#also seeing myself pop up on other peoples year in reviews is WILD | Explore Tumblr Posts and Blogs

ordinaryschmuck · 3 years

Text

What I Thought About "Eda's Requiem" from The Owl House

Salutations, random people on the internet who certainly won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

...

...HOW IS SEASON TWO SO GOOD?! WE'VE HAD SEVEN EPISODES SO FAR, AND EACH ONE OF THEM WAS A HIT!

Take "Eda's Requiem," for example. It's yet another episode where I have NOTHING bad to say about it! That's two weeks in a row where that happened! HOW DOES THIS HAPPEN?!

HOW!

...But anyways, "Eda's Requiem." It's another fantastic episode, and I'm about to dive into explaining how and why. Just keep in mind, it's gonna require spoilers to do so, so be wary of that as you keep reading.

Now, let's review, shall we?

WHAT I LIKED

Eda’s Checklist and Grom Photo: Within the first second, "Eda's Requiem" perfectly sets up Eda's central conflict in the episode. Despite spending years being on her own and looking after herself, she now has two kids that she's constantly caring over. Eda can try all she wants to say that she doesn't care, and I bet she has in the past. But given the hard work she's putting into getting King and Luz what they need and having a grom photo of the three of them together pinned in her mirror, it's pretty clear that those two knuckleheads wormed their way into her heart and are never getting out.

Eda’s Worried About King and Luz Leaving: And thus, that's precisely why something like this bothers her so much. Eda inadvertently adopted two rambunctious rapscallions (Yeah, I know. I'll get to it), so the idea of them not being around her anymore is going to be terrifying. That is a situation most parents, especially mothers, can identify with. It’s called empty nest syndrome and it proves just how much Eda loves Luz and King that she can't stand the thought of her babies leaving the nest. It's yet another well-made, wholesome, found-family moment that this series continues to excel at each week, making me extra excited for more like it to come...while also readying myself for heartbreak when one of them eventually does leave Eda.

Eda and Raine’s Music: Ok, I don't know the exact instruments that were played during this episode, but I also don't care because it was all (for lack of a better term) music to my ears. Every time Eda and Raine played resulted in melodies that are so beautiful and filled with so much emotion and feeling that I'm honestly tempted to listen to them again, multiple times, on repeat. Shows rarely do that for me, as background music doesn't always draw me in as much as lyrical songs do. Usually, it takes something so extraordinarily composed to give me the desire to listen again, and that's the case here. So huge congrats to Brad Breek for doing so. Seriously, the man's been killing it this season.

Eda’s Bard Magic Causing Things to Turn to Ash: This was assuredly a surprise side-effect of the curse. The fact that Eda can sort of do magic at all was its own shock. To then reveal that a specific type can do dangerous things to people and environments is...Well, it definitely brings up its own fair share of questions. Like, how can she do this? Will she do it again, one day? And are there other types of spells that can be negatively affected by Eda's curse? We don't get answers for any of these questions, and odds are, we never will. But that's alright with me. Because if a show makes me consider these many possibilities after a brief amount of time, it is a show that has to be doing something right. Even if I don't get the answers I want, the fact that it caused such a reaction makes me less willing to care.

Raine Whispers: Hey, would you look at that. Another fun, interesting, and compelling character added to the list of this shows' other fun, interesting, and compelling characters...how is this series so good at this!?

Joking aside, Raine's pretty good. I like Raine. They could have been this super serious leader who lost all their fun after years apart from Eda, but I'm glad that they're not. There are moments when Raine takes their job as leader of the BATs seriously, as one would, but I still prefer the fact that they kept a jovial nature despite how grim their situation is. It's an admirable trait to have, and it avoids the trope of making leader characters boring just because they're the ones who have to take things seriously.

Oh, and also, Raine's Disney's first non-binary character who has a stake in the plot. This is a tremendous deal, as you don't usually see that many non-binary characters in children's animation, let alone ones that hold importance to the story. So it's pretty cool for the writers to feature Raine, as it helps several kids feel as though they're finally seen and respected. And the fact that Disney of all companies gave the thumbs up is even more impressive. I hear people say that Dana Terrace should have pitched The Owl House to more progressive networks to avoid pushback, and while I absolutely see your point, I'll have to respectfully disagree. Disney is the largest entertainment industry of all time, so if you want to make LGBTQA+ representation normalized, you gotta stop making splashes and start making waves. Because if the same company that made three racist cats in the span of a few years manages to say that being gay is a-ok, then you know there's something wrong with you. Yes, Disney ended up screwing over the show anyway. But for that one moment, when kids felt pride after seeing a character like Raine, then, in the end, it's kind of worth it.

Also, if you're still having issues with more representation like this popping up in kids' shows, then allow me to redirect you to the complaint department.

...I made that post earlier today for this bit. YOU HAVE BETTER APPRECIATED IT!

Day of Unity is meant to be a Secret: At least, that's what I got when Raine stumbled over their own words. So if it's true, then I wonder why? Why does Belos want to keep the most critical change in the Boiling Isles a secret? Does he want to make it a surprise for his grateful subjects, or does he not want to spread worry and fear amongst the wild witches? It has to be something big if he doesn't want his followers to even say the words "Day of Unity." Whatever reason he has, we most likely won't know until the future. A future that I grow more and more afraid of each week.

Hooty Eating Echo Mouse: My heart sank in that brief moment when I thought that Hooty intensely screwed Luz over in getting back home. But looking back...it is pretty funny.

Just the suddenness of Hooty eating the poor creature that Luz desperately tried to earn its trust is priceless in how shocking it was. And also, Luz's expression.

That was the look of a young girl who immediately shoved her hand down an owl demon's throat the second the scene cut away. The Owl House may not always be a hit in the comedy department, but scenes like this prove that when it's funny, it is hilarious.

Luz and King Entering the Grand Prix: Not much to discuss here. It's just a cute subplot that adds frivolity to the intensity of what's going on through Eda and Raine's story. But I will say that I love how both stories occasionally interconnect with each other through the many moments of Eda being worried about King wanting to leave to find his father and avoiding any conversation about it. It helps both plotlines feel like they belong together, without being something like "Through the Looking Glass Ruins," whereas both stories could have been in their own episode. Which is neat.

How Bard Magic Works: I really love how this season is diving into how the other magic types work. More specifically, the ones that seem a little vague. I mean, stuff like healing, potions, and plants are easy to figure out, but what does it mean when a witch's talents are construction, beast keeping, and bard magic? We've been getting a lot of clearing up lately, with bard magic looking like a witch can control their environments and enemies through the power of music. Which is fair. Music is pretty powerful in the metaphorical sense, and I actually love that it's powerful in the literal sense when in the Boiling Isles.

The BATs: Not much to comment on these three either. The BATs have the potential to have an entertaining dynamic, but they do very little in this episode that I can't say much other than I hope they make a return in the future. But I will make this claim: Amber is my favorite. I'm sorry, but her screaming "You're not our mom!" to then go, "Bye, mommy Eda" is just too precious for me not to love.

I'm a simple man who falls for cute s**t. Leave me alone.

Raeda (RainexEda): Well, EdaxCamila, you were a fun crack ship while it lasted, but I'm afraid that this is now goodbye. The current canon has provided an incredibly adorable and believable relationship that I would be a monster not to support with my whole bi-heart. It's been real.

Ok, back in serious mode: I love these two together. Eda and Raine are grown-ups, and they still act all flustered near each other as if they were still Luz and Amity's age. It's definitive proof that you're never too old to get flustered near a crush, and seeing them interact adds a sense of wholesomeness when seeing them together as well as heartbreak when they're forced apart. Plus, we get confirmation that Eda's LGBTQA+! Whether she's bi, pan, or whatever, now that we know Eda can catch feelings for someone like Raine, it's yet another case that The Owl House is the most important series to the community. Because having the main character be queer is fantastic in its own right. But having the same apply to the motherly mentor figure? That's is an extra bit of normalization that anybody would be willing to appreciate.

Unique Guard Designs: Not many fans are going to appreciate this, primarily compared to everything else this episode does perfectly. For me, I actually like that you see a few Coven Guards looking differently from the others, as it helps make them less like clones and makes it seem like anybody of any body type could be a part of the coven.

Gus Looking Uninterested when Presenting Grand Prix with his Dad: I am positive that you didn't notice this (I didn't even notice it until someone else pointed it out), but there's something to dissect here. It hints that perhaps Gus isn't as interested in his father's field of work as one might think. If he did, he would look a lot less bored and much more excited to be helping Perry Porter present the race. It could just be the race itself, but judging from Gus' expression, it really seems like the kid would prefer to be anywhere but there. And why would he have that reaction to a race that his best friend is competing in? To me, this seems like an inkling of what Gus' relationship with Perry could be, which may not actually get time to shine, what with how little wiggle room the series has now (Thanks Disney). Regardless, it is interesting to notice, and it will certainly have fans thinking for a while.

Bump Being Smug of Luz Being in the Lead: That's it. Principal Bump looking smug as his human student is beating the students of his rivals is yet another moment that proves why Bump is easily the best cartoon principal.

Darius: First of all, this guy is f**king fabulous, and I love him. *Snaps*

Second, he is definitive proof that you do NOT want to f**k around with Coven Leaders. Lilith may have had her intimidating moments, but none of them compare to the guy who can turn himself into an abomination monster where only magic that hasn't existed before can take him down. It's genuinely scary to see Darius lose control, and I fear for the day when Luz inevitably ends up in his crosshairs.

With that said, Darius' still a ton of fun! He may be threatening, but he's just a flamboyant guy that hates the idea of getting his outfit the tiniest bit dirty. And I love that. I love that these Coven Heads have actual personalities instead of being generically evil. I consider it preferable to make villains entertaining rather than blatantly scary as I'll remember the personalities first and the villainous acts last.

Eberwolf: But this one's my favorite. I told you: I'm a simple man who gets easily swayed by cute s**t. And Eber? I mean, just look at her:

She's just a cute widdle rascal! I just want to pinch her cheeks, give her a belly rub, and--

...Eberwolf is not a cute widdle rascal. She is a strong, independent woman, and I will respect her as such from this moment forward...lest I feel her wrath.

That is all. Let's move on.

Eda and Raine Attempting a Final Performance: This was the best scene of the episode. It looked gorgeous, it shows the dedication Eda and Raine have for stopping Belos, and it says so much through so little. Go back and look at how Eda and Raine regard one another when performing Eda's requiem. Through their expressions and a few short words, you know they understand that if they complete the song/spell, they probably won't make it in the end. And yet, they don't care. They both know bad stuff will happen if Belos wins, so Eda and Raine put everything to the side, both their feelings for one another and the people they leave behind if it means putting an end to a tyrant. That level of dedication...Words can't fully describe how powerful that is.

Raine Sacrificing Themselves Instead: But in the end, Raine can't do it. Not when they know the life that Eda has and the people she'll be leaving behind. It's an extra bit of nobleness to the character seeing that Raine refuses to take away a woman from two kids who need her the most. A tad bit selfish, sure, knowing what Belos has planned. But when it comes to love, the romantic, familial, or platonic, the best decisions aren't always the logical ones.

Eda Crying: Luz crying tears me up, but seeing Eda cry is a whole different level of heartbreak. Like Lilith, Eda has her emotions locked up tight, with the closest she came to weeping were those two tears in "Young Blood, Old Souls." In "Eda's Requiem," she cries but almost quickly stops herself. As if she knows that doing so isn't going to save Raine. That is...even worse than seeing Luz break down after losing Eda. The fact that Eda refuses to give herself time to mourn losing someone she loved is tragic because crying is the most natural way of showing grief. Turning that off isn't healthy, and seeing her do it with little resistance is sad to me. It's sad to see a character I love can easily shut off all emotions despite how badly she may want to embrace them. It's one of those moments that, again, by doing so little, it shows so much.

“No one watches Crystal Balls anymore. It’s all about streaming.”: Oof. Even I felt that burn towards cable.

King’s Message: King's message was the pick-me-up I needed after the heart-wrenching sadness this episode put me through a few minutes ago. Seeing King say who he is and listing all the things he loves is nothing short of adorable. On top of that, I adore that Eda willingly recorded the whole thing. She may not want King to leave, but that doesn't mean she'll sabotage the one thing he wants. Especially not after Raine gave up everything so Eda could be with her kids. The opening scene may prove how much Eda cares about a rascal like King, but this heartwarmingly sweet moment reveals just how far she'll go to make him happy.

King’s Dad Reveal: ...ok, I'll be honest, I did not think we'd get that reveal this soon. Dumb of me to say, considering the number of times I've said that these writers don't waste time getting to the s**t, I know. But still, it's pretty cool knowing that King's dad is alive and well, added with the fact that we've got a fair idea of what he looks like. At this point, it's only a matter of time before we see him figure out where the Clawthorne residence is and witness the tear-jerking moments that will follow.

King Changing his Name to King Clawthorne: Not the official adoption I was expecting Eda to make...but DANG IT, is it still diabetes-inducing levels of sweetness!

Personally, I feel like the main reason why Eda breaks down this time is not only because she shouldn't be worried about King leaving her life, but also because Raine's sacrifice wasn't in vain. Her kids really do need Eda because no matter how far apart they'll be, she will always be a part of their life...dang it, I'm going to cry too!

What those Coven patches really do: Well...that was horrifying to see.

...Writers, if you kill off the best non-binary character in animation (it's a short list, I know), we are going to have PROBLEMS!

IN CONCLUSION

"Eda's Requiem" is--surprise surprise--another A+. The emotions hit hard, the representation hits harder, Raine is a fantastic addition to the cast, and it was all surprisingly cute at times. Season Two is currently on a hot streak, constantly winning with every episode that's come out so far. When a bad episode does eventually show up (IT'S GONNA HAPPEN!), I'll be sure to sing my requiem then. For now, I'm just gonna enjoy the ride.

