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oacest · 16 days ago

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Patsy Kensit in Hello Magazine, Dec 19 2000

Was the news that Liam is having a child with Nicole the final nail in the coffin?

It's killed off any feelings - especially because of the way it was handled. He didn't tell us himself, we had to hear about it through the newspapers. But it didn't break my heart and I'm not devastated. People are feeling sorry for me because I'm on my own, but I'm not with anyone because that's what I want. I'm taking time to learn from this huge mistake and I couldn't possibly impose a male figure in my two boys' lives so soon after a marriage break-up.

But you must have felt devastated at times.

Of course there have been times during the last five months when I've felt devastated. The split was like a death. We were together for five years - and with that man it felt like a very long time! But I've been through all the selfindulgent romanticising and the pain. It's cathartic talking about it and you have to mourn it. There were some fantastic times but they weren't based on real emotions - you can draw your own conclusions from that. It was a false sense of things. I can honestly say that life is fantastic now. I'm so happy. I'm so pleased that all the mess I used to have to deal with is not my mess any more. I've moved on. I have a one-year-old son and an eight year-old son and they're the most important people in my life.

You recently said you cried every day for three-and-a-half years. Were you unhappy in the relationship quite early on?

Oh, much earlier on. I suppose my heart was first broken when the stories about other women started - I think before we even got married. Liam went missing the first week we moved in with each other. Then I'll never forget the Q Awards a couple of years ago when Liam chucked a champagne glass at the wall and stormed off, leaving me there on my own talking to Rod Stewart, who I'd known for years. It was so humiliating, I came out and there was someone from the News Of The World with a picture of Liam in a pub with some girl while I'd been in America. He said something like, 'Are you going to leave the love rat now?' And all I could say was, 'I love him.' I can laugh about it now, but it's unacceptable when someone walk out the door and they tell you they'll be back at ten o'clock but actually come home four days later - when you didn't know whether they were lying dead in the gutter or were with another woman. We had a baby. You can't live like that. It's not normal. It takes two people to kill a relationship and I reacted to his behaviour, but I wonder whether anyone else would have reacted differently under the circumstances. It was hard for me. I don't have the backup of a mother. I think I put all my love and energy into one person - the wrong person.

Did you think Lennon's birth would change things?

Anyone would hope so, but I spent five years trying to understand why he did the things he did and I cried too much over it; I don't now. I look at pictures of myself when Lennon was three or four months old and I look so unhappy. Now I have a twinkle in my eye again.

Why were you so swept away by Liam?

Circumstances. I was with Jim, who was obviously a completely different type of person. He worked very hard and encouraged me in my career, too, so we ended up spending so much time apart. I told Jim to his face about Liam - that I felt I was with someone who needed me with him all the time. And then, as work came up, gradually I didn't want to take it on because I was afraid to leave Liam alone. You can't imagine what it's like to call home five minutes after you've left the house and discover that person has disappeared - and then doesn't come back for three days.

Were you kindred spirits at the start?

No. We had nothing in common. We were very attracted to each other and it probably didn't go much further than that. I just got swept away. There was a lot of lust - but that quickly dies, doesn't it? I think I loved him. There was definitely a period of time when there was a lot of potential that didn't get realised. The idea of being consumed by another person and wanting to spend every moment of the day with them is a wonderful ideal and it was something I thought I had at the beginning. But there has to be an intellectual meeting of minds to back it up. I didn't pick a book up for five years and I'd always been a book head.

Is Liam not a bright guy?

I wouldn't want to comment on that. I'm talking about these things in a forthright way because I think people are appalled by the way he's behaved. But I'm not any more. I'm not surprised. How could I possibly have expected somebody who was behaving that way to change? Now I understand that it's not necessarily your fault. The things people do are not because you're not enough for them; it's within them. I'm just surprised I put up with it. But it's not for me to be negative about him now because that's going to hurt Lennon.

Liam was a 22-year-old rock star. Don't you think you should have known better?

Liam wanted to be with me and I wanted to be with him. But I should have known better. The writing was on the wall, what with his disappearances and constant reports of him being with other women. But I was convinced it wasn't true when it obviously was. I chose to believe it wasn't true until something that's plain to see was obviously happening. I can honestly say that I don't feel anything at all for Liam now. I really don't.

Did you ever think, or hope, that you might be reconciled?

There were a good seven or eight weeks when I felt sad about the split because of Lennon. But even before the most recent news, I knew it was the right decision. My life changed so dramatically: I was getting work offers when before I hadn't for five years. People didn't want to employ me because it was too much of a risk. I was a strong person but I don't know how anyone could deal with the things I had to deal with.

#print archive stuff #patsy

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bitterkarella · 9 months ago

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Midnight Pals: Muppet LOTR

[at unicorn fuck club] Jim Henson: hi ho jim the Henson here Henson: tonight I've got a fantasy story i think you'll really enjoy Henson: it's about a planet inhabited entirely by puppets Henson: [flailing arms wildly] yaaaaaaaaaaaaay!!!

Henson: on a distant planet, the dark crystal cracks Henson: causing the urskeks to transmogrify into the skeksis and the mystics Henson: only at the great conjunction can the gelfling jen heal the crystal and unite the JRR Tolkien: hey tell the story with David bowie GRR Martin: yeah we want David bowie

Henson: but guys the dark crystal is a serious fantasy experiment Henson: creating an entire world only through the magic of puppetry and Tolkien: [sitting in an opera box with GRR Martin] Boo! We want David bowie! Martin: And Jennifer Connelly!

Tolkien: what's your next number? something terrible, i'm sure! Martin: oh ho ho ho! Henson: i was thinking we would do muppet lord of the rings

Henson: Robin could be Frodo, fozzie could be sam Tolkien: what??? no! no way! Tolkien: he's a rod puppet! Tolkien: how are people going to see their big hairy stinky feet?! Tolkien: you need full body puppets for this role! Henson: well i guess we could use sweetums Henson: or maybe big bird Tolkien: fine! just put some fuzz on those feet!

Henson: and Clifford would be Gandalf Henson: Kermit as Aragorn Henson: Sam as Elrond Henson: gonzo as tom Bombadil Henson: who would also narrate, of course Tolkien: oh of course

Henson: and that means Camille would be goldberry Tolkien: what? the most powerful being in all of middle earth played by a chicken?? Tolkien: no wait this kind of works

Henson: Miss Piggy as Arwen Tolkien: that's all well and good but LOTR has TWO girls in it Tolkien: who would play Galadriel? Henson: well we actually do have two girl muppets Henson: so i guess it would have to be Janice Tolkien: oh ok i guess this works out pretty well then

Tolkien: this muppet LOTR idea is wonderful! Martin: terrific! Tolkien: well, it's pretty good! Martin: yeah it isn't bad Tolkien: actually there are some bad parts Martin: lots of bad parts Tolkien: it stinks! Martin: terrible! Tolkien: boo!

#midnight pals #the midnight society #midnight society #jim henson #grr martin #jrr tolkien

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section-69 · 2 months ago

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A crucial thing about Farscape to me is that it goes so far beyond the found family trope, and is a show about symbiosis. On an interpersonal level, of course, these people come to rely on each other, in spite of / because of their isolation (everyone here’s the only member of their species on board), but also literally, biologically. Our ship is alive and we depend upon her for life support, and she is physically bonded to her pilot, who naturally has a longer lifespan but will die when she dies. This isn’t played for horror – actually I don’t think anything I’m talking about here is played for horror beyond an initial reveal – it’s just a fact of life in this universe (in any universe) that physically relying on others is inevitable. Maybe that’s something inherent to it being a Jim Henson show also – the puppets can’t emote without a team of puppeteers as well as a voice actor bringing them to life. Sometimes the “bio” part is stretched, but Moya’s not less alive because of her mechanoid parts. Again with the puppets thing – the show goes in telling you rubber and metal can be a living thing, and only stretches the idea from there.

Where it gets complex is that sometimes this symbiosis is, at least in part, horrible. The Pilot-Leviathan relationship. Aeryn being injected with Pilot DNA. John’s neural clone (hell, John’s actual clone). John’s brain. Scorpius’s rods. Talyn’s guns. The Hand (and Finger) of Friendship… and so on and so forth, repeated across our main characters and one offs alike (hello DNA mad scientist). When these things are horrible, it’s because they were done without consent, or for dangerous agendas, not because of something inherent in the act of change. Sometimes they help characters grow (as with Aeryn’s DNA), often they cause great pain (sorry John). Either way, this Ship of Theseus situation our characters find themselves in… it’s unavoidable. Each adaptation is natural, each trauma not more horrifying because the change is physical. It’s like the show’s saying, you Will change, you Will become something other than your unblemished self, now how will you handle that?

#farscape

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novelmonger · 5 months ago

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I am now (finally) embarking on the last of the LotR audio commentaries I never listened to before: the Production/Post-Production one, with Barrie Osborne (producer), Mark Ordesky (executive producer), Andrew Lesnie (director of photography), John Gilbert (editor), Rick Porras (co-producer), Howard Shore (composer), and Jim Rygiel (visual effects supervisor). A lot more Americans in this group than the previous ones have been. I feel much more out of my depth with this one in terms of figuring out who's talking, but let's see what new stuff they have to say for FotR!

The sound from when Sauron explodes comes from a bunch of sounds they recorded both inside and outside ships in the harbor, as well as the sounds of WWII airplane propellers.

The scenes with Gollum in the prologue were actually some of the last shots they filmed for FotR.

