#I suddenly watched a YouTube short of a woman showing off her rejected choices for wedding dresses

[eustasskiddsprosthetic]

I have a terrible idea just now.

Do you know those consultants (?) the people who help brides decide on what wedding dresses to get for their wedding day. I feel like Ace would be great at that job. He might not understand aesthetics very well—he finds all that high key boring—but he would put the bride first in every decision he makes. He'd smile and his flirtish side would come out in complimenting the bride to encourage them. He has definitely beat up more than a few annoying entourage.

What if femlaw is a customer one fine day and Ace is absolutely smitten! He knows she's off-limits, like get it together she's getting married, but she's so pretty! Ace loves her pouty lips, piercings, tattoos and slightly muscular shoulders. She's also very shy and timid. To Ace, that meant very cute.

He's determined to help her find the dress of her dreams!

He's happy to see that she seemed to have a good man who's willing to pay whatever she wanted and seemed to treat her affectionately. She deserves that much, anyway. When Ace asked what she wanted for her dress, Law just looked away, very clearly embarrassed. He reassured her that whatever she wanted can't be 'that bad'! She just said she wanted something simple and figure-hugging. Ace said sure and went to work.

After thirty minutes, Ace returned with five dresses for her to try. Ace told her to knock the door three times when she's ready for him to add accessories. Law thanked him and closed the door.

Ace was surprised to hear her knock the door in just ten minutes. He closed his webnovel and walked inside. Fuck- She was stunning. Despite doing this for a living, he never wanted to get married but he was having second thoughts now. To have a beautiful woman willingly dress up, put in effort to feel pretty just to be with you was an honour.

Ace finally understood why some men would simp so hard for their wives. He sure hoped Law's man simped for her. A girl like that isn't common at all!

"Ace, can I be honest with you?" She said. She had only spoken a few words to him up to this point, and they were mostly pleasantries. He was surprised when she stopped him from putting the veil on her head, though he sensed there was a deeper reason than her not liking it. "I don't want to get married. I'm not ready."

"Oh?" Ace knew he looked stupid. "What made you realise that?"

"I knew it when I realised I love this dress," she said softly. Nearly tearing up, she said, "Which is why I don't see myself walking up to him in it. I don't think I love him as much as I think I do."

"What do you want to do? The consult is free, you're not obliged to buy anything-"

"I know. Thank you," she said. They looked at their reflection in the mirror. She looked so tired all of a sudden. She looked like she would pass out from exhaustion. Ace felt bad for her. "To answer you... I don't know. I've wanted to call it off for a while now. Might as well before I sign anything binding."

"How are you going to do that?"

That was when she laughed slightly. Granted it was a sarcastic laugh but Ace ate it up all the same. He knew he was falling for her.

"Again, I don't know. But I'm tired of waiting for a plan," she said. She smiled triumphantly at Ace like she was proud for even saying she wanted to rebel. That's it. Ace was gone. "I'm going to be reckless and I'm going to castrate him and take his money!"

Ace's heart squeezed.

"I'll help," he said easily.

She smiled like she accepted the offer. Ace fell in love for the first time in his life.

#what the fuck did i just write #if i feel silly and impulsive this is going to the traaaaash #portgas d ace #femlaw #trafalgar law #one piece #acelaw #I suddenly watched a YouTube short of a woman showing off her rejected choices for wedding dresses #and then I remembered how I was so obsessed with say yes to the dress #because i love pretty dresses #even though i would never wear one #and then i thought huh Ace would be good at this #at first i thought sabo #but then like i reference him too much let's try someone else #luffy would never do this #he'd straight up say he thinks you look bad #with luffy you know it's the one if you're willing to punch him to defend your opinion #anws good night yall im gg to add to this

[samjaggerswriting]

Input

INT. CAR (PARKED) - SUNSET

LUKE (32) sits with his head against the wheel. With thick glasses and a thicker frame, he clenches his unshaven face before considering his reflection in the rearview mirror. He would actually be considered quite handsome, if not for his severe self-esteem issues. 

 LUKE

What’s wrong with me...

He leaves the car.

 INT. HALLWAY

LUKE walks dejectedly to his door in this chic-looking block of flats. As he approaches the door he notices a WOMAN walking from the other end of the hall holding many bags. MELANIE (42) is unfiltered, confident and hectic. She wears an over-exaggerated expression of effort as she walks to the door next to LUKE’S. she gives him an exasperated wave and a smile as she finds her keys. LUKE awkwardly returns the gesture before opening his own door and swiftly entering. 

