[ My original gifset post is getting very long, and to make room for future gifsets, I’m splitting them up into gifsets - tua and gifsets - cast+ (The Umbrella Academy related cast, their other projects and miscellaneous). Got so much more to make, can’t wait to fill this list up even more soon! The old gifset post will be retired c: ]
***Please do not repost my gifs without credit! I spend an incredible about of time on them, and perfecting my craft. Gifs are an art form too!
[*] indicates a specialty set, or gifs that otherwise have been uniquely animated, texturised and/or transformed beyond traditional cut and colouring.
[ welcome to stellar☆’s cast+ gifset masterpost! ]
Instagram video (Deleted) (20??)
Jane the Virgin (2014)
David Castañeda for Roofers Promo (??) (2015)
MasterClass with Robricio (2016)
David Castañeda on guitar (via Instagram) (2019)
Kids. Love. Beer (via Instagram) (2019)
The Book of Interview (2020)
DA MAN Photoshoot (Colour) (2020)
DA MAN Photoshoot (B&W) (2020) (2)
‘Viendo la película el otro día... ’ (via Twitter) (2020)
David on IG doing this (via Instragram) (2021)
Nicky Ricky Dicky & Dawn [S1][EP1] (2014)
"Do what comes naturally” in Nicky, Ricky, Dicky & Dawn (2014)
Whatever this is Nicky, Ricky, Dicky & Dawn (2014)
For #Actnow (2019)
For #Actnow (alternate set) (2019) (2)
Cooking with Aidan Gallagher (2020)
Aidan in Behind the Scenes, Video #9 (2020)
Unboxing TUA goodies from Dark Horse (2021)
Buzzfeed x Earth Locker: 24 Hours 0 Waste Challenge (2020)
Buzzfeed x Earth Locker: 24 Hours 0 Waste Challenge (2020) (2)
Buzzfeed x Earth Locker: 24 Hours 0 Waste Challenge (2020) (3)
Buzzfeed x Earth Locker: 24 Hours 0 Waste Challenge (2020) (4)
Earth Locker segment; ‘It’s orgasmic, in the ears.’ (2020)
New Amsterdam [S1][EP17] (2018)
The Girl at the Store (Ad? Short) (2019)
Justin Min interviewed for GQ (2020)
UNICEF Birthday Fundraiser (2021)
The Sparrow Academy S3 Teaser (2021)
Hard Candy (2005)
Tales of the City (2019)
On Conversations with Oprah (2021)
TUA interview for Tribute (2019)
Performing Freedom from GUN & POWDER (2020)
Milestones for Black Women in Film & Television (2021)
Cherrybomb (2009)
Cherrybomb + Luke + his stash (2009)
Red Riding: The Year of Our Lord 1974 (2009)
Red Riding: The Year of Our Lord 1974 (2009) (2)
Misfits + It’s just a completely normal day [S1][EP1] (2009)
Misfits S01 interview for Digital Spy (2010)
Love/Hate (2010)
Killing Bono (2011)
Killing Bono + First Band Practice (2011)
The Borrowers (2011)
Killing Bono BTS (LQ) (2011)
BBC Me and Mrs Jones (2012)
Me and Mrs Jones Hugs + vomit [S1][EP1] (2012) (1)
Me and Mrs Jones Hugs + vomit [S1][EP1] (2012) (2)
The Mortal Instruments (2013)
SUMS photoshoot (2013)
The Road Within (2014)
The Road Within (2014) (2)
Hunger TV (with Paloma Faith) (2014)
The 100 face journey For RTÉ (2015)
Moonwalkers (2015)
Moonwalkers BTS Interview (2015)
Robert Sheehan talks with Spacehop (2016)
Robert Sheehan for Spacehop (again) (2016)
Jet Trash (2016)
Geostorm (2017)
Three Summers (2017)
Three Summers + Roland and his theremin (2017)
Three Summers + Roland and his theremin (2017) (2)
Three Summers Promotional Interview (2017)
Fortitude [S2][EP5] (2017)
Mute (2018)
The Song of Sway Lake (2018)
Mortal Engines (2018)
Mortal Engines interview on Lorraine (w/ Hugo Weaving) (2018)
Mortal Engines GigaTV Mag Interview (2018)
Mortal Engines GigaTV Mag Interview (2018) (2)
