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buckybarnesss · 11 months

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laura hale: darling, dearest, dead

welcome to where i care way too much about teen wolf in the year 2023.

i have no shame.

i've been working on this meta for a few weeks now and it’s definitely grown past its original scope. at first, i just wanted to do a deep dive into the weirdness around laura’s death but of course that expanded as i sat down and hashed out my thoughts.

@renninflight 's tags on one of my posts really gave me the push for this because i've apparently just been waiting for the opportunity to talk about the mysterious murder of laura hale

shoutout also to my teen wolf buddy and tumblr mutual of forever @dear-massacre our teen wolf talks definitely helped, probably wormed their way in here and this wouldn’t have existed without you.

laura's death is the core mystery of the first season and i’ve always been intrigued by the circumstances surrounding it.

i’m definitely not the first to question the circumstances surrounding laura’s death but i’m going to put on my tinfoil conspiracy theory hat and discuss the events just prior to wolf moon and how laura hale haunts me the narrative.

buckle up buttercups this is long.

just to get this out of the way immediately, i need you to understand that teen wolf's plots and timeline were apparently written on a soggy napkin found crumbled up under the seat cushion of jeff davis's couch. season 1's story is the most cohesive but there wasn't a show bible for a long time, which explains its loose relationship with keeping consistent canon. this post on the teen wolf wiki from september 2013 says explicitly that some assistant was tasked with writing one. this would've placed it after 3a had aired but before 3b did.

while i won’t be digging into the teen wolf timeline here, i will be working from my own understanding of it.

a lot of teen wolf is left to implication, inference and subtext as we the audience are locked into scott mccall's point of view and his knowledge of what's happening. this allows for scott to be ignorant about the world he unwittingly and unwillingly enters so that information can be doled out at a steady drip and the mysteries heightened.

that said, onwards to what has become my teen wolf magnum opus.

introduction: the dead girl

laura hale is the ultimate dead girl trope in teen wolf which is a show littered with the corpses of dead girls. it makes sense of course when you know she is the narrative sister of laura palmer of twin peaks fame.

unlike laura palmer though, laura hale never gets to tell her story. she is dead before the show begins.her corpse is treated cavalierly by scott and stiles, desecrated by the argents and stripped of her personhood.

interestingly, david lynch’s daughter jennifer lynch not only a authored a spin off novel for twin peaks told from laura palmer’s perspective called the secret diary of laura palmer but also directed four episodes of teen wolf (silverfinger, i.e.d, perishable and codominance).

it's a cool connection.

i like this quote from esquire about laura palmer and the creation of the dead girl trope:

“we don't see laura with any control over her circumstances. we meet her after she's been wrapped in a plastic bag and left to rot, which essentially leaves her narrative and legacy to be largely determined by those who are investigating her. we don't learn about laura through laura—we learn about laura by piecing together what she left behind.”

laura hale’s murder also invokes a visual similarity to a real life beautiful dead girl as well.

elizabeth short.

elizabeth short is known to history as the black dahlia. her naked, posed, and bisected corpse was discovered in a vacant lot in january 1947. she was 22 years old.

when betty bersinger discovered elizabeth that morning she thought she’d stumbled upon a mannequin. in a way, she had. the person elizabeth short was is often lost amongst the sensationalized headlines, salacious gossip and speculation surrounding her case. instead, she has become the perfect, posable victim unable to tell her own story.

elizabeth short is the template for all the dead girls in modern media.

what makes laura hale different though is how she’s a non-character within teen wolf despite her death’s significance as the unpreventable, fixed event within the show’s universe.

laura hale has the most in common with the other dead beautiful girls erica reyes and paige krasikeva. each of them killed before their full potential could be realized their ghosts left to haunt the narrative.

as i said earlier though, the circumstances surrounding her death have always intrigued me. i’ve always believed there was a sort of convergence of events happening prior to wolf moon that led to the inciting incident of laura hale's murder.

we’re even told this throughout the show if you’re paying attention.

one of the things i always wished we’d gotten from teen wolf was more information about not just laura herself but what exactly she knew prior to her death but we can infer quite a bit.

let’s take a look at what we do know.

a history lesson: drinking poison from the same vine

to understand what happened to laura hale when she was killed we have to step back and look at what happened before the first scenes of the show.

in particular we have to take a look at peter hale, the argents and the alpha pack. this means revisiting visionary among some other relevant episodes.

visionary is probably one of if not the most central lore episode within the series and it also gives us a glimpse of both talia and laura hale while they were still alive.

laura herself is more of an afterthought in this episode as she's never named on screen.

so what does visionary tell us about laura?

it tells us that she was already in a leadership position within the hale pack by this time and is clearly put forth as talia's natural, intended successor due to her very presence at the summit. it also tells us kali, ennis and deucalion knew laura hale personally even if it was a fleeting acquaintance.

in the finer details of the episode we learn a few other things such as talia, laura and peter were all aware of the threat of the argents. we learn one of ennis’s betas was killed in retaliation for killing two hunters. the death of the beta seems very cruel and unusual as we learn that he was shot through the throat, his claws were ripped out and he was cut in half.

the last point in particular is notable as there’s only one hunter we know of that cuts werewolves in half.

gerard argent.

motel california is just a few episodes prior to visionary where it’s revealed that alexander argent killed himself in 1977 at the glen capri motel after being bitten. gerard claims it was deucalion that bit his brother which is how he justifies his actions in visionary.

is it the full truth? doubtful. maybe alexander argent was bitten by deucalion and maybe he wasn’t but gerard seems to believe he was and that is what matters.

belief in the teen wolf universe is a real, tangible concept but it’s incredibly important to the narrative conceit of this episode. gerard and peter are both unreliable narrators who purposefully minimize their roles in the stories they tell. maybe they even believe their own lies to a degree.

what we know as the audience as it’s proven multiple times throughout the series is that gerard rejects the idea of peace and is known for being brutal and cruel in his methods.

visionary also goes a long way to illustrate that peter hale has always been, you know, Like That. he skulks around the story even in his own version of events where he’s trying to minimize his own role in paige’s death.

i believe that the non-existence of laura in his story except for a throwaway mention about how laura told derek about the packs being in town is two fold. one, peter was jealous of laura’s position in the pack and two, his guilt over killing her.

peter’s guilt is an interesting thing because he is first and foremost all about the survival of peter hale but he does care about those he perceives as his. for him, killing laura was something he regretted but was necessary so that peter could gain the alpha power.

laura was a sacrifice.

another thing about visionary is the absence of peter and talia’s relationship but who else would’ve told her about derek and what happened? talia isn’t surprised when she finds derek in the cellar.

over the course of the show we do not get a lot about talia and peter’s relationship which is a thing that keeps me up at night but i don’t think it’s too far of a leap to conclude that talia knew her brother’s nature and probably saw it as useful in it’s own way so long as she was the one holding the leash. the way peter advises derek is probably not too far off from how he advised talia.

there’s a tiny glimpse of this in season 4’s monstrous.

meredith walker is subjected to peter’s inner ravings while he’s comatose as they somehow connected mental frequencies.

there’s parts in there about how he’ll be a vengeful god and remake the supernatural of beacon hills in his own image and blah blah blah it all tracks for peter but the parts about talia are interesting not only because it gives us a glimpse into how peter perceived talia but also because he specifically name drops the argents as the threat.

is it the full truth? no. peter subscribes to the from-a-certain-point-of-view version of the truth and we have to remember this is peter just after the fire. he’s comatose, horrifically injured and on some level he’s aware that most of his family is now deceased.

what looking at this gives us is peter’s perspective and what he latched onto post-fire thus creating the peter we meet.

“i predicted this. i told talia this was going to happen. something like this was going to happen. i said they were going to come for us. the argents. they’re going to come for us. they’re gonna burn us to the ground. they’re going to burn us to the ground. did she listen? of course not. did anyone listen? they listened to her. yes! say that everything was going to be fine. that we were all perfectly safe. but she made us weak! she made us weak. and what happens to the weakest in the herd? they get picked off by the predators. we used to be the apex predators. until talia turned us into sheep.”

there is another key point about talia and peter that i think cannot be overlooked. the removal of memories. she took the memory of the nemeton’s location from both him and derek after their experiences there and she also took the memory of his tryst with corrine that resulted in malia’s birth.

i think what these things together tell us is that peter hale is vengeful and resentful but not just towards the argents but also talia but talia is beyond his reach. laura isn’t.

the last player that needs to be examined is the alpha pack. visionary gives us a version of events of why deucalion is the way he is and it ends with him killing his beta marco absorbing his power. this in itself isn’t actually all that interesting as this was the foregone conclusion.

when you combine it with what jennifer tells derek in the overlooked though it was just a few months after this she is attacked by kali at the base of the nemeton, which means the creation of the alpha pack was already underway mere weeks after deucalion is blinded by gerard.

we know talia hale was aware of what happened to deucalion along with gerard argent’s involvement so it would also stand to reason she would then be aware of the creation of the alpha pack. i cannot imagine it would escape her notice that both ennis and kali’s packs were decimated by their alphas and then they joined with deucalion. that seems like a cataclysmic event that’d get through the supernatural grapevine quickly.

if talia knew then so did laura as she was like i said clearly talia’s successor.

the mysterious death of laura hale part I: who cut laura in half?

let’s revisit the scene of the crime to examine the absolutely hinky circumstances surrounding laura's death and what the hell was happening in the woods the night scott was bitten by peter.

if i learned anything from gil grissom the first piece of evidence is the body. this is how we and scott meet laura hale.

i don’t think it’s speculation to say that peter hale killed laura but it was gerard argent who cut her in half.

in the season 2 opening episode omega we meet gerard argent and learn of his propensity to use a broadsword to cut werewolves in half but it is chris that gives scott the warning.

chris: "scott do you know what a hemicorporectomy is?"

scott: "i have a feeling i don't want to."

chris: "a medical term for amputating somebody at the waist. cutting them in half. takes a tremendous amount of strength to cut through tissue and bone like that."

this foreshadows what happens to the omega at the end of the episode but it reminds the viewer that we’ve already seen a corpse like that.

it may be a drop in the bucket compared to all the trauma scott has experienced since that night but i don’t think laura’s severed corpse is a sight he’s forgotten. which is what i believe argent is counting on here.

he knows what his father did.

he’s intimidating scott as much as he’s warning him not just about lydia but also about his father’s impending arrival and what gerard is capable of.

by this point chris knows kate broke the code by killing the hales in such a gruesome fashion but what does kate say when chris confronts her in code breaker?

chris: “i know what you did.”

kate: “i did what i was told to do.”

gee, i wonder who gave kate the carte blanche on killing the hales? i bet he also used paige’s death as a way to manipulate her as we see him do with allison. he was in town after all when paige was attacked by ennis and subsequently died. it's not a stretch to believe that a seasoned hunter like gerard would be able to spot a supernatural death cover up via animal attack.

the argents talk a big game about their women being leaders but gerard is the puppet master tugging on kate’s strings just like he did allison’s in season 2. this doesn’t minimize kate’s own sociopathy. kate can be a victim and a perpetrator.

we know from visionary that the argents have been known to operate around the beacon hills area to hunt but they don’t live there until chris and his family move there just prior to wolf moon.

i think we can infer that gerard ordered chris to move to beacon hills in response to laura hale being back in the area for the first time since the fire and i don’t think he aimed to just keep an eye on her.

there’s another overlooked aspect as to why gerard would be very interested in laura hale. he wants to cure his cancer via the bite. in fact, i wouldn’t be surprised if he would have offered her kate in exchange for the bite.

sure, it’s speculative, but i think there are enough pieces to support it as a working theory.

unlike peter there is never a confession from gerard about his part in the crime so why am i certain he did it?

let’s go back to the body for a moment.

while there’s a lot of gore, most of the blood is on laura herself.

there’s a significant lack of blood either around or underneath laura. with the amount of trauma we can see on her body there should be a bloody mess but there isn’t.

also notice how her arms are splayed out. it’s like she was dropped there.

she also doesn’t appear to be all that decayed so she’s still pretty, uh, fresh.

so again why do i believe gerard cut her in half if peter killed her?

not only can we infer in the subtext from the conversation chris has with scott in omega but looking at the cut on laura’s body it is too clean to be from being ripped in half by an animal or a werecreature.

however, a person with a sharp, heavy sword with the know-how that we know does this? seems a bit more plausible doesn’t it?

also kate literally tells us that hunters did it. she doesn’t name gerard but she informs derek in the tell:

“yes, your sister was severed into pieces and used as bait to catch you. unpleasant, and frankly a little too texas chainsaw massacre for my taste, but quite true. but here’s the part that’s really going to kick you in the balls. we didn’t kill her.”

neither the audience nor derek know if kate can be believed. i don’t think she’s lying here. she’s taunting but not lying.

why lie when she knows how badly this knowledge will hurt derek?

she goes on to add:

“found bite marks on your sister’s body derek. what do you think did that? a mountain lion?”

this i believe was a fib. were there bite marks? possibly, but more likely from savangers than peter taking a bite out of laura.

also the fact that laura’s lower half was found by joggers probably means it was visible from a path which gives some credibility to the idea that the hunter's strew laura’s corpse around the preserve. they wanted it to be found.

not only would two pieces be less heavy than a whole body but it just shows how they don’t care. laura isn’t a person to them. she’s vermin, she’s subhuman, she’s not worthy of respect.

she’s no better than bait to other werewolves to them.

they leave laura to rot.

notice how kate never refers to laura by name instead calling her “your sister” to derek. kate lured derek out with insults towards laura but this one is the greatest of them all. kate is refusing laura hale’s personhood.

the final reason i don’t believe peter tore laura in half is we’ve seen how peter kills. claws from behind are consistent with how he goes at derek at the end of heart monitor and jackson in master plan or throat slashing which we see in the tell with the video store clerk, kate in code breaker and jennifer in lunar eclipse.

or he mauls them viscerally like we see with the mute in the benefactor.

a creature of habit he calls himself.

in none of peter’s kills either as alpha or as a beta does he tear someone in half.

while peter hale is a dramatic king and doesn’t mind getting his hands bloody, i think he’d be offended if someone accused him of tearing laura in half.

the mysterious death of laura hale II: why does peter kill laura?

speaking of peter, why did he kill laura?

the obvious answer is for the alpha power so he could fully heal..he says as much in wolf’s bane.

peter: “yes, becoming an alpha, taking that from laura pushed me over a plateau in the healing process.”

but with peter hale nothing is ever so simple. there’s always layers.

in alpha pact, peter gives derek this speech when he’s winding derek up about how to heal cora:

“you know, normal wolves never abandon an injured member of the pack. they care for it. they even bring it food from a kill and then regurgitate it into the mouth of the injured wolf. they even give it physical and emotional comfort by intensely grooming it. in a way they can do more than just ease pain. they can be instrumental in healing their own."

as i mentioned earlier, i think peter not only holds a lot of resentment towards talia for what he perceived as inaction but also towards laura.

after the fire, laura did what cora says in visionary they were taught to do when hunters find them.

cora: "waiting. hiding. that's what we're told to do when the hunters find us. hide and heal."

in all the trauma and grief, laura did the only thing that she could reasonably do in response to such a horrific tragedy. she packed up her little brother who she’d suddenly become the guardian of and put an entire continent between them and beacon hills.

in doing so she left behind peter. i don’t blame her for leaving beacon hills. she was reacting to the threat of the hunters by trying to protect what little was left of her family and herself.

you have to put on your own oxygen mask before you can help others.

however, in leaving peter behind he was left to not only slowly go mad but he was also left vulnerable.

peter may have felt laura not only abandoned him as a member of the pack but abdicated her right to be the alpha.

derek tells scott in riddled:

“my family didn’t just live in beacon hills.they protected it.”

laura left beacon hills unprotected and she left peter alone.

peter killed laura for the alpha power he always saw as rightfully his so he could heal and do the job he felt talia and laura were both too weak to do.

while peter killed laura his culpability does come into question.

in co-captain he performs the memory sharing ritual with scott which gives us a small glimpse of peter’s memories in the moments before laura’s death.

laura enters the scene looking around as if she hears something and then laura calls out his name in question. when peter turns he doesn’t look like a man in control with his eyes rolling, mouth agape.

his actions look autonomous. peter the man is not at the wheel.

if we take what peter says in wolf’s bane at face value about how he was being driven by pure instinct then we can surmise that the wolf was in control and acted on impulse and peter’s deepest thoughts and desires.

the same ones we hear peter raving and ranting at meredith in monstrous.

vengeance.

i think the truth seems to be somewhere in the middle.

peter often downplays his own involvement as a manipulation tactic. so while he lacked inhibition, killing laura for the alpha power was premeditated as we know his nurse was acting on his behalf. i do wonder though if laura’s body hadn’t been severed by hunters would peter have resurrected her?

what’s a little murder between family members, you know?

the mysterious death of laura hale III: the conspiracy

there are two conspiracies in season 1.

the conspiracy to kill the hales and the conspiracy to lure laura hale back to beacon hills.

about three months before her death laura was sent the picture of the revenge spiral on the deer which brought her back to beacon hills. to the territory she had left unattended for six years. in pack mentality, derek says that laura came back to beacon hills looking for the alpha and that she told him she was close to figuring something out about the fire.

luring laura back to beacon hills wasn’t just about killing her. that was the endgame, but first peter needed her to do the leg work in finding the conspirators that set the fire.

the conspiracy itself hinges on one person since peter was still unable to do all of it himself due to him still recovering and we know nothing about her.

nurse jennifer plagues me. her motivations for helping peter were never given. she’s merely a tool to help peter enact his revenge.

all we have are theories and i have found precious few in my searches through old meta.

the most popular theory and i use that word loosely is that she was jennifer blake sowing the seeds for her eventual return to take on the alpha pack. i’ve considered this one and i think a skilled writer could make it work, but within the context we’re given i don’t think so.

i do believe jennifer blake definitely scouted out beacon hills just as the alpha pack did but i don’t think she and nurse jennifer are one in the same. besides, we do see nurse jennifer’s corpse in code breaker.

another theory i came across was that she’s a banshee compelled in the same way lydia was by peter. again because we have such little information there’s enough room for it to be possible but i doubt it.

the conclusion i have come to about nurse jennifer is that she’s someone like dr. fenris and brunski from eichen house. while we do not learn about eichen house until season 3b dr fenris is introduced in wolf’s bane and is in the search for a cure.

mostly, i think she’s simply a reference to nurse ratched from one flew over the cuckoo’s nest. her nurse's uniform is even anachronistic.

but what was nurse jennifer’s role in the conspiracy?

she is the one who sent the picture of the deer spiral to laura hale to spur her to come back to beacon hills. nurse jennifer is also the one who sent allison the text to come to the school during night school. like laura, nurse jennifer did a lot of footwork for peter to make his plans work and it’s a damn shame we’ll never know why.

the mysterious death of laura hale iv: the fixed point

laura’s death is what i think of as a fixed point in the universe of teen wolf. the idea of which is something i shamelessly took from doctor who.

in doctor who a fixed point is considered a lynchpin of the structure of ordered history. they cannot be altered as any attempts to do so would unravel linear time.

laura hale’s death is that fixed point. it was unavoidable, unpreventable. poor laura hale doomed by the narrative.

in the events surrounding the murder of laura hale there are two more players i haven’t really discussed. they exist on the periphery but are no less important.

doctor alan deaton and the nemeton.

cora says this in visionary:

"they keep us connected to humanity but they're a secret even within the pack. sometimes only the alpha knows who the emissary is. derek and i had no idea about deaton."

as talia’s successor laura would’ve had to know who their pack’s emissary was.

this is confirmed in fury when deaton not only insults derek to his face but reveals that he made a promise to talia to help her children and derek recalls laura mentioning deaton indirectly as some kind of advisor.

i say indirectly because if laura had told derek explicitly that deaton was someone who could help and advise than he wouldn’t have suspected him as the alpha in season 1.

did laura see deaton at all during her time in beacon hills? i would say it’s probable but i get the impression laura played her cards close to her chest. deaton was very unnerved by what was happening and with laura’s death probably concerned for his own wellbeing.

deaton doesn’t reveal himself to derek because he has no idea if derek’s the one who killed laura or not. there’s no established relationship between the two for trust to go either way.

