#first I watch the 1990 miniseries
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All right, I finally have a completely open weekend and I’m gonna spend it working on Ch. 32.
(which means I have an excuse to watch IT on repeat all weekend 🎈🤡)
#I always have it playing in the background while I write#first I watch the 1990 miniseries#then I watch ch 1 and ch 2#over and over#my husband makes fun of me for it#he doesn’t get it#paper men#ambrossart
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I don't know how to really express this except to come across as a "kids these days" scold, but so much of the criticism of queerness in Good Omens would simply not be a thing if kids these days watched more 20th century queer media. Or more complex indie queer media in general.
People seem to want a show that's like the straight stories they grew up with but gay. Or the gay fanfiction they grew up with. But that's not really the tradition it's coming from. First off the novel was released in 1990. Queer film classics of the time are Dead Poet's Society (1989) and Torch Song Trilogy (1988). The TV miniseries Tales of the City (1993) wasn't made until 3 years later and it was so far out there it never had a huge audience. Philadelphia (1993) is also 3 years out and was basically the first big studio queer film. The first fluffy queer Hallmark-style romcom wasn't until Big Eden in 2000, a full 10 years after publication.
Queer stories from the time it was written were about complex and often fraught relationships between people who the world was trying to force apart. There is an incredibly strong tradition in queer films of relationships with no guarantees they will work out both in the face of their personal baggage and the weight of the world. Take a film like Torch Song Trilogy that's about the two great loves of Arnold Beckoff's life over 9 years and how homophobia shapes them. Both externally (especially Allen) and internally like Ed struggling with his bisexuality and being terrified of being publicly out. Written and starred in by Harvey Fierstein, who identified as a gay man at the time and only came out as nonbinary last year.
The Boys In The Band (1968 play, filmed 1970 and 2020) was a monumental moment in Broadway history where finally there was a play about gay men in their own words where no one died and very strongly showed that homosexuality doesn't make people miserable but homophobia sure does. But that homophobia also throws their personal lives into constant turmoil and none of them are in happy relationships, although Hank and Larry are devoted to each other in their own fucked up way.
"Relationships are complicated and hard to make work and sometimes a struggle against the odds" is an aesthetic of classic queer film making. Partly it was influenced by the Hays Code (although independent films were not bound to it), partly influenced by the rampant queerphobia in society at the time that was inescapable. But it's also an aesthetic choice to resist the banal and unrealistic relationship depictions of straight media. There are actual stakes to the relationship. Queer people were actively resisting a world that said "Romance is seeing someone across the room and instantly falling in love with each other and little conflicts happen along the way but ultimately they're destined to be together and everything is happily ever after." Recall that "stalking as romance" was a completely inescapable trope in 1980s straight romance films, and every goddamn movie was being turned into a romance film.
So queer people in film and television when they can make what they please have a long tradition of saying instead "People don't always realize the feelings they've developed for a queer partner right away. They may have reasons for denying those feelings that are both a reflection of the cruelty in society and of their own insecurities. People struggle with where they belong and their relationships reflect that. Loving someone doesn't mean they don't also drive you crazy and you might fight with them constantly. But that doesn't negate the love or that feeling that even if things aren't okay, they're better with that person around. But maybe that person can't stay around. The world may be against you. And also maybe you don't just want that one person in your life. Soulmates is a very flawed model. Sometimes the strongest love is a struggle with yourself and the world and your person. You have to overcome yourself first. Happily ever after is a lie. You may be happy for a while, and hopefully for a long while, but everything ends. And you have to be ready to love again. Also your platonic bonds are just as important and life-altering as your romantic ones. Sometimes those platonic bonds include fucking if you want them to. Real life isn't a bunch of platitudes and world-altering moments, it's daily work to better yourself and the world around you. Especially when things just fucking suck. But also remember to have fun and fuck the haters. People who don't support you can eat rocks and you should yell at them more to shut the fuck up."
That is a fundamentally different outlook on what a "good relationship depiction" looks like. Personally, I thought I hated romance movies and then I started watching queer romance movies and discovered I love them and watch them all the time. Because it turns out what I hated was relationships being shown that had nothing at all to do with reality and privileged incredibly toxic ideals. Finally there was complexity, there were stakes, and there were people who had to truly want to be together enough to fight the world for it and not because they happened to be there. There were people actually talking out their problems and looking for resolutions. (And sometimes that resolutions was "I can't fucking deal with this bullshit anymore and I'm out.") For the first time it felt real.
I'm an aroace trans gay man. Nothing about relationships or being in relationships has come easy to me, and the whole paradigm of straight patriarchal romance depictions makes absolutely no sense to me. It's completely alien. Queer romance stories actually feel human.
And that's the tradition Good Omens is coming from, even as it's being retold in 2019-2023 and hopefully beyond. Gaiman's work has always been based in that queer media paradigm. (I've been remiss and daunted and haven't read Pratchett but from what I do know his work also seems to sit more in that world view.) It's a beautiful cinematic tradition and it's baffling to me that people would resist it instead of embracing it for being honest.
And that's when I turn into a crotchety old man complaining about the youth not connecting with the history of their beautiful culture and instead begging for assimilation into a shithole allocishet media landscape that doesn't actually want them except for their money and has nothing at all interesting or valuable to say. But it's very funny (annoying) to me when people claim Good Omens is someone against queer culture when it's so thoroughly bathed in the best of queer media's storytelling traditions and what people are asking for is straight media with the serial numbers filed off. Like, stop being boring please and know literally anything about the culture the adults in the room lived through and were influenced by. The world didn't begin in 2015.
EDIT: I also want to add that in straight media arcs are linear. Traditionally in queer media arcs are cyclical. Queer media very often depicts people going around in circles relearning the same lesson over and over as they inch towards it sinking in. But every time they go through the cycle they gain just a little bit more enlightenment and slowly move towards a better place. From the comments this is an immensely important distinction. People don't actually have cathartic moments where suddenly all their past bad programming is shed and they saunter forward a new person with none of their old baggage. In reality people fall into the same patterns over and over even though they have had every opportunity to learn better. "People magically get better" is a trope of straight media that's an outright and frankly dangerous lie. Again, Good Omens follows the queer tradition not the straight one and it's depicted 6,000 years of that cycle. The world didn't end, and the wheel keeps turning, as it always has and always will. That's so fundamental to queer storytelling traditions I forgot to even mention it.
