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em-dash-press · 8 months

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Ways to Skip Time In Your Stories

Finding ways to skip time in stories can feel challenging. Writers often worry it’ll make their work feel too amateur or negatively affect their pacing.

The truth is that every author includes ways they skip time to maintain their pacing and plot. Check out a few ways to do it with confidence.

1. Start a New Chapter

Yes, it’s really that simple. Go back to your favorite books and note how each chapter ends. You’ll likely find a few of these tricks that transition the story in ways that match the story’s flow.

Ideas to End a Chapter

The protagonist goes to sleep (likely overused, but practical)

The characters end a conversation

One character informs another of a plot twist

Unexpected action occurs, like a car crash

2. Emphasize the Season

You don’t need to tell the reader exact dates or hours to pass the time. You could mention the season instead.

If a scene or chapter ends in the summer and you need your plot to start in winter, make your protagonist mention something about the leaves changing color and giving way to snow before your action picks up again. It will only take a sentence or two, so it’s also an effective method for short stories.

3. Visualize a Movie Montage

Imagine watching a movie about a character who goes on a summer adventure. They backpack through Europe, but they have to take a flight to get there.

You likely wouldn’t see them standing in airport security lines, napping in a terminal or watching a full movie on their flight to their destination. Instead, you’d get a montage of them driving to the airport with a shot of their plane cruising over the open ocean.

Writers can do the same thing, minus the soundtrack in the background. Describe how your character got to their destination when a new chapter or scene starts. Your readers will get the general idea and appreciate getting straight to the plot that made them pick up your story in the first place.

Here are a few ideas to do this in just a few sentences:

One delayed flight and a bad airplane dinner later, I was walking out of the Amsterdam-Schiphol Airport with an aching back and excited heart.

My trip began with the perfect flight. I got an entire row of seats to myself, which made napping through the trip much easier. A flight attendant roused me awake when it was time to land. I couldn’t believe how fast I’d arrived in Athens that quickly.

My flight was just long enough to catch up on the movies I’d been missing over the last year. The landing gear bounced along the runway in Rome just as the Barbie credits started flashing across my iPad.

4. Showcase Some Confusion

Sometimes we aren’t aware of what time it is. We only know time has passed. That might be the best way to make time pass in your story if your protagonist gets confused, caught by surprise, or otherwise discombobulated.

These are some examples:

I woke up with a bad taste in my mouth. The sun was already peaking in the clear blue sky. How long had it been since my explosive video call with my ex the night before?

The time machine landed with a thud that knocked me to the ground. The control panel exploded in shimmering sparks. What year was it?

Working a double shift always left my brain spinning. I left work, walking across the parking lot with only the stars watching my back. I could feel the hours aching in my feet, but didn’t care what time it really was. I just needed to sleep.

5. Employ a Phrase

There are many quick phrases you can use to make your time jumps immediately clear. Consider using a few of these when you feel creatively stuck:

Later that morning

A few weeks later

After months of trying

Six hours later

The following week

As the store closed for the night

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There are many other ways to make time pass in a story. Starting with these could help you figure out the best way to move your story forward without disrupting its pacing.

Remember, you’re in control of your story at all times. There’s always a way through creative challenges if you take a deep breath and try something new.

#writing chapters #writing scenes #chapter writing #scene transitions #chapter transitions #writing transitions #writeblr #writing advice #writing tips #writers of tumblr #creative writing #writing #writing community #writing inspiration #writing help #writing resources

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marvelwinchester67 · 4 months

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I’m gonna need 5-10 business days to recover from the Hazbin Hotel season 1 finale.

Hazbin Hotel episode 7 and 8 spoilers (because I’m going feral) and my thoughts/unhinged feelings about it because no one else can understand quite like tumblr can

Read at your own risk

What. The. Fuck. Guys.

WHAT DOES IT MEAN?!

IT WAS NIFFTY WHO KILLED ADAM?!

AND SIR PENTIOUS?! ARE YOU KIDDING ME?! IM NOT OKAY BUT IM GLAD HE IS

Lucifer “now I’m gonna fuck you” Morningstar everyone (plz I love him so much)

So Carmilla knew who Vaggie really was and just, didn’t give a shit? Love her for that

I love Rosie. Her design, her personality, she’s amazing. She was so sweet to Charlie when she didn’t have to be and actually listened to her and encouraged her (points for the relationship advice)

So Alastor is on someone’s leash and he’s trying to wiggle his way out of it, the Vees are plotting (of course they are), and LUTE KNOWS LILITH?! THEY MADE SOME KIND OF DEAL?!

I’m so so curious about how Lute and Lilith know each other and why Lute would want her to deal with her daughter

But this implies that Adam had a previous deal with Lilith regarding something we don’t know yet, since Lute said she was in charge now that he was dead and that their deal pertained to her now

ALSO?! You’re telling me that’s what Adam looked like under his mask?! (I still loathe him but lowkey he was hot I’ll be honest right now)

Sir Pentious telling Cherri he loved her was so sweet

I soaked up every single scrap of Huskerdust I could within those last two episodes they own my soul and I’m so excited to see more of them in season 2

So it looks like Vox thinks Alastor is missing again which is why he’s plotting with the other Vees, but Alastor showed back up at the hotel during repairs so that might not last long

Alastor’s fight with Adam was so good holy shit omfg plz give me more of Alastor’s powers that shield was so cool and his verse in that final song gave me chills like, oh my god he was so mad and I’m here for it

And Lucifer showing up and telling Charlie she changed his heart and mind about the sinners? He is so precious plz protect this duck loving man at all costs

Charlie and Vaggie’s More Than Anything Reprise? Please I am sobbing they love each other so much it hurts

To top it all off- Alastor having beef with literally everyone will never not be funny. Fucking Susan? Are you kidding me. I was laughing so hard. Rosie seems like she deals with Susan a lot and Alastor calling her an Ornery Bitch was so fucking funny for no reason.

