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Oh No They Didn't! -

older | 1 | .... | 304 | 305 | (Page 306) | 307 | 308 | .... | 4450 | newer

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    Rae and Chloe battle it out in the fight for Finn's affections, but when Rae's mum prevents her from going to a rave with the rest of the gang, Rae thinks it's game over.

    After arguing with both her mum and Kester, she decides it's time to set herself free from all the constraints of her mental health issues and stops taking her medication, but the consequences are huge.


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    Rihanna Can't Show Nips at the Grammys, But Lil Wayne Can

    Borderline sexist Grammy memo puts the kabosh on exposed "female breast nipples."

    We're still reeling from Beyoncé's breathtaking (and immensely popular) Super Bowl XLVII halftime performance, but CBS still hasn't gotten over Janet Jackson's 2004 halftime show (you know, the one with the infamous "wardrobe malfunction").

    In advance of February 10's 55th Annual Grammy Awards, the television network sent out a Standard and Practice email (via Deadline) instructing everyone set to appear on camera to be mindful of FCC guidelines when picking out what to wear.

    Note that "buttocks and female breasts" must be "adequately covered." Seriously, guys, "please avoid sheer see-through clothing that could possibly expose female breast nipples." Got it? No "female breast nipples." Also, "thong type costumes are problematic." And "be sure the genital region is adequately covered so that there is no visible 'puffy' bare skin exposure." Puffy?

    Oh, and try to avoid wearing anything with text in a foreign language — that "will need to be cleared."

    Sorry, CBS, dress code or not, creepers gonna creep. The 55th Annual Grammy Awards, hosted by LL Cool J, will broadcast live from the Staples Center in Los Angeles on February 10 at 8 p.m. EST. Read the entire fashion memo below.

    Date: February 5, 2013, 10:39:56 PM EST
    Subject: 55th GRAMMYS: Standard And Practice Wardrobe Advisory

    -kindly confirm receipt of s&p standards-

    ***GRAMMYS 2013***

    CBS Program Practices advises that all talent appearing on camera please adhere to Network policy concerning wardrobe.

    Please be sure that buttocks and female breasts are adequately covered. Thong type costumes are problematic. Please avoid exposing bare fleshy under curves of the buttocks and buttock crack. Bare sides or under curvature of the breasts is also problematic. Please avoid sheer see-through clothing that could possibly expose female breast nipples. Please be sure the genital region is adequately covered so that there is no visible “puffy” bare skin exposure. Please avoid commercial identification of actual brand name products on T-shirts. Foreign language on wardrobe will need to be cleared. OBSCENITY OR PARTIALLY SEEN OBSCENITY ON WARDROBE IS UNACCEPTABLE FOR BROADCAST. This as well, pertains to audience members that appear on camera. Finally, The Network requests that any organized cause visibly spelled out on talent’s wardrobe be avoided. This would include lapel pins or any other form of accessory.


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    Former presidential candidate and Celebrity Apprentice boss Donald Trump said he opposes same-sex marriage in an interview with satellite radio host Howard Stern today.

    In a conversation that ranged from gay marriage to Snooki's political endorsement to Kim Kardashian's butt, The Donald said his views on marriage equality are clear, if not popular.

    "Donald, go on the record," Stern requested on his SiriusXM satellite radio show. "You're for gay marriage."

    "Well, I'm not," responded Trump. "It's never been an argument that's been discussed with me very much. People know it's not my thing, one way or the other."

    Watch Trump weigh in marriage equality, Snooki's statement that if Trump were president, the nation would no longer have any problems, and admit that he thinks Kim Kardashian has "a fat ass," below.


    Full Interview HERE

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    Chris Brown's lawyer just went nuclear at the L.A. County D.A. ... claiming, "I have never had a client who has been tortured like Chris Brown has."

    Mark Geragos was livid at a news conference at his office after today's court hearing, vowing to seek not only sanctions against prosecutors but also claiming he wants them held in contempt of court for filing false documents, accusing Chris of phonying his community service hours.