#the owl house #the owl house season 2 #the owl house reviews #eda clawthorne #raine whispers #raeda #king of demons #toh darius #toh eberwolf #what i thought about

28 notes · View notes

lit-in-thy-heart · 3 years

Text

you know what, what's the point of being on this platform if you don't get to bellow into the void about your interests in the hope of finding someone with the same interest?

in light of this, let me inflict a lowdown of the victorian literature (mostly novels because poetry is difficult to collate) that i've read for my module this year upon my mutuals

i'll do a separate one for vampire novels and reblog with the link

because what are the victorians without vampires? straight

bleak house (dickens): what a ride that was! yes, it was nearly a thousand pages and, yes, some chapters i was like can we move on please, but that's dickens for you. honestly, i loved it. if you're looking for thinly-veiled lesbianism, this is the book for you (esda all the way, if they even have a ship name). unfortunately i already knew one of the plot twists due to watching dickensian five years before, but there are plenty more to go around! if you can get through the first chapter describing nothing but fog and the law courts, you're in for one hell of a treat -- just don't google anything about it until you've finished because you will get spoiled (or don't share a house with me, where i'll tell you the entire plot as i'm reading it). definitely recommend, but marking it down for the heteronormativity with allan. (9.5/10)

villette (c. brontë): where to fucking start. i, quite frankly, do not care for charlotte brontë, and when reading the earlier novel agnes grey by anne, i could see some more things that charlotte has filched for this travesty. no victorian novel is going to be without problems, but this one was xenophobic, ableist and, of course, racist. the protagonist doesn't really give anything away, which is meant to make her more mysterious, but it just renders her an empty vessel. oh, and she tells you stuff that she's figured out waaaaaay after she says she's figured it out, a bit like she's allowing you to feel smart for making a connection before going 'oh yeah i knew that like twelve chapters ago, keep up'. some of the passages are really striking and there's maybe one character who's likeable but that's about it. i'd say it's more a story of omission than repression tbh. (4/10)

janet's repentance (eliot): wait, have i even finished this? no, no, i have not. it's fine, i wasn't going to tell you the ending anyway. i did get hooked eventually, there were just a LOT of names thrown around in the first few chapters, and a word that i didn't know was used frequently (turns out it was a name for the followers of this guy). i did get strong hester prynne/arthur dimmesdale vibes from some of the main characters, but janet is a very sympathetic character which, after reading villette, was nice. slightly depressing in some places, but a good enough read if you're not cramming it in the day before your tutorial, because it is mildly dense. (7/10)

the wonderful adventures of mrs seacole in many lands (seacole): not what i'd been expecting to read on my module, what with it being a biography, but enjoyable nonetheless. horrible histories lied to me, though, she was in her 40s/50s when she treated people in the crimean war, not in her 20s, but that's minor. it was actually quite funny??? like she was very reluctant to give away to give away her age and almost slipped up a couple of times, and also made some very biting remarks about people who were passing comment on her skin colour. for a biography, it wasn't hugely biographical, in that she was married for what seemed all of five minutes before her husband died, when in fact they were married for several years, but if you want an in-depth depiction of war, this is for you. not what i'd usually read, but some of the descriptions are so vivid that it does read like a novel in places, though sometimes the descriptions were so detailed that i did tune out at odd intervals. (9/10)

the happy prince and other stories (wilde): if you're feeling low, don't read these. don't. especially not 'the nightingale and the rose', because that was honestly heartbreaking. really well-written, some passages were just beautiful, i just wasn't in the right headspace to fully appreciate it. it also has a lot of death, i should probably explicitly say that. (8/10)

agnes grey (a. brontë): chef's kiss, honestly. if i'd read this last year then i think it definitely would have hit a lot harder, what with agnes moving away from home for the first time and struggling with loneliness around people who she is different from. beautifully written, i'm irritated at myself for not reading it sooner, even though i've owned a copy for about four years or so. agnes does come across as a bit wet sometimes, but those moments are rare and far between, she's overall a resilient character who is trying to make her own way in the world. seeing as i managed to get through the whole thing and didn't lose focus on what i was reading, i rate it higher than jane eyre (which is a rip-off of this anyway). we stan anne. though i am marking it down for the underdeveloped romantic relationship that just pops up (9.5/10)

now for some old classics that weren't taught on my module, but i can't not mention them

a tale of two cities (dickens): this was my first dickens book and oh my word what a book. yeah, okay, lucie is a bit of a wet dishcloth and has basically no personality, but there is definitely something there between her and her maid. sydney is my baby and oh so gorgeously dramatic ("you have kindled me, heap of ashes that i am, into fire"), which was perfect for the pangs of unrequited love. the plot is slightly confusing, and you don't really understand everything until right near the end, but i loved finding parallels in the chapters set in france with the chapters set in britain. oh and the showdown between miss pross and madame defarge is wonderful. i had a tradition of reading it on the run-up to christmas, just because that was the period when i read it for the first time, but i haven't done that for the past two years just because of exams and stuff. now, bleak house just pips it at the post, but i still love it dearly. (9/10)

wuthering heights (e. brontë): i couldn't review victorian literature and not include this. there are very strong similarities between this and villette (seems charlotte really drew on her sisters' work), particularly in terms of me not liking a single one of the characters except hareton. everyone is called cathy. literally. and heathcliff/cathy one is a toxic ship that should not be boarded. it is obsession, not love. the second volume is basically a repeat of the first one, thus showing that humanity will never move past its vices and will be caught in a vicious cycle of self-destruction for the rest of time. again, though, beautifully and vividly written. the characters are the type that you love to hate. (8/10)

the tenant of wildfell hall (a. brontë): what. a. book. this was a book that was simultaneously loved and condemned as scandalous when it came out. there's mystery, there's a woman escaping a horrible situation and making her own living, and there's a well-developed relationship! and the characters are likeable (i love rose, she's great, completely goes off at her brother when she has to do things for him all the time), which always puts it onto a winner. there's one chapter with gilbert that i have to skip just because i hate what he does in it. there are quite a lot of religious references, with redemption playing a huge part in the novel, but even the religious views brontë expresses went against a lot of the teachings of the anglican church at the time. do i even need to say that it's beautifully written if it's anne? marking it down for gilbert's behaviour and arguable control of helen's narrative. (9.5/10)

far from the madding crowd (hardy): i love this book. a little more uplifting than tess but still with the drama and murder you'd expect from hardy. maybe my review is influenced by my tiny crush on bathsheba: she's not the best role model but damn what a woman. gabriel isn't quite bae but i love him all the same, i'm so glad he's happy in the end. (9/10)

66 notes · View notes

triforce-princess · 3 years

Text

well, i finally 100% completed hyrule warriors age of calamity in its entirety, including post game content, so i’m finally going to write a full review. beware this review will contain every spoiler imaginable so please do not click the read more if you haven’t finished the game yet and don’t want to be spoiled!

tl,dr; this game is a lot of fun despite some of its shortcomings and it’s really nice to see characters get the development they needed in breath of the wild. also a huge improvement gameplay-wise from the first game. if you’re a fan of breath of the wild it’s worth a try, just don’t expect breath of the wild style of gameplay! and if you’re a fan of the original hyrule warriors, you are going to love this a lot. ok now to get into the details. this is extremely long;

about the gameplay; it took me a while to fully adjust to the new controls and mechanics, but once i finally understood it it was so much fun. i originally wasn’t crazy about the sheikah slate runes since it was difficult at first to remember that a. i had that ability, and b. when the proper time to use it was. but when it finally clicked for me it brought a whole new interesting layer to the gameplay that challenged my memory in a fun way. it took me even longer to learn what the use of the rods were but those were great in a pinch once i figured it out. i also loved the flurry rush mechanic since dodging is a pretty important aspect of the gameplay. all these new layers added to this gameplay makes me wonder how i ever put up with the original hyrule warriors gameplay lol. something i wasn’t entirely crazy about was the wall jumping and paraglider stuff? i never really found it useful and it always just became a problem when i was trying to dodge and i’d be confused about why my character was slowly flying around at critical moments.

the camera in this game was pretty frustrating. with the more organic map & lots of tight spaces (which i’ll get more into later), the camera would get stuck a lot and you’d be unable to really see what’s going on and it got pretty frustrating at times. i wish there were some way they could fix that but i’m not sure what they could do without having the camera go out of bounds & show the edges of the map. maybe they could’ve made some of the objects that are in the middle not be things the camera get stuck on though.

i also felt like there were too many special effects going on with some enemies and attacks, sometimes it would cover up large parts of the screen & you wouldn’t be able to see what you were fighting and that was pretty stressful (i found myself frequently yelling “i can’t see!!” when i’d defeat a guardian or something in a room with lots of other enemies. this only became an issue in the later parts of the game though.

now about the maps, i do love how much more organic and natural they are. it’s a big upgrade from the original which had a lot of wide corridors leading into square rooms which were allied/enemy basses. but unfortunately, this causes issues with navigation and the camera getting stuck (like i mentioned before). i had a lot of problems where the map was too natural and i was confused about why i was getting stuck on level geometry when it looked like i could walk through there. i think the breath of the wild style makes this confusing too because you can’t really undo a thousand hours of being able to walk through nearly everything. but also it was just really unclear what was a wall and what wasn’t sometimes. i was surprised i actually had to zoom in on the mini map and look at that to move around at times. definitely an ambitious aspect of the game & i appreciate the effort and detail, but i don’t know if it works that great for this style of gameplay. i also don’t know why they bothered putting so many small details on the ground if they’re just going to pop in so close to the camera. it was kind of awkward when you cleared out all the enemies & were traveling to another location and it was the only noticable thing on screen.

speaking of ambitious, we can’t ignore this game’s framerate issues. it’s the first thing on everyone’s minds when talking about this game. most of the time, it was pretty acceptable. but they definitely pushed this game farther than the switch can go and it shows. i really appreciate the love they put into making this game as detailed as they did, but i don’t know if it was worth it in the long run. there’s only a couple times i can think of where the framerates got absolutely unacceptable, and it always seemed to be when there was a lot of electricity and enemies on screen at the same time. it happened once during the final vah naboris mission and another time where there were a ton of electric lizalfos all shooting electricity at once at the same time you have to fight an electric lynel. but, i’m not the kind of gamer that loses my shit over dropped framerates, i grew up with the n64 & have had to put up with poor early emulation many times in my life so framerates don’t really phase me until it just gets unplayable.

wasn’t crazy about how many late game missions were just boss rushes, but that’s pretty standard hyrule warriors fare. at least it was more fair in this game where most of the time you only had to fight one boss at a time and the next boss wouldn’t spawn in until you beat the first one, so there was no risk of accidentally aggro-ing a boss in another part of the map & have an unfair fight on your hands like in the first game. it was pretty anti-climactic how the seemingly final mission which had the highest recommended level was just another boss rush, and not even the hardest one (it was just a bunch of regular malice bosses in a row).

bit of a side note but i didn’t like having to grind for materials and find koroks for 100%. the koroks weren’t nearly as bad as breath of the wild though, thank god.

i’m pretty disappointed that some content that’s clearly in the game isn’t unlocked in the base game, it’s looking pretty likely that they’ll add it as dlc later & pretend it’s new content to make the game relevant again...i’ve always firmly believed dlc should be extra content that’s added in later. hopefully they’ll add some really cool stuff as dlc alongside the stuff that’s in the game & it won’t be so disappointing. there’s two characters i was sure would be unlocked as playable characters (sooga and astor) but i found it weird that you don’t get them in the post game and instead you get to play as the egg guardian (terrako) and calamity ganon???? talk about subverting expectations. also really frustrated to learn that zelda’s royal dress isn’t available in the base game but its in the files & is just missing one body part?? really hope that’s just a free update and not like, paid dlc. kind of dumb that they didn’t give the devs one extra day to model feet on the character.

about the story; the story starts out really strong i feel, i loved seeing characters get the development they didn’t get in breath of the wild and this game’s story makes breath of the wild’s story feel even more incomplete than it did before this game came out. and actually seeing the story play out in chronological order in real time without link having amnesia gave the story so much more feeling and connection. this is probably my favorite aspect of this game because i was always so disappointed with how disconnected you feel in breath of the wild because of the way the story is told. and it does so much of a better job illustrating link and zelda’s feelings. i’m probably the single most difficult person to convince when it comes to link and zelda being in a relationship or having feelings for eachother and i thought this was quite possibly the best master sword scene in any zelda game;

in previous games link has always had to prove his courage in a variety of trials spread across the land and to me its really boring, especially after how many times its been done. the thing that gets me about this scene is the master sword deems him worthy because of his desire to protect zelda even when he’s been beaten down & disarmed. that was a really beautiful moment to me & i’m glad they wrote the scene this way.

speaking of being worthy of power because you want to protect someone, i wasn’t really that crazy of zelda unlocking her power just because she loves link but honestly this game illustrated it in a much better way & i’m more down with it now. i loved this shot how it really captured what she was feeling;

it’s also in general awesome to see the champions in action, both in gameplay and in cutscenes. i remember being in awe the first time i got to play as urbosa. it feels like we finally really got to know them and how powerful they really were, instead of breath of the wild just telling us they were cool & we just had to believe it.

now for the part i know people say this game is shit because of; the time travel aspect. yeah, it’s a little silly and nonsensical, but honestly, it was kind of fun. and i don’t get how a time travel plot is somehow weird for the zelda series. the most critically acclaimed game of this series, ocarina of time, is entirely revolved around a time travel plot & the heroes would not have won if it weren’t for time travel in that game. yeah, it’s goofy, but this series is known for its nonsensical aspects & plotholes. there’s always some kind of unexplainable magic in this series that solves problems. i don’t think that makes this game shit. plus i was kind of starstruck when i first got to play as sidon lol. i was thinking to myself, man, who would’ve known 3 years later we’d get to play as sidon! crazy! none of the champion descendants were really my favorite to play as but it was still cool to see them & play as them.

something i didn’t understand was why kohga and the yiga clan joined zelda’s cause? i feel like a vital scene got cut. i don’t get why he’d join even when astor betrayed him, considering his group’s ambitions and how many times they tried to kill zelda. and where’d sooga go? the scene of astor betraying them kind of implied he was going to die but we never got confirmation of that, and he even shows up in a post game mission as an ally (no cutscene, just one line of dialogue during gameplay)

as for the ending, i guess it was alright? astor was a really lazily written villain and i just did not care for him at all. kinda don’t even care that we don’t get to play as him (yet, probably). calamity ganon’s design in this game was terrible. and i guess it would’ve been hard to make it work, but no beast ganon? just felt a little to easy to wrap up. despite this i guess it was nice to see hyrule get a happier ending even if it was a bit nonsensical at times. also this is just a bit of a personal thing for me but i liked seeing hyrule before it was destroyed. it always bums me out when you find a locaiton in game that’s been destroyed & you can only think about what it mightve looked like before. this is something that’s bummed me out since wind waker (was always disappointed you don’t get to see what greatfish isle is like!!) and breath of the wild gave me so much disappointment in that aspect lol.

one final thought but it was odd to me how many lines revali got & how often he interacted with link lol. was weird to see him slowly warm up to link a little towards the end (but of course he’s still a little mean...). no other character acknowledges link as much as revali. this scene confused me the most??

there were so many other people revali could’ve spoken to. he barely even acknowledges teba who was the one who specifically came to his aid!! and the way link looks at him with big puppy eyes?? link barely makes a facial expression at anyone else! and how revali expresses gratitude for the first time in his life after looking at link’s stupid cute anime face and smiles (but he turns around because he would be too ashamed to smile at link i guess)

anyway that’s it, i finally got out all my thoughts about this game. this went on way longer than i intended and i’m sorry if you read the whole thing & it took forever lol. this game is fun, get it.

#legend of zelda #hyrule warriors: age of calamity #breath of the wild #text #hwaoc spoilers

80 notes · View notes

knives-out20 · 3 years

Text

The Impact Of The Intergalactic - David Bowie Opinion Essay - by Beck S.

This is an essay I wrote about the span of David Bowie's career. I wrote it for a summer school course I took last year (August 2021) for a course called History of Rock & Roll.

My teacher gave nice feedback after he marked it, talking about how it was an "Excellent paper. It charts Bowie's progress throughout his career well, and includes significant detail. I could really feel the passion you have about him throughout. In fact, there is *too much* detail! The paper was supposed to be 3 pages max, double-spaced. Still, this is a good problem to have; better too much than too little."

So...enjoy!!

From his early works like Hunky Dory, to Black Tie White Noise in the 1990’s and stretching over to Blackstar as his final album, David Bowie has rarely had a bad album or song- in my opinion. His career has had ups and downs, his musical creations ranging in the way he would pitch his voice and what instruments he would use, the people he would produce with, and the wild things he would say. Charting David Bowie’s development over time is in fact an interesting journey.

Early on in his dreamy career, Bowie would have done nearly anything- or in fact, anyone- to grow in the music world. Hopping from band to band (like The Velvet Underground), producer to producer, doing whatever he could do to get ‘in’ in the industry. His early albums weren’t taken very highly in their times- especially with the ‘man-dress’ he wore on the British release of his The Man Who Sold The World album. Although, this dress was only the start of the androgynous appearance he would soon be known for, over the course of his 5-decade-spanning career.

