at the beginning of the series i did not expect to like both of these characters as i do now but i really really do

The portrayal of Alec’s relationship with his mother is really interesting and important to me. In the beginning of the series, you have him trying to live up to his parents expectations, to set a good example for his siblings, to be a strong shadowhunter and leader. He doesn’t call out his mother’s problematic treatment of Isabelle, even though I’m sure he didn’t agree with it. He simply tries to keep the attention away from her by being The Good Son™ and making sacrifices on behalf of his family, so they don’t have to.

Alec never had a reason to question his parents before, to doubt the lessons they taught, to doubt their perspective and beliefs. It’s not until he learns that they were once members of the Circle, a group that wanted to completely eradicate the downworlders, that we see him slowly starting to question his parents and wondering if they’ve just been using him and his siblings to try and make up for their own mistakes. It’s not that Alec never thought for himself before, because of course, we know he did - it’s just that his perspective was limited and he didn’t question his parents or the Clave because he had never been given a reason to before. It’s what he, and many other shadowhunters, were raised to believe.

So we see Alec begin to turn on his mother a bit because suddenly a lot of her expectations for him and Isabelle seem hypocritical. She judges them for any mistake they make, acting as if she never made any of her own. She expects them to be obedient and law abiding when she and Robert both turned on the Clave. Of course there’s a reason for this - she’s trying to protect her children from making the same mistakes she did - but she goes about it the wrong way, and Alec is understandably too angry to even consider the reason behind her strictness.

And this kind of follows their relationship into the second season, where Alec has made it clear that he’s not going to be the obedient son anymore, that he is going to fight for the things he believes in and the people he cares about. More importantly, he’s not going to stand by and blindly take his mother’s criticism if it’s unwarranted and he’s not going to bend over backwards to earn her approval anymore because he’s learning that while it would be nice to have, he doesn’t need it. He never did. So he stands up for Jace when Maryse tells him to forget about his parabatai, and he stands up for Magnus when she lets her prejudice against downworlders show, because he is done standing idly by while she says bad things about the people he cares about.

But despite everything, despite the secrets and the criticism and her inability (so far, at least) to completely accept Alec for who he is and who he loves, Alec still loves her. He doesn’t turn a blind eye to her flaws and isn’t afraid to call her on them, but she is still his mother and that’s something that never changed for him. When he learns that his father is cheating on her and sees how it’s upsetting her, how hard she’s struggling to hold herself together, he sympathizes with her and immediately sets aside their differences and goes into protective mode. We don’t know a lot about Maryse and Robert’s relationship, but the fact that Alec shared the story of their proposal with Magnus so he could honor them with the theme for Max’s party suggests to me that they’ve viewed them as mostly being happily married. So learning of Robert’s cheating does come as a surprise, especially when Alec was under the impression that they were fighting because of his recent life choices.

And I just love that Alec gets to have such a complex relationship with his mother, who he has every reason to resent but can’t completely because… Alec’s all about his family. They mean everything to him, no matter how angry he may get with them or how much he may disagree with their views. And I find it very realistic that he would set aside his anger and frustration with his mother to offer her comfort during what he recognizes to be a difficult time in her life. That’s just who Alec is. And Robert cheating on Maryse obviously doesn’t excuse the harmful things she’s said, it doesn’t redeem her, but it adds a sympathetic nuance to her characterization that wasn’t there before because for all her flaws she does love her family. She’s just not very good at it.

And I think that this has the potential to be the beginning of a redemption arc for her, because Alec has made it clear that if she wants to make things right with him, she has to make them right with the people he cares about, too. And she’s started doing that with Jace, but let’s be honest, we all know eventually she’s going to have to do that with Magnus, too. Alec’s giving her time to come around while making it known that Magnus isn’t going anywhere so yes, she does have to get used to him and at the very least learn to be civil. And she will, or she’ll push him away.

IDK their relationship is just so multifaceted and I really enjoy it and I’m looking forward to seeing more of it in the future. Ultimately the goal is to begin eradicating the prejudice against downworlders and breaking those barriers, and although right now it seems like we’re a long way away from that, it’d be nice to see it happen with Maryse, especially with the depth Nicola brings to the character. At the very least, the narrative seems to consistently call out her problematic behaviour, and we need more of that on the show IMO.

unexpectedly charming

Before Season 2 of Voltron came out, I had read an article that had mentioned there would be several bonding moments between Keith and Allura, and as a pretty invested Klance and Shallura shipper, I was skeptical. I really was. I figured if it happened, it would happen, and I would just deal with it.

The last thing I expected was to like Kallura even a little bit, let alone be completely charmed by it.

(gif credit to the marvelous @flusteredkeith!)

Not only had Keith and Allura barely interacted, I didn’t really have a grasp on Keith (there were assumptions, of course, which I used to inform the way I wrote him in fic)- so going in, I had a lot of reservations. You could even call it a low-key notp, because I didn’t want them to get together just because they had been together in the original series. It didn’t make sense to me, given the interaction they had had up to that point.

But then some of my friends started watching season 2, and when I asked two of them about shipping moments, as I am wont to do, they both mentioned Kallura…and that it was actually kind of cute. And charming. And the all in all, they didn’t hate it.

I was intrigued. So I went into watching Season 2 with an open mind, and I discovered that it really was kind of cute. And the more I thought about it, the further I fell, and I really wanted to figure out why.

So I’ve decided to do the only thing I can do when I’m overwhelmed by feelings about something: write about it.

So here goes: a little meta essay (read: roughly 4,700 words with copious screenshots and gifs inserted for visual interest) on how I fell for Kallura, and why I’m interested in its potential, and why I think it’s worth giving a shot!

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Character Development Breakdown: Kagome Higurashi

Introduction

Kagome’s development really has an impact on pretty much everyone she meets, herself, and the story itself. She starts out as a kind girl, that’s a bit spunky, but… falls victim to a lot of the things that teenagers her age do. Her idea of ‘love’ is only what one would know from books or TV shows, her ideal guy is the “prince” that every girl wants, until they realize that even the prince has his flaws, as does Kagome. That’s only naming a few.

Kagome’s development comes down to, maturity, her powers, her marksmanship, her view on love, and her emotions, and yes, even her school. While the basis of her character is always a nice and kind girl, her niceness develops, along with her maturity and understanding. Her view on things improves and becomes more powerful and more focused, and due to her growth in maturity, it changes. Her niceness can often be her biggest flaw, due to her insecurity and her lack of confidence, and often being too nice, causes these two to make an appearance, even if there isn’t a hint of doubt in what she wants to do, those negative emotions come through and she has to find herself dealing with them.

The Breakdown

Maturity: Now while it might seem at the beginning of the series, Kagome is very mature, she does have her immaturity that comes with her age, ignoring her grandpa’s stories and the gift that she received from her grandfather being pieces of this, her stubbornness plays a role in this, though it might be because of Inuyasha, though she does try to play the peacemaker between the two.

Her adjustment to the era could also play a role in this, since that does take a while, and that’s a factor of the environment. Which, is key, because her time in the past has an effect on her in her own time, as we see, she picks up aspects of that time, which add to her character, and the more and more we come across her friends, the more we start to realize that Kagome… doesn’t quite fit into the group anymore, she’s changing so much because of her time in the past, all that experience, that her friends can’t keep up with her.

This, as stated above, also applies to the positives of her character, she’s a very nice character, that is also a victim of her own niceness, she’ll help those out even if it puts herself in danger or it hurts her emotionally, that changes as her confident and security with herself grows, but for much of the series, that actually effects her negatively, due to insecurity and a lack of confidence, these aspects are targeted in numerous arcs, with her often having to come to grips with them, when it does. To give something of an idea of this, think of the Kaou arc… “I’m not strong, I’m being kind!”, so often her niceness is one of her biggest attributes, it does wonder for those around her, but it effects her in numerous ways at the same time, it’s something that she has to find a proper balance, but first she has to obtain the confidence in order to do so, it’s when she does, she not only becomes more mature, but emotionally stronger.

Powers: Her powers are an odd one, because she doesn’t have any control of them, and they come out in bursts, Kagome’s powers were the key to Naraku’s defeat, that’d been brought up on numerous occasions due to her powers often being the thing that Naraku wanted nothing to do with, or when he did he had to find a means to get around them. Kagome’s powers go through an odd development, because she does learn how to use them, but it isn’t until later in the series that we learn that she’s being held back by the jewel itself, and Hitomiko’s training also plays a key piece in developing Kagome as a marksman.

Marksmanship: Speaking of marksman, let’s tackle that. This one I always hear about people wanting to see her practice with a bow, and get better, we never actually see her doing this. This never really bothered me, mostly because she has plenty of targets possibly on a daily basis and often when their in a real battle, so one assumes that to be the case, but that also has me asking “What about Inuyasha?” he rarely if ever trains with his own sword, he’s not the training type at all really (sure the anime often liked to throw in a lot of aspects about this), but he does very little training. Needless to say, her shot improves through the series, and as it should be, it’s a slow process, she grows better and better, but doesn’t become an expert overnight.

Love: As mentioned about, Kagome falls victim to all the things teenage girls do, her idea of love is basically what you would expect from a prince in a fairy-tale, or a character from a drama, he’s perfect, often too perfect. Yet, she ends up falling for a guy that has quite a few of his own flaws, and even more-so, she actually learns what love is, not that shallow approach that TV gives us, but the real deal. This one I don’t think gets a lot of love (pun may-or-may-not be intended, depending on your sense of humor). When talking about love, it’s always about her relationship with Inuyasha, but let’s move away a little bit from that, and focus on a few things, namely, her interaction with Inuyasha is her first actual romantic involvement with a boy.

And we get to see every bit of it, we get to see her reacting with his attempt to kiss her, that flusters her, we see her reaction to him when he comments on her scent and talks with her, we see her thought process when he hugs her and her conflicting feelings. We see everything, all Kagome’s thoughts from a person that “think” she knows about love, to someone that actually knows what it is because she’s experiencing it, and we see every bit of it happens, we get her thoughts on things, we hear Kagome’s monologues in the series more than just about anybody else, and with this subject, she’s often the one that’s setting the tone, in fact, it’s often because of her confusion, that both Inuyasha’s and Kikyo’s relationship (or lack-there-of) are presented.

Emotional: This one really branches into different areas, love, maturity and her confidence, but also her ability to understand people better, she becomes able to read people. I feel the thing that best exemplifies this, is her words to Naraku about his actions, she gets a read on him that nobody ever thought about, nobody really understood, even Kikyo, who was supposed to know Onigumo, and who thought she knew Naraku better than anyone, couldn’t actually get an idea of what Naraku and Onigumo truly wanted.

And this ability isn’t something that she naturally has, her ability to understand people comes from learning about them, through thoughts, actions and words, and that’s more because she actually cares about people, or doesn’t get cocky and actually learns from each of her experiences. The latter is important, because Kagome has to constantly develop, she has to constantly learn from her experiences, because if there was one time, even one time during the series that Kagome didn’t, Naraku would have won, the jewel would have won. But because she learns not only about others emotions, but her own, she’s able to beat Naraku time after time after time. It’s this part of her development that strengthens everything about her, whether it be love, her powers, and most definitely her maturity.

Education: This is a funny one, because really the only thing you have to do is consistently hear about her school (which we occasionally do), and graduate. This one is of course more of a slow burn, but we do consistently hear about her work, especially early on, because the idea is in place, and then it’s referenced when she either talks about it, or has to go to her time to study for a test or make up some work (though there was never a schedule set, I’m sure there was at least a day or week (normally, sans when something involving Naraku happens and has to be taken care of). Anyway, of course, she does pass, and she does graduate.

Impact & Influence

I’ll say this right now, nobody in the series has a bigger impact than Kagome does, her development not only develops her character, she develops those around her due to her actions and words. To really put things in perspective, I have to do a character breakdown, because it’s much easier to sort.

Inuyasha: Perhaps nobody is a better example of this than Inuyasha, most of Inuyasha’s core development is due to Kagome, whether it be trying to become stronger, trying to control his demon side, coming to terms with who he is as a person, without Kagome’s own development, and without who she is as a character, we really wouldn’t know the kind of Inuyasha that we do. With that in mind, some of Inuyasha’s development also leads to development for Kagome in the process as well as their relationship.

Kikyo: Kikyo isn’t so much impacted (though Kagome’s powers and emotional strength play a part in her staying alive longer), so much as it’s Kagome that really puts everything into perspective when it comes to Kikyo’s relationship with Inuyasha. It’s due to her impact on Inuyasha, that Inuyasha is much more open, and Kikyo is able to see a realer Inuyasha, not quite the real deal, but a lot more than she saw during her time with him. It’s often due to her misreading things, that a lot of pseudo-development (development only through Kagome’s misinterpretation) is made for the relationship, not everything she thinks is true, but it sets there relationship into perspective, only to course, really put the entire relationship into perspective at Mt. Azusa.