truly the greatest villain of teen wolf is miscommunication, but i digress.

now here comes the part where i put on my tin foil conspiracy theory hat. i believe laura was killed near or at the nemeton.

an unintended and unacknowledged sacrifice.

peter may not have consciously remembered its location, but who's to say it didn’t draw him there.

we know from jennifer’s speech in the overlooked that the nemeton had a small spark of power from paige’s death. it was enough power to keep her alive after kali left her for dead so it isn’t difficult to believe it could’ve drawn peter to it as well.

we know gerard knows its location despite what he tells allison about him not remembering. i don’t believe that geriatric bastard anymore than i believe peter as peter is able to find the nemeton easy enough because he shows up to kill jennifer there.

now, i have zero proof of this. it’s all speculation from vibes and what we see in lunar eclipse but considering laura’s body was moved from wherever she originally died and was severed it’s possible.

it’s easy to imagine a scenario where laura finds peter at the nemeton where he kills her and leaves her body where it fell. later, gerard and his hunters discover her corpse and in frustration and anger at his plan falling through, gerard decides to use laura as bait for either the werewolf that killed her, derek or whatever other werewolves come along. waste not, want not after all.

either way an alpha’s blood is spilled there giving the nemeton just a little bit more power.

in lunar eclipse allison, scott and stiles perform a proxy ritual sacrifice to find out the location of the nemeton so they can rescue their parents. it’s successful, but only because the nemeton allows them to know its location.

in revealing itself to them it chooses them as its champions and.it’s magic takes them back to the night scott was bitten, to the fixed point in the teen wolf universe.

laura hale’s death.

haunting the narrative: laura hale’s uneasy ghost

“and so, the woman dies. the woman dies so the man can be sad about it. the woman dies so the man can suffer. she dies to give him a destiny. dies so he can fall to the dark side. dies so he can lament her death. as he stands there, brimming with grief, brimming with life, the woman lies there in silence.”

by aoko matsuda, translated by polly barton

once the first season comes to a close and laura hale’s murder is solved she is no longer mentioned save a few precious times, but the ghost of laura lingers.

laura haunts the narrative.

derek has forgiven many transgressions against himself and his person but he will never forgive peter for laura’s murder. her death underscores every single one of their interactions.

laura’s the specter that hangs between cora and derek. cora loses her sister twice and derek’s words “sorry to disappoint you” only speak to how he feels he cannot live up to the ghost of not only his mother but also laura.

this, however, is not the only way laura remains in the narrative. they allude to her in other ways.

in anchors scott reprises the scene from wolf moon where he tells stiles they’re going to go out into the woods to find a dead body but in a reverse uno of wolf moon though, scott is able to save the naked hale girl in the woods and bring her back to her family.

at the beginning of party guessed, lydia has one of her banshee visions. if you pay attention you can catch a girl in the bleachers that doesn’t quite belong. in fact, she’s crying out distressed and frightened.

that girl is laura hale.

while uncredited the actress looks a lot like haley roe murphy who played laura in the first season and the necklace around her neck has a red pendant that alludes to her alpha status.

lydia sees an echo of laura hale as a warning.

i like this shot in second chance at first line when scott is at the morgue. he pulls out the drawer containing laura's lower half and the pov for the shot is almost like laura is watching despite her upper half not being there.

the very last time we see laura’s body is after stiles and scott dig it up.

from this new perspective, laura’s stare has gone from vacant to accusatory.

it’s a jump scare, the transition from laura as a wolf to laura as human. it’s meant to freak stiles and scott out and confuse them.

what it’s always said to me though is how dare you.

whether or not it was intentional (and let’s be real this is teen wolf so it’s probably half and half if we’re being generous) the murder of laura remains one of the most intriguing incidents on teen wolf and her being one of the most untapped characters.

i said earlier i wanted to know what laura knew before her death. what had she uncovered about the fire? had she learned about cora being alive? did she know about kate and derek?

the answer is that it doesn’t matter. It no longer matters because laura died. we can never know what she knew.

in teen wolf it doesn’t matter because laura is a non-character while being the most important character of them all.

laura hale is the beautiful dead girl.

she is the inciting incident, the fixed point, the name unsaid and the spirit unexercised.

“an anthem for the queenliest dead that ever died so young-- a dirge for her the doubly dead in that she died so young.” lenore by edgar allen poe

#my blog #teen wolf #laura hale #teen wolf meta #thoughts on teen wolf #did i have a lot of thoughts? yes

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galadrieljones · 3 years

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The Walking Dead: Episode 4.12, “Still” Rewatch

So I rewatched “Still” in honor of the Stilliversary tonight. My thoughts are not related much to Team Delusional stuff, more so just thoughts and idle analysis, but I had fun and definitely did not cry.

Here we go!

Beth is already feeling it, right away, after the trunk scene, ie: what he must think of her. She’s just another “dead girl” who needs to be protected. It is both insulting and embarrassing at the same time.

Daryl misses that squirrel and breaks an arrow! Dammit, Daryl. This is just another trial, but it’s interesting in how we see Daryl in like rote provider mode, and yet he makes a mistake.

The suck-ass camp begins with some Garden of Eden imagery: While Daryl skins and cooks the snake, Beth is admiring the beauty of a ladybug crawling on a leaf. The music is actually full of wonder. Beth sees the beauty in the natural world while Daryl sees it only for what he can use. It is an essential masculine vs. feminine moment, in terms of their individual themes, and what propels them and their actions. Their masculine and feminine energies will be subverted later though, and well-complicated, because the writing is good.

Beth brings up Hershel’s death early: “He’s not exactly around anymore so...” She wants to have a drink, maybe to rebel against her father, maybe to honor his memory, maybe to seal her own fate. It is a complicated choice for Beth. It’s not just some “dumb college bitch” moment. She knows this, but how is she supposed to communicate it to Daryl?

Daryl is like an animal eating that snake while Beth tries to talk to him. Literally, out of body. I imagine being her and just like, Ugh. Gross, dude. Then, when she leaves, Beth totally expects him to come after her. When she doesn’t see him right away, she mutters, “Jerk.” She called him a jerk in season 3, too, after he takes off with Merle. I think Beth is used to being treated nicely by boys. Ofc, Daryl, while he may not be an overt gentleman in his scarfing of that disgusting snake, was there watching her the whole time.

“You wanna spend the rest of our lives staring into a fire and eating mud snakes? Screw that. We might as well do something.”

I sort of missed this before, the mention of “the rest of our lives.” It is a small acknowledgement that they are now “stuck together.” Ofc, Beth’s idea is to “make the most of it,” to go out into and DO something! Embrace the future! Daryl sees only the here, the now, and the past. He would prefer to stay still.

Unrelated but: God, Daryl is peak hot in this episode.

Anyway, so, the state of Pine Vista, and what happened there. Jfc. It’s very ugly and very sad. The Dogtrot seems a reference to a dogtrot house, which is an old Appalachian style home. Basically like two shacks connected via a breezeway. I see some sort of backcountry types having moved in here and tortured the rich folk. There is evidence that “fun” was had. “Rich bitch,” etc. Maybe it’s the same psychopaths who tormented the OG Terminus crew, ultimately turning them into crazy cannibals.

Beth finds the Washington D.C. spoon. Why?? It’s such an odd, pointed shot, with a slow zoom. Is that where we’ll find her? Does anybody else know anything about this?? Anyway maybe this is a TD post lol.

Beth finds that bottle of wine and it’s a shame she has to break it! I remember feeling so bad about that the first time I watched this episode. Like NO BETH YOUR BOOZE!! She uses it to stab the shit out of that walker though, and to defend herself. She’s kind of pissed at Daryl for not helping her, again used to only the kindest of attention from boys. But Daryl isn’t like other boys (lol). He was there the whole time, once again, but he let it play out, because he knew she could do it. I like that her first (almost) drink here sort of has to become a weapon instead. Nothing is ever easy! And sometimes, the environment IS best observed, not in terms of its beauty or promise, but in terms of how its use can best be served to survive.

Tempus Fugit - Time flies! Oh, yes. Yes it does lol.

Daryl and Beth both need to escape their old selves here. Beth with her pretty cloths and Daryl stealing the cash and the jewels. They need to shake that shit off. Burn it all down, if you will. I think this episode we mostly associate with Daryl changing and having his epiphany, but Beth changes, too. She is just quieter at it.

It is 3 o’clock! The grandfather clock is this interesting motif that puts pressure on the situation literally while also bringing the symbolic pressure of time passing, running out, etc. It makes us feel detached from reality, like this is a purgatory episode. I like when The Walking Dead does this, like when they take us to a new place in which we become critically aware that this thing we’re watching is fiction, and by the rules of fiction, anything (ANYTHING) can happen.

“I know you think this is stupid, and it probably is, but I don’t care.” She just is who she is. She doesn’t give a shit what he thinks. I think that attracts Daryl to her in this moment and emboldens him. I think Daryl actually really cares what other people think of him, that he is keenly self-aware in this way. We see this fear manifest as Merle in Chupacabra, ie: that the rest of the group thinks he’s a “freak,” a piece of “redneck trash,” and that they’re all “laughing behind [his] back.” Meanwhile, Beth is just like, “You probably think I’m just some dumb bitch. But guess what, Daryl? I DON’T CARE.”

Beth sitting at that bar trying to clean out glasses: “Who needs a glass?” She clutches the bottle longingly and then cries. I would argue she is thinking of Hershel and the line of questioning that arises in this moment. Should she do this? Is she betraying him? This moment also contradicts what she tells Daryl in 4.1. “I don’t cry anymore Daryl.” This is the moment that breaks him.

Beth keeps trying to make him feel normal, while they’re walking to the shine shack. She thinks he used to be a motorcycle mechanic. But Daryl’s normal is not hers, and he doesn’t really do small talk. In these little moments, we see him being who he is. Daryl is really good at being who he is when who he is revolves around passivity and silence.

They go from country club to moonshine shack. What we see is how a class divide might differ in longevity. A country club full of walkers, made out of humans who turned against each other, every bottle dry in the house vs. an empty shine shack, no death in sight, absolutely full of booze. When societal protections collapse around us, it is the ruthless and the bereft who will know how best to survive. It’s like Beth sad about Daryl, being “made for this world.”

They are trapped! Tropes. So many romantic tropes! Lol at people who would like to ignore that any of this happened or that Bethyl was never canon.

This:

Anyway, I think Daryl is actually pretty mean to Beth toward the end here, out on the porch, like the way he treats her, kind of tugs her around physically. He doesn’t hurt her, but he is not gentle. This puts things into harsh perspective for Beth, as I do think that, while he is not right in how he handles her here, he is right in some ways about who she is. She is not naive but she is used to protection and safety and relying on others, the same way he is used to the opposite of those things. Both of them need to learn how to exist from the other side.

Beth also sees what’s going on, however. I think she also might be used to this sort of quasi-violent, performative, drunken behavior. Her dad was a drunk. I think it’s interesting that so much of this episode hinges on alcohol in Hershel’s wake. I always thought this might be one reason Beth is drawn to and accepting of Daryl. We only really see Hershel while sober (I mean, mostly). We never saw him in his deep element of alcoholism, but Beth did. She is not innocent to vices or men spinning out of control. It’s why Beth responds to Daryl’s whole insane story about the tweaker and Merle with, “You miss him, don’t you?” She doesn’t care that Merle was a degenerate drug addict. He was Daryl’s brother who died. She has loved and lost an addict, too.

Before, Daryl was just “drifting.” In this episode, Beth gives him a quest. I think that’s very important. She also gives him something to look forward to:

“You got away from it.”

“I didn’t.”

“You did.”

“Maybe you gotta keep on reminding me of it sometimes.”

The hint at their future: “You gotta keep on reminding me,” he says, counting on them staying together. Beth is so kind to him here, too, even doting as she talks about him being the “last man standing.” I can’t imagine a girl has ever treated Daryl like this. I think she scares the living shit out of him.

Daryl suggests they go back into the shine shack, but Beth says they should burn the place down instead. Again, stillness vs. action. See their complimentary traits: Daryl is passive. He needs someone to tell him this is okay. Beth is active. She does what she wants. It is uniquely antithetical to their gender roles and subverts the power dynamic we might otherwise expect from a relationship like this: Daryl is older and a man. Ofc he should be the more aggressive, assertive one. The actor. But he’s not. It’s Beth who makes their choices in this episode. Daryl follows her and protects her along the way.

The ending is so happy. Oh my god. Anyway.

Thank you for humoring me. Happy Stilliversary!! 😭🥺❤️

#the walking dead #bethyl #daryl dixon #beth greene #daryl x beth #4.12 #still #stilliversary #❤️❤️❤️

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the-littlefangirl · 3 years

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TFATWS episode 1 rewatch commentary

The first scene was so beautiful. I loved that we didn't start directly with the fight sequence. It feels way closer to the quiet beginning of CATWS and I love it so much.

The title is also SO NEAT, music's on point too but hey it’s Henry Jackman the one thing I’m sure it’s going to be great overall is the score.

The choreography is AMAZING, really well shot. Sam shielding himself with only one wing was MA-JES-TIC.

“WHAT'S UP” EXACTLY SAM EXACTLY

I did feel so uncomfortable in regards to the military aspect of it. Not that I was expecting anything else, but both here and in Captain Marvel the military we're good guys < 3 propaganda is so blatant and ugh:/ At least there wasn’t a literal recruitment spot like with CM.

The yellow filter in the Tunisia scene BYE please stop with the yellow filters 2k21

"I've been working with the Air Force for six months now" So, did Sam even catch a break at all after Endgame? Or did he just throw himself to work like SOMEONE did after being iced for 70 years. Hmmm? Sam????

"Essentially, these people, they want a world that's unified without borders" OH NO! HOW AWFUL, how evil of these bad guys smh

Joaquin: SO about Steve

Sam: :)))))) nope

"Moon stuff" SAAAM

#1 cry with Sam's speech, full on chills.. Fuck. Me. His voice about to break before saying thank you bYE.

Shady politician: "It was the right decision" (FUCKKKKK YOUUU)

Rhodey: *press any key to doubt *

I need someone to analyze the different curation of the two exhibits pretty please

NOT THE PHOTO POST-AZZANO JFC. That photo is my weakness, Bucky sweetie (also I find hilarious that usually when there are articles about Stucky and/or #givecaptainamericaaboyfriend they aaaalways use that photo LMAO)

In case someone wants to read the transcription of the texts about Bucky: "In 1944, while on a mission to thwart a Hydra weapon transport in the Alps, Barnes was thrown from a train and believed to have been killed in action. It wasn't until 2014, over seventy years later, that it was revealed that Barnes was alive, having been found by Hydra operatives. Captain America himself (i can't read) the effort to bring Barnes in only to later aid in a escape from custody having been convinced of his innocence. Steve's loyalty to his old friend, coupled with his refusal to sign the Sokovia Accords, led to the dissolution of the Avengers and drove the Captain into hiding with other like-minded Avengers including Natasha Romanoff, Wanda Maximoff, and Sam Wilson. The current whereabouts of Barnes remains unknown, habing been labeled a fugitive following his escape from custody."

"current wherabout unknown" but not the government, interesting. Also, pretty good summary of CACW from the public's perspective, although one of the things I always wanted to see explored was the public's reaction of the fallout of them going into hiding after Civil War (which I'm hoping we'll get to see a little bit of in Black Widow).

Interesting point about the 70 years without having Captain America. Clearly the sacrifice play wasn't enough this time to fuel the nationalism so they went with a squeaky clean John Walker instead.

Sam saying the shield belongs to Steve I'm going to cry now excuse me. Sam. Sam sweetie.

The No. 1 Captain America comic in the display ugH fuck yes

See this is how you do a cameo that has actual meaning. Thank god for Malcolm Spellman being a competent writer. That scene was so well written.

HAVE YOU PRAISED ANTHONY MACKIE'S PERFORMANCE TODAY?? Holy shit that last shot fucked me up.

I'm loving the use of the wide shots, especially in the flashback. The camera movements are in synch with The Soldier's state of mind and mission focus, so good.

EVERYONE STAND UP FOR THE NATIONAL ANTHEM aka The Winter Soldier theme composed by Henry Jackman.

Without a doubt the most brutal TWS fight scene there has been, People involved in Punisher and John Wick are involved in this and it SHOWS.

For the record, still stands that the only time we've seen him chocking someone with his right hand instead of the metal arm remains the Maria Stark assasination. I know it's probably because of blocking and the way the shot was composed but the implications are still bone chilling. God.

Uhhmmmm I'm very ambivalent about the "Hail Hydra". On one hand, it was 100% fanservice and the internet is probably going to go insane over it, and the dead way Sebastian Stan delivered the line. Good shit. Buuut what I love about CATWS is the way Bucky never, ever ever, mouths Hydra rethoric, and even when Pierce tries to gaslight him with it, it's just an empty effort. The Winter Soldier isn't doing anything because of ideological loyalty to Hydra, even if it's product of brainwashing, it's just sheer dehumanization. They don’t need him to say the words because he’s just An Asset. There are people who have put it more eloquently but yeah, I rather go with the fanon interpretation of that aspect.

The music growing louder with the shot of the keys. GOD.

I'm fine this is fine.

#2 cry with the therapy scene of fucking course.

The government monitoring Bucky is noooot going to end well lmao.

"We need to know that you're not gonna * slowmo stabbing motions *

Bucky: * nodding along slowly *

I laughed out loud.

"It's passive agressive" I love him.

The way this scene just sucker punched me in the face, made me weep and then had me cracking up. Amazing.

Therapist: You can't do anything illegal

Bucky: yup yup check checkity check. What IS considered illegal tho?

*aggresive tablet finger pressing *

"Then why isn't it rule number one?" Bucky your Steve is showing.

I love the close up shot. I'll keep saying it. It's so good.

"I'm James Bucky Barnes" yeah you are🥺

That smile is nightmare fuel LMFAO I love it.

Uhm the way I'm kinning Bucky it's not funny anymore damn

That whole “are you lashing out at me” rambling is really reminiscent of the bar scene in CATFA and how he lashed out at Steve after Peggy left. Uhm yeah fuck.

"WHAT DO YOU WANT?" "Peace"

"That is UTTER BULLSHIT" "You're a terrible shrink"

yeah ugly crying to ugly laughing speedrun for me

"You're free" "To do what?" jesus. That entire scene. #3 and #4 and #5 cries for moi.

Ugh that Brooklyn shot. Someone needs to do a gifset compairing it to the one in CATFA asap.

"It's like Monique but it's got a "U" in there for uniqueness" "That's absurd" LMAO

"You can't keep fighting with your neighbors" uHM * redacted redacted i'm shifting into 1940s mode abort abort *

"Nobody passed 90" "So young. Such a shame" FGADHGA

🥺🥺 yes flex those flirting skills good for you

"It's a dance to this things. You can't… you gotta warm up and I haven't danced since 1943. Feels like." #6 cry I completely broke down into tears with that.

This Yori storyline is going to punch me in the face with a metal fist. Great!

The TWS theme when he looks at Yori fuuuuuck.

GREAT LET'S GO TO LOUISIANA THAT WAS GETTING HEAVY.

Those shots of Sam in the car. Immaculate. Showstoping. Yes.

Marvel, what if instead of promoting the military industrial complex you put a lot of publicity about cars?

"Uncle Sam!" LMAO subtle.

Everyone trying to have the wings lmao same.

I've only had Sarah for a day but etc. Brooklyn 99 meme

Good mirroring about Steve and Sam family's legacy. Good shit. Goooood shit.

Sam is trying so hard ouch my heart. I can't imagine how painful the scene with them reuniting must have been. He 100% still feels a lot of guilt about being gone for those 5 years (and even longer before that).

"Maybe it is time for us to move on" uuuuuuuuuuh

"To the rescue" "Always" 🥺🥺 i love them so much already

That shot outside the restaurant is so beautiful. Can't wait to see the night scenes in Madripoor tbh.

"I tried the whole online dating thing. It's pretty crazy". Uhm well that is something that Bucky Barnes has now said. In canon. Damn.