    Geragos said of the D.A.'s motivation, "The D.A. is paralyzed with the thought his probation will be terminated. If that happens they won't be able to jock him around like they've been jocking him around."

    Geragos said Rihanna showed up in court to support Chris, and she thinks it's utterly ridiculous what the D.A. is doing.


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    NKOTB - 10

    We are now less than two months until the release of 10 and today we've got a peek at the track listing for you:

    We Own Tonight
    Remix (I Like The)
    Take My Breath Away
    Wasted On You
    Fighting Gravity
    Miss You More
    The Whisper
    Jealous (Blue)
    Back To Life
    Now Or Never Survive You

    Don't forget, 10 comes out April 2nd (US, international dates may vary)!


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    February 6, 2013 12:15 PM

    Nas is up for four Grammys on Sunday, including Best Rap Album for Life Is Good, which provided a topic of conversation when the 18-time nominee stopped by Chelsea Lately yesterday to chat with guest host Dave Grohl, who asked Nas how he feels hip-hop is represented at the annual awards show."It's cool. I feel it could be a little bit more loved, though," Nas replied. "Hip-hop is making a lot of noise, it should get some more spotlight."

    Later, Grohl clears up his confusion about rap beefs. "I make fun of Coldplay, but I would never say that out loud," he says. "What do you feel like when you go to the Grammys and they're all there?"

    "Once you say it, you gotta ride with it," says Nas. "You gotta be true. Hip-hop is really standoffish, really competitive. It's really about who's Number One all the time, and sometimes it gets out of hand."


    Post dedicated to prophecypro

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    Interview with Collapsing Horse Theatre | Monster/Clock

    After a 5 star sell out run in 2012, Collapsing Horse Theatre are taking Monster/Clock on tour. We caught up with Aaron Heffernan (Puppet Master), Eoghan Quinn (Writer), Dan Colley (Director), Jack Gleeson (Original Toby/Assistant Producer) and Matthew Smyth (Producer) to talk about their musical puppet comedy, building the "best-tree house ever" and the potential in a wrestling match with a rival theatre company.

    What was the inspiration for Monster/Clock?
    Aaron: The inspiration for the show in the very first instance came from two places. The writer Eoghan Quinn's heart sang for an original new piece of writing - the story of which would be told through puppetry and the achievable comedy and poignancy therein. My heart sang out for an adaptation of a certain 1970's Disney film for the stage, again using puppetry. We met in the middle and it grew from there into the all-consuming Monster (/Clock) it is today.

    Was it a collaborative process from the start or did it start as a script with the musical/puppetry elements coming later?
    The process was highly collaborative from day one. If Aaron wanted to build a certain kind of puppet, or someone could do a funny voice, we could work that into the show and the script. Really they just ran in tandem; we knew the kind of story we wanted to tell, and the tone we were going for, so the script began from there. But, at the same time, we were all running around the rehearsal room for hours playing with puppets, instruments and pieces of set, and the things that felt right from those workshops were worked in. Often they even formed the starting points of characters, scenes and songs around which the script could evolve.

    Can we expect to see the same Monster/Clock that ran in 2012 or have you found it necessary to makes changes in order to adapt the show for touring?
    Yeah, it's the same show but there have had to be some adaptations to take it on the road. For example, the theatre where we performed it first, had a beautiful, 17th century, red brick, up-stage wall, with arches at different heights. Most of the venues on the tour are really versatile black box theatres - which naturally give a colder tone unless you do something about that. So Colm McNally designed a new set which was built by the Lir Technical and Stage Management students for the a brief revival last November. It's basically the best tree-house you've ever seen. Also there are some new cast members and rehearsing the show with them has brought fresh humour and new perspectives on the script which we hadn't seen before. But yes, tis the same show but a bit... bigger.

