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#2000s childrens tv special songs.

demifiendrsa · 1 year

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Star Wars: Visions volume 2 will stream on Disney+ on May 4, 2023.

Volume 2 shorts:

Title: “Sith”

Studio: El Guiri

Writer-director: Rodrigo Blaas

Rodrigo Blaas is an Emmy Award®-winning director who has spent more than 20 years in animation. After co-founding Stromboli Animation in 1997, Blaas joined Blue Sky Studios in 2000, working on the feature film Ice Age, before transitioning to Pixar Animation Studios. There, he worked on such projects as Finding Nemo (2003), The Incredibles (2004), Ratatouille (2007), and Wall-E (2008) and on the Oscar®-nominated short film La Luna (2011). More recently, Blaas partnered with Guillermo del Toro to develop the award-winning series Trollhunters, served as creative director for Mikros Animation Paris and, in 2021, created El Guiri Studios in Madrid with his partner, Cecile Hokes. He also wrote and directed 2009’s award-winning short film Alma.

Title: “Screecher’s Reach”

Studio: Cartoon Saloon

Director: Paul Young

Paul Young is a co-founder of Cartoon Saloon, an IFTA winner and Oscar®, Emmy® and BAFTA nominee. He produced the animated features My Father’s Dragon, WolfWalkers, The Secret of Kells, Song of the Sea, and The Breadwinner as well as award-winning TV series including Puffin Rock, Dorg Van Dango, and Viking Skool.

Title: “In the Stars”

Studio: Punkrobot

Writer-director: Gabriel Osorio

Gabriel Osorio majored in Fine Arts at Universidad de Chile, later specializing in 3D animation. After working in commercials, movies and television series, he founded Punkrobot Studio. Since 2008, he has directed projects for children’s television including Flipos, Muelin y Perlita, Soccer Girls, and television spots. In 2016, his short film Bear Story became the first Latin American project to win an Oscar® in the animated short category.

Title: “I Am Your Mother”

Studio: Aardman

Director: Magdalena Osinska

Magdalena Osinska is an award-winning director who has been with Aardman for eight years. She has directed stop-motion, CGI, 2D and live-action commercials including Wallace & Gromit’s “The Great Sofa Caper” and “Share the Orange.” Osinska directed development of the children’s series Joyets and has also directed films including Spirits of the Piano and Zbigniev’s Cupboard. A graduate of the National Film and Television School in Beaconsfield, UK, as well as the Polish Film School in Lodz and Art College in Warsaw, Osinska is currently developing the feature film Jasia, based on her grandmother’s memories of WWII Poland.

Title: “Journey to the Dark Head”

Studio: Studio Mir

Director: Hyeong Geun Park

Rising star Hyeong Geun Park had already made a name for himself when he entered the Korean animation industry in 2017, thanks to his strong drawing and animation sensibilities. He has directed animation for dozens of cinematic game trailers and has since expanded into animated series, working on projects including Dota: Dragon’s Blood: Book 3 (2022) and Lookism (2022). Journey to the Dark Head is the first title he has executive produced from start to finish.

Title: “The Spy Dancer”

Studio: Studio La Cachette

Writer-director: Julien Chheng

Julien Chheng is CEO of Studio La Cachette, an Emmy Award®-winning French animation studio he co-founded in 2014 with fellow Gobelins school’s alumni Oussama Bouacheria and Ulysse Malassagne. Chheng was trained in visual development at Disney and has worked as a character animator on acclaimed 2D animated features The Rabbi’s Cat, Mune, and the Academy Award®-nominated Ernest and Celestine. In 2021, he won an Emmy Award® as animation executive producer of Genndy Tartakovsky’s Primal, for which he also served as animation supervisor. In 2022, Chheng directed with Jean-Christophe Roger the Cesar-nominated feature Ernest and Celestine: A Trip to Gibberitia.

Title: “The Bandits of Golak”

Studio: 88 Pictures

Director: Ishan Shukla

Ishan Shukla started his career as a CG artist in Singapore. For more than a decade, he spearheaded projects ranging from TV commercials to series and music videos. His 2016 animated short, "Schirkoa," was long listed for the Academy Awards® after receiving dozens of awards and playing at 120 international festivals, including SIGGRAPH Asia where it was named Best in Show. He then set up his own animation studio to work on adult-oriented animated feature films including a feature-length version of Schirkoa, set to hit festivals in summer 2023.

Title: “The Pit”

Studios: D’art Shtajio and Lucasfilm Ltd.

Writer-director-executive producer: LeAndre Thomas

Co-director: Justin Ridge

LeAndre Thomas is an award-winning writer and director from Oakland, Calif., whose most recent film won Best Director at the Pasadena International Film Festival. In addition to his independent films, Thomas is a part of the franchise studio team at Lucasfilm Ltd. where he has worked for more than 11 years being credited on recent titles such as Light & Magic, The Mandalorian, Obi-Wan Kenobi, Star Wars: Tales of the Jedi, and many more.

Justin Ridge executive produced the Emmy®-nominated series Star Wars Resistance. His credits also include Star Wars Rebels, Storks, The Cleveland Show, Star Wars: The Clone Wars, and Avatar: The Last Airbender.

Title: “Aau’s Song”

Studio: Triggerfish

Writer-directors: Nadia Darries and Daniel Clarke

Nadia Darries is a director, animator and co-founder of Goon Valley Animation, with an avocation for songwriting. Born in the Cape Flats in South Africa, Darries has worked on high-end animated film and motion design as an animator, project manager, creative director and director since 2015. Her experience includes animating at Triggerfish Animation Studios on the award-winning BBC films Stick Man, Revolting Rhymes, and Highway Rat.

Daniel Clarke is a Cape Town-based director and artist working in animation, film and illustration. He started his career in animation in 2008 at Triggerfish Animation Studios, where he has served as production designer, art director and director on projects such as the feature film Khumba, BBC’s Stick Man, and The Snail and the Whale. In 2018, along with James Clarke and Daniel Snaddon, he completed the graphic novel Kariba.

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purplekoop · 5 months

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also after I saw the turtles movie I saw that youtube had the original Jimmy Neutron movie (and some other Nick movies) for free with ads so I watched that afterwards.

So uh. Gonna make this one a little shorter.

Koop Talks About... (#3) Jimmy Neutron: Boy Genius I don't know if this deserved an Oscar nomination but it's funny that it did so it's fine

Very fun, and also very reasonable to deem better than the subsequent show even though I love that jank bundle of insanity that is a children's cartoon. It's a solid story about a solid concept of a character that takes itself a little more seriously than the show itself, while still keeping that cartoonishness with even a bit more "whimsy" to its tone.

I remember thinking the amusement rides turned into spaceships were THE coolest thing as a kid, and even then I think the creativity behind some of them has that really fun sense of childlike wonder that I don't think the show itself quite captures.

Plus also it's just funny, I forgot how many of the show's most iconic lines and bits came from this movie specifically. Personal favorite bit of the whole franchise is the part where Carl shows Jimmy a drawing of a frog and he responds with full sincerity "that looks great, Carl". Comedy doesn't get better than that.

Also I forgot how many pop songs were in this movie, I remember classics like "Hey Jimmy Jimmy", the Bowling for Soup version of the main theme (yes really), and "Kids of America" (y'know like the digimon movie song. not All Star, the other one.), but I forgot how there were like, 5 more. This was more than likely the first place I heard Blitzkrieg Bop and I didn't even remember it. They're not distracting for me personally, honestly they work for this silly movie and make it feel more "grand" than the show itself.

Frankly, the most interesting part about the movie is more just its weird role in the series as a whole. The movie came before the show, expressly because they could use the theatrical budget to make higher-quality character models to use in the show itself, rather than make TV budget models for the show and then make better models for a movie later. The weird part is that... for some reason the assets they reuse in the show are worse than the stuff specific to the movie? Like, the best-looking stuff is all the alien stuff. The Yolkians themselves are especially well-animated and detailed, which is weird because aside from one TV special they weren't in the show itself. The basic human character models look... not BAD, but not exactly impressive compared to who was also nominated for that first ever best animated feature Oscar. It overall looks notably better than in the show itself, likely just due to having more time and budget for quality assurance, extra details, and rendering. If you want more info on the interesting history of Jimmy Neutron's development, going well before this movie's 2001 release, I highly recommend this video by Slow Start. 21 minute watch, won't regret it if you're even just mildly fond of the show. They also have more videos on an array of early 2000's nostalgic topics, which hey that rubs my fancy, so if you're like me then check them out!

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Especially compared to the last post I feel I should reiterate that this isn't like, a super fantastic movie I recommend to everyone, but if you have nostalgia for it or otherwise just have 80 minutes to kill on a decent 2000's early CGI kid's movie, then I definitely say to go for it. Or if you have control over what a kid watches and you want to give a cultured viewing experience, here's a suggestion that's not hard to get access to right now.

I maaaayyyy talk more about the show itself, but to be honest there's not much to say compared to other shows I'd want to give time to rewatching and talking about. I saw the whole show a few years back when it was on Hulu, and it was a good time, but I just don't know how much is worth mentioning. There's some highlights, and while it's still probably in my top 3 Nick shows, it's not super deep. Even then, I still think it's aged better than the other early 2000s nostalgic Nick show starring a kid with an "-immy" name who has control over forces no mortal should hold power over. yikes that show is rough even before the part where it's generally considered outright bad.

Anyways uhhhhh

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Goodnight Retroville.

#koop talks about things #jimmy neutron #jimmy neutron: boy genius #Youtube

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altamont498 · 2 years

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So the BBC are shutting down CBBC (their kids channel) on TV and are moving it all online (because "people like Netflix/Disney+/YouTube")

And I must say how big a loss this is for British television.

For starters:

Not every household has "stable" broadband or mobile data access for streaming/watching stuff online—especially people who live in rural areas or people on low incomes.

The other platforms mentioned aren't 100% safe for kids (see the countless stories of kids getting hit with blood and gore videos that abuse the algorithms of YouTube or the Perfect Parent Brigade letting kids watch Squid Game and getting traumatised by the violence featured).

Plus it seems that every kids channel/platform aimed at kids these days is either something you have to pay for (like Netflix or Disney+) which, again, cost of living crisis, people might not necessarily be able to afford.

And not only that, but the ones that are free/available through terrestrial TV are often loaded with product placements and advertisements trying to get kids to buy (or nag their parents to buy) the Next Big Toy™.

CBBC doesn't have any of that. It's all 100% ad-free.

And not only that, but the programs that it does (and did) have are good for kids. Not just kid-friendly, but actually good for kids.

For example:

Newsround

It's news for kids, and quite popular with both kids and adults alike. It allows kids to learn about current affairs and learn about what's going on in the world now (and has done for 50 years) without dumbing it down too much or acting patronising.