"It's a lot" "You sound like my dad" LMAO

Every Bucky fanfic trope speedrun with this scene

"Wow you really can drink" OH you have no idea

Just realized we don't even know her name, well.

"You have any siblings?" "I have a sister" THE WAY I SCREECHED. We're definitely getting Becca

Well that escalated quickly. The important thing is to try?

I can't deal with this BUCKY SWEETIE #8 cry right there fuck

The wardrobe department is KILLING IT, there's such a difference between the outfits of the shows vs how ugly and generic it usually is.

"ThEre is NO such thiNg as on time. You're either EARLY or LATE . picK One" lmao the way he delivered that line

At first I thought the flag smashers had thrown two cars out of a window LMAO

"I don't know how jurisdiction works here, but I'mma have to place you under arrest" uhm yikes. The way they changed Joaquín Torres backstory to just random army nice guy #1 is not sitting well with me, what can I say.

Sam's wings motions I LOVE HIM YOUR HONOR

Fuuuuck this guy.

"Funny how thing's always thighten around us" "Look, I'm on your side. After all, he's a hero". This script is C R I S P as hell, great fucking job.

"I don't care, I'm not gonna quit" "What are you trying to prove? And who you trying to prove it to" SHIT HSIT SHIT!!! UGH amazing. Look it's not necessary to say the show's questions out loud but how they flow between the conversations is still very satisfactory without feeling in your face about it. Inner conflicts have been set up fucking perfectly everyone * claps *

Ugh here we fucking go. I knew this was how the episode was going to end but my stomach still dropped like a rollercoster. God.

The score is on point. Damn. Damn.

God, Sam.🥺🥺🥺🥺🥺🥺

The captain america franchise's visuals in the credits are always so amazing.

Also, does anybody know why Mackie isn't first in the billing? Uhm what's that about?

ANYWAY CONCLUSION THAT EPISODE WAS SO FUCKING GOOD LIKE HOLY SHIT. I love them so much. The balance between the personal conflicts and the political aspect (although the military aspect is still very much yikes) was on point and it was overall a joy to watch.

#tfatws #tfatws spoilers #i'm so happy rn #sorry for the ramblings i just wanted to have it all written down #sam wilson #bucky barnes #captain america #tfatws commentary

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earbuds-and-hightops · 3 years

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An Open Letter to Supernatural

[ Spoiler warning for 15x20, obviously ]

I understand that a well-contemplated complaint about this ending cannot be made without first reading the original, pre-COVID, script of 15x20, but in the long run, the initial plan is not what will be remembered.

What will be remembered is what this show created. What it became beyond two brothers driving around the country, hunting monsters. Characters were introduced and developed, and in that, Sam and Dean Winchester become so much more than two kids living on the road. In the past 15 years, the cast, and thus the family, grew to something that would be unimaginable to those who started this project back in 2005. Not only did the characters and their stories become meaningful, but the show itself grew into, well, a family. The fans who have kept this show alive since Day 1 have come together to form what I believe is the greatest community in pop culture.

What hurts the most is that this finale did not do any of that development justice.

The finale (and consequently the episodes leading up to it) reverts back to the story between only Sam and Dean. While some see this as an ode to who they are--their brotherhood and familial bond being the heart of their values and the root of their characters--I cannot help but see this as a rejection of their experiences this past decade and a half.

What’s worse, episode 15x18 confirmed one of the most pure and powerful and goddamn beautiful romances that television will ever see. This story of an angel who abandoned his family and the only beings he’s known for thousands of years, all for one person. I knew from the instant the screen faded to black on November 5 that the story of Castiel will always be remembered, even if his feelings were unrequited. Castiel will always be remembered.

And then there’s Destiel. I was genuinely impressed that this show would even grow to include a queer angel, more importantly, a queer character in a leading role. The queer-baiting and the “bury your gays” trope both make this confession and its lack of acknowledgement that much worse (and is worthy of an entirely separate open letter for another night). It matters less if Dean does or doesn’t reciprocate these feelings and more that it’s wrong that he completely ignores it. Cas’s love confession, this beautifully tragic and tragically beautiful emotion coming from a being who wasn’t supposed to feel emotions at all, is something that, unfortunately, will become a secret that dies with Dean Winchester.

It’s truly a shame that the writers of this show let that happen.

We haven’t even touched the fact that Castiel’s death was an act of sacrifice to save Dean. Dean’s limited reaction and lack of mourning* tears apart this phrase that has become pivotal to the entire show and fanbase: “Family don’t end in blood.” While it would be a lot to ask that Dean rescue Cas from the Empty and resume their cycle of rescue and resurrection, I think it’s only fair that Dean take the time to fully accept Castiel’s actions and words for what they mean instead of simply moving forward as if they never happened.

What’s more, Misha Collins is one of the greatest and kindest people in this world, and he’s poured his heart and soul into Supernatural, just like everybody else. He’s spent 12 years on this project, and the final two episodes hardly mentioned his character. He didn’t deserve this. It’s heartbreaking that his last credit on this show will be a prank call from someone trying to impersonate him, and not something that pays tribute to such an important character and important actor**

The most devastating part of this ending is what happened in 15x19. Pardon my French when I say that that episode, the ultimate climax of the season and latter half of the series, was a piece of dog shit. It’s incredibly frustrating to invest in 15 years worth of television and look forward to this ultimate battle between two average boys and God the Almighty Himself and to instead watch a 6-minute long fist fight on the beach with the only dialogue being variations of “seriously guys, stay down.”

My issues with 15x19 lie less in the storyline that was chosen and more in how they were presented. I am completely on board with Jack taking God’s power and eventually becoming the new God, but the episode was far too quick to have any real meaning, and, as stated before, Castiel’s sacrifice, which allows Sam, Dean, and Jack to do what they do in 15x19, is hardly mentioned.

Most fans agree that 15x19 was far too quickly paced. The plot with Michael and Lucifer was questionable to begin with, but should have been an episode on its own if it were to be perused at all. Michael’s story in particular could have been fleshed out to reiterate this theme of overly loyal sons and their fathers, as well as their relationships with less loyal siblings, but was instead reduced to about 20 minutes of screen time.

Though this is less important, Lucifer’s plan to make a new Death felt like a cheap cop-out just to close the storyline with Death’s book, but we can finish that discussion another day.

The general fan reaction to this atrocity of an episode was that this was meta, and according to Becky, the ending was supposed to be dog shit. This, along with the untouched storyline started when Cas died, gave fans so much hope that the finale would be this amazing piece of art that puts Supernatural in the history books.

While it’s obvious that an hour cannot perfectly tie up every single event and arc with a pretty little bow, it can at least...try. Any finale should, at minimum, pay tribute to what the show started as (which 15x20 did well) and what it became (which 15x20 failed to do miserably).

In addition, a reference to character back in season 1 is incredibly frustrating when recurring characters with actual, well, character go unnoticed. I mostly reference Eileen here, but this also applies to Jody and Donna. Nobody even mentions the other wonderful friends who have helped Sam and Dean along their journey to Heaven. If family doesn’t end in blood, then why doesn’t it extend to include Castiel, Jack, Mary, Rowena, Charlie, Kevin, Jody and her girls, Donna, and so many others?

Dean’s death was sad, I’ll give them that (and honestly, I was expecting it). However, considering that this man has defeated apocalypses, killed Death, and taken down God, his death via nail in the wall was incredibly anticlimactic, and something that could literally have happened at any point over the 15 seasons. While Dean’s death was obviously not my ideal ending, I think it could have worked if it were done properly, and in this case, it was not. That said, I do appreciate that Sam did not try to bring Dean back, as that would indicate literally no growth at all.

Dean’s funeral was...pathetic, to say the least. Sam being the only person there was depressing considering that Dean had lots of other close friends (and you’d think that Jack would pay his respects, but apparently not), however, this is likely a scene that was impacted by COVID and the availability of some of the cast, so I will not dwell on that scene.

Dean’s time in Heaven complicates matters even more. Firstly, Bobby confirms that Castiel is no longer in the Empty and has been in contact with Jack. I would have loved to see this reunion; Cas is essentially Jack’s father, and I would have loved to see how their upgrading/remodeling of Heaven brought them closer together. I understand that the writers were trying to focus this finale story on the brothers, this goes back to my earlier point that you cannot simply ignore everything that that this show has grown to include. Bobby’s explanation also begs the question of why Dean had no intention of seeing Cas (or Jack, for that matter) again now that he has the opportunity.

Secondly, Dean’s instinct to go directly for the Impala was very in-character, however, the editing implied that driving was all Dean did until Sam died. As we know, Sam dies of old age, likely (completely guessing here) upwards of 40-50 years from Dean’s death, and that is a very, very long time for Dean to simply driving around the mountains. It would have been nice to see Dean reunite with other family and friends who are also in Heaven, however, again, COVID restraints.

Sam’s ending was similar to what I and a lot of other fans imagined (not necessarily wanted, but predicted) it to be: kids and a wife, living a normal, monster-free, life. I hate to believe that he doesn’t end up with Eileen (to my recollection, his wife was a blur in the background, and it is unclear if she was meant to be Eileen) however that might just be my bias and appreciation of Shoshannah Stern. While I’m glad that this storyline gave Sam the room to grow and develop without his brother, it also completely ignores everything that he’s been through this past decade and a half, and that is something that should not happen. Sam grew and changed so much since he left Stanford and leaving that life, the life of a hunter, behind feels very counterintuitive.

Let’s not even discuss the wig that Jared wore. It reminded me of the Cain wig that Rob wore in the Hillywood parody.

What shocked me the most at the beginning of this episode was the lack of a “The Road So Far” compilation. I hoped for the full song with a recap of all 15 seasons, or, at minimum, the typical single-season recap. “Carry On My Wayward Son” is such an important part of the show and the culture of the fan base, that it seems almost sacrilegious that the season finale not begin with this song and a memorial to the events in the past season (or series).*** I’m very happy that it was included at all, but I was shocked when Neoni’s cover took over.

No disrespect to Neoni; those girls are incredibly talented and I love their music, however, a series finale of a 15 season long show does not feel like the place for a cover when they already have the rights to the original, and the original is so iconic.

Lastly, I want to acknowledge Jensen Ackles’s reaction to this conclusion. At a con panel about a year ago, he said that he needed to be talked into agreeing to this script by Erik Kripke himself, because the ending just wasn’t sitting right with him. So many fans took this to believe that he was homophobic and afraid that of Destiel becoming fully canon, and he got so much more hate than he deserved, because ultimately, he was right in his first opinion. This isn’t the way this story should have ended. Jensen explained that he had been “too close” to the story, and that it took a more holistic view from a step backwards (the audience’s perspective, as he puts it) to agree on this ending, but honestly, nobody knows Dean Winchester better than Jensen, and he knows what’s best and what would be the best way to finish this character’s arc. I think fans and Jensen alike agree that this wasn’t it.

I sympathize with all of the cast and crew members who disagree with how this show ended but are bounded by contract to support this show no matter what. Especially Misha and Jensen.

Over all, I believe that Supernatural will go down in history (in internet communities, at least) as one of the greatest shows ever. While I do agree that the writing quality in terms of both dialogue and plot declined as years passed, the community, the family, that this show created cannot be ignored because of a poorly written/planned ending. I think that the fandom will collectively let go of this disaster of an ending that we were given and will, just like Sam and Dean, write our own stories. I have full faith and confidence that Supernatural will not be represented by this finale episode, but by the beautiful stories, amazing characters, and the family that this show created and what the fans have chosen to do with it.

Sincerely,

A Fiercely Frustrated but Fiercely Loyal Fan

* I do not count that last clip of Dean crying on the floor as mourning. In my mind, that was a reaction, not an emotional healing and overcoming, if that makes sense. I argue that if Dean were to fully mourn and process everything (like Sam did in 15x20) we would have seen at least a bit of that on screen.

** This is where I would have loved to see some of the original scripts. I hope that the writers initial intentions were to have Misha more involved in these last two episodes than what was likely a voice memo created in 10 minutes tops at Misha’s house.

*** The strange montage at the end of 15x19 makes so much more sense. I still would have preferred that montage at the beginning of 15x20. This also shines light on the video that Misha posted. What would we do without him :)

#supernatural #spn #spn season 15 #spn finale #spn 15x20 #an open letter #no beta we die as men #destiel #deancas #dean winchester #sam winchester #castiel #jack kline #erik kripke #robert singer #andrew dabb #that god awful finale #i spent 4 hours drafting this

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thetypedwriter · 4 years

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The Gilded Wolves

The Gilded Wolves Book Review by Roshani Chokshi

This book was...I can’t quite place it.

I definitely enjoyed it! And to me, it seemed like the reading experience went very quickly, which is usually synonymous with an enjoyable read, but there were definitely other moments when my head would cock to the side and I would think, “Huh?” and “I don’t get it” and “What even is happening right now?”

That about sums about my experience with The Gilded Wolves, thank you for coming to my Ted Talk.

No, but really,

is the epitome of my exact taste and preference when it comes to a YA novel, at least on paper. Let’s go through the list:

1. A group of misfits coming together in some sort of friendship group/intimate team? Check.

2. Banter and fluid dialogue? Check.

3. Whimsy, magic, imagination, and world building steeped in exaggerated history? Check.

4. Romance galore? Check and check.

So if this novel checked all of the boxes, why aren’t I lauding it as the best thing I’ve ever read?

I’ll get to that, don't worry.

First, I’ll start by saying that this book isn't the most original thing I’ve ever read. In fact, it probably doesn't even crack the top ten. This criticism will likely come up time and time again so I’ll just say it from the get go: having all the ingredients for a good book does not make it a good book. I do think The Gilded Wolves is a fun, fluid, and interesting read, but it's not the best in any category compared to other YA books out there.

It’s not the best romance, the best friendship, the best magic, the best history, the most well-written, and it’s certainly not the best heist novel I've read, that cake definitely goes to Leigh Bardugo’s Six of Crows.

It’s like this novel has everything you want and nothing at all simultaneously.

Our main characters consist of a group of five individuals, all within their stereotypical archetypes of course.

You’ve got the stone-cold calculating leader that chews cloves of all things, the beautiful girl that’s sort of a robot, the half Filipino boy who struggles with his identity and proving himself, the flamboyant aristocratic outsider, and the girl who can only think, breathe, and speak science, but doesn’t understand a modicum of social interaction or communication.

They were good characters, but they just weren’t the best. They weren’t memorable in the slough that is the ocean of YA original characters. They had good moments of banter, friendship, and interaction, but also moments of overbearing cliche, unbelievable character dialogue options, and very predictable motivations and actions.

The plot is worse believe it or not.

The bare bones of the story is that you have a society in which there are secret Houses that possess Babel rings-artifacts that display their House’s standing as well as give them unique powers- and things called Babel fragments which are buried...somewhere.

These fragments essentially gift certain people of the population abilities and advantages while other people are just...normal, I guess. I don’t know, no one seems to care about the disparity.

Then there are other things like Sphinxes which are...guards, I think? But not? I actually don’t even know if they’re truly human. And other cool technological and magical items like Mneno Bugs which record stuff and umm, Tezcat Doors which allow you to see out, but not in or something?

If you haven't caught on by now, the magic and world building of this novel has much to be desired.

It’s like Chokshi has the ideas down, the rough outline of what her world looks like and how it operates and how the characters live and struggle in this world, but instead of giving it to us, she gave us the Sparknotes version.

Half the time I was reading, I felt like I was missing a good 50% of the content needed for the stakes and tension to actually mean something, which is such a shame because her ideas are interesting. They have so much potential.

I love the idea of old Houses and historic artifacts and complicated political histories interwoven with social implications and new-age technology, but the world-building and magic system just falls flat on his face. I needed more from Chokshi about the world and how it operated and less conversation about Tristan’s goddamn tarantula.

We read as our main group of five attempt to steal and retrieve a Horus Eye-some piece of something that acts as a Somno-a default button basically-to Babel Fragments. Confused? I am too.

This book, at the end of the day, is nothing special, but it is enjoyable. This book has several tropes and several things I love, which honestly made this a fun, amusing, and worthwhile read. I’ve actually already gone out to buy the sequel The Silvered Serpents already which is a positive connotation in and of itself.

I genuinely found this book delightful, but I also think it's because the parts that comprise this novel are all things I adore, whilst the sum of the parts is...lackluster and unforgettable.

Since we are still in Quarantine and I miss concerts dearly, here is a metaphor for you: if anything, this is the opener to the band that you've actually waited at the concert to see. The opener isn’t horrible by any means, and it’s similar to other musical artists you like, but it’s not the main attraction or the highlighted draw, and at the end of the night, you’ll forget you watched it in the first place.

Recommendation: If you like what I like, which are misfit groups, romance, historical Paris, magic, and heist novels, then you will definitely find it as engrossing and fun as I did. If you want something to rock your world, to compete with the likes of other YA juggernauts, then well, this book is not for you. Go read Six of Crows instead.

Score: 6/10

#the gilded wolves #roshani chokshi #ya fiction #YA Books #YA literature #book blog #book review #Book Recommendations #YA Book Review #book rec #book reccs #heist

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lost-in-zembla · 4 years

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On Metamodernism

It’s tough to grasp metamodernism as an artistic movement but most of us live lives strongly affected by the concepts of metamodernism every day. You’re having a serious conversation with your friend about her mental health; simultaneously, you and your friend are part of a groupchat where you are currently making fun of the very friend you are supporting. This isn’t necessarily disingenuous; you are witnessing two different instances of a person and those two instantiations of you happen to be different depending on context and medium. In part, metamodernism is a kind of acceptance of our multiple selves, our tendency to oscillate between states or even inhabit both in a sort of human superposition.

I taught my friends about metamodernism in our groupchat as my friend Jarett consoled me via one-on-one text after the sudden implosion of my five-year long relationship and the fact that my life is generally unbearable—a fact that is more embarrassing when one considers how easy I have it. It’s sort of a shame feedback loop.

As I was explaining metamodernism for my own satisfaction, I thought that I might actually make an okay professor. I could teach American literature. Maybe.

So I get a job teaching at the local community college and my life slowly comes back together like a cut that heals. I am relatively respected by my students and I have some abstract sense purpose, the cracks in the surface of which are only visible if one spends a long, existential period of time contemplating the practical or, god-forbid, spiritual uses of an education in American literature what with the reality of a global climate catastrophe and the approaching drumbeats of right-wing strongmen leaders reaching positions of power all around the world.

But things are pretty good.

I get a parking space. I get an apartment that looks bad, then looks better. I start to open the curtains. I don’t want to hide so much. A year or two down the line I lease a practical car and people treat me with a bit more respect when they see me step out of it. I smile at people in the grocery store. At this point I can see peoples’ mouths when I go outside. When I see their mouths, they’re smiling. They can see my mouth. I’m smiling.

I get to know people and people think I’m lovely. The faculty all look up to me. How young and handsome and intelligent he is! He’ll sure go places, they say. And I do. I quickly earn a raise and then I’m head of the department. And so young! When I’m not inspiring awe I inspire smoldering jealousy. Women? Naturally. And I treat each of them with utmost respect. I value these women for more than the thousands of hours of hot naked ecstasy they provide me. I buy more fresh produce. I throw none of it out.

I single-handedly save the English department at the community college. Funding comes pouring in. Eventually, it becomes one of the premier colleges for literary studies in the Midwest. They rename a building after me. I just turned thirty. Before long, I’m offered a job at the prestigious private university in town, with nods toward a proverbial shoe in the door when it comes to tenure. Unheard of! But he’s just that good. My wrists and forearms become perceptibly thicker. People cross the street in front of traffic to shake my hand. I learn what the fuck “ketosis” is.

Then there I am one day in my cushy office. Rows of leather-bound books fill the shelves around the ample perimeter of the room. I’ve read them all, naturally. My hair has started to grey in places but damn if it’s not as thick and lush as the heart of the Amazon. A knock on the door. My office hours ended at one. I answer and it’s, oh, Claire from this semester’s modern American literature course. Of course I’ve noticed her in class. How could I not? But I’d always maintained a professional and appropriately avuncular demeanor in front of her. She’s twenty-eight, French, gorgeous. Naturally.