Everyone has beef with Susan now.

There is so much I have to say about this show and I could literally talk about it for years but for now I will be repeatedly listening to the soundtrack and impatiently waiting for season 2 because I no longer have the will to live after I sobbed on my bedroom floor over this show. VIVIENNE I AM IN YOUR WALLS-

#Hazbin Hotel #hazbin hotel lucifer #Hazbin hotel spoilers #vivziepop #angel dust hazbin hotel #hazbin hotel husk #huskerdust #hazbin hotel lute #hazbin hotel adam #sir pentious #Cherri bomb #Cherri and sir pentious #husk x angel dust #charlie x vaggie #charlie morningstar

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ittsybittsybunny · 3 months

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ATLA Live Action Series Review:

The Good

Aesthetically this show felt right. Sure sometimes the outfits didn't quite feel lived in, but I always felt like I was watching a fantasy world with decent effects and interesting design. Also, I really enjoyed the sets!

Bending: Yes some of the fights feel very quick, but the bending looks cool. It is certainly better than 10 benders lifting one big rock. I can honestly say the opening bending fight scene gave me so much hope for this show.

Kyoshi Warriors: I loved seeing them in live action, and I thought Suki's performance was great!

Omashu: I think the mashup of the mechanist made sense since that is an important character overall and I would hate to see him cut. However, both Jet & the secret tunnels felt sloppily thrown in.

Northern Water Tribe: I really loved the way it looked, and appreciated the two episodes we spent here. I think Yue gained more agency in this interpretation, and why shouldn't the moon spirit be a waterbender. Also, episode seven felt the most in tune with the original show's spirit.

Zuko: I think he was one of the most fleshed-out and best parts of the show! Dallas Liu really captured Zuko's spirit, and the scene between him and Aang in episode 6 was wonderful!

Soundtrack: Hearing the original soundtrack bits is always great, and when I first heard the ending music I was so excited.

Is the show perfect, no - but I wouldn't mind a season 2.

The Bad

Pacing: Turning 20 episodes into 8 was bound to lead to some cuts...but oftentimes times things felt too quick or disjointed. I think there were editing problems contributing to this for sure, but sometimes things skipped around too much without a clear purpose as to why. Also, why bring in plots from later seasons when you barely have enough time already?

Writing: This show definitely suffered from exposition dumping, though it did get better as time went on. I think the biggest example of this is actually opening in the past rather than the present. We do not get to learn along with Aang that the world has changed, instead, we get to learn that 100 years have passed....which doesn't hold the same tension or worldbuilding.

Clunky Dialogue: Along with exposition, clunky dialogue is another example of bad writing. I think sometimes I felt like the acting was kind of meh in the beginning, but then over time I began to realize it had far more to do with the lines characters were trying to deliver. The actors themselves are not bad, just cursed with awkward writing and lines that feel out of touch with the setting they're in.

Main Trio: I don't entirely know that I believe Katara, Sokka, and Aang are friends as opposed to 3 people stuck together to save the world. Aang feels a little too somber for a young kid running away from his responsibilities, Sokka is protective, but not exactly the heart of the team, and Katara is sort of just there until the last two episodes. Where is her struggle, her desire to learn so strong she steals from pirates? Also, while Gordon Cormier did a great job, Aang does zero waterbending on his own, is overly serious, and tells Katara not to fight. Where is his desperation to protect his friends? It feels like they all lost emotional depth.

Tension: Bringing Ozai, Azula, and Zhao out in the beginning immediately causes us to lose the realization there is an even bigger bad. Part of why Ozai is so terrifying is he is a primarily silent villain until the third season when we finally see the face of the "big bad evil guy" behind it all. Yes, they add to Zuko's backstory, but again, they are revealing the villains too early. Azula is the antagonist of season 2 and one of my favorite characters, so I hope they do more with her in the future. Finally, Zhao is supposed to be an example of the uncontrollable nature of fire unrestrained, instead, he comes off as vaguely threatening with the supposed true power being Azula.

Characterization: While all characters are bound to lose something in a shorter show, it still felt like certain characters were more mutilated than others. I am sure there are 100 different opinions on who, but I think the biggest victim was Katara.

Katara: Katara manages to go from a complete novice to a bending master in what feels like a matter of days. The journey feels short, and that makes the results feel largely unearned. Katara is one of the strongest personalities in the show, determined, kind, and fiery. In many ways, she is the unpredictability of water - equally dangerous as it is necessary to live. She is the child of a war who lost her mother, forced to grow up too soon, and even raised her older brother. Yes, Katara often gets stereotyped as the mom friend, but overall she feels underutilized in this show. We really don't see enough of her journey until the very end.

Iroh: Iroh was always comedic but most importantly wise. Even when Zuko is trying to give himself advice, he mimics Iroh. Instead, he seems to be used more as comedic relief without the underlying experience. He just doesn't feel right. Also, he kills Zhao instead of Zhao getting himself killed - which is less about Iroh and more about the writing than anything.

Ozai is weirdly a little too nice. Yes, he burned Zuko and pits his kids against each other, but he feels toned down in a show claiming to be more mature than the original cartoon.

Azula is perhaps more realistically worried about losing her status as the golden child, but she is also missing the cruelty she and her father share. I understand worrying about making your character cartoonishly evil, but the Fire Nation is currently a deeply nationalistic empire trying to control the world. Where is the deep-seated belief that they are better than other people, not just trying to bring balance to the world? There is a line between creating complexity and toning down the very real evil inherent in this plan.

Roku: I can only say what the fuck was that. He was barely there, and not the serious master to Aang's youthful exuberance.

