i mean. what are the actors. the directors. the writers doing

on the new Iron Fist series

So after binge watching a ton of Marvel’s new Iron Fist series, I went onto tumblr, wondering what the fandom was up to now, what with all these new gifs and stuff to make. ‘Maybe I would find some fan art or something’ I thought innocently to myself,

BUT BOY WAS I WRONG

instead, I was greeted with SO MUCH DISCOURSE on how Iron Fist ‘needs a chinese-american actor’ or ‘has terrible dialogue and is slow’.

the best part is when I found out that some of y’all are trying to get this show boycotted like ‘????’

Now as a Chinese-speaking Asian female, living in Asia, with an Asian background and a good know-how of Chinese history, as well as a decent knowledge of comic books, (although I confess I got into the animated series first) I’m here to end the discussion before y’all get your full rage on and start fighting fans of the show like it’s Lord of the Flies up in here

So keep reading if you want to be educated or if you just want to fight me before you know what you’re even talking about

“THE SHOW INSULTS CHINESE CULTURE”

Uhhhh…no? I’ve seen a few episodes and I mean so far there isn’t really anything that screams ‘insult’ or even offensive in the slightest. Besides maybe the fact that they take the beliefs and twist them a little bit but honestly even that ain’t that bad as to what I’ve seen elsewhere.

I’ve read the boycott post and let me say that yea, they dressed him with an eye for Asian elements, but maybe that’s because it’s supposed to be resembling Asian clothing? I mean how is that offensive? Is it the part that it looks Asian? Or that you simply feel that white people that direct these shows should not be using Asian stuff for entertainment? Because I hate to break it to you but it’s still not offensive. Even the dragon tattoo is totally fine because it’s supposed to resemble Asian elements yea but also have y’all read the comics? Because he punched through a dragon and basically took it’s heart. So I mean a dragon tattoo kinda matches the theme.

I mean in the first episode they speak almost flawless Chinese for Pete’s sake! Hell, I was surprised that they even had it in them to have a non-Google translated line. Sure the accent was a little overdoing it cuz not even I have that thick a Chinese accent but I’ll excuse it since he was apparently learning and speaking 15 years. (I speak it maybe a few times a day for like the last 14 years or so only)

So no, the show doesn’t really insult Chinese culture, sure they might be ignorant, but you must understand that after generations of stereotypes and misconceptions that that can’t just go away with one show

“Danny Rand should be played by an Asian guy/be a Chinese-American”

I can’t even begin to tell you my frustration about this.

Y’all do know this show is based on the comics right?

You know, the one with the white guy.

I know Marvel is infamous for not including enough representation in their shows but seriously? This is like the Harry Potter thing all over again with Hermione being black, it’s not that we don’t want representation or anything, but it’s the fact that this hero that us comic fans have come to already love has been replaced. Or at least it feels like it. Like when a movie is made from a book and people go crazy because character XYZ suddenly has different traits or isn’t quite what was described as compared to the book.

Frankly, it sucks.

So even though yes, Marvel should have more Asians in their shows, don’t expect them to completely give the main character a makeover, even if the makeover was supposed to provide representation. And honestly? I don’t want them to change him because I really freaking love Iron Fist, just as he is.

“This show just villainizes Asians”

So you tell me that my race is being made villains because Marvel decided that most of their Asians on their shows are evil ninjas (aka the Hand) and at most there are like 3 sorta good Asians. Oh and I’m sorry, you want more Asian men that are good guys? You want a balance of Asian heroes?

Well I guess that would be kind of hard to fit into the story since, oh, I don’t know, everything happens in the USA?

If you want more Asian characters well then look no further because you do have them. Daisy Johnson from Agents of Shield? What about her extremely brave mom? Or maybe Colleen in Iron Fist? Everyone seems to be blatantly ignoring her badassery and only seeing the part where she’s a sorta love interest.

Facts are, there are Asian characters, you’re really just looking hard enough. I agree wholeheartedly when you say that more Asian men need to be in the Marvel universe that aren’t part of the bad guy team but you gotta say that they are still awesome.

Does anyone even remember the Japanese ninja yakuza guy from Daredevil? Dude got set on fire and STILL came back to kick ass. That’s a plus in my book because even though he’s considered bad, he’s been proven to be cunning, smart, and overall awesome.

“The show has terrible stunts/acting/dialogue/fight scenes”

From here on out it’s mostly just me trying to explain why the directors and writers of the show made decisions in the show to make it what it is, so let’s dive right into it.

  • STUNTS

Actually the stunts weren’t half-bad. If you’ve seen other shows or movies that are heavily reliant on stunts and action, and compare it to this show, they really aren’t that much different. Sure it might seem a little unbelievable sometimes like they’re breaking physics or something, but he already has a glowing fist. I think we’ve crossed the line of believable long ago.

  • ACTING

I have nothing to say about this except that go and take some acting or drama classes before coming and criticizing these awesome men and women who did indeed try their best

  • DIALOGUE

Now I get the dialogue might be a little weird at times and what not, but you must understand that this show was partially written with the Defenders series in mind. So almost everything that was said in the show is meant to lead to something more. Thus, you must take it as a bigger picture. Sorta like how everyone said that Fantastic Beast and Where to Find Them wasn’t as good as they thought it would be, that movie was also meant to lead on to a bigger story so you might want to excuse the weird speech and cryptic lines at times.

  • FIGHT SCENES & ACTION

Okay seriously people, please read the comics. Danny Rand is supposed to be an accidental hero, one that doesn’t want to fight unless he really has zero choice in the matter. So yea, the fight scenes won’t be that interesting, but only because the character in question is more interested in ending the fight than anything.

~

So there you have it, my whole slightly angry info-dump on Iron Fist and Marvel’s representation problem in general. If you want to correct me or scold me even then by all means message me or shoot me an ask. But just keep in mind that Marvel can’t make all your problems go away in one show, and please for the love of all that is good read the comics before coming to rant okay?

Project presentation

HI EVERYONE !

If you’re one of the people wondering why it’s 2017 and Sherlock Holmes and John Watson still haven’t kissed on TV, then you might be interested in what I have to say !


As an aspiring writer/director, I want to right decades of wrongs and finally free these characters and finally allow them to be happy together. 

What I offer you is Sherlock Holmes and John Watson, both young (early 20s), both queer. The action would take place in modern Paris (because I’m a poor french worm)


Now, why am I telling you all that :

The project is only at its development stage, meaning I’m still working on the story (though the main pitch is already defined). Also, it’s all amateur work, so I’d be doing this on my free time, with my own money etc.. 

So basically, I need people interested in this project to help me out !

  • For the writing phase: as I’m not a walking ACD canon Encyclopaedia, I might need a lot of help concerning the canon and especially the cases. I might also need help writing said cases.
  • For the filming phase: I’ll need actors (preferably french speakers), but also sound engineers, scripts… (but we have time for that)

So if you’re interested in the project, if you’re motivated, send me a PM and don’t forget to share and reblog !

like-a-lidel  asked:

Also: The camera switches to Dean's face. During the "I love all of you" Cas' voice is a lot more steady, he looks up to Sam (I think), but his eyes dart straight back to Dean (who seems to be trying to say something). One other thing! Cas' didn't say "I love you. All of you", she made two independent sentences, as though he tried to show that he was talking about two different things. But I am no meta writer, so I'd love to know what you think about it.(sry for any English faults btw) 2/2

Hello, dear! I believe you sent me two messages (because of the 2/2), but unfortunately I never received message number 1. However, let’s talk about the infamous “I love you” you mentioned in this message.  

In someone else’s post about that specific scene that I reblogged probably a day after the episode aired, I said that when Cas first said “I love you”, I understood it as his way of expressing his feelings for the three Winchesters present. However, WHY IN THE NAME OF CHUCK DID CAS FEEL THE NEED TO CLARIFY HIS “I LOVE YOU”?

The moment he said “I love all of you”, I had to stop and think for a moment. That simple sentence completely changed the meaning of the first one. It’s obvious that Cas felt he needed to clarify because the first “I love you” wasn’t clear enough. That was an incredibly ambiguous scene because there are three ways in which we could read the whole thing:

  • Interpretation 1: When Cas said “I love you” he meant the three of them, but he thought that because his history with Mary is very brief compared to the one he has with the brothers, she wouldn’t think his statement included her. That’s why he wanted to make sure she understood that he loves HER as much as he loves her sons.
  • Interpretation 2: When Cas said “I love you” he meant the three of them, but he thought that both Sam and Mary wouldn’t think they were included there because of the more profound bond he shares with Dean. That’s why he wanted to ensure that all three Winchesters knew they mean a lot to him, not just Dean.
  • Interpretation 3: When Cas said “I love you” he said it for Dean, but then he wanted to extend the feeling to the rest of his family because he wanted them to know the three of them were important to him.

The audience was in charge of deciding which interpretation they preferred. The people who can’t pick up on any kind of subtext probably thought the first “I love you” was for Dean and Sam and the clarification was meant to include Mary. On the contrary, the biggest Destiel shippers probably picked the third interpretation, the one in which the first “I love you” was meant for Dean.

Although the three interpretations are equally valid, the first one makes more sense only in text. When you watch the scene, though, the third interpretation is more logical. Why do I say that? It’s just that when Cas starts giving his speech, he has no trouble looking at the three Winchesters. His eyes go from Sam to Dean to Mary and over again. He doesn’t keep eye contact with any of them for too long but looks at the three of them. Even when he says, “You’re my family”, he looks at Sam, then at Dean, then at Mary, but then he does this:

He can’t meet anybody’s eyes! Why does Cas avoid eye contact?

Besides, as you pointed out, the camera immediately switches to Dean. Why? Why would they do that?

