[2023] TOP 20 PODCASTS ON AO3 FOUND IN FANDOMS > OTHER MEDIA
To make this ranking, all series titles in Other Media were copy-pasted to Google Sheets, rearranged according to number of fanworks, and then manually filtered since not all podcasts were marked as such.
The numbers under each rank indicate how much they rose/fell in the rankings based on last year's (Oct. 24, 2023) rankings, which can be found here. The gray numbers in parenthesis indicate how much fanworks it gained since last year.
The data for this year and last year's rankings were taken while logged in, so lcoked fanworks are included in the count.
A few web series like Critical Role and Dimensions 20 released audio-only versions of their works too, but I left them out since they were listed was a web series on ao3 and more known as one too.
Cabin Pressure has also been left off the list this time since its podcast format was only released in 2019, years after it aired on the radio.
All nonfiction podcasts have also been excluded (Not that there were many), because with RPFs, it’s hard to tell if the fic in question is just based on the podcast or because of the things the person has done outside of it. Last year, I accidentally included The Misfits in the list since I didn't realize from its description that it was nonfiction.
The Two Princes (Podcast) ranks 21st in the rankings this year, and actually ranked 20th last year when the rankings are adjusted to exclude Cabin Pressure and The Misfits.
The College Tapes is actually a spinoff of The Bright Sessions.
Thanks for understanding and hopefully I didn’t mess up anywhere! 🙏
4K notes
·
View notes
I love the full suit trenchcoat and sneakers look ten has going on
YEAH AKLHGDALSKDGLKAS SAME its so fucking iconic...slightly shabby-looking little nerd guy from outer space :D
ten's costume is maybe not as immediately recognizable as some of the other ones but there's just something so Ten about the juxtaposition of nice looking pinstripe suit and then CONVERSE ALL-STARS. and also the coat over all that. i love the coat. dare i say...gender (To me specifically skgjsdlkg)
oh yeah fun fact there's 3 episodes where he sneaks into fancy parties and wears a tux. but he's still got the fucking converse
30 notes
·
View notes
blood free v secret forest, a quick and dirty comparison:-
As someone who fell for Kdrama through Stranger, i loved it because it appeared seamless, grounded and weaved several systems and levels of privilege very elegantly. Most of all it seemed morally urgent, even if it was at its core a detective mystery. (Which, to be fair, Blood Free is as well.)
Secret Forest’s first success was that it held nuance for everyone in the middle of the road; LSY afforded so much thoughtful shading to those men. I often think they will never look as beautiful as they do on SF, and that’s only partly because of whoever did the lighting etc, but they’re not Kdrama glossy perfect; they’re real people trying to reckon with themselves and the moral calculus they have agreed to, and their dignity comes from the reckoning. Lee Chang-joon, Kang Won-chul, Lee Yeon-jae, even Seo Dong-jae for that matter, all have that advantage. LSY managed this for Jung Sung-il in the scant few minutes of screen time he had.
The second success was Cho Seung-woo and Bae Doona. If Secret Forest was a universe they were its gravitational field; it was their fierce sense of honour and morality that drives both seasons. And their moral decency is hard-won; it is tested constantly, and it’s burnished at each opportunity, which is why they are respected. It is a dream that people like that can influence or impact those around them, but you don’t question that they do, by the end of each season, and that’s the victory of writing, casting and the charisma of both leads.
That’s why that funeral scene in season 1 is so important (to me); it shows the gravity shifting. The prosecutors rely on their forest of secrets to keep the centre together, but Hwang Si-mok demonstrates how untenable this has become, how the roots must be pulled out so the weeds die; so new healthy things can grow. The chaebols are at the periphery, and they continue to be there because, most audaciously of all, they don’t matter if enough people shift their moral calculus. I think this gravitational pull happens to Lee Chang-joon in season 1 thanks to Hwang Si-mok and it happens to Choi Bit in season 2 thanks to Han Yeo-jin. They are easily some of the most powerful parts of the show.
On the other hand, we have Blood Free. I’m not sure who the moral gravitational field of this show is meant to be. Maybe it’s Yun Ja-yu and/or Woo Chae-woon. Maybe it’s Lee Mu-saeng. Maybe it’s about the ethical dilemma of experimentation and whether that’s a worthwhile price to pay for the scientific advancements in cultured meat and seafood. Perhaps we need more time to really see the middle of the road characters, but four episodes in there’s not much to go on: there’s Lee Mu-saeng, there’s Queen Dowager as a VP, here’s Jeon Seok-ho. There are three chaebols, all of whom seem like one-note characters to me. (Why ask a talented sketch artist to produce cartoons like these? Unless they’re not, but nothing seems to suggest otherwise.)
The most interesting insight from episode 4 was about Yun Jayu - when offered 72 trillion won for her company, she actually considers it because it means she doesn’t have to face investors and can focus on research. She has influence and money but these are means to an end, for her. I wish we could see more of that, and not necessarily through exposition alone.
When she gives deft, cool answers to reporters, did that come naturally to her or did she work at it? Is she the face of the company because she hated it a little less than Lee Mu-saeng did? If so, why? What comparative advantage did they determine she had? When she wears Chanel tweed skirts and smiles her way through presentations, is that a natural extension of her work or is that a mask she wears? Give me process, guys! Give us the backstory, the way the markets work, the environment for cutting-edge bio research in Korea, the reaction of Big Meat, the interplay of new rich and old rich, some indication of her actual influence (which must be considerably more than what we see on the show, although what little we see, while uncomfortable, is frankly not that inconceivable in a world where you’re constantly connected.) I am so interested in her, and yet I feel I am made to watch the story of her reacting to chaebols and to the mystery of corporate sabotage rather than her being the fulcrum of her own universe. And at no point does the mystery seem morally urgent to me, and it’s because 1) why does it matter if all this is is a giant M&A negotiation 2) why should we care if it doesn’t feel real to us? So what if there’s sabotage? Why on earth isn’t this company guarded like fucking Fort Knox? Why is this company ostensibly so influential, so powerful and yet capable of unusually amateurish errors that are the centre of the show so far and not on the periphery of it? Where is the moral quandary that is meant to grab us by the throat?
Is it a question of the writing? Have her interests shifted and did she want to do a show without having to do too much character work? If anyone has earned a vibes-only moment it’s Lee Soo-yeon, and I respect that for her. I hope the direction isn’t stifling the writing, because that means there is an arresting, politically trenchant drama underneath this dry procedural, and that’s upsetting to consider. We still have a ways to go and I think there is potential, but I have to remind myself not to expect something like SF, that maybe you can’t bottle that formula. That it’s the gold standard for a reason. But honestly, Disney, in the words of TikTok star imo_unusual, you’ve made this show like God was dozing off when the angels were working, now RELEASE US (and LSY writernim)
14 notes
·
View notes