#draws a somewhat serious scene. me: . . . but what if there was some humor. some silly. something to absolute shatter the moment- | Explore Tumblr Posts and Blogs

drawlfoy · 5 years

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Honey, Honey

masterlist request guidelines requests are open!

pairing: draco x reader

request: yes! hopefully you’re into this!

summary: reader is confused as to why draco suddenly pulled away from her after an..interesting night. loosely based off of my interpretation of ABBA’s Honey, Honey.

warnings: fluff, underage drinking, draco being a lightweight, me not knowing how to write drunk people because i’m a law abiding american woman, language, some blood mentions

a/n: this is the very first song fic i’ve written, and i’m not going to do it the classic way they’re normally executed. i’m not a big fan of injecting the lyrics into dialogue or just pasting the lyrics into the space in between scenes. instead, i’m going to alter the lyrics to fit into certain moments of dialogue to aid the flow of the story. also i’ve never seen mamma mia so if i totally took this song out of context i’m sorry!

taglist: @accio-rogers

music recs: believe it or not i’m gonna rec honey, honey by ABBA and even writer in the dark from lorde, if you’re feeling rebellious

word count: 1,873

She’d known of the Slytherin for years and years, ever since she’d started at Hogwarts. How could she not have noticed him? He was notoriously skilled at drawing attention to himself--his uncommonly pale, shiny head did the job quite well.

Countless times, Y/N had watched him as he gracefully sat himself across from her at the table, shooting her a dazzling smile while still controlling his composure, appearing as nonchalant as ever. They’d toss a few words at each other, some to test the sparring waters, others to wish each other luck on the upcoming exam. Y/N could go as far to say that she was proud to be acquaintances with her crush, no matter how hopeless her feelings were.

And that’s why it was such a shock to see a very inebriated Draco Malfoy stumble about in her common room on a wild Friday night. He always made appearances at parties, maybe sipping a few drinks and playing a classic game of Truth or Dare, but never getting drunk enough to lose his cool, unbothered image.

Y/N watched from the dark green leather couch, nursing a still-full cup of firewhiskey while her legs were tucked up under herself. While it was concerning, she couldn’t deny that it was at least a little humorous. Draco Malfoy didn’t stumble, he glided from place to place on his swanky, custom-made dress shoes.

She glanced down at her drink for a second, looking up only when she heard the unorganized shuffling of feet in front of her.

“Hey, Draco,” she greeted the blonde, smiling up at him. “What’s up?”

He didn’t say anything, choosing to look down at her with his mouth agape instead.

“Do I have something on my face? Or...” She furrowed her eyebrows.

“Can I sit?” he managed, only slightly slurring his words. Y/N thanked Merlin that the party had mostly cleared out by now, each member having returned to their respective dorms, otherwise she wouldn’t have been able to make out his words.

“Yes, yes, do you need help?” Y/N unfolded her legs, positioning herself to aid his way down. He raised a hand to block her in protest, heavily flopping down on the couch.

“Hey, that’s my spot!” she complained, placing her drink on the coffee table and shooting him an exaggerated frown.

“Still could be,” he muttered, opening his arms up as an invitation.

Y/N blushed furiously, choosing to sit down next to the blonde boy instead of on top of him.

“So, what’s going on? I’ve never seen you this drunk before.” Y/N had a feeling that she had no business pressing the issue, but she couldn’t help but be curious.

As expected, he rolled his eyes and evaded meeting hers. “Don’t wanna talk about it.”

“Why’d you come over here then?”

“’Cause I’m lonely and I like you,” he grumbled, his posh accent lost on the lazy words coming out of his mouth.

Y/N’s eyes widened. “You...what?”

“I’m lonely? Yeah, not sure if you noticed, but all my friends left,” he complained, leaning over so his now ruffled hair brushed against her cheek for the briefest of moments.

“You know that’s not what I was asking about,” Y/N said, focusing all her energy on not letting too much excitement into her voice.

“Then ask me the question, I don’t have all day,” he said. Before Y/N could begin formulating a coherent answer, he leaned into her so her side was now holding up his upper body.

“Draco, you’re acting weird,” she noted, observing the flush on his cheeks that was visible, even in the dim lighting up the common room. “How much have you had?”

“You’re evading the question, Y/N,” he taunted, his cheek rubbing across her shoulder. Who knew Draco would be such a cuddly drunk?

“You like me?” The words blurted out before she lost the confidence to do so.

“We talk every morning,” he told her, turning his head up to be level with her ear. Each inhale and exhale made from Draco sent shivers down her spine, and she fought to keep them at bay. “You really think I would do that if I disliked you?”

As one of his hands began to fiddle with the sleeve of her jumper, another wave of courage hit her.

“But do you fancy me?”

She didn’t know what she was expecting--perhaps for him to freeze, pull away, to get up and sneer at her--but he didn’t do anything she could’ve thought of.

Draco was suddenly wrapped around her arm, drawing circles on the bare skin that had been exposed and still resting his cheek on her shoulder.

“Don’t be daft,” he murmured. “How could I not.”

This time it was Y/N whose body grew rigid. “Oh.”

“I don’t think I was supposed to tell you that,” he confessed, his own fingers ceasing movement. “Yeah. I really wasn’t supposed to tell you. Forget I ever said anything.”

Draco seemed to sober up, leaning away from her and releasing her arm. Y/N watched in shock as he got up to walk away.

“Wait!” Her hand shot out to grab his own, keeping him from moving any further. “Please don’t go. I lik--fancy you, too.”

He turned to face her, a bittersweet expression swallowing his elegant features. Within seconds, he was kneeling in front of her, his face level with hers. He took her face in his hands, a gesture he did so tenderly that tears pricked in her eyes.

Their lips met, and Y/N felt her heart stop.

He pulled away after just a few seconds, meeting her eyes with a pleading look.

“I know.” His thumb dragged across her cheekbone, lingering there for a second before he finally moved away, leaving Y/N to try and decipher his actions.

oOo (oooh that’s right, i’m changing up my scene breaks because even tho the hearts looked cute on desktop they looked ugly on mobile and i love you guys too much to do that)

After that night, Y/N began seeing much less of Draco. His unassigned assigned seat moved down to the very end of the Slytherin table, leaving her with Pansy Parkinson and Millicent Bulstrode to converse with. He no longer showed up to dorm parties, and she often saw him coming and going out of the common room at odd hours.

She couldn’t exactly understand what was going on with him. Sure, she’d heard the rumors of him being a Death Eater, but she couldn’t imagine that being the case. Draco was too young, too sweet to accept such a thing.

Perhaps he was just avoiding her. Y/N was somewhat flattered that she may have had such an impact on his life, but she was also deeply hurt. She missed having someone to bitch with at every meal, as silly as it sounded. And she didn’t think that she was that bad of a kisser.