Fact: It was through a Newsround bulletin that the news broke in the UK of the attack on the Twin Towers on September 11th 2001.

And they've kept it up throughout Brexit, Covid, the Russian invasion of Ukraine and then some.

But at the same time, not forgetting that the news can be, as it often is, upsetting, and encouraging kids to talk about stuff in the news that upsets them and facilitating a lot of that.

Horrible Histories

🎵Gory, ghastly, mean and cruel; stuff they don't teach you at school!🎵

Teaching history to kids in a way that's fun and goes surprisingly in-depth for a kids' show. Even in earlier series it was brave enough to say (though not depict fully; remember it's a kid's show) that the British Empire was Not A Good Thing and that a lot of Britain's "greatness"—and the stuff it basically runs on like tea, sugar, etc.—was all derived from slavery and the products/goods of other countries around the world.

Plus I think everyone either knows the Charles the Second rap or the Kings & Queens song by now.

And CBBC took on the act of broadcasting a TONNE of educational content suitable for kids of all ages during the Covid-19 lockdown like Horrible Histories and Operation Ouch, which loads of parents, kids and teachers genuinely did find to be helpful.

The Story of Tracy Beaker/The Dumping Ground

This one holds a very special place in my heart.

It depicts children, living in foster care (in a children's home non-affectionately nicknamed "The Dumping Ground" by its residents) and being actual kids.

Yes, it does show them (or at least strongly implies) they came from bad backgrounds—like Tracy herself being a child of neglect, kids like Jackie or Justine having parents/carers that weren't fit to look after them, or kids like Crash coming from abusive backgrounds and toxic environments—but shows that they are tough and they survive and they go through all the stuff that other kids go through and going on to do great things in their lives.

Like Tracy (spoilers!) later being adopted by her foster mother Cam (who, in later seasons, comes out as Lesbian and marries another woman) and countless kids going into good homes with good foster parents/adoptive parents.

As far as I'm aware,

This is the ONLY show on British TV that depicts foster kids in such a positive light.

Opposed to the stereotype of "Baby ASBO" running drugs on an estate somewhere or getting into fights and being up to no good 24/7/365.

Plus even back when it started in the early 2000s, it was very diverse for a program, and still is—with main characters who have learning disabilities, main characters of colour, main characters with physical disabilities (played by actual disabled actors).

So yes:

CBBC is special.

And it's something that absolutely deserves protection from being all transferred online and leaving kids (and adults who are kids at heart) to miss out.

#CBBC #BBC #british broadcasting corporation #thoughts #altamont498 #long post #the story of tracy beaker #the dumping ground #horrible histories #newsround #rant #vent

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r0b0tb0y · 1 year

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the size of the dog in the fight: playlist

borrowing heavily from many Guy Ritchie soundtracks, here's what I've had on repeat for the past month:

That's Entertainment - The Jam

What Do You Want From Me - Monaco

Ever Fallen In Love - The Buzzcocks

The Only One I Know - The Charlatans

Friday I'm In Love - The Cure

Damaged Goods - Gang of Four

What Difference Does It Make - The Smiths

Animal Nitrate - Suede

Coffee & TV - Blur

Pumping On Your Stereo - Supergrass

19-2000 (Soulchild remix) - Gorillaz

No More Heroes - The Stranglers

Girls & Boys - Blur

Disco 2000 - Pulp

Bitter Sweet Symphony - The Verve

Message In A Bottle - The Police

Just - Radiohead

Ghost Town - The Specials

Suffragette City - David Bowie

(White Man) in Hammersmith Palais

Crimson Moon - T. Rex

Angel - Massive Attack

The Rip - Portishead

Push It - Garbage

A Girl Like You - Edwyn Collins

Hush - Kula Shaker

Children of the Revolution - T. Rex

Love Will Tear Us Apart - Joy Division

Twisted - Skunk Anansie

Two More Years - Bloc Party

Roads - Portishead

Golden Brown - The Stranglers

Man Machine - Robbie Williams

I Can Dream - Skunk Anansie

Connection - Elastica

Close To Me - The Cure

Common People - Pulp

Hundred Mile High City - Ocean Colour Scene

Fuckin' in the Bushes - Oasis

Song 2 - Blur

Tubthumping - Chumbawamba

Hold Tight ! - Dave Dee, Dozy, Beaky, Mick & Titch

Spitfire - The Prodigy

Inertia Creeps - Massive Attack

Rock & Roll Queen - The Subways

Destroy Everything You Touch - Ladytron

#the size of the fight in the dog #or; a select history of britpop #spotify has my Whole Civilian Name on it so you gotta go make your own <3

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squideo · 1 year

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How Crusha Crushed It with The Crusha Kittens Advert

In this series, Squideo has examined the best ways to turn advertising content into gold. Now that we’ve broken down the eight key ingredients, it’s time to dive deep into some examples of stellar advertising. This week, the advert in question was picked by Squideo’s Production Manager Callum Major.

When asked why this particular advert had become his favourite of all time, Callum said: “I remember the advert from when I was younger, when I’d see it on TV all the time. It’s so whacky and bizarre! It's so bad it's good!”

The Artistocrusha

Crusha is a brand of milkshake mix, which recently started selling desserts as part of its range. It may be a surprise that Crusha dates back to 1955, when it was managed by British Sugar. The branding that you may associate with Crusha didn’t come about, however, until late 2001 when it came under the control of a British Sugar subsidiary: Silver Spoon. British Sugar, which has been owned by Associated British Foods since 1991, effectively owns all the sugar produced in the United Kingdom.

Over the next two years, Silver Spoon worked to redevelop the Crusha brand in order to appeal to a new audience. This included a new logo and the adoption of cats as the brand mascot, despite most adult cats being lactose intolerant.

Crusha in Boots

In 2003, the first advert for the revitalised Crusha was released. The mastermind behind this eye-catching advert was Joel Veitch of RealGood, a web animator and singer-song writer, who has been responsible for several high-profile pieces of work including the 2012 animated television special Uncle Wormsley’s Christmas.

The advert is a story of mixed success. Later in 2003, the same year the advert was released, Crusha became involved in a scandal when it’s owners discovered that a batch of faulty Crusha milkshakes had gone out to retailers. Instead of notifying the retailer, Tesco, British Sugar decided to send workers into the store and buy as many of the 580 affected bottles as they could. Tesco realised what was happening and removed the stock, creating a negative press story that undid some of the advert’s impact.

To add insult to injury, the advert was eventually banned from British television by Ofcom in 2004 after several people attempted to recreate the advert with real cats. One man was ultimately arrested for the mistreatment of animals. That didn’t stop Crusha putting out an additional advert by Veitch in 2008, this time with the cats in a gym. Eventually the brand moved away from the visual style of Veitch’s work, but the cat has remained a feature in all their adverts; fully animated since 2014.

Veitch’s animations were so popular in the 2000s, that after Coca Cola recreated aspects of his work – for a 2007 advert that ran in Argentina – he launched a lawsuit against the company. They eventually reached a settlement. Coca Cola had used his band’s song Ninja in a video full of kittens. Not exactly a subtle rip-off.

The Crusha King

Compared to the technical complexities that went into creating Cadbury’s Gorilla advert, which we explored earlier in this series, the process for making the Crusha Kittens advert was relatively straightforward. After all, no one had to travel across the world to find the right gorilla costume. Crusha Kittens wasn’t a major production, so why does it have such a lasting legacy? The advert regularly makes the lists of iconic British adverts and the song lives in the memories of many early noughties children.

Mental Music

The last two adverts broken down in the Advert Alchemy series, Gorilla and The Little Duckling, used existing music in their videos. Crusha Kittens, however, features an original song. It’s a short song, only four lines total, yet it has the overwhelming power of an earworm – guaranteed to make you sing “I want some Crusha” for days on end.

Since the video opens with several cats holding instruments, including an accordion, music was essential to the plot. Since the advert is aimed at children – who will convince their parents to buy the product – the song also had to be simple enough for them to memorise and Veitch definitely delivered when he composed this doozy.

Cute Cat

Even if you’re too young to remember the early days of the internet, scrolling through any social media platform in this day and age will prove this to be true: kittens are always cute. The Crusha Kittens advert predates the cat memes that society has grown to love in the 2020s, but even in 2003 it was well known that children like animals, and cats are a type of animal.

While none of the animals in the video are emphasised for cuteness (in fact some people state the cows gave them nightmares), by adding anthropomorphic features like holding instruments and wearing hats, and singing in an unexpectedly deep voice, the creators of this advert definitely understood the audience they were targeting: kids.

Ancient Animation

In a world of apps that deliver top-quality and relatively inexpensive video production tools, the Crusha Kittens advert may seem terribly outdated. Like something that was mocked up on Photoshop and Microsoft Paint. But to audiences in 2003, that was the beauty of the advert.

Crusha Kittens ran during the 4pm to 6pm timeslot, most popular with advertisers targeting a child audience. In 2003, Crusha Kittens was typically airing between Capri Sun and Nickelodeon adverts. Their competitors were producing live-action or 2D animated videos. Crusha Kittens stood out because it didn’t use this format, and it made something that could be recreated by people at home.

Content Worth Gold

What do you think? What made Crusha Kittens so successful? Watch the full advert below and let us know in the comments.

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Get in touch with the Squideo team today to find out how we can improve your advertising strategy with video production, motion graphics, social media management and much more!

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bestbugs · 1 year

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🐛 Finny’s VERY long list of their interests, fun facts, and favorite things! 🐛

(To be updated on Desktop, because mobile formatting got a little messed up.)

Key:

🖍 Interests from my childhood

‼️ HUGE interests of mine!

(Add a post cut here)

✨✨✨✨✨✨✨✨✨✨

Interests (in no particular order)!:

1.) Laundromats 🖍

2.) Car Washes

3.) Chevron Cars 🖍

4.) The Human Body (How it works, books about it, etc.) 🖍

5.) Aliens

6.) Theory Channels (Game Theory, Film Theory, Food Theory, Style Theory).

7.) Music 🖍

8.) Art 🖍

9.) Scouts (Girl scouts and Boy Scouts)! Fun Fact: I was in Girl Scouts when I was little, and I want to be a volunteer for either Girl Scouts or Boy Scouts someday!

10.) Schools / “Schoolcore”

11.) Hospitals, specifically Childrens Hospitals. (I went to a children’s hospital very often when I was younger, and I began associating it with comfort and “getting better!”) 🖍

12.) Learning other languages and learning about other cultures (and what life is like around the world!) 🖍

13.) What life was like in the past.

14.) 2000s-Early 2010 aesthetic.

