnt have to get caught again.

9) I want to say i really love the more rampant use of narrative boxes that specify the location in the most recent chapter. TBH, I really struggled to follow the second chapter because the transitions were hard to catch just cause matching uniforms. So in the third chapter this helped out immensely and i think its a detail that deserves to be appreciated. 10) If I stick with my Argon and Xenon are just AIs theory, then yeah, its probably a piece of god. A piece that got disconnected from the network but was original like some waypoint for vast interstellar communication. As for its purpose, I don't think it has one. I think it's gone bonkers cause being disconnected from teh core has made it unable to access primarydirective.exe. As for implications, I think it's going to spark a war at the rate things are devolving. even if nikita and then somehow disappear into the night, the lusitanians are clearly hiding something that cant stay hidden forever.

Capitania do Azar

Your theories are very interesting @RebelVampire!

Also I really appreciate that you enjoy Mikhail's and Nikita's relationship

Capitania do Azar

Mikhail's got a lot less pressure on him, so he gets to be more chill about some things (but not all the things, since he snapped at Dária anyways)

snuffysam

yeah i think you're spot on with the AI theory, rebel. if I may make a prediction - i'm thinking that once this specific incident is over, not only will a war break out, but nikita will be put into action against his will 'cause he never catches a break(edited)

RebelVampire

QUESTION 11. What do you think are this particular comic’s strengths? What do you think makes this comic unique? Please elaborate.

QUESTION 12. What do you think the Lusitanian Eurico wants to talk to Nikita about (or is it a ruse to fight some more)? How might the subsequent events affect the mission further?

Delphina

I think Eurico's goal is probably just to get this squad out of their lands. I expect some level of "you don't know what you're dealing with trying to interact with this God-level technology, so leave now or you're seriously going to get hurt" conversation.

Delphina

Regarding strengths and unique points, O Sarilho's very good at establishing extremely human-feeling characters very quickly. I like the fact that I know Nikita likes astronomy. I like the fact that Daria, Pfeiffer, and Timoteo have a dynamic and history of teasing each other. I like that Franquelim relies on drugs and coffee because he's Seen Some Things. The details brings a lot of personal stakes and heart into what could otherwise be a very dry military post-apoc story, and that's hard to do with a cast this large. I'm looking forward to learning more about the characters! It feels like we're just at the tip of the iceberg for worldbuilding, but I can tell that a lot of thought and care has been put into how technology affects their lives through big things like religious views and small things like what kind of curse words they use. I'm also looking forward to learning about the power/class dynamics that are happening with the military and Houses like Steffano's and Daria's. The integration of web design and animation for impact is also extremely well-executed wherever it's used, but it's not overused to the point where the reader becomes used to it, which is important for giving those scenes emphasis.

snuffysam

For me, the strongest and most unique part of the comic is the visual aspect. Like, even putting the animated and panel-busting pages aside, the colors used are outstanding at conveying the proper emotions. Like even on this early page: http://sarilho.net/en/arquivo/comic/prologo-8 Franquelim's colors are brighter, they're bleeding off his body, and they give off this aesthetic that's the perfect mix of computer-y and mystical. Right off the bat something seems unusual about this comic's universe, yet the other characters barely glance at him. That's great visual conveyance.(edited)

RebelVampire

QUESTION 13. What are you most looking forward to in the comic? Also, do you have any final thoughts to share overall?

QUESTION 14. Given everything that’s happened, how do you feel Nikita’s team will deal with the mission’s outcome so far? Also, will what has occurred affect the peace treaty with the Lusitanians in a negative way? Lastly, are more people doomed to die?

