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chalkrevelations · 3 years

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Word of Honor, Episode 30. STILL A LOT. This one got long.

(Spoilers. Scroll away and come back later, if you need to.)

Yeah, so, A-Xiang and I are crying again. At least they’re good, cathartic tears, this time? Poor Cao Weining – he continues trying to make sense of all this (It’s all a misunderstanding, right? My good friend Wen Kexing was framed, right? He can’t possibly be the terrifying master of the Ghost Valley, and you can’t possibly be his henchwoman, right?), but nothing he knew is true anymore. Nothing except his faith in A-Xiang. I know you’re good, he tells her. I won’t fail you. And they do make this explicit here, with him saying, “I made a promise I will never fail you in my life, not even once.” I’m flailing on the couch, at this point. Come here, my little cinnamon roll, and let me squeeze the stuffing out of you. And oh. Oh. It just hit me that a girl who was raised by the Department of the Unfaithful (as well as WKX) has found a man who will vow this to her and mean it. Also, I don’t know if this is the closest we’re going to get to this theme made explicit with Zhou Zishu and Wen Kexing, but Cao Weining and Gu Xiang continue to act as proxy here for the m/m couple that has to be more circumspect. (Also, I would compare the way this promise, spoken out loud, bookends this ep – Cao Weining’s heart once again offered here, at the beginning, and the undertones of betrayal in Xie Wang’s words to Zhao Jing at the end, but we’ll get to Xie’er in a bit.)

Digging into our continuing parallels, I said a bit back - Ep 26? sometime before Wen Kexing’s identity had the ultimate reveal in the confrontation with Ye Baiyi, at least - that Zhou Zishu was beyond “you don’t fail me and I won’t fail you” into “even if you do fail me, I won’t fail you.” That’s where Cao Weining is now, knowing (finally) what A-Xiang’s been hiding from him, as ZZS knew about the Ghost Valley even before it was actually spoken out loud. Even if A-Xiang is there to infiltrate his sect, even if she’s helped cause all this death, Cao Weining will follow her into death and reincarnate with her to stay with her and protect her forever. (Ugh. My heart. Cao-dage, how are you like this?) Last ep, watching WKX’s frantic efforts to save Han Ying, I think there was some callback to the Four Sages of Anji, but I also pointed to what I saw as a callback to the paired conversations in Eps 22/23, when Cao Weining tells A-Xiang to be more careful because he knows she’ll feel bad if she kills an innocent accidentally, and ZZS tells WKX he’s trying to protect him from more sins on his hands. This ep, there’s a literal flashback to that Cao Weining/Gu Xiang conversation in Ep 22. I also want to go back to the interminable infodump in the Longyuan Cabinet cave in Eps 19/20, where - similar to Cao Weining finally learning and accepting who A-Xiang is in this ep - Zhou Zishu has finally put together all (well, most) of the pieces, and he makes it clear that he knows (at least part of) who WKX is by calling him “Zhen Yan” to his face. The color palettes for the two couples match in these scenes – slightly more saturated and intense for the older couple, but lavender for WKX and A-Xiang, blue for ZSS and Cao Weining; we also have an enthusiastic hug that’s met by a hesitant response. Although roles are reversed in the hug – A-Xiang hugging Cao Weining, ZZS hugging WKX - the way they shot Cao Weining’s response in this ep, hesitant hands finally going around A-Xiang’s back, is almost exactly the same framing and movements as WKX’s response to ZZS’s hug in Ep 20 (7:37 in Ep 20, 9:00 in Ep 30). I’m just sayin’.

Also, I might or might not have rewound three times to watch Cao Weining wipe the tears off A-Xiang’s face and her responding radiant smile. You can’t prove anything.

The other big parallel I see in this ep is a return to the ZZS/Prince Jin and Xie Wang/Zhao Jing relationships. Everyone is telling their creepy gaslighting mentor/parent figures to fuck off in this episode, apparently. (We even (kind of) get to see WKX do this, seeing the scene of him in the aftermath of killing the past master of Ghost Valley in flashback as A-Xiang tells her tale to Cao Weining). I have to think it’s not just coincidence that the ZZS/Prince Jin and Xie’er/Awful Yifu confrontations play out in the same ep. Not to mention the fact that both happen in the middle of a big fk’n mess, lit. and fig., that ZZS and Xie’er have made of not just their physical surroundings, but their Awful Prince’s/Yifu’s plans.

So, first off, we cut to Bad-Touch Prince Jin. I knew it, you creepster (and ZZS knew it too!). And yet, I still cannot believe you. You kidnap him, try to kill everyone in Four Seasons Manor for the second time around, burn his house, plan to get him drunk and take advantage of him, lit. and fig., and now you’re fondling his sword? Eurgh. There’s definitely an air of “bathe him, dress him, and bring him to my chambers” with ZZS at the beginning of this scene, even if we’re actually in the throne room and not any bedchamber (not that I don’t also enjoy the leather bracers-updo-evil collar look on ZZS, so I’ll give Prince Jin points for good taste, at least). Prince Jin pulls out the poor yifu prince card, because it’s lonely being in charge, you know. And now, we’re back to how could you leave me. Aaaaand then, he blows off Han Ying (Han Ying!), the last sort-of vestige of ZZS’s Four Seasons shidi, and oh, boy. You done fk’ed up now.

So, I love how clearly done with all this ZZS is, from the first minute we see him this ep. I keep hearing this role was a departure from Zhang Zhehan’s norm, and while I plan to check out some of his earlier work, I’m honestly glad I got to see him first in this. I hope it opens up some more doors for him. I keep being struck at various moments by his physicality as Zhou Zishu, which has a weight behind it that just … ah. I keep failing to put it into words, but it gives a substance to the character that makes ZZS feel real, and it’s not particularly in his big action fighting scenes that it keeps hitting me, like you might expect when it’s something about the way he moves and carries himself. I started turning this over in my head last week, when I talked about how I felt that shout at WKX in the wake of the fight with Ye Baiyi in Ep 27, moreso than any of the other various shouty characters we’ve met in the show, even when their yelling is louder and more sustained. There was something visceral about ZZH’s performance in that moment. It reminded me of an earlier scene when Wen Kexing’s been drunk under the table by Ye Baiyi but insists that he’s fine, just fine, and Zhou Zishu, who’s trying to make him go to bed, makes a feint at him and then hits him on the shoulder. (Hold on … I just went and found it, it’s at 37:19 in Ep 17.) Not just the hit, but particularly the feint preceding it struck me the same way Ep 27’s shout did. It’s something that maybe comes through strongest when ZZH is doing leashed anger, where the character’s raw emotion is simultaneously supposed to be controlled but leaking through – that contrast seems to showcase what I’m talking about. Or maybe not just anger, but any really strong emotion, because I got it in this ep, among other places, from the little lip tremble as ZZS drinks some of the wine before he pours one out for his dead homies, as well as from the way he works his jaw to get himself back under control after bringing up all his dead shidi. Also the tiny lip quirk and deliberate breathing while Prince Jin disparages Han Ying. (Not the snarl when he’s faced off with Prince Jin holding his sword blade right before the cheesy cut to close-up split-screen, though. That one didn’t hit right, unfortunately.) ANYWAY, this whole throne room scene with Prince Jin is basically porn for me, with ZZS simmering the entire time until he finally breaks and everything explodes. God, the only thing it’s missing is actual tears.

Cut from the scene of ZZS literally striking back at Prince Jin to what’s going to be – at least it looks like – Xie Wang’s breaking point. Xie’er and his henchwomen seem genuinely surprised that Awful Yifu is the one who shows up as reinforcement for the Gentle Wind Sword Sect, and I’m still trying to untangle all the various strings of this web. I don’t know if I’ve missed some things, or not put something together properly – I feel like Cao Weining, all “Slow down, I can’t keep up!” Anyway, we get a very public repudiation of Xie’er by his Awful Yifu, which is interesting because nobody is supposed to know they’re connected in the first place, right? Yet, clearly Mo Huaiyang does, and no one in his sect – all of them standing around in the subsequent cave scene - seem to react with any kind of shock to the info that Zhao Jing is Xie’er’s yifu. Aren’t we supposed to be hiding this from everyone? So that not only the jianghu but Prince Jin doesn’t know it (yet)? Anyway, as well as getting slapped, Xie’er gets a couple of places with good little maniacal laughs in. Given the apparent surprise at Awful Yifu’s appearance, I’m assuming this was something Xie Wang really didn’t expect, and this public repudiation is the breaking point? Or that Awful Yifu hid this alliance from him? Not that this attack on the Gentle Wind Sword Sect was part of a deliberate long-game to fuck over his Awful Yifu by fucking up this alliance? Anyway, Xie’er has learned his lesson about his Awful Yifu – or at least he says he has - so maybe there will be some deliberate fuckery of Awful Yifu going forward from here? Have you learned your lesson, little gambler? Finally?

I do have to warn you, Xie Wang: Do not touch A-Xiang. This is a hard limit. You will be dead to me.

Scattered other things:

Duan Pengju, omg, this asshole. I love how he just gets dismissed from the throne room like a lackey once he’s delivered the guy Prince Jin actually wants. I love how ZZS says, out loud, with everyone in the throne room to hear it, why would I leave this loser in charge of anyone I cared about? I looooove how utterly dismissive of him ZZS is even as ZZS is literally being tortured by him. ZZS’s mockery and whole air of how he’s just ever so bored with all this torture is delightful. However, I CAN’T BELIEVE YOU’RE ENDING THE EPISODE THERE, SHOW. I’m going to have to wait until at least Thursday to find out what happens??? (This is d/t work schedule, which is 12-hour shifts on Monday, Tuesday, Wednesday, leaving no time to watch as the next eps upload, if I want to sleep).

I don’t know if this is deliberate, but when we cut to sleeping Wen Kexing near the beginning of the ep … we’ve just seen him in his very red robes as Ghost Valley master in A-Xiang’s flashbacks, and I notice that what he’s wearing now – it’s not the pinkie pink of the robe he wore to match the winter plum blossom forest, but it’s not blood red, either. It’s muted, something in-between, kind of salmon colored.