    Is puppetry something that you all have some experience in or was there a bit of a learning curve?
    Jack: None of us had any puppetry experience before except for Aaron, so there really was a very steep, yet quick, learning curve for us. Aaron had fostered an interest in puppetry in school which he developed in college and as a result, he was the perfect molten core of technical advice throughout the show. We were also blessed to have Raymond Keane come in and give us a workshop on the basics of puppetry on stage which was incredbily informative and left us all revering him like the messianic leader that he is!

    However, despite our wealth of pedagogy, there were inevitably many sore arms (sorted by our in-house tenor/ physio Richard Shaffrey) and blocking complications (sorted by our in-house director/problem solver genius Dan Colley) but all told, it was a fascinating experience to mutually discover a new form of theatre.

    As a young theatre company, how important do you think it is to challenge the conventions of theatre?
    We never really set out with an agenda to challenge any particular type of theatre that was out there. Although a wrestling match with a rival theatre company is something we'd like to make very clear that we're up for - if any contenders arise. If you look at any initial drafts of MONSTER/CLOCK that were in fact wildly different to what we ended up with, alongside anything else we've made or are making the emphasis is on story telling. Plot is where we start and everything else grows from there. I think we find creative and inventive ways to make the conventions of theatre work for us as a company - challenging seems like a fierce amount of effort, no?

    2012 was a pretty good year for Collapsing horse, with your debut show receiving a very warm reception. Any standout moments?
    Jack: I suppose this isn't so much a singular moment as a gradual one but I distinctly remember receiving our first feedback from audiences and press for MONSTER/CLOCK and realising that some people actually enjoyed watching it as much as we all enjoyed making it. That was a very fullfilling feeling. To pick and choose specific moments, however, from such a wholly wonderful experience is fundamentally unjust to all the others. Or as The Edge once said "A rose petal's beauty is only fully realised aside it's kin". From the incohate writing sessions in Gibsons to picking out our spandex for Bears in Space, from drunkenly filming 'thank you' videos to listening to Danny's beautiful songs for the first time, from the first meeting to the last performance, Collapsing Horse has been a standout moment in my life!

    What other theatre companies/shows in Ireland have really impressed or excited you in the last year?
    There are genuinely too many to mention. We have a lot of piers making great work at the moment so it's a brilliant time to be making theatre. We have our rivals at 15th Oak who made 'The Life and Sort of Death of Eric Argyle' and then Sugarglass Theatre's 'All hell lay beneath' and Willfredd Theatre's FARM are all ones that spring to mind. All keeping their work innovative and audience driven which is what we love. There's of course the Rough Magics and the Pan Pan's of this world who still manage to keep up a huge output of exciting work and even if they've been around for 100s of years their work still won't stop exciting us. We're also very excited about Die Hard 5 coming out. That should be brilliant.

    This tour aside, what's next for MONSTER/CLCOK and Collapsing Horse?
    We're working on a show that Eoghan is writing called... actually, we're not sure yet. But it's an Irish sci-fi courtroom drama/comedy - which sounds like it came out of a random genre generator but it didn't, I swear, and we're really excited about it. That's something we're aiming to present in autumn of this year. In the meantime I'd really like to do kids (and up) show based on Changling myths. Eoghan's going to be dramaturg for that and Aaron is designing, and hopefully operating, the puppets. I don't know what's next for Monster/Clock. Do any of your readers have room for the best tree-house they've ever seen? Real cheap, like.

    Your show comes with a pretty broad age rating of children aged 7+ and adults. What would you tell adults who might be put off by a show with puppets?
    Well first of all I would reassure people that the tone of the story and the dialogue is not 'childish', though it is suitable for children. There's a tendency to see 'Family Friendly' as a euphemism for 'your kids will LOL', but really we tried hard to make it genuinely enjoyable for all ages; at the end of the day, we were all laughing at each other making it, and we're all technically grown ups! If adults are still skeptical, I would suggest just getting langered in front of house before sitting into it?