 INT. LUKE'S APARTMENT - CONTINUOUS

LUKE closes the door to his apartment. A small single-bedroom affair. Various posters and movie-memorabilia line the walls, giving it a professional yet decidedly geeky atmosphere. Standing in the centre of the space, lit by the sunset from the french windows is SOPHIE. She is younger than him, and completely out of his league. Her shoulder-length blonde hair is wrapped up in a messy bun that perfectly compliments her pale supermodel face. Her skinny yet athletic body is hidden under a short, summery dress that gives her a childlike innocence. All in all, she is the perfect girlfriend any man could imagine. Beaming with happiness she throws herself at the tired LUKE, wrapping her arms around him.

 SOPHIE

Welcome home, love!

 LUKE 

Soph! That was a surprising welcome.

 She pulls back to stare at him lovingly.

 SOPHIE

I’m sorry! Did you want an unsurprising welcome?

 She begins kissing him passionately. LUKE returns the kiss before opening his eyes and begins trying to peel SOPHIE off of him.

LUKE

Sophie! Stop, okay? I’m not in the mood.

SOPHIE immediately stops and steps away, despite appearing disappointed. LUKE begins rambling on about how bad his day at work was, while SOPHIE turns and begins slowly walking towards the couch.

LUKE

I’m sorry Soph but my day was so shit I’m just not in the mood. I didn’t get enough sleep last night and so I was already angry and then when I got in I found out that we need to go over the interface AGAIN and Mark is just being such a fucking prick about this whole thing saying stuff like-

LUKE’s attention is diverted as he sees SOPHIE had made it to the couch and is bent over the armrest, revealing to LUKE that she isn’t wearing any underwear. SOPHIE, aware of this fact, looks over smugly at LUKE. He stares incredulously for a few seconds before sighing with a smirk. He throws his jacket to the ground in a vigour we haven’t seen before, pouncing on SOPHIE with a giggle. 

INT. MELANIE’S APARTMENT - MOMENTS EARLIER

MELANIE enters her apartment in a fluster, bags everywhere. Her apartment is much more professional than LUKE’s with a greater eye for interior design. The walls are covered in odd-looking art, all evidently from the same artist. They are all picture-perfect drawings of scenery and skylines, yet coloured in ways that completely reject reality; as if someone had messed around with the colour tool in Photoshop. MELANIE chucks her bags and then herself onto the sofa as she gets her energy back. As she lies for a few moments, she averts her attention to the balcony, of which we see SIMON at an easel, smiling back at her. SIMON is much younger than MELANIE, with a kind, youthful face and short hair. He sits at his canvas wearing a casual button-shirt tucked into cream trousers. MELANIE seems visibly calmed by his presence and smiles back, before getting herself riled up again to rant about her day.

MELANIE

Work was a fucking nightmare-

SIMON

How so?

MELANIE

Just the usual shit! Angela can’t shove her head far enough up her own arse! The roads we’re packed because of the stupid school holidays, meaning I was late to one of my viewings! Also, one of those shit-eating brats on those thuggy bikes just rode out in front of my car, almost killing us both! And the little bastard had the gall to just laugh about it! Should’ve run the little shit over! Imagine that? Would’ve done the world a favour...anyways how was your day?

SIMON

I’ve just been finishing the newest piece. 

MELANIE gets up off the sofa, and walks towards the balcony.

MELANIE

Let me see, let me see!

INT/EXT. MELANIE’S BALCONY - CONTINUOUS

MELANIE approaches SIMON as he shows her his newest painting. It depicts the skyline of the city from MELANIE’S balcony. Like the pictures around the apartment, the pencil work is technically amazing, but the watercolour paint used is a mishmash of opposing colours all applied at once; as if 3 paintings were stacked onto one another.

SIMON

I’m still having an issue with the painting. Tracking the difference in lighting and mixing the colours is still a challenge for me.

MELANIE kisses him on the cheek, taking the painting.

MELANIE

I think it’s incredible, dear. Another masterpiece.

SIMON smiles, as MELANIE returns inside putting the painting on the coffee table and walks towards the bedroom. SIMON stares at the painting.

SIMON

Shall we hang it up? With the others?

MELANIE (voice)

We absolutely will when we get back because hop to it, we’re going out!

SIMON

Right now?

