reflections arc

2

“Ever since I met you, I have begun to doubt myself. I have lost faith in my own decisions. But now, with the kingdom in turmoil, I can’t run anymore. Midoriya… what should I do?”

>> Challenge your father for the throne. [King Path]

>> Rescue your mother from prison. [Witch Path]

>> ??? [Hidden Class Path]

- Part of the Boku no Hero Adventure RPG AU.

The Adventure Zone expectations:
- standard fantasy with elves, dwarves, and such
- lots of just back-and-forth battles with dice
- just four guys talking, not serious characters
- something fun to listen to while I do crafts and stuff

The Adventure Zone reality:
- a complex plot with well-fleshed out main characters
- hilarious moments in and out of character
- lovable NPCs like Angus MacDonald
- floating moonbases, Mad Max style road races, murder mysteries on trains
- Groundhog’s Day style time loops
- inter-dimensional/space travel??
- a running gag where a more competent woman appears and saves them
- many of the competent women are lesbians
- well-paced and authentic romantic subplots between those women
- literally pacing around my room while I listen because it’s SO GOOD
- ”Okay, I’m bored of this fight. I’m going to turn into a T-Rex.”
- very few black and white moral issues, just people trying their best
- wildly tragic backstories played with very genuine emotion
- killer soundtrack that changes styles to reflect each arc

instagram

Gorgeous series of Aurora Borealis arcs over Tromsø, Norway - and I think based on the waves that all these clips are real time.

Keep faith Jonsa fam <3

With S07E06 it’s easy to lose faith in the ship and so many people are reasonably upset but fret not! We still have plenty of points that are still as valid as they were prior to this episode.

Let’s go through them and calm down, alright? (For Jonerys shippers, people are allowed to ship whoever they want. Please don’t take this as an attack to your ship.)


Here are some summarised points just to refresh yourself on why this ship makes so much sense!

1) Sansa being the first Stark to reunite with Jon, forming a bond between the two. Think of all how refreshing it was to see Jon and Sansa smile on screen for the first time in forever, and how crucial it is for developing the plot!

2) The marriage symbolisms in the scenes they share. Sansa is cloaked in(what I assume to be) Jon’s cloak when she first arrives at Castle Black. She then cloaks him in the Stark fur she makes him(and he’s worn it ever since - even on the cliff at Dragonstone). They both have also shared a drink together, which just paints more wedding imagery. Not to mention, Jon has promised to protect her(sounds like something you’d vow to your partner).

3) How their scenes are shot in a particular way that may suggest a foreshadowing of them being endgame. Candle lit rooms, gentle snow falling and panned close ups of anytime Sansa’s grabbed Jon’s hand/arm.

4) Bickering like an old married couple while still empowering each other and Sansa reassuring the Jon that he’s good at ruling thus giving him the confidence he needs and reminding him that he’s a Stark to her. Wow I love a supportive dynamic. Nothing but mutual respect from my two children.

5) How well they work together and how they balance each other out. Jon of course being the military man, and Sansa being more politically savvy. Wow, Westeros is shook at this power couple.

6) The Ned and Cat parallels. I don’t even need to get into this one because there are plenty of sources out there that have pointed this out!

7) Littlefinger’s panned close up of him looking at Jon, then looking at Sansa as if he’s putting two and two together. This is incredibly significant considering the event that led up towards it could be seen as Littlefinger trying to see what would make Jon tick.

8) Angry Kitten Jon i.e. the strange way in which we see him react to different people bringing up Sansa. Choking Littlefinger, glaring and not being interested in discussing her with Tyrion, Sansa being the only reason he chooses to spare Theon. Davos’ close up right after his interaction with Theon. Very suspicious.

9) Them mentioning each other even when they’re miles apart. It’s an odd thing to note that Sansa keeps saying she wishes Jon were with her and that she hopes he comes back soon, meanwhile we also have Jon not being able to escape the mention of Sansa.

10) Jon taking notice of her new silk dress. Remember when he said he’d want to see Ygritte in a silk dress… so he could tear it off of her?

11) The forehead kiss and lingering gaze. They could have reshot this if it wasn’t meant to give off any other vibe that wasn’t perceived as brotherly. 10mill for that last episode, just saying.

12) The deleted scene. In which Jon tells Ghost to stay behind and protect Sansa.

13) Name parallels in both the Stark and Targaryen family tree. There was a Jaeherys Targaryen(some people think this may be Jon’s true name) who married an Alyssane(which is remarkably similar sounding to Alayne - Sansa’s adoptive name while she was in the Vale. But even if it turns out his true name isn’t Jaeherys, there’s still the Jonnel Stark that married a Sansa Stark. Now that’s on the nose.

14) Sansa giving his new life purpose. When we see Jon after he’s resurrected, he was ready to abandon his post as Lord Commander. Sansa walks in just in time, and she gives him a reason to fight for - the reclamation of Winterfell. Jon is truly reborn when he resurfaces from the crowd and we see in him something that’s been missing throughout the season - purpose. Then he goes and knocks the sh*t out of Ramsay.