Bwahaha, dying at our two little foodies in the cave being the first ones to say “Hey, somebody’s cooking something!” Also, A-Xiang, my clever girl. You know to avoid letting Xie Wang or Zhao Jing (or Liu Qianqiao?) see you. What are you putting together in your head and coming up with about this tangled web of alliances? Also, I see you call Cao-dage over to your hiding spot. Are the two of you still there to hear the conversation between Zhao Jing and Mo Huaiyang, and how Mo Huaiyang and Zhao Jing are working together with the Scorpions and the Ghost Valley?

Last but not least, no intention to leave Jin Palace alive, ZZS? I seem to recall you telling your boyfriend, the terrifying master of the Ghost Valley, that there would be time for him to rescue you once he woke up from his nap. Is it possible you were lying so he wouldn’t feel bad? Mn. Possible. But I also remember the way you yelled at WKX over his plan to get himself killed and leave you alone, and I remember the fact that you won’t fail him, and I have to wonder if your plan really was to die, or if you’re bluffing when you say that to Prince Jin.

#gu xiang #cao weining #wen kexing #zhou zishu #prince jin #duan pengju #zhao jing #zhang zhehan #word of honor #word of honor episode reax

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astrovian · 3 years

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Would you say that Berlin Station is worth watching if I wasn't thrilled by the very first episode? I've watched it twice to see if I could get into it and it was interesting, but not particularly compelling to me personally. So if the pilot is pretty representative of the series as a whole, I'll give it a pass and just continue to appreciate gifsets lmao. But if it hits a good groove after ep 1, I'll give it a proper try. Thoughts? 👀 Also have a nice day, I enjoy your posts ❤️

Oh god, this is a hard one.

I’ll be honest here - the first time I started watching Berlin Station season 1, I didn’t get past the first episode because I just wasn’t feeling it at all so I completely get it.

That being said, when I came back about 6 months later I had nothing better to do and hung around until about mid-season 1 which is when I started to actually go “oh, this isn’t half bad”. But to be honest, season 1 is mediocre at best (and I think they revealed certain things far too early in the season but that’s a topic for another time).

Like you say, it was interesting but not particularly personally compelling.

Then I started season 2 and I was HOOKED. In my opinion, season 2 was the peak of the show in terms of being consistently good (plus, they’re up against facists in season 2 which makes it really fun to cheer for the main characters).

Very early season 2 is when I got really invested in the characters and their stories so that’s when it became really personally compelling.

To be perfectly honest the shift to season 2 is when I stopped caring so much that RA was even in it and started watching it because I really, really enjoyed it.

Season 3 was mostly interesting enough I guess - better than season 1, but some parts of the story dragged a little (also, fair warning - RA doesn’t get as much screen time in season 3 as he does in the other two). It was like a halfway point between mediocre season 1 and great season 2?

It was only in the last few episodes that season 3 got REAL GOOD (like, nearly biting my nails good) for me; I can’t stress how extremely stressed out (in a good way) those episodes made me - I hadn’t had a visceral reaction like that to a show in a long time.

And then once I had finished I was absolutely emotionally devastated that the show got cancelled and we won’t be getting a 4th season that it desperately needs and therefore no resolution to the story.

Which is really just a long-winded way of saying that it’s a show that grows on you over time. I would say if you have lots of spare time and no other shows you’re wanting to watch, go ahead with the mindset that you’re in for the long haul. If you’re wanting it to get a lot better fast, I would approach with caution.

the occasional shirtless scenes help, anyway 😂

best of luck and thank you for the kind words ❤😭 I hope you have a nice day too!

#i wish the answer was that it gets real good real quick but sadly it's a show that does require some investment #asks #richard armitage #berlin station

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kyluxtrashpit · 4 years

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K so I said I might write a post about what I wanted from ep 9 and then I ended up doing it. So this is essentially a summary of the movie I would’ve made if someone gave me that ability. It’s not fully fleshed out, but I literally could not stop myself from typing it out once I starting piecing it together lmao

Even though this is my own creation, I still consider this a spoilery post SO WARNING FOR RISE OF SKYWALKER SPOILERS RIGHT HERE

I still think the best thing to do with ep 9 would be to centre it on the FO falling apart instead of ‘oh no daddy palps is back :o’. Truth be told, I’d rewrite TLJ too if I could, but I’m going to try to work within its constraints on this as well as keep some tros stuff intact for the sake of trying to work with it. So here’s the basic plot of what I would’ve liked to see:

Kylo undermining and removing authority from Hux while he focuses on Force stuff. He’s still looking for secrets and holocrons, but there’s no palpatine

Meanwhile the Resistance is working on building up their forces and helping the little people, plus trying to get info to take down the FO

The focus of the Resistance side is them trying to get the strength to face the FO and working together and all that good stuff. Focus more on the small acts of goodness in the galaxy that bring people together and end up with those they help joining the Resistance. That’s where they get their strength

Rey’s story would also be mostly about mastering the Force (and Leia still helps to train her) and the love and family she’s found among the Resistance. She’s still stupidly powerful though. I’d love to make her a Skywalker, but hell, it’d even work if she remained a nobody. TLJ was her crucible; she knows who she is now. She doesn’t need anyone else to tell or write her story for her

Also I really want her to go grey jedi. So maybe she realizes what Luke really meant: it was time for the jedi not truly to end, but to change. To embrace emotion without losing themselves to it. To realize that the only true way to achieve balance is not by staying light in order to defeat the dark, but instead learning to master both and keeping the balance within herself. That way, when the darkness is defeated, it won’t need to rise again: true balance. This would be her growth in the story, to learn how to embrace true balance in the Force

Also Finn’s story is still going to focus on the Stormtroopers (and Jannah can 100% still be there). So he finds Jannah and her team in Act 1, and then in Act 2 they unearth some secrets as to how Stormtroopers are brainwashed. Conditioning can’t be broken out of by will alone; Finn was Force sensitive. But something else happened with Jannah and her company. An idea is born: could they recreate that on a large scale and free them all? That’d be a huge blow to the FO and it would save all those troopers who never had a choice in what to be

Poe’s focus would still be on becoming the leader they need him to be, with lots of fun trio moments. So his wouldn’t actually change that much, but nothing about him being a drug dealer. I’m sure Zori could still be worked in but tbh I didn’t feel she added much to the plot

Rose is there a lot more too and comes along on all their adventures, happy to liberate anyone they can. She’s always been in it for the little people and that’s where she shines

Also Kylo is even more erratic, even more lost. He feels torn apart all over again. He’s not doing well as SL; he thought it would make things clearer, but it didn’t. He’s unstable and feral, focusing on all the wrong things and making bad choices because of it

Near the end of Act 1 of the movie, Hux betrays Kylo in a near deadly fashion, but Kylo manages to escape by the skin of his teeth

The Resistance gets word of a civil war within the FO. It;s Hux’s fleet (the red troopers + newer FO officers) vs Kylo’s fleet (mostly the older imperials who remember Vader + the KOR – you can keep Pryde here too if you want). This is their chance. They can take advantage of the chaos

While Kylo recovers from Hux’s attack, he starts having doubts again. Nothing has felt right since he became SL but what other choice does he have? He can’t go back, can he? He’s not supposed to want to. And even if he did, he’s too far gone to ever be welcomed, even by his own mother. So he continues fighting against Hux, more harried and haunted than ever

This situation degrades quickly. Both sides are getting hits in, but Hux is winning. Worse yet: it’s spilling over and doing collateral damage. Places controlled by the FO are being exploited, even worse atrocities being committed against them in this rapid arms race to superiority

Hell, maybe Hux’s fleet still has those planet-destroying canons like Palps’ fleet cause why not, everyone seems to think SW needs a superweapon in it. Anyway

There’d be more development on the heroes’ side as I detailed above here. Rey helping people and learning to be grey. Finn discovering the secrets of the Stormtrooper program. Poe becoming a leader. Rose comes with them on their journeys. Leia is heard rather than seen for the most part; she’s surviving this time around, but her presence is felt through her messages and dialogue snippets rather than physically being in the scenes. Some of the footage could be used, especially her hug with Rey, but I’d use much less of it

The Resistance knows they have to hurry. Do they have enough people? They have no idea, but they’re gonna try anyway. They have to. And you can still have Lando do basically the same thing; show up, be cool, then go get some more people

I’d like to do more with the KOR too, but tbh I’m not sure how other than just some scenes of them and Kylo doing Ren Stuff (whatever that may be). But there’d definitely be something

Near the end of Act 2, there’s a particularly brutal fight. I’d want Kylo and the KOR on the ground here, doing their shit. It feels kinda cheap to have him almost die again but tros also had 2 death fake outs for Kylo before the actual death so fuck it lmao. He thinks he’s going to win (maybe Hux is even there? Or maybe Phasma is revived? Or even just some fancy trooper akin to FN-2199 or something. Maybe it’s even Force-nullifying tech), but then the last minute he gets his shit wrecked

He’s dying. He reaches out with the Force, violently, affecting everyone. Rey hears it through the shattered bond. Finn even hears it, though faintly. It hits Leia hardest of all

Meanwhile, Kylo sees the ghost of Anakin instead of a vision of Han. Anakin, who knows better than anyone what it is to turn to the dark, but also what it is to turn away from it. The scene would still play out similarly, but not mirror the past scene with Han so much

(Look, I know a lot of people don’t like bendemption, but I think that redemption is always possible as long as it’s written well. And that applies to pretty much any character. TROS just needed more time to develop it, which I am attempting to do here by showing Kylo’s instability at the beginning)

Anakin manages to heal Kylo enough to bring him back from the brink of death, but not fully. I don’t think I want Kylo to toss away his lightsaber, but he still could. Regardless, there’s some sort of symbolic gesture to prove he’s changed his mind

A ship arrives: it’s the Resistance. Finn and Poe are cautious, but Rey doesn’t fear him. She confronts him about this sudden change of heart, but she can feel his sincerity. So she reassures Finn and Poe and they bring him along, though no one is really happy about it. They fix him up

With Kylo’s fleet all but destroyed, Hux is ready to take out the Resistance and everyone who sympathizes. Now perhaps we have a planet the trio had previously visited get destroyed. There’s still an ultimatum from the FO to obey or die. It’s a crackdown. A final act to ensure domination of the galaxy. Hell, you can even still call it the Final Order if you want to