Genius: Picasso [EP01] (2018)
Genius: Picasso [EP01] (2018) (2)
Genius: Picasso [EP01] (2018) (3)
Netflix: The Great Irish Debate interview (2019)
Netflix: The Great Irish Debate interview (2019) (2)
The Toilers - Banshee Betty (music video) (2019)
The Toilers - Banshee Betty (music video) (2019) (2)
Noisy little buggers (2020)
Congratulating participants for the GSFA (2020) (2)
Instagram Live (w/ Ari Gold) 02.04 (2021)
Instagram Live (w/ Ari Gold) 02.04 (2021) (2)
For his new book Disappearing Act (via IG) (2021)
Reading from Disappearing Act (via IG) (2021)
Reading from Disappearing Act (via IG, again) (2021)
RTE The Late Late Show Interview (2021)
Endgame (Play) (2022)
The Last Bus [S1][EP01] (2022)
Rock Rivals [EP4] (2008)
Rock Rivals [EP4] (2)
Rock Rivals [EP6]
Rock Rivals [EP6] (2)
Rock Rivals [EP6] (3)
Rock Rivals [EP6] (4)
Rock Rivals [EP6] (5)
Rock Rivals [EP6] (6)
Rock Rivals [EP6] (7)
Rock Rivals [EP6] (8)
TUA promo for Netflix Latinoamérica (2018) [*]
TUA Cast in Behind the Scenes, Video #8 (2020)
TUA Cast in Behind the Scenes, Video #8 (2020) (2)
TUA Cast in Behind the Scenes, Video #8 (2020) (3)
TUA Cast in Behind the Scenes, Video #8 (2020) (4)
TUA Cast in Behind the Scenes, Video #8 (2020) (5)
Emmy, Justin and Aidan read The Umbrella Academy (2020)
David and Aidan in S2 BTS Blooper Reel (2020)
THE UMBRELLA ACADEMY: Netflix virtual panel (2021)
Virtual panel: Aidan on Five’s growth and humanity (2021) (2)
Virtual panel: David on Diego's softer side (2021) (3)
Virtual panel: Robert on Klaus' transformation (2021) (4)
David, Justin, Génesis + Oranges, judgement (2021)
Season 3: That’s a wrap! (2021)
Netflix Tudum: The Umbrella Academy S3 (2021)
Netflix Tudum: Elliot + Shooting S2 Finale (2021)
Netflix Tudum: Emmy + Shooting S2 Finale (2021)
Netflix Tudum: David & Rob shenanigans (2021)
Netflix Tudum: Rob + His signature dance move (2021)
Netflix Tudum: Five’s ‘blinking’ impressions (2021)
Netflix The Umbrella Academy S3 x Bosslogic (2021)
S3 Netflix Geeked Panel: David and Justin (2022)
S3 Netflix Geeked Panel: David and Justin (2022) (2)
TUA S3 Press: Emmy, Justin, David and Tom for Buzzfeed (2022)
How Gifs are Made (For people who don’t make gifs)
HD Giffing vs. EZGif test
____________________________
-> { gifset masterpost: The Umbrella Academy here }
Last updated: 29.o6.2o22
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tua season 1 rewatch, round two:
1x01:
last year's is more of a shot-for-shot rambling, if that's what you're into. this year's is gonna be a little different. stuff i mentioned before, i'll do my best not to repeat, unless it's to add context. this will largely be with an eye to the comics and how they were adapted or not.
and since tumblr only allows ten images per post (wtf), you're gonna have to bear with the timestamps here too.
0:00
"we only see each other at weddings and funerals" is a title of one of the comics, but it's the second issue, not the first. i get why it's been fronted to the first episode though: it's snappy, and the first issue of apocalypse suite is more of a prologue. that's how tua volumes are structured: the first issue is prologue for the plot that comes in afterwards.
for a pilot, you need to get the ball rolling. so you have to make the prologue the teaser, and then get to fifty minutes of plot.
this entire episode is really a combo of issues 1-2 of apocalypse suite. the buildup to, and the funeral itself.
