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I Love This Show So Much - Blog Posts
My favourite victorian women, I need season 2 so bad ;w;
Why fight when you can love? Right Fluggy~
(Was experimenting with different brushes and effects)
Could be better but it was just for fun šš
Some shitty screenshots from Lone Star 5x3 (first one contains a fictional dead person so watch out if thats disturbing to you)
I had a feeling they were gonna make it (come on i didnt doubt it for even a second).
And the relief afterwards was everything. I love them so much. TNT š«¶š«¶
i completely understand the fact that so many people don't like how the most recent episode ended and i am absolutely on tina's side, but it's sort of obvious that a 13 year old would have a stronger grip on morals than a 9 year old, yk? i feel like we have to take everything louise says/does with a grain of salt bc honestly i think she took tinas stuff because she admires her maybe? this is coming from a youngest sibling myself, i use to take my sisters stuff because i just wanted to be like her, even though i never told her that. thats what i see louise as doing, but i could be wrong! what gayle says about being obsessed with linda and wanting to be like her, thats sort of what i saw louise doing. maybe this is just me trying to make myself feel better cause tina's pov made me genuinely sob for 2 hours <3
i think iām in the minority here but i donāt think mr martin is this evil bad guy..
yes i do think heās fucked up, betrayed them but i do feel like heās a morally gray character, and has made a lot of mistakes with the intention of being good?
but god the guy is pissing me off each episode, from randomly disappearing and then just appearing and now heās jumped into someoneās body? like sir, what are you up to and what is your plan..
i do think heās jumped into mr andersonās body. mr anderson was shown to be in emotinal distress this episode. giving mr martin perfect opportunity to jump into his body.
he (mr martin) is gonna try to get closer to sandra in order to get closer to janet. i donāt know what his plan is from there though. janet is clearly dangerous, he knows that..
ughhh i need the next episodes now !!
Bi**es be like : "CAN'T STAND HIS FAKE ASS"
*10 minutes later* "Me and my bestieeee~" :
āRosaā is by far my favorite episode of the new season of Doctor Who, and I want to thank Chris Chibnall and Malorie Blackman for writing it like they did. History wasnāt all glamorous or beautiful- it was harsh and unforgiving, and this episode didnāt shy away from that. They couldnāt help Rosa on that bus even though they wanted to because she needed to be arrested. She had to inspire Martin Luther King to announce the boycotting of the Montgomery Buses, because it was her not giving up her seat that started the Civil Rights Movement in the US.
That is history written right. It made me so angry watching the blatant racism on screen but that was the way it was back then. And it just made me want to cry with relief when Rosa didnāt move from her seat, because that was one step closer to equality for everyone.
Decided to watch the AGGGTM TV show after having read the books back in September. Disappointed a couple things were changed, but is not a bad adaptation (*cough*percy jackson movies*cough*) Definitely looking forward to season 2.
Happy 10 year anniversary Odd Squad!
Odd Squad came out when I was starting Pre-k. I remember my younger self would race to the living room after school in order to not miss any new Season 1 episodes. When I got older, Season 2 came out. I will always appreciate Season 1, but I can never be thankful enough for Season 2.
I had a really bad teacher in 2nd grade, like to the point I didn't ever want to go to school. (Which was rare for me back then-I used to love going) (I actually ended up moving schools cause of that teacher, but that's a story for another day)
One of the only things. that could make me feel some semblance of happiness during that time were new and reruns of Season 2 Odd Squad episodes.
I love Otto, Olive, and Oscar, nothing can beat the OGs, but I remember seeing Olympia, Otis, and Oona on screen being one of the few things that could cheer me up.
I have only seen some Season 3 and Season 4 episodes (mostly because im not the target demographic for the show anymore), but this anniversary has inspired me to finish both seasons 3 and 4. (I feel like I owe it to that scared little 2nd grader, ya'know?)
Point is, Odd Squad has been there for me, in both the good and bad. It was/is the first fandom I've ever been in. The world and characters inspired my love for other fandoms, and has inspired me to try writing fanfiction.
Odd Squad Forever!
my favorite animal is people trying to explain odd squad episodes
Small details in the owl house that mean a lot to me
Principal Bump offering teenage Eda a stress toy to help with her destructive tendencies in a safe way.
In reaching out, when Alador goes in for a hug and Amity stops him in favor of a handshake.
When Amity knows Luz is lying to her about the human realm but still makes a point to not go through her phone.
Willow showing Gus how to breathe through his anxiety attack, and in turn Gus showing Hunter how to breathe through his panic.
