Hello everyone. At this moment, I am in the process of writing Episode 1 for my Audio Drama but I require more writers and Editors to help out with the first script. Now, what will be in the episode? Well, it will be focusing on Sonic's origins and will include Uncle Chuck, Longclaw, and Princess Sally. I won't say too much because obvious spoilers, but I plan for it to set up a larger series if successful (success to me is like 2500 views, 100 likes, and 20 comments). If interested in helping with the project, please comment below because any help for it will suffice. Once we have the script done, we can focus on Voice Actors and music and such and then the video will be posted on the YT channel. Can't wait to hear from you soon.
Note : This is not a paid project, at least not at first. I want the project to actually be worth any possible monetary investment I will make and not just be personally losing money at the expense of everyone else. If it is very successful and I get enough money from it, I will pay back everyone an amount of the earnings made from streams and the episodes/videos. As of now though, this is a group project and will function like a group project, having channels grow from it if the project is extremely successful.

This here is my old woman yelling at the clouds moment. These last weeks of school after state testing have seen my students highly engaged in creative poetry and script writing and drama performance. It makes me so happy to see them excited and creative. Behavior problems are the good kind, like "Settle down you are getting too loud giggling about your dramatic scene." Their cute haikus and zany dramatic flair make me so sad that our subject has turned into a "tested area." What do you like to teach when you are "free"? Or how do you incorporate these moments into your scope and sequence throughout the year?

Hi everyone! My daughter is 5 1/2, level 1 ASD, and a gestalt language processor. She is in stage 4 (dipping her toes into stage 5) of the language progression of GLPs.
We really struggle with her leaning into the "drama" of gestalts. She will see an argument on a show and then "pick fights" to script the argument. This has evolved into arguing over actual facts (i.e. it's hot out and she'll argue that it's cold) and getting upset, then
I suspect being dysregulated is part of these arguments, but I also believe (and so does her ST) that she enjoys the drama. (She's currently not in OT for financial reasons as her ST is $125/week 😵‍💫.)
Is anyone else's child like this? What has worked for you in calming them down in the moment? Sometimes when she gets in these modes she'll get stuck in a loop. Any advice is appreciated!

On a rainy Saturday afternoon not so long ago when internet connection was fluctuating in most homes, the 80-year-old Cecile Guidote-Alvarez, widow of the late Senator Heherson Alvarez, carrying a mini iPad, hurriedly alighted from a three-wheeled pedicab Toktok and stormed her way into a popular coffee shop in a mall in Manila.

A senior citizen in panic mode, she told the stunned baristas she’s looking for a Wi-Fi connection because she was about to interview retired Supreme Court Associate Justice Antonio Carpio via Zoom.
The coffee shop, a known world brand, has Wi-Fi exclusive to its employees, so the old lady was told to try other establishments. She went from one coffee shop to another only to be told the same, until a kind stranger led her to a well-known beauty salon with a free internet connection.
The lady salon attendant was very accommodating to the octogenarian, even typing the password on her IPad. Of course, she needed to avail herself of their salon services. Initially, she opted for a haircut, but since she needed to talk and hear clearly who she was talking to, she settled for a foot spa with pedicure.
“They lowered the volume of the piped-in music, and since there were less customers because it’s been raining all day, I was able to do my interview,” Guidote-Alvarez said.
For the next half-an-hour, the hair dressers and manicurists working with their scissors, nail clippers and cuticle removers on their customers’ hair and fingernails, listened to Carpio and Guidote-Alvarez discussed how Filipino fishermen and the Philippine Navy ships helplessly negotiate their ways in Scarborough Shoal amid the territorial disputes in the West Philippine Sea.
“They were all very nice to me. I was able to finish my interview, with newly pedicured nails,” she told The Diarist.
For those who’ve worked with Guidote-Alvarez, her steadfast, almost stubborn, nature to accomplish a task, is nothing out of the ordinary. She would improvise, find alternatives, call up friends and former students, wake them up from sleep, just to get things done.
But now, in her 80s, legally blind and nearly deaf, she has mellowed down.
Cecile Alvarez with her mentors, National Artist for Literature Alejandro Roces, Jr and Fr. James Reuter. SJ
In her twilight years, Guidote-Alvarez has been solely hosting the 57-year-old Radyo Balintataw on DZRH, one of the oldest radio stations in the Philippines, where she tackles a wide range of topics, from climate change, women’s health, theater, culture, dance, to current issues, apart from playing old recordings of classic radio plays she produced and directed, dating back to the late ‘80s.
She shared with TheDiarist.ph how she started and continues to host one of the longest running advocacy programs on AM Radio.
Theater on TV
After founding the Philippine Educational Theater Association (PETA) on April 7, 1967, or exactly 57 years ago, Guidote-Alvarez thought of the need to expose PETA’s members to television, so she started conceptualizing Balintataw, which in Filipino means the pupil of the eye, but in a larger context has something to do with having wild imagination, or what you might see if you have a third eye.

“I designed Balintataw as a bridge between cinema and the stage, where the youth being trained in theater skills can have a ready-made laboratory experience linked with the film and entertainment industry that would likewise have a natural on-the-job training and orientation regarding the theatrical discipline of working with a literary script, whether dramatic or comic—not the regular improvised script done on taping or copycat scripts from foreign themes,” Guidote-Alvarez wrote in her yet-to-be published Memoir of a Freedom Fighter’s Wife.
“A primary goal when I conceived PETA was to initiate and sustain artistic expression that draws meaning and power from the lives of the people, and sharing the literary gems with a greater number of audiences through a Broadcast Theater-Film Program with Balintataw on Channel 5,” she added.
“No matter how little the pay, at least it provided our local writers with a little honorarium. I sought permission for award-winning pieces of the Palanca Playwriting contest to be fleshed out to reach the masses. The much-awarded playwright Bert Florentino served as our literary manager, assisted by Mauro Avena. Eventually, Isagani Cruz took over when Bert left for the US,” she wrote.
“Writers need exposure and encouragement through a regular TV performance that will give them a sense of achievement and inspire them to keep on writing with some kind of honorarium. I was glad Lupita Aquino (now Kashiwahara) agreed to be TV director and Robert Arevalo as TV host.
She got members of the PETA Kalinangan Ensemble to serve as stage directors. “This is to undertake preliminary preparation with a rehearsal with the actors for character development and memorization and preliminary staging,” she wrote.
Five months after PETA was founded, Balintataw TV premiered on Channel 5 on Aug. 19, 1967, coinciding with the Buwan ng Wika birthdate of President Manuel Luis Quezon.
The first play, whose title escapes her now, featured Armida Siguion-Reyna and Maria Eva “Chingbee” Kalaw. She employed photo journalist and award-winning photographedocumentarist/cinematographer, Romy Vitug, to work with her in filming outdoor scenes for Balintataw.

