#Darren Swimmer
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I was in a Baxter mood today so I went swimming in GB Patch's blog for all the Baxter facts:
General
His personality, at least defined by GB Patch, is that he's sheltered and out-of-touch without being elitist or self-centered. He's preppy/posh, quite sociable, and hates conflict, but likes to go against what's expected of him. He grows out of being such a rich kid trust fund baby by Step 4.
His parents are bigots. He's the unlucky one in a sea of characters with supportive parents.
He has a distant French origin.
His birthday is the day his DLC came out, meaning May 19th.
He's 5'11" (180cm) in Step 4 (this was apparently reconfirmed on the Our Life Discord as well).
His natural hair color - a dark dusty gray that he hates - is uncommon to be born with (as opposed to aged into) in the Our Life universe.
Childhood
His dream job as a child was to get into investments, having a strong portfolio with diverse assets (he does not fully know what that means at the time).
He's a late bloomer.
Baxter's crush on Qiu from Our Life 2 is at its peak when he's 12 and 13 (13 being his age in Our Life 2's Step 1), but he's moving on by 14 (when he can potentially meet the MC in Soiree).
He met Qiu at their local dance hall (as they both took lessons there, just in different forms of dance) and also met Ren/Renee (Darren in Our Life 2's Step 1) through Qiu, as the two had known each other since they were very young.
He wasn't thrown off by his crush on Qiu despite Qiu being a boy, as Qiu was popular and it seemed "unfair" to Baxter not to be able to like him. He puts more thought into it as he grows older and what it means, deciding that he'll feel however he'll feel and not worry about what's expected of him. In Soiree, the MC can notice this if they're male or non-binary, as Baxter isn't bothered by dancing with someone who isn't female.
Abilities (or Lack Thereof)
He's a weak swimmer. He can swim fine in pools but would probably struggle in the ocean.
He can sing.
He's experienced in multiple types of dance (though his favorite is the waltz).
Step 3 Baxter is a lazy, bad cook who doesn't even want to bother with cooking, but Step 4 Baxter takes an interest in trying more fancy/restaurant-style food and is able to do so.
Likes/Dislikes
He likes things being clean, but isn't always motivated enough to maintain that.
He liked video games when he was a kid, leaning towards action/adventure ones, though doesn't anymore in his late teens and beyond. He would play life-based games (such as the Sims series) with the MC if asked, however, either playing innocent like he didn't know what he was doing while messing around with the characters or being blatantly obvious about it.
He doesn't like dancing in clubs/discos. He would try it once because he enjoys trying different types of dance, but would only go regularly if he had a friend/partner who liked going to such places.
He would absolutely approve of an MC who chooses to only wear black and white.
Romantic Inclinations
Beyond his crush on Qiu (who he never confessed to), Baxter dates people, but never for long or seriously.
The reason he backs out of asking out the MC if they say that he's their first crush (unless the MC is referring to his Soiree self) is that he feels they have idealized feelings for him and he'd disappoint them. He essentially panics, not wanting to get the MC's hopes up and especially on their very first feelings of romance.
The best way to romance him is to Not Let Him Escape.
When it comes to what he's attracted to in another person, he likes seeing nail polish, false lashes/heavy mascara/naturally long eyelashes, and full suits (especially if they're expertly tailored).
His love language in terms of receiving is Quality Time, but in terms of giving, he will happily adapt to whatever the MC wants.
Clothing Choices
When it comes to Step 4 Baxter's personal dress code, he's always meeting/formal ready (even when not working) unless he's doing anything athletic, in which case the button-downs get a break.
- Likewise, his closet is basically all button-downs and fancy suits with a few exceptions including clothes suited for the cold.
Assorted
He immediately finds the MC and Cove appealing (not necessarily crushing on them) at the start of Step 3 as "beautiful beach strangers."
He'd be flattered to hear from an MC that they love his laugh/find it charming.
He says "hallelujah" because he's pretentious.
He doesn't know French, but does occasionally drop a French word he knows during Step 3 to "add to his formal flair." His Step 4 self considers it embarrassing in hindsight.
During the wedding in Baxter's Step 4, he will have Jude send along a vegan cupcake to the MC if they're vegan.
Semi-revealed during one of his mornings with the MC in Step 4, he has a multi-step daily skincare routine.
His Future
He has no preference over who he'd prefer to be the one to propose to the other in his relationship with the MC.
He would absolutely want to plan his own wedding (whether for or with the MC, depending on whether they want to be involved). He would not want another planner included.
He doesn't have a preference when it comes to last names during a wedding. He's just in awe that he's marrying someone at all.
He might consider having facial hair at some point in his life.
When it comes to having kids, he doesn't have any particular age he'd prefer to have them and is more of a "when it feels right" kind of guy. In terms of the number of kids, none is his default but he'd prefer to have two if the MC wants them, as he finds the relationship between the MC and Liz to be lovely and was personally lonely as an only child.
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(below are asks that might be considered risqué - especially going to the posts themselves on some - but I wanted to include them for the sake of having all the information in one place; know that me and my prudish nature pushed through this for the people who want it and I hope you appreciate it! >:o)
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This one definitely goes without saying due to being a love interest in a game where the MC can be she/they/he even down to being intersex, but Baxter is pansexual.
Baxter isn't good at being sexually active beyond being with an MC who wants that. He tries to bond with others but either fails to have his interest reciprocated due to being too forward or backtracks if he senses that someone is actually into him. His relationships are short/inconsistent for that reason.
He would never sleep with the MC during Step 3. He's already planning on leaving and wouldn't risk souring the relationship at any point even if the MC would want it. He wants company more than he wants sex and would not want to be remembered as the guy who slept with the MC and then just left without contacting them again.
Between chests and backsides, Baxter prefers the latter.
Baxter is a top (though is flexible on the matter), is into BDSM, and "kind of" has a sir kink.