Capitania do Azar

Guys... You're too kind

RebelVampire

11) i agree with everyone else so far in that i think the comic's strengths are the usage of color and the use of animation and web design effects. every choice where these are concerned feels purposeful and really enhances the atmosphere of the moment. i feel they are what give a lot of the scenes their unique punch, as well as also add some visual context to characters' emotions where relevant. 12) Eurico just wants to have a tea party and needs to know if Nikita is game. But joke aside, he probably wants to tell Nikita some truths that Eurico thinks Nikita wasnt told. So that way maybe everyone can leave and nobody else has to die and no wars have to start. Which that last one is wishful thinking imo XD 13) I'm looking forward to more Franquelim doing his weirdo Augur things and everyone being like, "Sure my dude." But really, I just want to see more of that bundle of joy and fun. 14) I think the team is going to deal somewhat poorly. Cause not all of them seemed to take the mission all that serious and I think the hit of seriousness is gonna have some longterm PTSD affects. I mean I'm sure theyll play it off like theyre fine. But itll just be an army of Nikita's in that if they dont talk about it, they dont have to think or deal with it. XD As for the peace treaty, yes and no. I don't think Nikita and company will be responsible, but I think the piece of god might. And yes, yes more people are surely doomed to die. I'd even go so far as to say just assume everyone is gonna die by the end XD RIP

Capitania do Azar

ahaha oh no that is so bleak !!

I can't vouch that they won't die, but I hope they won't

Delphina

If you assume everyone is going to die, you'll be pleasantly surprised when some of them don't!

Capitania do Azar

WELL SOMEBODY'S GOTTA STAY ALIVE IF I WANT THE STORY TO KEEP GOING

(btw thank you for pointing out the big GIF files, I have changed their resolution so hopefully they won't kill more computers with lag )

varethane

Pls dont kill Franq plz plz plz

Capitania do Azar

>:)

Capitania do Azar

your theories are adding years to my life

Delphina

I gotta imagine the peace treaty is going to get affected, though. They're going to try to keep it quiet, but it's gonna get out somehow. Steffano's got a sinister aura around him, so maybe he'd spin the situation in a way that would benefit his political position.

(I could be wrong, but I adore it when people have ridiculously wrong theories about my comic so I'll just throw it out there.)

Also, was it Fausta that the "Foreigner" was trying to communicate through? I wonder if she's got some affinity for that and if she's going to be further used in that capacity

Capitania do Azar

Yes! Fausta is lusitanian-born, so she is naturally empathic and that's why the foreigner picked her out of the crew

snuffysam

it's interesting how the empath was affected rather than the augur. like, from my understanding, fausta's thing is reading people's emotions, while augurs can read the word of the gods/computers. so on the one hand, if the foreigner is communicating with fausta, does that mean the foreigner is human? but on the other hand, franq said that the foreigner's speech feels exactly like what connecting to the gods is like...

Capitania do Azar

I'm gonna throw ash into the fire and say that people tend to compare new things to things they already know ;D

It's past midnight for me, so I guess my time here is over!!

But thank you everyone who dropped by and had the care to read my comic and comment ;u; You make it all worthwhile

Delphina

Thank you for making an awesome comic!

RebelVampire

COMIC TEA PARTY- WEEK LONG BOOK CLUB END!

Thank you everyone so much for reading and chatting about O Sarilho this week! Please also give a special thank you to shizamura for volunteering the comic and creating it! If you liked O Sarilho, make sure to continue to support it via some of the links below!

Read and Comment: http://sarilho.net/en/

shizamura’s Store: http://sarilho.net/en/loja

shizamura’s Twitter: https://twitter.com/Shizamura

[aion-rsa]

How Doctor Who Was Quietly Revolutionised By Its Least Popular Season

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In 2014, when Doctor Who Magazine asked its readers to rank the show’s first 50 years, out of 241 options, Season 24 stories ‘Time and the Rani’ came 239th, ‘Paradise Towers’ 230th, ‘Delta and the Bannermen’ 217th, with ‘Dragonfire’ thought best of in 215th place. This was largely a repeat of its 2009 poll, although then readers rated ‘Delta and the Bannermen’ above ‘Dragonfire’. Season 24 was also ranked bottom in a GQ article ranking every series of Doctor Who – a combination of words I never thought I’d write.