15.) Backpacks ‼️🖍

16.) Stuntmen and women

17.) Wrestling 🖍

18.) Old Commercials ‼️ (Mostly from 2000s-Early 2010s)

19.) Ska music 🖍‼️

20.) Care Bears 🖍

21.) Rockhopper Penguins ‼️

22.) Vocaloid 🖍‼️

23.) Old magazines (usually 80s-early 2000s)

24.) Public Service Announcements ‼️

25.) Retro Arcades ‼️🖍

…and more that I am probably forgetting! I will update the list as more things come to mind!

Fun Facts:

🐛 I don’t mind what pronouns are used for me! I like the sense of anonymity that comes with the option of someone using any pronouns for me gives me.

🐛 Finny is just an online nickname I like, not one I use in real life!

🐛 My favorite colors are currently orange and yellow, but I like most colors!

🐛 I write all the time! I have a huge storage box full of completed journals— and I have been writing consistently since I was in 2nd grade! That’s over a decade of writing!

🐛 I like to edit photos and videos! I hope that I can get better at both someday!

🐛 I have a binder that I use as my own personal “scrapbook” and personal care guide. I am super proud of it— and I plan on having a tour of it with you all, soon!

🐛 I can play the drums, clarinet, and I am learning the piano! I want to get back into playing the recorder, because that was the first instrument I’ve ever played! This time, I’d like to use a higher quality recorder.

🐛 Puzzle games, rhythm games, racing games, arcade games, and fighting games are my favorite! My favorites in each category are currently: Tetris (any version), Project Mirai DX (or any version of a Hatsune Miku/Vocaloid rhythm game), Mario Kart 8, most retro arcade games AND pinball machines, and Tekken!

🐛 I’ve been using tumblr since 2012, but my original account is lost.

🐛 I’ve been a Vocaloid fan since about 2009-2010! My favorite Vocaloid is Luka, but I love them all!

🐛 My favorite Care Bear is Funshine bear! My favorite thing that I own is my Funshine Bear cup!

🐛 My Favorite Song is currently: 🎶Break by Kero Kero Bonito🎶

🐛 My favorite TV show is currently Bluey!

🐛 My favorite movie is currently most Pixar movies! Monsters Inc has a special place in my heart.

🐛 My favorite art material to use: Colored Pencils

🐛 My favorite snack is freeze dried apple slices!

🐛 My favorite drink is Snapple Apple juice, or warm tea with lemon!

🐛 If I were an animal, I would pick a penguin or a house cat. If I were a cat, I would want to be a fluffy orange cat!

More details may be added soon!

Last Updated: April 11th, 2023.

❓Why make this list?❓:

Sometimes when you’re upset, you can easily forget what things make you happy. Making “about me” lists gives me the opportunity to revisit what I know I like— and it gives you all the opportunity to get to know me better!

#about 🐛#🐛 interests

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nostalgiamare · 1 year

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NOSTALGIAMARE ENTRY 14

NAME: 3-2-1 PENGUINS

COMPANY/FRANCHISE: BIG IDEA ENTERTAINMENT

JAM FILLED TORONTO

CATEGORY: TV SERIES (ANIMATED/DIRECT TO VIDEO)

YEAR: 2000/2006

DESCRIPTION: A short lived Christian children’s series from the creators of Veggietales. Originally starting as a small collection of direct to video episodes from 2000 to 2003, and then turning into a short lived television series on Qubo in 2006 after the bankruptcy of Big Idea. The story revolves around two siblings named Jason and Michelle spending the summer at their Grandmother’s house. When one day they find a toy spaceship and a collection of ceramic Penguins, they are transported to a fun, comedy filled galaxy adventure with the Penguins (Who are all space troopers) named Zidgel, Midgel, Fidgel and Kevin. All the while learning important life lessons from the Bible.

MOD THOUGHTS

1: No thoughts only MidgeFidge. (P.S: None of the penguins are cis I will say it over and over again.)

2: Made this for a special occasion-

3: I won’t deny that the way they handled the religious themes wasn’t well done especially given that these are the same people who made Veggietales, but everything else was so well done in the videos that I can’t help but keep on wishing that the videos didn’t stop at 6 because these were the pinnacle penguins of the Y2K era. WE COULD’VE GOTTEN A FIDGEL SONG-

LINK TO SOURCE: https://www.youtube.com/watch?v=aLBwX2kfamA&list=PLELEAe-ioMiPlR5RnPhv8HjNCpqQndHxW

#nostalgia #childhood nostalgia #2000s nostalgia #nostalgiacore #nostalgiamare #big idea #nostalgiamare entries #321 penguins

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adultswim2022 · 2 years

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Baby Blues #1: “A Baby Blues Christmas” | February 24, 2002 - 10:30PM | S01E12 Originally aired on Adult Swim

Baby Blues, episode 1, or the Pilot, or the “standalone TV special”, or the twelfth episode in airdate order, or the fourth episode of the second season if you subscribe to the idea that the original WB run of the show in the year 2000 constitutes season 1 and the episodes that were originally unaired and made their debut on Adult Swim in 2002 constitutes season 2. The truth is, it depends on what site you’re on. The sad truth is, nobody really agrees because nobody really cares that much about this show.

On IMDB this episode is listed apart from the series as a TV special. It’s Also included in their listing for season 1. They list a season 2, but with no episode titles or information based on the thought-to-be-apocryphal-but-turns-out-to-be-true rumor that an entire season of the show was produced but left unfinished (I don’t have the link, but I found a producer who confirmed that all they needed to do was the final sound mixes on the episodes before the plug was pulled). Warner Bros, abandoning animated programs for a tax break?? Say it ain’t so!

For the record, I subscribe to the Home Movies rule: This show is one season of 13 episodes. 5 of which were held over to another network. Also, this is the first episode. It was originally produced in the late 90s and set to air before the regular series was ordered. At least that’s what Wikipedia tells me. The Bare Naked Ladies song is seemingly tacked on to make it conform to the rest of the series. So it’s sorta like those Pete & Pete pre-series specials which they aired as part of season one with the new Polaris theme song tacked onto them and rescored to remove REM songs on the soundtrack.

This show is cute. It’s animated pleasingly, the humor has a nice variety to it with quiet observational humor mixed with expressive flights of fancy, like when the in-laws start squabbling and the show turns into Doug with a little fantasy sequence where the characters are on Family Feud. The humor rarely gets too dark, but the whole thing is very much outfitted for family viewing. Cute kid moments are forced in there a bit with the next door neighbor kid Rodney who loves impressing Zoey, the newborn baby. I call her a newborn baby because this special begins at the Hospital, right after Zoey’s birth, which makes this a natural choice for “first episode” status, don’t you think? Please agree with me!

Nothing in the show made me laugh. I just sorta liked the drawings and animation. Everything about is basically competent. It makes fine family programming. I just find it absolutely uninteresting humorwise and still feel like it was a bad fit for Adult Swim. I guess they saw it as a good show to play at the very start of the block; not that alienating to parents or young children and not that dark or vulgar. But it seems like something that most kids would find too adult and most adults would find too childish. And why even be that inviting? I thought this was Adult Swim! JEEZ! I feel like they perfected this concept when they started playing more teen-centric fare as a pre-Adult Swim block on Cartoon Network proper.

But the characters are likable enough. I *sorta* want to like this. It would show pleasing signs of life where, for example, they made a joke about how they weren’t going to let the kid watch any non-PBS programming and that if another network logo was on screen they’d change the channel. Right then, a WB logo fades onto screen (even in the Adult Swim recording I’m watching). This is Duckman territory for sure, but I would much MUCH rather watch Duckman. Did Duckman ever do a thing that implied Santa Claus was real like they do at the end of this? Wait, maybe they did, I think lots of supernatural stuff on Duckman was real. Homer even showed up at the end of an episode. Homer! Homer is real in Duckman!

#baby blues #adult swim #adultswim2022

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connors-chocolate-history-blog · 5 months

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Part 8: Sustainability, Fair Trade, and Consumer Rights

Pictured above: Children in Montreal, Quebec, Canada on strike over a price hike in chocolate bars, 1947. The chocolate bar strike was a major cause celebre in the country before the chocolate manufacturers ran smear campaigns accusing the children of being Communist agents. This really happened.

Now, the only thing these big corporations understand is money. So how about we exercise our rights as consumers and not give them our money? We already made them take poisons out of their products that way.

One of the big trends in artisanal consumer products is fair trade. That is to say, actually paying the people who grow your stuff. Wow, what a concept! But for real, it's kind of messed up how Africa produces the majority of the world's chocolate but only consumes less than five percent of the world's chocolate. While this usually means a higher price for the consumer, it also means that the producers get paid fairly compared to standard trade practices. One of the biggest companies specializing in fair trade chocolate is the Dutch company Tony's Chocolonely, founded by a former TV journalist who had investigated child slavery in African chocolate production. I remember fair trade being a big buzzword in the 2000's: the punk band Rise Against did a music video promoting the concept for their song "Prayer of the Refugee", where they tear up a supermarket.

youtube

But there's another, bigger problem ahead: chocolate production leads to a lot of deforestation, and sometimes chocolate farms actually break into protected forest areas to grow their product. And with climate change, it's getting harder and harder to grow chocolate. Some companies have opted to create a more sustainable way of harvesting chocolate, to...let's say mixed results. See, there's thousands of cocoa farms, mostly small plots of land. And it's hard to keep track of all of them even if you are a really big company like Nestle or Hershey. Also, lots of people are susceptible to bribery there. So what is the future of chocolate consumption? Consumers alone can't fix it. Companies alone can't fix it. Governments haven't taken action, and even if they do the companies usually ignore it. So what are we supposed to do? It seems like these contradictions are inherent to the capitalist system...and perhaps, we shouldn't just rethink how chocolate is made, but how all commodities are made, and how the people who make them are alienated from the products of their labor...

Now I'm not suggesting we support a cultural revolution under Maoist-Third Worldist theory...I'm just saying that we should keep the option on the table.

(Up next: a chocolate potato cake recipe! No, for real)

#chocolate #history of chocolate #Youtube

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shamemp3 · 11 months

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ruby, scarlet and imperial for the ask game <33

ruby: favourite pre-2000 song?

dont think i can pick an all time but atm its famous blue raincoat by leonard cohen hehe

scarlet: think of your favourite genre. what kind of media in that genre do you prefer - books, films, or tv series?

choosing a favorite genre is like choosing between your children...i'll settle on sci fi and for medium i think books. AND VIDEO GAMES (<- guy who's currently replaying outer worlds)

imperial: what film, in your opinion, has the best cinematography and/or special effects?

atm im thinking mommy 2014...i could go on forever and ever though

#my problem is i ask for ask games and then i cannot answer them with just one simple straightforward answer #ILY OLIVER #oliver

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brn1029 · 1 year

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This day in Classics of Rock…

March 28th

2013 - Hugh McCracken

American rock guitarist and session musician Hugh McCracken died of leukemia in New York City at the age of 70. He appeared on many recordings by Steely Dan, Donald Fagen, Billy Joel, Roland Kirk, Roberta Flack, B. B. King, John Lennon, Paul McCartney, The Monkees, Paul Simon, Art Garfunkel, James Taylor, Phoebe Snow, Bob Dylan, Carly Simon, Graham Parker, Eric Carmen, Loudon Wainwright III, Aretha Franklin, Van Morrison, The Four Seasons, Hall and Oates, Gary Wright and Andy Gibb. Because of such high demand for his work, McCracken declined Paul McCartney's invitation to help form his new band, Wings after appearing on his 1971 album Ram.

