#i really want to post/engage with fandom about the new eps but my energy levels are very limited and i have bad brain fog

[dirty-bear-rick-sanchez]

Episode thoughts under the cut

I loved Morty knowing Rick so well that he just straight up lies about the coffee lmao. Also the way he says 'hey buddy' like he's a dad entering his kid's room when they're in a depressive episode is so funny to me

Rick just literally saying 'family' to address the family

I thought the ghost/unfinished business joke was funny

I also love Rick being so petty (and Summer being petty back about the portal). It's so funny that he just calls the family 'stupids' as well. Devastating insult bro

Interesting that Gearhead was the first person he went to? He definitely needed someone to give him the courage to get the rest of his friends for an intervention (especially BP)

'Told you he wasn't dead' killed me

BIRDDAUGHTER. Funny name, love her being an emo teenage edgelord who just goes round killing Gromflomites. 'This is worse than prison'? Love it

Also I really liked that we got to see this side of BP's character this episode? He's so funny and I love getting to see him be a shit. Him trying to parent his daughter and just drinking wine? We love another alcoholic girldad

I really liked getting to see Rick/BP/Squanchy actually hanging out as well? I feel like it's a good insight into how they probably were back in the Flesh Curtains days

I like the 'birthday, birthday, birthday' gag

Also Rick immediately being like 'fuck this we're getting wrecked'

The honey scene was definitely for the Rickfuckers

Can we talk about the fact that Rick was definitely trying to impress BP by bringing up the fact that he hosted the Oscars? Which is definitely why he wanted that gig in the first place

Once again I love getting to see this side of Birdperson. Definitely makes sense why he and Rick get on so well

I liked the visual gag of Rick being high

Also BP and Squanchy playing the knife game lmao

Rick sits so fucking dramatically

Look at BP's face, he definitely wants to fuck that Predator guy

Son heist

I love that Rick can immediately identify Squanchy's shit based on the smell? Like he knows it's his and no one else's

BIRDPERSON PUTTING HIS HAND OVER RICK'S MOUTH

(You know Rick is gonna be thinking about that forever)

I like the recurring Squanchy tooth thing

'Why is this my thing' lmao

Poor poopy child

WAYNE

Them all just chilling together waiting for their drunk food? love it

I love BP leaving to collect his daughter from attacking a Federation outpost with the exact same energy as a parent collecting their child from school after they got suspended. It's so funny to imagine the GF having the same sort of vibe as they do with Rick and just texting BP like 'yo we got your daughter here' (I know that's not what happened but it's a funny mental image)

Lmao Squanchy

I did like the fading pill bit

Poor Gene

Overall I liked getting to explore this aspect of the dynamic between Rick/BP/Squanchy/Gearhead (+ the others of course but they're the OGs yk?) and also the concept of intervention/alcoholism. I think it's interesting to see that Rick does want to help but his support system is so fucked that this ends up happening and it makes a lot of sense when it comes to his own issues. I really like the way they handle Rick trying to get better and do the right thing but struggling so much to break out of unhealthy behaviours/habits. He's painfully aware of how fucked up he is and how much of a bad influence he is but he doesn't know how to fix the issue/be a positive influence and he definitely views abandonment as a good thing because he's removing himself from the situation. Very interesting way to explore this aspect of his issues, especially since all his friends are also alcoholics with that level of denial/refusal to get better

I had this discussion with @hazelnut-u-out before the episode aired but I do like that they're showing Mr PB directly suffering as a result of Rick's actions in canon? Considering that he started as a joke/meta character it's very interesting to show him actually shifting to more of a serious character who appears in the actual show and experiences real issues, especially since the show becomes less and less sitcom-y as Rick becomes more aware of the reality of how fucked up all of these things are.

