#i know he has greater parallels with other characters butt | Explore Tumblr Posts and Blogs

spkothdvldotmp3 · 3 years

Note

Interesting thought: we never actually here from the original Rose Red throughout all of OUAT(is), just her clones

Also interesting thought: Odin is the only suspect that gets her song all to herself, while the other three all have guest appearances from other characters

OKAY, this is actually one of my favorite things about the Mechs- it isn’t just about the story itself, but how the story is told. i have Many Thoughts on this, so sorry for the incoming rambling.

OUAT(IS) technically has several solos, like Old King Cole and Our Boy Jack, but the only solo sung by a real character is Cinders’ Song- and she’s the only character who survives the album (okay, so technically Briar Rose and the Mechs, who share a song, also survive, but that's a fun thing to think about too, that the only person to share a song with them here was also the only one to survive meeting them- not only survive, but be practically brought back to life because of these Harbingers of Death). But then, on the other end of the spectrum is her own wife, Rose Red. Rose never gets a chance to really live- her life was cut short by her kidnapping and subsequent murder at the hands of King Cole- and that's in parallel in her never getting a chance to tell her story. Every other player in the story gets to speak or sing something, but she’s locked away until literally the last few minutes. It really lends an air to the “the story can only be told by those who survive” vibe that i’m really into.

In contrast, in UDAD, nearly everyone has a solo- Ulysses has three, and each of the Suits has one of their own, because they all see themselves as the Main Character of the story (but of course, only Ulysses really is). (Also, side note, the way each of the Suits sings a melodic line from their own song in Torn Suits, because they’re sticking to their guns and refusing to compromise. The way each of the instruments cuts out with their deadly wounds. The way the bass is the last instrument playing because Ashes was the only one who knew what was happening and was really the mastermind behind it all, as well as the only survivor of the planet. Torn Suits is truly the Perfect Song, i could talk about it for hours.) However, neither Daedalus nor Hades/Ashes have solos- Ashes sings in Underworld Blues, and Daedalus doesn’t sing at all, and they’re the last two left alive at the end of the album (“the Suits lie dead or dying,” as Jonny narrates, and the fiction has that line about Daedalus’ complaining being annoying enough for Ashes to turn off the cameras, iirc). The thing about these two is that they’re pulling the strings from behind the scenes, and that secrecy reflects in their not taking as big a role in the story musically.

Then, in HNOC, i want to point out how lovely it is that when the Pendragons sing, they sing together, and the way their lines compliment each other in Gunfight with Guinevere’s fast high harmony and Lancelot’s lower, more steady line, because of LOVE is one of my most favorite things (although only Arthur appears in Boy’s Night Out The Hanged Man Rusts but really, it’s his mistake here that helps set the tragedy ball rolling, so it’s important that he be here alone). In this one, the solos belong to She Who Sings Empty Trail, Galahad, and Captain Mathea if we count The General’s presence as more of a cool harmony than a duet, who all sort of end up in a category i describe as “Leader Who is Trying Their Best But This Is a Ship of Tragedy And Sometimes You Have to Be Willing to Sacrifice Yourself for the Greater Good” (Empty Trail lady doesn’t actually sacrifice herself, unlike Galahad and Mathea, but i get the feeling she would. it’s about the vibes.) They don't have anyone else to rely on to help them make these heartwrenching decisions, and that's shown in the fact that they're literally singing alone- that's part of why that last verse of Holder of the GRAIL hits so hard, because it doesn't even have that sinister harmony, and it feels so much emptier for it.

Finally, in TBI, as you pointed out, Odin is the only one with a solo (unless you count The Void doing Red Signal, which could still technically work with all this, especially as Raph sings both the background vocals in RS and as Odin). Loki’s song is interrupted by Thor, Thor’s song features Odin, and during Sigyn’s song Loki joins in. And in this album, Odin’s the only one who actually knows really anything about what’s going on. But unlike Daedalus, who you could argue is in a similar position of Holding Knowledge in UDAD, Odin wants to be the center of attention, so she gets her own solo and butts into other people's numbers- she’s the All-Mother, she is the Serpent that Shall Poison the Sky and Boil the Sea, and this is her legacy... which makes it all the more important that it’s actually Thor who gets the last word in on their confrontation in Ragnarok IV, and then Loki and Sigyn have an entire duet after- she doesn’t get what she wants, not really.

i’m sorry this got so long and drawn out and i don’t even know if it makes any sense, but i have a lot of feelings about music and story analysis

#asked and answered #anon #should i be maintagging this? whatever i’m doing it anyway #the mechanisms #hey remember when you originally sent this is months ago and i though about it for literal weeks and forgot to actually answer it? yeah me #my post

280 notes · View notes

hunterartemisanime · 3 years

Text

Noragami: Bishamon- the Archetypical Warrior Mother Goddess

Bishamon or Bishamonten from “Seven Gods of Fortune” in Shintoism is the typical “strong woman” trope character in a Shonen anime called Noragami: she is angry, she is beautiful and conveniently buxom for fans to drool over her. Termed by Yato as “ugly broad” Bishamon is fierce and coarse. However, she is not only that: she has a caring and nurturing side which almost caused her demise once and put her in danger over and over again. So this is my take on Bishamon and why she is the Eastern archetype of “Warrior Mother Goddess” instead of her Shinto persona.

First of all, let’s look what Bishamon actually is in the Classic Shinto religion. In Japan, Bishamonten (毘沙門天), or just Bishamon (毘沙門) is thought of as an armor-clad god of war or warriors and a punisher of evildoers. Bishamon is portrayed holding a spear in one hand and a small pagoda in the other hand, the latter symbolizing the divine treasure house, whose contents he both guards and gives away. His (because Bishamon is a male in Shintoism) legend derives from the Hindu Demigod “Vaisravana” or “Son of Vishrava”, who is known as Kubera the God of wealth. Both Vaisravana and Bishamon are associated with material fortunes and Bishamon is really a fierce version of Vaisravana, a well-fed, content and rather gluttonous demigod.

But how a god like Bishamon gets transferred in Noragami to a woman? It could be a design choice by Adachitoka to create a contrasting female character who could meet Yato in a more Godly plane. But I can see some clear Hindu influence in Bishamon’s design. She is inhumanly beautiful, fierce, perfect body and with rapunzel length hair. Her design is very similar to the Warrior Goddess Durga. In the “Meditation of Durga” she is described as

“the one with great length-ed dreadlocks in her head...whose face is beautiful like the full moon, whose complexion is as fair as flax seed flower...whose beautiful teeth sit on her full lips, whose full breasts hold the elixir of immortality*-- (Meditation of Durga, verse 1-3)

The physical description of Durga has uncanny similarity with Bishamon. the Goddess is also called “nabayouvana sampannang, sarbabharana bhushitang” (who is young and clad with fantastic jewels). Bishamon may be young and beautiful but she does not wear any eastern jewels: she is rather clad with her regalias posed as weapons, navigation and clothes; thus it isn’t far off.

It is not only the superficial physical appearance that are similar with Durga and Bishamon; they also share some character similarities. The traditional Bishamonten is not known to have a mount or Divine Familiar, Bishamon in the anime on the other hand does a divine familiar in the form of mount: Kuraha, who takes the shape of Lion and can travel in the air. This is an iconic similarity with Durga, whose divine mount is a lion. In “hymns of Gandhesvari” Durga (or her Gandhesvari form) is described as “Simhasta” (the one who rides a lion). Durga is also known as “Simha vahini” (she whose vehicle is a lion). The Bishamonten is known to carry only one weapon, a spear, but Bishamon in Noragami has or carries multiple weapons because she has multiple regalia. In the “Meditation of Durga” the goddess is known to carry a goad, bow and arrow, executioner’s sword, discus, conch, mace, shield, rosary and the trident. Bishamon too carries multiple weapons: whip, guns, knife long machete etc, just like Goddess Durga herself. One part of Durga’s weapon is “Aveda barma” or the “impenetrable armour” forged by the ironsmith of the Gods, Vishwakarma (the forger of the universe). Bishamon wears a full blown armour by her regalia Aiha when the Ebisu-crisis occured and she had to journey to underworld.

Now, in the parallel of two warrior goddesses who seem to be far from society’s idea of ideal femininity, where does the nurturing part fit? According to the Hindu mythology Durga is only a fragment of the ideal femininity: the rightful rage of “Adi Shakti” (Ancient Energy), the Female mother goddess. (Excuse my jargon) in the “Durga Saptashati” of Rigveda, the Goddess is described as “mother of all creation” (verse no 3) and at the same time she is described as “creator, sustainer and destroyer of the world” (verse no 4) of which she is the Mother. Bishamon has an extensive collection of regalia: she does not discriminate who is weak or who is useful, she takes everyone in as her own according to Noragami Wiki:

“She willingly accepts any wandering and troubled spirit, useful or not, and adds them to her family. “

She and her Shinkis live in Takamagahara which is the universe on its own, so she is the guardian and mother of her Shinkis in a way. Takamagahara is situated in a place which has golden hued galaxy as the backdrop of the sky. The form of Durga which alludes to the primeval Female Goddess is called “Bhuvaneswari” (she, whose body is the universe). The shinkis or regalias derive strength from her divine existence and they exist in a palpable form because of her. It again alludes to “Devi Suktam” (the introduction of the Goddess) where is has been mentioned:

“ I am the Queen of the Universe; I give wealth to those who worship me. I am the all-knowing one and the prime one among the worshippable deities. I enter many bodies as the Soul, taking various forms and with different manifestations, in various ways. ... That one who eats food, who sees, breathes, and hears whatever is said, he does all that only through me (my powers). Those who do not understand me, die. “ --(Devi Suktam, verse 4 & 5)

The sense of being center of the universe has brought a tremendous sense of loss and grief to the goddesses in many occassion. In the myths, when Goddess Parvati (the calm version of Durga) loses her child Ganesha, she assumes her rageful spirit again to destroy the universe that has taken her child from her. Bishamon has faced tremendous sense of loss and grief when she lost her “Ma” clan due to the malefic thoughts of the Shinkis--an action which blighted her tremendously. She too assumes a vengeful spree towards Yato, who allegedly slaughtered her “Ma” clan.

In short Bishamon is a great representation of motherly strength in anime field: the term “mother” often evokes a sense of tenderness, security and comfort, but it has been proven in the ancient myth that bringing life into the world and the sense of protectiveness towards life is the most powerful energy of all: it can make an break everything in existence and when the motherly tenderness is challenged it can manifest in one of the most destructive forces in the world. Thus the “ugly broad” “stern powerhouse” persona is only skin deep. The essence of Bishamon is far greater and more empowering.

* In ancient India, full breasts of a woman, which are swollen with milk was granted as a symbol of motherly power, nourishment and comfort. A woman with moderate breast size or small breast size were considered equally beautiful. In fact talking about sexuality in religious and secular discourses by scholars and sages were acceptable. It has no sexual connotation whatsoever. Please don’t perverse it in any sense.

...

wow that’s a lot, now tags (although I have no evidence that they like Noragami)

: @sidd-hit-my-butt-ham @yanderebakugo @kurokonbscenarios @kurokonobasket @kurokonoboisket @art-zites @idinaxye @sp-chernobyl @strawbe3ryshortcake @reservethemoon @rilnen @a-shy-potato @thirsthourdemon @animebxxch @edagawasatoru @akawaiishi-blog @reinyrei @chloe-noir @theswahn @ahobaka-trash @jeilliane @trashtoria @scarlettedwardsposts @quirkydarling @ghostieswaifu @levihan-freaks @hope-im-spirited-away @yves0809 @marshiro1101 @bubziles @heartfullofknb @kit-kat57 @akichan-th

#bishamon #noragami #ugly broad of noragami #bishamon goddess #shintoism #durga #noragami analysis #feminine narrative #anime analysis #girl power #mother goddess #shintoism rigveda #vedas

76 notes · View notes

mwolf0epsilon · 4 years

Text

First off, before everyone comes after my butt with their "No Fun Allowed" and "Cringe" signs, this is in no way something to be taken as gospel or insightful. It's not a prophetic enforcement of canon. It's literally a theory done for fun, and to try to piece the Bendy Crack up Comics into the general and messy lore of the BatIM franchise.