The farmers around the area where they filmed Hobbiton would warn them when people would turn up who weren't supposed to be there, with cameras and whatnot, as well as warning them when planes or choppers would be overhead, so they could prevent (as much as possible) from footage leaking before the movie was released. That warms my heart :)

They used the analogy of a "shell game" when talking about all the different techniques they used to keep the proportions of characters correct with their different sizes. Because they would switch up the techniques between shots, it helped sell the overall effect, because you're not just always looking at a scale double or a bluescreen or what-have-you.

In the scene with Bilbo and Gandalf in the kitchen, they used forced perspective, with the table cut in half so that everything is small for Gandalf and the right size for Bilbo. When Bilbo pours the tea into the teapot, Gandalf handles a small lid on his side, putting it on a little rod that holds it in the right position so it looks like it's sitting on the teapot. Meanwhile, the actual teapot is on Bilbo's side so he can pour the water into it. Also, when Gandalf is first sitting down at the table and turning to get his legs underneath it, if you look closely you can see that when he bumps up against it, the half of the table closer to the camera jiggles a little, but the other half doesn't because it was actually some 5-10 feet away.

In the shot at the party that pans down from the fireworks and the tree, the actual party with all the dancing and everything was shot in a set, so they had to go back to the Hobbiton location (which had already been cleared of the set at that point, I think) and match up that shot to get the tree, and then they composited it together.

The direction for that shot of Minas Tirith when Gandalf goes to research the Ring was to make it look like "Constantinople in the morning." This may be my favorite part of this commentary :)

They needed to scan actors' faces so they could have their digital doubles to work with for certain shots. When they brought in Ian McKellen to scan his face, they said, "We just need to scan your face in a neutral position." He said, "Neutral for me or neutral for Gandalf?" And he demonstrated his own neutral expression, and when he switched to neutral Gandalf, he looked completely different, pursing his lips and furrowing his eyebrows and sucking his cheeks in more. Truly the sign of a gifted actor who knows how to ply his craft.

In the scene where Frodo and Sam are trying to sleep on the road for the first time, originally they were going to end with some sort of animal sniffing around them. First it was a deer, and they also tried a rabbit and maybe some other animals (possible fox appearance???). But that part didn't even make it into the Extended Edition.

Something I never thought about that they had to pay attention to was, because Orthanc is made of shiny material, they had to consider the color and quality of the light reflecting off it. So when they filmed the real location, they would take the camera and pan around the location, then print out stills and put them up around the miniature when they filmed that part of the shot, so they could get the right colors to match each shot they would composite over it, so it would look like both were in the same place. Now that's what I call attention to detail!

On the night they shot the little chase sequence with the Nazgul in the forest, it was actually raining off and on, even though you can't really see it in the movie. That made the ground very muddy, so the Hobbits actually had to be carried back to their first position for each new take so they wouldn't get too much mud on their feet and clothes.

To get the sounds of the trees' "voices" when the orcs in Isengard tear them down, they actually used several animal sounds like whales, moreso than sounds recorded from actual trees.

Bob Anderson, the swordmaster for the films, said they needed to have five copies of every sword for every actor every day they were going to be fighting with them, because that's how likely it is for them to be broken (since the swords actors use for hitting each other are lighter and not made like a real sword). But Richard Taylor wanted to find a way to make the swords more durable, because there are a lot of swords in these movies. So Weta developed a technique to help the stunt swords redistribute the shock from hitting them against each other. They took polyurethane, which Mark Ordesky notes is the same material as skateboard wheels, and they made a sort of sheath of that under the surface of the hilt. None of the swords they made like that ever broke.

The tree that gets thrown down into the chasm in Isengard had to be a miniature so they could get it high enough to drop it as far as they wanted to (and so they wouldn't have to cut down a huge tree). But they had to add little springs and things to make the branches bounce and jiggle properly, rather than just break off, as they would if you just made a little model tree. Little details like that really sell the scale.

In the Nazgul horseback chase scene, they cleared a path for the horses to safely run through the forest. But then they would also get branches and put them on the car or whatever vehicle had the camera, so it would look like they were pushing through more dense foliage, while still keeping the actors and horses safe.

The Council of Elrond was the final piece of the sound mix they had to finish for FotR, and it was down to a matter of hours. One of the things they mentioned having difficulty figuring out what to do with was the moment when Frodo sets the Ring down on the plinth. Originally, there was going to be a murmur of the crowd watching, but it didn't seem to have the gravitas and stunned awe necessary for that moment, so they had to play around with a lot of things before Peter Jackson was satisfied with it.

When Gimli smashes the Ring with his axe, John Rhys-Davies was actually only holding an empty handle, and the axe head was added digitally later so it could shatter.

Barrie Osborne (I think?) commented on something at least Billy Boyd and Dominic Monaghan, especially Dom, started to do in order to make it more believable that the primary actors and the scale doubles are the same people. He noticed that their scale doubles tended to move and walk in a certain way (I assume partly because most of them were Little People, so their physique and proportions are a bit different), and so instead of leaving it up to them to mimic his movements, he started changing the way he moved to match them. That's just really cool.

Originally, they were going to do a bit of a flashback when Boromir asks Aragorn, "Have you ever seen the white tower..." etc. It would have been shot in the same place as the scene where Aragorn is visiting his mother's grave, and would feature Elrond talking to Aragorn about how he's the only one who can wield Anduril and how he needs to take his place as the king of Gondor.

For some of the close-up shots of Gimli in the scene where they first head into Moria, they actually had to use a double - not a scale double! an actual guy who was the same size as John Rhys-Davies! - because John had such a bad reaction to the facial prosthetics that he had to go a few days in between each time he put it on. But he'd had the prosthetics on the day before, and they didn't have time to wait until he could put them on again. So they had to find a double, put on the prosthetics and costume, and then John stood out of frame and spoke the lines, and the double mouthed the words along with him. I would never have guessed!

THANK YOU TO WHOEVER WAS TALKING AND I'M SORRY I COULDN'T RECOGNIZE YOUR VOICE FOR SURE, but someone was talking about "cinematic dark." In other words, how to light a scene so you can see everything that's happening even though you're in a place with hardly any light sources, like in Moria where the only light comes from the torch and Gandalf's staff most of the time. Instead of making it all really dark (*pointed stare at too many movies these days*), they shot it as if there is a source of light, but always very far away, like it's filtering through miles of rocky caverns or something. What that meant practically was that they would only light the characters in silhouette or from the side, never the front. So it would still give the impression that they're in darkness, but you don't have to strain at all to make out what's happening. They also desaturated the colors so everything looked muted, similar to how your vision kind of goes black-and-white in the dark.

One of the fundamental elements for the Moria goblin screeches was an opossum screech. There was some kind of opossum research facility in Wellington that they went to to record what became the foundation of the goblin sounds. Then they took them and re-recorded them in some WWII tunnels to get the right echoey reverb effect. And then for the sounds of them moving, they took sounds from insects like grasshoppers, as well as rattling seashells from the beach against the walls of the tunnels to get a scuttling sort of sound for when they come pouring out of holes in the ceiling.

You know that one shot where Legolas fires an arrow at a goblin archer and the camera follows the arrow all the way into his forehead? I always assumed that whole thing was all CG, but no! Even that had a practical element to it! They set up a camera on a sort of zip line with a bungee cord and sent it down as fast as it could go towards an actual stunt guy in costume! Now that's what I call above and beyond.

They shot a scene that didn't make it into even the Extended Edition of the Fellowship arguing about what they should do next after they leave Moria, with some members having misgivings about going to Lothlorien. I wish we could see that, even though I understand why they needed to keep things moving. They didn't mention if they actually shot this or if it was scrapped by the time they got that far, but there was also a mention of the entry to Lothlorien being much more frantic, as they're chased by orcs and then rescued by a sudden volley of Elven arrows.

There was also once a longer scene between Boromir and Frodo as they're waiting to see if Haldir will let them into Lothlorien. He tells Frodo a story of him getting over the death of one of his comrades. Um...I wanna see these extra scenes!!!

They wanted Lothlorien to feel ethereal and maybe almost slightly in a different universe, because of the Elves and especially Galadriel, who can see into hearts and minds. One of the ways they did that was by diffusing the light on the set so everything seems kind of dreamy. Another way they tweaked things was by bringing out the blues and edging them towards lavender. Yes, yes, Lothlorien is supposed to be golden, but after hearing the explanation about how lavender is actually one of the hardest colors to get to look right on film (the word used was "fragile") and to look good against skin tones, and therefore you don't see it very much in the movies, I can appreciate the subtle ways they tried to make Lothlorien feel distinct.

Originally, they were going to have a scene where the Fellowship goes through some rapids on the Anduin and get ambushed by orc archers. Ultimately, they decided they didn't need that as a story beat at that point, and it would have been very difficult to shoot anyway. Makes me wonder if that influenced the infamous barrel scene from the Hobbit movies, like they dug up some old plans for that....

Except for one wide shot where they used a scale double for Frodo, the entire confrontation between Boromir and Frodo was shot just with Sean Bean and Elijah Wood, no special effects, just strategic blocking and using the slope and different angles to their advantage to always make it look like Frodo is smaller than Boromir.

If I understood Howard Shore correctly, he was inspired to use a boy's choir for Boromir's death when he saw Boromir, after falling to his knees from the first arrow or two, looking up at Merry and Pippin. Boys singing at his death gives a sense of lost innocence, which is appropriate both to Boromir trying to take the Ring as well as to the lost innocence of losing the Hobbits. So it's not just a lament for Boromir, it's also his lament for (as he thinks in the moment, because he knows he's dying) failing the Hobbits.