Sango: This one has more to do with Kagome’s experience with her own brother, so they relate to one another easily, and Kagome plays the role of the emotional support until Miroku steps in to fill that role. And of course, Kagome plays a large role in getting Sango to join the group.

Miroku: This one is difficult, she doesn’t really have a whole lot of interaction with Miroku, a lot of their interaction seems to be more based around respect, she played a role in him joining the group, but at the moment, I can’t think of a whole lot for him.

Shippo: Kagome takes on the role of the mother to Shippo, and naturally when you’re in that role, the child not only grows, but the parent grows as well, Kagome finds herself in a role for a very mature person, and those earlier on she might not be best suited for that role, through time and development, she fits quite well into the role.

Naraku: I’d say, Kagome had as much of a impact on Naraku as she did on Inuyasha, but not in the same way. It’s due to Kagome’s development, both emotionally and power wise, that Naraku has to constantly adapt, and find ways to defeat her, much like Kagome has to adapt, develop and learn, Naraku has to do the same. Both have to try to be one step in front of the other, and this is a constant thing, from the moment Kagome’s destroys his body, he has to do everything he can to avoid her, or a find a way to protect himself from her. Of course, when you have an enemy like this, you development from one another, a hero is nothing without a good villain, and a villain is nothing without a good hero, and that’s what Kagome and Naraku are, their enemies, that have to always be ready for when they encounter one another, if not ready, prepared or willing to adapt, you lose. Is it any wonder why Naraku constantly comes out the loser, regardless of how much he tries?

Sesshomaru: Now argument could be made that she didn’t, but personally, I think that she did have some influence on him. Not many people can claim they not only talked back to Sesshomaru, but not many people, not named Inuyasha, have been able to hit him and live to tell about it, and that is especially true for humans. Now of course, Rin played the biggest role in what Sesshomaru became, but before Rin, Kagome had something of an impact on him, she showed that not all humans were cowardly and weak, and much of that leads to, their somewhat awkward interaction with one another. I’d argue that it was Kagome that caused Sesshomaru to respect her, ever as a human, while Rin was the one that showed him to care about humans, or people in general.

Conclusion

Kagome, Sesshomaru and Inuyasha all share one thing in common (and a bunch of subsets of that thing of course), at the beginning of the series, they all have immature elements to their characters, at the end of the series, their all adults, having learned and developed along the story. InuYasha itself is a coming-of-age story. Kagome as the main character, starts out as a teenager, and ends up as an adult, ready to take on the world. Kagome develops faster than most teenagers her age, but that’s due to the massive amount of responsibility that she has to take on, and all the experiences that she goes through over the course of the series.

Everything from learning about herself, growing in confidence, finding love, taking on the role of a parent, finishing school, at the age of 18, she’s pretty much way ahead of where she should be in her life, and it took a lot of work for her to get there, and we literally got to see it all, she grew up over the course of the story, right in front of us.

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'Grey's Anatomy' Cast Offers Hope for Couples of Grey Sloan | EW

The cast of the ABC medical drama gathered at PaleyFest Sunday afternoon for a panel moderated by EW’s very own Henry Goldblatt. Ellen Pompeo, Justin Chambers, Kevin McKidd, Caterina Scorsone, Jerrika Hinton, Kelly McCreary, Jason George, Chandra Wilson, James Pickens Jr, Jessica Capshaw, Jesse Williams, Sarah Drew, Martin Henderson, Giacomo Gianniotti, and executive producer Debbie Allen revealed scoop about the upcoming Ellen Pompeo-directed hour, whether there’s hope for Jackson and April, if Meredith will finally take the next step with Riggs, and much, much more. Here are the highlights:

Pompeo’s directorial debut: After screening the upcoming Pompeo-directed hour, the actress credited Allen with getting her to direct her first episode. “This force of nature wouldn’t take no for an answer, and I’m forever grateful to her for that,” Pompeo says. Though this was the actress’ first time directing, she notes that she wasn’t nervous about landing the emotional weight of the Maggie-centric hour, but rather just the technical aspects. “I have the best cast in the world,” Pompeo says. “I wasn’t really afraid of anything.” However, Pompeo adds directing herself was “not fun, but I was lucky to have Debbie Allen right with me every step of the way, so when I was tired or confused, she jumped in.”

Maggie’s mom returns: LaTonya Richardson Jackson returns as Maggie’s mother ahead of the Pompeo-directed episode, therefore setting up the episode to heavily feature her treatment for breast cancer — so yes, Maggie will finally be in the know. However things shake out, her mother’s illness is certainly going to affect Maggie. “Major life events like this enable you to shift your perspective and reevaluate what’s important to you,” McCreary says. “For a long time, being one version of herself was the right way to do things.” Judging by this comment, it sounds like she may try to shake things up soon.

The future of Meredith and Riggs: While it looks like the duo might be heading toward an actual relationship, the question remains how Maggie will feel about that since she’s harbored feelings for Riggs since last season’s finale. “Women have to stick together,” Pompeo says. And if Mer did choose her sister over Riggs, Henderson says he’d understand. “I would respect it, but I think it would be sad because all men know that it’s impossible to be a great man without a good woman by your side.” Whether Meredith and Riggs explore a relationship or not, Henderson hopes we’ll get much more information about his character soon. “It’s been wonderful to play a character that’s polarizing,” he says. “There’s this mystery and enigma as to, ishe a good guy, is he a bad guy? … As an actor, after a couple seasons on the show, I’m looking forward to the opportunity for Nathan to be a in a relationship — whether it’s platonic or not  — to see who he is deep down.”

Will Jackson and April reconcile? After a steamy hookup in Montana, there’s hope that Japril might get back together, but Drew stays relatively coy about the future. “I honestly think the main takeaway is that these two people, there’s so much love there, there’s so much respect there, they know each other so well, so whether it continues toward romance or stays platonic, we know these two people are going to be OK,” Drew says. As for whether Jackson’s father, Robert Avery (Eric Roberts) will return, Williams says, “I hope so.” Adds Allen: “We planted a lot of seeds this season, and that’s one that could resonate in a lot of ways, but there’s more coming.”

Can Amelia and Owen’s relationship survive? Their relationship status is currently marked “it’s complicated” since Amelia now no longer wants to have kids, which is basically the one reason the relationship between Owen and Cristina (Sandra Oh) didn’t survive. “He desperately wants a baby,” McKidd says. “Owen’s really struggling. He’s a very tortured guy — he thinks the thing that’s going to fix him is to have a family with this woman, but she doesn’t want to right now. He’s waiting and he loves her and he’s tortured and we’ll see what happens.”

What’s next for Jo and Alex? Though the two have been on the outs since Alex beat DeLuca within an inch of his life, now that Alex knows that Jo was married to an abusive man, he understands why she was hesitant to marry him. “He wants to marry her,” Chambers says. When asked whether he’d like Alex to end up with Jo or with — twist — Meredith, Chambers says, “Anything is possible, especially on Grey’s Anatomy. Who knows? He might end up with Catherine. I’d like to see how it fleshes out, the relationship with him and Jo.”

The relationship at the center of “Civil War”: Ever since the show introduced a replacement for Webber, the hospital has been at odds over Dr. Minnick (Marika Domińczyk) — well, except for Arizona, who has found romance with the new doc after ex-wife Callie (Sara Ramirez) moved away last season. “It’s been interesting, it’s been new,” Capshaw says, explaining that the show got to a point last season where viewers could “happily permit both of them to be happy without each other,” hence paving the way for Arizona’s new romance with Minnick. “I find myself at a point where there’s something exciting happening for her, there’s a newness. This season I feel like is the beginning of creating something new.” However, Capshaw hedges, “I have no idea if she’s the one.” For what it’s worth, when asked what her favorite ‘shipper name on the series was, she says, “I think I have to go with Calzona.”

The future of Grey’s? When asked what she thinks about the future of the show and where she’d like to see Meredith end up, Pompeo says, “Maybe why I’ve been able to do this show for so long is because I try not to have expectations. I do the same thing in my life, I try not to look down the road too far because we’re going to miss what happens right now today… I try to enjoy every moment with an open heart and an open mind… Life will tell me where I”m going. I don’t want to think about what’s next, I want to enjoy this moment.”

This chapter was very interesting. There is more shin soukoku and also character development (for dazai).

Just look at akutagawa’s face here. He feels terrible because he wasn’t able to complete the mission dazai gave them. I really feel bad about him, it’s sad to see how dazai’s words still affect him now. Thankfully atsushi was there to do something. I am really proud of him. He still haven’t fully accepted akutagawa and doesn’t really trust him, but he still felt bad for him and decided to help him. Instead of giving up so quickly, like akutagawa did, he came up with an idea to catch up the virus ability user. He is really smart. I really appreciate how we are starting to see more of atsushi and discover different aspects of him. I mean, it was already obvious that he wasn’t stupid, but anyway I really liked how quickly he assessed the situation and came up with an idea.

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FOCUS ON... JOHN HARLAN KIM

Our latest ‘FOCUS ON’ feature interview is with  Australian actor John Harlan Kim. Kim has journeyed from the familiar sights of Ramsay Street on Neighbours, to become a valued Librarian on the hit TNT show, The Librarians.

Hi John, how’s your visit home been?
Unreal! Always good to get home for the Summer and see all my mates and the family. Mom was stoked to have me back but now I’m pretty sure she’s getting over it and probably ready for me to head back to the States!

We’ve just seen the season 3 finale of The Librarians. Talk about an emotional rollercoaster. Your character Ezekiel has grown over the years, matured, what’s the journey been like over that time?
It’s weird. Here’s a character I never thought would grow. It was apparent that he suffered from some type of Peter Pan syndrome. But over the seasons we’ve seen more and more that it’s just a guard he has set up and I think people can relate to Ezekiel in that way, that having walls up is a normal human thing to do. He has the most to prove yet he acts like he doesn’t care but we’re seeing more and more that he truly does care, especially about his new family.

Can you relate to Ezekiel in any way?
I’ve grown up with the show myself so that’s probably one of the coolest parts, to not only see Ezekiel grow up and mature with each script but also needing to have to do that myself albeit on a less grander scale because obviously I’m not fighting dragons and minotaurs in my personal life. My problems are a little more realistic like trying to score a date or not over-cooking my eggs.

Has there been an episode that stood out as a favourite?
Point of Salvation. Hands down. The cast were so supportive that ep as was Jonathan Frakes and Jeremy Bernstein. They put me in an environment where I felt confident enough to make choices and take creative risks. I think it all came together really well in the end and I couldn’t be prouder.

Tell us about your relationship with the other Librarians.
Lindy [Booth] and Christian [Kane] set great examples for me, they’re always there for me (Lindy & Rebecca have even housed me at one stage) and they’re just good people to be around. And with Noah [Wyle], I couldn’t be more amped to work with. He’s phenomenal at what he does and I have a lot of respect for the way he handles the pressure whether as an actor, producer, director or writer. He’s awesome. I really couldn’t be in a better position with the cast I have.

And the dynamic between the Librarians and their Guardian, as well as Jenkins? It’s a great technique, incorporating different roles to cover a variety of plot lines.
Rebecca Romijn and John Larroquette make it way too easy to play! They’ve both had long and successful careers in the industry and it was easy to see why from the moment I got to Portland. I love working with them. It’s fun because you’re right, when we have such a wide variety of plot lines to cover splitting up the team becomes necessary to keep on top of it all. Every script I get, it’s exciting! One day I’ll be sitting on a magic council with Larroquette, the next I’ll be beating up zombies along with Romijn!

The episodes are always so unique and interesting, when you first read each script how do you feel? I’d imagine much like the audience, fascinated, but excited as your character experiences it.
One of my favorite parts about the whole thing is getting the next episode’s script. The writers on our show are top flight and they do a spectacular job in conveying their vision onto paper and keeping things fresh and interesting! Like I mentioned, you don’t know what you’ll be doing or where your character will get to travel to, all you know for sure is it won’t be boring!

There are some harder themes, for example in season 3 the team deals with the resolution of Cassandra’s tumour. In contrast, what was it like filming those scenes? As a viewer it was tense!
To an extent, it definitely felt like a shock to the system! Showing up that day was such a different type of shooting day for us. I wasn’t used to coming in and filming something so somber but being the incredible talent she is, Lindy absolutely killed it!

Were there any other scenes that presented a challenge in terms of emotional response? Like the finale?
Yeah I mean Flynn’s ultimate sacrifice was rough. And I had already read what was going to happen and I still got anxious watching it! That and Charlene’s goodbye. Jane Curtin’s a star, I loved having her around.

And what about training for the more physical combat roles, what was that like? Did you enjoy it?
Definitely. I got to live out a bit of a youth dream with that vampire ep. And to do it alongside Christian Kane who is well-versed in vampire combat himself. I mean, come on! How lucky am I!? Our stunt guys Tim Eulich and Buster Reeves were a dream to work with and they’re absolute legends as well.

Over the seasons, what’s one of your favourite moments working on the ‘The Librarians’ set?
My first day. Noah Wyle and the jewel theft scene. It still feels like a dream, such a surreal moment. I haven’t lost that feeling yet and I hope I never do. I never want to be jaded.