The Resistance now strikes. Lando’s getting more back up, if he can, but they take who they’ve got. Kylo is there and there’s a lot of mistrust (could be played for humour too) but not enough time to get into it. They need to do this or too many will die. If he tries anything, Rey will strike him down and she tells him so. She’s done listening to his attempts to get under her skin

This Kylo is also definitely more Ben (I’m mixed on whether he should just go back to his old name or not so I’m keeping him Kylo for the sake of this summary). There’s guilt, though. A lot of it. You can see it on his face and in what he says. But helping to fix this will be a start. His crimes aren’t forgotten; he wants to make up for them however he can

Also Finnrey happens. They kiss before the fight this time and it’s very cute and romantic

So basically the end fight is Resistance fleet vs FO fleet. Poe is leading the charge. Meanwhile, Finn, Jannah, Rose and company sneak on to try to end FO conditioning. Rey and Kylo also sneak on; they’re going for Hux and the elite troops he uses as guards

Hux is going to have to have Force-nullifying tech of some sort (which I think is extremely underused in the SW universe as a whole btw). But he underestimates what Rey (powerful as fuck) and Kylo (Skywalker) are capable of

I’m not 100% sure how this fight plays out but I think I want Rey and Kylo to take out Hux’s elite troops without being able to use the Force. It’d be a fun struggle to watch and also make the fight much more visceral and difficult for them. But they both know how to fight, so they win

On the other side, Finn, Jannah, and Rose manage to do whatever to free the Stormtroopers from mind control (I’m not sure exactly how this would happen, but it’s star wars, it doesn’t need to make much sense). We get the first stage of a full trooper rebellion. They go after the officers immediately

Outside, Poe is struggling, just like in tros. They might lose this. Even if the landing party wins, there’s just too many of them. Cue Lando bringing a big fleet to help and giving us an epic space battle

Back inside: something exciting happens and it turns into a struggle between Hux’s tech and their combined Force powers. This is how I think it should go:

Kylo gives Rey his Force powers, which knocks him unconscious. Rey now has the power to break through on her own. It shouldn’t be possible. She sends out a concussive blast that knocks Hux back. The ideal here would be Hux being captured and taken in alive to be tried for war crimes, but I know that’s asking too much lmao so

If I can’t have definitively alive Hux: Rey approaches him but the ship makes a buckling noise; her Force powers compromised the structural integrity. Debris falls, obscuring Hux (and probably implying it killed him), and she knows it’s time to run. Kylo also comes to around this moment and follows

(And for real, I’m also okay with Hux dying for sure here, because at least he got to have his day first, but this is fantasy land lmao so I’m just not gonna have it happen as far as that goes)

Finn, Jannah, and Rose lead the stormtroopers onto transports as the ship starts falling apart. Rey and Kylo (and Hux, if I got my way) show up and make it in too. They take off and make it out just as the Finalizer crumples. Everyone lives! (Plus Hux is plausibly still alive even if I can’t have him definitely alive sdkfsdkl)

They call for the fleet to stop; the Stormtroopers on every destroyer are rising up, freed from their shackles. Shot of FO officers tied up and captured as the Stormtroopers, without their helmets, celebrate

A sidenote: I can’t decide whether I want Kylo to have lost his Force powers permanently by giving them to Rey or for him to get them back. I think losing them would be a good act of sacrificial penance, but at the same time, I’m not sure if that’s a thing so lmao. I’m open to possibilities here

End bit would still be a celebration. Rey and Finn and Poe still hug. The Stormtroopers are happy. We can still have that moment with Lando and Jannah; the implication of trying to find where every one of the troopers came from. The FO officers have been imprisoned. Everything is right in the galaxy again

Now there’s one more scene with Kylo: he stands in front of a door, looking pensive, squeezing and unsqueezing his hands into fists. The shot moves to his back and the door opens. You can’t see what’s inside but you hear: “Ben?” followed by a pause, and then a small, broken “Mom.”. He steps inside and starts to fall to his knees. End scene

Now, as a last scene, we could still do Rey having a funeral for Luke on Tatooine and keep the ending shot basically the same except Leia and her saber aren’t there because Leia is alive. Rey could still decide to be a Skywalker if she’s a nobody. The shot of two suns. The End.

#oh boy I need to stop saying things about this movie and just move on lmao #but god could you imagine?#I think this would've been really cool #might be a little anime lmao but fuck it star wars has never been super deep anyway #I really did try to give every character something so I hope I succeeded!#shut up nerd #meta #text #long post #tros spoilers #rise of skywalker spoilers #spoilers

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littlethingwithfeathers · 5 years

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HBO’s Chernobyl - A Content Guide

Hey everyone!

So... the docudrama “Chernobyl” on HBO is probably one of the best things to ever grace a television, and everyone should totally go watch it right this now.

However, it is not an easy watch, even if you’re stout of constitution like me. While the show does not over-dramatize or sensationalize the horrors that happened during and after the Chernobyl disaster, it also does not shy away from showing them when appropriate. So I thought I’d put together a watch-guide just to make people aware of the more graphic scenes and topics in the show. I don’t have time-stamps. This is just more painting with a broad brush. And if you’ve got questions, feel free to ask me.

I do my best to leave plot elements out of my summary, so as to avoid “spoilers” (if you can really have such a thing in something like this), but there are some plot points that could be potential problems for people so... spoiler warning?

Also, the full scripts are available online here if that’s helpful as well. They’re actually worth a read after you’ve seen the show... lots of interesting commentary in the blocking.

The guide is below the cut. Enjoy!

Episode 1 - "1:24:45"

This episode concerns the first eight hours after the reactor explodes. Point of view bounces back and forth between what's happening inside the reactor and what's happening in the nearby town of Pripyat.

Ep. 1 gets a blanket warning for pandemonium and confusion in the wake of the explosion (which happens almost immediately at the start of the episode), gore/blood/wounds consistent with very acute radiation sickness, including burns, frequent vomiting of blood, and vibrant "radiation tans" which appear similar to severe sunburns. There is very little screaming or crying save in a couple of specific cases I will detail below. Mostly, dying of radiation sickness looks like someone with a serious case of the stomach flu who also has a horrible sunburn.

There are no jumpscares, but the whole episode has a palpable escalating tension about it almost in the style of a horror movie. "No no no don't go in there! The core is open and you're going to die!" That's the general internal monologue while watching. The viewer knows, but characters do not really understand what's happened for the entirety of the episode. Most of the tension revolves around the plant management insisting that everything is fine and making people go to the reactor site to check on things and them becoming horribly ill. It's not until close to the end of the episode that someone goes and looks in daylight and sees what's happening (and even still the management doesn't believe it until the next episode).

Spot warnings:

The first scene is a suicide. A man hangs himself in the very beginning. We only see his feet dangling. It's very fast. We don't see a struggle.

The explosion is also very early in the episode (about 7 minutes in) and is not a jumpscare or particularly rattling. It's viewed from a far off window and is silent initially until the shockwave arrives. There isn't a huge tension build up. It's something very distant.

(personal note) This is one of my favorite things about the show… they don't go the traditional narrative route. Show starts and they do two things in the first ten minutes. Kill the main character, and blow up the reactor. All of it without any sort of ceremony or tension-building.

Any scenes in the wrecked reactor, turbine, and water pump halls get a blanket warning for radiation related gore and suffering. There is no screaming or yelling due to injury. It feels very claustrophobic and dread-inducing because of the way it's shot. It's almost as if there is a monster in these halls, but that monster is the rapidly leaking radiation.

Same goes for any scenes involving the firemen outside the reactor. They are standing next to an open reactor core spraying it with aerosolized water. They are going to get very sick, and many of them do on site. Vomiting, lethargy, and obvious radiation tans are the main symptoms shown.

One fireman picks up a hunk of graphite which is highly radioactive. Later, he is screaming on the ground in pain when they try to pull his glove off, revealing a very severe and graphically depicted radiation burn on the entirety of the palm of his hand.

A group of people from the town watch the fire burn from a railroad bridge. As they watch, ash falls from the sky. This is actual, honest to goodness fallout. Nothing happens while they are watching, but the cinematography and the score make sure you know that they are all going to get very sick.

Three men from the plant are sent to lower the control rods by hand, which has them going into the open reactor core (again, they don't know it's blown apart). Two go in and are instantly radiation tanned. The third, who pried the door open, is also partially radiation tanned, but because he had wedged himself against the radiation-leeching metal of the doorframe, he is severely and acutely burned where he'd braced himself. The burns are under his white clothes, but he begins bleeding profusely before collapsing in the hallway.

We find this man later, clothes soaked in blood. He is nearly incapacitated and obviously dying, but there's no screaming or wailing. He actually asks another plant worker for a cigarette and smokes it quietly.

Two men go down to open water pumps and are made incredibly ill by radiation poisoning. Again, there is no screaming. They just get weaker and weaker.

The control room manager, Dyatlov, vomits in a conference room near the end of the episode.

A man is sent to the roof of the reactor building at gunpoint to survey the damage. When he turns back from the edge of the reactor pit, his face has a severe radiation tan.

***

Episode 2 - "Please Remain Calm"

This episode happens over the next 60 hours or so after the accident and concerns the discovery of just how bad the accident is. Up until this point, no one really understood or accepted that the core had cracked open. This is the slow dawning of the apocalypse. There is less gore in this episode. It's more building tension as everyone comes to understand how awful things are and how much worse they are going to get. Blanket warning for general struggle and pandemonium in the hospital scenes, and milder images of radiation sickness (they're all still very sick and traumatized, but there's less actual blood).

Spot warnings:

In the burn ward of the hospital, the firemen are all there and very very ill. A doctor recognizes that it's radiation poisoning and begins pulling their clothes off. The clothes are thrown in the basement. As she's leaving, the doctor looks down at her hand, which had been holding a bundle of clothes and she has a mild radiation burn.

There is a tense scene when the fireman's wife arrives at the hospital. She runs into some of the people from the railway bridge who are very sick. One man begs her to take his baby and run away from Pripyat. There is a lot of pitched yelling and begging.