#rick and morty #rnm #rick and morty spoilers #rnm spoilers #how poopy got his poop back #rick sanchez #birdperson #birdrick #mr poopybutthole #squanchy #gearhead #gene the neighbour #sorry this is all over the place #i really want to post/engage with fandom about the new eps but my energy levels are very limited and i have bad brain fog #so this is the best i can do 😅 #i hope to make a more coherent post about the oscars thing and also mr poopybutthole as a symbol of rick's view of his life as a tv show #but we'll have to wait and see

[22drunkb]

Please could you talk about the weird and specific visual language of person of interest? I haven't noticed it before but now I'm intrigued

Hi, Anon. You sent this ask 8 months ago. I took this long to answer because I wanted to really lay it all out for you, with the right screencaps and reference images and a whole theory of why the show looks the precise way it does. But the fact is, that’s not going to happen. I don’t have the time or mental energy to do it properly, and I have finally accepted that because the almost completely written long-ass answer to a different question about a different show that’s been sitting in my drafts for about as long is still languishing! and it’s almost done! wild what grad school can do to a person.

So since I have accepted that I can’t do the Full Treatment I wanted to, I’ll just do the quick explanatory version.

POI has 5 main visual ideas it returns to over and over. These are:

1. Surveillance footage. This is notable because it tends to look, by normal framing and cinematography standards, bad; they are very deliberately putting out “bad” images to tell the story, which after all is in large part about surveillance and privacy. I can’t remember now where I read/heard this, but the EPs definitely talked about the struggle to get cameras into these really inconvenient spots to get the properly terrible angles that would play as plausible CCTV-type footage.

2a. Edward Hopper’s style. By this I mean less his use of color than his tendency to show one or a few static figures, small in relation to their (usually urban) surroundings, often locked off by a frame-within-the-frame (someone framed in a window within the larger setting, for example); and significant contrast in lighting. The emblematic example for me is the wide shot of John cradling Carter’s body next to the phone booth, right after the moment of her death. But a lot of the comedic exterior shots of a bar or other establishment inside of which John is wreaking havoc actually fit as well.

2b. Noir, which was probably influenced by Hopper in the first place (or at least was responding to similar aspects of the zeitgeist). “POI noir” is a very popular thing in the fandom, and I assume you don’t need me to explain it. I will say, though, that as a film genre noir is about the failure of institutions, loneliness, isolation, and doom, so the choice is both telling and appropriate. (The same applies to the Hopper point.)

3. This is related to 2 and 3, but there is a broader theme of small isolated figures against a big, empty (or sometimes empty by virtue of being anonymously crowded) urban backdrop. (This is something noir does a lot also.) The reason I’m separating it here is that POI does this a lot of the time without making it noir; it creates something lighter-colored, lower-contrast, and more contemporary-looking, but maintins a similar effect. Takeshi Miyasaka’s work evokes it very directly for me. What’s interesting about his paintings as well as these compositions in POI is that they often come off as unstudied, not overthought or excrutiatingly composed. This is not the case; they are very carefully thought out (in both cases). But they convey a sense of naturalism you don’t get from a traditional noir composition (or most of Hopper’s noirish work--some of his other stuff is different, but not relevant here), while maintaining that feeling of a small subject in a big, uncaring, not particularly beautiful world.

4. Comics. POI is often compared to Batman; in some ways it more closely resembles Batman’s even noir-ier antecedent, The Shadow. It obviously leans into this in 4x06, “Pretenders,” but it’s there in a lot of the action sequences. I’d cite the one where John goes after Quinn in “The Devil’s Share,” a lot of “Relevance,” or this as examples.

5. The “interior,” thinking/processing shots of the Machine and Samaritan. For these they obviously invented a lot. They definitely drew on what was at the time cutting-edge data visualization as well as the marketing materials of some leading tech and security companies to create them, but I think it’s one of the ways in which the show was most original. (Interestingly, you can see some of this idea being worked out before the show even began in the movie Eagle Eye, which had the same producers. It’s not a good movie, mind you, and its notion of AI is super simplistic, but some of the visualization in this area is clearly prototypical of what would play out on POI.)