Y/N let herself believe that it was just the courseload. 6th year was a difficult time for every student, and Draco was no exception. His parents expected too much out of him, and while she understood their motives, she couldn’t help but pity him.

She was at a pained peace for the next few months as she attempted to forget about the night in the common room and how sweetly he treated her. Unfortunately, her introspection was interrupted one winter afternoon when she saw Snape helping a certain blonde Slytherin to the hospital wing. His white dress shirt was bloodied, and Y/N couldn’t help but yelp at the sight.

“Miss Y/L/N,” Snape greeted briskly. She saw Draco’s head bob up in recognition. “I trust that nobody will be hearing about what you’re seeing from you.”

It was an order and an underhanded request for her to leave them be, but Draco mattered to her, and now she was certain that something wasn’t right. There was no way this was just coursework.

“What happened to him?” she shrilled, wincing at her voice.

“Nothing to see, Y/L/N,” Snape affirmed, walking past her and shooting her a dangerous look. “I’d hate to take any house points away.”

She stood with her mouth hanging open, frozen in shock. “You can’t be serious! He’s hurt!”

“How kind of you to inform me,” Snape snapped. “Run along, or detention for a month.”

Her eyes widened and she dashed off, embarrassed that she could be bought off with the mention of detentions. But, at the same time, she knew that all she had to do was wait, wait for Snape to leave him be. Madame Pomfrey had a soft spot for Y/N, and she would most likely allow her to see him.

oOo

“I really don’t think a visitor is what he needs right now,” Madame Pomfrey stated, wringing out bloodied rags and reshuffling bottles of Dittany.

“Please, please, I promise I won’t do anything to upset or fatigue him,” Y/N pleaded, meeting the woman with her most convincing look. “I’ve been so worried about him, and he’s my friend. I brought him the homework from today.”

Madame Pomfrey studied her for a moment.

“Fine. Leave the curtain open, though, and if I say you need to leave, you need to leave.”

Y/N grinned, restraining the urge to jump with joy. “Thank you! Thank you!”

Pomfrey shooed her off, pointing her in the general direction of where Draco lay. She strode over, opening the curtain and sitting in the chair by the bed.

Draco was deathly pale, even more than usual. His eyelashes were closed, casting faint shadows on his very prominent purple eyebags. Even though he looked sickly, his hair looked as soft as ever.

“Draco,” she said softly, reaching her hand out to touch his. He jerked awake, he eyes snapping open and focusing on her.

“Y/N, what are you doing here?” he hissed. He tried to sit up but groaned, laying back down after the pain hit him.

“I had to come see you,” she admitted, stroking up and down his arm. “I’ve been worried about you. I miss you. Did I do something?”

He blinked hard.

“No, no, this has nothing to do with you.” He flinched at the dismissive tone, but he didn’t know what else to say. “You’ve heard the rumors. Things are getting strange and I don’t want you to get hurt.”

“Get hurt?” She wrapped her fingers around his arm, noticing how tense he became. “I can take care of myself, and I really, really like you, and I wish you’d stop avoiding me.”

Draco shut his eyes, falling back onto his pillow so he was looking up at the ceiling.

“You’re gonna be the death of me.”

“There’s nothing else I’d rather be, Draco,” she quipped, releasing his arm to intertwine his fingers with hers.

He shuddered, thinking for a few moments.

“Okay? You’ll stop avoiding me?” she asked hopefully, making to leave.

“As long as you stay here a little longer, I could use the company.” He smirked at her, peering through his eyelashes.

“Of course,” she agreed, setting her things down and sitting again. Y/N moved the chair closer to the the top of the bed, carding her fingers through his hair as he shut his eyes, finally content.

final a/n: i was gonna go for adding song lyrics at the end but i was like uhhhh better not. did not edit or get a beta to read this. if you’re just dying to be a beta reader let me know since my grammatical errors from lazy writing are getting out of hand haha. thanks for reading, let me know what you thought!

#draco #draco malfoy #draco malfoy x reader #draco x reader #draco imagine #draco malfoy imagine #pansy parkinson #tom felton #harry potter imagine #slytherin #severus snape #ravenclaw #hufflepuff #draco x oc #draco malfoy x oc #malfoy x reader #malfoy imagine #malfoy x oc

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angeltriestoblog · 4 years

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I watched a couple of movies! (Part 2)

Back again with the second bunch of my latest quarantine companions! My last post wasn't that long ago, but I’ve already gone through an additional 21 and thanks to the extension of the lockdown and the abrupt cancellation of the rest of my sophomore year in college, I predict that this number will only increase exponentially. I obviously have to start looking for a sustainable way of reviewing the media I consume (probably will try dumping mini-reviews on Letterboxd instead), but until then, here is today’s little catalog: divided into four neat categories so there’s a little bit of everything for everyone.

Dead Poets Society (1989, dir. Peter Weir) ★★★★½

John Keating is the teacher we secretly deserved yet never had, which is probably what's behind the fervent loyalty audiences have had for this movie since its release around three decades ago. His methods of teaching are admittedly unorthodox, but they effectively instill in fictional students and real-life audiences the core message: to seize the day and be extraordinary. I definitely would have appreciated more of Williams, though: I noticed later on that he was used mostly as a plot device, as the focus started to shift to the impact his words had on the group of young boys under his tutelage. But, thankfully they are endearing and lovable in their own little ways (special mention goes to ambitious Neil, played by Robert Sean Leonard; and Ethan Hawke as timid Todd), which is why the last half-hour remains one of the heaviest in recent memory.

Mrs. Doubtfire (1993, dir. Chris Columbus) ★★★★

When Daniel Hillard’s (Robin Williams) wife splits up with him and takes their kids, he disguises himself as an English nanny called Mrs. Doubtfire and applies as their housekeeper to be with them. Not exactly the most realistic and practical approach to an issue as serious as divorce, but it succeeds by banking on heartfelt humor to strike a chord in products of broken families. When you take his several antics, punchlines, and vocal impersonations aside, he is simply a father willing to do anything for his children. Williams was destined to be the lead for this: his comedic timing, sheer versatility, and natural ability to bring joy remain unparalleled. Such a shame I didn't get to grow up with this guy, but maybe this saved me a lot of heartbreak.

Catch Me If You Can (2002, dir. Steven Spielberg) ★★★★★

A con man successfully cashes in millions of dollars worth of checks as a Pan Am pilot, doctor, and lawyer, whilst evading the FBI agent who’s hot on his heels. And this is all before he turns 19 years old--what a total underachiever. The best part? It’s a true story. I find it hard to believe that this clever cat-and-mouse story lasted more than two hours: it's easy to lose track of time thanks to its dynamic and snappy screenplay, coupled with the chemistry of its brilliant lead actors (no less than Leonardo DiCaprio and Tom Hanks). But beneath the complex and technical aspects of his scams that have high entertainment and educational value lie touching moments that may be admittedly easy to miss. At the end of the day, these escapades were nothing but some twisted coping mechanism of Frank Abagnale, Jr.’s to deal with the divorce of his parents. *blows nose into handkerchief* Wow, I seriously didn't think something could be so fast and fun, yet so depressing either!