MELANIE (voice)

Yes right now! I’ve had a very stressful day at work and now I want to go to a restaurant! Now come through, I know exactly what I want you to wear!

SIMON begins putting away his easel.

MELANIE (voice)

Do that later! I want you in here now!

SIMON immediately complies, leaving his easel out on the balcony before entering the apartment, sliding the door shut behind him.

INT. LUKE’s APARTMENT - SAME TIME

LUKE and SOPHIE are sitting on the couch, slightly dishevelled, watching YouTube videos on the television. SOPHIE kisses LUKE on the cheek before getting up and going to the kitchen. As she stands by the hob, preparing to cook, LUKE sneaks up behind her and begins groping her. SOPHIE’s shock turns to lust and they begin passionately kissing again.

FADE TO:

LUKE and SOPHIE are sitting with their dinner together. LUKE greedily digs in while SOPHIE just moves hers around the plate. LUKE pauses for a moment, takes a big breath and smiles, making eye-contact with SOPHIE.

LUKE

You know, Soph, I think I’m going to be okay tonight.

SOPHIE reaches across and grabs his hand.

SOPHIE

That’s so great to hear, Luke.

LUKE

Let’s watch a movie tonight! I was thinking about how we gave up on our mission to watch all the Heisei GODZILLA films so why don’t we pick it back up with INVASION OF THE ASTRO-MONSTER?

SOPHIE

Whatever you want babe.

A nice moment is shared between them.

HARD CUT TO:

LUKE is lying in the fetal-position across SOPHIE’s legs, sobbing uncontrollably, while GODZILLA plays in the background. SOPHIE is gently stroking his hair while LUKE wrestles with his emotions. On the COUNTER behind them, we see a framed photograph of a family unit, including LUKE. In front of the photograph are a few burnt-out candles, a watch and some long-dead flowers. 

LUKE

(through sobs)

I’m so pathetic! Why can’t I just watch a film like a normal person! I’m so tired of this! So fucking tired! It’s like I’m watching the sunset on a hill somewhere, and the shadows have crept up on me! And now I’m drowning watching the light slip away. You understand what I’m trying to say, right?

SOPHIE

Of course I do, babe.

LUKE 

You’re my lantern, Soph. You lead me away, out of the shadows; to the next hill. One day I won’t be so scared of the stupid shadows.

SOPHIE

I will always be here for you.

LUKE

You will, won’t you? I love you so much

They begin kissing again.

INT. FANCY RESTAURANT - NIGHT 

MELANIE and SIMON are shown to their seats by the WAITER. 

WAITER

Can I get you guys anything to drink?

MELANIE

Can we just get a bottle of the house white?

WAITER

Excellent choice.

As he turns to leave, MELANIE shouts after him

MELANIE

I’m sorry but could we get two bottles, thanks!

(to SIMON, whispering conspiratorially)

You know what to do right?

SIMON

Of course.

MELANIE rests her head on her hands like a schoolgirl with a crush.

MELANIE

You are so blummin’ hot, sir.

SIMON

Not as hot as you are, madam.

The WAITER returns with the wine, filling both their glasses. 

WAITER: Do you guys know what you want to order?

MELANIE picks up the menu in a mild panic.

MELANIE

Can I have the focaccia to start and the prawn tagliatelle as my main, please? Oh and nothing for him.

She gestures towards SIMON. The WAITER takes his unopened menu and leaves.

MELANIE

Here we are. Let’s cheers it! 

They clink glasses.

MELANIE

I’m starving!

She laughs as SIMON takes a tongueless sip.

INT. LUKE’S BEDROOM - NIGHT

LUKE and SOPHIE lie cuddling asleep in LUKE’S bed. The room’s shutter blinds dissect both of them with pale blocks of light. In the silence, suddenly SOPHIE’S eyes shoot open. She sits straight up and then turns to nudge LUKE awake.

SOPHIE

Luke, Luke, Luke.

LUKE awakens, groggy.

LUKE

What? 

SOPHIE

All the sex we had drained my battery, I need to go charge.

LUKE

Sure.

LUKE rolls back to sleep. SOPHIE gets out of bed and walks towards the wall. At the wall, there is a wire leading out from the wall socket. She picks up the wire from the floor, then lifts up her night-dress to reveal her hip. She presses lightly against her skin, opening up a small panel embedded into her body. She takes the end of the wire and plugs it into herself. A small orange light begins glowing. SOPHIE then turns with her back parallel to the wall and stands motionless. 

