#i have as much to say about Ditto as i did about First in 2021. maybe more. actually definitely more

[wickymicky]

in 2020 and 2021 i came up with Top Ten lists for my favorite kpop songs of the year, and i wrote reviews of each of them, just talking about how they really defined the year for me, what they meant to me and stuff. i didnt do it last year, and i might this year, but tbh i might literally just write about Ditto. it's my number 1 song and i have so, so, so, so much to say about it. i've been preparing for this for 365 days lol. i have things i could say about the other 9 songs that i have picked out, but i might just write about Ditto only

#i have as much to say about Ditto as i did about First in 2021. maybe more. actually definitely more #way more. Ditto is better than First #which may not sound like much of a statement to you reading this lol but for me? that's huge #2023 list

[kylesvariouslistsandstuff]

Much Ado About MOANA

Say it ain't so!

Walt Disney Pictures is working on a live-action "reimagining" of MOANA that will involve Dwayne Johnson himself, who of course voiced Maui in the original animated feature directed by Ron Clements and John Musker for Walt Disney Animation Studios and released in 2016.

As of now, the movie has three forthcoming extensions: This project, a land at Epcot in Walt Disney World, and an animated series being produced at WDAS (namely its recently-opened Vancouver unit) for Disney+.

I used to grouse to the moon and back about how much I detested much of these particular remakes and reimaginings of Disney's animated features and characters. You know, the ones made in the aftermath of Tim Burton's ALICE IN WONDERLAND throughout the 2010s, and even into now. I used to see them as something of a threat to animation's reputation, and they all came at us fast! MALEFICENT in 2014, CINDERELLA in 2015, THE JUNGLE BOOK (a largely CGI movie with one live actor and maybe like, 5 real-life plants) and ALICE THROUGH THE LOOKING GLASS in 2016, BEAUTY AND THE BEAST in 2017, and a five-finger-punch of DUMBO, ALADDIN, THE LION KING, a MALEFICENT sequel, and LADY AND THE TRAMP in 2019... And then MULAN in 2020, CRUELLA in 2021, and PINOCCHIO this past year. Mixed in with these movies were a genuine new take on hybrid film PETE'S DRAGON and a legacy sequel to MARY POPPINS, MARY POPPINS RETURNS. Even Burton's ALICE, which got this whole ball rolling, was pretty much its own thing, ditto the 2016 sequel.

On the horizon? PETER PAN & WENDY, THE LITTLE MERMAID, SNOW WHITE, MUFASA: THE LION KING, BAMBI, THE SWORD IN THE STONE, a JUNGLE BOOK sequel, THE ARISTOCATS, ROBIN HOOD, THE CHRONICLES OF PRYDAIN (which the 1985 animated feature THE BLACK CAULDRON was adapted from), THE HUNCHBACK OF NOTRE DAME, HERCULES, and LILO & STITCH. Now MOANA joins the ranks, the first all-CG animated Disney film to get the "live-action" treatment.

That's a ton of remakes in the span of almost 10 years, if we peg the actual start of this trend with 2014's MALEFICENT.

I think I've only seen... ALICE IN WONDERLAND, and THE JUNGLE BOOK, in full. I refused to watch the others. Back then it was out of protest and me just genuinely not being interested, nowadays? It's just the latter. These things aren't for me, and that's okay I guess. They haven't erased animation, nor did other recent "realistic" takes on animated classics, such as the 2017 GHOST IN THE SHELL movie with Scarlett Johansson. It hit me one day at my cinema job when THE LION KING was released. The Cinemark that I work at used to have a cart for movie merchandise, including things like T-shirts and Funko Pops and such. Most of the merchandise for the remakes that came out that year? Were for the animated originals... (I use the word loosely, but... You know what I mean!) I'd say it was an 85/15 ratio. Some stuff for the new remake, but mostly stuff for the classic animated movies that inspired them... It hit me... These are just over-glorified theatrical re-releases of the animated classics, made to move some merch and stuff at your local Hot Topic. It's kind of a weird transition from the way Disney used to keep their films in the public eye, whether it was a re-release cycle from the 1940s up until the mid-1990s, or their video releases being available for a limited time before being retired to the infamous "Disney Vault" (a ruthless marketing strategy thankfully put to rest with the arrival of Disney+ in 2019).

But in 2017-ish, I remember just being so goddamn grumpy about these things. Made worse by various directors, actors, and producers involved with the remakes making disparaging remarks about the classic movies for being... Well... **Animated**. Imagine that! The director of live-action BEAUTY AND THE BEAST declared that filming that story with real people gave it layers of psychological depth and nuance or some such bullshit. An actor on ALADDIN said almost verbatim the same exact thing. Disney stressed that their LION KING remake wasn't animated, even though the entire thing except a single shot was computer generated and "animated"! Then of course, several folks involved with the remakes making up nonsense about the princesses and heroines in the originals. We're seeing that now, even, with THE LITTLE MERMAID. Though these particular remarks about classic Disney heroines are nothing new, they remain nonetheless a bit irritating and proof that media literacy is lacking in many people. Then again, we do live in a world where people constantly parrot nonsense like "Batman is a rich guy who beats up poor people" and "Rudolph the Red-Nosed Reindeer is about being bullied until you're useful to your bullies."

Some people just don't pay attention to what they watch, do they?

But really, the remakes come, make a lot of noise, often times make a crapton of money at the box office... And then they just... Disappear. Like, it was insisted that BEAUTY AND THE BEAST 2017 fixed the plot holes of the 1991 movie and was "darker", more "adult", whatever- Uhhh, I don't really feel its presence anymore, whereas the 1991 animated movie directed by Kirk Wise and Gary Trousdale? Still here, still beloved, still holds up. I guess you could not outmode the dumb ol' kiddie cartoon, now could you? All that "darker" and "more psychology" talk is gimmicks at best, and most folks just kinda watch 'em because they saw the originals... and then that's it. It's a movie, it's a thing, it exists. You got what was on the tin: It's [insert Disney movie here], all over again!

This all being said... Now the CG movies are fair game, and possibly Pixar's some time in the future. It ain't just the 2D movies they're going after anymore. Look at Universal, they're readying a HOW TO TRAIN YOUR DRAGON live-action movie for 2025 with Dean DeBlois himself - director of all three of the animated DreamWorks HTTYD movies - at the helm! It's either going to be a straight-up live-action version of the DreamWorks adaptation released back in 2010, or it's going to be a whole new take on Cressida Cowell's book series. I hope it's the latter, honestly, then I might give it my attention.

To this day, many rightfully concerned folks still feel that these live-action/photorealistic remakes insult pure animation. Pure animation as in, animation that KNOWS it's animated. Straight-up cartoon or abstract. That Hollywood sees animated movies as but a "stepping stone" to superior live-action, but really... What I see is this... Money. People love an animated movie or show? Money. How many different coats of paint can we put on the car?

Some are asking... Why not just a MOANA sequel?

The weird thing about that is, Ron Clements and John Musker left Disney Animation. They were last seen developing a METAL MEN movie for Warner Animation Group. Of course, the directors being off on a new adventure doesn't mean anything in capitalism, Disney could plow ahead with a MOANA sequel if they wanted to. But they choose not to at the moment, only this and a D+ series. Kind of keeping in line with a history of not really making sequels in-house, and the days of outsourced direct-to-video fare has been loooooong over. (The remakes are often compared to the DTV sequels of the '90s and '00s, and for good reason. They're little more than brand extensions, and you can ex 'em out of the equation if you so choose to do so. Disney EU or Disney "Elseworlds" if you will...)

But what's actually seemingly upsetting is that... In the past few months, on the year of Disney's 100th anniversary... Most of the movie announcements have been nothing but continuations and brand extensions. They also serve as a nice distraction from needless layoffs, but yes... The big announcements have been things like TOY STORY 5, FROZEN III, ZOOTOPIA 2, Live-Action MOANA, etc. etc.

However, one ought to look closer. In-between all the franchisey stuff and synergetic things, there's still original movies being made... Like, there's not only 20th Century Studios continuing to make new live-action movies that aren't remakes or re-dos or new adaptations of books (y'all seen THE MENU and BARBARIAN last year? Great stuff! Highly recommended.), but you still have Pixar. From March 2020 to March 2022? Four straight original animated movies: ONWARD, SOUL, LUCA, TURNING RED. After spin-off LIGHTYEAR, we're getting ELEMENTAL in two months, ELIO in spring 2024, and presumably many more on the horizon.

Oh, but ELEMENTAL looks "mid", you say? "A parody of Pixar"? Or whatever else is being mindlessly parroted at the moment? Whatever, I don't know what to say to that, but like it or not, a movie like ELEMENTAL is the rare original movie from Disney, a small island in a sea of remakes, Marvel, and Star Wars. Ditto ELIO, and again, whatever is in the works after that that isn't a sequel.

And of course, Walt Disney Animation Studios, who have all but abandoned literary adaptations outside of public domain fairy tales, keeps up with original stuff, too. After releasing no new movies in 2017, two back-to-back sequels from 2018-2019 and taking 2020 off due to COVID-19 complications, they hit us with RAYA AND THE LAST DRAGON, ENCANTO, and STRANGE WORLD. Next up is WISH, also an original story, despite the weird way it was presented and reported on at D23. Whatever releases after that, I do not know, but FROZEN III and ZOOTOPIA 2 aren't the only things in development there. Plus, they have partnered with Nigerian upstart studio Kugali to make an original show for Disney+ called IWAJU.

Much like the reception ELEMENTAL is getting online, a movie that isn't even out yet, a lot of the recent WDAS output and what's next is just being written off... But it's all there, it's original, it's a mere morsel of something coming out of the company that seems to be all about them brands. I'm not blaming audiences specifically for, say, STRANGE WORLD's epic floppage this past holiday season, buuuuut- Those numbers are looked at, and they possibly bring about consequences.

I do get the worries, though. Under former CEO Bob Chapek, we saw Pixar's originals post-ONWARD all go straight to streaming while franchise entry LIGHTYEAR hit the big screen... and lost money. WDAS movies had a hard time, too. RAYA did a day-and-date thing with Disney+ before most of the vaccine rollout, ENCANTO dealt with Delta and Omicron before being a huge hit at home, STRANGE WORLD was straight up left for dead after testing very poorly.

With Bob Iger back in charge, Chapek's strong pivot to streaming is being reversed, as it's being realized that streaming is not the be-all end-all of the movie world. And sharp eyes knew it never would be, either, but you know how things go in capitalism: New thing shows up, abandon everything for the new thing! Disaster! Hey, that's how hand-drawn animated features prematurely got the boot circa 2001. Anyways- Yes, Iger rearranged a lot of things, and now the release strategies and marketing campaigns are back in the hands of the studios and creatives, and I'm pretty sure that there's an effort, a commitment to make ELEMENTAL the first Pixar box office success in four years. That's right, the last Pixar movie to make its money back at the box office was... TOY STORY 4... Back in 2019... And you wonder why a fifth one was greenlit?

I'd imagine Iger saw how Chapek and co mandated Pixar to send TURNING RED straight to streaming, and knew what to do from there. Ditto how, on the WDAS front, STRANGE WORLD was just straight up abandoned. TURNING RED probably would've made ENCANTO or BAD GUYS numbers at best, which wouldn't have been enough for its hefty budget (Pixar needs to stop overspending on these things), but I wonder what's in store for ELEMENTAL. Few animated movies post-2020 have passed the $100m threshold domestically, and I feel that is due to how many trips to the movies families can afford a year. (Say the line, Kyle: In 2014, statistics showed that the average American family goes to the movies four times a y-) It's opening amidst a ton of blockbusters and other animated family movies, including Disney's own LITTLE MERMAID, and the fifth INDIANA JONES movie. Maybe movies should just be more affordable? And theaters, better places to sit down and see a movie? I can see why many just don't go anymore, again, having worked at a theater for 7 1/2 years (and ready to move on to something better).

Or better yet, Pixar and WDAS need not spend more than $150m on the movies that they make. DreamWorks, Illumination, Sony, et al. put out dynamic-looking movies that are rewriting the CG animation book for way less, WDAS and Pixar should probably consider that. Leave the tech-flexing to things like that LION KING remake and prequel, let their animated movies experiment and have fun again. But even movies they don't seem to be flexing tech cost so much. Why, though? I know in California, these things are expensive, but DreamWorks is based out of California, too. I guess that Moonray software they themselves created and other solutions have gotten their movies to cost less than $100m each time out. Well, WDAS opened their Vancouver unit, so maybe they can up them to feature status? Like they did with the defunct Florida unit way back when? Split the effort with Vancouver, lower the cost? I dunno, just spit-balling here.

Basically, I don't want ELEMENTAL and WISH to come up short at the box office. Or any of the original stuff coming out, period. Again, WDAS, Pixar, and 20th Century/Searchlight are like Disney's last outlets for that kind of stuff on the movie end of things. 20th is fine and good, because in small-scale live-action, most of the time the studios know how to be smart with budgets. $150m budgets make the average WDAS and Pixar movie a risk, that they have to get on the stage and essentially perform like a Marvel movie just to break even! That's a lot to ask of an original animated movie! And not even the WDAS name nor the Pixar name can guarantee people will show up, both have had their fair share of flops. And now, judging by how ANT-MAN AND THE WASP: QUANTUMANIA is doing, the Marvel name ain't a guarantee anymore either. Ditto Star Wars, remember how SOLO just sorta existed at the box office and lost a lot of money? TV and elsewhere is a different story, of course, there's plenty of original stuff to choose from there.

MOANA Live-Action is likely being made to fund the fun cool stuff, much in the same way sequels help fund originals. They... Pay the bills, shall we say.

In other words, I'm just indifferent. Whatever. Tell me more about the original stuff coming out, and you'll have my ear.

#moana #live-action remake #disney #unorganized thoughts #opinions

[vyvesvi]

2022 music recap (2/3?)

concepts:

this was a good year for good concepts, and i hope it improves even more next year! onlyoneof's "be" series really held it down, with the standout in my opinion going to yoojung's begin. this sounds extremely dumb but the song and the music video are at peak conceptual, thematic, tonal, sonic and lyrical harmony. like the song and mv are explicitly about beginnings, yes, but something about the song also sounds like the start of something new. they're insane for that oml. i am once again asking everyone to watch the be series start to finish once the last installment drops on january 4th. i won't be mad if you mute beat i promise but the mv is still nice.

i feel like i've been raving about lexie liu's album, the happy star, and it's rollout too much but. please watch fortuna and magician (tw death, tw flashing though, be careful!!). i can't fully explain what i liked beyond the story, but i just think the whole thing is really well done. i especially love how the ganma mv is her cleaning up one of the sets from fortuna/magician. it could just be because i love this album dearly but i even love the 3.14159 mv thats just her walking around in interesting sets (kind of a fake one shot style). idk. it makes sense to me.

love dive is my favorite gg mv of the year! i won't spend too much more time on it but yeah. it's impeccable, and i liked the vibe of the teasers too. I hope they bring that energy again for their first album, that's the quality that i'd expect for what's shaping up to be the next huge gg.

albums:

i need to post this and run away tbh, it's to the point where i'm not even fully sure that i agree with myself. i don't have the time/energy/patience/will to go through each album one by one but i would strongly recommend all of the selected songs that i put on the righthand side :)

debuts (in order by rank):

generation was a perfect debut we love to see it! a friend and i were talking about what makes the music video unique despite containing pretty conventional themes and we decided that it felt a bit more true to the "female gaze," which was great to see. i'm so excited to see where they go :)

i don't love ador as a company (that gaslighty statement is still sooooo crazy to me) so i don't really like talking about new jeans very much despite enjoying their music. i'm not sure who paid everyone to say that hype boy is their best song when attention is right there. the girls who get it get it! very solid debut mini. i hope ador is more careful with their concept in the future- ditto seems like a good start. i will be keeping an eye out for them moving forward!

tan dududu - somehow the last hope for men??? it's toooo good even if the bsides are pretty weak. dudududu isnt really a song you listen to and get hooked in my opinion, but it's an instant classic that'll never get old (in part because it takes a lot of inspiration from more classic american (read: black) rnb sounds). this group also has an older average age, which i love to see. their most recent mini, walking on the moon, was also very good, it gives got7/full8loom to me. my two wishes for them are 1.) to define their sound better and 2.) better album art.

fifty fifty's higher was like a sleeper agent and i found myself enjoying it more than anticipated at each listen. i LOVE their main vocal's tone. i need them to never ever ever do a song like log in ever ever again.

i was so impressed with yena! i wasnt an izone stan but i watched her debut on a whim and it really got me (it didn't hurt that her concept felt like the culmination of my "kpop-punk" predictions nearly two years ago at this point). her whole album is incredibly solid, and yueha did a fantastic job figuring out a unique concept that suits her. while i wasn't a fan of smartphone, i will definitely checking out her music!

throwbacks:

i won't say much here, even though it should technically be the biggest section. pado and eat my love (2021) were two of my biggest songs this year, they actually fit right in with new jeans and fifty fifty in my opinion. this year was the year i finally opened my eyes to taemin- i've always liked him, but for a few months in there criminal and advice were on repeatt. i also love the thirsty instrumental!

wayv...what to say about wayv. i'm truly hoping for the best from them but they worry me sometimes. i don't really trust their company to continue to pour into them unfortunately. but hey, at least i still have moonwalk! moonwalk is one of my favorite bg songs of all time and it's likely to stay that way for awhile :)

up next: playlists that defined my year!

