MARK TAYLOR in SEVENTEEN AGAIN (2000)
One Nice Bug Per Day
Xuebing Du

@theartofmadeline
$LAYYYTER

pixel skylines
RMH
NASA

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Kiana Khansmith
Lint Roller? I Barely Know Her
will byers stan first human second
wallacepolsom
KIROKAZE
Mike Driver
cherry valley forever
š
DEAR READER
we're not kids anymore.

oozey mess
occasionally subtle

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@augustartemis
MARK TAYLOR in SEVENTEEN AGAIN (2000)
@rachel.hurdwood: Dug out the old albums⦠#tbt #peterpan
Female Awesome Meme:
ā [3/10] Females in a movie: Wendy Darling
olivia williams as mary darling | peter pan (2003) dir. p.j hogan
KIAMI DAVAEL as Lavender Matilda (1996), dir. Danny DeVito
The Daily Show, December 8, 2015
If you havenāt read the original manga for Whisper of the Heart I highly recommend it. Itās got a lot of the same scenes as in the film, only with more comedy and flamboyant 80ā²s outfits.
Emma Roberts as Poppy Moore in Wild Child (2008)
Obsessions of the 2010ā²s: Hotel for Dogs (2009)
āI was supposed to keep us together. I was supposed to protect us.ā
āAnd we had to protect the dogs. If I had to do it over again, Iād do the same exact thing.ā
Characters: Ned Nickerson and Nancy Drew
Media: Nancy Drew (2007)
Played by: Max Thieriot and Emma Roberts
Setting: 2000s, Los Angeles
*~*~*~*~*~*~*~*~*~*~
Nancy Drew is a classy, all-American high school student who happens to solve crimes in her spare time, living a quaint yet excitement-filled life in her hometown of River Heights.
Ned Nickerson is Nancyās earnest and shy friend-but-maybe-more, usually coming to help her out when she gets into a fix she canāt get out of.
Nancy and Ned are split up for the summer when her lawyer father takes her to Los Angeles, hoping to get sleuthing out of her blood and have her behave like a normal teenager, but Nancy lands them in a haunted house with a murder mystery. Ned eventually arrives to help her piece together the clues and sniff out even more trouble, but their easy relationship is complicated by new friends, would-be assassins, and changing circumstances. Through it all, Ned and Nancy have each otherās backs and continue to make things work, no matter what LA might throw at them.
Simu Liu
Entertainment Weekly
Photography by Peter Yang
(via Jean Yoon ās Twitter)
So, basically, both Paul and Jean are supporting what Simu said - that Ins Choi didnāt have the same creative power that Kevin White (the irony) had over running the show.Ā
hereās a link to the thread
https://twitter.com/jean_yoon/status/1401644084142514176?s=19
and the opinion piece
https://www.theglobeandmail.com/arts/television/article-bitterness-abounds-more-fallout-from-kims-convenience/
if iāve mistyped something in the following i.d., please say!
[image description: a twitter thread.
user: John Doyle [verified badge] @MisterJohnDoyle
About Simu Liuās statement & declarations re #KimsConvenience
[a link to John Doyleās opinion piece in The Globe And Mail entitled āBitterness abounds: More fallout from Kimās Convenienceā. the header image shows actor Simu Liu. the article itself is locked behind a paywall.]
user: Jean Yoon (ģ¤ ģ§ ķ¬ or å°¹ē姬) [verified badge] @jean_yoon
Dear sir, as an Asian Canadian woman, a Korean-Canadian woman w more experience and knowledge of the world of my characters, the lack of Asian female, especially Korean writers in the writers room of Kims made my life VERY DIFFICULT & the experience of working on the show painful
Your attack on my cast mate @SimuLiu, in the defense of my fellow Korean artist Ins Choi is neither helpful nor merited. Mr. Choi wrote the play, I was in in. He created the TV show, but his co-creator Mr. Kevin White was the showrunner, and clearly set the parameters.
This is a FACT that was concealed from us as a cast. It was evident from Mr. Choiās diminished presence on set, or in response to script questions. Between S4 and S5, this FACT became a crisis, and in S5 we were told Mr. Choi was resuming control of the show.
The cast received drafts of all S5 scripts in advance of shooting BECAUSE of Covid, at which time we discovered storylines that were OVERTLY RACIST, and so extremely culturally inaccurate that the cast came together and expressed concerns collectively.
Under Mr. Choiās leadership, S5 restored many of the core values of the original show, and most offensive ājokesā were removed. To give you an idea of what we are talking about, here is one scene from the original S5 drafted under Mr. Whiteās leadership.
Pastor Nina comes to the story to pick up Mrs. Kim for a Zumba class. Mrs. Kim is wearing NUDE shorts, and Pastor Nina is to embarrassed to tell her she looks naked from the waist down. Mr. Kim enters, and the joke is that if youāre married you can say anything.
No one, esp. Mrs. Kim, would be unaware that a garment makes her look naked. Unless she is suddenly cognitively impaired. or STUPID. Stripping someone naked is the first act before public humiliation or rape. So what was so funny about that? At my request, Mr. Choi cut he scene.