Eda holding back King and Hooty from crowding Luz and Hunter when they get back from the emperorās mind.
Found this while re-reading buggachat's Bakery AU comic and it looked so pretty I had to reblog.
Check her out if you haven't, she's amazing!
Happy 5 year anniversary to Miraculous Ladybug!!!
This blog still alive? If so what are your lee ping headcanons?
I apologize for the inaction; much IRL stuff has forced me to reprioritize things. I still love the show, but my drive isn't like it used to be.
As far as Lee Ping headcanons:
Lee had developed PTSD throughout the show's events, especially after that asphyxiation stunt Finnwich pulled
Lee has been bullied for his hair in some of his earlier classes
He already had "daddy issues" that were exacerbated by secrets that were kept by Dr. Ping
Lee's fencing/swordsmanship is one of many hidden fighting styles that his dad taught him "as play" akin to the flashback in "The Curse of Earl Nigma"
His unique hair color comes from his mother's side of the family
Had he been abducted as a baby like his brother, his training would've been put into more power-based martial arts to counterpart Li's finesse. They would end up becoming a duo known as The Serpent & The Dragon.
Lee's hypnotism immunity can extend to other means of mind manipulation (think neuralyzers from Men In Black, the memory gun from Gravity Falls, mind wipes a.k.a. "resets" from Glitch Tech gauntlets)
And that's the most I can think up at the moment.
I fucking love Mr. Frog so much. He's one of my favorite characters on Smiling Friends other than the main 4
MA MEILLEURE ENNEMIEEEEEEEEEEEEE STROMAE MON ENFANCE AHHHHHHHHHHHHHHHHHHHHH suis normale je promet mais????? bro???? comment sois je normale dans ces conditions de merde???? aider moi???? TIMEBOMB SAVE ME. serieusement, vous ne comprennez pas comment cet chanson m'affecte,, stromae EST mon enfance (papaoutais me passe par la tĆŖte Ć ce jour),, les journĆ©es de couleurs avec du JustDance publiĆ© sur YT sur les TBI... VOUS NE ME COMPRENNEZ PAS STROMAE VEUT ME TUER PERSONELLEMENT. Ƨa se fit fr, je me met Ć feu,, il n'y a pas de solution
everyoneās all āwhat if instead of house md it was šÆš»š®šŖš“š mdā but then no one wants to talk about the watersports episode. or the musk episode featuring A Montage of house getting all hot and sweaty during a run while āfeel goodā plays in the background. all the medical play. the drug dosing ā house getting drugged and waking up in wilsonās car vs wilson getting drugged and waking up without any pants. cane as a phallic symbol. literal rimming mention in broad daylight. all the whump episodes via house getting the shit beat out of him. when a patient made him believe she was doing wild kink shit with a donkey. all the freudian implications of houseās car during (spoiler). āwho came running to mommy?ā ādaddy needs a drink.ā this is already freak md, all weāre missing is his literal cock and balls on screen.
What a ride, Team Squad ā¤
Here's to not give up and finish the journey together, any day šŖ
(Please don't repost)
ā ć852話ć ć serial experiments lain ć ā ā republished w/permission ā³ ā³ follow me on twitter
I seriously never mentioned how ive been watching moral orel for the past few days and finished it earlier today did i
Over the Garden Wall (2014) Episodes 01 - 10 Directed by Nate Cash
project runway season one has my heart
DT talk throwback: my interview w/David Blair, director of Takin' Over The Asylum
Over half a decade ago now I was a writer for David Tennant News/DT Forum, one of the bigger unofficial fan sites of DT's at the time (now sadly defunct). During my time there, I got the chance in Jan 2016 to interview David Blair - most notably the director of Takin' Over The Asylum, though he worked with DT in three other shows - about those projects, and what he remembered about David. I didn't want this interview to sink into the depths of the Wayback Machine and I thought y'all might enjoy reading it, so here is that interview in its entirety:
David Blair, Director / Front Cover of BBC DVD for Takin' Over The Asylum (UK)
Hello Mr. Blair! From 1992-1996 you worked with David Tennant on four separate television shows:Ā Strathblair in 1992, The Brown Man in 1993, Takin' Over The Asylum in 1994 and A Mug's Game in 1996. Ā Were you at all involved in the casting process for Strathblair, the first project you worked with David on... If so what did you see in the young actor that won him the role?Ā And how did that translate into choosing him as Campbell Bain?