0:03
so first off, we don't actually know if vanya was born in russia in the comics. it's more likely than not, but still not confirmed.
what is certain is that the '12pm, october 1 1989' birthday is a show-only construct. in the comics, we don't know their date of birth, but the time was 9:38pm
or even the year, though from context clues you can construe that the comics are set in the early 1980s, when the family are 30, rather than 29 as they are in the show. i'm guessing that this, in addition to plot convenience and aesthetic, is also the cause of tua's outdated technology: it's what they'd have had in the comics-verse.
(ex: a still-living kennedy meeting with hargreeves sometime after 1963, and 13-year-old allison watching kennedy's assassination as it happens). the children, in the comics, were born in the early-to-mid 1950s.
i think this change was to hammer home to the audience that the children were all born in the same instance. and the update in year was to keep things Relevant To Today.
which... might have been a net mistake in the long run. this series is ENTRENCHED in 20c popular culture and social movements. and taking those same characters and dropping them out of the context that defined them really made them lose their power.
ex: luther is an astronaut because he was influenced by the space race, which played out when he was a child. diego is a conservative crime-basher whose ideology is a reflection of the constant war on crime rhetoric, klaus's visual aesthetic is tied to the 60s and 70s alternative cultures that he'd have grown up in, vanya and diego were punks in the midst of the late 70s creation of the subculture, the comics are stuffed with five and diego hurling accusations of communism at each other because of the cold war breathing down everyone's necks-- and the cold war being the apocalypse everyone was worried about.
we lost all that.
and the show didn't even bother to update itself. they literally adopted the cars and phones of the 80s, the obama-era 'we live in a society where racism is solved!' trend tv tried to do and is in many cases still doing (yes that is exactly what they did, until they tried to switch gears in s2 for allison's godawful plotline; it was confirmed in interviews leading up to s2 that ~in our future, allison doesn't deal with racism and diversity is celebrated~) and stopped there.
2:20
as in the comics, we begin with the births of the children.
though in the show, we only see one birth, rather than 7+. which was probably done for efficiency/budget reasons. we don't see any babies die, because ratings.
also, in the comics, an unspecified number of mothers births 43 children, but in the show, it's 43 mothers who birth an unspecified number of children, which is an oversight that could lead to there being more-than-43 children if the twins are a thing, or a sign that five and luther in this iteration aren't twins. either way, oopsies.
this is also a scene that carries over from the pilot script, though there, the child is born in poland, and a boy and is heavily implied to be number five. (also to the vanya-and-five-are-twins stans... where's your boy. he floating in the pool? he teleport into the locker room?)
my guess is it was changed to vanya because she's the protagonist of this story (or was, @season 2), and we needed her as a viewpoint into the world-- note how we linger on her at the end of the teaser, and how her music ties it together, how her arrival at the mansion is also ours, and how we end with her as well.
vanya is the protagonist of this story. it's about the seven hargreeves siblings (luther, diego, allison, klaus, five, ben and vanya), but it's about five and vanya a little more than the rest of them. and it's about vanya most of all. it is about vanya finding her power, confronting her trauma, coming to forgive the family and returning to them to save and reform them by taking her place among them. it's hers, indisputably.
boy did season 2.... destroy that. for fucking fanservice.
2:47
(also, i love how 'extraordinary' is the first spoken word by one of our ensemble in the series, and it's used to describe baby vanya. some of this season was insanely well thought out.)
and i love the use of the narrator, here the voice of pogo-- i'm guessing was added after the title cards in the pilot didn't test well. i just wish it stuck around. why include it here and then never again?
3:18
this line of baby carriages is straight from the comics.
also, the fellow just behind reginald is abhijat, his bodyguard/driver and the children's trainer. he appears next in hotel oblivion, since he's been away in asia during the events of the first few volumes. i understand why he was cut from the show-- his role is easily assumed by pogo and grace, there are a LOT of characters to juggle, and we need to avoid confusing the audience.
still, miss him and his wonderful convos with diego and luther! hope he comes back in other versions of the story!
3:20
variable: the mansion in the show is a hollowed-out city block, instead of a gothic manor in the woods (which it is in the pilot script). i'm guessing this was just a shooting limitation.
i'm cool with it, because the mansion is still cool as fuck as this sprawling city block of hollowed-out buildings. there's more a quirky vibe than a gothic one.
though i also wonder at the implication of making the kids so close to the outside world, whereas in the comics they were truly isolated by high fences and an entire estate. sneaking out would've been a lot harder, yet they did it. which speaks to their desperation a lot more.
