Sorry, Trump/Farage supporters. I’m not scared of black people, gays, trans people, Australians, Angela Merkel, Muslims, Mexicans, Romanians, Polish people, feminists or the Anne Frank Centre. I’m a civilised person with a three digit IQ.
Admittedly, I never was crazy about Michelle Obama’s “pro-vegetable” thing.
Behind the Scenes of Planet of the Dead - Part Seven
Excerpts from Benjamin Cook’s interview with Michelle Ryan in DWM (#407)
Rumour has it that there was plenty of socialising off set. DWM presses for details. “Oh, lots of going out,” she chuckles. “We went to an 80′s night. It was a place in Cardiff where they play cheesy 80s music.” That’s every club in Cardiff, isn’t it? “It was such a random night. Everyone went, all the cast. It was just brilliant.” Weren’t they recognized? “Yeah, but the people in Cardiff were really friendly. I didn’t get too much hassle. I think it was a Saturday night, and we had the best time.” […]
There was a lot of debate on set over Michelle’s cooking. Is she any good? “Well, David gave me a nine out of ten for my apple pie,” she grins, “so I’ll let you be the judge! He was really impressed that I made my own pastry. No, it wasn’t frozen. On top of the pie, I did a little figure of David with a big quiff, and then the TARDIS, but he said the TARDIS looked more like a Dalek, so the option’s there. Then we made flapjacks and cookies for the crew. Even in Dubai, everyone had breakfast and dinner together, and we were hanging out in the evenings. It was like what happens in the episode itself, in as much as all these characters are strangers, but they’re forced together when they’re stranded on this planet, and they get to know one another and end up having a great time.”
Excerpts from “The Producer’s Tale” by Tracie Simpson, as told to Benjamin Cook in DWM (#407)
I won’t say I’m surprised, but the whole cast seems to have gelled. When you take people abroad, that happens, doesn’t it? They bond a bit more. Michelle Ryan is a fantastic actress. She’s so grounded, and I think she’s absolutely brilliant as Christina. And David is a dream. This is my first episode as producer, but actually, I introduced David to the TARDIS! I brought him on set for his first bit of filming, in our old studios in Newport. It was secret filming, for his very first scene as the Doctor [in 2005′s The Parting of the Ways]. When he saw the TARDIS, he really did jump for joy, and I thought he was going to cry. David makes it worth coming into work every day.
When did you start shipping Milomanda and Zalissa?
I was slouching towards Zalissa after the first half-hour preview, to tell you the truth. Call it an intuition.
With Milo and Amanda, I remember being in the middle of “Party of Peril” and going “Wow, this girl is so organized and obsessive about everything going right!! WAIT WHAT IF MILO—” and then the next episode came on and I was like :3
The only major issue keeping me from jumping on the "Wirt Pines" bandwagon is that Sara can't be Mrs. Pines. Have you considered a "Greg Pines/Uncle Wirt" AU? (I mean, we lose the fun of Wirt raising Mabel, but gain the fun of Dipper BEING RAISED by Greg.)
You know, that’s a whole separate bandwagon that a pretty fair amount of people are on (including, hilariously, Ashley Michelle Simpson, storyboard artist for Milo Murphy’s Law). Call it convergent evolution!
I approve of any train of thought that connects the Unknown Boys to the Mystery Twins, but I like my version better, for a number of reasons (spoilers for both shows follow!):
Dipper's—and, by extension, Mabel's—resemblance to Wirt is noticeable. Neither of them resembles Greg. This could easily be explained by the possibility that they favor their maternal grandmother, but I like the directness of the connection between Dipper and Wirt.
Over the Garden Wall appears to take place at some point in the late 80s or early 90s (note that Wirt owns a “Three Non-Blondes” tape, an obvious reference to early 90s outfit Four Non-Blondes). Gravity Falls takes place in 2012, indicating that the twins were born at the end of August 1999. It would be a bit of a stretch for Greg, who is very young during the events of OTGW (most people put him in the 5-6 age range; I doubt he’s older than 8) to be a married father by 1999; even if we are generous enough to assume that, for instance, he was eight years old in 1987, he would be only twenty by the time the twins were born. I think it’s far more likely that he was still in his teens.
Wirt, though? Explicitly a teenager during the events of the miniseries. Likely well into his twenties by 1999. The timeline checks out.
The Jewish ancestry of the Pines family. In the blended household Greg and Wirt belong to, someone, at any rate, is celebrating Christmas, as evidenced by that box of decorations in the attic—but it’s not necessarily Wirt. In fact, he takes a scissors to a Santa hat to make it into a costume. You could say “So what? He needed a hat,” or you could read it as a Jewish kid’s stubborn little rebellion against his mainstream goy stepdad. If you’re me you’re going to do the second thing.
Here’s the key consideration, and I saved it for last because the others are easily handwaved: Gravity Falls presents us with a strange and inexplicable disconnect between the Pines family in Piedmont and their elderly relative in Oregon. It’s one of the strangest little plot holes in the series: why are Mabel and Dipper’s parents, who trust Stan sufficiently to stick their kids with him for the entire summer, completely unaware that he’s not who he says he is? Via Hirsch himself, they “thought that they were sending their kids to go spend the summer with their brilliant scientist uncle who was an accomplished scientist and a responsible man.” But if they think Stanley is Stanford, why don’t they know that Stanford was supposed to have six fingers? For that matter, why don’t the kids know about “Stanford’s” twin brother who died in a car accident? There’s a lot of cluelessness afoot and no easy way to account for it—unless you consider a divorce, an estrangement that would prevent Mabel and Dipper’s father from the kind of knowledge of his own family that he might ordinarily be expected to have. And that’s exactly the situation Over the Garden Wall presents us with: a vast emptiness in Wirt’s life where his connection to his father, and to that entire branch of the family, ought to be.
There’s more, of course. The connection between Wirt and Dipper as characters extends to more than just their appearances: Dipper’s arc is at heart similar to Wirt’s, the gradual realization (as Hirsch put it, echoing “Songs of the Dark Lantern” a little) of “a naive, self-serious, sort of socially awkward kid…[t]hat he can be the author of his own story.” Both Wirt and Dipper put on a hat and check the effect in the mirror, as a kind of signal to the audience that the journey is about to begin. Dipper echoes Wirt’s muttered “Into the unknown” with a question for Mabel: “Ready to head into the Unknown?” There’s a great deal of resonance in the possibility of these two protagonists being father and son.
I like Sara a great deal, and I think she’d be amazing for Wirt, but I’m not committed to them being endgame to the point where it’s the hill I’d die on; Over the Garden Wall takes place within a very specific bubble of time, a point in a young man’s life where he’s nervous around his high school crush, and I think the story is less about whether he ends up with Sara either way and more about whether he has the courage to ask. That said, I’ve made a point of keeping Mrs. Pines vague and I’ve seen people twist a few things for the sake of allowing Sara to be their mother, and I approve of that too. Whatever floats your boat upon your winding river.
Brother from Another Series [S8 E16] (dir. Pete Michels)
The Simpsons loves to skewer the mob mentality, they arrive with fervour and poorly written signs to admonish Bob’s release but it only takes one impassioned speech from Bob to turn them round on the issue completely and have them cheering his return.