Do you have an idea as to what The Librarians will go through in the upcoming series? What would you like to see happen next, for all the librarians and specifically Ezekiel?
Zero idea. They’re good at keeping pretty secretive about all of that stuff. I’d love to see Ezekiel continue to evolve into the Librarian he’s going to be someday. He’s far from being fully-realized and has the most growing up to do so to see him take that next step would be awesome.

The Librarians has been renewed for a fourth season, what do you think makes the series so successful?
Our showrunners. John Rogers and now Dean Devlin. They’re the pulse of the show. I don’t really need to say anymore, they’re extraordinary at what they do and they’re two of the best men I’ll ever come across, by every measurement of the word.

Is there any other role you’d like to take on from a book or comic? Or another series you’d also like to be a part of?
Amadeus Cho. I’ve always wanted to be a humungous, green giant.

Did you always want to be an actor?
I decided at 15 I wanted to be an actor so I took a class, auditioned for my first gig and booked it. I then took that pay check from my first acting gig, coupled that with money saved from working at a charcoal chicken store and flew to New York in my school holidays. I knocked on the door to a film school building in Manhattan and told the concierge I wanted to be an actor and he told me to go find my parents. I think he thought I was lost.

On your down time what other things do you enjoy doing?
I love shooting hoops, hitting the water and playing video games. I picked up boxing a few months ago too but my heads so big, it makes it ridiculously hard to dodge punches.

How does working overseas compare to working here at home in Australia?
The biggest difference I’ve found is the pacing. I can’t speak for either industry as a whole but my experience on Neighbours was a much more fast-paced environment than something like The Librarians. It was actually a fantastic way to learn to nail your first few takes and within that, I found preparation was key so I make sure to show up to any set now with my lines absolutely ingrained into my brain so that the real fun can begin once you start shooting.

What advice do you have for actors, especially Australians wanting to make it in the industry and overseas?
Trust your choices. It’s so easy to second guess if you’re on the right path or not but just back yourself and everything else will fall into place.

And finally, what can we expect from you next?
I’m actually in the middle of editing my first project right now so I’m hoping to complete that before we start work on Season 4! Way too excited to see that finished and then to get to go back to work with Dean & the gang is going to be an absolute blast as always!

Thank you so much for your time John. We can’t wait to see you on screen in 2017!

Classicaloid Meta: A Look at Beethoven, Kanae, and ‘Love’


Hello! I’m not really apart of this fandom but I wanted to contribute a little something anyway. I enjoy making observations and doing a little theory and headcanon crafting. I hope that you enjoy!

I’ll admit that when I was first watched the beginning of this series I didn’t expect to really stick with it. I love the idea and enjoyed the humor of it but I wished a few things were more explored depth. I will admit that this series ended up growing on and I grew really fond of some of the characters and the re-imaginings of the famous classical pieces. As I continued to watch the series though I began to notice that the writers did a great job with using historical references for each of the Classicaloids. I really have to give this series credit because these references subtle and easy to miss but if you know or do your research on the composers you can pick up on the clever jokes and references that are weaved in.

For this bit though I wanted to look at something from one of my favorite episodes so far, Episode 19: “Love, And You Shall Die”. 

(Spoilers ahead, turn back now if you don’t want to see them.)

This episode surprised me because of the bits between Beethoven and Kana. While there were very subtle references for a few the composers in this episode, Beethoven’s aversion to ‘falling in love’ is both hilarious and understandable.

When you look at Beethoven’s past and his track record with ‘love’, you can understand why this ‘reincarnated’ version of Beethoven might want to avoid it as though it were the plague.

(I’m going to put the rest of this under a cut since this became way longer than it was supposed to be.)

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Molly Hooper Unplugged.

Series 4 Sherlock is not what I expected. Over all, I liked it. A lot. It’s not without it’s problems though. From a viewer’s perspective that is. I’m not going to trash the writers because, in fact, I have tremendous appreciate for their creative process, intelligence and brilliance.

As with the books, the writers set out to tell us stories in similar fashion to the canon literature. John Watson is considered the narrator but, in fact, is the peripheral story-teller. Sherlock, himself, is the primary narrator. Not only that, Sherlock tells us his stories retrospectively. Meaning that from beginning to end the story has already happened. It’s done and over, with Sherlock telling us: ‘Okay, this is what went down.”

Mark Gatiss made an interesting comment once that he and Moffat write the stories from end to beginning. It’s the only way they can detail the cases, the story-line and Sherlock’s elaborate deductions. Truly, it’s a clever approach. But, and this is important, it’s also why the audience rarely receives the resolution they want, or feel they deserve. Sherlock – as the narrator – won’t say. He gives the viewer what he chooses and then leaves us to figure out the rest.

As I looked back upon every episode from the very beginning, this particular format is consistent. It also explains why there’s an abhorrent lack of Molly this season. Sherlock is her avenue and narrator, and he’s not talking. Throughout the series, there have only been two exceptions to this: The Sign of Three and His Last Vow.

The writers love Louise Brealey. They adore her and they adore Molly. Molly is introduced to the audience in ASiP with Sherlock. It’s their “meet cute” – which tells us she’s important – even though she was initially considered a one-off character. Sherlock, however, had other plans and wanted her to stick around. He’s the one who’s chosen her fate in the stories, not the writers.

I know, I know – it’s a weird and unusual way to look at this. The writers are, after all, penning this series and in charge, right? Yes, of course. At the end of the day, however, they are two of the biggest Sherlock Holmes fan boys and they have deferred many decisions to this fictional character.

So, strange as it might sound, anyone who writes stories knows there’s more than a kernel of truth in this. We might think we’re in charge of the characters we create, but really – we’re in guardianship. Sherlock is no exception to this because he’s a long established character in literary fiction.

Many years ago, the ground-breaking television series, The X-Files, elucidated this fact (in an extreme way) with an episode called, Milagro. The writer, Phillip Padgett, experiences his character come to life, who creates all sorts of murderous mayhem.

When you eliminate the impossible, whatever remains, however improbable, must be truth.”

Fox Mulder used that exact quote from Sherlock Holmes in the Milagro episode to convince his FBI partner, Dana Scully, that this is exactly what was happening.

So, if anyone, besides myself, is wondering why we’re not seeing Molly all that much – it’s because of Sherlock. At the same time, he also gives us wonderful clues (because that’s what he does) as to why this is and what happened. All we have to do is observe and don his methods of deductions.

This, by the way, will have little to do with sub-text. That’s a very different animal. Instead, we have to infer and make some logical leaps based upon the evidence given. To be honest, this has been part of the fun of watching Sherlock. But, it can also be frustrating, exhaustive, and even disheartening, when viewers aren’t given any kudos for figuring things out, or for even trying. That does, in my opinion, lie within the hands of the writers. After all, they do have creative latitude.

There are two things that left me saying ‘Huh?’ regarding Molly in series 4.

Her diminished presence.

Her strong resistance to say, ‘I Love You.’

For me to understand, I did a cursory review of Molly’s history, which isn’t hard. Especially as there’s this infuriating, ongoing belief with journalists, casual and not-so-casual viewers, that Molly’s emotional hesitancy in saying ‘I Love You’ to Sherlock is somehow the result of a bizarre form of post-trauma from season one.

Nothing could be further from the truth. Molly / Sherlock ‘shippers’ (and I’m one) know this because we’re not simply watching a television show, we’re observing all the nuances of what’s presented / not presented, that others either don’t see, choose not to see, or believe unimportant.

First, I want to lay the basis that Molly’s “unrequited” love for Sherlock has not remained an issue since A Scandal In Belgravia (s2e1). Nor has she been mocked or ridiculed by Sherlock over her affection for him. The opposite of this is true and also shown.  

Beginning with The Reichenbach Fall, Sherlock and Molly have grown closer and share an intimacy that none of the other characters are made privy. It’s not romantic intimacy, that we know of, but a deeply valued and trusted friendship.

Sherlock turns to Molly in one of his greatest moments of need. She becomes his confidant at a time when things are, quite frankly, frightening for him. Molly, along with a host of others, help Sherlock plan his demise. Her role, as Sherlock later reveals, was not only invaluable, but that she is the one person who mattered the most. Whether his comment is based on the Moriarty deal, or a commentary about how he now views her, it doesn’t really matter. What this scene from The Empty Hearse showed viewers is that Molly and Sherlock have grown. Their relationship dynamics have shifted to a new dance. There’s more than a hint of attraction from both, and whether or not you want to ‘friend-zone’ them, the sentiment still stands: they hold a palpable love for one another.  

Viewers are also made aware in this episode that Molly has “moved on” and engaged to a guy who is a distorted facsimile of Sherlock’s physical characteristics. We think that scene is about Molly and it is – but it’s also about Sherlock. The look on his face when he meets Tom is priceless.

Sherlock has never dealt very well when confronted with Molly’s involvement with other men. It’s not sub-text or speculation…it’s shown. Given the fact this man lives in a state of emotional infancy, especially during The Great Game, he might not really understand why he viciously cock-blocked Jim-from-IT-Moriarty, angering / embarrassing Molly in the process.

He does learn, however. Otherwise, he’s not a very good genius.

I’m not sure why it’s hard to understand that series 3 Molly is not harboring unrequited love. Sherlock is. Yes, it’s a strange sort of love because he represses his emotions and impulses, I’ll grant you. He doesn’t show it overtly, but it’s there.

The tables have been flipped on Sherlock, because although his seeping emotions are masked behind logic and rationalism, or ridiculous excuses – he’s actually the one seeking out Molly.

Molly keeps him on his toes by her openness and authenticity. She even shared that she’s having quite a bit of sex, which really does blow the gasket in his Vulcan mind. He has no idea how to process this info. Ironically, her words are sort of a call back to his from The Great Game, when he’s having a hissy fit and tells John he’s not interested in the solar system, or who’s having sex with who. Molly’s having sex, Sherlock. Does it need mentioning that their romantic involvements have always mirrored one another, too?

Sherlock does find a way to get in another deliberate, but very subtle cock-block regarding Molly’s fiancé during John and Mary’s reception. Of course it bothered her, somewhat. She wasn’t devastated or traumatized over the fact that Sherlock just showed her, again, that her choice in men will always be woefully inadequate compared to him. She’s really rather proud of him in this episode, and swooning a bit.

Truthfully, both Molly and Sherlock have some version of brainiac jealousy / possessiveness going on, but still, Molly adores him, OPENLY, by the way. She’s not hiding it.

All of this gels to demonstrate that Molly’s emotional 180 in The Final Problem over saying ‘I love you’ is NOT because she’s been sitting around for seven years, crying in margaritas over this guy.

It’s about something else entirely. The timeline between TSoT and His Last Vow hold the answer. Something happened between them that came very close to destroying their relationship. Sherlock gives us a few clues in HLV. First, there’s this:

“How dare you throw away the beautiful gifts you were born with. And how dare you betray the love of your friends. Say you’re sorry!”

“Sorry you’re engagement’s over, although fairly grateful for the lack of a ring.”

Great dialogue! Especially if we’re looking through Sherlock’s eyes and know he’s been staying at her beautiful home, which we find out later on. This bit of info comes from Molly, when she breaks the fourth wall of television by interacting with viewers directly.

We can take Molly’s scolding of Sherlock at face value. He’s using (drugs) and by doing so letting down his friends and himself. Bad Sherlock.

I believe, however, this is more than chastising Sherlock for reckless behavior. The following, by the way, is about subtext, because that’s where we have to look and infer. Subtext, while a valid form of information, can be a dangerous little guy, because we project based upon our individual filters and desires. It’s important to keep this in mind when inferring possibilities.

I’m also not being dismissive of drug use, at all, but attempting to fill the blanks that currently hold cognitive dissonance based upon everything we’ve been show up until now. We went from HappyMolly and HappySherlock to ‘what-the-hell-is-going-on’?

Clearly, whatever it is, it’s origin lies in love and betrayal. And, other than in Sherlock’s mind palace after being shot – we only see Molly one more time, when she tells us about her bedroom as Sherlock’s bolt hole.

His Last Vow ends without any resolution between the two. Or so we believe.

But, I’ll get back to this.

There’s head canons and fanfic to fill in the missing gaps of HLV, but The Abdominal Bride does a great job at summing things up in a nutshell.

This episode, in which Sherlock sets about solving 121 year old murder case from the Victorian era, is about the long-lasting consequences of using, objectifying, misleading, abusing, disparaging and basically the all around diminished and misogynistic treatment of women.  

There’s also quite a bit of symbology wrapped up in Sherlock’s psychedelic trip. He’s solving a crime from another century, but he’s still got his Scooby gang by his side. They’re all consistent with their modern, present day counterparts, filling the same functions and roles when Sherlock isn’t following Alice down the rabbit hole.

With the exception of Molly.

The role of a pathologist / medical examiner was not typically filled by a woman in this era. As a result, Molly has to be concealed as a man. Perfectly reasonable. What’s different, however, is the relationship between she and Sherlock. It’s cold, if not a bit derisory and bitter.