2000 - Jimmy Page

Jimmy Page accepted substantial undisclosed libel damages from a magazine which claimed he had caused or contributed to the death of his Led Zeppelin bandmate John Bonham. Page's solicitor, Norman Chapman, told High Court Judge Mr Justice Morland that the feature in Ministry magazine printed in 1999 claimed Page was more concerned with keeping vomit off his bed than saving his friend's life, and that he stood over him wearing Satanist robes and performing a useless spell.

1992 - Ozzy Osbourne

Over a $100,000 (£58,800) worth of damage was caused at The Irvine Meadows Amphitheatre, California, when Ozzy Osbourne invited the first two rows of the audience on stage. Several others took up the offer and the band was forced to exit the stage.

1976 - Phil Collins

Genesis began their first North American tour since Peter Gabriel left the band, appearing in Buffalo, New York, with Phil Collins taking over as lead singer.

1973 - Led Zeppelin

Led Zeppelin released their fifth studio album, Houses Of The Holy in the UK. The album title was a dedication by the band to their fans who appeared at venues they dubbed 'Houses of the Holy'. The cover is a collage of several photographs which were taken at the Giant's Causeway, Northern Ireland, by Aubrey Powell of Hipgnosis. The two children who modelled for the cover were siblings Stefan and Samantha Gates.

1970 - Simon and Garfunkel

Simon and Garfunkel were at No.1 on the UK singles chart with 'Bridge Over Troubled Water', the duo's only UK No.1. Only Art Garfunkel sang on the track.

1968 - Pink Floyd

Pink Floyd recorded a performance for the BBC 2 TV Omnibus - The Sound of Change show from Barnes Common, London, England. The special, which was produced by Tony Palmer, also featured performances by The Who, Cream and The Jimi Hendrix Experience. The show was later broadcast in September of this year.

1967 - The Beatles

Working on sessions for the new Beatles album Sgt. Pepper at Abbey Road studios in London, John Lennon recorded his lead vocal for ‘Good Morning Good Morning’, and Paul McCartney added a lead guitar solo to the track. Lennon had decided he wanted to end the song with animal sound effects, and asked that they be sequenced in such a way that each successive animal was capable of scaring or eating the preceding one.

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doakaptan · 3 years

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code lyoko: a hidden gem of early 2000s cartoons

pov: the year is 2009, every day you come home from school to watch an unidentified cartoon on channel JoJo; only for it to disappear and never come back to tv ever again.

Hello, it is that time of the week again. I will cut the chase for you so- Basically, this semester greatly tired me and in order to go along until the school year ends, I watch shows that evoke nostalgia to get high on the feeling of temporary happiness and dissociate for a while. I am not even addressing the monstrosity that is the midterm, father-son and the holy spirit help a bro out, please. And well, Code Lyoko is exactly that show.

(from left to right: Yumi, Jeremie, Aelita, Ulrich <3 and Odd) (there is also William in later seasons but I don’t claim him)

Originally released in 2003 but, received international release just as it was canceled in 2007, Code Lyoko is a French cartoon that graced everyone’s televisions at least once before it completely disappeared from it. For my experience, I encountered Code Lyoko on a channel called JoJo while I was waiting for Yugioh GX to start.

At first glance, it honestly looked horrifying with how children had comically big foreheads but, the story and the visuals hooked me right in. First of all, I could look past the giant foreheads because the characters were good-looking for my 8-year-old taste and, the background illustrations are still beautiful regardless. Despite being beautiful, the places didn’t change much and we only saw the school, dorms and the forest that was behind it along with the old factory and the word of Lyoko but, the budget for the show was not the biggest so most of the scenes were used and reused again and again throughout the seasons.

I’m not going to lie the visuals were not as pretty as I make them out to be but, I was 8 years old and it was the first time that I ever saw a cartoon that had both 2d and 3d animation.

Also, I fell in love with Ulrich but I’ll get to that.

No, no I won’t

This is also a call-out post to me because apparently, I love everything that came before the internet and being online 24/7. Just like in How I Met Your Mother, as we are watching the world is introduced to the internet and what being online means so if I were to say that the third season is an inquiry on what the internet is and, how it works, I would not be that far off.

( Also recently Code Lyoko was added to Netflix so yeah go stream it )

To dive right into the plot: a Japanese, and 3 French(???) middle school students walked into an abandoned factory through a sewage canal and discover a supercomputer that had an artificial world (Lyoko) in it with another artificial intelligence in the name of Aelita trapped in it. By contacting Aelita they alerted an evil system that lived within the Lyoko called X.A.N.A that manipulates and hacks electronic devices through the powers of Lyoko. So as any other logical human being would do they materialized Aelita into the real world and created her a fake identity to make her study with them while they fight against X.A.N.A in both the real world and the artificial one, Lyoko. Then the school principal asks, "Why did you do that?" And the overly intelligent 12-year old that somehow hacked into the national security system and created a fake identity for an artificial intelligence replied, "Well I am a classic nerd that fell in love with an artificial intelligence I had to make her real at some point!".

Yeah... that was not funny.....

Anyways, so this is basically the entire plot of the Code Lyoko brought to you by a walked into a bar joke that did not escalate!

4 friends along with their new materialized friend Aelita try to protect the world against X.A.N.A and whatever it is trying to achieve... Is it ever clear what X.A.N.A desires? I’m not sure. I’m currently rewatching the show and I’m on season 3 but I’m kind of lost on the plot since I only care about what’s going to happen between Ulrich and Yumi...

SO, the kids spent most of their time trying to defend their school, friends, or themselves against X.A.N.A and honestly it looks like a tiring job. They miss important days, quizzes, exams... man... I don’t think they are even attending school... But worry not! Lyoko has a program called "Return to the Past" and when they are successful in defending the world against X.A.N.A in Lyoko, they get to return to the past and not miss whatever that they dropped to reach the abandoned factory.

I vividly remember wishing, praying, crying myself to sleep to have a computer like that when I was a child. I still do actually. It would be great if I were to spend the whole day beating up various machines in a virtual world then set back the time to retake an exam that I already know the questions of. Ah, a university student can only wish...

Code Lyoko was mostly sloppy in animation due to the budget cuts that had to be made in order for the show the survive but, it made up with the heart and soul it carried. The characters are all fleshed out, just like the locations and you can sense how much thought went into each and every detail the show carried. I don’t know if it's still available on the internet but I would suggest everyone who read until this point to look into the bible of the show. It is one of the greatest bibles I’ve had the pleasure of reading through.

The show aired in Turkey in 2009 on channel JoJo. The entirety of the first season and a few episodes from the second season were aired but it was pulled from airing shortly after to give Yugioh GX more slots since it entered its final season. One of the reasons was probably because JoJo pulled most of its audience from airing Yugioh. I would not blame them since I discovered Code Lyoko while I was waiting for Yugioh as well.

After Code Lyoko was pulled off from airing I forgot about it and did not think about it until recently. During our first year, while I was talking Asya’s ear off about an unrelated cartoon, I randomly remembered the theme song of Code Lyoko, and all came back to me. The sweet nostalgia. I also remember making my friends at the table watch a few episodes of it during our lunchbreak.

I am honestly glad that Code Lyoko was not one of the cartoons that got away from me. Aside from the addicting nostalgia, it gives me, it holds such a special place in my heart that I don’t think any other show can fill (maybe Yugioh GX can fill it but I will have to debate it with myself for a while).

So please, if you have time give this low-budget french cartoon a chance it will not disappoint you.

(also just a warning ulrich and yumi’s pining is one of the slowest of burns I’ve ever witnessed so be careful while rooting for them)

#man i love code lyoko #with my whole heart #i wish it had more seasons #it left on a cliffhanger jokes on you #ulrich i was in love with you when i was 8 plz call me back #also i still cannot believe this was real #code lyoko #code lyoko come back #ulrich stern #ulrich üzümlü kekim #yumi ishiyama #aelita schaeffer #odd della robbia #franz hopper dalgana bak aslanım #lyoko warriors #william sen de dalgana bak aslanım

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ayuuria · 3 years

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Yashahime Translation: Livedoor News Interview

Please do not repost this translation without my consent! This includes screenshots of any type and amount. If you wish to share this translation, simply link to this post.

For more information regarding the use of my translations, click here.

The New Story That Continues the World of Inuyasha, Anime “Hanyō no Yashahime” Director x Producer Interview

With the Resolve to Reopen the Concluded “Inuyasha” World in Their Hearts. The Behind-the-Scenes Production of “Hanyō no Yashahime”

For 12 years from 1996-2008, “Inuyasha” (original creator: Takahashi Rumiko) which was serialized in “Weekly Shōnen Sunday” (Shogakukan) was a feudal fairy tale that depicted the heart of the battle between demons, humans, and half-demons for the Shikon Jewel.

Anime “Inuyasha” broadcasted from 2000-2004 followed “Inuyasha the Final Act” from 2009-2010, after the original work was concluded. It is a timeless masterpiece that is now loved around the world.

Continuing that world of “Inuyasha” is the new original anime, “Hanyō no Yashahime”, which began broadcast in October of 2020. Many Inuyasha fans were surprised at the shocking set up that the daughters of Sesshōmaru, a popular character in “Inuyasha”, would be the protagonists.

With everything from the production, background music, and cast performance having an Inuyasha flavor mixed in, being moved from seeing the new characters and the “Inuyasha” characters coming together on the TV screen, to the absolutely unclear mysterious developments, the hearts of fans around world have been grabbed once again.

Since broadcast began, despite having completed one cour (translator’s note: Cour = 3 months or 13 weeks/episodes), the full picture of the story still cannot be seen. We carried out an interview conversation with director Satō Teruo and producer Naka Toshikazu regarding the things of interest about the work up until now and ahead.

We Prepared a Device That Would Allow Inuyasha Fans to Enjoy (the show)

— One cour has passed since broadcast began. Are the responses reaching you?

Naka: The response is incredible. Especially on social media.

Satō: You’re right. I’m also on Twitter, so I get reactions from all over the world. I truly get a sense that it’s work that’s receiving a lot of attention.

