#warrior nun re watch

[dumpsterfireofsubtext]

Yeah…

[simplykorra]

ava silva + season one

[transpidergwen]

Queer TV PSA!

Hello fellow Netflix watchers! Every week Netflix publishes their Top 10 charts for us to see what's doing well (and what isn't). And every week I check to see how the new queer shows are doing. This year has been a real mixed bag for us. Netflix has renewed several big hits like Heartstopper, Heartbreak High, & The Sandman, but buried others like First Kill and The Imperfects under bigger releases and no marketing campaign. It's frustrating and exhausting to say the least, and it might be happening again.

If you have been meaning to watch the Bastard Son and the Devil Himself but you haven't yet, you should do it now while your viewing matters (only the first 28 days are counted, yes it's stupid). It had a big increase for its second week and then dropped off the map for week three, not a good sign. If you already watched it, you should throw it on in the background a couple times, volume low but not muted (or it won't be counted), and make sure to stream the entire season. Netflix cares about two things: hours viewed and completion rates. Good hours but a low completion rate is still bad as it signals a lack of interest in future seasons. This is why the Sandman's renewal took so long, because people were watching it slowly. That's nobody’s fault, bingeing isn't for everyone, and some shows are better as a slow burn experience. Unfortunately it's how Netflix gathers its data.

So, what I recommend is re-streaming your faves after you finish them, several times if you can. If you're not ready to watch a show yet, or don't have interest in it, but still want to support queer media, you can stream it on a laptop or your phone while you're not using it (I stream on my laptop while I'm watching on my TV). It might not seem like much, but it's what we can do.

Here's the link to the charts as well as some visuals.

More than doubling hours, great!

Dropping by more than half off the global chart, yikes. Dropping off more than 2/3 of countries top 10 charts, yikes. You can't save a cancelled show, but you can stream it while it still counts! And while we're here, please go check out Dead End: Paranormal Park (trans, gay, bisexual and autism rep!), Warrior Nun and Young Royals, all just released new seasons. Let's grow their audience and give Netflix every reason to renew them again!

[icameisawicancellednetflix]

I mean if you’re staying away from Twitter (I do not blame you) thought I could up break down a couple of the daily actions that anyone wanting to support the campaign can do (dependent on your time of course!)

1) Vote as many times as possible here (Just Jared which show deserves saving poll). It’s unlimted voting & ends 31st of Jan

2) Go to Netflix IG & TikTok & comment #SaveWarriorNun under their videos (on those social accounts you don’t need to do more than that!)

3) If you do want to go over to Twitter, we’re lobbying Amazon Prime & Kelly Clarkson today with a trending phrase (at 5pm GMT) We’ll be doing different ones each day and you can see them above

4) Sign & share our petition it’s still going up but has slowed down. Please share with other fandoms!

5) Search for Warrior Nun in google, just a couple of times a day really helps!

6) Keep re-watching Warrior Nun (if you have a Netflix account) or recommend to other people - there are a couple of fan made trailers listed below that you can use:

Cinematography 

Action 

Humour 

[spacely0]

HORROR MOVIE RECS

♦ top tier ★ all-time fave

slashers: ♦intruder friday the 13th part 2 sleepaway camp 2 stage fright scream ★♦cold prey (Fritt velt) 1 & 2 texas chainsaw massacre 1 & 2 wrong turn halloween 1 & 2 & H2O A Nightmare on Elm Street 3 Dream Warriors 1987 Child's Play 1 & ♦2 ★♦Curse of Chucky Phantom of the paradise Popcorn 1991 Club Dread My Bloody Valentine 1981 ★♦Society 1989 ♦Psychopath AKA Der Poppen Murders The Funhouse 1981 Peeping Tom happy brithday to me 1981 black christmas ★♦Sceance Maniac (the one with elijah wood) hell fest ♦Just before dawn 1981 Maniac Cop