15) The Prince Aemon/Joffrey bit. Ned had promised her someone brave, gentle and strong like Prince Aemon, noting that the match with Joffrey was a mistake. This happens in Season 1 and in the 1st installation of the ASOIAF books. In the 3rd installation of the books, Jon recalls a time where he and Robb would be training as kids, referring to himself as Prince Aemon the Dragonknight.While in the show in Season 7, we see Jon get insulted at the thought that Sansa might think of him to be like Joffrey - to which she says he’s as far as Joffrey as anyone she’s ever met.

16) Sansa’s hair. This is often overlooked but I remember reading that when Sophie Turner got her role, she asked the producers why she had to dye her hair. They told her that it’s actually important and crucial to the plot in some symbolic way. Let me just point out to you how most if not all the women in Jon’s life that he’s been involved with in some way or another has had red hair. While this seems like merely a coincidence that’s not worth bringing up, it could be tied to the validation he never received while growing up - of Catelyn’s(who had more of an auburn shade), and Sansa who took after her mother in never accepting Jon fully.

17) Janos Slynt. Sansa had wished for a hero to behead Janos Slynt(in the books). Jon ends up beheading Janos Slynt(in the books and the show). This has a romantic connotation since the hero always falls for the princess in the songs.

18) How their arcs almost reflect and mirror each other throughout the story. Both Jon and Sansa had romantic ideas of the world that are debunked by reality. Jon believing the Night’s Watch is a place of honour, and Sansa having her whole reality flipped. (My poor bbs </3)

19) How their arcs are at one point reversed. Sansa finds herself born into a position of power in the beginning, while Jon was a bastard. She then at finds herself being the bastard, while Jon is raised up as Lord Commander. This is good to take note of as they now have a better understanding of each other respectfully.

20) How them getting together would literally give them both what they wanted as children. Sansa’s always wanted her prince(and since Rhaegar annulled his marriage, Jon is a Targaryen Prince), and Jon’s always wanted a family and to live in Winterfell(+ deep down I’m sure he’s always craved the validation he was denied as a child growing up in Winterfell - he had hoped Ned would have the King legitimise him).

21) Poetic justice. How fitting would it be to have a situation that started out from a Targaryen/Stark wedding to end with a Targaryen/Stark wedding(this time done right)? Too perfect.

Those are some of the points I could think of straight off the top of my head, without taking into account the points that stand against D*enerys. I wanted to make sure this post was as positive without having to be perceived as me taking a go at D*ny. But, for the purpose of making this complete, let’s see some points against that ship(you can stop reading at this point if you only want positivity, but I’ll try to be as rational!)


1) The argument that J*nerys together makes the Song of Ice and Fire. This is a questionable point since there could be many interpretations of what’s truly Ice and Fire so I’ve never found this to be persuasive. You could argue that Jon is the Song of Ice and Fire himself, since it’s been revealed that he is both Stark and Targaryen.

2) D*enerys’ story arc serves as a foil to Jon’s. The reason why these characters seem alike is because they seem to mirror their positions throughout the story. However, if you take a closer look - D*ny has risen to power on account of her birthright and dragons, and she has actively sought out her power. Meanwhile, Jon finds himself in a position of power not because he wants it or has a birthright, but because people want him to assume that position(like being elected Lord Commander and then crowned King in the North).

3) The highlighted differences between these characters. In Mereen in Season 5, we see D*enerys sentence a man to death but have Daario Naharis carry out the sentence in front of her people as a deterrent. This has always been interesting to me because she cannot bring herself to look at him as he is being beheaded. It reminds me of the saying that he who passes the sentence should swing the sword. In the same season, we see Jon behead Janos Slynt himself.

4) The direction the show seems to have taken in relation to D*ny’s methods of ruling. Yes, I do agree that you’ve got to be more and more ruthless as you hold more and more power but it’s interesting to me how they’ve decided to shoot her scenes lately. There’s her insisting that she is Queen(Tywin: “Any man who must say “I am the King” is no true King.”). Then we are asked to empathise with the Lannister army for the first time in the series - with Ed Sheeran’s cameo meant to humanise the soldiers, and the Field of Fire 2.0 battle being shot from the Lannister army’s point of view - of devastation when going against a weapon of mass destruction(Drogon). To top it all off, she displays ignorant hypocrisy - saying she wants to break the wheel but only when she’s already on top, deflecting and ignoring any attempts Tyrion makes to talk some sense into her(we’ve seen Tyrion trying to deny that she’s being irrational while with Varys, and mentioning that she’s known to lose her temper), telling the army she’s not there to murder them and then giving them an ultimatum of bending the knee or dying, and burning the Tarlys alive. That last point is interestingly enough never brought up with Jon the same way the maesters don’t inform Samwell - which makes me feel like it’s been left out for now, for a reason. It’ll come back and change Jon’s perspective of her further.