Season 24 of Doctor Who went into production just as its 23rd season, the 14-episode ‘The Trial of a Time-Lord’ was finishing up on TV. By late 1986, producer John Nathan-Turner was expecting to be moved onto another show and had lost both his script-editor and the show’s most prolific writer (the former quitting after long-simmering tensions erupted behind the scenes, and the latter passing away during the making of the series). 

A surprised Nathan-Turner was given 13 months to hire a new script editor and produce 14 episodes under a BBC edict that Doctor Who had to become lighter and funnier (not dissimilar to the instructions producer Graham Williams found himself under in the Seventies). He also ended up having to cast a new Doctor, after Colin Baker was sacked and didn’t want to return for one story just to regenerate. Sylvester McCoy was formally cast at the end of February and started filming ‘Time and the Rani’ in April.

‘Time in the Rani’ was written by husband-and-wife duo Pip and Jane Baker (UK readers may remember their early-Nineties CBBC show Watt on Earth), who were given the job because there were no scripts either ready to go or in development. Nathan-Turner knew they could write quickly after they’d completed the final episode of ‘Trial of a Time Lord’ at extremely short notice earlier in the year.

The Bakers’ writing style was to produce frothy and campy nonsense and then act as if they’d just written The Seventh Seal. ‘Time and the Rani’ contains continuity references such as costume shout outs to past Doctors, a returning villain and references to the Lord President of Gallifrey. It’s set on an alien planet and makes no attempt to engage with contemporary life either directly or allegorically, and is happy to be adventure for adventure’s sake. It’s not a last hurrah for that style of story, but is a strong argument for why it had to be stop being the House Style after five years (though, to be fair to it, it has some nice ideas in it and the scene with the Doctor chatting away to the universe’s geniuses is great).

New Script Editor Andrew Cartmel wasn’t a fan of ‘Time and the Rani’ but arrived too late in the day to have much impact on it. He was able to influence writer Stephen Wyatt away from a story steeped in continuity and towards what became ‘Paradise Towers’. This was based on a combination of the novel High Rise by J.G. Ballard, Wyatt’s real-life experience in London’s East End, and Cartmel’s fondness for Alan Moore comics. Not only is it the first story for years to not refer to other Doctor Who stories and doesn’t feature the TARDIS interior but it is, in stark contrast to ‘Time and the Rani’, clearly about something real.

What ‘Paradise Towers’ did, which few Doctor Who stories had done before, was sympathetically reflect a working class setting by depicting people trapped in a block of flats by the whims of an aloof architect. In doing so, it didn’t go for realism. The show has rarely been in a position to, and here the budget and imposed tone meant it couldn’t. What it does have is a coherent approach: everything is big, be it the cleaning robots, the performances or the costuming.

So we have a Doctor Who story that isn’t aiming at its usual audience (Considering it had lost viewers this is clearly sensible) and is trying to overcome its restrictions by putting on a pantomime about social structures featuring cannibals and killer robots. Criticising it for lacking a realism it could never achieve is harsh.   

Read more

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Doctor Who: revisiting Sylvester McCoy’s first season 30 years on

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Doctor Who: the Historical Places the Show Has Never Visited (But Should)

By Chris Farnell

Season 24 follows ‘Paradise Towers’ with a story set in a holiday camp and then in a shopping centre. Being Doctor Who, the shopping centre is in space and run by an intergalactic criminal, and the holiday camp becomes the battleground for an attempted genocide (“Now, let me try and get this right. Are you telling me that you are not the Happy Hearts Holiday Club from Bolton, but instead are spacemen in fear of an attack from some other spacemen?”) set to the backdrop of the space race and the coming of rock and roll. Again, it seems to be courting an audience other than organised fandom for the first time in five years, using recognisable aspects of contemporary life and mashing them up with fresh takes on Doctor Who staples.

While the tone is cartoonish, the satire of a building, designed by a celebrated architect, that actively harms its residents is clearly pointed. In fact, because the tone is cartoonish, it gets away with more. Over the past few series Doctor Who had been very ‘LOOK how NASTY this is. LOOK. It’s HORRIBLE’, whereas Season 24 knowingly presented things that were both silly and horrible simultaneously, revelling in the dissonance. This is one of the many ways in which the Seventh Doctor era prefigures Russell T. Davies’ approach. The survivors of ‘Paradise Towers’ coming together to fight their attackers feels very RTD.