scifi horror: The Curse of Frankenstein 1957 ♦The Revenge of Frankenstein 1958 ★♦Bride of Frankenstein 1935 ★♦the stuff ★♦the fly 1958 ★♦invasion of the body snatchers 1978 ★♦the thing ♦the faculty ★♦from beyond ★♦re-animator 2 ★♦prince of darkness 1987 Quatermass and the Pit 1967 ♦Pandorum Dr jekyll and sister hyde ★♦the brood ★♦its alive 1974 & it lives again 1978 killer klowns from outer space 1988 Quaatermass and the Pit 1967

hauntings/curses: ★♦burnt offerings 1976 haunting in connecticuit conjuring 1 & 2 insidious 1 & 2 & 3 & 5 ★♦ evil dead 1 & 2 & 2013 final destination 1 & 2 & 5 house (hausu) 1977 Kairo (pulse) 2001 the grudge (japanese & american) ♦ dark water Night of the Demon 1957 ♦The changeling 1980 ★♦The Hole in the Ground 2019 Whispering Corridors

folk horror: midsomar ♦ Viy 1967 ♦ impetigore 2019 ★♦ the wickerman 1973 Burn Witch Burn the medium

catholic horror: ♦ The Devil Rides Out 1968 ★♦ the sentinel 1977 nun II ♦ exorcist III

weirdos: ♦basket case 1 & 2 ♦it follows A dark song ★♦The Perfection The Empty Man ★♦The Skull 1965 Beyond the Black Rainbow dead ringers i, madman 1989 messiah of evil 1973 ★♦The People under the Stairs 1991 ★♦The Reflecting Skin 1990 ★♦Carnival of Souls

zombies: ★♦the video dead dawn of the dead 1978 & 2004 dead and buried i walked with a zombie ♦plague of the zombies The Serpent and the Rainbow

monsters: ★♦Sweetheart 2019 The Gate 1987 The invisible Man 1933 ♦Wishmaster 1997 Warlock ♦the mummy's shroud 1967

vampires: Shadow of the Vampire 2000 ★♦ Martin ★♦Captain Kronos -vampire hunter The Brides of Dracula 1960 ★♦the night stalker & the night strangler salems lot 1 & 2 ★♦son of dracula 1943 subspecies 1 & 2 & 4 from dusk til dawn Vampire Hunter D 1985

werewolves: the howling 1981 ginger snaps the beast must die!

death traps: ★♦The Pit and the Pendulum 1961 saw escape room ★♦Theatre of Blood 1973 The Abominable Dr. Phibes 1971 haunt

found footage: ♦Host 2020 Unfriended 1 & 2 Cloverfield Final Prayer Gonjiam: haunted asylum grave encounters hellhouse LLC ★♦Willow Creek ★♦noroi the curse occult ★♦ghostwatch ♦V/H/S 1 & 2 & viral

★♦ ALL the Amicus horror anthologies are worth watching

[fans4wga]

drew gooden has a pretty good video abt tha writers strike , " The Future of TV is Bleak " . it doesnt go super in depth but i encourage ppl to watch it , and also to show it to ppl who dont support writers

Thank you for sending this in! Mod Ani here. While this video is a decent primer (link here if anyone wants to watch), Drew unfortunately perpetuates some common misconceptions, so here’s some more sourced info if you want to read more.

I’m not calling Drew a liar at all—in fact I’m really glad Youtubers are calling attention to the strike and supporting the WGA publicly. But he said he remembers the strike himself, and to be fair, he was at maximum 14 years old during the strike. His memory might be faulty or he might have misinterpreted sources or found flawed sources in the first place. Anyway, in the spirit of fact-checking…

Did the 2007 WGA strike tank shows?

At the 0:44 mark and later around 1:40, Drew claims the 2007 strike tanked a lot of shows. While a very common misconception, this is mostly untrue! Many of the shows that got canceled/"got worse" were already on a downwards trend before the strike. “Heroes” got bad reviews before the strike; meanwhile, “Lost” and “Pushing Daisies” both got renewed despite the strike, so you can’t really blame the strike for its changes or cancellation. See this Twitter thread for a comprehensive debunking of shows people think "got worse" during the 2007 strike, written by someone who covered it (writer Emily St. James @/emilystjams.)

To sum up her thread: “The 2007-08 strike didn't uniformly impact shows. For the most part, the shows on good trajectories stayed on them and vice versa.”