#vyvesvi's year #onlyoneof #lexie liu #ive #tripleS #fifty fifty #t.a.n #tan #choi yena #song recs

[incomprehensiblelentils]

Bering and Wells Reunion Panel Transcription (4/17/2021)

This is from the ClexaCon Virtual panel with Joanne Kelly and Jaime Murray, with Dana Piccoli as moderator and Mark as ASL interpreter. I spent around six hours on this and there were really only a couple of brief bits I couldn’t make out - I tried to make this as thorough as possible even though the audio quality was iffy at points and there was a lot of overlapping talking. I also included all of the ums and uhs in the interest of thoroughness so sorry if that gets annoying. Let me know if I’ve gotten any screen names wrong.

Content notes: brief discussion of on-set injury, allusions to homophobia from higher-ups, discussions of hostile workplace experiences due to gender, brief discussion of the ovarian cancer subplot, Jo misgenders Mark once and then corrects herself.

Dana: And I think we are live! Hey everyone, welcome, welcome, this is day 2 of ClexaCon Virtual. So glad to be here with you for our Warehouse 13 Bering and Wells panel. What a great video! I believe that was Mal that made that. Fantastic work! [They showed a fanvid prior to the panel on the stream.] Uh, I want to take a second to introduce Mark, our ASL interpreter. Thank you so much for being here, Mark. Well, I know that the Bering and Wells fandom is still going strong and, um, I’m so excited to be able to present this panel to you today, so without further ado, let’s get started. It’s been seven years since we last embarked on the wonderfully quirky world of Warehouse 13 and we’re thrilled to have not one, but two of the show’s stars here with us, Bering and Wells in the flesh, please welcome Joanne and Jaime!

Jo: [laughs] Hi!

Jaime: Hi guys!

Dana: Hi!

Jaime: Oh my goodness, I was tearing up watching that, that was just...

Dana: It’s so good, right?

Jaime: And Mal made it, of course, I mean just, the fandom is so amazing, that we have a fan who made that amazing movie, and I’m sitting here... were you tearing up, Jo?

Jo: Yeah... [laughs]

Dana: She’s like, I can’t talk right now!

Jaime: Aww.

Jo: Yeah, it’s, you know, it’s like, it’s like a, a wormhole, it’s like going in a wormhole, really, to see that put together in that way, and just, that somebody did that is, um, crazy, wonderful.

Jaime: Yeah.

Dana: When, when we are in person in, uh, in, in Las Vegas, I’m often backstage with the actors as they see these videos maybe f- for the first time, and your reaction is the reaction that everyone has. They all get teary, they all just like hold onto each other, it’s, it’s really sweet and wonderful.

Jaime: Oh my gosh, I, I wish I could go back in time and like, we film more of it and, and enjoy it more, because sometimes when you’re in it, you’re just going so fast and, you know, you don't even realize the meaning of, of, of what you’ve created until you see it through the eyes of the fans and what it meant to them, and then I, I wish I could lean into it more. [laughs]

Dana: Well, we’re certainly gonna get into that. [laughs]

Jaime: [laughs]

Dana: Alright, well, let’s kick things off! Uh, as of a we- a week ago, I was prepping to interview Jaime, and then suddenly the heavens opened up, and what was one became two. [they laugh] Joanne joined the party! How did this crazy kismet even happen?

Jo: I’m trying this new thing where I say yes. [laughs]

Jaime: [laughs] Well done!

Jo: Thanks. [laughs] Um, it’s a new thing I’m trying. Um, Jaime texted me and she’s like, I'm doing this thing, we had talked about it, I think the last panel we did at Dragon*Con maybe?

Jaime: Yeah.

Dana: 2018.

Jo: And she had told me about ClexaCon and I was like, that, because I really enjoyed that panel that we did, it felt, you know, I think one of the reasons, and I think that the work between us is, and I look at it now and I’m so touched because I, and I also just think the world of Jaime as an actor, I think she’s brilliant and her choices are so clean and-

Jaime: Ditto.

Jo: -full heart forward, like I, I’ve always been a fan of what she bought, and just personally on set I was in a, it was a very male environment, and Jaime came and I was like, oh my god, like, someone to talk to, someone who cared, and she took care of me, like she really - so I just, I don’t know, when she reached out I was like, of course, yes, yes.

Dana: Like it’s in two days, sure! Let’s, let’s go!

Jaime: We missed each other as well. It was also an opportunity to hang out, like, we missed each other!

Jo: Yeah.

Jaime: We had this flurry of texts of like, checking in with each other, and what-

Jo: What have you been watching? what are you doing?

Jaime: Yeah.

Jo: Where are you?

Jaime: Yeah, so.

Dana: Oh, that’s amazing! So you’ve maintained this really wonderful friendship since, since the end of the show.

Jo: Yeah, I mean, actors are nomads and we’re very sort of, I feel, Jaime, I don’t know if you feel the same way, but it’s like those friends that you have that you don’t see forever, but when you see them you fall back into a rhythm automatically, there’s never, it doesn’t feel push or pulled, it’s just, it’s just nice.

Jaime: I, I think also for us, um, I think there’s a sisterhood as well, you know, I think that, you know, Jo just touched on it. You know, often in a cast there’s, um, it’s changing and it’s evolving all the time, and this was seven years ago, and it was seven years before that, it started, so like fourteen years ago-

Jo: Oh my god. [laughs]

Jaime: But there’s, ninety nine point five percent of the people behind the camera are men, the majority of the parts are often men, or it’s, it’s male and women, but the men have the more heroic bits and the funnier lines and you’re kind of struggling with that and you’re glad to be working so you’re kind of making good and making it okay, but you’re kind of like, you know, getting feels, and, you know, as, as Joanne said, it, you know, you’re laughing at dick jokes when you don’t find them particularly funny- [all laugh]

Jo: Like wow! Oh! [sarcastic thumbs up]

Jaime: And so when I came in, I saw Jo - I had been on shows, like I was on a show called Hustle, I was the only girl in the cast, and then everybody, uh, behind the camera was, um, all men. Um, on Warehouse we had one female writer on some episodes, um, we never had a fe- uh, um, a female director on anything or a producer-

Jo: No we had, we had Tawn- [presumably about to mention Tawnia McKiernan] we had two fem- we had a few, but we were-

Jaime: No- no- not on my, not on my episodes.

Jo: Oh, on yours.

Jaime: But it was just like, I came in and I saw Jo and I understood, and I knew what her experience was, and so there was this kind of kinhood, this sisterhood, and I think it, it’s not a male-female thing, but it’s, it’s a minority and majority thing. When you’re in a minority and the majority is doing something, you either have to get down with the program and go with that flow, or you get kind of fe- you feel like you’re difficult or annoying to everybody. And I kind of came in and I just was like, oh like, I get it, it’s hard, and I’m gonna give this woman, like, my, my energy and my love and, so it was-

Dana: So you were like I- you looked at Joanne and you were like, that is someone I can smash the patriarchy with!

Jaime: [laughs] Yes.

Dana: Let’s do it!

Jo: No, I read a lot of books [laughs] when we weren’t filming. I would like get on my chair and just be like this. [mimes holding book in front of face]

Jaime: Yes!

Jo: [laughs] Like I’m doing this now, I’ll see you guys when we’re rolling again, you know, it was really- and, but also, you know, it’s so, and it is changing, it’s changing and evolving in a really, um, at a wonderful rate, but also I would get so excited to be in a scene with another woman that wasn’t about a man, you know, or that we weren’t- uh, it was just so nice to have girl-girl scenes. That never happens, it hardly ever happens. Like, the majority of scenes that you do are about love or acrimony with men, um, and it’s so nice to have a relationship with a woman that’s, um, sort of reflective of how relationships with women actually are. Um, I’ve been, I shifted into writing because of frustration with just not reading stories that I felt were reflective of our, my experience as a woman, you know, that sort of, um, and I think that Bering and Wells sort of in, I mean, that’s when that ship turned for me, as well.

Dana: Well ho- hold that thought, we are, we are going there!

Jaime: And, and also because it wasn’t, it actually wasn’t written. Um, there was, in a way we were able to steer that ship, and then we’d already kind of given a road map for the way this energy was, so it wasn’t written in the conventional way. Like, even like, when a, when a, when a, when a woman will have a love interest it’s, it’s often written by men and it’s o- often in a conventional kind of way, whereas our relationship, at a time before people were even kind of, uh, exploring this that much, um, now, now much more, thank god, it’s more, more inclusive. But it was more kind of, um, uh, complicated than, than maybe would’ve been written about, so it was given more nuance, yeah.

Jo: You mean like, do you mean like actual relationships? [laughs]

Jaime: You what? Say that again?

Jo: Like actual relationships! [laughs]

Jaime: Yeah, yeah, yeah. [laughs]

Jo: You know, that don’t come in and you have a “where they start and where they finish,” like that we, oh, we know where they’re gonna end up so we’ll just gonna-

Dana: Right, right.

Jo: -move them around like chess pieces. It was actually an energy that Jaime and I created, and the story sort of evolved from that energy as - it was inside out as opposed to outside in, which I think made it a real relationship.

Dana: Well, so my friend Dorthy Snarker, she once said that HG and Myka’s storyline has been main text pretending to be subtext, which feels really apt to me.

Jaime: Yeah!

Dana: So at what point-

Jo: Very smart.

Dana: What point in the show did it really click with the two of you that this connection that HG and Myka shared was something much deeper?

Jo: Jaime just had, Jaime, you just explained this very coolly in, in, um-

Jaime: One of our chats.

Jo: Yeah, yeah. Why don’t you speak to this, why don’t you take this?

Jaime: Well, well, first of all like I said, there was like kind of this sisterhood when I came in and, um, Jo, uh, Jo wasn’t like, like it wasn’t like I came in and she was like hey let’s be friends. I came in and she was behind a book, and she wasn’t particularly accessible, and she wasn’t, like, she was a bit grumpy, you know. And so I was like, my personality type is like, how do I crack this nut? [laughs] How do I make this woman love me? [laughs] This is the most unaccessible woman-

Dana: That explai- Jaime that explains a lot! [laughs]

Jaime: This is the most unaccessible women on the set, the mo- the most unaccessible human to me. How do I make her fall in love with me? So it’s like partly my narcissism-

Jo: [laughs] Jaime Murray in a nutshell, everyone!

Jaime: -and my ego, um, so I was kind of winning her over off set, and then, you know, as she was opening up to me and, you know, she was kind of telling me about some of the challenges she was coming up against, I was like, yeah, that’s, that’s not fair, and yeah, I completely get that, you know. So we were kind of like having that kind of journey, I’m like, like, I’m like, oh no, you’re not crazy, everyone else is crazy! Like, let’s smash the patriarchy!

Jo: [laughs]

Jaime: And then, and then unfortunately, um, Jo hurt herself really badly doing a stunt, and, um, you know, there’s no time to hurt yourself on a film set, and there’s no time to take time and, and kind of heal your back or anything like that. So she was taking some pretty strong painkillers and she was working through it, and I had spinal surgery, I, I know what back pain is like, it’s, it’s the worst. I mean, it’s literally everything, you know, you feel like an old person. And so I was, um, taking care of her as best as I could, and we had the scene, and it was the scene in the street where, I, I think it's the first scene that, where I get the grappler out-

Dana: Oh, the grappler.

Jaime: And I shoot it into the air and I put my arm around her and we shoot up-

Dana: We’re very familiar with this scene. [laughs]

Jo: [doing grappler motion] [laughs]

Jaime: Yeah, so, so it’s like, it had like, physicality, and also it was a really, um, we always laugh that Toronto has about five seasons in one day, so you’ll like start shooting the scene and then suddenly there’s a, like a snowstorm! Bright sunshine!

Jo: Then it’s sunny! Then rain!

Jaime: Torrential rain, wind - and it was one of those, and we had to move to a new location, we were really behind in the day, and she had this one pice of hair that kept on like blowing in her face-

Dana: Oh, I know where this is going, Jaime. [laughs]

Jaime: And she was, the thing was, she was like, also these painkillers-

Jo: I was like, I can’t even see with the hair, I was like, I was hopped up on so many painkillers...

Jaime: Yeah, she was hopped up, she was like, I can’t even get my hair out of the way!

Jo: I think I actually called that day, it was the only time where I was like, guys I can’t work anymore, like, I literally, the doctor was like, you need to rest and I’m like I can’t. And the first AD came over to me and he was like, you’re gonna have to say stop, because nobody is gonna stop the filming, and I didn't wanna do that because you don't want to be the person that, that loses the day.

Jaime: That’s part of it, isn’t it? You’re, you can’t be, you can’t have any vulnerability or be a woman in any way, any shape or form on a film set. [laughs]

Jo: Yeah.

Jaime: So I knew in the morning, and so I’d been like trying to take care of her and had, had like this experience of having spinal surgery, so I was like caretaking as much, as best as I could. I’m a Cancerian as well, so it’s in my nature.

Dana: Sure.

Jaime: And, um, and we‘re in this scene and we’d had to kind of cut so many times, and this hair just kind of-

Jo: [laughs]

Jaime: -came over her face like this, and I just lent forward and on my line I just moved the hair out of her, um, face and put it back, and there was this, this look of genuine-

Jo: [laughs]

Jaime: -surprise and shock in her face because we hadn’t rehearsed it and, and, and you know, we rehearse everything, and then, and then Joanne, what did you say that you-

Jo: I said I had this feeling, you know, when she did that I was like, oooh, um, what’s happening? [laughs]

Dana: [laughs]

Jaime: What are these feelings I’m having?

Jo: I did not expect all these feelings.

Jaime: Someone is being nice to me in this hostile world!

Jo: I was like this is so, it was like, pink light came up and there was glitter all of a sudden, and a unicorn in the back and, um-

Dana: Yep.

Jaime: They were really good drugs, you can’t, they’re illegal now, you can’t get them now cause they’re illegal now, but-

Jo: [laughs] No, no! But that point I’d say that the storyline really developed from inside out, you know outside, it was actually something, she did something that made me respond in a certain way, and as an actor you have those openings and you can choose to go, you either close them, like if, if I don’t like an actor [laughs] and someone does something, I might go like, no, I don’t wanna gonna go with that- [laughs]

Jaime: Yeah.

Jo: -and change the track, but because I love Jaime and, and that happened, I sort of just was like I’m gonna go with this energy and see where it leads. And so it was a very organic, and it took me completely, and I had not expected it, it took me completely- but I liked it, so I started, then that...

Dana: So you are the reason, you two are the captains of the Bering and Wells ship. You made that happen!

Jaime: Yeah.

Jo: Yeah.

Jaime: But also I felt like HG, you know, she came from an era when the suffragette movement was, um, happening, and she was active in that, however, she had to write under her brother’s name, um-

Dana: Yeah.

Jaime: And as a woman, you know, she couldn’t be even open about her brilliance and she had to let her dimwitted brother take credit for it, and then she was frozen. So she was an activist before her time and suddenly she’s waking up in a world where there’s this dynamic woman, gun-toating woman kind of using her wits and brainpower and like, god bless Pete [laughs] but he was a little bit, like, she was the brains and the brilliance, and often he would be kind of like, you know, taking the credit for it or like having the girls flirt with him, and I just felt like if I grow up, if I woke up from, you know, a dream of, of being a suffragette and I woke up and I saw Myka, surely I would be more fascinated-

Jo: [laughs]

Jaime: -by this woman who is everything that I had ever wished to be, so I started playing off this fascina- I was fascinated by her. Pete was just as stupid as my brother. [laughs]

Jo: And I do have to say, I do have to give the showrunner Jack Kenny credit here too, because Jack really let us run with it and started to lean into it, and the writers were all very accepting, so it was, and, and Jack particularly, you know, we had a lot, we had our creative differences, but he was really generous in this storyline with us, like I think, he gave us a lot of rope to play with-

Jaime: Yeah.