In fact, given that ‘Survival’ is often heralded as a mirror image of ‘Rose’, it’s worth noting how Season 24 combines the recognisable with the fantastical in the same way we’d see Autons in shopping centres or plumbers and burger vans in space during Series 1. The Doctor was part of this too. McCoy was instructed to play the role like Patrick Troughton, but specifically Troughton’s lighter moments. Ultimately McCoy would gravitate towards how Troughton fully played the Doctor in the Sixties, but here he’s mostly being silly and avuncular. Indeed McCoy was clowning more than the role demanded.

What this allows, though, is for the Doctor to engage more with the people in these stories. In an extremely Troughton-esque move, the Doctor happily mixes and enthuses with the tourists in ‘Delta and the Bannermen’. In one scene he’s following an alien princess but stops to check on the sound of someone crying. He leaves a Doctor Who story to step into the real world, sitting in people’s bedrooms holding a guitar and making wistful observations about love. And he belongs. This Doctor fits in this world, and this version of the Seventh Doctor lingers even amidst the Winging-It-Chess-Playing manipulations of later series. It expands what the character is capable of in a positive way.

I’m not going to claim here that Season 24 as a whole should be thought of amongst the very best of Doctor Who, but it’s important to address how much it achieved in difficult circumstances. Despite the rushed production it managed to take Doctor Who from the lows of cancellation and its flawed return and point it in the direction of Seasons 25 and 26. Beyond this we have the New Adventures and the show’s return in 2005, all going further with ideas brought into the show in the late Eighties. I am going to claim that ‘Paradise Towers’ is great and ‘Delta and the Bannermen’ is charming in a delirious way. ‘Dragonfire’ is the only real dud of the new approach, being somewhat plodding and incoherent. What Season 24’s unpopularity demonstrates is that fans are far more willing to overlook a poverty of ideas over a poverty of appearance.

Once I’ve put my flameproof hat on, I’m going to say ‘Terror of the Zygons’ is a great example of a very well-made story that is ultimately just a fun yarn with some particularly egregious examples of ‘Activate the Unnecessarily Slow Dipping Mechanism’ type monsters. It’s not about anything. It’s just a blast. ‘Paradise Towers’ is furious and inventive, witty and (in Doctor Who terms) novel. It just looks like someone asked CBBC to adapt a 2000AD strip, and this is too much for some fans.

The show’s reach exceeded its grasp, however. Doctor Who had been temporarily cancelled and then returned diminished. It had become harder to disguise the lack of budget. This was a period of recovery and transition, and so the ambitions of the scripts (the caretakers being older men and Pex being a Stallone-esque slab of a man) were beyond Doctor Who in the late Eighties. If ‘Paradise Towers’ had been made in 2007, Richard Briers would certainly have taken it more seriously. Equally, given his influences, Cartmel’s Doctor Who would make a great series of comics.

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You don’t have to enjoy it, but you should acknowledge that without Season 24 Doctor Who would be a much duller place.

The Doctor Who Season 24 Blu-ray box set is released on June 21st.

The post How Doctor Who Was Quietly Revolutionised By Its Least Popular Season appeared first on Den of Geek.

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[buzzdixonwriter]

Compare And Contrast: THE PARTY vs AFTER THE FOX

Adam-Troy Castro recently published an essay on Blake Edwards’ 1968 Hollywood comedy The Party.

The Party is one of Edwards’ rare misfires; not awful, but certainly not a hit, either.  A virtually plotless film (more on that below) made at the height of the Summer of Love, it features some of Edwards’ and Peter Sellers’ funniest gags, yet remains unsatisfying for most audiences (The Party has its fans, but they tend to be connoisseurs of cinematic comedy).

The biggest apparent problem with The Party today is the charge that Sellers plays in brownface; i.e., he’s cast as a hapless Bollywood actor making a mess of things in Hollywood.