The Ugly

Show, Don't Tell: The show's single biggest issue seems to be speeding through story parts by simply stating things. Instead of allowing the audience to discover, trusting that we are smart enough to understand, let's just blatantly say things like Zuko is the only reason the 41st division is alive to their faces. Even though in the context of the story Ozai literally already said that.... it's the division, the division for Zuko, Zuko's division.

Thematic Misunderstandings: I think this show makes several minor changes with major implications, such as airbenders actively fighting the firebenders, when airbenders are known for their pacifist nature and the lie of an Airbender fighting force is actively propaganda. Similarly, Aang very quickly accepts his role as the avatar and doesn't even run away in the beginning. Without this conflict between his desire to be a carefree child and the fact that the world needs him - the show loses a key aspect of Aang's character. Also, the obsession with downplaying the avatar state as something dangerous feels like a disservice to the tradition, connection, and strength of the avatar, which can be permanently destroyed as the trade-off for that kind of power. It's dangerous for the balance of the entire world, not just because it's powerful!

The Agni Kai: Zuko's fight against his father is one of the defining moments of Ozai's cruelty, not just because he is willing to fight his child, but because Zuko tried to do everything right. Zuko shows deference to his father, apologizes, and most importantly refuses to fight! The determination not to upset his father and still be grievously injured and banished is a hugely important theme for the fire nation and Zuko's life as a whole. He tries to do everything he is supposed to and only regains his father's acceptance after he "kills" Aang. Zuko's struggle between moral vs. social right and wrong in contrast to his family is hugely important to his character.

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TLDR: ATLA was a fantastical animated television show that was never afraid to show character development and flaws. When you turn 20 episodes into 8, you are bound to lose something. You hollowed out the middle, leaving the shell of important moments and events without ever wondering if all the times in between formed the true spirit of the show.

Rating: 6.5/10 It's perfectly fine and worth a watch. Not a disaster, but certainly falls flat of the original.

#atla #avatar the last airbender #avatar the last airbender tv #atla tv #spoilers #natla #i loved it i hated it i mostly sat through it #i would like a season 2 though #aang #katara #sokka #zuko #iroh #uncle iroh #azula #ozai

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fushiglow · 8 months

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Gojō Satoru's rude awakening

I'm refusing to let myself seriously entertain the possibility that Gojō can come back after chapter 236. However, that's because I'm trying to protect my future self from disappointment, not because I think it's implausible — and I really want to talk about this image!

A couple of days ago, @runabout-river shared an interesting theory about what might happen next for Gojō. The post itself is well worth a read, but it was the choice of the above image that really set my mind alight. This scene is fresh in our minds after the anime adaptation of Hidden Inventory, and timing is clearly never an accident with Gege Akutami. So, why is it relevant now?

We see Gojō giving himself over to his past, lost in his happy dreams of his youth, only for Megumi — Gojō's first student and a symbol of the future that he envisions — to bring him back to the present by telling Gojō, "You're the one who called us here, please don't go dozing off."

In other words, "You're the one who dragged us into all of this, don't go pretending this isn't reality just because it's nicer in the past."

In my immediate reaction to 236, I said:

Gojō's dying bloody smile shows he's at least happy in his final moments. [...] Although, if Gojō actually is at peace in death, maybe that's the reason Gege will bring him back. He'll *never* let that man be happy, I swear.

It was just a joke, but seeing @runabout-river's post made me realise that Akutami has already set a precedent for 'punishing' Gojō for looking backwards. When he's dreaming about his past, Megumi scolds him and brings him back to the present. When he 'lets his mind wander' to his blue spring in Shibuya, he literally gets locked in a box where time doesn't pass, only to immediately find himself at the bottom of Japan's deepest ocean trench when his students bust him out to fix the problem he created.

As a side note, in both of these moments, the anime adaptation played a melancholy version of Gojō's Limitless theme — the audio representation of Gojō's youth. I'll eat my hat if it doesn't play again when chapter 236 is eventually adapted (I shared some more insights into some of the easter eggs hidden in the season 2 score in my mini review of the Hidden Inventory soundtrack if you wanna read).

If Gojō dies here, looking backwards to his youth, then he's taking the easy way out and that's what I find hardest to swallow about 236. Gojō leaves what is potentially the most difficult conversation he'll ever have — telling Megumi the truth about his father — to Shōko. He leaves his students to deal with the fallout of his failure to cremate Getō's body. He's saddling the people he loves with the responsibilities he leaves behind, and that's not fair.

However, we won't know if that's what's happened for sure until the whole story is told. Gojō doesn't mention his students in this chapter, and lots of people were bewildered that he seems unconcerned about their safety in a world without him. While that could simply be explained by his faith that they've "got it from here", there's a chance that he genuinely didn't think about it and he's about to get a rude awakening as his punishment — hence, "I pray that this isn't just a delusion".

I would *adore* it if Shōko dragged him back to life kicking and screaming, hauling him away from his pleasant fantasy of youth to tell him, 'No, you and Getō don't get to leave me behind to pick up the pieces again'. Because isn't that Shōko as a character? The one who's left to pick up the pieces in their wake? The one to heal the wounds and lay the bodies to rest while everyone forgets she's even there?

It would be the most character development she ever receives, and I'd love to see how Gojō and Shōko's dynamic changes when he's not the 'Strongest' anymore. So, in Shōko's own words:

#jjk #jujutsu kaisen #呪術廻戦 #jjk 236 #jjk meta #jjk analysis #gojo satoru #ieiri shoko #jujutsu kaisen meta #jujutsu kaisen analysis #jjk spoilers #jjk manga spoilers #jujutsu kaisen spoilers #jjk leaks #i can't stop talking about this chapter #so i guess it might actually be really good???#i'm literally drafting another post right now 💀

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fuckyeahgoodomens · 11 months

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David interview with Maggie Bocella for Collider, 10.7.2013

COLLIDER: Obviously, when you started making this show, you had the book to go off of, you had a very specific framework to work off of. But because everything for Season 2 is new, did you get to have any input with Neil Gaiman on where Crowley goes from the end of Season 1?