Good Will Hunting (1997, dir. Gus Van Sant) ★★★★★

Academy Award-winning writers Matt Damon and Ben Affleck may look like they share a solitary brain cell in total (a prime example would be this footage of their acceptance speech), but it was the power that radiated from that which brought us this instant favorite of mine. This engrossing story revolves around a janitor at MIT, with a genius-level IQ but a troubled and traumatic past. A scuffle with a police officer leads him to Sean, his therapist (and platonic soulmate) who breaks down his dangerous defense mechanisms and self-destructive patterns, helps him tackle his inner demons, and ultimately transforms his life. There is a lot to adore about this film that’s equal parts wit and heart, but my favorite has to be the razor-sharp and realistic dialogue between Damon and Williams. Smoothly transitioning from topic to topic—genuine friendship, abusive relationships, and everything in between—it gives us the opportunity to monitor Will’s growth while carefully examining these aspects of our own lives. With every word said, the audience is reminded once again of any person's innate capacity to change for the better as long as someone else believes in them.

Lost in Translation (2003, dir. Sofia Coppola) ★★★

Film Twitter and the Letterboxd community both made this out to be an outstanding piece of modern cinema, so I went in with very high expectations only to be sorely disappointed and unable to understand the hype behind it. This revolves around two lonely people who find solace in each other and the unfamiliar and unpredictable territory they're in, a storyline brimming with potential that just fell flat to me. I normally appreciate the beauty in silent and ambient scenes, but the ones that made up a huge bulk of this feature didn’t have substance—it was similar to watching mashed-up clips from some random travel vlog. I did find the choice of location fitting though, I am now a hundred percent convinced I should travel to Japan once this pandemic is over. And Scarlett Johansson is incredibly talented for her age: her ability to channel and characterize emotions that a 17-year-old may not even be able to comprehend is above par, which is the main reason why this gets a passing rating from me.

Forrest Gump (1994, dir. Robert Zemeckis) ★★★★★

What I would give to run into a chocolate-eating, Nike Cortez-wearing Forrest Gump at a bus stop, and hear him tell me these fantastic stories himself! This heartwarming tale shows the manner in which he weaved himself into significant historical narratives (literally and figuratively, thanks to the power of deepfake) and injects timeless lessons along the way. Tom Hanks is undoubtedly brilliant as the titular role, and as we see the world according to this feeble-minded and well-meaning man, we come to admire his values, appreciate his efforts, and forgive his occasional shortcomings. In this fast-paced and overly complicated world that we struggle to navigate, this can serve as a necessary breather, a reminder of the simple joys that the world has to offer.

Celeste and Jesse Forever (2012, dir. Lee Toland Krieger) ★★★★

I think this is the first time I’ve witnessed a breakup end rather amicably on the big screen: there's no screamfest that concludes with a cold slap to the face and a dramatic walkout, or a courtroom confrontation that unearths past transgressions, et cetera. Instead, the leads are forced to confront the fact that the friendship they have forged years before that eventually blossomed into something more will never be the same again. Even if they want to so, so bad. I guess that’s why this is so heartbreaking, and thus the perfect companion for any person in the process of finding themselves after the demise of a long-term relationship. Celeste (Rashida Jones) meanders through the process with an extreme lack of finesse—which is the most realistic way to do so—that heavily accentuates her several fatal flaws. But, she manages to finish strong, emerging as a self-reflective and action-driven version of who she was in the beginning. I definitely wanted additional exposure for Jesse (Andy Samberg), though, who was not only surprisingly tender and sensitive in contrast to the Jake Peralta we know and love (and want to pick on), but also an unexpected perfect onscreen match for Jones.

A Star is Born (2018, dir. Bradley Cooper) ★★★★

The third remake of the 1937 movie starring Janet Gaynor and Fredric March, this edition of A Star is Born strays far from the paths traversed by its predecessors (and this I am aware of, from that film analysis video binge I did recently). It’s the first to give Jackson Maine (Bradley Cooper), the has-been with a raging alcohol and drug problem, extensive back story that draws audiences closer to him. But, this character arc comes at the expense of Ally's, the talented singer that he propels to fame, played by Lady Gaga. It was a shame she wasn’t fleshed out as much as she should have been, given that Gaga was a natural, her vulnerability a far cry from her outrageous onstage persona. But, then again, expectations must be kept realistic: it would’ve been impossible to cram that into the specified duration. Nevertheless, I thoroughly appreciated it: though rehashed several times, a romance done this way keeps its key components while catering to the preferences of this generation. The soundtrack is outstanding, and the climax—though somewhat expected—finds new ways to reduce us to a puddle of tears, particularly as the last song number start to roll.

Fall in Love At First Kiss (2019, dir. Frankie Chen) ★★½

Our Times has been a favorite of mine for years, so I couldn't believe that I missed this work from the same director which starred the same male lead during its initial release. Turns out it didn’t make much of a difference whether I watched it or not. The storyline was silly, but forgivably so: in a school where students are segregated based on intelligence, a stupid girl is smitten by the smartest boy in school and gets rejected as soon as she confesses. Consequently, hell breaks loose after they are forced to live together for reasons you have to see to believe. I remember enjoying the first half, squirming in my seat because of Jiang Zhishu (Darren Wang) every chance I'd get. I can’t pinpoint where exactly it started going wrong, but I remember realizing that it is possible for something to drag along, yet also move so fast: to bore me with excessive detail in a single scene, then cut to the next so fast it loses a sense of continuity. In addition to that, the female lead (Jelly Lin) was so unbearable in terms of her acting style and character development (or lack thereof). She seemed to think that constantly complaining in her shrill voice and thrashing her limbs was a fitting substitute for dialogue, thus making it difficult to want her to get her happily ever after. Also, I’ve had pretty intense crushes in the past few years but what she has for Zhishu is bordering more on an unhealthy obsession—I have trouble believing he reacted so calmly to the shrine that she built for him (which included life-size pillows with his face on it).

The Object of My Affection (1998, dir. Nicolas Hytner) ★★½

I was very confused as to why I had never heard of a chick flick that starred two of my favorite actors from the 90s, but now I understand why it didn't take off. (Phoebe would probably share my sentiments. What's her best friend doing with her husband anyway? And why is he attracted to men?) Nina (Jennifer Aniston) is hopelessly in love with her gay best friend George (Paul Rudd), so much so that she decides she wants to raise her unborn child with him instead of with her overbearing and borderline manipulative boyfriend (John Pankow). Though it wasn't a complete disaster given that she didn't successfully convert him, Nina was far too demanding, constantly overstepping her boundaries, and feeding her delusions. Maybe it could afford a modern retelling since I know our generation could tackle the concepts of platonic soulmates and LGBTQ+ relationships in a way that is simultaneously vibrant and sensitive.