When I look at comments on the official (Twitter) account, most of them are from overseas. Not only do I once again realize that “Inuyasha” boasts a worldwide popularity, I do my best while feeling the pressure of “Hanyō no Yashahime” being a work that inherits that world.

— Apparently the one who suggested the project was Suwa Michihiko of ytv Nextry, who was the producer for anime “Inuyasha” and “Detective Conan”. How did you two feel when you first heard about the project?

Naka: “We’re going to do a story that’s been neatly concluded once before again!? How!?” is what I felt at the beginning.

From the moment I first heard about it, I was still floating around what kind of story it would be. “I might make it a story about Sesshōmaru’s daughter.” was as far as I had gotten. I thought “If I’m not mistaken, if we make it like that, then there might be something to do”.

Satō: There were talks of “wanting to do it” for 2-3 years and Rumiko-sensei, Suwa-san, and the “Inuyasha” staff had mulled over the idea.

It’s just that not only was the story of “Inuyasha” itself was very neatly concluded, after “Since Then” (the special edition (chapter) depicting the after story) we had Rumiko-sensei tell us “There’s nothing left to do in “Inuyasha””.

There was a rather heavy responsibility in touching that and as an Inuyasha fan myself, it made me really think about “In order to create a new story out of a work that was neatly concluded, what sort of form does it need to take?”

I think Inuyasha fans would watch, so I felt that I wanted to release something that everyone would agree to as much as possible without breaking their (idea of) “Inuyasha”.

— In terms of the target audience for “Hanyō no Yashahime”, do you consider Inuyasha fans the main target? Or do you focus on the new audience that does not know “Inuyasha”?

Naka: For us, we want people to like the new characters so in that sense, we keep in mind the new people.

It’s just that a lot of time has passed since “Inuyasha” was broadcasted and I think among the people who watched “Inuyasha” back in the day are people who have become parents. I think watching it as two generations, parent and child (Mom and Dad who liked “Inuyasha” and the children who are touching it as a new work), is the most ideal.

Satō: The voice actresses who voice the three princesses (Towa, Setsuna, and Moroha), are from a generation that watched “Inuyasha” right when they were kids. They chit-chat while recording every week (laughs).

It would be great if the new target group could go back and watch “Inuyasha” because of “Hanyō no Yashahime” and think “There are demons that appeared in “Hanyō no Yashahime” too”. On the reverse side, I would like those who watched “Inuyasha” to enjoy “Hanyō no Yashahime” from the point of view of “It’s the demon from that time”.

For that reason, we inlayed different devices and components into the story.

Naka: We periodically put in devises that would make people who like Rumiko-sensei’s other works smile a little bit. Like the hoodlums who appeared in episode 2 or the monkey gag in episode 9.

— In other words, while still keeping in mind those who don’t know “Inuyasha”, you are of course creating a work that Inuyasha fans can enjoy as well.

Satō: Making sure we don’t destroy the image of “Inuyasha” characters is at the forefront of our minds, especially when we bring them out into the “Hanyō no Yashahime” world. This is so that people watching don’t think “That’s not the kind of character they were”.

Of course, when we bring them out, we always have Rumiko-sensei review the scenario. She’ll tell us “It should be fine if it’s like this” and apply that to the scenario which is how we’ve been doing it.

Naka: We’re careful so that when “Inuyasha” characters take the mound, they don’t eat into the spotlight of the new characters while also not losing their “status”.

— Among the fans, the way the broadcasting order of “Hanyō no Yashahime” to “Great Detective Conan” is similar to “Inuyasha” to “Conan” became a popular topic of conversation. Was that formation something Yomiuri TV-san was particular about?

Satō: The order is the same as when it was broadcasted during the golden hour of 19:00-20:00 (7-8pm on the 12-hour clock). We’re grateful that they’re nostalgic about it.

Naka: I don’t know if they were particular about it or not, but it was decided from the start that it would be broadcasted during that timeframe (before “Conan”). It’s possible that it just turned out that way, but from the production side, it felt “just like before” in the end.

Satō: It’s like (Yamaguchi) Kappei-san (role of Inuyasha and also Edogawa Conan/Phantom Theif Kid in “Great Detective Conan”) has 2 consecutive appearances (laughs).

Naka: Not only is the connection between the timeframe the same, but also when we heard that SixTONES would be doing the opening for the October cour, we thought the flow looked the same as “Inuyasha” since it would be a group from Jonny & Associates that would be singing (Editor’s note: In the past, V6 and Tackey & Tsubasa were in charge of the theme song for “Inuyasha”).

In the end, we’re also curious as to how the structure is the same as during “Inuyasha”.

A Character Cannot Come to Life Without Working Out the Fundamental Aspects

— Next, we will ask how story the of “Hanyō no Yashahime” was created. We just heard from Naka-san that “When I first heard about it “I might make it a story about Sesshōmaru’s daughter.” was how far I had gotten”, but were there any different ideas regarding the direction after that?

[Characters bios written following the question but I’m skipping it]

Naka: We proceeded with that intention as is.

It’s just that even if it’s a daughter, we couldn’t quite settle whether the daughter would be twins or an only child. We couldn’t decide until right on the line of “If we don’t decide what sort personality the character will have at this stage, we may have to relook things including the broadcast timing” (laughs).

Satō: We pretty much decided after directly talking to Rumiko-sensei.

— What did Rumiko-sensei tell you?

Naka: Regarding the character persona, she pointed out things such as “With only the setting, you don’t know why they speak that way” and “Why they dress like this doesn’t feel right to me”.

Especially with Towa, it took a long time for Rumiko-sensei to understand and agree to the part where “She dresses like a boy because she’s this kind of persona”. That’s where we struggled the most.

Satō: For Rumiko-sensei, apparently, she understood Setsuna and Moroha straight down like “So this is the kind of child she is”.

However, only with Towa did she say, “If you don’t clearly boil down and solidify how she will grow and what sort of foundation she’ll have, the story development will become blurred wouldn’t it”.

With that point, it was a lot of work deciding Towa’s character.

Naka: Not just the settings, but we had Sumisawa Katsuyuki-san (in charge of series composition for “Inuyasha” and now this work as well) vigorously write the scripts for episodes 1 and 2 and show Rumiko-sensei “With this story flow, Towa will respond like this” and “We’ll use this language”.

With that, we put things in order in a “But, we probably don’t need this kind of language after all, right?” kind of way.

— It was explained in the story that Towa dresses like a boy because “It’s easier to fight in”, but is that one of the settings that was solidified like that?

Naka: Yes. The result of coming up with different reasons and many ideas was that we ended up settling on a conversely simple reason.

Satō: Rumiko-sensei casually said “Isn’t “it’s easier to fight in” good enough?” (laughs). We were turning up a lot of different rationalizations. (translator’s note: Not confident on this sentence) For example, “As a girl, there was something she didn’t like”.

But it also became “I don’t think that’s true” …… It made us realize it was fine to have something simple and straightforward.

— So Rumiko-sensei was involved with the character persona starting from the foundation.

Satō: I learned a lot from speaking with Rumiko-sensei as I was creating the characters. Rumiko-sensei’s way of thinking is very logical and upfront. For example, “Because (she’s) this kind of child, (she) behaves like this” or “(She) Won’t say something like this”.

That’s why, people who view the work will see their foundation. In my head, I knew “If you don’t work out the fundamental aspects, the character won’t come to life” but I came to realize that once again.

In the anime, there were many people who put out ideas starting with Sumisawa-san, but I thought it must be a lot of work for Rumiko-sensei to create a manga while consulting with the editors.

We’re Mindful of the Composition that “Towa Sets the Story in Motion”

— With the characters solidified, did you receive any orders from Sumisawa-san as you planned the story?

Naka: With “Hanyō no Yashahime”, it started with Sumisawa-san first writing the scenario that would become the first manuscript.

In that regard, we discussed with him things such as “Keeping in mind of the development ahead, please pay attention to this part” or “Please put this device in”.

More precisely, there was a lot of discussion about Moroha’s position at the beginning. There was the fact that Moroha was the easiest character to move, but we wanted him to keep in mind as much as possible that she (Moroha) should show her concern for Towa and Setsuna in a way that ensures they’re at the forefront.

Satō: To the writer, Moroha is like a “Mini Inuyasha”. Hence there was a tendency to naturally center the story around her.

However, Sesshōmaru’s daughters, Towa and Setsuna, are the protagonists this time so we wanted (the writer) to keep that in mind.

Because Moroha is easy to understand with her character and Setsuna is a female version of Sesshōmaru, when their vectors become conspicuous, Towa appears overshadowed no matter what. “The protagonist getting overshadowed by those around them troupe.” is something that happens in original works.

That’s why we’re conscious of the composition of bringing Towa into the center and using her to move the story whenever possible. That’s the part we especially placed importance on when putting together the story.

— Next, please tell us the appeals of the three protagonists. Starting from Towa please.

Naka: Regarding Towa, she inherited Sesshōmaru’s silver hair, has a boyish outfit, and has an outward appearance that would make girls think she’s attractive.

However, her values are surprisingly modern, and she has a naiveness about her which Setsuna calls out within the story. I don’t think there have been many characters who have been balanced like this thus far.

Although, at the current phase, there’s a point that what the goal behind her actions is might still be a little weak.

Satō: Just as Naka-san said, Towa has a half-hearted kindness and naiveté; how that will change as she travels with Setsuna and Moroha. Please look forward to that growth as you watch the story.

I think there are people who get impatient seeing Towa’s current indecisiveness (laughs).

What will that kind of protagonist experience and how will her feelings change from that. It will make me happy if people think “Towa’s changed; she’s matured” at the end.

Naka: I think having lots of room for growth is what gives her that protagonist feel. Conversely, Setsuna is a relatively standard character. However, on the one hand, she does have a kind side.

Satō: She does show a little affection after all (laughs)

Earlier I said “a female version of Sesshōmaru” so I think her nonchalant kindness is the same as his. The vector of her character direction is easy to understand which is her appeal.

— It seems Setsuna coldly pushes Towa away, but also shows concern for her. Despite saying, “The curse of the Dream Butterfly doesn’t need to be broken”, she goes along with Towa’s search for the Dream Butterfly.

Satō: Just as the line “I can’t readily accept that” in episode 3 said, Setsuna cannot accept Towa as her sister.

However, I believe she understands Towa’s virtues as an individual. We would like everyone to pay attention to how Setsuna draws the line of “I can understand Towa’s good qualities, but I can’t acknowledge her as an older sister” and the point at which that line is crossed.

Will the day ever come where Setsuna will address Towa as “Towa nee-chan” ……

— It feels as though the distance between them is getting shorter, like when she almost went along with Towa’s high-five in episode 11.

Satō: Little by little. Within that, we would like for you to please look forward to how their feelings intersect when the time comes.