Most of you get this and don't need a big wordy warning about fanon interpretation, but a lot of peculiar people tend to show up in my ask box hoping to start a fuss over my headcanons and AU ideas, so I thought to be nice and leave a polite and diplomatic "Kindly Fuck Off" sign at the door for them.

With that said, there will be mild spoilers, carry on of your own volition, down below under the cut that will definitely show up because Tumblr mobile is a functional app that's never given me trouble!!!

---

[[MORE]]

The Bendy Franchise has an established issue with cohesion in its lore. We all know what I'm talking about, we all have reservations about canonical character discrepancies (game vs novel vs guidebook) and we all have been racking our brains with a few holes in the timeline, as well as how BatDR (which is neither prequel nor sequel) will fit into this, since it's connected to BatDS and that's an established prequel to BatIM.

Granted I myself am missing a lot of pieces, having to scrounge around for info since I can't really get any of the reading material myself and rely heavily on @british-hero (who owns the novel plus got her copy of the comics yesterday), a very incomplete wikie, and analysis and theories from SuperHorrorBro's Bendy videos.

Heck, I also rely on a lot of gameplay footage, because BatIM has a bit of subtle storytelling through visual design of its levels, and hints of how certain characters work through a few game mechanics.

Through this mishmash of collecting puzzle pieces for the greater picture I even have a few notes on my phone to piece together certain events in established dates, something which comes very in handy for this theory since it talks about two particular characters, the Projectionist and Brute Boris (and I guess Twisted Alice to some extent but it's more of a note on some interesting thoughts I have of her).

Without further ado, here's what this theory is all about: Why did Norman become the Projectionist, and why did Twisted Alice turn Buddy Boris into Brute Boris?

If you think about it, there's only two creatures in the studio that really seem out of place in the world of BatIM, and that's Prophet Sammy and the Projectionist. Neither are inherently similar to any of the cartoon characters, nor are they considered to be Lost Ones. They're certainly not Searchers, but while we know Sammy is unique because his method of transformation was different, we never got an explanation for Norman's. It could be that it's a process similar to BatDR's new enemy type that's larger and seems to have bits and bobs stuck to it, but then those big guys seem like the equivalent to Swollen Searchers for the Lost Ones. The Projectionist doesn't really fit the puzzle.

Or at least he didn't.

With the introduction of the Crack up Comics collection, we get three new characters that were definitely designed in the same manner that the Butcher Gang was. Beginning with a corrupt monster forms and then giving way to perfect and pristine rubberhose toon forms.

I'm talking about Miss Twisted, the Brute, and Cameraman.

The villainous trio from the Souper Boris comic strip.

To us it's obvious the artists created them in parallel to Twisted Alice, Brute Boris and the Projectionist, but to the actual canon this actually has a bit of an impact on the Projectionist's existence.

Why, you ask? Because those characters were introduced between 1936 and 1940.

Bendy Crack up Comics table of contents, showcasing the publishing dates of the strips.

For anyone who doesn't know (either from not paying attention to the Joey Drew Studios channel audio logs, or from not owning the books) the Ink Machine wasn't conceptualized or installed until 1942/1943. Putting that into perspective, the only other thing that happened in Joey Drew Studios in 1940, was the conceptualization of Bendyland (which is likely the origin of the idea for the Ink Machine itself).

This means that Cameraman existed well before the Projectionist ever came to be, and that made me think about another thing: The Ink's apparent sentience.

I'll be frank, the Ink is very hard nut to crack. I consider it a form of alchemized entity, others consider it pure black magic, and I'm pretty sure Joey Drew himself had no idea what he was dealing with when he began using it. The fact of the matter is that the Ink is alive and that it has its own agenda. One that coincides with Joey's, out of mutual interest.

In the novels it seems to want to be free, but it can't exactly do that as a formless liquid, so it tries to body-snatch people (ex: Sammy and Buddy's grandpa).

When Joey tries to use it to give life to Bendy through nothing more than using the Ink and a template (likely a character model sheet) the Ink tries to follow the model but immediately becomes a distorted humanoid version of it (which honestly rings so many fucking alarm bells on its own). Things… Escalate there on out, with Joey trying to perfect the method and only managing to succeed through Daniel Lewek (and many other nameless Boris Clones), Allison Pendle and Thomas Connor.

An important thing to take from this, however, is that by trying to perfect this method Joey not only taught the Ink to reshape things into viable referenced material, but that he had to have lost control of just how many souls were being pumped through the Ink Machine for him to monitor and keep up.

Sammy started killing people when he completely turned, and it didn't seem to take long for him to cut down people in likely both the music and art departments. At this point he had no self-restraint and was completely wrapped around inky fingers and Joey's lies.

Norman is one such potential victim, and Dot and Buddy even passed by his ink-wrapped body while fleeing.

Now, the thing about trying to follow a specific guide and not having the actual means to make it exactly the same thing, is an easy enough notion to get (as shows like "Nailed It", and years of trying to perfect visual style mimicry, have taught me).

The Ink likely had the template it needed (maybe a printed copy of Souper Boris that got thrown around in the chaos), the insight of what Norman's role in the studio was, the amount of mass it needed to consume and transform his dead body, but not exactly the right sort of… Centerpiece for it...

Cameraman using his lens to light up his path.

But what's a projector besides a bigger fancier camera? Both blink, both take film, same thing right? The ink doesn't see the difference and just stitches together this humanoid bootleg cameraman with the pieces it finds that are similar enough.

Mechanical blinky head? Check.

Strange round disc near the belly? There's a speaker. That's round! Check.

Film? There we go, a nice big round reel full of film in it, let's put it near the head, that's how it works right? Check.

Lastly, no Joey to actually direct this artistic recreation of a one-off character. The Ink did it all by itself while he was off getting his hand broken by a rightfully upset Buddy Boris.

If you look at it objectively it makes sense that being the projectionist tasked with not only recording and maintaining the projectors themselves, that the entity in the Ink would pick Cameraman as a template for Norman's transformed self.

It also makes sense that the Projectionist is so off-putting in the studio. He's almost perfect, but not quite because there just weren't the right materials. He's stuck in between Twisted Alice and the Butcher Gang clones as another failed recreation.

Moving on to the next question on why Twisted Alice turn Buddy Boris into Brute Boris, when she hadn't done the same to any of the other Boris Clones.

It's hard to say really, but I think it all comes down to who Twisted Alice really is. It's very likely that, as Susie Campbell, she would have knowledge of the comic strips. A few were most likely made into cartoon shorts even (which isn't an unusual assumption to make), and maybe Susie voiced a few background characters for said shorts.

Susie may have lost her role as Alice, but before Joey came to her with his proposition for the "special project" it's very likely that she remained in the studio, forced to do the voices of characters that weren't noteworthy or that she felt completely disconnected from (talking chairs and singing hens really don't become beloved fan-favourites) . Maybe if the Souper Boris story was made into a short, she might have voiced Miss Twisted (which honestly would be personally insulting considering she once had the role of the main heroine).

Point is, Susie knows her lore, and that translates to Twisted Alice's repertoire of insightful knowledge on the abominations lurking around the studio.

She never did turn other Boris clones into brutish lackeys because at the time she didn't need to. But it doesn't mean she hadn't considered it. Henry's disruptive behaviour is just what she needed to put that plan into motion.

There was already a "Cameraman" walking about, one that could easily rip apart anything it came across, so acquiring the means to recreate the "Brute" would have been benefiting from her point of view. The Projectionist doesn't take orders and can't be reasoned with, so if she could make something just as strong that took her orders she could, theoretically, be safe from most terrors in the studio. If that didn't work, she would still likely send others to their death by simply sending them down to Level 14, or maybe lure the Projectionist to them herself (just because he doesn't take orders doesn't mean she can't use him to achieve her end goals).

Miss Twisted, the Brute and Cameraman in their evil swamp lair.

But why Buddy Boris specifically? Why couldn't she have used any of the bodies laying around? Freshness most likely. Rigor mortis is probably still a thing, even for living cartoons. Easier to work a fresh dead body than a bunch of stiff wolves.

That's at least why I think Brute Boris is a thing. Susie's knowledge of most Bendy cartoon/comic strip characters, taking inspiration from the Projectionist's presence, and honestly a very twisted sense of humor and irony. In her quest to become a Perfect Alice, the heroine of the show, she ended up becoming just as antagonistic (although more sadistic) as Miss Twisted, a Bendy comic strip villainess.

#bendy and the ink machine #batim #bendy crack up comics #bendy spoilers #spoilers #theory #headcanons #speculation #twisted alice #the projectionist #brute boris #long post

99 notes · View notes

mrnerdteacher · 5 years

Text

All 32 Memorable Scenes from Avengers: Endgame, Ranked (because to leave out even one would do this movie a disservice)

Before we begin, I wish to make three disclaimers:

Literally ALL THE SPOILERS AHEAD, so go see it first. Seriously. It’s fantastic. It’s greater than the sum of all 22 of its parts. It’s a three hour movie that doesn’t feel too long. It’s funny, heart-wrenching, thrilling, and the pay-off we all deserve. I cannot say enough good things about it. Faith restored.

Despite how critical I sound, I didn’t HATE any of these moments. Some just worked better than others.

I had to go to the bathroom three times, so if I’m missing an amazing scene, please let me know in the comments.

And now, without further ado, every moment from this epic epic, ranked from “worst” to best.

32) Hawkeye for an Eye- Clint going on a faceless-villain killing spree after his family dies is stupidly cliche

31) One too many Cap Speeches- I hope you like your films like you like your pizza: warm and cheesy.

30) Come and Get Your Concussion- Knocking out Quill to pre-steal the power stone was just kinda funny

29) Bruce Rolls a Natural 20- Convincing the Ancient One to hand over the Time Stone felt a little too easy.

28) Picnic Panic- Watching Clint lose his family was rough, but the mom dutifully serving lunch felt cringe

27) Hulk Snaps- While I enjoyed the suspense/uncertainty that follows this moment, it’s weird that a finger snap is actually required to activate the stones powers, except all the times in the movie when it’s not

26) Iron Man Snaps- For such a hugely important moment, the “I am Iron Man” line felt eye-rollingly forced

25) Time Heist is Botched when Loki AGAIN Steals the Tesseract- What a wascally wabbit. You could practically hear the Benny Hill theme in this scene

24) Nebula Shoots Herself- I feel like the “evil” Nebula went down way too easy for the sake of pacing

23) Thor Goes for the Head- Aside from a clever moment in which you think Thanos is altering reality to defend himself but it’s really the Hulk Buster breaking through the floor, this scene is underwhelming

22) My Self-Righteous Suicide- The cliffs of Vormir is a great motif, but wondering which of the two most insignificant Avengers would successfully kill themselves lacked the punch it should have had.

21) Thor Abides- it’s nice that Valkyrie gets crowned the “king” and all, but the new role feels out of character

20) Tony and the Intergalactic Facetime- Paper football is cute, and Tony’s goodbye felt appropriately emotional

19) Iron Dad- this film’s packed to the brim with father/daughter moments, but “Love You 3000” is a good one

18) Let Me Guess, He Turned into a Baby- who doesn’t love a “working out the kinks” tech montage?