5) Contrasting D*ny’s ruling methods with Sansa’s. While D*enerys’ loot train attack destroyed the food that would have fed the people, in the same episode we see Sansa trying to ensure that her people are fed. It’s there for a reason. For us to be able to extract and juxtaposition these two together and start questioning who would make a better Queen - a ‘foreign invader’ and conquerer who uses her weapons of mass destruction to pave a way for her on the Iron Throne, or the key to the North who has learnt how to play the Game of Thrones from arguably a few of the best players(Cersei, Margaery, and Littlefinger).

6) Cersei’s Prophecy of the Younger, more beautiful Queen. People seem to overlook this when it’s actually quite indicative of endgame. People are also quick to assume that D*ny is the Younger Queen that would talk all that [Cersei] holds dear. But how could she be? D*enerys had nothing to do with the deaths of Joffrey, Myrcella, and Tommen. Sansa did. Although unknowingly. Sansa was the one who informed Olenna Tyrell of how much of a monster Joffrey was - this set the chain of events that led to all three of Cersei’s children’s deaths. While Margaery could be perceived as the Younger Queen as well - she had no clue of Olenna’s involvement, and furthermore - Cersei still has Jaime while Margaery has already been reduced to ashes. So, if Jaime were to sometime in the future join forces under Sansa, she would fulfil the prophecy. I highly doubt that Jaime would be keen on joining D*enerys after what he’s seen her do with fire - I’m sure he was getting war flashbacks, poor guy.

**I’d like to mention and give fair warning that past this point, I’ve hinted at some things that happen in E06 so if you want to be absolutely spoiler free, please stop yourself from reading further. Or, you could go ahead and read only the bolded first line of each point!**


7) A marriage between D*enerys and Jon serves no greater purpose. We are reminded that D*ny is barren(please don’t make it seem like I’m picking at this being her fault and hating her for it, I’m trying to be rational), she cannot give Jon an heir(children he’s always wanted though I don’t doubt that if he truly loves someone he wouldn’t mind giving that dream up, so don’t see this as me trying to pit two women against each other for the sole reason of one not being able to have children). So the Targaryen lineage would truly die with D*enerys if this marriage is realised. Furthermore, the North will not accept a Southern ruler, and will always follow the Stark name. If Jon bends the knee, not only will he be giving up what his family fought for, but he would be betraying the wants of his people. If it is revealed that he is Targaryen and it’s made public knowledge, the marriage that makes the most sense to maintain peace is if he marries Sansa - a Stark, since Jon would be abdicating his position as King in the North by bending the knee and Sansa would still be Lady of Winterfell as she has the Stark name. On the topic of children though, for some reason in E06 we keep getting hints of possibly foreshadowings of Jon having his own children - specifically when Jorah doesn’t accept Longclaw, saying it would serve [Jon]’s children well - and then the scene cuts to Sansa and Arya.

8) Jon possibly playing D*enerys is not completely OOC. Take into account what he did with Ygritte, then take into account the number of reminders he’s had this season alone. Sansa reminds him to be smarter than Robb and Ned, and one of the other Northern Lords reminds him that Robb rode South once, married a foreigner and lost the North. What’s the one thing Kit Harrington says about Jon this season? That he’s beginning to listen to Sansa. You may argue that it’s character assassination to have Jon, who’s so pure, resort to manipulation but he could be putting his family and duty first - he needs to do what he can to secure her alliance. In fact I think it’s more insulting to his character if we were to assume that he would deliberately give up the North without first consulting his people, let alone Sansa. It’s way past time Jon plays a little bit of the game, it does his character justice to develop and learn from past mistakes at least that much. Of course, there’s also guilt following the events of E06 during the wight hunt. Let’s not forget D*ny’s prophecy that states that she will be betrayed thrice - once for blood, once for gold and once for love(this last one has yet to happen).

9) The Odysseus/Penelope/Calypso parallel. I saw this going around at some point and it’s been quite popular ever since! Unfortunately I’m not too sure who the original source is, but please feel free to tag them below! They made a link between the three greek characters with Jon, Sansa and D*ny respectfully. Calypso had detained Odysseus on her island for some time, while Penelope stayed behind and ruled on behalf of him in his absence. Odysseus and Calypso end up sleeping together but in the end, he comes back to his Penelope. It’s not to say that I like the idea of Sansa being ‘second’, but I’m choosing to interpret this in a way that guarantees Jon coming back to Sansa despite the boatbang.


That concludes this little list/semi-meta(?) I’ve never taken a go at these, in fact I’m pretty sure this is my second time making my own textpost. Again, the point of this was not to put one character against the other just so we can be satisfied with our ship. You are allowed to ship whoever you want to! I simply felt the need to bring these points up again because the night is dark and full of red-herrings.

Please try to leave this post as hate-free as possible. If it appears on the wrong tag, I apologise. But if you were secure with your ship then you wouldn’t feel the need to come at me. Although if you do still feel the need to defend a certain character, no one’s stopping you - just be respectful! x

Last but not least… can we just… appreciate these two. (I saw this gif online but I’m not sure where, apologies if it’s yours - all credit to you and please don’t hesitate to let me know.)

