So I watched season one and season two back to back.
My general take on the writing was: meh. But that’s actually high praise from me, since I came to it as a Terry Pratchett fan who bought and loved the original book when it was first published.
I have so many friends who love Neil Gaman’s writing and have recommended it to me for decades. I’ve tried to read American Gods three times. The only thing I remember is the giant ball of yarn, which is the point I’ve given up every time. I did finish another of his books, but just…didn’t like it. Lovely descriptions, but just no characters I was interested in. I haven’t even managed to make it through the TV versions. I quit Sandman after twenty minutes, at the point that everyone that wasn’t an unpleasant white man was dead. I mean, honestly, I work in tech - if you swing a cat, you’ll hit a white guy who thinks he’s nearly supernatural . It’s too workaday to be entertaining.
So I’m pleased I managed to make it through Good Omens 2 with no complaints about the writing - though I dearly miss Terry’s trademark humor and whimsy.
The reason I’d call it ‘meh’ is probably the same reason I got through it at all. It seemed very much like standard ‘processing a breakup’ fic. The kind of thing you write and you think it’s about something else entirely and then in five years you come back to it and it was CLEARLY you working through your feelings about a breakup unconsciously. And there were real feelings there - which is why I stuck with it. Most of Neil’s writing is too cerebral for me - without the weight and heat of heart. But that’s also why it was just ‘meh’. It was the unexamined heart - a writer is never firing on all cylinders when their head and their heart are working at cross-purposes. It had that feel of stop and start, explosion and silence, that you feel when first learning to drive stick - the unpleasant impact of lack of control or finesse…everything is too raw.
It felt like someone writing about the death of an unconventional relationship. I didn’t mind the ending. There was truth and nuance there, however bitter. Though I’m sick to death of seeing queer love revealed and rejected in the same scene, in ambiguous terms that make it worthy only of hell and damnation, a violating sin revealed by necessity and pushed on an unwitting protagonist. That wasn’t necessary. It was wrong; a sadness.
I will say that it makes my enduring wish for Michael Sheen to record an audiobook of Dylan Thomas’s poetry rather intense. Because his performance was frankly mesmerizing. It was like live theater, when there are moments when you can feel the whole audience holding their breath. When it feels like the actor is holding the audience in their hands, because everyone is so focused and attuned to their voice, their expressions - to the moment. Just really, really amazing.
Einstein has a quote I love “You wouldn’t think it genius if you knew how much work went into it”. And I can’t help but wonder if he was perfectly cast for the role - charming, sweet-hearted chaos agent of a man that he is. Or if he simply is a master of his craft and just put in a tremendous amount of work. I tend to suspect a bit of both.
He just OWNED this role - gave it life and complexity.
David Tennant is a wonderful actor generally, but I’ve seen him do much better work. He seemed lost inside the role - disappearing into the costume and not quite hitting the emotional beats. Like a good singer on a bad night who’s just not quite hitting his notes the way he can. Still good, even amazing, but not the crowd stopper he can be. The one exception being his turn as Crowley as an angel at the beginning. That was just lovely.
Though if you were going to get lost inside a costume- WHAT a costume. Most of what I love about Crowley is his style. His ‘40s suits are sharp enough to cut.
So - nothing really to complain about - but I really hope they don’t leave it here, as it’s quite depressing if left as is.
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it’s pretty funny to me that when katara positions herself as the more mature sibling in the pilot, a lot of people just take her claim at face value?? as if every single person in the world doesn’t think that they are infinitely smarter and more mature than their sibling(s). sokka also considers himself smarter and more mature than katara, he just doesn’t vocalize that belief as explicitly. but in truth, they’re both mature and immature. neither katara nor sokka has a monopoly on maturity and competence, or lack thereof. sokka is cynical, condescending, and neurotic, but he’s also selfless, responsible, and loyal. katara is impulsive, naive, and recalcitrant, but she is also brave, resilient, and caring. and they’re both strong, courageous leaders who are brilliant, innovative, and skilled in their respective domains. it’s not a competition.
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what people really don't seem to understand about jason's (very justifiable) anger towards bruce is that it's not about bruce leaving the joker alive, it's about the fact that bruce didn't do anything to stop the joker from harming/killing anyone ever again. if bruce had actually done something about the joker (it doesn't have to be murder but something that would stop the joker from causing more harm), jason probably would've been less angry (because the joker being alive isn't the only issue that jason had with bruce) with him.
(yeah, i know all about how the joker had diplomatic immunity but that comic was also pretty islamophobic & and also it was very pro-z10n1st (i.e. one of the candidates to potentially be jason’s mother was a spy for the is***l government) so i'm disregarding everything about that comic)
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I don’t usually make posts like this, but I’ve been seeing a lot of anti-intellectual junk lately, and I really think we need to put the word “pretentious” up on a shelf until people learn what it actually means.
It doesn’t describe someone who likes artsy-fartsy deep meaning media. People who are pretentious are fake. They’re posers trying to be sophisticated and unique, not like other girls. They pretend to only like stuff they think will make them sound cool when they talk about it. They want to act like they know something you don’t, and they want attention for it.
By definition, if you genuinely enjoy something, you can’t be pretentious. If it resonates with you, and you analyze it, and you don’t care what people think, that’s the polar opposite, actually. If you love obscure experimental prog music, if you watch underground high concept indie films through English teacher eyes, if you spend hours in a modern art museum reading each piece as a vessel for storytelling, if your backpack’s full of poetry books that inspire you, if you play underrated games that were someone’s passion project, if you have an interest in studying the classics or the masters, you are not pretentious.
Of course, some people just don’t like some stuff, and that’s fine, but that’s not what this is about. Don’t let anti-intellectuals shame you for enjoying things just because your interests are inaccessible to them, because they refuse to be brave and put effort into critical thinking. You’re not stuck up for refusing to overlook the craft of artists.
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(JJK 220 Spoilers)
[ID: Two cropped pages from Jujustu Kaisen. One shows a panel of Gojo’s face close up and looking away with a speech bubble saying “Nobody will ever need to be alone again.” The panel after it is Gojo and Geto as Jujustu High Schoolers pointing and faced away. Text from Shoko’s internal dialogue is above saying “Truth is, Hell would freeze over before I would fall in love with one of you two.” The second cropped page is Shoko’s dialogue saying “I was there, wasn’t I? So what do you mean ‘alone’ you idiot!” End ID.]
I was caught off guard by this comment at first lol, but I like how this is “I may not be in love with either of you, but it doesn’t mean I don’t care or you’re alone” while managing to show how deeply gojo and geto cared for each other to the point where it’s directly affected how he wants to help others.
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