There is an argument between Legasov and Shcherbina in the helicopter about whether or not they're going to fly over the core. It gets quite tense with vivid threats on both sides.

The plan with the helicopters to drop sand and boron on the reactor goes about as well as one might imagine at least until they get the distance worked out.

When the decision is made to evacuate the city, people are forced to leave their pets behind.

Towards the end of the episode, it is discovered that there are pools of water under the reactor that need to be drained. This must be done by hand and it is made clear that whoever it is will likely die of radiation poisoning. Three men volunteer to go down under the burning reactor in diver suits, and wade through chest deep irradiated water to open the valves and drain the tanks. Again, this goes about as well as one would expect. It's probably the most tense moment in the whole episode. They get lost when their flashlights fail. The dosimeters are going bananas, and to top it all off… it ends on a cliffhanger with them lost in the dark. So… you might want to keep going. Not that the next episode is much better.

***

Episode 3 - "Open Wide O Earth"

This episode sprawls out over the next couple of weeks post-explosion. It largely concerns itself with the immediate cost of human lives. It gets a huge blanket warning for radiation-related gore, most often in the Moscow Hospital. Radiation poisoning this acute is a horrible and incredibly visceral way to die, and while it's not sensationalized or overwrought… they don't shy away from showing how it truly is. Legasov actually lists the symptoms and progression early on in the episode before we watch it happen. Which goes in this order.

-Initial symptoms were seen last episode: "nuclear tan" surface burns on the skin, vomiting, lethargy, loss of consciousness. This continues for a day or two.

-Patients seem to rally as they enter a latency period and the immediate effects seem to subside. Recovery seems possible. The firefighters are shown playing cards at one point. Burns are visible on their skin but it looks like a really bad but healing sunburn. This lasts a day or two in these cases.

-Then the true breakdown begins as the cellular damage starts to catch up to the lack of new cell growth. Basically, you decompose from the inside out, starting with bone marrow, then organs, then the vascular system. This is incredibly painful as pain drugs cannot be administered due to failing tissue integrity. Visible symptoms are open, seeping sores, necrosis, eye discoloration, etc.

They show this on a few patients unflinchingly. Close ups. Full body shots. It's gross and difficult to look at. They are basically melting. Honestly… I stopped wondering why zombies are a thing after I watched this. :(

Spot warnings:

Episode opens back on the divers again, lost in the dark with the dosimeters going ballistic. It's pitched and panicked, but they formulate a plan to handle the situation and succeed in their mission.

Important scream warning: There is a scene that begins with water dripping in the sink. This is followed by a man screaming. The nurses are trying to get the fireman's clothes off and he is shrieking in pain. It's a quick scene but hard to watch. If you're bothered by agonized screaming, cover your ears from the time you see the water dripping until Gorbachev's face appears if you want to avoid. This is probably the worst instance of pain-screams.

After the scene with the miners and the minister, there's another long scene at the hospital. No screaming, but it's the fireman. His condition is clearly deteriorating. Long shots of skin lesions and bandages.

After the "no fans" conversation with the miners we return to the hospital. This time the patient is one of the men from the control room. The one that went down to work on the pumps. He is in severe condition. Eyes are discolored. Skin is swollen and red and shiny. He can barely speak. Again, this is a long scene with lingering shots on his face and body. After he gives his age to the person interviewing him, he gets a nosebleed, which the person cleans up.

After that scene, they transfer the worsening fireman to a critical care ward. His skin is in awful condition. Worse than the patient from the control room. This also has lots of long shots of his symptoms. His face is turning black and necrotic. His skin is pocked with necrosis and looks like it could slide off his bones. For me this was one of the most difficult things to watch, and I actually had to look away. And I pride myself on having a pretty strong stomach.

There's a short scene with Legasov and Shcherbina in their trailer-office, and then… NAKED PEOPLE!!! Naked miners to be precise. Lots of them. Full frontal and everything. It's actually a pretty funny scene… blessedly.

After the scene with the naked miners we go back to the control room operator in the hospital. Then to the other operator's room. We never see the other operator. Just the interviewer's face. Then we go back to the fireman's room briefly.

The episode ends with a funeral, shot to great but incredibly sensitive effect. The firemen are buried in metal coffins, welded shut and covered in concrete.

***

Episode 4 - "The Happiness of All Mankind"

This episode chronicles the efforts of the "Liquidators" who were sent to the surrounds of the plant to raze the forests, turn the turf, and kill all the animals.

So… blanket statement for lots and LOTS of animal death. We're talking critters wild and domestic alike killed by the truckload and buried in concrete to prevent the spread of radiation. Most of it is offscreen, but the spot warnings will have specific warnings of particularly sad/graphic instances. There are also some scenes of mild radiation sickness symptoms, but they are barely blips on the radar if you've watched his far. Just some vomiting and people looking generally unwell.

There's also a warning for pregnancy and child death, though labor, delivery, and death all happen off screen.

Spot warnings:

First scene is of an old woman milking a cow. There is a soldier trying to evacuate this old woman. She refuses. Then he shoots his gun, and for a moment you're unsure where the bullet landed. Then her cow falls over dead.

The episode is mostly conversations until you see the soldiers and Pavel roll into a neighborhood in a green truck and start pulling out guns. Bacho will give Pavel some instructions (don't let the animals suffer and so forth) and then he whistles for the animals. They come running and they start shooting them. We don't really see anything, but we hear it. Gunfire and some yelping/whimpering. Mostly we're just watching Pavel's reactions.

When Pavel gets sent to go door to door, he comes across a cream and gray colored dog. This is the worst scene regarding animal cruelty. You will definitely want to look away when Pavel says "Go… go go go away." He shoots the dog, wounds it but doesn't kill it. We see the dog lying in a pool of blood. Pavel is overcome with guilt and approaches. Bacho appears and shoots it to put it out of its misery. It's over when you hear Bacho say "You're dragging that to the truck."

There are brief glimpses of the animal corpses on the truck when the soldiers are having lunch but they're in the distance and out of focus.

If shouting and smashing things in anger is an issue, be warned that when the German robot gets fried on the roof, Shcherbina flips his shit. He calls Moscow and screams at them, ultimately smashing the phone to pieces.

After the discussion of what to do about the roofs after the German robot fails, we go back to Pavel working. He and the soldiers are shooting animals. Again, you don't see the animals. Just hear the shots and the whimpering. But it's short lived. No wails of suffering or anything.

After Bacho tells Pavel to go door-to-door, he goes up to a house and finds a mom-dog with puppies inside. Bacho follows him and when he sees what he found, sends Pavel outside and kills them himself. Again, you just hear the shots and see Pavel's face.

After this, the three soldiers bury the animals. There's a brief image of them being dumped from the truck, and another of them being covered in concrete.

One of the most pitched and harrowing scenes comes after the General gives a speech about how to clear the graphite off the roof to a new set of recruits. They are in crude lead shielding and rubber suits, they run out onto the roof and use shovels to clear graphite. They are stumbling and struggling, dosimeters going ballistic the entire time. It's incredibly tense. When they are called in, one of the men stumbles and gets caught on a piece of graphite. His boot tears. The scene lasts about 90 seconds.

In the scene that immediately follows, we see the fireman's widow. She picks up a girl's mitten to hand it to her, and she goes into labor.

The final scene of the episode is the labor ward in a hospital. We see the fireman's widow alone behind a partition.

***

Episode 5 - "Vichnaya Pamyat"

This episode is largely concerned with the trial of the plant management which is intercut with flashbacks to the day of the explosion.

There is a good deal of tension as they are showing step by step what went wrong, cutting between the trial testimony and the flashback to the reactor control room. There is a fair amount of arguing and yelling, mostly on Dyatlov's part both at the trial and in the control room. The flashbacks do not go beyond the explosion so there's no scenes of radiation related trauma.

Spot warnings:

Shcherbina begins having coughing fits during the trial. He later shows Legasov a bloody handkerchief.

There is a very tense scene with the head of the KGB after the trial is concluded.

Other than that, nothing to speak of.

***

Hope this is helpful! Happy watching, and again, if you have any specific questions, feel free to send me a message or an ask!

#chernobyl #hbo chernobyl #chernobyl hbo #chernobyl watch guide #content guide #watch guide

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sneez · 5 years

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BBC LES MIS EP 6 THOUGHTS

my god.

i burnt myself out with frustration last week so all i can say this time is. i am exhausted but not surprised

this episode started out pretty strong, i really enjoyed all the barricade stuff early on, and the cinematography was quite nice too

cosette wearing a red dress felt weird somehow. very nitpicky but still

i LOVED the ‘let all the women and fathers of children go from here’ scene, that hit me really hard for some reason especially with them all hugging and condemning themselves to death

what i didnt like was enjolras going ‘I COMMAND YOU’ & marius going ‘i entreat you :)’ like marius is suddenly The Voice Of Reason i thought that was sort of weird. also the fact that enjolras gives a really depressing speech about death and futility felt pretty out of character -- i dont have any particular interest in enjolras but it didnt have the same emotional power as the musical, where he continues to believe their sacrifice is worth something until the very end rather than going ‘guess ill die’

also. marius calls him enjorlas. twice. he definitely calls him enjorlas

have i mentioned courfeyrac yet? i really like courfeyrac. grantaire is good too, he feels much more like his book counterpart than most grantaires honestly. also enjolras being genuinely angry with him a lot of the time rather than just vaguely resigned

CANNONS!

i liked the CANNONS! a lot but thats just because im a Cannon Fan and any scene with cannons would make me excited. the way it was filmed was very good at portraying the properly devastating impact of one cannonball, which is not often depicted for some reason. i mean, there’s stories of single cannonballs killing up to seven men during naval battles thanks to the way they ricochet -- these cannonballs felt like they had real power to them, and the bit where one went right past the camera made me jump which i appreciated

also the bayonets were really good too. im just talking about weapons now but bayonets always seem really horrible to me -- something about their shape and the way they’re used feels very visceral and unpleasant, much more so than a sword. i dont think the enthusiastic ‘ssssssssssshing’ sounds every time they did anything were necessary though

cosette sprinting out into the street and pinballing off the national guard was weird

valjean just? walks into the barricade? from the back? is nobody guarding the back entrance? why dont the national guard walk in too? why does valjean not wear a national guard uniform? did nobody THINK THIS THROUGH

also for some reason they seemed to decide that valjean carrying a big mattress was much more noble than him warning them of snipers. i dont know why they made that decision (good bayonets again though)

gavroche’s death was going SO WELL until the very end.....his little skipping dance was nice, i liked his song, and his ‘nice shot’ line was good too. but then for some reason marius has to run out and bring him back??? which in my opinion strips the scene of a big chunk of its emotional power. the image of tiny little gavroche dying alone in no man’s land is so poignant, and by having marius carry him back over the barricade before he dies so he can give his Final Words just......makes it so much less powerful. i dont know why they changed it except to make marius seem more heroic, which they didnt need to do because he already had his GET BACK OR ILL BLOW THE BARRICADE thing