This is an especially pernicious mistruth because it has the potential to turn audiences against the WGA strike; fans are being led to think that the strike will only mean bad news for their shows. But the opposite is true: shows will in fact get better if writers have fair wages and aren’t overworked.

Later in the same Twitter thread linked above, Emily St. James says: “By far the most deleterious effect on young shows at that time was that a bunch of shows that might have gotten time to build more of an audience suddenly had to deal with long hiatuses. Many were canceled. Most never re-found their viewers.”

Yes, that’s what happened with fan-favorite Pushing Daisies (RIP). But this is already happening with no need for a strike intervention with Lockwood & Co., HBO’s canceled Batgirl, First Kill, Willow, Warrior Nun, The Bastard Son and the Devil Himself, 1899, and more. Popular shows are getting canceled after 1-2 seasons, for no good reason—or getting wiped from the streaming service entirely. The worst has already happened for many shows.

…Drew’s absolutely right about Quantum of Solace, though. They were basically working with a rough draft script for the film, which, of course, bad idea.

Did the 2007 WGA strike cause the reality TV boom?

At the 0:58 mark, Drew claims that the 2007 strike led to the reality TV boom and “altered the landscape of television.” While it’s true to an extent that studios filled their programming with reality TV during both the 2007 and 2023 strikes, the reality TV boom definitively predates the 2007 strike.

Again, this is a particularly pernicious mistruth because it could potentially turn people against the WGA and blame them for a trend they dislike. In truth, the reality TV boom that shifted the landscape started in the early 2000s with the enormous success of such shows as Survivor (2000), America’s Next Top Model (2003), The Apprentice (2004), The Biggest Loser (2004), Dancing with the Stars (2005), and more all predating the 2007 strike. This is all years before the strike was even a glimmer in a writer’s eye.

Lots of people have made jokes about the 2007 strike causing Donald Trump’s presidency because The Apprentice was popular during the strike. I tend to think this is a pretty silly correlation—who’s to say he wouldn’t have gotten a gig like that despite the strike?

What is the WGA fighting for now?

At the 4:00 mark Drew claims that the WGA is fighting “to be paid residuals for streaming shows rather than just a day rate.” I see what he’s getting at, but as phrased, this is a nonsensical statement. He means “flat rate”—a pre-determined rate the studios currently pay to writers regardless of how many people watch it. The writers—and I’m quoting this directly from the WGA demands posted by WGA member Adam Conover—want to “establish a viewership-based residual—in addition to existing fixed residual—to reward programs with greater viewership.” (Link to the WGA demands here.) This would make streaming residuals more like network residuals, but it would also require streamers to have transparency about how many people are watching, which they’ve been very nervous about publishing.

Drew also confuses the term “production companies” with the term “studios”, though this is a minor nitpick. The WGA is fighting the studios. A production company like ILM visual effects works with a studio like Paramount (studios are also called “motion picture companies”, because we’re old-timey) to make a movie. Some studios ARE production companies (Studio Ghibli does their own production), but not all production companies are studios. Okay, film school over, next point. (Link to read more about studios vs. production companies vs. publishers)

At the 4:06 mark Drew claims writers are fighting to keep AI out of the writers room entirely. This is just a slight misconception! The WGA is fighting to keep AI from replacing them, but in the current WGA demands, individual writers would still be able to use AI as a tool at their own discretion, but AI couldn’t be used as “literary material” and writers couldn’t be forced to rewrite an AI-generated script. Individual WGA members are not a monolith; some are hardline anti-AI, and some want to see if they can make AI work for them. (Mod Ani is on the anti-AI side of things, just to make my own bias here clear.)

The current WGA stance is, “How do you make sure this is a tool used by writers, like spellcheck and Wikipedia, and not a tool used to replace writers?” (John August, a WGA member and also part of the negotiating committee, wrote that and has some blog posts about it.) I think this part of Drew’s video is in line with a lot of popular anti-AI sentiment, and I do not personally disagree, but anyone talking about the WGA has got to put aside personal biases and report what the WGA is actually doing, not what we want the WGA to do. All in all, this is still a strong position for the WGA, considering the WGA is on the frontline of any business agreement about AI! The main struggle is to make sure it doesn’t replace human labor.

