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zahri-melitor · 11 months

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Okay, as I finish the era-defining runs on Robin, Nightwing, Birds of Prey and Batgirl that 2009 closed out, I had a solid think about who I really enjoyed writing these, because that’s like over 580 issues of material, annuals, minis and one shots included.

Reflections on best writers for runs of Tim’s Robin series:

Look we have to acknowledge Chuck Dixon. Nobody was doing it (writing 2/3 of the entire Bat office material simultaneously) like Dixon, for almost a decade. To ignore the impact of Dixon on Tim and Tim’s comics is to miss the foundation almost everything else is built upon. Love him or hate him, he’s all about the supporting casts and environments. Special shout outs to Robin I, Robin III, Robin #33, Robin #34, Robin #49-52 (look it contains Shiva), Brotherhood of the Fist, and Robin #67, among many others.

Adam Beechen. Gonna call it. This was a solid entertaining run. It also contains Bruce parenting Tim, which you know what? We all needed this. We DESERVED this. (Unfortunately the run is marred by Evil!Cass but there isn’t a single perfect run anywhere in Tim’s books). It has Robin #156. It has Robin #163.

Bill Willingham, #132-141. Yes, I am very specifically restricting this to a small chunk of Willingham, but this bit was genuinely interestingly written and contains the best material for Tim in Bludhaven.

I cannot be normal about Robin #183, thanks Fabian Nicieza. It’s just. Beautiful. Read Robin I, Robin #50-52, and Robin #183 back to back to back. I have, and clearly so did FabNic as he wrote it. This is what long form storytelling and callbacks are about. This is how you tie off a series after 18 years of material.

Reflections on best writers for runs of Birds of Prey:

Gail Simone. GAIL SIMONE. Queen. She turned the perfect pair (Babs and Dinah) into a trio (Babs, Dinah and Helena) and she gave the Barbara & Helena relationship the desperately needed work it deserved to progress it from a tangled bilateral deep dislike to allies to best friends. (I also loved them despising each other. Because the reasons on both sides were so meaty. But the progression of moving past that was equally good).

Chuck Dixon. Do you need inadvertently very queer stories about 007!Dinah and her handler, Barbara? Do you need Dick/Babs in your life? Do you want the queerest art anyone has ever drawn for Babs, probably drawn specifically as a fuck you to Chuck Dixon (Birds of Prey #21 my beloved)? You want Chuck Dixon.

They let some other people write this for fills but we all know it wasn’t the same.

Reflections on best writers for runs of Nightwing:

Peter Tomasi. There’s absolutely no question. The run respects Dick as the adult hero with connections across the community. It gives a Dick who has grown up enough to not just instinctively push assistance from Bruce away. It’s full of continuity nods. (I have to SCREAM about Dick catching the falling baby at the end of Freefall. Tomasi taking the falling/missed catches imagery and transforming it by: giving Dick the hobby of skydiving; AND letting Dick make the catch that haunts his nightmares? It’s a beautiful reframe)

Hello again, Chuck. Frequently heavy handed, repetitive in how much Dick wants his independence, but also full of Babs/Dick, teamwork, Dick & Tim moments, a properly rounded out supporting cast, and the origin of Dick’s escrima sticks. He wouldn’t be the same hero today without his now iconic weapons.

If I were going to nominate a third, I GUESS I’d pick out a few parts of Devin Grayson’s run, actually, and I give you #75-#83ish, #100, and #107-111. #75-#83 gives you the most interesting part of the Chief Redhorn downfall story and Blockbuster trying to take Dick’s life apart before everyone starts dying (and contains stand out issues #76 – Amy Rohrbach’s house being blown up – and #81 – Dick in hospital, Cass taking on Slade), #100 just does a lot of interesting retrospective work with Dick (even as it cements in Grayson’s Romani canon, and whether or not that’s good in your opinion is up to you), and I actually quite enjoyed the mob arc of #107-111? It’s silly, but also it’s not the worst way Dick’s ever punished himself.

Reflections on best writers for runs of Batgirl:

Kelley Puckett. Next question?