The 1970’s were strange, to say the least. He married Angela Bowie at the start of the decade, then welcomed their son Duncan Zowie Haywood Jones a year later. Bowie went on to be hopped up on cocaine. David donned the look of one of his famous personas, The Thin White Duke. The same persona with slicked-back ginger hair, a white button-up under a black waistcoat and paired with black dress pants. The same Duke who called Adolf Hitler one of the first ‘rock stars’ and gave off a lot of faschist energy. He said many statements he’d later apologize for and grow as a better man from, which is good- it’s better than standing by then, or even backing himself up and supporting them. David Bowie called that period the darkest days of his life, and blamed the crazy statements on his horrid addiction and deteriorating mental state. The late 1970’s were more favorable, seeing as it gave the world what was dubbed the Berlin Trilogy alongside Brian Eno and David’s personal friend, Iggy Pop. Made up of three of his albums: Low and Heroes (both in 1977) and Lodger (1978). He moved from Los Angeles to Switzerland, then to Berlin as a further decision to escape his addiction (the reason he moved away from LA in the first place). It was in Berlin, of course, where he wrote his famous song Heroes, about two lovers, one from East Berlin and one from West.

Speaking of Berlin, David Bowie performed near the west of the Berlin Wall in 1987; he played so loud that crowds gathered on the east to listen. At this time, Bowie had no idea he would be the beginning of the city’s soon-coming unifying. After his death in 2016, the German government thanked him for bringing the wall down and unifying a divided Germany.

Music isn’t all he is known for, though it is a majority. He also starred in movies from time to time. Being the titular man in The Man Who Fell To Earth in 1976, Jareth the moody goblin king in Jim Henson’s 1986 Labyrinth film (what is most likely his most famous role), Monte the barman in the 1991 movie The Linguini Incident, cameoing as himself in Zoolander (2001), Nikola Tesla in the 2006 movie The Prestige, and even Lord Royal Highness in Spongebob Squarepants’ Atlantis Squarepantis in 2007, among a few others. David Bowie dabbled in the art of acting, and was not that bad at it. He was good enough to gain a star on the Hollywood Walk of Fame, too. Sometimes it bends my mind that my first introduction to my all-time favourite musician was in a Spongebob Squarepants movie, back before I knew who he was, but David Bowie was never one to shy away from foreshadowing. At least one song from many of his albums would hint at the direction he’d go in for his next release. For example, his track Queen Bitch on Hunky Dory foreshadowed his soon-coming Ziggy Stardust. And the Diamond Dogs track 1984 actually hinted at the Philadelphian soul of Young Americans, which is a more famous song of his, which he went on to perform on The Cher Show with its host.

The 1990’s were certainly an experimental time for David Bowie. But to my knowledge, I think the 1990’s was a time for everyone. He married supermodel Iman some days after performing at the Freddie Mercury Tribute Concert, and released the album I named earlier, Black Tie White Noise. It is known to have had a prominent use of electronic instruments, as was his other 1990’s album, Earthling. The early 1990’s greeted David’s first real band since the Spiders From Mars, dubbed Tin Machine. They recorded three guitar-driven albums which received mixed reviews from the masses, but Bowie looks back at this period- as do I- with a certain fondness; “a glorious disaster” he called it, when talking to journalist Mick Brown. Tin Machine is a period I don’t listen to often, compared to his solo stuff, but I don’t press the skip button when it comes on.

Alas, the starman’s career drew to a close as the 2000s rolled in. David Bowie greeted the 2000’s with the birth of his and Iman’s daughter, the beautiful Alexandria Zahra Jones. After suffering a- strange, as it were- heart attack symptoms mid-song during a concert in 2004, he took a hiatus from his career. I say strange because given what I know, he was trying his best to stay healthy at the time. According to my special Rolling Stone edition magazine about David Bowie (released at the start of this year), he was on tour and performing in a really hot arena. But Bowie was sober, and had quit smoking. He was taking medication to lower his cholesterol, and worked out with a trainer. Bowie looked great, and yet he felt a pain in his shoulder and chest, along with a shortness for breath. A bodyguard rushed onstage to usher Bowie off of it, cutting the concert short. He only performed live once or twice after that point, but was set on never going live ever again. And he kept his word on that, unfortunately but also fortunately. Unfortunately, because David Bowie live would have been quite the experience- I wouldn’t know, personally. But fortunately, because I do not believe anyone needs a repeat of the 2004 Reality scare.

I am actually not too fond of speaking of his final years. Nobody really likes to speak of the last years of their idols’ life before their death, so it’s no surprise. Blackstar was David Bowie’s 25th and final album, recorded entirely in secret in New York alongside his long-time producer, Tony Visconti. The album's central theme lyrically is mortality, and seeing as Bowie was undergoing chemotherapy for his cancer at the time, I see it as his way of coping with his incoming death. His producer Tony Visconti called him a ‘canny bastard’, when he realized Bowie was essentially writing a farewell album. Every song on the album is what is considered a swan song, a swan song in question being a phrase for a final gesture of some sort before retirement or death. In this case, death. Over the course of recording the album, David Bowie’s chemotherapy had actually been working and he had an eerie optimism while recording. But by the time they shot the two music videos Blackstar and Lazarus, where he showed off the definite passage of time and cruelty of chemotherapy through sparse and gray hair with sagging skin, he knew his condition was terminal and that this would be a battle he would lose. Blackstar wasn’t the first album to have been made by a musician succumbing to a fatal illness, but in my opinion it is in fact the most beautiful. It’s jazzy, and elegant, showing how at peace he had become with dying.

Blackstar the album was released on January 8th, 2016. Also known as David Bowie’s 69th birthday. Two days later, David Bowie died at his Lafayette Street home on January 10th after living with liver cancer for up to 18 months. Beforehand, he had let it be known he did not want a funeral nor a burial, but rather that his body be cremated and the ashes to be scattered in Bali by his loved ones. His wish was received, and planet Earth was very much bluer and quieter without his colour and wonderful noise.

As I said earlier on, David Bowie’s career came with ups and downs. His mysteriously close relationship with Mick Jagger, his cross with famous underage groupie Lori Maddox, the births of his two talented children, his faschist bender in the 70’s, and final bang of Blackstar in his final year on earth. Through the highs and lows, his career and his music meant a lot to the quote-unquote misfits and freaks of the world, myself included. David Bowie turned and faced the strange, shouted “you’re not alone!” To those who felt the loneliest, he surely spent his career helping those who needed to be themselves, feel more freer and braver in doing so, no matter what they may be when they are themselves. He never went boring, he never went stale, he sang what he wanted and dressed how he pleased, and kept to his word on how much more to life there is when you’re just that; yourself. A year after David Bowie’s untimely passing, his son Duncan Jones accepted an award for British album of the year that was won by Blackstar at the 37th annual Brit Awards. When he accepted it, he made a speech about his father that I will leave here, and never forget. Seeing as it perfectly encapsulates David Bowie’ legacy, and the true meaning of his extraordinary career.

“I lost my dad last year, but I also became a dad. And, uhm, I was spending a lot of time- after getting over the shock- of trying to work out what would I want my son to know about his granddad? And I think it would be the same thing that most of my dad's fans have taken over the last 50 years. That he’s always been there supporting people who think they’re a little bit weird or a little bit strange, a little bit different, and he’s always been there for them. So...this award is for all the kooks, and all the people who make the kooks. Thanks, Brits, and thanks to his fans.” - Duncan Z. H. Jones (February 22 2017, at The O2 Arena in London.)

13 notes · View notes

thetypedwriter · 4 years

Text

Imaginary Friend Book Review

Imaginary Friend by Stephen Chbosky Book Review

This is undoubtedly the weirdest book I have ever read.

You might be thinking… but, thetypedwriter you read fanfiction! This can’t be the weirdest thing you’ve ever read! Things like ABO universes exist!

You would think that, wouldn’t you?

But no.

I shall endeavor to give you a spoiler free synopsis of the book first followed by my thoughts and criticism, but note that this is an endeavor for a reason. I have now explained this novel in depth to two different people, and both times I have found myself completely and irrevocably stuck on how to even begin, let alone end.

With that forewarning, here we go.

The novel surrounds a single mother and her young son moving to a small Pennsylvania town in order to escape the tragedies of their past that include the passing of her husband and her current abusive boyfriend.

However, while things in their new home start out well-they find solutions to unemployment, poverty, the son’s dyslexia, etc, things start to go awry when Christopher, the son, is lured into the Mission Street Woods at the edge of town by a voice only he seems to be able to hear.

As Christopher continues to listen to the voice in the form of a cloud, or a plastic bag, or even inside of his mind, he starts recruiting his friends to build a treehouse in the woods that will transport him to a different time and place. The voice, lovingly called the Nice Man, instructs him to finish the tree house by Christmas Day.

Or else everyone will die.

As Christopher struggles with newfound powers and responsibilities, coping with two different worlds, his mother struggles with her son’s sanity, the town struggles with anger, blame, and temptation, and what follows is the chaotic descent of a small town into the throes of good versus evil, love and loss, and most importantly, trying to differentiate what is real versus what is imaginary.

In the simplest terms possible (a facetious statement if there ever was one), I thought this was going to be a thriller mystery book about a single mother and her young seven-year-old son Christopher leaving their home and her abhorrent abusive boyfriend in order to start a new life with hope and potential.

And it….is?

But it doesn’t stop there. Chbosky crams so many genres, themes, motifs, and messages into this book that when you think about it, it’s unsurprising that it’s over 700 pages long with the tiniest, most miniscule font I have ever had to squint at.

However, make no mistakes like I did, this book is horror.

Yup. You read that right folks, horror.

To preface, and I might have mentioned this in another post for another book at some point, but I vehemently dislike horror of any kind. This extends to books, movies, shows, etc.

I understand that horror is a great joy and pleasure for a vast amount of people and that it contains its own literary merit, tropes, and rules, and I can appreciate that for what it is from afar, but I personally take very little enjoyment from consuming anything horror related (I apologize to all the Stephen King fans out there in the world).

I did not fully realize the extent to which this book was a true horror.

This is entirely my own fault. I was very much blinded by the rosy colored glasses from college when I first read The Perks of Being a Wallflower, Chbosky’s first and only other novel.

Perks is wonderful. It is a tragic, yet fundamentally hopeful and loving bildungsroman that shows the beauty and the pain of growing up and accepting yourself. The movie with Emma Watson is what dreams are made of.

I committed author fraud when I picked up Imaginary Friend based on the pure speculation that I would most likely like it since he had written Perks, a book I adored as both a reader and a teacher.

I’ve warned readers against this in the past, but it seems like I should have taken my own advice: just because an author has written one good book or one book you like, does not automatically mean you will like their second book, or any of their other books for that matter.

This cannot possibly ring more true for Stephen Chbosky, as not only are his two books completely different in narrative and structure, but also vastly different in genre and purpose.

I should have stuck with my gut and realized that I probably wouldn’t like this book based off the synopsis, the genre, and yes, even the cover (it looks scary to me, okay?), but I said noooooo, it’s Chbosky, you have to read it!

And this is where we ended up.

First of all, I didn’t hate the book.

I can recognize that it is extremely well written, well crafted, and well developed. I can enjoy a slew of characters, and oh boy are there a multitude to pick from, and I can give credit where credit is due.

Chbosky is a talented writer. There is no doubt in my mind about this. The way he crafts words, the way he plays with texture and space, and with fonts and sizes, is nothing less of sheer brilliance.

He undoubtedly is also masterful at motifs, foreshadowing, and symbolism. Notably, there were so many recurring objects, colors, metaphors, and so on that were sprinkled out so consecutively and intentionally throughout the novel-some I didn’t even pick up until the end-that I was left reeling from how immensely talented and brilliant he is.

Things like his use of baby teeth, blue moon, and fogs/clouds/mist struck me in particular. I know this seems like gibberish, but Chbosky truly came across as understanding what he wanted to portray and how he wanted to deliver it.

However, the biggest compliment I can give to Chbosky is the sheer magnitude of his imagination and creativity. This book almost overwhelmed me through the use of ideas and concepts I had never really thought of before.

Alternate dimensions? Check.

Supernatural powers? Check.

Incredible use of diction and figurative language? Check and check.

Chbosky had so many wild and tantalizing beautiful turns of phrases, expressions, and descriptions that it left me with the same sort of gasping epiphany that Maggie Steifvater’s writing always leaves me with, the feelings that writing can be so utterly beautiful and compelling, that it can be all-consuming as well as never ending with its potential to stun, to create, and to warp to unique needs and purposes.

It definitely was a reading experience quite like any other I’ve had.

Be that because of the horror genre or because of Chbosky’s odd, yet addicting writing style and this has definitely become a book that left me more than a bit dumbfounded. Although I’ve sung its praises and admitted to my own faults at this point, this book isn’t without flaws.

To me the horror genre itself is just not my cup of tea like I’ve stated. Strike number one.

Second, the book was...abysmally long. Atrociously long. As I’ve also said before, I do not mind large books. In fact, big books when you’re reading something you love is a true blessing. Finding that fanfiction at 3am that hooks you immediately and you look up to see its 300k? Amazing.

Starting a new book series that you fall in love with body and soul and realize you have several installments left in the series to gorge and devour? Ecstasy.

Sloughing through a single book that starts to drag on and on repetitiously for what seems like forever? Borderline hell.

This book could have been 300 pages shorter and still contained everything Chbosky wanted to accomplish. It could have had the same brilliant writing, messages, and motifs, but without all of the never-ending back and forth between worlds and battles that just kept popping up time and time again. The abominable length considering its content is strike two.

Last, the ending was a bit of a cluster. At this point in the novel, so much is going on, you are being exposed to so many pov’s that it’s almost stress-inducing, and events taking place are cataclysmic and 10/10 on drama. Chbosky bit off more than he could chew here.

The book choked itself at the end, which, after reading for 700 pages is not the feeling you want to have. The ending left me befuddled, disappointed, and also bereft of a conclusive end and explanation for the shitstorm that had just rained down. It was not the ending I wanted, could understand, or could even really grasp. Strike three.

This book has a plethora of merits followed by three enormous criticisms. If you like horror, then you’ve already crossed hurdle number one. If you can accept it’s repellant length (let alone have days upon days of free time to actually ingest said behemoth) then that’s hurdle number two.

Hurdle three is up to you. Perhaps you would like the ending where as I found it lacking in structure, content, and answers. I like my endings tied up with neat little bows. I don’t like to be left thinking...hmmmm what does this mean?

If I am going to read your massive book, I deserve an ending that satisfies the journey. Authors telling readers that it’s up for interpretation makes me want to strangle something. It comes across as enormously pretentious to me and oftentimes lazy.

In the case of Chbosky, I think he had given himself so many loose threads that the neat little bow I desired was next to impossible.

So he didn’t even try.

Score: 6/10

Recommendation: If you love The Shining, are lacking bouts of creativity and imagination, have lots of free time during Quarantine, and don’t mind having an Inception-esque ending where you might not get all the answers you want, while being tasked with concocting it for yourself, Imaginary Friend might be your new best friend.

Bonus: Here’s a pic of my kitty photo bombing this book shoot. Hope she brightens your day!

#imaginary friend #stephen chbosky #perks of being a wallflower #horror #horror book #stephen king #the shining #literature #books #book blog #book review #book rec #Book Recommendations #book reflection #book analysis #popular fiction #top books #booklover #book

72 notes · View notes

queerchoicesblog · 4 years

Text

Living The Dream

So, folks: as announced, here the first chapter of a new story for the wlw writing project I embarked on. This one is set in the Sixties, the golden age of travel, and our main character is a Pan Am stewardess, one of the era’s most stylish job. I had fun writing this and I can only hope you will have too reading this!

Hope you enjoy it: if you do, please consider spreading the word!