In the pre-Martial Law Balintataw, among those initiated into television were Lino Brocka, Elwood Perez, Nick Lizaso, Maryo delos Reyes, Mario O’Hara, Joey Gosiengfiao, Behn Cervantes, and Frank Rivera.
Among the stage actors who crossed over to television were Lily Gamboa, Angie Ferro, Lorlie Villanueva, Jonee Gamboa, Joy Soler, Sherry Lara, Gardy Labad, Noel Trinidad.
Like with PETA, Guidote-Alvarez directed and managed Balintataw for five years. Because of Martial Law, she and husband Heherson went on exile in the US to escape a military shoot-to-kill order on Heherson, who was tagged as a subversive.
Post-Martial Law
Internationally acclaimed auteur Lav Diaz mentioned in several interviews how he learned writing radio and TV scripts in Balintataw.
This happened in the late 1980s, when the Alvarez couple returned from exile.
Despite its absence on the air in the Martial Law years, Balintataw was honored by Star Awards as among the 20 unforgettable outstanding broadcast programs in the Philippines.
“This encouraged me to consider reviving Balintataw on TV. Another blessing was a FAMAS award for having an important role in the development of cinema recognizing Balintataw as a bridge for synergizing cinema with the stage, providing a pathway of entry of our PETA artists into film and for movie stars to consider enriching their experience by acting on the legitimate stage,” Guidote-Alvarez wrote.
Though she didn’t return to PETA anymore because it had been surviving well and had its own set of officers led by Brocka, she just tapped some of its members for the return of Balintataw.
For 14 years, the Alvarez couple lived in the US as political exiles, shown here during a Ninoy Aquino Movement meeting. Cecile revived Radyo Balintataw upon their return in the late 1980s.
Channel 4 stint
“I arranged to revive TV Balintataw on Channel 4 in 1989. We began with a drama about a rebel returnee, title escapes me now, but I clearly remember it was written by Lualhati Bautista and directed by Maryo de los Reyes. We also had a good story series on the hazing of Lenny Villa, an Aquila Legis Frat neophyte,” she wrote.
At the time, Heherson had been elected senator after having served as Agrarian Reform Minister and eventually Cabinet Secretary during the first year of the Cory Aquino Administration.
“We were able to unravel the deadly hazing process from a fellow neophyte who broke the code of silence as we revealed graphically, acted the cruel process used. I had Jose Mari Avellana direct it. This presentation won all the awards. Lav Diaz was training with us and he started writing teleplays. We also had Nora Aunor in an adaptation of Bert Florentino’s The World Is An Apple, adapted by Frank Rivera, and I had Nick Lizaso direct.”

Emmy Awards
Balintataw TV was selected as one of five soaps for social change recognized by Emmy Awards. The Philippines was one of five countries cited, with Mexico, India, Brazil and Kenya.
“The nomination was made possible by the wonderful support from David Poindexter. It was a supreme honor for our country to be recognized in the Emmy Awards, to be cited among the five Third World countries using soap opera for social change.”
Poindexter was a Methodist minister and TV producer who founded the Population Communications International.
Surviving on radio
“In spite of the cry about how television can be deadening the minds of the people with copied themes with an eternal favorite love triangle story, there was really no funding for Balintataw,” she wrote.
“Sponsors would go naturally to the commercial stations where big stars were paid highly for the starring role. Balintataw may have substance but we could not afford payment of bankable stars,” she added.
“Financial stress forced me to drop TV and remain on radio because I didn’t want to kill Balintataw per se just because we didn’t have funds.”
Creative classroom
“We have focused on Balintataw as a creative classroom on the air. I was able to talk to Fred J. Elizalde of DZRH and the president of the network, Mr. Jun Nicdao,” she wrote.
In the ‘80s, the HIV/AIDS became a global epidemic and in the Philippines, the general populace was still clueless on how to deal with it.
“In order to get funding, the first series I did was about the explosive news regarding AIDS in Asia. I got the DOH Secretary at the time, Dr. Juan Flavier, to act as himself, providing the data. It was easier to start off with an AIDS radio serial.
They did a minimum of 13 episodes to raise awareness about the disease.
“From then on, some of our television scripts we transformed into a radio version. DZRH provided us with our initial production staff, so we used some from the network and some of its resident artists and drama talents. Our time slots were changing but always coming after the long-running horror drama, Gabi ng Lagim.
“We worked on the themes of overseas workers, the drug problem, corruption, aside from portraying contemporary and literary classics serving as social commentaries,” she wrote.
Women playwrights
“We dramatized the works of noted women writers and playwrights like Estrella Alfon, Genoveva Edroza Matute and Marilou Jacob, who is distinguished in being a founding president of Women’s Playwright International.
“Apart from our PETA staple of writers, we involved young, upcoming and budding university and community theater groups.
“We also had a lot of foreign plays, where we could feature theater festivals beyond borders. We could do Shakespeare, we could do Euripides but also the current playwrights in the Arab region we translated in our language.
“We brought in Chinese contemporary plays, Malaysian, Indonesian and from other women writers from ASEAN member countries.”
Virtual history book
“The significance of Balintataw is portrayed as a virtual history book on audio as it unveiled events in the country. Radio is fresh, instant and up-to date,” she added.
When the COVID-19 pandemic struck, Balintataw became Guidote-Alvarez’s outlet and therapy. Having lost her husband on the second month of the pandemic, a widow cocooned at home, she began hosting it six days a week, learning how to use an iPad and interviewing via Zoom.
The word “Balintataw” has been associated with her name.
Visual artist and editorial cartoonist Benjie Lontoc in casual meeting told us how in his younger days, when AM Radio was a national past-time, he was surprised to hear a Filipino adaptation of No Exit by Jean Paul-Sarte. This was when radio was airing soap, fantasy adventures targeting housewives and children.
Another was the airing of Larawan as a radio play in the 1990s, with Guidote-Alvarez as the voice of Candida Marasigan.
Leopoldo Salcedo (left) as Manolo in a confrontation scene with Dante Rivero as Tony Javier in PETA’s 1968 ‘Larawan’ directed by Cecile Guidote-Alvarez. (Photo from PETA archives)
In the 1960s, she directed Larawan, the first Filipino adaptation of Joaquin’s A Portrait of the Artist as Filipino for PETA’s second season. It ran from December 1968 to January 1969 at the Raha Sulayman Theater at Fort Santiago in Intramural. In the cast were Rita Gomez (Candida), Lolita Rodriguez (Paula), Leopoldo Salcedo (Don Manolo) and Dante Rivero (Tony Javier).
Guidote-Alvarez has a funny recollection of the radio play. It was Nick Joaquin himself who told her years ago how his pedicurist suddenly started a conversation about Larawan.