Naka: In that episode, it looks as though she gets along with Towa, but when Towa tried to lay her head on her lap, she didn’t allow it. I was watching with great interest like “So that’s where she draws the line” (laughs).

— Next, Moroha.

Naka: Moroha is pretty much just what you see (laughs)

Satō: She’s a hybrid of Inuyasha and Kagome. If her theatrical elocution is like Inuyasha’s, then her actions are understandable like Kagome’s.

In that sense, I think she’s a character that viewers can easily connect with. There’s also the fact that currently, all the gag lines are relatively being placed on Moroha (laughs).

Naka: In earlier episodes, her level of participation was high but lately she’s been in charge of punch lines (laughs). For example, when they didn’t take her to the battle in episode 10 or when she got caught up in Setsuna’s attack in episode 11.

Earlier, we discussed how “We were careful not center too much around Moroha” but it put us at a disadvantage as a result and I feel a little bad (laughs). However, Moroha will be taking charge in episode 16 next week (1/23/21) so please look forward to that.

Satō: Not only will Moroha play a very active role, but it is also an important episode that depicts the environment that she grew up in. Why she has to collect bounties and what kind of relationship she has with Jyūbee will be touched upon. If you watch that, I think you’ll come to understand her actions up until now like “So that’s why she was doing things like that”.

From a composition standpoint, episode 15 revealed Towa and Setsuna’s past, episode 16 will reveal Moroha’s backbone, and furthermore, the story of Setsuna’s childhood will come hereafter. If you watch that far, the full story of this will work will become clear for the most part.

The first cour was a period of planting seeds, but now going forward, the composition is set up so that the fruit of the tree will ripen and fall, so please continue to look forward to it.

The Casting of Miroku Was Entrusted to the Sound Director for “Inuyasha”

— Next, please tell us about the casting. On what points did you decide the cast group?

Satō: It was fundamentally decided through auditions. If we don’t progress the script to some extent, sound director Nagura Yasushi-san can’t determine the direction of the roles, so when the script amount had accumulated, we gathered up people who could picture the characters and carried out the auditions from there.

It was right about the time when the COVID crisis was escalating, so we worried if we could really start broadcasting in October.

Naka: The balance between the three was the deciding factor. After we narrowed it down from a number candidates, we took a “If this person did this character, then the balance would probably become like this” kind of view and decided from there.

Satō: There’s going to be a lot of dialogue between the three of them not matter what, so in order to avoid having similar voice tones and similar ways of speaking, we created the characters based on that assumption.

Towa’s thought process and actions are modern and Moroha acts on her emotions. Conversely, Setsuna is always calm and collected like Sesshōmaru and makes decisions after observing the entirety of the situation. Then she’ll look for the best solution and take action.

Because each of the characters has that kind of nature, we ordered Nagura-san to look for a balance that enables you to easily tell the three of them apart when they’re conversing.

– Did you not look at it from a standpoint that the voices should or should not sound similar to those of the parent generation like Sesshōmaru, Inuyasha, or Kagome?

Naka: That is a point that we were not at all concerned about. We proceeded with a viewpoint that the person should match the outward appearance, the actions within the story, and the nature of the character.

When balancing the three of them, balancing the twins seemed difficult, so from there we decided on Moroha first as her position takes a step back. We decided on Towa and Setsuna at the end after looking at the balance between them and considering Moroha for a second time.

— What were the key points in selecting the cast outside the three girls?

Naka: We left it up to Nagura-san. There were times when he asked for our review and opinions.

For example, there was an idea for Riku (CV: Fukuyama Jun) to have a more feminine voice. But when we spoke to director Satō, he said “A masculine image”, so we went with that direction.

— The Miroku that Yasumura Makoto-san, who replaced the late Tsujitani Kōji-san, played was a hot topic but did Nagura-san decide on that casting as well?

Satō: Regarding Yasumura-san, we asked Tsuruoka Yota, who was the sound director for “Inuyasha”, to decide. We thought that fit more under the category of “Inuyasha” rather than “Hanyō no Yashahime”.

Of course, I’m sure the viewers knew (the voice) was going to change, but we received a lot of feedback saying “It’s Miroku-sama!” and “It doesn’t feel out of place at all!” when episode 1 was broadcasted.

I was in Tsujitani-san’s care many times as a sound director prior to him playing Miroku. I was still a newbie producer back then but even when I met him after that at the “Inuyasha” set, he spoke to me like “Hello~”

I was producing while my heart was pounding hard. During testing, when I was panicking because I couldn’t match up the lip-syncing, he reached out to me like “We’ll do the syncing so it’s fine”. The figure of him reaching out to me so nicely is strong in my memory.

It was such a shame that he died so young. However, this time Yasumura-san, who was also his junior at the same agency, is working hard as his successor, and I think he was casted well.

Naka: Director Satō, you said “The air around Yasumura-san is completely different now compared to when I worked with him in other works”.

Satō: In episode 1, it seems he was really nervous having to record with the cast of “Inuyasha” who are high level seniors.

He was relaxed to some extent in episode 13 which was Miroku’s episode. He said to me “I’m sorry about before when I was extremely nervous” (laughs).

Creating Scenes in A Way That’s Distinct from the Popular (Methods)

— In order to make viewers feel that this is a work that inherits the world of “Inuyasha”, do you do any devising on the production side?

Satō: I would say scene creation. We don’t really get onboard with the popular trends. We split the cuts and show things the way they did in “Inuyasha” in order to smoothly give it that “Inuyasha” feel. I think it’s distinct from what’s popular nowadays.

This might be weird way of saying it, but it’s like we’re using an old-fashioned way of creating. By purposely doing things in a “Works from about 10 years ago felt like this” sort of way, it brings out that “Inuyasha” feel.

For other parts, Sumisawa-san directs the theatrical elocution and we have the same sound team from “Inuyasha” working, so no particular explanation is needed. In that aspect, they’re making it a lot easier for me (laughs).

For me, “Inuyasha” was the first work I did as a freelance producer. Not only was it a work that taught me the fundamentals of producing, but I also learned (how to make) storyboards from “Inuyasha”. In that sense, it’s a very memorable work.

— At the beginning, you said you “Put in devices that connect to “Inuyasha””, but between episode 9-12, demons that appeared in “Inuyasha” were continuously making appearances and it became a topic of discussion.

Naka: That section was the “devoured by Mōryōmaru” series. We had to speed through things in “Inuyasha the Final Act”, so I brought out those demons thinking “If we could just use the demons that we couldn’t properly show back then, even just a little”.

Satō: After fall for Meiōjū, we only had the scene of Mōryōmaru taking the armored shell (laughs)

Naka: We explain that “The demon that appeared this time is actually in “Inuyasha”” on the official Twitter account. It would be wonderful if there are people who take an interest in “Inuyasha” after watching “Hanyō no Yashahime”.

Satō: I think there’s also a wonderful world laid out in that work, so we would certainly love for you to watch “Inuyasha” while enjoying “Hanyō no Yashahime”.

Picking Out Noteworthy Episodes and Explaining Them!

— From here, we will have you look back on episodes that have already aired. We have picked out a number of impressionable episodes, so please tell us some secret (behind the) production stories, memorable recordings, and scenes that left a lasting impression on you.

Episode 1: Inuyasha Since Then

Satō: It was like a “class reunion” (laughs). Although, we couldn’t have everyone record together due to the COVID crisis.

We had everyone take turns recording but they were all was greeting each other like “Oh my god~!” as they passed by one another. Likewise, it was a teamwork that went without saying.

Jaken (played by Chō-san) was adlibbing a lot and that situation made me really think “This is “Inuyasha””.

The first episode was mainly “Inuyasha” basically, but at the very beginning and end, we had the story connect to episode 7 of “Hanyō no Yashahime”. In that sense, the episode was pretty much full “Inuyasha”.

Naka: While we had director Satō do the storyboard and production, I saw the storyboard and felt “Ah, it’s “Inuyasha”. It will be okay”. Like feeling relieved (laughs)

Satō: When 10 years goes by, the producers from back then aren’t around anymore. The people I worked with are now at the director level. Explaining something like the rules of “Inuyasha” from square one to the new people is a hassle, so I was like “I’ll do this myself” (laughs).

The surprising thing is, we had the same group of people from 20 year ago with chief animation director Hishinuma Yoshihito (in charge of character design in “Inuyasha”. In this work, he oversees animation character design) and the animators from back then. It felt as though “Ah, nothing’s changed”.

I remember working while saying “Back then, I never thought we would do something like this 20 years later”.

Episode 2: The Three Princesses

Satō: You could say this episode was episode 1 for “Hanyō no Yashahime”.

Due to the COVID crisis, we couldn’t have the three princesses record together and it made me realize how important it was for everyone to record together. Even though it’s a conversation, when you have one person record first and the other person responding while listening (the recording), it changes the mood and rhythm.

Nagura-san tried to match up schedules so that the three princesses could record together as much as possible, but in the end, we couldn’t record with everyone. In a sense, episode 2 was very memorable to me in that it left the impression of “So we’re going to have to record like this from now on”.

I think all the works that started airing in the fall were in the same situation, not just “Hanyō no Yashahime”. Since we were recording in chunks, it became necessary to pay even more attention than before to ensure that we didn’t forget to record anything.

I’m grateful to everyone involved that we somehow managed to air every week, despite these difficult times.

Naka: The first demon that appears in episode 2, is a point where we kept “Inuyasha” in mind as we pulled Mistress Three Eyes from Mistress Centipede.

I think it was an episode where we appealed that “We’re aware of the “Rumik World”” by putting in the hoodlums mentioned earlier and Towa’s gag face.

Even though the original “Inuyasha” leaned a little more to the serious side, I think Rumiko-sensei’s taste of allowing a little bit of leeway while not shaking off just that (aspect) is there.

This time as well, including the broadcast time, there were views from inside stating that they didn’t want to make (the episode) too serious. However, director Satō had already added that kind of relaxedness even before that was directly said. He splendidly created that balance that wasn’t too serious.

Episode 7: The Apple Meeting

Satō: Riku, who appears in episode 7, is a character we aimed to have revitalize the story by plopping in a new character just when the story was about to get stuck in a rut. Rumiko-sensei also uses this technique; for example, Kōga and Mugen no Byakuya in “Inuyasha”.

I spoke with Sumisawa-san at the beginning, expressing my desire to introduce a new character to revitalize the story before viewers could start thinking “We’re going to just keep watching this journey?” as they watch the three princesses progress on their journey. He’s a keyman who stirs up the story.

Plus, the three Yashahimes are girls, so there was also the idea of having a romantic component like with Inuyasha, Kagome, and Kikyō. Although he ended up having the feel of a pick-up artist as a result of trying to add that component in (laughs).