I was a Producer at the BBC before I started directing. David was a student at the Royal Scottish Academy of Music & Drama in Glasgow. He asked if he could meet me just to talk through procedure for TV, interviews, etc., as the college appeared more interested in theatre than camera. Indeed, frowned on the latter! Heād be about 18 then. I certainly knew from the outset that he āhad something,ā and I gave him a few minor opportunities as soon as I embarked on my directing career. To be clear, I only work with actors I want and believe in ā still do. Some might say my own career has been stifled by this obduracy but I donāt care. My need of working with great actors is paramount and Davidās a shining example of what makes it all worthwhile. I commissioned Takinā Over The Asylum for the BBC and worked closely with the writer throughout the creative process. I knew as soon as I read the screenplay, David was going to be perfect for Campbell. But Iām not a fascist about this kind of decision-making, so I mentioned to the writer and Casting Director I had a boy āin mindā for the role. I didnāt oversell; I knew he would make it work for himself. There may have been some minor scepticism at first, but when he did his audition, he blew them away.
David's audition tape for Takin' Over The Asylum
Many of David's fans have seen Takin' Over The Asylum and are well-versed with it.Ā Can you talk more about Strathblair, The Brown Man and A Mug's Game, and David's roles in each?Ā Little is known about the roles he played in those productions. Can you give us any insight into the stories behind all three of the projects themselves, and what was it about David in those years that made you want to cast him in all of them?
In truth, Strathblair and The Brown Man were merely cogs in my directing wheel. They werenāt aesthetically of great merit but gave me a few credits to kick-start my career. What I needed was a āsignature pieceā and that came along with Takinā Over The Asylum. In many ways, I regard that as the start of my directing career. In those days, without a high-profile production on your CV, you would more than likely be destined for a treadmill of soaps and ācontinuing dramaā. Before Asylum I was picking up scraps; after it, I was being asked what I wanted to do. Thus A Mugās Game became my second collaboration with Donna Franceschild, whoād written Asylum. Ken Stott, Katy Murphy and others from Asylum were already on board - and really? We just wanted David to ābe in itā. It wasnāt a huge role but he kindly agreed to come in and do it for us. Played a music student (at the Scottish Academy, as it happens), as I recall but, again, hugely professional and accomplished. In one scene, he had to throw up over the railway tracks at Partick train station in Glasgow.... ah, an enduring memory.....
Did David do anything on set of any of the productions he worked on with you that totally took you by surprise or that was unexpected?Ā What did he do?
I think in those days, more than anything, it was important to keep in mind just how young he was.Ā This boy of 21, was commanding the space, displaying an extraordinary ability to create laughter and tears; sometimes both at the same time! He had natural charm and wit and that, combined with this wonderfully spontaneous joie de vivre, made him a joy to be around both on the set and off.
What do you feel David's most unique/valuable attributes as an actor are?Ā What do you think separates him from his peers as he has matured into the career he has today?
When I look at him now I still largely see the same lad I met all those years ago. Still bursting with enthusiasm and an absolute desire to come out on top ā which heās done consistently. Heās retained his appetite, clearly, and devoured a huge range of roles ā never seeking a ācomfort zoneā in the process. Itās also struck me that heās never attempted to be somebody heās not and that truth, integrity, diligence ā some might say, āScottishnessā (!) ā defines the man we see today.
David has said he considers Takin' Over The Asylum a career-defining project for him.Ā What is your reaction so many years down the line to that comment?
Iāve always been rather humbled by Davidās regard for myself and Takinā Over The Asylum. I genuinely never felt I did anything out of the ordinary. I picked the best man for the job which, God knows, he underlined in spades once he played the role. He gave me as much as I gave him. Of course, there are occasions in my own career where I look back at defining moments and say āif it hadnāt been for so-and-soā.... but, I guess, the reason why we can reflect in that way, is because we didnāt let anybody down. David didnāt ā and I hope I didnāt. Ā Looking back at Takin' Over The Asylum all these years later, do you feel it still holds up as well as it did?Ā In retrospect do you feel it helped shed as much needed light on the mental health industry as you'd hoped?
Funnily enough, somebody called me the other day to say heād sat down and watched all six episodes and couldnāt believe how well itās stood the test of time.Ā I think I agree. I suppose because itās a subject matter nobody would touch with a bargepole these days ā thatās keeps it fresh somehow. All the scripts were vetted by the Association For Mental Health before we signed off on them. The writer had had mental health issues and wanted it to be authentic and in no way derisory. In fact, I remember many of the extras I cast all had had mental issues ā one in particular having been institutionalised for 37 years!