John’s role is interesting regarding Molly because it’s not John, but instead Sherlock’s projection. Victorian John tells ‘Dr Hooper’ that he’s not Sherlock’s puppy, that he can see through her disguise and sympathizes with what one has to do to be recognized in the world.

We can take that conversation at face value. It is what it is. But, maybe it’s worth considering that this might also be Sherlock’s conscience seeping through, imprinting itself on the state of affairs between he and Molly. In Sherlock’s words, John is a “romantic” - he sees things Sherlock can’t - so there is some validity with the idea that he might need John’s ‘eyes’ to see his way through this. To see Molly past the façade of anger and self-protection. I’m sure there are other great interpretations.

From a symbolic perspective, TAB was Sherlock reconciling, or at least beginning to make amends to Molly (as well as other women he’s used: Janine).

Now is where speculation comes in regarding the timeline between TSoT, HLV and TAB.

Let’s say Sherlock was using Molly’s home as a bolt hole. Maybe not the first time, so he likes it, and it gives him the space and privacy to work on the Magnussen case. If this is true, it’s probably because it’s too complicated for him to work at Baker St, especially as he’s fake wooing Janine to get to her boss.

The other thing that’s taking place is that he’s using. How often and how much is unsure, but he did look pretty strung out at the hospital. And, when Sherlock uses, he’s a very different person.

Molly and Janine mirror one another, although Sherlock’s feelings, thoughts and opinions toward each are drastically different.

Dependent upon when Sherlock began using Molly’s home, if he’s using her home (he does have other bolt holes) – she might still be engaged to Tom. It’s conjecture, but she probably is. Sherlock tells John that he’s been fake dating Janine for a month, which means this started almost immediately after the wedding.

Realistically, I don’t think anyone expected the engagement between M/T to last, but it doesn’t mean Molly wasn’t sincere or didn’t love him. So, Sherlock’s presence and the use of her home – especially her bedroom, a space that implies intimacy - is bound to inflict some legitimate strain on a relationship that’s already falling apart.

Any number of scenarios could have played out. Tom might have given Molly an ultimatum? M/T might have decided to take a time-out? Guess away.  

Sherlock might be influencing Molly through subtle means to end her engagement. He might turn up the charm and possibly – in one way or another – woo her as well. Maybe lead her to believe something was possible between them? Which he might consider true, at some point. He doesn’t want her with other men, but won’t allow a proper resolution to their attraction. His use of drugs could make it easier for him to make those personality / conscience shifts necessary to do what he’s doing.

If this happened, and there’s nothing to say it did – just using TAB as a blueprint since Molly was included with the ‘brides’ – it really is unconscionable on his part. Although, and this is NOT in any way an excuse of his behavior – his superiority and arrogance did slap him hard - because he actually cares and loves Molly, so his potential motivations with her are very different than with Janine. Knowing this does not make it better or right. He’s taking drugs - he’s in ‘the Game Is On’ mode and not making good decisions.

Perhaps Molly found out about Janine and they had a chat? Yeah, it’s a bit soap opera-ish – but how else would Janine know Sherlock used her? John? Magnussen? She was very quick with her ‘for profit’ revenge plan. More than likely Magnussen told her…he enjoys the suffering of others.

However she found out, Molly would have confronted Sherlock. Sherlock might not have shown any remorse for using someone as a ‘means to an end’ (Janine), while attempting to deduce Molly by saying her LOVE for Tom was equally specious. He did say, during his best man speech, that All emotions, and in particular love, stand opposed to the pure, cold reason I hold above all things.” We know this isn’t entirely true, and he knows it as well. But, if he attempted to make a point to Molly about her actions, as a parallel to his, all while HIGH, wow – it crashed and burned.

I’m not saying this is what happened. Just tossing out the idea. But, it does make the M/S hospital scene even more poignant. It’s their break-up fight.

If Sherlock did any of this, it would be hard to forgive. Molly would have to dig really deep inside her to make a journey back as his friend. Their relationship is fractured and rests on a precariously balanced fulcrum. Betrayal by love is a huge theme in His Last Vow.

There are two external events, which help pull them back into each other’s orbit.

Sherlock is shot. Sherlock murders Magnussen.

I’m sure this would help soften Molly, in as much as tragedy can put things into perspective very quickly. Being deeply wounded by someone you love doesn’t mean you stop loving them – although it’s possible. Maybe the time between being shot and killing Magnussen Sherlock made a sincere effort to make amends with her? I imagine he would, but their relationship has been severely strained and Molly keeps clear distance.

I’m really, really, really speculating on this one – but, maybe Mary reached out to Molly as someone to lean on? We never see these two interact (other than the christening) which is a shame. There is, however, an ever-so-slight seed that might suggest Mary’s involvement, which we got in TAB. Mary is the one who discovers the brides. And, Mary is put on the case by Mycroft. So, maybe Mycroft knows there’s been a fall-out. Again, sounds like a twisted sort of soap opera – but there’s some precedence for this, too.

Mycroft knows Molly. She was a the most significant person in TRF plan. We’ve also seen him request her assistance at the morgue prior to this (ASiB). Who knows. What we do know, is that when Sherlock uses and comes off drugs – Mycroft calls in as many resources as possible. If there is a fracture between Molly and Sherlock, it will be seen as a risk, which requires a fix. Mary could help with this. Furthermore, in TAB, Mycroft tells Sherlock this is a war (women) he (they) must lose. Meaning, Sherlock fucked up. Big time. He’s got to set it right.

Some headway is made, because the bride scene in TAB shows Sherlock acknowledging his mistakes and remorse. We then see where the relationship is left between M/S with two words: “Hooper / Holmes.”  

They can face each other, be in the same room, but it’s chilly.

Series 4 reflects this in Molly’s absence as well as her presence. But, she and Sherlock will continue to be pulled together through more external events.

They are Rosamund Watson’s godparents and on speaking terms.

They are also hit with a devastating, irretrievable blow: Mary’s death. This, along with profound grief, is enough to set aside any personal differences to come together and focus on the needs of others. Even though Sherlock takes himself to ‘hell and back.’

Molly speaks with Sherlock in TLD, and even acquiesces to his request for an ambulance. Molly does this on faith - she really doesn’t know what’s going on. There’s still an edge between them. He’s using, she’s stressed, he’s dying. She’s agreed to do her part in watching Sherlock through his withdrawal days, and meets he and John for birthday cake.

Concessions are being made.

Now we come to The Final Problem, where Molly is Sherlock’s third task. He has to get her to say I Love You, but their relationship remains somewhat perfunctory and cool. A lot of water has passed under their bridge and blind trust has not been established.

If anything remotely took place between them such as the above – whoa – it’s no surprise why this scene went down the way it did.

It also makes sense of Molly’s words: “Leave me alone.” “Why are you making fun of me?” “You know why.” “Of course you do.”

There’s two different events taking place that cause an intense emotional build-up and break-down between these two characters.

Molly is unable to push down her stress and sorrow any longer. It’s risen to the surface. There’s been too much, in a short amount of time, and something’s gotta give. We see her ignore Sherlock, which is an eye-opener for him, and even when she does answer her phone she’s direct and not interested in idle chit-chat.

Sherlock’s stress is mounting too. By virtue of Eurus’s game and the previous month’s events. He needs to ask something of Molly that he knows won’t be received well. Even if he tries to convince himself otherwise and feign ignorance.

It was a life or death moment from Sherlock’s perspective, but a ‘push come to shove’ for Molly. Both of them went through an emotional vivisection. Still, they said I love you and it was sincere and authentic.

At the end of that scene, however, neither one knows the consequences of this event. It’s not a happy moment, but instead filled with uncertainty and possibly more loss. Sherlock killed a coffin. Molly looks absolutely forlorn.

The ending montage is disappointingly neglectful of resolution. This is where the writers could have used a more creative latitude – more than .3 seconds of Molly’s happy smile. At least it was nice to get that, but gees, really?

If we’re looking at this from Sherlock’s point of view – Molly is happy. More than happy – she’s vibrant. Personally speaking, I can’t see any reason Molly would be presented this way had she and Sherlock not achieved some satisfactory relationship understanding regarding romantic love.

My heels aren’t dug in the sand regarding the above. I am truly open to other interpretations. For now, though, this was my exercise in explaining what wasn’t explained. She might be an insane murdering psychopath and brilliant beyond Newton, but Eurus was right when she said - context is everything.

Congratulations everyone! It’s been a month since the last episode, and we’re all still here - and better news yet, week 5 marks the half way point of our #shaumondays schedule, and half way to season 2B of Shadowhunters! This week, we’re going back into the unknown, and we can’t wait to see you take on the challenge of:

DISNEY

There’s a lot of opportunities in this one, and remember, there’s no rules on settings or what we expect as long as it fits the theme. Maybe someone takes a trip to Disney World? Maybe someone runs a Disney Movie Marathon? Do our gang end up tangling with characters we know so well? Or maybe it’s time to do a full crossover AU? You decide!

The usual reminders apply: make sure you tag your work as #shaumondays in the first five tags and tag any triggers your work might contain. If you can tag any otps and brotps, that would also help us out with sorting!  Don’t forget if something goes missing, you can @ tag us, or just drop us an ask and let us know! 

We accept all types of fanworks, but please remember all works should be created originally by you! We love seeing what you guys create and watching this blog fill up each week, so please keep your enthusiasm going! We’re nearly there! If you’re in need of some ideas, don’t forget to check under the cut!

If you have questions, just drop us an ask here and remember we have an ao3 collection for all your fics if you want to add them or just take a look at previous creations. Don’t forgot to whistle while you work!

Love, the SHAUMondays squad

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‘Orphan Black’ Creators Preview Final Season: ‘We Went For All the Feels’
Tatiana Maslany as Cosima ‘Orphan Black’ (Photo: BBC America)

Like the saying goes, if you love something, set it free. That’s a lesson Orphan Black co-creator John Fawcett learned firsthand while putting the finishing touching on the show’s series finale. Fawcett and his fellow clone mastermind, Graeme Manson, spoke with Yahoo TV the day after locking the final episode, and he says that letting go wasn’t an easy process. “I dragged my feet for awhile. I didn’t want to give it up! I don’t know that I was making it better anymore — I was just nitpicking over details. I literally just had to go, ‘Okay, it’s done.‘”

As the chairmen of Orphan Black‘s international Clone Club, both Fawcett and Manson are well aware about the fan excitement surrounding this final season, as well as the sadness that accompanies saying goodbye to these beloved characters. But they also confess that having a definite endpoint allowed them to re-enter this shadowy world of clones and conspiracies with renewed creative vigor. “In a lot of ways, it was easier this season than it has been because we were working towards a destination,” Fawcett says. “In other ways, it was the most difficult, because we had to tie all of these threads together, and there’s a lot of expectations.” On the eve of the beginning of Orphan Black‘s end, we chatted with the creators about how Season 5 became the most character-intensive season yet, and why they wanted to give fans “all the feels.”

‘Orphan Black’ creators John Fawcett and Graeme Manson (Photo: Steve Mack/Getty Images)

Heading into this final season, what overarching themes were on your minds?
John Fawcett: One of the biggest for me was: “From great strife comes rebirth.” That’s certainly something I feel after doing five seasons of this show! [Laughs] And I think it lands on all of our characters to some degree.

Graeme Manson: We sat down with the writers early on and asked ourselves to look at where the characters started and where they are now. We really wanted to try and give the audience a new angle on the journey of these characters they know so well. So we did some character-based episodes this year, and allowed ourselves to use flashbacks.

Fawcett: The first two episodes of Season 5 are very plot driven, and kind of typical Orphan Black episodes. Episode 3 is the first character-based episode, and it’s focused on Alison. We decided this year that we really wanted to broaden each of our favorite clones and allow the audience a deeper understanding of them.

It sounds like an extrapolation of what you did by bring Beth back last season. Through those flashbacks, the audience really got the chance to know her before saying goodbye again.
Manson: It definitely springs out of Beth, and the experience of bringing that character back. It was difficult narratively, but rewarding for the fans and a great challenge for Tatiana. This year, we’ve embraced flashbacks strongly. That will be fun for the audience who have followed these characters from the beginning. Once you get deeper into a series, like Season 4 or Season 5, you want to do something fresh and interesting without blowing everything up. So going deeper into your characters is a good way to do that rather than going, “Okay, we’re suddenly in Tahiti!”

Fawcett: And there’s only so deep the conspiracy can go before you naturally hit an end. In some ways, the conspiracy plot in Season 5 is much simpler than it’s been in past seasons. It’s important for us that there’s still a lot of twists and turns and uncertainty. But really, you’re coming to the end, and there’s only so far you can dig into the conspiracy. So we decided to dig deeper into the characters to expand our story.