Ok so, I'm gonna tell a few things about jjba's part 5 for anime only watchers

I’ll avoid spoilers and won’t be mentioning names. I’m just gonna write down some things about this part’s overall feel. Here we go…

- part 5 is dark. When i say that, its not that this jojo part is completely sad or edgy, but the story, context and situations that the characters have to face are not light hearted. It feels like the opposite of part 4 in that aspect.

- Also opposing part 4, part 5 is fast paced and extremely dynamic. There are no filler arcs. It is a heavily battle focused manga and most characters give their all in fights, risking their own lives all the way. There are no cowards in this part of jojo and all the characters oozes badassery and have “manly” moments.

- It has some of the most awesome stand battles and stand abbilities in the whole jojo franchise. And many of those battles happens on board of moving vehicles, which symbolizes the fast paced story arcs.

- none of the characters is moraly good or pure. Its not that the main crew is made of bad people, but people who won’t hesitate to do hideous things in order to achieve their goals.

- the word “resolve” and the criticism of the “ results are the only thing that matters ” are key ideas brought up in this part. Also they bring the concept that nobody is able to overcome their fate or choose their own origin, but everyone has the ability to use the time they have in this world to try and accomplish great things despite the horrifying and unavoidable destiny that awaits them in the end of the road.

- jojo part 5 has one of the best written main crew of characters in an rpg plotline of a shonen manga. Im not even kidding, they put the crusaders to shame. Speaking of stardust crusaders, vento aureo does everything sdc did but way better and in a more interesting way. The cast of villains feels deep and memorable and the main characters form a way more balanced team with better bonds, personality and backstories.

- the fights in this part are really extreme but its not only that what makes the stand fights in part 5 so memorable. Its the fact that, for the first time in jojo, both the villains and the main characters do not fear death and they wont hesitate to kill the enemy. Also, some of the most dangerous fights in this jojo part are solved with double battles, being the duo made of the main crew, the villains or both at the same time with an example of a four way battle at one point of the series.

- its in this part that araki goes full fabulous with both the characters design and their fashion. He wanted to make the characters the most androgenous and bishounen-ish possible to convey what was popular among manga readers back in the days of vento aureo’s publication. The feminine designs of the main characters form an interesting contrast with how brutal they actually are. So the characters for this part are mostly androgenous and have no chill. Also the homoerotic jokes and scenes you missed since sdc? They are back here but in contexts you would never expect.

- shit hits the fan pretty quickly in vento aureo and each arc is well tied up with the arcs before and after it. It will make vento aureo a difficult part to adapt for anime and its gonna be challenging for david production to set the pacing for the main story just right.

- araki wrote this part of jojo during a hard time of his personal life, so the dark and sad aspects of this story arc reflects his state of mind during those days. But araki revealed, years after completing this part, that he decided to write off a good chunk of the story he had planned because he couldnt get himself to draw such heavy handed scenes. He decided that he wouldnt let the characters go through all the pain he first planned to do and felt that those characters helped him overcome his emotionally broken state of mind back then.

- overall, this jojo part is really great. Dont listen to people who sounds unexcited about it and claims that part 5 is the worst one. Vento aureo is the jojo part that has suffered the most thanks to bad scans and translation. The fact that there’s still no complete well translated version of this jojo part around the web doesnt help people who read it for the first time without proper guidance. Most of the mixed opinions on part 5 comes due to bad unnoficial translations, which made this part of jojo seen as underated or even controversial by the western fandom. Vento aureo is the second most popular and beloved jojo part in japan, only second to the ever hyped stardust crusaders. If we westerns have had the experience of reading this part well translated from the begining, it would be one of the most popular among the non asian fandom as well.

- if you are an anime only watcher and will wait for a vento aureo anime to come out so you can watch it blind, i recommend that you keep in mind that this part is a wild ride. If part 4 felt like a pleasant picinic at a park, part 5 feels like a roller coaster of death. Keep that in mind and take a deep breath before starting when the anime comes out.

And now im out. Bye~

Arrow’s Stephen Amell Reflects on Adrian Chase Arc, Says Season 6 Has a ‘Maturity I’m Really Proud Of’

Oliver Queen is “smiling a lot more” in Season 6 of The CW’s Arrow. And so, in turn, is series star Stephen Amell.

Coming off what he recently ranked as his second-favorite season ever (trailing only the freshman run), Amell likes what he is seeing thus far of Season 6, which premieres Oct. 12 on a new night — Thursdays at 9/8c

Shortly after regaling the crowd at the NY/NJ Heroes & Villains Fan est (of which he is a co-founder, and where during a panel Q&A he teased another trick arrow and a spoiler-tastic new voiceover), Amell spoke with TVLine about the thrill of the (Adrian) Chase, Season 6’s newfound “maturity” and the new wrinkle awaiting Oliver and Felicity (if, you know, his lady survived that explosive finale).

Read the full interview here! <

There totally needed to be a time jump at some point because 5 or 6 years of this living situation would have gotten boring, but I was hoping it would happen mid-season 5. Now I’m just praying that we get copious amounts of flashbacks. Because there is so much stemming from this setup that I want to see play out.

