A List Of Known Māori Voice Actors that Star Wars could've hired for the clones instead of whitewashing them.(Please feel free to add more)

Jemaine Atea Mahana Clement. - Ngāti Kahungunu through his mother.

Daniel Logan. - Of Māori descent. Best known for his portrayal of Boba Fett from the 2002 film Star Wars: Episode II – Attack of the Clones & voiced Fett in the animated series Star Wars: The Clone Wars.

Temuera Derek Morrison (MNZM). - Te Arawa (Ngāti Whakaue) and Tainui (Ngāti Maniapoto, Ngāti Rarua) whakapapa. For those unfamiliar, whakapapa means genealogy. East Coast elder, Apirana Ngata, explained that whakapapa is ‘the process of laying one thing upon another. If you visualise the foundation ancestors as the first generation, the next and succeeding ancestors are placed on them in ordered layers. Played the role of Jango Fett in the 2002 film Attack of the Clones, provided the voice of Boba Fett in the re-release of The Empire Strikes Back, portrayed Boba fully in the second season of The Mandalorian and in the show The Book of Boba Fett.

Taika David Cohen (ONZM), also know as Taika Waititi. - Describes himself as a "Polynesian Jew". His mother's family were Russian Jews & His father was of Te Whānau-ā-Apanui descent.

Piripi Taylor. -Ngāti Awa, Tūwharetoa, Te Arawa.

While You Sleep

Chapter 13

Relationship: Bucky Barnes x Reader Warnings: sad. this chapter is sad. Summary: Soulmate!AU - Throughout life, you’re given glimpses of your soulmate through dreams. As you sleep, memories flash in your mind showing you the life your soulmate has lived. Everyone around you raves about how their soulmate reads great books or volunteers in their spare time. But you can’t relate as your dreams end up being more like nightmares. Through initial images of death and violence, you come to learn your soulmate is the Winter Soldier.

Masterlist | Series Masterlist

You were sitting at a stool in the compound’s kitchen when a familiar face walked in. Bucky had eventually explained to you that this was a sort of “headquarters” for the team. You felt a bit foolish having realized you never kept up much with these mighty heroes but you were eager to learn now. So far, you hadn’t encountered anyone you didn’t personally know on this famed team. Even now your eyes landed on the welcoming yet worried face of Steve.

“Morning,” you said, waving your fork before stabbing some of your scrambled eggs. Bucky had insisted on cooking for you despite your assurance you were fine but his cooking skills were....subpar. Still, nothing was inedible and you needed your strength back.

Steve reciprocated the greeting, saying your name with much excitement. “How are you feeling?” He added while making his way to the coffee pot. You chewed your eggs borderline viciously as you debated on an answer. 

“I’m okay.” You gave a shrug, staring down at your plate. Part of you wanted to let more out but you ignored it.

Steve came back around to the counter, standing on the other side across from you. He held his coffee cup firmly, nervously almost. You could feel him watching you. That excitement he had said your name with felt like it was evaporating from the room slowly.

“That’s… good,” Steve said. “If you need someone to talk to we have plenty of resources and - and I wanted to say I’m sorry.”

You peaked a glance at him, confused. You placed your fork on the counter. “Sorry? Why are you sorry?”

“I worry I led them right to you,” he explained, “like you two were separated for a reason.”

You frowned. You hadn’t thought about this - heck, you hadn’t thought about blaming anyone other than the disgusted men with such joyous evil looks in their eyes.

“Steve, I don’t think there was any way anyone could’ve prevented this.” You pushed your plate of food away. “They had their sights set. They had a plan, an optimism. It may have just been the soulmate experience in this case,” you sighed. Steve mumbled your name, shaking his head, but you continued, “And that’s fine. Love doesn’t come easy, right?”

“Being kidnapped is not part of being in love.”

“Yeah, well, you don’t have an ex-assassin for a soulmate.”

Steve’s jaw went slack. You were staring him down now, practically begging him to say one more thing. 

“It’s going to be okay,” Steve finally settled on. Ever the cool, calm, and collected star-spangled man. “You will recover and it’ll never happen again, we can promise you that.” His voice was serious as if every word ended with a period. You felt tears starting to well in your eyes. You wanted to say something, maybe ask for a hug or just… you didn’t know what, so you just sat there, slumped in your chair like a defeated puppy.

“Everything okay here?” A sudden voice made you jump. You and Steve turned towards the kitchen doorway where Bucky was standing, arms crossed, worry etched all over his face. It seemed to become his permanent expression now. Even when it was just you two, he always appeared on edge.