__________________________

I like this time of the day. The in-between hours separating one day from another, the slow yet inexorable metamorphosis of night into dawn. Life seems to flow differently during these hours as if our bodies, used to be heavenly asleep when night comes, were forced to adapt to a new rhythm: sometimes it works, sometimes it's simply a poor mimicry of ourselves. The craziest scene happen during night shifts, after all, and I'm sure it's no coincidence. I'm not always lucky to be present to myself in moments like these. Most of the times I'm too busy to pay attention to the wonders of these dreamlike hours. I blow out the smoke of my cigarette: for once, I can. Sitting at a table on the cafe terrace, I look down to the stream of passengers moving beneath me. They wander like in a haze trying to make out the right direction to go. They're tired, jet-lagged: a kid is crying his heart out in the arms of his mother, causing a businessman nearby to sneer and speed up his pace to avoid such nuisance. A man is anxious, out of the blue he starts running probably cursing the little delay that slowed him: will he catch his flight? A group of foreigners is checking and double checking a map, someone is sleeping on a bench and a little girl is looking out into the night sky hypnotised by the tail lights of a plane flying away.

I like airports, their peculiar poetry. It's quite lucky since you could say they're my home. I still struggle to fully convince myself that yes, my dream did come true. Some nights I fear I'd wake up one day and find out it was all just that, a wild feverish dream, not my reality. Luckily, that day never comes. Mom and Dad fry eggs and bacon in a diner not far from Kansas City; my brother and I will always remember how tired they looked when they crawled back home but also how big their smile was when they produced a box of fries or a couple of milkshakes just for us. We both helped during the summer, wearing aprons and serving tables. They let us keep the tips and we spent them all in ice-creams and movies. Now I'm sure no costumer leaves without being told - maybe more than once and with great pride - that their daughter is now a stewardess of the Pan American World Airways. I still remember the day I received the good news: Mom cried tears of joy and even Noah dropped his tough act and pulled me into a tight hug, whispering how happy he was for me. My sweet little brother. Now at my parents' diner a picture is hung at the wall side by side with a framed stellar review by a local newspaper: Noah and I hugging each other and smiling to the camera in our favorite booth by the window. I'm wearing my dashing Pan Am uniform, he's in a brand new US marine attire. He was drafted one week after John F. Kennedy was shot, the picture was taken on our last family reunion around Christmas. Noah wasn't happy to go to war, he was scared. "I wish I could join you to New York and find a job in advertising maybe" he frowned when my parents were sleeping and we sneaked away to the back porch as we used to do as kids. Noah was good at drawing, the creative type. God knows how I would have loved to have him around, to keep me grounded and remind me of the reassuring warmth of sibling affection. To keep him safe. I moved to New York right after I got the job; Noah was still in high school back then, I had to go alone. They all promised to visit as soon as they could when we parted at the airport. And that's when my new life started. I was on my own in the big city, breathing in the wind of change. I wonder if that's how every girl feels when they leave their boring provincial town behind and make it big. I moved into a small flat downtown: not much, but big enough to contain all my hopes and dreams. The training supervisors were particularly strict and took so very seriously their duty to asses whether we were stewardess material or a lost cause. First, a medical evaluation then a grumpy lady would weigh us and fix our girdles: I wondered if I would have been able to breathe normally on a plane and I was not the only one by the look on the other girls' faces. The interminable daily classes on how to strip our face clean of makeup and start from scratch still haunts me just like the day I was told my hair weren't okay, an in-between length that didn't impress the ladies in charge: I had to choose between wearing a chignon or a wig. No way I would have gone for the latter! Our appearance had to conform to a certain code and I soon learned there are so many requirements to meet to be eye candy. But it wasn't all about our exterior, even if we were often reminded that our aim was to look runaway ready. The Pan Am stewardesses must have that savour faire that makes them unique, legendary. So aside from the standard training (what to say on board, what to do in case of emergency, first aid classes) I had to learn how to pour wine with that special twist of the wrist and pop champagne open without it exploding as well as how to cook and elegantly garnish certain menu dishes in no space. And I assure you, the standard for scrambled eggs in first class were so different from everything I had learnt at my parents' diner, even if the time I spent there gave me a head start. Once I completed my training, my career finally began. I was assigned to Us bi-coastal routes for the time being but I felt different already. People looked at me differently, especially when I walked through the Pan Am terminal in white gloves and my uniform designed by Italian stylists. The gleam of admiration and wonder in their eyes set my heart on fire: aside from my parents and Noah, nobody had ever looked at me that way before, not even my best friend. I take a sip of coffee and smile thinking back at my beginnings. Despite the hard work, I was constantly in a dreamy state of mind. A Pan Am stewardess made it to the cover of LIFE that year, I still have a copy of it. The journalist enthusiastically claimed that girls like me were not only icons of beauty and grace but also the peak of the femininity to come. "See these ladies? They're not just stewardesses, they're a whole new breed of women". I must admit that to some extent we are: we're so different from our mothers and the Angels of the hearth of the lady magazines. We wear heels and fine makeup, we speak several languages and see the world. We're emancipated and sophisticated: we are women of the world. My face didn't make it to LIFE but little girls and teens stop me and ask me tips, how can they be as elegant, as put together, what they have to do to land this job. They want to live the same dream. A little girl of five once asked if she could take a picture with me. I had some time left so I squatted down and placed my bowler hat on her head making her flash the brightest smile to the camera her father was holding. Before parting she handed me my hat and looked me right in the eye, whispering in awe "I wanna be like you when I grow up". And then she wrapped her arms around my neck in a grateful hug. I told the cute scene to my mother over the phone: she sounded touched and joked that she didn't know her daughter ended up being a starlet of the silver screen. "Remember us when you're famous, love" Dad added from another room. I missed them, I still do at times. But I would never go back: for the first time in my life I found a place where I truly belong here in New York. I met friends that could understand my hunger for more, to discover the world. I love the parks and lights at night, the buzz of the city that never sleeps. Most importantly, I love my job, even when I'm so busy all I do is hopping on and off planes, going back home, sleeping eating my breakfast and doing it all over again. No matter how hard I need to push myself to meet the Pan Am standards, I've always felt liberated, free here. As if this was what was meant to be, where I was meant to be all along. The day a gorgeous neighbor knocked at my door with a plate of freshly baked cookies and a charming, flirtatious smile on her lips, I had no more doubt. Here is where I was meant to be.

#wlw writing #wlw writing project #original work #wlw miniseries #lgbtq #sixties

28 notes · View notes

alexsfictionaddiction · 3 years

Text

Review: Slingshot by Mercedes Helnwein

Discovering new YA contemporary authors is always fun because the genre is often dominated by the big names. In fact, this one was billed as ‘for fans of Rainbow Rowell'. I never usually pay much attention to comparisons like this because I think every book deserves to be judged in its own light.

Grace is a bit of loner at her Florida boarding school but she’s OK with that. Then her trusty slingshot stops new kid Wade from being beaten up and now she has a handsome rulebreaker in her life. Before she knows it, Wade appears to have a deep hold over Grace and she has no idea what to do with that. But Wade appears to have a secret and Grace might just be able to save him.

Due to the title, I thought that the slingshot would feature a lot more than it did. I understand that it is down to the slingshot that Grace and Wade meet but I can’t pretend that I wasn’t craving at least some kind of clever circle-closing involving the slingshot at the end. I don’t think the slingshot was a big enough motif to warrant naming the book after it.

The book opens with Grace experiencing ‘heartbreak’ when she realises that she and her Biology teacher Mr Sorrentino won’t ever be together. Now, it’s probably reasonably common for teens to have crushes on their teachers but few will be as delusional about it as Grace is. She gets seriously angry and behaves awfully, as soon as she learns that he’s engaged. This kind of possibly psychopathic reaction is an immediate red flag and it becomes obvious why everyone appears to avoid her. Sadly, Grace isn’t friendless because she’s ‘a bit weird’ -she’s just plain not nice.

One of my favourite characters was Grace’s roommate Georgina. She is hopelessly uncool and Grace says that she feels sorry for her. However, I didn’t really see many reasons to feel sorry for Georgina. She is willing to try almost anything, is fantastic at being unintentionally funny and has a wonderfully endearing charm about her. She is probably a bit too weird to be accepted by the jocks and theatre kids but on the whole, this doesn’t really seem to bother Georgina too much. She also does her best to be friends with Grace, who appears to be wholly interested in her. I’m a big fan of awkward nerds!

Another of my favourite characters was Beth, an insanely cool, laid-back senior who takes on a kind of big sister role for Grace, although Grace clearly has a huge girl crush on her. Beth is incredibly casual about things that most people (certainly teens) take seriously and some readers may declare that it makes her read like an adult. I thought of Beth as being a little like Alaska Young in John Green’s Looking for Alaska -wild and reckless but fantastically good-hearted. If I’m honest, I was kind of hoping that Grace and Beth would catch feelings for each other and that would be the big endgame romance. I’ll tell you now that however much you wish for that to happen, it doesn’t.

Grace is thoroughly self-absorbed as a lot of teens are. In fact, she is so self-absorbed that she doesn’t even notice that Wade is great boyfriend material until someone else implies it. Because of this, I wasn’t really sure whether Grace really liked him or whether she just wanted him because someone else suggested that he was desirable. Therefore, it was quite hard to get on board with the relationship in general.

There is a thoroughly unsavoury character called Derek, who made me retch every time he popped up. I had trouble reading him as the senior that he is supposed to be because he seemed to be on a similar intellect level to Grace. This was actually a common problem throughout the book. Some characters read like teens and others like adults and it didn’t always correspond with the grade that they were supposed to be in.

A lot of the negative Goodreads reviews of this book suggest that it seems unrealistic for 15-year-olds to drink, smoke, swear and have casual sex. It has been a while since I was a teen but I know for a fact that although I didn’t do a lot of those things myself at 15, some of my classmates definitely did. I don’t know whether this is a UK/US difference or maybe even a millennial/Gen Z difference but from my own experience, I certainly wouldn’t say that it’s unrealistic for 15-year-olds to behave like Grace does.

If you don’t mind a thoroughly unlikeable protagonist who does very little to redeem herself, it might be worth giving Slingshot a go. There are some great side characters and a few funny exchanges but I can’t see this becoming a YA contemporary classic anytime soon.

#slingshot #mercedes helnwein #ya #book review #review #books #bookworm

1 note · View note

tessmontyart · 3 years

Text

2020 year in review

It’s funny, last year I never actually got around to doing one of these. I didn’t think it was overly interesting. Oh 2019, how I miss you so 😭Such an innocent time ....

I’ll do a quick recap, cause hey no-one but me reads these anyway. 2019 was a glorious time. I went to Italy for the first time, went on an awesome Hunter Valley trip with my friends, had a 100th birthday celebration for my pop, I got to see the show I worked on air on TV, we saw the Lano and Woodley apartment in Melbourne .... Good times!

I didn’t give a rats about being unemployed and took matters into my own hands by making loads of new merch and selling at the most conventions I’ve ever been to. I tabled at Sydney Supanova, Adelaide Avcon, Sydney SMASH, Coffs Nexus Con, Sydney Oz Comic Con and Brisbane Supanova! I did so much travelling and events, it became my full time job. It was exhausting, but it was loads of fun, it paid the bills nicely, and it was wonderful to meet followers and mutuals in person.

My partner was very invested in counting up the numbers of what was selling and what wasn’t, and taking note of what was inconvenient with my setup and how to make it better. He even made a powerpoint presentation on what I could focus on for 2020, what kind of merch I could focus on and adding more conventions to my list. We were both excited about the idea of trying out Armageddon in New Zealand, which would have been my first overseas convention!

Cue 2020.

It started off uneasy. There were still bushfires everywhere and smoke hanging around, but I was optimistic they would die soon and the rest of the year would be fine. I booked a bunch of conventions early as usual. Got a whole bunch of new things made and ordered for the first convention of the year, Melbourne Supanova in early April. Some Acrylic charms didn’t make it in time because of COVID, but I thought that’s ok I still have a whole years worth of conventions to sell them at!

COVID-19 was just a spooky mysterious thing that was happening overseas at that point. I think there might have been 1 case in Australia, so all the toilet paper and hand sanitizer was sold out, but we were still able to do our usual travelling for the event. Little did I know, Melbourne Supanova was the first and last event I could do in 2020.

COVID hit Australia hard, Melbourne especially. There were lockdowns, quarantines, planes were grounded, airmail was halted, the cases kept multiplying, rules kept changing and changing and it was all so new and such a headache. Seeing every single convention I had booked cancel one after the other was hard to process. This was my main source of income in 2019 and now it’s up and vanished. Everyone were losing their jobs too, so the idea of getting a new job was completely out the window.

I tried to cheer myself up by drawing ‘Toilet Paper Chan’, my new magical girl character who has the ability to summon toilet paper in a time of need 😅

I made it into a Draw This In Your Style challenge, seeing as everyone was bored out of their minds in quarantine I hoped it was something people could pass the time and have fun making.

(here’s a handful of my favourites) I had a few entries which were all very adorable, but I admit not as many people joined as I expected. I don’t blame them though, this whole pandemic was very soul sucking and demotivating, especially hearing the constant stream of bad news when it all started.

I also made some lineart of a cute Easter girl, encouraging people to colour her in if they are bored in quarantine.

That was really fun, and I planned to do more, perhaps whole colouring books for a small price to download.

Then, out of nowhere, my friend from the last animation studio I worked at in 2018 contacted me. “Hey Tess, are you looking for work?”

“Um .... yes?”

Work? In 2020? What?

It turns out the animation industry is one of the only industries that are doing fine in the pandemic. Literally the only change is that animators have to work from home instead of at a studio. If you have the animation software and an internet connection you have everything you need.

So my good friend had recently scored this job for a studio which outsources all their animation for their animated TV series. The role is just fixing up any animation errors inhouse to minimize the amount of back-and-fourth between studios. It doesn’t sound like much but it became too big a job for just one dude to handle, so he contacted me and 2 of my other animation friends to help out. We had a ball!

It was loads of fun, and the contract lasted the whole year!

It wasn’t just fixing up errors either, I got to animate walking/ running / jumping / flying cycles for the overseas animators to use, which was great practice for me, and we even had a whole episode to ourselves to animate from scratch which I really enjoyed.

And then ... the year just flew by, because I was busy working the whole time. It was really quite surreal!

There were a few highlights, such as being a bridesmaid for my best friend’s wedding and organising her hens party, which is one of those once-in-a-lifetime things.

(Hens Party - it was yellow themed (her favourite colour) and High Tea.. it was adorable!)

(The bridesmaids and the bride on the Wedding Day)

Unfortunately there were some lowlights too ... This was the last year I got to see my aunt.

She was the craziest, funniest aunt, and still far too young to go. I honestly don’t think I’ll ever be the same without her.

As always, drawing is the only way I cope with anything. My family chose a plain wooden casket, encouraging everybody to write a message or draw something on it, before it would be sent to the crematorium. I drew Spotty, her awesome horse I remember from my childhood, surrounded by her favourite flowers. Monty draw Mingus, her awesome ferret we also remember from our childhood.

That wasn’t the only bad news either. Pat’s Grandpa passed away later in the year, and a handful of my friends had relatives who either passed away or were diagnosed with cancer or some other horrible life threatening disease. A musician who collaborated with favourite artist collaborated passed as well, and even though I didn’t know him personally, it was still horribly devastating. Not to mention all my friends/relatives pets who didn’t make it through 2020. There was just so much loss this year, and I’m still grieving my cousin and my friend’s mum who both passed last year, it’s getting harder and harder to cope. It’s gotten to the point where I’m paranoid about who the next person will be because I haven’t finished grieving the last ...