Jo: And it was interesting rope, because they never-

Dana: It was attached to a grappling hook is what it was!

Jo: Yeah, and they never, like what i really loved about it is the never like put it on the nose it was always very elliptical, we always had room to breathe, um-

Jaime: Well partly I don’t, I think that it was, it was, it’s funny to talk about it now because it doesn't seem that long a- long ago, but it-

Jo: But it was so long ago...

Jaime: -it was unusual-

Jo: For that.

Jaime: -for the genre and for the audience that we were going for to, to actually go there, um,

Dana: Yeah. Seven years ago, you’re absolutely right. Things have changed tremendously, and especially in the last five years.

Jo: Yeah, yeah.

Jaime: And, but I think that Jack and Drew, they were kind of excited about what we were doing, but actually, you know, we weren't sure what the network would say or what the advertisers might think, and so, um, you know, I’m really proud of the work that we were able to, to say-

Jo: Yeah.

Jaime: You know, being the first in some ways.

Jo: It’s interesting, you know, like Jaime texted me, she sent me this video and I was looking at it and I was just so proud-

Jaime: I sent you Mal’s video, I sent you one of Mal’s other videos.

Jo: She’s wonderful, so like shoutout to her!

Jaime: Yeah

Jo: That’s, yeah, it was gorgeous, and I was really proud of the work, you know, after, it’s, you create these things in a bubble and, I haven’t se- I haven’t seen Warehouse, I never watched it. [laughs] so I’m always very surprised to see these videos, it feels like I’m cracking open-

Jaime: And I want to say as well, you know, when we say we haven’t down and watched all the shows, or you know, in some peoples’ cases, many of the shows, you know, it’s, it’s not because we don’t love the show and we don't love the work that everyone else has done, done, it’s actually a lot of actors don't watch, um, their own work. It’s, if, if you’ve ever heard your own voice on an answer phone or something and you're like, who’s that? Oh my god, that’s me!

Dana: [laughs]

Jaime: Like, so when you see yourself on TV or screen it’s like that on crack, it’s absolutely terrifying, and, and you’re like oh my god, like behind a pillow, like-

Jo: Filled with self loathing and despair. [laughs]

Jaime: Yes.

Dana: That’s okay.

Jaime: Which is a work in progress, I’m trying to deal with that now.

Dana: Well, when, at what point did you realize that queer people were actually starting to flock to the show to support this direction with these characters?

Jaime: We, we didn't know, we didn’t know-

Dana: No?

Jaime: Well, we, um, I, um, Jo’s not on social media so I don’t know when she knew, other than maybe when I told her. I saw replies on twitter-

Jo: Comic Con.

Dana: Somebody didn’t like hire a plane and like, around the area with like, a Bering and Wells forever…?

Jo: I, I remember, I remember going to Comic Con, for me because that’s’ when I had the fan interaction, um, because I wasn’t on Twitter-

Jaime: Yeah, there were fans that told us.

Jo: And, and, uh, a lot of the women, I remember being asked some very specific questions during panels, and, you know, there's a lot of guys who like to talk at those panel so I didn’t get to talk a lot but I made it quite, I, I made it quite clear about how important that storyline was to me and it, it, I realized very quickly that it was important to a lot more women than me. I didn’t really realize, too, that storytelling wasn’t represented in that way, at that point, you know. I didn’t feel that. I didn’t feel like that was a groundbreaking choice, to choose to be attracted to a woman in a scene to me is life, it’s how I live my life, I, I’m you know, I don’t have those, I’m not in a box [laughs] and it so when I realized, it was a eye-opening moment. I’m like, I’m like, wait, wait, this is, this is something new that’s not being done?

Dana: You guys were kind of on, you were like right here [miming going up a hill or mountain] and then shortly after Warehouse, it started going like [woosh noise of going down the other side of the hill] and this wave of representation started happening.

Jaime: Well, ev- even in Warehouse, there was an openly gay character in, in Warehouse.

Dana: Right, yes!

Jo: Yeah, yeah, there was Aaron.

Jaime: But it’s been, it’s been incredibly, um, powerful for, for, for, for me, um, you know, I I, think that a lot of people, some people are like oh my god, you know, I wish I could go back to my childhood or my teenage years, I, you could not pay me anything for, I would not go back to my teenage years for love or money. It was, it was a incredibly painful time for me, um, and not a particularly happy time for me, and, um, you know, just awkwardness, you know, all the stuff that, you know, all the stuff people feel in their teens, all the bad stuff I felt in my teens, so when I’ve spoken to people at conventions, um, and they've’ spoken to me about, um, Warehouse having, and our relationship in Warehouse having a positive effect for them in their teen, in their painful teenage years, it’s, it, it, it can bring me to tears, because i- if I could have imagined having kind of that, some kind of impact when I’d been a teenager maybe I wouldn't have been so miserable, but, um, I’m really humbled by it. it’s really lovely.

Dana: Yeah, you, you most certainly have had a tremendous impact on a lot of peoples’ lives and I’m so glad that you are able to take that and keep it in your heart.

Jaime: Yeah.

Dana: Speaking of this kind of sea change of the last few years, do you think that if Warehouse had been airing now that things might have ended differently? Do you think that maybe that subtext really would have been pulled much more into main text?

Jaime: You’d know better, Jo.

Jo: I...don’t know the answer to that question, um, perhaps, actually, absolutely! It’s twenty twenty-

Jaime: If we were writing it, maybe.

Jo: I mean, that’s what I’m trying to do. [laughs] Um, yeah, I think so. Maybe we would have been able to lean more into that storyline, um-

Jaime: Maybe we would’ve had a, be a stronger voice in shaping the narrative there.

Jo: It, yeah, I mean, Jack was, Jack was great about it, but it, it was a different, it was a different era. I think now is, is really a beautiful time for storytelling in the sense that it is really becoming so much more inclusive and we have representation, which, I mean, seeing ourselves represented in stories is how we understand ourselves in the world, and that’s, it’s so important, you know, it’s so important where we’re going, um, and I wish there could have been more of that in Warehouse, but I’m glad there was what there was.

Dana: Yeah.

Jaime: I, I, I also think that, um, you know, it’s changed so much in just such a short space of time, but particularly in the last couple of years, like, women were always, um, portrayed like, like, women always had to be perfect and kind of cute, and, you know, there had to be kind of something attractive or charming about them at all times, you know, and so we always had to put a bow on a woman to make her acceptable. And one of the things that I’m really loving is, you know, that women can be flawed and they can still, you can still love them and, you know, one of the things that always stun- stunned me is that I’ve been so welcomed into a community of kind, inclusive, um, you know, powerful activist, um, women, uh, um, and I’m like, why do these amazing women even like my characters when I’ve played such, um, a bad character, and it’s like-

Dana: But, but we love that! Queer women love a villain!

Jaime: Well, it’s like, flawed characters, and it’s like, and then recently I watched this show called, um, I hate Suzie Pickles [actual title of show: I Hate Suzie], um, there’s a show called, um, uh, I May Destroy You. They’re British shows, actually, both are.

Dana: Oh, yeah, it’s so good.

Jaime: And they, these are complex, um, women who make bad choices, and they self sabotage and they do things that are kind of frowned upon in society, and yet I love them, these women, and it’s like, if I can love these women for all their flaws, then maybe I'm okay too. And I think that we, we have to allow women to be flawed and lovable instead of just being cute little heroines that kind of support men at all times. I mean, it’s changed so much, that’s kind of, like the old, the old order of what it used to be, like, but yeah, it’s exciting.

Dana: That happe- That was what was written in my yearbook! Just, Dana Piccoli, flawed but lovable.

Jaime: Ah! [laughs]

Dana: So I totally, I totally can appreciate that.

Jaime: Was it that? Was it- that would be the best!

Dana: [laughs] I love that.

Jaime: Flawed and lovable, not but.

Dana: Oh yeah, yes, flawed and lovable, sorry, sorry. That’s, that’s what, that’s where I went wrong in the yearbook.

Jaime: Exactly.

Dana: Uh, J- Jaime. A lot has been made of this, the apples scene.

Jaime: Yes.

Dana: Do you think I smell apples is basically saying “I love you”? Were you, what do you think that Helena was trying to express at that time?

Jaime: I, I, I think that it was, um, a sense of, uh, acceptance, and, um, and, and, and, and, and love, I mean, uh, because Helena had always been such a, kind of a troubled character in so many ways and she had kind of, um, these struggles and this darkness and these mental health issues and I think that “I smell apples” was a, a, a wa- wa- was, she, she’d kind of come to the light, you know, she, she had, had kind of accepted herself, and it was such an altruistic act of love, she was sacrificing herself in order to save the others, that it was true love, like she’d overcome the darkness. So it was, uh, I, I, I, I, love that, uh, moment, yeah, that kind of-

Jo: I know we wanted, uh, one of the most beautiful definitions of love onscreen is recognition of your soul in someone else.

Dana: Mhmm.

Jo: That’s really what happens, and I thought that when Jaime did that, there was a very beautiful, I mean it’s sort of like Romeo and Juliet. You see this moment of, and we talked about it earlier, that energy, that to me is that. what that is-

Jaime: Yes.

Jo: -the scene is, “I smell apples.” It’s these two people who see each other in each other and are profoundly connected, whether, in whatever way that it is, it’s just a profound connection, you know, and so often we find boxes to put these connections in, you know, as humans, we want to make sense, we want to make logic of them, you know, which is, I think, um, why storytelling suffers in the representation, because you want to define what a thing is and kind of, um, the most beautiful things about some of the most special relationships is they, they're beyond what you can say they are, they’re beyond categorization, they are, you know...

Jaime: I, I, I definitely think that, although it wasn’t written in that way, I mean, if you actually go back and look at the footage, I’m saying “I love you” to, uh, uh, HG is saying “I love you” to Myka and Myka is is let-

Jo: I only think that’s what she was saying.

Jaime: -letting, letting it land.

Dana: Confirmation, folks! Confirmation, um, everyone!

Jo: In here. [points to head]

Dana: Write it in your vows, write it now in your vows!

Jo: Dana, you’re funny! [laughs]

Dana: Thank you!

Jaime: But wh- when, when did I come back and I was like, married to, what-

Dana: You, you weren't married, you were with a gentleman, and he had a, a young child and-

Jaime: And he was a bit of a drip as well!

Jo: And the house was very suburban, that’s all I remember was, I like walked into this house and I was like-

Jaime: That was, was that, I don’t really know the chronological, um, ordering, but like, I had like a ponytail, and I had a, possibly-

Jo: You were probably like driving a minivan.

Dana: You were teaching, you were teaching, weren’t you?

Jaime: Cause wasn’t I [indecipherable]

Jo: It’s okay, Jaime, I [indecipherable]

Dana: You were like in Phoenix or something.

Jaime: Yeah so, so what was that, after a bit I, so like “I smell apples” was the ending of my character, right? So like that, was that after a bit-

Dana: Right, and then you got rev- you were brought back-

Jaime: Right.

Dana: And then you kind of disappeared for a bit.

Jaime: Yeah, yeah, yeah.

Dana: Yes. Yeah, um-

Jaime: Yeah.

Dana: The, um, the, the, uh, the fans [laughs] were, um, confused by that, were like what?

Jaime: I d- I’m confused, I’m confused! [laughs]

Jo: Not just the fans, not just the fans.

Jaime: Well, I actually, um, I, I, I really want to go back and see that scene, um, I, I feel like you came to, I don’t, I was living in like suburbia-

Dana: Mhm.

Jaime: And, and didn’t you come to-

Jo: I don't remember.

Jaime: -the house and I, I think you came to-

Jo: I remember that horrible house though, because it was like, it… [makes disgusted face]

Jaime: It was so weird and I was like hello, I’m kind of like a completely different woman!

Jo: It was like very Stepford, I like, I walked in and, I don’t know why Myka was so accepting, I would’ve taken a baseball bat to the house, gonna be like, we’re leaving!

Jaime: So, so, so, so, I, so I, Jack, so Jack, Jack-

Jo: Get out of here, you drank the Kool Aid!

Jaime: I remember Jack was there and I was like, um, uh, oh, like this, like, like this doesn't work because of this and this doesn’t work because of that, and I was having a little, kind of like a creative difference with him, and, and he left for the day, he left for the day, and I really want to go back and see that s- that, that scene, because I remember I was asking him if I could, yeah, I know it’s, it says this but could I play it like this? And I do- I remember he didn’t want me to for the storyline, but I remember he left. [laughs] So I’d love to go back and see, I, I remember think- feeling like I was quite naughty, that I actually got away with it, but, uh-

Dana: Oh, I am loving all the subversive shit that was happening behind the scenes. [laughs]

Jaime: Yeah. [laughs]

Jo: Do you remember the park bench as well? Remember that scene, it was-

Jaime: Oh, yeah, a bench.

Jo: Wasn’t that a bench?

Jaime: Oh, that was a love scene, that was a love scene.

Jo: That was a, yeah, we really went for that one. [all laugh]

Jo: Everyone was like, what? And I’m like, well, we’re doing it. Might as well!

Jaime: [laughs] And we’re in like, Toronto, and everyone behind the camera, like, they’re very blokey, and it’s not in the script, and then they're like, “oh I didn’t, they’re, they’re, oh I didn’t see that coming!” [laughs]

Jo: They were like, what are you guys doing? We’re like, we’ll figure it out! [laughing]

Jaime: Exactly! We’re just doing our own thing. [laughs]

Dana: Oh, a little, a little mutiny, a little bit! [laughs] Well we, we, we’ve ha- we’ve had such incredible conversation so far, and I have so many fan questions for you, and if we were onstage everyone would get to come up to the mic-

Jaime: Aw.

Dana: -and ask you questions, but I do have a bunch of questions that were sent in, um, so I do want to get to your fans, because your fans are so integral to keeping this like-

Jo: That’s why we’re here.

Dana: -story alive. Uh, let’s see here. Let’s kick it off. Alright, so wellsbering wants to know, what personality traits do you share with your characters?

Jaime: Well I think, I think that, um, I, uh, definitely always get cast as the baddie for whatever reason, but then I think that, um, really the quirky mess that I, I, I morphed into is basically me. [all laugh]

Jo: I like that answer, that’s great. Um, I, uh, am very A-type when it comes to certain things, and Myka very much, I’m very like, flowy, Myka wa- didn’t flow, but there are certain parts of my life where I’m not flowy around. My work is one of them, writing is another one. Um, and I’m very afraid of letting people down. I think that’s why I've been, I was te- telling a lot of the people that I was talking to today that, you know, the reason I didn’t do this a lot when the show was on, I couldn’t understa- i was like, why do people wanna meet me? They're gonna meet me and be disappointed.

Dana: Ohhhh.

Jo: Yeah.

Dana: I think everyone thinks that though, I think that’s very common.

Jo: I think tha- yeah, I think that’s the human condition, right?

Dana: Yes.

Jo: Um, but, but I think Myka and I share that sort of reserve, you know, that thing where you’re like I don’t, no, don’t get too close. I’m like a Monet, stay back. [laughs]

Jaime: And I, I think that was part of the chemistry as well, it’s like, you have that kind of like, you know, protectio- protective-

Jo: Yeah.

Jaime: -kind of like, edge. And so it’s like, if, I think that i- in a way, the gift that we had by it not being written for us is, if had been written we would’ve, the characters would’ve made each other, um, accessible to each other far too quickly. It was like the slow burn of, Myka could be quite prickly, and my character was completely messed up so it was kind of like, this kind of like energy between them where they were kind of like, you know, like working each other out, feeling each other out-

Jo: Is there? Is there an energy there?

Jaime: And then the laughs were well earned, and the smiles, and the deciding to work together was well earned. There was a, a lot of suspicion around each other, and when they opened up or they kind of let their guard down, it was hard earned, and and it was like, you know, something you would wanna rejoice at.

Jo: Yeah, aw, I love that.

Dana: Um, okay, so this is from mayberrycosplay, uh, you may remember mayberrycosplay, I believe one of them dressed as HG at a con, uh-

Jaime: Oh!

Dana: -but they wondered-

Jaime: I’ve seen a few HGs.

Dana: You’ve seen a few HGs.

Jaime: [laughs]

Dana: This is for Jo about, uh, Myka’s experience with ovarian cancer and, uh, like, how the awareness of this silent killer of women, like how that storyline, what that storyline meant to you and how it felt to portray that?