Drew also contradicts himself at 4:43 by saying the previous strike wasn’t about streaming services, when earlier in the same video he said correctly that the 2007 strike was all about gaining residuals for streaming services in the first place. So, uh, fact-checking himself?

Again a small nitpick, “There’s no financial upside for doing a good job” (5:45 mark) is also not quite true. The financial upside is getting a Season 2 renewal. Yes, increased transparency and viewership-based residuals would mean high-performing film/TV shows get paid more. But there’s definite financial upside to getting a renewal!

Production companies/studios shortening employees is absolutely not about “not having to put your name in the credits” (6:14). Everyone in the writers’ room gets their name in the credits. The issue, of course, is that studios are trying to have shorter writers’ rooms so they pay the writers for fewer weeks of work. WGA members not being credited isn’t a negotiating point at all, so not sure where this is coming from.

Miscellaneous things Drew is absolutely correct on and I will reiterate here

Drew’s absolutely correct on how scripts evolve during filming. That’s why writers are so necessary on set! Studios are cutting costs by getting rid of writers earlier in the production timeline, and a consequence of this is that writers aren’t getting the mentorship/training of being on-set for the show’s actual production. This is necessary training to become a producer/showrunner that writers nowadays simply are not getting.

He’s also absolutely right about how little money writers actually make in Hollywood, despite the films and shows they make producing so much more value for the studios. Residuals are lower than ever, writers’ rooms are shorter than ever, and many WGA members work a lot of side hustles to just be able to afford LA rent. So the discourse surrounding “rich spoiled writers” is just totally incorrect and maddening!

Drew is also absolutely correct about the entertainment industry simply being the first place AI is threatening jobs. Without legal challenges, AI will disrupt other industries soon, and the WGA is on the frontline of battling that.

Just for some clarification, around the 12:20 mark, Drew is talking about the common complaint about prequels/sequels/franchises/spin-offs. This is a real industry problem! Writers desperately want to write original stuff (remember the creator of Powerpuff Girls saying he pitched 16 originals to Netflix, with no luck, before doing a reboot?) It’s 100% the studios' fault; no writer wants this industry landscape.

Also at 13:40 mark, Drew makes a very good point that AI is only a small part of the strike, and it’s kind of been blown out of proportion because AI is trending in the news and popular in the discourse. Even the WGA probably wasn’t expecting this to get so much air-time. It’s still a part of the strike, of course, but keep in mind that pay and staffing are more major negotiating points at the moment.

Conclusion!

To sum up, Drew makes some good points, but muddles some too. I’d highly recommend going straight to WGA members instead of Youtuber middlemen… but in the meantime we’re here to fact-check. :)

[p-ren001]

Ok, so I really need people to watch (and re-watch) this show and hit the little two thumbs up button on Netflix. Please 🙏🏽

I went in completely blind. I knew it was adapted from a book and that was it. I didn’t know the premise, plot, nada. I just finished the last episode and am completely, and quite pleasantly, surprised at how much I loved and enjoyed this show.

Lockwood & Co. is a thriller/mystery that has a lot of tropes and characters I adore! I simply loved Lockwood and Lucy and George ♥️ Their dynamic is so entertaining to watch! Even the talking head and the rival agents.

The characters are all endearing and multilayered! The plot is super engaging and fun!

If you love ghosts, mysteries, fun and adorable character relationships, sword fighting, talking skeleton heads, cute banter, complicated and dynamic characters, found family, adorable nerdy/witty boys, slow burn that’s worth it, a ship where a charming/reckless boy meets badass girl that grounds him while he supports her and is not intimidated by her awesomeness (a ship that reminded me of Kaz and Inej tbh aksjsjdjdj), plus a lot more, then please, PLEASE, go watch this show!

I’m so scared that Netflix will cancel it like Julie & the Phantoms, Anne of Green Gables, 1899, Sense8, No Good Nick, First Kill, Babysitters Club, Raising Dion, One Day at a Time, The Irregulars, Warrior Nun, and so many others, simply because they do a shit job at promoting it, or because they feel like it. Let’s not make them feel like it, shall we?