A lot of these visual choices don’t stand out as noticeable (aside from the AI visualizations, which of course are unmissable). There are two main reasons for this. One is that none of them are constant. POI never set out to make every shot a stylistic masterpiece, the way a show like Hannibal more or less did. I assume this was partly because of the logistical realities of a 22-episode season, but it also works with the show’s storytelling. The idea they want you to get, that they reiterate over and over, is that the world looks normal but isn’t underneath. So the 5 stylistic ideas I mentioned above tend to appear in short spurts--an action sequence, a shot framing Harold against a New York skyline or the whole team by a bridge, etc--stitched together by pretty standard TV framing (shot/reverse shot, close-up, medium). This allows them to kind of ramp up and ramp down the level of visual intensity, using noirish or comicky compositions, or particularly intense AI visualizations, in line with the storytelling. It is also a kind of metaphor for the entire premise: things look regular most of the time, but they aren’t if you pay attention.

The second reason is that we are so incredibly used to surveillance footage! It doesn’t stick out to us anymore! This is actually very significant because, as I noted above, surveillance cameras are not positioned for aesthetic value. The point is coverage, not composition or image quality. So this is a cinematic product (a television show) that is working overtime to give you technically “bad” images. But those images don’t really stand out as ugly, per se; instead they denote truthfulness. So for example, the Machine’s POV (as opposed to its thought process, which is digitally animated) is almost always in this surveillance style. This reminds us of what the Machine is and how it works, and it also tells us that what we’re seeing isn’t subjective. It is not someone’s memory or their perception. It is a literal recording. This allows the Machine to act as our guide through the whole timeline, moving us back and forth through that horizontal scroll, zooming in on a moment or incident for replay. We never have to question if the Machine is lying to us or mistaken (aside from 5x02), because its memory is a video archive presented to us with all the hallmarks of video that means “proof,” not video that means “feelings” or “perceptions.” Once we’ve been transitioned into a flashback scene, that style can go away so that we can abandon the distance that surveillance introduces to engage with the emotion of the flashback scene, but they use that device to move us around because it automatically tells us “this is true.” Simultaneously, the ubiquity of surveillance-style shots reinforces that same message I talked about above: that we are being watched (because the world has gone sideways).

(Perhaps I should mention that Nolan and Plageman said a big goal of theirs with the show was to make people more aware of how profoundly the technological and therefore social world around them was changing with little notice or fanfare. One of the obvious ways they were trying to direct our attention on this point was to issues of privacy. Finch helping John out of a sticky situation by exploiting a homeowner’s smart TV isn’t just a matter of making Finch look clever. They wanted to let us know that if your smart TV has a camera, someone can remotely turn it on. [I know this is common knowledge now, but that episode was like 2012. I found out what Palantir was because of POI!] Just to contextualize why to me, “you are being watched” and “the world has gotten very weird” are basically the same message in the context of POI.)

One of the show’s key influences is The Naked City (the show and the film). The film version of The Naked City is notable because it was one of the first post-WWII movies to shoot on location instead of on a film set, and it was shot in NYC. It’s also one of the earliest police procedurals, in the form we know the genre today. It’s not exactly noir, but it’s not exactly not noir. It’s based on the photography of the famous ambulance-chasing, poverty-documenting photographer Weegee; you could say it’s an early example of a “gritty” film. It doesn’t have the elegant devastation of The Third Man or the deep shadows of Double Indemnity. It was all about bringing audiences the amazing spectacle of a real place; the paradoxical insistence on authenticity in cinema goes way back. The Naked City to me is somehwere between noir and cinema verité, and in that sense, POI is true to it as an influence.

#person of interest #anonymous

[mindibindi]

Do you have any tips for writing fanfiction?