Jo: I was really nervous about that storyline, you know, anything that has affected people and their families and, and it’s always, I, you know, difficult territory to walk as an actor, especially in a show like Warehouse where there's so much happening on such a grand level that I’m like, are they going to pay attention to this? Are they going to really honor a storyline like this? was my concern, you know, like very often things like that are added like, uh, it’s like putting a robot arm on a story, and you're like oh, and by the way, there’s ovarian cancer! And so I was really, you know, concerned about showing up for that and, and, and and serving it in a way that people understood and, and could identify with that, you know, it’s such a catharsis, that’s what I think it’s supposed to be. Um, so it was, uh, I, the fans told me I pulled it off, that’s the only way that I know.

Dana: Well it meant a tremendous amount to, to mayberrycosplay and so that’s why they, they sent that in because it, it really affected them because of their own personal-

Jo: Yeah.

Dana: -you know, family journeys and such.

Jo: Well I’m so, so, thank you, I mean, I’m still wondering, you know, I worked really hard to make sure that was in there. We’ve all lost somebody to cancer, we all know what that’s like, we all know- I mean, I mean, I certainly have, to feel a lump and be like [does the Home Alone face] you know. I have two friends right now who are going through it, so I try to honor it in the best way. I- it’s one of the things that makes me want to be an actor, uh, that I think is so special about it is that you get to tell stories that people, it’s a group catharsis, you know, so I’m glad that, glad they think I, the only thing that, if they think I sh- I showed up then... [laughs] yes, good, good, good.

Dana: Um, let’s see here, cloxy813 wants to know what was your favorite, favorite scene to film together?

Jo: Probably the heaving bosoms scene. I was excited for the heaving bosoms scene, which was all like [mimes placing gun to forehead] kill me!

Jaime: [laughs]

Dana: Hashtag heaving bosoms scene.

Jo: It was so hot that day, I remember my tank top-

Jaime: So hot, oh my god, it was like-

Jo: It was like, my tank top, I would like look down and find, I was like, my boobs are out, um. [laughs] I just saw him sign, them sign, um.

Jaime: We were by that lake, I just wanted to dive in there. It was-

Jo: Yeah, yeah, yeah, but I loved, I loved, I loved doing that scene, I have to say. And, and the chess scene, I remember that.

Jaime: Oh yeah.

Jo: I remember that very well. Um, I really enjoyed my work with Jaime because I, as I said, you know, there’s not a lot of scenes that are two women just being women. It was so, it was like a breath of fresh air and so I, I wasn't, I was, uh, you know, a lot of the times Myka was there to witness Pete-

Jaime: Or, or, or to laugh, or to kind of laugh and sigh at his super funny jokes.

Jo: The funny jokes... um, so, so it was so nice to not ha- be in a scene from that point of view. So often women are are written as accessories-

Jaime: Yeah.

Jo: You know, and, and this was a storyline where I felt like she was a whole person and I could be like a whole, real person, I didn't have to be like-

Jaime: I, I, I, I, I was on a show called Hustle and there was a character on it called Danny Blue, and he had all the funny lines, and one of the refrains that I had was “oh Danny. Oh Danny,” where every time he said something cheeky or naughty or a joke I’d go “oh Danny,” and I remember just being so excited to get the job, but then after awhile like me saying “oh Danny” really wore thin, especially as off camera I feel like I was more witty! [laughs] In that space I was much more funny, but all the funny was written for him, and I was going “oh Danny.” So when I came in I really, I kind of, um, you know, I knew the frustration of playing the, kind of, you, you know-

Jo: Straight man.

Dana: The “oh Danny.”

Jo: -if you were playing, right, right, the brainiac, uptight brainiac, and Pete had all the funny lines, so obviously we were in a lot of scenes with the rest of the cast and keeping the story going, but I felt as though all the character stuff that we had as, as women came from the scenes when we were on our own, and obviously that first scene with the grappler, um, you know, was, it was kind of the first scene where I’d been playing kind of like a little, kind of kind of like sneaky little looks and curiosity and fascination with this woman-

Dana: Yeah, we noticed.

Jaime: And, but, but, I, but, it wasn’t until the grappler scene that I thought that, that i was starting to get this, kind of, this chemistry going, and then there was a scene, do you remember the scene where I didn’t know how to work a computer or open it, it was like a, I was like a monkey-

Jo: Yeah [laughs] yeah.

Jaime: I was like a, it was like, I didn’t know what this is, we were-

Dana: Well, I mean in, in f- in fairness you had been in bronze for a long time.

Jaime: -we were in like a stu- a student room, a student's room, it was-

Jo: Yeah, we were at the college, we were at U of T.

Jaime: And, and. and we’d, it was the first time we’d deci- you’d, you’d kind of begrudgingly decided that we could work together, and HG was kind of a little thrilled, and you were a bit begrudging and-

Jo: Yeah.

Jaime: There was all, we, we still had to, ‘cause like, in sci-fi there’s a lot of storyline and exposition and kind of fantastical stuff, which is super fun, but actually as actors you really get excited about the character stuff and there was always just this great character stuff whenever we were on our own with a scene-

Jo: Yeah.

Jaime: -um, because we didn’t have to worry so much about servicing all the other characters, we just serviced each other.

Dana: Well, you know, there are only two kinds of queer women. It is thrilling or begrudging, it’s one or the other. [all laugh]

Dana: They fit perfectly in there.

Jaime: I mean maybe that’s why it resonated so well, and maybe it was the reason it was so great, that it wasn’t written, because you had these two kind of like, kind of sli- slightly spiky kind of like flawed women, kind of like o- one, you know, one not particularly into the other at all, you know, so-

Jo: It was interesting, I still remember, I still remember receiving that energy and receiving that stuff and realizing, sort of plotting, cause I’m like, how long would it take Myka to figure this out?

Jaime: [laughs]

Jo: Seriously, I was like, cause, Joanne is not her,, I’m, you know, I’m wasn’t in the box that she, I always thought, Jack’s like, you’re exactly like that character, I’m nothing, I’m not- [laughs] I mean there’s a part of me that’s uptight but there's a part of me that’s most definitely not, so I was like how, and I really wanted to do the discovery of it within her, the like, this, the, this feeling started, and then her sort of, and M-Myka to me as a character as a whole was always somebody who was afraid, this is somebody who was always very scared of everything and presented themselves in this very [mimes acting stuffy and uptight] way because there was so much going on here [gestures to heart] and it was slow in the five seasons, I really wanted her to like, you know, relax and start laughing and not be so, and I was like, there’s a certain amount of wonder that was like-

Jaime: Endless wonder.

Jo: -ohhhh, ohhhhh, ohhhh, like you kind of see her, one of the things about that journey is you start to see her discover sort of herself and her own feeling surrounding that, which I thought was really special.

Jaime: And also you, um, you, you kind of ended up, you, you know, HG was kind of like a tricky character and she was always one step ahead, um for, that first season, but then when she started to fall apart, you were the one that kind of put her together, and then I felt like there was also this humor introduced, this lightness introduced to your character through the humor el- elements-

Jo: Yeah.

Jaime: -and the surprise, which was, um, really lovely for your character.

Jo: Yeah, I, I think for m- for me, you know, it was a decision I made like in season two that I k- she had to evolve and grow and sort of, um, I couldn’t, I was, I was, I was like, I can’t keep coming to work and putting a giant stick up my ass [laughs] like we’re doing, like I need just to like expand her and go towards her relaxing and really finding, I think for her the big thing was always finding connection, you know, this-

Dana: Sure.

Jo: -we, we see in the beginning of the show is, it’s very cut off, very isolated, very like, and I, she lost her partner, that was, when I read that script, immediately I was like, this is someone who’s so scared of losing people again that she’s never gonna let anyone else in, and that was sort of like my understanding of her. And when Jaime came on, it was such a great way to explore that, Myka opening, you know, as feelings developed, her opening, you know-

Dana: Well, that, the growth, the character journey that both of your, your characters went on, I think that is what makes the show still so enduring to fans, like why they feel so connected to it, because we do, we saw that journey, you know, both of you had your own journeys to go on and you somehow managed to cross, cross paths, and it may not have ended the way fans had wanted it to, but we still go so much out of it.

Jo: I’m so glad.

Dana: I wish it was endgame, but what can I do?

Jaime: We, we, we need a spinoff show for Jo and I, we, we need a spinoff show.

Dana: Okay, yes, the spinoff, okay! You need to talk about that because-

Jaime: Who do we need to talk to to make that happen?

Dana: I got in a lot of trouble on Twitter yesterday for not asking a spinoff question, uh, what, like, what would a spinoff look like between between HG and Myka?

Jo: I think it would be have, to be now, which we-

Dana: Yeah.

Jo: And we’d have to get her, there’s no ponytails in this story, there’s no suburbs, there’s no fucking ponytails, um, no-

Jaime: I won- I won- I wonder if, um, it could be now, but, or, I wonder if I, I had to come in for a mission and then I actually pulled you back into my time, that might be an interesting way to turn it on its head.

Dana: Ooh, Jaime Murray, there we go!

Jaime: If we both had to go back-

Dana: I love me some period.

Jaime: -into my time or you know what made me think that [she does the Jaime Murray hair flip™] what I-

Jo: [laughs]

Jaime: I saw that, I saw that ne- The Nevers-

Jo: I miss that hair flip!

Jaime: -the, the, the a- the adverts for The Nevers on HBO, and I’m like that is the HG Wells spinoff right there, and I was like super fucked that I wasn’t in that, and then I read that Joss Whedon was a consultant and I was like [inaudible] really bad, so, but, anyway I think that that’s what we should do. I, I’m also obsessed with that time period.

Jo: I mean, yeah, and also like it was real, yeah-

Jaime: It was the beginning of ps-

Jo: Yeah.

Jaime: -psychology, of like Tesla, of of like different thoughts, there was like, they were like spiritual, um, kind of scientists and atheism and there was all it this opportunity for change, which actually wasn’t taken, but it was actually, it’s super interesting right at the time, there was suffragettes-

Jo: Also a fish out of water for me would be so wacky, because I’m a fish out of water too, alright.

Dana: I’m curious if yo all saw the Saturday Night Live sketch the other, uh, last week with, uh, lesbian period drama-

Jaime: Oh!

Dana: -and how, how every lesbian, like anything that features lesbians now has to be- [laughs]

Jaime: Well have you e- have you ever-

Dana: -it’s like the Edwardian or, like the Edwardian times.

Jaime: Have you guys read Sarah Waters, do you know this?

Dana: Oh, of course!

Jaime: Like, so, and maybe that is actually what helped me get to HG Wells, but I loved those books when-

Dana: Oh, they’re so amazing.

Jaime: -I was growing up and I feel like we should make those o- we should remake one of those b- Jo, you’ve got to read those books, and then-

Jo: I’m writing it down! I’m taking notes!

Jaime: Oh, it’s amazing.

Dana: You two would be amazing in her most recent one.

Jaime: She writes these amazing Edwardian, Edwardian kind of wanton lust and then there’s like, like the vervain or whatever, that kind of drug that they used to take back then-

Jo: Opium?

Jaime: -so it’s like slightly, kind of like psychedelic, oh, it’s amazing, yeah, she’s amazing.

Dana: [laughs] Well, we unfortunately are out of time, and it’s been so much fun to talk to the two of you, and I, I love the love that you have for your characters, for your friendship, for the fans, uh, it’s, it’s so lovely to see, and thank you so much for making this work in your schedules, I know you’re both super busy doing your own projects, um, and I want to think Mark. Mark, you’re amazing, thank you so much for, for interpreting.

Jaime: Thank you, Mark!

Jo: Thank you, Mark!

Dana: Um, do you have anything you want to end with, to say to the, to the Bering lesbians out there?

Jaime: Well, first of all, I want to say that, um, if anyone sends me messages to, you know, pictures or anything that that Jo needs to see, I’ll make sure that Jo, Jo gets it, ‘cause she’s not on social media, and I’ll, I’ll share stuff with her so that she can kind of know the love from the community.

Dana: Yeah, great.

Jo: I think, um, I’m actually gonna try to put together a newsletter because I’m trying to get my shows made and I could use this community, you know, to help-

Dana: Oh, we will support you to the end! We will march off that cliff with you.

Jaime: I could help you make a Twitter account, just for our community.

Jo: I don’t wanna do Twitter, I wanna do a newsletter. [laughs] I don’t wanna, I don’t know how many characters are in it, but it’s not enough. [laughs]

Jaime: But Jo, Jo, you have to actually read some of the fanfiction. The fanfiction is epic.

Jo: I have a book that I got, somebody wrote a book-

Jaime: Unbelievable, oh my god.

Jo: -like a novel.

Jaime: They’re brilliant, these people are brilliant, like best fans ever.

Dana: There is some really incredible work out there.

Jaime: Well, do you want to-

Jo: I just wanted to say thank you to everyone, um, you know, I don’t do these very often, and just like, the outpouring of love, like just the connection, I really appreciate it, I’m so grateful, so thank you.

Jaime: Yeah, it’s such a beautiful community. I feel really proud to have been welcomed into it and, uh, very grateful.

Dana: Well, we’ll hope to see you another time, and thank you all who turned in to this panel. [Jaime blows kisses]

Jo: Thank you.

Jaime: Bye, guys.

Dana: Do you smell apples?

Jaime: Bye, Jo, I love you so much.

Jo: Do you smell apples? I love you too. [blows kiss] I’ll talk to you soon.

Jaime: Yes, I’ll see you later. Bye bye, darlings.

Jo: Bye.

#bering and wells #myka x hg #hg x myka #joanne kelly #jaime murray #warehouse 13 #clexacon #clexacon 2021 #myka bering #hg wells #helena wells #nerdsbians

[365days365movies]

January 22, 2021: The Secret Garden (1993)

I KNOW that I’ve read this book. Right?

You know that book that you were supposed to read in middle school, and supposedly did read, but then don’t remember...AT ALL? Like, 5th, 6th grade, especially. Let’s see, there’s Island of the Blue Dolphins (vaguely remember that one), Where the Red Fern Grows (ugh, dog books. They all end the same), From the Mixed-Up Files of Mrs. Basil E. Frankweiler (kind of remember that one), Anne of Green Gables (nope, completely gone), The Phantom Tollbooth (inhabits my head rent-free 24-7; RIP Norton Juster, he signed a collector’s edition for me once), A Wrinkle in Time (ditto), Bridge to Terabithia (which I read when I was 8, so...yikes), The Indian and the Cupboard, so on and so forth.

The Secret Garden is totally one of those, right?

Gonna be honest with you guys, I remember NOTHING about this story. But, it’s a fantasy movie, it’s a British classic, it’s been made into a few films...I feel like I owe it to me child self to try and remember this thing. And hey, maybe this movie’ll jog those memories a little, right?

Well, let’s do it! Let’s just jump in! I’m in the mood for some gardening! Hell, it’s the perfect day for it, given that it’s the first day of spring! So, let’s go! SPOILERS AHEAD!!!

Recap (1/2)

We start in an unexpected place: a desert. Apparently (and much to my surprise), this is India, the birthplace of Mary Lennox (Kate Maberly).

Mary is a 10-year-old English girl, unhappy with her life in India. Her father is always away, and her mother has parties, to which she’s never invited, and has never truly experienced love from them. She’s always angry, but can never cry, as she’s never learned how. But as unhappy as she is, she’s still greatly affected when a massive earthquake topples her home, and kills her parents. And with that, the orphaned Mary is set to England, where nobody is there to pick her up.

Until, of course, the late arrival of Mrs. Medlock (Maggie Smith), the head housekeeper of Mary’s uncle, Lord Craven. Mrs. Medlock is a harsh woman in her own right, and basically insults Mary RIGHT in front of her, and not even to her face. Jesus, this is a charming family, huh? They make their way to the expansive manor, where Mary also learns that her maternal aunt (and her mother’s twin sister) has died, leaving Craven bereft and broken.

The next morning, Mary gets a harsh awakening when she finds that she’s not going to get the pampering she’s been accustomed to for her entire life, nor is she likely to even meet her uncle at any point. It’s a massive change from India, that’s for sure. This is intensified by her exploration of the house, which she describes as dead, as if a spell was cast on it. And this place is indeed pretty spooky. Vast and expansive, yet empty and unused.