THAT scene would have aired hours after 8 people, 6 Asian women, were shot in Atlanta, GA in a hate crime spree that shocked the nation. THIS IS WHY IT MATTERS. If an Asian actor says, āHey this isnāt cool,ā then maybe should just fix it, and say THANK YOU.
And Iām sick of holding this back-Koreans hardly ever get MS: 0.1/100,000 or one in a million. You are 5x more likely to get a blood clot from the AZ vaccine than you are to get MS if youāre Korean. The producers: āBut why does it matter?"And "Jean doesnāt understand comedy.ā
And hey, if I hadnāt spoken up all the Korean food in the show would have been WRONG. Ins doesnāt know how to cook or how things are cooked, no one else in the writers room were Korean, and THEY HAD NO KOREAN CULTURAL RESOURCES IN THE WRITERS ROOM AT ALL.
What I find tragic about this situation was the refusal to believe the urgency with which we advocated for inclusion in the writers room. The failure to send us treatments, outlines, the resistance to cultural corrections & feedback. There is so much I am proud of. But
But S3 & S4 in particular had many moments of dismissal & disrespect as an actor, where it mattered, with the writers. And the more successfully I advocated for my character, the more resistance and suspicion I earned from the Writers/Producers.
In the final bedroom scene in S5, Mrs. Kim weeps because she believes that God has abandoned her. The more she prays for something, the more certain it will get worse. Thatās what it felt like. The love died. ģ¬ė ģģ¼ė©“ ģģ©ģ“ ģź³ ģė¬“ź² ė ģģ ėė¤.
\end i.d.]
Simu Liu on the final season of Kimās Convenience streaming on Netflix, via Subtle Asian Traits | June 2, 2021
[ID: Facebook post by Simu Liu in the group subtle asian traits that says:
Whatsup SAT... So Season 5 of Kim's Convenience comes out on Netflix today, and I'm feeling a host of emotions right now. It is, of course, our last season, thanks to a decision by our producers not to continue the show after the departure of two showrunners. There's been a lot of talk and speculation about what happened, and I want to do my best to give accurate information, so I'll itemize my thoughts below:
1. The show can't be "saved". It was not "cancelled" in a traditional manner, i.e. by a network after poor ratings. Our producers (who also own the Kim's Convenience IP) are the ones who chose not to continue. Neither CBC nor Netflix own the rights to Kim's Convenience, they merely license it. However, the producers of the show are indeed spinning off a new show from the Shannon character. It's been difficult for me. I love and am proud of Nicole, and I want the show to succeed for her... but I remain resentful of all of the circumstances that led to the one non-Asian character getting her own show. And not that they would ever ask, but I will adamantly refuse to reprise my role in any capacity.
2. I wanted to be a part of the sixth season. I've heard a lot of speculation surrounding myself - specifically, about how getting a Marvel role meant I was suddenly too "Hollywood" for Canadian TV. This could not be further from the truth. I love this show and everything it stood for. I saw firsthand how profoundly it impacted families and brought people together. It's truly SO RARE for a show today to have such an impact on people, and I wanted very badly to make the schedules work.
3. I WAS, however, growing increasingly frustrated with the way my character was being portrayed and, somewhat related, was also increasingly frustrated with the way I was being treated. I think this is a natural part of a collaborative undertaking like making a TV show; everyone is going to have different ideas on where each character ought to go, what stories ought to be told. But it was always my understanding that the lead actors were the stewards of character, and would grow to have more creative insight as the show went on. This was not the case on our show, which was doubly confusing because our producers were overwhelmingly white and we were a cast of Asian Canadians who had a plethora of lived experiences to draw from and offer to writers. But we were often told of the next seasons' plans mere days before we were set to start shooting... there was deliberately not a lot of leeway given to us. Imagine my disappointment year after year knowing that Jung was just stuck at Handy and in absolutely no hurry to improve himself in any way. More importantly, the characters never seemed to grow. I can appreciate that the show is still a hit and is enjoyed by many people... but I remain fixated on the missed opportunities to show Asian characters with real depth and the ability to grow and evolve.