17) Scott Reconnects with Cassie- Checking the wall of the dead, and finding her alive? Instant tears

16) America’s Ass- Cap fighting his past self wasn’t surreal enough to stop him from ogling his own butt. Nice.

15) Tony Invents Time Travel- It had been way too long since we had a “Tony does his homework” montage.

14) Every Time Brie Larson entered the shot like a literal shooting star- I will never get tired of her entrances, especially sporting her new do.

13) The Funeral- The Proof that Tony Stark has a Heart is also proof that we love RDJ even more than we realized

12) That 70’s Show- Giving Tony the father/son talk he always deserved/needed was touching, and Steve’s creepy Jim Halpert impersonation sets the movie up for that incredible final shot

11) Passing the Torch/Shield- Old Cap made me so happy, but passing the mantle to Sam? Even happier. Hope it made racists everywhere uncomfortable

10) Emaciated, Stir Crazy Tony DESTROYS Boy Scout Steve Upon Reunion- Were we really expecting a hug?

9) Professor Hulk Takes a Seflie with Fans at a Diner- the precise moment I knew this movie would rock

8) The Taco- I had a very lousy Monday, but still laughed on three separate occasions when I remembered this masterpiece of silent slapstick.

7) Thor Handles His Mommy Issues- you know a movie’s good when it retroactively redeems DARK WORLD.

6) Elevator Redux- Everything about this scene. The tension. The parallelism. The way Steve defeats the entire platoon with a single, sly “Hail Hydra” is both really smart writing and a nod to fans of the comics & films.

5) The Future is Female- suspend your disbelief and realize that this gorgeous, empowering team-up moment is a giant middle finger to all the dude bros who review bombed Captain Marvel. Plus, there’s a freakin’ pegasus.

4) Cap Proves He’s Worthy- the most thrilling, shocking, satisfying, and important fight in the whole film. My whole theater got chills.

3) Thor Really Lets Himself Go- Fat shaming aside, seeing Thor bicker with kids on Xbox Live and belligerently request a Blood Mary is yet another believable, endearing, & hilarious reinvention of the character. The only thing that would have made it better would have been the addition of Darryl as a third flatmate.

2)The Gang’s All Here- I never thought they could pull it off, but when the resurrected heroes, all several thousand of them, return from the dead to fight Thanos’ army, it ACTUALLY felt surprising, moving, and most importantly, earned. Spider-Man’s instant kill. Black Panther emerging from the Lion King sunrise. That look on Hope’s face. IT’S ALL SO DAMN GOOD!!!

1)The Dance- Maybe it’s because I’ve always been Team Cap, but what a perfect way to close a perfect film. I cried tears of pure joy.

#captain america #tony stark #avengers #endgame #avengers endgame #steve rogers #marvel #marvel cinematic universe #hulk #Robert Downey Jr #Chris Evans #bruce banner #Thanos #spider-man #Brie Larson #Captain Marvel

69 notes · View notes

kingofthewilderwest · 5 years

Note

it kinda bugs me how they cant make httyd3 longer just so they can emphasize the story in a deeper meaning, like your post abt it being disproportionate. httyd3 had a LOT more plot than httyd2 and we can already see how it has to cramp so much and why that makes D2's pace felt pretty fast. the structure of the story is actually well planned.. perfect, to be exact! but the execution like putting pauses, necessary humor, longer dialogue, is whats needed to make it um, understandable? im not sure..

this isnt meant to judge the movie as bad though! but its a question ive been asking why they cant do it longer, for that sake. is it the budget? was Dean really certain the script is okay? or is it meant to be like this so people can interpret the movie their way? (oof that one is confusing).. i dont know, i want to ask about your thoughts on that >

From this.

It’s an interesting conversation for sure! I believe that THW doesn’t have to be longer to be extremely successful in the ideas it needs to convey! The core ideas being:

Toothless cannot be a wild dragon and strong alpha leader with humans. Other dragons probably deserve the respect of needing wild dragon needs, too.

Humans like Grimmel are extremely dangerous to dragons and will continue to arise, so dragons need to go to an area separate from humans to live in optimal peace.

Hiccup and Toothless’ powerful friendship will separate (insofar as physical location) due to the first two points

I know you’re not the only person I’ve talked to who wanted a longer time because you feel like certain elements were cramped, needed more breathing room, or that dangerous plot points didn’t get enough sense of weight. More time would presumably give that flow and sense of scale and danger. Now, it’s true that more time would give us more content to develop these things. That said, I believe solutions aren’t always “add more.” Creating good art isn’t about adding new things; it’s about knowing when to take away or alter, and how to make every second of your creation count optimally.

I remember when I was doing my music composition degree, my instructors hammered into me what would make a good final piece: the editing process of deleting measures - even measures that were really good! - because they didn’t fit what the final product needed. It’s painful to delete, but ultimately, it’s freeing; instead of making a music piece more cluttered to put all possible good ideas in, I can make it less cluttered, more manageable, more beautiful, more meaningful, and more effective to audiences. A better overall piece isn’t putting in every good idea I have; it’s leaving the piece with the beautiful ideas it needs.

I suggest The Hidden World doesn’t need added materials so much as it needs refining what’s already there.

Budget, production green lighting, and carefulness to the script all seem to have been done. HTTYD 3 was given a longer production time than originally planned. They pushed back the date exactly so they could make their best product. Interviews with people like DeBlois and Spielberg (who read several definitions of the script) talk about how much the script was transformed and bettered through its drafts. They did enough tweaking and care to rework the script. As for budget, the movie was 129 million USD, which sure was the cheapest of the HTTYD trilogy to create, but it’s about on par with what DreamWorks has spent on other movies like Home and Trolls - it’s not like there was skimping - and it’s all about making your money count, which I think this glorious, top notch animation quality film effectively did. So from what I’ve heard, I think production ran fine and we can’t question THW there.

I think most of THW’s problems can be solved simply by tweaking how scenes go down, taking a few small elements out, and adding a few small elements in. It doesn’t need time changes; it needs internal modifications to what’s already there. What I propose wouldn’t change much of the movie’s length - though maybe I we could add 5-8 minutes for things like a longer climax.

1. To Feel Less “Cluttered” or “Rushed”

The movie didn’t feel rushed to me or too cluttered, but it’s cluttered. You’re right. In addition to creating less clutter, my suggested tweaks will clear up time THW can spend elsewhere, streamline THW into fewer palatable essential ideas, and give a slight tone makeover that will add more sense of danger and conflict that THW needs.

Fewer humor side gags with minor characters (and less time spent on them). The gang’s antics are fun additions, yes, but that doesn’t mean they’re central to what the plot needs. Spending too much time with them adds clutter and takes away from plot-central, tone-central material. There’s a huge gaggle of gags in THW, more than any movie needs in a less-than-two-hour-long run time. Do we need all these to give THW its comic relief? Don’t get me wrong - I loved the humor - but time needs to be prioritized, and the movie will be improved once “less is more.”

Less time with Tuffnut’s pep talks. This goes with my first point. This comedic gag was lengthy in particular. It’s in part because it connects to the idea of Hiccstrid marrying, which THW does make more central in its themes. However, I also propose:

Spend less time (or delete) the will-they won’t-they marry Hiccstrid plot. THW intends to parallel Hiccup and Toothless maturing into adulthood, including their romantic connections. However, a will-they won’t-they marry subplot in Hiccstrid isn’t needed to create that parallel. Not to mention: it can be uncomfortable to have this undertone of romance as “required” adulthood maturation, and the fact that Hiccstrid are so close and intimate makes it feel “off” that they’re so uncomfortable talking about marriage. Spend less time here, simply make fans aware they’re going to marry in the future but not today, and return to the main relationships THW needs to pay attention to: that of Hicctooth and Nightlight.

2. To Make Grimmel a Greater Sense of Threat

One of the central points is that Grimmel is extremely dangerous and represents one of many humans that’ll continue to be a threat to dragons. While Grimmel can be overcome, Hiccup will need to interact with Grimmel in such a way he can understand that dragons and humans cannot coexist in today’s civilization without continuing to risk danger, and that it’s best for everyone to live happily in two separate civilizations. It’s not being defeated by the enemy’s oppression, but taking a brilliant countermeasure to give humans and dragons both a better existence.

Making Grimmel feel like a greater sense of threat, and helping audience members understand what Grimmel represents overarchingly of humanity’s current antagonistic state, will help us and Hiccup process why a separation is best. This can be done by:

Show Grimmel’s impact on human society. All we’d have to do is change what his base looks like: it could be located in an area taken over from another human civilization, showing his army’s power and place in this world over humans.

Greater weight placed on Berk’s exodus. The Hooligans lost their home, but it’s played too lightly. It’s not written optimally as an emotionally impacting or destabilizing moment, which decreases the sense of threat Grimmel has. Instead of having the Hooligans excited to find New Berk, show them grieving. They can butt against Hiccup’s ideas of finding the Hidden World, but instead in a way where they’re frustrated at his naive solution and hurt at what they left behind. This isn’t adding time to THW; this is tweaking phraseology and presenting an event differently.

Change how Berk is abandoned. To make the attack feel more dire, threatening, either: 1. Have the Hooligans more reluctant and grumpy to leave in the town meeting, and not play the leaving scene so lightly, or 2. Have Grimmel chase them out of Berk so they have to flee then and there. This might even reduce time!

Show Grimmel’s power over dragons. We could have a few-second-long flashback of him standing over a field of dead Night Fury bodies, or have his place cloaked in dragon skins or skulls.

Show Grimmel’s power as a warlord. Grimmel acts in almost a solo fashion, despite cooperating with warlords and having an army. It doesn’t give us a good sense of scale. Show his interactions better with the whole of his forces to make him feel more dangerous, and for humanity as a whole to feel more like a threat against dragons. For example, in the scenes where he’s trying to trap the dragon riders, show him commanding more people.

Show Grimmel’s impact on the dragon (and/or human worlds) through landscape. What if, as the Hairy Hooligans try to find a new place to stay, they fly over several islands that have been destroyed by Grimmel’s forces? Either human civilizations, or homes once havens to dragons, with characters making comment they “hope” people got away. And what if, when Grimmel takes their dragons near the end of THW, it’s again through more violence and a raid and fire and destruction?

Conversations more clearly talk about Grimmel’s dangers over dragons and humans, and how he’s one of many people that’ll arise. This idea is embedded in THW dialogue, but not clearly enough to fully grasp its weight, especially not in the sense we see characters grasp this. Have Hiccup and Astrid and Valka or something talk about how widely destructive Grimmel is, how even once he’s gone another man like him will take his place, and that while they may continue to fight and win for human and dragonkind, it’s ultimately not the right move to make for everyone to live safest and alive. A conversation laying this out makes a world of difference in our understanding of what dangers are going down and why we need to come to the solution THW concludes with. Again, this isn’t adding time; it’s changing phraseology.

Add a few minutes to the climax. Make the final fight with Grimmel obviously the final fight, the threat bigger, the action more intense.

Perhaps show that Berk’s done good work changing the world by their choices. Even though Berk ultimately decides to let the dragons go, they are meant to be the voice of peace that changes their world. The good guys can’t resign to letting themselves live under the thumb of bad guys’ choices. Show that they’ve made a difference - Grimmel and his armies are gone and the world is regrowing (no more torched landscape, if we add that element in) - but that it’s still going to help their world by letting dragons go, too… for this generation, at least.