She stumbles upon her aunt’s room, identical to that of her late mother, and continues where wandering through the mansion. She hears someone crying, only to run into Mrs. Medlock, who tries to tell her that it’s only dogs that she heard, and hurriedly rushes her back to her room. Shortly afterwards, she meets Martha Sowerby (Laura Corssley), the kind young servant of Mrs. Medlock, and now the attendant for Mary herself.

Martha seems like a nice girl, but her first interaction with the stuck-up Mary goes poorly at first, with Martha’s very talkative mannerisms rubbing Mary the wrong way. But, after an argument, Mary acquiesces a bit, and Mary learns that her uncle will eventually want to speak with her. But when is...unknown.

One day, after learning about Martha’s younger brother Dickon, Mary is allowed to go outside to explore the grounds, and to find the garden. There, she finds a walled-in garden of ivy, which belonged to her late aunt that died 10 years prior. She learns this information from Ben Weatherstaff (Walter Sparrow), the gardener, who states that the only thing that gets in the garden now is a European robin (Erithacus rubecula). Which we had those here, but I still like American robins (Turdus migratorius).

As Mary tries to get information from the robin, a young man spies her talking to him, and runs away to a white horse. The next day, Martha gives Mary a jump rope, which she actually appreciates, once she learns how to use it. She goes out to the garden, where she meets the gardener and the robin again, and the robin has apparently decided to be friends with Mary, And so, I name this robin Christopher (a European robin), BECAUSE I CAN, DON’T @ ME

She again asks Christopher how to get into the Hundred-Acre Garden, and he takes her through the wall of the garden. However, she still cannot get past the gates, as there’s a lock needed. However, Mary goes back to the house and grabs it, as she’d previously discovered the key’s location. And so, she makes it into the garden.

Said garden is sadly mostly dead, but you can see the former splendor of the garden despite that. She makes her way through the dried plants, and finds a MASSIVE complex there. It was clearly quite the place ten years ago, and Mary agrees She even finds plants growing there again, as she and Christopher walk around. Also, are European robins not migratory? Because it seems like this is fall, and Christopher should’ve moved on by now. Just looked it up, and they’re apparently resident in England and Ireland. Go figure!

Mary keeps going back to the secret garden (ROLL CREDITS), and she one day meets Dickon (Andrew Knott), the younger brother of Martha, and a keeper on animals on the property. Upon seeing him speak with Robin, she reluctantly invites him to see the Secret Garden, as he claims that he can determine whether or not it’s alive. He can, and he does, and the two form a friendship in the garden.

We also learn from Dickon that Mary’s aunt died by accident, falling off of a swing in the garden, which we previously saw surrounded by dead leaves. Some good direction, that was.

That night, Mary has a dream about her mother, beckoning her into the garden when she’s only a baby. She wakes up from the dream, and hears the mysterious crying person from earlier, cascading down the hallways. About as curious as I am about this, she wanders around, and finds the source of the crying: Mary’s cousin, Colin Craven (Heydon Prowse).

Colin is the son of Lord Craven and Mary’s aunt, and a very melancholy young man. He can’t get any sleep, and when Mary has the idea to fetch Mrs. Medlock to help, he asks her not to, as she will not let the two talk, and he’s terrifically lonely. They share things about their mother, and about themselves. Colin’s a very troubled young man, who’s spent his whole life in bed. He’s also been told that his mother died in childbirth. Curious.

The next day, Mary and Dickon are again attending to the garden, and Mary shares that she’s met Colin, which very few people can claim. She continues to spend more time with Colin, who is convinced that he’s fated to die, and has never even learned to walk. Just like Mary, Colin has been spoiled all his life as well, and has been told how fragile he is all of his life. Medlock also insists that people wear masks whenever they’re...near him. Well. That’s terrifyingly relevant, innit?

Mary is nearly caught spending time with Colin, which is forbidden to all but a select few, and Martha discovers her instead. Both of them ask her to leave, so she can avoid being caught. Soon afterwards, Lord Craven returns to the estate, after having been away for a very long time. And FINALLY, Mary gets to meet Lord Archibald Craven (John Lynch), a deeply unhappy man who is extraordinarily melancholy as well. However, his spirits are slightly lifted when he meets Mary, who’s the spitting image of her mother and aunt.

During their somewhat awkward meeting, Mary manages to get the Lord to unknowingly give her the garden to plant her garden in. He states that he’ll again be leaving for the winter, and the excited Mary immediately goes to tell Dickon that they’ll be allowed to plant in the garden. Nature appears to comply, as it begins to rain to help the garden grow.

Mary continues to bond with both the down-to-earth Dickon, and the spoiled-rotten Colin. In the case of Colin, he’s also quite unhappy because his father never comes to see him. Mary learns that this is because his father is afraid to fall in love with him, and afraid to lose him like he lost his wife. But he actually regularly visits him, while Colin is asleep.

He leaves that night, and as soon as the spring is set to arrive. And arrive it does, and the garden grows even greater. Mary, at this point, has also mostly abandoned her previously spoiled and ill-tempered ways. But not her stubbornness, as seen when she gets Dickon to help rip off the boards from Colin’s windows, exposing him to the sun and opening the windows.

Mary goes to help Dickon, but Colin FREAKS THE FUCK OUT, throwing a massive fit that nobody can seem to stop. But Mary is DONE with his goddamn bullshit, and finally snaps him out of it. Just then, Medlock sees this and blames Martha for letting Mary in, slapping her in the face! Goddamn, Medlock! But Colin’s seemingly also had enough, and sends Mrs. Medlock out! She complies, although she fears that this will be the death of him.

Colin now realizes that he probably isn’t dying after al, and Mary now tells him about his mother’s garden. These stories invigorate Colin, and with the help of Mary and Dickon, he goes outside for the first time, and they take him to the The Secret Garden.

Also, can I just say, there are a FUCKTON of animals on this property, and I have no idea why. They’re DIckon’s animals, apparently, but there are a lot of animals there, just saying.

After quite a bit of hard work, Dickon and Mary have made the The Secret Garden something...well, frankly, kind of magical. It’s beautiful, especially now that spring has arrived, and it makes me want to go outside. Unfortunately, it’s fuckin’ 43 °F right now, and I have work in, like, an hour, so I’ll have to wait for a warm weekend.

Colin is as in love with the garden as I am, and wants to come back the next day. But their reverie is somewhat interrupted by the arrival of the gardener, who is surprised to see Colin out of the house, as he’d heard that he was completely unable to walk. And Colin disproves this by standing up in his chair, for possibly the first time. And from there, the group invites the gardener in the maintain the garden as well. Also, Colin starts to think that the garden is magic, and also sort of proposes to his cousin, which is weird (and Mary points this out), but whatever, moving on (for now).

They visit the garden over and over, and Colin eventually teaches himself to walk. He wants to show his father, but they don’t quite know how to find him. In snooping about for an address where they could find him, they find photographs of him and Colin’s mother, which then makes me realize...when does this movie take place? The original book by Frances Hodgson Burnett was written in 1911, and takes place at that time. And knowing that now, the fashions are pretty Edwardian England. Hadn’t really thought about it, but yeah, that seems about right.

They actually find an old camera and take pictures of each other. Also, there’s totally a scene where Mary and Dickon look at each other a liiiiiiittle too long, and Colin gets jealous, but WE’RE GONNA IGNORE THAT (FOR NOW) AND MOVE ON. Mrs. Medlock still believes that Colin’s sick, despite his insistence to the contrary, and forbids him to go to the garden. Mrs. Medlock is basically going through Munchhausen’s by Proxy at this point, and blooms into a full-fledged villain here.

Not that it matters too much, as the three kids eventually a way to escape. And they decide to try and summon Colin’s dad with...well, with a magic ritual. OK. They go to the garden, set a fire, and chant around it, with the intent to bring Lord Craven back to the manor via mystic means, so that Colin can show him his progress. But that’s not going to work...right?

Actualy...it might. Because Craven ends up having a dream of Lilias Craven (Irène Jacob), his late wife and Colin’s mother, whose name I only know NOW because of subtitles. In the dream, she is calling to him from the garden, and when Craven wakes up, he leaves without hesitation and heads back to the manor immediately, to the surprise of EVERYBODY.

Freaking the absolute fuck OUT, he goes to Mrs. Medlock to find his son, only to find that he’s no longer in his bed. Mrs. Medlock insists that Mary is killing Colin with her wild ways, and has no regard for his fragile state of being. He asks to be taken to her, and they discover that she’s also gone, having somehow escaped a locked room. And that is when Martha suggests that they’re in the garden.

Medlock insists that she’s done her absolute best, but Craven angrily rebukes her. She resigns on the spot, and breaks down on the stairs as Craven goes to find his son. Martha, even faithful and ever kind, comforts Mrs. Medlock, who really was trying her best, despite her rough ways of doing so. Meanwhile, Craven makes his way to the garden, where he finds his son walking and happily playing. He’s overjoyed by the sight of his totally fine son, and Colin is excited back. The father and son are FINALLY united.

But Mary is...less happy. As she sees Colin happily reunite with his father, she runs off, with Dickon in hot pursuit. She believes that nobody wants her, and that she’s now destined to be abandoned again. However, she’s eventually followed by Colin and Craven, and Craven asks why she’s so upset.

She believes that the garden will be closed again, now that Craven’s discovered it, and that she will be cast to the wayside. But that couldn’t be farther from the truth, as Craven welcomes both the garden and Mary into their family to stay. Which is...lovely. It’s quite frankly a lovely turn of events. Together, they head back to the manor, where Medlock gets to see Colin walking, which she actually didn’t believe was possible. The entire household is brought out of their melancholy, Medlock included. And the garden is now open permanently. And Mary closes us out with this line:

If you look the right way, the whole world is a garden.

...I’m not crying. I’m not. My eyes are a little misty, but I’m not crying. But, uh...I’m gonna go outside. That was The Secret Garden! See you in the Review.

#the secret garden #the secret garden 1993 #agnieszka holland #frances hodgson burnett #kate maberly #heydon prowse #andrew knott #maggie smith #john lynch #laura crossley #Irène Jacob #fantasy march #user365 #365 movie challenge #365 movies 365 days #365days365movies #365 Days 365 Movies #365 movies a year #useralexa #tusereliza #usertilde #userkayleigh #userbrit

[hinamoria]

Hitsuhina Week 2021 : Day 1

Hitsuhina Week 2021 : Day 1- Nickname / Hot and cold

Rating: K

Synopsis: Momo remembers the origin of her nickname: Bed wetter Momo

Word Count: 1801 words

Author’s Note: Hi everyone! My first participation at the Hitsuhina week is here. I hope you like it! I had fun writing it \(^.^)/

English isn’t my first language so excuse myself for any typos <3

----

“Shiro-chan!” Hinamori greeted cheerfully as she walked through the doors of the Tenth Division office. “We're going to eat yakitoris with Matsumoto-san and other lieutenants. Are you joining us? "

Hitsugaya, sitting at his desk, frowned at the famous nickname his childhood friend refused to forget, and declined the invitation.

"I have a lot of work to finish," he complained, putting an extra sheet of paper on the already tall pile of his desk. "Maybe next time," he added, afraid to upset his friend. "And Hinamori, for the umpteenth time, it's captain Hitsugaya."

"But Hitsugaya-kun, that nickname is perfect for you!" she replied, keeping her smile.

A perfect nickname from Hinamori's point of view. In harmony with the white and shiny hair like snow of her friend.

"Do you hear me calling you by your childhood nickname yet?” Sighed the captain.

Momo laughed lightly as she thought about it. "Bed Wetter Momo" was much less flattering than “Shiro chan”. Especially since it was referring to a single accident and therefore absolutely no more relevant today.

And yet, even though she wouldn’t like to be called that way again today, she still had a certain melancholy as she remembered the event where it’s from. Somehow, that night, Shiro-chan had for the first time given her a kind gesture.

It happened soon after arriving in Rukongai, when she was eight years old.

She still remembered the hustle and bustle, the lost people trying to get information about what was happening to them, and her in the middle desperately looking for her mom or her plush that she must have dropped something. It must be here. She remembered holding it during her last moments of life. So it couldn't be very far.

It was the end of her old life on Earth. Nowadays, it was just a vague memory. The faces of her biological family had gradually faded. She remembered that her mother had brown hair, often tied up in a bun. Momo may have subconsciously imitated her while growing up. But had she hazel eyes like her or were they a different color? She could no longer remember it.

A cholera epidemic had hit the country, killing thousands of people. Antibiotics did not exist at the time, so the chances of escaping it, especially for a child, were almost nil. Momo didn't end up in pain for long.

At the entrance to Rukongai, men and women dressed in black kimonos, whom she later knew as shinigamis, gave instructions to people around her. They were divided into groups. She was going to go to district number one, "Junrinan". She didn't know this place, but thought she heard the term "lucky" from a shinigami.

Looking back 100 years after, she understood how true it was. Especially after hearing Abarai-kun's stories.

Each person was taken to a different dwelling. Very little explanation was given. Sometimes locals sighed when they saw a new arrival, but others greeted them with a big smile. Her journey ended in front of a wooden house with a small earthen courtyard in front and two imposing shoji-style doors at the entrance.

A lady with gray hair tied in a bun opened the door and smiled at Momo.

"Is that the little new one?" She asked in a voice marked by time.

The shinigami nodded and left the area without another word. His behaviour may have seemed rude, but the little lady ignored it. Momo watched him go with slight fear, but returned her attention to the stranger who began to speak to him.

"Welcome my dear. What's your name? "

"Momo…" the child replied after a brief hesitation.

“Very well Momo. From today you will live here. Come home, I'll explain everything to you"

The lady held out her hand, which Momo took, and together they entered the girl's new home.

-------------

To say that the first few days in her new home were easy would have been a lie. Momo was missing her family. And she kept looking through the portal to see if her mother was going to cross the threshold and come to get her.

Her new grandmother was a sweet and warm woman. She gave Momo time to acclimatize without rushing her. She even offered her a small dog-shaped plush toy to replace her previous one. Momo appreciated the little attention and hugged the plush tightly against her at night.

However, living with Toshiro was more difficult. The little boy already had a strong character and did not seem delighted by the arrival of a new child in his home. He often spoke harshly to her, when he just wasn't ignoring her. Momo, luckily, didn't seem to take offense and came back to meet him all the more, determined to make him her new friend.

He didn't looked to be appreciated by the other children, who seemed afraid of his particular hair. Momo, on the other hand, was fascinated by their color and had repeatedly tried to touch them - usually receiving insults and yelling in return - which didn't stop her from doing it again a few days later. He reminded him of the old cat that resided in her neighbourhood on Earth. He had hissed on her each time she approached. But after a few months, he had accepted her affection. Toshiro would be the same, she could tell.

One night, about two weeks after her arrival, Momo had a terrible nightmare. The pain of her last moments on Earth came back to her. She heard her mom cry and pray, but she couldn't see her. She was terribly thirsty and hungry, but the nausea tugged at her so much that she couldn't take anything. It was the end. She felt death coming to seek her. When a new wave of pain pierced her body, Momo woke up abruptly, breathing heavy.

The pain was gone. But she still couldn't see anything. After a few seconds, a growl to her left signaled the presence of the white haired boy and reminded her where she was. Her grandmother must have been somewhere to her right. They used to stick their futons together and sleep three side by side.

She was safe, everything was fine.

Catching her breath, however, she noticed a new unusual detail. Her clothes looked wet.

She straightened up and inspected her bed with the palm of her hand. A stain of moisture permeated the futon, a small part of the blanket and the entire bottom of her kimono. She was taken aback for a few moments, then realized with dread that she had wet the bed!

It hadn't happened since she was three, how could she have done that now? She wondered ashamed.

Discreetly, she got out of the futon, holding her breath as she saw Toshiro move around in the futon right next to her. Luckily, he didn't seem to wake up.

Would Grandma be mad if she saw this? Was she going to be kicked out of the house? Who would want a messy child?

Trying to swallow back tears, Momo took the blanket and left the room discreetly.

With any luck, she would manage to hide her mistake and they would let her stay here.

First she needed clean clothes, then she would go and wash it all in the basin outside. As a final step, she would take care of the futon in the same way. And when asked tomorrow, she could pretend she spilled a glass of milk on the bed. If no one saw the stain, her excuse would be plausible.

After grabbing some new clothes, Momo went down the stairs of the house to go outside.

Luckily, the moon lit up the courtyard a little and allowed herself to orient without too much trouble. Momo found the basin and put the blanket in it. The cold water made the child shiver, who could now feel the tears running down her cheeks.

Looking back 100 years later, she realized how dumb she could have been to feel so bad for a trivial accident like this, but at this moment, the world was falling apart for her.