You nodded, turning back to collect your plate and take it to the sink. “We were just chatting.” You didn’t see the look you just knew Steve and Bucky were sharing.

When you turned back around to face the pair, Bucky had crossed the room, almost close enough to now be hovering over you. You flinched when he went to put a comforting hand on your shoulder. You didn’t know why as you clearly didn’t think he was a threat but hadn’t you seen how threatening he could be? You lowered your head, fighting off the thoughts. He wasn’t like that to you and he had proven it time and time again. Why was it suddenly different?

Before either of the men could comment on your sudden hesitation, you said, “I’m going to go take a shower.” They just nodded, letting you exit.

***

When you got out of the shower and back into the room the team had lent you and Bucky for the time being, Bucky was waiting patiently on the bed. You lingered around the space, picking out some pajamas to wear, acting as normal as you could. You took in the space, still amazed by it. It was fairly large with top-notch amenities, including a luscious bed, spacious dresser, and television from technology you weren’t sure existed for the general public. It even had access to your own grand bathroom, saving you some war flashbacks of the communal restrooms at college. 

You dipped back into the bathroom and got changed. While your intimacy with Bucky hadn’t been on the shy side, you weren’t in that kind of mood right now. Rightfully so, you would say.

Emerging once more, you noticed Bucky had made a sort of resting area for you on the bed. Your side was surrounded by blankets upon blankets and soft pillows. He even had a movie queued up for you two to watch. He laid waiting, his eyes practically begging you to come to him. After giving your hair a final wring, you gave in and crawled into the soft bed, letting all of you just melt into it.

“How are y-,”

“Bucky,” you sighed, turning towards him. He was laying on his side, staring down at your curled-up form. “Please don’t ask how I am.”

He nodded. “I get it, doll. I’m just worried about you. You seemed alright yesterday but today…” Yeah. You’d taken a dive. Your whole mood had shifted. Heck, your views on the world had shifted. As dramatic as it seemed, you were having a hard time snapping back. You weren’t even gone for over two days and yet the smallest thing...

“I think it’s just all settling in,” you admitted, your voice barely above a whisper. “Maybe it was just shock yesterday or something but realizing what all happened… Gosh, this probably seems so foolish to you.”

Bucky began shaking his head profusely. As gently as he could, he took your hand in his. You welcomed the action as you shifted under the makeshift mountain of blankets. “Don’t do that, honey. Don’t try to dismiss it or think what you’re feeling is foolish. You went through something so terrifying. You’re allowed to react to it.” He took a deep breath. “When we talked yesterday, I think I thought maybe they hadn’t gotten to you. That nothing had happened that would leave you torn up but you saw… a lot.”

You knew he wasn’t talking about just being exposed to Hydra and their twisted selves. “I did,” you hesitantly agreed. “And I fear it’s going to take a lot to recover.” Your words felt like you were delivering punch after punch to Bucky but where were you going to get if you weren’t honest?

“Anything you need, sweetheart,” he mumbled, his thumb drawing soft patterns on the back of your hand, sending shivers through you. “I’ll do anything to make it better.”

You nodded, averting your gaze to where your hands were connected. Your hand was so tense but you hadn’t even realized you were squeezing his. You relaxed it slightly and Bucky’s motions stopped.

“Bucky,” you mumbled, “can I ask you something?”

He hummed in response.

“What do I offer you?”

You could feel Bucky’s eyes staring you down. No doubt a concerned frown was playing on his lips. “What are you getting at here, honey?”

You shifted uncomfortably. “When I was… you know… the - the older man said that he didn’t understand why we would be paired together. They were determined to figure out what I offer you. What makes me so special.” A beat. “I really don’t know the answer.”

Bucky sighed, shaking his head. You glanced up at him again, his eyes now holding a different kind of anger. You felt bad for doubting yourself but the insecurity from the words of some random guy settled into your brain. 

After a thoughtful moment, Bucky spoke, “I don’t think you’ll ever fully understand what you give, not just to me, honey, but the world. You’re so fearless. You’re incredibly understanding. Not to mention how compassionate and bright you are…” His voice cracked slightly, breaking your heart a little. “You force me to remember that I’m not alone and I don’t have to be. And I just really hope I do the same for you.”

You could feel your own tears forming as you shifted just a bit closer to your soulmate. You weren’t quite touching but you could still feel his presence. It was as comfortable as you could get right now and Bucky seemed to respect that. 

