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#episode 6 spoilers
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PJO TV show episode 6 spoilers:
The scene where Grover is upset because he forgot something important, and then he learns that they are late and he really worriedly asks if it's his fault and then Percy turns to him and pauses for a second and then tells him that it's not his fault, and that it's OK, and that everything will be OK is SO IMPORTANT and made me literally audibly cheer. If you know you know, and if you don't know you probably don't have ADHD.
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uzi-doorknob · 7 months
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i swear i'm actually in hell. tessa keeps humming along to this stupid elevator music and the wifi down here SUCKS so i can't block it out with illegally streamed anime. AND I CAN'T EVEN FLIP HER THE BIRD PROPERLY! robo GOD i hate my life.
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I’m actually so disappointed that there’s not a zebra in We Take a Zebra to Vegas. They gave us camel. No zebra. What is this injustice.
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aziraphale-rights · 9 months
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Don't know if anyone's pointed this out yet, but I feel like the scene where Maggie and Nina confront Crowley about matchmaking them was in part a meta comment to the fandom - like, 'look, yes, you're right, these people love each other but they can't just have their happily ever after right now because they have shit to work through first that they can't simply skip over'
Which I feel a little conflicted about haha. Because on the one hand, yeah, I think part of the 'wet fish to the face' of S2 has been discovering just how much Gaiman still thinks they need to work through which maybe I had underestimated given the rosy tone of the end of S1. And reading people's excellent meta, and mulling over the ending, is helping me to come to terms with that a bit and realise the final conflict between them wasn't as out-of-the-blue as it felt to me on first viewing.
However I do think, if the scene was indeed a pointed comment, that it is a disservice to shippers a little bit (in a way that probably stems from Neil not actually reading fic) because honestly we all did know they still had stuff to work out after S1. Most of the Aziraphale/Crowley fic I've read shows them having to grow and learn in major ways in order to fully become a couple. Like, Good Omens fans are actually more competent matchmakers than Aziraphale and Crowley were with Maggie and Nina, lol.
(And also, we thought it was a closed canon! and then we knew there would be more but we had no way of knowing that Neil would be willing to take it in that direction! So of course we just took it upon ourselves to do that character development ourselves in fanworks. I think part of what is disorientating now is realizing the growth that fan writers have given them so wonderfully in so many fics never actually happened in canon.)
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someinstant · 2 years
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Brutalism and High Modernism in ANDOR's Production Design
So about a week ago I wrote about how the production design of Ferrix was clearly coming from a Bauhaus school of design, and I might have threatened to write about the use of Brutalism on Coruscant, and some of you fools have encouraged me. So you have only yourselves to blame for this.
I hope you're happy with yourselves.
First, the disclaimer: while I have taught AP Art History in the past, and am a nerd about architecture, I am mostly an autodidact about this stuff. My areas of expertise are in history, anthropology, political science, and education. So please understand that I am not specifically trained in this, and when (not if) I get something incorrect, I'm always open to friendly and helpful correction.
Now. ONWARDS TO CORUSCANT!
I will admit, friends, that I am very much Not A Prequels Person, and I haven't watched any of the animated Star Wars series, so I can offer no points of comparison between ANDOR's depiction of Coruscant and other SW media. I can only work off of Luke Hull's vision of the galactic capital, and-- damn, that is no bad thing.
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We'll start with an aerial view from episode 7. As the camera soars over a portion of the endless city, we see the occasional building with strong geometric shapes-- such as the one on the above right-- that look like nothing so much as the Chrysler Building in New York City. I mean, look at those stacked triangular corner pieces and the metallic cladding on some of those curves! It's such a strong, unmistakable reference. Now, if you know your architecture, you'll be like, "But SomeInstant, this rant is supposed to be about Brutalism and High Modernism, and that's clearly an Art Deco reference!" AND YOU ARE CORRECT, MY FRIEND. Good eye!
Art Deco is an international style-- one of the first!-- that developed following World War I, reaching its height of influence in the late 1920s and early 1930s. It was associated with style, glamor, craftmanship, rich materials, and a sense of technology and progress. And it shares a common ancestor with Bauhaus designs-- they're both strongly influenced by the Vienna Secession movement. But while Bauhaus was about the accessibility and utility of design for the Common Man, Art Deco was fancy. The materials weren't your common brick or tile: it's chrome and ivory and inlaid tropical woods. Mon Mothma's apartment has some serious Art Deco references in it, if you want to look-- those pretty geometric white screen things between rooms? That's what I'm talking about.
So what we have here is a building that is speaking the same stylistic language as the buildings on Ferrix, but with a VERY different accent, and to a totally different audience. I would like to think that both the building we see here on Coruscant and, say, Maarva's home on Ferrix were built around the same time-- but the language of power and privilege and the physical reality of each are totally separate.
