#wasn't in the right era for them

[roseofb612]

I want to reread Persuasion so badly

[itswhatyougive]

I saw some people be like "gweeehhhhhhh Steddie shippers built that whole ship in their minds, it's fanon only, they had no chemistry in the show, they barely had any connection at all "

And it's actually really funny, because I humor them and think, "hmm, was it all in my mind all along?" and rewatch S4.

Then I feel soooooo validated upon rewatching. It actually gets even better and more obvious every time I see it.

[sciderman]

Being told Daniel Ways Deadpool is just a crazy™ idiot from a looney tunes show just to read it (for a third time, now as an adult, after seeing something past the first two issues) and see that while YES, Wade is crazy™ in the book, to the point of just randomly having halucinations and a second voice (whitch both still kinda piss me off, because while NOW it's supposed to be Madcap, back then it was just kinda offensive), he was also a pretty fucking smart individual, to the point of tricking everyone on a bunch of occasions, that whole scene of him alone on a boat after killing a shark, his sometimes dark and kinda depressing inner thoughts, it was just kinda a shock.

And while Wades jokes don't always land for me, the book actualy got me to laugh a bunch of times, while the portrayl of mental illness outside of depression is out-dated and offensive, at least he wasn't JUST a crazy idiot, and Medinas art for Wade is so good imo.

(Also the Bullseye arc was so fucking fun, with the look into Wades backstory, the more and more cartoonish violence, the art, the jokes, the pay-off at the end of the story too)

do we think that the white box is something inherently offensive? because i mean - i write wade with the white box. it's not related to madcap - it's something that's part of him - but i don't think it's anything that isn't just, part of any human – the voice of self-doubt that makes you question your worth. the intrusive voice in your head that makes you fall into destructive habits – i think it's something very real (for everyone) but it just manifests in different, more extreme ways for someone who's been through as much as wade wilson. (that's why peter has red, too. peter has his own boxes of self-doubt.)

i think there's a lot to enjoy about way's run. i love the boxes, and i think they're something that sets wade as a character that's kind of unique. yeah, it wasn't exactly handled in the most sensitive way in regards to proper representation of mental illness, but – i think it's a huge loss that it was erased. because wade could be such an interesting, unique representation that you don't normally see taken in a sympathetic and likeable light. you always see these sorts of disorders as something terrifying - something only in horrors and tragedies - you don't see it manifested in the characters you're meant to root for. the characters who are striving to do better.

i think white box was such an interesting device that gave deadpool a unique voice - gave us an in into his head - kept an entertaining dialogue going with wade even when there were no other characters present - and gave us opportunities for comedy in unexpected places. and i honestly kind of feel like it's some sort of erasure to get rid of those boxes, and make wade just like every other marvel character. i think a writer who's sensitive and creative could do something so, so interesting with those boxes.

i miss you, wade's boxes. i could write an essay on thi

[thecruellestmonth]

"Jason isn't the only one to die and return from the dead. He's not special, so he shouldn't be treated as special. He's not the first, and he's not the last."

"How could Bruce ever anticipate that Jason would return from the dead? Bruce coped how he needed to. The dead aren't supposed to judge how the living treat their memory."

🗣️📣 You can't pick both.

[starchaserdreams]

Being in the marauders fandom is so weird sometimes

I just saw a post about Sirius and Lily and I was like

No!! That's not their dynamic! WTF are you doing???

But then I had to remind myself

It's not *my head canon* of their dynamic

In real canon they didn't even have a dynamic

We don't know their dynamic at all beyond one scene

The Marauders era was barely in HP

These characters are like 96% head canons, 4% canon details. There are no rules. It's whatever happens in your head.

[solradguy]

Package illustration and SEGA Aime card stickers promoting Guilty Gear XX Λ Core Plus R offered at Japan Amusement Expo 2013. Art by Daisuke Ishiwatari. Original art scan credits lost. Upscaling and editing by solradguy.

[adhd-merlin]

Ah someone else who has discovered the joys of Camelot (1967) a movie that I am completely normal about. Have you watched it? Because the delivery of the lines is everything and if you need someone to talk to about it I am, once again, completely normal about it. The scene where Lancelot and Arthur first meet?? A masterpiece in sharing a single braincell. And don't even get me started on the way Guenevere first treats Lancelot "have you jousted with humility lately". It's unapologetically at the top of my Arthuriana movie rank list and has gotten me to reread The Once and Future King

I have not watched the film yet!

I've been listening to the original cast recording on Spotify but, most importantly, I've read the book of the original Broadway production (1960 libretto) and I love it?? It's a delightful little read on its own, even without having watched the musical. (I want other people to read it please it's very funny I promise)

I guess the 1967 film script won't be identical to the libretto but I assume it's fairly similar.

The scene where Lancelot meets Arthur was hilarious it made me laugh out loud. Lancelot utter puzzlement ("Gone a-Maying, Your Majesty??"). Arthur's sudden self-consciousness.