DAVID: Oh no, that's not my job. No, I mean, we've got Neil Gaiman, so you just get excited about what direction he's going to send you in. It wouldn't occur to me, to be honest, to start giving Neil Gaiman plot suggestions or character suggestions, that would just be limiting his brilliance, I think, if he was trying to sort of contort his ideas around mine. So no, I just sat back and was excited to let a script ping in and find out what was going to happen next. What a treat to get to be one of the first people to read the continuing adventures of Aziraphale and Crowley.

COLLIDER: In that vein, how do you think Crowley has changed between the end of Season 1 and where we see him now? Can we expect anything significantly different from him this season?

DAVID: Well, as you would expect, he's no longer working for his corporate bosses from Hell, which gives him a certain liberty. He's more of a free agent, but it does mean that they've taken back the swishy apartment that comes with the job. So he’s in slightly diminished circumstances. He's living in his Bentley in his car with his potted plant and feeling slightly hard done by it, I think. But quite early on, we see him meeting with Shax, who's his replacement in the job. So he's keeping his ear to the ground, seeing what's going on, and giving Shax a bit of guidance as to how to be Hell’s representative on Earth and also how to fix the boiler in the apartment. Yes, he's certainly as we always knew him, but probably a little bit grumpier.

COLLIDER: You mentioned the Bentley, and the Bentley being cursed to play Queen songs forever and ever and ever is one of my favorite parts of the show. I was curious what you think Crowley's favorite Queen song, is if he's not so sick of them that he never wants to hear them again.

DAVID: That's a very…wow, that's a difficult question. I need a lot of prep for that. What's my favorite Queen song? I don't know. I mean, “Don't Stop Me Now” is probably the best driving song, isn't it?

COLLIDER:Yeah!

DAVID: And he certainly enjoys driving at ridiculous, slightly supernatural speeds. I suspect that's probably the best soundtrack for that, so it's probably that, or “A Kind of Magic,” I suppose, makes a certain sense for a supernatural being with unearthly powers.

COLLIDER: That's a good answer. But you also work very closely with Michael Sheen, who you not only work with on this but also on Staged, you're quite close. What's it like getting to put that friendship dynamic to use? Especially since this and Staged are so completely different.

DAVID: It's very nice to get to work with a friend every day, you can't pretend it's not. I mean, we did have the pleasure of doing Staged during lockdown, which of course probably wouldn't have happened were it not for us getting to know each other so well on Season 1 of Good Omens. It wasn't so long after the first Good Omens came out that we were all locked in our houses for months on end. We managed to come up with this notion of doing Staged and making a show on our laptops, which, really, we did initially just to amuse ourselves, to see if it was possible. Then it ended up becoming more. We just [premiered] Series 3, so between the first season of Good Omens and the second season of Good Omens, we managed to do three seasons of something else together!

COLLIDER: This show has had such a massive fan response. How much of that are you really aware of? Are you seeing how people are reacting to this show?

DAVID: Oh, it's been quite overwhelming. I've been to a few Comic-Cons over the last few years, and when I visited them pre-Good Omens, I saw a lot of people dressed up as me from…another show. But that has slowly changed until the amount of Doctors and the amount of Crowleys I meet are certainly neck and neck these days. But what's lovely about the Crowleys and the Aziraphales is they always come in pairs, so you get to meet people who've got all dressed up often with their best mates.

That's one of the great joys of being involved in this show, that these characters are so beloved. And of course, the great honor of taking on something like that, a character that people are so enthusiastic about, is that the great terror is that you'll break it, that you won't be… I think, especially with a literary character, the act of reading a book is such an internal mental spell that you cast, isn't it? Those characters are almost more vivid than a character that you might see on screen. So embodying characters that have been so loved for so long, not breaking them, not, you know, crushing dreams… The way that we've been accepted by those fandoms, it's been quite humbling, to be honest.

COLLIDER: You're also part of another Neil Gaiman joint, you play Loki in The Sandman audio series. Obviously, that's a different medium, but are there any similarities between working on The Sandman and working on Good Omens?

DAVID: The Gaimanverse is certainly its own creation, but Good Omens is always slightly different, of course, because it wasn't just Neil, it was very much co-created by Terry Pratchett, who also had a very distinctive voice and a distinctive universe. But there's something very specific about the Good Omens universe, which is where these two very distinct, very vivid authorial voices blend together to create something very specific and quite unique. So, I don't know how similar it was being part of The Sandman. I mean, it was a great pleasure to be part of it. It was wonderful to make Loki come from Scotland as well. I think Tom Hiddleston should take some notes. There's nothing better than a Glasgow Norse god. I’m kidding, obviously, he is the definitive Loki, but I did my best to sort of, you know, target his coattails.

COLLIDER: Besides Good Omens and Staged, you are coming back to Doctor Who this year. It's all anybody I know can talk about, but obviously, the spoiler police will come and get me if I attempt to talk to you about too much. So if you could describe what audiences are gonna see in November in, like, three words, what three words would you use?

DAVID: Three words? Three words?! Three new stories. That's not very good, is it? That doesn't give you very much away. Neil Patrick Harris! There you go.

#good omens #gos2 #season 2 #interview #david tennant #david interview #ac #collider #doctor who #david on crowley #boiler #crowley and shax #collider 2023 #s2 interview

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leftduck9986 · 2 months

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Foreshadowing, out of order?