“I hope I’ll be okay,” you confessed. “Eventually.” 

It quite amazed you how fast stuff could change within yourself. You woke up from being rescued with the more extravagant hopes and overwhelming relief of just making it out alive. But then you remembered the price of you making it out alive. What you had to witness to get there. And then the thoughts of actually being back in that position rushed over you. Needless to say, it was weird. Simply weird. Unlike anything you had encountered before. 

Bucky soon nodded, encouragingly. You hated putting anything else on him but he had become part of the memories now. It was one thing to see him in dreams and another to watch it just feet away from you. 

With a choking sob, he said, “Me too, doll.”

Hollywood and Broadway need to realize that you can tell the stories of people of color without whitewashing or blackwashing them. Real life, if not yet reel life, is already kaleidoscopically diverse.

Of course, this assumes these agents of cultural production want to tell these stories. Their answer, however, seems to be that as artists it is not their mission to tell the stories of people of color but to tell universal, human ones. This implies that the stories of people of color are not, or as British author Nikesh Shula has observed, “White people think that people of color only have ethnic experiences and not universal experiences.” Evidently so do some people of color.

The colorism controversy surrounding the lack of Afro Latinx representation in the Hollywood version of Lin-Manuel Miranda’s In the Heights is recent but not new. As Ishmael Reed pointed out in his 2019 critique of Miranda’s Hamilton, in addition to glorifying its titular slaveholding hero and the Founding Fathers as a whole, it fails to present the voices of the “Native Americans, slaves, and white indentured servants” they victimized, voices Reed himself would subsequently include in his play “The Haunting of Lin-Manuel Miranda.”

In response to such criticism, Miranda generously conceded his limitations, while still defending his melanated whitewash of American history: “All the criticisms are valid,” he tweeted, adding, “The sheer tonnage of complexities & failings of these people [the Founding Fathers] I couldn’t get. Or wrestled with but cut. I took 6 years and fit as much as I could in a 2.5 hour musical.” The implication: the oppressive weight of these complex individuals somehow justifies jettisoning acknowledgement of the reality of their failing as slaveholding white supremacists.

In an interview with Reuters, Miranda once again invokes “tonnage” to defend his film: “To be quaint would be a dream come true. No one movie can encompass the sheer tonnage of stories we have to offer.” But “tonnage” vision may not be the only reason for the film’s failure to see Afro Latinx people. (Ironically, the Reuters interview begins with the observation that Miranda is “hoping [his] musical In the Heights changes the conversation in Hollywood about the wider appeal of such movies, just as Crazy Rich Asians did in 2018.”)

Jon M. Chu, the film’s director, provides another, noting that while the casting of Afro Latinx people was “discussed,” “in the end, when we were looking at the cast, we tried to get people who were the best for those roles.”

The sentiment is echoed by Melissa Barrera, one of the film’s white passing Latina: “I think it’s important to note though that in the audition process, which was a long audition process, there were a lot of Afro Latinos there, a lot of darker-skinned people. I think they were looking for just the right people for the roles, for the person that embodied each character in the fullest extent.”

Certainly, Miranda and Chu were aware that the film’s casting did not accurately reflect the racial demographics of Washington Heights, any more than the cast of Hamilton reflects the racial composition of the Founding Fathers. (Read another way, the dark-skinned Afro Latinx Dominican community of the Heights were the wrong people to be represented in a film about their own community.) But Hamilton’s oxymoronic, color-conscious colorblind casting is intentional. A similar intentionality cannot be read into In the Heights, and not just the movie version. (One wonders how the original Broadway musical addressed these issues during its 2008-2011 run: Were dark-skinned Afro Latinx people represented any better? Sadly, it seems colorism plagued these productions as well.

This is unfortunate, since just as Hamilton whitewashed the emotional, financial, and intellectual investment of the founding fathers in slavery and genocide, the film adaptation of In the Heights opts to omit the reality of colorism within communities of color, an issue that was suggested, albeit fleetingly, in the original Broadway production in which the father of Nina, a light-skinned Afro Latina, disapproves of her black, non-Latinx lover Benny. (Not only is this subplot excised from the film, but the romance between the two characters has also been truncated and Benny’s overall role in the film reduced.). In fact, Miranda decided to remove this suggestion of racism from the film, telling the LA Times, The film “isn’t about the parental disapproval of this interracial relationship because we wanted to focus on the specifics of the racial microaggressions Nina faced at Stanford, which Benny very much understands and has her back on. So it didn’t make sense for her to be fighting that war on two fronts.” What Miranda fails to appreciate is that battles against racism and its handmaiden colorism are swaged simultaneously on multiple fronts and that his own film’s conscious attempt to minimize these conflicts may itself be interpreted as a not so micro microaggression.