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Trouble Every Day (Claire Denis, 2001)
Wings Of Desire (Wim Wenders, 1987)
Sympathy For The Devil (Jean-Luc Godard, 1968)
Dekalog (Krzysztof Kieslowski, 1989)
Russian Ark (Aleksandr Sokurov, 2002)
Tale Of Tales (Yuriy Norshteyn, 1979)
Time Regained (Raoul Ruiz, 1999)
Aguirre, der Zorn Gottes (Werner Herzog, 1972)
Grey Gardens (Albert & David Maysles, Ellen Hovde, Muffie Meyer; 1975)
One From The Heart (Francis Ford Coppola, 1981)
Man With A Movie Camera (Dziga Vertov, 1929)
Dogville (Lars von Trier, 2003)
Sombre (Philippe Grandrieux, 1998)
Cul-de-sac (Roman Polanski, 1966)
Brown Bunny (Vincent Gallo, 2003)
Le feu follet (Louis Malle, 1963)
The Swimmer (Frank Perry, 1968)
A Special Day (Ettore Scola, 1977)
La maman et la putain (Jean Eustache, 1973)
The Battle Of Algiers (Gillo Pontecorvo, 1966)
The Big Lebowski (Joel & Ethan Coen, 1998)
Touch Of Evil (Orson Welles, 1958)
Playtime (Jacques Tati, 1967)
The Long Goodbye (Robert Altman, 1973)
Goodbye, Dragon Inn (Tsai Ming-liang, 2003)
Rashomon (Akira Kurosawa, 1950)
Eternal Sunshine Of The Spotless Mind (Michel Gondry, 2004)
A Summer's Tale (Eric Rohmer,1996)
The Turin Horse (Béla Tarr, Ágnes Hranitzky; 2011)
Baby Doll (Elia Kazan, 1956)
Daisies (Vera Chytilová, 1966)
Unsere Afrikareise (Peter Kubelka, 1966)
Thérèse (Alain Cavalier, 1986)
La jetée (Chris Marker, 1962)
Le gamin au vélo (Jean-Pierre & Luc Dardenne, 2011)
Les 400 coups (François Truffaut, 1959)
The Piano (Jane Campion, 1993)
I'm Not There (Todd Haynes, 2007)
Killer Of Sheep (Charles Burnett, 1978)
The Piano Teacher (Michael Haneke, 2001)
Dead Man (Jim Jarmusch, 1995)
The Women (George Cukor, 1939)
Pickpocket (Robert Bresson, 1959)
Paper Moon (Peter Bogdanovich, 1973)
Don't Look Back (D.A. Pennebaker, 1967)
Little Fugitive (Ray Ashley, Morris Engel, Ruth Orkin; 1953)
Midnight Cowboy (John Schlesinger, 1969)
The Night Of The Hunter (Charles Laughton, 1955)
The Ice Storm (Ang Lee, 1997)
Man On The Moon (Milos Forman, 1999)
Eyes Wide Shut (Stanley Kubrick, 1999)
Enter The Void (Gaspar Noé, 2009)
Snatch (Guy Ritchie, 2000)
The New Land (Jan Troell, 1972)
Los olvidados (Luis Buñuel, 1950)
Border Radio (Allison Anders, Dean Lent, Kurt Voss; 1987)
Vertigo (Alfred Hitchcock, 1958)
The Adventures Of Prince Achmed (Lotte Reiniger, 1926)
Les triplettes de Belleville (Sylvain Chomet, 2003)
Brief Encounter (David Lean, 1945)
Gare du Nord (Jean Rouch, 1965; segment of Paris vu par... )
Vagabond (Agnès Varda, 1985)
Slap Shot (George Roy Hill, 1977)
Le sang d'un poète (Jean Cocteau, 1932)
Breathless (Jim McBride, 1983)
Stop Making Sense (Jonathan Demme, 1984)
Upstream Color (Shane Carruth, 2013)
Saturday Night And Sunday Morning (Karel Reisz, 1960)
Gadjo dilo (Tony Gatlif, 1997)
Rebel Without A Cause (Nicholas Ray, 1955)
A.K.A. Serial Killer (Masao Adachi, 1969)
The King Of Comedy (Martin Scorsese, 1982)
The Hours (Stephen Daldry, 2002)
In A Lonely Place (Nicholas Ray, 1950)
The Honeymoon Killers (Leonard Kastle, 1969)
Meshes Of The Afternoon (Maya Deren, 1943)
When We Were Kings (Leon Gast, 1996)
Broadway Danny Rose (Woody Allen, 1984)
A Woman Under The Influence (John Cassavetes, 1974)
To The Wonder (Terrence Malick, 2012)
Beavis And Butt-head Do America (Mike Judge, 1996)
Araya (Margot Benacerraf, 1959)
Kes (Ken Loach, 1969)
Skammen (Ingmar Bergman, 1968)
Duel (Steven Spielberg, 1971)
The Bridges Of Madison County (Clint Eastwood, 1995)
The Man Who Fell To Earth (Nicolas Roeg, 1976)
Roma città aperta (Roberto Rossellini, 1945)
Diva (Jean-Jacques Beineix, 1981)
Limite (Mario Peixoto, 1931)
The Fountain (Darren Aronofsky, 2006)
La cérémonie (Claude Chabrol, 1995)
The Draughtman's Contract (Peter Greenaway, 1982)
Amour fou (Jessica Hausner, 2014)
Happiness (Todd Solondz, 1998)
Hausu (Nobuhiko Obayashi, 1977)
Before The Devil Knows You're Dead (Sidney Lumet, 2007)
Gomorra (Matteo Garrone, 2008)
The Full Monty (Peter Cattaneo, 1997)
Låt den rätte komma in (Tomas Alfredson, 2008)
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Ok but the mommy that brought up the baby being named after Darren…. I raise you and say they’re naked after both dads. Picture it yall!!! A boss door musically inclined lil but of thug genius…. I see nothing wrong with that outcome😁😁
Okay I translate typo y'all hold on:
"Ok but the nonny that brought up the baby being named after Darren.... I raise you and say they're named after both dads. Picture it y'all!!! A boss baby musically inclined with a lil bit of thug genius.... I see nothing wrong with that outcome."
BOOM! So even if they choose entirely different names, the baby still has those genes! What was that Kendrick said about DNA (not that kendrick)?
So we got street smart, book smart, simlympic swimmer AND track star, musically gifted, ability to read for filth (indya).
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I just listened to the latest episode of and that's what you really missed on Glee.
The Golden Globes were around the time this episode aired. Jenna wasn't invited, because she was acting out behind the scenes on Glee and got punished.
Chris, Naya, Darren and Lea were on the cover of TV Guide as promo for the Michael episode.
They didn't mention that Darren was on Broadway at this time. Maybe they do it next week. It was the reason why Blaine got hurt by the slushie. They had to write him out.
We got an explanation how they got Helen Mirren as the inner voice of Becky. Eric Stoltz did a movie with Helen Mirren and he called her and asked her if she would do it.
Kevin said that Lauren was great in this episode, it was nice she had more to do and that Lauren is so nice. (I wished they talked a little more about her.)
They both say Moves Like Jagger was a weird number. Jenna didn't know this was a suggestion for a proposal number, because she skipped around. (I try to be nice about the podcast, but Jenna makes it impossible. It's part of her work to sit down and watch the whole episode to be prepared for the podcast. I don't know what was going on behind the scenes on Glee, but if this was always her attitude towards work, it's no surprise they didn't give her more to do.)
I'm with Jenna and Kevin that it is weird for Mr. Shue to ask the Glee club to come up with his proposal number. Shouldn't that be personal? And it is even weirder that Mr. Shue asks Finn to be his best man.
I'm with them that it was weird that Rachel started singing at Breadsticks when Finn talked about his future. (and where was Blaine?)
They thought the insults of coach Roz towards Sam were funny. (They are, but they are also offensive.)
Kevin and Jenna had a hard time to watch the scene with Finn and Carol about the truth of his father's death. Finn's father died of an overdose and it felt to close to home.
Shooting We Found Love was a fun day, but the water and the air was cold. No word on the synchronized swimmers.