    Why should people go see Monster/Clock (in 5 words or less)?
    It's time to say yes (?)

    Tour Dates:

    Riverbank Kildare - 16th Feb - 045 448 330

    Pavillion Theatre - 19th Feb - 01 231 2929

    Mermaid Bray - 20th Feb - 01 272 4030

    Civic Theatre Tallaght - 22nd - 23rd Feb - 01 462 7477

    Axis Ballymun - 1st - 3rd March - 01 883 2100

    Draíocht Arts Centre - 9th March

    Smock Alley Theatre - 18th - 30th March

    I know Jack has talked about not wanting to continue acting professionally after GoT, but he clearly loves theatre and I'm really happy the theatre company he co-founded is doing so well. :)

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    In the February 9th premiere of Oddities, titled "Return to Holly-Odd", Mike, Evan, and Ryan uncover the weird side of LA. 

    The Obscura Antiques & Oddities team takes their annual  trip to LA where Ryan gets commissioned to find a very exotic item for Dita Von Teese! Then, Mike & Evan sell organs & other wares to more celebrity clients.

    Airing Saturday at 9 p.m. on the Science channel.

    Source: 1, 2, 3, 4

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    Colin Firth is set to star with Nicole Kidman in helmer-scribe Rowan Joffe's thriller "Before I Go to Sleep" for Scott Free and Millennium Films.
    Firth will play Kidman's husband in the film, which also stars Mark Strong and Anne-Marie Duff.

    Based on British author S.J. Watson's book of the same name, pic follows a woman with amnesia who wakes every day with no knowledge of who she is and must reconstruct her memories from a journal she keeps. As terrifying new truths emerge she is forced to question everyone around her.

    "Sleep" will lense at London's Twickenham Studios, and at locations in and around London, at the end of the month.

    Producers include Liza Marshall, Ridley Scott and Mark Gill. The film was developed with StudioCanal, who will release in Blighty. Millennium/Nu Image handles worldwide sales.

    Firth and Kidman recently teamed in Jonathan Teplitzky's "The Railway Man," which is currently in post and due for release this year.


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    Prince fans, rejoice! The iconic artist has dropped another new song.

    Titled "Breakfast Can Wait," the track features the funky feel that Prince is celebrated for -- take a listen above. The song has been made available for purchase on Prince's website, up for the price of $0.88.

    Last month, Prince debuted "Screwdriver," his first official follow-up to 2012's "Rock and Roll Love Affair." Earlier in January, a Twitter account by the name of 3rd Eye Girl (the same name as that of Prince's website), leaked a track called "Same Page Different Book," but it has since been pulled from YouTube.

    In March, Prince will be honored at a tribute concert at New York City's Carnegie Hall. Acts such as The Roots, Talib Kweli, and D'Angelo are lined up for the show.

    Although details are sparse and unconfirmed, Prince is expected to release a new album, potentially including "Rock and Roll Love Affair," "Screwdriver," and "Breakfast Can Wait," later this year.

    Source for the article
    Source for the Youtube video

    Your RnB singers wish they could be a strict JW, wear assless chaps, be 5'2'', and still get ladies moist like the Purple One, tbh

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    Sources 1, 2

    Anyone else hate tonight's SPN?

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    The art of the TV theme song is somewhat of a dying one. The world no longer moves to the beat of just one drum and the era of a lengthy ditty played over shots of a photogenic cast is all but over. It’s no wonder, fewer and fewer people watch TV live and instead prefer to watch on a DVR or a computer where opening credits are easy enough to fast forward through. That being said, there are a few current TV themes that are definitely worth your notice. While they may not all have been written expressly for their shows, they are all performed by artists that have an impressive and enjoyable catalogue worth exploring. So if someone catches you with any of these nine songs on your playlists, don’t be embarrassed. They’re impossibly catchy.