Joaquin was relaxing on the barber’s chair having a post-haircut pedicure and foot spa when the lady pedicurist asked him how the story would end. Joaquin was stunned because he didn’t want to be known in the barber shop as Nick Joaquin the famous National Artist for Literature, but just a regular customer.
“He told me he almost fell out from the chair. He was a very private person and the pedicurist recognized him as the playwright,” Guidote-Alvarez, laughing, told TheDiarist.ph.
When she was first diagnosed with breast cancer in 2000, she was given only three years to live. It’s been more than two decades since then. She has also conquered COVID-19 twice.
Over and beyond her work in theater and various advocacies, Guidote-Alvarez is among the few surviving practitioners of AM Radio broadcasting.
The beauty salon incident wasn’t a first for the octogenarian radio host. She occasionally went back there to interview guests and record her shows whenever Wi-Fi connections in her home fluctuated.
Despite all setbacks, man-made or otherwise, the steadfast Cecile Guidote-Alvarez’s voice continues to be heard in this mass media platform in an era that knows mainly Spotify. As Joaquin wrote, “to remember and to sing, that is her vocation.”
(Except Saturday, Radyo Balintataw airs daily on DZRH 666 Khz AM radio after ‘Gabi ng Lagim’, and live streamed on radio.org.ph. Some episodes have been uploaded on YouTube.)

I have already made short post that I finished series finale. I stiil feel sad, depressed and that feeling when tv show ended.... unbelievable how "The Shield" is stuck with me. Can't believe this journey is over.
I wanted to say so many things. Firstly, how can I miss this? I was too young when it came out, but I hear about "The Wire" everywhere even now. "The shield" feels like out of the radar all the time. WE MUST DO SOMETHING WITH IT! Please, just watch "The Shield"!
My friend told me to watch it and he stumbled upon this Tv show in one cool review that was left by some user (girl , actually) on my native language site about movies/tvshows.
When I look at some photos and pictures of "The Shield" I have thoughts that it is like CSI or some other typical cop show with nothing more. How wrong was I with such first impression.
What I really like that "The shield" has blu-ray release. So cool tv show is reinnovate for high quality format and has a lot of bonus features on blu-ray.
My friend also told me that I need to watch especially until Season 5 where it will be so high level quality writing that I gonna really appreaciate "The Shield".
As for myself, I fond of cinema. I just not go easy on any movies/tvshows. I am very nit-picking because I like to learn about cinematography, screenwriting, directing and so on. For me movies like the greatest art and I study movies as an art. That's why I feel bored about modern movies and TV shows. Screenplays are not bold, not so complex, characters feel flat and creators afraid to insult other races, woman right and so on. Many movies and TV shows of modern era feel convinient. I am tired of that. And I started to watch "The Shield" six months ago.
"The Shield" was aired in the right time! Year 2002 like "The Wire". From the pilot episode "The Shield" don't try to be convinient, it shows you what Vic and his team doing, what "The barn" doing everyday. Everything around characters feels not-convinient: drug-addicted, child trafficking, other awful staff around. Characters not just saint and clean, they do what they have to do like it or not as a viewer. That's what I wished for a long time. "The Shield" just clicked with me. I can't even imagine TVshow about cops can be on such level with great cast, great characters, really good screenwriting, directing and editing.
Before "The Shield" I can't tolerate semi-documentary cinematography and "hand-held" effect of camera in movies. In "The Shield" I fall in love with such camerawork and editing. That's really what I can't imagine I would love in cinemas. In this Tv show every take is so close, editiing beetwen close-mid plan camera panning and it feels so great in terms of "The Shield" storytellling. You are always near characters, you like breathing just around their shoulders and see every bad side of Farmington so close that you feel how disgusting this district is. Incredible work from cinematographers and editors.
Dynamic feeling of everything that happens on the screen. The greatest part of "The Shield" it is never trying to dragging some melodrama to extend seasons or try to be sentimental in the scenes. Modern TVshows really like that and i don't. Don't need to play with the viewer. In "The Shield" everything happenes so fast, so realistic that sometimes you can't even catch a breath. Not a single dull episode. In every episode something cool will definetely happens and it keeps you attached to the screen. And I don't mean that "The Shield" hasn't some melancholic or not-fast pacing moment. On the opposite, "The Shield" has everything what makes cinema alive and fascinating.
Let me explain what I really like about "The Shield" and I have never experience such different emotions just in one piece of the cinema:
In "The Shield" you can feel like a kid again and rooting for cool-masculine guys who breaks door and shout: "Police! On the ground!". After some episodes I really wanna just play in cops and criminals on my yard with friends. That's how action feels in this Tv show. I wanna buy merch with "Strike Team" on it and snake eating rat logo. Incredible.
In "The Shield" as an adult you can feel totally devastated by events that just happened on the screen. You can feel pure emotions from character actions. And what most important you don't want to judge character right away you want to put yourself in his shoes because what character did feels so realistic. Characters here not some fancy cards, you can feel them like real human beings.
In "The Shield" you can laugh as an adult. Humor in some scenes and from some characters really spot on and not stupid. It is full drama but some episodes has great humor parts. And again it feels so real and natural like human beings in real life would joke about something. Bilings sutuations and lines from later seasons are just pure gold.
In "The Shield" you want to discuss some parts of the story. It feels like after reading a good complex books with interesting characters you start to think about their actions and how you can think about your actions in the real life. What it is like to be a coward? To be hypocrite? What about loayalty and friendship? Trust me not so many movies/TVshows can be so full-thinking. It's a miracle that such depth can be in cop TV show. I stiil can't imagine how believable characters are and situations in "The Shield". Script and story of all seasons and how characters arcs redeemed is golden!
So I trying to say "The Shield" can feel like popcorn-blockbuster cop show in some parts with overacting but sometimes it's pure complex drama with silence scenes and great acting and very realistic characters. It's the best mixture of movie formula that I have seen in my life! I stiil can't imagine that I saying such words in terms of cop TV show.
"The Shield" was ahead of its time. It is a real piece of art. In modern days I want to see Tv show with overacting (when it need to be done), cool action and the same time it can provide me with great drama sequences and believable characters.
[SPOILER] section below. Please read only if you watched the series.
What I also like about "The Shield" it has great leading character. Michael Chiklis was born for this role. Maybe in first seasons you can think he overacting sometimes and can't be so dramatic but in the late seasons Michael have shown one of the best acting scenes in cinema. Pure mastery. This 42 second silence in front of Olivia was something unique and incredible. Then final eyes scene with Cloudette and finale running eyes scene in the ending of season 7 when he sits alone.
Vic is so well written in every season. He is the anchor of the show. So charismatic, strategy wise, musculine and cool and what I like the most this character feels real. When Vic came alone in gang territory and didn't fear anything you believe in that. You understand as a viewer that not anybody in "the barn" have balls for things that Mackey can do. He uses "shortcuts" in police work that only he can manage. He has really metal backbone. Even when he mentally broke at the end of the 1st season he needs just a couple of minutes to grab his shit together and go further. Character has a great amount of willpower and dedication to do anything that he wanted to.
Vic is the greatest anti hero in cinema history. Many side characters hate him but when there is a problem that no one can resolve Mackey step up. Farmington is so dirty that it needs people dirty as Vic to clean it.
I actually always rooted for Vic as a viewer because nobody in "The Shield" is black and white. Even Claudette free Kleavon from death penalty to keep her warm place. And I like that "The Shield" shows every character is corrupt somehow.
But I can't believe that Vic betrayed Ronnie. It hits hard. After that I as a viewer understood Cloudette words: "Vic is trying to be someone he wants you to see him". We viewers see Vic true nature in the final episode and it hits hard too. He always was like that and we didn't want to accept. And some part of me like him but other part can't forgive him for what he did to others. Such a great character downfall through all seasons. And this shot when he smiled to his gun and go somewhere. Where did he go? He can't sit tight he always need to be "living on the edge" this his type of character.
I wanna write about other characters. Shane for sure. But Post is too big. I leave it for later.
10/10. I am empty and depressed that "The Shield" journey ended for me. Can't believe that many people don't know about this masterpiece. I am glad I stumbled upon it. It touched my strings for cinema love that not any movie or tv show touching in years.
So many emotions and thoughts. Thanks to Shawn Ryan, Michael Chiklis, Walton Goggins and every other member of "The Shield" crew and FX. I wish I had a chance to tell it to them personally. I am grown man but I feel emotions like a kid again. Pure emotions from "The Shield" story.
To sum up my words. I like this ending montage of Season 2. It has great editing and you feel emotions. I literally cried when I rewatched it after the final. Clodette touches Dutch and thanked him. Aceveda moving forward. Coriine in thoughts. Dutch investigate a murder again. And Pile of money scene... Vic the only one who is laughing but others feel mix emotions. Gives shivers to my spine.
The Shield - Overcome Season 2 Ending (youtube.com)