We discuss her essay on Light in August and I say to her, you know, Claire, it was the French who were among the first to notice Faulkner’s genius. She puts her hand on my thigh. In her accent that itself somehow resembles a beautiful naked body she says, The French notice lots of things. I slide my attractively thick forearm over the crowded desk space and knock the books and pens and everything onto the floor and—well, let’s just say that my life of success and talent has enhanced me in other ways. And it’s hot and insane and weird and papers fly everywhere. And it sort of just goes on like that for weeks and then months—the relationship, not that particular sexual event. At my age, after all the sex and drugs and joy and tragedy, sometimes I think that it’s the clandestine nature of the thing that really gets me off. Like I need more and more secret or shameful shit to fire off those tired old neurons. I start to become cavalier in front of the students. I begin to, perhaps, show my hand.

I get another knock on my office, sometime in the Spring. Bill, I say. Come in. He sits down and we engage in a tense discussion where every syllable is laced with a double entendre because he can’t just say it out loud, for Christ’s sake. That’s just not how these things are done. He’s old school, but firm, Bill. She’s graduating anyway, and something tells me when we can finally be together publicly then the thrill will already be gone.

The students already know. I’ve seen the screenshots. I’ve been memed. Things are tense in class and they can tell that I’ve given up. The fire in my eye that led to my meteoric rise has dimmed to a pathetic ember. Sometimes I take my Audi out on a dark highway outside of town and I press on the accelerator until I can’t go any faster. I have to stop myself from shutting my eyes.

One day in class, I look up from my papers and all the students are out of their desks, standing over me. They’re holding pencils and yardsticks that have been modified into edged weapons. What’s the meaning of this? They use my Tom Ford tie to tie my arms behind me and to my chair. They put me in the center of the room. I knew they would betray me. I’d always known. For years this notion has haunted the deepest recesses of my mind: these people, these kids, are going to be the ones to put this old dog down. Is this because of Claire, I ask. They laugh. They laugh because they think I’m an old fool. I am an old fool.

No, professor, Shellie says. She seems to be the leader. It’s much more serious than that, she says. O life! Everything I’ve ever done. I’ve stomped on people all the way to the top and now it’s all coming back to me, some sort of holdup in the karmic clerical system that led to forty years of consequences all delivered at once. Things were so easy for so long, so fun, that I forgot what it was like to live a life with consequences.

Shut up, she says. You’re here for a reason. What could she know? How did she mobilize all of these students? When did they make the weapons? How many questions could I possibly pose in sequence?

Professor, she says, we have one question for you. Anything, I say. And answer truthfully, she says. And I say of course, of course I’ll be completely honest. Okay, professor, she says, do you consider yourself… a historicist? At this very moment I know it’s over for me. Well, I say, it’s not so simple, Shellie. The mob is in an uproar. A fair bit of verbal sparring ensues. Shellie and the other students in favor of the transcendent nature of literature—whatever that means—and me in favor of a more context-based approach. Sure, if I thought that novels were a good way to learn about history then I’d deserve this. I’d deserve all of this.

How can you read these works outside of their historical context? What about Light in August for God’s sake? The mob lashes out again—not Faulkner fans, go figure—but Shellie shushes them until the classroom is as silent as the dusty hills of Jerusalem. Literature, she says, is timeless. And this essentially breaks me. I begin weeping openly. You might as well kill me, then, I say. They set upon me like a pack of hyenas.

A moment or an eternity after my head is pulled off my body like the Bacchae in that Euripides tragedy, I hear waves lap against the rocks. I feel in my face the salty breeze of the ocean. I open my eyes to find a beautiful Mediterranean island. It feels neither hot nor cold. The breeze from the ocean feels perfect, as though there were no storms to be found in any corner of the Earth.

Behind me, inland, I hear the sound of approaching footsteps. I turn around to find Vladimir goddamn Nabokov of all people. It’s perfect. So I tell him the story, how I was murdered by my students over two reductive and non-mutually exclusive schools of thought in literature—two schools of thought that are both perfect lenses through which to view Nabokov’s work. When I tell him he laughs his big Russian laugh and slaps me on the shoulder, and I laugh. Then he hands me a butterfly net and we skip through pleasant hills in that vast and timeless place forever and ever.

No. What’s happening? It’s all slipping away from me now. All the memories, the moments, the time, leaking out of my mind to become something ghostly, an image half-developed, a thought unspoken. I lift my head and look at my hands and there I am, lying on a couch in a high school faculty lounge. My hands are unwrinkled. My body is young. There is no Humanities Wing in my name, no tenure, no Audi. No Claire. Was it all just a dream? Could it all have been just a dream? Is it within the realm of possibility that such an absurdly bad trope could have manifested into my life naturally? Or am I the subject of a cruel and untalented god who simply bats me about and writes hack narratives for me to tumble through like some Sisyphean Rube Goldberg machine? Coffee. Need Coffee.

It’s all silly, anyway. Nabokov and myself cavorting through some weird Elysium? Ridiculous. If that was what the afterlife had in store for me, then Nabokov would probably be hanging out with Pushkin and Tolstoy while maybe Dostoevsky and I build a sandcastle. Maybe. But then, in all likelihood, Nabokov, Pushkin, Tolstoy, Dostoevsky, and the other cool kids would kick sand in my face and walk off with whatever beautiful ladies happen to inhabit this weird Russian-literary Elysium that I’ve somehow ended up in. I haven’t thought this out very well.

What was this all about, again? Metamodernism. Easy. Let’s think.

Okay.

As I write this now, behind my computer, watching Youtube videos about sushi, wondering how the sushi will make its way into my writing through mental osmosis (not subtly, it turns out), I look at these instances of me, with the meteoric success or the banal day-to-day life, and I wonder who exactly I am. I am a thousand selves. I am nothing. I am trying to remember into the future who I am. I am a metamodernist—no, I’m not.

#metamodernism #literary criticism #my writing #vladimir nabokov #william faulkner #teacher #professor #teaching #teach #writing #writers on tumblr #writer #creative nonfiction #nonfiction #fiction #i don't know what i'm doing

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buildridernews · 6 years

Text

[Review] Kamen Rider Build (Overall thoughts)

It's that time of the year where Rider fans become emotional, potentially sad, potentially thinking about the future. Here, we’ll be talking about the setting, characters, plot, and really dig into that ending.

But I guess first off, I’ll say one thing here: If you’ve followed the blog closely, you know that I really fell behind on the show a lot. That has nothing to do with the show, it’s just a me thing. When I watched, I was enjoying every episode, and kicking myself for letting so many episodes go by without watching it.

With that said, let’s get into the reasons why I found it entertaining.

Kamen Rider as a whole has all of these tropes and recurring themes going all the way back to the Showa era, and while Build has those things, it creates a unique setting around it.

We're introduced to the world of Build after what is essentially a post-apocalyptic event, at least for Japan. The Skywall left them separated, with hints of a war in the midst due to the item that would grant any one of them absolute power.

At best, most Rider shows have a mysterious event took place in the past, more often an isolated incident that doesn't really have that much of an impact until the end of the show. This feels like a more impactful version of Kabuto's "A meteor previously destroyed one of our cities" opening premise, as it gives us a very unique setting where Japan is split into three types of nations, with robot sentries and abnormal mutations running around.

More importantly, we aren't even halfway into the show when a status quo hits us and we're put into a proper war between the nations. It leaves us with empty cities for most of the show's run.

I know I commented on this a while back, and I kinda feel like it needs a followup now that the show is over: The show was dabbling in a lot of what I call "Real world monsters". Back when Gaim was going on, I recall thinking it was unexpected for a character to comment so realistically about how humans are always at war with each other, because it seemed like a heavy subject for a kid's show. Fast forward to Build where that's just the entire show.

We spent the last year with a kids show dabbling in war and conspiracies, and when it became apparent that they were leaning heavily into these subjects, I wondered if maybe the show would take a much different direction in the end, causing us to go “Yeah it was weird when the show talked about war for about 1/3 of the story”. But as it turns out, that theme stuck and resonated in the characters. They go through a lot over the course of 49 episodes.

It's not uncommon for a Rider protag to be affected by a death, but Sento actually causes the death of a human and is legitimately haunted by his actions, not to mention the baggage of being the brainwashed creator of a combat system that started all of this fighting. It's also not uncommon for the protag to frequently hit an emotional rut that leads them to a newfound resolve, but I feel like this show really justifies it.

Sento frequently struggles with the idea of heroism because he keeps being challenged by these contradictions about himself, and the idea of heroism is constantly being mocked by the more cynical enemies he faces - even so, he kept fighting. He was once a member of Faust, he lost control and took a life, his father turned out to be one of his enemies for a bit... The dude went to hell and back, and I feel like his final form debut - as late as it was - felt so earned because of all he went through.

And this is to say nothing about his genius! I love Sento because he lives up to the hype. Before Build began, they talked about how Sento was the smartest of all the Heisei Rider leads, and it shows. He not only made his own Rider gear, as well as gear for other people, he also FREQUENTLY displayed his intelligence by planning ahead outside of battle. The dude would plan ahead by a couple episodes, even. He accounts for a lot of things and it's so satisfying to watch him get the upper hand, especially knowing just how much emotional baggage he has to carry. It’s beautiful catharsis.

When it comes to the amnesia angle, followed by the Katsuragi reveal, I figured it was a nice twist. It makes more sense once you get further along in the show and learn more about who Blood Stalk was and why he had these powers. It was also interesting to have Katsuragi exist in Sento’s head after a while, giving him more staying power than I actually expected. I also must commend them for not only doing the “Katsuragi remembers who he is” subplot, and doing it for more than one episode. I’m just overall really pleased with how those things all worked out.

It also must be said that the show did a great job sticking to this "The hero is created from evil" trope from the original Kamen Rider. They said from the start that this show would be focused on that idea, and they never strayed from it. Pretty much all the Riders (save for the villain) are kind of a different flavor of that idea. Just in general, I think it can be said that the show was consistent.

And I can't talk about Sento without immediately talking about Ryuga. Along with the things mentioned about the main character, they also said that this show would be about “the feelings between these two men!” (context~), and once you see the first couple of episodes, you get what they mean. It's clever to have two leads who are such opposites, the classic Brain VS Brawn. The two played well off of each other til the very end.

Ryuga was also nice to have in the cast due to the (at the time) lack of background for Sento. The main character already had his origin story a while back, so most of the early episode were just about him doing his usual hero thing. Ryuga, on the other hand, gave us an on-screen origin story. We actually get to see his transition from a selfish hothead to a hero who wants to fight for the sake of others, and by the end of the show he goes out of his way to sacrifice himself like Sento would’ve.

Knowing where the plot eventually went with Evolt, it makes so much sense why Ryuga got this much focus, right down to the winter movie teaching him more about why a Kamen Rider fights for the sake of others. It just all worked out so well.

Kazumi was a character I was super interested in. I loved the actor in Kiva, and when he was introduced, it seemed like he’d be playing a charming character once more. But as we learned more about him, I think he turned out to be a character with more depth. Don’t get me wrong, Otoya is the best thing about Kiva, but I think of him as a cartoon character with some hidden depth, whereas Kazumi feels like a human being.

I was a little uncertain on what they were gonna do with him at first - he was treated as a soldier of sorts who had amnesia like Sento, and his trio of Hard Smash bros seemed upset that he didn’t remember them. But as you kept going, you learn that he was just pretending to have amnesia for a reason, which is clever.

Kazumi is tough, but you realize that he has heart once you see his friends get killed off one by one. He will show no mercy towards the people who caused him to lose his only friends, and that sense of heroism eventually made him a part of the team.

The transition from antagonist to hero was natural, and I loved the character, whether he was being comical or serious. The actor knew how to play both.

Gentoku is where things get a little more shaky.

I’m sure I’ve said before, but Gentoku was a character I didn’t put much stake into because his role as Night Rogue was obvious, and to me, Night Rogue’s role in the story was obvious: He was the strongest villain we had as of episode 1, meaning he would be killed off by the first power-up Build obtains. That being said, the character stuck around, which makes sense in retrospect since Build’s not about killing.

Gentoku went away for a while, then came back as an edgelord. While I found some part of him interesting and thought he rocked that look pretty well, the backstory was just a little too over-the-top edgy for my liking. It honestly felt pretentious in a way. I kinda just let him do his thing.

Then they did something interesting with him, revealing that once he became Rogue, the nebula gas that made him so villainous was wearing off, and he was now starting to show some heroism as he rescued his father from the people he was taking orders from. Then once his father died in his arms, his transition into a hero would begin.

And, okay. Okay. The comedy they use on him at this point is a bit out of place, as fun as it was. It’s one of those things where, if you want to you can form a headcanon to make sense of it, but it’d be nice if they addressed it themselves. When he was just being a good guy, I found him really endearing.

Oh and since he was palling around with the gear bros, I guess I’ll just say that... I said what I needed to say about them in their last episode. They were badass but a little too cool to have any personality outside of being a duo, so they didn’t do much for me as characters. But they looked cool.

Utsumi is a character i don’t have as much to say about, but since I’m talking about Riders I guess I’ll reiterate what I said before.

Like Gentoku, I didn’t have much stake in Utsumi at first, but I figured since he was working with Gentoku, he probably had something to show. When he ended up getting shot and fell off a bridge, I thought it was a lil weird he came back without seemingly being hurt. Then that one episode addressed it by saying he was a cyborg now, a twist I was not expecting, but it was an interesting choice.

I was honestly hoping that Utsumi would come back as Rogue, only because it’d be fitting if Night Rogue got killed off by Utsumi using a name stolen from him. But it made sense for Gentoku to be Rogue, of course, and Utsumi had some fun moments as the man giving him orders.

Once he turned to Evolt, after seeing his mentor die, I thought it was a liiiittle forced, and honestly thought he just cracked. But once again, that one episode addressed it by revealing that he was still loyal to his mentor’s cause and was... kind of a secret hero all along.

Utsumi turned out to be more interesting than expected, and it’s a bit of a shame he’s-- well I guess he’s fine now thanks to the ending, but I wouldn’t have minded him being fixed if we weren’t aiming for that kind of ending.

Now... we talk about this guy.

Okay, so, Isurugi is an interesting character on his own. He’s an astronaut! He makes coffee now! He has red shades! He was a super fun supporting character, and I think it was brilliant(ly heartbreaking) for him to turn out to be a villain. It makes up for how obvious Night Rogue was.

Blood Stalk was definitely the more interesting villain to follow because he was playing a much different game than the other groups in the show, and he seemed to have a lot of power on his side that wasn’t totally explained for a while - a friend and I figured he was actually an alien just screwing with humans, and I can’t believe that was such a perfect prediction.

I suppose once his role as Evolt is revealed, he sorta sssstops being interesting in that regard, because he’s no longer mysterious. A good way to put it, which I saw going around, is that he feels like a Dragon Ball Z villain. Not too much depth, just an uncomfortably strong guy that’s toying with people and will be destroying this planet once he’s had his fun. And I’m fine with that I suppose, I like a DBZ once in a while.

About this point in the show, I saw some fair criticisms about the pacing of the plot that suggested it was getting dragged out, aaand I kinda see that but kinda disagree? It definitely feels like Build and Evol keep getting the upper hand on each other, but I think of that as a display of their intellect. They’re playing this big game of chess, and sure, that can elongate a plot, but I found it entertaining at least.

Now if there’s any criticism I have about the show by this point, it’s that we never really get a true followup on Isurugi once Evolt leaves his body. Like, we know that he was chilling out in the hospital, unconscious, but the next time we see him is in the ending when everything has been fixed.

Supporting characters next.

Misora is a character I don’t have a whole lot to talk about, she was fun when she delivered deadpan comedy, her connection to Isurugi (and thus, the villain) was interesting, found the Mii-tan stuff a little unnecessary but it provided some fun banter with Kazumi... decent gal. It was heartwarming seeing her live a normal life in the ending. She’s been through as much emotional turmoil as the Riders.

Sawa was interesting, because I expected her to just be a journalist, but she turned out to be a huge player in the villains as a spy. She was eventually caught, and I thought it was both surprising and impactful when she remarks that she was actually supposed to kill herself at one point and couldn’t bring herself to it because spending time with the heroes made her realize what it was like to have real friends. She was used cleverly, even if her backstory seemed pretty crazy.

As for other characters, man there’s a lot. I think it’s enough to say that what I talked about in previous reviews is still applicable now. Namba was interesting, and the way they bring back previous victims is clever. I don’t think there’s anyone that didn’t serve a purpose.

Hoo boy, been going for a while... I think it’s time we wrap this up and talk about the ending. Well, at least saying things I didn’t talk about in the last review. I’ll assume you know where all the characters are as of this change in their timeline.

It was THE cathartic moment for the show, because leading up to the final episode, you really see everyone drop like flies. Kazumi knows his fate and goes in for one last rodeo, Utsumi sacrifices himself, Gentoku tries to live up to his father’s legacy as a man of the people, and Ryuga attempts to send Evolt away for good. Even Sento started to get some of that death aura in the final battle...

A common complaint for a Rider show is the undoing of death. The best known example of this is in W, and I’d also put up Fourze. That moment when they kill off a character in a big dramatic way only to undo it in the next episode. It’s a tad cheap, and while you could say Build did that, I think it did it well - it creates a new world where all our favorite characters didn’t go through all this turmoil, while still making it a bit sad by not having them know each other. In that sense, they did die, but at the same time, they live.

I guess the first thing I wanna bring up is... wow we did the Ryuki ending, huh? Ryuki is like 2002 so it should be okay to spoil. Unlike Ryuki, the protag(s) remembers what happened, so that makes things more interesting and opens the way for future crossovers, albeit without a huge cast.

Zi-O is using time travel to work in Build (so they just went to a time when Build and Cross-Z were still rocking their first forms), we don’t know what the upcoming winter movie will be doing, so all we can look forward to for the moment is the Cross-Z movie. Very interested to see how that goes.

I will also address that there’s some weird implications to this new timeline that unfortunately haven’t been addressed in the show, and I HOPE they do in the movie because this is a big burning question: Is the technology still the same, and did the Mars mission still happen? Because without Evolt’s presence, Mars would presumably still be a planet with life on it.

Well, okay, I’ve done some thinking and can kinda address that, but not really.

Namba was involved with Japan’s unmanned space probe. As we see in this new world... I guess Namba is a non-military company now, meaning they probably wouldn’t have contributed to the space mission? I dunno, that’s my best guess. It’d probably also explain why we don’t see Guardians.

It’s a bit of a stretch if that’s the intent, just arbitrarily retconning Namba, but I guess it serves as an explanation. Still, unless life on Mars just ceased to exist a long time ago, someone has to have seen something when they looked into a telescope.

With that burning question out of the way, I dunno if there’s much else to talk about with this new world. It exists, and I wanna see what they do with it.

And that... finally, is all there is to Build.

I enjoyed the hell out of this show. It was dark, it was emotional, it was funny when it wanted to be, and it was solid all the way through. Well, okay, like any show, it has flaws. But I think that when a show has so much positive stuff going for it, that can negate the flaws. I consistently had fun from start to finish and I don’t always get to say that.

Whenever a Rider show ends, I come back to my little list of shows. I’ve seen all of the Heisei Kamen Riders, so I like to make a list of which ones are my most favorite to least favorite. Here’s the top 5 of that list, in descending order.

Gaim - Solid story, solid characters, just a fun trip all around.

Build - Unique premise, strong characterization, consistent.

W - Nicely written plot with fantastic monsters and memorible characters.

Ex-Aid - Great concept, good characterization, pretty solid execution.

Den-O - Fun and funny, interesting cast, compelling story.

It’s really lucky that the shows I’ve made blogs for are ones that I enjoyed enough to put so high above the others. And as I’ve said in the past, I’ll be stepping away from doing new blogs, especially since a big crossover show would be insanity to keep up with in the style of blog I like to do.

With Build basically over, I’ll pop in now and again to do an occasional review of the movies/bonus material.

Thank you for following up to this point. It’s been a fun ride.

#kamen rider build #reviews #feed

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needsmoresarcasm · 5 years

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Favorite Books of 2018

I read a lot of books in 2018. Here are my favorites (not counting books I re-read), in basically no order. (But actually kind of an order.)