How to Lose A Guy in 10 Days (2003, dir. Donald Petrie) ★★★★★

Once I had tried my luck in a number of different genres, I decided to reward myself with a return to the cheesy, corny, and conventional chick flicks I am familiar with—and I’m glad that I picked this one! Andie Anderson (Kate Hudson) is a magazine columnist with her biggest scoop yet: an article on how to lose a guy in 10 days. To test this idea out, she tries it out on Ben Barry (Matthew McConaughey), who’s on a mission to make a girl fall for him within that duration as well. Their conflicting agendas lead to disastrously hilarious results as they realize that they’re both *gasp* catching feelings for each other! I enjoyed this very much despite the predictability, although I’m honestly unable to judge it based on any criteria other than what I felt which was pure and utter, slamming-the-table, throwing-my-stuffed-toy-across-the-room “kilig”.

Just My Luck (2006, dir. Donald Petrie) ★½

I didn’t expect this to be on the forgettable side of the romcom spectrum, when it had Chris Pine as the leading man and Brit-pop band McFly lending their music to most of the scenes (the sole redeeming factor I found). But, I guess it’s Lindsay Lohan’s character and her surprising lack of chemistry with the equally attractive and talented person opposite her that killed it for me. Here, she plays Ashley, the luckiest girl in the world who gets everything her way and is thus as snobbish and stuck-up as you’d expect her to be. A chance encounter brings her to Jake, who is the human equivalent of a black cat standing in front of a broken mirror, and swaps their fate. She is then left to deal with poorly contrived misfortunes with effects that are bordering on slapstick comedy: she gets doused in mud, mildly electrocuted, and soaked in bubbles shortly after blowing up a washing machine and I get that they’re probably supposed to be funny, but all I’m seeing is a live-action version of the Looney Tunes show.

Eighth Grade (2018, dir. Bo Burnham) ★★★★★

Entering our awkward preteen years has always come with a certain and specific kind of mortification, but I reckon it’s become increasingly difficult in the age of the Internet. It’s become easier to find fault in oneself for the pettiest of reasons: why isn’t my crush accepting my friend request? Why do I look like a monster in my #wokeuplikethis selfies? Why is no one viewing my YouTube videos even if I work hard on them? Eighth Grade encapsulates this difficult period in the lives of Gen Z kids with the use of experiences and references which are so specific to this generation: I may have gotten whiplash more times than I would care to admit. Elsie Fisher shines in her painfully relatable performance as Kayla: you can sense her desperation for social acceptance. She just wants to be worth noticing and remembering, is that so bad! Although his role is often overshadowed, I also felt for her dad (Josh Hamilton), who tries to hide the struggle of looking out for a daughter who's growing in ways he simply can't understand.

Boyhood (2014, dir. Richard Linklater) ★★★

This ambitious effort by the director of my favorite film trilogy observes the growth and development of a typical American boy named Mason. No fancy plot devices or major conflicts are in sight, but by using the keeping the cast members fixed during the 12 years it took to put this project together instead of swapping them out for older counterparts, audiences are expected to form an emotional connection with them because they were given an intimate and prolonged look into their lives. Unfortunately, this wasn’t the case for me. Yes, I did watch him grow up before my eyes, but I barely know who he is. These mundane snippets of his life haphazardly stitched together, without any indication of how much time has elapsed since the previous scene, made it hard to keep up with the pace and look at the viewing experience as anything but a chore. I honestly am puzzled as to why I endured 165 minutes (I’m kidding, it was for Ethan Hawke) worth of footage, and sadly it wasn’t even worth it.

Brooklyn (2015, dir. John Crowley) ★★★★

This drama about the migration of an Irish girl to New York to seek better opportunities delves into the concept of what home truly is, as Eilis is left to choose between two men from two different countries. Divided into three segments revolving around pivotal events in the protagonist’s life, it sensitively tackles the experiences and issues familiar to any immigrant, remains true to the period it is set in, and engaging to audience members of all ages. Most in the historical genre are incapable of doing all three, so that's definitely no mean feat! And I’m not biased because Saoirse Ronan plays the starring role, although her compelling performance renders it impossible for anyone who claims to have a beating heart to finish this without puffy eyes and a heavy chest.

Happy Old Year (2019, dir. Nawapol Thamrongrattanarit) ★★★★

I thought Chutimon Chuengcharoensukying couldn’t top her role in Bad Genius, but she just had to come along and star in this personal take on new beginnings. Here, she plays Jean, a girl in the process of decluttering her house so she can transform it into an office space. While sifting through her possessions, she finds certain things belonging to people from her past, that remind her of broken relationships and question her philosophies on forgiveness and letting go. Her performance may be understated compared to the cunning and reckless Lynn she has become popular for, but I see this mastery of restraint as indication of her growth as an actress. The film is relatively simple in its execution, staying true to its central theme of minimalism. By stripping the structure down to the bare essentials of actor and dialogue, the audience can focus on the poignancy ingrained in the most mundane part of our everyday routines.

The Edge of Seventeen (2016, dir. Kelly Fremon Craig) ★★★★

It's actually true that a coming-of-age movie has been written based on every definitive moment a teenage girl experiences, they weren’t lying. The Edge of Seventeen could serve as part of Eighth Grade's cinematic universe, but instead we’re dealing with another reflection of who we were (or maybe still are). Nadine (Hailee Steinfeld) is a teen constantly teetering between arrogant self-assurance and sheer hopelessness. When she loses her best friend to her worst nemesis, she suddenly has to learn to navigate the ups and downs of adolescence and deal with her mental illness on her own. Besides focusing on the several firsts that we often encounter during this stage in our lives, the film accurately portrays our angsty and self-deprecating nature without resorting to mockery, therefore calling us out on this reflex we have of beating ourselves up and giving those around us permission to do so during such a critical part of our lives. I swore I was actually going to try not to cry here, but I guess Nadine's tearful monologue left me with no choice. (I'll leave it below so you can suffer with me.)

You know, ever since we were little, I would get this feeling like, like I’m floating outside of my body, looking down at myself… and I hate what I see: how I’m acting, the way I sound, and I don’t know how to change it. And I’m so scared that the feeling is never gonna go away.

The Kingmaker (2019, dir. Lauren Greenfield) ★★★★

This documentary is a fitting introduction for anyone who isn't familiar with the ill-gotten wealth and abuses the Marcoses have lying underneath their glossy veneer of opulence as well as the consequences of their actions that we suffer from to this day. Greenfield’s juxtaposition of this family’s fabricated stories and the testimonies of victims and first-hand witnesses was a smart move, as we observe the lengths they often go to, to revise the course of history. By spotting the parallels in their narrative and that of Rodrigo Duterte, the next strongman the voting population would unfortunately elect as their leader, we are also given a glimpse into the selective amnesia of the Filipino people that keeps these people in power. The danger lies in the fact that being an outsider herself, Greenfield leaves plenty of room for interpretation: there is no clear-cut statement of what was right and wrong among the several interweaving statements we heard. I was able to determine which was which is due to the fact that I already had prior knowledge, but where does that leave those who don't?