#good omens#good omens season 2#good omens spoilers#go s2 spoilers#good omens discourse#queer media#queer history#discourse#I have been a crotchety old man against the youths since middle school to be clear#if you don't know where you've been you have no hope of knowing where you should go next#I didn't sit all the way through deeply homophobic Brokeback Mountain or Tár just to hear people complain that honest rep is bad rep#This is also why I'm a critchety old man about most Critical Role Shadowgast haters#Liam and Matt have not only watched but copiously reference older queer media and Shadowgast is so clearly that tradition
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One of Russia’s most famous 20th-century novels has returned to the Silver Screen. Infamously difficult to capture as a motion picture (more mystical observers even speak of a curse), Mikhail Bulgakov’s “The Master and Margarita” is back, reinterpreted by American-Russian filmmaker Michael Lockshin. The new movie stars Evgeny Tsyganov and Yulia Snigir in the titular roles and features German actor August Diehl (Gestapo major Dieter Hellstrom in Quentin Tarantino’s “Inglourious Basterds”) as the story’s demonic character Woland. Meduza reviews the controversy surrounding the film’s director and funding, the book’s cinematic history, and Lockshin’s adaptation.
The political controversy
Michael Lockshin’s “The Master and Margarita” averages an impressive 7.9/10 rating with more than 43,000 reviews at KinoPoisk and leads Russia’s box office in its opening week after earning 57.3 million rubles ($640,000) on its first day in theaters, but the director was making enemies before his film ever sold a single ticket. Self-described patriots denounce Lockshin as a Russophobe, a traitor, and a neoliberal besmircher of the intrepid Soviet secret police. They call him a hypocrite, too, in light of the fact that this new adaptation of Bulgakov’s classic was made (in 2021, before the full-scale invasion of Ukraine) with 800 million rubles ($8.9 million) from Russia’s Cinema Foundation, the state’s key funding agency for the domestic film industry.
Lockshin, who now resides in the United States, declined to answer Meduza’s questions about the backlash in Russia, saying he’s not yet ready to comment on the situation. On Telegram, pro-war channels have circulated screenshots of Facebook posts that are now hidden from non-friends where Lockshin shared independent reporting about the war in Ukraine, wrote that he’s donated to Ukrainian organizations, warned that future generations of Russians will be paying reparations for the “tragedy they brought to Ukraine,” and compared the Putin regime to Nazism in Germany.
State propagandist Tigran Keosayan has advocated criminal charges against Lockshin, while Trofim Tatarenkov, a host on Russia’s state-run Sputnik radio (who admits that he hasn’t even seen Lockshin’s movie), called the filmmaker “scum” and fondly remembered how such “enemies of the people” were shot during the Stalinist era.
Previous adaptations
In May 2016, poet and literary critic Lev Oborin wrote an essay for Meduza answering several “questions you’re too embarrassed to ask” about Bulgakov’s “The Master and Margarita,” including the most shameful of all: Can I just skip the book and watch a movie version instead? The short answer is, yes, you can always skip the book. In fact, unless you’re a student or some other kind of hostage, you can skip the movies, too. But since you asked, there are at least two previous screen adaptations of “The Master and Margarita” worth knowing about.
The better-liked version, at least until now, has been Yuri Kara’s 207-minute film, made in the mid-1990s but not released until August 2011. Meanwhile, in 2005, Vladimir Bortko created a miniseries for Russian television that was criticized for uneven casting and even worse special effects. Unfortunately for Bortko, the 10 episodes drew deeply unfavorable comparisons to his beloved 1988 adaptation of Bulgakov’s “Heart of a Dog.”
It’s also tempting to contrast Bortko’s miniseries with Kara’s adaptation — particularly how the two portrayed one of the novel’s most visually scandalous scenes: Satan’s Grand Ball. Filmed almost a decade later and made for TV, the sequence in Bortko’s series “looks almost puritanical” compared to Kara’s film, noted Lev Oborin. In raw terms of nudity and violence, this assessment is hard to contest:
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So, is Lockshin’s adaptation any good?
Anton Dolin (a prominent Russian film critic who might be best known to casual Internet users as the interviewer who provoked Ridley Scott into saying, “Sir, fuck you. Fuck you. Thank you very much. Fuck you, go fuck yourself.”) liked Lockshin’s adaptation quite a bit. In a review published by Meduza, Dolin writes that the film “manages to retain the sharpness of the original source, which mocks Soviet power, and at the same time offers the viewer an innovative perspective on a classic text.”
Dolin praises Lockshin’s “Hollywood flourishes” and his capacity to juggle the book’s “genre and intonation incompatibility,” which has plagued past interpretations. The new adaptation brings a “circus element” to the story without sacrificing the script’s “rigidity,” says Dolin, while also “condensing the vastness of Bulgakov's novel into a coherent and clear narrative.” (You’ve been warned, formalists.)
Lockshin’s film takes some liberties with Bulgakov’s classic. For example, in the novel, the Master character doesn’t emerge until the middle of the book, leaving the reader to wonder about the title. In the new film, however, the main plotline belongs to the love story between Margarita Nikolaevna (the unhappily married wife of a Soviet functionary) and a writer she calls the Master. According to Lockshin’s script (which he co-wrote with Roman Kantor), the secondary narrative involving Pontius Pilate’s trial of Yeshua Ha-Notsri (Jesus of Nazareth) is a play within the story written by the Master and pulled from production by Soviet censors after its opening performance. (In a feat of authenticity unprecedented in modern Russian cinema, the Jerusalem scenes, which comprise roughly 10 minutes of the film, are performed in Aramaic and Latin.) Meanwhile, all the adventures across Moscow involving Woland and his entourage are presented as figments of the Master’s imagination as he slowly loses his mind under state persecution.
As Lockshin has argued in comments promoting the movie, Dolin says Bulgakov’s novel enjoys heightened relevance in contemporary Russia, and the new film makes menacing villains of NKVD executioners while presenting even more revolting characters in the Soviet elites whose conformity and hypocrisy enabled the Stalinist regime.
Dolin praises the decision to cast August Diehl as Woland, the mysterious foreigner whose visit to Moscow sets the plot rolling in the novel. Diehl’s Woland “is a real find,” Dolin writes. The German actor plays the character as “an infernally sarcastic gentleman in black” who resembles Satan “more than the thoughtful, sad wisemen from various Russian interpretations of the same character.”