She changed, taking a little water to clean herself, then tossed the soiled clothes in the water as well. As she began to rub the whole thing vigorously, a voice startled her.

"What are you doing?” Toshiro surprised her from the doorway.

She turned in his direction, speechless. He kept his arms crossed against his chest, obviously waiting for an answer that took a particularly long time to arrive.

"I ..." stammered the little brunette. “I spilled a glass of milk?"

Her voice had risen in high pitch with a sobbing hiccup, making her assertion closer to questioning. Toshiro certainly wouldn't be fooled by the situation. He was young in appearance, but he was significantly older than her in age. And she realized her excuse was completely incoherent when said out loud.

But strangely, she heard neither reproach nor mockery from the boy who was looking at her seriously. On the contrary, his answer surprised her.

"I'm going to get your futon to have it cleaned too…" He said with a sigh.

And he disappeared for a good minute.

On his return, ditto, he remained silent. He helped her clean up and spread the ling. And when they returned to bed afterwards, he even gave her a bit of room in his own futon for Momo. The rest of the night ended without further accident.

The next day, she said with more confidence her story to her grandmother, who absolutely did not believe a word of it, but who accepted it nonetheless, afraid to embarrass her. When she went out to do some shopping, Momo turned to Toshiro who was finishing lunch.

"Thank you Hitsugaya-kun," Hinamori said in a small voice. "For keeping my secret."

"I don't know what you're talking about," he replied with his mouth full.

Then as he swallowed, he looked at the girl and let go with a smirk, "Bed Wetter Momo".

Momo froze in her seat upon hearing the new nickname.

"How did you call me?” She asked scandalized.

"You called me Shiro-chan a few days ago, remember? From today you will be "Bed wetter Momo" if you keep using that nickname ". He treated her, pretending to be interested in his bowl of rice. But the smirk he kept showing indicated the pride he felt right now in torturing her.

It was the start of a new friendship.

And he kept his word: he used that nickname for many years, and she kept on calling him Shiro-chan. It almost became a game between them.

And if today she was no longer "Bed wetter Momo", she treasured the memory of the first step Toshiro had taken towards her.

#hitsuhina week 2021 #hitsuhina #toshiro hitsugaya #momo hinamori #bleach fanfiction

[summergirl2408]

Ok so I first did this my favourite Pokemon of each type thing a little more than a year ago (well to be fair I probably did it before that too but I can only seem to find the results of this one now) and this was what I came up with:

And now I wanted to do it again to check if a lot of stuff has changed since I did it the last time (I didn't look at my older results before I did it again). This is how it looks now:

And because I love analysing and overexplaining stuff (including stuff about myself) I'm gonna go trough all of it step by step.

Grass - 2020: Turtwig 2021: Turtwig

Absolutely no surprises here

Turtwig is my no. 1 favourite Pokemon so of course it is also my favourite grass type Pokemon

Fire - 2020: Ninetales 2021: Centiskorch

I actually considered choosing Ninetales this time as well because I definitely do love it a lot but my Centiskorch was such an mvp in my sword playthrough that I definitely love the fire centipede a whole lot too

Water - 2020: Milotic 2021: Milotic

Not really surprised here I always really liked Milotic I did consider choosing Lapras over it (partly because Lapras was always one of my choices when thinking about a team of 6 most useful to actually travel a region with) but I did spend multiple weeks back in like 2010 in Pokemon platinum on my quest to catch a damn feebas without ever getting it

I probably would have never spent nearly that much time on it if I didn't really like Milotic

Normal - 2020: Braviary 2021: Eevee

I really wasn't as set on my choice for normal type as I was for some others like don't get me wrong I do really like Eevee but I also do like Braviary (it's new Hisuian form also really slaps) but I also like Ditto and Meowth and Wigglytuff and Bidoof so I can definitely see my choice here changing again in the future

Electric - 2020: Luxray 2021: Luxray

What can I say Luxray is just cool

Also it always makes me think of how I nicknamed my Shinx "Shiny" in my first ever playthrough of platinum without even knowing what a shiny Pokemon was at that point lol

Psychic - 2020: Guardevoir 2021: Metagross

Kinda the same thing as for normal type applies here I guess

I like quite a few psychic types but am really not dead set on just one of them so it wouldn't surprise me if my choice would change to Gallade or galarian Rapidash or Medicham the next time I do this

Fighting 2020: Lucario 2021: Breeloom

Not really surprised here once again I do really really love Lucario it just got switched over to my favourite steel type this time around

Rock - 2020: Lycanroc (dusk form) 2021: Lycanroc (dusk form)

I am truly not that obsessed with most rock types but Lycanrock just looks cool and the colours of it's dusk form are by far the prettiest

Briefly considered choosing Shieldon instead tho

Ground - 2020: Phanpy 2021: Phanpy

PHANPY IS BABY (I think that says it all)

Flying - 2020: Talonflame 2021: Talonflame

Definitely still my favourite starter bird

Fairly closely followed by Staraptor and Corviknight tho

Bug - 2020: Wurmple 2021: Wurmple

I just really have a soft spot for the little caterpillar ever since it was the first Pokemon figurine I ever owned and since I really don't like that many bug Pokemon this one was quite an easy choice

Poison - 2020: Gengar 2021: Gengar

I work in simple ways: I don't love a lot of poison types but I do love Gengar a whole lot

Dark - 2020: Umbreon 2021: Umbreon

Of course my no. 2 favourite Pokemon had to be on this list again too

Ghost - 2020: Chandelure 2021: Spiritomb

Ghost type is really a tough one to choose cause I love a lot of them

Like you really can't expect me to definitely choose between Mismagius, Dusknoir, Gengar, Chandelure and Spiritomb

But I do feel like Spiritomb might be the most underrated/forgotten of the bunch

Ice - 2020: Lapras 2021: Weavile

Like I said when talking about water types I really do love Lapras too but Weavile is just so cool (pun intended) too

Who knows maybe I'll choose Frosslass next time cause I love that one too

Steel - 2020: Aegislash 2021: Lucario

This one is actually one of the biggest surprises from 2020 me I think

Don't get me wrong Aegislash is really cool with its unique abikity and everything but I somehow just gradually forgot it even existed I guess

Dragon - 2020: Dragonair 2021: Garchomp

Actually considered choosing Dragonite instead of Garchomp this time but just couldn't resist the land shark in the end

There are a few other dragon types I really adore too so this mighz change again as well

Fairy - 2020: Togekiss 2021: Togekiss

I just loved my competetive serene grace ultra annoying cheesy Togekiss I used in the X/Y era way too much to choose something else here

So in conclusion I did have some changes but most of them didn't surprise me in any way

Also I feel like my love for Gen 4 and my excitement for the remakes showed a little more this time around lol

#jessi rambles #pokemon #favourite pokemon #maybe I'm gonna start doing this every year or sth #if I don't forget that is #i will probably forget lol #pkmn #fav pkmn #i feel like nobody will read and/or care about this but sometimes one just needs to post self indulgent stuff

[anotheruserwithnoname]

What am I looking forward to?

I get asked what I’m looking forward to in terms of entertainment as 2021 trundles along. I thought I’d put together a list of my thoughts of the things I have marked on my calendar (or am prepared to buy, as the case may be!)

Klokkenluider, The Sandman, The War Rooms: Obviously I’d be failing at my duty to not include Jenna Coleman’s trio of upcoming projects! I have a confession - I’ve yet to watch all of The Serpent, too. Hoping for a DVD or (even better) Blu-ray release of that later in the year too. UK has one already. Netflix does release many of its shows to permanent media so hopefully The Serpent will be one of them (ditto Sandman and War Rooms down the line).

Free Guy: the much-delayed video game-based film starring Ryan Reynolds and Jodie Comer. Reminds me of Ready Player One, which was one of my favourite films of the last few years. And it’s the first leading film role for Jodie Comer from Killing Eve and it looks like she might be playing a nerdy version of Villanelle (without all the murdery sociopathic stuff; at least, I assume!). 

No Time to Die: Some aspects of the trailers have me concerned, and whenever I hear people talk about “new directions” I get antsy because that rarely ends well. But this is Bond and while there has been the occasional poor 007 film in the past (A View to a Kill and Quantum of Solace are the only Bond films I dislike and avoid; not a bad ratio out of 25) the odds of me liking it are pretty good (hell, I even consider Spectre to be one of the best Bonds ever, and I know that’s unpopular opinion). I was concerned about Phoebe Waller-Bridge being one of the writers due to my opinion that Fleabag is overrated (I know, another unpopular opinion), but that was before I saw her work on Killing Eve. If she brings some of that spirit to the film, it’ll work. Some of the things people are complaining about don’t bug me, especially regarding the 007 designation which belonged to somebody else before the events of the 2006 Casino Royale film and in all likelihood they’ll reboot continuity with whoever follows Daniel Craig anyway so none of that matters. They could kill Bond off and it wouldn’t make a difference.

Lower Decks Season 2: Speaking of unpopular opinion, Season 1 was one of the most pleasant surprises of last year. I think the backlash against Lower Decks is primarily a case that, for many fans, their dislike and disappointment of the current state of the franchise is so high that even if they do something good, it’s rejected automatically. I’ve given up on Discovery, have little interest in Picard (I had good things to say about it last year but it’s not aged well) and don’t care to see Strange New Worlds. So I was prepared to pooh-pooh on Lower Decks (I could have worded that a bit more elegantly; I dedicate that to Seth McFarlane) but, while it’s obviously a non-canon spoof, it still feels like Trek, which I cannot say for the current live-action shows. Basically that means it’s The Orville done for Star Trek. Which is fine, because it works better than Discovery’s and definitely Short Trek’s attempts at Orvilling (which in my opinion was about as entertaining as gerbilling - did I type that out loud?). And I think Beckett Mariner is the most interesting lead character of a Trek series in years. Speaking of The Orville...

The Orville Season 3: It’s in Red Dwarf territory right now in terms of it taking forever between seasons, and I am worried that being on Hulu might make it too edgy and turn away the many who latched onto it because Discovery was too edgy. But I have faith in Seth McFarlane, so eventually we’ll see it. If not, maybe I’ll give Avenue 5 a shot. Oh, and I am expecting Season 3 to be the end. It feels like getting it made - even taking C19 into account - was very difficult this time around and McFarlane sounds like he has a lot on his plate. If it does end, I hope somebody continues it in novel or comic book form (the comics have been incredible - seriously some of the best tie-ins I’ve read in years, and they’re canon too apparently thanks to being written by the show’s producer).

Magnum PI Season 4: It’s a sweet show and I watch it for the Magnum-Higgins ship (which is currently following the Clara-Danny trajectory). And I keep hoping co-star Perdita Weeks is able to recruit BFF Jenna Coleman to appear someday. So there’s that.

Legends of Tomorrow Season 7 and the conclusion of Supergirl Season 6. Another unpopular take is I happen to really like these two CW shows. Supergirl is calling it a day after 6 seasons, with the final season split into two parts, with the second half airing later this summer. Legends is still midway through S6 but has been renewed for a 7th. Both are fun, with Legends literally being the only show on TV that is legitimately unpredictable (seriously, this past week was a riff on Baby Yoda of all things - and no, Beebo was a riff on Furby. Different merch magnet, pay attention.), plus it’s most likely (IMO) the reason why John Constantine the character is unavailable for The Sandman series (which opened the door for Jenna Coleman to be cast as his ancestor Johanna, which is fine by me!).

Killing Eve Season 4: obviously. It’s only because of Jenna Coleman that you’re not getting wall-to-wall Jodie Comer on this blog. If she and Jenna are ever cast together in anything, I might need to call an ambulance.

Peter Capaldi’s debut album. It’s about time! No it’s not, that would be silly. And I don’t want to thank C19 for creating the circumstances that led to Peter doing a record. But still - a Peter Capaldi album is coming. It just better not be digital-only. I want to see him on the New Release rack at Sunrise Records.

So looks like I have a lot of stuff to occupy my time coming up!

#upcoming entertainment #free guy #no time to die #star trek lower decks #the orville #legends of tomorrow #supergirl #killing eve #new magnum pi #jenna coleman #peter capaldi #lots of fun stuff ahead

[theawkwardterrier]

2020 fic roundup

Buffyverse

there are days we live as if death were nowhere (in the background)

We Don’t Have These Memories (but one day we will) 

Room in This House

MCU

(In Our Togetherness) Castles Are Built 

things left behind and the things that are ahead 

Prototypes, Pekingese, and Other Things That Might Test Your Patience 

Taking Care

Games We Play

The Shops on Shield Street

No Place Like

to seek a newer world

to fill with joy the warrior's heart

Fake It, Make It 

Fateful Friends

1. Looking back, did you write more fic than you thought you would this year, less, or about what you’d predicted?:

I avoid predictions so I don’t feel let down by how much I end up doing, but I was definitely really surprised when was scrolling down my AO3 page how far down I scrolled before I hit 2019. Plus, I know this was approximately 3000 years ago, but I wrote pretty much a chapter a week of things left behind for the first four months of the year which is WILD for me.

2. What pairing/genre/fandom did you write that you would never have predicted in January?:

Lol, nothing. Stuck to pretty much familiar paths. Well, I guess I dipped into a Bucky pairing, which I probably wouldn’t have done without being prompted to it.

3. What’s your own favorite story of the year? Not the most popular, but the one that makes you happiest?

I am wildly, unutterably proud of finishing things left behind, and of the whole project in general. More than anything I’ve ever written, it makes me think that I could someday actually write a book of my own with original characters and a world and the whole deal. But the story I revisit the most often is probably a tie between The Shops on Shield Street and Prototypes.

4. Did you take any writing risks this year? What did you learn from them?

It wasn’t really a risk (if anything, it echoed something I played with in Love’s Truest Language, a Buffyverse fic I wrote over a decade ago), but I tried playing with format in to seek a newer world, keeping each section to exactly 500 words and moving backward in time. I think the latter worked somewhat well, but the former did not, and I think it might have even hamstrung the more successful present-to-past element. For example, I was able to include a couple references in earlier sections that would eventually be explicated by the later ones to give that aha moment to the reader, but with more latitude I could have included more to allow more of a payoff. Still, I’m so annoyingly wordy sometimes that it doesn’t hurt to constrain myself a bit and remind myself that I don’t need every adjective I want to put in.

5. Do you have any fanfic or profic goals for the New Year?

Last time around I said expanding into a new fandom and maybe at least starting something original. Both of those goals still feel interesting and relevant to me, but overall (some strong “in these uncertain times” energy here) I just want to keep writing something and not to force it, to write as much as I can while still enjoying the creative process.

6. From my past year of writing, what was…

Story Most Underappreciated by the Universe:

I’m the worlds biggest review hoarder and kudos tracker and stats comparer, but even I can’t really complain about anything in particular - people are so lovely and have been so generous with their words. (I mean, I could complain, but that would be mean-spirited of me.) Even the very late 2020 additions have been welcomed super nicely, and the ones that are a bit lower on the ladder like to seek a newer world deserve it. (If anything, I’m super confused by how readily some were received - No Place Like and Games We Play are almost inexplicably popular to me!)

Most Fun:

Prototypes - no surprise that it’s one of the ones I revisit most often. Also, really no shade to No Place Like - I think the tone does come off pretty snappy and light. In terms of enjoyment of the writing process, probably The Shops on Shield Street (this girl loves a good AU), or Room in This House (this girl loves writing a bratty kid).

Most Disappointing:

Not to harp, and it really isn’t as terrible as all that, but to seek a newer world. I’m also not wild at how list-y (In Our Togetherness) Castles Are Built came out. The concept is really good and overall the story is fine, but the pace seems just a touch more pallid than I’d like. (Ditto with the later part of to fill with joy the warrior's heart.)

The real answer, though, is my titles in general! I remain unhappy with a bunch of them.

Most Sexy:

Good luck finding anything!! Is it the chaste and canonical references to kissing in We Don’t Have These Memories? Is it Peggy kissing Steve’s knuckles from their separate twin beds in Fake It, Make It? Phew, hope I don’t get kicked off AO3 for being too spicy!

Hardest to Write:

I actually struggled pretty hard writing my Steggy Secret Santa fics for this year - I was really glad that I started early! Actually, tbh, I wrote quite a bit despite not necessarily feeling a strong spark of inspiration.

Most Unintentionally Telling:

Everything I write sort of is. There’s a lot of romance and happy endings and communication, things I want but am not great at.

Choice Lines:

Usually I’m obsessed enough with my own work to list fourteen million, but this time the prospect legit exhausts me. Pick your own if you’d like, I guess?