Cringe moment: Emma's parents (Jenna), asian joke (Kevin)
best dance move: We Found Love (both)
best song: We Found Love (Jenna), Without You (Kevin)
performance mvp: Jayma (Jenna), Cory (Kevin)
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Honestly, DC-Discovery should get the people who were behind the animated DC extended universe to be their "Kevin Feige," so to speak. I feel like that should have always been the idea, though maybe they did attempt that before/are trying that now.
Another idea though a lot of people will probably hate it, but I'm throwing it out there, anyway, since they're looking at Kevin Berlanti, who created the Arrowverse is some of the Smallville showrunners. One, because they clearly know the Superman mythology, in having made Smallville. But also because Smallville was before the MCU and the Arrowverse and did crossover episodes with other DC heroes, so the showrunners clearly know things about the other characters and comics, too. Also, apparently before they made Smallville, they were actually going to make a show about Batman. But then the WB told them not to, in wanting to possibly make a movie based on him (which I guess they eventually did with Batman Begins?), so they made a show about Superman instead, with Smallville. But this means they clearly know Batman, too. Maybe Alfred Gough III is an idea? He was with the show for seven seasons, as was Miles Kamunge Millar. But I guess Millar later tried to sue the WB, because he claimed that Warner Bros. failed to "maximize profits" in marketing Smallville, misrepresented production costs and sold the show to foreign markets at "well below the value of the series"? So NOT him, I guess. LOL. Wait. I was thinking just Millar attempted to sue and failed. Apparently Gough did, too. So I guess if they DC-Discovery thought about Smallville at all which they won't, it might have to be the showrunners for season eight and on: Todd Slavkin, Darren Swimmer, Kelly Souders and Brian Peterson?
But really, we all know they won't touch the Smallville idea with a ten-foot pole. And that's probably for the best. ^_^' Especially with all that I know now.
#also i love how david nutter directed the pilot of smallville. who of course directed a lot of my buffyverse stuff#also i guess the later smallville showrunners became shadowhunters showrunnters... and man do i wish i liked shadowhunters#i love the books the show's based on. but not the show itself. though i hear it gets better in s2. maybe i should give it another shot...
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RÚV English Podcast: Christmas Special
I join Darren Adam and Már Gunnarsson for the RÚV English Podcast: Christmas Special
A special treat just in time for Christmas: one final episode for the RÚV English podcast before the end of the year.
On this episode, I join trusted host Darren Adam and amazing Paralympic athlete, blind swimmer and singer-songwriter Már Gunnarsson to listen to some Icelandic Christmas songs and discuss some of our favourite traditions.
Listen below on Spotify, on the website, or wherever you…
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Zac Efron luta com o seu legado: como o ex ‘High School Musical’ finalmente encontrou o seu propósito com ‘Iron Claw’
Quando “The Wrestler”, de Darren Aronofsky, foi lançado em 2008, Zac Efron estava envolvido em dois filmes da franquia “High School Musical” do Disney Channel, na qual ele interpretava o fenómeno do basquete a cantar e a dançar, Troy Bolton. Ele tinha sido o protagonista romântico do filme musical “Hairspray”, ao lado de John Travolta e Michelle Pfeiffer, em breve contracenaria com Matthew Perry em “17 Again” e puxou a sua camisola para cima na capa da Rolling Stone. sob o título “O novo galã americano”. Aos 21 anos, Efron poderia parecer o tipo de ator que provavelmente assistiria a imagens do pouso na Lua e decidiria tornar-se um astronauta, assim como se inspiraria na atuação grisalha de Mickey Rourke.
E ainda. “Este filme impactou-me de uma maneira muito específica”, lembra ele durante um almoço em Los Angeles. “Eu estava a ver com o meu pai e lembro de olhar para ele naquele momento e dizer: ‘É isto que eu quero fazer. É onde está o meu coração".
Foi mais fácil para Efron imaginar-se ali do que para os seus pais – um engenheiro elétrico e um assistente administrativo a criarem confortavelmente o novo galã americano – entenderem a sua paixão. “Deve ser estranho”, continua Efron, “ver o teu filho percorrer o caminho mais desafiador. Eu sei que às vezes eles pensavam: ‘Ele nem deveria fazer essas coisas’”.
Efron tinha, até àquele ponto, conseguido atravessar o turbilhão do estrelato da Disney, mantendo uma imagem de ambição totalmente limpa, mesmo quando os seus colegas, de Shia LaBeouf a Lindsay Lohan, tropeçavam no brilho de um holofote quente. Magro e lacónico, Efron era, acima de tudo, discreto – tanto que a cobertura dos tabloides, inevitável para uma estrela da sua magnitude, concentrou-se principalmente no seu relacionamento com a co-estrela de “High School Musical”, Vanessa Hudgens. (A dupla confirmou a sua separação em 2010.) As pressões de Hollywood acabaram por cobrar o seu preço - Efron entrou na reabilitação por abuso de substâncias em 2013, aos 25 anos - mas os seus primeiros dias são lembrados primeiro por Troy Bolton, um sonho adolescente do rapaz simpático.
A jornada desafiadora que Efron fez para escapar desse personagem e imagem durou 15 anos. Naquela época, houve muitos filmes e muitas experiências de vida - mas ele chegou lá. Em “The Iron Claw”, o novo filme de Sean Durkin, Efron apresenta uma atuação cuja ambição irá surpreendê-lo. É uma estrela de cinema como um personagem cuja tragédia é que ele não consegue usar o carisma para contornar os seus problemas. Durkin compara Efron a Robert De Niro em “The Deer Hunter”, chamando-o de “líder quieto”; e Burt Lancaster em “The Swimmer”, “porque ele está de cuecas o tempo todo”.
Ele está a brincar, mais ou menos - mas a fisicalidade de Efron é fundamental para este trabalho. Com o seu cabelo cortado em forma de tigela Prince Valiant, Efron transformou-se numa espécime da Marvel. Ele interpreta Kevin Von Erich, um lutador profissional que vive a morte de cada um dos seus irmãos em sequência. O Von Erich da vida real fazia parte de uma família de lutadores do circuito dos anos 1980 que foram perseguidos por uma série de acidentes fatais; no ecrã, o seu pai, interpretado por Holt McCallany, força-os a seguir em frente com uma recusa severa em reconhecer os seus sentimentos, mesmo enquanto choram. Dizem que os homens não choram – e assim todos esses sentimentos são convertidos em capacidade atlética ou engarrafados até explodirem. Apesar de tudo, Efron luta contra uma selvageria cada vez maior no ringue, tentando desesperadamente manter um controlo sobre os seus sentimentos. O seu corpo está equipado para lutar e vencer; também é uma evidência visual do tipo de masculinidade sufocante que Kevin se obriga a habitar.
No set, Efron tinha um caráter profundo, mas ainda assim solidário – o tipo de colaborador empático que os irmãos Von Erich não podiam ser.
“Entrando nisso, perguntei-me se haveria essa competição silenciosa entre nós, homens, imitando o relacionamento entre esses irmãos”, disse a co-estrela Jeremy Allen White. “Mas Zac incentivou-nos a fazer um trabalho de cena melhor e era um cheerleader de uma forma que eu realmente não esperava. Ele estava constantemente a dar-nos chapadinhas nas costas.”