When Cas says “I love all of you”, he doesn’t look at the three of them as he did when he said they were his family. He just briefly looks at Sam and then keeps eye contact with Dean like this:

And Dean’s reaction? He looks like he just figured out what Cas meant (just as the rest of us did):

If we just read the transcript of the episode, we may interpret Cas’ lines differently. The thing is that the camera shots, Misha’s and Jensen’s acting choices, all that contribute to a Destiel-friendly interpretation of the whole thing. 

Let’s also remember that only two episodes before, Dean was kinda established as Castiel’s human weakness (AGAIN). Just two episodes before we learned that angels can have feelings for humans.

In conclusion, we’re not delusional. We’re just reading the signs that the writers, directors, actors, and editors are putting there.

If people decide they prefer interpretation 2 that I mentioned above, it’s still Destiel-friendly. It still means Cas himself thinks that if he says “I love you” when Dean is present, people won’t include themselves in the statement because they will think that Cas means only Dean. Cas feels he needs to clarify who he means because people will associate Cas’ I love you to Dean for default.

Personally, I’m OK with interpretations 2 and 3, but I’ll stick with the third one because it’s the one that makes more sense when you’re actually watching the scene without wearing heteronormative goggles.

Highlights from the Lana Parrilla and Sean Maguire panel at Storytelling Con, Barcelona, April 22, 2017

  • Lana came in first…..
  • Did she prank someone on set:  “Well I stole Rebecca’s dog.  She was not happy about that.  But she stole my chocolates so I thought it was fair to steal her puppy.  It was my Wicked Witch moment.  I stole her Toto.”
  • Which Meryl Streep movie would you like to have been in:  Mama Mia, the Deer Hunter, the Devil Wear’s Prada.  
  • FMK:  F Emma, M Zelena, K Rumple.  “I would sleep with myself, I’d marry the Evil Queen, and I’d kill my mother.  Nooooo.  That doesn’t make anyone happy.”
  • Favorite con activities:  “I love the meet and greets because they’re really intimate and you get to learn a little bit more about my people.  Those are my favorite moment.  Also just hearing people’s stories.  These are fun.  I like the panels because I like the energy.  And it’s just fun because I get to see everyone and hear everyone, feel your energy and hear your voices and your shouting, your cheering, it’s electrifying.”
  • What was it like meeting Johnny Depp:  She was seven all over again, and she had a crush on Johnny Depp during 21 Jump Street.  She was starstruck and fangirled and looked stupid in that picture.
  • What has she learned from Regina or the Evil Queen:  “I’ve learned a lot of lessons.  And a lot of similar lessons that a lot of you have learned from these characters because they are very inspiring women.  One a little bit more than the other.  But even the Evil Queen I’ve learned lessons from her in what not to do.  And with Regina just always striving to be the best me I could be for myself and others.  That’s probably the biggest lesson.  Sounds cheesy but it’s not.”
  • What is it like to live with four boys:  Fun, loud, energetic, with a lot going on.
  • Best advise to give to your fans:  “Be kind to one another.  No more segregation, no more separation, no more hate, no more bullshit, I mean there is a lot of that happening in the world.  Why would you want to be part of that?  So especially in social media I see all the negative banters back and forth and it’s just… I just recommend if you get the impulse to want to say something really shitty to someone … go do something else.”
  • Sean Maguire joined at this point….
  • What is your favorite one liner:  “I love fillet the bitch.  I just think it’s so fun to say.”
  • They took a picture with an OQ banner presented to them by fans.
  • What would they as their characters use to describe the other…
    • Lana:  “Chivalrous, Smells like Forest, Handsome, Father, Loving…”
    • Sean:  “Dynamic, Stunning, Courageous, Beautiful, Powerful.”
  • What do you think the EQ and Robin are up to in the wish realm?  “I know what they’re up to but we can’t say. […] I think they’re having a really good time.”
  • Question about how Robin and Regina never said I love you on the show:  They both seem surprised that they did not.  
    • Sean:  “Well if that’s the case it’s an oversight on our part or the writers part or they’re really holding out to do that line.  He’s already dead and you are still holding out?”
    • Lana:  “I feel like they had to have said it…”
    • Sean:  “I think you’re right… […] it’s because Robin and Regina are really shy…  But did you get the sense that we both felt that?  [Audience affirmative]  Well then we did our job.”
    • Lana:  “I’m here to tell you all that Regina and Robin Hood loved each other.”
    • Sean:  “We certainly did.”
  • Lana declines to sing again… which … she does a lot at cons.
  • First impressions:  
    • Sean:  “Lana was the one on my first day, Lana was one of the first actors on the show to say hi to me and welcome me to the show.  So I was really … it’s like the first day at school and when someone who has been there a while welcomes you it makes you feel really relaxed.  So I was very, I loved her straight off the bat, I was like ‘oh she’s nice.  We’ll get along well.’ not knowing we’d end up working together.
    • Lana:  “I saw Sean before he saw me and I felt a warmth and a kindness and a sensitive sweet soul and you can see it.  And I thought that’s my Robin Hood.  So I went and introduced myself.  And I knew we’d get along.  And Sean knows this I’ve told him this a million times he’s been like an angel for me on the show and I love him so much.  And I couldn’t have asked for a more wonderful, beautiful, love interest, co-star, friend, we really enjoy working with each other and I was so glad he came back this season.  Honestly when Sean’s not there it’s weird.  He brings so much light and laughter, he is, he makes everyone, the crew smile, everyone laugh, he’s missed.”
  • Does Regina think Emma is too good for Hook:
    • Lana:  “Ahhh I mean I feel like Regina … I feel like I’m going to say yes for them but honestly I think that Hook has come a long way …”
    • [At this point the audience starts making noise…]
    • Lana:  “Shhhhh do you want to answer the question or do you want me to answer the question?  You may not like my answers but that’s okay, it’s still my answer.”
    • [Moderator/Translator:  “Drop the mic.”]  
    • Lana:  “So I think that Hook has come a long way.  I don’t think that Regina necessarily likes him very much.  She tolerates him.  And she supports her friend.  All the Swan Queens are going …”
    • [Moderator/Translator goes ‘Swan Queens chill’]
    • Lana:  “I have to look at the story as it’s written so I’m answering the question as the character and what is written.  And I don’t think she really cares for Hook.  She’s always sarcastic, she’s always belittling him, she puts up with him, and if he makes Emma happy she’s happy.  Now I’ve lost all those fans…”
    • [Moderator/Translator :  “No you haven’t.”]
    • Lana:  “I’m just kidding.  I know I haven’t.”
  • Future projects:  
    • Lana:  “Well we don’t know if there is a season seven.  So we don’t know what is going to happen but we’ll see.  In the meantime there is a lot to catch up on in life.  We’ve been working on Once for six years so … it’s important to take time for yourself and to try and try to reconnect and try to get some things done on a personal level.  Who knows what lies ahead.”
    • Sean:  “The show finishes filming around April … and those going back go back in July and Lana and I and a lot of the cast in that time travel around the world.  We go to Brazil we go to Paris which we love and we’ve had an amazing time meeting all the wonderful fans.  But it sometimes doesn’t leave us a lot of time to do the personal things that we want to do…”
    • Lana:  “No rest for the wicked.  But we’ll see.  I hope you follow us no matter where we go.”
  • Best day of your life:
    • Lana:  Being born.  
    • Sean:  When his son was born.  Lana and Ginny told the assistant director to send him home when he showed up to work the day after his son was born.
Tips for Writing Romance from A Passionate Defender of the Genre

Here’s the thing: romance is not inherently interesting.

It’s not automatically compelling.

Romance is one of the hardest things to write, but if you’re clever and careful and pay attention, romance can also be one of the most powerful tools a writer can wield. Not only because love is a powerful and complex emotion worthy of exploration—although it is that—but because romance can function as plot, conflict, character motivation, development, world-building, etc. It can do so much heavy lifting for you, and in a way that is engaging, evocative, and tone-setting.

But you can’t simply cry “Love!” and wait for the applause. You gotta earn it. 

Keep reading

Imagine meeting Chris at an airport.

A/N: My loves, I may have another series on my hands. (Chapter One: Unexpected Reader) A series involving the first series, which will make much more sense later. I don’t know if this will be a hit or a total miss, but a girl’s gotta try it out. (I feel like us fan fic writers will appreciate this love story.) Anyhoo, enjoy! ❤️

Your fingers absentmindedly thrummed the tabletop as you murmured the last line you just wrote to yourself. “Across the room, Chris watched you intently with a small smile on his lips. He thought of approaching you, but wondered if you were the kind of girl that would appreciate or reject his boldness.” You chewed the inside of your cheek, your finger hovering over the backspace key on your MacBook. It seemed like yet another cliché, and though clichés were what you and your hopeless romantics readers loved- you wanted to expand yourself. You huffed and pressed the delete key, allowing your words to get chewed up by the blinking bar.

“Now what was wrong with that?” You flinched and tensed when you heard an oddly familiar male voice come from over your shoulder; he was so close to you that you would feel the warmth of his minty breath on your cheek. “Clichés are great.” He winced as he pulled back, knowing he’d gotten a little too close. “I mean- there’s a reason they’re overused, right?”

Now usually, you weren’t the kind of person who would snap at a stranger in an airport; you were too worried about the repercussions to do that. Usually, you’d just send a death defying glare their way and let your eyes do the talking; you’d been told you had a very intimidating face, which you no doubt got from your mom. But this was different, this was a stranger reading your writing without permission. You’d always been incredibly protective and defensive when it came to your writing and people peering at your screens- be it laptop, iPad, or iPhone. It was your biggest pet peeve; you hated having people stand behind you while you were on any of those said devices. It wasn’t like you had something to hide, you just didn’t like your privacy being invaded.

“Thanks for the input I didn’t ask for.” You bit as you abruptly closed the screen of your MacBook; you heard him chuckle softly. “Do you want to know what I think?” You quizzed rhetorically as you turned to shoot the nosy stranger your famous glare. “I think you should mind-” You cut yourself off when you saw who it was. “Oh my God,” you breathed, “you’re Chris Evans.”