Naka: Episode 7 is an episode that connects to episode 1. We intended to put in the device of connecting episode 1 to another episode when we organized it, but after watching episode 7 I thought “It connected pretty well”.

I think it was nicely organized as it turned into a spoiler episode where you found out why Towa was there and what Setsuna and Moroha were doing while Yotsume was telling the old tale.

Satō: Going forward, Riku will gradually involve himself with Towa, and we wanted to show why that is over a number of episodes.

I think you’ll understand to some extent in episode 15, but he’s a character that you don’t know which side he swings to (friend or foe?), so he’s a character to look forward to in that sense.

Episode 13: The Delicious Feudal Monk

Satō: It was a parent child episode with Miroku and Hisui (CV: Urao Takehiro) that we added with the desire to develop Hisui. He is the son of Miroku and Sango (CV: Kuwashima Houko) and I think everyone was wondering what Miroku was currently doing, so we thought it would be nice to introduce what Miroku was up to here and depict the parent-child relationship.

Naka: It’s an episode where Hisui finally plays an active role. It was a feeling of sorry to have completely kept you waiting in the first cour. I am glad we were able to give him an active role to some extent. Moroha ended up going somewhere else though (laughs)

Finally, Setsuna stole the show at the end when her true power was released. I think it brings out Miroku and other “Inuyasha” characters in a good manner while still having highlights for “Hanyō no Yashahime”.

Episode 14: The Mastermind Who Burned the Forest

Satō: This is the episode where the truth behind the fire that attacked young Towa and Setsuna is revealed. It’s a real binding episode you could say, and I think it’s a story that could be put in a modern setting.

Also, from this story, the distance between Towa and Setsuna that we talked about earlier will somewhat destroy a line, I think. There’s Towa who shows her anger towards Homura, the one who tore them (the twins) apart, and Setsuna who has some thoughts from seeing that.

If you can feel that, I think how you view episode 15 will change.

Naka: I thought Towa’s comparison to a smartphone at the beginning was a little off as she doesn’t understand the concept of jealousy (laughs).

Also, something that I thought was strange after rewatching episode 14 was how the gardener and the cook were fine with working in such a dangerous place (laughs). I thought it was amazing even though they’re just regular humans.

Demons and humans unexpectedly coexist in this world. In a sense, you could say it’s very open-minded for a demon. Demons were depicted in all sorts of places in “Inuyasha” too, so it was an episode that made me realize once again that it’s this kind of world.

Episode 15: Lunar Eclipse, The Sorrowful Parting of Fate

Satō: Why did Towa and Setsuna have to grow up separated (from their parents) when they were young? This is the episode that answers that and depicts the continuation of the brief flashback in episode 8.

Why Sesshōmaru and Kirinmaru confronted Inuyasha and Kagome becomes clear. With this, I think you can start to understand Sesshōmaru’s actions.

Naka: This episode was a little different. To begin with, we thought that patrons would be happy to see Inuyasha and the others at the end of the first cour, so we organized it so that the past would be discussed at this timing.

It’s just that it felt completely independent from the main story and Riku just suddenly narrates it, so I’m sure viewers were surprised. Riku was in there as like the navigator.

The three Yashahimes don’t particularly know this, and this episode was purely for the viewers. It would be great if everyone looks forward to what’s to come while keeping this in mind.

— Thank you very much. Lastly, please give a message to our readers who are looking forward to what’s coming up ahead.

Naka: Cour 1 has just ended and we have entered cour 2, so from here on you will learn the things that you wanted to know. Please see for yourself how Towa, Setsuna, and Moroha will grow as you look forward to the mysteries being unraveled.

Satō: After episode 15, “what each character must do” will continuously become clear, and it will become a story that pursues that. On top of that, it would make me really happy if you could enjoy watching what will happen to the three (girls).

#yashahime #hanyou no yashahime #yashahime: princess half demon #translation

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raulfernandez · 3 years

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Can you tell me about the stray kids members? :-]

Yes definitley can 😌😌😌

Okay first up we have Aussie Bang Chan. The most amazing leader you'll ever find. He writes and produces most of their songs, together with Changbin and Han as 3Racha but also Vocalist/Dancer/Rapper. Chan is born in 1997 and the oldest of them, trained for about 8 years and has a really cute habit of calling his members "the kids". He is really sweet and always tries to be there for his members, cause he said "they saved him" and does weekly live streams which lead to some people calling him stays therapist. Also he is friends with like the whole kpop industry lol and his rolemodel is Christiano Ronaldo for some reason...

Then we got Lee Know, born in 1998, dad of 3 cats, might be in love with Han, who knows, listed as dancer but also rapper/vocalist. 4th gen fish boy who doesn't know how to swim, but somehow the most normal member, or atleast the one with the most normal past lol apart from the fact that he was once on some National Geographics TV thing where he said that he wants to be a dance and the commentator went "Everyone of these hopefulls could be the next big thing in kpop", which is iconic to this day. He may seem cold and ignorant but his heart is freaking soft, he donates to many organisations to save kids and also animals.

Then we got my boy Changbin. Rapper, Vocalist and Producer. He is the fastest rapper in the industry and everybody who tells you different is straight up lying cause it's literally statistically proven. I'd say he's the best rapper cause he got good flow, his voice is steady and sounds amazing but some people might say otherwise so mhmm... One of his iconic lines "I love dark", and he always tries to seem like the dark rapper but can't sleep without his plushie. He's the smallest member with 167cm. He was also on 'King of masked Singer' (THAT PERFORMANCE!!!)

Then Hyunjin, the one who got called 'Prince' by his classmates, because it's literally true, just look at him, this man is the most talented person ever. Born in 2000, he is their Dancer, Rapper, Vocalist and Visual, he's also really good at writing lyrics and likes to draw, he designed the cover art for their latest single. We like to count him as part of Aussie line because he's english is adorable and he has a big Australian accent. The only tall member with 179cm. At one point he almost joined a religious cult on accident. After over 4 months he finally came back last week with his cover dance of 'Play With Fire' which he choreographed himself.

Now we got Maknae line, starting with Han Jisung, born on September 14th 2000, he likes to use that on Felix, who is a day younger than him, even if they still haven't figured out which one is actually older if you consider time zones. Rapper, Vocalist and Producer, the third part of 3Racha, who likes to doodle, 4th gen ace. He's born in Korea but somehow his members still think his Hometown is Malaysia because he lived and studied there. He was also on 'King of masked Singer' and his Nickname by his members is 'Squirrel' because he likes to stuff his cheeks with food when he eats. Predebut he had an accident with an alligator where he nearly died lol.

Then Felix, aka Sunshine, the other part of original aussie line, born on September 15th, a day younger than Han. Dancer, Rapper, Vocalist, can play the piano, Voice goes from deep af to high pitched, can also make mosquito sounds, that's what I call variety. Felix knows Taekwondo and his face doesn't really fit the super deep voice lol (Funfact, Felix shares his birthday with Day6 Jae.) He also donates to "Save the Children" monthly and since he was young.

The third part of "born in September 2000 line", Seungmin, their Vocalist. He is one of the best English speakers in the group, even tho he only learned it when he lived in LA for 3 months in 4th grade but we consider him part of Aussie line now. He went to the same high school as Chan, but I don't think they knew eachother then. His role models are Day6, he is their biggest fan and they acknowledged him as official president of their Fandom. He really likes photography and is a big fan of animals. When he was younger a helicopter crashed into his apartment building while he was brushing his teeth and he only realised it after he left the bathroom.

And last but not least, Maknae on Top I.N. Vocalist, born in 2001. He can play the piano and his special ability is singing trot. He was a child model when he was 7, his favorite color is hot pink and his role model Bruno Mars. He likes kids so if he wasn't in Stray Kids he'd be a elementary school teacher. His MBTI type results keep changing. He almost joined the religious cult together with Hyunjin.

Stray Kids are a fully self produced group, Chan choose the members himself and made it work, he helped all of them improve and he said it once in an interview, it was fate. They were meant to be. They produce their own songs, write the lyrics, even do some of the choreographies themselves and by now even their cover art. Even if they are under one of the big 3 companies, JYP (fuck jyp), their fandom promotes them better than JYP does, and some of them (especially Chan and Felix) are on social media platforms, constantly stalking their fandom and we still get scared everytime one of them knows about something that happened on like twitter or tiktok. Their fandom is one of the gayest you'll ever find in Kpop and recently we got called furries because Skz's song "Wolfgang" has a part where they fucking bark (but the song is really good!!)

Our fandom name is 'Stay' and the like slogan is "Stray Kids everywhere all around the world, you make Stray Kids Stay"

Anyways, that's Stray Kids from my perspective :D

#tw: long post #anon's

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smalltragedy · 3 years

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* natalia dyer, nonbinary + she/they | you know philomena carmichael, right? they’re twenty-one, and they’ve lived in irving for, like, a day? well, their spotify wrapped says they listened to oo-de-lally by roger miller like, a million times this year, which makes sense ‘cause they’ve got that whole wind whipping around your hair, the gentleness of decomposition, a naked blur dancing around the flames of an everlasting fire thing going on. i just checked and their birthday is april 20th, so they’re a taurus, which is unsurprising, all things considered. ( james, 22, est, they/them )

hiii im back ... tentatively .. looks at u all ominously

CANCER, TRAUMA, DEPERSONALIZATION / DEREALIZATION, DEATH, GRAPHIC MENTION OF DECAY, INSECTS MENTION TW.

mini playlist.

oo-de-lally / roger miller, wonderfully bizarre / bendigo fletcher, dust in your pocket / glass animals, gecgecgec / 100 gecs, nantes / beirut, cherry-coloured funk / cocteau twins, not allowed / tv girl, space song / beach house, dog food / 100 gecs.

statistics.

full name: philomena brontë carmichael

nickname(s): philly, phil, mena, etc.

birthday: april 20th, 2000.

zodiac: taurus sun, scorpio moon, aries ascending.

temperament: improvisor / phlegmatic.

label: the halycon.

sexuality: demisexual.

pinterest.

biography.

a middle child belonging to christopher and imogen carmichael - two stanford professors. christopher specialized in british literature whilst imogen specialized in the classics. hence the name.

the order of siblings goes as such: lysander, elektra, juno, philomena, and twins orion & valora. the deal was that everybody had a greek (or in juno’s case, roman) first name and a middle name inspired by a piece of british literature circa 1800s and under. a family of nerds, if you will.

so, clearly - right off the bat, their parents are … eccentric. they’re both in love with their respected topic, and with each other, and with their kids. the carmichael family is a happy family.

they each have their own quirks and whatnot - though philly’s always been particularly dreamy - even as a child, she’d spend hours watching clouds or caterpillars or the leaves blow in the wind rather than play with other kids. she wasn’t a shy kid - she just had her own interests.