3. To Make Hiccup and Toothless’ Parting Jive Better

Hiccup and Toothless separate out of need - they can’t live in the same place for the better of both their kinds. However, since the movie spends so much time on Toothless chasing after the Light Fury, we don’t get that full sense of need. I propose:

Open THW with a clear Hicctooth sappy bonding moment. We need things like “Forbidden Friendship” and “Where No One Goes” to feel the power of Hicctooth’s love. Give us that starting sense in THW of how close they are before adding in the complications. It can even be done by tweaking how the opening fight scene goes down.

Show dragons profiting by living with humans, but it also being Complicated with their wild side. We need to acknowledge that the relationship between humans and dragons has done the dragons good, too! Otherwise it might feel incongruous with the rest of the franchise.

Show dragons being unfit in the urban area through their own restlessness. The movie tries to show this with Moosie Boi being too big for Berk, and Berk being so crowded with dragons Gobber finds the soup unsanitary. But if we see Stormfly restless and want to leave for the Hidden World, too, wouldn’t this say something more about where dragons are pulled to and belong?

Less time spent on Toothless investigating the Night Fury. You can’t cut this down too much or we’ll feel like rushing, but since THW focuses so much on just Toothless and the Light Fury’s connection rather than an overarching problem for dragons, it’s hard to feel the full-scale issues of the problem. Making it just him and her feels more like a hook up love story than “dragons and humans are incompatible for their needs.”

Change Toothless’ body language. Show more emotional division in Toothless about his conflicting options. Show him hesitant to leave Hiccup and the two interact over that. Show him lonely away from his kind when with Hooligans. Show him feeling that loneliness met - that deep emotional need of being with his own species - when he’d thought was lost to him (rather than focusing on it being a romantic hookup interest). This doesn’t take more time; it tweaks what was already given on screen.

Change Toothless’ emotions with the Light Fury to feel more like loneliness being met than horny boi practicing kissing with a rock. This does a better job of showing that Toothless has a deep need that needs to be met as a wild animal and as a social draconic species.

Change conversations Hiccup has with humans about Toothless’ struggle. Maybe have Hiccup processing less with people and more by himself or with Toothless. Don’t write the conversations with people be about “Toothless has a girlfriend” and “of course he left.” Discuss instead how Night Furies are social creatures and Toothless hasn’t been with his kind in six years - that’s a huge hole in his heart being filled. Validate the deep connection Hiccup and Toothless have, while simultaneously acknowledging the struggle of this moment now. The movie shows that the Light Fury can never be domesticated, so I think that’s fine, but maybe one line from Astrid saying, “I don’t think she’ll come to live with us,” would be enough to help other audience members pick that up too.

More time spent on all dragons being in danger, and Toothless as an alpha unable to protect them with Hairy Hooligans. The story doesn’t show Toothless being much of an alpha - intentional - until he reaches the Hidden World and it clicks. But I suggest it’d be more effective to pull this out more than having an issue with Moose Boi taking up too much space in Berk, and Berk being so crowded Gobber has a dragon in his soup.

Put more of a deal on Toothless being an alpha. You can say that Toothless didn’t understand or use his role as alpha when with humans, but I think showing more sense of conflict, and of an alpha needing to be wild to protect his own, would be useful. Make this an issue for all dragons. The alpha status being used as a blackmail device against Toothless to keep the Light Fury alive could be replaced with us seeing the full species of dragonkind being unable to be protected by an alpha apart from his own people. More needs to be done than dragons bowing to him in one scene to understand what the alpha does for his society.

Show Toothless with more Light Furies. The Light Fury being his singular focus is great. But what about, in the Hidden World, Hiccup and Astrid watch Toothless interacting with a whole group of Night Furies, and he’s clearly in a situation that was Made For Him?

THW already has great content in there - Toothless and the Light Fury interacting, Hiccup crying when he realizes Toothless is fit in the Hidden World, Hiccup freaking out and Astrid comforting him when he feels a low, and Hiccup and Toothless parting ways touchingly at the end.

With these proposed tweaks, we get Toothless and Hiccup’s relationship being addressed deeply from the angle of both friends. We understand what both Toothless and Hiccup emotionally feel, and palatably sense how both love the other. We get a sense that Toothless is attracted to the Light Fury and might want to mate, but that she’s also calling him into a wild life and reminding him that he’s been alone, separated from his kind. We get a sense that it’s not just Toothless, but all dragons who might be called back to the Hidden World. We get a sense that it’s not just Toothless, but his whole role as alpha affecting the entirety of dragonkind.

And once we add in a greater sense of Grimmel being dangerous, and that more humans like him will continue to rise up, we can understand why Berk would release all their dragons. It’s not that dragons hate living with humans - THW can make that clear - and it’s not that dragons haven’t been profited by living with humans. But in the current call, the current situation, it’s best to go to the Hidden World.

I’m mostly tweaking how scenes go down, changing lines and reactions rather than adding material. Feel free to propose a longer movie! For me, THW already has enough space to share its message. Maybe it needed to be a few minutes longer, but I suppose my own sense is that they had enough time to budget in this material, make a smooth-flowing movie with all the material they needed to present, and come away with an astounding storyline.

Like you, this isn’t meant to judge the movie as bad! It isn’t bad! It’s downright wonderful in many aspects. I’m so happy I’ve seen it and can scream over it! Simply, if I were in charge of tweaking the script, these are the first alterations I’d make, and I think it would make THW even better.

#long post #httyd 3 spoilers #httyd 3 criticism #httyd3 #httyd 3 #How to Train Your Dragon 3 #THW #The Hidden World #analysis #my analysis #Hiccup #Toothless #Hiccup and Toothless #Light Fury #Grimmel #ask #ask me #awesome anonymous friend #faq

184 notes · View notes

dyketectivecomics · 6 years

Note

So...what ARE you feelings on bruce being a Pisces? Let alone that Cass is an Aquarius, Dick is an Aries, Jason's a Leo and Tim's a cancer?

I slowly shut my laptop and set it aside on my bed, staring ahead at nothing in particular as I reminisce on a favorite Pisces in my life. My best friend since childhood, a girl who i’ve known for well over a decade, more than half of my life really, who happens to share the exact same birthday as Fictional Character Bruce Wayne. A Pisces-cusp.

I think on the similarities I see between them, the qualities of her character that only I and a few others would know, and try to think on how others have perceived her before joining our friend group over the years. I admire her empathy, her passion for music and video games, her willingness to put all of her friends above herself.

And then i remember how she drunk-texted our group chat last night just to tell us she loved us & that she couldn’t wait to hit up a gay bar with us when we’re all back in town.

And I cackle. Because if no one else does, I do see these qualities in Bruce Wayne’s character. Just a hair below all the so-called brooding and angst. Bruce is a water sign who’s a little emotionally stunted in that he tries to hide his feelings, but he feels oh-so-very much. He’s a Pisces trying to emulate a Scorpio and falling just short (bc lets be real, he’s got too many kids that he definitely dotes on) but yknow… it’s something that when he’s done correctly by writers, they somehow manage to fit those qualities in without even realizing, I think. Sure, he’s not a kid that I grew up with and there’s plenty of differences because my friend is, yknow, an actual person who’s more than a couple of personality traits. But damn if I don’t see similarities….

Now, as for the rest of the kids & others that I relate them to… (under the cut, tagging as “long post” for mobile users just incase tumblr wants to be a butt again) Also a warning bc some of this will sound like I’m ripping from astrology sites but honestly just narrowed things down from my own personal experience with these signs. Take all of this observation & comparison with a grain of salt, if you wish.

Cass is an aquarius, like myself. And I’d be lying if I said that I didn’t see more than a few similarities in what few scattered stories I’ve been able to read so far (or even that I might be prone to reading a bit too much into some of it bc hey, I have a fav now & I want to see myself in her, sue me). One of these days I’m probably going to sit down and really dive in, but for now, I gather what I can, listen to the meta that others have, and ofc, try to form my own opinion.

That being said, an eccentric-ass Aquarius is really the only choice to take over the mantle from a sensitive-ass Pisces, and everyone can fite me on this. Aquarians & Pisces, my friend and I, Bruce and Cass- all on a similar wavelength, esp when they’re encouraging each other and learning to grow from one another.

Cass is an air sign that most people only see as being grounded because of the discipline David Cain instilled in her from childhood. She’s funny, wise beyond her years, and intensely dedicated to the mission at hand bc of what it means to help others as a whole. And this is fault that I see in myself and in her: she’s got plenty of empathy for those she might already be close to, and absolutely cares about humanity in a greater sense, but caring for individuals without getting to know them can be uncomfortable. She’s driven, but can be blindsided by that dedication and burn herself out easily if others don’t intervene. Also, an introverted extrovert, one who’s absolutely ready to meet with others and collaborate/team-up, but can get a little lost in her own head from time-to-time.

…

Now, Dick the Aries. My other best friend since childhood also shares this sign with my First Favorite Robin. And I do see more than a number of parallels between the two of them. My aries friend has a penchant for taking over projects and setting themselves in charge of the operation. But they also have the charm and ingenuity to make themselves to seem the perfect and best fit for that leadership position. They’re rebellious, a little brash in decision-making, but they’ve also mellowed out over the years in many small ways. Still on fire about what they’re most passionate about in life, and more than willing to achieve it by any means necessary, damn anyone who thinks that they won’t.

There’s a popular consensus in fanon to make dick a kind of hufflepuff who’s just there for his friends & loves hugs and is lovey all around- but Dick is driven. He cares for his friends fiercely and will help them absolutely, but he’s ready to avenge them too. He’ll punch you in the face, pirouette with the utmost amount of sass, and then make you feel bad for making him do it in the first place. He’s got that bit of deviousness that will make you second guess his intentions. But if you’re already part of his inner circle, you have nothing to fear from him. And that’s where his lovey side then has room to come out.

…

Moving on to Jason the leo, and I know you didn’t ask, but Im adding Stephanie to this discussion as well since she’s a leo too. A few leos that I’ve gotten to know over the years can be summed up very lovingly as this: attention whores. (again. very lovingly. i love each and every one of those bitches so damn much, this is something they’ve each used to describe themselves lmao)

Leo is the King of the Zodiac, commanding attention in the room whenever they walk in. They’ve got plenty to say, of course, and they’re excellent diplomats/socialites in many ways. Often best suited for a leadership position. They know how to read the conversation and the room and turn it best into their favor. They will dazzle you with their wit and charm, but also in their knowledge of the subject at hand. If they have an Opinion, they’ll absolutely let you know what it is, and they’re not afraid to hold back on what they perceive to be a truth. Some will have a bit more tact than others, but they’re a fire sign, after all.

Did this just describe Jason & Steph? well maybe not to some, but I definitely see their drive to complete their own missions & joining up Bruce’s crusade as Leo qualities. Steph and Jay are willing to do what it takes and butt heads with whoever they must if it means doing what they see is right. They’re absolutely social people too (maybe Steph a bit more than Jay will be), and you can’t deny they’ve both got a certain kind of charm over the rest of the family.

…

Tim the cancer sign… this is… difficult actually. One of the few signs that I don’t recall having significant interaction with. (& honestly the character & Robin that I have the least personal interest in. I do want to like him but I just…??? Havent rlly found the time to put into reading up on him more)

But just going off the water sign aspect, and knowing water signs in my life… Emotions & emotional intelligence are obviously going to be at the forefront. From what I’ve gathered on Tim, he’s very well-rounded in all areas of his life, and driven to succeed at whatever he’s set his mind to. I can absolutely respect the strength his character has commanded over the years, and his popularity is absolutely earned, I think. Writers have worked hard to make sure he’s distinct from Dick & Jason before him in many ways, and I’ll have to look deeper into his character & listen to more meta on him before I’ll be comfortable to speak further on that.