Oh you want me to elaborate? Puckett created our girl who can take on anyone and win. He made her vulnerable. He gave her her aesthetic. He developed her complex relationship with both David Cain and with Shiva. He gave her speech and friends and the vulnerability to desperately want to protect people and learn. Cass isn’t Cass without Puckett’s work.

Probably Dylan Horrocks? Horrocks is very good with emotional moments for Cass. He wrote the ‘loyalty to the Bat’ scene and ‘Soul’ and also the argument with Babs over reading, which I’m sorry, is still one of those moments in Batgirl that takes my breath away because it’s so in character for both Babs and Cass, even as it hurts.

#dc #z canon read throughs #tim drake #barbara gordon #dick grayson #dinah lance #cassandra cain

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hollywocd · 7 months

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rachel sennott like/reblog to support my work

#rachel sennott #rachel sennott icons #icons rachel sennott #bottoms icons #the idol #the idol icons #shiva baby #girls icons #twitter icons #girls #icons #female icons #without psd

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neverwritewhatyouknow · 1 year

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If this made you feel any sort of way for even a moment. Anger, sadness, confusion. I would like to address that Hollywood loves to erase minority ethnicities whenever they can, because many don’t see it as the problem that it is.

This is fake. But you know what isn’t fake?

Daisy Edgar-Jones playing Jewish icon Carole King in an upcoming biopic.

Rachel Hilson playing Jewish Nora Holleran in the upcoming Amazon Prime Studios’ Red, White & Royal Blue.

Rachel Sennott in Shiva Baby.

Rachel Brosnahan in The Marvelous Mrs. Maisel.

4/6 of the Goldbergs in ABC’s Jewish-family sitcom The Goldbergs.

(Just to name a few from the top of my head.)

Jews are a minority ethnicity, as well as followers of Judaism.

Jews are also one of the only minorities to never be treated as such in the eyes of the film and television industry. No other ethnicity would be played by someone not of that group in the year 2023, yet it’s happening almost weekly with Jewish characters and non-Jewish actors.

The erasure of any ethnicity is wrong. So when will people finally understand that erasing canonically Jewish characters or people, or actively searching out non-Jews, or relying on Jew-face is wrong? This erasure is so ingrained in society that most people don’t even notice it happening, but it is, and it’s wrong.

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enden-k · 2 months

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yeah, vii was the one i played right after, so it also has a special place, but viii manages to beat it out for a favorite, plus i love viii's soundtrack the most out of all the others i favored selphie and irvine too! in my mind, shiva was squall's main GF, ifrit was selphie's and diablos was irvine's it's gonna sound silly, but i've replayed it so many times, but never fully beat it. i'd get towards the end and be wanting to make sure i've gotten everything/done all the side stuff, but then i'd get distracted by something else and stop playing for a while. then by the time i wanna play again i'd be like, eh, mine as well start from the beginning again. it's a never ending cycle!

same here, the og VII has a special place in my heart as well and i replayed it so often as well but VIII-X all top it for me. and hard agree, VIIIs OST is so good and always managed to trigger deep feelings in me when i hear specific tracks !! also no chocobo theme is as good as VIII imo (and also no one had the baby follow around ajkcbkja)

squall having shiva is like the unspoken rule in the fandom - everyone has her junctioned to him AJKSCBK i also always had quetz to quistis and ifrit to zell. doomtrain just has to go to selphie, do you remember how much she loves trains ? LMFAO

ohj you should finish it!!!! tbh the messed up, unsettling cutscene before it goes wholesome is one of the many reasons why VIII is my fave ( the amount of theories it caused among us trying to interpret the images (the millisecond of faceless squall eg) oof) and the boss battle against ultimecia (her laugh when the battle starts (in an unvoiced game!!) adding to the atmosphere.....the sudden change to her theme when she shifts into final form and her words then....so iconic and still give me goosebumps when i read them <3)

all this and then it feels so rewarding when its over and you see everyone. seifer smiling genuinely at the garden, squalls cute first smile........honestly makes me feel like alls well yet at the same time i always get sad bc its over ahahha