hardship doesn’t hit the family until philomena is five and starts having splitting headaches. they’re slow at first - but as soon as she’s seeing spots and unable to walk in a straight line, doctor appointments are made.

cancer tw // it doesn’t take long for them to discover the tumor, though the official diagnosis of malignant ependymoma comes a month later.

it’s grade ii but slow-moving, small enough to not be as much of a threat as worried, but big enough where removal is necessary. philomena earns a scar and brings it in for show-and-tell. for two months afterwards, philly’s at radiotherapy monday through friday.

they’re lucky - philomena’s considered cancer-free by the next year. she’s babied at first - handled delicately, as if she could break if touched - but with five other children … it doesn’t last for too long. end of cancer tw //

and life continues as normal.

her personality doesn’t shift much over the next few years - she’s awfully independent for a kid, and awfully quiet - when she speaks it’s about faeries and bigfoot, about how the sky is so blue and if you listen quietly, you can hear the leaves whisper their secrets to each other. this is not odd.

she’s close to all her siblings, but she idolizes her older sister - elektra. elektra’s six years older and dyes her hair whatever colors she wants. elektra bought a knife off a seedy guy downtown. elektra threw away all of her heels and renounced god. elektra is god. her music is loud but it’s not heavy - it’s florence and the machine.

they’re opposites - elektra’s boisterous and feels loudly, philomena’s softer and feels…less. when elektra sneaks out, philomena keeps watch. they are a duo.

philomena is smart - but she’s fifteen and hates school. hates sitting inside all day. hates the same routine - day after day - it’s all the same. her parents’ routine is the same, philly feels contained and she wants to live.

elektra’s twenty-one and just bought a brand new spanking (used but not falling apart) 19-something volkswagen … van - using her entire savings account. she says she’s tired of routine, she’s leaving the next day.

naturally, philomena stows away in the back and isn’t discovered until they’re two states away and she’s got to pee. elektra nearly crashes the van in shock.

it’s an argument - philomena vs. elektra, then them vs. their parents, then their parents vs. the school, the state - it’s an ordeal. philomena switches to an online program in the end.

it hurts christopher and imogen - lysander’s not having any of their nonsense, juno’s betrayed and alone - the twins are twins. in the end, it’s alright. the carmichael family is a happy family.

philomena and elektra take their time - it’s not a road trip, it’s their new life, permanently on the road. they stop and explore often - they do odd jobs in whatever town they settle in. they dine-n-dash, they shoplift. they survive in their own way.

during particularly desperate times, they two resorted to identity theft & credit fraud - getting away with it only by ditching the cards once they’ve made it out of state.

she drops out of high school officially when she’s seventeen - they have to drive all the way back to california to deal with the wrath of their parents and to deal with paperwork, but it’s done. philomena doesn’t know what path she wants in life - but it’s not that.

depersonalization / derealization tw // it’s during this time that the episodes occur - philomena’s outside her body, philomena’s wrapped in cotton, her memories are not her own. she’s looking in the mirror and she doesn’t recognize herself. they take shelter in a city for six months, long enough for her brand spankin’ new therapist to figure out what’s wrong with her. she’s diagnosed with depersonalization / derealization disorder - they think it’s stress. philomena doesn’t get stressed. they think it’s trauma. she laughs - she never laughs. depersonalization / derealization end of tw //

death, decay. maggots tw // there is trauma though, deep-rooted but somewhere inside - you just have to look for it.

you. just. have. to. look. for. it. look for it. look for it. look for it look for it look -

you were ten and she was thirteen, an off-trail hike in familiar woods in a familiar town, safe and familiar. it was your idea, to stray from the carved out paths, down creeks and up hills and round, and round again. you’re the one who spotted the scarf first, sticking up from the dirt and dancing in the wind like the beginning of reincarnation. it was not reincarnation, it was discovery. it was ruin. with curiosity drawn, you skidded down - with compliance, followed juno, followed your sister - clumsy in her steps and tumbling down quicker than you. you saw the corpse, but juno felt it. decaying flesh and maggot. end of death, decay, maggots tw //

and she left juno, just like that - just five years later, when juno had finally gone to the end of her wits. philly up and left. abandoned her.

philomena and elektra leave the city after that therapy session. they do not return. she’s always been good at hiding her secrets.

after ending up with warrants from their arrest in florida (after running from the law in texas), philly and elektra have wound up at irving <3 partially hiding from the law and partially bcos their trusty van’s broken down and they haven’t got the money to fix her up yet.

personality & facts.

she’s quiet but she’s confident - her voice sounds like rustling leaves, if leaves smoked a pack of cigarettes a day.

often underestimated - philly’s petite and looks like she’d fall over if a plastic bag blew too close to her. she’s independent - for the most part. elektra is the only person philly takes orders from.

has always been considered odd - weird, strange. still talks about the trees as if they’re listening, as if they’re old friends. she’s vague and doesn’t elaborate on the things she says.

believes in pretty much any superstition you throw her way. luck is very important to her. if you ask her if the earth is flat, she’ll say probably. believes strongly in bigfoot and the lochness monster. has personally seen aliens, and loves ghosts almost more than herself.

she can be amusing - whether you ‘get’ her or not, her outlook is often bright - she talks about the negatives the same way she talks about the positives. can be seen as naive or gullible, but she’s plenty smart. even if half of her education has come directly from google.

philly doesn’t laugh. a smile, yes - often, in fact - not always reaching her ears, or bearing teeth - but these are not indicators of her happiness. philly is consistently content. she thinks many things are funny - she still will not laugh.

her voice is often monotonous - she doesn’t sound dreary, she sounds far-away. her voice carries. her emotions are often unknown to others.

is apathetic in most situations. she’s hard to bother - she’s incredibly patient and enjoys the company of most - tolerates them at the very least. it’s hard for her to express her emotions, because she feels them so little that it’s very nearly not worth it. her affection is not verbal - it’s small touches and gestures of kindness, love in her own way.

is a fan of knock-knock jokes and bad puns. she won’t crack a smile while telling you them, nor does she expect you to laugh. she just enjoys them.

she owns a motorola razr covered in puffy stickers - hasn’t ever had a smartphone. she’s a fan of emoticons. her favorite is :o)

has a lot of bruises and scratches and scars - she’s often getting herself into pickles. there are always, at the very minimum, three bandaids on each hand.

she has insomnia, so she’s awake often. is often seen wandering town - even when she shouldn’t be, even when it might be dangerous. her intuition is delayed. when she does sleep - her dreams are vivid and fantastical.

keeps a box of memories - sentimental bits and pieces she’s picked up over the last few years. there are a lot of buttons and postcards, but any teeny tiny object will do.

her style changes every week - most, if not all, of her clothes are thrifted. one week she’s baby spice and the next she’s lydia deetz. she combines pieces from different styles often - she looks like a barbie clothed by a child. she feels most comfortable like this.

will either patch-up the clothes that get too worn or reuse them in some way. sometimes donates the clothes she gets tired off - isn’t minimalistic, but she’s learned to keep only a small amount of possessions.

the only consistency is her lucky ribbon - it’s pastel yellow and silky and as thin as a shoelace. she ties it onto her outfit of the day, everyday. if she loses it, she’s lost. elektra has a matching ribbon.

has no problem with minor theft - she only takes bare minimum, puts herself and elektra first and that’s how it’s always been.

currently living in florence, their van, with her sister elektra <3 currently residing in lilac ridge.

they used to live in motels on the occasion, the cheapest room, and more often than not they’d both go home with strangers for a comfier bed and a hotter shower.

it was a common occurrence - she didn’t sleep with them - but somehow, she weaseled her way into their homes anyway. has come out mostly unscathed, on most occasions. this has been a practice ever since they’ve been on the road.

really, truly - has not slept with anybody, had her first kiss at thirteen with a frog. this doesn’t bother her. (smirks at leo)

will consume anything you put in front of her - isn’t picky.

listens to whatever they’ve picked up along the way but she likes instrumentals the best. her second favorite genre is 1990′s and 2000′s top hits. they’re nostalgic for her. third favorites? florence, of course. fleetwood mac. the bird and the bee.

loves storms - will go out in the rain and will risk her life for it.

owns a pair of roller-skates and is often skating rather than walking. unless she’s on grass - then she’s walking barefoot.

has many hobbies, and gets bored of them often. her favorite hobby is welding. she’s not certified.

also, juggling.

also, accordion.

the kind of girl who’ll do any job you give her. odd jobs are her favorite jobs. babysitting is her least favorite - but she does it anyway. has lost children before. have they ever been found? not by philly.

dyes her hair blonde often and cuts her own hair - bangs included - finds it cathartic, likes the itchiness of bleach.

everything she does is often in pursuit of feeling free, alive, and meaningful.

( like her frequent visits to the woods, late at night when the moon is high and full. it’s freeing to dance around a fire, stark naked in the cold. builds immunity )

comes and goes wherever she pleases, nothing & nobody can stop her (besides elektra).

has a certain knack for getting animals to like her. has too many ‘pet’ rats that reside with her, alongside a baby raccoon & a few crow pals. has a new animal companion everyday, but she doesn’t contain them or force them to stay.

wanted plots.

speaking through my third eye ... ;; philly is new in town n shes very strange. constantly lives in a state in which she does not exist (at least on the same plane). this is her harassing the locals. this is her slipping thru their fingertips as they attempt 2 understand her. they get close smtms bt philly jst. whisks herself away.

hollows of our eyelids ... ;; perhaps there is smbdy jst as strange as philly. i’m out here calling fr all the weirdos. lets be friends. lets hv philly n co go on adventures n discover horrible sites n uncover ancient secrets tht lie deep below irving. mayb nt tht. bt im jst saying. this is fr the dreamers. da weirdos. the jugheads. LHKDSHFSADLKGFHLSKADG fr those who also feel as if they r not real.

bills n aches n blues... ;; ya this is my call fr all negative plots. bills (catching philly be a thief and a fraud), aches (mayb heartache? unrecruited feelings or w/e theyre called?), n blues (ooooh so sad... so sad ... angst ...) obviously i am a genius. i wldnt say tht philly is here 2 make enemies bc philly doesnt care much abt ppl bt perhaps tht cld b an issue. tht she doesnt care much abt others. mayb ur muse is jst like. cn u pls care. n philly is like. i am incapable. sry. sucks.

n also ,, ;; like. anything i’ll. take anything. philly is weird lets come up w surreal plots tht verge on the edge of like. nt being correct fr this verse. suddenly theres vampires? or so they think ... smirks. anyways. shes been 2 jail n been in the circus n dances naked in the woods n hoards animals n treasures. we hv a lot to work with here obv.

#irvingintro #cancer tw #death tw #decay tw #maggots tw #dissociation tw #depersonalization tw #derealization tw #trauma tw #:D

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