The original mix for Boromir's death had all the sound effects at full volume, which made the moment even more brutal. Mark Ordesky was saying that he (and probably some others) was thinking it might be better if they pulled back on some of the sound and let the music be louder. Peter Jackson said, "Well, let's try it," and as soon as they turned down the volume, the entire room basically agreed immediately that's how they needed to do it. It's meant to sound and feel almost like you're sinking underwater as Boromir is dying, because that's how it would sound and feel for him.

Oh my goodness, further proof that studio execs shouldn't have a say in the story of a movie. New Line wanted the movie to end with Frodo and Sam paddling across the river, and then an Uruk bursts up from underwater and grabs Frodo, pulling him out of the boat. The Ring somehow comes off the chain, and the Uruk is so enamored with it that he ends up drowning while trying to grab it. Then Sam somehow gets Frodo (and the Ring) back into the boat. Thank goodness they came up with the much better ending we all know and love. Because the people actually involved with writing the movie and telling its story knew that the ending of FotR needs to be about the breaking of the Fellowship, about love and loyalty in the face of great evil. So that's why they went with the ending they did: Sam falls into the water and almost drowns, Frodo saves him, and that paves the way for the incredible emotional high of Frodo leaving the Fellowship, but Sam going with him. And just like Frodo is thinking about how Gandalf talked about how he was meant to find the Ring, Sam is thinking about how Gandalf told him not to leave Frodo. It all ties together so much better.

The last shot for the film was Boromir going over the waterfall. It was in the final cut of the movie just as a previs shot, and Barrie Osborne said he assumed it was going to be a CG effect or something. But finally, while Peter Jackson was in London working on scoring the film - so pretty late in the production - Barrie called him and asked when they were going to shoot that scene. Peter Jackson had forgotten about it! So Barrie had to shoot it, and since they didn't have the actors in New Zealand at that point, they had to get Weta to make a silicon dummy to shoot instead.

#lord of the rings #lotr #fellowship of the ring #behind the scenes

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bullet-prooflove · 1 month ago

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7000 Follower Celebration: Slim Jim - Dom Pascal x Reader

Tagging: @kmc1989 @buckysteveloki-me @emma-dawson @noxytopy @toasted-stiletto

Summary: Dom meets the love of his life in an unusual circumstance.

Prequel piece to:

Miami - Dom reflects on what brought the two of you back to Chicago.

Slutty - You remind Dom that he has a wife to come home to.

Masochist - Dom proves himself to be a masochist when it comes to work.

Handcuffs (NSFW) - Dom earns your forgiveness the only way he knows how.

Resting Bitch Face - You discover Dom's been keeping secrets about Bishop.

Shady - Dom goes to great lengths to protect you.

Feral Bitches - Dom knows you've always been a feral bitch.

Harri (NSFW) - Dom knows exactly how to take care of you.

The Work Shirt (NSFW) - You decide to torture Dom when he works late.

Don doesn’t realise he has a thing for leather. Not until he locks his keys inside of his Jeep Cheroke and the most attractive woman he’s ever seen pulls a Slim Jim out of her holdall to break into it. You’re wearing black leather wet look leggings that hug your ass in a way that his dick twitching in his jeans and a white transparent V-neck that dips low enough to show the lace of your hot pink bra.

“You gotta be some kind of car thief right?” He remarks as he stands beside you, watching as you slide the device between the glass and the weather stripping of the car door.

You tip back your head and laugh, your hair spilling over your shoulders as the hook catches the mechanism, helping you to realign the lock rods.

“No.” You say as the sound of the lock popping echoes through the parking lot . “I’m a cop.”

He looks at you again, drinking in that sun kissed skin, the nose piercing and that bold red lip. He wants to smear the crimson with his thumb, mess it up a little before he leaves you a ruined sated mess in his sheets.

“Honey, you ain’t nothing like any cop I’ve ever seen.” He rumbles as you grasp the door handle, opening it to retrieve the keys. You deposit them in his upturned palm and he captures your hand before you can pull away, studying the oil embedded in your skin.

“You have the hands of a mechanic.” He tells you, his thumb chasing over your knuckles before he releases you.

“Cars are kinda my thing.” You tell him as you shove the Slim Jim back into your holdall. “Engines, security systems, street racing.”

Illegal street racing is a real problem in Miami, the kind that ends up with innocent people getting killed. There have been a spate of deaths over the past couple of months, wrecked cars, civilians being run down. Him and his crew had even pulled a green Acura Integra GS-R out of the shopfront of a closed café after the driver at lost control of the vehicle.

“Ah.” A light bulb goes on in his head he gestures towards your clothing. “That explains the get up, you were at that race last night on Vermont?”

They’d been called to the aftermath, one of the racers had wrapped his car around a lamppost and needed prising out.

“I’m afraid that’s confidential.” You say with a spark in your eye and it occurs to him that maybe you weren’t one of the bystanders, that you were in fact one of the drivers. It would explain the black leather driving gloves he can see sticking out of your holdall.

Fuck me, he thinks his cock starting to throb in the confines of his jeans because Dom, he’s got a thing for adrenaline and the wild side of things. It’s the reason he became a firefighter to begin with.

“Did you win at least?” He asks and you bite your lower lip in a way that has his dick rubbing insistently against the denim seam.

“Let’s just say I came out on top.” You reply and that gives him all sorts of filthy ideas. You’re getting them too, he thinks because you take out a black Sharpie from your holdall, uncapping it.

“I’ve gotta get to a debriefing.” You say taking his hand and turning it over so that you can write your phone number on his rough palm. “But just in case you want to get into some trouble later on…”

“What kind of trouble?” He asks, his voice rough as you recap the pen. Your eyes flicker up to meet his as you give him that sinful smile.

“You know the kind of trouble.” You say and he swallows hard.

“You free tonight?” He responds, his tone gravelly. You use the pen to trail along the digits on his palm before pulling away.

“Why don’t you text me and find out.”

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#dom pascal #dom pascal x reader #Dominic Pascal #Dominic Pascal x reader #chicago fire

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watcheraurora · 4 months ago

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Solidarity-Tek

Part 4 of the Unintentionally Adopted a Kid AU! 3.5k words (almost exactly!)

(Part 1)(Part 2)(Part 3)

—

Movement caught Cleo’s eye. They looked up in time to see Jimmy and Tango land just outside their base. They smiled down at Skye. “Your dads are here sweetheart. Time for you to go home.”

Skye perked up and whirled around to see them waiting. She beamed and waved at them enthusiastically. Then turned back to Cleo. “Thank you for school today!”

“You’re welcome, Skye.” Cleo helped the little Avian put her things in her backpack and then escorted her outside. “Jimmy, can I speak with you a moment please?”

“Of course.”

“Come inside.” Cleo opened the front door wider. “He’ll catch up with you,” they said to Tango. Who nodded. Tango took Skye’s hands and helped her take off into the air. Cleo shut the door behind Jimmy.

“What’s going on, Cleo?”

They took a deep breath and set their hands on their hips. “We were working on our letters today. She can write a little but not much. But…” Cleo picked up a coloring page off the little desk Skye sat at. “You said she had parents, right? Killed by pillagers?”

“Yeah.”

Skye’s name was in the corner of the coloring page. But where a surname might have been was an eclectic collection of squiggles. Not common script and definitely not even Galactic Script.

“I don’t think she knows her family name,” Cleo said. “I know not everyone has a family name but we can’t all be Grian.”

Jimmy couldn’t help the little snicker in the back of his throat. “Yeah. So why did you want me alone?”

“Tango mentioned when he dropped her off the other day that you do most of the caring for her. Primary caregiver, and all that.”

“Right.”

“And today I told her that her dads were here to pick her up. I’ve never said that before. And she didn’t protest.”

“Okay?”

“Jim. Talk to Bdubs or Scar at the courthouse. You can legally adopt her. It’s been seven months and there’s been no sign of her family or any next-of-kin. There’s no one looking for her. You could give her one of your surnames. Or both I don’t care. Just… think about it. Speak to Tango about it. Then maybe tell her your decision when the two of you have one.”

“Cleo, she’s already my girl,” Jimmy said, pulling a brown leather cord out from under his shirt. An inch of a narrow Blaze Rod and a shimmering snow white feather hung together on the cord. “This means more to an Avian than some paper that says she is.”

“But that paper is a legal trail that stops her from being taken away from you,” Cleo pointed out. “If some second-cousin-twice-removed’s best friend’s former roommate shows up trying to claim custody, that paper would let her stay at the ranch. Where you’re guaranteed to take care of her.”

Jimmy thought for a moment. “I’ll speak to Tango. We’ll think about it.”

“I just see how happy she makes you. And how happy and healthy she is with you. And I don’t want you to suffer the heartbreak of losing her.”

“Thanks. I do appreciate you looking out for us.”

“Sure thing. Go catch up with them.”

Jimmy nodded, left the base, and took off. Cleo sighed and finished cleaning up the last stragglers of mess from the day’s lesson. Skye wasn’t a messy child, but there were always a few bits left over.

—

Tango was startled as he flew by the SoulBond between him and Jimmy warming up. Tango... Jimmy's voice said in his mind, sounding sad. Tango, she doesn't remember her family name.

Who, Cleo?

No. Skye. Cleo showed me a coloring page. Her first name was there but the last name was just random squiggles. Cleo’s fairly certain she doesn’t know her surname.

Strange. She’ll be seven soon. She remembers her birthday. She seems old enough to know her surname.