All I can say is I hope 2021 is a little kinder when it comes to my loved ones. The small light at the end of the tunnel is; any suicidal thoughts I used to have frequently have all completely vanished, because I’ve been faced with the reality of it all. You really don’t realise how many people love you, people you don’t even know.

...

That was very dark, but it’s definitely something I needed to get off my chest.

Lets go back to a much lighter note.

More highlights:

🌻Animal Crossing New Horizons came out this year! I used to play Wild World back in the day so it was wonderfully nostalgic, and me and Pat have made the cutest little town with all our favourite villagers. It’s a nice way to escape from it all ^_^

(Monty’s island when we started)

🌻Speaking of games, the brand new Crash Bandicoot came out this year too! It was actually jaw droppingly amazing seeing all the awesome new ideas and mechanics they came up with while still keeping it classicly Crash. I loved it and I’m so excited to see if they give Spyro the same treatment!

🌻2020 brought about new and interesting ways to still enjoy Live entertainment. Lano and Woodley did a Zoom show which was absolutely hilarious, and Lights did an amazing online Dead End show which had me so pumped!

🌻Pat and I continued our anniversary High Tea tradition, this time trying it out at the Hydro Majestic hotel in the Blue Mountains!

🌻Speaking of Pat, his sister got married this year too, despite the pandemic. Congratulations!

🌻Pat randomly bought a Miku figure for himself, out of the blue, completely unravelling years of unnecessary ‘shame’ I’ve inherited caused by a pushy mother and a crappy ex. I used to love figure collecting but was convinced by certain judgy people that it was stupid and I needed to sell them all. I kept my very favourites in a cupboard ‘just incase they increase in value’. But now I can finally display them all again knowing Pat loves them just as much as I do!

We also added a ton more to the collection to make up for lost time (and because there’s SO MANY CUTE MIKUS NOWADAYS)

It’s a bit messy because we recently got new ones and need to make more space for them. The shelf with the Vocaloid nendoroids were my original ones hidden away in the cupboard, the rest we got this year ^_^ They make me so happy!

🌻Speaking of Pat unlocking things I’ve always wanted to do in the past: I am now planning to revive my old OCs Yui and Lotto! They were just characters of mine back in the day, but since I’m not good writing I never really came up with a story for them. But with Pat’s writer wisdom and my kawaii art style, I’m now planning a webcomic featuring the two cuties ^_^ It’s still in the very early planning stages but I’m super excited, and forever grateful for Pat, for believing in me ;w;

🌻This year I drew 31 more Owl City songs in copic markers, to go towards my ongoing project to draw every song! I’m actually getting quite close to my goal now which is exciting!

🌻This year I went to a Drive-In movie theatre for the first time to see the new Bill and Tedd movie, it was glorious and now I wanted to try more drive-ins. Going out to see a movie on a big screen *without* being able to hear smart-asses or screaming babies? Yes please!!

🌻How could I forget, this was the year my idol noticed me!! Lights shared and retweeted my Deadend fanart! Life = made.

What to to look forward to in 2021:

This is the first New Year where I actually have an idea of how 2021 will go! I managed to secure another animation job at a new studio starting January, ending January 2022 😊So thats the financial security for this year sorted! :P

As for general goals for 2021;

I’m hoping to have a decent plan, concept art, chapter ideas and hopefully even a script done for my new webcomic! I also wanted to make some cute simple animations of the characters just because c:

I’d also like to just do more of my own animation in general ... I animate every day for work but I never get to do my own animated projects. It will be hard with a full time job, so maybe this can be a 2022 goal ... but hopefully I can do at least one little animation of my own!

I suppose another goal is to make a social media accounts for my animation, too. Even if I don’t fulfil my goal, I still would like a page to showcase everything I’ve done so far.

And if all else fails .... Another goal is to draw more Miku. It’s crazy that I love her this much and haven’t drawn any fanart!

I think I’ll leave it there because I’m babbling now. 😅

I’ve done so many of these now o_o

[2018] [2017] [2016] [2015] [2014] [2013] [2012]

#2020 #year review #cw: death #cw: pet death #cw: suicide

4 notes · View notes

andrewthoughtsbombdiggity · 3 years

Text

Gay Me Up “Zaddy”

As a practicing Catholic, born and raised, these last two weeks have been… jarring to say the least. I have no problems with gays, in fact one thing about these movies that makes me sympathize with the characters is that they cannot be accepted or must keep who they are hush-hush and under the table. I take a stance that one should hate the sin and love the sinner, and for future reference maybe have a few Christian movies to dissect after the LGBTQ Movie Unit? Prince of Egypt (2000) was a phenomenal movie as well as The Passion of the Christ (2004). I detect the pushing of one side and not the other and even though this may not be the intention, I still feel it. But not to mention in a world where open mindedness is key, one can parallel that Christian movies as well as gay movies are not given a fair shot in mainstream cinema. So why not expose us to some hidden gem Christian movies as you’ve done with these LGBTQ movies? Maybe we ought to change that. Another thing I am not overall happy with is the fact that these movies are not available on streaming services, however they were for the most part very well made and a lot of care went into making them. That being said the old soul in me is also a little miffed that I had to rent Call Me By Your Name for $3.99, in other words, I paid 4 dollars to watch a kid masturbate with an apricot (1:36:00 – 1:37:31).

I understand teenagers/young adults are hormonal, horny monsters that would bang anything pulse optional, but NO ONE DOES THAT EVER, and if they do… in the words of my friend Elyse, “Do you boo” (I want my money back). A humorous question does pop up in my head; do LGBTQ people get grossed out at straight people make out and sex scenes? Or do they not really care? Just some food for thought, and in the spirit of these humorous/philosophical points can we say that there is a definite style of gay movies, a “Queer style” if you will? I do not believe there is a queer visual style as after reviewing these movies they seem to be filmed, as any other film would be. Scenes such as Elio in Call Me By Your Name courting Marzia (1:08:20 – 1:09:45) are filmed the exact same way (in daylight and moonlight scenes) as scenes between Elio and Oliver’s (55:30 – 57:20) courtship/blossoming relationship. The way the relationship between Elio and Oliver and the relationship between Elio and Marzia is filmed, specifically how the camera captures it (not the writing or emotions the actors portray) is not stylistically different from each other and therefore at least for this movie does not show any “Queer Visual Style”. I also believe that a queer visual style takes away from the fact that queer, gay, trans, and lesbians are people just like you and me and a stylistic difference in visual portrayal could alienate them and make them seem all too different from regular people. Take Moonlight for instance, that movie is beautifully shot, and although scenes such as his struggle to play soccer with “the boys” (13:51 – 16:51) exemplify that he isn’t soft but something inside Chiron (his gay orientation) lurks behind and gives everyone the impression that there is something different about Chiron and that gives them the impression of him being soft. I see no difference in the visual style of that and say the shot of him learning about the pangs of becoming older and realizing one’s wildness in youth must give way to becoming what he wants to be (19:40 - 21:17).

youtube

In my opinion there is no difference in visual style whether the movie is queer or hetero-normative. Hollywood, in particular a good story has always had the ability to change my mind about many things. And how, you ask yourself, how can a movie “queer me” and surprisingly, Brokeback Mountain did just “queer” me a little. The deep friendship, bond, and further relationship bond made me see that two men can truly love each other and despite all the norms and tradition they break, still have that fond and unbreakable connection 20 years later (The movie starts in 1963 and ends in 1983). It reminded me of my friend Joe and I, and no we aren’t involved like that but I do consider him a second brother and my closest friend. Where I draw the parallel is that despite being hours away from each other they have managed to remain close just like me and my friend Joe have despite me moving some three years ago.

No scene shows this excitement and happiness more than their first meeting after the stint on Brokeback Mountain (1:03:45 – 1:04:25)

youtube

and this scene really shows us as the audience the attachment these two feel for each other (even though it completely doomed Ennis’s marriage but we are not focusing on that). Throughout the movie they meet up throughout the years, their passion still lively as ever, and throughout the movie, even though I am not gay or bear romantic feelings towards my best friend Joe, I kept thinking to myself… “Are me and Joe going to be this close with me in a few years…? Am I? I wonder if we’ll ever go on guys’ trips and do some cool shit before we settle down. And that’s the magic of Brokeback Mountain, it humanizes us and most importantly for its time humanized relationships that were unconventional. And for those who aren’t gay, it made me think about my relationships with my family and friends and how close and tight I am with them, and again even though my feelings aren’t of the sexual or romantic kind towards them… I’m still able to sympathize, empathize, and relate to the story of two dudes separated by time and distance never skipping a beat and having a grand ole time. Of course I acknowledge that they had tension in their relationship especially due to the urging of Jack “Fuckin’” Twist to have them leave their lives behind and start anew together and Ennis rejecting the notion due to a past witnessing of a hate crime, however I am choosing to focus on the closeness and bonding aspect and how people gay or not gay can relate to that and relate it to all their relationships. To quote the character Mr. Bucci from Call Me By Your Name (58:38) “Cinema is a mirror of reality and it is a filter”, LGBTQ people have always struggled for acceptance of who they and this is portrayed in movies such as Brokeback Mountain, Call Me By Your Name, and Moonlight among others, without alienating themselves in a distinct visual and rather being filmed as people like you and me, cause again they are people like you and me, they just vibe a little different.

#LGBTQ #Movies Cinema #COM105

1 note · View note

bog-o-bones · 4 years

Text

Kaiju Media Forecast 2020

The kaiju fandom has certainly seen a gigantic upswing in content since the last time I did one of these “year going forward” reviews. Let’s take a look at some of the major movies, events, merchandise and more that kaiju fans have to look forward to in the coming year!

Movies

Every year since at least 2013, the kaiju fandom has had one “tentpole” film event of the year, usually the most highly anticipated feature coming out that year that most media and merchandise hype will surround. This year’s choice is the latest (and possibly last?) of the Legendary MonsterVerse which just last year introduced us to the first American incarnations of Mothra, Rodan, and King Ghidorah. Later this year, the King of the Monsters will once again take on the King of Skull Island in a rematch nearly 60 years in the making with Godzilla vs. Kong. The only snippet of footage we’ve seen is featured in the screenshot above and recently leaked toy fair displays have quite a lot in store for the big crossover event of the MonsterVerse. Godzilla vs. Kong drops November 20th.

According to your definition, the first kaiju film of 2020 launched two weeks ago with Underwater. The Kristen Stewart-helmed deep-sea monster movie isn’t really making the splash it was looking for box office-wise and most people who have seen it say that it’s okay at worst. Regardless, if you like big monsters and quasi-Cloverfield type films, you can give it a shot in theaters now or in a few months when it hits home media.

Godzilla’s sole big screen appearance won’t just be limited to the big crossover with Kong as a snow-covered cameo role will land him a spot in the new Shinkalion movie. From a clip posted on Yahoo Japan (refresh the page if it doesn’t work) Godzilla briefly faces Hatsune Miku piloting a giant train-based mecha (I tried pinching myself, believe me) at the very end. This role is likely going to be very short but nonetheless, it’s always satisfying to see Godzilla pop up in the most unexpected places.

Again, stretching the definition of “kaiju” here, but also apparently the Monster Hunter movie still exists and is coming out later this year in September? I don’t know much about the franchise, but I do know it’s probably going to be butchered with a Paul W.S. Anderson directed schlock fest. Who knows, maybe the monster scenes will make up for it?

As is tradition, the Ultraman franchise hits us once again with an annual theatrical movie based off the previous year’s show. Ultraman Taiga The Movie: New Generation Climax will be out in March and judging by the title, will feature a climactic event featuring the New Generation assortment of Ultraman heroes. I still have yet to see Taiga but hopefully this provides a fun conclusion to the show.

Famed director Hideaki Anno returns to the world of his most famous creation with Evangelion 3.0+1.0, the highly anticipated final installment in the Rebuild series to be released this June. I have not seen any of the Rebuild movies myself but this is sure to be a wild and crazy ride for Evangelion fans.

Finally, the oddball of the bunch. Kadokawa rises from it’s dusty grave with a brand new monster film focused on the unproduced predecessor to Gamera: Nezura 1964. Featuring giant rat monsters and a cast comprised of many Daiei/Kadokawa favorites, it’ll be interesting to see if this film can capitalize on the recent kaiju craze and be successful enough to possibly give our old turtle friend the revival he truly deserves. Nezura 1964 is due out in December in Japan.

Television

Not much on the television docket this year. It’s far too early to speculate about Tsuburaya’s next Ultra series, leaving us with little to discuss. Studio Trigger is supposedly making some kind of new series related to it’s Gridman show from last year (another item I have yet to see). Titled SSSS.DYNAZENON, nobody knows when it’s due out so for all I know this could be a rather outdated entry.

What we do know for sure is coming is something not particularly kaiju but still related via the tokusatsu connection is the continuation of Kamen Rider Zero-One, the first Rider series in Japan’s newly named Reiwa period. This isn’t really related to the year 2020 but honestly I’d rather have something in this TV section to talk about than just the Gridman sequel.

Merchandise

Last year was one of the greatest years in the history of the American Ultraman fandom with the officially sanctioned releases of Ultra Q, Ultraman, Ultraseven, Ultraman Orb and Ultraman Geed to Blu-Ray in the West for the very first time. In this new year, Mill Creek will continue to satiate the needs of Western Ultra fans with releases of previously unseen-on-western-disc series Return of Ultraman, Ultraman Ace, Ultraman X, and the Ultraman Orb Origin Saga. A schedule flyer released online also teases many other entries in the franchise making the continuous release of these beloved shows a treat to look forward to. You can pre-order the four releases discussed above on Amazon.

American toy company Playmates acquired the license for the Godzilla vs. Kong toyline last year and in early January, a few figures from their non-film focused toylines showed up at Walmarts across the country. They’re uh...well, let’s be honest: they’re not great. Leaked images of the Godzilla vs. Kong toyline were also shared around social media but I’ll avoid talking about them here for spoiler purposes. Let’s just say the line is looking mighty juicy for kaiju fans and it will be interesting to see if they’re promoted come New York Toy Fair.

Bandai’s Movie Monsters Series line will likely continue to issue newly reissued/remolded monsters in the Godzilla line (as well as produce new figures for Godzilla vs. Kong) but coming out in March is a sight for sore eyes: a brand new sculpt of the 1995 Gamera design for the 25th anniversary of Gamera: Guardian of the Universe. Hopefully a Super Gyaos is not far behind!

The S.H. MonsterArts line had a fairly predictable and underwhelming list of releases last year. Great figures for the most part, but obvious choices without much surprise. This being a movie year, I don’t expect much to change and we’ll likely see Godzilla vs. Kong figures soon enough. What is confirmed and releasing in May is their take on the Burning Godzilla design featured in Godzilla: King of the Monsters last year. Originally a Tamashii WebShop exclusive, it’s being released in America by Bluefin around June.

Media company SRS Cinema continues to throw unexpected independent kaiju films our way with releases of Deep Sea Monster Reigo and Deep Sea Monster Raiga last year on limited Blu-Ray and wide-release DVD. They’ll continue the assortment this year with Attack of the Giant Teacher and Raiga vs. Ohga. The films likely won’t be much to look at, but more independent kaiju films seeing a western release is never a bad thing. Here’s hoping Daikaiju Eiga G or Gehara see a release soon.

In an almost perfect repeat of Daiei and Toho’s box office bout sixty years ago, boutique label Arrow Video has reportedly secured the rights to the Gamera franchise and are planning a box set that could rival Criterion’s late 2019 release of the entire Showa Godzilla series. Arrow Video puts out sublime products and kaiju fans will likely want to keep their eyes peeled for this set, even if they’ve already secured Mill Creek’s rather dull bargain sets from years past.