22. Going Rogue, Drew Hayes

Going Rogue is the third book in Drew Hayes’s Spells, Swords, and Stealth series. The series is told in two parts: it follows a group of people playing a Dungeons & Dragons-style role-playing game and a group of non-playable characters in the world of said game. The thrust of the story is on the group of NPCs, which unfolds as a typical fantasy adventure. It’s got a straightforward quest narrative, an adventuring party (turned found family), and impossible odds. As the stories progress, the players begin to sense that the game has its own agency and the characters begin to sense that there may be someone controlling their world. But mostly it’s a fun, self-aware take on a typical fantasy adventure that toys with fantasy tropes.

21. Americanah, Chimamanda Ngozi Adichie

I steeled myself for dense literary fiction when I cracked open Americanah, the story of Ifemelu, a Nigerian girl who moves to America and wrestles with race and identity. But that was all for naught because Americanah was one of the easiest reads of the year. The writing is breezy, and the story is funny and brisk. It dissects race and culture in America both by showing (Ifemelu’s struggles to define herself in a new country) and telling (Ifemelu’s hilarious blog posts). Chimamanda Ngozi Adichie seems to have perfected the art of delivering dense observations in delightful, consumer-friendly prose. Old white dude authors should probably take note.

20. What If It’s Us, Becky Albertalli & Adam Silvera

If I’m going to read a romance, I want it to be light, fluffy, gay, and conflict-free. And that’s exactly what What If It’s Us delivers. The book begins with a meet cute: while mailing a box of his ex-boyfriend’s stuff, Ben bumps into Arthur at the post office. Arthur and Ben are both appropriately awkward and endearing, bumbling and pawing their way through a relationship as only teenagers can. Every character is essentially kind and caring. There are no villains or bullies, no one gets ostracized or beaten, no one dies. The tension mostly stems from the fact that Arthur is only in the city for the summer, which only barely counts as a conflict. And while the universe of the story may be unrealistically polished, their relationship is refreshingly imperfect. Adam Silvera and Becky Albertalli are telling a story of young love, not necessarily true love.

19. The Collapsing Empire / The Consuming Fire, John Scalzi

John Scalzi built an astoundingly engrossing world in The Collapsing Empire. The human race has colonized far flung planets with the help of the Flow system, naturally occurring pathways between various planets across the universe that allows otherwise impossible interstellar travel. The Collapsing Empire follows the sharp, sarcastic Cardenia Wu, the newly crowned empress, and sweet, in-over-his-head Marce Claremont, a Flow physicist in far-flung End who has discovered something off with the Flow. It’s got a roiling pace, packed with space battles, political jockeying, and a whole host of delightful characters. It’s one of those audiobooks (narrated by Wil Wheaton) that was so compulsively listenable that I ended up taking long, meandering walks just to hear what happened next.

18. The Shell Collector, Anthony Doerr

Anthony Doerr’s writing is incredible. His sentences all feel divined from the ether. And the short story is the perfect vehicle for that writing, lasting just long enough to build an atmospheric world. Most of the stories are tinged with a little magical realism, used mostly to underscore the unique, grounded humanity of his characters. The collection dives into the histories of people who are in various degrees removed from society and intertwined with nature. But the ultimate thesis, refreshingly, is not about the corruption of society, but rather the inherent value of people.

17. Giovanni’s Room, James Baldwin

I don’t know that I have anything new or interesting to say about James Baldwin’s Giovanni’s Room. A story about desire, and maybe love, between David and Giovanni, every word of that book is filled with intense, crushing emotion desperately crashing onto the pages. It’s about love and sexuality, told in an intimate-verging-on-claustrophobic manner. It’s powerful and interminably depressing and beautiful and devastating. But it’s not devastating because it’s gay, it’s just both devastating and gay.

16. Goodbye, Vitamin, Rachel Khong

Goodbye, Vitamin opens with the main character, Ruth, going through a breakup and dealing with early signs of her father’s Alzheimer’s disease. And somehow, Goodbye, Vitamin is also fun, funny, and heart-warming. The book is sunny and endearing, even as Ruth herself struggles with caring for her father and finding her own identity. Most things described as quirky may be better described as annoying, but there truly is no better word for this book’s sensibility than quirky. The specificity of the descriptions and the cleverness of the wordplay make for a delightful, sometimes deeply poignant, read.

15. Less, Andrew Sean Greer

In many ways, Less shares beats with the incredibly overdone, deeply uninteresting novel about a middle-aged white guy who goes through a midlife crisis and suffers the pain of his own brilliance. Indeed, Less follows Arthur Less as he hits fifty, gets invited to his ex’s wedding, and then travels around the world to avoid confronting any of his problems. But Less is decidedly different: it’s gay. Which means it’s funnier, sharper, and drastically more self-aware. Arthur Less - and Andrew Sean Greer - recognizes the absurdity of his disproportionate reaction to relatively minor problems. He has no delusions of grandeur. He’s not on a journey to unlock his inner genius, just a journey to maybe buy a new jacket and have a fling or two. It’s delightful and funny and warm even as it pretends not to be.

14. More Happy Than Not, Adam Silvera

The devastation of More Happy Than Not cuts in sharp pains and deep gashes. The tragic turns - and in a book about a teenage kid who considers a science fiction equivalent of gay conversion therapy there are many - come as punches to the face, not as lingering aches. And yet, the book doesn’t feel punishing to read. Adam Silvera derives no pleasure from Aaron’s, the aforementioned teen, suffering and carefully builds the foundation of Aaron’s character on his triumphs and joys. Aaron’s life is vibrant and bristling with possibility, streaked, but not consumed, by pain. More Happy Than Not is meticulously plotted and paced, with a few moments of genuine surprise. As always, Adam Silvera writes about tragedy in an entirely uncynical way, with a deep well of generosity for his characters.

13. Witchmark, C.L. Polk

In many ways, Witchmark feels like the book I spent this entire year trying to find. Witchmark takes place in a pseudo-historical early 20th century England-style setting, in the throes of some capital-W War. Most of the book is styled as a mystery: Miles, a former army doctor, and Tristan, a mysterious outsider, track down clues and chase leads to find a murderer. And, of course, maybe they fall in love along the way. And, oh yeah, Miles is a witch. Oh and also, maybe there’s some royal family drama happening as well. And maybe also some government conspiracies. And also maybe a much larger mystery that involves all of the above. There’s magic and romance and mystery and intrigue and action, and every part of it is completely satisfying. Especially if you’re the type of person who would like to read a scene in which said army doctor needs help undressing because he broke his wrist, and luckily there’s (literally magically) handsome mystery man there to help him!!! (Listen, I never said this was particularly profound literature.) But like, five stars.

12. Mr. Penumbra’s 24-Hour Bookstore / Sourdough, Robin Sloan

If you want a cozy, feel-good novel that has just the slightest dash of magic, then pick up a Robin Sloan book. Both Mr. Penumbra’s 24-Hour Bookstore and Sourdough read as relaxing balms to help soothe aches brought on by the disaster fire of reality. In both books, a young twenty-something attempting to figure out their life discovers a niche world (book collecting and bread baking) and gets swept up in a fantastical mystery. They’re breezy, warm, and brimming with genuine affection and curiosity for the subjects at their centers. Sloan’s writing is incredibly sensory; you can taste the bread and smell the books. They have that Great British Bake Off quality to them: impossibly compelling despite low stakes and uniform pleasantness.

11. Little Fires Everywhere, Celeste Ng

Celeste Ng’s second novel is a careful study of privilege of all sorts, and an especially incisive look into whiteness. Little Fires Everywhere takes place in Shaker Heights, Ohio, a progressive slice of white suburbia. At the book’s center are the Richardsons, a well-off white family who are the types of people that may tell you that they don’t see race--in part because everyone they see is also white. Things get shaken up when Mia Warren and her daughter Pearl arrive in town, marked as strange by their relative lack of wealth, and marked as even stranger by their lack of shame about it. Each sentence is beautifully written, and each paragraph immaculately constructed. But honestly, the book is best summed up as: this is some white people nonsense.

10. The Lymond Chronicles (#1-6), Dorothy Dunnett

The Lymond Chronicles books are both the most high brow and most low brow books I read this year. They are densely written and plotted, with an inexhaustible supply of names for characters and teeming with minute details that almost all portend some future event or revelation. But they’re also chock-full of soap opera-style twists and tropes, aimed to quench your id’s every desire. All this makes for books that demand a lot, but then pay off with hilarious jokes, action sequences that convey more physicality and movement than most movies, and ridiculous third act reveals that are so incredibly satisfying. And like, on a selfish level, it’s also real satisfying to read about people falling in love with and then aggressively berating Francis Crawford for three thousand pages. (He deserves it.)

9. My Life as a Goddess, Guy Branum

I read, or rather listen to, tons of memoirs - by comedians, actors, politicians, and writers. And Guy Branum’s My Life as a Goddess is easily my favorite of the year. Branum incisively writes about growing up as a gay kid in truly the-middle-of-nowhere California, touching on issues of masculinity, sexuality, class, body image, and education. Unsurprisingly, My Life as a Goddess is hilarious, chock-full of jokes and witty observations. More surprisingly, My Life as a Goddess is also deeply emotional, especially as Branum writes about his relationship as his father. Even more surprisingly, My Life as a Goddess is weirdly informative about a very specific slice of Canadian history. I cannot recommend the audiobook of this enough, as Guy Branum’s narration is smart, funny, and winning.

8. All the Light We Cannot See, Anthony Doerr

Does anyone really want to read a Pulitzer Prize winning literary fiction novel written by some white dude about World War II half from the point of view of a goddamn Nazi? No. No one wants to read that. Except, maybe I do. Because that’s exactly what All the Light We Cannot See is, and man is it a true revelation. The sheer humanity that Doerr imparts in his story creates a profoundly moving story, about goodness and cruelty and the indiscriminate destruction of war. The events of the story are uniformly bleak, as expected in a World War II novel, and yet the book’s tone feels decidedly hopeful, hungry to extract optimism from human persistence. It’s a stunningly written book that lays bare the complexities of people and the horrors of war.

7. Bad Blood, John Carreyrou

Bad Blood was truly the most unbelievable story I read this year. Wizards? Aliens? Time travel? All relatively believable compared to the intense, densely plotted, thrilling tale that unravels in Bad Blood, made all the more incredible by its truth. Bad Blood tells the story of Theranos, a Silicon Valley startup that claimed to be revolutionizing blood testing, and its founder Elizabeth Holmes, once described on magazine covers as “the next Steve Jobs.” John Carreyrou, the author, was the journalist who first broke the story of Theranos’s rampant fraud, and he stitches together a coherent, mesmerizing narrative from first-hand accounts of Theranos employees. Elizabeth Holmes is a fascinating antagonist, an ambitious, callous, maybe sociopath. The story is exciting and frustrating and will make you have even less faith in rich, powerful white people. But because this is non-fiction, the entire time you know that Elizabeth Holmes is eventually going to end up being charged with numerous federal crimes. A truly satisfying ending.

6. Hyperbole and a Half, Allie Brosh

Allie Brosh didn’t invent the internet, but she at least has as much claim to modern internet culture as any other individual. Hyperbole and a Half is a collection of her best blog posts, with some additional, equally hilarious, stories thrown in. I hadn’t revisited her blog in years, and so it was striking just how little her style has aged. In a time where internet memes have life spans measured in hours, Hyperbole and a Half feels fresh nearly a decade later. The influence of her style and perspective on the internet is far-reaching. From the hilarious (her distinctively drawn self-rendering triumphantly declaring “CLEAN ALL THE THINGS” while holding a broom) to the insightful (her two-part essay on the amorphous gray muck of depression), her stories all feel as though they could be the origin story for any piece of internet ephemera. Hyperbole and a Half is at times farcical, at times poignant, and always raucously funny.

5. Shades of Magic (#1-3), V.E. Schwab

The Shades of Magic series (A Darker Shade of Magic, A Gathering of Shadows, and A Conjuring of Light) is the perfect fantasy adventure: the characters are imminently rootable, the world is seeped in magic, and the plot is intoxicating. The books are set in London, or Londons, rather. There are four parallel Londons, which have embraced, rejected, or surrendered to magic to varying degrees. Our protagonist, Kell, is one of the few with the ability to travel between the different Londons. And, well, hijinks ensue. Dark, sprawling, brutal, violent, life-consuming hijinks.

The Shades of Magic series is unburdened by its worldbuilding; V.E. Schwab could probably teach a semester’s worth of history lessons on her world, but does not feel the need show that off in the books themselves. They’re books to be devoured, not dissected. But it’s the characters that make the series so engrossing. Everyone is an archetype-a street-worn thief, a charming prince-but so well-drawn and understood that every character moment sparkles. And the central relationship of the book, between Kell and his brother Rhy, felt as though it was perhaps extracted directly from my brain. Kell is stoic, burdened by responsibility but determined to protect. Rhy, the aforementioned charming prince, injects Kell’s life with mischief and levity, and they’re so fundamentally dedicated to each other that it hurts. If a bunch of well-meaning idiots trying to save the world with magic is your thing, A Darker Shade of Magic may be the series for you.

4. Everything I Never Told You, Celeste Ng

If you thought a quiet, contained rumination on race, gender, nationality, and culture couldn’t also be a compelling, tense page-turner, let me introduce you to Everything I Never Told You. Everything I Never Told You is nothing short of literary alchemy. It begins with the death of Lydia, the model daughter of the Lee family--and, really, the model daughter of 1970s America. The book unravels the mystery of Lydia’s death, told through the vignettes from the lives of the Lee family members.

Celeste Ng is a master at using a paragraph to describe years of a character’s history and decades of American society all at once. Her characters are specific and sharply drawn, rooted deeply in their time and environment. Lydia, with a Chinese father and a white mother, is mixed race (a term not added to the U.S. Census until 2000)--“one of only two Orientals” at her school. The other, her brother Nathan, has learned to live in Lydia’s shadow in their parents’ mind’s eye. Marilyn, Lydia’s mother, had her own ambitions sidelined by family. With a deft, heartfelt touch, Everything I Never Told You viscerally conveys their regrets for the words left unsaid and lives left unlived.

3. History Is All You Left Me, Adam Silvera

As this list makes clear, I loved a lot of Adam Silvera this year, and History Is All You Left Me stands out as my favorite. In dual timelines, History Is All You Left Me tells the story of Griffin after and up to the accident in which his ex-boyfriend Theo dies unexpectedly. And so, yes, the book is soaked in grief and loss. And, yes, it’s devastating and aching. But it’s also incredibly kind and empathetic. The characters are teenagers and make the choices of teenagers. Their actions are messy and rash and stupid, and Silvera leans into that, landing more than one self-inflicted heart-wrenching blow. But Silvera is also unfailingly patient with teenagers and understands their resilience; he lets his characters make mistakes and has faith that they will survive. And so the book is heavy, but optimistic. A refreshing reprieve from the gratuitous suffering and bleakness that tortures so much LGBT-themed fiction. History Is All You Left Me is the most affecting book I read all year, and it still lingers in my bones. But the impression it has left is of life, not loss.

2. An American Sickness, Elisabeth Rosenthal

I bristle when someone describes a book as “important.” It always seems patronizing and self-serving, and my natural contrarian kicks in. I get it, you want to tell everyone how well-read or socially conscious you are because you read an “important” book. So it is with eyes wide open, and more than a twinge of self-loathing, that I say An American Sickness is an important book. It feels like essential reading, certainly for anyone trying to affect American healthcare policy, and at the very least useful for anyone who ever has to deal with the American healthcare system. It will make you angry and frustrated, but hopefully it will also arm you with information.

An American Sickness is broken up into two distinct parts: the first half lays out the issues with the current healthcare system, including how it came to be, and the second half presents solutions. Dr. Elisabeth Rosenthal writes accessibly about potentially dry, dense subject matter. The book’s purpose is not to exhaustively detail the history of healthcare, but to better equip the average person to navigate the system. Dr. Rosenthal provides anecdotes to anchor the matter in tangible issues and gives just enough context to sketch the motivations of the various actors - doctors, hospitals, insurers, pharma companies, etc. She presents solutions from two perspectives: (1) changing healthcare policy as a whole, and (2) navigating the system as an individual. In a methodical, step-by-step manner, the book explains concrete things a regular person can look out for, questions they can ask, and actions they can take to avoid--or challenge--exorbitant medical bills. There’s literally an appendix with fill-in-the-blank form letters to use to request billing information and challenge bills. You don’t have to read this book, but I want you to.

1. Chemistry, Weike Wang

Sometimes a book is so intimately catered to you it’s as if the author waded through your subconscious, fished out the tangled threads of your thoughts, and then wove them into a tapestry that displayed every single one of your hopes, dreams, and aspirations. For me, that book is Chemistry. Chemistry follows an unnamed Asian American protagonist who is discontented with her current situation: her long-term boyfriend, her Chemistry PhD program, and her relationship with her parents. And the novel unfolds as she comes to terms with that discontentment.

The economy of Weike Wang’s writing is spellbinding. She uses words so efficiently and so cleverly to craft sentences that seem fundamental. On seemingly every page, there was a new observation that felt so obviously true that I was surprised I had never read those exact words before. The book is filled with jokes, driven by the protagonist’s wry sarcasm and gentle disdain for things and people generally. The whole thing is somehow both simple and complex, an easily digestible read with a deceptively complex flavor. There are no splashy revelations or sudden tragedies, only hard-earned emotional truths and the realities of getting by. Chemistry nails the general spirit of just attempting to function as a normal human person in 2018.

#books #weike wang #adam silvera #celeste ng #ve schwab

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gameridernews · 7 years

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Ex-Aid review: Month 11 (Episodes 42-45)

Here we are... the final month of Ex-Aid. With only 4 episodes left, how does the show wrap up?

Well, for starters, let me say this: I'm only going to be covering these episodes the way I would any month of episodes, then will do a separate post where I talk about the show overall - give me time to write that one. Also at the end, I return to my final predictions to see what I got right or wrong.

Oh, a small addendum to the last review since I'm pretty sure I talked about the summer movie: We know now that it's a 1-year-later story, so anything I said about it as an alternate ending to the show... is completely invalid. Oops.

So with that being said... let's tackle the final level.

With Gamedeus unleashed, turns out Masamune wanted to give one last middle finger to the world by reprogramming Gamedeus to let off one hell of a pandemic - everyone in the area has been infected, and it's as bad as when Nico was infected with Gamedeus' virus.

Now I'm gonna be honest, I wasn't sure how to feel about that idea - yeah, it does work as a big finale thing. But it's also what the summer movie was doing, so in that regard it feels redundant. But I warmed up to it since it shows everyone caring for patients in a way that really fits the motif of the show - we're seeing not Riders, but humans, care for the people they want to protect on a personal level. Also Taiga and Nico are wonderful human beings, you guys.

While that's happening, Kiriya and Kuroto are using a clever plan as an excuse to beat the hell out of each other. I was into it once they revealed what they were doing - by continuously infecting themselves with the Gamedeus virus, they build up a resistance, and the end result is a new Doctor Mighty XX Gashat which can eliminate the virus - a shame it doesn't get used to transform, but hey, we know there's at least two different places that could be used now that the show is over...

The Gamedeus Bugster, VERY ironically, is a bit of a small talking point here. Apart from causing a pandemic (which is arguably Masamune's work), and having all the powers of the past Bugsters, the only notable thing about him is the buildup and his quick death once Doctor Mighty XX is delivered to Ex-Aid.

This is something I can understand being a downer, but... we don't have nearly enough time to justify bumping down Masamune in favor of some villain that's just appeared - I didn't expect him to actually stick around because it'd be a waste of time. But I also see it as a miraculous victory - against all odds, they somehow managed to find a way to stop him at the least second.

What they didn't count on was the lingering sanity of Masamune Dan! With no further options, Cronus appears before Ex-Aid and crew can finish off Gamedeus, only to do the job himself and absorb the hell out of Gamedeus' data to become Gamedeus Cronus!

How is Gamedeus Cronus? Well... I know how Rider shows work. We are at that stage where the design process becomes "What can we make with as few new parts as possible?" - which I don't think is unreasonable considering the show's just about over and they're focusing on the next one. That being said, it does what it needs to do well enough - it's Gamedeus but as a Rider. The fusion works within story context.