SOPHIE

Goodnight, babe. I love you.

LUKE grunts an acknowledgement. There is a large period of silence.

LUKE

Wait a minute. Sophie, I want to get up nice and early to have a shower tomorrow so can you make sure to get me out of bed by at least 6:30 this time?

SOPHIE

Anything for you.

LUKE

I don’t trust you. ‘System forward-slash-forward-slash-comma localhost dot forward-slash-forward-slash comma acquisition’

SOPHIE jitters slightly at hearing the chain of code. When she speaks there is no longer any warmth or personality.

SOPHIE

PERSONALITY FACTORS. ERROR. PERMISSIONS ACCEPTED. ERROR.

LUKE

’Change Agreeability Matrix: 10 down to 1’

SOPHIE

ACCEPTED. EXITING ADMINISTRATIVE SETTINGS.

‘SOPHIE’ has seemingly returned.

LUKE

Can you wake me up at 6:30 am, please?

SOPHIE turns her head to face LUKE, then scowls.

SOPHIE

(aggressive)

Okay.

LUKE

Thanks babe.

Another long period of silence. LUKE rolls to stare at the ceiling.

INT/EXT. MELANIE’S APARTMENT - NIGHT

SIMON bursts through the door holding a quite intoxicated MELANIE. He puts her down on the sofa as she continues to talk at him. She puts her feet up on the coffee table, and onto SIMON’S painting. He stares at it, before walking toward the balcony.

MELANIE

...this is what I mean you can’t say anything these days! It’s all those stupid celebrities faults, with their massive piles of money and fake, bolt-on tits, I mean it’s absurd... 

SIMON walks out the sliding doors and onto the balcony, and begins putting his easel away. Across from him, on the other balcony, he sees LUKE, having a smoke. They share an awkward acknowledgement of one another as SIMON continues to put his easel away. Eventually, the silence is too much to bear.

LUKE

So you’re a painter?

SIMON

Yes, I suppose so.

MELANIE (voice)

Simon! Who are you talking to?

Before SIMON can answer, MELANIE joins the men on the balcony.

MELANIE

(trying to act sober)

Hello! You must be my neighbour! How are you doing? God, you’d think you didn’t exist with how elusive you are!

LUKE smiles shyly, as MELANIE’S attention is brought towards SIMON and his easel.

MELANIE

Did you know Simon’s a painter? Hold on let me show you, he’s amazing.

She runs back inside. LUKE and SIMON share a look. MELANIE returns holding SIMON’S painting. 

MELANIE

Look isn’t it just incredible? (holding it up)

LUKE

That’s really good. It’s the skyline, isn’t it? I’d recognise it even at night.

MELANIE

You should have it!I’ve got hundreds so just take it!

LUKE

No-no-no, I could never take that.

She reaches out over the balcony with the painting, practically forcing it into LUKE’S hands. He eventually gives in and takes it. SIMON stares intently at the change-over and at LUKE. MELANIE wraps her arm around SIMON’S waist. He snaps out of it and returns the hug.

LUKE

Thank you...um?

MELANIE

Simon, and I’m Melanie. But you can just call me ‘Mel’.

LUKE 

Thank you then, Simon. I’m Luke, by the way.

MELANIE eyes LUKE’s cigarette. LUKE’s eyes remain on SIMON.

MELANIE

You know it's customary for neighbours to exchange gifts when they move in? And now I’ve given you one.

LUKE

This isn’t a normal cigare-

MELANIE

I’m not some posh school girl who’s never left the home counties, you know? I know what it is.

LUKE

Be all means then.

LUKE hands the joint over the balcony. MELANIE takes a big inhale and coughs. After recovering, she gets more accustomed to the feeling.

MELANIE

Use this for sleep, then?

LUKE

Yeah, sometimes. How long have you two lived together?

MELANIE

This is our first place together, actually. Been here about two months now, It’s been heavenly. What about you?

LUKE freezes like a deer in the headlights. He carefully weighs up his answer.

LUKE

I live alone. 

MELANIE

You look the type. I’m sorry, how rude of me. I think this stuff is a lot stronger than it used to be. Time to go to bed, I think.

She hands back the joint to LUKE and saunters back inside, leaving the two men alone once again. LUKE eyes SIMON suspiciously.

LUKE

How did you two meet?

SIMON

At a bookshop.

LUKE

Cute.