    Shameless– “The Luck You Got” by The High Strung

    Everything about this delightfully depraved Showtime series is not safe for work. Oh yes, including the opening credits. But the theme song by the Detroit-based indie group The High Strung is good old fashioned fun. The High Strung may sound familiar to fans of “This American Life” for their episode titled “The Dewey Decibel System.” Check out another one of their tracks, the more sedate Standing At The Door Of Self-Discovery to see if The High Strung is more than a one hit wonder.

    Justified– “Long Hard Times To Come” by Gangstagrass feat. T.O.N.E.-Z

    There couldn’t be a better fit for the Kentucky neo-noir Justified than this rousing hick-hop song from Gangstagrass. Even author Elmore Leonard is a fan, crediting the group with doing “nothing short of creating a new form of music.” So slap on a Raylan Givens Stetson and wriggle into your tightest Wranglers; this track will make you feel both citified and countrified at the same time.

    Community– “At Least It Was Here” by The 88

    Cult-favorite Community may not be long for this world. Facing both the departure of series creator Dan Harmon and NBC scheduling woes, the future ain’t looking too bright. But we’ll always have this fun pop intro from indie rockers The 88.

    Boardwalk Empire– “Straight Up And Down” by The Brian Jonestown Massacre

    San Francisco’s own The Brian Jonestown Massacre provides the anachronistic opening music for HBO’s jazz age gangster drama. This psychedelic band has been around since the 1990s and were the subject of the fantastic 2004 documentary Dig!, so if you’re not already a groupie, you should get on that.

    More @ the source

    " Angela " is the best tv theme EVER btw

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    tyfyt :)


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    Respect must be paid to Nashville's brave Hayden Panettiere. It takes post-Oz Cowardly Lion amounts of courage to play Connie Britton's mortal enemy on national television. Anyone who agrees to say rude things to Tami Taylor deserves our begrudging respect; it's a necessary but thankless job, and it comes with an instant set of venomous commenters. (Don't mess with Dillon, Texas, etc.) Add on Panettiere's striking resemblance, both physically and constitutionally, to the polarizing Taylor Swift, and you've got yourself the makings of a Most Hated Character. So it's to her immense credit that Juliette Barnes is not only not loathsome but, in total defiance of hate-watching principles, an actually enjoyable character. In fact (take a deep breath, FNL fans), she might be the best part of Nashville. Hear us out.

    For one, Juliette gets the better — or at least juicier — material. While Britton's Rayna has been stuck mooning over two middle-aged dudes (and sleeping with neither of them) while negotiating boring contracts, Juliette has seduced Deacon, shoplifted, bullied her addict mother into a rehab center, and tricked Fake Tim Tebow into marrying her. If this all sounds a little Days of Our Lives for your taste, well, yes, that's the point. But Panettiere knows when to camp it up and when to pull inward, and she's the only actor on the show whose story lines aren't getting the best of her. You can tell she relishes storming off the set of Good Morning America. You can also feel her genuine pain over the drama with her druggie mom.

    There's also the rather sensitive issue of the singing. Connie Britton's "No One Will Ever Love You" duet was beautiful, and as noted above, she will always have our undying respect, but truth time: There are some shaky notes here and there. As Scarlett, the aspiring songwriter, Clare Bowen has had a couple of star moments, but she's hesitant and breathy, almost like a baby bird. The Avery character is boring as sin; Charles Esten (Deacon) mostly just plays the guitar. That leaves Panettiere, whose songs are admittedly more accessible or radio-friendly, but she delivers them with reliable gusto. Even wannabe-Rayna numbers like "Undermine" are more vocally assured. And she looks natural on that arena stage (which is not a given, as Taylor Swift could tell you).

    Sure, Juliette is supposed to be outwardly likable, and it's always fun to root for a glossy villain. We wouldn't side with her in the Deacon Wars, either. (Rayna, just do it already; Juliette, go bother Harry Styles.) But on a show that agonizes over the virtues of flash versus substance, to the detriment of most of its characters, it is surprising — and gratifying — to watch Hayden Panettiere manage both. Especially when she's singing "Telescope." Just trust us; it's a jam.