I'd like to explore your decision to cast institutionalized patients as extras in Takin' Over The Asylum in a bit more detail. Was this related to filming the series at Gartloch Hospital, and if not, how was the idea first presented and eventually implemented?Ā Was this something you and Donna discussed as part of your intention to make the show as sensitive to the subject matter and as authentic as you could?Ā And did you run into any problems with compensating the extras, or any other issues relating to their Sectioned status?
It was simply an idea I had not just to add authenticity, but to have these guys make a worthwhile contribution to the film ā and also make them feel good about it, if you like. I wanted to dispel the notion that all mentally ill people were screaming banshees ā the story alludes to this anyway ā by whose definition are we mad? I also thought it would help the non-mad actors (if there is such a thing!!!) to be surrounded by the ārealā rather than the āmade upā and thereby enrich their own performances.
Speaking of Gartloch Hospital, how did you choose that particular hospital for the filming location?
Gartloch was one of several mental hospitals around Glasgow being run down at the time, as part of the governmentās controversial ācare in the communityā programme.Ā In other words, āwe donāt want to pay to look after them any more, so you do itā. Of all the ones I looked at, Gartloch ā not least with its huge tower ā seemed to provide the best ambience; most suitable for the story and visually rewarding also.
Exploratory views of the interior and exterior of (now abandoned) Gartloch Hospital
As you mentioned, you do certainly seem to gravitate towards actors and writers that inspire you.Ā Years ago you spotted a certain something in David -- so if given an opportunity, would you be willing to work with David again and if you could choose your own ideal role for him, what would that role entail?
Nothing would give me more pleasure than finding a project that both David and I could work on. David, creatively, is a bit of chameleon, so I donāt think thereās an āideal roleā for him as such. A brilliant piece of writing and a character that takes him a place he hasnāt been before would be the simple remit.
Over the years many fans of Takin' Over The Asylum have expressed their desire to know what happened to Campbell and Eddie after we left them.Ā If you were to continue their story, where do you think Campbell and Eddie would be today?
My hunch is that Campbell would have gone on to be a success in the music industry and Eddie would have tumbled into an even darker place, fueledĀ by alcohol and self-doubt. Iāve often imagined Campbell inadvertently bumping into Eddie while he was sleeping in a cardboard box and Campbell doing for Eddie what Eddie had done for Nana in the very first episode.
Lore is - from Donna amongst others -- that you asked her to take a minor character from a play she'd written and make a drama around him.Ā Of course that character is Ready Eddie McKenna.Ā Could you tell us what the name of that play was?Ā And what was there about Eddie in the framework of that play that made you see him as the kind of character that could carry an entire series - and that Donna was the woman to write it?
With regard to the question below, itās strange how little fateful moments define what we are and what we do. In my early days as a Producer, I commissioned Donna to write one of four monologues I was overseeing ā I didnāt direct it, as it happens, but it was a sterling piece performed by Katy Murphy. The BBC ā not myself ā then commissioned Donna to adapt a stage play sheād written called And The Cow Jumped Over The Moon to fit a play strand we were doing at the time.
On the day of the studio, the Producer overseeing the project, was taken ill and they asked me to fill in for her āin the galleryā. (This was an old TV play where you worked in a rehearsal room for, say, three weeks then shot the whole thing ā multi-camera ā in a matter of days). Of course, as a result, I became familiar with the material and was indeed taken by this minor character ā Eddie ā who was a hospital radio DJ. After that, I asked Donna if she felt there might be mileage in creating a serial based around this character. Iād love to go into great and meaningful depth about why I thought that but, in truth, it was just a hunch ā although it was one relative to how Donna was writing at that time; I believed she could deliver something unique with wide appeal. She hadnāt done any original TV work at that time (apart from the monologue) and had worries.
It took her some time to finally come up with a first draft ā the breakthrough, she told me, came when she switched from just a hospital to a mental hospital. After that, we worked the episodes one at a time getting precisely where we wanted to be on one, before moving on to the next. Not an option thatās often available these days. During this process both Donna and I were supported hugely by the then Head of The Department, Bill Bryden. And that support manifested most clearly in simply leaving us to our own devices. No script executives, story editors or any other distractions. The work we ended up with had the footprint of nobody but ourselves.
And that's that! I hope you all enjoyed this unique insight into Takin' Over The Asylum and DT's work with David Blair.
Rewatching gravity falls rn and this is one of my favorite jokes in the entire show