Well, I will leave you with this one, Steve being unintentionally prophetic in chapter 30 of things left behind, the first thing I posted in 2020:

"It's just—" and his voice shakes. He does not say that it is all harder than expected, that he isn’t certain he is up to the challenge. Instead, words nearly breaking, he tells her, "This has just been a really shitty year, you know."

So here’s to something good happening in 2021!

#fanfiction #no one likes to babble about my fic more than I do!

[chandler-monica]

creator tag game

i was tagged by @juliesmolinas 💖

Rules: answer the questions and then tag 10+ other creators to answer the questions!

first creation and most recent creation of 2020: first and most recent

one of your favorite creations from 2020: not gonna lie i really love this one

a creation you’re really proud of: gonna say this one

a new style you tried this year and a gifset that uses it: going through all my stuff i don't see that i tried anything new??? i think the goal for 2021 is to try more challenging stuff though

your favorite coloring: i like how this one came out

a creation that took you forever: this one took the life out of me (and part of my brain too i'm pretty sure)

your creation from 2020 that received the most notes: this one

a creation you think deserved more notes: gonna repeat an answer but this one

a creation with a favorite scene/quote: it's my boy charlie telling you all how great juke is

a new fandom you joined and a creation you made for it: well if it wasn't obvious it's julie and the phantoms and here is one

a ‘simple’ creation that you really love: this one because i love these two probably too much

a creation you made that breaks your heart: i put way too much sad luke in this one (sorry my boy)

a creation that was inspired by another one (add both your creation and the one that inspired it!): i really don't think i've done anything that was inspired by anyone else?? i wasn't very out of the box this year not gonna lie lol

a favorite creation created by someone else: i’m gonna have guilt picking so i’m just gonna pick some of my favorite creators in general: @damnthedark @juliesmolinas @merceralexs @alexsmercer @miriammaisel @madeline-kahn @cindylouwhos @sallysimpsons @sunsetscurving

some of your favorite content creators from the year: just ditto everything in my last answer lol

and for good measure, another couple more creations of yours that you love:

the jatp cast hugging compared with the band hugging in 1x09

luke talking about julie vs charlie talking about madison

nick asking julie if she likes someone else pairing it with all the proof that she does :)))))))

charlie talking about adding the guitar solo in edge of great paired with the actual scene

candice patton bday post

darren criss + ryan murphy projects

raymond & camille from hollywood

lana's cinderella moment in tatbilb 2

lara jean knowing she'd rather be kissing peter kavinsky than john ambrose (sorry to john ambrose)

covinsky + kissing

peter + calling lara jean by her last name

whoever i mentioned a couple of answers ago is all tagged in this!! if you did already though ignore me lmao

#well that took forever BUT I DID IT

[undiagnosedsecrets]

The First Post

19th September 2021

I'm hurt. And I'm tired. And I don't know what you want. First you tell me that you don't want to be in a relationship with me right now, then you kiss me and we have sex. Then you remind me that you don't want to be referred to as my boyfriend. Then you try and do PDA again? Saying you do want to be in a relationship... I'm so confused.

I'm just gonna move on, have fun with the many opportunities you 'sabotaged' to make things work with me... I'm sure you'll be very happy with them... I never doubted that other people found you attractive, I even pointed it out to you so you could have a confidence boost when we first started dating.

Am I supposed to be grateful that you didn't cheat on me? That you didn't stray when we decided to take a break and take things slow? That's the bare fucking minimum my dude... Because also ditto, I've also turned people down because I wanted things to work with you. I just didn't feel the need to tell you that I did the bare minimum to stay faithful...

I can't decide if I want you around or not. I can't decide if I do actually want us to work or not. Or do I want you to just go away and have fun with your other options. Will it be too difficult to see you with someone else on your arm? Am I being that person that doesn't want you but doesn't want to see you with someone else? Or do I actually want you to be with me so we can spend the rest of our lives together? I honestly can't tell anymore. I can't tell if we do actually want to be together or if we're terrified of being alone in this world. I've grown so used to being around you, it is comfortable most of the time. But recently it's like I just don't want to be around you, being around you hurts.

Getting over you is going to be hard, to get over you properly. I know that right now I don't have to, because you say you want this to work. But can it ever work? Can we ever really work as a couple?

I might tell you that the ball is no longer in your court, that I just don't want to keep going anymore because I'm sick of being confused about where we are. We never talk anymore. You never tell me when something is bothering you, you never tell me what you're up to like you used to.

I know that can sound like I'm obsessed with what you're doing 24/7 but it's not that. It's that you naturally would've told me on your own accord before we got all these issues and now you don't even tell me the simplest things that you're up to.

I don't want to hound you about the things you do, I want us to be able to talk naturally. I feel like I'm always telling you too much, or that if I mention any issue I have within our relationship then you take it as an attack rather than me trying to communicate.

Feels like you can do no wrong but you're allowed to call me out about stuff. I'm exhausted and I'm hurt. I think I need to take a big step back from everything that is us and take some real time to myself instead of hoping that you're going to let us go back to normal. I should know it's just not in the cards and I need to accept that. I can move on, I can be strong, I can do this.

I need to move on. I can move on. I can do this, it's not going to be impossible.

#break up #breakup #relationship problems

[shirlleycoyle]

Between Gods and Rats, the Moynihan Train Hall Is a Temple to Modern Mediocrity

There are three types of photos of the original Penn Station in midtown Manhattan, the one that got knocked down in the mid-1960s. The first type are photos of it being built. The second are those of it being used throughout the first half of the 20th century. Finally, there are the photos of it being destroyed in the 1960s. 

As it happens, these periods roughly coincide with three definitive eras of New York City lore. The early 1900s is when modern New York became itself, the early-to-mid 1900s were arguably its peak, and the post 1960s saw its rapid decline. In this sense, the photos of Penn Station are a handy starting point to understanding the city's 20th Century story.

It is a story that doesn't end as much as it sloppily devolves. In 2019, New York Times architecture critic Michael Kimmelman likened the historic preservation movement—born from the Penn Station rubble—to collective pessimism. The destruction of the old Penn Station "flipped the optimistic narrative" of the city, Kimmelman argued. People began to assume that anything good that was lost would no longer be replaced with something better. Instead, they felt a growing sense that what came next would be worse. The main goal was no longer to build back better, but to cling to what we have.

And so it is in a sense fitting that the Moynihan Train Hall, the city's first real attempt to replace a portion of what was lost some 55 years ago, opened on January 1, 2021, the day after one of the most dire, harrowing years New York has ever faced. If buildings can be narrative-shifters, this is quite the timing.

That's a lot of pressure to put on a building. Moynihan could never be a true Penn Station successor, much less change the tune for New York City. For starters, the old Penn Station is still there underneath Madison Square Garden, just as it has been for the last half-century, and will continue to be used by hundreds of thousands of people every day whenever we return to some semblance of normalcy. All New Jersey Transit riders will still descend under the Garden. Many Long Island Railroad riders will, too. Like the original Penn Station, which was for Pennsylvania Railroad customers first and foremost, Moynihan is largely for Amtrak riders. 

The new train hall—it is not accurate to call it a new station, as the tracks and platforms are the same—also occupies a different physical space than the old Penn Station. It is across the street, in part of the old James Farley Post Office Building, which was constructed just a few years after the original Penn Station, designed by the same architects, and intentionally mimicked the Penn Station Beaux Arts style (it received landmark status in 1966, thanks to the preservation movement Penn's destruction ushered in, so the original facade has not been altered). 

But the main reason Moynihan cannot and will never match the original Penn Station is because it is an ornamental decoration to an otherwise private office building. 

The train hall may be the headliner, but it is just a part of the Farley Post Office rehabilitation. The United States Postal Service sold the building to the state, which then leased it for 99 years to private developers. Per the lease, 475,000 of the total 1,112,000 square feet—less than half—are for the train hall, LIRR and Amtrak facilities, and "transportation-oriented retail space." That's much smaller than the massive, eight-acre old Penn Station, which was on a similarly sized plot. The remaining 637,000 square feet have been leased as office space to Facebook, plus some 70,000 square feet of developed outdoor roof space for the social media giant. 

This was not merely a happy accident for the private developers, but in many ways the key that unlocked the entire project. The state authority that orchestrated the plan, which has been decades in the making, is called the New York State Urban Development Corporation, otherwise known as Empire State Development. As ESD vaguely alludes to in an environmental impact document outlining the project's history, Amtrak originally proposed using most of the Farley building for a new Penn Station site in the 1990s, but "further refinement of the project scope and more detailed cost estimates revealed that the project would only succeed through a funding partnership between the federal, state, and city governments and the integration of a private development component." Only once "economic opportunities afforded by the utilization of the unused development rights associated with the Farley Complex" did the project finally get off the ground and through the gears of bureaucratic morass. 

The project's backers have argued the private development was the only way to make it viable, and so it is either a smaller train hall with lots of office space or no train hall at all. But this, like many other aspects of urban development schemes, demonstrates a lamentable lack of imagination. The total cost, which includes funding from Amtrak, a federally funded agency, was $1.6 billion, a lot of money by any measure but hardly insurmountable for a project with local, state, and federal financing, and about half of the original Penn Station's cost in inflation-adjusted dollars. Like so many other redevelopment projects in the city over recent decades, this whole project is not about palaces by and for the people. It is about "economic development," and the people get a little something for the trouble of selling off a massively valuable real estate asset that we used to own. 

The bar of what to do with underutilized publicly-owned spaces is so low that the mere presence of the Moynihan Train Hall can, justifiably, be hailed as a victory of sorts. Steve Hutkins, who has documented the gradual sell-off of American post offices at his website Save the Post Office told Motherboard via email that "this fate is a lot better than what happened to many other historic post offices, like the one in the Bronx that got sold to a developer who never finished the project. Ditto for the Venice, CA post office, sold to a movie producer for his offices and now sitting empty for years. Selling off buildings is the worst; repurposing them in ways that the public can still use them is much better."

So, it is with this it-could-have-been-worse spirit I will attempt to look on the bright side for a minute. The hall does what it can, and it does it well enough. Without venturing too far into architecture criticism, a field in which I am wholly unqualified, I found the train hall about what it promised to be. It is sleek, modern, and bright. Without a doubt, it is a vast improvement over the contemporary Penn Station experience, but that is a bar so low it has been buried under a sports arena. For this sometimes-Amtrak traveler's money, the biggest upgrade over Penn Station is probably not in the main hall, but in the bathrooms. They feel legitimately fancy and have those slick three-faucet setups—which Penn Station got during a 2018 facelift—where the first one is for soap, the second for water, and the third a hand dryer. Considering the bathrooms are some of the most frequently-used facilities at train stations, this is no small deal. Doubly so considering the dearth of publicly available bathrooms in Midtown Manhattan and the historical state of Penn Station bathrooms as the single worst room in the entire city.

Fancy new bathrooms oooooooo Photo: Aaron Gordon

Yet, it seemed obvious to me this is not a building that was designed to be a train hall, but rather an office building that happens to have a train hall in it. To start, the main hall itself—from which riders are supposed to converge and access the platforms—is simply not very large. The size struck me as so inadequate for a major transportation hub that this basic observation is what led me to investigate the lease terms in the first place. Even on New Years Day, in which virtually nobody was using it for its intended purpose but a few hundred architectural tourists wandered about, the station felt populated, even crowded. 

In theory, the building is supposed to accommodate some 225,000 passengers a day. I find that difficult to envision. The passenger waiting area is smartly designed with modern wooden benches and could maybe fit two train cars' worth of people. As of now, there is literally nowhere else in the station to sit. Other than that waiting area and the exclusive airline-style lounge on the second floor for Acela passengers, there is a total absence of seating of any kind. (On the one hand, that is also the case for Grand Central, where the only seating is in the food hall downstairs, and a food hall is opening at Moynihan later this year. On the other hand, there's less of a need for seating at a commuter rail station like Grand Central where riders do not buy tickets for specific trains that in theory depart frequently versus an Amtrak facility.)

Still, the lack of seating is perhaps a secondary concern to the limited access from the hall to the trains themselves. From the main hall, there is just a single escalator, wide enough for one person, down to each track. This, almost assuredly, will result in the same long, snaking lines and masses of humanity Northeast Corridor riders are already too familiar with, the kind of lines that clog spaces much larger than the Moynihan hall. 

Those not wishing to wait in a long escalator line can circumvent the main hall entirely, take the stairs down to the lower hallway, and then another set of stairs to the platform. But if the smartest, most efficient way to board the train is to circumvent the main hall entirely in a roundabout fashion, then what does that say about the train hall to begin with? 

Mostly, this is not the building's fault. There is an insurmountable geographical problem: the train platforms are, for the most part, not underneath the train hall. As I mentioned above, these are the same tracks and platforms that stretch from Seventh to Eighth Avenue Penn Station riders have been using for decades. But the new hall is a block over, between Eighth and Ninth. Only a small portion of the platform extends beyond Eighth Avenue underneath Moynihan, creating a natural bottleneck for anyone who wants to enter or exit through the fancy new building. 

This problem was perfectly illustrated in a station directory map in the train hall itself:

Photo: Aaron Gordon

At the very bottom, you can see a faded diagram of a train stretching mostly underneath Penn Station, with only the very edge of one end below Farley. Needless to say, there is something fundamentally flawed about a train hall that only just barely connects to the train itself. 

This spatial problem encapsulates not just the Moynihan Train Hall's conundrum, but a lot of our other problems too: it is the public infrastructure we get when we try to fix the mistakes of the past without fully reckoning with what the mistakes actually were. The problem with Penn Station never had anything to do with the Farley Post Office. The problem was, of course, the demolition of Penn Station, which bathed passengers in light and grandeur from the second they stepped off the train, an architectural achievement that can only be accomplished by having the station above the actual tracks. The problem with the current Penn Station is, of course, the absence of an actual train station. 

We will never top this. Photo: Library of Congress

And here we arrive at the ultimate question the Moynihan Train Hall poses: should we be happy with it because it exists? When opening the hall, Governor Andrew Cuomo said Moynihan is "a testament and a monument to the public and they deserve the best and they can produce the best." For all its nice touches and pleasant aesthetics, Moynihan is a middle ground inextricably linked to two extremes: the majestic yet tragic glory of the original Penn Station and the squalid tangled cavern of the current Penn Station. It is, to paraphrase the infamous Vin Scully quote about the new and old Penns station, somewhere between gods and rats. By definition, Moynihan was always going to be better than the worst and worse than the best. 

The destruction of the original Penn Station helped instill a bleak conservatism over the city, but the Moynihan Train Hall offers neither doom nor gloom. Instead, it offers a quiet acquiescence to the forces that have reshaped New York City since Penn's destruction, a kind of surrender to the "privately owned public spaces" (POPS) in office tower lobbies in exchange for tax breaks or turning streetspaces into "business improvement districts" (BIDs) that often exacerbate inequality and erode at the meaning of an actual public space. POPS, BIDs, and all manners of public-private partnerships do more for the people than selling out entirely—or doing nothing at all—but it will never get us another Penn Station or Farley Building. There are plenty more Moynihans where that came from.

In a deeper sense, the Moynihan model encapsulates the flaws of Cuomo's pragmatic optimism about the power of government. "Faux progressives frustrate the public by raising false expectations and by failing to improve matters," he wrote in his hastily published book. As Gothamist's Christopher Robbins noted in his review, "Cuomo never states what 'real progressives' will do, just that they will do it." It's a neat rhetorical trick; the right thing to do is the thing that happened, meaning whatever didn't happen was wrong. By that logic, I am wrong to say that the train hall's existence is not enough, that we lost something important by selling the rest of the building off, that with each sale, we make it even harder to save what little we have left under the public's name, that the 700,000 square feet of the Farley Post Office that used to be ours is yet another capitulation to the very impulses that destroyed the original Penn Station to begin with.

I left Moynihan with no particular desire to ever seek it out again, in the way I would never willingly hang out at an airport, even if the airport has solid food options. Walking down Broadway to sit in Madison Square Park, I thought of one old photo of Penn Station that doesn't fit neatly in the three-part structure. Taken on July 6, 1965, the photo is of passengers waiting, reading, looking at one another. Fourteen suitcases are arranged neatly on the floor. A wrecking ball dangles in the background, waiting for the people to leave. The building is doomed, but it is still there. 

Specifically, I thought about how at the time, this was billed as progress. The people were told Penn Station was too expensive to maintain, a relic of an antiquated era. Madison Square Garden and One Penn Plaza were the future, they said. It was, they said, unrealistic to keep Penn Station around. 