A atuação de Efron em “The Iron Claw” é a prova de que alguns rapazes de ouro têm o potencial de se derreter e se transformar em algo novo. Neste indie de pequena escala e baixo orçamento, Efron, aos 36 anos, está inequivocamente e finalmente crescido. E ele está a interpretar uma mistura de emoções e uma tentativa de contenção sobre todas elas, o que sugere um poder potente por trás do charme usual. “The Iron Claw” é um sistema de entrega inesperado para a ambição de Efron. Mas o ator que esta estrela sempre quis ser chegou.
E o perigo – a possibilidade de o filme não dar certo – é a diversão, tanto para o público quanto para o ator. “Sempre procurei oportunidades onde as falhas potenciais pudessem superar os benefícios”, diz Efron. “Eu poderia muito bem estragar tudo.”
A representação de Efron de um homem que luta pela glória e pela fama apenas para se encontrar afastado da humanidade tem um forte lastro no mundo real. Efron se autodenomina um perfeccionista - tanto que a excitação e a espontaneidade do momento podem parecer fora de alcance. “Devíamos estar a divertirmo-nos. Tenho que me lembrar que isso deve ser divertido acima de tudo”, diz ele. “Se ser um perfeccionista vai ser uma pedra no meu sapato a partir de agora”, diz ele, “é como, caramba – a vida é muito curta”.
Mas parte do que torna a produção de filmes divertida, mesmo com os rigores da preparação, é que isso não acontece sozinho. Ao longo de nossa conversa, Efron volta à ideia de que chegar às pessoas, no meio do processo alienante de se tornar uma mercadoria, ajudou-o a superar. Entre as pessoas com quem Efron conversa regularmente, diz ele, estão John Cena, Robert Pattinson e Nicole Kidman, a sua co-estrela no filme de Lee Daniels de 2012, “The Paperboy”.
“Quero ver Zac ser elogiado”, disse Kidman por e-mail. “Eu sei que ele colocou todo o seu coração e alma naquele filme, e eu o vi mudar física e emocionalmente para desempenhar esse papel.”
A inspiração vem de todos os lugares para Efron, incluindo colaboradores anteriores. Questionado sobre a morte da co-estrela de “17 Again”, Perry, em 28 de outubro, Efron fica reflexivo. “Ele estava numa posição única para mim na minha carreira e na minha vida”, diz Efron. “A sua morte está a afetar-me muito.”
Ao contrário do modelo de masculinidade passada que ele representa no ecrã, Efron permite-se sentir e reconhecer as suas emoções. “Pode ser incrivelmente solitário ser ator e estar sob os holofotes. Definitivamente pode ser isolante”, diz ele. “É muito importante entrar em contacto com amigos e promover relacionamentos onde possas conversar e partilhar histórias. Eu gostaria de ter tido a oportunidade de fazer isso com Matthew nos últimos anos. Eu considero o tempo que passamos juntos muito querido. Tenho pensado muito nele, todos os dias.”
Efron ficou animado quando Durkin, diretor dos aclamados filmes de Sundance “Martha Marcy May Marlene” e “The Nest”, lhe ofereceu o papel de Von Erich. Mas havia apenas um problema. “Uma das primeiras coisas que Sean disse foi ‘É um filme sobre luta livre profissional’”, diz Efron. “Na minha cabeça, eu estava a pensar, ‘Oh, meu Deus, não – estás a brincar comigo’. Não tenho nada em comum com um lutador profissional. Eu não tenho capacidade atlética. E estás exposto lá fora".
O observador casual pode brincar com a ideia de que Efron – famoso por estar em boa forma, com um recente reality show da Netflix, “Down to Earth”, dedicado em parte às suas tentativas de melhorar a sua própria saúde e longevidade – possa sentir receio em ir ao ginásio. (Efron chegou na hora do almoço a carregar uma garrafa de caldo de osso de pato e derramou a sua água numa espécie de centrífuga cilíndrica que parecia torná-la ainda mais saudável.) Mas a luta livre, especialmente na era do brilho e do queijo em que o Von Erichs reinou, é diferente de ser apenas uma estrela de cinema; esta coreografia é muito mais desafiadora do que a que Efron dominou em “High School Musical” ou “The Greatest Showman”. E Kevin Von Erich é uma figura de ação entusiasmada para desempenhar o papel de deus da luta livre; para entrar no seu espaço mental, Efron decidiu que também teria que estar.
“Mais uma vez, sendo um perfeccionista de coração, eu sabia que estava pronto para um desafio”, diz Efron. “A minha imaginação correu solta.” Ele está relutante em descrever em detalhes o processo de oito meses que empreendeu sozinho - “Pode parecer um pouco chato”, diz ele - mas o resultado foi uma transformação física impressionante, da qual Efron saiu; sentado diante de mim com um suéter preto com gola e camiseta preta, ele parece um dos clientes mais ambiciosos da Equinox, em vez da figura surrealistamente arrogante de “The Iron Claw”.
“Essa necessidade de ser perfeito – tornou-se uma obsessão”, diz ele. “Foi um foco singular durante meses. E a sua vida sai pela janela durante a preparação.” Efron treinou horas por dia, começando com treinamento de volume para ganhar 15 quilos de músculos. “Então consegui incorporar o fisiculturismo tradicional e o levantamento olímpico”, diz ele, “e realmente consegui aquela aparência específica de lutadores profissionais, o que foi muito difícil”.
Durkin, que procurou evitar pensar muito sobre a apresentação visual da vida real dos Von Erichs, deixou Efron com o seu trabalho. “Senti, em termos físicos, que ficaria fora disso”, diz Durkin. “Apoiei muito mais ele seguir qualquer caminho que precisasse como forma de entrar. E acho que ele usou o físico como forma de encontrar esse nível de comprometimento. Não falamos sobre isso além disso.
Efron falou no passado sobre o custo de mudar o seu físico para o trabalho de estrela de cinema dos dias modernos; para se preparar para interpretar um salva-vidas esculpido em “Baywatch” de 2017, ele treinou demais e usou diuréticos, e disse que o processo levou-o a uma depressão. “Aprendi muito ao longo de ‘Baywatch’ – aprendi da maneira mais difícil sobre não sacrificar a minha saúde real para ver a câmara”, diz ele. “Eu tinha as perguntas certas a fazer para esta.”
Algo sobre a natureza solitária da preparação e transformação de “The Iron Claw” pode ter ajudado Efron a viver dentro da mente de Kevin. “Foi um aliado imprevisto”, diz ele. “Com todo esse peso, não te sentes normal. E a dor muscular de início tardio estava às alturas. Durante a preparação, uma coisa é gerenciar isso – não precisas de ser super sociável. Eu apanhei-me a retrair-me um pouco.” É adequado para um personagem alienado até de si mesmo.