…

To round out this discussion, I want to bring Barbara into the mix, because she’s had a fixed birthday for awhile now. And tbh she’s just as much part of the family as the rest I think (yes, I know some people get Babs fatigue bc she’s the first batgirl & gets the other girls lost in the shuffle but hey! I’ve loved her for awhile now!) She is *drum roll* a Libra!

Now, this ones a bit tricky, bc the most important Libra in my life is my mom. Buuuut, she and Babs are both cusps… on opposite ends of this zodiac sign. I admire my mother for her resolve, inventiveness, work ethic, and stability. I also loathe her tendency to micromanage projects, become overly involved in the work of others (to the point where she WILL find out whats going wrong) and how she tends to overwork herself (just this past spring has been really really difficult. I’m surprised she hasn’t worked herself into the grave with the amount of stress she puts on herself)

Now some of these qualities, I absolutely see in Babs. But I also see a bit more awareness in her character, esp when she’s grown up into her Oracle persona. She seems able to recognize what she’s doing and how she’s affecting others, and will sometimes use that to her advantage. She’s a character who’s grown into the adversity she faces & doesnt let it change her resolve for completing the mission, even if it needs to be from a new (& probably better) angle. She adapts well to change, or forces the change to adapt to her. She is a force to be reckoned with and admired.

…

All of this to say… at the end of the day, the stars are still just balls of gas and light that sit some billion light-years away from us. Do they really control our personalities? I mean, probably not. But there’s enough similarities in those traits to make you wonder… and it’s honestly just a Good Fun Time regardless.

#long post #randywrites #asked and answered #sorceressassassin #ok that should cover tags lmao #anyways jim gordon is a capricorn and i totally see it bc my sis is one too & omigosh the way mom n sis butt heads is hilarious when i think #abt how its a reverse of jim & babs butting heads #the parent/child dynamic is reversed by sign & a little by social convention but not rllyby much #anyways bruce absolutely loves and tries to relate to all of his kids but heaven help him #so yeah this is what i mean when i say I'm laughing over bruce being a pisces bc I'm usually imagining my friend #altho her boyfriend isn't a pisces i think he's a leo... so they def don't have that bruce/selina dynamic... since selinas a pisces too #hey like signs with like is usually the best way to go #I've got a lot of feelings and i tried to pare it down to the basics but this still came outlong #home y'all don't mind that tho anyways. happy sunday everyone I'm just gonna go cry about stats now

16 notes · View notes

lj-writes · 7 years

Text

The trouble with the Light Side, and Finn as the Balance

What happens when you’re told, “Don’t think about the elephant?” Chances are, you’ll immediately think of an elephant.

I think that’s the problem with the Light Side of the Force as we have known it: So many of the doctrines and practices of the LS, such as the Old Jedi way of not forming attachments, are premised on resisting the temptations of the Dark Side.

If your goal is not to turn Dark, then what are you going to be thinking about? The Dark Side. This is why puritanism of all stripes is destined to fail, because it’s consumed more with what it’s against (sex! rock ‘n roll! murder!) than what it’s for (eh, love and peace I guess?).

Anakin Skywalker’s story from the prequel trilogy is a prime example of this in the Star Wars saga, walking backwards into the one place you were determined not to go. Intentionally or not, the prequels were an indictment of the Jedi way.

I think similarly, trying not to turn to the Light Side has a polarizing effect on those who turn to the Dark Side of the Force. You can see this with Kylo Ren in the new trilogy, thinking too hard about how not to go Light and then running to bugfucking extremes in the other direction.

The results of such extremism, in turn, are so horrific that the other side becomes understandably all the more preoccupied with, you know, NOT BEING THAT HELL NO and, again, being more anti-Dark than anything else. This doesn’t make the LS morally equivalent to the DS, but it does mean that LS practitioners can fall into the trap of puritanism.

Going to extremes seems to be a major theme of the upcoming movie, The Last Jedi, and Adam Driver who plays Kylo Ren has discussed mass murder committed by “both sides” (maybe this is his character’s perspective, I don’t agree with it) and how he took inspiration from the absolute moral certainty of terrorists in playing his character. Since director Rian Johnson has repeatedly said the movie will showcase moral ambiguity, it’s a safe bet that we’ll see the good guys go to extremes, too, something we have also seen in Rogue One.

We can reliably tell where many of the characters old and new fit into this increasingly polarized galaxy: Leia, Poe, Holdo, Rose, Paige, and others on one side, Snoke, Kylo Ren, Phasma, and Hux on the other.

Other characters, on the other hand, stand in notable contrast to the characters whose allegiances are well known. Luke, the character we thought was the Rebel to end all Rebels and the Jediest of them all, not only stayed away for years but still seems reluctant to join the fight. Rey is definitely Resistance-allied, but is still trying to find her place in all this. “DJ,” a new character, is a cynical outsider who’s only in it for the creds.

Then there’s Finn, who has been in and rejected the First Order and fought alongside the Resistance, but as of the beginning of TLJ is not a committed fighter. Like Luke, he’s wounded from past experience; like Rey, he’s still figuring himself out after his life was turned upside down; and like DJ, he has cause to be cynical of causes in general, something I have previously discussed.

In a universe of absolutes Finn stands out with the other uncommitted characters for his refusal, at first, to choose a side. Turning against the First Order does not mean he automatically chose the Resistance, though he has worked with them.

Interestingly, for someone who rejected absolute evil he seems to have very little to prove. He’s not obsessed with trying not to be evil, or with trying to be good by fighting evil. He suffers the undeserved shame of the abused, but he’s not consumed by it. He doesn’t beat himself up over killing Stormtroopers to defend himself or wonder if that makes him as bad as them, a lack of self-flagellation that some fans have criticized him for. He doesn’t agonize over whether he might be a bad person for lying to the Resistance so he could go back for Rey.

Finn is, in other words, the opposite of a puritan. He refuses to do evil, and that’s enough. He’s not consumed by the thought of it. He tries to be good to the people he meets and distrusts causes and grand theories.

Finn is most definitely not Dark Side, but he’s also not the Light Side as we’ve come to understand it, an anti-Dark puritanism. His allegiance, I believe, is to the Balance as near as I understand it, a goodness that is defined by what it supports, not what it opposes, a space that has room for human ambiguity and fallibility without fear of turning to irrevocable evil.

It’s significant to me that right after his arguably most morally questionable and admirably badass decision was revealed--that he had lied to the Resistance to come get Rey--Finn immediately brings up the Force to a livid Han.

Sure, it may read like a funny deflection, but think about the juxtapositions here: At this moment, we know Finn lied to the Resistance to walk into the heart of the First Order in an act of selfless love. He rejected an evil authority in the most final terms possible but also showed himself not to be following the authority that stands against it. Finn is beholden to no one, standing between all the lines, standing for nothing but the purest love and courage, as he invokes the Force. And he does so in a humorous way, like the trickster figure he is.

This is why I like the Stormtrooper uprising theory so much for Finn’s story, and why I believe it’s the cause that he found to fight for. Finn is not going back to the First Order other than to kick their collective butts across the galaxy (hi, Phasma!). But what does the Resistance mean to him? They stand against the First Order, true, which is why he’s worked with Leia and Poe and the others.

The Resistance is, however, also a Republic-affiliated organization, and what is the Republic to him? If he was ever a Republic citizen, it was by chance of birth and it certainly means very little to him now. This is something I also touched on in my Cassian meta and my Finn and Rey parallels meta, that the forgotten children like Finn and Rey, much like Cassian before them, were essentially failed by the Republic. The Republic is not the Empire or the First Order, sure, but it has to mean something other than that massively low bar.

Finn and his friends can fight the First Order and win. But what comes next? They know what they’re against. What are they for? Without answering that question they will fall into the same elephant trap as traditional Light Side practices, and of the Republic itself. In their shadow loom the Dark Side and Empire.

If there’s one thing we know Finn has always stood for, it’s the freedom and dignity of every individual. That’s why he refused to fire on the villagers in Tuanul. That’s why he escaped at the risk to his own life, and why he meant to flee to the ends of the known universe, to be free. That’s why he came back for Rey.

That is why, I believe, he will find a cause to fight for in the freedom of other Stormtroopers like himself. It’s a cause greater than himself, greater than Rey, and to him, greater than the First Order or the Resistance or the Republic or anything else. He is likely to ally with the Resistance again so far as their goals match his, but much as in Act 3 of TFA, except on a greater scale, he may not concern himself with loyalties or scruples other than his own true North.

He might not always be squeaky clean in the process, either. He could be ruthless. He could be violent. He could be dishonest. He has proven himself capable of all of this in the past.

What he will always be is committed, not to being Not Evil or a perfect vision of Good, but to being free. And he will realize, I think, that he cannot be free alone. His journey to freedom was always with others, from the moment Slip’s death marked him forever, to having to free Poe first to get away, to realizing he could not be free while Rey was in captivity, and finally, I hope, to seeing that others who were abducted and enslaved like he was must also be free.

This is what the Balance could mean for Finn’s story: not two opposing sides locked in extremes, not a cynical equivalence or sophistic compromise between the two, but a moral code that has meaning outside of what it is not. Now that is a code worth living and dying for.

#rebelfinn #swrebelfinn #100daysoffinn #meta #star wars #the last jedi #the force awakens #the force #light side #dark side #balance #first of all #stormtrooper uprising

52 notes · View notes

coldtomyflash · 7 years

Note

Hey, I was just curious about your opinion on Barry's response/reaction to Ralph? Like, I'm a huge Coldflash shipper and I have some cognitive dissonance on how I can forgive Len for murder and being a real criminal, but I haven't made up my mind about Ralph yet. I thought you might have some interesting insights since your character analysis are so awesome. Thanks!

“I have some cognitive dissonance on how I can forgive Len for murder and being a real criminal, but I haven't made up my mind about Ralph yet.“

That’s not entirely your fault. You’re being swayed by the narrative.

From a narrative standpoint, Len is presented as ‘cool’ in every sense of the world, even as early as his introduction. He’s written on in 1x04 as cold and calculating and mean, but as authentic and knowing himself, in control. We aren’t necessarily supposed to identify with him, he’s very clearly a villain in a way that isn’t (yet) ambiguous, but there’s nothing he does that makes us curl our noses at him, as an audience. He’s at one with himself and we respect that about him.

Then he becomes, as the season goes, more intense and larger than life. Obsessed with The Flash then willing to deal with him, cruel but commanding as hell, volatile but incredibly patient and in charge. And the narrative sets him up as this person we’re supposed to feel ambivalent about, because Barry does. As this man we shouldn’t trust but should have faith in anyway. As someone with a lot of layers and depth to him. He’s never the butt of the joke, he’s always one step ahead. He comes an enigma to the viewer, and that draws us on.

And in season 2, he becomes sympathetic. His love for his sister as his guiding motivating makes the viewer willing to look past some of his prior behavior, and his upbringing as shaping that behavior goes a long way to us understanding how he became who he did. We get testimony from his sister and from Barry that he could have been a lot worse, that it’s his inherently good core that makes him unique, not the cruelty he’s become capable of because that’s what life forced him to learn. Through their eyes, we come to trust and understand and like him (though I mean, I loved him before, but y’know), and eventually, to forgive his transgressions because of it.

As for Ralph, we’re early days, but he’s an entirely different playing field.

First off, he is the butt of the joke, more than once. His life is presented as being... not good, in a way that we’re supposed to be faintly disgusted at. His grooming habits, his casual extortion, the way he doesn’t really stand for anything, the way he resents others consistently for faults of his own making, the way he treats women, the way he’s so easily pushed around by fate. He’s not making decisions with intent, he’s just reacting to situations, and not because he’s powerless and out of his depth but because he’s bitter and uninterested in being genuine with himself or others.