Kokona would've been a much better introductory rival than Osana and nothing is changing my mind. I need to rant about this, so I made a list of reasons about this.

1. She was pretty much complete in 2017-18. Most of the eliminations in the game today were already functional on her. Some of them were through scripted events, but they would still be updated later on. Since she would've been finished around three years before Osana, and judging by the amount of time it has taken for a half-functional Amai to be implemented, we would probably have a half-functional Kizana by now if Kokona was the first rival.
   
2. She had a backstory and it was actually interesting. Kokona's mother died a year before the game takes place, which put her father into debt, causing her to engage in compensated dating to help her father financially. With Osana, we don't really have a backstory for her, she's just a tsundere who likes cats and a basic ass boy who moonwalks into a fountain if a girl laughs.
   
3. She was really easy to eliminate, making her a perfect first rival. The rivals are supposed to be harder the further they are in the game, which is why Osana would be better around week 6-7, as Senpai's childhood friend dying would be more impactful on him than a random girl who gave him a cupcake. She also has a hound dog guarding her 24/7, adding to her difficulty. Kokona didn't have anything making her too difficult to be a first rival.
   
4. More characters would actually serve a purpose. Kokona and Saki wouldn't just sprint across the campus and up three flights of stairs Usain Bolt-styled just to stand in an oddly specific spot on the rooftop, Musume wouldn't just traverse the courtyard and beat someone with an eraser every so often, Riku wouldn't just be a background character in the drama club, etc.
   
5. She was the testing rival Yandere-Dev wanted Osana to be. 1980s Mode is in his words, the game he always invisioned YS to be. Kaguya, the first rival, is basically a guinea pig who is pretty vulnerable and you can just run up to her and stab her, as well as any other elimination method, because she exists to help the player get comfortable with the game's mechanics. Kokona could've easily been the Kaguya of 202X mode.
   
6. Yandere Dev already had a bunch of voiced lines for her(plus Saki and Musume), along with a bunch of scripting, animations, and other things made specifically for Kokona. What was the point of all of that if it was for nothing? It would've been smarter to just put Osana in the game and use her as the test rival, or, again, MAKE KOKONA THE FIRST RIVAL.
   

Obviously, this would create eleven rivals instead of ten. The solution is simple: get rid of Yandere-Dev's genderbent self insert, A.K.A the pedophile skank bitch. Then, have Osana take her place, since she's more logical for a 7th rival in terms of difficulty.
Another issue is that Kokona and Kizana look pretty similar. Neither of them HAVE to have purple twin drills though. If Kizana had eight drills, or if Kokona had white hair, it would not make anything different.
TL;DR: yandere dev is allergic to making good decisions that benefit everybody
Also please feel free to add onto this because it's 3am and I forgot half of this list 🙏🙏🙏

Hello All, I have been self teaching myself front end web development for a period of a few months now but when I got diagnosed with ADHD, I was told that my top learning styles were visual and kinaesthetic.
I think going down the path of front end development was probably a smart choice given that I learn effectively from actually seeing what my code is doing step by step with extensions like live share on VSCode (For HTML/CSS) and seeing the output of simple problems I solved with JavaScript if I log it to the console or connect it to parts of my HTML.
I heard that impostor syndrome and feeling stupid overall comes with the territory of coding and programming so I’m wondering how other coders with a similar learning style were able to overcome the stereotypes of associating your learning style with a particular job/field of study and then completely changing to an “opposite” field of study like coding? For example: a lot of visual learners are associated with being artsy, into drama/theatre, music, psychology, etc.
I definitely do have my moments of feeling like “am I learning the best path of coding given I have these learning styles? Is there a different or better coding path to take that works on my strengths?” Admittedly I have had my moments of feeling as though I was the only one who was a visual learner and learning code but realistically I’m sure there is plenty of others like me. I would love to hear about the experiences of others and what worked best for them though!
Best wishes ahead to everyone in their coding journey(s)!

I hate insurance + savings card…and Walgreens rn.
I’m ahead of pick up bc 5.0 is available but my “month” isn’t till the 27th. Insurance will let me pick up and cover most (balance due $230) but when I talk to Walgreens it’s “yes this is insurance and savings” “But last month was $25” “It says your deductible isn’t met yet” “How was last month $25 then?” “Oh. The savings card was used and it’s a 30 day pause for use every time” “But my insurance lets me pick up at week 3?” “Yes.” “But the monthly total for…” “It’s still going to be $230” (I’m shook now having been cut off before finishing). “Give the box to someone else. I’ll transfer my script out”
Now I’ve hunted yet again and found a different box of 5.0. But waiting till I hit a longer time between coupons.
How do you all handle the drama around this and timing and availability??