(valjean voice) ‘o bugger thats the kid i told to scram ten minutes ago. uuuuuuuuuuuhhhhhhhhhhhhhhhhh ill just pick him up and pretend im very sad oh dear whoops probably shouldnt have yelled at this Deceased Child’

the scene where valjean frees javert was just................augh. aaaaaaaaaaauuuuughhhhhhhhhh

for one thing, javert seems properly horrified and alarmed to see valjean at the barricade. rather than spotting him and turning his head away with an Unsurprised And Grimly Resigned Expression as he does in the book, he sort of scrambles to try to escape and looks almost scared of valjean. which is JUSTIFIED given that valjean advances on him loading his gun like a serial killer!!!!!!!!! and then valjean YELLS AT HIM and tells him to shut his mouth and then threatens him with the gun when javert is confused saying ‘do you want to die’ WHY WHY WHY WHY WHY W

just try to imagine bbc valjean saying ‘there’s nothing that i blame you for, you’ve done your duty, nothing more’. it doesnt work. this man is not valjean

he’s just so angry, i cant work out why he frees javert at all because it’s clearly not out of compassion; he looks like he actually wants to kill him but is being forced not to, which is just.....so wrong. also the fact that javert tries to get away from the knife when valjean goes to ‘kill’ him is indicative of how badly they’ve misunderstood javert. obviously a person’s instinct would be to evade a weapon, but javert is completely willing to die at this point. he shows absolutely no fear; he even welcomes it, saying ‘kill me rather’ when valjean tells him to go. valjean also seems to fire the pistol to intimidate javert into leaving rather than maintaining the pretence to the students that he executed him, which i dont understand. god i cant stand this valjean. i miss hugh jackman and he wasnt perfect but he was eons ahead of this

enjolras’ death was pretty good i guess, i suppose the les amis folks on here will all be happy that he held hands with grantaire, nice

i doubt this was intended but this adaptation has me feeling very sorry for the national guard. every time there was an action scene i worried about the national guard which i.............dont think i was supposed to

why does valjean have so many weird hallucinatory flashbacks to people saying he’s a monster and a criminal. he has done this multiple times. also PETIT GERVAIS AGAIN WOO i cant get over the fact that petit gervais has been mentioned at least 5 times more than the bishop, who has not been referenced since, like, the first episode

does thenardier recognise valjean immediately in the sewers in the book? i might be remembering it wrong but i thought he didnt, at least at first. i mean he is covered in sewage so it would be pretty hard but i cant remember

javert telling his second-in-command that valjean let him go at the barricades just feels. agh. wrong

theres something so poignant about javert’s isolation in the book. he does pretty much everything alone; he has nobody to turn to, nobody to talk to, and that is a big part of what makes him such a tragic character. i know the bbc need to explain everything to the audience in case they dont understand from visuals alone (ugh) but the fact that he just. tells whatshisname everything that happened robs him of that agonising burden of self-doubt. i know his second is not a friend by any means, but javert’s story, and particularly this part of his story, is so powerful partly because he travels it so entirely alone. it just doesnt have the same gravitas if javert just lists everything that happened, including an event that shook him to his core more than anything else in his life, to one of his officers. ‘are you mocking me’ was also..........ehh. i dont like that he took a squadron of officers to find valjean either; it just feels so much..........worse. theres no sense of a climactic confrontation, of these two characters coming together for the final time, and parting in such an anodyne manner, when theres a bunch of peelers hanging around as javert faces The Escaped Convict. ALSO the fact that they all know about valjean now, rather than valjean’s past and his involvement in the barricade being kept pretty much secret, means that they can??? look for him now???? even after javert is dead???? javert’s death means proper finality for valjean in the book, because he is the one person who knows valjean’s history. there’s also a tragedy to it, because he has to die to give valjean that finality. but i guess that isnt the case here because now the whole paris police force knows valjean is still at large!!! great!!!!!

before i forget i should say that david oyelowo’s acting was absolutely smashing in this episode and i love him. i wish the script had actually given him the real character to work with rather than this Discount Javert Stereotype but he did such an outstanding job

Awkward Carriage Ride!!!!! wahoo!!!!! it wasnt very awkward but at least it was there!!!!!

i didnt like ‘are you insane?’ ‘i dont think so. are you?’ it felt very very forced and also javert is supposed to be WAY too shell-shocked and in a state of Currently Considering Suicide to be talking that easily

tfw ur monsieur gillenormand’s servant and u have to put ur wig on in the middle of the night to carry monsieur’s half-dead sewage-covered grandson up the stairs :///

ok. we have got to talk about javert’s suicide. good grief

first of all, im glad he wrote his letter to the prefect, that was nice. HOWEVER. the whole part in the station where he sat and cried and described his emotional torment to That One Policeman again was......agh. he wouldnt do that. he would NEVER do that.

my big problem with javert here is that bbc javert does not kill himself because his worldview is questioned. he SAYS his worldview is questioned, but it is not indicated in any other way that The Valjean Revelation causes him to question anything more than his feelings towards valjean. this javert seems to kill himself because he was wrong about this one convict, which just.....misses the point. javert kills himself because valjean is an example of all the people he has wronged throughout his life, all the lives he has ruined through his own ignorance. the fact that it is valjean in particular who demonstrates this is not the most significant factor. bbc javert apparently realises that he has judged this one man wrongly his whole life, and decides to die because of that (which i guess makes more sense in this version as he was so obsessive about catching him); whereas book javert sees in valjean evidence that the world is not black and white, and those who have broken the law can still be good people. it’s a completely different situation, and it strips javert’s suicide of its intent. bbc javert is not a man who suddenly realises he has been wrong about everything his whole life; he is a man who suddenly realises he has been wrong about this one man since the man broke parole. which sounds way less powerful. because it is.

why does javert do so much crying.....i dont understand......javert does not cry........

i had high hopes for the actual suicide scene when javert stepped very resolutely up onto the parapet, but then he just. sits down and cries for a bit. and then he takes this FLYING LEAP off the bridge into completely calm water and it’s just. agh. i hate it

the way it’s written in the book is SO cinematic and EASIER TO FILM i just cannot understand why they felt the need to change it, he’s supposed to be completely calm on the outside and put his hat very carefully on the parapet and then stand for a moment and then tip in and disappear into the water without fanfare or any indication of emotion. it’s SUCH A GOOD SCENE he is RESIGNING FROM LIFE with the same dignity he had when he attempted to resign in montreuil-sur-mer, but this version makes it seem like he’s steeling himself to do it, forcing himself almost to jump off before he changes his mind, whereas book javert Could Not change his mind. i just dont understand how the script so consistently missed the point of his character. i dont understand it

why does valjean run up and down the street shouting for javert? hes trying to arrest you mate if hes gone you probably dont want him to come back, stop yelling

i have to say i think gillenormand was my favourite character in this whole adaptation. i loved all his scenes and i really really loved his character, he was terrific

i didnt like the scene where valjean tells marius about all his Past Misdeeds. it was fine until valjean went ‘what if i told you i was in half a mind to kill you at the barricade’ valjean are you SERIOUS i dont blame marius for chucking you out the house and refusing to let you see your daughter now!!!! for god’s sake!!!!!! This Man Is Not Jean Valjean!!!!!!!

ok the wedding scene was cute. it was very cute

valjean coughing as he walks around his house to essentially say goodbye to it seems to imply he has some sort of illness? i will touch on this more in a bit

kind of miffed they left out thenardier dressing up as a fancy gentleman to try to get more money out of marius and cosette. instead they just had him immediately announce his identity i guess

(thenardier voice) ‘have i reminded you im evil in the last 3 seconds’

does valjean die in digne in the book? i cant remember. i know he dies in the convent in the musical but ive forgotten where it was in the book so i dont know if this adaptation is accurate or not

i really cant tell if valjean is supposed to be dying of illness rather than his ‘wasting away’ from the book. that does seem to be the implication, given his hair changing colour and the fact that he is still walking around rather than lying in his bed staring at the wall for half a year. if they have changed it that way, i dont like it. valjean is supposed to survive all his hardships and reach the point where he could have a very happy life, but instead decides to remove himself from happiness by not telling marius he saved his life and wasting away alone because he doesnt think he’s worthy of his daughter’s love. bbc valjean seems to be ill already, which does not have anywhere near the same amount of emotional poignancy. perhaps i’m reading it wrong, in which case i retract my criticism, but i cant tell for sure.

i felt absolutely nothing during valjean’s death scene, which is very telling of how much i disliked this valjean because i always cry copious amounts during his death in the musical and the book

the final shot. oh boy.

i thought it might end on the candlesticks, which, i thought at the time, would be a pretty clumsy final shot but still effective. i mean, the candlesticks are one of the most iconic images from les mis, and they do symbolise a great deal of the book’s themes. BUT THEN! we cut back to paris! and gavroche’s little brothers (although i dont think they’re his brothers in this version) starving on the streets! and everyone ignoring them as they beg on the ground! HHHHHHHH

i think that decision, to have the very last shot of the tv show be an image of suffering and torment, exemplifies the biggest problem this adaptation had. victor hugo’s les miserables had a message that, despite the injustices of the world, despite all the pain and tragedy of life, love and kindness make it worth living. there’s a reason the last line of the musical (before the final song) is ‘to love another person is to see the face of god’. the fact that the bbc chose to show for its final image the worst of society, to indicate that suffering prevails despite all the futile efforts of mankind, demonstrates to me that they did not understand the message of les mis at all. there is no love in this adaptation, and that, in my opinion, is what makes it fail.

i suppose now for the final time i must make my disclaimer: i have absolutely nothing against the people involved in the making of this show. in fact i absolutely applaud all the actors, costume designers, set designers, everyone, because they did an absolutely magnificent job! it seems strange to say it given the amount ive complained about it but i really have enjoyed this adaptation. ive loved watching it every week and it’s been great fun picking it apart! despite my criticisms, i am glad it exists and i have no doubt i will watch it again in the future. thank you so much to anyone who has been reading my analyses, i love you very much!