Yes, Chris Evans. Christopher Robert Evans as in the talented actor and director; Captain America himself; the brown haired, blue eyed, Bostonian angel; the man you could only dream of marrying one day; and the one who accompanied your protagonist in all her life endeavors. Chris Evans was actually in front of you, and talking to you, and breathing the same air as you, and all you’d said to him so far was “thanks for the input I didn’t ask for” as well as “I think you should mind your own damn business.” Even though you didn’t get to finish your latter, it was still not the way you’d imagined your first meeting with your celebrity crush to go.

“Yes I am,” he walked to sit in the chair opposite you, “but don’t let that stop you.”

Chris was trying not to show too much amusement, but he couldn’t help his smile. You were exactly the kind of girl he liked- sassy, but clearly sweeter than honey. He’d seen you earlier, when you were both checking in. You were talking to the little boy in front of you; he was wearing glasses too big for his face, but between you and young Jasper- Chris found you cuter. He then spotted you again in the departure hall, talking to an airport security dog while its officer was searching someone else’s bag. He was about to approach you when the officer took the dog away and you’d walked off, pouting. He thought that was it, that he wouldn’t have the chance to talk to you again- you may have been on the same flight but you were sitting in different classes- but then, he came across you sitting in Starbucks. He spotted you in the window and decided it was time he got to actually meeting you, rather than admiring you from afar. So far, his decision to approach you had been one of his best.

“You think I should mind…” He trailed off, his beautiful blue eyes urging you to continue.

“Your own damn business,” you mumbled sheepishly as you cussed yourself out. It wasn’t until he laughed that you felt a little better, guessed he was as nice as everyone said he was. “I am so sorry. I’m not usually that rude, I just-” you swallowed when you saw his intent gaze on you. “I don’t like it when people look at my screen. I’m very protective of my writing and I don’t-”

“Don’t even worry about it,” he cut you off with one of his typical, heart thumping Chris Evans smile. “I’m not usually that nosy. It’s just that I heard you mumble my name and you were watching your screen so intently that I got curious as to what had your attention. Fan fiction is an interesting thing,” he commented with a soft chuckle.

“Oh God,” you blushed deeply. “It’s not- um- I don’t- you see-” you rambled and he laughed, placing a comforting hand over yours to soothe you. “I’m Y/N and I’m studying to be a screenwriter. I write fan fiction on Tumblr to put my work out there and get real people reviews,” you explained in a frazzled tone. “I’m so sorry, I don’t mean any disrespect.”

“Oh, I know. You don’t have to apologize,” he smiled again and your heart fluttered again. “I think writing about someone is the greatest form of flattery. So relax,” he gave your hand a quick pat then pulled away, “I’m very flattered.”

“No you’re not,” you breathed in disbelief.

“Yes I am,” he chuckled. “It’s interesting to see how others see me, even if my fans may be a little biased.” He winked at you with a click of his tongue and you thought you’d swoon right there and then. “It’s nice to know people think I’d make a good boyfriend, and husband, and father. It’s actually very reassuring,” he admitted with a sheepish smile. “I was starting to think I was the problem in my failed relationships.”

“You’re not serious,” you laughed and he smiled, appreciating how lovely you and your laughter was. “You’re like the perfect man. There is no way you were the problem in any of your failed relationships,” you said and suffered immediate regret, realizing you’d offended his exes. “Of course- I don’t mean any disrespect to anyone you’ve dated.” He laughed again, noting how cute you were when you panicked. “Jenny’s awesome, I loved her in Parks and Rec-”

“Hey,” he said and you stopped, holding your breath for some reason. “Breathe, Y/N.” He instructed and you did as he said. “I’m not going to bite your head off for speaking your piece. I know you don’t mean any harm with anything you say, so just- calm down, okay?” You nodded and he smiled. “I like hearing what you have to say, it’s very refreshing.”

“That’s very sweet of you to say,” you blushed again. “You know- I’ve only ever been called refreshing in my own stories.” You joked then laughed when he did. “Looks like someone is living up to that level of perfection us fan girls have created.”

“Oh, stop it.” He chuckled and waved his hand, feeling heat rise to his own cheeks. “Fan fic Chris might be perfect, but I don’t think I am.” He joked and you chuckled. “I mean- Fan fic Chris wouldn’t have read over your shoulder like that, he’d buy you a coffee first then politely ask what you were working on.”

“Hey, no one’s stopping you from doing that now.” You heard yourself flirt and you wanted to slap yourself in the face. What were you doing? This was Chris freaking Evans! He’d dated huge names, names that you couldn’t beat even in your best day. You needed to quit while you were ahead, you needed to just ask for a photo then leave him alone. You knew all that, yet the next words left your lips anyway, “I’m all for do-overs.”

“Aren’t I lucky?” He grinned which made you smile. “I’ll be right back then. You’re a…” He pointed at you as he rose to his feet, his tone and facials showed that he was trying to guess your drink so you didn’t offer any help. “Vanilla latte, kinda girl?” He quizzed and you felt your lips part in awe; how he guessed that was beyond both of you.

“Not bad, Mr. Evans.”

“Thank you,” he smiled, doing a small bow. “And call me Chris, ‘cause Mr. Evans is my dad and I’m not that old.” He joked and you nodded, chuckling. “Okay then, I’ll be right back. Oh-” he stopped and turned back, “just to make sure you don’t run off. Hold my phone, will you?”

“You want me to hold your phone for you?” You frowned when he nodded, smiling. “You do realize we just met, right?” He nodded. “And I’m a fan, like- a huge fan?” He nodded again. “Aren’t you worried I’ll go through your photos, or steal Sebastian Stan’s phone number?”

“Not really,” he shook his head. “I mean- I’ve got nothing to hide, and you don’t look like the kind of girl who would do that kind of thing anyway.” You bit back your smile; that was true. “As for stealing Seb’s number, well- I think he’d be lucky to have you in his life.”

“Okay, now that sounds like a line Fan fic Chris would say,” you teased him and he laughed. “Exactly how much fan fic do you read, Chris Evans?” You asked with a smug smirk, which turned into more of a shy smile when he winked. “Do you have a secret Tumblr account to keep track on all the writing we do about you?”

“I’m going to plead the fifth to that question.” He started towards the counter, glancing back at a giggling you as he did. “Don’t go anywhere, okay?” You nodded and he smiled as he told you, “I want to hear more about you and your writing.”

Tags: @chrisevans-imagines @widowsfics @m-a-t-91 @xoxomioxoxo @imaginesofdreams @ateliefloresdaprimavera @katiew1973 @winter-tospring @shamvictoria11 @caitsymichelle13 @michellekeehlmello @letterstomyself21 @soymikael @faye22 @always-an-evans-addict @sammyrenae68 @brobrobreja @elizabeth-matsuoka @thegirlwiththeimpala @camerica96 @all-of-the-above11 @whenyourealizethisisntagoodname @yourtropegirl @smoothdogsgirl @createdbytinyaddiction @siofrataylor @dreamingintheimpalawithdean @imaginary-world-of-mine @wanderingkat77 @grantward3 @rileyloves5 @chrsmom302 @buckys-shield @mylittlefandomfanfictions @breezykpop @catch-me-im-a-falling-star @tabi-toast @ssweet-empowerment @hayleesteashoppe @chrixa @feelmyroarrrr @akidura79 @louisespecter @castellandiangelo @ccrossfire @assxmblesstuff @edward-lover18 @princessesnaddy @1d-niallerbieberforever @dxbrevgrey @bellastellaluna @christopher-or-steven @brokenwingsxix @yourenotrogers @im-a-fandom-slut (Inbox me if you’d like to be added to the tag list)


Part 2

Diana on FB 😀 First a Full Day In Cape Town

Interesting days, limited time to write about them… Cell-phone roaming charges being what they are, I mostly don’t get to post stuff until I get up to work in the middle of the night. And I do actually need to work (no, really…<g>. I’m answering the copy-edit of the BESIEGED novella, so the whole SEVEN STONES book can go to press). A quick bit, though, of Our Adventures to Date:

Friday was our first full day in Cape Town, and the major activity was going to the Outlander Studio, to meet Maril and everybody, and tour the amazing new sets!

Wonderful to see Maril, Sam and Caitriona again, as well as Nick Heckstall-Smith (AD) and a few other of the Scottish crew that have come down. Also Luke Schelhaas, one of the new writers, who’s covering this block (meaning he’s the writer on set every day, responsible for the billions of on-the-spot changes and adjustments to the script that are needed; all scripts flex a _lot_ during the actual filming, no matter how many revisions they’ve been through beforehand).

We were just in time to catch David Brown, the Executive Producer for the whole show (meaning he’s the person without whom none of this could happen–he knows where to find anything and anybody, and how it all works) before he caught his flight back to Scotland (where the flock is gathering to begin prep for Season 4–this stuff takes a _LOT_ of work and thought and planning). David drove us off at high speed in his golf-cart, and we zipped out to tour the ships (I figure I’m not giving away any state secrets by telling you there are ships in this part of the show…), which are fabulous, and I don’t only mean cosmetically (my baseline for 18th century sailing ships is Disneyland’s “Columbia” and these are even better); they’re equipped with all kinds of hydraulics, gimbals, and water cannons (!!!) that make the ships nearly as expressive as the actors.

We also roared through several newly-built (and in-progress) outdoor sets, some adapted from the existing Black Sails sets (but you’ll never recognize them) and some newly built. Most striking aspects were the landscape plantings and the sand (I won’t tell you why; you’ll just have to wait and see…). Ditto several enormous tanks of water (well, we didn’t roar _through_ those; just up to the edge to have a look).