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  • 02/06/13--20:19: The Americans 1x03 Promo


    What did y'all think? I loved tonights episode :)

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    channing-tatum_side effects

    When, in 2011, Steven Soderbergh announced his forthcoming retirement, film geeks pulled up his development slate on IMDb Pro to find that three of the great director's final four movies will star Channing Tatum— including this Friday's new medical thriller Side Effects.

    If someone back then had drawn a Venn diagram of fans of Soderbergh's and fans of the Tatum-starring Step Up franchise, the overlap between circles would have been slight. Soderbergh followers knew, of course, that the filmmaker behind The Girlfriend Experience loved to work with non-actors, but, they thought, why does he insist on casting this one?

    Might it be the fact that Soderbergh saw something in ex-dancer/model/stripper Tatum that few others did—namely, that he's really good? Increasingly, the answer appears to be "yes."


    Their first collaboration, Haywire, snuck out in January last year. The movie's great — spare, fresh, elegantly constructed. And during scenes with star Gina Carano, a former MMA fighter, Tatum seemed kinda sorta fine, even well-suited for the role. That fleshy-faced physicality was still there.

    That physicality always will be there, as he seemed to understand, without his having to puff up or so aggressively smolder. And so he acted against it, playing his contract agent as bored, exhausted, and impatient, thereby giving a tired film trope a new, human feel.

    If watchers were intrigued by Tatum's turn in that film, they were then bowled over by what he did next, sans Soderbergh. 21 Jump Street, a ridiculous-sounding adaptation of a ridiculous '80s Teen Beat TV show, paired co-producers Tatum and Jonah Hill as Odd Couple buddy-narcs reliving high school to catch a drug dealer.

    But it was astonishingly good, offering clear, bright, and zany Police Academy-style fun. What's more, Tatum, as a once-popular jock at odds with the new sensitive world order ("I blame Glee," he says, deadpan and disillusioned), was effortless, silly, and genuinely funny.

    In just a few moments of screen time he'd done what Marky Mark has failed to do in 20 years: Stop taking himself so seriously.


    It was a beautiful moment in a way, like watching an athlete find a new dimension to their skills during a break-out game.

    But his real homerun was Soderbergh's Magic Mike. Tatum's performance has the confidence and messiness of the custom-built bachelor pad his titular character lives in. Even if he isn't playing himself line for line, he is an affable host, guiding us, in the same way Magic Mike shepherds Alex Pettyfer's neophyte stripper through a new and exotic world. Good evening, he seems to say, welcome to the show. Now let's do shots.

    The dancing is obviously the centerpiece of the movie, but Soderbergh cobbles together unique little scenes that are particularly well-suited to Tatum. How many other major stars would or could do a back flip off the Sunshine Skyway bridge into Tampa Bay 50 feet below, for example, and would they have emanated the same blend of grace and desperation he did?

    magic mike 615 wb rosenberg

    In the film's climactic scene, Soderbergh keeps in a take where Tatum unintentionally flubs his line ("I'm not my lifestyle — I mean, I'm not, am I Magic Mike right now talking to you?"). The error is perfect. After all, this is a performance of a performance, the kind of declaration of love delivered with the panic and excitement of revelation that causes you to stumble over your speech — the speech you'd maybe planned, maybe rehearsed, but now, in the moment, comes unraveled. Tatum fights through, weaving the monologue back together and finishing on a moment of gasping completion.

    So who is Channing Tatum going to be, long term?



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    The idea is that fan fiction has, since the beginning of time, just been weird girls in their rooms writing about how Spock is drugged and can’t stop touching Kirk’s butt. This is not the case. Fan fiction is nothing more than fiction featuring someone else’s characters. The Argonautica, a 3rd century BCE poem by Apollonius Rhodius about Jason and the Argonauts, is basically one of the first examples of fan fiction. Euripides’s Helen of Troy, where Helen was in Egypt all along and has to fall in love with Menelaus all over again, is fan fiction. John Milton’s Paradise Lost? Fan fiction.