I want to see Clarke finding Maddie and taking her under her wing. I want to see them relying on each other for company and finding a way to survive the post-apocalyptic wasteland. I want to see Clarke develop into an adopted mother.

I want to see Gaia and Octavia spending more time together and becoming friends rather than rivals, so Indra can be a mother to them both without conflict. I want to see Gaia and Indra growing back together, more emotional hugs plz. I want to see Octavia flourish into a confident leader under Indra’s tutelage. I want to see this Miller/Jackson dynamic play out and find out if it is indeed as gay as it looks. I want to see Niylah banging caring for Octavia and being a touchstone of emotional support.

I want to see Echo and Emori adjusting to life in space and bonding over their shared experience of feeling like outsiders this season yet being brought into the fold. I want to see Emori and Raven become the disabled WoC besties they should be. I want to see Murphy and Raven continue to mend their relationship - it was one of the most interesting dynamics this season. And I want to see Bellamy and Murphy finally bury the hatchet. 

I want to see Raven and Bellamy working together as the new head/heart combo, leading the space squad like he and Clarke led the delinquents. I want to see Echo win back Bellamy’s trust. I want to see her open up to characters other than him, and I want to see her embrace her own humanity instead of suppressing it. I want to see Echo allowing herself to love and be loved. I want Becho. But more importantly, I want to see Becho develop.

I want Monty and Murphy to become buddies. I want Harper to develop relationships with people other than Monty and Bellamy. She has such a big heart and I want to see her share it with others who have suffered. Raven was also drilled at Mount Weather. Echo was hung from her ankles and drained of her blood in the harvest chamber, stuffed in a cage for god knows how long. Harper can relate to both of them. And I want to see her and Emori become friends, because Emori is a smol puppy who deserves all the love in her life she can get. I want Marper and Memori to be like the neighborhood couples that barbecue together and shit.

I want more and more and more development for Harper and Echo and Emori. They are three female characters who were introduced as potential love interests and could have been one offs, but were brought back. And I am so glad they were, because each of those characters had her most prominent season yet and they were, in my opinion, three of the most interesting characters in season 4. They all had these self-reflective arcs where they had to deal (to some extent) with the trauma they have suffered and grow from it. But there is so much more growing to do, so much more pain to be addressed and worked through. I want the three of them to finally be happy and feel safe and loved. I want Chelsey and Tasya and Luisa to become regulars (credited ones, in the opener) in season 5, moving beyond love interest guest star status. They were all fucking fantastic this season and they deserve it.

And I want space babies.

4

We have re-titled BPRE books 5-8 as Black Powder Red Earth™ Syria Volumes 1-4 to reflect that the second arc was it’s own, stand alone series. There is no change to the content, other than the covers. So when you see these on Amazon, don’t freak out, we didn’t write a new series and not tell anyone. It’s more for new fans of the franchise and hopefully this will get more people to check out the later books in the series.

tvline.com
Arrow's Stephen Amell Reflects on Adrian Chase Arc, Says Season 6 Has a 'Maturity I'm Really Proud Of'

Oliver Queen is “smiling a lot more” in Season 6 of The CW’s Arrow. And so, in turn, is series star Stephen Amell.

Coming off what he recently ranked as his second-favorite season ever (trailing only the freshman run), Amell likes what he is seeing thus far of Season 6, which premieres Oct. 12 on a new night — Thursdays at 9/8c, leading out of Supernatural.

Shortly after regaling the crowd at the NY/NJ Heroes & Villains Fan est (of which he is a co-founder, and where during a panel Q&A he teased another trick arrow and a spoiler-tastic new voiceover), Amell spoke with TVLine about the thrill of the (Adrian) Chase, Season 6’s newfound “maturity” and the new wrinkle awaiting Oliver and Felicity (if, you know, his lady survived that explosive finale).

TVLINE | From the panel, it seems that you obviously hold Season 5 in high regard — and that was a fantastic season. I even had people at work who don’t watch the show but tuned in for the finale saying, “That was a helluva finale.”

I like that.

TVLINE | What about Season 5 do you think worked so well?

I think that Season 5 began in earnest with a dinner that [Arrowverse executive producer] Greg Berlanti and I had just after the conclusion of Season 4. We’ve built out a really interesting universe on The CW, and I think that there are things that we [on Arrow] do better than everybody else. Supergirl has a bigger budget for VFX, I think, and it has aliens all the time, and The Flash is super power-laden, and Legends travels through time. We are best when we stay within the limits of Star City.

TVLINE | You’re on the streets.

Yeah, we’re on the streets. I said, “You know, I think that there’s a lot of things that we do well,” and Greg goes, “I would agree,” and I go, “Can we do those things?” Doing a show is like a relationship, right? You get in. It’s hot and heavy. Things are going great. You move in together. And then one partner turns to the other and says, “You know, you haven’t been to the gym in a bit….” That to me was us. If we’re going to do this show, let’s really do it. Let’s be morally ambiguous with the characters and make it more three-dimensional and put killing back on the table, let’s move away from trying to be like everyone else. Let’s focus on being Arrow.