This, to modern audiences, is a big no-no, a white actor racially impersonating a brown ethnicity.

…only it isn’t.

The bulk of India’s population belong genetically to the same “race” (i.e., Caucasian) as the vast majority of Europeans and Americans of European descent (for that matter, so are most Middle Easterners).  Sellers did not do a racial impression because the character of Hrundi V. Bakshi shares the same “race” as Sellers himself.

Which leads to our contrast-and-compare point, my personal favorite of all Sellers’ films:  After The Fox.

Let’s fill in a little background information before we plunge ahead.

First of all, Sellers himself.  He was a renown (read “genuinely insane”) comedy actor (as opposed to a comedian) with an uncanny penchant for submerging himself completely in oddball roles.

Inspector Clouseau is his most famous character, but his trio of roles in Dr. Strangelove -- Captain Mandrake, President Muffley, and Dr. Strangelove himself -- best demonstrates his astonishing range and versatility (one of the great tragedies in cinematic history is that an on-set injury prevented Sellers from playing the role of Major Kong [Slim Pickens in the final film], who rides the H-bomb down in the movie’s most iconic shot; it had been Stanley Kubrick’s intent to place the fate of the world squarely in Sellers’ hands in all three of Dr. Strangelove’s plotlines).

Sellers rode high in the 1960s and appeared in numerous comedies ranging from What’s New, Pussycat? (another film that’s grown more problematic with age) to The Bobo (never heard of The Bobo? Well, there’s a reason for that…).

The Party’s Hrundi V. Bakshi fits perfectly into that oeuvre.

As mentioned above, Bakshi is not a bad person, just a luckless one.  He tries hard and is eager to please, but no matter what, things go awry.

The shoestring thin plot of The Party is this:  After he ruins a big budget Hollywood epic, the studio intends to blackball Bakshi but by mistake his name is added to the invitation list of a big party the studio head is throwing.  

Hilarity -- or a reasonable facsimile thereof -- ensues.

The Party’s cinematic antecedents can be traced to Jacques Tati and, of all people, Jerry Lewis, though an argument can be made its roots go back to the semi-improvised early comedies of Mack Sennett’s studio.

Tati was an art crowd darling.  He made only a handful of films, but his M. Hulot quartet (M. Hulot’s Holiday, Mon Oncle, Play Time, and Traffic) are genuine cinematic masterworks and hilarious to boot.

Tati’s style was intensely physical but never violent in the manner of American slapstick.  He fell out of favor with French studios because he would spend lavishly on huge sets to pay off a single, subtle gag; his return-on-investment wasn’t good enough for producers’ bottom line.

Lewis, while better known as a performer, also proved to be a director of no small talent; let us give him the credit due for his work behind the camera.  While his personal misfire (the never completed The Day The Clown Cried) marred his directorial reputation, two of his films -- The Bellboy and The Errand Boy -- resemble Tati’s work although far more boisterous in execution.

Both Tati and Lewis (in those two films) jettisoned conventional narrative.  Mon Oncle is about a beloved uncle getting his nephew’s father to pay more attention to his family, The Errand Boy is sent undercover to find fiscal waste but ends up a comedy star who saves the studio; that’s as close as either gets to a plot.

Tati and Lewis’ films start with a basic set up then just let things grow from there.  When it works -- as it did with Sennett and Chaplain and Tati and Lewis -- it produces hilarious but expensive results.

When it doesn’t work -- and lordie, everybody tries real hard in The Party -- one ends up with an unfunny mess.

(I’m being unfair.  The Party isn’t unfunny, it’s just not consistently nor compellingly funny all the way through.)

Edwards was fond of improvisation in his films.  His greatest success with Sellers was the original Pink Panther in which Sellers replaced Peter Ustinov, the original Inspector Clouseau.

Clouseau was supposed to be a third tier character in The Pink Panther and Sellers appears way down on the billing after David Niven, Capucine, Robert Wagner, and Claudia Cardinale.  The script was written and the movie shot to focus on Niven and Wagner’s uncle / nephew jewel thieves -- but Sellers stole the whole damn movie right out from under them.