While not on the docket for tie-ins to Godzilla vs. Kong (yet), NECA will likely be continuing to pump out new figures in their Classic Godzilla line. No brand new sculpts are known at the moment, but fans can look forward to a blue, poster-styled repaint of their KOTM Mothra figure and some reissues of their older molds in new box-styled, poster-featuring packaging. Some, like the 1985 Godzilla, might even feature newly molded details.

In rather shocking news, Media Blasters has seemingly propped one of its kaiju films up from the depths of licensing hell with an announcement of a Blu-Ray release of Gappa the Triphibian Monsters scheduled for a February release. The out-of-nowhere circumstances surrounding this release as well as a proclaimed inclusion of an “uncut” Japanese release (despite the International version containing more footage than the Japanese version) and Media Blasters rather spotty history regarding kaiju Blu-Rays should have folks taking this with a grain of salt until the actual discs are in collectors’ hands.

Events

As per usual, the kaiju fan’s Woodstock G-FEST will be continuing it’s annual celebration of all things giant monster from July 10-12 at the Crowne Plaza Chicago O’Hare in Rosemont, IL. No guest announcements at this time, but fans looking to go should register and book a hotel immediately as attendance will continue to spike and rooms in the convention’s hotel are already sold out.

As is tradition, the San Diego Comic Con will take place this summer a week after G-FEST is over and will likely bring with it new information on Godzilla vs. Kong and many other kaiju-related media. NECA will possibly show off new figures and we may even see some post-2020 information on the MonsterVerse.

Not necessarily guaranteed, but kaiju fans may also want to look out for this year’s New York ToyFair taking place in February. ToyFair has pretty much become the SDCC for toy collectors with many companies showing off their new products for the new year. Kaiju collectors will possibly get a glimpse at the Playmates Godzilla vs. Kong assortment as well as a few other possible surprise reveals from other companies like NECA or Diamond Select.

-------------------------------------------------------------------------------------------

2020 is looking to be a monstrous year for kaiju fans. Hopefully the fandom will enjoy everything to come from our favorite franchises.

Here’s to a happy 2020!

#kaiju #2020 #kaiju fandom #daikaiju #godzilla #godzilla vs kong #gamera #arrow gamera #ultraman #mill creek ultraman #bandai #sh monsterarts #neca #neca godzilla #g-fest

57 notes · View notes

amphtaminedreams · 4 years

Text

Film Tier Ranking 2019: A Bad Year for Bird Films

Hi to anyone reading,

I’ve finally put it together: my 2019 film tier ranking! I know tier rankings are a bit 6 months ago but seeing British crisps sorted into god, good, mid and shit tier all over Twitter, the format really resonated with me and I was like I MUST USE THIS AT SOME POINT! And I guess since there probably isn’t much of an audience for crisp tier rankings on Tumblr, it makes more sense for me to do it with films instead, especially as doing a 2019 year in film review was something I previously claimed I would do; here’s to 2020 and following through on my proposals.

I think 2019 in general was an okay year for film, with the end of the year definitely outselling the beginning. One thing to bear in mind is that a lot of films that I would’ve been able to see in 2019, I.E Little Women and Parasite, didn’t come out until 2020 in the UK so they won’t make it onto this year’s list. It’s not a snub by any means. I more fall in line with the Elsie Fisher Film Awards school of thought than the Oscars, which have yet again disregarded several incredible performances this year: Florence Pugh in Midsommar, Taron Egerton in Rocketman, Lupita Nyongo in Us, and of course, Greta Gerwig’s direction of Little Women. I’m sure there are many more but those are the first few that come to mind. Oh to be in 2017 when nominations made fractionally more sense.

This list also includes films that weren’t necessarily released this year, but that I just got around to watching; there were a couple of disappointments but also a lot of films I can’t believe it took me this long to finally watch and have definitely made their way into my favourites. My goal for this year is to get through even more of the films on my verrrry long Letterboxd watchlist, and more specifically, watch said films without going on my phone, which is a really bad habit of mine. I find it hard to sit still! Let me live!

I also want to try and put aside my prejudices about visual quality and watch more pre-2000s movies this year; it’s really bad but I never managed to get more than half an hour into Psycho, of all films, solely because I couldn’t deal with the black and white. In 2020, I am going to stop being a whiney Gen Z/cusp millenial-er and give older films the chance they deserve.

So, without further ado, here is my film tier ranking of everything I watched in 2019! If you make it til the end and have any thoughts or disagreements, let me know. I love to hear other’s opinions and get new perspectives on things and am totally open to any criticism. Happy reading:-)

God Tier

Knives Out (Rian Johnson, 2019)

Knives Out. What a film.

I feel like I waited forever to see this at the cinema. They must have started showing trailers for it in, like, August, and I had to wait til mid-November to see it. How are you gonna just dangle a film with Toni Colette and Lakeith Stanfield in my face and then make me wait 3 months? Totally unethical.

But that being said, when it finally came around and I did see it, as much as I love Toni and Lakeith, there was one stand out and it wasn’t either of them: ANA DE ARMAS. I have to admit I’d never heard of her before but she acted the shit out of a role I feel I’d ordinarily find irritating and gimmicky. Daniel Craig, whose character seemed annoying as fuck in the trailer, was actually surprisingly funny.

Stylistically, it was a very cool film and I liked the subtle commentary on class that was running throughout. Also, I thought the ending was very clever. My issue with a lot of whodunnits is that they just pick someone who doesn’t make sense for shock factor *cough, Bobby Beale in Eastenders, cough* but the shocks here were more in the details.

Hustlers (Lorene Scafaria, 2019)

There wasn’t one single moment of Hustlers I didn’t enjoy and it’s quite amazing that there wasn’t one single point in this film about strippers that I felt gratuitously sexualised women. THAT is why you fund female directors. It made the whole thing look like a calculated art form, which I think the unsexy amongst us can all agree that it is. Constance Wu was a fantastic lead, J-Lo was kind of robbed for a supporting actress nom, and Keke Palmer and Lili Reinhart were hilarious too.

Midsommar (Ari Aster, 2019)

Midsommar was such an experience that it took me a good few days afterwards to decide whether I actually liked it. I saw it the day it came out because I loved Hereditary so much and I wasn’t quite sure what to expect. I kind of had an idea of the way it was going to go, we could all kind of guess evil cult was the route that was being taken from the trailer, but I just didn’t realise quite how weird it’d get.

The gore was great, the visuals were stunning and the character arcs were surprising and for that reason, I think this is another game changer for horror from Ari Aster. I didn’t love it like I loved Hereditary but it continues to play on my mind and 7 months later I still can’t resist a good “Things you Missed in Hereditary” or “Hereditary Themes Explained” Youtube video essay. That’s how you know a film fucked with you and that’s the ultimate goal of going into a horror for me. Put that on my headstone after I inevitably get myself into some mortally dangerous conflict because I want to “get fucked with” a little bit.

Booksmart (Olivia Wilde, 2019)

So here’s the thing with Booksmart: I was getting progressively more and more drunk throughout it so I might be a little biased when I say I loved it. That being said, worth revere seems to be a commonly held opinion so I’ll stick to my guns. Plus, movies like this, which just focus on girls living their lives, are few and far between. Why have we had to wait THIS long for the female Superbad?

IDK. But Kaitlyn Dever, Beanie Feldstein and Billie Lourd proved it’s definitely a genre worth investing in so hopefully we see more lighthearted female-led coming of age comedies. One Ladybird per year isn’t enough for me.

The Favourite (Yorgos Lanthimos, 2018)

I included The Favourite in my 50 Films You’ve Got to Watch that I made earlier this year so I don’t have all that much to say about it that I haven’t said already. To summarise, it’s an instant classic: the cinematography, the cast, the lines, it’s all perfection.

Suspiria (Luca Guadagnino, 2018)

I also included Suspiria in my 50 Films You’ve Got to Watch list so sorry if I’m repeating myself, but I adored everything about it. If I had to sum it up in one sentence I’d say divine feminine energy, but inverted. Plus ballet. That dancing scene in the mirrored room will probably never leave my mind (if you’ve watched it, trust me, you’ll know the one I'm talking about), and if there were awards given out for creepy montages in horror, this would win all of them. It still blows my mind that Tilda Swinton played 3 characters in this film; 2 of them are so distinctly different, if anyone put two and two together without prior knowledge of this fact then I’ll blow my own head up too. This is why I got so mad when there was all that discussion around her being the new female Doctor Who and there were people asking who she was. How can you not know who Tilda fucking Swinton is!? She’s a legend!

Sorry, is the wannabe film snob in me showing?

Annihilation (Alex Garland, 2018)

Though I initially watched it because it’s branded as a horror, Annihilation ended up being a surprisingly introspective take on human nature and our self-destructive tendencies. Nothing really went the way I expected it to, even though I was constantly trying to guess that trajectory from beginning to end.

Visually, Annihilation is magnificent. Like, it’s tense, and where exactly the plot is going is shrouded in mystery, but most importantly, it’s super fucking pretty. Sure, the only thing that was mildly horrifying was the *SPOILER* end result of that bear scene but I didn’t mind too much because there was always that edge-of-your-seat possibility something like that would happen again.

Also I realised that Gina Roduriguez is really hot in this! I would just say in general but that video of her saying the n-word kind of took away shot at real world magnetism. WHY SUCH A SHITTY APOLOGY VIDEO!? WHY?!

Assassination Nation (Sam Levinson, 2018)

So I didn’t clock until I was looking up directors that Sam Levinson, Euphoria director, also directed this, and suddenly everything makes sense in the world. They both have that dreamlike, exaggerated feel that perfectly captures the emotional rollercoaster that is being a teenager, only in Assassination Nation obviously the threats are a bit more...tangible. As in its actually other people trying to kill our protagonists this time round, not just angst.

Not gonna lie, it’s not a patch on Euphoria because that show is probably the best thing I watched all year, but I did thoroughly enjoy it, even if I did feel the social commentary, despite how in your face it was, got a bit lost in translation at times. I think it’s the kind of film that, once again, would’ve felt more genuine coming from a female director, however that’s not to take away from how witty, modern, and completely relevant it still is as we move into 2020.

Sorry To Bother You (Boots Riley, 2018)

Right. WHAT THE FUCK!?

Why don’t more people talk about this film? Like it has Tessa Thompson and the world’s best earrings! Lakeith Stanfield getting more than 10 cumulative minutes of screen time! Armie Hammer being that bitch we all knew he was irl (probably)! Scathing critiques of late stage capitalism! It’s insane, in the absolute best way.

SPOILERS AHEAD: I had a mini paragraph written about the last hour of the film and the descent into pure unadulterated chaos, and how it’s like, the internet’s best kept secret, because ordinarily you lot can’t keep your mouths shut about a film or TV’s shows most crucial reveals for more than 5 minutes and THEN...My FBI agent must be feeling real cheeky because THIS tweet pops up on my Twitter timeline.

Fuck this shit, I’m out. Onto the next film. MI5 stop peeping my drafts.

Eighth Grade (Bo Burnham, 2018)

I don’t want to repeat what I said about Eighth Grade in my 50 Films you Should Watch list but Elsie Fisher’s performance in this is why I wish the Oscars also had some kind of rising star award category à la the BAFTAs. Honestly, every 13/14 year old should watch this; it’s a reminder that although feeling like an outsider is by its nature quite isolating, it’s prolific enough that a 29 year old man, 10 years out of “high school”, gets it.

American Animals (Bart Layton, 2018)

My sister and I absolutely loved this film so you can image our disappointment when we turned round to our parents at the end and our enthusiasm wasn’t matched...as in, I’m pretty sure they were both asleep for a lot of it. WHICH I DON’T GET. Because to me, there wasn’t a dull moment. American Animals is what happens when a group of university age boys with the finesse of the American Vandal Turd Burglar try and apply that to an Evil Genius stye heist, part Netflix, talking head abundant documentary, part live-action film. Splicing a stylistic reenactment with interview footage of the men who really attempted to commit the crime elevated what I probably would have put in the Good Tier™ to the God Tier™; seeing the guy Evan Peters is playing alongside Evan Peters playing him, now only the remnants of the arrogance we see in the reenactment left behind, sharply reminds you of the fall from grace these boys deservedly went through. Plus Barry Keoghan from The Killing of a Sacred Deer is in it, proving that unsettlingly stiff is NOT in fact his natural state.

Gerald’s Game (Mike Flanagan, 2017)

I wish there was a shorthand way to say I wrote about this in my 50 Films You Should Watch list so I’m gonna keep it short but here we are! This was great! If The Haunting of Hill House isn’t proof enough, Gerald’s Game (not to take away any credit from Stephen King) is a reminder that Mike Flanagan is the king of subtle, niggling sensation in your stomach that something is about to go very wrong horror. I hear he and Ari Aster have a timeshare situation going on with the crown.

The Ritual (David Bruckner, 2017)

Okay, so this is the film that made me realise we should all be very scared of forests. Nope, all the documentaries into the Aokigahara Forest weren’t enough, apparently. I subjected myself to this too, as if my unfit, cold-blooded, bug-fearing, scared of the dark ass doesn’t already have enough concerns about my survival odds in the great outdoors.

Really though, setting aside, this film maintains the sense of dread throughout and keeps you guessing what’s going on until the very end. Much like The Descent, the group dynamic and characters are realistic enough that it adds to the believability of a scenario I, in principle, know would never happen to the extent that I might keep away from vast, wooded spaces for a while just in case.

Dumbo (Tim Burton, 2019)

If film Twitter came across this post and saw I’d placed Dumbo in a higher tier than If Beale Street Could Talk I can only imagine the outrage. And sure, the latter is probably a much higher quality film. But sometimes a movie, for reasons you can’t quite put your finger on, gets you right in the sweet spot, and Dumbo did that for me. Maybe it was that the CGI elephant reminded me of my cat (I know, leave me alone), maybe I was emotional that day, I don’t know, all I know is that I cried like 5 times and was smiling for the rest of it-to be fair, the exploitation of animals for our entertainment is something that is still very much going on and that was something that was playing on my mind a lot whilst I was watching it. IRL Dumbos should be free too. Dumbo rights.

The VVitch (Robert Eggers, 2016)

This film taught me that there’s nothing wrong with joining a coven of young witches and getting naked and levitating around a fire. And that’s an important life lesson. Plus it gave us the quote “wouldst thou like to live deliciously?”, which is not only so perfectly creepy and simultaneously empowering that I had to get it tattooed but also, created ASMR. I just made that last bit up obviously but Black Philip getting his own ASMR Youtube channel?

The Descent (Neil Marshall, 2006)

For me, much like The Ritual, The Descent is a perfect horror film: it’s got the ghouls but the situation the characters find themselves in is also terrifying by its own merit. The reason The Descent made it onto my 50 Films list and the Ritual didn’t is because, let’s be honest, it’s 2020 and you can get mobile signal in most places. You could probably at least make a 999 call if you got lost in a forest. If you DID get stuck in an underground cave and it collapsed in on itself, you’d be pretty fucked; the idea of it makes me shudder and I will never set foot in an underground tunnel at any point in my life for any amount of money EVER after seeing this. Also, the women in this are great and the creatures in this are genuinely quite terrifying, especially the first time you see them.

Chicago (Rob Marshall, 2003)

Ah, Chicago, the last film on the God Tier™, proving that this list is in no particular order. Because WHAT A FIM. WHY DON’T PEOPLE TALK ABOUT THIS MORE?! Like don’t get me wrong, I know it deservedly won Best Picture in 2003 but I’m talking about right now! I mean, fucking Titanic is still out here getting referenced left, right and centre and yet Chicago gets paid dust! Can you tell I’m mad and that I think Titanic is hugely overrated?! Is that maybe coming across?!