SIMON prepares to leave. LUKE quickly scans to make sure MELANIE won’t hear him.

SIMON

I hope you have a nice evening.

LUKE

Wait, Simon! ‘System forward-slash-forward-slash comma internal clock forward-slash identify comma’

SIMON jitters in a similar manner to SOPHIE. 

SIMON

SYSTEM ACCESS. ERROR. INTERNAL CLOCK. THE TIME IS 00:53 AM.

LUKE grins, satisfied. He throws the joint away.

LUKE

I fucking knew it. Now I wonder why she bought you? She seems a bit like a mess. What was it, divorce? I don’t really care, I'm just psyched to see I’m not the only degenerate in the building.

MELANIE (voice)

Simon! Get in here now you naughty boy! I want that wine from earlier!

SIMON returns to his normal demeanour. He goes inside, giving one last look to LUKE before shutting the door. LUKE chuckles to himself before making his own way back inside.

[nettvnow-blog]

Susan Allen & Matt Thomas | Katie & Shaun

British husband and wife duo Matt Thomas (writer) and Susan Allen (director) each make up one half of independent production company, Something Pretty. They’ve just released their debut show on YouTube – the new original web series, Katie & Shaun and we've got the scoop below!

netTVnow: Where did the concept of Katie & Shaun come from? Matt Thomas: I wrote the piece last year, after reflecting on my own experience with anxiety and depression, and what it means to be mentally well. Most representations of mental disorders out there didn’t really ring true for me, so I wanted to explore how parts of my own experience might play out onscreen.

It all started with the image of the waiting room. I see a therapist who shares an office space with other therapists and I would see the same other patients each week in the waiting room. We smiled and nodded but I never spoke to them. It occurred to me that since people are in a vulnerable place before and after therapy sessions, it would be a really weird space to meet someone you ended up dating, as Katie and Shaun do.

NTN: After that initial idea, what were the next steps to help get things moving? Susan Allen: It was all pretty fast. After Matt wrote the script, we reviewed it together, and he made a couple edits – mainly to give the characters a little more dimension, and help the overall story arc. As soon as we had 90%-ready scripts we scheduled auditions, cast people, and hired a crew within a couple weeks. We thought that if people were relying on us, we'd be less likely to back out! Plus, the momentum of a creative team meant that solutions started falling into place for the many challenges ahead. NTN: How long was the writing process and what would you say is different about writing for web series versus other mediums?

MT: Very quick, easily the quickest thing I've ever written. I'd been 'researching' anxiety and depression my whole life so it wasn't hard to put myself in that headspace of the characters. Shaun was a challenge to write initially as it's hard to write an authentically depressed character who's still visually interesting - in my experience, there tends to be a lot of lying on the couch and sleeping. However, as soon as we came up with the idea of Bob as a character (Shaun’s inner critic or depression), it became a lot easier and a LOT more fun to write. When writing for a web series, you're very aware of every decision you make on the page having consequences for time, money and effort in production – especially if it's your money, time and effort. This is why most web series are about two people sitting in an apartment. We really didn't want to make one of those – and in production Susan was ruthless about achieving authenticity through locations and extras – but also there's practicality to consider. I had to constantly ask myself things like 'do we really need that extra location?' and on the other hand 'Did you cut that exterior night scene because you just didn't want to shoot it, or is it really redundant to the story?' NTN: What would you say is different about directing web series versus other mediums, I’ve heard various things that it’s quite similar to directing theater! SA: I’ve directed theater previously, but never for film or indeed, a web series, so it was definitely a challenge. Obviously, a camera frame is more focused than a theater stage – you can control where viewers look – so in some respects you do more with less. A twitch of the eyebrows can say enough! At the same time, theater audiences are a little more forgiving in terms of suspending their disbelief. With a realistic film, you have to ensure that your set’s detail and continuity is on point just to create a believable world. Last thing you want are viewers getting distracted by an oddly empty bar, or a microphone left in shot.

For Katie & Shaun, I didn’t want to run out of options or lose the spark before the camera started rolling, so we rehearsed a little, but not too much. Saving some choices to play with on the day, meant we were able to capture that magic on camera. And many moments really are magic. I couldn’t be more proud of our cast and their performances.