“Como ele dedicou tanto comprometimento e tanto tempo, a sua mentalidade era toda ‘The Iron Claw’”, diz Harris Dickinson, que interpreta o irmão sensível e emotivo de Von Erich, David. Saindo direto de outro projeto, Dickinson não treinou tão rigorosamente e seguiu o conselho de Efron sobre como se aquecer antes das filmagens. “A sua vida era apenas sobre isso. Estava contido. E foi desligado de todo o resto.”
“Harris e eu - jantávamos de vez em quando ou nos permitíamos um pouco de vida fora do trabalho durante esse período”, diz White. “E não tenho tanta certeza sobre Zac. Ele era uma espécie de máquina naquela época. E acho que esses homens provavelmente sentiam-se como máquinas em algum jogo construído pelo pai. Não sei até que ponto Zac se distanciou de Kevin durante todo o processo de filmagem, mas se eu tivesse que adivinhar, não acho que ele alguma vez se afastou muito do personagem.”
A preparação de Efron ajudou-o a permanecer no personagem e a vencer dias consecutivos de lutas de luta livre. “Essas partidas duravam de 7 a 15 minutos”, diz Efron, “e não teríamos interrupção alguma. Nós os completaríamos, do início ao fim.” E então eles fariam tudo de novo para obter cobertura. “Eu estava a conversar com alguns profissionais”, diz Efron. “E eles disseram, ‘Meu, só fazemos isso algumas noites por semana. Não precisamos de fazer isso várias vezes seguidas.’”
O resultado são partidas que levam a história adiante. “Quando acabas de pular da corda superior e levas algumas pancadas no rosto e bates no chão com muita força”, diz Efron, “andas de forma diferente”.
Efron fala lenta e deliberadamente, com o contacto visual mais consistente que uma pessoa pode fazer; ele diz precisamente o que quer dizer e tende a resistir aos voos da imaginação. Mas não é difícil ver a transformação central do filme como um apelo duplo para uma estrela como Efron: por um lado, ele literaliza o processo de preparação para um papel, apresentando referências claras que podem satisfazer um perfeccionista confesso. E representa, também, a oportunidade de escapar de uma imagem restritiva. (“High School Musical”, é claro, tem fãs até hoje: Dickinson diz que, quando adolescente e contemplando uma carreira no exército britânico, Efron mostrou-lhe que uma vida nas artes era possível. “Eu estava a lutar. o meu interesse por teatro e por estar na Marinha - havia esse machismo. E lembro-me de ver 'High School Musical' - e isso é incrivelmente vulnerável - mas lembro-me de ter pensado: 'Ah, se Troy Bolton consegue fazer isso...' filmes que ele fez, eles eram fenómenos culturais.”)
Efron foi famoso durante quase metade da sua vida – “High School Musical”, o primeiro filme, foi lançado quando ele tinha 18 anos. A mania em torno dessa franquia – que acabou como uma trilogia cujo último capítulo, lançado nos cinemas, arrecadou US$ 252 milhões de bilheteira global – era semelhante à mania de “Stranger Things” hoje, exceto que o único efeito especial que teve foi o carisma partilhado das suas estrelas adolescentes.
“Se eu pudesse voltar atrás e dizer uma coisa a mim mesmo”, diz ele, “seria relaxar. Não é o fim do mundo." Mas a ideia de que “High School Musical” havia transformado a sua vida “começou a estabelecer-se muito rapidamente”, diz ele. “Eu sabia que essas são coisas sobre as quais tu realmente nunca tens controle. Há um certo número de coisas que podes controlar na tua vida, e o resto tens que perceber que não estás no controlo.”
Parte de recuperar o controlo é sair de uma situação da qual não gostas; Efron, por exemplo, não mora mais em Los Angeles. Ao descobrir onde quer pousar, ele passou um tempo em propriedades que possui na Austrália.
“Quando eu quiser, posso passar um tempo com os meus pais – sei que eles sempre estarão na Califórnia. Mas estou a pensar onde quero construir uma base e cultivar a minha vida. É chocante – às vezes acordas depois de fazer três filmes por ano e pensas: eu deixei de pensar na minha vida pessoal por tanto tempo.” O facto de essa vida pessoal acontecer longe da vista do público sugere outra lição aprendida, mesmo com a cobertura relativamente amigável que ele recebeu naquela época.
As tentativas anteriores de Efron de escapar de Troy Bolton não tiveram sucesso consistente. (Como que para demonstrar o quão inescapável o seu passado pode ser, um usuário do TikTok carregou recentemente uma filmagem de Efron a caminhar pelo aeroporto de Miami, ao som de uma versão acelerada de um hino de “High School Musical”.) O seu maior papel desde então foi no sucesso familiar “The Greatest Showman”, no qual ele "namorou" o colega coadjuvante Zendaya, enquanto o seu papel mais importante antes de “The Iron Claw”, como Ted Bundy no drama sombrio “Extremely Wicked, Shockingly Evil and Vile”, apresentado em Sundance mas perdeu-se na confusão da Netflix. E nos últimos anos, tentativas de permanecer no jogo, a partir de uma voz no desenho animado canino de resolução de mistérios “Scoob!” ao remake de Stephen King, “Firestarter”, ao acompanhamento de “Green Book”, de Peter Farrelly, “The Greatest Beer Run Ever”, foram recebidos com críticas mistas.
“Tu podes colocar o teu coração e alma em algo, e isso não funciona da forma que esperavas”, diz Efron, “mas a ideia de desistir por causa disso – há muito a ser feito.”
Assumir um papel ousado, que permitiu a Efron suportar um difícil período de preparação física, foi uma forma de literalizar o retorno ao jogo.
“O meu objetivo é fazer com que tudo seja o melhor possível em qualquer género”, diz Efron. “Mas uma grande parte que me chamou a atenção desde o início foi que tem sido uma prioridade nunca fazer a mesma coisa duas vezes, a ponto de ser desconfortável – ter que aprender um novo conjunto de habilidades, ou transformar-se, ou ser vulnerável.”
É este último ponto que talvez distinga “The Iron Claw” e a atuação de Efron dentro dele. Efron, que é solteiro e não tem filhos, interpreta um marido e pai neste filme, e a mudança parece definidora: ele colocou as coisas infantis de lado.
“Crescer jovem e estar na indústria – francamente, o que estás a passar não preocupa muito”, diz ele. “O objetivo é sempre a próxima missão, o próximo filme, fazer com que todos fiquem muito felizes. Às vezes pode ser muito solitário. Mas o processo de enfrentar as emoções de frente, de certa forma, trabalhar com elas, foi um momento profundo na minha vida. E isso definitivamente levou-me por um caminho diferente.”
O que está por vir para “The Iron Claw” é uma incógnita; num campo lotado de melhor ator, Efron é um azarão. Mas enquanto ele descobre o seu próximo projeto, este filme serve como um cartão de visita, prova de que o ex-ator jovem desenvolveu as suas habilidades. E mesmo no meio de uma preparação que durou até o final do filme, Efron sentiu aquela coisa rara para qualquer ator, e especialmente para alguém que estava a esperar para lutar com temas difíceis por 15 anos: seguro. “Nesse set, mais do que em qualquer outro lugar do passado, senti-me mais confortável”, diz ele. “Posso respirar agora.”