A cartoonishly scary foreigner, complete with a spooky German accent, Woland turns out to be the creation of the writer’s wounded mind, his alter ego, writes Dolin. The censorship and persecution the character faces in the film are a “chilling reproduction” of mechanisms that resonate more in Putinist than Stalinist Russia, Dolin argues, highlighting some lines that wink boldly at modern-day realities, including nods to Crimea, oil production, and military parades.
Lockshin’s adaptation also features a fantastical version of Moscow that recalls the visionary designs of artists in the Higher Art and Technical Studios, which flourished in the 1920s before crumbling under Stalinism. In this universe, Moscow completed the Palace of the Soviets, altering the skyline in a delirious finale that depicts the city ablaze. This scene, in particular, has upset several state propagandists.
Dolin notes that Margarita is absent from the story for much of the film, but she reappears in the final act as a heroine on her own narrative arc. In the character’s scenes as a witch and then a queen, Lockshin’s intentions and the meaning of the novel’s title finally become clear, says Dolin:
It’s not the imagination of the writer that transforms the grim reality but exclusively the emotion that is capable of elevating you to the heavens, of burning cities, and punishing or pardoning with the mere force of thought. In the end, Lockshin’s film is not about Satan, not about Moscow, not about Pilate, and not about totalitarianism, censorship, or creativity, but about love. It alone makes a person invisible and free.
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good morning (derogatory) (in the afternoon).
i found out about the Going Postal 2010 miniseries yesterday from this post by the @ankh-morpork-times (hi! sorry for the tag!) and... that’s it. i’m fully gone. i forced myself to stop watching at 1:30am today morning (with like. 30 minutes left) and i’m positively CLAWING at the walls of my brain. I LOVE THIS MOVIE SO MUCH.
good God i can feel the love poured into it by the production. i don’t necessarily understand all the changes they made to the story—the cuts to the more technical aspects of the clacksmen’s culture in particular—but they retain the heart of the story so determinedly and faithfully. i was prepared for many more cuts and it’s so nice to be able to see small, non-story-impacting things retained, like Moist’s first dash for freedom and Princess the clacks operator. and i liked the increases to Adora’s character! (also, it’s so nice to be able to trust that they won’t mess up the story.) Charles Dance embodies Vetinari so well it’s genuinely spine-shuddering. hello Going Postal-induced bisexual panic—ALL THE ACTORS are SO BEAUTIFUL and SO TALENTED. i have so many new voice crushes.
and i can’t describe how much i love the Victorian steampunk aesthetic of the set design and THE CLACKS SYSTEM. i so wish for behind-the-scenes material showing all the FLYERS they made for the walls. and the overall feel of the production—i’m so, so glad it doesn’t overly rely on CGI effects. i was a little prepared for an underbudget feel because of the way Mr Pump 19 (and everyone else) looked in the video linked above, but omg i promise the movie doesn’t feel that way at all. it’s so rich and real, in the best tradition of 1990s–2000s fantasy films.
i thought i’d watch the remainder at home today, but ah well it’s my lunchbreak now and it’s not like i’m able to think of a single other thing anyway. here goes.
i’d like to watch the other adaptations when the braincell is up to video-processing. (i knew about Hogfather and the Wyrd Sisters and Maurice animated adaptations but not about The Colour of Magic and Soul Music. I wish there was more Charles Dance as Vetinari. I’d probably explode if there were a Vimes and Sybil.)
#discworld#going postal#moist von lipwig#adora belle dearheart#terry pratchett#gnu terry pratchett#paaa#fandom
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Sherlockian Wednesday Watchalongs: Maybe, Maybe Not
This month, it's time for more Holmes we haven't watchalonged before. Will these become new favorites or future Awful April candidates? Maybe!
Wednesday, May 1
Tales of the Rodent Sherlock Holmes: Wilson the Notorious Canary Trainer (1990)
No, not that rodent Holmes. Or even that other one. This one's a puppet, 'cause I know how much y'all love your puppet versions of Holmes. 😘
Wednesday, May 8
Sherlock Holmes: Das Beryll-Diadem (aka The Beryl Coronet, 1967)
Another episode of Schellow!Holmes, with more brand-new English subs.
Wednesday, May 15
The Interior Motive (1975)
Remember that time Spock played Holmes for a lesson on earth science for Kentucky Educational Television? No? Well, you will now.
Wednesday, May 22
Standing Room Only: Sherlock Holmes (1981 TV movie)
Frank Langella starred as Holmes in a version of William Gilette's play that was filmed for HBO. Back when that was the sort of thing HBO would do.
Wednesday, May 29
The Hound of the Baskervilles double feature (1982)
Doctor Who's Tom Baker took on the role of Holmes in this miniseries. We'll watch the first two episodes.
Here’s the deal: Like Sherlock Holmes? You’re welcome to join us in The Giant Chat of Sumatra’s #giantchat text channel to watch and discuss with us. Just find a copy of the episode or movie we’re watching, and come make some goofy internet friends.
Keep an eye on my #the giant chat of sumatra tag and the calendar for updates on future chat events.
#the giant chat of sumatra#sherlock#bbc sherlock#sherlock holmes#tales of the rodent sherlock holmes#sherlock holmes 1967#the interior motive#sherlock holmes 1981#the hound of the baskervilles 1982#watchalong
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please, talk about the phantom of the opera! as a kid, i was so obsessed with the 2004 movie that i wrote fanfiction and drew fanart of it. — dream anon
That is amazing, I would love to see your work if you are willing to share it. I first watched it when I was about 6-7 years old, so no doubt that rewired my psyche to what it is today. I project(ed) onto Erik an unfortunate amount: not necessarily/completely the version of him from the 2004 film, but Gerard Butler’s Phantom certainly won in the costume department compared to the stage productions.
I could gush about the lair aesthetics and outfits (although it may not be the most historically accurate) of the movie for the rest of time. I am tempted to rewatch the film for the sole purpose of taking screenshots for reference. The Phantom’s dark ensembles at any given time? I am envious. Christine’s ball gown in “Think of Me”? Gorgeous. The transition at the beginning with the Overture and switch from black and white to colour? Unparalleled. If I could ever afford a house, I would love to decorate it in the lair’s maximalist style minus the abundance of candles/fire hazards.
Have you ever watched the 1990 miniseries of POTO by any chance? It’s unaffiliated with Andrew Lloyd Webber’s musical and deviates from the original plot somewhat, but it is tender and heart-wrenching and highly recommended.