TVLINE | Coming off such a strong season and now that we’re away from the flashback framework the show had been operating with, do you feel that Season 6 is kind of pivotal? That there’s something to prove?

I don’t think that there’s anything to prove. I wouldn’t call having to do the flashbacks a hindrance by any means, but we did have to do them. And that’s nine-ish minutes of screen time per episode that can be devoted to…. At the risk of spoiling what happens, at the end of Season 5 I don’t think that we’ve ever had a deeper roster of talent on the show and a more capable group of actors to build out what’s going on in Star City. So I don’t think we really have anything to prove. I’ve been really impressed [with Season 6]; there’s a really pivotal moment at the end of our second episode and when I saw it I thought to myself, “OK, this is interesting. Are we going to follow through with it?” And we really do. We followed through with it. There’s a maturity there that I’m very proud of.

TVLINE | One thing we do know about Season 6 is that William (played by Jack Moore) will be a part of Oliver’s life. Is exploring that paternal side exciting for you as an actor, this new facet of a character that you know so well, or was there somewhat of a concern that “there’s a kid in the mix now”?

First of all, I’d be a little more worried if [Oliver’s son] was like five or six, but we’re playing him as like a sixth or seven grader. Jack has been super equal to the task and it’s just been great. I remember when I read the [premiere] and it was just a bunch of Oliver calling William “Sport.” Like, “Hey, Sport!” And I got [co-showrunner] Wendy Mericle on the phone and she goes, “I know what you’re going to say. I know what you’re going to say. Oliver’s never going to call him Sport. You find what you’re comfortable calling him. It can be what you call your [own] kid, it can be ‘Buddy,’ it doesn’t matter.”

Immediately after that my first full day of work was a full day with Jack, and I was really taken with it — and, you take this with a grain of salt, apparently the studio and the network were really taken with it, too. So I think it’s a really interesting dynamic for Oliver to have to examine.

TVLINE | Having Manu Bennett back for the finale was so critical. It gave everything such weight and resonance. How would you characterize the Oliver/Slade relationship moving forward? Frenemies? Something more?

I wouldn’t say frenemies. I think that one of the things we really focus on is that Slade Wilson, throughout the course of the Season 2 flashbacks and what we saw present day, was drugged. He was a character that was under the influence of something. So now we are back, Oliver believes, to the version of Slade that we met in Season 1.

TVLINE | Slade regained some clarity.

Yeah, and then became a comrade, and a confidant, and an ally of Oliver’s. That being said, there are certain things that you cannot un-see, and certain things that you cannot undo. So I can think that he is honorable, and I can look to him for help, and I can maybe even trust him, but I can’t really forgive him. Which doesn’t mean that I’m angry, just again — certain things you can’t un-see.

TVLINE | Same goes for Thea (Willa Holland) if she’s alive. She has something to say about that.

Exactly right.

TVLINE | Kirk Acevedo, who has been cast as a version of Richard Dragon, played such a sonuvabitch on Kingdom this past season. How different would you say—

Haven’t seen him and haven’t worked with him yet [as of this Sept. 17 interview]. It’s really interesting this year. There are a number of big-time players that I have yet to have a scene with.

TVLINE | Wendy seemed really excited about — and this is somebody you have worked with — Samanda Watson, the FBI Agent character.

Sydelle Noel (GLOW) has been really, really, really fun to work with.

TVLINE | In what ways is she a unique adversary for Oliver? I mean, people have tried to connect the dots before.

Oliver can’t so much as open his mouth to say boo without her bulls–t detector going off. She is thoroughly and utterly convinced of exactly what he is, and the ironic and funny thing about that is, of course, she’s precisely right.

Yeah. Yeah. I saw [The Fugitive] in the theater, and if we can create that dynamic…The only problem is I’m not actually innocent! I’m totally guilty, but yeah, she is dogging me — and not just me. The interesting thing about her character is she doesn’t just put one piece together. She puts alllll the pieces together.

TVLINE | What does Oliver see and feel when he looks at Black Siren (returning series regular Katie Cassidy), and vice versa?

Oliver is, ironically, the most hopeful one despite the fact that she allied herself with Adrian Chase — who had offered to break her out of prison, so I understand where she’s coming from. But the fact is he’s sort of hopeful, “If there’s a bit of Laurel in there, I want to find it.” He’s more empathetic to the struggles for [Quentin] Lance, you know, and anyone that has a history with Laurel. He knows that [Black Siren] is not a good person necessarily, but he hopeful that there’s something in there.

TVLINE | Meanwhile, Oliver to her is nothing.

Nothing.

TVLINE | The team really took its lumps in Season 5. Emerging from the Adrian Chase crucible, is there a kind of a restored confidence?

There is with Oliver. I mean, I bristle at the notion that all of a sudden he’s, like, smiley and happy-go-lucky. But I think that there’s a way to fill Oliver with a little more contentment without domesticating him in the way that we did a bit in Season 4. With a lot of the ways that he approaches things now, he just seems a lot more comfortable in his own skin.