#reply

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jennyboom21 · 1 year

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Dianna Agron is running late — she’s stuck on the subway. I have no problem believing this because I am on the exact same train a few cars away, as we learn when she sends me a heads-up text. My phone slowly receives a selfie of Agron waving through a grainy train window, face curtained by long light-brown hair, along with another message about how tickled she is that we’re sharing a classic New York experience. And it’s one we continue when we finally make it to The Odeon, the iconic Tribeca bistro. “It's been a staple since the 1980s, which is what I love about this place,” she says in her lilting voice as we mull over the menu. “This is a place that was happening when I was born and didn't even know that it would be waiting for me when I moved to New York City.” We get two dirty martinis and a plate of fries before gleefully cheering to being in our 30s. “I love this time, though,” she adds.

Agron has been thinking a lot about her 30s, and not just because we’re meeting up two weeks before her 37th birthday. Her new movie, Clock, out now on Hulu, is a sci-fi horror film that explores the immense societal pressures women, in particular those without children, face in that decade of their lives. But the film’s messages about making your own choices also resonate within the arc of her career. Agron spent six seasons on the pop culture juggernaut that was Glee — and enduring the intense public scrutiny that came with it — before more recently finding acclaim with a string of indie movies like Shiva Baby and Novitiate. With Clock, Agron pushed herself again. There are big action scenes (hanging from cliffs, elbow-deep gore), as well as dark emotional depths (involving painful family secrets coming to life). “Collected experience really does add up,” she says. “And I think that the life I've lived the last 10 years in some ways has been more magnificent and more challenging than my more formative years.”

Lanvin coat, SKIMS bra, Talent’s own trousers, Pamela Love earrings

Agron never thought she’d try her hand at horror, but the Clock script hit too close to home to resist. She plays Ella, a 30-something who doesn’t want kids but eventually gives into the pressure of prying family and friends and enrolls in an experimental clinical trial, under the leadership of Dr. Simmons (Melora Hardin), that promises to help women who don’t experience having a biological clock. “The moment I turned 30,” Agron says, “the amount of questions that I felt were far too personal — and from truly everyone — just intensified year by year.”

Even for an actor who came up in the Perez Hilton era of celebrity blogging and is used to skirting prying questions, Agron still finds herself surprised sometimes. Just last year, she was on a red carpet at the Tribeca Film Festival promoting the sci-fi drama Acidman when a journalist asked her out of the blue if her mother’s name, Mary, would be “top of the list” for her. “I truly had no idea what she was talking about, so I asked for clarification and she said, ‘The top of your baby list,’” Agron says. “I said, with all of the kindness, ‘You have no idea what my personal journey is. And I'm quite surprised that you asked me that at my workplace when I'm here to discuss a film that I'm in.’” The message didn’t land. “She had no remorse. She just bopped along to the next question.”

Michael Kors Collection clothing and belt, Agmes earrings

Clock only took on more meaning throughout production. Agron was in Texas shooting the last day of principal photography when the draft Supreme Court opinion overturning Roe v. Wade leaked. “It did not feel good, that's for sure,” she says. “But then felt in some ways good that we were making [a movie that speaks] to some of the perils of being a woman and making choices that are more aligned with your own sense of self, as opposed to making choices for other people.” She dips a fry into one of the many condiments we’ve ordered. “All it takes is a film or a piece of journalism [for people] to open their eyes to different experiences that they could never imagine for themselves and have no personal touch points for. As a woman and one who very much loves women and loves the immense and enormous abilities that we have to carry so much, I wish that we had to carry less.”

When writer-director Alexis Jacknow was looking to cast Ella, she knew what she wanted: “It was very important to me that that character just already have a natural, grounded nature, a gravitas to her.” And she knew right away after meeting her that Agron could deliver. “There was absolutely nothing she wouldn’t do,” Jacknow says. “She pushed me, and there was just no hesitation on her part. She showed up every single day, 110%, and gave us everything.”