5:45
the teaser is largely the same as the pilot script, though it's re-ordered to a one-two-three-four introduction-- very clever, great way to help everyone get the numbers straight, as is the hiding of the numbers in the backgrounds of the shots [lunar station 01, love on loan 3...]).
though, allison and klaus's sections are different. my guess is the powers-that-be realized it wouldn't be entirely clear that allison is a celebrity or klaus is an addict from the jump, so they changed klaus's introduction from clubbing to rehab, and allison's from being in a nightclub (a shot from the og pilot, upper right) to being on the red carpet. i like the changes. more efficient. the teaser as a whole is a masterclass in visual storytelling.
also, allison being an actress is a massive change from her comic self. more on this in later installments.
and variable: allison's hair is dyed blonde in the show. it's naturally purple in the comics. i like that it's dyed more than it's naturally ultraviolet.
given that emmy also dyes her hair blonde irl, i'm guessing this was one of her inputs, and it does look gorgeous. i think it also works better for her character as a glamarous crowd-pleasing public figure, rather than a frumpy private citizen, to dye her hair a natural shade rather than a bright color.
(though i'm guessing the choice was made because either the purple hair didn't test well or they thought it was too goofy)
that being said i miss the purple hair and hope it comes back some other time.
9:50
everyone: look! the rain started when vanya noticed reginald died! even though it's clearly established that her powers Don't Do That and that the medication she is still clearly on shut her powers down, this is definitive proof that she controls the weather!
the writers, who definitely just meant that as a cool scene transition: uhhh....
10:40
constant: reginald always has a journal, in which he writes incriminating secrets about the children.
11:05
constant: ben always has a statue in the courtyard. and the family always breaks up after ben dies (though in the comics, it happens more gradually, with the family leaving one by one -- vanya first, then klaus-- and likely as adults).
variable: how the statue looks.
12:13
in hindsight, i feel like the 'bro/sis' aspect of television and film writing that we all love to dunk on is expository in nature. you have to tell your audience as efficiently as possible what peoples' relationships are and nothing's clearer than 'hey bro/sis'.
also, it's interesting in how in the show, they stress the 'family' aspect of the hargreeves dynamic, while in the comics it's 'academy' first-- even to the extent that they are forbidden from calling reginald 'dad.' i get the sense this was done to center the 'dysfunctional family' theming but i think it might've been a mistake, because this show's target audience of teens takes words more seriously than their context (see 'because they call each other brother and sister, the actual upbringing doesn't matter at all!' it's very post-voltron).
i think it was a mistake, in hindsight. or maybe there can be something to be said for combining both versions-- say, they start off by calling each other siblings, or reginald 'dad' and start to break away from that as they become disillusioned.
13:00
in hindsight, it's very clear that the 'how did dad die' plot is just padding to get us to ten episodes. it did the job fine here, but i feel like future versions of apocalypse suite could just zoom past it without a problem.
variable: in the comics, diego has one eye. in the show, he doesn't. i get that eyepatches are a pain for actors to wear but dang isn't it sexy how the disabilities get totally erased. allison's prosthetic arm, luther's mobility aids, vanya's wheelchair, and the guy who gets diego's prosthetic eye is a villain. woo. gross. i'd have been ok with it if there were some indication he'd get it later, but that's... not happening. so. hm.
+diego breaking into the coroner's office? straight from the comics.
i'm guessing the writers took this crumb and decided to spin it into a subplot to pad the runtime. clever, but not necessarily needed.
13:45
remember when s1 used characters digging at luther's weight to tell the audience that they were assholes. remember when s1 treated luther with dignity and didn't make fun of his deformity?
(,,, remember when the show actually let luther's deformity be sizable instead of shaving him and making his prosthetics smaller and smaller)
15:56
constant: vanya and pogo being exceptionally close when she was a child (but possible variable: them staying fond of each other when they're adults).
constant: vanya wrote an autobiography. variable: the content and intention behind it.
16:30
constant: five vanishes early on.
variable: how old five is (10 in the comics, 13 in the show) and whether he vanishes before or after the academy's debut (before in the comics, after in the show, probably so we can establish his power in the bank heist flashback)
variable: vanya and five being close as children. am i aware this is probably just to set up why five would approach her for help and nothing more? yes. am i declaring death of the author and sprinting with it? fuck YEAH. you dumbasses swapped viego with fiveya, and i'm keeping it.