So im working on a total drama fan season and if it does become popular just incase im calling it Elimination [Wherever it takes place] and ive already finished the rough draft for all the episodes of season 1-4 like the challenge who wins who loses all that stuff i even have the character designs done but i dont know where to go after this im finishing up all-stars and idk what to do after that do i start writing the scripts or do i add more detail to what the characters are doing like alliances and bonds and stuff? Also for some like visual aide heres season 1 at the top.

This post is part of a series of reviews. To see them all, click here.
Historical information found on Shannon O'Sullivan's Doctor Who website (relevant page here and the TARDIS Wiki (relevant page here). Primary/secondary source material can be found in the source sections of O'Sullivan's website, and rarely as inline citations on the TARDIS Wiki.

Serial Information

• Episodes: Season 19, Episodes 1-4
• Airdates: 4th - 12th January 1982
• Doctor: 5th
• Companions: Adric, Nyssa, Tegan
• Other Notable Characters: The Tremas Master
• Writer: Christopher H. Bidmead
• Director: Fiona Cumming
• Producer: John Nathan-Turner
• Script Editor: Eric Seward

Review

Welcome aboard. I'm the Doctor. Or will be if this regeneration works out. - The Doctor
This might not sound plausible at first blush, but Castrovalva might just be the strangest Doctor Who story ever.
Not in terms of content, the actual plot of Castrovalva while a bit mind bending, isn't that strange. But the actual way it's laid out, the pacing, the way it's constructed, it looks so different from anything else this show has done.
I mean, is Castrovalva even one story? Should I split the first half and the second half into different sections of this review? Into different reviews? Maybe it's best to start with how we got here.
Tom Baker was always going to be a challenge to replace. I think it's difficult to properly conceive of, in modern terms, how long Tom Baker was the Doctor. I mean, he held the role for seven seasons. He was The Doctor (the definite article, you might say), in popular consciousness. If you were a twelve year old kid who first started watching the show when he took over, you would have been an adult when he left. So, how do you replace that?
Well, what Producer John Nathan-Turner did next made a lot of sense. Tom Baker had been an unknown when he was cast. But now, having to replace him, JNT decided to take someone who was fairly well known. Nathan-Turner had worked as a production assistant on All Creatures Great and Small before becoming Doctor Who's producer. And one of its stars, Peter Davison, had achieved something of a following working on that show. The shorter, light-haired younger man was also a physical contrast to Tom Baker's imposingly large, dark-haired man. As a start for a new era, Davison was, it seemed, the ideal candidate.
So, naturally, Castrovalva does a lot of work trying to simultaneously convince us that this is both a brand new Doctor, but also very much still the same Doctor. Which is probably the reason for the very strange story structure. Castrovalva is pretty cleanly divided into halves. The trouble in the TARDIS section covering the first two episodes, and the portion actually set in the castle of Castrovalva, covering episodes three and four.
The first two episodes feel like they're trying to connect the Doctor back to previous incarnations. Peter Davison actually decided in rehearsal to perform several sections like he was previous iterations, and dialogue got rewritten to emphasize this (I'm especially pleased that he got in an impish giggle when he was channeling the 1st Doctor, as that's an oft overlooked element of William Hartnell's performance). There's also a pretty heavy emphasis placed on the relationship between the Doctor and the TARDIS in these two episodes. The TARDIS opens up a roundel to provide medicine, and offers the Doctor a wheelchair. We haven't really seen much evidence of the TARDIS having a mind of its own since, and this is going way back, The Edge of Destruction, but it still helps emphasize the idea of the Doctor still being the Doctor. After all, if the TARDIS is trying to take care of the Doctor, then clearly it's still the Doctor.
Though, as the Doctor admits, things are a lot rougher this time than in the past. Before this the Doctor has always regenerated in a relatively stable situation as an adventure was ending. Here, he's essentially dropped in mid-struggle with the Master and he just needs some rest in a calm place. A lot of stuff is thrown at us. Apparently the cure for post-regeneration trauma is simplicity – the more complex the environment the worse the symptoms. The TARDIS has a room for just such purposes, called a "Zero Room". In a worst case scenario (say, after you accidentally jettisoned the Zero Room to create thrust to escape the explosion of the Big Bang) the doors and walls of the Zero Room can be used to create a smaller "Zero Cabinet" which looks like a TARDIS interior-themed casket.
While that's going on, we get some of the most inane conversations you can imagine between Nyssa and Tegan. I like these bits in theory. Tegan and Nyssa are trying to work out a lot here after all. It's, for each of them, their first proper trip in the TARDIS, and what with the Doctor suffering the after-effects of regeneration and Adric off being weird (he's actually mental projection being controlled by the Master), the two of them have to figure out how to keep the Doctor healthy, stop the TARDIS from traveling directly into the creation of the universe (called the galaxy here because science fiction writers aren't scientists) and just generally hold things together. The problem is the actual dialogue is sheer nonsense. There's a lot talk about the power of the word "if". There's also a lot of talk about recursion which, while it's a theme of the overarching story had no place being introduced when it was.
This is all doubly frustrating because, if you remove Nyssa and Tegan's more vapid conversations from the equation, they have a pretty good story together. The basic idea of the front half of the story is that the two are left to work things out without the Doctor and Adric. It's a really effective way to put emphasis on the two newest members of the TARDIS team, who essentially just joined the TARDIS last story. Tegan working out the TARDIS controls (even though she doesn't really, it turns out the Master-controlled Adric projection did that for her), and Nyssa providing scientific explanations and useful context – they genuinely make a good team. There's a bit where the Doctor sets up how his new companions can thrive on their own. Adric of course has a mathematical genius, and as of the events of Logopolis you might as well say he's got magic. Nyssa has "technical skill and understanding" and Tegan is the "coordinator". And it actually plays out over the course of the story. It's just a shame that some of these conversation are so mindless.
That takes us into the second half of the story, where the Doctor gets to be a bit more active and we actually visit the planet/city/castle of Castrovalva. Throughout episode 3 Castrovalva is presented to us as a kind of ideal medieval-inspired society (lot of those lately). From the beginning though, something feels off. Something constantly feels artificial about Castrovalva, like it's setting is a little too idyllic and uncomplicated. And then there the seemingly sinister presence of Shardovan, the librarian who always seems to be skulking around. And then there's The Portreeve, a wise old man who always seems to know a little bit more than he should.
And that's all for good reason. Castrovalva is fake. The Master made it up, disguised himself as the Portreeve as a trap for the Doctor, using Adric's ability with block transfer calculations – he'd captured Adric at the beginning of the story. As always, the Master's greatest weakness is that he likes things to be grand and complicated, and so over the course of the two episodes the facade is slowly dismantled. And in a genuinely clever moment, the fake people that the Master has created aren't entirely happy about being used by him. "You made us, man of evil. But we are free," says Shardovan before he destroys the web that is holding Castrovalva together in a genuinely effective and cathartic moment.
And I do like how Shardovan, clearly set up to make us think he's the villain, and possibly even the Master, with his dark outfit, sinister stares, and heavy contrast to the more friendly attitudes of the rest of the Castrovalvans, turns out to be the person who's worked out that something is wrong with Castrovalva. It might not seem all that innovative, but at this point in Doctor Who's history it's genuinely hard to think of someone who was presented with so many of the superficial signifiers of being a villain but turned out not to be. It even makes sense internally. Castrovalva has intentionally been created to lull the Doctor into a false sense of security. So the one character who's not doing that turning out to be good is just a natural progression.
These episodes are also where we get a better sense of the Doctor. I'll admit that on past viewings, I never really cared much for Peter Davison's take on the Doctor, but on my current run through his era (as I've mentioned before, I'm always watching ahead while I'm watching for review) I've found him more compelling than I have in the past. Here he approaches Castrovalva with a kind of mad panic. Something is wrong here, but he can't quite place it. He's trying to solve the puzzle of what's wrong and it doesn't help that he's still recovering from his regeneration, something that doesn't really resolve itself until the end of the story. It's a solid contrast from Tom Baker's austere and eccentric Doctor, to Davison who brings a more manic energy. Today we're used to the Doctor being wild and high energy, but this is really the first time we get that kind of NuWhoish energy.
I'm still not gelling with Ainley's Master though. I enjoy him as the Portreeve here, playing the kind of wise old man who normally would be one of the Doctor's allies. Except the Portreeve always seems to know a little too much. Watching it back, there's definitely plenty to hint at the Portreeve's true nature. As the Master though…I don't know, it still just doesn't work for me. I like the Master's plan in this story, it's overcomplicated, but that's kind of the Master's MO. But Ainley just always seems to go a bit overboard in his portrayal.
I haven't really talked much about Adric this story, but that's because he doesn't really do much in this one. One of the challenges the show is going to have with three companions is finding something for each of them to do. In this story Adric is mostly sidelined. We get the, by now, well worn trope of Adric pretending to side with the villain of the story but it barely even lasts long enough to note. Mostly, Adric is used as a tool by the Master, very little more.
Castrovalva is, on the whole, a solid enough start to the 5th Doctor era, but I do have some pretty major reservations. The first half in particular is just full of these completely empty-minded conversations between Nyssa and Tegan that should have been good, but are just so poorly written. Things get better in the back half, but there's still some iffy bits. Still, I do like Castrovalva in spite of its flaws.
Score: 6/10