Let there be a season 2. I looked it up and there are only five books so please @netflix just wrap it up nicely into 2 or 3 seasons, and I’ll be happy. There is so much potential here!

Thank you. That is all. 🫖👻🗡️

[aggressivelyaverage21]

Shannon's short spring break trip back home is perfect until it isn't... Her life goes up in flames- the only question is, will she run toward it or run away?

Breakfast at O’Connell’s was everything Shannon had always loved about it. Firefighters getting off shift rotated through as heaping plates of the best breakfast in New York slid in front of them. Shannon was lucky enough to have Lucky pressed up against her leg and her dad across the table from her, sipping on coffee and laughing as she regaled him with tales from training and school. 

She’d do anything to make him smile. Anything to prove to him that she was training and doing okay all those states away most of the year. He would do the same—stories from the firehouse, stories from calls– any and all of them really. Shannon liked hearing about even the boring ones. Even old stories about Jo and Benny that she’d heard only a thousand times. 

Oldman O’Connell kept their mugs full, though he always protested that Shannon was too young for coffee and should be having hot chocolate instead. He also brought out an extra plate of the good bacon and two house donuts alongside Shannon’s order of the house special—Irish Benedict. 

The rest of the day went more of the same. On their way back to the house, Shannon’s smile almost split her face when her dad’s truck rolled to a stop by their fishing spot in the Hudson. She hadn’t even noticed their poles or the tackle box in the back of the truck. Lucky was wagging his tail so hard it was pretty clear he was just as excited as Shannon was. 

It was the best spot. There was a good view of the city from here, it was quiet, never very crowded. The only problem was that they never really caught much. Not that they ever ate them, it was more of a catch-and-release program than anything else. They kept the ones when they went upstate, but the catching was never really what mattered to Shannon. 

She just liked spending time with her dad. Sometimes, they would talk. Sometimes, they wouldn’t. Sometimes, they would talk about the hard stuff. Sometimes, they just listened to the water and whatever it was around them. Sometimes, Aunt Jo would come and play fetch with Lucky and talk trash about them not being any good at fishing. 

Today, it was some of all of it. There was the talking about Shannon still wanting to join FD when she graduated college, and Lucky nosing his ball into her foot for her to toss, her dad watching her carefully, not wanting to pry but feeling like there was something Shannon wasn’t telling him.  There weren’t any bites, just enjoying the repetitiveness of tossing a long cast of the line over her shoulder, and slowly reeling it back in. It was always such a mindless rhythm. 

It was everything Shannon hoped her short stop in New York might be, especially when Jo met up with them as they were pulling back into the driveway. They were planning on doing a little workout. The whole day had gone great. The workout back at Paddy’s Field behind the playground was everything that had gotten her ready to play soccer at such a high level. After their run (a little slower this time to let Lucky keep up with them with his aging hips and her Dad’s trick knee), they moved to the agility ladder and some weighted movements using the sandbags they usually kept behind the bushes since no one was ever back here. Shannon brought her soccer ball, too. 

Having it at her feet while Jo and Lucky tried to play defense. Her dad was attempting to play goalie against the rusted fence that had served as their goal for many years. Soccer was never his favorite, but when Shannon told him that she was choosing it over basketball, he got on board so fast. As long as his little girl loved it, he would love it, too. 

The walk back to the house was just as nostalgic as the rest of the day had been. Debating what place to order takeout from. Lucky trotted happily next to her, his tongue hanging out of his mouth as she held her soccer ball under her arm against her hip. The way he looked up at her was maybe one of Shannon’s favorite things in the world. Her dad loved her, Jo loved her, she had all the guys at the firehouse, but Lucky? Lucky looked at her like Shannon was his entire world. 

Jo always joked with her that she shouldn’t ever be with anyone who didn’t look at her with at least half as much love as Lucky did. Then she would quickly accuse Shannon of feeding Lucky scraps under the table because that was by far the easiest way to buy his affections. 