“Tango, we passed the ranch!” Skye called with a laugh over the wind.

“Just making sure you’re paying attention sweetheart,” Tango replied. She laughed harder as they turned around and descended toward the ranch. Tango held both her hands the whole way down. She wasn’t fully confident on her landings yet. But she was doing much better.

We’ll talk more after she goes to bed, Jimmy added.

Noted.

He ran with Skye into her landing, hitting the ground running, on the path in front of the ranch, leading up to the house. Once they were both safely on the ground, he strolled up to the house with her and scooped her up. She squealed. "How was school today, sweetheart?" he asked.

"It was fun! We did letters and some numbers and coloring!"

"And you were good for Cleo?"

Skye nodded, her flyaway hairs bouncing around her head. "Uh-huh. Jimmy told me that I have to be sweet, and nice, and use my inside voice, and that I need to listen."

"That's exactly right. So you do your best?"

"Uh-huh!"

"Good." Tango set her down on the kitchen counter. Her wings ruffled. "I think good kids deserve a little after-school snack."

Skye gasped, dark blue eyes going wide. "Like what?"

Tango smiled and opened their chest full of packed ice. "I was thinking an apple."

"Yummy!"

Tango chuckled and extracted an apple from the chest, holding it out.

Skye's snowy wings fluttered. "Please?"

He set it in her extended hands. "There you go, sweetpea." He ruffled her flyaway hairs that had escaped her crown braid.

Thud!

Jimmy landed hard on the balcony upstairs. Tango took a deep breath and sighed. Jimmy was going to royally screw up his knees on landings like that if he wasn't careful.

"Jimmy's back," he said.

Skye beamed around the bite she was taking from the apple. "Yay!"

Jimmy came running down the stairs with a big smile on his face. "Where's our girl!"

"Jimmyyyyy!" Skye smiled wider, setting her apple down.

Jimmy picked her up under the arms and swung her off the counter, spinning in a circle while she squealed and laughed. "Hi princess!" he said, setting her on his hip and giving her a big squeeze. She giggled and hugged him back around the neck. "Oh, I swear you get bigger every day!"

She playfully stuck her tongue out at him. He gently pinched her nose and wiggled it. She squealed.

Tango kept himself a few paces away to avoid getting whacked by a wing. He slid a hand down his opposite arm and gently touched the two feathers hanging off his bracelet. One twice the size of the other and yellow. The smaller one snowy white.

He smiled, watching Jimmy play and be silly with her. Jimmy was so much better at being a dad than Tango. Tango tried—and he genuinely loved Skye as his own kid—but it came so naturally to Jimmy to nurture in a way it just didn't to Tango. Tango had to work at it.

Jimmy set Skye back on the counter and handed her the apple—but not before pretending to take a bite out of it while she squealed and wiggled to try and take it from him.

By the light above, Tango loved them both so much.

—

"So, Cleo doesn't think Skye knows her surname?" Tango asked.

Jimmy fluttered his wings to reorder the feathers where he held Tango against his side on the roof of the ranch house. "No."

"And why aren't we talking to Skye about this?"

"I don't want her to feel sad yet, thinking about her parents. She's been so happy lately. And I know talking to her about this is inevitable, but I wanted to talk to you about it first. Because, er..." Jimmy cleared his throat. "Cleo suggested we adopt her and give her one of our family names. Or both."

Tango's fire hair flared, his magic spinning around his hands in red and yellow swirls. "What?"

"You hate it," Jimmy said.

"No—no!" Tango protested. He grabbed Jimmy's hands and looked Jimmy directly in the eyes. "Hey. Listen to me, Jimmy. Skye is our girl. She's our kid. You have been an amazing dad to her for these past seven months. I was just surprised that Cleo suggested we properly adopt her." Tango pressed closer, shuffling so he could press his forehead to Jimmy's. "I love you. I love her. You two are my family." He inhaled deeply, their SoulBond warming between them. "If you want to adopt her, then let's do it."

"I... I don't know, Tango."

"What? Why?"

"Cleo suggested we adopt Skye in case someone came for her to take her away from us, and at least we're guaranteed to take care of her. But what if whoever came for her would take care of her better because they're her real family? Like a cousin or an aunt or a—"

"Jimmy Solidarity. Listen to me," Tango interrupted. Jimmy closed his mouth. "You are doing a fantastic job taking care of her. I know I have a lot to improve on as a parent. But you are a natural. No one would take better care of her than you. And she adores you. I say we can adopt her, if that's what you want. A paper trail that makes her ours."

"You're sure?"

"Positive. And I say we give her your name. Skye Solidarity sounds really cute."

"Wait—Tango—no," Jimmy said. "We give her your name too. If she's ours, not just mine, we should show that. She can be Skye Tek-Solidarity."

Tango leaned back so Jimmy could see him raising an eyebrow. "Solidarity-Tek."

"We'll see which one she chooses, if she agrees to let us adopt her."

Tango smiled. "And if she doesn't know or care, we go Solidarity-Tek."

Jimmy grinned and gave Tango a kiss. "Always too sweet to me."

"Only trying to give back what you grant me." Tango tucked himself back against Jimmy's side. "And Solidarity-Tek sounds better for her."

Jimmy huffed a small laugh. "If you say so." He ran his fingers through Tango's warm hair, the fire in it unable to burn him from their SoulBond.

"Should we talk to her in the morning? See if she wants us to adopt her?"

"I... I think we should."

Tango tilted his head and pressed a kiss to Jimmy's jaw. "Excited?"

"Nervous."

"Why? Even if she says no, she's our girl."

"I know."

—

Tango was still asleep when Jimmy woke Skye to have breakfast before taking her to Cleo's. She clung to him as he carried her downstairs and set her down on her usual stool at the kitchen counter. She slumped over the table, tired and groggy.

"Dad?" she asked quietly.

Jimmy froze. She'd always referred to her father as Papa. And she'd always called him Jimmy. "What's going on, kiddo?"

"Can I have an apple with breakfast this morning?"

"Of course, sweet pea." Jimmy didn't say anything about her calling him dad. Just grabbed an apple and set it in front of her while he prepared her toast.

"Is it okay if I call you Dad?" Skye asked. She looked up, deep blue eyes wide but tired, blinking slowly to try and stay awake. "Cleo said you and Tango are my dads. You are, right?"

Panicking a little, Jimmy yanked on the SoulBond between him and Tango. Wake up, Skye's talking about us being her dads, he thought frantically.

The SoulBond didn't warm. It blazed.

Be right down.

Jimmy took a deep breath and ruffled his wings as he toasted some bread for her. "Do you want us to be?" he asked carefully.

Upstairs, there was rumbling and then Tango came crashing haphazardly down the stairs, hastily clad in one of his work jumpsuits that was skewed off his shoulder. "Morning!" he greeted, crossing and kissing the back of Skye's head before adding some extra bread to be toasted. He kissed Jimmy's cheek and leaned against the counter.

Jimmy left him to watch the toast and went to put an arm around Skye's shoulders, careful to avoid pinching her feathers. "Sweet pea, if that's what you want..."

"Well you are, right? You take care of me. You love me... don't you?"

"Oh of course we love you," Jimmy said, giving her a squeeze. "You've brought so much joy into our lives since you came to live with us. If you want us to be your dads, then that's what we are."

"We were actually going to talk to you about that," Tango added. "We wanted to ask if you wanted us to officially adopt you. Give you our family name." He pulled her toast off the fire first, slathered some butter on it, set it on a plate, and set it on the counter in front of her. "We'd love to adopt you. For you to be our daughter legally and officially. But if that's not what you want, that's okay, sweetheart."

Jimmy bent to be at her eye level and pulled out his necklace, identical but opposite to hers. A bit of Blaze Rod and a white feather on a brown leather cord. "Look at me, Skye. You're already our daughter. This makes you family. Our family. Me and Tango, we're SoulBound. Our souls were tied together when I was born since I'm younger than him. We feel each other's emotions and can sometimes hear each other's thoughts. That's what makes us family to one another. But the fact that we love you—the fact that you have my feather and a piece of Tango's Blaze Rod—that's how we show you that you're our family too." He cradled the back of her head in its messy braid in one big hand. "Skye, you can call me Dad all you want. If you want me to be your dad, then that's what I'll be."

Skye looked between the two of them. "Adopting me means I'd be your daughter, right?"

"Legally and officially. We already consider you our kid. But adopting you would make it so that you can't be taken away from us."

Skye nodded. "I want you to adopt me."

Let's hope she remembers that when she's a teenager, Tango's thoughts said sarcastically in the back of Jimmy's head. Jimmy's wing twitched in a hush motion toward Tango. Tango didn't read Avian wing- and body-language as well as Skye could, but he knew Jimmy well enough to know what that meant.

"Okay, sweet pea. Then that's what we'll do. I'll talk to the courthouse today while you're at school. Is that okay?"

"Yeah."

"And what do you want your last name to be?"

"What do you mean?"

"Do you want to be Skye Solidarity? Or Skye Tek? Or Skye Solidarity-Tek? Or Skye Tek-Solidarity?"

Skye blinked several times, looking between Jimmy and Tango a few times. "I get to choose?"

"Of course! We want you to like your name. And if you get to pick it, then you'll like it better, right?"

"I think so?" Skye fidgeted with a feather. "Can... Can I have both of your names?"

"Oh, Skye. Yes," Jimmy said. "Solidarity-Tek or Tek-Solidarity will be both of our names."

"Oh. Okay. Um..." She looked down and muttered under her breath. Hearing her name with either combination of last name.