Then David had to rush to catch a plane, so Maril took over and we had a look at the indoor sets inside the (HUGE!!) studio buildings. The last one we came to was in use, and we waited a moment for the take to finish. Then Maril led us up a short flight of stairs to the door. It opened before she could reach for the door-handle, and out popped Sam and then Caitriona, both in costume and perspiring as though it was in fact July in Jamaica (film lights are Way Hot, especially in a small, confined space). Lovely to see them both again.

Short break, then back to filming. We were kindly accommodated with seats in the DOP (Director of Photography)’s tent, with headphones, so we could watch the filming. Usual mixture of fascination and boredom, with incidental entertainment (as someone said to me afterward, “How can they be giggling and poking each other, then in half a second, they’re somebody else completely and doing their lines?” To which the only reply is, “They’re actors.”)

Shared the late lunch/tea-break (they were shooting until 11 PM, so “lunch” was at 6:00 PM) with the crew, watched a bit more filming, and then bade the hard-working cast and crew a cheery farewell, and rolled back to our hotel to eat medium-rare springbok and mango sorbet. And the morning and the evening were the First Day…

Asian Representation in Media: The Art of Yellowface and Cultural Appropriation in the name of “Feminism”

There has been a specific issue that has particularly angered and annoyed me. That issue is asian representation in media particularly with the use of yellowface and cultural appropriation in Hollywood/Celebrity Culture. Also the role of Hollywood not casting/hiring asian directors, actors, and actresses. I could talk about Ironfist and Matt Damon in The Great Wall which uses the white saviour narrative and asian people as background characters but I am going to focus on white woman and there “white feminism”.


1. Lets start off recently with the photoshoot Vogue did with Karlie Kloss. In this photoshoot, Karlie Kloss, a white woman, is portraying a geisha with the background being Japan. This is not only a case of yellowface but also an instance for the Western audience of Vogue to consume an orientalist fantasy. Karlie Kloss, has apologized but it means nothing from a person who also wore a Native-American headdress at Victoria Secret fashion show and most likely will not face any consequences for her actions.
2. Scarlett Johansson portraying Motoko Kusanagi in Ghost in the Shell is another instance of yellowface and a white actor taking a role from an Asian person. There has been a lot of controversy with this movie among asian fans. I haven’t watched the trailer because not going to support this trash movie but from what I read online the whole entire background of the movie is set in Japan. The story/setting is Japanese with scenes of japanese characters death. One argument is but “Motoko is a cyborg, cyborgs don’t have a race”. To shut down that argument in the trailer Motoko’s mom is a Japanese woman and in the manga there are clear visual distinctions between caucasian and asian women. Also there was the whole controversy of CGI people with asian features.
3. Tilda Swinton as the Ancient One. There has been controversy this movie with the casting and with the whole Tilda Swinton vs. Margaret Cho emails. First off, two asian characters Wong and the Ancient One in comics were incredibly racist depictions of asian people. The writers and directors changed Wong to not be just a sidekick and manservant to Doctor Strange but to be a strong character by himself, arguably. With that information, they did not even try to do the same with the Ancient One but instead cast a white woman. With the whole Tilda Swinton and Margaret Cho emails it was a classic case of a white woman wanting a person of colour to ease their white guilt and get approval from person of colour to forgive them of their mistakes. Tilda Swinton also tried to play the victim with the whole “it’s hard for a 55-year old, Scottish woman to get roles”. Well, it is hard for asian people to get roles period. Not only that the whole Doctor Strange movie reeked of orientalism.
4. Lastly, the Mulan movie from Disney. Another movie that had a lot of controversy when the initial script had the whole white saviour narrative written on it but then Disney reassured us that it would star asian characters. Mulan, recently got a director, Niki Caro, a white woman. There are so many asian directors that could’ve been given a chance but no they chose a white woman.
There are asian directors that are also women. I solved your problem Disney.

In regards, to Ghost in the Shell, Tilda Swinton, and Mulan this has been framed as a step towards “feminism” or framed as in the name of “feminism”. This isn’t an “asian vs. woman issue” you can have woman who are also from asian descent. WOW. This is literally a prime example of white feminism. Then there is Karlie Kloss who issued the apology with all I want to do is empower women and girls like that is such BS. You only want to empower white women. I am sick and tired of seeing white people take our roles and projects that are aimed for us. All of these examples, the use asian culture and asian people as the background just shows how disposable and unimportant we are and our stories are. It also shows the blatant white supremacy and capitalism interwoven in society/Hollywood. It shows how the “white gaze” works to favour white, Western audiences. There are 48 countries in Asia. We are not monolithic people. All I want and a lot of asians want is proper, media representation of Asian people.

Epic Movie (Re)Watch #112 - The Prince of Egypt

Originally posted by dreamworksmoments

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: No.

Format: DVD

1) The head of Jeffrey Katzenberg, the head of Dreamworks animation at the time and one of the former big wigs at Disney, had been pitching an adaptation of Moses’ story from Exodus to Disney far before he started Dreamworks with Steven Spielberg. During an early meeting of Dreamworks Katzenberg recalls that Spielberg looked at him during the meeting and said, “You ought to do The Ten Commandments.”

2) I think the opening disclaimer is a nice touch.

“The motion picture you are about to see is an adaptation of the Exodus story. While artistic and historical license has been taken, we believe that this film is true to the essence, values and integrity of a story that is a cornerstone of faith for millions of people worldwide. The biblical story of Moses can be found in the book of Exodus.”

3) Music plays an incredibly important role in this film, mostly for setting its grand storytelling and dark tone. This is clearly apparent from the opening song “Deliver Us” which depicts the suffering of the Hebrew people in Egypt and also the hope of Moses.

Originally posted by holden-caulfieldlings

4) This film also does an excellent job of immediately establishing the brotherly relationship between Moses and Ramses. It’s fun and honest, which makes the following events all the more heartbreaking.

Originally posted by somehow-you-will

5) Val Kilmer is quite effective in the role of Moses, being able to provide a healthy balance of his youthful joviality and privilege early on and the wisdom that would come to define the character later.

6) This film has three noteworthy actors who have very little lines. The first two of these are Patrick Stewart as Pharaoh Seti and Helen Mirren as The Queen.

Originally posted by ofallingstar

Neither of them sing, so their lines are few and unfortunately Mirren feels wasted in the part (less of a comment on her acting, which is top notch as usual, and more from the lack of screen time). Stewart, however, gives Seti some depth. We see him as father and ruler, both roles where he cares about his people, but also murderer of Hebrew babies which gives him a sinister feel.

7) Moses could have been painted as a spoiled brat while acting as prince of Egypt, but he takes responsibility for his actions and mistakes while also trying to shield Ramses from some of their father’s heavy expectations.

8) Tzipporah is established as fierce as heck from the get go.

Originally posted by spypartygifs-blog

Kept as a foreign slave in her first scene, she still fights back with great vigor despite being in a room who don’t care if she dies by the hands of the pharaoh. Michelle Pfeiffer imparts some of the strength she brought to Catwoman into the part and it’s a wonderful take on the biblical figure.

9) Sandra Bullock may have more lines than Helen Mirren, Patrick Stewart, and (later) Danny Glover, but for some reason I’m always wanting more of her and her character Miriam by the time the film ends. I like what I see, I just wish there were more of her in the film (I think).

Originally posted by holden-caulfieldlings

10) For some reason I don’t feel the way about her brother Aaron, who is voiced wonderfully by Jeff Goldblum. That may be because we see Aaron develop from non-believer to believer over the course of the film (wheres Miriam is consistently good and believing in Moses) and Jeff Goldblum plays both the doubter and the supporter well.

Originally posted by radioactivelizzy

11) Continuing with the excellent music in this film, “All I Ever Wanted,” carries with it that sense of grandeur as well as the heartbreak of Moses denying his true heritage.

12) Moses’ nightmare is one of the most memorable non-musical sequences out of the film (not THE most memorable but one of them), and this is done both through the unique hieroglyphic art style and the lack of dialogue. It is true visual storytelling.

13) Remember how I said Tzipporah is fierce as heck? Well, that continues throughout the film when she decides to drop Moses into a well as a bit of payback for being a prince of Egypt (although she does help him out because he helped her escape the palace).

14) Danny Glover is the third actor who doesn’t have enough lines. He plays the role of Jethro, a character with about ten spoken lines (more or less) and then the rest of his role is in song. And Danny Glover doesn’t sing the song.

Originally posted by holden-caulfieldlings

In the little dialogue Glover does give though, he is able to establish Jethro as a man who’s heart is as big as his stature. I just wish we’d heard more of him.

15) I mentioned in The Road to El Dorado the effectiveness of using a song to cover large gaps of time. This film is no different, initial with Jethro’s song “Through Heavens Eyes.” It’s a rousing and hopeful number which talks of the Hebrew god and how we can only know our worth when trying to look through (one guess what I’m going to say next) heaven’s eyes. In that time we cover Moses learning what a free life is from these people, his growing humility, and his blossoming relationship with Tzipporah (and eventual marriage).

Originally posted by holden-caulfieldlings

16) The Burning Bush.

Val Kilmer provides the voice of god in this film, although that wasn’t the initial plan. Originally all the actors in the film were going to voice god at the same time, and were told to whisper so they wouldn’t overpower each other. When the time came to record Kilmer’s lines, they realized someone had to speak louder. It was a happy realization, as the filmmakers later noted that god usually speaks to us as the little voice in our own heads. And it parallels the Cecil B. Demille version of The Ten Commandments where it is said (although I don’t think confirmed) that Charlton Heston also provided the voice of god while also playing Moses.

17) Moses telling Tzipporah about his encounter with the burning bush is another fine example of how filmmaking is primarily a VISUAL medium. We don’t hear a word they saw to each other, but we see him talking and we see her reaction and we know EXACTLY what is happening.

Originally posted by quaslmodo

18) Ralph Fiennes performance as Ramses is at its best when Ramses becomes villainous and conceited. Hmm, Ralph Fiennes playing a villainous and conceited villain. Sounds familiar…

Originally posted by yerr-a-wizard-harry

19) Playing with the Big Boys is the only real villain song in this film.