Her dad and Jo were joking on either side of her as they walked too. Talking idly, occasionally making comments about their old age and how it wasn’t fair that Shannon could outpace her dad now. Always making excuses even if he winked after them. His kid was an athlete , and of course, she was going to wipe the floor with him in anything athletic. He was far past being ‘man enough’ to take that away from her. He would give her all the credit she was due. His kid would own every bit of confidence she should. He would make sure of that. 

They turned off Van Cortland Park to head past Jo’s apartment. Shannon never understood why Jo didn’t just live with them. She was over at the Masters’ house most nights they weren’t on shift anyway, or Shannon was spending the night in her own room. Now being a little bit older, Shannon wondered if it was so Aunt Jo could have her own space when she wanted. Or if she ever decided to date anyone, though no one had ever really been around.

Shannon was snapped from her thoughts when the smell of smoke on the wind hit her in the face. The two career firefighters on either side of her immediately stopped their bickering to swing their heads to look for the source. 

Shannon Shannon saw the plumeof smoke first. A little bit down the street, she saw it. The tall columnof dark smoke rose above the trees next to a very familiar corner. “Is that…” 

“Sean.” Jo’s face flashed pale as she looked at her best friend. 

Shannon was right. It was her apartment building, and by the lack of sirens in the distance… well, it just wasn’t good. 

Jo took off at a sprint. 

Sean looked at Shannon before following Jo. 

Shannon dropped her soccer ball—

the soccer ball she’d had since she had been in middle school, it was torn to hell, but it was hers — 

—it bounced on the pavement as she chased after her dad and Jo.

Keep Reading

[laurasbailey]

being a fan of sapphic content has always been exhausting but especially since lexa died.

as soon as she died, tv execs were climbing over each other to capitalize on our pain. so many new shows popped up with queer woman or queer women were thrown into shows with varying levels of success (for the most part the representation was Just Fine but we were desperate so we clung to it). they couldn’t kill them off when they got bored of them because of the backlash, so they were often sidelined or ruined because generally nobody knew what to do with them because writers rooms are often not diverse.

a few years of that and the representation waned significantly. as we all know, many of the sapphic shows that were first released in 2020 were cancelled. funnily enough warrior nun is (currently) one of the few left standing.

now we’re in an era where everything is on streaming and shows like heartstopper will get a double season renewal while the sapphic shows get cancelled despite the sapphic shows having more watchtime. and not just cancelled, but cancelled after a ridiculously long wait so fans break their backs trying to promote something that netflix or amazon simply won’t.

shows like warrior nun are flat-out doomed if it takes fans constantly re-streaming the series an absurd amount of times just to get numbers up. it’s unsustainable if renewal can’t be achieved with an organic amount of watches. the drop-a-whole-season-at-once binge model just doesn’t work if they’re so stuck on numbers, they should switch to a weekly model like hbo and disney+. 

anyway i went off on a tangent but i’m just so tired. it feels like we can’t just win without doing obscene amounts of work to get there.

[mizkit]

new blog post: Picoreview: Mrs Harris Goes to Paris

new blog post on https://mizkit.com/picoreview-mrs-harris-goes-to-paris/

Picoreview: Mrs Harris Goes to Paris

Picoreview: Mrs Harris Goes to Paris – a delight!

I very much wanted to see this in the theatre and for whatever reason failed to, so when I had the TV to myself and discovered it on Netflix a couple nights ago, for once in my life I didn’t spend 45 minutes trying to decide what to watch and finally decide to watch nothing, but just watched it. :)

It really is a delight. Charming, sweet, soft, occasionally heartbreaking, and funny. The lead, Lesley Manville, is one of those actors I feel like I’ve always been aware of even though looking at her filmography doesn’t seem to show much that I’ve actually seen. She’s absolutely lovely in the role, and I completely accepted her as a heartbroken widow who falls in love with a Dior gown. She was just lovely.

They did some WONDERFUL stuff with the lighting that just absolutely thrilled me, and the dresses were, of course, beautiful to the point that more than once I, who am familiar with 1950s Dior because look, we all are, on a subconscious level if nothing else, was gasping out loud as the models displayed them. They were so, so beautiful. All of the costuming in the film was, as you might imagine, excellent, and it’s worth watching for that alone. (Apparently all of Manville’s clothes were vintage except her coat and her Dior, which they made. That’s pretty cool.)