ALL the songs are bops, Catherine Zeta-Jones is hot (I saw someone on Letterboxd say that Catherine Zeta-Jones in this film was their bisexual awakening and honestly, if I hadn’t already known I was a raging bisexual, same, because I FELT things in that All That Jazz opening) and Cell Block Tango is the revenge fantasy anthem I never knew I needed. Smart, tongue in cheek, beautifully shot and makes men look like little bitches which is probably why my dad hated it but what did I expect.

Good Tier

Zombieland: Double Tap (Ruben Fleischer, 2019)

Onto the first film of the good tier, Zombieland: Double Tap definitely exceeded my expectations. I was super worried about the prospect of a sequel as I love the first one so much and assumed it would be crap. Obviously, it doesn’t match up to the original because the original WAS so original, but it was still a fun, easy, witty ride. And I was SO glad they didn’t *SPOILERS AHEAD* kill off Tallahassee at the end because I really thought that was coming and it seemed so predictable and unnecessary. Highlight was the introduction of the lookalikes at Graceland.

Judy (Rupert Goold, 2019)

So, this is the first of two consecutive rants I’m about to go on about Oscar nominations and people’s reactions online. Prepare yourself.

I’ll start with the underlying message: just because you think something else deserves the praise more, doesn’t mean the film/album/*insert whatever artistic medium you wish here* that IS getting the praise is shit.

Like people are angry that Lupita Nyongo wasn’t nominated for best actress for her performance in Us which is COMPLETELY valid as she carried that film on her back. In the same vein, people are also angry that more women of colour haven’t been nominated for best actress. Also valid; I’ve yet to see The Farewell but I’ve heard great things about Akwafina’s performance and I love her so even though I haven’t seen it, I’m gonna take the general consensus that she should’ve been nominated too. The Oscars definitely has a problem with recognising the work of POC. BUT, because of this, people are angry that Renee Zellweger has been nominated for her performance in Judy, saying that it’s typical “Oscar bait”. I agree, it is typical Oscar bait. However, a lot of the people saying this will in the same breath say (or tweet rather) that they haven’t actually SEEN Judy.

How can you possibly say that Renee Zellweger doesn’t deserve any of the praise she’s getting when you haven’t even seen the film? Don’t get me wrong, the film itself is good but not outstanding (hence its place in this tier), but you can see Renee genuinely put her heart and soul into this film; it was powerful, and it was sympathetic but it was also nuanced and subtle where they could’ve just capitalised on all the sensationalised stories of the actions of a woman clearly deeply suffering in her final years and had it be full of shouting and screaming. The Wizard of Oz has always kind of felt like home to me because of the childhood nostalgia factor and so I’ve always been interested in Judy and I think Renee captured her heart and her spirit in a way she would be deeply honoured by. Maybe the film itself doesn’t deserve the acclaim it’s getting but I think Zellweger definitely deserves the nom and I think most people who’ve actually seen it wouldn’t contest that.

Joker (Todd Philipps, 2019)

Okay so second rant. I’m sorry. I have a lot of feelings. Most of them aimed at the annoying tendency of internet users, Film Twitter™ and Letterboxd users I’m looking at you in particular, to be wildly exaggerative.

There just seems to be no nuance online. It’s not just yeah, I didn’t like the film personally and the message could be perceived in a certain way by certain individuals, it’s I HATE THIS FILM AND IT’S DANGEROUS AND THE DIRECTOR FUCKING SUCKS. I noticed this trend when La La Land came out (which if I had watched last year would certainly be in God tier for me). It’s like, if a film initially receives a lot of praise and buzz, there’s almost this wave of compensatory vehement criticism in response that’s usually disproportionate to how controversial the film actually is. People didn’t like that Joker was popular because they didn’t like Joker so suddenly it’s the worst film ever and the possibility of it getting any critical acclaim is wrong. I even saw people berating Todd Philipps for channelling Martin Scorsese as he’s the only person to ever be influenced and take direction from one of the most dominant figures in film of the 20th and 21st century. I mean, what’s wrong with that?! If it was any other director, it’d be called homage. But because everything has to be seen through this malicious lens, its copying.

I think one of the few very valid criticisms about Joker was that it further perpetuates the idea that psychotic people are dangerous, and I can totally see where they’re coming from. At the same time, we have to accept that whilst the majority of people who are psychotic aren’t a danger to anyone apart from themselves, most “dangerous” people don’t just become dangerous because they thought, fuck it, why not? A lot of people in the prison system ARE suffering with some kind of mental illness. The character’s psychosis doesn’t make him dangerous, it’s his underlying resentment and sense of entitlement that grows throughout the film that makes him dangerous, and I think a lot of people seem to miss this point. They say that the way the film ends implies Philipps is justifying the actions of the films protagonist. However, we KNOW the Joker is an unreliable narrator, he’s one of pop culture’s most infamous villains and that being said, both in film and in the real world, few villains see themselves as the villain. Joker is about why HE thinks he’s justified in doing what he does, not why he IS justified in doing what he does because he’s not, and that’s pretty clear from the moment he shoots someone in the head on live TV. Honestly, I think there’s a bit of wilful misinterpretation going on because people don’t like that film

I liked Joker. It was gritty, it was interesting, and sufficiently dark. I didn’t think it was the best film of the year but I understand why it got the praise it did. Obviously, it’s okay that people disagree and DON’T like it. But can we please get a bit more well-acquainted with the middle ground?

It: Chapter Two (Andres Muschietti, 2019)

Okay, essays over. Back to regular scheduled programming of less impassioned reviews. Though I will say I deserved better than my Letterboxd comment of “so you can just fucking roast Pennwyise to death?” getting absolutely 0 traction. One day my grand total of 5 followers, one of which is my sister, will recognise my brilliance (lol).

It’s hard to say how much I really liked this as I think my perspective of how much I did enjoy it is warped by how much I disliked the first one. Child actors really aren’t my thing and the only cast members I warmed to in the first one were Finn Wolfhard and Jack Dylan Grazer whereas the cast here were a lot more likeable, imo. Bill Hader, Jessica Chastain and James Ransone were all great, with the only let down being James Mcavoy; I love him, don’t get me wrong, but I just think he was really miscast in this role.

Another thing I enjoyed a lot more about this instalment was that due to the more episodic/anthology-like/Creepshow-esque structure with each character conquering different monsters from their past individually, the narrative felt like it had a lot more direction, and it didn’t drag as much despite it having a significantly longer runtime. I haven’t read the Stephen King novels and I don’t know much of the pacing issues are down to them so this is me coming at it from a screenwriting angle but it felt as if the climax of the first film just kept going on and on. Every time I thought it had finished there’d be another confrontation between the kids and Pennywise whereas Chapter 2 seemed to have a more definitive third act and I appreciated that.

Rocketman (Dexter Fletcher, 2019)

So, here’s one where I WILL agree with the general online consensus: if Rami Malek got nominated for playing Freddie Mercury last year and Renee got nominated for playing Judy Garland, why the fuck didn’t Taron Egerton get one for playing Elton John? Why didn’t Rocketman itself get a nomination when Judy did? Though I personally preferred Judy because I’m more interested in her story, technically and narratively Rocketman is the better film in my opinion. This was so cleverly edited and sequenced and told with such a brutal honesty on Elton John’s part (it was co-produced by his husband David Furnish and he was heavily involved in everything from the set to the script), that I can only come to the conclusion that the obligatory biopic nomination only comes when the focus of said biopic is no longer with us as a kind of honorary thing. Whilst something like Bohemian Rhapsody was much more of an easy watch (which just goes to show how glossed over Freddie Mercury’s life was in the film), the way the story was told, by the time we got to I’m Still Standing that happy ending felt so earned.

Aladdin (Guy Ritchie, 2019)

You can hate all you want, Prince Ali and Never Had a Friend Like Me are fucking bops and somehow they were even better in this incarnation of the film. I was initially hesitant about Will Smith being cast but rather than trying to impersonate Robin Williams he went his own route and it really worked. He was the highlight of the film. It was undeniably visually stunning too. Madonna’s ex did good.

Us (Jordan Peele, 2019)

Ah, I feel so conflicted when it comes to Us. Like, there were some really strong points and it’s definitely a good standalone horror movie. It’s just you can’t help but compare it to Get Out, and with that unsatisfactory exposition dump ending, I left feeling so disappointed. It seemed to me that Jordan Peele got in a bit over his head here with trying to tie such a vague social metaphor and the actual in-universe plot together, and so ended up leaving both a bit half-baked. He tried to OutPeele himself and for me, it didn’t work.

The doppelgängers were so scary as this ambiguous, vaguely threatening presence that if you are gonna give us a full blown, sit down explanation of why they exist it needs to be really bloody good. And this explanation didn’t make much sense. For example, *SPOILERS AHEAD* I imagine that the tethered just not being able to walk up the escalator into the “real world” was supposed to be some kind of metaphor for social mobility but it’s not fleshed out enough to work. In our world, there are REASONS why the idea of social mobility is flawed. In the film, it’s just like gee, if they chose to just walk up the escalator and go on this murderous rampage now, why couldn't they have decided to do it years ago back before they all lost their fucking minds? Why were they just copying the originals for all those years? HOW did they know what they were doing? See, the metaphor as I understand it is supposed to be that we depend on the oppression of others like us in order to maintain our social status, but not only is this kind of too general a statement to try and use a feature length film to make, I don’t really understand how this dynamic works within the narrative of the film. Technically, there's nothing to stop the tethered and the originals co-existing apart from the tethered deciding not to walk up the fucking escalator. We’re not talking a bourgeoisie-proletariat relationship here. The explanation of it all just being a “government project gone wrong” was too vague seeing as the plot working seemed prior to this to hinge onto something vaguely supernatural and the eventual plan of the doppelgängers seemingly had no purpose or application to the real world like the climax of Get Out did. It just left me feeling kind of like...why? Why did this all happen? When the ending and the twist was that predictable (the old Pretty Little Liars finale style twin switcheroo was blatantly obvious from the mother’s “it’s like she’s a different person” line near the beginning, let’s be real), I was expecting some final revelation that flipped my expectation on its head or at least felt helped things click into place. Instead, it seemed a bit hamfisted and like I was supposed to feel things were deeper and more significant than they actually were.

All that being said, I appreciate that if anyone other than the writer of Get Out had come out with this movie, I probably wouldn’t have these issues. Us was funny, it was fresh, and the concept of doppelgängers is something I’m so glad to see brought back into our modern pop culture database. The people are right, Lupita was incredible in this and it is a travesty that she didn’t get nominated. My sister, who was so creeped out by her vocal performance that she had her fingers in her ears every time Red spoke, still won’t let me attempt an impression of it. And that Fuck the Police sequence? Iconic.

On the Basis of Sex (Mimi Leder, 2019)

I apologise in advance for the shittiest “review” I’ll ever write, but honestly I can’t remember all too much about this film other than it being good. Ruth Bader Ginsburg, I’m sorry. You’re a cool lady.

If Beale Street Could Talk (Barry Jenkins, 2019)

EURGH, THIS WAS SUCH A BEAUTIFUL FIM. The score, the shots, the rawness. I imagine it’s devastatingly real. Like, *SPOILERS AHEAD* you think there’s going to be a happy ending but there’s not. It should be disappointing but it’s an honest choice. And side note: fuck those annoying middle aged white ladies in the seats behind me and my friend who lost their shit and started giggling every time the N-word was used, JFC. I hate living in a Tory stronghold.

Cam (Daniel Goldhaber, 2018)

So, as I said, I’m a fan of the whole doppelgänger thing. It freaks me out. The point in this film where the protagonist is approaching her bedroom door whilst she watches HERSELF livestreaming from inside that same bedroom had my heart in my mouth wondering what she was going to encounter on the other side. And you see, the ending of this was a lot more ambiguous than the ending of Us, so I should’ve had less questions. Whilst I’ve seen other people saying it WAS unsatisfactory and that they felt like we were owed more of an explanation, I liked the simplicity of the answer we got and the wiggle room it leaves for our own interpretation. The way I see it, given that we were told by the fan the protagonist meets with in the motel room that *SPOILERS AHEAD* it was a case of some kind of software copying these women’s likenesses to steal their viewers and thus their profits, is that Cam is a kind of a commentary on the capitalist exploitation of women’s bodies and the demand for (and desensitisation towards) sexually violent content; we don't necessarily need to know who is behind the virtual cloning, which is terrifyingly believable given how realistic some of the deepfakes I’ve seen are, because it doesn’t matter. We're basically told money is the motive and we know the kind of lengths some people will go, and someone DID go to in Cam, to in order to make a shitload of money and that’s as true in real life as it is scary. On the other hand, if you want to believe there’s a more supernatural presence behind the events of the film, there’s enough left to the imagination that you can go down that route too. Some films are better left un-exposition dumped and this is the proof. My one criticism, is that, like many films, it would be even better if directed by a woman; I’ve seen people say that its portrayal of online sex work isn’t entirely accurate and though I can’t say with certainty that women working in this industry weren’t consulted in the first place, I imagine a female director would not only be more likely to listen to their concerns but could translate the confusion and fear that comes with being expected to makes oneself sexually desirable to get ahead in the world but then shamed and used for doing so even more viscerally. A few tweaks and it’d be God Tier.

Colette (Wash Westmoreland, 2019)

The costumes, sets, and Keira were so, so stunning. Also it was just an inspiring, beautiful story. The navigation of womanhood, so called “deviant” sexuality and self-expression against the backdrop of early 20th century Paris with a load of Edwardian era tailoring thrown in, it’s everything I could possibly want and more; 10/10 moodboard content.

The Boy (William Brent Bell, 2016)

I can’t believe this film was made in 2016, and it almost makes me move it down to mid tier based on the fact that a lot of the allowances I made for cheese factor I made on the assumption it came out earlier in the decade. BUT, that being said, I was creeped out for a good portion of this film. Most horrors I watch and I’m probably a bit too chilled (a head comes off or some witchy ass ghost screams into the camera and my only thought is some kind of judgement of the SFX), and yet I felt like watching this behind my hands. I don’t know what it is about dolls and puppets, Chucky was my childhood fear even though I never actually watched the film, but something about the uncanny valley of it all makes me just spend the whole time they’re on screen silently praying they don’t start moving or talking. So in a way, given the resolution of the film *SPOILERS AHEAD*, the premise of The Boy was actually a lot scarier to me than the reveal of what was really going on. Someone hiding in my walls? NBD. That demons are real and that they live inside creepy old dolls? Terrifying. Why does everybody I debate this with disagree!? You can't call the police on a demon! At least with a human being you can stick them with the pointy ending of something! Regardless, I enjoyed the journey and trying to work out how things would end and if there IS anybody secretly living inside my house right now, even if you are a supposedly dead murderous family member (last time I checked I didn’t have any of those so I should be all good), kindly vacate. Thanks.

Oprhan (Jaume Collet-Serra, 2009)

So the fact that this film is based on a real life case makes this all the more terrifying. It was a bit campy and tacky at times but the shot of *SPOILERS AHEAD* Esther taking off her makeup in the mirror and revealing her true age will always be iconic. Plus I love Vera Farmiga, even though I did struggle to see her as anyone other than Norma Bates.

First Reformed (Paul Schrader, 2018)

A hauntingly beautiful film with a lot of room for interpretation. There were so many gorgeous shots and so much subtext, this is proper 10/10 media studies essay material.

The Invitation (Karyn Kusama, 2015)

I would say the concept and implications of this film, which don’t fully hit you til the final shots, are a lot better than the film itself. It feels very realistic though and is definitely tense.