So it’s not an especially likeable position for a character, narratively speaking. He’s not setup for us to identify and connect with him at the outset, he’s setup for us to think he’s a not-especially-loveable trainwreck.

Like many characters who start of buffeted by fate, the moment this is designed to shift is when the character makes a decision for himself that is more than a reaction. A veritable fork in his road. We see this at the end of 3x04 when he helps stretch up to that helicopter. Even before that, actually, when he decides not to extort the mayor. We see a shift as he begins, finally, to try and decide what sort of person he wants to be, and that is a better person.

But he’s right back to being incredibly shallow in 3x05 so it’s hard to know just how much development we’ll get from him. Characters who disrespect women don’t tend to become fan favorites. He’s not an affable Joey Tribiani, he’s like a lascivious Ross Geller in how he responds to women. That’s not a great look on anyone, and isn’t earning him any points. He still doesn’t seem to have much conviction, though he is at least a bit genuine about wanting to become friends with team Flash.

So... erg. It’s tough. Narratively, he’s not especially likeable yet. Maybe if he shifts more to “Ralph Dibny: Human Disaster” and owns that a bit, rather than “Ralph Dibny: Shallow Asshole” then he’ll jive better and some of that cognitive dissonance of yours (and mine) will abate.

He’s also just in an unfortunate spot narratively because they wrote off Wally from Team Flash because they couldn’t manage to have two speedsters around and make it interesting, and then swapped Ralph in a half-second later like? If it’s the CGI budget and an overpowered team that are the issue, don’t replace Wally with a new person??? And let Wally still be around for family moments and other stuff? Why is Ralph at Barry’s bachelor party but Wally isn’t?

None of that is Ralph’s fault but it does had to the knee-jerk dislike I have for the narrative relating to him, personally. I’d have much rathered they keep Wally around even if they split him between E1 and E2 and didn’t have him around all the time, and had Ralph as somewhat recurring over the season without actually becoming part of the team?

But I digress.

Your actual question was more about Barry’s feelings toward Ralph. I sensed that maybe you wanted a more meta analysis since you mentioned cognitive dissonance, but I haven’t really touched on Barry’s feelings in particular.

I think Barry’s reaction to him so far has been pretty understandable. He really didn’t like this guy and has a very strong and negative reaction to dirty cops, both because of the situation surrounding Ralph and the parallel to what happened to his father, and his own cognitive dissonance about the fact that he got Ralph fired for breaking the rules when Barry breaks them 10x a day now. Seeing Ralph is a reminder of all the dissonance he has about just how far outside of due process he operates himself, and the mess that sometimes creates, and the injustices (like his illegal prison and illegal human trafficking of metas to Ferris Air, like...). Barry’s not ignorant to his own culpability, but he ignores it most of the time and it’s hard to do that when Ralph is right there looking him in the eye, y’know?

But he gets through that fast once he realizes that in a sense, they’re one and the same in that regard. They break the rules to help people (’for the greater good’, now why does that always make me feel uncomfortable? Oh yeah... #grindelwald, #humanrightsviolations). Ralph thought he was doing the right thing when he planted evidence, and Barry thinks he’s doing the right thing when he uses the pipeline, and so long as they understand each other, then Barry can negotiate his dissonance.

And after that, it becomes about... Ralph himself. A new meta who isn’t evil, yay! But also a shallow womanizing (aka misogynistic) asshole who wants to insert himself into Team Flash’s persona lives.... less yay? So I think Barry’s got some frustration/annoyance with Ralph, some sense of responsibility.

And if I’m being totally honest, I think he’s got a superiority complex when it comes to Ralph and it feeds his ego a bit. This isn’t going to sound too nice to Barry but I think he thinks he’s... a bit better than Ralph? Not in a cruel way but in a way like, “I can mould him to be better because I’m better and I’ll inspire him. He just needs the right teacher and obviously that’s me.” And in a way like “this guy’s life is a mess and he’s sloppy as hell and I’m not, I’m fantastic, so if I help him then he’ll be more like me, and that’s an improvement.” And I’m not saying that Ralph doesn’t need to work on himself, he does, but I do think there’s an ego component in there.

The reason I think that is because of that divide between Barry wanting to mentor and help him vs. not really wanting to invite him to bonding-type stuff? It’s like he doesn’t especially like Ralph or want him as a friend and equal, he just wants the validation of helping Ralph?

So... I have some complicated feelings on that. It’s very human of Barry though, and he’s as flawed as anyone so it’s not the end of the world. Just something I noticed.

#ralph dibny #commentary #characterization #barry allen #leonard snart #the flash 3x04 #the flash 3x05 #long post #long post for ts #hence the cut it really did get long #Anonymous #replies

31 notes · View notes

childofaura · 4 years

Text

Rating the anime I’ve watched in 2019: A really short list

Kinda just felt like doing this, 2019 has been a REALLY interesting year in anime. I didn’t watch a whole lot of stuff, but I wanted to kind of go over what I did watch. So I’ll talk about what I thought and rate it 1-10.

PLEASE KEEP IN MIND: THEY’RE RATED SOLELY ON MY OPINIONS, IF I DON’T FEEL STRONGLY ABOUT ONE PLEASE DON’T GET MAD. ALSO ALL OF THESE WERE WATCHED IN SUBS. ALSO SPOILERS AHOY.

1. Dororo.

The OP was AWESOME. The animation in the first half of the series was really smooth, but there was a slightly noticeable dip in animation later on. Not huge, but still there. Actors were FANTASTIC, and the little girl who plays Dororo is so cute! Characters were incredibly well written and varied, Hyakkimaru still struggled despite his honed reflexes and training, and Tahomaru was so morally divisive, it was great. Somber tones really bring out the nasty forbidden underside of the Shogunate’s “lasting peace”. Though the ending with Tahomaru, Hyakkimaru’s mother, and his father figure all dying in the fire was rather... disappointing, Hyakkimaru forgiving his father and Dororo deciding what to do with the large sum of money left behind, to use it for the greater good, wraps everything up.

Dororo’s a solid 8/10.

2. Rising of the Shield Hero

I ended up checking this one out after hearing all the controversy it was stirring up, because I wanted to see what it was. Like always, the “controversy” was a big tepid pile of nothing, and I got to experience an isekai that operates under a different mood with different dynamics. Animation quality is consistent and good, and there’s a LOT of female characters that are well rounded and strong, like Raphtalia, Melty, the Filolial Queen, Glass, etc. Scenery is beautiful, and Naofumi’s growth into trusting again is nice to watch. Also the soundtrack is so enjoyable, Kansas is my favorite song. Cons, though few, are still there: the pacing can be a little funky at times (Mainly what comes to mind is that AWFUL filler episode where they fight the Church from the molten pit, and don’t move AT ALL. Worst episode ever), the physical growth of some of the characters like Filo is jarring (In two days she grows horse sized, after they had that montage of taking care of her) even with an explanation. The last thing that rubs me the wrong way (It’s not really a con in general, just a con for me) is Raphtalia’s crush on Naofumi. It’s simply that they spend the first few episodes building their relationship as a father/daughter, then they try to shift to romance after establishing that first familial relationship.

Rising of the Shield Hero’s an 8/10.

3. The Promised Neverland

AAAAAAAH HOT DAMN I LOVED THIS ONE. It was completely out of my range of what I normally watched at the beginning of 2019, BUT I LOVED IT SO MUCH. The animation is eerie, especially the facial expressions and how smoothly they move. The children are so darling and thinking about how they might have possibly died in S1 broke my heart, as well as me hoping they didn’t, lol. Every episode leaves off on this wonderfully tantalizing cliffhanger, so binging the episodes are a must. Characters like Mama and Sister Krone are terrifying, though in the latter’s case I love how clever she was, and was sad when she died. Her Japanese actress definitely blew it out of the water and had a lot of fun with the character. I’d say the only (not really a con, but) thing that weirds me out is how close the characters’ mouths are to their faces, but that’s a stylistic thing and I won’t fault them for that. The children are strong and resilient and I can’t wait for the next season.

The Promised Neverland’s a 9/10.

4. Demon Slayer

I got into this one late, and I hate myself for getting into it late. But nonetheless, I’m so glad I watched it and I can say with confidence it’s up there with FullMetal Alchemist: Brotherhood’s level of excellence. Tanjiro is such a kind-hearted boy who constantly puts himself through physical torture for his only remaining family; Nezuko’s “hypnotism” to see humans as family feels more like placebo because she just genuinely has compassion for people, especially when she looks at Ms Tamayo and Yushiro as family when they’re also demons. All the characters are deeply involved in this story with either known or hidden (Zenitsu) strengths that allow them to conquer their struggles. The style is unique and the character designs are pretty, and HOO BOY THE FIGHTING ANIMATIONS, THE STYLIZED TECHNIQUES. MWAH! MUCH LOVE! I love the soundtrack so much, it almost reminds me of the Pokemon movies’ orchestra pieces. The story is well paced, and no issues with filler. Showing how even demons deserve compassion is a beautifully unexpected twist in this show.

Demon Slayer’s a 10/10

5. To the Abandoned Sacred Beasts

I do love this series dearly, and while the good outweighs the “meh”, I still have to address the issues. BUT FIRST, THE GOOD THINGS: Characters in this show are incredibly in-depth, even the soldiers. The designs of the Incarnates are fantastic, terrifying and imposing. Schaal is a strong young girl who sets off with just a suitcase and a rifle and, after meeting Hank, decides to get inside his mindset to see why he’s doing what he does, and why he had to kill her father. Hank is a man in constant suffering who has to see his best friends losing themselves to insanity, knowing that they’re not the people they used to be but questioning whether he’s really doing the right thing regardless. All the soldiers have their own focal point in the episodes they show up in, showing their unique traits and attitudes, and how it links to the monsters they are now. The concept of Incarnate soldiers is parallel to veterans with PTSD. While Liza’s a bit of a ridiculous fan-service character, there’s really no complaints because the fan-service in this show is balanced; they show Hank unnecessarily shirtless a LOT (Though honestly I’d be fine if they let him wear his shirts more). But the cons. There are a decent amount of them. Animation is clunky and lower budget. Pacing is not easy to keep up with, as the split between Hank’s mission and the main conflict with Cain interrupt each other quite jarringly. Schaal’s father seemingly rises as a zombie again to serve no other purpose other than Schaal’s character growth, as we could assume that a LOT of the other monsters like Keynes, with the fire of justice, would also come back to life. Liza doesn’t really seem to do much or contribute much as a character; she came close when she volunteered to take up the Incarnate Extermination Squad’s equipment by saying she knew how it worked but she literally. Just. Held up a shield for the commander (forgot his name, Cain’s little bro) to jump off of. She needs to do more. Love the series and I love watching it, but it’s a mixed bag.

To the Abandoned Sacred Beast’s a 7/10.

6. Fire Force.

Well... this one is definitely gonna be tough to deal with, because I only got maybe 8 or 9 episodes in before I had to break away. So I’ll break it down simply.

Pros: Animation is SOLID. ABSOLUTE. FLUID AND DYNAMIC. It’s literally Midoriya vs Todoroki, but in EVERY EPISODE. Some characters are fascinating and enjoyable like Shinra, Maki, Joker, and Hibana. The concept of Infernals, people who just burst into flames without warning, are a solid idea to run on. The OP is a banger. The soundtrack fits the mood perfectly.