In a surprising twist, turns out the Ride-Player that's closest to Gamedeus is... Nico! So Masamune, now being perhaps more powerful than the unstoppable Gamedeus, knows EXACTLY what he's doing when he insists on having her challenge him.

He's just screwing with them all now, aiming for the one character who has no Rider belt. Even though Nico is more or less like a Level 10 Ride-Player (d-don't add that to the wiki, that's a joke), she's not unstoppable.

So it's time for big brother Taiga to step in, because it's as he's been saying from the start... only he needs to be the one who fights.

This was a big moment for Taiga, because his motivations are clearer than ever. And he uses both Nico's and... some random Kamen Rider Chronicle Gashat, both at the same time, to transform into Cronus. If you were wondering, TV Asahi just refers to do this "Kamen Rider Cronus (Taiga Hanaya Version)". I'm not sure what the second Gashat is adding aside from it representing Nico, but I do like how this form seems to have access to ALL weapons. Imagine the catharsis of gaining access to this in a proper Chronicle game.

After Taiga gets tossed around a bit, Hiro and Emu show up to remind him that doctors have to work together, and they give him a white coat! That... later we learn that it's okay for him to be a doctor again but that still made me go "Wait, is that legal?" - the three use their strongest forms, reminding us Taiga is in need of something stronger than Level 50...

... then Gamedeus Cronus brings in one last video game trope by revealing that a proper final boss has a second form. Kickass! It's at this point, a true pandemic begins. People become Bugster Viruses, which I thought looked pretty goofy. Masamune is certainly bringing hell on Earth, just like a proper final boss. Turns out he knows exactly what video games are all about.

As an aside, did you know I was considering doing monthly reviews for the next show in the form of video? I'm still undecided, but I am still thinking of how I can keep that simple enough that it won't be hell to edit. I only bring this up because hey, we get our cameo for the next Rider here, Build!

This was a dumb cameo, but a fun kind of dumb. I liked how it involved Genm being mistaken for Ex-Aid, because not only is that going back to misunderstandings from Genm's cameo in Ghost, it's also a resemblance that has not come up in a long time. Made me go "Oh right, it IS weird that they look so alike!"

You gotta take cameos with a grain of salt, but they do admittedly try to capture the basic idea of what that character is like. If Build is anything like this, he seems kinda fun. This whole bit of him wanting a sample from Ex-Aid is actually followed up in the summer movie, which I guess is okay to say now since it's gonna have to be talked about when the upcoming winter movie happens.

Now then, let's talk about heartbreak.

In order to make the people happy, Poppy basically sacrifices her own existence to spread the vaccine to Gamedeus' virus and cure everyone, effectively stopping the pandemic.

This was especially touching when you realize that the most exposure she's had to the general public is being depicted as a deadly Bugster that has even infected others. She's making quite the sacrifice for people who might not even want her alive. You’re breaking my heart, girl.

Then we get what I was most interested in during the episode preview... the baby war!

Ex-Aid brings us back to the Level 1 forms in a clever way, reminding us of its function: Separate the virus from the patient. As everyone switches to the forms we first came to know them for, they beat the Game out of Deus and even perform a chibi Rider Kick together!

But then...

More heartbreak.

With Parad forming a proper bond with Emu, he's found that he lacks something: The chance to redeem himself. He's let a lot of people suffer, and it seems like one fight alongside Emu isn't enough to rid him of his sins - that’s pretty mature of him.

So after Poppy sacrificed herself by using Doctor Mighty XX to turn into a vaccine, Parad does the same to latch onto Gamedeus and finally put an end to it all, so that humans can live in peace.

The day is saved.

Or, you know, fuck you.

Masamune knows what's up. If Parad is gone, that means Ex-Aid - the only one with the power to face him - can't transform. The Riders are effectively powerless to stop him and his time powers. Try as they might, they can't punch something that punches them harder in less than an instant.

The day is ruined. And it looks like this finale is the BAD ending! You beat us, Cronus!

Or, you know, fuck you.

Yes, in a miraculous come-from-behind revival that we get explanations for later, Emu is back in action! And with everyone standing together in the dark setting (Cronus powers are weird), we recreate episode 1's opening scene... with Genm offscreen because of a delayed Continue apparently.

This fight was quick, but fantastic. Everyone gets a piece of Cronus, even Lazer in bike form. Which I now realize is odd for him to revert to, but I guess he figured he'd have one last ride with Emu. No way that phrase can be taken out of context.

Masamune is defeated, and... I'm a little mixed on Masamune, I'll be honest.

The reset from last month was something that came into play because Masamune's Bugster infection intervened, giving them the glowy eyes Emu gets when he does M stuff. While they use that effect again during his last Gamedeus Cronus fight, it... kinda never came into play again. It was just some random thing that served no purpose other than to artificially extend the drama. So... that was pointless.

As for what happened here, with Masamune's final act being to stab himself with his own Gashat, I can only assume he was trying for one more final fight since Graphite used Gashats this way, but it kinda just... kills him. So I'm not sure what to make of it. It doesn't help that they never give it any lip service. He's just gone.

Masamune has been a great villain up to this point, but I feel that he's been all over the place within these final two months and hasn’t been at his best. Still, now that he's gone, peace can properly return. No fakeouts, just status quo.

The rest of the final episode is essentially an epilogue for our beautiful cast.

For starters, I guess the Bugster Virus still lingers, it's just not nearly on the level of Gamedeus. I guess that works, since otherwise we'd have to say goodbye to Kuroto and Kiriya. Speaking of, Kiriya will be taking part in developing medicine that fights against the virus, with the help of the new CEO of Genm Corp: Tsukuru! Burger-san is in chaaaarge! That puts a big smile on my face.

Taiga gets a pretty sweet deal. His efforts have given him the right to be a doctor again, and his previously abandoned hospital has been cleaned up and is now in service as a Bugster Virus hospital. Not only that, Nico has graduated and wants to work for him! Adorable.

Hiro is passing down his expertise to future generations, and even though it's not directly stated, we know that he now has much more respect for the patients now that he's spent plenty of time with Emu.

As for Emu, he relays all that happened to the ministry of health, and is offered the chance to stay in CR. Which I guess is fair since his introduction to it was happenstance.

Lastly is a speech where Emu admits a grim truth: Those infected with the Bugster Virus have been cured... but they have not yet been able to restore the lives lost. As it currently stands, they still exist as data, and when questioned on whether that could be considered "living", Emu says something very mature. When Kuroto first revealed that the victims would be reborn as Bugsters, Emu was strongly against them being data because that can hardly be called living. Has he changed his stance now?

Well... no. He instead believes that medicine has come a long way, and that one day, they WILL find a way to bring these people back properly. The way it was handled was, again, very mature of Emu. I really can't say enough that he's grown up since the beginning.

Kuroto, not so much. But at least he has godly talents.

Since Kuroto got just a bit of Poppy's virus when she sacrificed herself, he was able to restore her! And with the okay of the ministry of health, she will continue her service to CR just like always! I must say, considering this character was too much for me to handle at the beginning, I'm happy to see her stay!

Not only that... when Emu got close to Parad as he sacrificed himself, it seems that he reabsorbed just a bit of Parad's virus, which is how Emu was able to transform during their last fight with Cronus - tightly wrapping it all up, aren't they? Because of that, Parad gets to live.

I'll be honest, I always feel like I need to be more critical when a character is immediately brought back after death... but the tears in my eyes during that moment tell a different story. I guess I’m okay with this.

With our final scene that seems to be a later moment, we randomly get... product placement! Yes, it seems Kuroto was "inspired" to make a new Gashat based on his mysterious encounter, which I'm sure has a form attached to it but it currently just causes the trailer to play. Oddly specific power.

But wait! There were predictions I made. Let's see what they were and how they panned out. There's a lot of em.

First off, I'm gonna just summarize two here: Previews led us to believe Parad might be killed off, as well as Taiga. Aside from me guessing Cronus was the one who killed Parad, I guess I was right in saying they wouldn't kill off either character at this point in the story. I feel the need to address those quickly since they were no-brainers. I even thought they were excessive to say at the time. But...

I think since the heroes now have the Proto Gashats [which contain Saki's data], they’ll be able to convince Hiro well enough to return. That being said… Masamune giving him a new form with no strings attached? Suspicious. Maybe there’ll be some kind of mind control in place in the event Hiro turned on him. This man thinks ahead. It’s gonna take a heavy duty “What it means to be a doctor” speech to shake Hiro from this one.

Okay, I guess Taddle Legacy was a form with no strings attached. It made sense in my head.

Graphite and Parad [might be] successful in infecting Masamune’s belt with the virus of Gamedeus... which results in him becoming a Gamedeus with the unstoppable power of Cronus! That’s, like, twice unstoppable. Perfect for an endgame villain.

I knew it would be a perfect endgame villain! But it turns out this was all Masamune's doing.

I also made a prediction about the ending and talked about how the summer movie was setting itself up as an alternate ending... but again, that turned out to not be the case. But I did say what I thought would be the ending for the show:

I think that the show will have your standard happy ending. Bugsters are gone, CR is disbanded, everyone goes back to their regular lives as doctors/non-doctors. All that needs to be kept in place is the ability to transform, or at the very least modify the gear so it isn’t required anymore. Basically, the show’s ending is more welcome to continuation and crossovers.

And it sure is! But they were surprisingly cool about not undoing much. The Bugster Virus still exists, CR is still needed, and they work in a way for Emu to still have the ability to transform. Which is about as crossover-friendly as you can get.

So that was a show. I'm actually gonna end this review here, because I think it's only fair to have a SEPARATE review to talk about the overall show. The characters, the plot, the style... it's something that would make this post twice as long. So give me some time to write it.

As for the next series, Kamen Rider Build? I am cautiously optimistic! Some believe there is a noticeable coincidental format to Rider shows in which a really good show is followed up by an okay show then followed up by a crappy show. I just take them each as their own thing. There's elements of this new one I find interesting and I look forward to seeing how it presents itself.

With that being said, see you next game, when I analyze Ex-Aid as a whole.

#kamen rider exaid #reviews #feed

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fandomflail · 7 years

Text

title: Recognition

rating: T, (M in later chapters)

summary: Soulmate trope AU. Set in a world where humans and elves coexist.

a/n: most of the times, I have John Adam’s problem when it comes to writing. for this fic, I was Alexander Hamilton. I’ll most likely be making weekly updates, though if there’s good response I might do bi-weekly.

CHAPTER 1 / 8

The boy is a brunette, eyes the color of oak, and yet though they look nothing alike, he reminds Emma too much of herself. She can still taste the tang of blood as her teeth had crashed against the metal bars of the playground, the jeering of the children as they bullied the dirty little unwensket.

It’s why she’s here, why she’d taken this rather perilous career of Placing unwenskets, or unwanted human children.

“Emma?” little Henry asked, voice strong despite knowing that a visit from Emma Swan meant he was still alone, without a family.

“Hmm?” she responded, running her fingers across the boy’s messy hair, attempting to make it look more presentable.

“What’s Recognition? Or soul meets soul when eyes meet eyes?”

Emma paused, then continued her administrations more slowly. She wanted to ask where Henry had heard that, but considering the theme of Recognition was embedded into all parts of elvish and human society, it seemed like a moot question.

“Recognition is when two beings of the opposite sex have a case of sudden, involuntary connect and need to uh… reproduce, often becoming life-mates. This is described by the phrase, ‘soul meets soul when eyes meet eyes’”.

“So you can’t… you have no power to stop it?”

Emma tamped down her own uneasiness, thinking of the centuries old debate of free will versus the fate and stars of the universe.

“You could resist,” she told the boy who was looking at her with eyes that held a thousand questions, “but most people don’t. Your soulmate is someone who is aligned in every way to you, you don’t have to do anything with them, but you’d be all the more sadder for resisting what is essentially a part of you.”

“But what if you don’t like girls?”

“Like I said, then you don’t have to do anything. You can continue life with your same-sex partner, but as far as I know, having a soulmate of the opposite sex rarely happens to people who don’t like the opposite sex. Recognition is purely… um, it’s… for… making sure there’s children. It’s not something that happens to humans, Henry.”

“So I don’t have to worry that I’ll have to marry Ryan?”

“Who is Ryan?”

“He’s the boy I punched, the one who kept pulling my hair and tripping me.”

In other words, Emma thought, he’s the reason I was called in to see if you could be moved, feeling a sense of righteous rage that Henry was being penalized for defending himself.

“I’m glad you did,” she said to Henry. The boy gasped, turning his head to look at her, making his hair flop across his forehead dramatically.

“You are?” he asked with the innocence of a 11 year old.

“Yes. He’s a bully, and they don’t stop until you push back and say, no, no this is not okay.”

“But now they don’t want me here,” Henry said, eyes moving downcast.

“Do you know where I live, Henry?”

“Is it far from here?”

“Yes. I live in Alamané. Do you know where that is?”

Judging by Henry’s gasp, he’d at least heard of it.

“The elves live there,” he said.

“And humans too,” Emma said, keeping her laughter in check. “It’s a city where those who believe in Integration stay.”

Henry looked like he couldn’t believe what Emma was saying, the unasked question hanging between them, as Emma took a deep breath and said, “Would you like to stay with me for a while in Alamané?”

“Boy, do I ever!”

* * *

In what she supposes is an inevitable progression, Emma Swan finds herself with a son, officially, two years later. Henry’s taken to Alamané like an elf to fine crochet, that is to say, impeccably.

They have a routine and everything, and Emma would have never guessed that bringing a teenage boy into her life would lead to such structure and contentment.

“Mom!” Henry yelled, bursting through the door like a whip was at his heels.

“Indoor voice!” she yelled back, putting the case file down and looking up as he skidded into the living room.

“You’re yelling too!” he said, but barreled on, “you’re not going to believe this, Mom, you are NOT going to believe this, the Noble Elves are going to be visiting next month!”

“Oh, really? That’s awesome, kid,” she said, taking in his bright cheeks and obvious delight.

Henry had been obsessed about the elves as a young child, reading about them as a form as escapism. Elves had incredibly low fertility rates, as well as high maternal and infant mortality rates. A successful pregnancy and birth were often a great cause of celebration, and as such, children were revered. She could understand why an unwensket would yearn to be close to elves, why he would covet such a thing.

“They’re holding an open court in the Alamané Council Court, can we go, please?”

“It’s not like you haven’t seen an elf, Henry,” she reminded him with a smile, even though they both knew she was going to say yes to his request.

“I know, Gracie and her father are going,” he said, referring to his only elvish friend, one he’d met at the library, of all places. It still surprised her, sometimes, how close they were.

After all, as progressive and inclusive as Alamané was about Integration, the fact remained that humans outnumbered elves 5,000 to 1, and 10,000 to 1 when it came to elvish children. As such, they were often regarded as celebrities, and for all the Integration activities, the divide between the two species were numerous and cause for tensions.

“Do you suppose we could go with them?”

“Gracie’s dad already said yes,” Henry said with no trace of shame. “Mr. Jefferson would love to see you,” he added on, with a smirk that was unbecoming.

“He’s not my type, Henry.”

“He said you’re fae-like, mum.”

She turned, mouth dropping open in shock. “He told you that?!”

“No, he asked me if you had a bit of elvish in you. I said your ear tips are too round.”

She rolled her eyes, shaking her head at him. “That’s stereotypical. And stop meddling,” she said sternly.

* * *

The strong winds had her hair flying all over the place, making Emma huff repeatedly as she attempted to stuff it into the hood of her jacket.

Irritatingly beside her, Jefferson stood adorned in only his long tunic coat and pants, undisturbed by the weather. In addition to their long lives, elves had an internal heating system Emma would have given a few toes for. It was maddening, how lithe and agile this made them seem.

“It’s odd, how much praise they get just for being born into a Noble House,” Jefferson said, appearing to address all of them.

“Oh papa,” Gracie said, a smile turning the corner of her lips up, “don’t be so vexed, they’re more than vapid figureheads.”

“Oh, did you hear that the Elvenking will be wearing the Alexandrite Crown today?” Henry said, joining in the conversation without a care. Emma tugged a little on his scarf, securing it tighter so he’d stay warm.

“Is that true? I don’t think the crown has left the Enchanted Forest palace in centuries,” Jefferson said, giving Henry a stare that looked like approval. It made Emma feel proud, despite the fact that she didn’t need the elf’s approval - it was just… he was so odd, his mannerisms and eccentricity; she could never be sure if it was ‘just an Elf Thing’ or a personality thing. It felt like a victory.

“Why are they here?” Emma asked.

Jefferson lowered his volume, drawing the children and her closer. “It is said, that the younger prince eschewed his elvish pride and has been posing as human, living in Alamané for a close to a decade. He’s had tumultuous relations with his family but is going to rejoin Noble society.”

“Really? Why not announce that?”

“I would imagine, if rumors of the prince are true, his flighty nature might dissuade them from making any pre-mature announcements.”

“Oh,” she said, not sure what to make of that. It sounded like family drama best left in the family, so she said, “and how did Gracie get to the front of the line, in a place of honor?”

“Look around, Miss Swan, how many elvish children do you see? We have difficulty having them as it is, the years surrounding Gracie’s birth were even more difficult than usual. Any child is an honor to have attend. Children are great blessings, which is why I don’t understand how humans can just…leave them.”

“As a human, I have no idea either,” she said, putting a hand on Henry’s shoulder, which earned her an exasperated shake.

“You’re one too, aren’t you?” he asked lowly, voice low and smooth as a hot knife to butter.

“One what? An unwensket, you mean?”

“I did not use such a vulgar word,” he said, tone low and reprimanding, “the word orphan would do just as well.”

“That’s somehow worse,” she groused, “we’re reclaiming the word.”

“Humans are so odd,” Jefferson sighed, attention captured as Gracie hissed,”Papa!” grabbing onto his sleeve.

“Oh my gosh, there, there,” Henry said, as the crowd surged forward as the most beautiful beings to have ever graced the planets emerged at the front of the hall.

There were four of them, two women and two men, the blue crown of the Elvenking practically glowing atop the dark hair of his head. The Elvenking and his consort were fair of skin, both with ebony hair, tall and imposing. The other man had long curly blonde hair, a color much like Emma’s own sunshine, while his partner’s hair was so blonde it was almost white, her face reminding Emma of blown glass - fragile but strong enough to cut you. It was such an odd way to think of anyone’s face, but such was the thoughts that first entered her mind.

“Mum, mum, are you looking?”

“Yes, Henry,” she said.

There was a clink, a loud ringing sound that vibrated across the whole hall, which silenced everyone abruptly.

“Thank you for being here today,” the Elvenking spoke; his voice was not at all what Emma expected. She had expected a clear, melodious voice from a man who looked like that, and instead was treated to a deep baritone.

“It is always a great joy to visit Alamané, where man and elf live side by side, in cultured society. We look forward to meeting with our people, and any human accompanied by elves. And of course, should you be approached by our Noble Sukrasa with an invite to our Royal Gala, we will see you then. Namárië, tenna enta lúmë.”

“Namárië, tenna enta lúmë,” chorused the elves in the hall.

“What does that mean?” she heard Henry whisper to Gracie.

“Farewell, until the next time.”

“Namahrey, tenner enta loomeh,” Henry attempted, earning a giggle from Gracie, who proceeded to correct his pronunciation.

* * *

Henry was literally bouncing on the balls of his feet, dressed impeccably in a dark green elven tunic that Jefferson had procured.

“I cannot believe this, am I dead? Am I dead? Is this what death feels like? Because it is awesome!” Henry was babbling, swirling the sleeves of his tunic around as Emma dressed, cinching the corset of her gown, a designer from renowned elven dress-maker, Merline Camelot.

Jefferson had insisted on renting them both fine quality clothes because they’d been invited by the Elvenking himself, who had looked at the four of them and had probably thought what a perfect picture of Integration they made.

“A royal ball! Am I dead?!”

“Henry, calm down kid, before you work yourself up into an anxiety attack.”

“Anxiety? No way. No way, I might die of a heart attack when we get there, but that’s a different story.”

She laughed, shaking her head fondly. “Anyone tell you you’re super dramatic?”

“Do you think they’ll let me be the official Royal Storyteller?”