Performed by the evil lackeys Hotep and Huy (who are voiced wonderfully by Steve Martin and Martin Short respectively), the song shows off just how dark things in the Egypt really are and how tricky these two “magicians” are. Martin and Short breathe wonderful life and evil fun into the song, and even recorded their dialogue together. And the scenes uses wonderful use of darkness and shadows to make us feel like Moses is in over his head. Which in a way, he is. But the film wouldn’t be interesting if things were easy for the protagonist.

20) The growing conflict between Moses and Ramses is heartbreaking and I give credit to all those involved in this film for that. The directors, the writers, the animators, Val Kilmer & Ralph Fiennes, everyone. We see them go from the best of friends to archenemies and neither of them wants to be in that position. But they are, and they each think they’re doing what is best for their people. It hurts a lot to watch.

21) “The Plagues” is also a great example of how this film condenses what could have been a massive chunk of time into a little two-and-a-half minute song.

It also does not make light of the plagues either. The plagues were horrible. True wrath of god type stuff that ruined people’s lives. And this song is an epic but dark representation of just what those were like while also developing the conflict between Moses and Ramses.

22) I’m not as familiar with my biblical readings as maybe I should be, but I like that this film depicts Moses reaching out to Ramses one last time before he releases the final plague. It is one final reminder that they are or, more appropriately, were brothers. And they almost seem to understand each other, to make peace. But they don’t. Meaning the final and most awful plague is released.

23) I don’t want to get into my own theological beliefs or philosophies, but I am always sickened about the death of the first borns of Egypt.

The scene is animated beautifully but the entire thing is heartbreaking. The idea of a god who will take away the lives of children just to get what he wants, even though he later claims that we are all his children, just never sits right with me. I just…it sickens me. That’s all I can say. It sickens me.

24) “When You Believe” is probably THE song from this film. It won the Oscar for best original song that year, beating out “I Don’t Wanna Miss A Thing” by Aerosmith. It is the perfect representation of the power of hope and belief which is the central theme of this film. Michelle Pfeiffer and Sally Dworsky (along with the film’s chorus) do an excellent job performing the song written by Stephen Schwartz, but the pop version performed by Whitney Houston and Mariah Carey is just as good.

Originally posted by holden-caulfieldlings

25) I think the most memorable part of this film has to be the parting of the Red Seas. And it could just be for this image alone:

Originally posted by neverlandpixy

That is such a powerful image which really gets across the wonder of what we’re seeing. A representation of the scene which few if any adaptations of the Exodus story have ever lived up to and which I think only animation can bring to life so wonderfully.

26) After the Red Sea crashes down and Ramses is washed away, we see Moses looking off in the distance and hear Ramses screaming, “MOSES!” The filmmakers have suggested that this may be in Moses’ head and that Ramses might actually be dead. I like that idea. It shows Moses still has hope for his brother.

27) And since this is an adaptation of Exodus, of course it has to involve the Ten Commandments in some way. I’m just glad that it’s the last shot of the film. A nice way of ending the story.

It makes sense to end a family film there, as opposed to Moses finding his people worshipping a false idol (a golden cow, I think) and smashing the tablet before God destroys the idol and forces his people to wander the desert for 40 years to kill off the rebellious generation. Oh, and Moses didn’t get to go into the promised land.

(GIF originally posted by @rocktheholygrail)

What’s not family friendly about that?


The Prince of Egypt is a great animated film who’s popularity has unfortunately lost steam in recent years. It represents its story well without beating you over the head with the religion, the animation and music are gorgeous, and the voice acting is top notch (if a little wasted at times). I highly recommend you see it.

I’ve read Rachel Talalay’s post on her tumblr re: TST and I have to say I really appreciate someone from the ‘creators’ engaging with fandom without ridiculing or insulting us, but, as it seems, out of curiosity and genuine interest. This is such a wholesome attitude for a change! Only, I’m way too shy and in no psition to address an established and experienced director as Ms Talalay (yep, I simply don’t dare to.). But I am a viewer and recipientof her work, so I’d like to chip in my 2 cents.

Her post got me thinking. She writes that she deliberately refused to read TFP when directing TST. If I understood correctly, it was because her characters don’t know their future either, and she wanted to keep that perspective.

Of course, she is fully justified to make her own artistic decisions. Only, in retrospect, I’m not sure that approach really worked so well. Not because of not knowing that there would be a mad sister incarcerated on an island and  that Sherlock would in the end befriend her… not because of the future outcome of the show.

But because of what TFP revealed about Sherlock’s past. I think knowing about Victor/Redbeard/the well, and incorporating this knowledge into TST, could have made the whole thing a bit more explicable, a bit easier to swallow.

For example, Sherlock suddenly has premonitions in TST. He never had before on the show or in canon. It wasn’t that ACD was averse to such things (he believed in fairies and seances), but it didn’t fit in his stance at Holmes and detective fiction as logical and reasonable. So, where does this supernatural element stem from in Sherlock?

Those premonitions are linked to water. Rememeber the promo picture of 221b? TST starts with a shot of the aquarium and the story of Samara = destiny + water. Sherlock again experiences a watery premonition at the Wellsborough’s, combined with a shot of the table that reminds me of the well, while dealing with a missing, dead child.

Was this just foreshadowing the end of the episode, the showdown at the aquarium? Or couldn’t this have been foreshadowing the revelation in TFP of Victor = Redbeard, drowned by Eurus in a well? Hmm… not if you don’t know about this. But it was hammered home in the trailers that this series would deal with Sherlock’s past - what made him. Wouldn’t it have been crucial for directing an episode that led up to this reveal that the director had known about these aspects of Sherlock’s past? Wouldn’t that have been fair to the viewers, to give them a chance to figure it out by leaving hints for them? This is what makes one appeal of the Holmes stories - if they get explained to you in the end, you ask yourself: Of course, why didn’t I see this? But in S4, we didn’t have a chance. Because evreyone seems to have stumbled though the story in the dark.

In TFP, all the water in the show - from the pool in TGG to Reichenbach in TAB - is connected to Sherlock’s childhood loss of Victor and his search for a replacement of such a friend ever since (hello, John). But this just seemed so subsequently invented, almost forced onto the narrative. Because, for example, Sherlock fights an assassin in a pool in TST - but there is no premonition in this scene, no sign that water could mean something, anything to him. Now, I really appreciate the aesthetic of a dripping wet Benedict Cumberbatch - but this scene could perhaps have tied in better with the whole childhood/Victor plot if the director had known about this plot? Also, the line with the memory stick: “But she destroyed it” - accompanied with a flashback to John throwing the drive in the fire in HLV - this might actually have been planned as foreshadowing the reveal of Eurus destroying Sherlock’s childhood and home, and therefore a hint for the viewers where Sherlock’s premonitions came from (WATER!) - but without knowing this, it wasn’t emphasised enough and became just another odd plot hole.

On the other hand, they could have gone for true punch to the gut, nothing foreshadowed, just BAM! right in your face - here’s a dead childhood friend, drowned, and Sherlock suppressed everything about that and his sister now take that, audience! But they didn’t. The writers wanted to be clever. Redbeard features since S3 - only, I don’t think the writers had a plan how to exactly solve this narrative streak back then. And this ‘making the story up as we go’ bleeds through again and again - and perhaps even more than necessary, if the outcome had been known to all the participants. This could ahve been a chance to tie up at least some of the mess made by the writers.

I read a post a while ago that said the secrecy of the writers killed the show. I think it’s true when you look at Mary Morstan, for example. I doubt that Jeremy Lovering, who directed her in TEH, or Ms Abbington herself knew what would happen to the character in HLV, directed by Nick Hurran. Now, such surprises, the uncertainty, can add suspense and a flirring sense of vagueness and unrealness to a story - which was a great thing in Broadchurch. The doubt, the mistrust, added to the feeling that no one was save, that everyone could have been the child’s killer. But for Sherlock? Mary was just a side character - this form of surprising suspense asigned way too much weight to her in an already complicated narrative. Why?

And then her end in TST! I’d really like to ask Ms Talalay if this was done purposefully ridiculous, as a form of satirical comment on Mary’s arc? Because it made no sense. Mary transformed from a sassy girlfriend to ruthless assassin to selfless hero. In one episode, she shoots Sherlock (without a good reason) and in the next she saves him without necessity, sacrificing herself without good reason either. Now, if the directing of this scene should subtly emphasize the inadequacies of Mary’s arc - I bow deeply to Ms Talalay’s directing choices, while making the most of a ridiculous script.

This secrecy prevented the actors from engaging with their characters. They only do the show every odd year for a few episodes. Retconning everything they might have thought up as a backstory for their character with every new script is not helping to get a grip on your character, I imagine? And it was done with Ben as well, as Mr Gatiss said in post mortem after TAB. He revealed something to Ben during the filming of TAB (presumably about Redbeard not being a dog?) that Ben shouldn’t have known back then. Keeping such big points a secret, while later playing on them, thereby forcing some foreshadowing onto an already established narrative, caused more plotholes  than it gave explanations, because it prevented the actors, actresses and directors to incorporate this knowledge into their acting and directing choices. And this is not a good idea on a show like Sherlock, that has to make some sense and can’t prevail endlessly in the realm of vague suspense - based on… nothing , apparently.

A series like Shelrock needs explanations. That’s what detective fiction is about. That’s what a Holmes story is about. Logic and reasoning, solving the mystery, not creating one after another until everything is muddled up.