Kevin Hanchard, Josh Vokey, Cara Ricketts and Tatiana Maslany in ‘Orphan Black.’ (Photo: BBC America)

Looking ahead to the series finale, did you already have the ending firmly in mind, and did it change at all as you plotted out the season?
Manson: Plotwise, John and I had the ending in mind for a long time. And the ending was important in a season that we decided was going to be our most character intensive. When we got to the end of our story, we wanted to feel like it would give a taste of the future, so it felt open-ended and not closed. Our finale has an interesting structure; it’s a bit of a two-parter between Episodes 9 and 10, so it’s going to be good, long drawn-out agony for the audience. It’s a lot of fun that way. [Laughs] We agreed, and all the writers agreed, that what we wanted was the feels. We went for all the feels!

That’s certainly what the fans want!
Fawcett: That’s also what Graeme and I want. We do find ourselves very interested in what the fans say, and how they’re reacting to the show. But at the end of the day, we’re the ones who have to live in it, be in it and make it. So it’s really what was right for the series. It’s hard. I don’t know the finale can ever be what Graeme or I expected it to be. I think it’s really damn good, but I’m so critical of everything.

Manson: John’s probably seen the finale a 100 times. I’ve been the outside eyes, so I’ve only seen it about 5 or 6 times, and I never got through it without crying in three separate sections. Those might be my feels! But I think a lot of the people who have seen it get pretty emo.

Did you involve Tatiana Maslany in crafting the clones’ final journeys?
Manson: We began bringing Tatiana into the writers’ room in the first season. Nobody has deeper access to these characters than her when you’re thinking about the hearts and deeper drives of these characters. That’s kind of been a constant ever since. We’ll go to her with character questions daily, but there are longer sessions where she’ll actually come into the writers’ room and sit with us. During the finale, we did that a couple of times. She even gave up weekend time to come in and help us figure out the sticky points of character, and really nailing this thing.

What was it like to watch her accept her Emmy last year?
Fawcett: I wasn’t there, I was prepping [Season 5], so I watched it on TV with all the other plebes. [Laughs]

Manson: It was really something for us. It was so unreal, but we felt it was deserved. She accepted with such humility. and went right back to work on Monday. She made us all feel from producers to production assistants that we had all won that award together. And that’s Tatiana.

Fawcett: We all had so much belief in her from the beginning. To be honest, thinking about the Emmys is not even in our head [early on]. Certainly as a Canadian TV series, it seemed like Pluto! I do remember taking her aside at our Season 1 wrap party and saying, “I think you’re going to win an Emmy for this.” I felt onto that belief that it was possible, and it happened. We’re very proud of her.

It’s also a credit to you both for crafting a genre show that was able to bring home an Emmy. As fans know all too well, that’s notoriously difficult for genre television.
Manson: That really meant something to us. Who was the last genre Emmy winner for Best Actress? Was it Jennifer Garner for Alias? [Note: The answer is Gillian Anderson for The X-Files in 1997] John and I are really happy that we were allowed to do these mash-up of tones, and we have to thank our producers and the network for their trust. We had these different worlds, and we were like “Why does it need one tone?” We have a Sarah tone that’s our throughline, but we want to be able to genre-hop within our genre. And that’s something we’ve been allowed to do and the show was successful at doing it. It’s an element of the show that helped it stand as unique.

Fawcett: Because of the diversity on television these days, you’re starting to see a lot smarter, character-driven science fiction. That’s why Orphan Black was so exciting to us. Yes, there was a plot-driven element, but what really got us excited at the beginning was all these characters.

The final season of Orphan Black premieres Saturday, June 10 at 10 p.m. on BBC America.

Read more from Yahoo TV:
• #EmmyTalk: Alexander Skarsgård Revisits His Tense ‘Big Little Lies’ Therapy Scene
• Late Night Hosts Have a Field Day With the #ComeyHearings
Ken Tucker on ‘The Sopranos’ Series Finale 10 Years Later

The Song In Your Heart 6x20

Ok. Again, I don’t usually do this, but my heart and mind are too full and I have to sleep sometime tonight so I’ve got to get this out.

This was, without any doubt, one of my favorite episodes of the entire series!!! I would have a very hard time choosing between this and the CS movie.

First off, can I just say that the composers are certifiably BRILLIANT!!! Absolute geniuses!!!!! Every single song was outstanding!!! As I heard each song, it was my favorite!!!! Each one was written for the character and these brilliant, talented actors sang them all soooooo beautifully!!! If I had to rank them, I’d say my top favorites were Hook’s, Emma’s, and Zelena’s. But again, they were all soooooo perfectly written and performed! I just can’t say enough about the music!!!! BEAUTIFUL AMAZING BRILLIANT FANTASTIC OUTSTANDING LOVELY EXQUISITE… well, you get the idea.

And now on to the individual songs…
Powerful Magic: Pure. Disney. So beautiful! And so perfect for this perfect couple!!! Snow immediately knowing something was wrong and putting her hands over her mouth were both soooo adorable!!! Charming’s lines were a hoot! And the love between the two was on perfect display! I only wish there was more harmony in the song.
The Queen Sings (Love Doesn’t Stand a Chance): sooooo perfect for this character!!!! And Lana belting it out was fantastic!!! The little snippets from the dwarves, Granny, and Marco were soooo cute! I LOVED how she showed up in each of their locations and sang to them as well. The blatant sexuality of the queen was on full display during the song, both times. And it created a perfect juxtaposition up against the True Love of Snowing both one right after the other and in their trio.
Revenge is Gonna Be Mine: what can I say? Colin as Captain Hook singing this song was just… just… I can’t get over it!!!! @lillpon did an analysis this week of Colin’s voice and the high notes in the song that was just outstanding!!! I knew it was high, but I didn’t know it was THAT high. If you’re interested in her analysis, search #Colin O'Donoghue or #ouat musical. The vengeful pirate was on full display and Colin performed magnificently!!! And doing all that with a broken foot!!!!! Ouch!!!!
Wicked Always Wins: beautiful! Absolutely beautiful!!! And what a voice Bex has!!!! This one was one of my favorites! The beauty of the song not only displayed her envy and hatred, but also her longing for love and acceptance. It was a beautiful song beautifully performed.
Emma’s Theme: No. words. All right. Never mind. Just a few. GORGEOUS!!! PERFECT!!! The love and songs inside of her saved her and saved her family. And the fact that it was her theme from the VERY BEGINNING OF THE SERIES only made it more special and outstanding!!!! And the WORDS!!!!! No words!!!!! *Ugly sobbing*
A Happy Beginning: what a way to end the episode!!!! Everyone singing and dancing together to celebrate our OTP FINALLY GETTING MARRIED!!!!! ❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️👰🏼🤵🏻💒. Cue the tears 😭😭😭😭😭!!!!!!!

Next, the non-musical parts of the episode. I’m sorry (not really) but I’m so glad Emma couldn’t wear Snows wedding dress. I never liked that dress. But I didn’t expect the BF to show up so early in the episode. And Killian in a white tux???? Ugh… NO!!!!!! And he knew… he KNEW!!!! He knew exactly what she was doing!!!! Bless him!!!! I LOVE him sooooo much!!!! And then taking off to take care of the crocodile and getting himself captured in the process… not surprising at all!!! And may I just say that I am right back solidly on the side of HATING Rumple!!!!! I really thought that he was playing the BF somehow and he was on the side of the heroes, but after tonight, I cannot think of any way that plays out. We’ll see. Blue putting the songs in Emma before she was even born was excellent!!! It gave her the power to defeat the BF and that whole thing answered the question of why Snow, Charming, and Hook didn’t recognize each other. Henry… my poor Henry!!!! His despair and anger over not being able to help his mom was agonizing!!!!! But finding those pages and showing Emma that she had it inside her all along? Priceless!!!!! As well as the BF’s face when Emma wouldn’t die. And Emma’s tears when she had saved them all, I had tears too! And then the wedding itself. Cue the sobbing… I didn’t think it was rushed. We got our Emma and Snowing moments, Killian and Charming shaking hands, Captain Believer, beautiful, heart wrenching personal vows, their kiss, song, and first dance. What else did we need?

This episode was magnificent in every way on so many levels!!! A true masterpiece!!! And now I’m on the edge of my seat for next week and the Final Battle!!!!
Tagging my goggle hangout bunch @flslp87, @whimsicallyenchantedrose, @linda8084, @hellomommanerd, @captainswanluver, @hookedmom, @tottchr, @tabyrags, @singingisfun, @captain-swan-coffee, @winterbaby89, @gingerchangeling, @ladyciaramiggles

anonymous asked:

I know you totally dislike the sulxinho ship but... in the end inho was never even a rival? like, he's in the logo of the webtoon and I guess I at least expected a confession from him... but all we ever got was inha telling sul "he likes you"? he never ever acted up on it!! and even if he wasnt a real rivaI, I always got the sense that they really cared for each other, so that goodbye scene felt so stiff and anticlimatic... anyway, thank you for sticking through this with us and ciit!

It’s not that I totally dislike Sul and Inho together (some very specific people that shipped them? yes. It applies to some JungxSul too) I just always saw it for what it really was, friendship and nothing more. Honestly the way they interacted for the most part was very sibling like (and if you really think it wasn’t it’s because you’re an only child, that or I need to talk to a psychologist about my relationship with my sibling). Soonki herself showed a sibling-like relationship by making it mirror-like to the type of relationship Sul has with Joon. I don’t know why so many people got it wrong, Sul always made it clear that she thought of Inho as a friend and later as family. It’s very daring to think that one understands the feelings of another being better than the person in question (even if it’s a fictional one). 

Inho and Sul did care about each other but their only real connection was always Jung, without Jung those 2 would have never met in the first place and because of Jung they could never have a permanent relationship, even if Jung had left his existence would have always interfered between those 2. It was wrong to believe that Sul and Inho’s relationship was independent of their own relationships with Jung, because it wasn’t. Inho was shackled to Jung by their past together and the only way Inho could get rid of the shackles was by leaving Jung behind and everything connected to him, and that included Sul who was Jung’s girl.

It was a very tangled situation those 3 were under: Sul cared for Inho in a different way she cares for Jung, he was a friend and she recognized him as such that’s why through the series she tried and tried relentlessly to get them to be civil with each other but neither ever wanted to. Inho was especially vocal against it, he adamantly refused to please Sul and just pretend to be civil (say what you will of Jung but he at least tried to pretend at the beginning before growing tired and annoyed, Inho wouldn’t even try to).   And once Sul realized that it was impossible for Jung and Inho to be friends again after that fist-fight and Jung’s explanation of the situation, Sul realized that she had to chose, only it was never really a choice, that’s why she distanced herself from Inho. Jung was always the most important existence for Sul, she cared deeply for Inho as a really good friend, but Jung was the person she needed besides her the most. For Inho too, as much as he cared about Sul, Jung was always a much bigger existence in his life,  that’s why to let go of Jung, he had to let go of everything related to Jung, especially Sul who was the most important person for Jung.

As I’ve been saying for the best part of 7 years Inho was not supposed to be a love rival for Jung, that was not his purpose at all, Inho was supposed to make Jung realize what he was doing with Sul and what could happen if he continued doing the same. Unfortunately for Inho, he just happened to fall in love with his ex-bestfriend’s girlfriend. 

Think about it, what would a confession have changed for the characters? absolutely nothing. Sul already suspected that Inho might have had feelings for her, yet she chose to ignore it, she didn’t want to know, she didn’t want to get there. Inho was a friend to her and that’s how she wanted him to stay, she selfishly wanted to remain that way and I find that very realistic (I would probably play dumb in the same situation, if that can save my friendship). Int the end, when it was time to say goodbye, Inho didn’t confess because he wanted to acknowledge and say goodbye to the relationship that they did have, their relationship wasn’t about romance, it was about friendship, that’s what they held dear about the other, what had meaning. Their friendship was what was connected them both. Not a non-existent one, that could and would never be. Sul knew how he felt, Inho knew that she knew, but it changed nothing in the end. So why bring it up as they were saying their last goodbye? They wanted to part on good terms, they wanted closure and obviously Inho didn’t need to say it and Sul didn’t need to hear it fir that. It didn’t happen, because it didn’t need to happen.

~~The fact that these last couple of years most viewers of any manga/manhwa with 2 guys and a girl have the expectation of a full scale war between the 2 guys for the girl’s affection (which by the way most of the time is nothing special but whatever)…. baffles me, to say the least. I mean, what do people think of the concept of love now? They chose a team and root for them until the very last second, regardless of fact and reason. And I do mean it literally, I’ve seen so many fandoms divided into teams, it’s the most ridiculous shit ever. 

If what people want is watch is two teams going at each other until one of them comes out the victor, disregarding human emotions and facts just to get the “prize”….. May I suggest they watch sports? I mean, that’s what they were invented for.