I suppose, to a certain type of person at the time, advocating for the city or state to step in and purchase the old Penn Station for the $50 million for which its air rights were sold and rehabilitate it could have been rephrased as "raising false expectations by failing to improve matters." In hindsight, it would have cost substantially less in inflation-adjusted dollars than the entire Moynihan project (assuming rehabilitating it would cost less than 1.2 billion in today's dollars). That same type of person would likely be telling us today about the false expectations of redeveloping the Farley Post Office into a truly public space. But I am not that type of person. Those 700,000 square feet could have been anything. 

Between Gods and Rats, the Moynihan Train Hall Is a Temple to Modern Mediocrity syndicated from https://triviaqaweb.wordpress.com/feed/

[austinpanda]

Dad Letter 060621

6 June, 2021

Dear Dad--

Happy Sunday! Things are going very well here in Old Town, and it is my job that consumes most of my thoughts lately. For all the time I’ve spent talking about my casino career, it’s still just a part-time job right now. I’m only working about 7 hours a day, and only 4 days a week. So far, this has worked out great for me, because working full time at Progressive just about broke my brain. But, as I keep reminding myself, being an auditor full time at the Hollywood Hotel, Casino and Raceway in Bangor, Maine is probably going to be different from working full time taking phone calls from car accident victims. First, and most obviously, I won’t have to be cheerful and professional for customers all damn day. Some of this I already talked about last week.

Something I’ve noticed about my workplace: I am not monitored to make sure I’m working every second I’m there. And everybody swears. It’s getting truly glorious, all the swearing I’m being exposed to, now that I’ve been there long enough for everyone to learn that I’m cool with it. My boss, a skinny brainiac, and an I.T. woman got into a friendly tussle fight in my cubicle not long ago, with me in it, trying to work. And they were climbing on each other, calling each other, “Fucking bitch! Don’t break my...fucking bitch! You’re the fucking bitch!” and laughing their asses off. Progressive was far too lawsuit-averse to allow such merriment; everyone involved would have been terminated, and I’d probably get a $20 Starbucks gift card for the mental anguish it caused. (It did not cause any.)

Anyway, going full time at the casino will be a big deal for me, because I haven’t done it for many years. I mentioned Progressive ruining the experience for me. In order to keep working there for the last five or so years I was there, I only worked 6 hours a day. It was foolish, sticking with a job I disliked so much, for so long. (Glad I quit doing that.) But my boss at the casino, and his boss, and all the bosses, seem to think I’m not only doing well, but I’m doing very well there. My boss Tyler just expressed his surprise last week, when he realized I’d only been there for about 6 weeks. Because of how well I was doing with the audits, he had allowed himself to believe I’d been there a while longer.

To add a degree of difficulty to everything, there’s only three of us doing audits: myself, Tyler, and Chris. Chris is a large American fellow with a large American pickup truck, and he’s been auditing there for about 7 years, so he is also very good at it. Chris has decided to pursue a new career elsewhere, so at any moment, he is expected to give his two week’s notice, and then it’s just me, Tyler, and a new guy they hired. The new guy may be awesome, but he’ll still be two months behind me. (I therefore outrank him, and can make him do pushups if I want to.) and the three of us will attempt to do it all, just as summer is heating up, and we’re beginning to reopen all the restaurants and gaming tables since Covid shut them down. It should be challenging, but then, I’m apparently getting good at it, so bring it on.

Since I’ve decided to go full time with my job, I’ve decided I can stop worrying about running out of savings and having to eat cat food. Because of that, and the fact that I’m now fully vaccinated, I’ve put my home drive-in theater plan into action. I have to admit, I’m pretty excited about this shit. I have purchased a cheap digital projector. This is a shoebox-sized gizmo that projects a TV image, and has built-in speakers. So it’s a TV, but it’s projecting the image, so you need a screen, or a flat white wall. And it’s important that the space be dark, so the image is more clearly visible. Brightness of image is a big deal, especially if you want to use it during the day. Thanks to living in the future, these projectors are getting quite bright, and quite sharp, while costing less and less all the time. I was able to get a good one that comes with a screen for cheap.

The plan is this: I hang the screen on the side of my trailer next to the little rectangular patch of grass that constitutes our “yard.” There is an external electrical outlet just there, and I have an extension cord. Soon as there’s a Saturday with no bad weather in the forecast, I’ll invite the plant scientist guy, and his husband, and/or whomever, and we’ll sit outside in camping chairs and watch a movie projected onto the side of my trailer. I think this idea is pretty damn awesome, if I say so. The question then becomes: what do I show first? Since this would be the christening of Rick’s Backyard Drive-In Movie Show Palace, it should be something that has gravitas without being overly long. I’m thinking of the original Star Wars from 1977, or Close Encounters, or 2001: A Space Odyssey. I could also choose something that is not science fiction. But the point is, I’ll be projecting it onto a large screen, so it’s best if it’s something that looks impressive. Also it will be nice if it doesn’t traumatize the neighbors. (No loud Apocalypse Now helicopter attacks at midnight.) Maybe Blade Runner. Oh shit, that’s still science fiction. I keep thinking Lawrence of Arabia, but that shit is four hours long. Ditto for The Ten Commandments, though some folks I know would probably include The Ten Commandments in the science fiction category too.

So yeah, this is going to be pretty nice, once I get everything up and running. I have to install some kind of hooks that will hold the screen up. I have to try to get the screen flat, with a window and decorative shutters in the way. I have to make sure the external outlet works properly. Gotta wire it all up and test it, to get the projector positioned and focused. Then I gotta break it all down and bring it inside to store it, so nothing gets rained on. I have that popcorn machine that I can put outside, too. Hey, you fly Weidmann, you fly first class, baby!

It pleases me greatly to say that not much else is happening around here. The two cats are constantly playing together, although, because it is getting warmer, they don’t spend as much time sleeping on top of each other. Our neighbors recently ran out of cat food, so we bought them some, and now the neighbor wants to pay me back with weed. (My god, isn’t this place just the best?) And, like I said, the bosses at the job like me well enough that they’d like to see a lot more of me in the office each week. Also, my car, Beige Lightning, is running just fine and turned 100,000 miles while I was on my way to work Tuesday. I was too busy enjoying Maine’s bucolic highway vistas to notice it at the time, but I saw it at 100,003 when I arrived at work. And, we’re having a heat wave. (A tropical heat wave!) It’s in the 90s today and for the next two days. Maine ain’t built for that shit, so we’re going to have to run my beautifully-decorated AC unit a lot more than we’d anticipated. Glad we got it!

Hopefully nothing too exciting will happen over the next week, but I know I’m going to learn a new kind of audit that is very complicated. I’ll probably be in the thickest, most frustrating part of the learning process by next weekend, but I’ll be sure not to let it shorten my letter.

Stay cool! All my love to you both!

[usatrendingsports]

Chicago White Sox 2018 season preview: Shifting on to Part 2 of the rebuild

For a short while there, the 2017 Chicago White Sox have been a feel-good story. They dedicated to a rebuild final offseason by buying and selling away Chris Sale and Adam Eaton, but there they have been on Might four, house owners of a decent 15-12 document. Who does not love an excellent underdog story?

Fantasy outlook

Issues went downhill after that. The ChiSox went 55-80 the remainder of the way in which and completed with the fourth worst document in baseball. Alongside the way in which they traded Jose Quintana, Todd Frazier, David Robertson, Tommy Kahnle, Melky Cabrera, Miguel Gonzalez, Anthony Swarzak, and Dan Jennings for prospects. Give GM Rick Hahn credit score. He takes no half-measures with this rebuild.

Following the commerce, the White Sox let a number of highly-regarded prospects get their toes moist on the MLB degree, most notably second baseman Yoan Moncada (a part of the Sale commerce) and righty Lucas Giolito (a part of the Eaton commerce). Others like righties Reynaldo Lopez (Eaton commerce) and Carson Fulmer (2015 first-round choose) additionally obtained some big-league time late final yr.

The White Sox are shifting on to Part 2 of their rebuild now, which suggests incorporating all these prime prospects into the large league roster. Baseball America says Chicago has the fourth greatest farm system within the recreation, and that is with Moncada and Giolito (and Lopez) shedding their rookie eligibility in 2017 and not qualifying as prospects.

Chances are high the White Sox will not be superb in 2018 — for what it is price, each FanGraphs and PECOTA mission them as a 90-something loss workforce this yr — however they’ve an terrible lot of thrilling younger expertise on the roster, plus extra prospects on the way in which. Let’s preview their upcoming 2018 season.

The vitals

2017 document: 67-95 (minus-114 run differential)

2018 depth chart: Click on right here.

2018 schedule: Click on right here.

Are Abreu and Garcia actually sticking round? 

Over the winter the White Sox reportedly obtained commerce curiosity in first baseman Jose Abreu and proper fielder Avisail Garcia, however they held on to each, partly as a result of the workforce values their management and needs them round to information the younger gamers. Abreu particularly has been praised for mentoring the membership’s youthful huge leaguers.

After all, it does not damage that Abreu hit .304/.354/.552 (140 OPS+) with 43 doubles and 33 house runs final season whereas Garcia put up a .330/.380/.506 (137 OPS+) batting line with 18 house runs. These are two high-quality gamers they usually’re each underneath workforce management by the 2019 season, so there is no urgency to maneuver them. The ChiSox can preserve them, allow them to rake and mentor the children, and gauge the commerce market the following two years.

There’s something to be mentioned for respectability. The White Sox are rebuilding are it behooves them to win as few video games as attainable given the draft and worldwide free company rewards, however there’s additionally an obligation to followers and paying clients to at the very least strive to subject a aggressive workforce. Abreu and Garcia could possibly be moved at any second. For now, they’re going to stick round and assist the ChiSox keep away from being a complete pushover, and likewise present management in a younger clubhouse.

Who else could possibly be traded for prospects? 

Are Jose Abreu (l.) and Avisail Garcia veteran constructing blocks or commerce bait? USATSI

Abreu and Garcia are the plain candidates right here. Except for them, Hahn once more figures to money in any serviceable relievers as commerce chips, much like final season with Robertson, Kahnle, and Swarzak. Pitching coach Don Cooper has circled many careers — Kahnle and Swarzak are two nice examples — so if he will get, say, Joakim Soria and Luis Avilan and Danny Farquhar on monitor, anticipate them to be moved. Ditto ace setup man Nate Jones as soon as he returns from elbow surgical procedure.

Gonzalez re-signed with the White Sox over the winter, and since it is a one-year contract, he is prone to once more be dangled on the deadline. Rental starters are at all times in demand. James Shields can be an attention-grabbing case. He is not the pitcher he was in his prime, however the San Diego Padres are paying $11 million of his $22 million wage this season, the ultimate season on his contract. If he is efficient, which is an enormous if — Shields had a 5.23 ERA (82 ERA+) in 117 innings final yr — he may have a commerce market at midseason.

The wild card: Carlos Rodon. He’s getting back from offseason shoulder surgical procedure and is not anticipated to be prepared for the beginning of the common season, and he is been simply OK the final two years (four.07 ERA and 101 ERA+). His commerce worth is not sky-high in the meanwhile. That mentioned, Rondon continues to be solely 25 and he is underneath workforce management by 2021. If he reveals he is wholesome this yr, he figures to generate commerce buzz. After all, if Rodon is wholesome, the ChiSox will most likely wish to preserve him as a part of their rebuild.

Can Anderson get again on monitor?

In 2016, shortstop and 2013 first-round choose Tim Anderson had a formidable MLB debut, hitting .283/.306/.432 (100 OPS+) with 9 house runs and +2.eight WAR in 99 video games. The ChiSox have been so impressed they signed Anderson to a six-year contract price $25 million final spring. It is the most important contract ever given to a participant with lower than one full yr of service time.

Yr 1 of the contract didn’t go effectively. Anderson authored a .257/.276/.402 (80 OPS+) batting line with 17 house runs and +Zero.9 WAR in 146 video games final season. The excellent news? Anderson continues to be solely 24, and he was a lot better within the second half than the primary final yr. Test it out:

First half

324

.240/.263/.369

68

11

9

5

Second half

282

.276/.292/.440

93

15

eight

10

Anderson does not mission to be a excessive on-base hitter — he drew solely 64 walks in almost 1,500 minor-league plate appearances — however he has good bat-to-ball abilities, sneaky energy, and the kind of high-end athleticism that ought to enable him to be an excellent defensive shortstop. Even when posts a .310 or so on-base proportion, Anderson does sufficient different issues effectively to be a +Three WAR participant (or higher) going ahead.

One of many workforce’s objectives this season can be getting Anderson again on monitor, and again to the place he was in 2016. He isn’t the primary younger participant to wrestle in his first full MLB season and he will not be the final. Now that he has a yr of MLB expertise underneath his belt, Anderson could possibly be able to take off in 2018.

Which prime prospects will debut in 2018?

Even with Moncada and Giolito within the huge leagues, the White Sox nonetheless have a number of high-end prospects who may attain MLB this yr. Chief amongst them is outfielder Eloy Jimenez, the centerpiece within the Quintana commerce. The 21-year-old hit .312/.379/.568 with 19 house runs final season and reached Double-A. Jimenez is prone to start the yr again to Double-A, however going from Double-A to Triple-A to MLB in 2018 just isn’t out of the query. 

Here is what MLB.com has to say about Jimenez, who they ranked because the fourth-best prospect in baseball previous to spring coaching:

His large uncooked pop, generated with spectacular bat pace and leverage from the suitable facet of the plate, earns him comparisons to Giancarlo Stanton. He acknowledges pitches effectively, makes savvy changes, does not attempt to do an excessive amount of and is making progress along with his plate self-discipline … Although Jimenez might not provide a lot past his bat, he nonetheless can turn into a famous person.

Proper-hander Michael Kopech, the second piece within the Sale commerce, is the third-best pitching prospect in baseball, in accordance with MLB.com. The 21-year-old is the toughest thrower within the minors — Kopech has reportedly hit 105 mph up to now — and final season he posted a 2.88 ERA with a 172/65 Okay/BB in 134 1/Three minor-league innings, largely at Double-A. Kopech did make three begins at Triple-A and can start 2018 on the degree. The possibilities of him debuting this summer time are fairly excessive. Others like righties Alec Hansen, Thyago Vieira, and Connor Walsh could possibly be 2018 components as effectively.

Your rebuild goes effectively when you may have prospects like Jimenez and Kopech knocking on the door. When you may have Jimenez and Kopech knocking on the door and Moncada and Giolito on the big-league degree, effectively then you definately’re in a very nice form.   

Possible lineup

For a rebuilding membership, the White Sox haven’t got many positions up for grabs this spring. Left subject and possibly the DH spot. That is just about it. Right here is supervisor Rick Renteria’s projected lineup:

CF Charlie Tilson

2B Yoan Moncada

1B Jose Abreu

RF Avisail Garcia

C Welington Castillo

DH Nicky Delmonico

SS Tim Anderson

3B Yolmer Sanchez

LF Leury Garcia

Bench: C Omar Narvaez, IF Tyler Saladino, 3B Matt Davidson, OF Willy Garcia

Davidson will issue into the third base and DH conditions, and Willy Garcia may problem Tilson and Leury Garcia for taking part in time as effectively. The White Sox used an-Garcia beginning outfield at occasions final yr. I think about the identical factor will occur just a few occasions this yr.

Possible rotation

The White Sox hope Lucas Giolito will emerge because the workers ace in 2018. USATSI

The ChiSox have a pleasant mixture of veteran commerce chips and promising children headlining their beginning 5. Right here is the projected rotation:

RHP James Shields

RHP Miguel Gonzalez

RHP Lucas Giolito

RHP Reynaldo Lopez

RHP Carson Fulmer

Rodon will presumably rejoin the rotation as soon as he completes his rehab from shoulder surgical procedure. That will not occur till June, nonetheless.

Possible bullpen

As at all times, the bullpen is the land of alternative for a rebuilding workforce. If you may get outs, the White Sox provides you with an opportunity. Right here is Renteria’s projected aid crew:

Nearer: RHP Joakim Soria Setup: RHP Nate Jones Center: LHP Luis Avilan, LHP Xavier Cedeno, RHP Danny Farquhar, RHP Gregory Infante, RHP Juan Minaya

Jones is working his manner again from surgical procedure to re-position a nerve in his elbow, and he will not be prepared for Opening Day. If not, it opens the door for a somebody like Vieira, Rob Scahill, Aaron Bummer, or Jace Fry to interrupt camp with the workforce.

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