Then she looked up.

"Is Skye Solidarity-Tek okay?" she asked.

"Oh, sweet pea, of course," Jimmy said.

"Why do you call me that?"

"A sweet pea is a type of flower that's really pretty and smell very nice," Jimmy said.

"They're also very helpful for potions," Tango added under his breath.

"Oh. Okay," Skye said.

"C'mon. Let's get your breakfast finished and then I'll redo your braid and we'll fly over to Cleo's."

"Okay."

—

"She'll need something to call you," Jimmy said softly as he and Tango sat in a waiting area of the courthouse, waiting for Scar or Bdubs to actually show up to do their job.

Tango twitched like Jimmy had startled him. Like he hadn't been listening. "What?"

"Skye. I think she'll probably end up calling me 'Dad.' But she used to call her father 'Papa.' So... she'll need something to call you," Jimmy said, elaborating a little.

Tango shrugged. "She can call me whatever. I don't really mind." He kicked his ankle up onto his opposite knee. "If it's not too similar to cause any bad memories, I'm down for just being Pops. Or something else. Doesn't make much difference to me. She can just call me Tango. I don't mind."

"We'll... we'll ask her later what she wants."

"Fine with me."

At that moment, Bdubs finally made his appearance, still in his judge's robes. "Whaddaya want, ya scoundrels?" he asked—loud and playful. Tango laughed as he stood up. Jimmy also hopped out of his chair, shuffling his wings back against his spine.

"We're adopting the kid we took in," Tango said. "Skye."

Bdubs blinked his big eyes. "Oh. Well, uh... let's go get some paperwork, then. Follow me." He waved with one arm. Tango and Jimmy followed along after him. "How long has that kid been staying with you?"

"Seven months now," Jimmy said.

"And ya wanna adopt her officially."

"Yep," Tango replied.

Bdubs slowed down and turned to Tango with narrowed eyes. "No, I'm serious. You wanna adopt her. Mr. I Don't Want Kids Ever Tek?"

Tango shrugged. "She's family now. She wormed her way into my heart and I'm not letting her go. She has no other family that she knows of. Or that we've been able to find. She's ours." He raised his bracelet to show the two feathers dangling off it.

"Oh, she's Avian."

"That's right," Jimmy said.

"I remember one of you mentioning that now. Okay. Yeah." He led them into an office and indicated for them to sit down. "So, there's a bit of paperwork you'll have to fill out."

"Understood," Tango said.

Bdubs was still giving him a scrutinizing look.

"You don't think I'll be a good parent or something?" Tango demanded, tone tight.

"You never wanted kids."

"Things change, Bubbles. Whether you think I'm an unworthy parent or not, she's my kid. I love her as my kid. She's brought us both so much joy and we want to raise her with love and happiness. We know it's not always going to be easy but it's going to be worth it. She's our little baby bird and I don't care what you think so long as you let me legally call her my daughter. We're going to take good care of her and be the best parents we can be." Tango's fire hair flickered hotter and faster.

The SoulBond warmed between them. Jimmy set a hand on Tango's knee. It's okay, Tango, he thought soothingly. His calm emotions washed over Tango, tempering the fire just a bit.

Bdubs sat back in his chair. "And that's what I wanted to hear," he said. He pushed some papers across his desk. "Fill these out. Then tomorrow you can bring Skye to the courthouse and we'll make it official." He took a quill out of the inkwell on his desk and passed it to Jimmy, who'd reached out first. Tango let him do the filling out. Tango was prone to smearing ink and Jimmy's handwriting was a bit neater.

But they sat close together and looked over the forms and quietly discussed how to fill them out.

"Solidarity-Tek," Tango reminded Jimmy when they got to that portion. "She decided Skye Solidarity-Tek." Tango smiled warmly. "As she should."

Jimmy gave Tango a warm smile. Reflected in their SoulBond heating up with a merry sort of heat.

Bdubs' wide eyes looked away as he pursed his lips.

—

"—and after reviewing the paperwork and interviewing the prospective parents, I have found you worthy of adopting young Skye here as your daughter. I hereby declare Tango Tek and Jimmy Solidarity the legal parents of Skye Solidarity-Tek," Bdubs said. The hearing hadn't been long. There was no legal battle or anything. This was a formality more than anything.

Scar beamed and clapped. "Congratulations to you both."

Skye squealed and bounced into a hug that Jimmy used to scoop her up onto his hip. She was still plenty small enough for him to do so and Jimmy was tall for an Avian. He wrapped his wings around her too and held her close. "Hear that, sweet pea? You're our daughter!"

"Yay!"

Tango—gently—batted one of Jimmy's wings out of the way so he could come into the little yellow-gold box of feathers and put his arms around both of them, holding his family close as Jimmy did the same. "Look at us! Whole little rancher family now, eh?" He ruffled Skye's hair—loose for once since they hadn't flown to the courthouse.

"A whole, little family, yeah," Jimmy agreed.

He kissed the top of Skye's head, then the top of Tango's.

"We're your dads, Skye," Tango said.

She beamed. "I'm happy you're my dads!"

"We're happy you're our daughter."

#tangotek #jimmy solidarity #trafficshipping #Aurora Writes #solidaritek #kid fic

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ducktracy · 2 months ago

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SOMETHING ABOUT HOW PORKY LOOKS IN LTC AND TDTEBU LOOKS WEIRD TO ME

HIS EYES

THEYRE TOO.. BIG?? DETAILED?? IT'S WEIRD CUZ I LIKE LONG EYED PORKY BUT NOT IN LTC CAN YOU TRY AND ARTICULATE IT FOR ME

AWWWW i love the tall eyes personally!! i think they fit his face volume well, nice slim contrast to his round head to create visual interest

i think it's a Jim Soper thing... and Jim's probably my favorite living artist lol. it is funny comparing the LTC model to the TDTEBU model though, he's adorable in LTC but in revisiting some eps since TDTEBU's release i can't shake some of the "his proportions are too even"-ness of it out. but it also depends on the ep. the eps that Jim does layouts on tend to look the best and most naturalistic, i know this first model was pretty early into production

as for what might be squicking you out though.. hm. it's hard to say, but Porky's design has a lot of golden age "cuteness points" baked in. for the same reason a lot of cartoon babies are drawn with huge foreheads, he has that big ol' forehead that can make him seem cuter and enunciate this sort of round... "fleshy" sounds gross when i say it HAHA but "fleshy" i guess appeal. again, very baby-esque

this Bob McKimson model sheet does a good job of showing that appeal, even if he often seems to give Porky these tiny, beady little eyes that can read as UNappealing... which is perfect for the cynicism and grounded humor of his shorts, where Porky is at some of his most violent and awful (which are some of the shorts i laugh hardest at) HAHA. but it kind of gives off this feeling of him not having properly grown into all of his features yet, and that makes him seem more cute and compact

in my near 6 years of drawing him, this is always something i've STILL been stuck on. i tend to default to the taller eyes because i really love the contrast they give against the roundness of his face--i like big eyes in general, and i admit i'm more won over by that appeal than by "big forehead" appeal... but there is something to having his eyes smaller. it gives a sort of modest and demure appeal that perfectly fits his character. i go back and forth on what i wanna go with him..

i actually just found this pig i'd doodled last year while i was looking for screenshots: this has its own appeal but it feels naked to me!! maybe i needed to angle the eyes forward more. this feels a little uncanny to me. but it has an appeal of its own

i think i'm also biased to the tall eyes because John Carey's my favorite Porky (and in the running for all-time favorite) animator, hugely influential to how i draw Porky and tall(er) eyes are his specialty... just love that contrast of slim and tall against his round, pudgy baby face. it matches his tall, slim ears which is a great balance!! aaaagh! these are so appealing to me personally

actually all my favorite Porky animators usually draw him with tall or huge eyes... Bill Melendez and Rod Scribner have entered the chat. particularly Melendez in terms of the wide eyes (top three)

my god isn't this such a good drawing. Scribner's a frequent culprit for my favorite animated scenes of all time, this being one of them

BUT YEAH! i think a more forehead-forward pig maybe connotes a bit more of a modest, reserved, baby-ish charm which is all perfect for Porky's character. a lot of the wider eyed expressions i used above are certainly for more high octane moments, i can see how it might be weird or off putting too have Too Much Eye on his face... i guess the overlap in shape language is stronger with the wide eyes and wide face. i personally prefer it, or a mix between that and the tall eyes, just because i like a more wide-eyed Porky--it's personally cuter to me and i think there's something to be had with that wide eyed innocence. i very much would love to learn how to effectively capture a more modest appeal with smaller eyes, but i haven't quite figured it out yet...

#charlotteheehee #god compiling these made me realize how much i miss him #i talk about these shorts all the time but i hadn't watched a LT short in almost a month until just now and i almost cried. i missed my #horrible bastard duck who sends me into depressive episodes if i don't watch him be horrible for an extended amount of time #and now i need to return to my beautiful pig #asks #i've noticed my eyes have gotten a lot smaller over the years in drawing him though they used to be much bigger #augh god Carey's pigs are the best you can literally feel the volume jumping off the screen. i love when he's soft and round

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lock-my-feelings-in-a-jar · 6 months ago

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Jim Rodford Tribute Show

#rod argent #russ ballard #the zombies #god gave rock and roll to you #jim rodford tribute show #2019 #i love this so much #he starts just with a slight hand movement #and then it increases #and he points it towards rod #and then it really increases #and then he takes out both hands and goes full into it #i love what music does #also i love this video

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tiffanys-aus-and-headcanons · 1 year ago

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Appendix D: Some Pig/One More Final

The first three posts in this series are here.