#your yandere#aidoneus asks#dream anon#phantom of the opera#I would have loved to do a Phantom/Christine costume with the darling but she does not like it to the extent I do#I am still sometime tempted to buy her the dressing gown Christine wears in the movie because she likes that type of lacey finery#Although that may be more for my viewing pleasure than anything#I have more thoughts about the book and musical productions specifically as well
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Halloween 2023 marathon: 16-18
The Spiral Staircase (dir. Robert Siodmak, 1946)
A murderer is slaying "imperfect" (ie disabled) women in a small Vermont town around the turn of the 20th century. Mute since she experienced a great trauma, Helen (Dorothy McGuire) is cautious, but she assumes she'll be safe within her employer's home. Working as a companion to the bedridden Mrs. Warren (Eleanor Barrymore), Helen has to deal with the older woman's moods. As the night wears on, Helen and Mrs. Warren begin to suspect the killer is in the house... but who is it? One of the servants? One of Mrs. Warren's bickering sons? Or someone from outside?
Another favorite of mine! I usually watch this twice a year because I love it so much. The Spiral Staircase is a perfectly crafted thriller with absolutely everything I could want: a sympathetic and smart protagonist, rich supporting characters, beautiful black and white cinematography that enhances the gothic atmosphere, slow-burn tension, and a climax that has me screaming at the TV for the characters to get the hell out of the house.
I really do love the supporting cast in this, especially Elsa Lanchester as the alcoholic maid and Eleanor Barrymore as the mysterious, hardnosed matriarch. But it's truly Dorothy McGuire's show all the way. Her face is so expressive, and like the best horror movie heroines, she is both vulnerable and resilient.
Another thing I love is how the film opens with Helen watching a silent film. It sets up the 1910s setting well, establishes Helen as a sensitive young woman (she's crying at the film), and it makes a subtle comment on Helen's trauma-induced muteness before we're made aware of it.
Not much else for me to say. I've gushed about this one before and it never gets old. It's probably my favorite horror movie of the 1940s, with only Cat People as competition.
The Sixth Sense (dir. M. Night Shyamalan, 1999)
After being shot by an anguished ex-patient, child psychologist Dr. Crowe (Bruce Willis) yearns to redeem himself by helping another troubled child. Cole Sear (Haley Joel Osment) is a sensitive, awkward young boy who claims to see "dead people," much to the dismay of his mother Lynn (Toni Collette). Can Dr. Crowe help Cole?
*mild spoilers below, but not THE spoiler from the ending, though I expect everyone knows the twist by now*
This was my first time watching this film.
To rip the band-aid off: I liked The Sixth Sense but it also underwhelmed me. It seems like a solid supernatural drama/thriller with a really cool twist ending, but hardly a masterpiece for the ages on par with the best of Hitchcock, as I've seen some critics claim.
What I liked: Haley Joel Osment and Toni Collette are phenomenal as the troubled son and mother. HJO is probably the most gifted kid actor I've ever seen: in every movie of his from the late 90s, early 2000s (and of course, in the Kingdom Hearts video game series as Sora), you forget you're watching an actor. And in this, he's doubly impressive because Cole is such a tormented character, dealing with powers an adult would be ill-equipped to handle. Collette is just as amazing-- a few of her scenes actually brought me to tears because she made Lynn's pain and helplessness so potent. While Bruce Willis is solid as Dr. Crowe, HJO and Collette stole the show.
The movie's melancholy atmosphere is wonderfully realized too. I think the best ghost stories are less about shocks than they are about sadness and grief. This is certainly a thoughtful movie in that regard.
What I didn't like: There are quite a few campy moments that took me out of the film, mainly involving the ghosts. Now, I ADORE camp when it suits the tone of the story. However, pairing campy, shrieking ghosts that seem like they belong in a 1990s Stephen King miniseries with a delicate exploration of grief and unfinished business isn't peanut butter and chocolate, it's peanut butter and dijon mustard.
I also found some of the directorial choices super on the nose, like the murderess at her victim's funeral wearing a bright red dress. That's a Debbie Jellinsky move, not something appropriate in your uber-serious dramatic movie.
Overall, it was a good film, but I guess I expected something with more psychological ambiguity like classics of supernatural horror cinema like The Innocents, The Haunting, Onibaba, or The Shining. Everything is pretty cut and dried in The Sixth Sense by comparison... but then again, I suppose that isn't necessarily a bad thing. It's possible my expectations were too high. I could see myself watching this again and thinking better of it, like I did with Diabolique.
Frankenstein (dir. James Whale, 1931)
Henry Frankenstein (Colin Clive) ignores his fiancee, friends, and family so he can create a living being (Boris Karloff) from an assortment of corpses. It doesn't turn out well.
Frankenstein is incredibly dear to me. I discovered it early in my classic movie geekdom and it was the stepping stone to my becoming a horror movie fan. It's gothic, heartbreaking, funny, and beautiful. While there are slicker movies in the Universal Horror canon, this one is arguably the single most influential, tied with Dracula from the same year. It's definitely my favorite.
I'm not going to write as much about this one because I plan on doing a big post on it for my Wordpress blog come mid-October, so stay tuned!
#halloween 2023 marathon#thoughts#the spiral staircase#the sixth sense#frankenstein#frankenstein 1931
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I got myself an Apple TV+ subscription so I can watch Masters of the Air, which I've been looking forward to for a decade (and also for Miles Tellers upcoming movie, if it actually ever comes out 🥲).
I just watched the first episode and I liked most of it very much. It's interesting to get the pilot perspective on WW2 because I feel like it's not that common im the genre. I really liked Memphis Belle from 1990, but a proper miniseries from Spielberg and Hanks is just *chef's kiss*.
The visuals were very good, but I can't say much about the characters yet. I guess Callum Turner's Major John Egan is the one I imprinted on the most. I also like the Austin Butler character on paper, but I found myself wishing that he had been played by someone with a little less of a babyface.
But overall, a very promising start!
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The latest installment of my unintentional series of analyses of narration in 1990s solo comics of teenage heroes (Part 1: Tim & Kon & Bart and Part 2: Grant): Ray, who has two solos.