Tratamento: Sabrina Bedrani/Grupo The Wall.
Tradução por Diana (Zac Efron Portugal).
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DEAN TV LOVE VII: EPISODE 27: SEMI FINAL FOR THE SWIMMING RACE
Hello and welcome to the 27th episode of Dean Tv love 7, on the 14th of July 2023.
The Dean Tv channel is showing Tv adverts, One of the Tv advert shows show the new video game for the Dean Tv system which is black scissors z generation: z gen academy, the cast were talking about the game. The advert ended and then the Dean Tv logo. Cassie’s voice appears in the ident. “Hello and good morning welcome this is Dean Television, now it’s time to watch another episode of Dean Tv love season 7. Have fun” she said. The title sequence starts off with people inside the tube train going to the Dean Tv love section of the Tv exhibition. The train stopped and everyone come out of the train. The man turn on the screen monitor, the Dean Tv guru appears on the screen and then the Dean Tv love 7 logo appears. The audience cheer so loudly, the 3 presenters and Dean come out of Louise’s cafe. “Hello and welcome to episode 27 of Dean Tv love 7,18 episodes left in the 7th season” said Alec. “Yes and thank you to Cassie from black scissors z generation for being announcer today” said Zara. “We are still in July, the weather is hot” said Kaden. “Because it is summer” said Dean. “So here we are in episode 27, it is the semi finals of the swimming race. Olivia,Cassie and Winona are through. Calla is out of the game” said Alec. The guru appear on the screen. “It’s sure is, the swimming race is getting intense” said the guru. “Well let’s watch this episode” said Alec. So they did and the episode starts off in the swimming arena, Dean met Cassie’s mum,dad and her little brother. Dean knows the father cos he appeared in one of the Tv shows and movies what Dean in. Cassie’s dad also went to Dean’s school and college. Cassie’s mum is pleased to see Dean for the first time. “You know that Cassie had a crush on you” said the mother. Dean is shocked. “Really!?, I didn’t know that” said Dean. “She told me that she dreamt about you on the last day of 2022” said the mother. “No wonder why she’s a fan of my stuff” said Dean. Dean is holding the book what the man gave him from the future, he found out who is going to win semi final and the runners up. In the locker room Winona and Olivia are sitting down on the bench. “Hey where’s Cassie?” asked Winona. “She’s putting on her swim suit” said Olivia. Cassie joined the swimmers. Wearing her pink swim suit with the black scissors symbol.
“Hey welcome back” said Olivia. “Back from where?” asked Cassie. “Oh never mind” said Olivia. Cassie laughed. In the swimming arena Cassie’s father talks to Dean. “You got that book from a man who lives in the future?” he said. “Yes that is true but it is private” said Dean. “Yes Darren tried to read it” said Louise. “It tells you about the series, like the characters, behind the scenes,the writer, the seasons and the episodes” said Dean. “So this is the 7th season,how many seasons do we have?” said Cassie’s father. “20 seasons, 13 seasons left” said Dean. “Wow that’s a lot of seasons” said the mother. Then one day the swimmers walked in a line with the staff team.
Everyone cheered. “There they are” said Dean. “Ladies and gentlemen, welcome to the swimming race, it is the semi final. Here are the swimmers” said the announcers. “There she is” said Cassie’s mum. The swimmers take their positions to dive in the pool. The beeps went off with the final beep, the swimmers dive in. Everyone cheers so loud. Cassie and Olivia swim neck and neck, Winona swims in last place. Louise sees her swimming very slowly. The other swimmers swim faster, Louise tells Winona to swim faster. As Winona speeds up, Olivia and Cassie made it to the finish line. Cassie pressing the button to make sure that everyone knows that Cassie finished 1st. Olivia came in 2nd place, Winona came 4th place. Which means that the 3rd place swimmer will join Cassie and Olivia in the final.
The swimmer’s name is Tina, the lady with the pink hair. “Now here are the finalist who will go to the final” said the announcer. Cassie, Olivia and Tina makes it to the grand final, Chloe is in the grand final too. Cassie’s mum and dad are so happy that Cassie won.
Later that day the z gen cast celebrated Cassie winning. Dean joined in the celebration. So did the Cassie’s brother too.
The episode ends with the words appearing on the screen, saying: “Who will win?, tune in next week”.
The audience clapped and cheered. “Wow that’s a good episode, Cassie won again” said Alec. “Yes she did” said Dean. “Well that is episode 27, next week episode 28” said Zara. They all waved good bye at the camera.
The end credits appear on the screen with the title music.
The end sequence with the passengers are on the train leaving the station.
Then the Dean Tv love 7 logo appears after that the Dean Tv logo appears on the screen.
End of episode 27
01:36:44.24
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Surprise reef II to be constructed by V8 Supercars engineers on Surfers Paradise
Building has begun on Surprise Reef II, on the first sand dunes at Narrowneck.
Engineers for the V8 Supercars have confirmed that they’re making certain that the brand new tradie-style “scaffold reef” has been designed and constructed on the high-tide storm mark to permit it to naturally fall into the ocean, that means that prices are saved low for ratepayers within the preliminary development part which makes use of apparent cycles of the pure swell and storm circumstances to maneuver it into place.
“We’re anticipating a constructing northeast swell to peak at over three metres with a interval of 9.5 seconds by late Monday night time, and our calculations present that the Surprise Reef II ought to find yourself lodging itself someplace between the present Narrowneck Reef and Surfers Paradise by early Tuesday morning,” mentioned Pete Koncretas, head engineer on the venture.
Additional, he mentioned:
“Simply because we’ve collected 50 years of knowledge as to why constructing on the dune techniques causes extra erosion, doesn’t imply we are able to’t use that data to our benefit.”
A spokesperson from the Mayor’s workplace has declared that the financial savings made will permit extra concrete to be poured on the Oceanway dunes to the north of Narrowneck.
Mayoral stenographer Adam Blotts denied that there have been any environmental or coastal administration points with the venture and mentioned that the V8 Supercar engineers had been the “finest within the enterprise”.
He mentioned:
As soon as in place, Surprise Reef II might be one other shining instance of what ignorant blow-ins can do after they actually put their minds to it — you possibly can neglect Burleigh being the brand new Bondi, and even Coolangatta as the brand new Principal Seashore… Surprise Reef II might be our subsequent nice new tourism attraction delivered by the Mayor’s workplace.
As a metropolis, we are able to’t afford to let the prevailing Surprise Reef function as a monopoly, and this new construction will result in wholesome competitors.
When pressed, Mr Blotts refused to verify that after put in the brand new Surprise Reef II will embody a hyperlink to the Oceanside Cruise Ship Terminal, a Cable Automotive, a second On line casino, the Surfers Bowls Membership web site and International Tourism Hub, or {that a} second set of Gold Coast lights like these at Yatala might be constructed there.