Undertale was a slightly postmodern children's fantasy movie produced by Jim Henson's Creature Shop in the '80s. Noah Hathaway played the protagonist, Frisk, who went on a long quest to escape from a magical prison inside Mt. Ebott; Frisk's father had thrown them into the mountain, known to be full of monsters, in an attempt to kill them. However, it's suggested that as a human, Frisk is inherently more of a protagonist than a monster can be, and has a vague sort of magical power over them. Toriel's death, which Frisk accidentally causes early in the movie, is commonly listed as a Peak Sad Childhood Moment.

George Orwell wrote The Writing In The Web, a political fable about a cult started by a well-meaning spider. E. B. White wrote Snowball's Farm, a whimsical children's tale about a farm whose animals decide to take over.

Infamously, Emmanuel Goldstein's monologue fills dozens of pages, takes at least three hours to read aloud, and brings the plot of Ayn Rand's 1984 to a screeching halt.

Short story collections and anthologies often keep the same title, author, and spirit, it's just the stories that are swapped out. For example, classic episodes of Rod Serling's The Twilight Zone include A Wonderful Life, The Secret Life Of Walter Mitty, Miracle On 34th Street, and The Sixth Sense. 1983's The Twilight Zone Movie includes segments based on classic episodes Eternal Sunshine of the Spotless Mind (directed by John Landis and given anti-war themes), Cocoon, The Poltergeist, and In Search of the Twelve Monkeys (the original starred a young William Shatner). Candle Cove is an episode of Black Mirror.

League of Extraordinary Gentlemen was a 1999 Ben Stiller comedy about a team of low-rent superheroes who theme themselves after public domain characters because they cannot afford licensing fees. The film was well-reviewed, but a box office bomb. It was actually the first film to use Smash Mouth's One Week - the One Week music video is actually cross promotion with League of Extraordinary Gentlemen - and it would remain the film most associated with the song until Dreamworks' Happily N'Ever After hit theaters two years later.

The Amazing Digital Circus was a virtual pet game and toy line that struck when the iron was hot on that niche, before being bought out by Hasbro and rebooted a few times in different forms and mediums. Lauren Faust created a long-running television cartoon of it that was a huge smash hit with fandom culture despite the show's clearly very young target audience. The property's canon is all very light kiddie fare; the scariest thing about The Amazing Digital Circus is that for a brief and touchy stretch of time in the early 2000s, it was owned by the Peoples Temple, which was seriously considering turning it into a recruiting platform.

Your cringe unpublished works that you gave up on were almost certainly swapped around with other people's cringe unpublished works that they gave up on. There's lots of upwards and downwards mobility to the scramble, but not usually that much. Exceptions are very rare - like a beggar suddenly being made king, or a god being reincarnated into an ant - but they do occasionally happen. For example, what you know as the land of Oz exists only in the head of a young Milwaukee stoner, who suddenly came up with the idea for an epic graphic novel one day in the 2010s while sitting on the bus, and spent a couple of years absolutely convinced she would eventually make it. (She cannot draw.) Conversely, L. Frank Baum's children's fantasy series, Enormia, which has been adapted and reimagined many times, most notably as audiences' introduction to color film, exists in your world only as a different Milwaukee stoner's overly elaborate backstory for his jerkoff sessions. This kind of thing is much more the exception than the rule, and even such exceptions are almost always much smaller in scope - an obscure stillborn project getting swapped around with an obscure out-of-print novel, or an obscure direct-to-video z-movie.

The True Detectives forum and its many schismatic spinoffs, all of which are devoted to discussing mystery fiction, host literally thousands of Wind fanfics. Many of the writers - perhaps most of them - have never actually read Wind, just other fanfiction of it; next to none of the fics are worth reading. Most Wind fics reuse the original protagonist, Rorschach, but treat him as a generically relatable blank slate. The most common fic format by far is the "altdunnit", a form of what-if scenario in which the mystery that sets off Wind's plot is different in some way.

Rorschach is held by a substantial portion of the fandom to be an egg (a trans woman who has not realized it yet). Wildbow has never endorsed this interpretation, and it doesn't seem to be much on his radar. In recent years, the trans Rorschach portion of the fandom has grown; they don't tend to look especially kindly on Warn, much of which Wildbow wrote as a response to fans (like those on the True Detectives forum) he felt had been too inclined to take Rorschach's side in Wind. Flame wars over Warn's content were constant throughout its serial publication, and made it easily the rockiest experience of Wildbow's writing career.

Some noteworthy and relevant podcasts include Jonathan Sims' The Dresden Files, the Ranged Touch Network's Scott Pilgrim Made The World, Doof Media's Winding Down (later Warning Down), and the McElroy family's The Adventure Zone (an actual play podcast which has currently had three major campaigns, two anthology series, and various one-shots). Film Reroll is still an actual play podcast that runs the basic setups of movies (and occasionally other media) as short tabletop campaigns; occasionally, their version of a movie will be much closer to ours than it is to the version of the movie in their own universe.

Xenobuddy was an early childhood public access show, originally created for the BBC in the late 1990s but later aired internationally. The title character is a small alien puppet who lives on a futuristic spaceship staffed by children (who speak a vague conlang akin to a dollar store Esperanto). At the end of every episode, it gets lost and is found, usually by (harmlessly) bursting out of one of the children. It was very popular with its target audience and much loathed by parents. Edgy ironic fanart depicting the titular Xenobuddy as some kind of dangerous parasite abounds.

Static is a supernatural slasher franchise created by Wes Craven, with the first film, also simply titled Static, released in 1984. The movies concern a group of gibbering neotenous ogre-fae who wake up in the modern day after a long sleep, incorporate televisions into their bodies, and start eating people by sucking them into hellish pocket dimensions. The Screen-Guts collectively are probably in the top five antagonists most people think of when they think of slasher horror.

Toby Fox's ROSEQUARTZ is especially known for its meta take on video game morality systems. The game has a mission-based structure; throughout it, the player is encouraged to take on a pacifist playstyle, championed by the player character's late mother, the title character. However, the Crystal Gems give the player enough autonomy that you are entirely able to take a much more violent tack; doing so has a rippling effect on the game's writing in countless immersively-integrated ways. If the player goes out of their way to be as murderous as possible - the so-called "genocide route" - the differences from the main route grow much more extreme, and rather than gaining allies, you start to lose them, as the Crystal Gems realize what you're doing and one by one turn against you. If you manage to shatter Garnet - it's the hardest and most iconic fight in the game, Megalovania is playing, her Future Vision gets used for all it's worth - then you use your knife to slash at the cosmos, erasing Earth, Homeworld, and everything else. This, Toby Fox is saying, is apparently all you want out of a video game - another toy to break.

Warner Bros still did Space Jam with Michael Jordan and the Looney Tunes, it's just that the Looney Tunes in question were Mickey Mouse and friends. They also still did a second one with LeBron James, which was, by God, somehow worse. They put Ms. Frizzle in it.

Walt Disney made his squeaky clean reputation on the back of adaptations of things like Rudyard Kipling's adventure novel The Call of Cthulhu, P. L. Travers' Thomas the Tank Engine, and Erich Kästner's feel-good coming-of-age kidnapping tale about the power of perseverance, Lolita, originally done with Hayley Mills and later remade with Lindsay Lohan.

Nabokov's extremely controversial literary classic that has defined the idea of the unreliable narrator is Father's Trap, from the perspective of a man who plots to obtain custody of both of his daughters for nefarious purposes. Most publishers ignored Nabokov's instructions not to depict the twins, Lisa and Lottie, on the cover. Stanley Kubrick and Adrian Lyne have directed mediocre film adaptations, and songwriting team Lerner and Loewe did a musical that was a legendary flop.

The Japanese fashion movement is Gothic Pollyanna, after an otherwise-forgotten series of penny dreadfuls about a cute, cheery, rules-minded young girl who is, despite appearances, an insane criminal. Minor character Bonesaw in Alan Moore's Worm Turns also clearly hearkens back to the Pollyanna stock character.

The DEA was a prime-time soap opera about the ongoing "war on drugs"; it ran for eleven seasons from 1982 to 1993. Its plot focused on federal agents working at the Drug Enforcement Administration office in Albuquerque, New Mexico, and especially partners Hank Schrader and Steve Gomez and their families. It is mostly remembered today for its downer ending (in which the treachery of late-show villain Walter White, or "Heisenberg", gets the leads killed, and he escapes from justice), and for its far-more-acclaimed spinoff series Better Call Saul, which also ran for eleven seasons from 1993 to 2004, functioning as a prequel, midquel, and sequel to The DEA.

Between The DEA and Better Call Saul, Kelsey Grammer played crooked lawyer Saul Goodman for twenty consecutive years of primetime TV, first as featured comic relief and later as a leading man. (He also guest-starred on the mostly-forgotten Mall Cop, establishing that it, too, was set in the world of The DEA and Better Call Saul.) Better Call Saul won more than a dozen Primetime Emmys. Peri Gilpin received several of these for her performance as Kim Wexler.

St. Elsewhere was a film written and directed by M. Night Shyamalan in the late 1990s; it was highly acclaimed and successful, and established Shyamalan in the public eye as a skilled auteur with an affinity for twist endings. The film's final scene reveals that its main setting, St. Eligius Hospital, exists entirely within the imagination of an autistic boy, Tommy Westphall, as he gazes into a snowglobe. The so-called "Tommy Westphall Universe Hypothesis", which posits that this same twist applies to most of fiction due to a network of crossovers, was invented by a Saturday Night Live sketch shortly postdating the film's release, in which an amnesiac Charles McGill (from Better Call Saul) wakes up in St. Eligius, attended to by a cast of characters who are more concerned with their own nonexistence.