In storytelling, is there a single word that means "the opposite of foreshadowing"?

WARNING: in trying to wrap my head around this, there will be wittering!!!

Wikipedia tells me that a flashback is a method of foreshadowing.

The Bullet Catch in the NZF minisode, being a flashback as well as told before the "present day" [speculated] event it sets up a clue for, well, that's what I've understood foreshadowing to mean until now, because isn't foreshadowing always presented before the event it foreshadows comes to pass?

The flashback/memory minisode, A Companion To Owls, is told after the "present day" event it foreshadows. Does that still count as foreshadowing, or is it instead considered "the big reveal" because it is told after?

And is this all that is meant by various things in Good Omens 2 being "out of order"?

The Hiding Miracle and the Memory That Both Foreshadows and Reveals It?

Indeed, it was a tiny miracle - as titled in the soundtrack - that worked as planned and "barely moved the dials" (but still a miracle in which "Noone will have noticed A Thing" however tiny it was, and that "Nobody notices he's here (...) Nobody can spot him, (...) especially if they're looking for him").

I believe it was the first of three events that happened that night, which, became the main focus of this "quiet, gentle, romantic" season, but paling in comparison to the other two events. Moving on!

Returning to how A Companion to Owls isn't told until after The Hiding Miracle and clues us in as to what was actually going on: this tiny miracle was made to appear far more powerful than it actually was, with the use of showmanship:

The ceremonious setup of being positioned on the circle in the middle of the room hidden under the carpet, between Aziraphale and Crowley; he could have been standing, but instead, "Jim... Sit in this chair." And it's a beautiful chair, like a throne, but Jim being taller wouldn't have worked for the image of the 'W' (similar to the 'W' shape made with Shadwell standing between Aziraphale and Crowley at the airbase, in the book Good Omens.)

ta-da!-look-at-this-very-complicated-and-powerful-miracle-that-we-are-doing

Why perform at all then, for an audience of none?

Ah, they're not alone, oooOoOoOOOoOoOooo, spooky. Go and see for yourself: check out the bottom left area of the screen when Crowley returns to the bookshop and says, "I'm BACK" (this is to do with the "framing opportunities" secret mentioned in the Gavin Finney BTS article https://britishcinematographer.co.uk/gavin-finney-bsc-good-omens-2/) Aziraphale calmly replies, "Yes, I can see that" and later gasps, reacting to something happening off-screen at 40m41s.

So this performance, not yet knowing who their audience might be, could be as a precaution, just in case.

Gabriel instinctively crosses his hands and is confused when Aziraphale and Crowley uncross them - or likely because Aziraphale was even standing there at all - because he remembers, or rather, in his mind's eye, sees the shape left behind by a missing piece of furniture.

The ceremonious setup of being positioned in the centre, between Sitis and Job, this time in the background to have Bildad appear a little shorter in height for the stylized 'W', then crossing his hands. The pot containing Sitis and Job's children being the circle, hidden by the circle of carpet (robes) made as Sitis and Job embrace.

ta-da!-look-at-this-very-complicated-and-powerful-miracle-that-we-are-doing

Had we seen Jim's and Crowley's conversation about memory before The Hiding Miracle instead of much later in episode 5, then it would have been foreshadowing, yes?

*temper rising* A "reveal," or "out-of-order foreshadowing"? (VBUAXNAUSX*keyboard smash*NYVIFGNOMAI) grrrrrr!

...

After the Job story is told, (save for the final scene) and Aziraphale calls for Crowley, my head-cannon used to be that Aziraphale wanted to talk about hair -

Aziraphale: Crowley, I gave you lovely long locks in my retelling of this story, how about you? Crowley: Nah, "shoulder-length bouncy 'bob'" is what I put - a "Lob" I think is what they're calling it these days.

But now I think that, to book-end Crowley's beginning with, "Your boss said that to Job, do you remember?" (imo they are so good at blending in, they can act human better than any human can act human! So, while feigning the memory span&loss&retention of a human, of course they can remember most everything. Angel stock: constitution of an Ox, memory of an Elephant.) Aziraphale may have wanted to remark on Jim's crossed hands from the night before and how similar it was to Crowley's doing so; that it was evidence of Gabriel still somehow being able to connect with images from his memory. "Crowley? You also did that thing... does Gabriel remember?"

If each minisode contains something that foreshadows or reveals what magic tricks occurred during this season's present day events, I feel that the only thing left is from "The Resurrectionists" minisode, where Crowley Goes Large (woah, woah, woah, another case for The Song Is The Clue?!?) ... or makes himself, something or someone else tiny.

"Size and shape are simply options" after all, so I do wonder about Hell's Usher, where the only time we've seen him is when he is small enough to fit in a bathtub and yet he is HUGE in the opening title sequence of season one. Behind him, Noah's Ark stranded between two damaged buildings (or one damaged building and maybe the Pleasure Cruiser Morbillo?)

Something else that may be revealing of stories yet to be told of the past, while also foreshadowing a near-future event:

Based on what Crowley said, this is not the first time Crowley and Aziraphale have performed a half-miracle together! Whatever biiiig miracle they're about to do (speculated event #2) could still be completely balanced and undetected, but then a plume of miraculous activity emerging from the circle gateway (privately speculated event #3) is what poor Aziraphale will appear to take the blame for.

Things being out of order may have started with the question, are season two's present day events being told out of order? There are other things appearing out of order as well, for example a change in the order of colours in the Rainbow (for "present day" episode two only I think, beginning Violet then Red, etc.) Or, in this case, narrative devices being so intertwined, one flashback-event can contain images and phrases that both foreshadow something yet to happen as well as to reveal what happened in a part of the story already told.

As always, please no asking or tagging Mr Gaiman as this blog post contains theory and speculation, thank you.