Beachgoers, surfers and swimmers are being suggested that as a result of twisted steel nature of the brand new reef construction, massive security boundaries will later be put in to maintain all individuals away from the tangled new reef — which can additionally double as a whale catching omninet which is able to hold humpbacks nearer to shore for longer, boosting tourism choices for the town.
Council paperwork concerning the new reef have been closely redacted, and approval was negotiated behind closed doorways.
Extra to return.
Darren Crawford is a surfer, environmentalist, sports activities coach/administrator and tutorial. He’s additionally vice chairman of Save Our Spit Alliance, You possibly can observe Darren on Twitter @Darrencanplay.
This text was initially revealed on Darren’s Medium web page below the title ‘New tourism product for the Gold Coast — Surprise Reef II to be constructed by V8 Supercars Engineers off Surfers Paradise’.
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Originally published at Irvine News HQ
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Men (dir. Alex Garland)
-Jere Pilapil- 3/10
At the end of this movie, as we were standing up, a friend with whom I saw this movie said something like “It was pretty good there for a little while!” And some stranger a few rows behind us burst out laughing, “YES! YOU ARE SO RIGHT!”
And she is - Men, the latest by Alex Garland, is pretty good until it very suddenly isn’t. We follow Harper (Jessie Buckley) as she takes a vacation in the English countryside. She’s getting over the loss of her husband following an argument, The vagaries of the circumstances and related guilt are at the enter of the movie, setting the stage for Harper’s getaway to be besieged by, well, Men. Rory Kinnear plays multiple men in the village. It’s basically a two person play (if the concept of men, or whatever, can be a “person”), plus Paapa Essiedu playing Harper’s husband in flashback.
Harper and Kinnear are great in their respective roles, and so much of this movie is well done I wish it were more interesting, or focused or better dragged. Essiedu is a great actor as well (in I May Destroy You and Gangs of London), but his flashbacks turn out to be a bit of a canary in a coal mine: I was on board with this movie’s moody atmosphere except the feeling that the domestic flashbacks could use another draft or two. They feel like placeholders for a domestic argument, these two characters shouting their feelings directly and the husband doing the most cliche fighting/gaslighting/controlling behaviors possible.
“That’s all just backstory”, I thought. The scenes where Harper is stalked by a naked man on the cottage grounds are delightfully tense and ambiguous. Maybe this is all just in her head, after all. Even knowing going in that this is a horror movie, the various Kinnear characters are varying levels of misogynist: microaggressions and passive-aggressions here and there that ramp up as the movie goes on. For the stretches of this movie that operate like a conventional horror movie, Garland does a respectable job, and everything has that A24 digital sheen that somehow makes the colors more vibrant and the darkness more foreboding across all their output.
In the spirit of not spoiling the movie, I’ll say this vaguely: And then some fucking bullshit happens and things go off the rails in ways that had my theater laughing when I’m not sure they were meant to. I’m not sure of a lot of things here, actually, and it’s not for intentional ambiguity. The later stages of the movie are a heavy-handed metaphor for generational trauma, maybe? The shared experience of manhood? But it’s done in a way that confuses how exactly the audience is supposed to process the information (mostly because we were laughing too hard). It’s like if I were to be on a crowded bus and just started screaming “Gentoo penguins are the fastest swimmers of all the species of penguins!” I would be right (according to the Sydney Aquarium website), but everyone would be too busy asking “Why?” to care if there was a greater point.
I’ve seen this movie compared with Darren Aronofsky’s mother!, which is apt as far as “celebrated auteurs misfiring hilariously” go, but it’s kind of unfair to mother!. I think that was a case of an artist trying to say and do too much all at once and confusing the audience. Men has a minimalism that kind of makes me feel like Garland didn’t think this movie through all the way, like a pretty apple with a rotten core.
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#shadowhunters#nyc con#heroes of the shadow world#Stefanie Terzo#John Rakich#Brian Hui#todd slavkin#darren swimmer#philippe thibault#taylor mallory
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“Alec has this awkwardness about him, even though he’s this badass warrior, and he’s great with his bow and arrow, there’s always been this awkwardness, this physicality. He’s tall and lanky… And the opposite with Magnus, and we just thought the two of them, it would be so interesting to watch them dance.”
todd is the only ally
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Darren Swimmer: Live tweetin' #Shadowhunters #Shadowhunterschat
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#shadowhunters#darren swimmer#luke baines#alisha wainwright#alberto rosende#Dominic Sherwood#dom sherwood
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'Shadowhunters' Series Finale: Bosses Explain Clary's Cliffhanger and Malec's Near Perfect Wedding (Exclusive)
By Leanne Aguilera 7:30 PM PDT, May 6, 2019
ETOnline
https://www.etonline.com/shadowhunters-series-finale-bosses-explain-clarys-cliffhanger-and-malecs-near-perfect-wedding
Go to the article and give it a hit, but in case the article is moved or has been taken down if you are finding this post in a year or so after Shadowhunters has been saved, here is the content.
WARNING: If you have not watched the series finale of Shadowhunters, then grab your stele and escape through the nearest portal. For everyone else, grab that extra box of tissues and listen up...
After three action-packed seasons filled with gut-wrenching twists and heart-pounding turns, Shadowhunters has come to an end.
The series finale of the Freeform drama has just bowed on our screens, but if you're anything like us, then a lot of questions must be racing through your minds as you try to catch your breath through a river of tears.
In one last quest for answers – and perhaps a bit of closure – ET called up Shadowhunters executive producers, Todd Slavkin and Darren Swimmer, and asked the co-showrunners to explain our most burning questions after that two and a half hour finale.
Read on for exclusive explanations about Clary's shocking cliffhanger, the few things missing from Malec's near "perfect" wedding, and one last answer to the question that every fan has been asking: Is this really the end of Shadowhunters?
ETonline: How important was it for you deliver a Shadowhunters series finale that you knew fans would be proud of?
Todd Slavkin: It was hugely important. We poured our hearts into this finale and we wanted every moment to count – especially Malec’s wedding. That was a big moment for a fandom that had been waiting a long time to see it and it had to be really, really special.
Let’s talk about Malec’s wedding – it was gorgeous. What little details did you make sure were included in the Malec wedding, so it could be perfect for the fans?
TS: The flower girl was really important in that it had to be Madzie. Maryse walking Magnus down the aisle was a really powerful statement after all they’ve been through and knowing what the wedding was like in season one. It felt important that it was full circle and that hug between them still breaks my heart when she sends him up on the stage. The vows needed to be perfect – every single word needed to count. There was a little fun behind-the-scenes moment where it felt right that Alec would be very nervous – more nervous than Magnus. After all, this is The Institute, this is The Clave and there’s a great moment where he’s nervous and Harry just gives him a little nod like, “Its okay. You’re going to get through it.” And it felt so right and so honest and like a lot of weddings that I’ve been to. Just capturing those human moments – the whole show has really been about that. Even in this heightened reality, these human emotions and moments really mean a lot to all of us.
Darren Swimmer: We wanted to populate the wedding with as many of the characters in the overall series as we could. So anybody who wasn't at the wedding, you can be pretty sure was not available due to scheduling, or they were deceased on the show, or a villain.