Cons, and a lot of them: There isn’t a whole lot going on in terms of variety, it’s mainly fighting Infernals in the city. It picks up eventually, but slowly. While some characters were enjoyable, others were either flat or downright unbearable to deal with; flat characters like Obi (He’s not a bad character, but he feels... generic) and Iris (Also not bad, she’s strong in what she’s had to deal with and being kind regardless, but it’s just standard quiet girl.). Unbearable character is really just two so far: The lieutenant, who gets borderline abusive (both mentally and physically) with Maki (Like I get it dude, you had trauma with fire and Infernals but you don’t need to be an abusive shit), and Tamaki, ESPECIALLY Tamaki. She’s rude, screechy, treated Shinra like utter shit when they first meet, and respects almost no one outside of her district for no real reason. And she also falls into the next con: The one-sided fan-service. Now I will defend the right to fan-service with everything I believe in, but I’m still allowed to have my opinion on it, and the way it goes in Fire Force is just... so awful. Fan-service jarringly interrupts what are supposed to be heavy emotional or important scenes (Iris sitting on the ground with nothing but a towel, Iris getting her clothes burned off by Hibana, Tamaki sticking her butt out after getting hurt by her district partner, Tamaki’s clothes being burned up and being against the wall with that weird-ass kitty pose with her wrists, etc.), Tamaki’s “lucky lechery” is supposed to be funny somehow but it makes literally no sense, and oh cool she ends up sexually harassing the dudes with it, too. I could understand this level of fan-service if it was like a harem anime or a cheese-cake-ish anime or whatever, but it’s- it’s a shounen. There’s nothing that really shows you there’s gonna be this weird level of fan-service.

I respect everyone who loves Fire Force, but it’s just not my cup of tea. That’s all.

Fire Force’s a 6.5/10.

7. Vinland Saga

THIS ANIME. THIS ANIME IS PERFECT IN EVERY WAY AND YOU WILL NEVER CHANGE MY MIND. The first OP PERFECTLY encapsulates just how much of a hellish live Thorfinn is about to live. The animation (Being from the same company as Attack on Titan and Kabaneri of the Iron Fortress) is SUPERB where the characters move with weight and purpose. Seriously, have you seen how the characters jump forward? With their legs and arms forward? It’s a little detail but it’s so great. Characters are multi-faceted and it gives me strong feelings about how awful they are but how clever or strong or brilliant they are. The pacing of the anime is perfect; something plot-important happens in each episode, the characters travel long distances to give you a feel of movement, and there’s not a single episode that could really be considered “filler”. Dynamics of these characters work in fascinating ways at times. The actors absolutely own their roles; Askeladd’s actor nails that perfect nonchalance where he seems surprised but you know he’s truly not, Thorfinn’s older actor knows how to scream his lungs out in anger. The main star, though? Thorkell, hands down. That guy is absolutely having fun with his character.

Vinland Saga’s a solid 10/10.

#anime #spoilers #Dororo #Rising of the Shield Hero #The Promised Neverland #Demon Slayer #To the Abandoned Sacred Beasts #Fire Force #Vinland Saga #Vinland Saga's easily the best anime of 2019 for me and I'm sad that it doesn't have as much traction as other shows like Fire Force

1 note · View note

mantra4ia · 7 years

Text

Lucifer Season 3 and Beyond

Desires, Needs, Speculations (and questions):

Is Lucifer with wings a flashback to his fall from heaven, which I asked for last summer hiatus (it couldn’t be when he climbed out of hell to LA, because clearly that’s a desert not a beach) OR did he get dragged through the void into another world-universe?

It seems like each season our world and ensemble expands a little. Season 1 we examined the consequences of the devil making a playground, and eventual home, of Los Angeles. Season 2 we got a brief, but much more detailed window into hell. I feel like we just got a glimpse into the architecture, it’s landscape and personal suites - so what is next? I deeper look into hell, a peek at silver city, or something teased in 2x18 only as “the void” where other universes are made?

If we were going to step through that door into not just one world but the possibility of any number of them, how would we do it? Both eyes open, both eyes closed launching into the unknown? Are we ready to bridge the gap from the concrete world to the vast comic landscape, and to what extent?

Who knocked Lucifer out? Was it Azrael? Will we finally meet Lucifer’s sister, Angel of Death (and has she dealt with the heavenly patriarchy better than her mom has)? This was also a season one speculation slowly coming true, A+ fan service.

What did Maze do to Linda’s license investigative reviewer off screen near the end of s2? Will it come back to bite her in s3?

Ella’s family played an understated role in season 2, but there was a missed call from Ella’s brother in 2x17 that piqued my interest. Will her character, particularly family backstory, be more consequential in s3?

I really would like a father Frank reprisal, and can we make it a really good plot twist- thanks.

Now that Linda seems to have lost her credentials as I psychiatrist, where will Lucifer and Maze get their therapy from?

Will she get her license back, and what would that process entail? Will Lucifer muck about?

Or will Linda get resort to a job from her past, which we have yet to fully uncover? Will s3 dig into that? Her character has longevity priority, I need answers.

If she remains a counselor to some extent, can we please get Amenadiel on the couch next? Luifer and Maze has a good run. He’s been having an identity / purpose crisis last season, an unlike Maze who’s had the benefit of Linda’s help, Amenadiel has struggled, partly because he lacks the human anchors that Maze stumbled on. Can we get the Linda-Amenadiel dynamic back?

Dandielion (Dan and Amenadiel) are a great BroTP that I think Amenadiel could really use. Keep building that please.

Speaking of, Lucifer hinted at this near the end of season 2: has Amenadiel and Maze’s relationship got a spark left in s3, or has it cooled completely as they’ve both had to do a lot of work finding their own place on Earth?

So Mum has gone into the void to be her own independent goddess, and define herself within a universe of her own making. Will all that happen off camera (aka - is mum’s story completely finished for s3)? It would kind of be a shame if it does considering she only recently realized that she still, in some capacity loves her ex-husband and Lucifer has only recently realized (or rather Linda on Lucifer’s behalf) that as much as he enjoys the idea of his parents fighting to the death - minus the consequences to humanity - he is also fond of seeing them together. Not to mention Dad probably has his own opinion on the subject and it would be some kind of awesome to see them together. Is there an opening for mum’s return next season, family related or for her favorite human?

Speaking of, it seems that human Charlotte Richards survived celestial occupation, but sans recent memory. Will she still be a supporting figure in the lives of our central ensemble - particularly for Dan?

Dan is on the freaking precipice of discovering the secret of Lucifer’s family, particularly now that he had such a strange and intimate relationship with Charlotte, which she does not remember. Will he be the next to know and buy in? Will Linda need to catch him up?

Are there going to be any consequences to Dan and Maze’s team up from prior to the first s2 hiatus, when they exacted punishment on Chloe’s behalf on the corrupt warden involved with her father’s murder case?

Linda was the last person, presumably, to see Lucifer before that wicked cliffhanger. Also, he left a message for Chloe, but he’s ‘vanished’ on her before. Will Chloe be worried and search for leads on Lucifer as a night job, or will Linda need to steer the ship and guide her into seeking him out?

Will Lucifer be separated from the central characters for an extended period of time?

Going back to Charlotte a quick sec, there seems to be a parallel between her and God Johnson. As soon as mum’s celestial soul left Charlotte she emerged with no memory. The same happened with Earl Johnson. At the time, we attributed it to the celestial piece of the sword in his belt, but this new evidence begs the question - what if Lucifer was really talking to his Dad and the artifact was a conduit?

Also, what if God was one of us?

Lucifer with no shirt, no shoes, and wings in the desert. There’s an Heroes flying man reference in there somewhere. *fingers crossed*

Near the end of 2x18, Lucifer seemed to throw the first two pieces of the flaming sword into the void after Mum, without the key, thus ensuring a slim to none chance of her immediate return until she’s worked through some issues. Coincidentally in season 2, we also find that Lucifer, sick of either getting locked into or out of cars, has secretly copied the Detective’s keys. To a godly extent, does someone out in the universe have a copy of the key to the flaming sword and will that impact s3?

At some point in season 3, Trixie needs a pet, and Lucifer should be pivotal in that process, thus reaffirming the Trixstar dynamic. Since Lucifer does not like the idea of cats and litter boxes, I highly recommend a puppy be shared between them. Unless Chloe is allergic, which in itself could be an extra level of storytelling.

Also, after Trixie’s “wusses don’t get lollies” remark, I would pay a good many things to see Lucifer and Trixie duke it out in a thumb war. PLEASE.

Even though Maze pointed out that Trixie does a good job of cutting people with her words (as opposed to knives) will s3 present Trixie with an opportunity to kick butt with the rest of the #Tribe? Will she stand up to another mean girl or mean boy?

Trixie (Scarlett Espinoza) is a dream and has me heart. Is she going to continue to be the embodiment of goodness, or in season 3 and onward will we see any tween outbursts (possibly that Lucifer can relate to/ offer perspective on)?

On that note, I really would like to see more of pairings we don’t normally get. Dan and Ella, Trixie and “Uncle” Amenadiel, Amenadiel and Linda, Chloe and Amenadiel haven’t chatted in a while and they are quite fun, Trixie and Ella.

Oh, Ella as Trixie’s sitter, with a side order of territorial jealously from Maze. That’s a story.

Lucifer has become quite skilled at slight of hand and dodging about in two seasons, getting out of hand cuffs, cop cars, swiping keys. Is there anything that slight of hand will pay off for in season 3?

Chloe’s flashbacks to her dad and early days on the detective force were really some of the wonderful highlights in s2. Will we see more of her past in s3?

Will Lucifer serve Linda the (many) stiiiifff drinks that woman has earned?

So far, we’ve uncovered Malcolm’s corruption in the LAPD and corruption of a prison warden. Any deeper levels?

I really would like to see more episodes a) with Dan as a uniformed officer, and b) solving cases. Because Alejandro is just a cool dude, in the words of wonderful Ella Lopez.

I love Chloe, truly I do, but the more I see her goodness the more I want to see her on a bad day (aka - death by yoga mat part 2)

Season 1 and 2 walk an interesting line between comedy and tragedy/ dramatic, so I want to do some number crunching. Over the course of 13 episodes last season there seemed to be more onscreen dramatic and trauma related elements then over the course of 18 episodes in season 2, which still handled heavy issues but ultimately seemed lighter by a larger dose of humor. Will Lucifer season 3 tow a similar balance, be more lighthearted, or take on a darker tone? I am hoping a throwback to a more serious and mysterious tone.

Well, we didn’t see Lucifer sick with a cold and whining as though he was dying in season 2 like I was hoping, but we did get to see him beat up and Trixie calling him a wuss, which is somehow even better. But it kind of makes me think about Lucifer injured and I’m curious. Given Lucifer’s growth, in season 3 would he cut off his nose to spite his face? That is in manner of speaking - given the opportunity to sever his wings again would he? Or do they mean something different to him now than they once did?

We’ve been speculating on and off since s1e1 that Amenadiel’s necklace had greater significance, along with Luci’s ring. One hypothesis paid off, will the other? I think it does has significance, but not in an imbued with power sense, more about sentimentality. After all, he gave away his wedding ring sans blinking, but this one he never goes without. I’m thinking perhaps it was a gift from a sibling - but that’s utter guesswork.

More to come surely…

#lucifer season 3 #questions #speculations #desires #lucifer on fox #azrael #lucifer's mum #will chloe discover lucifer's truth?#will dan discover the truth from amenadiel

14 notes · View notes

sentrava · 5 years

Text

Books a Million, Part XXI: Memoirs, Chick Lit & Growing Up Different

Winter tends to be my favorite time to catch up on my reading. From the week of Thanksgiving until midway through January, everyone in the tourism industry seems to disappear—it’s as if conference season is over, their budgets have been planned for the following year, and they’re taking a very lengthy hiatus. I took the opportunity over the holidays and my birthday trip to Puerto Rico to whittle down my 2019 book list, just a smidge.