(Recasting Clouseau was Edwards’ stroke of brilliance.  Ustinov would have played Clouseau as a fool, and the visceral reaction to that was to despise him.  Sellers played Clouseau as an idiot, and audiences loved him.)

Edwards’ other improvisational comedies typically fared better than The Party because they at least featured a clear plot line for both performers and audiences to focus on.  The Party literally doesn’t know where it’s going, and that’s detrimental to the film as a whole.  (Compared to Casablanca, another heavily improvised film where the crucial difference was everyone knew the story had to end with Rick making a decision, there’s nothing like that to help The Party.)

The Party isn’t bad, just unsuccessful.  As mentioned, it’s a misfire, not a mistake.  Considering Blake Edwards also made Breakfast At Tiffany’s, The Pink Panther, The Great Race, and Victor / Victoria, we can cut him some slack.

Back to Sellers and his astonishing range and gallery of characters:  On the heels of his smash success as Inspector Clouseau in The Pink Panther, Sellers was offered the role of Aldo Vanucci in After The Fox.

Vanucci is the polar opposite of Inspector Clouseau, a criminal instead of a cop, cunning and competent instead of brainless and bumbling.  A master of disguise, Vanucci gave Sellers the opportunity to play numerous sub-impersonations such as a prudish priest, a carabinieri, and an intense Italian film among others.

After The Fox was co-written by Neal Simon and Cesare Zavattini, the latter a long time associate of the film’s director, Vittorio De Sica.  This is not to say any of them were better at their craft than Edwards, but clearly the structure they provided works to the final film’s benefit.

After The Fox offers a clear, linear plot:  Retired criminal Aldo Vanucci is lured out of retirement (i.e., escapes jail) to come home and provide for his mother and star struck sister.  Given the task of smuggling stolen gold into Italy, he comes up with a scheme to make a movie about smuggling stolen gold into Italy and thus enlists the authorities to help with his crime!

I’ll be frank, a big reason I love this movie is how accurately it depicts Italian culture and various character types.  Yeah, it’s over the top and deliberately played to excess, but every gag is firmly based on reality.

English Sellers captures the essence of so many diverse Italian personality types (and, briefly, an American tourist as well) so perfectly he deserves the title of honorary paisan. 

So how is Vanucci different from Bakshi in The Party?

Bakshi is not a bad person, he’s shown to have a heart of gold and high personal standards, he just can’t cope with the world around him (a trait he shares with Tati’s M. Hulot).  His Indianess is depicted very slightly -- his accent, his apartment décor, his sitar playing.  Unlike Vanucci being Italian in After The Fox, there is no reason for him to be specifically Indian.  

He could be any poor schlub, a soul brother to Lewis’ bellboy. 

Aldo Vanucci in After The Fox fills several key functions for that movie.  After The Fox’s plot hinges on volatile lower class Italian family dynamics -- it would not be the same story with different characters.

This is not the same as saying those versions would be bad, but as Yojimbo ripped off Dashiell Hammett’s novel Red Harvest and was remade as A Fistful Of Dollars which in turn was remade as Last Man Standing which returned the story to Hammett’s original milieu, so each version stands distinct and different from the others.

But Seller’s Bakshi adds nothing as a character to The Party.  Except for a handful of specific gags, his role could have just as easily been played by Tati’s M. Hulot, Lewis’ Stanley, Rowan Atkinson’s Mr. Bean, or Jaleel White’s Urkel and the final film wouldn’t be significantly different (for that matter, it wouldn’t need to be set in Hollywood, either, just any environment where self-appointed cultural elites can’t escape from a gauche lower status person).

Compare Bakshi to Vanucci and it’s clear Sellers’ isn’t punching down in After The Fox.  For all his criminality, Vanucci’s highly scrupulous and clearly capable.  He takes his lumps but he’s not the human punching bag Sellers played in The Party.

  © Buzz Dixon