Stray Observations

• This was Eric Seward's first story as Script Editor. Previous Script Editor Christopher H. Bidmead wrote this story, effectively resolving the plot of prior story, also written by Bidmead, Logopolis.
• Starting with this story, Doctor Who began airing twice weekly, on Mondays and Tuesdays, as opposed to the once a week schedule it had been on since its debut.
• Peter Davison is credited as "The Doctor" for this story, rather than "Doctor Who" as was the case previously. The general belief seems to be that Peter Davison requested the change, and this certainly tracks with him being a big Doctor Who fan, but I wasn't able to find anything confirming this.
• The Portreeve is credited separately from the Master, even though Anthony Ainley plays both. He is credited as "Neil Toynay", an anagram of "Ton Ainley".
• Director Fiona Cumming had actually been involved with Doctor Who for a long time, her first job on the show being as an Assistant Floor Manager on The Massacre (1966). She was a production assistant on several shows, including Doctor Who during the 70s, and started directing in 1974 with an episode of Z-Cars. However the BBC didn't let her direct full-time and she became a freelance director in 1979.
• This story was actually filmed fourth in the season. While Davison has claimed this was done to give him more time to get familiar with the role, in reality it was simply a case of the first story idea to open the season, Project Zeta-Sigma proving unusable. This did have the unintended consequence that the series regulars were a bit to friendly with each other before Director Fiona Cuming had to remind them that, in story, they had all just met very recently.
• The plot was inspired by two MC Escher posters in the office of BBC Head of Drama Graeme MacDonald, which stuck with Bidmead. Producer John Nathan-Turner apparently hated the things, saying "art should be there to soothe, not distract" which is…certainly a take. The posters were of MC Escher painting "Ascending and Descending". Bidmead connected this to the mathematical and computer science concept of recursion (as noted when I covered Logopolis, Bidmead had an interest in computers).
• Apparently Peter Davison liked Castrovalva, but never quite understood what it was about.
• Episode 1 starts with a precredits sequence recapitulating the cliffhanger from Logopolis. It's the first time an episode has placed a scene before the credits. Notably the music is changed ever so slightly to be more optimistic, as Logopolis was the end of an era, but Castrovalva is the beginning of another one.
• The title sequence has been updated. It's the same one as the one used for Season 18, but the awkward picture of Tom Baker's face has been replaced with a perfectly reasonable picture of Peter Davison's. I'm still not fond of the starfield openings, but this is at least an improvement, however minor.
• In the first scene of the story proper, The Doctor and companions are running away from the Pharos Project guards. Tegan and Adric are supporting the Doctor's weight, and when Adric lets go, the Doctor collapses directly onto Tegan and it's actually fairly funny.
• So a second after claiming the only thing she knows about the TARDIS controls is the door mechanism, Nyssa activates the scanner via the TARDIS controls.
• In episode 1 we see the Doctor unravelling the 4th Doctor's iconic scarf to track his way through the TARDIS. I have seen people get so mad about this, but I actually think it's brilliant. It's a new era after all, and what a better visual metaphor for that is there than the Doctor unravelling his prior incarnations' most iconic item of clothing.
• When Nyssa mentions that the Zero Room that the Doctor asked to go to is probably a "neutral environment, cut off from the rest of the universe", Tegan suggests Brisbane.
• And of course the Doctor gets a new outfit. It's…fine. While the Season 18 version of the 4th Doctor outfit was too much of one color it was still built on the bones of a good look for the Doctor. But now we're very much in the JNT "uniform" style clothing. I'll admit, being an American, I wouldn't necessarily recognize a crickiter's outfit, much less an Edwardian one, if not for Doctor Who, but knowing that that's what it was based on really makes the whole outfit feel a bit gimmicky. As for the celery lapel…I don't get it. It's such a random and weird element, and I'm not sure what it's doing there (out of universe at least). I do like that the Doctor still has a hat. I like it when the Doctor has a hat. Not enough Doctors wore hats (Both Two and Eleven liked to pick up hats from time to time but they never held onto the things. The Doctors who held onto their hats were the Fourth Doctor's fedora, the 5th Doctor's Panama hat, and the 7th Doctor's straw hat.).
• The cricket outfit wasn't the first idea proposed for the Doctor's outfit. Initially he would have worn a polo outfit. Davison liked the sporting motif, but preferred cricket gear instead.
• Peter Davison was not a fan of the question mark lapels.
• The Doctor calling a wheelchair in episode 2 "transport of delight" is both a great line delivery by Davison, and a really early look into how the 5th Doctor sees things.
• Nyssa's outfit changes slightly throughout episode two. Her skirt is replaced with trousers, and she loses the velvet jacket and her ornamental comb on Castrovalva. The original costume was considered impractical, so the simplified version was designed.
• In episode 3 the Doctor eats a stick of celery. Notably for the man that would spend the rest of his time on the show wearing celery, Peter Davison actually hated the stuff, and immediately spit the celery out the moment they stopped filming.