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pansexualnoodle5 · 7 months

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Why you should watch

created by Adi Shankar, showrunner and exec producer of BOTH Castlevania series on Netflix. you can tell a lot of love went into this, the creators were having so much fun

basically a universe of Ubisoft IPs

adult animated series with intriguing storylines, dynamic artstyle, amazing animation, a killer soundtrack and super cool characters

QUEER INDIAN DISABLED PROTAGONIST, DOLPH LASERHAWK IS SO COOL

multimedia style storytelling

Rayman goes postal. Yes, THAT Rayman.

classic sci-fi themes of standing up to your tyrannical technocracy

Suicide Squad vibes; criminals pulling heists for a secret organization (THE GOOD SUICIDE SQUAD, NOT THE JARED LETO ONE)

but it grows into so much more as the show continues

Over-the-top anime-inspired style balanced out with emotional and so very real voice-acting

Seriously, Rayman's voice-actor deserves awards for this performance

there's this frog. his name is Bullfrog. he's French. he's part of the Assassin Brotherhood. you will LOVE HIM.

the end is CRAZY, it will take you out at the KNEES

BUT it leaves you on a cliffhanger, CLEARLY setting up for season 2

and I need that season 2 so how bout it, give Captain Laserhawk a try. It's six episodes, you'll only lose like half a day on it.

#captain laserhawk #dolph laserhawk #adi shankar

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thissmycomingofage · 3 months

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Maisie and James may actually be singing "you were the point of all this living", but I'll never let go of how I first understood "you were the point of all this leaving"

#maisie peters #artist: maisie peters #album: trying soundtrack season 2 #song: funeral #text #oli schist!

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girlbossagenda · 7 days

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HOW TO ROMANTICIZE YOUR LIFE PT.2

Here's the highly requested come backk, how to romanticize your lifeee!! Are you getting tired of the everyday life? Grab your friend, your cat and favorite snacks, it's time to add spice to your bland life!

୨୧Create a band!୨୧

Everyone wanted to be part of those cool 2000s band, like Roderick Humphrey from diaries of a Wimpy kid, so why not making friends, or become friend with the band kids!

୨୧Make your own site/blog୨୧

This is especially for my 2014 Tumblr coded girlies and the girlies that wanted to be a fashion magazine author, you just need to decide what you want to talk about! Do you want a gossip tea page? Do you want a spotted? Or a self improvement one? You decide!

୨୧Write poetry/songs୨୧

This is for my romantics out there! If you can, go in nature and write poetries or songs take a moments to yourself and express not only your feelings but also your creativity on paper throught your words.

୨୧Start a collection୨୧

Summer it's the best season to start collecting stuff, seashells, rocks, crystals, stamps, swinsuits,stickers,albums,dolls,manga,cards etc..if you ever get bored of your collection you can sell it or use it for DIYs

୨୧Trow a slumberparty/sleepover୨୧

I never went to a slumberparty, but they seem so much fun! staying awake with your friends till the first sunlights, stargazing, gossiping and crazy storytimes! They don't even have to be your friends, they can be your cousins or your siblings!

୨୧Make a mixtape୨୧

This is so old school, but it seems like a fun way to pass time, it's like making a playlist just phisycally! You can choose if you want to do it on a cd or an actual tape.

Here's the second part for my "how to romanticize your life"!! If you want you can find the first part here , as summer it's coming I'm gonna try to post more guides and answer my inbox!, stay tuned cause I'll make sure to make the most about this time and to give you more fun props! xoxo gorgeous

-𝓐

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alcalystrasz · 4 months

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I was watching some byler videos on YouTube, when I suddenly arrived on one video from a certain "urlocalbylershipper", in which they explains a theory, A HUGE ONE, that I personally think is one of the bests so far. Let me explain...

So, this OST, called Being Different, is the one who plays in the back of Will's lowkey confession to Mike in the van scene. He says that when you're different, you feel like a mistake, talking about himself, because being different means being gay, and so you feel like a mistake for being it. And the name is obviously Will's words.

And this OST, called You're The Heart, is the one who plays in the back of Mike's love confession for El. And it has this name because Will said to Mike that he was the heart of the party and without this heart, everyone would fall apart. So it's Will's words, again.

So now if you listen to these 2 OST separately, you may enjoy it, like every others, but also might sound confused. Why? Because these two seems like... incomplete. If you listen to both, separately, it feels like some instruments or sounds are missing, like it's, again, incomplete. HOWEVER, if you play them, together at the same time, starting from the beginning, the soundtrack looks more complete, and are perfectly fitting each other. Just try, you'll see how it's impressive.

Honestly that's a crazy hint that "urlocalbylershipper" noticed, over a YEAR AGO, so back when the season was released, and it's crazy that no one talks about it right now, because.... it kinda feels obvious? Atleast now that we know. And if it's made on purpose, the Duffers are crazy AND WILD to have made that up, or more like Kyle Dixon and Micheal Stein. Anyway my point is, it is on purpose, it is WAY too weird if it's not. And this can't be a coincidence.

Go check out her channel, there are plenty of good stuff, and I'm screaming because these two OST, used one for Mike and Will, for Will's confession, and the other for Mike's confession, but with Will's words, is giving like a lowkey hint/proof from the Duffers to significate that byler is endgame. I don't know if you understood but, yeah, I'm screaming right now so I probably wrote this in a rush but eh who cares?

Tell me what you think when you listen!

#stranger things #byler #noah schnapp #finn wolfhard #mike wheeler #will byers #byler is endgame #byler is canon #byler tumblr #love #byler nation #byler proof

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rhysdarbinizedarby · 7 months

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Our Flag Means Death Costume Designer Breaks Down Season 2's Punk-Pirate Looks

Gypsy Taylor explains the surprising historical details that influenced the 'rule-bending' comedy's costumes

Rhys Darby, Our Flag Means Death (Nicola Dove/Max)

[Warning: The following contains spoilers for the Season 2 finale of Our Flag Means Death.]