And don't even get me started on the way Guenevere first treats Lancelot "have you jousted with humility lately"

I know!! Lancelot's grating self-righteousness coupled with his complete lack of self-awareness is so funny.

And I loved the gradual tone shift. It starts out so silly and the tragedy sneaks up on you — I thought Guinevere and Lancelot's affair might be played for laughs with an oblivious Arthur but no, it turns out he's fully aware of what's going on and he's forced to watch it unfold because he's powerless to stop it? and he loves them both and doesn't want any harm to come to them even as they betray him??

(He continues talking, looking from one to the other, feverishly — painfully) — Excuse me??

and King Pellinore is hilarious, he enters the scene wearing a monocle followed by a little mongrel named Horrid and talking like a character from a P. G. Wodehouse's novel. Extremely validating because when I read that chapter in Le Morte d'Arthur in which King Pellinore first makes an appearance my first question was "is he meant to be this funny?" and the answer from this script is a resounding YES.

I think I might perhaps watch the 1968 stage production first, merely because it's available for free on Youtube (at least in the UK).

I might try hunting for a free streaming link to the 1967 film, though I don't mind renting it if I can't find it.

[nostalgia-tblr]

[monstersqueen]

anyway about 'wan giving me dark era feels' it's yell at odasaku o'clock.

this is the cutest thing ever oh my god :

odasaku smiling fondly while dazai and ango bicker in the background and his own tiny!dazai and tiny§ango, being little angel/devil on his shoulder just here with him. oh my god. they make him so happy. he loves them so much.

this is the same chapter where dazai has a tiny shoulder!ango nagging him into living healthier which is such an adorable image it never leaves me :

but odasaku. did you listen to your tiny ango and dazai before going to fight gide ? no you didn't. i know you didn't because they would have told you not to. because both of the real versions asked you not to fight him

gods he's given up on everything at the end of dark era oh god he's making me cry ;_;

[ambreiiigns]

ok i watched the first 4 episodes of jjk s2 i think i've had enough for today. i think that's enough for today i don't think we're watching more. honestly

[000png]

okay watched the super mv too, i think i saw someone mention earlier they pretty much put their entire budget into the backup dancers bc like yeah lol that was a performance video not really a traditional mv.

and like i might just be talking out of my ass bc idk anything about choreography or dancing but like... to me it doesn't feel like svt, a group that's really been known for their unique choreographies, has actually been. doing that. you know. making really unique choreographies. and i know it's hard with such a large discography but idk this choreography just somehow feels very samesy as the last few titles, like they use kind of similar. formulas? in their formations and how they break out and come back in and stuff. im not articulating this well but basically it just kinda feels like stuff we've seen before already. and it's really noticeable when it's all in a row like this too

[elprupneerg]

i need to find the people who "inspected" my new place and said it was in good condition and i need to beat their ass so hard they quit their job and never leave any other tenants with a place as weirdly fucked up as this one ever again

[yunwooz]

omg no yeah teezer teletubbies... san yun yeo jong...

[aeide-thea]

i've said this before but i don't understand why people so often want to frame language vs material action as a zero-sum game

like maybe it's just bc i have lifelong words person brainrot but the way we describe things does matter actually—it has an impact on how ppl frame things in their own minds, which has an impact on how they treat people affected by those things, craft legislation around those things, etc etc

[mollyrealized]

How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.”  I mean, this is … what … '88?  '88, '89.  So it was … now I know that it was a period of time that was a big change, transformation going through comic books.  Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No."  And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story.  And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy."  Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick.  Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe.  Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman.  And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA.  And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary. 

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.”  You know, “This is eel.  This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"  

We'd finished, so we pay our bill.  And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil.  And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be –  it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months.  So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course."  I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.”  But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well.  And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up.  And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God.  Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”.  I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah.  Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard.  I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you. 

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

[actuallynickels]

What has been your favorite part of Lackadaisy? (I must say I ADORE the animation with the visible sketch lines. It gives such a welcoming homemade feel to the show!)

I think my favorite part was getting that dang pencil to finally look right. Idk if most people here know this, but I built from scratch the brush used to line the characters as well as the early pipeline for how the look of the characters would be handled in cleanup.

My goal was to create a line texture for Toon Boom that looked like the Xerox Era of Disney animation. This was where the animators would take their rough pencil drawings and use basically an old school printer to copy and darken those lines so they looked like finalized cleaned lineart. This was done to cut costs so they wouldn't have to draw AND line every single frame because Disney wasn't doing so well financially back then (crazy to imagine now I know), but the end result was a really unique aesthetic!

Obviously we went a touch more clean than these. I just wanted to show some really nice and crunchy examples. Even so, funnily some people thought that was a mistake instead of a throwback to a long gone era of animation haha I don't blame them tho. People are much too used to hyper clean/crisp lines and we wanted to bring that dirt, grime, and TEXTURE back in for a nostalgic vibe. I'm still proud of how these early tests came out and the further refining the rest of the team did to get that final look is incredible.