That is not an exaggeration. During one scene, Ella cracks open eggs into a frying pan and begins to eat them raw with a spoon. Jacknow didn’t want anyone to flaunt food safety guidelines, but Agron thought the only way to sell the scene was to actually do it. “Beef tartare, a whiskey sour,” Agron says, listing all the indulgences with raw ingredients she already enjoys. (There are reasons those are safer than raw eggs, but just go with it.) Jacknow proposed a compromise: Agron could put the raw eggs in her mouth as long as she spat them instead of swallowing. Agron agreed — or at least pretended to. “I winked at our [director of photography] and motioned at him like, ‘Don’t cut,’” she says, laughing. “I go to pick up the egg, I swallow it and go to take another bite. And I just hear, ‘Dianna, what the f*ck?!’”

Dries Van Noten clothing, Khiry earrings

Agron hasn’t always felt such autonomy in her career. When she was in her early twenties, she booked a role in a “big studio film” that, though ultimately a positive experience, involved an eye-opening screen test. “It was like, ‘We don’t like her hair like that, we need her to be more girly. We don’t like those clothes,’” she recalls. “I kept getting moved off set, changed, put back on stage, taken off again. I didn’t feel that I had any say in the matter, even if I had suggested something nicely. I was just a product at that point.”

Glee did not exactly help things. Agron says she was the last person cast for the show and describes getting the job as nothing short of fate. She grew up watching musicals with her mother in hotels on account of her father’s job as a manager at Hyatt. “Look, I moved to Los Angeles and I set out to find a musical. They were my absolute bread and butter. I told anybody that would listen to me, ‘I really want to do a musical,’” she says. “And [agents] were like, ‘No, try to be on Broadway.’ I just had this staunch faith that I was meant to be in Los Angeles and I would find a musical. And then it happened.”

But while she credits the show with changing her life, the show’s explosive popularity tested her boundaries. “There was a moment in time where there was not only a lack of acknowledgement in respect to personal space, there have been times where I've been put in a headlock and kissed on a plane. There have been times where mothers were grabbing you by the arm to meet and take a photo with their child,” Agron says. “There were so many personal attacks in a way that are just truly not what you do to a human. That feels specific to that time and that intensity of the feelings that people were feeling watching the show.”

So she moved to New York in 2016, eager to escape Los Angeles and its “predatory nature of people with lenses down there that just doesn’t exist in the same way in other places.” For a few years, she split her time between London — from 2016 to 2020, Agron was married to Winston Marshall of British folk-rock group Mumford & Sons — but now calls New York “my only home.” “Following my personal life is really not going to yield anything that interesting,” Agron says of public attention. And it’s true, the few times I tactfully (I hope) bring up topics that might lead Agron to open up about other aspects of her personal life, she gently deflects them. It’s clear she’s figured out a way to maintain her privacy while still being incredibly personal in the context of her work.

In New York, she’s able to follow her muse more freely. She’s reconnected with music through a string of residencies at the famed Café Carlyle, where she’s performed jazz standards and ‘60s covers. She served as a producer on Acidman and would like to do more behind-the-scenes work. And she’s relishing the chance to be a “waving the Jewish flag” kind of actor, choosing projects like Shiva Baby and As They Made Us that let her honor and explore her heritage. “I went to Jewish weekend school and Wednesday school for my entire upbringing up until my Bat Mitzvah and spent a lot of time with Holocaust survivors,” she says. “So it was a weird experience to then have many people say [in Hollywood], ‘You don’t look Jewish.’ It is weird to have somebody deny you your own personal experience.”

Next, she’ll make her return to television with The Chosen One, a multilingual adaptation of Mark Millar’s American Jesus comic book that follows a 12-year-old boy who gains the biblical powers of Jesus after a freak accident. She’s bonded with the younger actors on the show who have asked her for career advice — a full-circle moment for the now bonafide industry veteran. They’ve even watched Glee and marveled to Agron about how young she looks and seems. Her response? “I am!” she says, laughing.

By this point, our martini glasses have long been empty. Neither of us want to brave the train again, so Agron walks me up the street and, like a true New Yorker, gives me directions with a McNally Jackson tote slung over her shoulder. She gives me a hug, then turns to head deeper into Tribeca, forging a path all of her own.

#this could explain Taylor’s delayed tweet lol #Dianna Agron x photoshoot #dianna Agron x bustle 2023 #dianna Agron x fashion #swiftgron

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