But what happens if we move lower? What if we stop just looking at the skyline, and adjust our gaze down a little?
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Now, this is Brutalism. (And also a killer shot, god damn.)
So. As an architectural and design form, Brutalism has its roots in post-World War II Britain, and is marked by a reliance on the plain, unadorned exposure of building materials such as concrete, steel beams, plate glass, exposed pipes, and bricks. In its emphasis on common materials, Brutalism is closely related to Bauhaus design. But Bauhaus uses more rounded shapes, and plaster or tilework to turn everyday materials into decoration. Brutalism foregoes that finish, however-- and it has a certain stark, clean appeal, especially when its done thoughtfully.
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Brutalism is a style of design that is often associated with public constructions: mass transit, public housing, libraries, universities, government offices. If you've ever been to Washington D.C., the Metro is a great example of this-- that coffered cement curve of the ceiling? Pure Brutalism. And this is because Brutalism could be a form of design that was simple and cost effective. At its best, Brutalist designs offered simple, affordable housing, and could be constructed relatively quickly. Personally, I really dig a lot of Brutalist architecture-- it can be amazing!
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But there are many, many criticisms of Brutalism as a design form: it can feel impersonal, cold, and flattening. It's very strongly associated with forced population movements: that is, the destruction of existing neighborhoods, and the mass relocation of people for convenience's sake. (That is, for the convenience of the state. We'll come back to this.) Take a look at Soviet-era apartment blocks, or the forcible relocation of the Inuit in Greenland in the 1950s-- the housing that was provided was typically Brutalist in its design. Thus, Brutalism has become historically associated with totalitarianism and the strong hand of the state, and the loss of individualism.
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Another reason why some folks object to Brutalism as a form is the exposure of construction materials like concrete can mean that the surfaces can become stained and discolored, or wear unevenly in some climates. The broad, flat surfaces can become the target of graffiti-- I mean, if you have a problem with that, which I don't, because it can be amazing and the only difference between graffiti and public art is usually the zip code and price tag. Actually, a lot of very cool Brutalist buildings are beloved not because of their designs, but because of the fact that they're perfect for murals. Check out much of downtown Atlanta or Mexico DF (especially the campus of UNAM) for evidence of this.
But I haven't seen a single mural or tag on any of the shots of Coruscant thus far: it's just sterile, industrial concrete as far as the eye can see. That's state control for you.
So, anyway-- that's a Very Good Thematic Reason to use Brutalism as the main design influence on the lower echelons of Coruscant. If the Art Deco skyscrapers are coming from the same lineage as the Bauhaus design on Ferrix and speak to the Empire's surface-level ambitions, the Brutalist underpinnings of the galactic capital show its organizational power.
Which leads us to High Modernism.
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High Modernism comes out of Brutalism, historically-speaking-- but as you might be able to guess, the materials used in its construction tend to be more polished than the unrefined, simple finishes of Brutalist architecture. No vast planes of concrete here: no, bring on the sheets of glass, the slabs of polished stone. There's still a strong geometric language at play, a lack of ornate decoration-- but there's a degree of sterility in High Modernism that isn't present in Brutalism.
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High Modernism is associated with the Cold War era of the late 1950s and 1960s-- and is therefore a DAMN good style choice for the ISB. My god. It's a design school that is all about technology and control: control over the environment, control over civic spaces, control over labor-- you name it.
The thing I associate with High Modernism above all else is the notion of state legibility: the idea that populations and spaces are organized into a structure that the state can read and therefore control. James C. Scott has a whole book about this, called Seeing Like a State. It's not my favorite of his works-- that would be Weapons of the Weak-- but his overriding thesis about how state policies of legibility are often destructive to culture and communities are worth coming back to. I mean, think about city and civil engineering, housing laws, city grids-- or Imperial sectors.
In our world, maybe the best example of High Modernism would be the work of Le Corbusier and his followers-- I mean, consider Brasilia! It's an artificially planned city, designed to reflect the aspirations of a growing nation: Ordem e Progresso, right? High Modernism tends to disregard historical realities, cultural practices, and the way people actually use spaces-- which, again, is exactly why Luke Hull is giving us this:
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It's almost like these folks at ANDOR are good at their damn jobs, or something.
(Join me next time on SomeInstant Talks About Architecture in Andor: Wait, Is Niamos Space Acapulco, or What?)
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DISORGANIZED MD EPISODE SIX THOUGHTS
aka : what was going thru my head after i finished the episode 💔
(spoilers obvi)
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UMMM??????i’m not freaking okay omfg?????????!??!?!?!?!!??