I checked back. S1 and S2 - the series which, for me and many others, still work best - were largely made by Paul McGuigan. He directed 4 out of 6 episodes. TBB was made by Eurus Lyn, who’d already worked with Moffat on Doctor Who. So, both directors were involved with the series long-time or knew how the writer(s) worked, could develope arches - they knew where they were going with this. And that added to the cohesiveness of the narrative. Bringing in Toby Hayns for TRF was also a good idea. It needed someone new to sweep everything up and kill the main character - fresh perspective, new approaches. But after that, every episode had a different director. And the scripts came late. No preparation, while the times between the series grew longer and longer.

Only for TLD - for me the best episode in S4 - they allowed Nick Hurran back, who’d also done HLV. And to me that is noticeable, even in the character of Mary. Because he had worked on the story and the characters before. He had some ideas where they came from and where they might be going (turned out it wasn’t right, but it did fit at least with the previous episodes). Even for John… he’s angry in HLV, and still angry in TLD. I can see at least some connection there.

So, in short, I think too much secrecy killed the show, because it lost course and purpose. No one seemed to have known where this was going (how could they?) - and this led to opening up narrative sidelines via acting and directing that weren’t followed up, because they were never intended to. It created a vagueness that allows now for almost every interpretation you might throw at the show to seem valid, because there surely can be found a line or shot that supports it in all this jumble. Because everybody seems to have done the best they could, bringing in their own ideas - but no one coordinated this. It was all secrets and rug pulls - but no cohesive story telling, at least after S2.

This might be a chance for fandom to take away form the show what you want to see in it - but it’s just so not Sherlock Holmes that I wonder why they didn’t make their own show about three people suffering, marriage, childhood trauma, toture, assassins, spies, gay pining (or not), spiced with horror elements, and just called it something else after S2?

Oh, and I’d really like to know what Ms Talalay thinks of Mary’s end-monologue: “Who you are doesn’t matter, it’s all about the legend.” Is that true? Did she see the characters like this? Does she approve? Perhaps I should dare to ask her after all?

2015: Jul. ~ Dec.

January ~ June 2015 || all fests/exchanges || other years


Top 30 longest AU fics

1. Relief Next To Me by dolce_piccante | @haydolce [M, 333.7k]

What happens when a baker and a graphic designer meet via a very specific Craigslist post? Fate, friendship, food, and maybe more.  ~ 2015.09
From Relief Next To Me series

2. Maybe It Was You from the Start by nixostorme | @nixostorme [M, 209.1k]

the one where Louis is oblivious, even to his own feelings. Harry is a little scarred and very possessive. Zayn is insecure but can see it all. Niall falls for the last person he would ever expect too. Liam is kind of an ass, but the boys love him anyways.  ~ 2015.11

3. Handwriting On The Wall by xKireyy [M, 200.2k]

Harry Styles is a simple boy who works in a bakery. Louis Tomlinson is an uprising singer making his way through the charts. When the two meet by so-called ‘fate’, Harry’s life is turned upside down when a simple friendship turns into something more. He’s suddenly thrown into a world of popularity, scrutiny, secrecy and love. Everything seems to be going against his logic, but then again, love does that to you, doesn’t it?  ~ 2015.11

4. Keep me where the light is by frenchkiss [E, 198.2k]

A post-Hogwarts era AU featuring a wedding, a fake relationship, lots of sex, a cat named Hermione, a string of terrifying murders, and two young Aurors who are about to embark on a case that will change their lives (and the lives of the ones they love) forever.  ~ 2015.11

5. Smoke & Mirrors by Violet_Janou | @violetjanou [T, 173.7k]

Louis believes love was a myth. Seeing it be a lie in his life growing up he brushed it off as stupidity of weakness in a person. He vowed he would never fall in love. Harry knew love to be alive and true. It wasn’t always pretty and wrapped neatly in a bow. But love was out there for everyone.What happens when these two worlds collide?  ~ 2015.09

6. blue lips, blue veins by fresharold | @fresharold [E, 173.6k]

au where Harry takes art classes on Fridays before going to work and Louis is the French nude model who drops the robe and doesn’t let him focus. There are plenty of text messages, a mess of emotions and a lot of time spent in bed.  ~ 2015.10

7. Lost Memories by fresharold | @fresharold [M, 166.2k]

where Harry and Louis meet when they’re still learning the meaning of life, till they find out the meaning is “Louis&Harry” and they decide to make a lot of promises to keep them going.  ~ 2015.07
From Promises. series

8. baby we’ll be fine (all we gotta do is be brave and be kind) by aloequeera | @aloequeerafic [E, 146k]

Louis hates Harry. Harry hates being hated. First aid kits and kittens make it better.  ~ 2015.12

9. Next to your Heartbeat (where I should be) by jaded25 [M, 130.8k]

All it takes for them to fall in love is one night. All they have to do is wait one year to see each other again. Yet, when Louis returns after his year abroad, the boy who’s got his arms wrapped around Harry isn’t him. It isn’t a stranger either, which should make walking away all that easier. After all, friend’s don’t lust after their mate’s boyfriends.
Technically, doing the right thing should be easy - but when has Louis ever been known to taking the easy way out?
 ~ 2015.07

10. I’m gonna burn for you, you’re gonna melt for me by MrsStylinson | @lovehoperomance [T, 126.9k]

Harry Styles is the 22 year old counsellor in training who meets Louis on a camp for young boys with mental health issues and takes up the challenge of getting him to open up. Louis is beautiful and haunting in his near constant silence and Harry wants to crack the code. But the closer he gets, the more his own heart cracks, opening up to let a fiery blue eyed boy seep inside without warning. The more Louis shares, consciously or not, the more Harry wants. But Louis’ wrestling with demons Harry can’t fathom and Harry is fighting against the pull of his own emotions. In the end, it might just come down to a test of wills and two hearts grazing against each other, trying to discover if they fit.  ~ 2015.07

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One more thank-you short fic, for @whowaswillbe, who requested “ yoga seb, I’d love to see it being before they get together – Chris being completely transfixed by this gorgeous creature (and who could blame him?)”. I don’t really know *that* much about yoga, but they are both (relative) beginners here in any case, so…have some first-meeting Evanstan fluff!

##

Chris should be good at yoga. In theory. Given his flexibility.

He wobbles. Trying to do something called mountain pose. He’s not a good mountain. Or whatever.

He’s done gymnastics and ballet and improv theater classes. He knows how to move. Or he’s always more or less thought so.

He’s aware that this is not enough.

He’s also aware that at least half his problem, if not more, involves the utterly beautiful man just in front and slightly to the right of him. The man has duckling-soft brown hair, infinite legs, and an ass that exists in a state of loveliness which cannot be defined by words.

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An Ocean Away - Part One

Lin x Reader

Word Count- 2,007

Warnings- Maybe a couple of swear words, but nothing apart from that.

A/N- This is my first fanfic and I hope you like it. The Hamilton Broadway/Hamilton London/Moana timelines don’t match up but put it down to creative license! All feedback is massively appreciated!

Part One/Part Two/Part Three/Part Four/Part Five/Part Six/Part Seven

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A letter from former Artistic Director, Dominic Dromgoole

A letter to the next Artistic Director.

Dear Fearless, and Fortunate soul,

Twenty years ago, Mark Rylance and Lennie James led a company in a modern dress production of Two Gentlemen of Verona, the first production in the new Globe.  Much scholarship went into the show, and twice as much free-wheeling invention. Happily, exhilaratingly, no-one knew entirely what they were doing, and they and the audience joined to discover a new language for making theatre. An adventure was launched, which led to twenty continuous years of chance-taking, boldness and surprise. Six people in pyjamas doing Cymbeline; scrupulous Original Practice work; throwing a roof on the building for Titus Andronicus; building rose gardens in the yard for Merry Wives; and yes, phantasmagorias of light and sound for last year’s Dream; and brute urbanising for Imogen. Shakespeare done with freedom and a curiosity to match the audience’s. 

That is the Globe tradition. It was new, and it is still new. A newness that begins again every afternoon and every evening when the audience come in and draw their breath at the sun, the wood, the colour, the swirl of it all, and each other. Newness is not easy for everyone. The bile towards the Globe was there at the beginning, was felt keenly by Mark, was ever-present in my time, and spilled out last autumn hideously from those both pro- and anti-Emma Rice. It goes with the territory. The Globe is forever breaking moulds, that inspires fear, and fear can lead to loathing. The rush of energy that accompanies the new, and the roar of approval from those happy to climb on board is more than ample compensation. Dear Fearless and Fortunate Soul, above all else keep the Globe new.

From the very start, the Globe pushed the boundaries on BAME casting, an action which we continued in my time with the natural joy of walking into a brighter room. Emma has carried that torch. Globe gender-bending began with Shakespeare, and Mark extended it with Vanessa Redgrave as Prospero, and with three all-female companies, including Phyllida Lloyd’s first Shakespeare with a female company, a seedling which grew into a spectacular tree. We carried this on, and were proud to transfer two successful plays by women writers to the West End in my last year. Emma extended this experiment much further, and she was right to. Carry on pushing these envelopes.

Mark experimented with new plays, a risk that grew fast as we presented countless big new public works. New writing beside a Shakespeare is a constant reminder that Shakespeare himself was once new, and the energy of the former electrifies the latter. Emma has carried that on, and, for me, it should remain at the heart of the Globe.

The Globe’s youth creates endless opportunities. It fits no particular mould – neither subsidised nor truly commercial – so is still free to invent itself. Over the last twenty years, it has freestyled different ways of playing Shakespeare; created a small-scale touring network, both national and international; built a new theatre, the Sam Wanamaker Playhouse; held a huge International Festival, and created a filming programme and a VOD platform. Contrary to some bizarre lies which have been circulating, all done within its unsubsidised means. Emma came in with a host of new directions, of new ways to facilitate artists, and with a large-scale intervention into how shows are staged.