The 1992 miniseries is short on narration. It usually occurs very briefly at the beginning of each issue to set the scene. But what there is a lot of are thought bubbles for Ray, which keep the reader on track with his running commentary on life, and first-person accounts from the characters themselves. At the beginning, Ray relates his life story to a cousin he has just met, he first learns a piece of the truth about his past from his dying foster father/uncle, and his actual father tells various versions of his history which may or may not be true. The subjectivity of these stories is important to the narrative, with its themes of hidden truths and being kept in the dark (both literally and figuratively). None of these narrators are fully reliable, for various reasons.
Ray's understanding of his past is limited by how little he knows and what he can or can't remember, and the visuals sometimes juxtapose what actually happened with his hazy memories. (He says he can't remember what happened to end his eighth birthday party so abruptly; the art reveals that he had a flare-up of his powers when a camera flash went off.)
Thomas Terrill, the uncle whom Ray believed was his father, tells a story on his deathbed that is presented as his own history but is in fact about his brother. Yet...he never really says that he did or experienced anything in this account. Every sentence begins with a verb, no specific pronoun subject. Things like "Quit...didn't want the burden...wanted a normal life...a family." Never "I quit..." Because he didn't. This is a story about Ray's real father, a completely different man.
...whose own accounts range from claiming that he is "not of this world" and that Ray is thus half-alien (a blatant lie) to a more detailed and relatively plausible-sounding scientific background of how he acquired his powers. He doles out information as he finds it convenient, and the frustrating inconsistency establishes him as less than trustworthy.
Narration is more at the forefront of The Ray 1994, the longer-running series. In previous analyses, I've focused on the association of the narrator with a guiding/parental voice for the young protagonist. Ray's stories are frequently told in first-person, usually by him. Like Tim, he is telling his own story because he doesn't have a solid parental presence in his life and thus has to be his own guiding voice. Of all the young heroes whose solos I've read, Ray is the most introspective, more so than even Tim. He's constantly in his own head, observing, overthinking, getting emotional. The greater thoughtfulness can be partly credited to the fact that he's older than the protagonists of comparable books--eighteen and later nineteen, technically a young adult although still a teenager. But his upbringing has left him very internally-focused too. He has grown up isolated, spending his time reading and watching TV and tinkering with computers. There were very people around to talk to, and even fewer with whom he could open up. Interacting with the outside world is strange and foreign, so he has a very active inner life instead.
And yet he still longs for connection, which is where the narrative device of the earlier issues comes into it. Ray met Dinah Lance one (1) time, developed a crush on her, and has started writing her unsolicited letters in which he pours out his soul to her, relating every detail of recent adventures, every difficult emotion and insecurity. Even as he overshares, though, he self-censors sometimes to put himself in a better light (as in his account of his encounter with Kon, which opens the series). The letters are very revealing of his character and allow the reader to not only get in his head but understand how he wishes to be perceived. The letters to Dinah come to an end for plot-relevant reasons, so the narration style takes a different turn, but always we are given access to Ray's thoughts so it's as if he is narrating indirectly.
The lack of a third-person narrator for Ray's POV underscores how lacking he is in guidance, as I said earlier. His father is a recurring, unwelcome, intrusive presence (he can read Ray's thoughts if he chooses and shows up at inconvenient times, like on the bus) who comes to scold and criticize and belittle, and Ray repeatedly rejects these attempts at mentorship. "You're not really my dad," he keeps saying. "You haven't earned it." As caught up as Ray is in the mess created by his father's lies, he refuses to let him set the tone for his life or identity.
But Ray isn't the only narrator of this series. Sometimes Dinah narrates, and we learn how she feels about this infatuated teenager who persists in writing to her. Not only does it provide insight into her character, it clarifies actions she will take and acts as a counterpart to Ray's limited perspective.
Another issue is narrated through an account written by Happy Terrill as a young man in 1941, recounting his acquaintance with a mysterious young man with an inexplicable earring (a time-traveling Ray!) and how he acquired his powers. Again, this allows us to better understand Happy, who has evidently always been a self-important jerk--a trait only exacerbated by his becoming the Ray. So much hubris.
Later on, third-person limited narration shows up for Joshua Terrill, who is too young to have thoughts introspective enough for first-person but whose perspective needs to be given for him to make sense. Joshua is just a child and in need of the guidance represented by a third-person narrator commenting on his actions--but the narrator doesn't comment. Only reports his thoughts. Like Ray, Joshua is alone in the world, no thanks to their father.
But the most surprising narrator is in a very late issue: a version of Bart Allen as an adult. This is jarring; Bart doesn't narrate normally. He thinks in pictograms. It's weird getting introspection from him, even twenty years into his future, and he comes across as a completely different character. But the narrative point here is less to develop Bart's character and more to reveal how badly future!Ray has gone downhill through the commentary of a close friend who has (mostly) maintained his moral compass where Ray hasn't. Future!Ray's thoughts and narration aren't a thing anymore because he's no longer self-reflecting. He has sold out to money and power and has left behind his essence in the process.
By the end of the series, the narration has more or less ended. Happy tells his final version of "the entire truth" (or is it?), another very subjective account designed to make himself look the hero despite his questionable actions. And Ray...he's finally reunited with a mother who now knows that he's her son. Things are about to change for him. He doesn't need to narrate his own life totally alone anymore.
(And he won't. Never again. The comics quit caring about his POV from here on out.)
#comicsposting again#RT: born with the light#I know this isn't going to mean much because no one else has read this#but *I* have and there are so many thoughts and I am going to make that everyone else's problem :P#so thanks for humoring me
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Welcome to the phandom! I'm a newer fan, watched poto for the first time ever about a months ago. I started with the movie and went from there- everyone is super awesome and friendly, Id recommend checking out @wheel-of-fish bc they do watch parties every Saturday and its a great place to learn more and enjoy the show
i’m basically doing that same thing aha! started with 2004 movie - 2011 musical - 1990 miniseries and now i’m just heading off to wherever next
i’ll definitely be checking them out though! i’d love to join in with a watch party like that, thank you!