After rising to prominence as a writer, storyboarder, and composer for Pendleton Ward's Science Time (where she established the Summer/Jessica relationship that would come to define later seasons), Rebecca Sugar got to make her own cartoon, Henry Ichor. Set in a recently post-apocalyptic but strangely cheerful world, Henry Ichor concerns a young teenage boy who is conscripted as a mech pilot due to his rare and innate ability to link to the powerful Evangelion mecha. (His preferred Evangelion is eventually revealed to be a form of his late mother, the reason he can do this in the first place.) Henry turns out to be a vital asset in protecting humanity from the monstrous "Angels" that frequently threaten it, and is surprisingly emotionally mature for his age. However, the adults around him (especially his father, Gennady) frequently push him too far, especially considering his generally noncombative and pacifistic nature. There is much interpersonal drama and much singing about it, with a very vocally trained cast. After several seasons of slow buildup, the show was forced to suddenly rush to its ending in only a few (infamous) episodes after an arc where Henry had a romance with an Angel in male human form. Henry Ichor The Movie and an ensuing miniseries, End Of Henry Ichor, helped bring the show to a more thematically satisfying conclusion.

Although he has played a creative or consultant role in many animated projects, Alex Hirsch is best known for the one he was actually the showrunner for, Disney Channel's smash hit Sunnydale. Focusing on a small California town constantly plagued by supernatural threats, Sunnydale generally followed a simple monster-of-the-week format, but kept audiences on the hook with teases at a deeper underlying mystery. The show almost didn't get a season two, as Hirsch found working with Disney very tiring, but he was eventually persuaded; season two ran through the rest of Hirsch's ideas at a faster pace, and concluded the show with the leads graduating from Sunnydale High.

For a brief historical moment, Daron Nefcy's show, Ender vs. the Space Bug Army, looked like it would become the successor to Sunnydale, keeping Disney Television Animation prestigious after Sunnydale ended. However, though Ender drew in a big crowd, and lasted almost twice as long as Sunnydale, it was not ultimately as well-received. EvtSBA is a children's space opera, wearing its Starship Troopers (Joss Whedon) inspiration on its sleeve, but also clearly copying some (superficial) notes from Philip Pullman. Set in a future where mankind has come into violent conflict with bug-like aliens, the show follows unbearably smug boy supergenius Ender as he is sent to military school to prepare for interstellar warfare. The show has an extremely cutesy and hyperactive tone; typical filler episodes include the one (generally taken as meta about fandom drama) in which Ender's siblings' futuristic internet arguments prove instrumental to the survival of the human race. Later seasons get a bit more serious, but focus heavily on shipping. The show is infamous for its ending, in which Ender, for his final exam, destroys the Formics' home planet and releases a psychic signal that eradicates the Formic race. Although the show explicitly notes that this includes many individual Formics who we have previously known as sympathetic characters, it is nonetheless played as a happy ending in which a hostile colonial power is defeated. Ender has ended the war; he has beaten the Space Bug Army.

"Meugh-Neigh. 'Meugh' like the cat, 'neigh' like the horse." "Does it mean something?" "No answer; none at all."

Orson Scott Card is an extremely prolific author of speculative fiction. Although it isn't as close to his heart as the Steel Gear series, in which he got to flex his military sci-fi muscles and allegorically retell stories from his faith, he is undoubtedly best known for Ishtar's Curse. Initially a short story and later expanded into a full novel, the plot concerns young Princess Ishtar, or Star, heir to the heathen fairy kingdom of Meugh-Neigh. (In later novels, she changes her name to Bethlehem Diaz, or Beth.) Spoiled and destructive but magically talented, Star is sent to twentieth century Earth so she can develop the wits and the strength of character to be a viable wartime leader for her people - or at least so she can be kept out of the way. After several years of personal growth and magical misadventures with companions she met on Earth, a more grounded Star devises a spell to erase the magic that makes up the bodies of most of her throne's enemies. This plan works, and merges Meugh-Neigh into the Earth as a small and ordinary European country. However, though her subjects are eager to celebrate her for this, Star is devastated when she realizes that she has killed trillions of innocent spirits, and, seeking to atone, she takes on the title of Speaker for the Dead (also the title of the book's first sequel). Although it's frequently ranked highly in lists of fantasy novels of the twentieth century, Ishtar's Curse has received some harsh criticism, with the standard line being that Star is an idealized fantasy of a repentant Hitler figure, and that the text presents excessive justifications for her actions. The story has also been called a reactionary response to Wilde's The Little Mermaid. After more than twenty years, a film adaptation of Ishtar's Curse was released in 2009, starring Dakota Fanning, to mixed reviews. The box office took a further hit due to a boycott campaign, after Card's views on homosexuality (and, relatedly, his membership in the LDS Church) became widely known. In the end, it lost the studio a lot of money.

Hideaki Anno is best known for the classic smash hit anime he made for Studio Gainax, Einstein Goliath Nestorian, a psychologically intense deconstruction of martial arts shonen like Yoshiyuki Tomino's Dragon Ball. Einstein Goliath Nestorian concerns a mystery man known only as Saitama, who finds that he has become dissatisfied with life and alienated from the world after only three years of training have enabled him to easily surpass any physical challenge. The original series is known for its sudden, surreal, and clearly budget-driven ending, although this was quickly alleviated with a similarly surreal but more definitive finale movie. Although many Western anime fans often think of Einstein Goliath Nestorian as pretentious and ultra niche, it was actually a huge mainstream hit in Japan, with a colossal franchise of adaptations, merch, and spinoffs (notably including a series of Retrain films, which began as extremely close shot-for-shot remakes of the original series but wound up spiraling into a very different updated timeline).

Previously most noteworthy for his 2003 visual novel Oreimo, Gen Urobuchi was tapped by Shaft for their extremely successful and acclaimed anime Ohayou Hana!, hailed as a deceptively dark deconstruction of the teen idol genre. The plot concerns a girl, Saionji Mayuri, who leads a double life, being of little note at school, out of costume, but spending much of her time as #1 idol Hana. Her mental stability begins to deteriorate as she realizes that the adults in her life - especially her father, himself a former idol - have groomed her to serve as a drugged and hypnotized propaganda mouthpiece for a shadowy conspiracy. She winds up in the worst of both worlds as her ensuing breakdown, and her handlers' response to it, destroys both of her lives and brings ruin to those she cares about. In addition to the popularity of the actual anime, many of its songs became decontextualized J-Pop hits. The idol anime genre would then receive a glut of edgy lesser imitators, like Love Live: School Idol Project, Cheetah Girls, and magical girl fusion Symphogear. Although the original Ohayou Hana! was a self-contained twelve-episode story, it received a sequel movie shortly thereafter, Ohayou Hana! Rebel!, which ended on a cliffhanger that has still not been resolved over a decade later. The upcoming Ohayou Hana! MK Ultra! is expected to get things back on track. An abridged series originating on 4chan, focusing on cropped screencaps from Ohayou Hana!, called the title character "Miss Ohio", producing the memetic tagline "being Ohio is suffering".

Zack Snyder first came up with the idea for Madoka around 2000, a long time before he'd actually get to make it; he put the project on hold in 2006 to make his adaptation of Worm Turns. He developed the idea with his wife Deborah and a cowriter, Steve Shibuya. Inspired by the Disney Princess phenomenon, as well as Naoko Takeuchi's Pretty Cure (one of the few anime that had already become a hit in the States), Snyder wanted to tell a coherent story about fights between magical girls who could make anything happen, who could make any fantastical world or visual appear. In Snyder's film, we follow Madoka Kaname, a teenager attending a Catholic school in Los Angeles. Madoka and her friends are approached by a strange young woman who goes only by "Mommy", and her animal companion (a CGI-ed up squirrel-cat thing), QB. They offer to make the teens into "magical girls", granting them one wish each in exchange for a life devoted to spiritual warfare. (Another mysterious new girl, Lilly, urges them not to take the deal in the strongest possible terms.) This turns out to be a scam; QB is pitting the magical girls against one another for his own reasons, and in the end, every magical girl and her wish gets corrupted. Despite much of the film's plot being a horrific bloodbath - the MPAA demanded a lot of cuts to get it down to a PG-13 rating - there is a happy ending; Madoka finally makes her own wish and uses it to topple QB's whole system. Madoka isn't often discussed nowadays but it was a major discourse bomb when it came out in 2010, alternately being called misogynistic Orientalist trash and a subversive feminist masterpiece. Snyder, for his part, often notes that QB is intended as an allegory for exploitative forces within the entertainment industry that treat young women as disposable resources with an expiration date; this is already clear to anyone who's watched the film, which is not exactly subtle in its symbolism. He also explains that the film sexualizes the girls in an effort to shame the audience, to get people to understand that they are objectifying the characters in the same way that QB does. The soundtrack's got a really cool ethereal cover of Nine Inch Nails' King Nothing on it, which is probably the most remembered part of the film today.

Selena Gomez became a star by playing Violet Parr on Disney Channel's superhero sitcom The Incredibles. While the show was initially a very throwaway villain-of-the-week affair whose leads had to keep their powers hidden from the public and their caped escapades secret from the government for self-explanatory comes-with-the-genre reasons, it would eventually unfold that the show was set in something of an X-Men-style dystopia where superheroism had been outlawed and supers oppressed by the government as a potential societal fifth column.