You know, the most transformative moment in my eyes, for Oliver, was before everything happened. He had the opportunity to kill Chase and he simply says, “That’s who I was. That’s not who I am anymore.” And if the underlying issue really was blaming himself for his father’s death and he has forgiven himself, he has absolved himself of that, and that’s led to a lot of brighter days for me this year.

TVLINE | In a scenario where Felicity (Emily Bett Rickards) did survive the Lian Yu explosion, are there new places for her and Oliver to go to in their relationship that we haven’t seen in the first five seasons?

Well yeah, of course, because Oliver’s a package deal now. It’s Oliver and William, right? So yeah, there are definitely places where we can take it.

TVLINE | And lastly, for this year’s crossover how do we one-up aliens?

The thing that I will tell you about the crossover is that for the very first time…. You know, when we first did them it was just Arrow and Flash, it was kind of simple. And even when we did them last year, it was like, “We’re doing an episode of Supergirl, and then an episode of Flash, and then an episode of Arrow, and then an episode of Legends.” This year it is a four-hour movie. The note that I got when I was speaking with one of our producers is, “When you tune in, aside from the opening graphic, stylistically, if you didn’t know what order the shows were in, you shouldn’t be able to tell.” Like, it’s just one through line.

tvline.com
Arrow's Stephen Amell Reflects on Adrian Chase Arc, Says Season 6 Has a 'Maturity I'm Really Proud Of'
Oliver Queen is “smiling a lot more” in Season 6 of The CW’s Arrow. And so, in turn, is series star Stephen Amell. Coming off what he recently ranked as his second-favorite season…
By Matt Webb Mitovich

Not much new in this article, but it’s still a great read.  This was my favorite comment from Stephen:

“You know, the most transformative moment in my eyes, for Oliver, was beforeeverything happened. He had the opportunity to kill Chase and he simply says, “That’s who I was. That’s not who I am anymore.” And if the underlying issue really was blaming himself for his father’s death and he has forgiven himself, he has absolved himself of that, and that’s led to a lot of brighter days for me this year.”

Me: 

Y’all know where I stand on that subject. I’m at total mind meld with Stephen which is just nifty. 

I also love what Stephen has been describing the crossover as a 4 hour movie. If that’s an accurate description (which I have no reason to doubt The Captain) then I think this crossover is going to be pretty damn fantastic. Primarily because it doesn’t matter what show certain events take place on, but rather it’s the conclusion of the journey these characters are taking in the crossover that counts. 

The dymanic with Slade and Bl&ck S&ren seems interesting. I’m excited to return to that Season 1 dynamic with Slade. I feel like we as the audience will be viewing that relationship very much through Oliver’s eyes. Happy Slade is now a potential ally, but not quite able to forgive everything he’s done. There will always been a level of distrust there. 

As for Oliver’s hope regarding Bl&ck S&ren that’s really no different than what we saw in him during 5x10. It speaks more to Oliver’s hopefulness than anything else, which is huge character growth for him. However, Oliver & Co. mean NOTHING to Bl&ck S&ren. Hahaha. LOVE IT. This is gonna be fun.

anonymous asked:

This may be a weird ask but what did you think of the VFX used for Wanda's powers in Civil War compared to Age of Ultron? Was there any reason given as to why it was changed?

For reference:

In Age of Ultron, it’s aiming for ethereal. You can see the energy going up her wrists and out of her fingers in delicate lines. It has a smoky quality, and sometimes, it covers her hands. Towards the end, we get her starting to remote control things with balls of light, which is what she does in CW.

In Civil War, you can’t see the magic inside her body. It’s more something she’s working with than something that flows from her. It becomes spherical, instead of moving in streams. There are no more tendrils. It’s mostly balls of light, and they’re harder and more complete, suggesting more control.

I don’t think anyone has commented on the change, but the CW version is a more advanced take on what we see in the final fight of AOU. She’s holding it in her hands, not letting it flow. It’s less beautiful, but more sure of itself. The power is centralized outside of her, rather than beginning in her body and branching out. It feels like a maturation, and I’m interested to see how it changes going forward. 

Compare the choreography we’ve seen on the IW set with what was in Age of Ultron. It’s the same idea, but it feels like a different person. There is an otherworldly tranquility to Wanda in AOU (see also: the infamous “calm face” debacle), and there is no tranquility in that IW set video. The movements are rapid and forceful. There’s no attempt to convey ~calm beauty~. Both of these things, the difference in the movements and the difference in the shape of her powers, are reflections of her arc.

The regal line of succession in the world of Hamilton got a heck of a lot more complicated the other week. That’s when Brian d’Arcy James put himself back under King George III’s crown — making him not only the first person to play the monarch in Lin-Manuel Miranda’s musical back when it debuted Off Broadway, but now the latest actor to play the character in its smash Broadway run.