By the way, if you’re wondering why this has been grouped under this category, it’s because I remembered from Grade 6 science class that anger is one way to trigger adrenaline in the body.

Inception (2010, dir. Christopher Nolan) ★★★★★

Perfect always felt like a lazy way to describe what is supposed to be of superior quality. If you want to sing praises about anything that good, you're gonna have to do a better job than that to convince anyone that it's worth their time: was it inventive and bold or cerebral or emotional? Well, I'm afraid I have to bend this rule for Inception for the sake of brevity, because if I leave myself to ramble on about everything this did right, I would surely run out of adjectives. This sci-fi-heist-psychological thriller is in a league of its own, with its intricate plot and layered method of storytelling further amplified by stellar cast performances, masterful editing and special effects, and a thundering musical score that keeps audiences on edge for the entirety of its run. These elements come together to create a production that resonates and lingers with viewers long after the credits have rolled, partly thanks to that highly disputed final scene. (If my opinion is worth anything here, I believed that it stopped. Iykyk.)

The Lobster (2015, dir. Yorgos Lanthimos) ★★★★½

In this dystopian society, single people are required to check into a hotel in the hopes of finding a suitable partner within 45 days. If they fail to do so, they are sentenced to live the rest of their lives as an animal of their choice. It’s an absurd plot, far removed from reality, executed in a bleak and dry fashion. Yet, it manages to mirror and even satirize the world of modern relationships rather profoundly, particularly the societal pressure to couple up and find our ideal match instantly, or face harsh judgment. I doubt I've watched anything this dark in my life, but I found the unpredictable twists and turns, the deadpan humor, the sheer strangeness of it all very amusing and recommend it to anybody who wants to learn a thing or two about how blind love can be.

Ocean’s Eleven (2001, dir. Steven Soderbergh) ★★★★

I admit I was as pissed as Rusty Ryan (Brad Pitt) following his discovery that the reason why Danny Ocean (George Clooney) was keen on carrying out an elaborate heist of the three biggest casinos in Las Vegas was to win his wife (Julia Roberts) back. But, along the way, I was reeled in by the airtight pacing of the multiple scams that were a part of the scheme and the natural banter that takes place among the members of the ensemble. Also, it’s quite impossible to be annoyed at something that starred so many big names during the peak of their careers. (I have a soft spot for Matt Damon, thanks a lot Good Will Hunting.) Although I already knew what was going to happen, it was a joyride to see everything unfold. Based on the ending (and the copies of Ocean’s Twelve and Thirteen that my dad owned as a kid), I can tell that it’s far from over and I’m surely looking forward to what happens next.

So, that’s it for today’s round-up! Hope something caught your interest: I’d be happy to send 123m*vies links for any of those that aren’t available on Netflix. Feel free to hit me up too: I'm honestly up for thought-provoking discussions and straight-up keyboard smashing. Wishing you love and light always, and don’t forget to wash your hands, check your privilege and pray for our frontliners!

#recs #angeltriestoblog #life dump #movies #movies to watch during quarantine #my eyes are irreparably strained #quarantingz

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eddycurrents · 7 years

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For the week of 9 October 2017

My favourites this week are both endings; Rocket #6 by Al Ewing and Adam Gorham and The Woods #36 by James Tynion IV and Michael Dialynas. Published by Marvel and BOOM! Studios.

Since at least the “Grounded” relaunch/expansion of the Guardians of the Galaxy franchise titles, Marvel has been producing some extremely high quality, well-written, beautifully-illustrated series that I always feel cheated out of when they’re “cancelled” instead of rightfully referred to as limited series. Particularly those of these last two groupings including Star-Lord, Gamora, I Am Groot, and the two excellent Rocket Raccoon series, first Matthew Rosenberg and Jorge Coelho’s Rocket Raccoon, and now this, Al Ewing and Adam Gorham’s Rocket, which I’d wager could possibly be the best Rocket Raccoon series since Bill Mantlo and Mike Mignola’s series back in 1985 (which this series references and draws from).

Al Ewing crafted an interesting story with "The Blue River Score”, layering it in the genre trappings of a hard-boiled caper, including the typical hard-hitting narration of a Raymond Chandler or Richard Stark novel, a femme fatale in Otta Spice, and an impossible heist, and then mixing it with colourful “obscurish” Marvel characters like the members of Technet and setting it across the backdrop of the more zany corners of Marvel’s cosmos.

Rocket #6 even brings it back around to the original Rocket Raccoon mini-series and Rocket’s old continuity, behaviour, and such with the correlation a lot of people were probably wondering about regarding Otta and Rocket’s otter-love, Lylla, being revealed here as one and the same. Not only does it add Ewing’s penchant for mining the depths of continuity for story payoffs and inspiration, but it also makes the story resonate a bit more with emotional impact.

Adam Gorham’s artwork is wonderful. He excels at drawing strange and wonderful creatures, but also has an added roughness, a scratchiness to his linework that perfectly fits the hard-boiled narrative. His overall design sense, from page layout to panel transitions also make this fun to read. There appears to be extensive thought that’s going into how the story is being told, from both Ewing and Gorham, and it results in an immensely enjoyable comic.

Particularly, I think more comics, not just crime comics like Rocket here or much of Ed Brubaker’s work, could do with a “prose gutter”. I highly recommend this to people who love off-beat crime comics.

The Woods #36 is the conclusion to a series that has dabbled in horror, fantasy, and sci-fi, but at its heart has always been a coming of age tale centred around the kids who had their whole world upended by being stolen away to a strange and dangerous realm on the other side of the universe. The ending is suitably epic as the former children show that they’ve truly grown and matured as they fight to find their way home.

Michael Dialynas has been delivering some incredible art since the series began, but these last few issues have been truly breathtaking. The double-page spreads this issue alone, juxtaposing two different types of battle going on are a treat, showing an ability to make both the quiet character moments and the high action compelling and interesting visually.

The story James Tynion IV has been telling is largely one about growth and change, of transformation through adversity, and occasionally needing to fail. The finale throws the biggest roadblocks and gives the opportunity to show how far the characters have come since that first issue, even antagonists like Adrian get a chance to shine.

This issue also shows how seamlessly Dialynas and Tynion have grown as collaborators. The scene between Isaac and Ben works well both in dialogue and in art, giving a huge emotional impact both in how it appears and in the heartfelt conversation.

Overall, this has been a great series and this is a very satisfying conclusion.