NUZI CANON NUZI CANON ALSO V FREAKING DIED SACRIFICING HERSELF FOR N AND ALL THE OTHERS HER DEVELOPMENT RAHHHHH AND V WEARING HER GLASSES HOLY HECK AND TESSA’S SO COOL BUT SUSPICIOUS AND I HATE HOW I CAN’T READ HER EXPRESSIONS BC SHE DOESN’T HAVE A FREAKIN FACE AND V PROTECTING UZI LIKE A BIG SISTER AND N LITERALLY BEING DO DISTRAUGHT OVER V STAYING BEHIND AND V SALUTING THEM AS SHE DIED DOLL LOOKING AT UZI WITH LIKE?? SYMPATHY ON HER FACE BEFORE SHE LEFT?? IM FINNA STRESS VOMITTTTT AHHHHHHHHHHHHHHHH
goshhh this episode was so good they’ve finally found their footing with the show’s pacing!! the tone was so perfect!!
I JUST I JUST I JUST I JUST-
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manmadedonut · 9 months
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to the fucking guy who spoiled me on episode 6's fucking desperate kiss i forgive you because if i saw it the first time i wouldve stormed outside and burned my house down
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historicaldisaster · 2 years
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The way they used the light of Obi Wan’s lightsaber to mirror Anakin/Darth Vader during their confrontation seen is just *chef’s kiss*.  The way we see half Anakin and half Vader and whenever we cut back to Obi Wan its mirrored in blue and red light? The part where Anakin fades and Vader consumes him and we see Obi Wan’s face completely bathed in blue? What a great way to subconsciously promote the idea of empathy and connection Obi Wan has for his former Padawan as well as the moment he is forced to close the door and see Vader as the murderer of his friend. 
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Ok so there’s definitely someone who recorded the fight between Ammit and Khonshu and posted it online so do you think that one of the avengers turned on the news or like opened their phone and seen a video and was like “what???the fuck???”
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damnitiloveyou · 5 months
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Oh good a marriage of equal opportunity misery.
Lecturing him for bringing his ex lover to their cabin. She brought hers to their house party. Well played.
Hawk keeping tabs on Tim. He's so in love 🥰
Also, Jackson 💔
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uzi-doorknob · 6 months
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going as myself for halloween again but since i'm still trapped in this elevator i finally get to enjoy genuine human screaming. literally the only positive to the situation but whatever
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FOUR PEARLS?!
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aziraphale-rights · 9 months
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I actually absolutely see now why Neil wanted this series to come out week by week: because we could have had 5 weeks of analysing and being excited about the fun stuff together, before everything was all about figuring that ending out, but now it just feels a bit like. hard to mentally get back to the vibes of the earlier episodes? even though I have just as much (maybe more) to say about those as I do about the end?
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someinstant · 2 years
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--and also, like, that jarring jubilation and joy that Luthen feels, compared against the sheer loss and violence the Aldhani crew suffered, god, it’s SO GOOD, such a painful, ugly, reminder that the rebellion, like the empire, is not a machine that will go of itself: it requires momentum and fuel, and that comes at the cost of lives and hopes and dreams and relationships, and yet-- I don’t hate Luthen for his breathless, jittery joy, and I don’t hate Cassian for taking his cut and leaving (and it’s not even because we all know he’ll come back) because he’s not wrong for seeing the body count and backing off, I would too, and I don’t hate Skeen (I might hate him a little, but that’s transitory, dust in the canopy, it comes and goes) because this is what the machine DOES to you, it grinds and eats and eventually you either run or are consumed.
I do hate the guy in Luthen’s shop asking if he’s got anything from Aldhani.  Fuck that guy.
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the-breath-in-air · 1 year
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The Rashid Mystery Intensifies...
I swear, this show's playing with my head like a cat toy.
We see Rashid walk in front of sunlight with no problem. - so...not a vampire...
(ETA: Apparently daywalking vampires are a thing in the Vampire Chronicles. So...okay...maybe a vampire...)
We also see Rashid in Daniel's dream about when he first met Louis in the 1970s. - so...vampire..?
(ETA: Except we see that Antoinette was unnaturally young in 1939 too, so presumably there's a way for vampires to keep their human companions young. So...back to him maybe being human...)
Which is the truth? I mean, dreams are just as unreliable as memory, anyway.
(Incidentally...I still don't see what the narrative or thematic purpose would be in having Rashid be Armand. So much of the relationship dynamic between Rashid, Louis, and Daniel stems from Rashid being a devoted human companion to Louis. So, if it turns out Rashid is a vampire (whether he's Armand or not), there'd better be a good, meaningful, impactful reason).
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i’ve been listening to eternal dream from ep6 on repeat something about it is just so RAHHH it’s so good. elsie’s voice is so so soothing but like?? unnerving at the same time?? idk lol gosh i love murder drones </3
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and even get me started on the lyrics?? i can only think about uzi asking all this to n when he has to kill her BRUHHH 💔
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