[…]


Not much changed in terms of his songs or the way he plays the character, said d’Arcy James, who also appeared recently in Netflix’s buzzed-about series 13 Reasons Why. But what has changed is the feeling inside the Richard Rodgers Theatre, the kind that comes after tremendous buzz, countless fans (celebrities and otherwise), and a slew of accolades. “The context is different because people were just starting to discover it [when I was in the show at the Public Theater] and sense it becoming what it has become back then, both in the cast and in the audience. And now, it’s undeniable, and it’s such a phenomenon and you can feel a different kind of vibe in the house when you start the show.”


He’s also performing alongside a different cast this time around, including Tony winner James Monroe Iglehart (the former Genie in Broadway’s Aladdin), who began his Hamilton run as the Marquis de Lafayette/Thomas Jefferson on the same night d’Arcy James re-donned his King George robes.


“I’m in awe of this cast,” the three-time Tony nominee said. “I’ve been away from it long enough to have completely fresh eyes on the show and I’m just like anybody else. When I watched the show before I came back in, just to get primed to go back in, I was astounded by everyone’s performances. There’s such intricacy and there is such power and physicality coming from everybody in that cast that I have this great opportunity to just slide in [during] the show — I have my little things, my little surgical strikes if you will, and then I can just watch everybody do the extraordinary things they’re doing.”


And as the newly crowned (and also original) king across the sea, d’Arcy James was able to see the show’s success from off-stage, while still an integral part of the musical’s origin story. Asked to reflect on that arc, he said, “The first thing that comes to mind is a sense of pride in having been there. After that, there’s the sense of knowing the journey that cast took was so extraordinary and to watch it evolve from outside rather than inside is an interesting perspective — knowing what the work was, because the work didn’t change, and everybody’s putting all their effort into making the show as good as it can be. What changed was all of the people that would come and give it this air of being something different — a destination. Getting the stamp from senators and heads of state and icons in the entertainment industry, rock and roll legends, pop singers, all those people that were coming — the gravy, the gravy was fun to see and imagine what that was like. I got a little bit of that at the Public, and mind you, this is just the fun stuff. Because like I said, the work is the work, but the experience of sharing that with people that you admire and adore is a different thing altogether. And thankfully, that continues too. So I guess that’s my take on it was it was fun to watch my friends get to experience the biggest birthday party every night for however long they were there.” […]

dean-broken-winchester  asked:

In episode 3.16, Dean can see demons when he's close to going to Hell. So... Have you ever thought that when he saw black eyes in the mirror that one time, he also saw something much worse?

This time (from 10.10)?

The MOC arc has a great arc of mirrors. You can find the set I made about it here. It goes really nicely with that quote in Dream a Little Dream of Me: I know how dead you are inside. How worthless you feel. I know how you look into a mirror and hate what you see. I  have a gifset of that too. And I think that’s what the black eyes in the mirror are about. I don’t think he’s actually seeing black eyes, but rather having one of the flashback/trauma visions he has a few times during this arc. (from 10.09 and 10.23, respectively)

By 10.10, he’s got a lot of guilt for what he did while he was a demon, and for things the Mark is compelling him to do currently, although compelling is not the way Dean sees it. He’s terrified of becoming a demon again–to the point that he asks Cas to throw him into the sun to avoid it (also from 10.09). 

So I think when he’s seeing the black eyes in the mirror, just like all the times when he’s staring into his reflection throughout the MOC arc, we’re seeing his amplified guilt and fear that he’ll again become something he hates even more than his usual low hum of self-loathing. 

anonymous asked:

If you've seen Moana, could we get a character analysis of Tamatoa?

Well! There’s not much to say about him, all things considered. He’s got a wonderful singing voice, a tremendous ego, and debilitating vanity. What I think is the most interesting about him though (and which was kind of blatantly stated in the film itself) was that Tamatoa serves more as a reflection of Maui’s worst character traits rather than as a character in his own right. 

This isn’t the first time Disney’s done this. For example:

Mushu’s a character who has a similar purpose to Mulan’s character arc. He reflects her feelings of inadequacy, clumsiness, shame, and lack of self-identity. Rather than try to demurely mask it the way Mulan does at the beginning of the film, Mushu’s primary method of expressing his feelings of inadequacy are through feigning grandiose powers and abilities. He boasts and shouts and does everything in his power to make himself seem bigger than he really is, because he doesn’t want to accept that he’s just not cut out for the job he really, desperately wants. Which is a perfect way to reflect Mulan’s own attempts at getting the job/gender role/culturally acceptable use toward society that she desperately wants, for the sake of her family and her sense of honor.

Tamatoa is a reflection of Maui in a similar way, but ultimately a shallow one that kind of falls flat, as unlike Mushu he isn’t there as a major character, nor is he a reflection of the main character. Tamatoa is a side character to reflect the negative qualities of a secondary character, and as a result he’s not really that interesting to me.

But on the bright side, Maui himself? Fantastic character, very deep. A little sad for me that we didn’t follow his character arc through the story as closely as we followed Moana’s. I would have loved to see what made him change his mind and come back to help Moana in the third act! But otherwise, he’s just great. A beautiful love letter to polynesian folklore and mythology with tons of respect and tons of creative liberties in the right direction to help him be an interesting character for the story as well as the mythological hero figure he is in real life.