#les mis #les mis bbc #ghost post #i might make another big post sometime soon about my feelings about the adaptation overall but We Shall See #i am very very tired now ive stayed up much too late writing this im a swine #finally at the end!!! what a strange feeling

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balarouge · 4 years

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The sound of Toronto right now: this music is setting the tone in 2020 - NOW Magazine

As Toronto grows and gets more expensive, there’s angst about displacement of DIY communities and spaces for creativity to flourish. But we’re still thriving. Globe-trotting sounds are meeting on the dance floor, toxicity is being worked out through rockstar swagger, disco is returning to its radical roots.

Here are eight snapshots of artists pushing the scene forward and more to watch in 2020. The music they’re making is strong, vibrant and diverse – the whole world in one city’s music scene.

The sound: Dance music for rule-breakers

Bambii is part of the lifeblood of Toronto’s dance music scene. She’s a leader in the collective of cool, queer and diasporic DJs who are working to make the city’s dance music culture reflective of their realities.

Committed to Black women and queer folk from the very beginning, she’s turned her biannual party, JERK, into an institution. Known internationally for genre-defying sets, she’s left a string of sweaty dance floors from Berlin to Ho Chi Minh City. But in 2020, she’s stepping away from touring as a DJ to focus on releasing her own music.

Bambii calls her recently released debut single, Nitevision, a “future dancehall” track, which is interesting – considering she was adamant at the outset of her career about not being labelled a dancehall DJ. Being Caribbean, she was concerned she would be pigeonholed by narrow-minded categorization.

“I’m at a place now where I understand Caribbean music and diasporic music to be so vast in terms of something to reference or to be inspired by,” she says. “It’s just so rich. I no longer feel like I’m being put in a box.”

As a song and as a music video, Nitevision is an ode to Black women – to people Bambii admires, to her friends, to her community. It’s an ode to the dance floor as a conduit for powerful feminine energy.

“It just felt like it was the most sincere point I could make, coming out as a producer.”

And it’s just the beginning. She plans on dropping several singles this year. She says the songs will sound like her DJ sets. So expect more future dancehall, but also high tempo house, ballroom, Jersey club and reggaeton. She even hints at some songs using her own vocals.

Like the city she’s from, Bambii is perpetually evolving – she’s never settled on just one thing.

“The real Toronto, to me, just sounds like everything – which is what’s cool about it.”

Bambii has been in the party scene for years and the idea to produce came to her four years ago, but it took some time to conquer the intimidation of producing and get comfortable putting out her own music. But she also felt DJing no longer allowed her to express everything she needed to say and represent everyone she needed to represent. Her work has an overarching intention to reclaim Black women’s stories, and to counteract the narratives that are imposed on them.

“When I think about what inspires me or encourages me, it’s people suspended in joy and dance,” she says. “It’s what spaces feel like when there’s a majority of women in them, a majority of Black women.” KELSEY ADAMS

More Artists To Watch

Demiyah Pérez

A student of Intersessions DJ workshops led by Chippy Nonstop, Demiyah Pérez spent 2019 pivoting from being every Toronto DJ’s favourite dancer to a purveyor of sounds in her own right. Her sets, a high-energy mix of dancehall, reggae, house and hip-hop, cater to dancers who aren’t ashamed to leave it all on the floor. Last May, she helped launched Ahlie, a party series designed to create common ground between queer and straight people who love dancehall and bashment culture.

The brainchild of DJs Hangaëlle, Minzi Roberta and Kiga, Kuruza is a collective and a monthly party. Already the go-to Afro dance music party in the city, Kuruza settled into its new home at the Drake Underground late last year. Think African pop music, gqom, baile funk, Afrohouse, soca and dancehall. You can also catch them on underground radio station ISO Radio, where they spotlight different DJs and provide a glimpse into their events.

Sofia Fly

DJ/producer/rapper Sofia Fly's 2019 EP, Rosé, is a reflection of her trans Latina identity set to nebulous house and ballroom beats. Her inspired downtempo remixes of pop faves like Kehlani and Shakira to indie rap darlings like Princess Nokia prove she knows how to parse a song down to its core. Her live sets are opulently layered, genre-jumping feats, from hip-hop to disco to deep house.

Shan Vincent de Paul

The sound: Grimy flows and globetrotting beats

Shan Vincent de Paul’s ruthless collaborations with fellow Tamil musician Yanchan on Mrithangam Raps scored more than half a million views last summer. Fans ate up the video series in which Vincent de Paul’s staccato rhymes chase the percussion from Yanchan’s mrithangam (or mridangam), an Indian drum commonly used at Hindu weddings and Carnatic ensembles.

“It was an authentic bridge between the classic South Asian sound and modern rap,” says Vincent de Paul about the genre fusion that brought him back around to his Tamil roots.

Outkast, Hieroglyphics, Pharoahe Monch and their contemporaries are primary influences on the Sri Lankan-born, Brampton-raised refugee artist who has been grinding out music since 2005, first with Soliva Spit Society, then as half of experimental duo Magnolius and finally alongside the collective sideways.

“I never want to classify myself as a Tamil rapper,” says Vincent de Paul, about why he didn’t tap into his heritage until recently. “I want to compete with the best of them. [And] I always had this fear that if I was going to be speaking about our story, it’s going to be falling on deaf ears.”

His first two solo albums, Saviours (2016) and Trigger Happy Heartbreak (2017), scored with U.S.-based music blogs like Okayplayer and Afropunk. But as Tory Lanez, Drake or the Weeknd will tell you, homegrown love is hard to find.

He went beast mode on tracks like Die Iconic, unleashed bangers like Bitch Go and Warning Shot and lifted spirits with the refugee anthem Out Alive. But for years, Canada slept on him.

“The art I’m making is undeniable,” says Vincent de Paul, letting out his frustration about being ignored by the industry he once catered to. “I can out-rap 99 per cent of the people in this country. I’ll put that on my life. Canada has some of the best artists in the world, but our industry is a high school shitshow.”

Vincent de Paul eventually found support within the South Asian community, who were thrilled to find a brown rapper whose rhymes are tight. And then he hooked up with Yanchan. Their Mrithangam Raps paved the way for an upcoming tour through India in February and a collab LP called IYAAA dropping March 27. And in early summer Vincent de Paul will release his third solo album, Made In Jaffna.

“Now I don’t give a fuck about the Canadian industry,” he says. “Because I have all these other people that are legit supporting me and uplifting me.

“Now the Canadian industry is outnumbered.” RADHEYAN SIMONPILLAI

If you’ve seen their name in red stencil all over the streets of Toronto and wondered what the fuc Fuctape might mean, it’s an anonymous Toronto collective with over 30 members. None of them are identified, but listen to their album and scattered singles – all up on YouTube – and there are a few you might recognize. It’s somewhere between the give-no-fucks energy of early Brockhampton and Odd Future with the way-too-online pranksterism of Death Grips, with some other electronic and indie rock pastiche in the mix.

Swagger Rite

The first song on Swagger Rite’s The Swagged Out Pedestrian, released late last year on Sony, is called Mosh Pit – and that’s the vibe throughout the spare and bone-rattling trap of the five-song EP. The Jane and Weston rapper’s single In Love With The K was a viral hit on WorldStarHipHop and attracted Drake collaborator BlocBoy JB for a new version. His energy is infectious, and you can already see it starting to spread beyond Toronto.

Jon Vinyl

Jon Vinyl has a pretty good friend in his corner: pop sensation Shawn Mendes. The young R&B singer/songwriter got a shout-out from his old Pickering high school pal on Instagram last year for his Nostalgia EP, and the music stood up to the sudden influx of rabid Mendies (is that what his stans are called?). His upcoming single Moments (out January 31), produced by fellow Torontonian GOVI, shows his star potential – timeless smooth soul meets 2020 pop hooks.

Nyssa calls her music “repurposed rock.”

With her bleached-blond hair, intense eyes and undeniable swagger, she’s seven decades of rock star energy channelled into one person. You can hear it all in her electro-glam pop songs: outlaw country, 60s Motown, singer/songwriter folk, pulsing 80s pop and plenty of old rock and roll.

But there’s one thing missing: guitars.

“I’m not saying I’ll never use guitars. I mean, I love guitars,” says Nyssa. “But I want to challenge myself, and this kind of music is usually so guitar-driven, part of the challenge is to find that energy somewhere else. I want to take all the things I love and then break all the moulds so you hear them in a different way.”

As a solo artist, Nyssa has an EP, Champion Of Love, and a handful of singles to her name. But she’s a long-time veteran of the local rock scene. She fronted the girl group/rockabilly-indebted band the Superstitions (later Modern Superstitions) starting when she was 15 years old.

She’s been through the record-label wringer and is now purposefully independent and self-sufficient. She produces all her music herself, and even her powerful and intense live shows are 100 per cent solo – though she cherishes the visceral communal experience of live music.

One collaboration Nyssa does have on the way is with Meg Remy of U.S. Girls, who co-produced her cover of Ann-Margret’s psychedelic Lee Hazlewood collaboration It’s A Nice World To Visit (But Not To Live In). That will appear on an upcoming vinyl box set from local label Fuzzed and Buzzed and also on Nyssa’s otherwise self-produced debut album, Girls Like Me, which she plans to release sometime this year. The songs, all primarily beat- and lyric-driven, tell the stories of female outcasts at odds with the modern world.

Nyssa is long-time regular and now co-organizer at Dan Burke’s annual Death To T.O. Halloween shows, where local musicians dress up and play full sets as other bands. She’s channelled Rod Stewart, INXS, Robert Palmer, Mick Jagger and Elvis. This year, for a special Valentine’s Day edition, she’ll perform as Meatloaf. She always chooses artists she wants to “become a little bit,” and it’s inspired her own music, but she won’t forget the baggage that comes with it.