4. We didn't always get along with each other. This part really breaks me because I think we all individually were SO committed to the success of the show and SO aware of how fortunate we all were. We just all had different ideas on how to get there. Speaking for myself personally, I often felt like the odd man out or a problem child. This one is hard because I recognize that a lot of it reflected my own insecurities at the time, but it was buoyed by things that happened in real life; nomination snubs, decreasing screen time, and losing out on opportunities that were given to other cast members. This is a reality of show business, there is only so much to go around. LA became the new territory for me, and I pursued it with so much drive and vigor partially because I knew that I could not rely on Kim's to take my career where it needed to go, nor could the cast be the type of family that I had imagined. I had no mentor during this whole process and nobody from the producing team of the show ever even remotely reached out. So... I probably said and did things that were stupid and not helpful. That being said... I was always so careful in presenting a united front to the press. I think we've all individually done a lot of work over the years and there will always be be a mutual love and respect, as well as a recognition of the bond forged from this totally unique experience of being on a hit show that changed the world.
5) For how successful the show actually became, we were paid an absolute horsepoop rate. The whole process has really opened my eyes to the relationship between those with power and those without. In the beginning, we were no-name actors who had ZERO leverage. So of course we were going to take anything we could. After one season, after the show debuted to sky-high ratings, we received a little bump-up that also extended the duration of our contracts by two years. Compared to shows like Schitt's Creek, who had 'brand-name talent' with American agents, but whose ratings were not as high as ours, we were making NOTHING. Basically we were locked in for the foreseeable future at a super-low rate... an absolute DREAM if you are a producer. But we also never banded together and demanded more - probably because we were told to be grateful to even be there, and because we were so scared to rock the boat. Maybe also because we were too busy infighting to understand that we were deliberately being pitted against each other. Meanwhile, we had to become the de facto mouthpieces for the show (our showrunners were EPICALLY reclusive), working tirelessly to promote it while never truly feeling like we had a seat at its table.
6) Our writer's room lacked both East Asian and female representation, and also lacked a pipeline to introduce diverse talents. Aside from Ins, there were no other Korean voices in the room. And personally I do not think he did enough to be a champion for those voices (including ours). When he left (without so much as a goodbye note to the cast), he left no protege, no padawan learner, no Korean talent that could have replaced him. I tried so hard to be that person; I sent him spec scripts I was working on, early cuts of short films I had produced... I voiced my interest in shadowing a director or writer's room... my prior experience had taught me that if I just put myself out there enough, people would be naturally inclined to help. And boy was I wrong here. I wasn't the only one who tried. Many of us in the cast were trained screenwriters with thoughts and ideas that only grew more seasoned with time. But those doors were never opened to us in any meaningful way.
7) I really need to mention that our actual day-to-day crew... were PHENOMENAL. You couldnāt ask for a better group of people or a better working environment. From our props to our grips and gaffers to sound and set dec, everyone contributed to a positive work environment.
In the end... I'm so incredibly saddened that we will never get to watch these characters grow. That we will never see Jung and Appa reuniting. That we will never watch the Kim's deal with Umma's MS, or Janet's journey of her own self-discovery. But I am still touched by the volume and the voracity of our fans (Kimbits...still hands-down the best fandom name EVER), and I still believe in what the show once stood for; a shining example of what can happen when the gates come down and minorities are given a chance to shine.
I also want to specifically shout out you guys in Subtle Asian Traits for championing the show in such a huge way. You guys were so instrumental in making the show an under-the-radar viral hit, and it sucks that the producers will never even know about the existence of this group and how much they owe to it. Never forget the power you guys collectively hold. I'll answer some questions if you have them... otherwise, check us out on Netflix! /end ID]
simu liu being cast as shang-chi is so surreal
can you imagine finding out that the guy in the stock photo cover of your accounting book is the new marvel hero??
Favorite Voice Actors #42: Debbie Reynolds as Madame (Kikiās Delivery Service; 1989)
HALLOWEENTOWN (1998)
dir. Duwayne Dunham
āMother Earth and Father Timeā from āCharlotteās Webā (1973), performed by Debbie Reynolds as Charlotte.