The supporting cast is all both well-written and well-cast; even the small roles (including what amount to a trio of drunken fairy godfathers) have a lot of personality and presence to them. And having watched this now instead of when it came out meant there were several people in it that I went “Oh hey look it’s them!” instead of “um, who is that?” Most particularly Alba Baptista (Warrior Nun and even more recently, Chris Evans’ wife, the lucky woman), who plays the lead Dior model while channeling a lot of Audrey Hepburn, and Anna Chancellor (probably best known as Henrietta “Duckface” from Four Weddings & a Funeral, but who I JUST saw in My Lady Jane so she was newly re-familiar to me), and also the vaguely familiar handsome guy interested in Alba Baptista’s character, who turned out to be Julia Roberts’ boyfriend in Ticket to Paradise. :) So it was a bit of spot-the-actor, but not in a distracting way.

Jason Isaacs also plays a slightly roguish Irishman with a convincing enough accent that I actually looked him up to make sure he wasn’t Irish. He’s not. I didn’t think he was. But it was a good accent!

I’m very happy to have finally seen it, and could see this one going on my comfort rewatch list, which is quite an achievement for any film. :)

[phantomoftheorpheum]

so....

The 4400 (USA) American Gods (Starz) Willow (Disney+) The Girl in the Woods (Peacock) Vampire Academy (Peacock) The Wilds (Prime) Paper Girls (Prime) Night Sky (Prime) Raised by Wolves (HBO) The Nevers (HBO) Lovecraft Country (HBO) Helstrom (Hulu) Kindred (Hulu) The Society (Netflix) Julie and The Phantoms (Netflix) Lockwood & Co. (Netflix) 1899 (Netflix) Shadow & Bone (Netflix) The Irregulars (Netflix) Archive 81 (Netflix) October Faction (Netflix) The Dark Crystal (Netflix) Jupiter's Legacy (Netflix) The Bastard Son & The Devil Himself (Netflix) First Kill (Netflix) Cursed (Netflix) The Order (Netflix) Resident Evil (Netflix) The Imperfects (Netflix)

list has been updated with additional shows & re-ordered by producers. if you have shows to suggest, please remember this list is intended to be fantasy or sci-fi shows canceled in 2020 or later that were left with an unfinished ending.

are all sci-fi/fantasy shows left unfinished/abandoned just since 2020 (i'm sure there are more). like, listen, i haven't watched all of these, and some of them may have sucked, but why the fuck would i ever trust that sci-fi/fantasy shows are ever going to get their endings? particularly if that sci-fi/fantasy show is on Netflix?

honorable mention: Warrior Nun (Netflix) - didn't include it since it's been picked up for the movie deal, absolutely no fucking thanks to Netflix, though.

[dumpsterfireofsubtext]

The way Beatrice screams ‘Ava!’, the way the blood trickles down Ava’s forehead, the LIGHTING, the religious IMAGERY with the crown of thorns on her head.

Oh babey, the end of episode three is so fucking Delicious.

[simplykorra]

in this life

[beastsovrevelation]

Put on Warrior Nun in the background. I haven't re-watched the show in a long while...

But what will I work on?.. Probably my Good Omens wips. But, maybe I will pick at ATSBB too. I should really, I should finally deal with that black mass.

[jtl07]

jt (finally) watches warrior nun - s1 e8 (pt 2?)

Okay so I’m dashing this off before this energy runs out but I had a further thought about s1e8 because for some reason I’m having a hard time moving on to e9 and e10?? idk why bc I definitely want to get to s2 I just … have no compulsion to watch the last two episodes of s1 it’s strange mostly around anger and fear (and yes, I am now thinking about Yoda and his whole “fear leads to anger, anger leads to hate, hate leads to suffering” line which if I can do this right, will circle back to this line. Will I get there? Read on to find out lol).

So I’ve been rambling for a while now in my commentaries about Beatrice and her anger. There is just so. much. anger. in her. (I feel like anger and grief kinda run this show, or at least this season thus far) And it’s kinda fitting that the Sister Melanie story that she reads (and thus prompts her revelation) is one born from anger.