Next Time: It's been three whole serials since we've had a story without the Master. So let's get some killer androids in here instead. Much better.

My mother and dadi recently told me that you should never marry your Pasand ki larki and referenced a Pakistani drama with the basic ass script ke larki ati he or Apni games khel ke Ami or Abu KO Ghar se nikalwati he .My dadi watched the drama for idk 6hrs straight and they tell me that gaming is corrupting my mind Holly shit like these dramas are ruining lives. I love my dadi and mother they are great other than this mentality of there's which is caused by dramas

Who has done more damage in misinformation, social media,or fictional works ? Is it a bane or a godsend we have people sharing their lives on any website imaginable ? And it is not good for the fiction writer to use them as a resource? I think the first systems I encountered were people I found from soul bonding communities on live journal. Which would stretch back to 2003, where I was almost convinced having headmates would be good.
I do not know then what to believe, because the. Information is so split on these extreme sides. On on side, what I will read here, on another , making it like an almost supernatural experience. And I see those people get so mad at tv shows and movies, all while saying they live this life that looks like they would be mad if someone wrote about it for entertainment.
They can tell me things, and then I learn it is not true. And I think sometimes a tv scripted drama would be doing a better job, than some youtuber with a tumblr who stirs up drama and gets showcased on cringe sites.

Like many of you, I had wanted to be a performer since I was a toddler. While my parents were struggling to support us, TV raised my brother and me. Stories got me through bullying, s*xual abuse, and witnessing my dad’s cancer journey. I went to school for journalism to appease my parents but wanted to major in either film or acting like some of my friends did. I always told myself I’d become an actor later.
It wasn’t until I received an award for one of my short screenplays in college that I thought I was ready. A big producer who was an alumni from my college called me and said he couldn’t put my script down as he was on his way to set. That year I also performed in a stage play. Everything felt like it was falling into place.
I worked corporate but paid for evening acting classes wherever I could. I devoured everything: voice, movement, scene study, techniques, on-camera, improv, etc. from reputable studios and conservatories in NYC. I moved to NYC! I was meeting industry people! I was invigorated! My friends back home were all rooting for me on social media.
Pounding the pavement was one of the hardest things I’ve ever done. Suddenly I understood why my parents told me not to pursue this dream, why people said “if you can see yourself do anything else, do that.”
My focus shifted from acting after I lost one of my corporate jobs. An actor friend told me I should be a server, as he didn’t understand how I could work a 9-5 and call myself an actor.
I worked grueling hours in restaurants and in catering, living for the moments I got to serve celebrities. Unfortunately, I was never a great server and found that line of work wholly unsustainable for me. I eventually worked for a celebrity chef and performed decently enough to get consistent shifts. But I was too exhausted to audition and to be on top of my craft. The auditions I did turn in were rushed and uninspired. I got called in for a reading thanks to a friend who was connected with one of the directors and botched it because I didn’t memorize my lines.
A more insidious thing transpired the longer I pursued this path, though. I became consumed with the idea of “catching up” to my peers. I had to be prettier, skinnier, funnier, more talented. My instagram needed more engagement so casting directors could find me. I compared myself to an old friend who was ten years ahead of me and fell down the rabbit hole of crash dieting and trying to be an influencer just like she did because she found some commercial success. I tried modeling, partaking in risqué photoshoots and semi-pornographic music videos just to get seen. I stopped going to the improv group I was a part of, a place that gave me opportunities to perform live, instead spending my time with scumbags who would promise me opportunities that never came.
As a mixed race Asian actress, I didn’t believe there would be enough opportunities for me. So I became transfixed on “networking” and improving my appearance. That same actor friend who told me to become a server would get invited to exclusive parties with industry folks; I wanted to be one of them. He asked if I’d sleep with him, and I did — also hoping he would connect me with his friends. He didn’t.
I slept with a directoactor who courted me, again promising me screenwriting, directing, and acting opportunities. He wanted to produce one of my scripts! I thought I loved him, but really I just loved what he was offering me. And of course, nothing came of this relationship.
I was living paycheck to paycheck, barely affording rent. The more industry people I met, the more obsessed I became with maintaining a place in this world. If only I made the right partnerships, then I could make up for all the lost time I spent not being an actor. I was spinning my wheels, embroiled in drama, and my relationship with my loved ones was fracturing as I became someone they didn’t even recognize. I lived for my petty little Instagram presence, where I amassed a following and nurtured parasocial relationships. Directors and photographers I wanted to work with would follow me back. As long as they did, I believed this “method” was working. Meanwhile, I barely participated in acting school and was constantly missing class. One of my teachers became so worried about me and my mental health that she’d text me everyday.
I worked a part-time admin job that was actually a great opportunity for me to pickup some skills, yet I was completely ungrateful. I lied to my boss constantly, slacked off, and dropped the ball many times. The work ethic I was once so proud of was nonexistent. I became a glorified party girl parading as an actress. I told myself I lived for a higher purpose, for art, but in truth I lost all scruples and was looking for shortcuts to success.
Things got worse and I’ve already rambled enough. But eventually I moved back home with my parents because my dad’s cancer returned. He underwent a major surgery that resulted in him developing a rare condition, requiring around the clock care from my brother, mom and me. I don’t regret going home to care for him, but leaving the whirlwind of a life I had behind was hard to accept.
Months into caregiving, a friend I had worked with asked me if I’d like to audition as the lead for a short film she was producing. Some actors I recognized would be in it. How exciting! Well, the part was given to someone who had way more experience (and followers) than me. I felt the same intrusive thoughts creep in, “is it because she’s prettier, white, skinnier?” But I put those aside. They asked me to be a part of the ensemble instead and I was happy for that.
I flew to NYC for a week and shooting was magnificent. Getting into hair & makeup and costume was thrilling. I loved working with the other actors. And meeting an actor I had watched since I was a child left me in shock. I couldn’t help but be starstruck.
The director gave great feedback on my performance and I felt proud of myself. But then people started asking me why I left NYC, when I’d come back, what my next moves were. I found myself spiraling in my grandfather’s apartment, because I just could not keep up. I was flying back to California, but it wasn’t LA. At home I would not be near any film industries. And at home my life would not be content worthy. The paper-thin brand I cultivated on social media could not be maintained. My trip was cut short because my dad relapsed and it was back to reality.
In the months that followed, I did some real soul searching and it was one of the most painful chapters I’ve endured. As I began to pick up the pieces of my life, I realized that my relationship with acting was untenable and extremely damaging to me. I was using it as a means to escape feelings of inferiority. What started out as a genuine love and appreciation for the art warped into a vain attempt at fame and recognition, at feeling loved.
Most of my industry connections have since atrophied and I deactivated my Instagram over six months ago as it became too painful to see everyone move on to accomplish things I never could. One friend from NYC, a model and writer, encourages me to keep trying but I don’t believe professional acting is for this lifetime. I’m almost 30 and quite frankly I’m prioritizing my family and my stability. I never expected my wants to change, but they did. But who knows, maybe someday…
I say all this, at the expense of incurring internet scrutiny and judgment, as a cautionary tale. I believe most of you are serious about acting and understand the sacrifices required. But for those of you who suffer from any sort of dysmorphia or unhealed trauma, be sure you have strong support networks in place while you pursue this endeavor. It’s a highly volatile career path and you truly have to be addicted to the process in order to succeed. Upon further reflection, I realized I was not one of those people.
If any of you have left the industry, I’d love to hear from you. It’s been hard reconciling the last 6+ years and a broken dream. But I will always love acting and movies. I read the posts in this thread and am rooting for all of you.