    We only started using the term “fan fiction” in the modern era after the concept of intellectual property really took off and people like Disney and DC Comics made it possible to “own” characters. Then fan fiction became something more. Because a fan/writer couldn’t earn money off their work a passion seemed to flow off the page. Some paying writers struggle with getting 80,000 words to their editor on time, but a fanfic writer can churn out a 200,000 word butt touching opus in a matter of weeks, fueled by nothing more than their love of the characters (and probably also feedback from readers).

    Fan fiction became insular. A culture developed. Tropes developed. Enough that websites like FFYF and FanLore formed just to chronicle (and mock) all those tropes. Real person fic, alternate universes, self insertion. The list goes on and on. But what they all possess, besides a devil-may-care attitude towards character ownership, is the passion of the author for someone else’s characters.

    And that passion (and those tropes) aren’t just limited to fiction. Sometimes really cool people actually get paid to play in someone else’s sandbox and bring their love of the characters with them. They produce really cool comics, “officially canon” books, and, my personal favorite, television.

    Yeah, I said it. Fan fiction exists on television. Russel Davies, Steven Moffat, Edward Kitsis and Adam Horowitz. These folks are all paid to play in sandboxes developed by other writers before them. Because I love you, fair internet, I have formed a list of five of the most egregious examples of fanfiction produced as television.

    “Journey’s End” Doctor Who written by Russell Davies


    Davies tenure on Doctor Who was chock full of crazy fannish moments. With nods to the original series as well as an evolution of the Doctor’s sexuality…in that he finally had one. The original series kept the Doctor a little flirty (particularly the Four/Romana years) but primarily asexual. He was too busy battling dinosaurs and aliens to have hang ups about girlfriends or boyfriends. He was so asexual that when the new series arrived and the Ninth Doctor had to kiss the time vortex out of Rose’s head fans of the original show through an absolute fit.

    But nothing could have prepared those fans, or any fan really, for the end of Davies run on the tv show proper (he’d make a series of specials over the next two years before Moffat took over). Old show fan favorite Davros showed up as villain, Sarah Jane showed up to remind Davros that they knew each other. Mickey and Rose’s mom showed up to say hello. Donna Noble became the first human time lord ever and saved the day. Martha Jones showed up to threaten to blow up the world to save it. And then a human Doctor was born out of Donna’s hand so the Doctor could condemn him to an alternate universe where he would spend the rest of his human days making out with Rose Tyler and talking like Donna Noble.

    It was so fanficcy good that io9′s Charlie Jane Anders actually said it “almost elevated fanfic to an artform.”

    En Ami” The X-Files written by William B Davis


    Where Davies made fanfic virtually transcendent The X-Files once had an episode so indulgent and Mary Sueish you would have thought it was just pulled from (because everyone knows the good X-Files fanfic was at Gossamer) and produced as is. But it wasn’t! While watching it you might not have even noticed the indulgence and Mary Sue factor. You would have just thought it was a weird episode focused on the Cigarette Smoking Man where he forces Scully on a road trip with him and gets the better of her and gets her changing into sexy dresses and showing some boobage. You would have also noticed that Scully was kind of uncharacteristically stupid.

    Then the credits would have rolled and you would have noticed William B Davis pulling double duty as Cigarette Smoking Man AND writer.

    Yeah that’s right. CSM wrote himself into an episode so he could see Gillian Anderson’s boobs. There was probably a CSM/Scully sex scene or love confession scene cut, along with one where CSM does kung futo save Scully from rapists and she sobbingly clutches him and says she loves him more than Mulder.