Quick Bits:

Atomahawk #0 collects the shorts that ran previously in Heavy Metal. While a new series is being published in Image+, this is a good time to pick up what came earlier in one place. Aside from just a balls to wall story from Donny Cates, Ian Bederman’s art remains phenomenal. His style reminds me a lot of Peter Kuper and the way that he constructs his characters, action, and page layouts are just fantastic. Highly recommend this special and the serial in Image+.

| Published by Image

Babyteeth #5 gives us one of those game-changing reveals that Donny Cates should be known for producing now based on at the very least Redneck and God Country. Sadie’s world just got a whole lot bigger and a whole lot stranger as she starts getting clued in to what’s going on with her and her baby.

| Published by AfterShock

Birthright #27 reminds me that I probably don’t talk about the colourists enough. Take, for instance, Adriano Lucas’ work here. Andrei Bressan’s linework would still look good, but it’s Lucas’ colours that really elevate the story and put us in a more magical reality with a shift here from standard “realistic” colours to the brighter, softer, and more colourful world inside a more fantastical realm. It just shows the impact that the colourist has on the overall tone and atmosphere of the book.

| Published by Image / Skybound

Daredevil #27 continues the twisting arc of DD’s mentoring of Blindspot since the beginning of this volume. Charles Soule gives us a more thorough backstory for Blindspot and reveals what has happened since the “Dark Art” story-arc. It’s pretty...um...dark.

| Published by Marvel

The Dying & The Dead #6 is still the most beautiful, possibly inscrutable, hidden history comic being published.

| Published by Image

The Family Trade #1 is something different. And pretty fantastic. The premise and setting of the Float, a kind of extension of some of the politics of the Italian city-states during the time of the Renaissance, is brilliant, serving as a perfect backdrop to the populist political allegory that Justin Jordan and Nikki Reed are presenting here. The characters, and the idea of a family of assassins meant to keep society in check is also compelling, particularly the lead, (Jessa Wynn, who I’m fairly sure isn’t even named in the first issue, I grabbed it from the solicitation info), in her somewhat bumbling way.

Morgan Beem’s art also adds greatly to the overall feel and tone of this world. She has an art style that looks highly influenced by European artists, with a soft watercolour palette atop, achieving a very distinctive look for the comic.

Oh, and there’s “talking” cats. Every book should have talking cats. Every one.

| Published by Image

GI Joe #9 concludes this volume from Aubrey Sitterson and Giannis Milonogiannis. The end features some really nice action in the art from Milonogiannis. It’s nice to also get another series up to speed finally for the First Strike crossover, even though the GI Joe: First Strike comic that also comes after this series is already out. ROM looks like it’s the only hold out still before I can finally start reading that. The other highlight of this issue being the revelation of the new Cobra Commander.

| Published by IDW

God Complex: Dogma #1 is an impressive looking comic. The artwork from Hendry Prasetya is slick and layered in thick solid blacks, highly suitable to the futuristic mystery presented in the story, which is then elevated by the colours and sheen that Jessica Kholinne adds on top. Visually, it perfectly evokes that kind of Blade Runner feel.

The story is also pretty interesting, Paul Jenkins hooks us fairly well with the murder and mystery of the Church of Trinity. The mix of a mysterious, possibly fictitious “one god” and the real, tangible deities of Delphi’s Rulers is something we’ve seen variations on before, but it’s still a compelling examination of faith vs. direct knowledge. The world, based on Glitch’s toy line, is fairly broad. The lead, Seneca, serves as a bridge between the two aspects and Jenkins delivers a little twist on the narrative partway through that has you reexamine the narration itself, making you go back and re-read the comic in that different light.

| Published by Image / Top Cow - Glitch

Grass Kings #8 focuses on Pike and his backstory, giving depth to the Grass Kingdom’s man of few words. In addition to his history, it also serves as a broadening of the mystery of the potential serial killer among the people, showing the other perspective of the conversation from last issue regarding Ms. Handel’s “suicide”, making us question even more.

| Published by BOOM! Studios

Harbinger Renegade #8 finally gives us the reunion of Kris and her parents, a plotline dating back right to the first story-arc. As has been the case for much of this series, it’s not exactly pleasant. It is, however, still satisfying and probably one of the happier moments in the series, even if bittersweet. The push towards Harbinger Wars 2 is also more apparent, with a drive for a Renegade army and training becoming more imperative. Animalia is also one scary little kid.

| Published by Valiant

Harrow County #26 is heartbreaking, even if you’ve grown to hate the character who dies this issue, it’s still heartbreaking. Kammi’s assault on Emmy’s life, friends, and whole world grows this issue, even with the devastating blow in the beginning of the issue, and it raises the question as to how far Kammi is going to take it, how much more loss the series is going to deliver, and what it might drive Emmy to do. Cullen Bunn and Tyler Crook are firing on all cylinders with this arc.

| Published by Dark Horse

Hulk #11 is another dramatic shift in tone, suddenly reintroducing Jen’s ability to break the fourth wall, hitting for a story that is more humorous in tone, and in some cases being silly, as the last issue before the Marvel Legacy “relaunch” back to She-Hulk and legacy issue number. Personally, I’m not sure I like it. It’s by no means bad, but it’s still a dramatic departure from the more serious “Deconstructed” arc and continuing with the more ridiculous aspects of the last arc with the food vloggers. It works for what it’s going for, recapturing some of the humour that previous incarnations of She-Hulk have presented, I just find it a bit of a jarring change.

| Published by Marvel

Jimmy’s Bastards #4 finally clues in the leads as to what we’ve known since the announcement of the series. This issue also hammers home that I think the wider joke of Garth Ennis’ black humour and piss-take of current identity politics is missing the mark.

| Published by AfterShock

Mech Cadet Yu #3 is still every bit as fun and heartfelt as the previous two issues, this remains an incredible all ages story with giant robots and invading bugs. Greg Pak has created a character in Stanford Yu that you just can’t help but smile at his stumbles and achievements, so incredibly likeable that you want to read more as soon as the issue’s finished. Takeshi Miyazawa also gets to reveal the Sharg this issue, setting up what looks like a battle between the cadets and the monsters for next issue.

| Published by BOOM! Studios

Noble #5 is my first issue of this series and I feel in a similar position to ostensibly the POV character, Astrid Allen, a little in the dark. Brandon Thomas uses an unreliable narrator in Lorena Payan explaining to Astrid what has been going on with her husband, the titular Noble, and the changes that have turned him into a superhero and it’s fairly compelling. Certainly enough that I decided to pre-order the Noble: God Shots book out later this month collecting the first four issues. I wonder how this issue’s reality and the previous issues will align. The artwork from Jamal Igle is a high point. The action scenes of Noble trying to save a commercial airliner are particularly well done.