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Hey! Any wlw recs? Fics movies shows anything
ANON WHERE TO BEGIN
Some personal favorites off the top of my head:
Movies:
Carol (2015) - Cate Blanchett, period (1950s), absolutely stunning and iconic lesbian cinema
The Handmaiden (2016) - reimagining of Fingersmith by Sarah Waters, set in Japanese-occupied Korea during the 1930s, brilliant and imaginative and lush
Imagine Me and You (2005) - Lena Headey (Cersei from GoT) being a hot florist, love at first sight, cheesy romcom deliciousness, big warning for cheating tho it’s handled very well imo
Rafiki (2018) - coming of age love story, beautiful and ends on a good note but there’s a LOT of homophobia and some violence so be careful, was the first Kenyan film screened at Cannes which is amazing
Vita and Virginia (2018) - based on the real life romance between Virginia Woolf and Vita Sackville-West, the 1920s fashion + delicious sexual tension 🤌🏻🤌🏻 cw for depiction of depression and suicidal ideation
Tv shows:
First Kill (2022) - SUPPORT THIS SHOW, vampire and vampire hunter fall in love, set in one of my fave cities (Savannah), very camp Romeo & Juliet high school romance just with more blood and fangs
Fingersmith (2005) - British miniseries based on the same novel as The Handmaiden but much closer to the source material, Victorian lesbians ft the most magnificently crafted plot and sexual tension galore, holy shit watch it
Killing Eve - okay this one is a little controversial bc of the ending (which I pretend doesn’t exist) but holy fuck if you like VegasPete, Villanelle and Eve are their even more murderous and batshit crazy cousins. Cat and mouse games between a psychopath assassin and a British intelligence officer (altho she’s actually American but whatever) that I was sure would be queerbaiting, but nope they’re in love. Consider looking up how it ends tho if you need HEAs in your stories
Gap the Series - not out yet but when it is, WATCH IT. Currently in production I think, probably out later this year. It’s Thai and will be available on YouTube with subtitles. Office romance, so many lesbians I’ve lost count and like one (1) man total in the cast.
Gentleman Jack - just dropped season 2 unffff. Period British show based on the life of lesbian Anne Lister, who is one half of the first known gay marriage in England. She’s so fucking hot and butch if you’re not in love with her the second she jumps off that carriage in episode 1…and her love story with shy, repressed wallflower Ann Walker is tender and sexy and complex. Cw for depiction of anxiety and suicide attempt in season 1 (lmk if you’d like the exact ep and time stamp)
Portrait of a Marriage (1990) - a little hard to find but worth the hunt. Based on the romance between novelist Vita Sackville-West (yes, who also had an affair with Virginia Woolf) and her socialite lover Violet. I cannot believe more people don’t talk about this miniseries bc holy shit. Vita and Violet are so fucking in love and their chemistry and love scenes had me gripping the edge of my seat despite the abysmal quality of the version I watched on Dailymotion. Cw for a shitload of cheating, some toxic vibes, and an ending that while mostly historically accurate was still a bummer.
Fics:
Obv I will shamelessly plug my Kinnporsche f/f smut bc I love her and also am desperate for more f/f fic in the ao3 tag so I’m not over here by myself anymore lol
I don’t know what fandoms you’re in but if you’ve watched Word of Honor or read 2ha, holy shit is there some good f/f fic in those tags. Sort by kudos and godspeed friend
Books:
You didn’t ask about books lol but here are some faves of mine anyway
Delilah Green Doesn’t Care by Ashley Herring Blake - hot tatted bi protagonist, very gender, falls in love with cute single mom in her hometown when she comes back for her stepsister’s wedding
One Last Stop by Casey McQuiston - Kate and Leopold but gay and good, butch lesbian from the 1970s gets stuck in time on the subway, grumpy bisexual falls in love with her, makes me reconsider my stance on subway sex bc holy shit.
Dowry of Blood by S. T. Gibson - okay this one is sapphic but in a polyamorous context so if you want, like, zero men then skip this rec. Inspired by the lore around Dracula’s brides, very gothic and queer, Constanta (narrator) is the first bride who’s in love with Dracula but also her fellow brides Magdalena and Alexei. Cw for depictions of emotional abuse and gaslighting, Dracula is a manipulative piece of shit (who would’ve guessed lol)
Hope this helps anon!
#I’m not tagging all that lol but#wlw recs#lesbian recs#book recs#movie recs#tv recs#why don’t queue stay
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I'm trying to think of horror movies I really enjoyed. Because I've watched a lot of horror movies but most of them fall into "it was okay but forgettable, wouldn't watch it again" category.
As Above, So Below was a banger- and I tend to not like found footage horror that much i.e. the Paranormal Activity movies were extremely mid.
I like a few of the movies based on Stephen King novels. 1408 was my first horror film so it has a special place in my heart. Loved In the Tall Grass, The Shining, and It (both the recent movies and the 1990 TV miniseries.)
There's a lot of good supernatural horror films from Japan- The Grudge, The Wig, and One Missed Call are ones I can name off the top of my head. There's also a lot of good indie horror games from Japan (i.e. Chilla's Art games), Japanese horror developers have a REALLY good grasp on atmosphere. American remakes of Japanese horror films fucking suck.
Insidious was good. The Conjuring was good, but most of the other movies in "the Conjuring cinematic universe" are mid. The Babadook was good. Us was fucking fantastic.
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[🧺]
heya there, elle! soft femdom anon here!!
congrats on your 2k followerss!!! ❤❤❤
I was wondering if you could play matchmaker with me?? pretty please?
My favourite colour is definetely pink, any shade of it but specially barbie/juicy pink. <33
My favourite pass time is drawing, I literally have a sketchbook full of sketchpages of both fictional characters I love (I have like four whole pages full of that bastard Patrick Hockstetter doodles) and my friends. I only do traditional drawing since I'm completely hopeless at digital art (😔) and it's usually just pencil sketches with colour touches and details.
For movies I'm obsessed with I'll go with IT, both the 2017 one and the miniseries from 1990 (but I kinda prefer the 1990 one, I just love the old-ish/vintage-ish vibe of it and the way pennywise is just even more scary in that version like that school shower scene with Eddie when the motherfucker just pops out from the drain left me all like 👀😱😰🧍🤡💀).
Another movie I'm obsessed with is the outsiders, from 1983. Dallas Winston and Ponyboy are my boyfriends, thy just don't know it yet- and Grease. Danny Zuko and Kenickie are literally my men.
(can you tell I love pathetic boys dressed up in leather-?)
My favourite animals are definetely the hienas, I JUST LOVE THEM-
I MEAN HAVE YOU HEARD THGEM LAUGHQ!?!?"? they are literally my spirit animal and I've loved them since I was like four and watched the lion king for the first time lmao 😭
LOVE YOU WUTH ALL MY HEART AND I HOPE UR HAVING THE BESTEST DAY CUZ U DESERVE IT MWUAH MWUAH/platonic
okay, Barty and James for sure.
you're chaotic in all the best ways and so are these two. Barty would fucking love IT, and James would be obsessed with Grease fs fs.