What makes the current conversation about colorism even more remarkable, is that we’ve had it before. This is not the first time Chu has been criticized for colorism. In 2018, when the Singapore-based Crazy Rich Asians was released, it was criticized there for not accurately portraying that nation’s diversity. The film’s leads are light-skinned East Asians, those in subservient roles are dark-skinned Southeast Asians. As Singapore journalist Kirsten Han, put it, “The focus is specifically on characters and faces of East Asian descent, which plays into issues of racism and colorism that still exist, not only in the U.S. but Asia.”

Responding to his critics, Chu told a press conference, “We decided very early on that this is not the movie to solve all representation issues. This is a very specific world, very specific characters. This is not going to solve everything.” Now, three years later, Chu has directed another film about a specific world and specific characters that excludes specifically dark-skinned people, creating more problems than those it was not intended to solve.

Still, Hollywood has had plenty of opportunities to clean up its act, only to squander them[3] as it deliberately continues to erase people of color from their own lived narratives. The film 21 (2008), based on a true story about a group of MIT students gaming the tables in Vegas, replaces Jeffrey Ma, a Chinese American, with a white character renamed Ben Campbell, while the rest of the real Asian American members of the blackjack team are similarly  whitewashed. In an interview with The Tech, Ben Mezrich, author of Bringing Down the House, the book on which the film is based, said that he had been told by a studio executive  involved in the casting that “most of the film’s actors would be white, with perhaps an Asian female.” In Stuck (2007), based on another real life incident, this one involving a black woman who accidently hits and kills a homeless man with her car, not only does the main character undergo a name and race change, but, adding insult to injury, the film’s race-switched white female lead sports cornrows.

Fictional characters of color are also subjected to whitening. In 2010: The Year We Make Contact (1984), the sequel to2001: A Space Odyssey (1968), Bob Balaban is cast as Dr. R. Chandra, the creator of the sentient supercomputer HAL 9000, quite a departure from the Dr. Chandra, a.k.a. Dr. Sivasubramnian Chandrasegaram Pillai, of Arthur C. Clarke’s original novels. In the film Wanted, based on the graphic novel by Mark Millar and J.G. Jones, The Fox, a character  physically modeled on Halle Berry, is played by Angelina Jolie. Reuben St. Clair, the black social studies teacher featured in the novel Pay it Forward (2005), in the film becomes white Eugene Simonet (Kevin Spacey). Presumably, in the eyes of the filmmakers all these actors were “the best fit for the role,” even  where the race and the names of the characters they portray were changed to accommodate them. If the shoe fits – alter it.

Movies, television and Broadway shows are entertainments not history (though they can be both). To be sure, actors should be given leeway to practice their craft, and escapist histories can provide a means of critically reexamining contemporary constructions of race and being (see for example, Barry Jenkins’ The Underground Railroad). But such imaginative excursions devolve into extravagant indulgence when they substitute for or impede the production of stories that attempt to engage history, particularly history that has been erased by what Reed calls the “Historical Establishment.”

Sure, in the eyes of producers, a film about Anne Boleyn will capture a greater audience share than one about Sojourner Truth. A film about Boleyn starring a black woman could potentially outperform them both, if only because of the controversy it will generate. After all, Boleyn is a known quantity, a brand, a bankable historical commodity. Truth is not, at least to the gatekeepers of popular historical dramaturgy. As history, Gone with the Wind (1939) is irredeemable trash. Yet, for many, both in America and abroad, it offers, like its predecessor The Birth of a Nation (1915), a distorted vision of past American greatness.[3] As for Hamilton, aside from the entertaining irony of turning the melanophobic Founding Fathers into people of color, it tells us nothing meaningful about either but a lot about the marketability of sanitized history, just as In the Heights’s erasure of an entire darkly pigmentated community of color from its own storytells us all too much about our present.

Stolen Sunlight (Ch2)

Fandom: Tangled | Tangled the Series | Rapunzel’s Tangled Adventure

Fic Summary: Arianna never thought she'd find herself afraid of a fourteen-year-old boy, but the events of Secret of the Sundrop won't seem to leave her.

She needs to talk to Varian in prison. Not for his sake...but for her own.