Speaking of deceased villains – Let’s talk about Jonathan. How did you guys decide that Clary would create one last rune in order to take down her brother?
TS: Well, it felt so right that the ultimate sacrifice that Clary had to do would be killing her brother and saving the world at the same time. We knew that he couldn't die by anyone else’s hand. And we knew that it would be incredibly heartbreaking that his sister – this human that he’s loved so much and he’s wanted her love for so long – is the one who finally wanted to take his life. The idea of creating this new rune and using this winged embrace to kill him just felt like such a perfect moment. Rhyming the wings that we had seen before and with white conquering darkness and all of that.
Even though Clary used this new rune to save the world and take down Jonathan, Ithuriel (sic - it was asctually Raziel - jordancat) still stripped her of her Shadowhunter status. We had a one-year time-jump and a cliffhanger ending with mundane Clary recognizing Jace and seeing his runes. Can you explain the meaning of that last scene?
TS: The expression of the love between Jace and Clary is such an integral part of the series and we knew we had to pay it off in a huge way. The idea that the love that they have is even more powerful than the wrath of the angel Ithuriel (sic Raziel - jordancat) is just such a great statement. Love conquers all. Love conquers darkness.
DS: I would also add that we see the inevitability of Clary as a Shadowhunter. At the end of the day, her fate is that she’ll be a Shadowhunter. We don’t completely answer that question or present that, but I think that’s what the takeaway is. She’ll be a Shadowhunter.
Take me past that cliffhanger of an ending. What do you envision what happens next? Does Clary need to re-learn her training? Does she need to re-form those bonds with all these people? Does she need to re-fall in love with Jace?
DS: I don’t want to give too much away because we want to make it something that the fans can think about in their imagination. But in the fourth season that we were hoping might somehow materialize itself when we wrote this, we would see Clary and Jace working together to sort of re-train her and get her to back to Shadowhunters status 100 percent.
TS: We’d have this new Clary with the cool hair, and the awesome outfit, and she’s kind of like a strong young woman who’s found herself as an artist, but knows there’s something missing in her life. Even just like in the pilot, there was this feeling that would just start all over, but they would be more adult now.
In this potential future for “new” Clary, is there a possibility that she would get her memories back?
TS: Yes. In the Shadow World anything can happen.
It was so amazing to see Clary ask Izzy to be her Parabatai. It made it even more gut-wrenching to realize that this wasn’t going to happen once Clary lost her memory. Can you talk about dangling that conversation over the fans and then your decision to have that not come to fruition?
DS: The two of them becoming Parabatai was something that we always imagined we would work towards, but it was something that we also thought needed to be extended and pushed as late as we possibly could. So when we knew that we only had two episodes left, we wanted to take advantage of that and present it here.
TS: But the great thing is when Clary recognized Jace at the end, you’re like, “Wow! Okay I could see that happening again for sure.” That [bond] is not going to go away.
Izzy and Simon’s slow-burn of relationship was sped up quite a bit in that series finale. What was your goal when it came to showing the love story of these two characters?
DS: We have to thank the Sizzy fans for being so patient while we laid the groundwork over this season for their relationship. We always felt that the longer we pushed it off, the more powerful it would be once they got together – and then suddenly we ran out of runway. I still think there was enough of the lead in, and the start of their relationship happens basically when we wanted it to happen. We just didn’t get to see as much as we wanted.
TS: The original end of season three was their kiss and then fire consumes Izzy. That was going to be the end of season three and then we would've spent the entire season four having to heal lizzy and there would still be more of a slow burn. So in a weird way, Sizzy fans got it early. They lucked out because we had to jump the gun.
DS: Yeah, how many times can you have the two of them start to kiss and then have an alarm go off? [Laughs]
What is a loose end that you guys wish you could’ve tied up differently?
TS: That’s a really good question. I feel like the loose ends were tied up really nicely. There’s a little bit of stuff that we would’ve wanted to see and we would’ve wanted to explore more.
DS: We tied things together, but we would've wanted to tie them together in a little bit longer way. The wedding wouldn’t have been planned in one day.
TS: But you know after thinking about it, I would've loved at the wedding if we would've seen a conversation between Jace and Magnus being like, “Thank you. I couldn't have asked for any one better to take care of my Parabatai.” And I would’ve loved to have seen Robert Lightwood say to Maryse, “I’m so happy for you that you’ve found love again.” And I wish Luke Garroway was at that wedding and I wish Maia was at that wedding. There are those little things. That wedding could’ve been an entire episode. It could have been a full 42 minutes and I think the fans would've loved it just as much and we could have had all of these moments that would have just gone on and on and on. We just were limited.
Was Clary losing her memory always part of the plan or was that conceptualized once you knew that the show was ending?
TS: It was conceptualized once we knew the show was ending.
Had the show not ended – and Clary never lost her memories – what would’ve been Clary’s fate as we moved into season four?
TS: Great question! I think she would have really been healing over the guilt she felt over Dark Clary and the terrible things she did and would’ve been cleaning up that mess. And Jace would have been helping her, like, get back to normal. I think Jace and Clary could’ve had this normalized relationship – at least for Shadowhunters. A peak in the normalcy and I think the fandom would have craved that a little. Those moments that we’ve had when they’ve gone out on their dates – like the ice skating moment and the moment in early in season three when they went to dinner with Simon. These are these great human moments that stand out and again I think we would've leaned into that more.
Would we have seen a Clace wedding?
DS: Absolutely.
The series finale of Shadowhunters is here, but the fans have not stopped fighting to save the show. Is this the official end of Shadowhunters?
TS: I think it’s the end of Shadowhunters in this permutation. Those books live on and the rights live on. Darren and I don’t have the rights and we don't control the rights. I think we’re all kind of going onto other things, but having said that – you never say never. What I wouldn't rule out and what I don't think is impossible is doing, like, a future movie. Where you could get everyone together for a few weeks and do like a two-hour, or a four-hour, or a limited six-episode thing. Maybe with the same cast, but you never know. Weird thing happen in today’s TV world.
DS: The only reason that it seems like it would be a long shot to [continue this show] in this permutation is that everything has been disassembled. The sets have been sold, and all the props, and that stuff [is gone.] It’s not like we could ever come back and just continue it where it is. It would be starting from scratch.
TS: Yeah they auctioned off props, like, in August or September. It was crazy and horrible.
The fans have been asking, “What more could we have done to save Shadowhunters?” What do you want to say to them?
DS: The fans did everything right.
TS: It’s an incredibly passionate, creative, strong fandom that should be so proud of themselves because this won't be forgotten and it’s bigger than a TV show. What this fandom is preaching is inclusion, and love for all, and all these positive things in life and I think that’s a rarity. I think that will go down in history.
DS: And I was just going to add that without this incredible fan base, we might not have had a two-parter [finale] at all. The show might have just been canceled. But knowing that there was such a devoted fanbase, the powers-that-be decided to do this two-hour finale.
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Here's Darren ending all the ideas of Underhill trying to steal Alec or cheating with him. So everyone relax.
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