Barty would absolutely ask you to "draw him like one of your French girls" as a joke but then just dote on you about how talented you are lol. James would be a bit emotional seeing your perspective of him I think, and then proceed to brag about his lovie is the most talented.
(also, since we chat on Tuesdays..... 👀 ...... I gave you one sweet sub and one brat 💝)
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hi there! i've been following you for quite a while, originally for a3, but i see you also enjoy poto. i've been meaning to get into it for a long time now, but im not sure where to start (so far, i've only ever read the book). do you have any recommendations for poto content to either start out with or to prioritize in general? thanks a ton!
Hi there anon!! this was a pleasant surprise to see in my inbox and I wasn't expecting to get questioned about POTO at all tbh! I'll try my best though 😊
I think starting with the musical would help, that's what actually lead me down the rabbit hole.
The most well known one would be Andrew Lloyd Webber's. This one is pretty similar to the book, if I recall correctly, having a some changes here and there (one of them being that the Persian isn't actually present in the musical.) I'd recommend either watching/listening to the broadway or the 2004 film, the latter being what introduced me to POTO in the first place hehe
There's also another musical by Maury Yeston and Arthur Kopit (which I've only discovered this year), though it is loosely based from the novel, and kinda shows the Phantom in a different light. I actually watched the 1990 miniseries first before listening to the musical, and I gotta say that the Phantom was very charming in this one, made me swoon a bit 🙈
Their music style is pretty different from one another, now I'm not that good with music terms and classifying the styles, but Yeston & Kopit's is more opera like compared to Webber's which is a sort of mix with opera, classical and a bit of rock maybe??? They are both bangers though, I swear.
I'm pretty sure there are other retellings and musicals based on it, but these two plus the book are the only ones I've consumed so far.
OH AND ONE MORE ACTUALLY!!
Webber actually made a sequel to his POTO musical called Love Never Dies and boY IS IT A RIDE. I think the fans have mixed feelings about it, it has great songs though omg. So so basically, it's ten years after the original musical and is set in an amusement park called Phantasma, and w/o saying anything about the plot, basically our main trio come together again and we get love triangle 2.0 with so much drama. Was honestly flabbergasted the first time I saw it ‘cause I went in blind but as I rewatched it for the 3rd time and listened to the soundtrack over and over again, I admit it's pretty good. In a trashy way. Do I recommend that you watch it? Honestly, yeah, it was a pretty wild ride and I was entertained, it was a good time despite everything about the plot. You don't have to though if you don't want to!!! Some people actually described it being fanficy or something along those line
But yeah, that's all I have to recommend, I hope this helps you somewhat!! Even though I was just rambling most of the times haha.
If you have anymore questions or if you ever do get around to getting into it more I would love to hear about it, don't be afraid to pop in with your thoughts or screaming or complaints, it would be nice to talk about it with others aside from me just ranting about it to my siblings 🤣 No pressure though!! But i genuinely hope you enjoy it 🩵🩵
Wishing you all the love, softness, and good vibes anon!! ✨🩵
#asks#anon#A poto related ask woop woop#i hope it made sense!!!#the timing of this is pretty funny considering i was considering on rereading poto for spooky season
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Goddammit, I wasn't going to say anything more about this. And I don't like sharing too much negativity on here. And I probably should let it go.
But I'm still so mad about Good Omens.
It stung a little when I first saw the spoilers of what happened in Season 2. So I thought I'd wait until I cooled off, then decide whether I wanted to actually watch the season. Every time I checked in with myself about it, I still wasn't done being hurt.
But instead of the hurt and anger fading, it's just gotten stronger as the weeks have gone by. Which tells me that something else is going on here. And I think it's this:
Something that was once safe, is no longer safe for me.
I'm so tired, so very very fucking tired, of media doing a heel-face-turn of tone, retching up stomach-dropping plot turns, slapping out out-of-character developments in its protagonists, and in general not following through on the original promise the story was based on. The promise of 'this will ultimately arrive at XYZ general conclusion or point or feeling.' Even if there's struggling and surprises along the way, there's a promise there. I'm not saying the story has to be predictable or handle the audience with kid-gloves. I'm not explaining my point very well; writers, I'm sure you know what I'm talking about. The Promise of the story that it will keep from the outset.
For me, Good Omens had an ending. It ended with a kid and his friends saving the world, and an angel and a demon toasting the planet and the human race that lived on it with flutes of champagne. It celebrated humanity, and all our wacky characters came away from it happy. And yes there was an open canvas ahead of them of what came next, but it left me with a sense of joy and celebration. It was safe.
That's just it. It was a safe place for me, emotionally.
And now, it's not safe anymore.
Now it's all betrayal and desperation and heartbreak and slowed-down gifs explaining every tremble of a messy divorce, and I just can't. I'm so fucking done with stories not following through on their promise. I'm tired of having my emotional safe places ripped away from me, and then have everyone else say 'why are you mad, it's not the actual end of the story.' You know what, you're right, the story ended in 1990 when the book was published, and in 2019 when that one book was wonderfully adapted to one miniseries of TV.
I'm not going to watch Season 2. I'm not going to engage in any fandom activities regarding it. Maybe one day I'll dip my toe back into writing fanfic based on book/S1; right now that still feels too painful. I stopped writing the MCU fanfic after Infinity War/Endgame, and it's been going on 4 years since that hiatus. We'll see how long this one ends up lasting.
My safe happy corner of the internet is gone. And I'm fucking furious about it.
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Shōgun!
Shōgun: The much-anticipated Japan-set show has finally landed.—Cosmo Jarvis as the English ship pilot John Blackthorne, whose vessel was wrecked upon the Japanese coast in the early 17th century. After losing his ship to a violent storm, the English navigator finds himself in an endless web of complex politics and power play in Japan and is forced to deal with the two most powerful men in Japan these days. He is thrown amid a war between Toranaga and Ishido, who struggle for the title of Shōgun which will give ultimate power to the one who possesses it.
The term shōgun, which means “general who quells barbarians,” is an ancient military term that was adopted in the twelfth century for the dominant warlord who held political and martial power in Japan while the emperor in Kyoto maintained his position as figural head of state and cultural leader.