    “The Reichenbach Fall” Sherlock written by Stephen Thompson


    Like Doctor Who and Once Upon A Time really any episode of Steven Moffat’s Sherlock could appear on this list. The show as a whole is a carefully constructed “Modern-era AU”. It’s loaded with references to the original work on which it is based. Characters found in the books, like Watson’s wife, are removed to make things a little more Johnlockian (that’s the portmanteau for the Watson/Sherlock relationship; I would have just done a link to website explaining it but they’re all SUPER explicit). And the whole thing is based on a property that actually invented modern fan fiction. People were apoplectic when Doyle killed off Holmes and spent the next ten years writing every conceivable escape out of the mystery for the hero.

    Since this episode aired last year modern Sherlock fans have done the exact same thing for Moffat’s Modern-era version of Doyle’s adventures. But can their fics really compare to Moffat’s? Or this episode written by Stephen Thompson?

    Besides being a modernized version of one of Holme’s more famous cases there’s also the liberal use of slash goggles gaying up the joint, Mrs. Hudson being put in mortal danger, and, the big one, Moffat’s unemotional version of Holmes willingly sacrificing himself in order to save those he loves. Would that I were a major fan of the show or the Johnlock pairing. It would have been like seeing your favorite fic actually brought to life.

    “The French Mistake” Supernatural written by Ben Edlund

    What list regarding fanfiction would be complete without some choice real person fic? This episode of Supernatural reads like the summary of some actual real person fic for the show. Sam and Dean get sucked through a portal by an angel out to protect them and wind up in our world, where they are horrified to learn their lives are fodder for television and Dean’s played by a guy from Days of Our Lives and Sam’s married to a woman who plays a villain on the show. In their quest to get back they end up maxing out a credit card, doing some really bad acting and getting the actors playing them fired. Also an angelic hitman shows up and slaughters half the cast and nearly the entire creative staff.

    The only thing missing is some choice Wincest or Destiel butt touching.

    And awesome side note: the title for the episode is the name of the song played by the band in Blazing Saddles when a brawl shatters the fourth wall and the entire movie winds up on a movie lot.

    “Broke” Once Upon A Time written by Edward Kitsis & Adam Horowitz


    Let’s be real, all of Once Upon A Time is fan fiction. It’s very premise is fan fiction. I once had to summarize an episode and say the phrase “and then Mulan and Sleeping Beauty nearly made out.”

    You could point at any episode and say “fanfic”. They all tend to be referential, a little self-indulgent, and loaded with crack!ships.

    So what makes the season 2 premiere stand out? Because it is way too satisfying to just be regular television. Nearly everything one would want to happen after season 1 happens. Emma is reunited with her parents and there are many many tears. Henry calls Charming “gramps”. A raging mob storms Regina’s mansion. Henry calls Regina “mom”. The Charmings and Regina team up to take down a monster created by Gold. Emma touches Regina and creates magic.

    Seriously. I watched it and was confused. I honestly thought Kitsis and Horowitz had stolen the script from my private LiveJournal.

    And besides being fanfiction for the show itself this episode also had Mulan and Prince Philip teaming up to rescue Sleeping Beauty and fight a Dementor. The writers on that show are living every adolescent girl ever’s dream.

    Special Mentions

    • Elementary didn’t make the cut because there can only be ONE modern-AU of Sherlock on the list.
    • “Coming Home,” Xena: Warrior Princess, written by Melissa Good. Melissa Good was so popular in Xena fandom as a fanfic author that Rob Tapert sought her out to write the season 6 premiere. She would write two more episodes including one unproduced musical one where Xena and Gabrielle are the identical twins of Sappho and her lover and have to go undercover to reunite them.
    • “For Those of You Just Joining Us,” Hercules: The Legendary Journeys, written by Alex Kurtzman & Roberto Orci. Another “real person” episode. Kevin Sorbo is actually Hercules in disguise and stuck on a writer’s retreat with the creative staff of the show (as played by characters actors from the show and Xena).
    • Really all of Xena and Hercules could have fit. Those shows were extremely aware of their fandoms and loved to make whole episodes designed to create fangasms.
    • The entire current season of Castle.


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