Here’s everything I’ve read in the past couple months in case you’re heading on a Spring Break or summer trip of your own soon and looking for a good vacation read of your own.

Man in the (Rearview) Mirror by LaRue Cook

I’m at that point in my career where so many peers and friends are publishing books, and I can barely keep up with reading them all. But when a friend sent me a link to LaRue’s book, I bumped it up the chain and immediately ordered the paperback instead of waiting for the Kindle version to drop. LaRue and I started as writers at the UT paper, The Daily Beacon, on the same day; I was 20, he was 18, halfway through his freshman year. We immediately became journalist friends, and I was soon promoted to features editor, he one of my most reliable writers. He later went on to be the editor of the paper after I graduated.

Our lives ran parallel for years; I worked a stint at Entertainment Weekly, and he took over the same job a year or two later. He and his girlfriend at the time, another of my close college pals, moved to NYC in my final months there before moving to California, so I got to spend some time with them as my neighbors while he was getting his feet wet in sports writing for ESPN. But then, he dropped off my radar. He was never on social media back then, despite being younger than me, and I often lose touch with people I can’t track via Facebook and Instagram. I now know that’s partially because he was going through his version of an existential crisis, and after a decade with ESPN, he quit, moved back to Knoxville and became an Uber driver. While doing this (and driving more than 5,000 passengers around town), he wrote a book—a memoir told through the parallel lives of his passengers. A read that covers so many topics in the span of 234 pages: racial inequality, sexual orientation, faith and religion, his own infidelities. It’s always weird reading a memoir by someone you know, as it feels a bit like your peeling back the layers of their soul. I’d love to write something similar someday, but am not sure I’d ever be able to approach it with such honesty as LaRue did. This is a great book for anyone looking for a non-fiction read that examines how losing your pillar at a young age—in this case, LaRue’s dad at 15—can go on to shape a person’s identity as a young adult.

Hum If You Don’t Know the Words by Bianca Marais

I’m still shook by this book. You know that it’s a powerful read if you’re still thinking about it two months later. I started and finished this book at the beach in less than 24 hours, and man, it was some heavy stuff.

Taking place in an 18-month span during the height of apartheid, Hum chronicles the lives of two very different heroines—a nine-year-old white girl whose parents are slain and a 50-year-old black woman who came to the big city to track down her rebel daughter caught up in the Soweto Uprising—and at the heart of the story, impresses upon the reader how no matter the color of our skin, our sexual orientation, our religion or where we were born, no one is any greater or worse than the next human (and that good people do bad things and bad people do good things). Particularly poignant during the racial inequality happening still today, this book really tugged at my heartstrings and should be on everyone’s must-read list.

All The Missing Girls by Megan Miranda

I love me a good mystery, and All the Missing Girls is in a similar vein to Gone Girl and every Mary Kubica book I’ve ever devoured. It starts off with Nicolette, a 28-year-old teacher who had fled her small Appalachian town after high school to move to the big city, returning home to care for her ailing father—and confronting the ghosts of her past, specifically the disappearance of her best friend. Not long after she arrives, another young girl goes missing, and Nicolette makes it her mission to figure out what happened to her—and if it is indeed linked to the same missing girl from a decade prior.

Contrary to what other reviewers have written, I found the pace of this book quick and engaging, and those who like suspense will likely find it entertaining. The only thing I didn’t really care for was the erratic storytelling style in which the author kept jumping a day back in time to set the stage. It made it a bit confusing to piece together the timeline on the reader’s end. Overall, though, I’d read this book again and give it four out of five starts if I were still rating my reads.

Eleanor Oliphant Is Completely Fine by Gail Honeyman

We’re never really told what exactly is wrong with Eleanor Oliphant; we just know from the opening lines of the book that she’s different. And that difference takes us through her life in a deadbeat job with no friends or family to call her own, a curious character who becomes overly infatuated with a rockstar she’s never met, to the point where she begins to stalk him, both at gigs and at his own home, and even thinks he’s her boyfriend.

Socially awkward Eleanor is always saying the exact wrong thing, and she’s never even aware she’s the butt of everybody’s jokes in the office. A chance encounter, however, brings her close to a coworker who she previously had written off as uninteresting: She falls into an unexpected friendship with Raymond when they come to the rescue of an older man who has fallen in the street and needs to be taken to the hospital. This book isn’t so much plot-driven, as it is about character development, and Honeyman is a master of that particular trope. Peculiar and uplifting despite its somber undertones—alcoholism, mental illness, child abuse—Eleanor Oliphant was one of the most unexpectedly endearing books I read in the past year. The cadence of Eleanor’s narrating takes a bit of getting used to, but once you insert yourself into her mind, reading in her voice becomes second nature.

The High Season by Judy Blundell

The premise of this book—an artist and gallery curator, Ruthie, dealing with a separation who longs to keep her life in a sleepy Long Island coastal town in one piece when everything around her seems to be falling apart—made me think this was going to be a beach read (or maybe the fact that it was actually set on an island did that). But it was a bit, well, sleepier than that. It took nearly halfway through the book until I even knew what it was really about: Ruthie’s failed marriage, her career crumbling at the hands of her board and coming to grips with everything changing around her, including the loss of her home and her daughter, who is midway through high school. There was a socialite aspect to this book I kind of liked when the Hampton set arrived in the North Fork for the summer; it brought a little Sex and the City edge and scandal to what was dragging on as a mundane novel to that point.

In the end, this book was fine; not great, not terrible. I liked the art gallery aspect of it; the fact that SVV and I are part of so many groups and on various art boards these days made the book a bit more relatable. If I still gave ratings, this one would get two-and-a-half stars: very slow in parts, but enough of a story to hold my interest till the end.

The Wedding Date by Jasmine Guillroy

The Wedding Date is, hands down, one of the worst books I have read ever. I am still shocked it got such positive ratings on Good Reads and Amazon—does no one read for content anymore?! I stuck with it kept waiting for the plot to develop and … nothing. In the opening pages of the book, Alexa meets Drew in an elevator, then soon after agrees to be his fake wedding date to his ex-girlfriend’s wedding. The two fall into an on-again, off-again romance, and there’s just no storyline AT ALL.

I never read any of the 50 Shades of Grey trilogy, but I imagine it was a lot like this: heavy on the sex scenes, light on the content. No thanks, not my jam. It’s a shame, too, as this could have been a powerful tale about interracial relationships and the trials faced by both side, but instead it was just plain garbage.

When Life Gives You Lululemons by Lauren Weisberger

If you loved The Devil Wears Prada, you’ll be happy to see that Lauren Weisberger is back many years later with another follow-up tale that chronicles Miranda Priestley’s assistant Emily Charlton as she navigates life’s changes after her time at Runway. (Side note: Somehow I must have missed the second in the series, Revenge Wears Prada? Anyone read it?) Emily is a fixer, an image consultant of sorts for the Hollywood set, and when her career starts to falter, she takes a job in Greenwich, Conn., trying to help a former supermodel navigate a scandal involving her senator husband while also suffering life in the suburbs.

I’ve read every other book of Weisberger’s, and while none can compare to Devil, this one is satisfying for anyone who loved the original.

Crazy, Rich Asians by Kevin Kwan

I’ll admit that I had no desire to read this book until I saw the movie trailer. Then, I immediately signed up for it at my local library, but was approximately 368th on the list, no exaggeration, so it took ages to land in my inbox. And when it finally did, it was worth the wait—nothing at all like I expected.

Rachel Chu is a professor at NYU whose boyfriends Nicky invites her back to Singapore with him for his best friend’s wedding; little does she know, his family is basically Singapore royalty. Despite the fact that she’s Asian-American—she never knew her father, but her mother was a Chinese immigrant—many members of Nick’s snobby family doesn’t give her the time of day, particularly his mom who is out to destroy their relationship. What follows is a fascinating look into how the upper crust, the social-climbers for whom dropping a cool million on a pair of earrings is an everyday occurrence, live—private planes! private clubs! private islands!—in one of the world’s most extravagant, over-the-top cities. One of my dear friends is a Singapore native, and I fact-checked much the book with her—she says it’s very accurate to the 1% there and even knows the families upon whom the book is based.

I then watched the movie on a recent flight and was equally pleased by it. I suppose next up I’ll be reading the second and third installments of this trilogy—please tell me they’re as entertaining as the first?

The Last Mrs. Parrish by Liv Constantine

You know the kind of book you think is going to end one way, then midway through, you’re hit with a whammy and completely left off-guard? That’s The Last Mrs. Parrish to a tee. Amber Patterson is a con-artist who weasels her way into heiress Daphne Parrish’s world of excess by becoming her friend in Single White Female fashion—later going as far as trying to become her, attempting to take over her husband and her home. The book ping-pongs between narrators, both Amber and Daphne, and there’s really no way to tell you anymore of the plot of Amber’s metamorphosis into Daphne without spoiling any of the zingers, of which there are many. Go. Read. This. Book!

I’m really, really hoping The Last Mrs. Parrish gets made into a movie starring (or produced by) Reese Witherspoon.

This Is How It Always Is by Laurie Frankel

Oh my, I LOVED This Is How It Always Is. I didn’t know what it was about in the slightest, but so many people recommended it, that I immediately requested it from the library. Based on Frankel’s own experiences with having a boy who early on began identifying as a girl, this book chronicles a set of five brothers, the youngest of whom always felt different. When this feeling becomes evolves into exploration—wearing dresses, putting on makeup, playing with dolls—his parents begin to realize it’s more than just a phase. So they take steps to letting their son become their daughter by moving across the country and completely resetting their lives.

At the root of this story is the message that all families have issues, all families keep secrets—it’s how they choose to deal with them that sets them apart.

**********

Currently I’m reading The Paris Secret and A Gentleman in Moscow, neither of which have really grabbed my attention, but I’ve also got Bad Blood, Becoming, Pete Buttigieg’s Shortest Way Home and Far Away and Further Back, a memoir by my friend Holly’s dad. I guess it’s a non-fiction kind of reading month over here!

What have you read and loved so far this year?

Books a Million, Part XXI: Memoirs, Chick Lit & Growing Up Different published first on https://medium.com/@OCEANDREAMCHARTERS

0 notes

waynebomberger · 5 years

Text

Books a Million, Part XXI: Memoirs, Chick Lit & Growing Up Different

Here’s everything I’ve read in the past couple months in case you’re heading on a Spring Break or summer trip of your own soon and looking for a good vacation read of your own.

Man in the (Rearview) Mirror by LaRue Cook

Hum If You Don’t Know the Words by Bianca Marais

All The Missing Girls by Megan Miranda

Eleanor Oliphant Is Completely Fine by Gail Honeyman

The High Season by Judy Blundell

The Wedding Date by Jasmine Guillroy

When Life Gives You Lululemons by Lauren Weisberger

I’ve read every other book of Weisberger’s, and while none can compare to Devil, this one is satisfying for anyone who loved the original.

Crazy, Rich Asians by Kevin Kwan

The Last Mrs. Parrish by Liv Constantine

I’m really, really hoping The Last Mrs. Parrish gets made into a movie starring (or produced by) Reese Witherspoon.

This Is How It Always Is by Laurie Frankel

At the root of this story is the message that all families have issues, all families keep secrets—it’s how they choose to deal with them that sets them apart.

**********

What have you read and loved so far this year?

from Camels & Chocolate: Travel & Lifestyles Blog http://bit.ly/2Ghl547

0 notes