“Is that even a thing?”

“Of course it is!”

“Okay, I believe you,” she said, still laughing, as she did a little twirl of her own. The flowing white sleeves fanned around her, as did the bottom of the dress, the intricate lace patterns so beautiful Emma could have cried. Gracie had gotten her a flower crown to match her own little one, and for the first time in her life, Emma wondered if she could pass as an elf maiden herself. She certainly looked the part tonight.

“You’re sure you’re not elven, Emma?” Jefferson had asked, eyes widening when he’d taken her in, and she had simply smiled as they had entered the beautifully decorated Royal Ball Hall.

She met more elves in those few hours than she had ever met living ten years in Alamané. There would be one, however, who would forever change everything.

tagging those who showed interest in the sneak pic, please track tag ‘cs ff recognition’ for future updates:

@piratesails @freckelscheeks @pinkbonesforeverblog @alys07 @emswan @julesep3026 @rouhn @stephat815 @strawberryfieldsbricksonwalls @andiirivera @env13 @klar425 @urufrufruf @shady-swan-jones @teamhook @fleurreads @fictional-redheads @myswan-myhappyending-mylove @scottieswan @haocomeback @onceuponaprincessworld @adeelam @fallensites @deathbycaptainswan @ascolinwishes @ab-normality

#cs ff #cs fic #cs ff recognition #cs soulmate au #cs au #captain swan

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vakariansmonocle · 7 years

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LONG POST WARNING

okay but i’ve had some shit in my head for days bout my girl revas so like here’s a fckn ramble about it honestly.

so i tend to use a lot of imagery on her features to represent different aspects of her per verse. usually they show up in the form of tattoos, thought some are more hair style and some other just visual stuff.

like in her dragon age verse i gave her vallaslin that literally coils and connects around her body, and turns her torso into almost this twisted trunk from all the lines. Granted, there’s shaky lines, imperfect lines, and lines of various colors. because they were all given to her by people from various clans and usually multiple people if not all the people from a clan. Specifically, I did this to show how important this is to her, how deeply she’s rooted and connected to her people. how much she loves her people. It’s, in retrospect, could almost represent and be a play on the Giving Tree if it’s specifically in her inquisitor verse ngl here. But I also really like the visual of, in her inquisitor verse, the damage that’s done to these tattoos. The way it’s abruptly torn apart along her arm, the various burns and cuts through her. the honest and literal severing of her & her people, no matter how deeply she connects to them still no matter how much she cares, her people are lost to her eventually. It’s also really telling in the fact that she would have removed all of it via solas. like. She knows these markings are not hers to bare any longer. that each line is just some reminder of lost lives, lost connection. Just a reminder that she is lost to her people and it’s so.. i unno it’s honestly a really heartbreaking moment if you understand what these markings mean to her. Not to the rest of the world, not to solas, not to her people. Just herself. Like, to have all that removed, or maybe even just the facial markings, and then mark herself with Falon’din? it’s ridiculous. Honestly, in my head having Falon’din’s vallaslin marked on her is probably something that draws back those lines along her. It’s sort of why i imagine she would keep the lines. Cause like, honestly... Creator of death, the guide of the lost, the seer’s, markings touching and coiling around those lines? Tell me that wouldn’t be fucking amazingly telling and foreshadowing lmao. �� It’s probably one of my favorite visual characteristics of her design in that verse. Mainly because i keep some of her other characteristics with the rest of them! ie: scars on her face & throat.

anyways so like. in her modern verse she has these magic tattoos and ones symbolizing her friends, her family. These small & large details that are over looked from a distance, I think. Things maybe you notice but it’s not clear enough. Things maybe you trace when she’s laying on your lap. whatever. those sorts of tattoos and little details. Particularly i wanna talk about the large, and - usually - very noticeable, black work wing tattoo on her back. ( Because this is a detail that i wanna compare with another verse. ) But i wanna give y’all some Deets about this one. This one particular tattoo grants her the ability to freely grow large raven-esque wings from her back without having to shift her form to fit them. The wings are pretty huge but, they fold perfectly to fit the tattoo to be pulled in. BUT one of the noticeable features when her wings are out, the black work is what folds out. The ink sort of fills into the negative space, creeping along to each little point before slowly eeking off of her back. Because the tattoo is actually geometric, the ink sort of makes this 3d model of the design before the wings just fill out with feathers. If i got really graphic it does that gross (but awesome) build up of skeletal bits, muscles & sinew, & then flesh and feathers. But yeah it just fills out like that and reverse that process to retract them. See the reason for this visual is, of course, the wings of death. But, also, the association of freedom with flight. Ravens are honestly her motif though. Most people can associate raven’s with death, and mischief but in some aspects also knowledge. So it’s honestly very fitting. of course, for revas it was one of those impulse tattoos she wanted so she could have awesome wings. This doesn’t take away from the visual that she sort of has this freedom to her life, that she got to free herself from the horrors of her past, from the pain of the past. It doesn’t take away from the death aspect either, considering she connects it to her being sort of a bringer of death. Not that she is but it is a common thought process for her to have. She is, afterall, a death seer; due to her being connected to the undead and always having one foot in the ground, she can see those who will die and often senses it in passing. It is one of her strongest abilities. It is the weight and marking of a death carrier i guess, for her.

In contrast though is the au where she never died. In this au, she never got killed. She had to live with her memories of abuse and torture. She had to live with the weight of two murders on her hands. She had to live through the loss of her parents instead, through the burden of becoming a guardian to her siblings. She lives in this state of never truly free of this past. It’s essentially barbs in her spine, tugging and holding her down from it. This weight and pain of everything she’s been through crushing and keeping her from the freedom of moving forward. I mean, honestly she’s tried to die several times but due to this au being essentially reversed, she can’t die. Rapid healing and what not. So she can’t die. and that’s sort of a bummer. more of a bummer because she got trapped into a deal of ‘i’ll give you money in exchange for taking my place. added bonus: immortality!’ so she’s just fucked up from that. So a lot of her tattoos are.. Little things. Symbols, words, phrases. Reminders. A lot of them are very punk inspired, but there are a few that are to keep her going and lift her spirit when it gets really heavy. But she doesn’t have her wings, but god she wants to be able to have them. She wants so badly to be able to feel the wind against her face, feel weightless, to feel Free. Reach up and grab the clouds and see everything from great heights. Wings to her would be only the freedom to get away from everything just for a little bit. But. She’s also okay with not having them. Because this version of Revas has a different visual tick; a soft, warm golden glow when she feels hope & happiness to a very high level or whenever she uses healing magic. Now you may be thinking ‘that’s unfortunate, wouldn’t that draw attention?’ But uhh depression folks. But this like, visual sense from her is like. I think something really beautiful and warming to her character. Because it’s that sort of idea that she, very literally, embodies this hope in the darkness. It’s faint, soft & flickering. It’s almost like she’s surrounded by a dozen little flames, as if she herself is made of this dull flame. But she doesn’t burn anyone who touches her like this, it’s more of this sort of overwhelming warmth in your chest, running along your nerves and gently taking the weight off of you. Should you let it. And god if she’s healing an injury it eases the pain and the light will literally seal the wounds for you.

These two visuals are sort of the polar opposite of one another and that’s really the point of it. I wanted to make it more than just ‘oh she didn’t die and shit sucks’ vs ‘she died and she has a decent life.’ I wanted to draw out the most powerful aspect of these versions of her & pull it to the visualization of them. I mean honestly it’s one of my fave tropes. and maybe it’s cheap trick to do it like that but it’s so good. It’s so good. Listen, No Death Revas has so much weight pulling her down yet have her represented by flames and fire, burning determination and hope? It’s so ideal. It’s so good for her. & to have Revas normally represented by Ravens and wings? It’s extremely fitting because she’s still this little shit. She is a symbol of carefree but overly caring. Someone who remembers so much and cares about the details. It’s so good i unno i love her.

Misc difference in details between the two:

Hairstyle: Normally, Revas has extremely long hair that reaches her ankles. It’s usually pulled up into a high tight ponytail or braided. Wearing it down is usually saved for spending time with someone she loves, romantically, or just casual tiredness. However, in No Death, she shaves both sides of her head & keeps her hair length down to her collar bone or to the middle of her shoulder blades. But, it’s usually parted to hide the shaved sides for work, or pulled to one side & tied. This is mostly based on my own coping mechanism of cutting my hair after loss.

Dress: Typically, she’ll wear pretty revealing clothing. Ranging from open back tops & booty shorts to crop tops & short skirts. She does usually wear shorts tho. It’s her thing. She likes showing off her body because she’s proud of it and enjoys it. Though, also because she mainly lives in California so. lmao. But again, in comparison to No Death, it’s the opposite. Due to a lot of trauma and shame of how her body looks, she wears non fitting clothing and generally doesn’t wear anything that shows off her features. Because she really hates showing off tbh. Like its a lot of Frumpy clothes. but it keeps her comfy so.

****TW: SELF HARM**** Scars: Notably the only real major scars on Revas are the one on her throat, and the matching long ones down her forearms. Of course she also has some on her face; One: across her left eye, along her left side of her jaw & going from her left nostril to the right side of her jaw. Two crossing over her right eye & connecting mid cheek. Only the scars on her throat & over her eyes don’t appear in No Death. However, she does have a noticeable forehead scar. Besides facial scars she does have a lot of self-harm scars along her arms and thighs. Most of them are well healed. She also has a scar along the right of her torso, matching both back and front. ( this was from falling onto something and being impaled but it healed quickly ) As well as a scar at the bottom of her ribs from the ritual to become immortal. I should note that her healing ability only increases how rapidly she can heal. she retains some damage & scars from the injury should they be significant to her. *** tw end ****

I try my best to bring out characteristics and make shit detailed af so if i, or anyone else, ever wants to draw revas it’s all sort of summed up there man its good stuff i love her so much.

#oc: Revas #c: Revas Ramsey #au: No Death #self harm //#self harm tw #family death ment #long post #i love revas so much and i like talking about these things so much god #scriptuurient #this has almost 2000 words jfc

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mudonthetracks-blog · 7 years

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MARCH ROUNDUP

Ed Sheeran: ÷

★★☆☆☆

It is impressive for an acoustic-based musician in today’s world like Ed Sheeran to rise through the ranks to the point where, after release, nine of his new tracks make the UK top ten. He is a skilled musician, but it is a shame his talent is wasted on pop tropes that result in an entirely uninteresting album that feels like a rugged vehicle for the crossover hit Shape of You.

IDLES: Brutalism

★★★☆☆

IDLES have competently delivered what amounts to a straightforward punk album. Pounding drums, urgent basslines and racing guitars provide backing to furious vocals which emulate the likes of Johnny Rotten and Joe Strummer. Serious comments, for example about the general ignorance of people towards modern and contemporary art, are smart and injected nicely with a bit of humour here and there. Post-punk tendencies also emerge within the music. Ultimately this is derivative, but executed very well.

Blanck Mass: World Eater

★★★★☆

World Eater could be described as a malaise of post-industrial, drone and noise with near-danceable repetition and touches of vaporwave. Blanck Mass contrasts eerie and intimate melodic lines with blistering speed and force throughout this album to create a record that can be awe-inspiring in one place and spacious and exploratory in another. Some tracks feel more accomplished than others but this does not detract from the overall experience, which is accessible as much as it is abrasive and challenging.

Drake: More Life

★★☆☆☆

Drake has again shown his mastery of the current sociocultural climate. The shrewd marketing of this release as a ‘playlist’ demonstrates his understanding of how music is consumed these days, even if it is also a way to excuse himself for releasing over one hour of unrefined ideas. As expected, his astute blend of aggressive hip hop with melodic R&B has flooded the charts, but can only seriously function as mindless “driving at night-time” music.

Mount Eerie: A Crow Looked at Me

★★★★★

This album puts a lump in your throat: it is shockingly intimate and depressing. It documents Phil Elverum’s experience of loss in the months after the passing of his wife. The instrumentation is gentle and beautiful, and Elverum’s voice is soft and haunted: the space created between this soothing music and the darkness of the lyricism is massive, oppressive and incomprehensible.

Pharmakon: Contact

★★★☆☆

Listening to Contact is like being on some dreadful alien ship, exploring labyrinths of unknown and threatening machinery. It sounds as organised as it is schizophrenic, and feels perverted and grotesque. Throughout, hints of human sound filter through, like the pleasurable moaning and violent screaming on Nakedness of Need, which make a disturbing organic contrast to the relentless inhuman automation.

Mastodon: Emperor of Sand

★★★★☆

On this new LP Mastodon maintain their move towards the more mainstream centre ground, but this feels more refined than previous releases. They are largely successful at striking what is a difficult balance between what is essentially feel-good hard rock and the progressive metal of their roots. This is as technical and impressive as it is enjoyable and straightforward. Naturally this is a concept album: sci-fi type fantasy is linked to the real-life theme of mortality. Emperor of Sand is ambitious and well-executed.

Freddie Gibbs: You Only Live 2wice

★★★☆☆

Getting shot at and defeating sexual assault charges: Freddie Gibbs has had an interesting few years. This new record reflects on a past that has been challenging, but looks forward with a sense of valued freedom. With the aid of some solid production from the likes of BADBADNOTGOOD and Kaytranada, Gibbs lays down verse after dense verse with skilful command.

#new music #music 2017 #new albums #new releases #albums

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smokeybrand · 5 years

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Smokey brand Movie Reviews: Riddikulus

Fantastic Beasts and Where to Find Them: The Crimes of Grindelwald is a paradox. It’s a complex hodge-podge of beauty, brilliance, potential, and butt. Like, it’s so much better than the first but, at the same time, SO much worse. This is the first time i can definitive point to one thing derailing an entire film but that definitely shouldn’t be the case because it’s the goddamn script. This thing is written BY J.K. Rowling! These are HER characters! This is HER world! How is she f*cking this sh*t up so bad? It’s wild to see but, before this becomes a rant instead of a review, let me get into the detail proper.

The Good

Goddamn, this movie is beautiful. The sets, the cinematography, the pageantry and costumes, the fantastic beasts; Everything in this movie is leveled up from the first and it shows. I was very impressed by the level of comfort exhibited by this crew and cast. They’ve kind of found their look and they’re effortlessly transcribing that from the first.

The costumes, in particular, are exquisite this time around. The Wizarding World always has the best costumes but i knew this would be something special because of the period in which these events take place. I was not wrong. also, it’s Paris. There’s a scene where cats have to get to a circus by entering under the skirt of this beautiful statue and the way that scene i framed? The juxtaposition of the statue in front of the modern, bustling, Paris? Simply breathtaking.

I really liked the casting in this flick. I think the addition of Depp and Law was a stroke of genius. These two cats were easily one the best things about this movie. It’s just a f*cking shame they weren’t given enough to do. That’s actually a continuing theme throughout this mess of a movie; No one ever has enough to do.

Dan Fogler is probably the best thing about this movie, really. But, like literally everyone and everything else in this thing, his Jacob Kowalski felt underused and underdeveloped. Dude did great with what he was given, everyone did, but what he was given, wasn’t much. That’s what this movie is, though, in a nutshell; Not much.

Eddy Redmayne did his thing. I’m pretty sure Newt is on the Spectrum and i think Rowling is trying to subtly hint at that, but she’s just a bit off. Newt comes across as dick most of the time, not some guy with difficulty reading and maneuvering social situations. I really like his take on Scamander but i can totally see how people find him unsympathetic and rude.

I liked the casting of Zoe Kravitz as Lita Lestrange. I think she was a bright spot in this film. I thick she could have shone brilliantly,though, if she has something to f*cking do! Like, the chemistry between her and Redmayne was palpable. I believed that they loved each other. It’s a goddamn shame we didn’t get to see that properly displayed.

This, young world Rowling is showing us, is absolutely stunning. Witnessing her magic set in a such a bygone time, is really something. I am thoroughly enjoying our current trip through the Wizarding World!

The Bad

The timeline is mad f*cked up in here. There are certain scenes and certain characters that, for all intents and purposes, shouldn’t even f*cking exist just yet. There is one in particular that, by the time Potter proper is a thing, should be LONG dead but nope! Because it’s cool i guess? I dunno, man, it’s all just frustrating from a writer’s standpoint. Sh*t should be tighter. It’s not.

There are plot holes here that are infuriating. Common sense sh*t like, you know, not doing a thing or maybe opening your mouth. Aside from the contradiction of certain events occurring that have not occurred or the appearance of certain characters that are established to not have been until an entire decade after these events, characters make heel turns that are outright ridiculous and objectively adverse to everything they are. Or at least, have been built up to be in the one movie we have before this one. I watched my favorite character, take a path that would be abhorrent to everything they are, because they were talked to kind of nice? I get that. The most dangerous villain is the one that talks sense to you. Lucifer. Hitler. Trump. I get that. I can see Grindlewald having that charisma, too. It’s why you cats Johnny Depp. He oozes that sh*t! But it only works if you establish that Grindlewald has that gift of gab, that essential charisma to turn even the staunchest of non-believers but...

You never get the necessary time with him to even believably establish that Grindlewald has that ability! When said turn comes from my favorite, it just comes across as forced conflict instead of misplaced belief. They weren’t convinced, they were throwing a tantrum. For a film with his name in it, Grindlewald is wildly underdeveloped and he’s not the only one. There are, at least, four characters intricate to the plot, that have NO development. None. They are there as plot devices and that’s it. There’s one, in particular, that find themselves standing against Grindlewald but will end up standing WITH Voldemort! These motherf*ckers preach the same goddamn thing! The f*ck?? It’s Nagini. Nagini chooses not to follow Grindlewald but becomes a f*cking Horcrux for Voldemort. The f*ck, dude? Why? You don’t f*cking know, because none of her motivations or anything were ever f*cking explored! And those are just the underdeveloped.

There are some characters, one of the four main characters of the entire f*cking franchise so far, that have NO development! You can literally remove them from this film, and there would be no consequence. Seriously, why was Tina even in this f*cking thing? Why was she here? Why even try with her character? She’s exactly the same person,now, that she was, then! It’s Ludicrous! But she’s not the only one! and that’s the paradox; Core characters, essential to the plot, are wholly interchangeable. They be outright removed and this narrative would chug along fine, probably better, with just the slightest of tweaks. it’s f*cking insane to see.

The climax was underwhelming.

There are certain revelations that’s suppose to make the audience gasp but, if you’re into the lore of Potter, they’re an impossibility. It’s just terrible. Like, mid-career Shyamalanian levels of sh*tty twists. Just, knowing what i know about Potter, the disbelief necessary to suspend in order to accept this sudden turn is impossible. It’s insulting, really. It’s as messed up as that whole Aliens-hate-Water thing from Signs. It’s really that bad.

All of the controversy with this movie is kind of stupid. The Depp and Heard stuff is kind of ridiculous to me because,at the time of his casting, that sh*t had been resolved for several months. The whole Dumbledore and Grindlewald being gay for each other in a family film was also stupid. I mean, did you expect them to just make out in the middle of the movie Really? you think middle America is going to come to this thing with their f*cking kids to see that? But this sh*t with Nagini, though? That sh*t is a reach and a half! At best, she’s an ill conceived addition to an ill conceived narrative. At worst, she’s a poorly executed narrative trope. What she ain’t is a racist caricature of an Asian person. What it isn’t is some long standing accusation of feminism, peered through the lend of toxic masculinity, or whatever other buzzwords we’re using today. All of this sh*t is forced and stupid, and legitimately distract from everything else wrong with what’s going on in this move.

The Worst

The writing in this movie is just terrible. Like, it’s written well. For a book. I can see the connections and understand where Rowling wants to take this but the detail she needs to build this story, she’s not getting within the confines of a script for film. She has all of these fantastic ideas, and they are fantastic, but the execution is just the worst! It CRIPPLES everything involved with what this movie is trying to do. I can see it, though, and that’s what really, really, hurts. I can see the forest through the trees and it’s a goddamn marvel! but the person in charge of caring for the forest, can’t. Not within the confines of cinematic narrative.