Character focus: Arianna 

Notes: Oh my GOSH you guys, thank you SO MUCH for that incredible response to chapter 1!! My writing rarely gets into the double digits as far as notes go, and I'm lucky if I get one comment... You have no idea how happy it made me to wake up this morning to so many notes, including a bunch of super nice comments...I really can't thank you enough. I hope you guys like the second chapter too! ...I know it's pretty different from the first one, haha!

(Fyi, I'm not usually this fast in posting the next chapter of something, I just happened to have the two beginning parts all edited together XD)

Chapter 2: The Cracks in Their Hearts 

Arianna’s eyes flare open, her heart firing and misfiring, taking its panic out on her own ribs. And for a second she can still feel the stone beneath her, the shackles around her ankles, can still hear his voice, feel the weight of his gaze.

The world behind his eyes then was so cold then: all hate and no hope. So different from the world she lived in. She didn’t want that world to infect her own view.

She clenches her fingers into the sheets.

It wasn’t a dream. That much she doesn’t have to question; at some point in a twisted history, it was real.

How the scene of the boy who smiled and laughed, helping Cassandra with her chores, making the library gleam for little recompense, and the scene of the boy who created a metal monster as a diversion, wrapped chains around her ankles, and teased death and amber before her eyes, could both exist in the same timeline…How the same boy who created machines and compounds to forge solutions, could turn around and use them to manufacture problems, could be played by the same actor, that the only thing that had changed was time…and, at the very end, the same voice that once laughed, and spoke so happily of alchemy and friendship in these castle halls could scream no and I’ll make you proud from a prison cart…she doesn’t understand. It all seems like some sick joke, played with a trick of the light.

The Queen tosses her legs over the side of the bed, pushing back her hair, careful not to wake Frederic, whose chest is rising and falling to the rhythm of uninterrupted sleep.

This isn’t the first time. That is, it isn’t the first time her mind parroted and parodied her memories as nightmares.

She tiptoes up to the door and slowly turns the knob, glancing back at Frederic to be sure he doesn’t wake, and quietly shuts it behind her.

She needs to walk the halls, clear her mind; if she lays back down to sleep now, her heart won’t be able to stop its war march.

She knows from experience.

The castle halls are quiet, doused in a blue-violet tinge, spilling through the windows. She steps up to one of these panes, sighing to the night sky speckled with stars.

The same stars she and Willow chased the sunrise under. The same stars she kissed Frederic under. The same stars, worlds she and Rapunzel gazed at, charted together, asking each other what was out there.

The same sky he kidnapped her under.

The same sky. The same boy. The same queen. The only difference is time.

Time is a funny thing, isn’t it? Likes to play pranks. Heals things. Makes you forget things too. Bad things, yes, but also good things; makes you forget what you lost…and consequently less grateful for what you have. And sometimes it only makes the bad things worse, when your mind won’t let go of them.

She glances down the hall—the same hall she had met that chipper voice and those eyes so full, so accepting of sunlight.

The same hall he captured her in.

She recognizes too, it’s the same window she was looking through that day, down upon the town square, watching those she loved be attacked by a beast of the alchemist’s making. The same window at which he threw sleep into her face.

He looked so different that night. He wasn’t the cute little boy with the gloves, and the apron, and the stripe in his hair, and the glint in his eye. This was a masked criminal in a large, dark coat, which hid weaponry. No boyish twinkle in that blue this time; now the goggles glowed green, like a demon, no soul or sunlight behind them. His raccoon wasn’t the only one he morphed into a monster that night.

How could a person so easily shut himself off from the bright light inside himself, and turn to such immense darkness? As if the shadows had been asking to play this whole time, and he finally accepted their invitation. That was the question she never could quite wrap her mind around.

How could he treat those he once loved like that?

Is that sweet boy still in there? Is he trapped somewhere inside the darkness, within that prison of blue, crying for mercy?

She couldn’t imagine any circumstances that could drive her to treat those she loved like that, no matter how angry she was, or how much she had lost.

Her heartbeat picks up the pace.

She knows she is safe. Her family is safe. Or at least, she has no reason to believe otherwise. They made it out of that lab, and Varian is just a boy swearing vengeance in the dungeons below her. She knows he cannot come back to haunt her. She knows she is safe.

He’s just a boy.

So why does she still feel so...uneasy? Why does the thought of him in the dungeon feel, not like the end of a story, the end of a nightmare, like justice…but instead like the beginning, like a crime in and of itself? Why does she still feel sick, and cold, and far too old thinking of him?