Ye season maza aara kissi ko? 1. Pehle se mostly show par bane couples ek doosre ko jaante the, planning plotting soch ke aaye the 2. Cringekriti plastered on screen every 2mins of the show, given maximum screentime for some unfathomable reason 3. Pehle bhi log bolte the ki scripted hai scripted hai but bhai ye season ekta kapoor junior direcr kar rahi kya? Sab 'game ke liye' kar rahe to reality tv tag kaise hua? Drama serial rakho na.. directed by falaana, scripted by dikhaana 4. MTV ka koi abiding contract nahi hota contestants par? Episode se pehle saare contestants spoiler daal dete. Even season end ke spoilers hai. Yahan spoiler kaun jaldi dega uski race hori lagra. Mtv se judne se jyada inko insta followers ki padi hai. How is mtv tolerating this? 5. Cringekriti (had to say it again coz for real not enjoying the show coz of her.. villain hona zaroori hai but cringe on another level is a completely different story, kuch to level hona chahiye)

I think it's a regrettable movie. Absolutely wasted, with totally unjustified attempts at shock and no climax whatsoever. It is true that at some moments it has moved me, I have even been on the verge of shedding a tear. But taken away from a few minutes it seems like a tremendous disappointment to me.
Possible spoilers, don't read if you don't want to know:
It is a film that deals with guilt, mental health and abuse. Powerful themes, capable of making us feel truly bad. Well, in the end everything comes to nothing. It does not go deeper nor does it manage to empathize with its protagonist. On several occasions we see how its director is capable of making us feel a lot with very little. Moments that move you, that make you understand the entirety of a situation with just one well-acted phrase. Unfortunately these moments are very rare and are hindered by a vague and almost ridiculous script at certain moments.
I thought I was going to end up mentally exhausted, sad and shocked, but in the end I ended up watching a bad movie with an absurd amount of cheap drama and some attempts to shock the viewer that just don't fit together properly.

So I was surprised that Diggy backstabbed his own bro Devansh. Now I saw a nayera story, and a live of Diggy with devangini. Everyone’s saying the words “make a good show”, “support the show”. Apparently according to the contestants there’s a few main people that cannot be out and it they are then the makers aren’t happy with you and you are in trouble. How does one decide who is main until the season comes out ? How do the contestants know who’s main and who’s not.
People said shiwet, digvijay and akriti are the main 3 characters and won’t kick each other out ? How so ? How did these 3 think they were the main ones? Also digvijay mentioned that if he would have written anickas name he wouldn’t be an ideal match because the makers wouldn’t permit it. Can someone break this whole phenomena to me ? So legit everyone’s fake, the fights aren’t even legitimate since even tho you hate them you won’t kick them out ? I don’t know what’s going on, but this may be as good as scripted it not scripted by each word.
Like how can you not kick anicka, and how do you know you are the chosen one or she’s the chosen one. So the whole oracle is BS, people hate each other only to save each other implicitly. What’s even the point of this scripted BS. If people won’t rowdy drama, we got enough coming out of politicians. So you hate them only for footage ? Does loyalty even mean something anymore ? Are all these IG fights fake ?
I actually got a bigger headache watching how everyone’s agreed on this concept of “good show” and will go against their will and the right way just because the other person may be the channels favored one or someone who may give a good show. I still don’t know how the contestants or makers decide who’s a good show, unless it hits the TV and audience decides for themselves.. also how’s everyone so confident kicking dewangini guaranteed ideal match whereas anicka didn’t ?
Is this even a love show anymore, wtf is the oracle, if it’s the makers who decide everything and who’s a couple or who’s the lover or who’s not ? Is this shit this fake…
Is this why ranvijay was kicked, because he didn’t stand for the duplicity and double standards in splittsvilla X3 ?

I've got my series planned out - it's a light series starting as a one-off drama, but not a comedy, and not fluffy, it's not dark either. Not too political. It's a family-friendly show possibly for the festive season.
It has no human antagonist - the conflict is the run-up to Christmas itself.
The show is 60 minutes long and for the UK market; been looking at some companies who accept scripts from unknowns.
The only problem is the setting - I'm looking at early 2000s, so 2002-2005 at a guess; what are major historical errors to avoid making?
2002, 2003 and 2004 were the years I was thinking of but haven't set it in stone when.
However, it takes place in the festive season of one of them.
It needs to feel like a period piece, but also, it's not a historical drama, the 2000s is just the setting.
The setting is a realistic universe - so no sci-fi/fantasy, it's relatable.
So far, it's mostly female protagonists, much like Channel 4 sitcom Hullraisers, but without the sitcom vibe.
My big problem is how far to go without taking too much liberties with real history but ensuring it feels realistic enough.
I don't know where to start for the historicla research.
I've spent more time on characters and plot than setting.
If you could help me, it's very much welcomed. New to this but enjoying the process so far learning about it.