“In rock and roll we still have all these very out-of-date male archetypes of excess. Just pure appetite,” she says. “And there are obviously a lot of troubling stories.”

“So I would like to take the good and the fun and the no-holds-barred sexuality and take away all of the uh…” she pauses for a second, searching for the right word and then lets out a bemused laugh, “...horrible bullshit.” RICHARD TRAPUNSKI

Nyssa plays (as Meatloaf) at Death To T.O. On Valentine’s Day on February 14 at Lee’s Palace.

More Artists To Watch

Jesse Crowe launched Praises to focus on more personal inner questions about gender expression and health than they could tackle in their main project, Beliefs. But with the recent Hand Drawn Dracula release of the addictive three-song EP Three – co-produced by their Beliefs collaborator Josh Korody – it’s overtaken that shoegaze band as the project to watch. The songs are stark and dramatic, minimalist and heavy, with a voice that makes you stop dead in your tracks. After recuperating from cancer surgery, Crowe will return to the stage this year and finish the follow-up to their 2018 debut album In This Year: Ten Of Swords.

Praises plays the Monarch Tavern on March 27.

Cindy Lee

Patrick Flegel, formerly of the short-lived but influential Calgary post-punk band Women, calls Cindy Lee the culmination of a lifelong exploration of guitar, queer identity and gender expression. The songs on the upcoming album What’s Tonight To Eternity (out February 14) are ethereal in the literal sense, exorcising ghostly echoes of the Supremes, Patsy Cline and Karen Carpenter – pop’s uncanny valley.

Scott Hardware

After a stint in Berlin, electronic art-pop artist Scot Hardware has spent the last few years back in Toronto making his new sophomore album Engel (Telephone Explosion), and he’ll release it on April 3 before another extended jaunt in Europe. Inspired by Wim Wenders’s film Wings Of Desire, it’s an eclectic and uncategorizable piano-and-strings-speckled meditation on queerness, shame, death and the afterlife.

Scott Hardware plays at the Boat on January 30.

The sound: Soft sounds for the comedown

Ziibiwan is an electronic musician, but they don’t make music for the club.

“[Musician/artist] Melody McKiver explained it nicely: [my music] is what you play after the club when you’re like, ‘I’ve had too many gin and tonics and I need to chill out,’” Ziibiwan says with a smile.

While living in foster care, music was a release for Ziibiwan. They played piano and guitar, and later experimented with electronic music through a digital audio work station. They covered Radiohead and Foo Fighters songs, and were enamoured with whatever was playing on BET. But it wasn’t until they moved to Jane and Finch that Ziibiwan made their own music.

“I was working at Loblaws on St. Clair West, doing the graveyard shift, and I would commute from Jane and Finch. I was on my laptop most of the time and I would record everything,” Ziibiwan says about the making of their 2016 debut EP Time Limits, a collection of beat-centric songs that evoke textured imagery.

“There were a lot of problems going on in my life then, and I felt like the land was giving me something. Not just the land but the cultures around me at Jane and Finch,” continues the musician, who’s currently living in Hamilton to care for their family. “It was one of the most beautiful experiences I’ve had in my life.”

Following the EP’s release, Ziibiwan, who also performs as DJ Nimkiiwitch, opened for acts like A Tribe Called Red, played at Venus Fest and composed scores for two short animated films by Amanda Strong. Next month, Ziibiwan and McKiver will perform their original score for the play God’s Lake as it tours throughout British Columbia. This week at the Music Gallery, Ziibiwan will celebrate the release of their new album, Giizis.

Ziibiwan describes Giizis as more soft and introspective than their previous music, and it will feature their voice for the first time. For Ziibiwan, Giizis – an Anishinaabemowin word they define as, “the moon, the sun and the eastern direction, which is all kind of a new beginning” – is the start of a new and more intimate creative chapter.

“I want to introduce this version of who I am to people because people don’t really know me beyond making beats,” they explain.

“My friend once said that we don’t have to always be performative with [our] Indigeneity and we also don’t always have to protest in our music. That’s what most Native rap is. It’s always they, they, they and us. It’s always plural and not really introspective at all.

“We deserve our own music.” LAURA STANLEY

Ziibiwan plays an album release show on Saturday (January 25) at the Music Gallery at 918 Bathurst with Phèdre and Melody McKiver.

More Artists To Watch

Xuan Ye

Interdisciplinary artist Xuan Ye approaches sound manipulation with boundless curiosity. The improvised electronic pieces on her debut LP xi xi 息息 (out now via Halocline Trance) shudder, whine, whisper and shout. The detailed sonic layers force you to drop everything, breathe and listen.

Xuan Ye performs as part of Convergence Theory on Saturday (January 25) at the Victory Social Club.

Astro Mega

Listening to Astro Mega’s (aka Jermaine Clarke) extensive catalogue of songs feels like slipping into a warm bath while a party happens on the other side of the door. His 80s- and 90s-hip-hop-inspired beats are muted and chill, often with a collage of sampled voices. Listen to 97’ Kobe from his recent LP GodBodyDevine if you want a vivid memory of playing NBA Live 97 in somebody’s basement.

BisonBison is a new multi-genre collaborative project between electronic producers Dani Ramez (Spookyfish) and Chad Skinner (Snowday) with producer and drummer Brad Weber (Caribou), multi-instrumentalist Sinéad Bermingham and vocalist Sophia Alexandra. On their upcoming debut album Hover (due out February 7), they meld the gentle sensibilities of folk with disquieted electronics in hypnotic convergence.

BisonBison play a release party on February 1 at the Garrison with ANZOLA and Kira May.

Luna Li

The sound: The all-ages scene grows up

As a teenager, Hannah Bussiere Kim straddled two worlds. Her mother ran a music school in Roncesvalles, and she trained in classical piano and violin, taking Royal Conservatory exams and performing at recitals. On weekends, though, she was at DIY shows at now-shuttered all-ages venues like D-Beatstro and the Central.

She left Toronto to study violin at McGill, but dropped out after one semester. She wanted to start her own band.

In 2015, she started a garage rock group, Veins, which morphed into her solo project Luna Li two years later.

“When I was first starting out, I thought, ‘Rock and roll is cool, the violin is not,’” says the 23-year-old. “It took me a long time to figure out how to incorporate my classical background into Luna Li.”

On her debut full-length, to be self-released this spring, she combines swelling psychedelic guitar and chiming keys with soulful orchestral arrangements of violin, harp and cello. She enlisted her brother, Lucas Kim, to play the cello and her producer, Braden Sauder, for drums. Everything else she plays herself. And she’s putting new parts of herself into the songs, too.

“Many of my older songs were crafted out of poems or were vague in meaning,” says Bussiere Kim. “A lot of [the new ones] deal with mental health, loneliness and friendship. They’re more direct and clear, and vulnerable.”

She’s also inspired by a new wave of Asian American female musicians like Japanese Breakfast, Jay Som and Mitski. “I’m half-Korean and that kind of representation – of actually going to shows and seeing people who look like me – was key,” she says. “When I was in high school, I never saw a band fronted by an Asian person.”

Last fall, Luna Li played festivals almost every weekend with her live band – Sauder, Hallie Switzer, Charise Aragoza and Sabrina Carrizo Sztainbok – and landed big opening slots for bands like Hollerado.

She’s still involved in the tight-knit all-ages scene from her high school days. It’s just all grown up now.

In addition to Luna Li, she plays guitar in the psych band Mother Tongues (also with Aragoza) and drums in the art pop group Tange, which is made up of ex-Pins & Needles members Deanna Petcoff and her Luna Li bandmate, Carrizo Sztainbok. Meanwhile, her boyfriend Jacob Switzer plays in indie rock group Goodbye Honolulu.

In 2020, she plans to focus on Luna Li and tour in the spring when the album is out. And hopefully, many of those shows can be all-ages.

“It’s hard to do all-ages shows because so many DIY spaces have shut down,” says Bussiere Kim. “But it’s really important that everyone feels welcome at my shows, and that includes young people.” SAMANTHA EDWARDS

More Artists To Watch

Goodbye Honolulu

While they were still in high school, Jacob Switzer, Emmett S. Webb, Max Bornstein and Fox Martindale started Goodbye Honolulu and the label Fried Records as a home for their music and their friends in the all-ages scene. The garage rock band has a penchant for punchy riffs and gang vocals, and it’s taking them beyond the city. Next month, they’re supporting the Beaches on their cross-country tour and then heading down south to play SXSW.

Goodbye Honolulu opens for the Beaches at Danforth Music Hall on February 28 and February 29.

This year brings good news for longtime fans of Sam Bielanski’s grunge-pop project. After two EPs, countless Toronto shows and playing in Pretty Matty’s live band, Pony’s finally releasing their debut full-length this year. On the woozy first single Limerence, Bielanksi sings about the crushing feeling of unrequited love. Fittingly, this February she’s playing the emo-themed tribute night Taking Back Valentine’s Day (February 14 at Junction City Music Hall) in a Paramore cover band.

Moscow Apartment

In the three years since Brighid Fry and Pascale Padilla formed their indie folk-rock band Moscow Apartment, they’ve released their debut self-titled EP, won a Canadian Folk Music Award and toured across the country – all before they graduated high school. This spring, the teenagers are releasing their sophomore EP and playing shows during March Break (they’re still in high school, after all), while being outspoken advocates for the all-ages scene and climate justice.

Moscow Apartment plays the Paradise Theatre on January 30.

The sound: Disco reconnected to its roots

A half century after the heyday of disco, Tush is helping the genre stay alive.

The project, which started as a seven-piece live disco band called Mainline in 2015, now consists of just two core members: vocalist Kamilah Apong and bassist Jamie Kidd.

While their music draws from funk and soul and follows the four-to-the-floor beat typified by disco, they’re more than a vintage throwback.

“Disco is such a loaded term,” says Apong, who previously played in the band Unbuttoned. “For us, it means thinking about how music was made in the origins of [the genre] and keeping to those practices, which was experimentation and [that it was] so much of a social, cultural music.