I also have to say that how they’re numbering these books is also interesting. They’ve got a main issue number for the overall series, but they’ve also got a volume and issue number for story-arc/trade as this is Volume 2, Number 1. It makes story delineations fairly easy to see where breaks and potential jumping-on points occur.

| Published by Lion Forge / Catalyst Prime

Optimus Prime #11 begins the “Primeless” arc, acting as a kind of non-branded tie-in to the First Strike event, covering what’s happening to the Cybertronians on Earth cut-off from Cybertron and left in the dark. I haven’t begun reading the First Strike crossover yet, as I’m still waiting for the last issue of ROM to land to be up to speed, but it doesn’t feel as though I’m missing anything here having not read it yet. In fact, in some ways, it puts me in a similar position to the characters in the book as I don’t know what’s happening either. In any event, John Barber does a good job of ratcheting up the tension between the different factions on Earth and amongst the rest of the Council of Worlds. I also need to reiterate that there really should be at the very least a Thundercracker mini-series.

| Published by IDW

Redlands #3 shifts point of view to Laurent, a bounty hunter without a license, gator man, and apparent lover of Bridget of the coven, who was introduced as a prisoner in the first issue. I really like how Jordie Bellaire is telling this story, in somewhat non-linear waves that keep rippling outward introducing new characters and interactions while still advancing the overall plot. The epistolary backmatter of clippings of gator man sightings and how to field dress a deer are also interesting touches. It adds a nice depth to the world.

And as since the first issue Vanessa Del Rey’s artwork is incredible. Dark, moody, and at turns erotic. This book is pretty much as sensual as it is horrific and bloody, and I think that’s a very welcome choice from Bellaire and Del Rey for this story.

| Published by Image

Retcon #2 is still...something. Between the first two issues, we’ve got some kind of government conspiracy involving black ops superhuman/magic-user teams. That seems pretty straight-forward and is fairly interesting. The problem is that the interviews and backmatter with the creators imply that they’re doing something else with the series and that just doesn’t come through in the narrative. So, if you’re looking for something that kind of taps the same vein as Doom Patrol meets Automatic Kafka, this is up your alley.

| Published by Image

Royal City #6 kicks off a new arc set in 1993, delving into the teenage years of the Pike children, back when Tommy was still alive. Jeff Lemire’s story gets more layers to it as it shows the personalities of the children in their genesis, and starts easily putting together some of the pieces as to what we’re going to see happen in the first arc, including Richie’s girlfriend, Tara’s relationship with Steve, their mother’s affair, and maybe what happened to Tommy. Lemire is great at weird, and great at small town family dynamics, and this series puts them all together in a beautiful illusory package.

| Published by Image

Sheena: Queen of the Jungle #2 adds some more depth to the story and more mysteries as Sheena chances upon the guy who’s been watching with drones and the two of them stumble upon unknown ancient temples in the jungle. Marguerite Bennett and Christina Trujillo are still treading common ground, but it’s still entertaining and they’ve managed to make Sheena a fairly interesting character in her own right, and, with Moritat’s art, great to look at.

| Published by Dynamite

Star Wars: Doctor Aphra #13 concludes the “Enormous Profit” arc and with it Kieron Gillen & Kev Walker’s run on the title. Gillen will apparently be back to co-write the next issue before fully transitioning to the main Star Wars title and I’m not sure what Walker is doing next. Suitably this issue features some nice action, some duplicitous intrigue, and the trademark sardonic humour. What the murderbots, Triple-Zero and BeeTee-One, have up their sleeves after being unshackled of morality earlier in this arc is a frightening prospect.

| Published by Marvel

Wormwood - Gentleman Corpse: Mr. Wormwood Goes to Washington #1 brings back Ben Templesmith’s comedy horror opus to tackle corruption in politics and it’s a very welcome return. It’s ridiculous, it’s over the top, and it’s actually scary that the bigoted plutocrat scrambling for more power in politics is now a believable reality and not just a caricature.

| Published by IDW

Other Highlights: All-New Wolverine #25, Alters #7, Amazing Spider-Man #789, Amazing Spider-Man: Renew Your Vows #12, Baking with Kafka, Black Science #32, Defenders #6, Despicable Deadpool #287, Eternal Empire #5, Falcon #1, First Strike #5, Inhumans: Once & Future Kings #3, Lazaretto #2, Runaways #2, Sacred Creatures #4, Scales & Scoundrels #2, Slam!: The Next Jam #2, Star Trek: Boldly Go #12, The Unbelievable Gwenpool #21, Uncanny Avengers #27, The Wicked & The Divine #32, X-Men Blue #13

Recommended Collections: Animosity - Volume Two, Black Cloud - Volume One: No Exit, Coady & The Creepies, Harrow County - Volume Six: Hedge Magic, Ladycastle, Low - Volume Four: Outer Aspects of Inner Attitudes, Secret Warriors - Volume One: Secret Empire, Seven to Eternity - Volume Two, Star Wars: Screaming Citadel, TMNT Universe - Volume Two: New Strangeness

d. emerson eddy can both walk and chew gum. If he tries really hard, sometimes he can even achieve both at the same time. But only sometimes.

#This Week in Comics #Rocket 6 #Al Ewing #Adam Gorham #The Woods 36 #James Tynion IV #Michael Dialynas

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stevenuniversallyreviews · 7 years

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Episode 55*: Shirt Club

“This sounds like a very abstract problem.”

For fear of echoing Buck Dewey’s condescending assessment of Steven’s drawing, there’s just something endearing about a cartoon about making art. Animation as a medium is remarkable for how many types of artists are involved: for instance, Steven Universe exists as a collaboration between visual artists, writers, songwriters, actors, singers, composers, and instrumental musicians. It’s a crew that by necessity has a passion for art in many forms, and episodes like Shirt Club let this passion shine. (See also: James Baxter the Horse from Steven Universe’s big brother Adventure Time.)

Many of the artists behind Steven Universe have multiple roles: most famously, its storyboarders are also its scriptwriters. Some boarders even pull triple duty, like guitarist Jeff Liu and voice actor Lamar Abrams, who brings Buck to life. It’s fitting, then, that Shirt Club revolves around guitars and Buck as Steven navigates his way through the perils of publishing his art.

As sincere as this episode is, it’s also ridiculous. The final sequence of Steven as a faux assassin straight up shooting Mayor Dewey in the chest is absurd both as a situation within the show and as something that was allowed to be on the show itself, but sure enough, Steven Universe manages to give a lone gunman sniping spree an emotionally fulfilling resolution.

This scene proves a core lesson of the episode: just because something’s silly doesn’t mean it’s not art. Buck hits the nail on the head when praising Steven’s drawing for its sincerity and naïveté, even if he’s being a wad about it: the Guitar Dad shirt is awesome because it’s a pure expression of a kid looking up to a parent, even if that expression won’t win any medals for aesthetics (and because it won’t). Steven Universe doesn’t need to prove its artistic merits, and the episode is wise to avoid this path and devolving into meta defensiveness, but I appreciate how its structure demonstrates its message.