Shōgun (1980)
Richard Chamberlain at an event for Shōgun 1980) Photo by Archive Photos/Getty Images - © 2012
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The original Shōgun, a five-part miniseries based on James Clavell’s best-selling 1975 doorstop, was a massive hit when it aired on ABC in 1980. Nearly a third of American households tuned in to watch a cast led by Richard Chamberlain and the iconic Japanese actor Toshiro Mifune retell the tale of an English navigator’s adventures in feudal Japan. The series won three Emmys and three Golden Globes. The series and book triggered a wave of interest in feudal Japan.
Toshirô Mifune at an event for Shōgun (1980) Photo by NBC/NBCUniversal via Getty Images © 2012
Shōgun: The First Novel of the Asian saga. Set in the year 1600, it tells the story of a bold English pilot whose ship was blown ashore in Japan, where he encountered two people who were to change his life: a warlord with his own quest for power, and a beautiful interpreter torn between two ways of life and two ways of love.
Shōgun is a 1975 historical fiction novel by James Clavell, set during the late Sengoku period in Japan. It serves as the first novel in the internal chronology of the author's Asian Saga. A notable best-seller, by 1990 the book had sold 15 million copies worldwide.
About the author
James Clavell, the son of a Royal Navy family, was educated in Portsmouth before, as a young artillery officer, he was captured by the Japanese at the Fall of Singapore. It was on this experience that his bestselling novel KING RAT was based. He maintained this oriental interest in his other great works: TAI-PAN, SHOGUN, NOBLE HOUSE and GAI JIN.
Clavell lived for many years in Vancouver and Los Angeles, before settling in Switzerland, where he died in 1994.
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Shōgun (2024)
The new Shōgun, whose two-episode premiere comes to FX and Hulu, is not a remake so much as a radical reimagining. Adapted directly from Clavell’s novel, this sprawling, 10-part historical drama takes a far broader view than its predecessor. The series will have a total of 10 episodes, releasing a new chapter every week following the premiere. The release of its first two episodes is on Tuesday, February 27th 2024.
Shōgun is a historical drama based on James Clavell's novel, focusing on English sailor John Blackthorne's experiences in Japan and the power struggle among various leaders. Pilot John Blackthorne, also known as Anjin-san, is the protagonist of James Clavell's 1975 novel Shōgun.
The novel is inspired by the real-life story of William Adams, an English sailor who travelled to Japan in the 1600s played a crucial role in Japan's overseas trading, and rose to high rank in the service of the shōgun. The series follows fictional Englishman John Blackthorne's (Cosmo Jarvis) transforming experiences and political intrigues in feudal Japan in the early 17th century. Shōgun assigns details to characters that match their historical counterparts and has influenced other works, such as video games and films.
Hiroyuki Sanada headlines Shōgun as Lord Yoshii Toranaga. The Japanese actor and world-renowned martial artist is most known for his roles in films such as John Wick: Chapter 4, Bullet Train, Mortal Kombat, 47 Ronin, Army of the Dead and The Last Samurai . Shōgun isn't his first foray into television either, having appeared in Season 3 of The Last Ship, Seasons 2 and 4 of Westworld, and Season 6 of Lost.
With Shōgun, for the first time after more than three decades of work in his nearly 60 years of acting, the icon Hiroyuki Sanada took on the project of a lifetime. He received his first-ever producer credit on the show, painstakingly poring over every detail of the production’s lavish, nuanced portrait of feudal Japan. And he found himself giving a performance unlike any he’d given before.
To this end, actor Hiroyuki Sanada was brought on board not only to play the lead role of wise, strategic Lord Yoshii Toranaga, but also as an executive producer. Sanada, a major star in his native Japan, has enormous experience in period dramas there.
The main cast of Shōgun also features Cosmo Jarvis, British actor playing the lead in the series, which was shot over 11 months in Vancouver. Jarvis featured in Ridley Scott’s sci-fi series Raised By Wolves, as well as Peaky Blinders, where he was the tragic, shell-shocked Barney, part of the plot to assassinate Oswald Mosley.
Cosmo Jarvis, as John Blackthorne, his bestial and brooding, vibe couldn’t be any more different from Richard Chamberlain’s slickness. When John Blackthorne’s beleaguered ship drifts into a Japanese harbour where his ailing crew are taken hostage, he finds himself first used as a pawn in the local power struggles, before being appointed a samurai complete with his own army.
Anna Sawai (Monarch: Legacy of Monsters) as Toda Mariko, Tadanobu Asano (Thor) as Kashigi Yabushige, Hiroto Kanai as Kashigi Omi, Takehiro Hira (Gran Turismo) as Ishido Kazunari, Shinnosuke Abe (13 Assassins) as Toda Buntaro. Moeka Hoshi as Usami Fuji, Tokuma Nishioka as Toda "Iron Fist" Hiromatsu, Yasunari Takeshima (Silence) as Muraji, Yuki Kura as Yoshii Nagakado, Fumi Nikaido as Ochiba No Kata, Tommy Bastow (EastEnders) as Father Martin Alvito, Yuka Kouri as Kiku, Yoriko Dōguchi as Kiri No Kata, and Ako (30 Rock) as Daiyoin / Lady Iyo.
Shōgun is Epic! Strap yourself in for a wild adventure in feudal Japan. This lavish adaptation of the classic samurai novel is a beautiful, intellectual fare that amply rewards your full attention. But be warned: it’s gruesome from the get-go. Highly recommended if you enjoy top tier drama 🎭
“Shōgun” is created for television by Rachel Kondo & Justin Marks, with Marks serving as Showrunner and Executive Producer alongside Michaela Clavell, Edward L. McDonnell, Michael De Luca, and Kondo. The series is produced by FX Productions. “SHŌGUN” PREMIERES EXCLUSIVELY ON DISNEY+ IN THE UK AND IRELAND TODAY 27th FEBRUARY 2024.
#Shōgun #general #JamesClavell #book #pilot #RichardChamberlain #JohnBlackthorne #Ishido #Toranaga #LordYoshiiToranaga #Japan #series #feudalsystem #HiroyukiSanada #CosmoJarvis #AnnaSawa #TadanobuAsano #HirotoKanai #TakehiroHira#ShinnosukeAbe #FX #Hulu #Disney+ #RichardChamberlain #ToshirôMifune
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