17:25
on tua and the gothic... aside from the grandeur and the aesthetic of the mansion, the constant flashbacks really do solidify it-- the 'grand institution past its glory days, full of ghosts' vibe is so palpable.
tua is a gothic horror story. god the vibe was strong then.
18:40
the eiffel tower mission happened in the show -- note the picture frame behind allison-- it was just at a later date (they're ten in the comics, and it's their debut mission).
sigh. allison and klaus being close. one of the only things season 2 built on successfully.
+photos of reginald with henry kissinger. jeez.
+reginald is “not our real father” said by klaus right before luther and allison have their first interaction. the show trying to tell you What's Up but not going far enough. next time go for broke.
(also fuck you season 2 for making klaus the ~but its incest~ mouthpiece even though he clearly does not care and based on s1, does not see it that way)
19:30
the blocking really does say so much. klaus trampling all over reginald's space, while luther, the highest-ranked member of the group, clinging to one corner of the room because he's still nervous about respecting reg's boundaries. and allison, the one who got the special privileges because of her rumor, getting to creep behind the desk and hang out there.
also. allison and luther have chemistry, you crazies. even when i hated them as a couple i couldn't deny that. the eyefucking is intense. allison is fresh out of divorce court and ready to ride and i support her.
21:00
constant: luther and allison always have a romantic entanglement.
variable: in the comics, it seems more from allison's end until That Rumor, in the show it's mutual from day one. a good improvement and evolution that makes the relationship much stronger. keep it.
constant: allison always marries patrick and has claire with him. she always divorces him eight months before she arrives for the funeral. patrick always has custody.
constant: luther always knows about patrick.
variable: in the comics, he doesn't know about claire, or the divorce. and patrick also gets the house in the divorce (which is in the city, not hollywood).
and variable: allison is done with her rumor in the show, and not at all in the comics. this is probably just a plot contrivance to prevent her from ending things too early (and the writers absolving themselves of having to write a morally ambiguous female character) but it's a mistake that should hopefully die here with tua tv and not be carried over.
"i made a wish and it came true and i couldn't take it back" --- a cool line that in retrospect... kinda falls flat: allison made a wish for... her daughter to go to bed. oooh so scary.
oh and the alluther chimes/alluther theme is finished and released on the s2 soundtrack (track title: "luther and allison")! it's the only song from there i can stand to listen to because the rest are about fucking lila, harlan and sissy, and it's lovely! they also have the orchestral rearrangement of it!
22:00
constant: there's always a funeral.
variable: vanya actually shows up for it. this i think is an improvement on the comic, because in the show you have to extend the narrative to a full season of television, so you have to take this much slower. and, it lets us actually get to watch vanya become disillusioned, rather than jump out of the gate ready to blow shit up. the result is a much more empathetic take on her fall to villainy. (plus, we need to see her interact with the family to get how little they care for her)
the "old oak tree" line doesn't make much sense in the show, because there isn't one in the courtyard. but in the comics, that tree is part of the family estate, where they bury reginald. this is a holdover from the pilot script, where the house is a country mansion and where the tree is also present. i guess this line slipped through the edits.
variable: klaus's addiction in the comics is more subtle. even though we know right away that he's got a problem, it takes entire volumes before you really understand how bad it is. here it's so in your face that it keeps dancing a really unfortunate line of being played exclusively for comedy. s1 manages it successfully, s2 trips over it and breaks its teeth on the pavement.
variable: klaus's telekinesis/levitation, present in the comics and pilot script, are totally gone in the show. probably for budgetary reasons, which, fair. he has other powers, after all. he can afford to lose a few.
(.... well, then they suddenly become vanya's powers, which make NO goddamn sense and look ridiculous, so fuck you season 2)
and variable: the family isn't all white anymore. though there is a case that can be made for it in the comics, since a racially-integrated superpowered vigilante team operating in the 1960s would... not have been accepted by the public and especially not the government, i'm glad this change was made. the hargreeves children were adopted from around the world, so they should reflect that world.
if anything, we need to take it a step further. and by this i do mean, woc vanya.