That Buck recognizes Guitar Dad’s merits but sees its meaning in a negative light speaks volumes about his own relationship with his father, as well as the general adolescent obsession with irony. And let’s face it, Buck is mean in this episode. The other teenagers laugh at the shirt, but don’t necessarily laugh at the subject: Sour Cream is a bit of a jerk to Greg, but Jenny seems to honestly appreciate him even if she thinks he’s funny. Lars is easily swayed, having no opinion on the shirt but seeing the value in at least pretending to appreciate it (which certainly lumps him in with real-life folks who feign an appreciation for art for impress people, if you’ll allow me an overanalysis). But Buck is cruel in a way that’s uncomfortable, but not totally out of character.

In Lars and the Cool Kids, Buck is the most enigmatic of the Cool Kids, as per his mirroring of Garnet. As he repeatedly pulls the rug out from under Lars with a straight face, it’s hard to tell how much he’s intentionally messing with the guy. The same goes for his ordering salad at the Big Donut after examining its salad-free displays. He plays it so cool in both situations (and in general) that some of it has to be an act, and he’s perceptive enough that he has to notice Lars’s barefaced need to please, but he’s such a closed book that we can’t get a read on what’s in his head.

We see more of him in Shirt Club than ever before, and while he’s always been friendly to Steven, we really don’t know him all that well. His father’s an obvious sore spot, and seems to be the only thing that can make him completely crack, whether from embarrassment or being genuinely touched (or feeling remorse or feeling more embarrassed, a tear from this guy could mean anything). It makes for a fascinating “villain” when compared to our emotionally open hero, and he’s really the only kind of antagonist an episode like Shirt Club can have.

Regardless, the fact that Buck is still somewhat out of character (he’s utterly kind to Steven everywhere else in the series) is worth noting, because this is one of the last collaborations between storyboarders Lamar Abrams and Hellen Jo before the latter left Steven Universe. While this team is responsible for some terrific episodes and my all-time favorite scene of the series (the ending of Winter Forecast), they’re also behind House Guest and Fusion Cuisine, which are essentially about evil twins pretending to be Greg and Connie.

For whatever reason, the Abrams/Jo team seems to enjoy bringing out the worst in beloved characters (or inventing negative traits out of nowhere) in ways that wildly diverge from their typical depictions. It allows for drama within a contained story, but in a way that clashes with the consistency of the series; with the exception of Island Adventure and its lesson that emotional and physical abuse is okay sometimes, these kinds of character-nuke episodes are my least favorite. Shirt Club is the best of these divergences by far, in that I can actually deduce Buck’s rationale and because he’s a mysterious character by design, but it’s still an unfortunate trend that happily gets ironed out as the show continues.

(Bear in mind that beyond letting us watch the snow fall, Abrams co-boarded The Answer and Chille Tid and When It Rains, and while it may be a coincidence that each contains a breathtaking scene of a character coming to grips with a scary new environment, I tend to think that he’s really good at framing them. He’s also the only boarder to work on every Onion episode; even if Onion Gang is a dud, Onion as a character certainly isn’t, and I get the feeling we mostly have Abrams to thank for that. I want to give no impressions that this isn’t a brilliant animator.)

Mayor Dewey and the Crystal Gems are here for comic relief, and oh boy do they deliver. Jo and Abrams are brilliant at giving the Gems incongruous background tasks: in Watermelon Steven it’s reading the paper, and here it seems to be assembling IKEA furniture. Their criticisms of Steven’s art and unwillingness to help his strange problem highlight Shirt Club’s casual tone, and they get little moments of self-parody without dipping too deep into meta humor: Garnet’s twinkling shades during a pregnant pause certainly counts, but Amethyst and Pearl’s escalating concerns about Steven’s shirt problem takes the cake.

Mayor Dewey is incredibly, but not unbelievably, lame. Between his outdated slang and his blatant desire to connect with youths (without putting in any actual effort) it’s easy to see Buck’s disdain. Bill’s speech about losing his speech is overshadowed by Steven setting up his sniping position, but is worth paying attention to for Joel Hodgson’s masterful meandering.

And despite his selfish and thoughtless intentions, actually seeing Buck and Steven making shirts is a bunch of fun. It evokes Steven and Greg’s adventures in rocket science from Space Race, but with the wrinkle of Buck demonstrating actual knowledge of the craft to contrast with Steven’s silliness. While the distribution and interpretation of art once it’s complete makes up the episode’s conflict, the creation process itself is joyful and pure, as it should be for a kid making art.

Buck comes around at the end, of course, apologizing to Steven and offering to take guitar lessons. But honestly, the nicer he is to Steven, the weirder his behavior here seems, whether or not he’s a mysterious guy. The best thing I can say about Abrams/Jo character-nuke episodes is that there’s only three of them, and finishing Shirt Club, from that lens, is a huge sigh of relief.

Future Vision!

The Good Lars not only shows Buck wearing the Guitar Dad shirt, but showing off what he’s learned! And he’ll continue to play guitar as one of Sadie Killer’s Suspects, a band that will eventually be managed by Greg himself.

I guess you could read it that way…

On the one hand, watching this after Joy Ride makes Buck’s cruelty even stranger. But on the other, getting to know him better there, and Bill better in Political Power, makes an examination of their relationship a nice coda.

Tonally, Shirt Club simply doesn’t fit where it’s intended to go. Open Book and Story for Steven at least have their dramatic moments that fit the simmering tension of post-Marble Madness Season 1, but Shirt Club’s lightness thoroughly deflates the momentum. The Gems casually building furniture makes no sense in this time period, and Pearl and Amethyst’s list of fears don’t even hint at them worrying about Homeworld.

Still, the reordering leaves us with pre-Jailbreak Garnet, which is a little confusing without context. (I certainly prioritize this minor continuity error lower than harming dramatic tension.)

Regardless of your opinions about the order shift, I’m happy to say that Shirt Club is the last of it! No more asterisks!

We’re the one, we’re the ONE! TWO! THREE! FOUR!

Buck’s strange meanness doesn’t tank Shirt Club down to the bottom, but it does make me less inclined to rewatch what’s an otherwise wonderful episode about art. It’s a shame, but there’s still a lot to love when you get shirt!

Top Fifteen

Steven and the Stevens

Mirror Gem

Lion 3: Straight to Video

Alone Together

The Return

Jailbreak

Rose’s Scabbard

Coach Steven

Giant Woman

Winter Forecast

On the Run

Warp Tour

Maximum Capacity

The Test

Ocean Gem

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Space Race

Garnet’s Universe

Future Vision

Marble Madness

Political Power

Full Disclosure

Joy Ride

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Open Book

Story for Steven

Shirt Club

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

Say Uncle

No Thanks!

4. Horror Club 3. Fusion Cuisine 2. House Guest 1. Island Adventure

#shirt club #steven universe #su #steven universally #review

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