Packing a ton of plot twists and emotional upheaval into a tightly paced eight episodes, Our Flag Means Death just concluded its tumultuous second season. Season 2 ends on a heartwarming note, with Ed "Blackbeard" Teach (Taika Waititi) and Stede Bonnet (Rhys Darby) settling down to open an inn together. This gives fans a satisfying happily-ever-after if the show ends here — although showrunner David Jenkins intentionally left things open for a potential third and final season, teasing a team-up between Stede, Blackbeard, and pirate queen Zheng Yi Sao (Ruibo Qian).

Along the way, Our Flag Means Death continued to deliver its unique brand of historical storytelling, offering a chaotic mash-up of 18th century sources and modern themes. Working in tandem with theatrical visual effects and a soundtrack featuring Kate Bush and Nina Simone, costumes play a key role.

To cap off the season, TV Guide spoke with costume designer Gypsy Taylor. Among other topics, we discussed Stede and Blackbeard's evolving wardrobe, the historical research behind characters like Zheng Yi Sao, and Taylor's favorite unsung costuming details among the supporting cast.

This season there's a lot of journey to the costumes. Characters are experimenting with self-expression. I'd like to talk first about Stede, who starts as a caricature of a foppish aristocrat, but looks a lot more practical this season. What was the vision for that look?

Gypsy Taylor: The story is that he's lost everything. Blackbeard's gone on a heartbroken rampage and he's destroyed everything that looks like Stede on the ship — which would include that wonderful wardrobe. You know, like how you'd throw your boyfriend's clothes in a box out the window.

Stede was on his boat heading to the island at the end of Season 1, just wearing this one outfit. We see him in a filthy version, he's been living in it for two or three months. Rhys [Darby] was a little bit disappointed because he was like, "Do I get to wear any rings?" And I was like, "No! You've lost them all!" Then as the season starts to go on, he starts stealing some other pirate clothes and he starts to get really sexy and come into his own gorgeous pirate self.

And he gets that cursed suit.

Taylor: The cursed suit was so much fun! That's the first time in months that he's seen something beautiful like what he used to own. It's on this Spanish ship, so we went with a dandy matador look. Rhys put the calico version of that on in the fitting room and instantly embodied this character. He was flicking the tails and spinning around and he stood up straighter and his butt clenched… It was magic to watch.

I love that dandy side of him. There's a lot going on in terms of gender presentation with the main guys. They're both trying to escape toxic masculinity, but Stede's also chasing this idea of being a badass, and then Ed is doing the opposite because he abandons his leathers. I'd love to hear your thoughts on that, and how Ed is for half the season wearing things like sackcloth and linen.

Taylor: The leather is very constraining, and it's very much his persona of Blackbeard. To lose all of that means he's lost his toughness, and that exterior that's sort of like armor. So we went straight for the opposite end and just put him in a rice sack that he'd made into a jumpsuit. The idea behind it was that Wee John had sewn it because he'd started to learn to sew and knit — the concept being that there [were] rice sacks below the decks, which was very common in pirate ships.

Once Buttons turns into a seagull, his clothes were left behind on the ship. So Blackbeard takes those linen clothes, and he's like, "This feels right, this is kind of light."

I don't know if you're able to speculate about Season 3, but given the symbolism of Ed's leathers, do you think we've seen the end of that outfit, or is it going to stick around?

Taylor: I can't say anything to Season 3, but I do know that in the finale the leathers magically come back. I had a conversation with [showrunner] David Jenkins because he says, "Well, we have to end the show with him wearing his Blackbeard leathers, that's what we all know of him." And I was like, "How the hell has he gotten them?" You know he's thrown them off the boat, into the ocean, never to be seen again. And David just turned to me and went, "He's Blackbeard, he can do anything." I thought that was pretty funny.

Taika Waititi, Our Flag Means Death (Nicola Dove/Max)

That's exactly the kind of fairy-tale logic the show thrives on.

Taylor: We often refer to it as Looney Tunes. It's not exactly historically correct. Funny sh-- happens and we all sort of took on that Looney Tunes theory of like, episodes change and something appears and then it doesn't.

The good thing with costume and pirates is that the way they get their outfits is they just steal them. So whatever we came up with, I was like, "Oh well, they run into a French ship and they've stolen a great leather jacket." Costume elements could appear based on that rule that pirates steal anything.

I'd love to hear a bit about the crew's looks. The show does a really good job of illustrating their personalities, but this season a lot of them also have this makeover where they start out wearing Blackbeard's goth/punk outfits, then change into something more comfortable.

Taylor: Characters like Izzy and Fang were already established in the Blackbeard gang, so we didn't change them too much. With Fang I added extra sperm whale teeth and extra studs. I got rid of his shirt and we covered him in tattoos. Time had passed and he'd evolved a bit. Izzy was very classic, so we didn't need to change him at all. He was pretty adamant not to be evolved as the other guys had been.

Frenchie and Jim, which are the biggest transformations we see, they've spent months at sea with Blackbeard, who is a tyrant. He's made them wear head-to-toe black, and they've had to piece together outfits from around the ship. So Jim is covered in all these ropes to make them look tougher, and their belt is a giant fish hook. Frenchie's an artist, and he's stolen a beautiful leather jacket — he's brought the little flag element into the back of his jacket with some embellishment. Then Archie just looks like she's picked out of a crowd of pirates from the Republic of Pirates.