The fact that Emma has been stopped in fulfilling her ambitions is heart-breaking. It is also wrong. The spirit of a theatre is that it should follow the lead of its artistic director. And an artistic director cannot usefully be anyone but themselves. The fact of your contract is also that, unless otherwise specified, you are free to invent as you wish. The only people who have the moral strength to get rid of you are the audience. No-one else, not the board, not your supposed colleagues, not the vulture punditry, just the audience. Emma had lost a little of the Globe audience, but all the evidence is that she had gained some as well. Please remember, F, and F Soul, that your first responsibility is to yourself, and to them.

At the heart of the Globe are, for me, two things. First the £5 ticket for the yard. Over the last twenty years that single fact has given over five million people an extraordinary experience for less than a sandwich costs. They have seen Mark in his pomp, Gemma Arterton’s Rosaline, Gugu Mbatha Raw’s Nell Gwynn, Roger Allam’s Falstaff, Eve Best’s Beatrice and Cleopatra, and countless others for only £5. It is a miracle. For all the talk of accessibility elsewhere, there is nothing equivalent to touch it. It makes many uneasy, many who espouse accessibility write with a shameful snobbery about tourists and students as if they were a sub-human species. There was also a steady pressure internally to raise that price, a pressure which Mark and I and Emma resisted. The £5 ticket is at the heart of the Globe’s success, you must fight for its survival.

The second thing at the heart of the Globe, for me, is playing in a shared light. A democratic space where a story unfolds as an imaginative agreement between text, actors and audience. It is this that Emma experimented to change, and which is at the heart of her disagreements with colleagues and the board. For me, shared light was the unique Globe tool, which subverted the orthodoxies of director’s and critic’s theatre, and which handed back to the actors and the audiences the capacity to collaborate together freely on making an imaginative experience occur. Taking away that uniqueness doesn’t strike me as radical, it strikes me as conformist. Every theatre has light and sound, the Globe didn’t. This uniqueness matters to me, and for me, F and F Soul, it is important to preserve.

However Emma didn’t come in to emulate myself, or Mark, she came in to be herself, and so she triumphantly was. As an Artistic Director myself, I respect Emma’s choice in doing so, and I cannot respect the blocking of her choice. No-one, not committees, not cabals, not connivers, no-one can set this policy but the AD. They have to make these choices with passion and conviction for the whole of the rest of a theatre to make sense.  Early on in your time, you will find it invaluable to listen to the many experienced voices around you, and also invaluable to be exceptionally wary of those who do not want to advise but who want to influence. Everybody wants to be Artistic Director. They can’t all be. Only you can. It is vital, Dear F and F S, that you ring-fence with iron and steel your own freedom and ability to make choices. This must be put down in black and white, and made public, and it must be adhered to. With an ear to what the audience wants, and with an eye for where to take them, no-one should set artistic policy but the Artistic Director.

Now that Emma has carried out her experiments with light and sound, it is pointless to pretend she hasn’t. What has happened, can’t unhappen. Many felt alienated by it, many loved it. To write it out of the Globe story and say it can’t happen ever again is fundamentalist, and as daft as any form of fundamentalism. Emma’s experiment should be folded into the Globe’s story as gleefully as all the other experiments have been; new work, internationalism, modernising, design interventions. For me, the majority of the work should be in a shared light, and with natural sound, but to make it that and that only, just doesn’t add up. Dear F and F Soul, fight to keep room for manoeuvre.

You will notice, Dear F and F Soul, that some of my comments have alluded to negative energy. It would be foolish to pretend it isn’t there. The Globe has its enemies without - many don’t like the freedom of the place, its open-ness and its warmth. Some simply can’t cope with its happiness. Our culture and its commentators often prefer the shrivelled sausage to the plump one, and the Globe is fat and juicy. The degree of bile can be disabling. I have just had my own and my family’s Easter wrecked by some pathological viciousness, and I’ve been gone a year. Emma has had to put up with much worse.

Sadly the negativity doesn’t only come from without, there is also a fair sum within. There are structural problems, there are personality problems, there is too much fighting for territory, and there are too many who feel free to comment on work without ever taking the risk of making it. It is absurd that out of the mess of last year, the only person to be suffering the consequences is Emma. However the Globe is taking steps to address the problems, you have an excellent CEO in Neil Constable, who has copped too much of the blame for last year’s imbroglio while doing all he could to avoid it, and you have the best theatre department in the country. The fact that the Globe has gone on making excellent work through summer and winter, with so much distraction, is testament to their excellence. Dear F and F Soul, you will have to be prepared for tough decisions, you will have to be strong and independent, but you will have some of the best around you.

Above and beyond all else, Dear F and F Soul, if you inhabit the same office which Mark, I and Emma were blessed to sit in, every day through the long summer, you will hear at 1 o’clock, and at 6.30, a bubbling hubbub of excited chatter, and standing to look out you will see a snaking queue of four or five hundred people, eager to charge through the doors, and jostle their way to the best positions in the yard. The quality of their excitement and anticipation, of their sheer appetite for a great afternoon or evening, of their big human hope - there is no price that can be put on that. It is one of the biggest privileges in the world of theatre to be able to join with it.

Relish, enjoy, make their hopes and yours real.

All the best,
Dominic Dromgoole

I’m getting really tired of people bashing actors, writers, directors, and producers because their ship isn’t canon. Are you serious right now? You do realize that without these people the show wouldn’t be the same, it wouldn’t be the show you fell in love with. I get you’re upset because you wanted so-and-so together. But come one man. Get. A. Fucking. Grip. And let go. Be thankful that you even have the show in the first place. Onto more specifics:


Riverdale: y'all we’re still new so I’m giving you a little leeway. But you need to cool it with Cole and Jughead. First things first, and really listen to this. LEARN WHAT ASEXUALISM IS! Especially before you go run your mouth about how upset you are that Bughead is canon. I’m just as upset as most of you are because I would’ve loved to have seen that kind of representation, especially in a show targeted for teens. But I don’t go running my mouth because it didn’t happen that way (yet) and saying how terrible Cole is in his portrayal of Juggie. Not cool at all

Supergirl: Mon-El is a canon character from the comics so the CW bringing him in when ABC OR NBC of whoever started the show literally began his story was not to tear apart the interracial couple of James and Kara. Yes I hate the way they handled the whole relationship but move on and stop dragging Chris Wood and his character down because of it. Same goes for the Lena/Kara & Mon-El/Kara shippers. Don’t drag Mon-El or Lena because you wanted them together. It’s pathetic.

Teen Wolf: OMG CALM THE FUCK DOWN. I literally ship so many different ships on this show. I literally live and breathe Sterek and Hobrien but I fucking love the Stydia, Stalia, Sciles, Sciassac, Scallison, and Scira ships so much. Just because Sterek isn’t canon don’t go bashing the show and the actors. This is their job and life and for you to do that is just petty and irrelevant. If you hate the show so much than stop fucking talking about it.

Once Upon A Time: What the fuck y'all? I’ve literally been watching this show since I was a child and yet the moment I start Tumblr I want to stop watching it all together. I have never seen a fandom so fucking rude to an actor before. Lana is an amazing person, so don’t drag her into the mud because you don’t like Regina/Evil Queen. And Adam and Eddy gave us this wonderful world and all you do is hate on them because you didn’t like the story. Be fucking thankful for once.

Girl Meets World: I can’t even fucking deal with y'all. We have some of the most amazing kids and actors because of this show and yet everyone is constantly hating on everyone. It was canonical Rucas, Smarkle, Joshaya, and a lil taste of Zaya. That’s how the show went. Sending death threats to the man who not only gave us BMW but also GMW because Lucaya or Riarke didn’t happen. I mean seriously? What is your fucking deal. Get over yourselves. This show taught so many important lessons, gave us the beautiful Rowan, Sabrina, and Ceci. These amazing women who constantly speak out about what they believe is right. The handsome Peyton, Corey, and Amir who used their voices to reach out to others. I will never understand why a bunch of teenagers( for that is the majority) on Tumblr would go so far into hate because their fucking ship didn’t happen.

I could literally go on and on but I felt like these needed to be established. And I know I’m probably either gonna get a lot of hate for this or nobody’s going to even read it. Either way, this is 100% true. You need to realize that the hate you send can affect someone’s life. This is their jobs guys and for us to just yell at them because something didn’t go our way is completely disrespectful. Especially if it’s over a goddamn ship.

afirewiel  asked:

What is your favorite non-Austen period novel? Movie?

Okay I’m gonna do a rundown of all my favourites because making me pick one is just mean. (Also at one point in my notes on the following books and films I just wrote “Bagels” and I can’t for the life of me think what I might have meant or autocorrected that from. Maybe a shopping list started to take form. I don’t know.)

(If the film Miss Austen Regrets and book Longbourn by Jo Baker count as non-Austen then include them.)

Films:

Lagaan: Once Upon a Time in India - 2001 (Sports! High stakes! Sticking it to the Colonial Man!)

Mozart’s Sister - 2010 (Beautiful music! Gorgeous androgyny! GIRLS CAST TO PLAY THEIR ACTUAL AGE AND NOT SOME 20-SOMETHING PRETENDING TO BE FOURTEEN!)

Possession - 2002 (I’ve tried the novel, and A.S. Byatt has some beautiful prose but her structures sometimes do my head in, so never finished it. Ignore Paltrow as best you can and enjoy lush Victorian Gothic mystery and the ending is one of the most poignant things I’ve ever been pleasantly surprised with on film, and it leaves you wondering about many, many things…)

Jodhaa Akbar - 2008 (You could put Hrithik Roshan and Aishwarya Rai in the worst commercial ever made and I would watch it. Costumes, scenery, and, as a friend once put it “I’m not sure how they did it, but they just had a sex scene without any sex.” Bravo.)

Water - 2005 (Deepa Mehta is such a fantastic filmmaker and I loved this whole trilogy but Water is my favourite.)

Elizabeth - 1998 & Elizabeth: The Golden Age - 2007 (The costumes! The caMERA ANGLES!!! The compli-fucking-cated mess that is Elizabeth I.)

