Untitled

[cryptidstealingyourcreditcard]

“feels like / we had matching wounds but / mines still black and bruised and / yours is perfectly fine” (the exit by conan gray) and it’s jesper when wylan gets his mom back

[mickeynotthemouse]

also frank in season 1 of the punisher when david can go home at the end

[mickeynotthemouse]

you don't owe it to the sadness to feel sad or avoid joy

[mickeynotthemouse]

The Mandalorian and Grogu: A Case Study in Television and Film

Spoilers for The Mandalorian and Grogu below. You have been warned.

I recently had the pleasure of watching The Mandalorian and Grogu in theaters. As a longtime Star Wars fan, I had a blast. As an aspiring filmmaker, I had a lot of thoughts.

The rise of cinematic television, with longer episodes, and the growing popularity of streaming films rather than theatrical releases have begun to blur the line between these two mediums. Aspect ratio, once another distinguishing factor, has also lost much of its ability to clearly delineate the difference with the rise in popularity of films made for IMAX. But despite the increase in overlapping characteristics, film and television remain distinctly different methods of storytelling. So what is the difference?

Serialized television shows like The Mandalorian have expanding narratives. The story follows the consequences of the characters' solutions to previous challenges. While the core objective for the hero and villain remains relatively stable, it often fades to the background as they embark on "side quests" with shifting secondary or even tertiary objectives, antagonists, and resolutions. Films, on the other hand, have collapsing narratives. The story focuses on the obstacles between the protagonist and their goal and the lengths they will go to overcome them. Side quests, when they exist, are tied much more closely to the central narrative, and the primary objective remains stable. Neither mode of storytelling is inherently superior, and not every story fits neatly into one category or the other, but each requires a different format to tell its story effectively.

One thing that immediately surprised me while watching The Mandalorian and Grogu was how quickly Mando achieved his objective of apprehending Commander Coin. When Colonel Ward introduced the objective at the start of the film, it seemed as though that would be the central goal of the story. Mando and Grogu would traverse the galaxy, learning lessons and gathering allies as Coin evaded them again and again until they finally used their newfound knowledge and allies to outsmart him.

Instead, Mando is hired by the Hutt Twins to find Rotta the Hutt in exchange for information about Coin. He must use his bounty-hunting skills to track down his secondary quarry and then escape death in gladiatorial combat. After succeeding in this secondary mission, he chooses mercy and frees Rotta in exchange for the information he needs, arrests Commander Coin, and returns home victorious. But his respite is short-lived. The vengeful Twins are furious that Mando freed Rotta instead of delivering him as promised. They send a bounty hunter after him, and the film continues in this new direction.

The entire second half of the film revolves around the consequences of Mando's solution to a previous problem. Commander Coin and the Imperial Remnant, which had been the central threat and objective of the first half, become largely irrelevant to Mando's journey of survival and revenge. They return only at the end, adding an extra layer of satisfaction to the villains' comeuppance.

Rather than writing a film, the writers created a very short fourth season of the original show. I am not complaining—I got to watch this season in theaters, in IMAX, with popcorn and incredible sound—but I find it to be a fascinating case study in what differentiates film from television, especially now that many of the creative choices that once clearly separated the two mediums have become shared between them.

[nondelphic]

writing tip: put words on page. hope this helps. i will not be taking questions because i have not done this

[mickeynotthemouse]

my trick is to title the document "[story name{ - first draft: the shit version" so i don't have to worry about it being any good. you can edit a bad draft but not a blank page.

disclaimer: we are still writers and perfectionists ergo i cannot guarantee this will do shit

[mickeynotthemouse]

okay yall guess who needs a name for a minor character in their show! he's an fbi agent, hardworking, not exceptional in anything but pretty competent in most things. the most important thing about him right now is that he can NOT be a viable love interest for the female character (meaning, his name can't make him sound too hot). also note, he's going to be called by his last name only 98% of the time

what is his name?