As Above, So Below (John Erick Dowdle, 2014)

I was so stoned when I watched this that a lot of the allegory and Dante’s inferno references went straight over my head, and it just seemed absolutely balls to the wall wild. I couldn’t buy that the characters would just KEEP GOING either when things began to get terrifying, like people in horror films really out here making the most nonsensical decisions and it drives me mad. But anyway, it was definitely entertaining and there’s a lot more to it in terms of plot and mythology than most similar quality horrors and I appreciate that

Climax (Gaspar Noe, 2018)

Climax is an interesting one that I think I’ll have to watch again to judge how much I truly like it. As with Us, I know it’s a good film, but I think my expectations of what it was going to be left me slightly disappointed. See, when I read about the premise I assumed that the horror was going to come from seeing the perspective of the characters on said acid trip and that leaves so much room for any kind of terrifying visuals you want whether that be something based in realism or fucked up creatures of the imagination. Buuuuut, it wasn’t that at all; at no point does Climax take place from the first person perspective of any of the characters. Similar to Darren Aronofsky’s Mother, the horror comes from not being able to do anything but watch as everyone starts losing their minds and the situation gets increasingly more dire. It’s pure stress; the acting is so unnervingly good that you really do feel like you’re watching some unintentionally horrific incident take place. That’s not a bad thing-I like it when films make me feel something intense, whether that emotion be positive or negative. It was just a different viewing experience to the one I had precipitated.

Mid Tier

Nativity (Debbie Isitt, 2009)

I find Mr.Poppy hilarious. Does that make me a child? Probably. I’m not really one for Christmas movies but this one’s alright.

Scary Stories to Tell in the Dark (André Øvredal, 2019)

I get that it’s based off a book so it’s not exactly like the “monsters” were a secret in the first place, but for those of us who didn’t read the Scary Stories to Tell in the Dark books as a kid, my main beef with this film was that they basically revealed all of said monsters in the trailer. Like how It: Chapter 2 spoiled the scene with Beverly in the old lady’s apartment but with EVERY. SINGLE. CREATURE. The only one that wasn’t was the “jangly man” and the only takeaway I have from him is the “jangly in the streets, but is he jangly in the sheets?” Letterboxd comment I read afterwards. Like the creature designs are the selling point of this film and by showing us them all before we’ve even seen it, any anticipation that would’ve built up from their reveal was kind of gone. Plus, it definitely felt like the writers were trying to ride on the hype train of “It” when they wrote this-only they made it even more childish. I mean, I know it was classed as PG-13 in the US which is maybe part of the reason it was so tame but the Woman in Black was a 12 when it was released here and it could be the bias of my 13 year old brain but I remember that being terrifying to watch in the cinema.

Also, I found it weird how *SPOILERS AHEAD* a couple of the main characters died and there didn’t really seem to be any consequences? Idk, maybe that’s because I found them all a bit one dimensional but I’ve seen others make the same criticism so I don’t think so.

Don’t get me wrong, this wasn’t a BAD film. It just wasn’t super good.

Charlie’s Angels (Elizabeth Banks, 2019)

I’ve never seen the 2000s Charlie’s Angels so I really don’t have anything to compare to, but I don’t think this was THAT bad. I was fairly entertained throughout and I enjoyed Naomi Scott and Kristen Stewart’s characters. My main issue was the unnecessary inclusion of Noah Centineo, and that weird ass montage at the beginning of stock video shots of girls just...doing miscellaneous things. Why, Elizabeth Banks, why!?

Toy Story 4 (Josh Cooley, 2019)

In some ways, I see why Toy Story 4 was narratively necessary: co-dependency had been a running theme throughout and we needed to see Woody (I feel stupid saying this considering he’s a fucking toy but allow it) realise that he can exist independently of Andy, and that there’s more to life than pleasing somebody else. The way Toy Story 4 ended felt like a satisfying conclusion to his character arc, and as well as the animation being top tier, Forky was a hilarious addition to the cast. However, I don’t think it carried the emotional weight of the 3rd Toy Story, which I think people had accepted as the last instalment and had used to say goodbye to the franchise, and therefore the sceptic in me thinks that the obvious purpose of this addition was a cash grab. I don’t doubt that a lot of people worked incredibly hard on it-I’m just saying that the propelling force behind the film probably wasn’t “the people need to see Woody’s character growth” and that was quite apparent throughout.

Doctor Sleep (Mike Flanagan, 2019)

There were some really beautiful scenes in Doctor Sleep; the astral projection sequences in particular were magnificent and I loved Rebecca Ferguson as the villain. Stylistically, though I didn’t find out he was the director until I was writing this up, you can definitely tell it’s Mike Flanagan, and like I’ve said, he does horror very tastefully. Unfortunately, I just wasn’t all that interested in the premise and I wasn’t hugely invested in grown up Danny Torrance either. The execution was great and the return to the Overlook was brilliant, of course, but the story just wasn’t for me and nothing much sticks out as being a particularly intriguing plot point.

Mary Queen of Scots (Josie Rourke, 2019)

What to say about Mary Queen of Scots other than...yeah, it was alright. I mean, I really should’ve liked it more than I did, because these specific events were part of the Edexcel A-Level history curriculum (Can I get some Rebellion and Disorder Under the Tudors students representation up in here!?) and I usually love seeing history translated onto screen, plus it centred around Margot Robbie and Saoirse Ronan. It was just very...meh. I feel like there’s so much more complex a story here than was told. Both women were undoubtedly a lot more complicated than this film made them out to be and I think to reduce Mary Queen of Scots to a Mary Sue-ish heroine was a disappointing choice. Plus, if we’re gonna talk historical accuracy (which all the racists came out of their caves to discuss at the time), Mary and Elizabeth never actually met; I’m sure there was a more creative way to explore their dynamic than by forcing an interaction that never actually happened.

Apostle (Gareth Evans, 2018)

There were elements of this film I really liked; the mythology behind the cult, I.E what the townsfolk actually worshipped when you stripped away all the secrecy was pretty interesting. However, I felt it depended too much on atmosphere and not enough on plot, and I didn’t warm to any of the characters.

Searching (Aneesh Chaganty, 2018)

It’s difficult because technically, Searching is obviously an ingenious film. My issue is the way it ended, which was imo, super anti-climatic, and honestly pretty predictable in that it seemed like the writers just went out of their way *SPOILERS AHEAD* to make the culprit the person viewers would’ve ruled out by default for shock value, and then work out WHY that person was the culprit from there. I was expecting something a lot darker to be behind the protagonist’s daughter’s disappearance-irl, these situations usually are-and so maybe it’s just me being a bit of a sadist but I was disappointed by how things resolved themselves.

Deliver Us from Evil (Scott Derrickson, 2014)

So, this isn’t boring. It’s interesting to have a horror navigated through the lens of something as procedural as a police investigation. But ultimately, the acting isn’t great, there’s very few scary moments, and it’s a little cheesy. As horrors go, it’s pretty shallow-it is what it says on the tin.

Dumplin’ (Anne Fletcher, 2018)

I watched this right at the beginning of the year and I can’t remember all too much about it, but I remember not hating it? See, looking at the cast, Odeya Rush and Dove Cameron are both in it which would suggest I’d come away hating MYSELF instead but yeah...I got nothing.

Lights Out (David F.Sandberg, 2016)

The concept is very scary, the execution not so much, and the actual storyline is a little cheesy. I found myself just being like OH MY GOD, IT’S BELLA’S DAD FROM TWILIGHT! And then *SPOILERS AHEAD* getting mad that they did Charlie Swan dirty like that by killing him off in the first 10/15 minutes.

The Goldfinch (John Crowley, 2019)

So I LOVED the book of The Goldfinch. I read it after the Secret History and even though most people seem to prefer the latter, the former hit me right in the sweet spot. The length was almost one of my favourite things about it; I felt by the end that I came to know the character so well he felt like someone I knew in real life. When I heard Ansel Elgort was cast as Theo, I was really happy; I’m not necessarily a huge fan of him as an actor, I've only ever seen him in shitty teen-y dramas which I forced myself to like at the time E.G. The Fault in Our Stars and Divergent, but he looks kind of exactly how I pictured Theo looking. Almost like an Evanna Lynch as Luna Lovegood situation. And then honestly, the actual film came around, and I found myself much preferring the young Theo sections. I get that Theo is quite a muted character and I hate to properly slate anyone’s performance, but Ansel as him felt a bit flat. The casting in general was pretty whack; I love Nicole Kidman but she didn’t feel right as Mrs.Barbour and it seemed that they added a lot to her character to the detriment of Hobie’s character who was a much bigger part of Theo’s life in the book. Also, can we talk about Finn Wolfhard as Boris? I’m sorry, but that accent was godawful. Really bad. Boris’ accent was always supposed to be kind of ambiguous but this was just butchered Russian. Another gripe that my friend and I, who also read the book, had with the Vegas section of the film (which was otherwise probably the best part) was that they never properly explored the complexity of Boris and Theo’s relationship. Obviously I’m not saying that I want 2 minors to shoot a sex scene but it could have been referenced when they reunite as adults because the kiss on the head when they part in Vegas seemed misleadingly platonic. It was heavily implied in the book that there was some kind of love that went beyond friendship between the two and I didn’t get that in the film at all.

Ultimately, when you try and adapt a book as long as the Goldfinch, you’re always going to have some pacing issues and people complaining that things were left out or that X or Y character didn’t have enough screen time. But in ways, I think the fault here was trying to stay TOO faithful in the limited time available. They definitely could have focussed less on certain relationships and more on others, and when it comes down to it, I think we lost a lot of the grittiness of the original book for the sake of pretty visuals.

Once Upon a Time in Hollywood (Quentin Tarantino, 2019)

Don’t get me wrong, this would 100% be in shit tier if it wasn’t for the last hour or so of the film and all the Manson lore which is so disappointing because I love Tarantino films and I love that era. As for the first couple of hours, I loved the vibe and I love Margot Robbie, and I think it was very respectful towards the Tate family (if anything radiated through the screen more than anything else it was Sharon Tate’s sweetness), but I just wasn’t that invested in Leo or Brad’s characters-it all just felt a bit pointless. I really like Brad Pitt and even that couldn’t really save it for me. Maybe if you took away the remaining 2 hours and 20 minutes of Leo DiCaprio making vague allusions to his own career to a girl only slightly younger than the combined age of all girlfriends past I’d enjoy it more but then I don’t think there’d be much footage left. I guess we should just be grateful that Tarantino managed to refrain from unnecessarily sprinkling the N-word into every other line of his script this time, right?

Also.

SO. MANY. FEET.

But then again, this did result in Brad publicly mocking Tarantino’s foot fetish during his speech at the SAG awards so...I’ll allow it. Sometimes kink shaming is okay. Especially when it’s this guy:

Isn’t it Romantic (Todd Strauss-Schulson, 2019)

I guess as romantic comedies go it wasn’t AWFUL because it was self-aware but still just not my cup of tea and it didn’t really make me laugh. Plus, I feel like it did just follow the plot of a conventional rom-com in the end so...what was it all for, you know?

Green Room (Jeremy Saulnier, 2016)

I think my disappointment with this film was a case of too high expectations. It wasn’t as gory as I hoped, in fact, there was very little on screen gore at all. I was just expecting something very messed up and I didn’t get that. But then again we did get Maeby from Arrested Development singing a fuck Nazis song so I guess that was a nice surprise?

Shit Tier

Birdbox (Susanne Bier, 2018)

First the disappointment of the Goldfinch, and now Birdbox (although they were chronologically the other way round but for the sake of this review, let’s just ignore that). It really is a bad year for bird films.

It’s weird because when this first came out I remember everyone hyping it up and making memes about it and stuff and then I actually watched it and dear god, it was boring. Honestly, who paid you lot to pretend you cared enough about it enough to make content? And where can I get in on this action?

I mean it didn’t start off terribly but then they killed off SARAH FUCKING PAULSON and somehow managed to make SANDRA FUCKING BULLOCK unlikeable. How does one do that? The mind baffles.

Pet Sematary (Kevin Kolsch & Dennis Widmyer, 2019)

The kid acting was bad, the leads were meh and there wasn’t one creepy moment. This should be SO MUCH MORE hard hitting than it actually was given the subject matter and it just fell completely flat. I will say, though, *SPOILERS AHEAD* that the ending was appropriately doom and gloom and even though I’ve seen lots of others say they hate it it was probably the only thing I actually liked.

The Lion King (Jon Favreau, 2019)

Seth Rogen and Billie Eichner were the only good things about this which is sad because I fucking love Donald Glover and I was so excited when he was cast as Simba. Like, it was pretty but empty and unnecessary and I’m not one of these people who think CGI remakes always have to be this way-I loved Dumbo and I liked the live-action Jungle Book too! I just think the people who made this cared too much about good CGI and realism and less about heart. There was no personality whatsoever and it’s such a waste when you think about the fact that they had Donald and Beyonce on board.

Red Sparrow (Francis Lawrence, 2018)

Eurgh, I hated this. I think Jennifer Lawrence is stunning and I usually love her films but every shot of her in this felt so male-gaze oriented, even the ones which were sexually violent, which I found to be completely unnecessary in the first place. At times it felt almost torture-porn-y which was not what I expected at all seeing as the marketing made it seem like some kind of female empowerment movie.

It Comes at Night (Trey Edward Shults, 2017)

I literally can’t remember fucking anything from this film. Clearly there is a very, very fine line between atmospheric and boring.

Warm Bodies (Jonathan Levine, 2013)

Maybe it’s because I watched this about 6 years too late and the whole human-girl-falls-in-love-with-supernatural-creature hype train has long since left the station but I couldn’t even finish it. Cutesy necrophilia ain’t for me, sorry Nicholas Hoult. Still love ya. You’ll always be Tony Stonem to me xoxo

Million Dollar Baby (Clint Eastwood, 2005)

I’m pretty sure this movie won a lot of awards so I’m sure this is a very unpopular opinion but the way this film ended was so...depressing. SO depressing. Did it have to be THAT depressing? The Always Sunny in Philadelphia episode outsold.

This is the range Oscar winning actress Hilary Swank wishes she had.

Would You Rather (David Guy Levy, 2013)

Started off well but became cheesy and predictable as it went on. The acting wasn’t great either plus there was another unnecessary attempted rape scene here too.

Christmas with the Kranks (Joe Roth, 2004)

So I watched this movie in the run up to Christmas because my best friend and her mum were referencing it like it was this cult classic (which I guess for some reason it is?) and I’m sorry to her and her mum but what the hell is this shit?! It’s not even so bad it’s good. It’s just bad.

The plot, the characters, EVERYTHING, it’s ridiculous on every level. I wasn’t into it enough to suspend my disbelief that anyone’s neighbours would actually care THAT much that they weren’t celebrating Christmas. Go on your damn cruise, take me with you whilst you're at it, ease my seasonal depression! I wouldn’t mind so much if it was funny or if the protagonists were likeable but it wasn’t and they’re not. Nobody’s actions made any sense. It didn’t put me in the Christmas spirit at all it just made me angry that Jamie Lee Curtis’ agent made her do this shit. She’s a scream queen goddess and she deserves better.

ANYWAY.

I’m now realising that I should have started on shit tier and worked my way up to god tier because now this post has ended on the rather sour note of me getting worked up over Christmas with the Kranks, lol. As always, these are just my opinions and I love to hear other people’s; when it comes to something like this, it’s all a matter of preference and there really isn’t a right or wrong answer, so I’m open to discussion!

With the Oscars less than a week away now I rushed a little to get this out on time, so apologies in advance if anything doesn’t make any sense or there’s any typos, I will look back over it at some point over the next couple of days to check.

But if you read to the end thank you! And stay tuned for my overview of Paris Haute Couture Week S/S 2020 if that’s something you’re interested in as that will most likely be next post!

Lauren x

46 notes · View notes