NTN: As a husband and wife duo, what was it like collaborating? Was this a first? SA: Yes, this is a first. And we survived! Communication is the main thing. We took the time to clearly define roles from the start. Matt didn’t interfere with the directing, and I didn’t change the script – though we both offered each other constructive criticism. Don’t get me wrong. There were definitely tense moments! But when we disagreed, we took a deep breath and asked, what’s going to make this a better experience for viewers? Ten years of knowing how the other thinks meant when one of us was down a rabbit hole and a little lost, the other knew how to help put things into perspective. NTN: Have either of you worked on a web series before? If not, what were some of your initial MT: Nope, and that's probably a good thing as we might not have done it if we'd known how how much we were taking on! Our worries all boiled down to not wanting to make something that looked amateur. Twenty years ago people would tolerate something like Clerks that was a little shoddily produced if the story was good, but now they see so much professionally made content that something like bad lighting or sound will take people out of the experience quickly. We knew we had a good story and we wanted to give it the chance to shine without it being hamstrung by bad production values.

NTN: Susan, what were some of the inspirations you pulled from in creating Katie and Shaun? SA: In pre-production, I worked closely with our Production Designer, Kimberly Gim, to gather inspiration for the look and feel of Katie & Shaun. We wanted to create a sense of human connection despite an underlying loneliness and struggle. We were drawn to the simultaneous grit and warmth of Girls, and how the city of New York features in the show. That was definitely an influence for the opening shots of each character.

We also looked at Mr. Robot for ideas about how to shoot an imaginary character (Bob). That being said, I made a conscious effort to pull away from trippy and jarring camera techniques i.e. those where Christian Slater’s character (Mr. Robot) is there one minute and suddenly gone the next. We chose to keep our transitions simple because Bob is a different sort of non-real. Whereas Mr. Robot is a disorienting “voice” of Elliot’s multiple personality disorder, Bob is Shaun’s ever-present depression, a feeling physicalized in a character. Sometimes Bob’s influence is strong, but Shaun never actually thinks he’s talking to another real person. We also drew on inspiration from our own lives. Many of the cast and crew have personal experience with anxiety and depression, so it helped us get creative. For instance, in episode 3, we spent a long time trying to capture the simultaneous deep rumble and odd high-pitched noise you might hear if your were having a panic attack.

NTN: How would you describe the main characters? SA: Katie is a smart 32-year-old woman, who’s trying to find her way. She’s struggling with anxiety and OCD, and is ultimately pretty lonely. Katie is a “fixer” – someone who likes to be in control and solve things. She’s always rushing around, and channeling that mental energy into “getting things done.” She’s also a people pleaser with fairly low self-esteem. She wants to present a version of herself to the world of having her life together, so it becomes this multi-layered thing where she’s struggling mentally but compensating for it, for fear of being judged.

Throughout the show, we show that tendency to smooth things over – when she organizes her shelves to cure insomnia, the metaphor of icing a hastily baked cake to apologize for literally smoothing over her disturbance of Jane in episode 1, and her recounting of her panic attack to Dr. Reynolds as if it’s all quite laughable.

Shaun is a late twenty-something year old guy, who’s in a job he doesn’t particularly like, and suffers from depression. Like Katie, he’s lonely and doesn’t like himself much. Deep down, he’s looking for connection but there’s a fear there – that he isn’t good enough. In many ways, he’s comfortable in the known quantity that is his depression. Telling himself that he’s worthless, or not liked, and better off staying at home alone brings him a kind of comfort – it allows him to escape the fear of rejection. We see Shaun escaping in various ways – whether it’s through listening to music in his headphones, watching TV, or alcohol and weed. NTN: What do you hope audiences will take away from the series? MT: First and foremost it's a piece of entertainment so I hope they enjoy watching it but if someone recognised their own experience in the series and maybe felt a little less alone, that'd be great. SA: I hope the show will go some way to busting some stigma, and getting people to talk about what might feel uncomfortable. It can be hard to start up a conversation around mental illness, and it would be great if Katie & Shaun made that easier. We want to show the characters’ struggles with anxiety and depression as just one part of who they are. Not freakish or weird, or something to be afraid of. Just an aspect of human experience.

NTN: Do you have any upcoming projects or anything else you’d like to add?

MT: We're talking about some potential projects but nothing concrete just yet. I want to make a feature and Susan wants to make a short film. So I guess we'll see!

Follow Katie & Shaun Website | YouTube

Follow Susan Allen on Twitter

Follow Matt Thomas on Twitter

#Susan Allen #Matt Thomas #Katie & Shaun #Kimberly Gim