Hey, Anon, thanks for the ask and sorry about the delayin replying. I’ve been writing fanfiction for so long that I’ve gotten into abit of a routine with it so I had to have a think about what I actually do. These tipsare based on my own writing practice, experience and approach to fanfic.But I would encourage you to keep asking this question, keep chatting withother authors (some might be kind enough to comment here) as you search for your ownunique writing style and practice. Everyone’s will be different and, as long asit works, I say stick with it. I’m assuming that you’re a new or aspiringauthor so I hope one, some or all of these tips prove useful.

1. Get In The Zone: Find the time of day when yourbest writing happens. For me (rather inconveniently when there’s work to bedone), this is first thing in the morning. For others, I’ve heard it’s themiddle of the day or late at night. But you will know this time when you find itbecause words and ideas will flow freely and easily, faster sometimes than yourfingers can keep up. Revel in this time, use it well then stop writing when theenergy runs out. Nothing good was ever produced by pushing past inspirationinto frustration or exhaustion. That said, inspiration can strike at any time – while watchingan ep or taking a walk or going about your work or trying to fall asleep. When itdoes – whether it’s an opening line, a plot point or snippet of dialogue – jotthose ideas down.

2. Watch (and Rewatch) Your Source Material: Thismay sound obvious (and not much of a chore for a fan) but watching whatevermovie/show/whatever you’re working from helps you to pick up the jargon of thatworld, to absorb the particular milieu, to know the people, places and canon(before you presumably diverge from it). The best fanfic gets both the bigpicture and the little details right. Without these firmly in place, you riskwriting a story that doesn’t ring true to the basic characters, tone orsituation you’re attempting to emulate. You want to extend a reality you love,not break it. So always be on the lookout for any little thing that mightfracture this reality and cause readers to fall out of a world they (you mustassume) know equally well. As a reader, there’s always a jolt when this happens, a dishearteningplummet. So know your stuff before you put pen to paper.

3. Get the Voices Right: Unlike character which canbe ambiguous, changeable and open to interpretation, every fan becomes attuned tothe particular voices of their favourite characters. When reading, you don’t need to work toknow when an author gets this right. You can just hear it. You can also (unfortunately)hear the tiniest slip in consistency and truth. I have written for somecharacters with very distinctive voices, voices I really didn’t think I couldemulate: both Ten and Donna in “Doctor Who”, Jack and Liz in “30 Rock” and,more recently, Gene Hunt in “Ashes to Ashes”. My particular trick for writingthese characters, for practicing their voices, was to write out the dialoguefirst then fill in everything else. Obviously this is only going to work forfics like this, this and this that rely heavily on banter. I love this kind offic. I love reading ‘em and I love writing ‘em. But even in fics which meldprose and dialogue, writing the dialogue out in isolation can help since theseaspects use slightly different writerly muscles.                          

4. Spellcheck is Your Friend: There will probablyalways be errors in your writing but do your best to avoid preventable andobvious mistakes. These can destroy your credibility as a narrator and takeyour reader out of your story. Personally, I am a compulsive editor. I wouldn’trecommend it. But I would recommend reading through your work at least once andrunning spellcheck before posting. Reading aloud can also help to identify anygrammatical errors or issues with flow. You can, if you find a friend willingto act as beta, outsource some of this work.

5.Don’t Be Afraid to Start Small: I’m a fan of theshort, self-contained fic. I’ve written lots of them and significant work must still go into making them work. So don’t aim to produce 25,000brilliant words right off the bat. Just 1-2,000 solid ones of which you can be proud.

6.Write What You Want: If you’re lucky, readerswill request fics of you (I have never been good at fulfilling these requests).If you’re unlucky, they’ll complain about directions you take or detail whythey refuse to read what you’ve written (this is pretty rare). But you can’t, Ibelieve, force inspiration. It’s either there or it’s not. For me, I beganwriting fanfic because there just wasn’t any for a pairing I shipped. So Iwrote it myself, for myself. I wrote what I liked and wanted to read (I stilldo). This is a medium in which fans have complete autonomy. They choose to go frompassive consumer to active creator. So just do what you do. Do whatever youwant. Turn back time. Bring people back from the dead. Unite lovers. Mergeworlds. Create characters. Make it sad, happy, dramatic or funny or both. You have the power. Claim it. Play with it. Revel init.