As far as the other characters go, we continued on from Season 1 and just kept their same outfits, but three months later. They were stuck on an island, so I gave Wee John a little necklace that he'd tied out of old rings that he'd found. And we gave Olu some shells and pieces that they could've crafted on the island.

Once we see them all go to Zheng's ship, I wanted to keep elements of the Zheng uniform. So you see with Black Pete, he kept the shirt but ripped off the sleeves and got some new pants, and Roach kept the pants. It starts to become like a mesh of all the little adventures that they've gone through, or the trauma that they've gone through.

Our Flag Means Death (Nicola Dove/Max)

I love the contrast you mentioned between Izzy and the others. All the other characters are having fun experimenting with their looks, and Izzy is so static. Do you think he's more sure of his identity?

Taylor: Definitely sure of his identity, you nailed it there. He's also very sentimental, like he's got his mother's ring around his little scarf. You know his glove on his hand, he wanted to keep it on that hand and I was like, "Shall we add some studs to it?" And he was like, "No no, keep it as it is." He's just very much about routine and rules and sentimentality.

Even for Calypso's party, I was like, "How far do we wanna go?" Everybody's dressing up and covering themselves in flowers. Once we learned that he was singing La Vie En Rose I was like, "I think we should keep it classic." Just put a little rose here, and Wee John's done your makeup, and you'll look classic and beautiful.

This show has a really fun relationship with historical accuracy. I was interested to read that you do a lot of historical research, maybe more than other members of the creative team. How do you decide which characters should look more historical and which ones are more anachronistic?

Taylor: I always started with the historical first. I actually didn't know much about Captain Zheng, so I got really into the history of pirates. I would always start there, with that 18th century historical moodboard of the paintings that were done of them, or the etchings. Then I'd add our rule-bending concept, which was to make everything a bit more rock 'n' roll and a bit more streets of New York in the '80s.

I was able to push completely out of the historical, and put things like safety pins and screen-printing and bleach. You know, zips and studs, and all these things that are very 20th century costume elements, but on an 18th century silhouette.

Is Zheng based on a specific 18th century outfit?

Taylor: There's one really specific [etching], she's wearing those Chinese pants. I looked at a lot of 18th century Chinese work uniforms as well, I looked at one from a collection from a museum. We copied that exact neckline of an 18th century Chinese smock. The same with the shoes. I looked at some workers' shoes from the 18th century, and they had those kind of black ballet flats with a woven bottom and little white socks.

I was using beautiful Chinese silks and Japanese embroidery techniques that were used in the 18th century, and sort of mish-mashing it all together because she would travel the Silk Road through Egypt and Morocco, and collect all these fabrics.

Same with Anne Bonny. Again, there's some etchings of the real Anne Bonny — quite a famous one with her gun and her pants. I was like, "Oh yeah, I wanna start there and then I wanna sex her up a lot," because her and her girlfriend have a really great S&M relationship, really sadistic. I wanted to bring that fetish element into her. That's where the corset came from. We based that on an 18th century corset, but made it leather because it was more pirate-y.

The twist on her was that David Jenkins came to me and said, "This episode is basically Who's Afraid of Virginia Woolf?" And I was like, "Great, I love that movie!" So I went home and watched that movie, and noticed that Elizabeth Taylor has this beautiful necklace and this patterned blouse. I was like, "Let's recreate this pattern on Elizabeth Taylor's blouse," which is set in the early 1960s. So we recreated it and then made an 18th century blouse.

Driver Minnie and Rachel House Our Flag Means Death (Nicola Dove/Max)

I feel like this season the villains are the most historically accurate. There's this contrast: Ned Low and Prince Ricky have a formal look, like with the British naval uniforms, and then the good guys have this anarchic vibe.

Taylor: Yeah, I never really wanted to mess with the uniforms. That was actually a really fun one to get historically correct. We had the proper frock coats and the heavy wools, and the heavy brocade. Ned Low and Ricky were very much straight out of an 18th century historical book. But then with Ricky, I gave him the one black lace Madonna-meets-Michael Jackson glove, just to mess with it a little bit.

With Ned Low, once we had his beautiful Paganini-inspired 18th century suit on, David Jenkins was like, "I just picture him being silver." We painted his suit silver, and then art department and props came up with a silver violin, and makeup put these silver teeth in. So he's instantly turned into a rock star.

Finally, are there any little details that you'd like to highlight for viewers?

Taylor: One of the background characters that I love the most is one of these pirates when Stede is the maitre d' at Spanish Jackie's. His first encounter with a customer is this horrible swearing pirate. I'd been listening to a pirate podcast that morning on the way to work, and I was learning all about how many rats were on board. I was like, "I reckon that pirate should just have a whole jacket made out of rats." That's what you'd do with all the dead rats, right? You'd have a little fur bolero.

I asked one of my team members to make me like a hundred little fur rats. She'd hand-sewn all the tails and little feet and ears. Then we built this vest and they covered it in blood and dirt, and made it all like wet rats that had been living at sea for a hundred years.

That's the kind of thing you might see a fan wearing at a convention, a really specific background character.

Taylor: God, I hope so. You'd have to get in real close to see there's actually little tails all over the whole thing.

I'm trying to think of another really sweet thing. That whole Silk Road thing was really interesting to me. I found this museum piece of a necklace that was all these little leather satchels that collected little pieces along their travels. We started making this beautiful piece, and we ended up giving it to Auntie. It's these little trinkets from Japan and Egypt and Morocco; she wears all her souvenirs around her neck close to her heart. There's a lot of little things like that where we go into great detail and I give a little backstory, but maybe no one will ever notice. Or they might! You never know!

Our Flag Means Death Season 2 is now streaming on Max.

Source: TV Guide

#rhys darby #ofmd #our flag means death #taika waititi #behind the scenes #gypsy taylor #costumes #tv guide #ofmd s2 spoilers

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