Honestly the problem I see with people with “second-lead syndrome” as they called it, is that they refuse to see and take the relationships presented to them at face value. Always looking for what’s not there. I don’t like love triangles but I’ve been served my (unnecessary) fare share of them against my will when it comes to shojo/romance and I have never once got wrong who the girl is going to end up with, whether I like it or not. If you follow the thought process of the story correctly it’s always ridiculously obvious, predictable and easy to guess. There’s always two guys but one of them obviously has no chance and if you’re rooting for that one hoping to get that sense of accomplishment… again may I recommend sports manga? they’re pretty good and you can always count on the underdog MC to win at the end of the day. Of course there are also cases when the girl gets with “the other guy” but even then it’s still because the girl has stronger feeling for him, it’s not surprising. It never is. Real feelings don’t just suddenly pop out of nowhere. They just don’t.~~

I really dislike love triangles in a story because it reduces the characters to no more than: Who do you ship? And why? “he is hotter, they look cuter together, I don’t like the other one, they make a better couple, he deserves her” that level of superficiality is painful to watch and it doesn’t apply to Ciit. Inho had no chance not because he was better or worse than Jung, or because Jung “deserved” her more or crazy crap like that. Inho didn’t have a chance because from the very beginning Sul only saw Jung, she was in love with him. Simple as that, it wasn’t a competition, it was just the way human feelings work. And that was the whole point of cheese in the trap. People act upon their own feelings, not upon what others think it’s right or wrong. I could write an essay on this but I’ll stop at that. Cheese in the trap was a really wild ride but I enjoyed till the end nonetheless, so you’re welcome

Epic Movie (Re)Watch #155 - Star Trek II: The Wrath of Khan

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: Yes.

Was it a movie I saw since August 22nd, 2009: Yes. #429.

Format: Blu-ray

1) Before anything else, I will say this: you never need to see Star Trek: The Motion Picture unless you are a MAJOR fan of the series. Wrath of Khan is a much better first film for the series and just a much better film in general, and the original motion picture has no bearing on the plot of ANY of the sequels that I’m aware of. Spare yourself the boredom.

2) I don’t often talk about how great the opening credits of a film are, but the movement through the stars and James Horner’s grand score creates a rousing score which helps you get in the mood for the space adventure to come.

3) The Kobayashi-Maru.

Originally posted by steviegrant

The opening of the film is great largely because it plays with expectations vs reality. You EXPECT Kirk in the captain’s chair, and while it plays out like a standard scene from “Star Trek” but it ends with everyone dead. And even though it turns out to be a simulation, the image of watching almost all the series regulars die before you prepares you for the darkness to come. It is an incredibly great and memorable opening to a film which can be described as the same.

4) Kirstie Alley as Saavik.

Originally posted by readysteadytrek

Despite being Vulcan (and, depending on what you consider canon, half-Romulan) Saavik has more in common with Kirk than she does with Spock. She may have the appearance of being a logical and decisive creature, but she is stubborn and proud. And I love her for that. I think Saavik as at her best in this film when played by Alley (she would be replaced in Star Trek III and IV). Alley gives Saavik a unique flavor, making her more than just your typical Vulcan and holding her own with the original cast.

5) The scene where Bones and Kirk “celebrate” his birthday is great.

This is the introduction of Kirk’s key conflict and possibly the best analysis of it the film features.

Kirk: “Galloping around the cosmos is a game for the young, doctor.”

Bones [later]: “This is not about age and you know it.”

Kirk’s conflict here is not about aging, it is about aging INTO something. About being stuck behind a desk and bureaucracy. Of becoming obsolete. Age on it’s own does not result in that, but the choices we make as we age. It is in this film that Kirk will have to determine his future when faced with a threat from the past.

6) Carol Marcus and her son David.

Both Carol and David as individual characters are interesting, but by balancing out each other (with Carol being well reasoned and patient and David being more like Kirk with his stubbornness/rashness) they create an interesting dynamic that entertains in a way beyond their relationship with Kirk.

7) Ricardo Montalbán as Khan Noonien Singh.

Originally posted by readysteadytrek

Montalbán takes a memorable role from the original series and in this film turns it into not only one of the greatest villains cinema has ever featured but also a career defining performance. Khan is able to be both chillingly collected and show off fear-inducing anger. His intellect, physical strength, and progressing madness/drive is showed off brilliantly by Montalbán. There is a ruthlessness to this character established as soon as we meet him (specifically with his use of brain slugs) that let’s us know, “Oh shit, don’t mess with this guy.” He is totally frightening, with many of his decisions and scenes making your stomach turn. Only open my third (fourth?) viewing of this film did I realize just how long his intro scene is, but it doesn’t feel long. It is perfect, and Montalbán captures your attention for the entire time.

8) Hey that’s…that’s Tony from the Witch Mountain movies!

Originally posted by cinemamonamour

Originally posted by vernybvitday

I would not have noticed that if I didn’t watch the Witch Mountain movies in March for the (Re)Watch.

9) So usually at this point in the (Re)Watch I talk about the writing and performances of the main cast of a film. I find it nearly impossible to do that for Wrath of Khan however as the cast from the original series are such mainstays of cinema and pop culture I’ve no idea what to say. What on earth could I possible say Kirk, Bones, Spock, Uhura, Scotty, Sulu, and Chekov that hasn’t been said before? In my analysis of the 2009 film I probably will, but right now I think I’ll just say they’re great and leave it at that.

10) I love how Kirk is freaking out when Spock lets Saavik pull the Enterprise out of dock.

(GIF originally posted by @readysteadytrek​)

11) I love Saavik and Kirk in the elevator. It speaks not only to how rash she is (which I love on it’s own) but will later show how similar they really are. She doesn’t really believe in a no-win scenario and as we’ll learn later neither does Kirk.

Originally posted by lieutenant-sapphic

12) I love when Spock hands the ship over to Kirk. There is no bruised ego (as he himself says), there are no hard feelings, it’s not an issue of power or anything. He knows Kirk is the best guy to take the wheel. He trusts Kirk and Kirk trusts Spock back and they can just cut through the bullshit and do what’s best for everyone. I’m a sucker for good friendships like that.

13) Damn, Spock.

Kirk: “I would not presume to debate you.”

Spock: “That would be wise.”

Originally posted by pitch-perfect-movie

14) There is one scene early-to-mid picture which is recalled HEAVILY later on and I always think it is best when the ending of the movie ties into something at the beginning of the film. You want it to feel like one picture, you don’t want to be sitting at the end going, “Oh right, that part early on was the same movie.” Spock’s speaking of how…

Originally posted by edith-keeler-must-die-blog

And how he has been and always shall be Kirk’s friend tie together at the end in very heartbreaking ways.

15) I was always impressed with the Genesis visual, keeping in mind this was 1982 and CGI was hardly in its prime.

16) The very first encounter with the ship Khan has taken over - Reliant - before they know it is Khan is incredibly tense and Hitchcockian. Because we as the audience KNOW it’s Khan. Pacing is derived not from faster pacing but from slower pacing. The uneasiness simmers in our bones as Kirk unknowingly wanders into a trap, even though everyone seems to suspect something is up. And it features one of the best quotes in the film:

Khan: “Do you know the Klingon proverb that tells us revenge is a dish best served cold? It is very cold in space.”

17) And then Khan and Kirk finally encounter one another.

Montalbán and Shatner never share any scenes as Montalbán was making “Fantasy Island” at the time, but that does not undermine just how equally matched these adversaries are. Their very first encounter in particular feels like a chess game. It is not so much a battle of strengths as it is a battle of wits, yet still very interesting. And we as the audience really have no idea who is going to come out on top. Each is able to surprise and throw the other off balance, only to come back and deal another blow. It makes for great conflict. We know Kirk’s disadvantage: Khan is genetically engineered to be better than him. But in this scene we see a weakness of Khan’s which will become greater later on: his ego. He cannot see his own weaknesses and shortcomings. He is hundreds of years old comparatively speaking, so obviously some ways of thinking are foreign to him. But he can’t get past the fact he’s a genetically engineered super being to work on this. I love bad guys with flaws.

18) Oh no! Tony dies!

Preston [Ike Eisenmann’s character, after Kirk arrives]: “Is the word given, admiral?”

Kirk: “The word is given. Warp speed.”

[Preston dies]

Scotty [obviously torn up]: “He stayed at his post when the trainees ran!”

The fact that this death of a character we spent all of thirty seconds with packs such an intense punch speaks greatly to the craft with which this film was made.

19) The scene with Kirk, Bones, and Saavik on the scientist space station feels very Alien and I love it. For just a few minutes we are in a horror film, in an enclosed space where obviously SOMETHING is wrong and some sort of danger lurks. It is pulled off wonderfully well.

20) Part of the tension comes from the fact that we TRUST Chekov. He’s original series cast and he seems to have shaken the alien slug Khan was using on him. Why WOULDN’T we trust Chekov? Making the fact that he and his captain are still controlled later on all the more powerful.

21) This. Freaking. Scene.

This is when both are pushed to their furthest. Khan believes he has killed Kirk only to immediately learn he hasn’t, and Kirk is beyond pissed with Khan for all the death and destruction he has caused. This is where Khan accepts that he has defeated Kirk if only because it has become so difficult to kill him and it is where Kirk hates Khan the most (uttering the film’s famous line, “Khaaaaaan!”). But even through his hate Kirk is trying to play Khan. He is trying to get Khan in the same room with him so he can fight him face to face. But Khan is too smart for that and works against Kirk, leading to that yell. This is one of the best scenes in the film and it is because the conflict plays out so wonderfully.

22) The fact that David is Kirk’s son not only gives Kirk some personal stakes, but it ties into the idea of the choices Kirk must make in life. He is now dealing with two choices which are coming back to haunt him: how he handled Khan and not being a part of his son’s life. And that will directly influence the choices he makes in the future. Because life is too short.

23) This is so indicative of Kirk’s character.

Saavik: “Admiral, may I ask you a question?”

Kirk: “What’s on your mind, Lieutenant?”

Saavik: “The Kobayashi Maru, sir.”

Kirk: “Are you asking me if we’re playing out that scenario now?”

Saavik: “On the test, sir… will you tell me what you did? I would really like to know.”

Bones: “Lieutenant, you are looking at the only Starfleet cadet who ever beat the no-win scenario.”

Saavik: “How?”

Kirk: “I reprogrammed the simulation so it was possible to rescue the ship.”

Saavik: “What?”

David: “He cheated.”

Kirk: “I changed the conditions of the test; got a commendation for original thinking. I don’t like to lose.”

Saavik: “Then you never faced that situation… faced death.”

Kirk: “I don’t believe in the no-win scenario.”

24) The climactic chase through the nebula ties into Khan’s biggest weakness: his ego preventing him from admitting his flaws.

Spock: “He’s intelligent but not experienced. His pattern suggest two-dimensional thinking.”

I think this is the past scene to showcase space as a three-dimensional space. Ever watch a space film where characters encounter an asteroid field and think, “Why can’t they just go above or below it?” That’s what this film does. Like the initial Kirk/Khan mental face-off, the time in the nebula greats great tension from slowing down pacing while never being boring. There are surprises, there are twists, and they are on truly equal footing. And Khan, well he’s at his breaking point. How mad must this person be if even his crew - who were established to live and die by his word at the beginning of the film - are questioning his judgment? And what exactly will it lead him to?

Originally posted by luigioh

That final visual of Khan’s face is also a great presentation of how he is on the inside. He is torn up and burned to a crisp with vengeance, and now he will die that way.

25) Spock’s ultimate fate.

Originally posted by ajeebdastanhai

First of all, he KNOWS what he’s about to do. You can see it on his face before he goes to the reactor room to save the ship: he is fully aware that this will lead to his death and it does nothing to change his decision. And even though Khan has died, he has succeeded in his goal to, “keep on hurting,” Kirk from beyond the grave by killing his best friend.

Kirk [trying to get to Spock]: “He’ll die!”

Scotty: “He’s dead already.”

There is this intense feeling of sorrow and helplessness as we watch one of the greatest - if not the greatest - characters to come out of the original series die, tying into the conversation he and Kirk had earlier.

Spock: “The needs of the many…”

Kirk: “Outweigh the needs of the few.”

Spock: “Or the one.”

Originally posted by kibyul

Originally posted by ultronerd

26) David and Kirk unfortunately don’t get too many moment together, just the two of them. But he did help Kirk through this tough time in his life.

David: “Lieutenant Saavik was right. You never have faced death.”

Kirk: “Not like this.”

David: “You knew enough to tell Saavik that how we face death is at least as important as how we face life.”

Kirk: “Just words.”

David: “But good words. That’s where ideas begin. Maybe you should listen to them. I was wrong about you. And I’m sorry.”

Kirk: “Is that what you came here to say?”

David: “Mainly. And also that I’m proud - very proud - to be your son.”

27) But of course, this is a sci-fi movie…

Death is not as permanent as we like to think.


The Wrath of Khan is quite possibly the best film in the entire Star Trek canon. It balances high-stakes action and adventure with the intelligence, philosophy, and thought expected from the series. Ricardo Montalbán is freaking fantastic as Khan, with the rest of the cast delivering standout performances as well. The direction and writing blend together beautifully and it is just an incredibly fun and well done film. If you haven’t seen any Star Trek and you want to, Wrath of Khan is a very good film to start on.