7. Start Strong and End Strong: You gotta have agood first line, in my theory of ff. That’s where it (literally) all begins. I always like to openwith something concise and intriguing that immediately communicates a little (butnot necessarily all) of what I’m planning to work with. Don’t be fooled intothinking you gotta start at the beginning. You don’t. You can enter the storyat any point. You can enter late – and leave early, as the saying goes. Thisis a screenwriting principle that ensures that only the most relevantinformation is included in a scene. It keeps the pace of a piece up, controlsthe dissemination of information and keeps audiences engaged. I think thisprinciple transfers rather easily to the page, especially since most of us areemulating material from the big or small screen. In order to imitate thesevisual mediums in written form, you might like to think of paragraphs, breaksand sentence structure as editing techniques that can guide the reader’s pace, growingperception and emotional experience.

8.Avoid Clichés: Clichés can occur at the level ofexpression, character or narrative. At the level of expression, these arewasted words that hold no meaning so find a fresh way to express what you mean.At the level of character, keep words, thoughts and actions rooted in thecharacter. “Show, Don’t Tell” is another well-known writing principle that can help maintain authenticity. As much as we may identify with certain characters, make judiciousdecisions about how much of yourself belongs in them. When writing intimaterelationships, less is often more. I know many shippers (myself included) spendyears sometimes LONGING for couples to express what they mean to each other,physically and/or verbally. By all means, let your beloved characters express –but not everything and not all at once, would be my advice. Allow them to maintainsome sense of mystery and sovereignty. At the level of narrative, clichés canactually work, especially if used with awareness. I had such fun writing a OneBed! fic for Jack and Liz, in which I paidtribute to some of the many reams of MSR fanfiction I had previously consumed.There were so many of these stories in that fandom that they became a categoryof their own, boasting a set of (increasingly ironic) conventions. Some fanfictraditions, it must be said, deserve to be embraced, extended and celebrated.   

9. Read: Reading is the easiest way to absorbgrammar, to expose yourself to different writing styles and to become moreadept with language. So read books of all kinds. And read fanfic from your favefandoms. But read it actively, critically. Figure out what works and whatdoesn’t and why. Figure out what you enjoy, don’t and why. Apply theseinsights to your own writing and keep applying them. Keep improving. The more you read and write, the better you’ll get.

10. Avoid Comparisons: My best experiences of readingand writing fanfiction have been in strong, supportive communities. Generally,the more supportive the community has been, the more prolific I have been. These communitiesare wonderful spaces to inhabit, filled with peeps that love their shows,defend their ships and support their authors. Authors are always hungry forfeedback, and is it any wonder? Writing, creating and sharing takes work, love,thought and guts. You have to claim a little corner of a fandom and boldlystate that you have something to say that’s worth listening to. Sadly, you will probably never receive the same amount of energy back as you putin. This can lead to authors comparing their output and input, judging theirwork on its stats rather than on its merits. It can lead to them competing forthose few meagre reviews that roll in. This is partly why it is so important toreview fanfic, particularly fanfic you love and authors you read consistently.It’s part of encouraging and creating a sense of community in which people feeltheir voices are heard and their contributions valued. So be generous with others. Encourage and share. Read, review, reblog.Treat your fellow writers as your community, not your competition. Viewfanfic as a labor of love, an act of generosity that sometimes gives back. And if you don’t get the response you wishfor then make sure you hit that internal heart button and give yourself somekudos for trying, for creating, for loving something and letting it show.

Good luck. :)

#fanfic #asks