The Verdict

Fantastic Beasts 2 is kind of a quandary. Everything in it that makes up a movie, is mildly excellent. Everything. Except the goddamn script. Rowling is a brilliant book writer but has no idea how to right a film. At all. The entire time I'm watching this thing, all I can think is how dope this would be if it were book three in an anthology. Beasts 2 is just too much, too soon. There is so much going on; So many factions, so many distractions, so many happenings, so many actions, that you lose yourself in the whirlwind of circumstance. Half of which are unnecessary! Don’t misunderstand, i liked this movie but i liked it because i love the world Rowling created. I like seeing Grindelwald. I like experiencing the different Magic Ministries and the youthful versions of characters i love. But not everyone is going into this thing wanting any of that. A lot of cats are going into this flick to see, you know, a movie, and that’s where this thing fails. There is a great amount of potential that goes unfulfilled in here because this needed room to breathe; room a 2 hour run time does not allot.

Overall, it's fun but mad disappointing. There is a great deal of awesome here and the world, itself, is rich with stories. It’s like Star Wars. And, like Star Wars, these new films are kind of f*cking up the legacy a little bit. Again, i really want to stress this fact, i liked this movie but not for the reasons i should. I like the idea of an expanded Wizarding world. I like Harry Potter. I like the cast and core heroes. I like the idea of these prequels. I do not like how Rowling is telling their story.

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sidestorystudios · 7 years

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La La Land

Why the Backlash? and The Cipher of the Musical Film

By Colby Herchel

Originally posted here.

La La Land is a movie that is doing exceptionally well across the board, and deservedly so. It’s getting people from all walks of life into the theatre, and this reviewer has been dazzled by the work of both director Damien Chazelle and composer Justin Hurwitz, from both this outing and 2014’s Whiplash. So some are rightfully confused with the “Oscar backlash” it’s getting from both film critics as well as lovers of musicals. Why, if something is reaching out to everyone as a fun dose of optimism, is it worth the trouble nitpicking? There are certain moments that the film goer should relax and take it in, and not linger on inconsistencies. Tom Hanks said of it, “if the audience doesn’t go and embrace something as wonderful as this then we are all doomed.” I guess we’re not doomed.

But there comes a moment, namely tying the record number of Oscar nominations, that gives these critics a pause for thought. This is no longer a fun distraction— this has become the representation for the musical film. And to answer the question, should it be? No, it should not.

I’m certainly not making any friends here, but I urge you to see it this way: this article is not a put down of the movie in any way, but more importantly, a context provider, a reaching hand into another understanding. What were choices, what were mistakes, and, most importantly, where do we go next?

Musical on Film on Musical

First and foremost, I would like to make one thing clear: a medium is a means of expression, like a book, a painting, a play, or yes, a film. They do different things and have their strengths in different areas. None are superior; they are different at the basest level. A genre is a trend or style of storytelling, like science fiction, horror, or comedy. As you may have noticed, the world at large lists the musical as a genre. This is understandable, as there are certainly tropes in classic Hollywood musicals that are consistent. But when you really think about it, the musical doesn’t have to have a romantic or cheesy slant in order to be a musical. It simply has to be a story told with the characters singing. In fact, musicals have their own genres, think of Jesus Christ Superstar and Hair as rock musicals, and Hamilton and Bring in ‘da noise, Bring in ‘da Funk as hip-hop musicals. So you can find it problematic that in the same genre are smushed Sweeney Todd and Hairspray. They tell completely different stories with completely different music, but both happen to have characters who sing. Isn’t the musical beginning to sound like a medium to you?

Now, when you throw in the musical film, you have a whole new set of issues. For some reason or other, when people see a musical live, they are more forgiving of the singing. Whether people used to treat showtunes as pop songs or that hearing music live adds a concert feel to the event, it seems to work. But when you film a character singing, it is an entirely different moment. Film is constantly trying to create the most realistic scenario, and Theatre always requires a bit more imagination (which is why puppetry is especially jarring at first). When a character in close up belts that she is telling you she’s not going, there is no realism. The illusion is immediately shattered, and many film goers can no longer stomach it.

This issue is usually explained away by this (which Damien Chazelle has discussed in interviews): the character has reached an emotional point in which they can do nothing but sing their feelings. I am not fully subscribed to this, as have you ever met anyone who has been so emotional that they have to sing? With backup orchestra and all? Chazelle, for that matter, does not subscribe to this either, as there is probably one instant in La La Land that the character sings a song out of desperate emoting. Oddly, we have some modern entries in this category, Les Miserables and Into the Woods, which I think both work pretty well, but lack a certain reasoning which is inherently off-putting. Adapting a stage musical to film is always an issue, to be sure.

So alright, the Gene Kelly and Vincent Minelli explanation falls flat. And it physically did, in 1969, when the Hello, Dolly! film was an inordinate flop (which is a shame, that movie is comic GOLD). The stories that had characters just sing for no reason other than singing were no longer working.

The musical film could never be the same. Bob Fosse, that rascal, was the first to really challenge back. With Cabaret in 1972, Fosse made a film where every number took place diegetically in a music bar, which offered commentary on the scenes. This device was so well received Fosse beat Francis Ford Coppola for Best Director at the Oscars the year The Godfather was up to bat. We all forgot about this device until Rob Marshall brought it back for Chicago in 2002 to similar praise. Every song occurs in Renee Zellweger’s booze addled brain. I personally like this idea, but unfortunately, it doesn’t allow for the freedom other solutions bring.

So along came a little picture, a humble, indie darling you’ve never heard of. Moulin Rouge! I think it’s called. This was the first to sell the idea that sometimes, in a musical, everything is ridiculous and you can get it or get out. This is fun, but not very challenging. This embrace of the ridiculousness of the medium also bleeds into La La Land, but to a lesser extent. Obviously people in the real world don’t sing, but forget it, it’s fun! “What if they don’t like it?” “Fuck ‘em.” I usually find myself crinkling my nose at these outings, mostly because they do really well, and stigmatize musicals even more than they are by everyday moviegoers. To put it in perspective, I also classify Mamma Mia! in this subset. The post-Seinfeld cynical self awareness can go so far, but meta humor is a kind of well that all too quickly runs dry.

What is The Umbrellas of Cherbourg for Christ-sakes?

What is this reviewer’s favorite, you may ask? Well, let’s rewind back to 1964, before Hello, Dolly! and even The Sound of Music. And while we’re taking the time tour, let’s pop over the Atlantic Ocean. Jacques Demy’s les parpluies de Cherbourg, or, The Umbrellas of Cherbourg, is a film entirely told through a jazz soundtrack about two ill-fated young lovers (Michel Legrand the more than competent composer this time around). Sound familiar? The differences, then, are twofold. The characters only sing in this film, which makes Les Miserables critics moan. Don’t worry, the songs never take their time to withhold information, but rather press on at the rate any movie would (its run time is a blessed 90 minutes). It actually has more in common with opera than you would expect, but that’s a thesis for another day. The other difference between this and La La Land is in the fact that the characters are decidedly not dreamers. They are a poor daughter of a single mother, and an orphan who works at a petrol station. The dramatic kick comes at the end, at the pan out from a gas station. These emotional highs and lows came from the most mundane of locations, and the reason for singing is a beautiful one: your difficult life is worthy of music. How does this translate as a format, then? Simple: give a thematic reason. It doesn’t have to be revealed the minute the movie starts, but as long as it plays into the major themes of the film, it fits. These characters constantly talk about the opera, and about the melodrama in their lives. Genevieve and Guy are much more self aware, and both get full, emotional arcs. I’ll say no more, everyone who likes musicals should see this film.

“Aha!” you may cry, “Chazelle has cited that very film as his major influence! Isn’t La La Land just as thematic?” Well, you certainly have a point, but please don’t interrupt me until I’m finished. Certainly, the choice of color palette, the cinematography, and many portions of that ending are swiped right from les parapluies de Cherbourg. The name of Mia’s character in the one act? Genevieve. That circle wipe that stops, then keeps going? Demy. The use of a jazz score? Gershwin, but Michel Legrand really was the one to perfect it on film. There are full scenes swiped from it in La La Land, and Chazelle seems to be kind of embarrassed about it. From a personal friend who broached these similarities with him, this is one of his favorite movies (as well as Casablanca). That’s not to say it’s a bad film— no, steal away! What else do we make art for but to be a reference? And to answer the question on whether the music comes in thematically, well, yes and no.

The Themes of La La Land

Alright, so before we go any further, you should probably have watched La La Land if you don’t want to be spoiled. Below, I will discuss the thematic push behind the film.

First, of course, is dreams. This is made apparent from the opening number— the difficulty of living life for one’s dreams. And this is essentially what’s at stake throughout: will Mia achieve her dreams, and to a lesser extent for some reason, will Seb do the same? This concept is brought forth in Whiplash, Chazelle and Hurwitz’s earlier venture, which makes this reviewer ponder if they are meant to be companion pieces. Whiplash is a much more cynical outing, exploring the selfishness of dreams in a high paced thriller. La La Land, is, essentially, the optimistic fluff. The stakes are never that big, and that’s ok. It is interesting that Mia is not punished for cutting off her connections to other people as much as Miles Teller’s character. She gets her dream, and leaves Seb (I really, really hate this name) behind. He’s sad about it, but all in all more than supportive.

The second theme is less inherent— the death of art. Namely jazz, and Hollywood sensibilities. Seb explains that jazz is lost on young ears. You have to listen to it for the dialogue, which gives a cue for the rest of the film, particularly concerning their relationship. Mia, who claims she hates jazz, once taught how to hear it, finds a way to appreciate it. But other than these two, everyone else seems to be just fine with its fade from popular ears.

Of course, there’s love, but isn’t there always?

Song to Theme

I’ve heard some silly critiques that say Hurwitz’s score is not “hummable.” That is an absolutely useless critique unless you are trying to make popular songs. When you are writing songs for characters, all that matters is you honor the character and the story. Hurwitz’s score is deeply lyrical and rich and his orchestrations for that matter are quintessential. I give him every credit— but thematically, I have a few issues.

Let’s begin with that opening number, Another Day of Sun. I personally really like what this song is saying. It’s an excellent way to delve into the struggle of all these everyday dreamers. As important to the song in a musical film is the way it’s shot. And Chazelle has done his homework, because we begin with Fellini’s opening scene from 8 1/2: a person in bumper to bumper traffic who, through some bout of magic realism, finds a beautiful escape (Guido Anselmi flies up and out, the cast of La La Land break into a musical number). This is a great way to indicate to the audience that their watching an old-style musical, right?

But how does Chazelle shoot it? After celebrating the width of the aspect ratio (dear God, throw a parade why don’t you), we pan along different cars listening to all different kinds of music, some pop, some hip-hop, some classical. Oh! What an excellent way to launch into the death of jazz! Ah, but hold on. We keep panning, and begin to have that sure feeling that, oh no, he’s going to try his hand at the long take. And suddenly everyone, all these different people who from the first minute were shown to have separate tastes in music, are jumping out of their cars and belting jazz music! Is jazz truly dying in the world of this movie? No! It seems to be the heartsong of an entire traffic jam! The idea here is that since we’ve decided this is an old Hollywood musical, you can suspend your belief. Which is all well and good, but largely why I find this more akin to Moulin Rouge! than les parapluies de Cherbourg. “What if they don’t like it?” “Fuck ‘em.” Why on earth not use the music that the people were listening to in that same take? Make a fusion of styles to accurately represent the modern world, and, therein, one of the major struggles for our main characters? What could, and should have been an introduction into the major theme of the movie ended up being sacrificed for nostalgia.

A note on the long take: I think it’s absolutely fun, but unless there’s a good reason behind it, it is only a gimmick, an ‘Anything You Can Do I Can Do Better’ between directors. Alphonso Cuaron has made it his trademark, but you’ll notice he always has a thematic and filmographic reason to use the device. The Spielberg “Oner,” like the ferry scene in Jaws, is always trying to hide in plain sight, without convincing the audience that he is clever, but rather exploring the dialogue with proper attention and depth. Hitchcock, who explored it to its fullest extent in Rope, found it to be cheap and unfulfilling for the rest of his career, and very much regretted using it in the first place. Reel it in, Chazelle, Mendes, and Iñarritu.

As you imagine these problems bleed throughout, at least concerning the other large group number, Someone in the Crowd. The song doesn’t seem to decide whether it’s critical of this ambitious world or not. Is it a joyful celebration of the struggling actor, or a condemnation of the shallow world? The prevailing image is the yet another long take of spinning in the pool, watching the chorus dance around like zombies. But in the following scene, we have an 80’s cover band featuring Seb at one of these parties. Good Lord, what is the real world of this picture? Is it in Mia’s Turner Classic Movie Mind? That could work for the party number, even A Lovely Night (sweet as a song, but clearly the talents the number is given can’t make it spin), but not the opening.

Moreover, John Legend gets a song too, We Could Start a Fire, which clearly delineates popular music from jazz. Why, since the production was openly aware of their choices and the world around them, would they not remain consistent with this theme?

Now, I do give a lot of credit to the cinematography, even in its gimmicky moments. It’s very difficult to shoot chorus numbers in a non stagnant way. Famously Tim Burton cut the wonderful chorus parts from his adaptation of Sweeney Todd, but this in effect made his film work that much better. Chazelle crafts a deft and complete world.

Mia and Seb’s love theme is gorgeous, and a rival to many love themes throughout cinema history. The dance scene in the planetarium is just wonderful. But after a while (and as a composer I absolutely have suffered from this) it’s repeated a little too often. Hurwitz’s jazz arrangements are lovely, particularly Herman’s Habit. Here’s to the Ones who Dream is the only number to really come from a character’s emotions, as stated before, and largely it is the best song in the movie, if preachy. A few lyrical flubs, but we’ll certainly get to that.

That dream ballet at the end is basically a medley of all the songs to come before it, which orchestrally, it’s lovely, but thematically, it’s weird. When we get into sequences of the film repeated we have all the right beats, their love theme and the audition song most prominent. But at the beginning, there are musical mentions of Another Day of Sun and Someone in the Crowd whichonly serve as musical filler. When a musical theme is assigned to a scene, whenever it is played again, it should have a direct correlation between them.

You’ll notice I left out a rather popular song.

City of Stars is Terrible

The big question that always comes up for a songwriting team is “What is written first, the music or the lyrics?” Friends, we don’t have to ask this question about Hurwitz and his lyricists. We know. It is the music first.

The lyricists of the film are actually fairly well versed in the musical genre, Benj Pasek and Justin Paul. They are both composers and lyricists, known for Rent of the year Dear Evan Hansen as well as Dogfight and the Christmas Story musical. This reviewer thinks they are more than competent and have a deservedly rich career ahead of them.

Therefore, it is troubling how many awkward lines sneak into the final film. Theatre can always be changed and edited, but a film is forever. We have some slant rhymes in many songs:

“When they let you down/you get up off the ground”

Another Day of Sun

“Then everybody knows your name/we’re in the fast lane”

Someone in the Crowd

In City of Stars, we have issues of prosody (how syllables and poetry are naturally spoken) and the difference between masculine and feminine rhymes. To illustrate the culprit of prosody, I have put the strong syllables in bold:

City of stars/Are you shining just for me/

City of stars/There’s so much that I can’t see

City of Stars

Repeat those lines back in the as if you’re speaking them, then in the rhythm of the song. Do you feel how they don’t fit together? Rhyme goes beyond words, it’s in the meter as well. An example of how it should be done:

Raindrops on roses and whiskers on kittens/

Bright copper kettles and warm woolen mittens

My Favorite Things, The Sound of Music

Feel how they’re different? And now the culprit at the end of the song, the recipient of the masculine/feminine rhyme debacle. A masculine rhyme has the center of the rhyme based on an emphasized last syllable, i.e. Men/Den or Forgot/A Lot. A feminine rhyme puts emphasis on the second to last syllable, i.e. Belly/Smelly. You would never force a masculine and feminine rhyme together, like Foreplay/Today, simply because you never say Today or Foreplay. For each rhyme, the emphasized syllable must fall on an emphasized beat of music, be that at a downbeat or at least on a kind of beat. Not off. That’s when you feel that weirdness. So our culprit in question:

City of stars/Are you shining just for me/

City of stars/You Never shined so brightly

City of Stars

Other than “Me” rhyming with “-ly,” there is really nothing in common with the final couplet. You never say “brightly,” you say “brightly.” These flaws show that the text was smushed in to fit the music, and not composed hand in hand. This juxtaposition ruins the intent of the song.

“What a nitpick!” you must be screaming. “People don’t need to rhyme correctly for it to be good!” And I would say you’re correct if we were talking about popular music, and stuff you can listen to day in and day out, without needing to pick up everything on first listen. But what, I ask you, is the function of rhyming? Clarity. And what, then, is the great function of film language? Clarity. So, in a film, if you’re not doing your due diligence to perfect every facet of being clear to an audience, then, you are doing a disservice the audience and diluting your craft. But don’t take my word from it— living legend Stephen Sondheim quoted lyricist/composer Craig Carnelia in his book Finishing the Hat:

“True rhyming is a necessity in the theater, as a guide for the ear to know what it has just heard. Our language is so complex and difficult, and there are so many words and sounds that mean different things, that it’s confusing enough without using near rhymes that only acquaint the ear with a vowel… [a near rhyme is] not useful to the primary purpose of a lyric, which is to be heard, and it teaches the ear to not trust or to disregard a lyric, to not listen, to simply let the music wash over you.”

Moreover, City of Stars stops the movie still to sing a Falling Slowly wannabe, which never really comes back into play. It could be there love theme but we already have a clear theme in their waltz. The lyrics, on the whole, try and double as generalizations about love and what the characters Mia and Seb are feeling. The song, at least in terms of the movie, is largely a lie. Everyone in Los Angeles is looking for their dreams to come true as dictated in the opening number, but now we also say that everyone is just looking for love. Dreams win, poor Seb.

So, other than a hit love song, it doesn’t really service the movie. We already gleaned they were happy in love from the waltz, and maybe this articulates their thoughts with less subtext, and maybe (though it’s never clear) this is Seb’s love song that he’s testing out with her. Either way, we’re not learning anything.

And then there’s the fact that-

Emma Stone and Ryan Gosling are… Okay

Alright, alright, they’re absolutely cute together on screen. But in a film that tries so desperately to soar with Ginger Rogers and Fred Astaire, it feels like your college’s club musical. I’m the first in line to claim that it is better to see an actor who can sing over a singer who can act, but goodness. If we’re buckled in for a nostalgia trip, why cast people who cannot tap in a tap number? What a Lovely Night made me long for the actual Singin’ in the Rain. And though this reviewer respects both of their acting abilities in a great way, and loves their work, Emma Stone’s singing voice is rather breathy, and Ryan Gosling is, frankly, flat. Whilst Russel Crowe felt the brunt of the masses for Les Miserables, ol’ Gos gets a pass.

There is the rebuttal that this amateurishness was entirely the point, which is absolutely fair. Most dreamers are amateurish, and only the lucky few make it. But ask yourself seriously, in a world where they casted some of the myriad of amazing singer/dancer/actors who might not have the name recognition of Emma and Ryan, would you have been upset that they gave good performances? Not really.

Conclusion

Is La La Land a musical? Yes, it has songs, but you’ll notice that after the first 20 minutes, there are barely any tunes until the end. This is more of a romance/drama than a complete musical. And that’s wonderful for it. It seems to keep the music as a reference to happy times, and the spiraling out of Mia and Seb’s relationship is done in silence. But when a musical is plotted, that’s when the songs really mean the most. They say Broadway composer Jerry Herman makes his name on production numbers, namely Hello, Dolly!, Mame, and The Best of Times. But go to one of his shows, and you find yourself enraptured in the sad moments, the I’ll be Wearing Ribbons Down My Backs, the If He Walked into My Lifes. The musical has not been explored to its fullest extent, and La La Land has ignited a spotlight. It is dangerous to be represented by a mere pastiche of the past, albeit lovingly and warmly. We must understand that this movie is not the example— rather a doorway. I really enjoy this film, even plan on buying it when it’s available, which is why I’ve thought so deeply about it. Through this lens, we can clarify much about where we are to go. Focus on telling a story with music, telling it surely, honestly, and clearly. There are a myriad of possibilities, and perhaps it’s time to move on from nostalgia and pastiche, and into the forays of tomorrow. Medium, not genre.

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