Yeah, I know she sidesteps Ava summary of the story as Sister Melanie “tapping into her rage” rather as her tapping into “something elemental in her soul” - but that doesn’t not mean she wasn't rage - rage is just as elemental as any other emotion.

It's just that anger gets such a bad rap - especially when it’s presented in/performed by people of color, not to mention a woman of color. I know lived experiences are unique, but as someone who’s lived that kind of experience - Asian, queer, female, raised Catholic, and a military background - anger was something that I know now is what kept me alive. It was the only way I could move past the trauma I had been dealt when I was younger, the only way I could find some sort of independence as a young adult. Anger was the only way I knew how to move in and keep remotely safe in the world - a world that had done so much to control and stifle me; a world where the only way I found I could provide value, the only way I could I could prove myself worthy of anything, was through obedience and loyalty and sacrifice.

So to see Beatrice angry in this episode, to see her snapping - even though it was at someone who hasn’t hurt her (i.e. Ava) - it was a bit therapeutic.

But not because she let herself get angry at Ava - but because she let Ava see the fear that was fueling her anger.

I wrote in my e4 commentary about how her anger is fueled by fear - how she calls out Lilith in the middle of a mission (fear of the OCS - her home, her family - being taken away from her), how she sends Camila away with the others so she’ll be the only one to retrieve the shield (extreme obedience and risk of self-sacrifice to prove her value). And I feel like that’s true here too. After Ava asks if she wants to talk about it, Beatrice immediately sidesteps, angrily focusing on the “moral” of the story - because if she doesn’t, she has no value to the Warrior Nun; if she doesn’t, she has to acknowledge the pain and fear that’s been driving her all this time.

And that’s the gift Ava gives her. I found myself comparing these Avatrice scenes re: Sister Melanie to that cave scene with Mary and Ava in e6. Why? Because both Beatrice and Mary take out their anger on Ava in those scenes - and Ava does not stand for it in either scene. She shoulder throws Mary, calls out Bea. When faced with other people’s anger, Ava does something really unique: she gets them to reflect on what’s driving that anger, that fear.

Anger and fear aren’t inherently “bad” things - it’s when we don’t acknowledge them, when we paint those feelings in a negative light and stuff them away that the problems start. And really, that’s what happens - case in point: after Beatrice saves Ava in s2, when she lets her “emotions blind her to the mission” (i.e. her fear of losing Ava), she basically goes into self-flagellation mode because she sees that as a Bad Thing TM (and yknow what? The Bad Thing she was really fearing still happens anyway).

But you know who’s given into fear and done beautiful things? Ava. Especially when saving Bea. I'm thinking of when she saves Bea from Sister Crimson in s1e7, then saving Bea from the wraith sin s2 - scenes beloved in the fandom, ones where Ava just goes with her fear, and anger, lets those emotions fuel her and the halo to do brilliant things.

And I couldn’t help but think that maybe why Bea hates her anger, her fear so much - because fear is really a sign of want. For Beatrice, she wants to keep her family safe, she wants Ava to live; she wants to be saved, wants to be seen as worthy of saving. But to want is selfish, to want is needy, and Beatrice can’t be seen as either of those things - can’t see bear to see herself as either of those things.

But Ava, gosh, she comes back to life feeling everything, doesn’t she? And how she lives makes everyone else also feel everything too. I don't think their emotions were ever "blinding" them - I think those were moments when they could truly see what was important.

Okay I think I’m all energy-ed out now. We’ll see if/when I get to e9 lol

[sango-blep]

I was thinking about this for a while but as I'm (re)watching Warrior Nun I'm just thinking like. Jesus walked on water - Ava runs on water. Jesus wore the crown of thorns - Ava was the only one in the show who wore the crown of thorns. Jesus resurrected Lazarus - Ava resurrected mother superion. Jesus sacrificed himself so others may live - Ava sacrificed herself so Bea (& by extension everyone else) could live. Sooooooo Jesus came back after 3 days.... Ava..? Just a thought, hehe.

oh yeah i've seen that theory a couple times and sounds good to me becuse I hate long separation angst 😂