Are You My Dad / I Am My Mom (Steven Universe)

And we now come to the last two episodes of this bomb, as well as the finale of Season 4 of Steven Universe and man, oh, man do things go off the rails! 

Not only do these two episodes set off a lot of future events to come, but we get to end off on one of the biggest cliffhangers the series has seen yet!

Let’s start off by talking about “Are You My Dad?”

Steven notices how Jamie hasn’t delivered his package and confused as to where he went, only to discover that Sour Cream is handing out missing posters of Onion.

Steven also ends up finding out that the Big Donut is closed and comes across Barb, which she isn’t sure where Sadie went, as she didn’t see her come home, the night before, as Steven even mentions how he couldn’t find Lars, either.

Steven tries to look for his friends, only to stumble across a little blue gem asking if he is her dad, which gets him confused.

Steven tells the Crystal Gems about her, explaining that gems don’t have dads and that they should split to find where she went.

Steven and Connie try to look for the little gem in the forest where Onion hangs and Connie ends up locating her and tells her that her name is Connie.

The gem calls out for Topaz, which turns out to be a giant yellow fusion having absorbed all of Steven’s missing friends, including Connie.

The episode ends with the blue gem calling herself an “Aquamarine” and sets off to find “My Dad”, with Steven knocked out.

This episode started off very light-hearted and ended extremely dark, only to result in another large cliffhanger!

Not only do we see what happened with Steven’s friends, but we are introduced to two new gems being Aquamarine and Topaz.

Aquamarine has a really cute design, while having a child-like voice and doesn’t get threatening until she uses her wand, but Topaz is an extremely creepy character, as she doesn’t talk and just absorbs people at Aquamarine’s demands!

And while I did find this episode really creepy, it did have some laugh-out moments, such as Garnet and Pearl making a sandcastle for crabs and Garnet’s picture of who the gem looks like, just being a portrait of herself, because she likes herself.

I found it interesting that Aquamarine’s hair bow is a wand that freezes people, which reminded me a lot of Syndrome from The Incredibles.

I think it this season having a lot of townie episodes made a lot more sense now with this episode’s context. Seeing Steven’s friends in peril is much more effective than having no episodes dedicated to them!

I liked how both Barb and Sour Cream were very concerned to where Sadie and Onion went, as you really feel for all of Beach City’s residents.

It was nice to see that Onion Gang was referenced a lot, for example and where Steven / Connie tried to look for him.

I believe this was Raven Molisee’s final board on the show and it’s sad that she ended up leaving, along with Lauren Zuke, but Lauren still has a few more episodes left to see.

I wish all of the best for Raven, as this was a really intense episode and it only gets even more bonkers in the next one!

I Am My Mom

This episode immediately picks up right after Steven got knocked out from Aquamarine and he informs the Crystal Gems about Topaz and Aquamarine, to which Pearl thinks that the Diamonds sent them on their own.

Steven tries to locate Connie and finds her phone, only to be a trap by Aquamarine and Topaz.

Aquamarine again asks where “My Dad” is and will only let go of the humans until she gets an answer.

Steven isn’t sure what she’s talking about, until Aquamarine reveals that Yellow Diamond asked for a list of six human variations reported by none other than Peridot, including someone named “My Dad”!

Steven reveals that he is “My Dad”, so that he can put a stop to the fight and rescue his friends.

While Topaz and Aquamarine set a course to Homeworld, Steven escapes out of Topaz with his bubble and begin another fight with Connie.

Just before Steven is able to escape out of the ship with his friends, Aquamarine freezes everyone at the last second!

Steven then decides to make one final straw. He says that he is not “My Dad”, but someone much more important and that’s none other than Rose Quartz, while turning himself in to Homeworld, ending the episode and season on a dramatic cliffhanger!

Now THIS episode is what I call an intense season finale!

Not only are the stakes raised up to eleven, but there is so much drama, emotion and action all into 11 minutes.

Topaz and Aquamarine continue to be some of the show’s creepiest characters, especially in this episode, with Aquamarine stopping at nothing to get what she wants! I absolutely love to hate her.

I know that Rebecca Sugar said there are no villains in Steven Universe, but these two characters come close to being big villains, as they were close to killing off characters.

One of the biggest reveals was how that the “list” that Steven gave was something I did not expect to come back.

When Steven got a flashback to the episode, “Marble Madness”, my jaw was on the floor that I complete forgot about the moment and only took it as a joke, even with the “Onion-I-Think”!

I felt really frustrated at how Lars was about to help fight for Sadie, only to run away and hide in fear. However, the episode ended with him still on the ship, so I’m really excited to see some more character development with Lars, as The Good Lars was slowly building his growth.

The whole ending is what made this episode especially strong. Where do I even begin?

Steven turning himself in, revealing himself to be Rose and putting himself in grave danger while going to Homeworld!

Steven quietly saying “I love you” is what made me feel incredibly sad and scared at what events will occur in Season 5, especially with Connie and the Crystal Gems left in fear.

The music and animation was done so effectively. The Crewniverse knows how to make you feel different emotions.

What will happen at Homeworld and what will happen to Steven and Lars?! I need answers!

This was an amazing episode and a great finish to Season 4 and this StevenBomb.

Cannot wait for Season 5, as I believe we are in for even more insanity!

Why we love SKAM or why SKAM is not "just a teenage drama show"

I’ve been asked by my friends “why do you like SKAM?”, and all I could say was that I didn’t really know why. I just liked it. So I just thought for a while, why did I actually like SKAM, and it came to me.

So, the thing is, it all started for me with SKAM, when I read so many people’s posts about being SO excited about the show. So I was like, ok, let me see what’s the fuss all about. And, because the fuss itself was about namely season 3, I decided to watch season 3 directly, skipping the first two seasons. (Which is a HUGE exception for me, since I am a perfectionist and like keeping things perfect. TBH, I still don’t know why I watched season 3 at once, and the fact that I watched it all, cause it’s hard to persuade me to start ANY new series whatsoever).

And so, I watched the third season, and, man, did I like it. I just fell in love with the characters! Not just the actors (but them too, cause you know our sweeties). I loved the plot, the concept, all… I didn’t realisr at the time, how MASSIVE it all was. And since I hadn’t watched the first two seasons at the time, I still absolutely loved it.

None of my friends watched it, or even knew about it. First, I didn’t really want them to know about it and watch. I wanted to keep it all to myself. But then I started ‘advertising’ it to them and even made them start watching it. But how big my disappointment was when I found out they didn’t really like it! I hadn’t expectex it at all. One of them told me her friend said it was similar to Skins and Gossip Girl, while the other one asked me wht I actually liked it, and then told me she didn’t really enjoy it.

Ok, yes, let’s sort something out. Yes, after watching season 3, the first two seasons impressed me on a much lesser scale. But still, they did. And how can they mislike the teen drama it’s supposed to be, if they themselves watch Gossip Girl? (I am not trying to say Gossip Girl is not interesting, though I didn’t really get into it after watching a few episodes).

And now, finally, I come to the part, where it all began. Why do I (and all of us, fans) REALLY love SKAM for?

Cause it’s not just the 'hotties’, the drama, the twists.

It’s also the spirit.

SKAM raises SO many socially important questions, and all of the teen drama is just a background.

In the first season it was about what true friendship was (both Eva and her old friend story, and our bus squad with all of their disagreements, Jonas and Isak), it was betrayal (Jonas, Eva, Isak), and what a true relationship was (Eva, her friend and Jonas, Chris and his girlfriend), about standing up for yourself (like Vilde tried, and how Noora did it for her), about having problems with parents (Noora and Isak), about being smart (Sana), and of course, about finding yourself, about understanding what YOU is, what your opinion is, and what does it matter (Eva’s story was all about it). And don’t forget the small things and the “intro” at the very beginning in the first episode of every season. Remember the speech Jonas wrote? However casually they might be talking about it, it still makes you think about what is really happening in the world right now, about what we should really be thinking about.

The second season not only continues some of the topics of the first season, but introduces new ones. It’s got friendship, relationships, family (William’s brother), stereotypes (about William being a jerk), standing up for your friends (not just for Vilde, but for Jonas and Chris), what is justice (William and Noora even argued because of it), what is violence (because of this too), what is war and how it affects our lives (the whole immigrant thing), it partially introduces the topics of homosexuality, depression, being pregnant at a young age and even patriotism. And again, don’t forget the small things matter!

In season 3 it’s a whole new story. Homosexuality is obviously the central theme here, getting out of the closet (cause it really does take a LOT of courage), friendship, parent problems, bipolarity, religion, particularly Islam, faith in yourself and in the people around you, finding, discovering yourself, understanding people’s motives and why they lie or do certain things, love! (it really does get into Isak, does it?)

And now we’ve got season 4 which has even a broader range of topics, some of them SO important in our days. Islam is the main theme, slavery, homosexuality, the way spiritually raised people can restrict themselves, or rather choose not to do certain things, because (as Sana said yet in season 3), “I just feel that my faith is more important to me, than drinking or having sex.” And even though her faith is more important to Sana, she is still a human, so she loves and lives, though she leads a Muslim lifestyle anyway. And she manages to have norwegian friends, while doing everything her religion expects her to do. And she doesn’t feel bad about it (well, most of the time, cause her mom, and that hint of some chemistry between Noora and Younas, and I think this inner fight of Sana’s will also be important.) We only have almost two episodes and there’s already so much to them!

And did I mention the fact that the show, by taking different characters every season and making the central problems different and spending so much time on the media enhancement (youtube, instagram, chat snaps), literally puts us into the shoes of these characters and makes us think of the problems we encounter DAILY nowadays? All of these topics are important someway in the world we live in right now, and I am really happy there is a show that tries to spread the word to all people. Make them think.

So, once again, why is it better than Skins and Gossip Girl? Cause it deals with so many common life problems and not just high school teen drama. (By the way, they are all mostly broke, or don’t have enough money which is one more thing teenagers encounter on a daily basis.)

So, to some up, SKAM is a wonderful TV-show, and I am so thankful to the people who made this, because they are definitely considerate ones. SKAM deals with so many daily-life social problems, and if you watched SKAM and didn’t like it, you just probably didn’t notice all of these themes. Just rewatch again and I hope you’ll see.

(P.S. The coolest thing is the music literally. I’ve never come upon a show that had such accurate choice of music. Songs play just at the perfect moment!)

anonymous asked:

One thing I was thinking about: many people paint canon!Azula as some sort of murderous psycho... but even at her worse, on the day of her coronation, she never murdered anyone. Instead, she banished them. That means Azula is NOT instinctively murderous. She's instinctively authoritarian, but her constant death threats along the series are just that: threats, that she would likely never follow up.

I am not sure if I ever used this as an argument in her favor. If I didn’t do it it’s because I forgot to, but I remember having thought this exact same thing. I agree with you 100%, Anon.

Not only does Azula not harm most people whom she takes captive (which rules out the sadistic torturer facade people keep forcing into her character), but even as she loses her mind, she’s not ready or eager to kill her servants or guards. She banishes them all, and it’s not exactly a great idea either, but she makes them leave instead of executing them or something.

And let it be known that she could easily want to kill people, because she did shoot Aang full of lightning and expected him to be dead , right? But she doesn’t choose to kill any of the people she banished. In fact, I don’t think killing them crossed her mind as a real possibility to begin with. She doesn’t even tell the first servant that she ought to execute her for her mistake, she says the crime was severe but that since it’s a special day she’ll show mercy (meaning, she knows she can kill but she chooses not to). It’s easy to imagine that, since her irritation only continued to escalate that day, she might have resorted to a more final punishment than banishment when dealing with the Dai Li, or with Lo and Li. Yet nothing. She never resorted to her political power to kill anyone. As you said, she doesn’t murder people willy-nilly: it’s not her immediate impulse. 

Now, of course, people will counter our arguments here with “But she DID try to kill Zuko in their Agni Kai!”

… She actually was trying to shoot Katara, but that’s not the point xD

We can’t lose sight of the fact that her problem with Zuko was far more personal than the ones she had with most anyone (perhaps only with the exception of her mother). She blames Zuko for everything she has lost and from what she can see, he’s here to take the last thing she has left, the throne her father has handed down to her. 

Azula isn’t going to let him take that too, and if killing him is what needs to be done to stop him, she’s ready to do it. But let’s take a look at some interesting evidence…

This is when Zuko falls in the Southern Raiders, on the very episode where she first threatens to kill him. She’s not exactly jumping up and down with joy here, after Zuko falls while fighting her. Either she knows he’s not dead here (which is hard to say, considering he was just falling from ridiculous heights and with no salvation in sight…), or she just doesn’t REALLY want to kill her brother and thinking he’d plummet to his death really brought her no relief or joy or any enjoyable feelings. I guess everyone’s free to pick the narrative that suits them better.

But there’s something else I need to say…

During the Agni Kai, Azula KNOWS Zuko isn’t dead after she shoots him full of lightning.