“Black women were such a huge cultural connection, and disco is deeply ingrained in Black and queer communities.”

Naming Universal Togetherness Band and the Brothers Johnson as some early influences, Tush released an EP, Do You Feel Excited?, in 2018. Their latest single, Don’t Be Afraid, is an atmospheric slow burn propelled by Apong’s gospel-style vocals exhorting us to love defiantly. This summer, they’re planning on releasing their first full-length album.

“What we strive for is depth in the music, lyrics and themes that you don’t find in what most people think of as disco – like more of the later, whitewashed, commercial stuff,” Kidd explains. “We’re making lyric-based dance music that incorporates live instrumentation and more contemporary electronic techniques.”

Tush are a versatile band, and they’ve performed in grand ballrooms like the Palais Royale, rock clubs like the Baby G and underground warehouse parties. Recently, in order to tour more freely and take on gigs at intimate clubs, they’ve distilled their seven-piece live band into a live PA trio that includes Alexa Belgrave on keys.

Kidd, a veteran of Toronto’s electronic scene who co-founded long-running event promoters Box of Kittens and puts on their popular Sunday Afternoon Social parties, has witnessed the gradual loss of the city’s live music venues, especially those accommodating of dance music. But his genuine love for the local scene and all the talent in it encourages him to continue on.

“Something I’ve always strived for is authenticity and doing it for the right reasons,” he says. “With Tush, we’re just doing what we feel most connected to.”

Apong agrees, adding that there’s strong support for contemporary disco in the city. “Everyone dances, no one’s trying to flex or look cool,” she says. “When we throw our own shows, our people show up.” MICHELLE DA SILVA

More Artists To Watch

Born Ryan Anthony Robinson, R. Flex is a queer Black singer, electronic producer and cabaret performer blending R&B and dance music. A backing vocalist in Tush’s seven-piece live band, R. Flex released their own EP, In & Out, in 2018, and since performed in Glad Day’s Black Power Cabaret and at Queer Pop: LGBTQ+ Music & Arts Festival.

Catch R. Flex singing covers as part of Just Like A Pill on January 31.

The DJ, producer, composer and keyboardist born James Harris has been releasing music spanning disco, funk, deep house, dub and jazz since his 2017 debut EP, Memoirs. When he’s not performing or creating visuals for the electronic monthly Astral Projections, he’s co-running Cosmic Resonance, Toronto’s most exciting progressive jazz-fusion electronic label.

Babygirl

One of Toronto’s hardest-working DJs, Katie Lavoie is a fixture on the queer dance party circuit. Catch her spinning everything from Hi-NRG to juke house, pop bangers and big gay anthems at her monthly residency Freak Like Me at the Black Eagle, and on her ISO Radio show Therapeutic Hotness. Babygirl is also part of the team at Intersessions, which teaches women and LGBTQ-identifying folks how to DJ.

Babygirl plays Freak Like Me with Chippy Nonstop and Karim Olen Ash this Friday (January 24) at the Black Eagle.

The sound: Exploding the “Canadian sound”

Haniely Pableo is a cardiac nurse by day, rapper by night. As Han Han, she sings and raps in Tagalog and Cebuano, challenging notions of what makes music “sound” Canadian.

Hip-hop once seemed like an unlikely career for Pableo, but she’s driven by a desire to overthrow patriarchal-racist-exploitative systems. She enjoys creating positive change through challenging conversations, like one she recently had with a man in Tanzania.

“He said that his daughter could go to school and get educated all she wants but when she’s home, she needs to respect and serve her husband,” she recalls. “I argued with him – wouldn’t he want his daughter to be treated like an equal by the husband, [not] a servant? We went on and on.

“I [have] a lot of conversations like this when I travel or go home to the Philippines.”

Her passion for changing the narrative first collided with Toronto’s arts and music scene in 2006, when she immigrated to Canada and took a poetry workshop. After years of performing around the city as part of the collectives Santa Guerrilla and PSL (Poetry is our Second Language), she released her self-titled debut album in 2014. On her upcoming second album, URDUJA, she delves even deeper.

“Each song is different, but [it’s] mostly about the complexities of being a woman,” she explains. “How to be strong. How to be vulnerable. That you can’t always be fierce.”

Inspired by her late grandmother, she named the album after the folkloric Filipino warrior princess revered for power and leadership.

“She’s the opposite of the stereotype that we have today – that Filipina women have to be submissive and happy. That’s what I want to manifest on the album, that we’re more complex. We can be angry, sad, happy, confident and all those emotions exist on an equal spectrum.”

Pableo, who will play a Venus Fest-presented release show with fellow Filipina-Canadian acts Charise Aragoza and sketch comedy troupe Tita Collective, hopes it also challenges the idea that there’s such a thing as a unified Canadian sound.

“We’re missing out on a lot of talent and creativity [when] we stick to a narrow-minded view on what Canadian music is and is not. It’s not progressive or empowering to those communities who are always neglected and ignored,” she argues. “Canada always prides itself [on] diversity and multiculturalism, so it should follow naturally that the music scene reflects those values.”

Pableo acknowledges a growing celebration of diverse Canadian music and cites acts like Maylee Todd as important trailblazers. But she’s committed to making her music until she’s just one of many.

“My hope is that Filipino-Canadian music and talent [become] appreciated, recognized and respected. That’s my personal goal. That’s why I’m still here.” CHAKA V. GRIER

Han Han plays an URDUJA release show at Lula Lounge on January 30.

More Artists To Watch

Honest, empowering lyrics. Self-love and body positivity. A voice that blows the roof off. No, it’s not Lizzo. It’s LU KALA. The Congolese-Canadian singer is known for her flaming orange hair and songs like DCMO (Don’t Count Me Out) that you want to cry and dance to. She’s worked behind the scenes as a songwriter, and now she’s preparing to release her debut album. Its first single, Body Knew, will be out next month.

Duo Elizabeth Rodriguez and Magdelys Savigne released their lush debut, Sombras, in 2019. OKAN's vocal- and percussion-driven tracks evoke their homeland yet also reflect the vibrant Cuban-Canadian community. On their album artwork they’re in full Latin garb, perched regally against a snow-covered landscape – the perfect illustration of their sound. This summer they’ll release their sophomore album, Espiral, and tour through North America and India.

Amaka Queenette

In the summer of 2018, Amaka Queenette quietly released her astute and far-too-brief Vacant EP. At just 19, the Nigerian-born singer’s lyrics and voice hold the composure of someone twice her age. Soulful and elegant, she moves between jazz, R&B and gospel with ease while singing about isolation and soul-searching. This spring she’ll release a visual EP, Fleeting, Inconsequential.

The sound: Heavy psych from the depths

Paul Ciuk laments the lack of meaningful connections in Toronto’s music scene.

“The sense of community we have here is totally broken,” explains the drummer for proto-metal quartet Häxan.

In the band’s experience, power dynamics are often unbalanced and musicians are reluctant to help others unless it helps themselves. But Häxan has seen that there’s an alternative – they’re proof of how supportive a small but dedicated community can be, especially if they have a space to congregate.

Though some of the friendships in Häxan span decades, the real genesis of the band happened at now shuttered Kensington Market metal venue Coalition. In 2015, with only a theatre degree in her performance arsenal, vocalist Kayley Bomben (also one of Coalition’s founding bartenders/promoters/managers) made the leap to front a Germs cover band with guitarist Paul Colosimo and bassist Eric Brauer for a one-off covers night.

“Coalition acted like a big tent because you could see all different kinds of metal there,” Brauer explains. “It was a pivotal venue for us to be able to work out the band dynamic,” Bomben agrees.

Häxan matured from punk cover band to Stooges-inspired grunge act and slowly conjured the fiery intensity of the psychedelic metal they play now. After finalizing their lineup with Ciuk, they quickly slipped into a heavy vintage groove.

A fascination with the occult didn’t hurt, either. Their name is a reference to a 1922 silent film that explores how superstition wrongly linked mental illness to witchcraft. “When we think of people as evil because they’re different, that leads to a lot of horrible things,” Bomben says.

Their debut album, set to be released this spring, furthers the fascination. It’s named Aradia, after a tome of Italian folklore that positions witchcraft against hierarchy and oppression. (The first single, Baba Yaga, just dropped on Bandcamp.)

The album was produced by Alia O’Brien of Badge Époque Ensemble and Blood Ceremony, who knows a thing or two about how pagan rituals and witchy vibes should sound. Häxan credit that connection to Fuzzed and Buzzed. The local label took a chance on them early, putting them on last year’s half-cover/half-original Altar Box 7" compilation where the band first collaborated with O’Brien.

“Nobody has ever done anything like this for any of our other bands before,” Colosimo says. Bomben agrees, pinpointing the key to thriving in the city’s metal scene. “You really have to find the people who are willing to help each other out.” MICHAEL RANCIC

More Artists To Watch

Look out for this mysterious project to make waves later this year. More within the psychedelic camp than metal, ROY still bring plenty of heaviness – biting, raw guitar lines rendered through a thick cloud of analog tape haze. But they temper that weight with dreamy keyboard-conjured paisley sublimities. Think the schoolhouse rock of Darlene Shrugg, or the dense psychedelic tapestries of Tony Price.

Rough Spells

Häxan’s Fuzzed and Buzzed labelmates occupy similar psychedelic and doomy territory and also have a full-length ready. They match Häxan’s occult metal intensity with stellar vocal harmonies and incisive lyrics. Their most recent single, Grise Fiord, is named for Canada’s most northerly community and a site of forced Inuit relocation in the 50s. All proceeds from the track go to It Starts With Us, an organization that honours the memory of Missing and Murdered Indigenous Women, Two-Spirit and Trans people.

Erythrite Throne

Mysterious figure Wyrm has completely thrown themselves into the dark and dank atmospherics of dungeon synth, a black-metal-adjacent style that emerged in the 80s. They’ve released a ridiculously prolific amount of music in little over a year under the Erythrite Throne moniker: 18 albums on Bandcamp starting in 2018, including one on January 1 of this year. Don’t be overwhelmed: their mostly instrumental music is moody and wholly engrossing. Start with The Blind Hag’s Lair.

This content was originally published here.

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