mathew reese

jack marcus

chris brooks

the secret 4th option (suggestions in the comments)

Voting ended onJun 28

[mickeynotthemouse]

i want to talk about this scene from young sherlock:

because they've been dancing around sherlock and james' attraction to each other all season, and anyone who's been on the shakespeare side of the internet has probably seen and/or made posts about the gay subtext between hamlet and horatio. "sweet prince" is known to be a common term of endearment between gay men in shakespeare's time, and a student like james would probably have known that (not because he was taught it, of course, but considering how much shakespeare he quotes i have a feeling he did his own research). the choices of shakespeare quotations in this show have all been so intentional, so full of love for his works, and it makes me so happy to see that.

the line itself (and dónal finn's impeccable delivery) is so gay, in fact, that the writers needed to have sherlock kiss a girl immediately after to maintain a heterosexual image. this failed, however, as now sherlock just seems bisexual rather than flat out gay, which in all honesty i can really get behind.

(if you couldn't tell, i'm a little obsessed with this show)

tl:dr james is gay and sherlock is bi and shakespeare is great.

[mickeynotthemouse]

look good feel good do good? nah. i prefer look badass, kick some ass

[mickeynotthemouse]

this may be controversial as hell, but i am a firm believer in the Some Ships Are Better In Fanfic philosophy. (spoilers for good omens, young sherlock, and the bbc sherlock)

my main evidence is aziracrow, who in s1 were the most amazing will they/wont they/have they 6000 year situation ship. s2, in making the show explicitly about their romantic relationship not only with the kiss/divorce/breakup but with the tone of the whole season screaming rom com, killed some of the magic of s1. as a fanfic, it would have been perfect. but in making them canon, they lost some of the best parts of the ship. (not to say i didn't enjoy s2 or that i don't ship aziracrow)

this applies most for me when it comes to adaptations of sherlock holmes. there is some magic in the "unspoken thing" that sherlock and watson have in the books and in the bbc version. something that is fed by every overlong look and something that would die with an actual kiss. i will always push for more declarations of "friendship", more flirting, more pining, but i prefer to leave the kissing to the wonderful artists and writers of tumblr, ao3, etc.

having just finished young sherlock, i feel the same way about sherlock and james. did i squeal like a child when james called sherlock "sweet prince"? yes. do i want more adversarial flirting in s2? also yes. would i be tickled pink to see sherlock be openly gay? hell yeah. but to have him and/or james confess feelings for one another or kiss would kill the magic and frankly be out of character for both of them.

if you've made it this far, thank you for reading my ramblings and i'd love it if you'd share any other ships you feel the Some Ships Are Better In Fanfic philosophy applies to!

[mickeynotthemouse]

i am very proud to introduce you all to phes, the main character for the television show i'm starting (read: attempting) to write!

hopefully more updates and character concept sheets to come 😊

[an0neemouse]

Write whatever you want. Write that incredibly niche thing that only two other people on earth will get. Write the super indulgent cliche thing that makes you kick your feet giddily. Write the angry rage story that whumps them all and makes people cry.

Whatever it is that YOU want to write. Write it. Because only YOU can.

[mickeynotthemouse]

this is so important to me, because when you add in those little references that maybe only you will get, it gives your work life. even the people who don't get the nod or joke or whatever it is will feel the intention and love that went into it

[mickeynotthemouse]

just obsessing about the way the cello at the beginning of this song sounds like vhagar's little purring

[mickeynotthemouse]

meet jo carter, the mc for a punisher fic i'll probably never actually write! she's obviously has a black hole of trauma hidden somewhere under all her optimism and a whole lot more waiting in her future (what's the fun in making up a character if you don't give them a bit of trauma?), but for now she's just a bundle of sunshine

[mickeynotthemouse]

you know, for all that people talk about how dark and angry frank and matt are, they both look like actual puppies when they're happy i mean-

just look at these happy little idiots