She tells Katara she’d rather the family physician looks after Zuko, doesn’t she? She might have said something a little more morbid than that if she was absolutely certain that she’d killed her brother. Maybe the family mortician would look after him instead, or she would have told Katara that Zuko’s funerary pyre would be lovely or something equally awful, right? But no. She says the family physician should look after Zuko. Huh.

This makes me think she knew her attack hadn’t been lethal, or that she noticed he partially redirected it. I also think lightning isn’t always lethal (some people even say she didn’t even kill Aang in Book 2, so that as well supports the theory that lightning may not be instantly or inherently murderous). Sure, both Aang and Zuko needed Katara’s magic water to fix them after they were electrocuted, but Aang needed the special oasis water: Zuko doesn’t. Is it because of the partial redirection? Probably. But since he still moves a bit and whatnot, Azula knows she didn’t kill her brother. 

But instead of trying to finish him off? She fights Katara and leaves Zuko writhing where he is. Simply put, she doesn’t NEED to kill him and she knows it. She just needs him out of her way.

So indeed, I think Azula didn’t want to kill: Azula wanted to win, and yes, she was ready to do whatever it took to take absolute victory. Even at her worst, as you said, her immediate instinct isn’t to kill: that’s something she can do if need be, but it’s not the #1 resource she relies on to finish off her enemies or something she enjoys doing. Else she would have likely killed heaps of people throughout the show because she had LOTS of chances to do so. As you said, she issued threats after threats that she NEVER follows through with. The only almost-deaths she delivers are Aang and Zuko’s, and in the end neither of them died for real.

Simply put: Azula is not a murderer, never was.

give Karasuno some credit

this is a topic that I’ve been meaning to talk about because it kinda bothers me - not in the salty way, just in the ‘things I wanna adress’ way.

with nationals in full force right now, there’s a lot of speculating (not that I’d ever do that …….), and with that, a trend that I find both annoying and really funny.

has the thought of ”Karasuno is too weak to win” been around for long? I only joined the fandom during season 2 so what do I know. I’ve definitely heard it said about the Shiratorizawa match, and the third Seijoh match, and now nationals. and I’m still here wondering …

why?

Keep reading

anonymous asked:

Why do you treat Zuko like he's somehow more of a man than Aang is? Aang constantly helped, supported, and saved both his friends/loved ones and other people in need and stood up for his morals and beliefs even when others insulted and patronized him for it and was the first to forgive the teenager that tried to hunt him and kill him for the majority of the show, while Zuko spent most of this show the exact opposite, yet his struggle is somehow more than the boy who lost his entire culture?

I’ve had this ask in my inbox for months because I honestly forgot about it, but I have some time to reply properly.

GET READY FOR THE ESSAY NOBODY ASKED FOR

Aang is a wonderful character that is generous and loving and protective and basically the moral compass for the show for at least the first two seasons, and that’s good. I like Aang as a character, but he just doesn’t develop past square one. I  think it was a huge mistake to write him the way Bryke did throughout all of season three. They missed just a huge opportunity to develop him into a complex character who has dealt with loss and genocide and a huge, impossible burden, but instead they made him out into the nice guy.

You are, however, grossly underselling Zuko as the guy who spent the show hunting Aang. They started out even in their journeys, both young boys who had a complicated and tragic past coupled with an epic journey. But somewhere along the way, they went in different directions. 

The fact is, it’s unrealistic and unfair to expect Aang to not change throughout his journey. He can’t end the series as the same person he was in the beginning, because there is no way that an actual person wouldn’t change after going through everything that Aang did. The funny thing is, every single time Aang had a chance for growth, Bryke stunted it by placing a Katara-esque band-aid on the wound.

Aang never learns to really control the Avatar state. Every time he freaks out and loses control, Bryke throws Katara at him as a solution. Aang should have dealt with the fact that he massacred the Fire Nation at the North Pole. He should have dealt with how violent he was when Appa was stolen. He should have dealt with his defeat at Ba Sing Se. He should have dealt with the failed invasion on the Day of Black Sun. He should have dealt with the fact that he can’t kill Ozai.

But he doesn’t.

Aang’s MO is unfair for his character, but it repeats itself throughout the entire show. Obstacle, tantrum, solution. Obstacle, tantrum, solution. He lashes out at people when they try to help him, like a child, and usually does whatever he wants anyway. Look at how he responds to Katara when they’re stuck in the desert by the Library. Look at how he ignores her and Sokka when they try to regroup after the invasion. He’s acting like a child when, as unfair as it sounds, he needs to grow up.

If you apply that same standard to Zuko, you get completely different reactions.

I won’t say that one of them has more tragedy in their past than the other, because I think they have suffered in vastly different yet somewhat equal ways. Aang has never had to deal with being rejected or unloved. Zuko has grown up being belittled, abused, and kicked down. He’s been indoctrinated with very violent and harmful views, brutalized for resisting them, and then sent from home at like, FOURTEEN.

It’s hard for Zuko to change and he throws the same tantrums that Aang does, but then he grows up.

I’d put his growth starting point somewhere between his battle with Zhao and the attempted murder by the pirates. 

You see Zuko change. He abandons everything he’s ever known and is left with nothing, physically and metaphorically. He has to rebuild his identity from the ground up, and he makes mistakes along the way. He steals. He lies. He resents the loss of his luxury. 

But he’s also kind and selfless.

There’s a running joke that “No one had a crush on Book One Zuko” 

That should give you an idea of how drastic his character development is compared to Aang’s, even within the span of one season. Zuko ends the series a completely different person, having made amends with those that were initially his enemies, and taking on the responsibility of rebuilding the country that once shunned him. It’s a beautiful redemption arc the likes of which I don’t think I’ve ever seen. 

You mention that Aang sticks up for his beliefs, and I’ll agree that that is good. However, Aang never challenges himself. He never has a moral quandary. He never stops and wonders if what he believes is actually the best option. He just keeps doing it anyway. 

Something that has always bothered me is that he never tells the Gaang that he has failed to control the avatar state (before the  battle in the crystal catacombs). He picks up Sokka and lies about something that affects all of them. He lies time and time again to the people that have given up their lives to help him accomplish his goal. He patronizes Katara countless times when all she’s trying to do is keep them going. 

And that will be my final point as to why I value Zuko as a character more than Aang. Their treatment of Katara.

Shipping aside, Aang never once treats Katara like his equal, in a romantic sense. He applies the same childish hard headedness to their “relationship” as he does to his problem-solving. It’s very one sided, and it’s very selfish. When he first kisses her, it’s out of the blue. I personally consider it to verge on an unwanted advance, but I realize it could be just an innocent gesture. 

But the fact remains that after he kisses her, Katara doesn’t ever talk about it. She never confronts him or approaches him to tell him she feels the same way. Instead, when he gets jealous over a play, she tells him that she’s confused. He says he thought they were going to be together forever. After ONE kiss. THEN, after she’s said she’s confused, that they’re fighting a war, that she can’t think about anything like that right now, he kisses her. Again.

This time, it’s very clearly portrayed as unwanted. Katara storms off and Aang is left to throw a tantrum one last time.

The next time they have some actual alone time is after the battle, if I’m not mistaken. And I’m supposed to believe that she’s overcome whatever confusion she had and throws herself at Aang? #trophy

Then you get Zuko, who from day one has treated Katara as an equal. By day one, I mean the first time he ever really sees her. Not “I’ll save you from the pirates” not the shirshiu chase, but the battle on the North Pole. 

He fights her like an equal, and every encounter since has them evenly matched. 

I could say a million things about their dynamic, but I’ll narrow it down to The Southern Raiders, because I think that episode does a wonderful job at contrasting the differences between the way she relates to Aang and Zuko.

When Katara confronts Aang with the idea of going after the man that killed her mother, she doesn’t get a friend, she doesn’t get a lover, she gets a lecturer. Aang is so detached from the situation that he can’t understand how Katara feels. He is, first and foremost, a pacifist monk. That doesn’t mean he’s a bad person, but it does mean he’s bad at relating to people. He can’t understand why “letting go” isn’t an option for Katara because he can’t understand Katara. He knows what he thinks she should do, so he tells her that. He judges her for wanting revenge. He lets her go with a patronizing farewell. He’s been traveling with this girl for almost three years and he can’t figure her out.

Zuko gets her almost instantly. He sees through her anger at him and you know what he does? He tries to find out how to help. When did you EVER see Aang trying to find out more about Katara and Sokka’s mom? When did he EVER try to get to know Katara’s pain? How SICK is it that we went two and a half seasons with NO ONE asking these two kids how their mother died. But Zuko does. And once he finds out, he tries to help her get closure.

Even better, Zuko trusts her to make her own journey because he KNOWS WHAT IT’S LIKE TO STUMBLE ON THE WAY TO THE RIGHT CHOICE. Aang expects Katara to automatically choose peace and forgiveness. Zuko understands that, in reality, that doesn’t happen. He respects Katara enough to let her have her own path to closure. 

He lets her stumble. He lets her bloodbend and intimidate and get so close to ending the man’s life, but she doesn’t. And I think if she had, Zuko would’ve helped her with the body and never said anything to a living soul ever.

The people who come at my bb Katara going off about how awful it was for Zuko to let her or encourage her to bloodbend or seek revenge are just being dicks. Either you’ve never lost a parent or you just don’t understand that particular journey, but it comes down to the same thing Aang couldn’t do:

It’s not your journey, so you don’t decide how she takes it.

Katara is a master at this point. She has grown up more than the majority of the gaang (with the exception of Zuko probably), and she has a right to her own agency in her story.

Tl;dr: 

Zuko grows up into an understanding human being and Aang remains a petulant child.

2

Favourite Acting Scenes: Even confesses his thoughts to Isak (10.10 part 1)

CASTING CALL: Looking for a charming, Norwegian James Dean with the acting skills to match! Preferably 2m tall so that he can tower over everyone else.

In the first few episodes of the new series you just booked you’re portraying a suave, smooth and an overall cool person. You’re charming, and direct, and your character has finally found someone who makes you feel other things than just caged in. You don’t appear too often in the beginning, so you stay mysterious. You’re an honest and a kind person, but you just don’t tell everything that bubbling under the surface. This character is made to be seen from a distance – don’t get too close, because that might break the illusion.

Not all illusions are made to be broken, but unfortunately for yours it is. You are still you, but a bit more vulnerable; the surface has been breached. After a week of nothing and everything you’re taken home. Weeks of feeling everything at once result in hours of sleep. But then you wake up, and clouds are immediately gathering over your head. You need time. To breathe, to form thoughts, sentences.

And Henrik takes his time. As mentioned in my previous post of my general ideas on acting in SKAM, it relies on quietness: on the time between lines, the moments of silence. Just as was the case with Tarjei, not everything needs to be heard, but you need the audience to feel. That is what Henrik is doing so perfectly in this scene: he is taking his time to feel, and he does not rush, preferring the quietness. Let me really show you what Even feels.

When Even wakes up, his hei can barely be heard. The actors are allowed to really whisper, as softly as they would in real life, and that’s okay because the mic will pick it up. For twenty seconds, he doesn’t say anything, before he whispers again. Anything harder will only hurt. It’s already 10:30. Shit. You see him make the decision; he has to leave. Deep breaths.

From that moment on, he does not look to his left, his voice becoming firmer. I have made the decision, I have to leave. I have seen this before; you will find me a burden. This is not going to work. Eyes are shut but his lids are still moving, as if he tries to will the tears away. How did I ever think it was going to work? You’re not sad now, but you will be. If you stay with me.

And this is such a great acting moment from Henrik; here he takes his time. He takes fifteen seconds, trusts his director and fellow actor not to interrupt to fill up this silence. If I take this moment to do this my way, will you be okay with that? And they are. Of course they are, because you’re so good at this. Challenge us.

His, usually, magnificently bright eyebrows become incredibly sad. His eyes are wet.

Deep breaths.

This is not going to work out. He’s looking to his left again, turns towards him, needs him to hear his words. I have hurt so many people before, you would only be the next one in line to hate me for it. You see that he truly believes in this, as if it’s all his own fault that it happens. It’s natural.

Nei. Lovely Isak. Wonderful Isak. (Tarjei’s wobbly voice is quite impressive here. It is incredibly tough to sound convincingly uncertain and hurt, but it feels so so real).

The atomic bomb argument does take Even aback. He seems unsure how to react to this: he did not expect Isak to be so stern about this. But the minute for minute game lands him again; his face becomes slack and it feels like he becomes more calm. He feels calm. Henrik barely breathes, he’s quiet. But then Even whispers again. Okay. I’m in. What do we do now? He waits.

It’s as simple as a kiss. His smile reaches his mouth, and very quickly goes on to his eyes. It doesn’t last long but that’s okay. And that kiss is all he needs to feel that calmness again, he trusts Isak and breathes deeply. He sleeps.

Even is not, was not, nor ever will be a burden. Thank you for showing that to us Even; thank you, Henrik, for making us believe in it too. Henrik (and Julie) took their time for us to do so. Acting can be such a healing thing; both for the actor as well as the audience.  It can tell us stories that we need to see to make us really believe

Previous parts: here.