Brad Bird directed one of Pixar's most celebrated films, Wizards of Waverly Place; it was Pixar's first film with a predominantly human cast. Disney was hungry for a fantasy property after losing a bidding war for the Luz Noceda rights. It had strong populist anti-eugenic themes, with an elaborate wizarding hierarchy of antagonists who seek to remove the Russo family's magic as part of an effort to curb wizard overpopulation. The sequel came more than a decade later, and wasn't nearly as good.

In addition to Worm Turns, Alan Moore is notable for the heavily metafictional comic Pagemaster, about a boy, Richard, who finds a magical library that contains all stories that have ever been or could ever be told; he becomes lost and imperiled in assorted pieces of historically noteworthy literature (initially ones in the public domain, though later volumes would start using legally safe serial-numbers-filed-off versions of modern stories). The 2003 film, in which Sean Connery played the librarian in one of his last film roles, is widely regarded as a terrible, deeply-toned-down adaptation that didn't grasp the tone or themes of the original story at all; it only covered the first half of the first volume, in which Richard meets "genre spirits" who wish to sort all stories into rigid categories. In a later volume, Pagemaster Millennium, an aged Richard Tyler, who has since taken on the mantle of librarian himself, meets a teenage girl, heavily implied to be Luz Noceda, who has also become lost in the library. She has become corrupted by an eldritch book, or "Necronomicon", written by "the Wrong Author", heavily implied to be the devil (and/or Hugo Astley, an Aleister Crowley caricature from W. Somerset Maugham's The Winged Bull). Flushed with demonic power and enraged by what she's become, a monstrous Luz tears through the library in a blaze of hellfire, seeking to destroy all of literature and the world. It is only through the intervention of the Fat Controller - heavily implied to be God - that Luz is defeated; he mercifully erases her by hitting her with a train, and laments what she became.

#queued post #the scrambled timeline #I tinkered around with the ordering of these entries so much that I guess this is a scrambled post for the scrambled timeline #credit to hieronymous-botch for the Alex Hirsch's Sunnydale idea #credit to Lorelei for the Orson Scott Card's Steel Gear idea

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spn-con-cliffnotes · 6 months ago

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SPN Nash 2024 gold panel

youtube

Would you consider doing any more horror movies? What are somethings you liked or miss about the genre? (3:30)

Jen: likes the genre, if opportunity arises then yeah. depends on if a) comes our way b) good project and c) available. depends largely who's involved, and budget size are very telling of quality of project. So close to doing a movie 1-2 years ago (really fun), didn't end up doing it for a variety of reasons, still hasn't watched it (proceeds to say "son of a bitch!"😂).

Jar: they are difficult to film: night filming (6pm-6am)

2. (Christmas question) Do you consider Die Hard Christmas movies? (7:56)

Jar: yeah...

Jen: any movie that takes place during the holidays is a christmas movie!! what's your go-to top 3 *to Jared*:

Jar: love actually, home alone, Christmas vacation

Jen: Jim Carrey's Grinch, Elf, Christmas Vacation. Krampus parade in European countries (speaking of horror), it looks like the orcs from lotr and "the scariest shit i've ever seen"

3. (pt 1: Do y'all drink whiskey?) (11:00) (pt. 2 Least fav memory filming spn?) (11:43)

Jen: "Do you have a question? I mean I guess the quesiton was 'do you drink whiskey' and now i'm holding a bottle in my hands." (11:30) "Should've just stuck with the whiskey question"

Jen: thinks for a minute the entire filming of bugs...

Jar: there was a bee wrangler

4. (16:50) senior in high school asking fav high school memory?

Jar: kind of about the people you stay in touch with. (it may change) and graduation "its been 13 years of your life; almost as long as supernatural" ties it to optimism of next chapter in life

Jen: A in trig (did not deserve) they went to huge high schools. got bullied by upperclassman when younger. getting through it and knowing some people that also experienced it sticks with you for the rest of your life; really special thing. "you only do this high school thing once, get as much as you can out of it"

5. (22:53) Have you ever used a ouija board irl?

Jar: not really?

Jen: used dowsing rods recentlly-ish in his house.

6. (25:17) Favorite meta time in Spn?

Jar: french mistake! (thought it was the end of the show)

Jen: likes the breaking of 4th wall *wink wink nudge nudge at Kripke)

7. (29:48) Jared drinking prop eggnog.

#spn #supernatural #jensen ackles #jared padalecki #spnfandom #jared and jensen #jaredpadalecki #jarpad #jensen #spn cast #spn convention #nashcon #spn con #spnnash #cliff notes #Youtube

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simmeons · 7 days ago

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Another! :⁠^⁠)

"Please."

@juneofdoom

Blindfold | Fall | Touch Starved

TW; slight body horror, yearning and longing (?)

Characters; MFP!Montgomery Scott, MFP!Leonard McCoy and Jim Kirk

AU; this is for the Mystery Flesh Pit scones AU! though, it's the sub Recovery AU where they get help with their condition. they aren't suffering too bad in this

“This is your new room!”

Jim made a dramatic gesture at the room, a big box with some big windows that sectioned off from the main visitor center. It was sticking out so people could walk past and see them, and they could see the visitors.

“It's big.” Montgomery momentarily thought, their body easing forward and back smoothly with the help of their new wheelchair-esc addition, clipped and fastened around their waist.

“Very open.” Leonard replied.

“They can watch us sleep.”

“Charming.”

“Do you two like it?” Jim asked, looking nervous.

“Do we?”

“Uh…” Montgomery hesitated for a moment. Eventually he just nodded carefully.

“Oh, that's a relief.” The blonde worker sighed. He started to walk around the room, looking tiny in it. “Your bed,” He started, giving them a tour. “Windows to look out, you'll be given your food at the proper times and here we've already prepared you an activity.”

Using their arms to drag their form, Montgomery inched closer, looking down at the ridiculously large puzzle laid out on the floor.

“Geez, I forget how big our hands are.” The Scotsman thought.

“What? What's happening?”

“Here, Bones.” Jim, somehow perfectly knowing what Leonard may be thinking. He walked over to a a panel on a wall, pressing a button. Soon a TV in the corner of their room lit up, and it was practically at the perfect height for Leonard to get a great view.

Jim then walked back to the puzzle and extended something from the floor. It folded up like a lamp, but there was a camera at the end that protruded. He bent the rod, positioning the camera to record the puzzle.

“I can see it! I can see!”

Montgomery felt the sheer excitement his boyfriend was feeling, felt how his heart beat increased with excitement.

“Is that better?” Jim asked. Montgomery gave a more eager nod. He was happy to have his lover being accommodated to. “Amazing. I'll leave you two alone. Would you like to be disconnected?”

“It would be comfortable to lay down for a while.” Leonard hummed, his eyes still trained on the TV, looking at the puzzle pieces.

With that in mind, Montgomery nodded again. Jim smiled and happily got to work.

It was still a bit of a hassle but eventually their large amalgamation body was laid down on their body. Jim brought the puzzle closer to them, said lunch would be on the way soon, and gave them some privacy. Well, as much privacy as one could get having their room being open for the park comers to look at them.

“We're like an attraction.” Leonard thought. “Oh, corner piece next to the white flower.”

“Good eye, love.” With some effort, Montgomery picked up the engaged puzzle piece and connected it to a border piece.

The guests were enjoying the sight of the large creature. A few were fascinated, one or two just plain scared, the children were in absolute awe, and two guys who were walking past were talking.

“That's gotta be the ugliest thing I've ever seen.” One of them said loudly, nudging his friend's shoulder, pointing up at the creature in the room.

Montgomery felt his, err… Chest area tighten.

“Ignore them.”

“It's hard to.”

“Right is the other part of the bee.” Leonard tried distracting his boyfriend. Montgomery huffed and connected the pieces together.

The group of people left, and more came. Thankfully no pictures, they could read the sign there. It was double sided, Montgomery could read what the guests were.

“Amalgamated lovers. Two of our own park workers pushed through the troubles, their power and perseverance a true testament of what love can do for someone. It also goes to show how far Anodyne has come with its work.”

“Yeah, toot your horn some more why don't you.”

Montgomery chuckled weakly at that. He stopped when he looked out towards the guests, seeing the people. He saw couples holding hands.

It hurt to see.

He missed touching Leonard. He missed holding his hand, kissing him, just general physical touch. Of course they were always touching now. They were never not touching.

“I miss it too, sugar. I miss you so much.” Leonard’s inner thought came much softer than his last one.

The Scotsman looked back down at their puzzle. “It's odd, feeling so touch starved like this. We're stuck together. We are touching.”

“That's different and you know it. Don't try to downplay the longing. You know I yearn for you too.”

“Och, Len…”

“I know,” Leonard’s movable hand gently patted their back. “This is all I can give you.”

Montgomery very carefully lifted his copepod arm, boney fingers gracing the southern man’s hair. “It's still soft.”

“Good, I'm glad! I can't really care for it on my own anymore.” Leonard felt his eye flutter closed at the touch. “It's… Boney than what I remember your hands feeling like.”

“Will it be enough for now?”

“Anything from you is enough.”

Montgomery smiled as best as he could. “Would ye like me to continue the puzzle?”

“Oh, yes. Please. Enough hair touching, let's get this done. Maybe Jim will give us a reward.”

#june of doom 2025 #day 15 #slight body horror #yearning and longing #mfp scones

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