24:27
constant: we always see the academy's debut mission.
variable: in the comics, it's saving the eiffel tower. in the show, it's this. in the pilot script, the robbery scene also exists. this being the academy's debut mission likely occurs for budgetary reasons.
variable: in the comics, ben is desperate to please. in the show, he's reluctant to use his powers at all.
and the overall dynamic of the family is affected. in the comics, it was allison-and-luther, ben chasing after them, klaus off on his own, and diego rebelling with vanya (with five being gone by that point). in the show, it's allison-and-luther, diego chasing after them, klaus-and-ben, and five rebelling with vanya. i love the change because it emphasizes vanya's loneliness, and diego's obsession with being the best (he literally robs his childhood of friendship and connection because of his ambition).
variable: diego's powers are projectile manipulation, not breath-holding. a change made probably bc holding-your-breath is a power that doesn't come in handy much, and people would probably just get it confused with the knives. i get it. though depending on how the comics shake out it might be a big mistake. we'll see.
constant: vanya always observes, and gets a moment of rejection by reginald
(+comics ref: the insignia on the skyscraper behind reg is the probably-villainous city media logo from the comics. said conglomerate controls the media, the papers, the cops, the taxis... god i'm excited to find out more about what's up there)
26:58
variable: reginald in the comics is simply buried in a coffin. in the show, he's cremated. this makes more sense seeing as he's a space alien who wants to keep his identity a secret, but the comics could have a use for his body being Right There ready to dig up, so we'll see how this turns out.
29:20
one thing that's sorely missed i think is the way the show knew how to just take a breather and let you live with the characters for a second.
man. it also makes the song moments more genuine because it's less a ~corporate mandated quirky dance montage~ and more an extension of character moment: it's a song that fits the scene in tone, context and lyric, not something added to be quirky.
+in the pilot script, the locket is vanya's. hm who knows who gave it to her.
33:32
constant: five falls back just in time for the funeral
variable: five falls into his 13-year-old body, being the age he was when he disappeared. five is 58 and not in his 60s, and five lands just hours before the funeral even starts, whereas in the comics, he shows up all alone days in advance and simply hangs around the house, waiting for someone to show up. i like this better. it's tighter.
+the kitchen scene seems to be a loose adaptation of the classroom scene in issue 2, where five chats with the family. albeit the content is totally different.
36:12
yes i know this is just exposition fuel to let us know what vanya's book said, and to set up five coming to vanya later, but boy if they don't show us they swapped the viego vibe out for the fiveya one.
but. tin hat on:
constant: vanya always has a pseudo-romantic bond with a rebellious pseudobrother who pushes back against reginald and the rules, and bonds with her as a way of doing so. feelings are caught, but the relationship is cut off before it can become anything, though the feelings are still there and bubbling under the surface and are about to boil over when they confront each other during the apocalypse plot.
variable: which brother vanya falls for.
(boy did the show Fuck Up by not doing anything with this. it's too important to vanya's character and her plotline. boy am i livid that they just spun up lila so diego could have this plotline without vanya and just left the fiveya vibe hanging unresolved. idiots.)
37:00
in the comics, diego hates mom (who has no name), and allison adores her. additionally, mom looks like... this.
i get why changes were made. since the viego vibe is gone, we need someone else for diego to be soft to to endear him to the audience. and there are limitations to live action in terms of how the characters look (see luther's deformity being downsized). mom might look too goofy in live-action if she were to be constructed like that.
variable: the funeral takes place during fall in the comics, spring in the show. because pilot season tends to be earlier in the year, and since filming takes months, you need things to look consistent (esp with tua, being a season that takes place over one week), it's easier to fake spring in summer than fall in winter.
(... is the 'they were born in october' thing because the comics were set in autumn?)
and ngl, i love the 'the apocalypse happens on april fools day' thing. it's so, so cruel and i love it. five's the fool. let's keep that.
and thematically of course, tua being about how the family begins to come together again, and setting it during spring... i like that. it wasn't intended at all, but i want to keep that.
variable: no fight breaks out at the funeral. the luego fight happens after the funeral. this was probably moved up to add spice, make the dysfunction apparent, and give us a hint of luther's deformity.