[Okay Tumblr won’t let me embed any more trailers, but those ones are easy to find, they’re out there.]

Vatel - 2000 (Any foodie who is also a fan of The Sun King and his era will dig this one. A great score, baddie Tim Roth.)

Alternatively, in the same era: A Little Chaos - 2015. Storyline is a little weak, but it’s so beautiful and the cast is great and the M U S I C. Kate Winslet. Alan Rickman. Helen McCrory. STANLEY TUCCI.)

Also: they’re not films, but TV shows - honourable mentions to the Spanish series Gran Hotel. It’s like a good version of Downton Abbey, only sorta on crack and with a tonne more murder mysteries; and while I have some Issues with its so-called hero and some comparatively weirdo plot-points in S3, overall, it’s fantastic and I’m obssessed. Please don’t mix it up with the Italian re-make which looks horrible in every way. Like, main actors dressed in a poorly-sewn-table-cloth-bad.

And shout-out to the new CBC/Netflix series Anne. I will defend this show to the DEATH, alright? They’ve gone bolder and fresher and have managed to involve period realism in a moving way while retaining the sunshine-and-pinafores element that so many people love about L.M. Montgomery’s work. There’s heaps of women with production credits, and I think it shows. Geraldine James is already my favourite Marilla after one episode, and I feel like R.H. Thompson (HEY JASPER DALE HEEEEY!) and Amybeth McNulty are likely going to become my favourite Matthew and Anne, too. People have complained about this series going off-book and in particular some have condemned it sight-unseen because the writers/directors are putting a feminist spin on it and OH GOD THEY SAID FEMINIST QUICK WE GOTTA SET EVERYTHING ON FIRE BECAUSE CHILDHOOD IS RUINED, but honestly it’s just perky and gorgeous and scrappy and nobody can tell me to my face that Kevin Sullivan didn’t go all the fucking way off-book from the very beginning so I am not gonna sit here and insist that the Megan Fallows Anne of Green Gables was perfection which could never be improved upon because that’s just a plain lie. It was nice and it has its place but it’s time for some new blood. (And NOT the telefilms they’ve also come out with recently with Martin Sheen, bless his heart, but they took a brunette child actor and dumped an atrociously stark box of red hair-dye on her before drawing on her freckles and then telling her to please play everything theatrically to the back of the house even though there is a camera ten inches from her face.) I am HERE FOR ANNE. RIDE OR DIE.

AND NOW, FOR BOOKS!

After that you might assume my L.M. Montgomery recommendation would be Anne of Green Gables and sure I won’t say DON’T read them, but for my money the Emily of New Moon trilogy is more my jam and I wish to God and Netflix in all my prayers that there might someday be a decent adaptation of them.

I was really into Cassandra Clark’s Abbess of Meaux mystery series for a time, but then things went a bit pear-shaped in what I think was the fourth(?) book and everything was OOC and honestly I haven’t caught up on the later books after that and they seem to be self-published now but I am a sucker for nuns and mysteries so I’ll probably get back into it when I have time.

The Princess Priscilla’s Fortnight and The Solitary Summer by Elizabeth von Arnim. Vacation-reads! Beautiful prose, some wry wit, and fun hijinks. If you’ve ever wanted to run away and live in an isolated cottage in the wilderness for a little while, these are for you. [ETA: I recently got my hands on a copy of The Jasmine Farm so THANK YOU to one of you who recommended it I am loving it so far only I don’t see the appeal in Andrew so wtf Terry you can do better.]

Edward Rutherfurd’s geographical history novels–Sarum is the classic to start with, but the others I’ve read are very good, too. (London, New York, and I’m now working my way through a first-edition of Russka.)

Amy Levy. A M Y   L E V Y. Criminally under-recognized Jewish Victorian novelist and poet. Novellas Ruben Sachs and The Romance of a Shop. (RS a beautiful and bittersweet story about the conflicts between love, identity, and expectations, and some would say a response to George Eliot’s Daniel Deronda. TRoaS reading a bit like a less treacle-sweet variation on Little Women, where four sisters try to make their way in the world by setting up their own photography studio in late 19th century London.)

The Making of a Marchioness by Frances Hodgkin Burnett. Colonialist racism appears in this one, so be warned. Still the book is a THOUSAND times better than the utterly dreadful adaptation known as The Making of a Lady. Jane is better, Emily is better, Walderhurst is better, pretty much EVERYONE IS BETTER. The pacing is better. The plotting and suspense make actual sense.

The Scarlet Pimpernel by Baroness Orczy. A classic, and the grand-daddy of every secret-identity superhero.

The Forsyte Saga by John Galsworthy. Like, it makes me MAD how good these books are.

And last but not least, a non-fiction selection in Vere Hodgson’s WWII diaries: Few Eggs and No Oranges. Nothing else has ever brought the experience of living (or trying to) under the shadow of the bombs and the threat of invasion quite like these diaries. Fascinating details, engagingly written, and at times a stark reminder that the Allied victory we take for granted in our history could by no means be counted on by the millions who dwelt in daily uncertainty.

together, or not at all.

Recently, this fandom has been toxic. Perhaps some have genuine concerns but, the way these concerns have been dealt with has been appalling. There is a difference between constructive criticism and hate. The showrunners, writers, producers, directors, actors do not deserve the constant abuse being thrown at them. 

If you did not like the way a certain aspect, for example how Alec and Magnus’ first time was handled, insulting the creators will not solve it. Bring it to their attention in a mature way - they do notice, many responded acknowledging their mistakes. What is unacceptable is when people fail to take this apology and continue their barrage. They shot the show months ago - they cannot change the content they did shoot, even though they want too (both Todd and Darren have mentioned wanting this). They also shoot the scenes within each episode multiple different ways, as Matthew Daddario has previously said, - so if a still has been released and the scene plays out slightly differently from the single image we were shown from a certain perspective, it does not mean anything has been cut out, only a different take was used. 

What I think is also startlingly prevalent, is the constant comparison between the different medias. The books, the movie, the TV series. They’re not something we should compare - they should be seen as different medias, as different projects and each, should be respected for the hard work that has been put in to make them what they are. The movie, most likely, will never have a sequel. But the TV show is ongoing, it’s currently being aired and filmed - if you love these stories, these characters, this world - try to support it for what it is, not what it could be if they changed this or that. None of the actors from the movie and TV show are at odds, they are not a competing force. They all just share a love for the amazing original characters and story and wish, as Lily Collins put it, ‘to keep our Clary alive’.

If we want this story to continue; if we want this cast to come back as Clary, Jace, Simon, Alec, Isabelle, Magnus and Luke; if we want a season three: we need to stop taking apart every single detail we’ve been shown - I’ve seen people attacking Alec (and in turn the creators) based on a 10 second snippet. This cannot continue. It’s brutal and leaves the show and characters with nowhere to grow, because somehow their actions will disappoint somebody no matter what. If we want a season three, we have to show them a fandom that is behind them and one that supports and is willing to give these characters and this show’s take on this wonderful story, a chance.

okay, so just because we like doing relatively the same types of rps, doesn’t mean we always have to play the same types of characters. there’s always the same recycled jobs throughout, which are musicians, dj’s, strippers, drug dealers, etc. etc., you get where I’m going. to hopefully add some diversity to our lives and have tons of muse, I created a list of 120 used and underused jobs. you can find them below:


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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!

let me just…i think i’ve written this particular thing before, but it bears repeating in the light of 12x10.

we get told over and over and over that it isn’t real. that we’re looking for things that aren’t there. that they’re just friends. that the lists of evidence, of subtext, of metatext, are just tinhatting. writers, directors, actors, even other fans, they tell us we’re wrong.

and maybe in some ways they’re right. maybe dean will never say the three magic words. maybe cas will never kiss dean. maybe we will never get the big glaring neon sign that says “here it is, it’s real”. there won’t be a facebook status, an “official relationship”.

but that doesn’t mean they aren’t in love.

because those people who claim there isn’t anything there? they’re steeped in a culture where love means diamond rings that put you into debt and uncomfortable public proposals that force a “yes” where it isn’t wanted. where “love” is a possession, not an action. where lifelong friendship is thrown away because you can only have one meaningful relationship at a time and you just got married. where emotional intimacy might as well be written in an alien language, because no one is getting it.

in a nutshell, the people who claim there isn’t anything there don’t know what they’re looking at.

and when we look at this relationship, we are seeing something different. we see a handprint that means an embrace, we see anger born of worry, we see a trenchcoat in the trunk of a car, and in those things we can see actions that mean real love. we see a commitment. a promise to never give up. to harrow hell itself if it means protecting the person you love.

we hear “where’s the angel?”, we hear “i did all of it for you”, we hear “when he laid a hand on you in hell he was lost”, we hear “he’s in love…with humanity”, and we hear declarations of love. we understand that while those things may not be what we are taught to expect, they don’t mean anything less. they might even mean more. they’re an acknowledgement that two souls can be brought together in the worst of circumstances and still become better. that these two people belong together.

so no, it might never be canon in the way that people expect. they might never kiss. they might never hold hands or go on dates or say “i love you”.

but i promise you, it’s canon. cas would do anything for dean. dean will do anything for cas. cas has saved dean over and over, more times than we can count. and dean wants to be around cas, to take care of him, to protect him.

love doesn’t have to be expressed with pink hearts and rings. it can be an apology, a refusal to back down, a warm blanket. it’s “i’m the one who gripped you tight and raised you from perdition”. it’s “i’m worried about you”. it’s these things that we see when we say “it’s real”. and it’s these things, the things we aren’t taught to expect in romantic relationships, that people won’t see.

just because it doesn’t look like we’re supposed to expect doesn’t mean it’s not real. it is. it’s real. dean loves castiel, and castiel loves dean, and that’s the end of it. love is love, no matter what its trappings are.

it’s real. it’s canon. for now, let’s celebrate that.