44:10
constant: vanya always takes medication
variable: in the comics, her meds have nothing to do with her powers. as far as we know she just takes them as an adult, and we don't even know what they're for (but given the context clues of her her popping a few right before heading into danger, probably anxiety).
in the show, they're the Big Bad Medication that is stifling everything vanya is, forced on her as a child to suppress her powers. i think this is a really smart evolution that helps us understand why her powers have been dormant, esp with klaus as foreshadowing when he uses to shut his powers down. however there are unfortunate implications surrounding the whole 'go off your meds and become your True Self!' thing. personally, i think the implications are worth the story point, but i get why other people disagree.
45:22
the guitar reminds me of the prime-8s, diego, vanya and body (a chimp detective friend of diego's)'s band from the comics. given there's no reference to it here, there's no viego vibe and klaus is the one playing with it, maybe he plays in it in the show.
honestly, i like that if it's the case. it's important to make vanya's isolation feel total, and as much as the viego vibe matters, it chips away at her being the constant outcast if she always had a companion and even had a whole band with him as a teen.
i like the compromise of giving diego his punk band but changing which sibling he plays with. i'd like to see that in another telling someday (plus, an idea for said evolution: what if it's vanya's idea but he uses it without her).
48:45
constant: five always murders a whole regiment of commission goons in a diner, with agnes bearing witness.
variable: this happens much later in the comics, at a place called costello's, not griddy's. no idea why the name was changed.
i support moving it up in the timeline, because with tv, you need to expand the amount of material you have. and honestly, the dallas arc being combined with apocalypse suite makes... a lot. of sense. and it ensures that diego, whose plotline consists of investigating that attack, has something to do for the season since his viego vibe was removed.
and variable: the family has a personal connection to griddy's, as a place where they used to sneak out together. in the comics, it's just some diner.
i like this change. it gives five a sentimental quality, bolsters the gothic theme, and tells you that the family could and did get along. and that while five was here, they included vanya.
and variable: the goons look much more generic here than they do later in the season, when they match their comics counterparts much more (the bright red gas masks). chalk it up to either budget or playing it safe. if the former, i get it. if the latter, get over it and go for it.
54:40
constant: ben's ghost is always following klaus around
variable: in the show, we learn this immediately. in the comics, it's not until klaus's overdose in hotel oblivion that we learn it
also ben looks totally different. a lot more nightmare fuelish.
maybe it's a budget thing. maybe it's that the show thought ben would look more down-to-earth in a hoodie and leather jacket than a shredded uniform.
either way the change is... okay. it's okay. it looks nice but it really does open a lot of plot holes regarding the mechanics of ghosts in this world. which are made worse in s2, so woo for never planning your worldbuilding out.
at least in s1 we can pretend they had a plan.
55:22
constant: five always approaches a trusted sibling for help with the apocalypse.
variable: who he approaches. in the comics, it's luther. in the show (and pilot), it's vanya.
in all odds, it's vanya here because she's our protagonist and therefore needs to be our viewpoint for all our big exposition moments, but in my heart (and almost certainly by accident in execution, assuming the COMPLETE scene-for-scene, beat-for-beat swap of the viego and fiveya vibes in the adaptation wasn't intentional after all), it's because fiveya.
and constant: we always end our first issue/episode with the revelation that the world will end in a matter of days.
variable: how many days we have left. in the comics, it's three. in the show, it's eight, because more filling. it works, bc we need more time for more episodes, but i'd like to see other versions of the story that shorten things up.
the comics, in their purest form, should honestly just be a series of movies. there's just not enough material to make a television show unless you're willing to pad. this. shit. out. which tuatv is, for better and worse.
so.
man. episode one still is absolutely fantastic. i love it to death. it's the smoothest and most well-written of all the series, and it does a phenomenal job introducing such a batshit world and cast in such an efficient way. jeremy slater built this house. steve blackman burned it down.
and for as many deviations as it takes with the source material... so much of it still rings true. if anything the changes thus far seem to have been made mostly for the sake of streamlining the adaptation, working with the medium constraints of live-action tv, and turning a six-issue comic series (plus its sequel) into ten hours of television.
that being said... you can see the cracks. for now, they're easy to ignore, but knowing where the show ultimately goes... yep.
x | 102 | 103 | 104 | 105 | 106 | 107 | 108 | 109 | 110 | overall
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