When Rapunzel was taken from them, so long ago—(though it always felt like yesterday)—sorrow was a constant reminder and companion. A quiet buzz of tragedy in the back of her brain. A crack in her heart, making it so she was never fully whole, never fully satisfied. Today’s melancholy, tinged with tomorrow’s hope, tomorrow’s despair. Now the tragedy, the threat, is over. Nothing is missing from their lives. Their hearts are whole again. And Rapunzel has faced many villains on her own, and defeated them with flying colors—him included.

But Arianna still feels something isn’t right.

Maybe it’s because this has happened before. Because she had spent so much of her life grieving the loss of their daughter, hoping in the deepest corners of her heart she would come running into the castle one day.

Maybe because, when her lost princess did come back there was this new thing in the back of her mind saying Maybe you don’t have her back forever. Maybe she’s not safe. Maybe she’ll be taken from you again. A part of herself she had to willfully soothe each day. …A voice Frederic was unable to quiet within himself.

Is it because Varian gave credence to this voice inside her? Because he took their own personal demons and brought them to life in a lab?

But it wasn’t Rapunzel he took…it was her.

Is that the point? Is it because she herself was the one who was kidnapped, for the sake of her daughter? That he used her to get to, to hurt, to in turn use, Rapunzel, too? Because she hadn’t anticipated that? Because the shock of it brought new ammunition to that voice? That now it was clear her daughter wasn’t the only one who could be taken, that any one of them could be stolen away, and used by the opponent? Was it that act of both of them being used as chess pieces in a grand game, instead of people with souls, who were hurting, that keeps her up at night?

It could very well be. But even so, together they had won against him. Arianna was confident that together—be it the three of them, or Rapunzel and her friends—they could face whatever came their way. She wasn’t afraid of him that night, when she was sitting handcuffed to his laboratory floor. She knew they would win. They always did.

Is it because he was one of her friends, a friend she thought could help Rapunzel face the darkness, a friend who had such light in him? Because he made it so terrifyingly clear that our worst enemies are not faceless monsters in the dark, not really…they are the friends we couldn’t save. His greatest offense was not treason against his kingdom, but against his friend. Is it that thought, that tomorrow’s villains are today’s heroes that sends her heart reeling?

But he is down there, in the dungeon, she repeats to herself, as she walks down the hall. She knows where he is; he cannot surprise attack her at any moment. He was not the first villain they faced, the first traitor, to Corona, nor will he be the last. That prison is filled with people who tried to take their sunlight away, and lost.

But she does not feel sick thinking of anyone else down there.

So why, when he is put behind bars—

Or says a voice in the back of her head, a very soft one she’s been trying not to listen to, maybe it’s because he’s down there.

…Because he’s down there, so close, and if he were to escape it would be so easy for him to strike where it hurt?

—(No, says the voice.)—

Or—(dare she admit it?)—Maybe it’s because he’s down there, when she knows he once was, and still could be, more than this. Because he’s down there, wasting away, repeating threats to empty walls, while she walks safely in her golden palace above, not caring what happened to him, what’s still happening to him, even now…how much pain he’s still in….

How much his mind is surely tormenting him.

(Just like her.)

Two scenes, one boy. But maybe it isn’t the way he turned to the dark…maybe it’s because she knows the dark isn’t all he’s made of.

Corona isn’t a place where villains and criminals are shut up, or beheaded for their crimes. It’s a place where they’re taught to be better.

She hadn’t given all that much time to mull in her head before, but now it gives her pause, sinks into her brain. Perhaps this unease is not entirely for herself, her family. Maybe its not fear…it’s guilt. Maybe some part of it, even if it’s small and cowering, is not for herself, but for him.

They all looked away. Frederic looked away when the rocks were destroying their kingdom. Rapunzel looked away when he came to her for help. They all didn’t go to him; looked away when the storm ended, assumed he was better, for fear of facing the fact that he wasn’t, that the storm had left wreckage behind after all, wreckage they would have to clean up. It was easier to look away.

Maybe this isn’t about the way he treated her…maybe it’s about the way they’re treating him, when she knows he was once a boy who cleaned libraries, fixed problems, helped people. When she knows he is still human…and they left him there to rot in the dark.

They’re still looking away.

What does she know? Maybe they’re right to leave him there. She doesn’t know him well. All she knew were the stories Rapunzel told, and the brief interactions they had. And the stories proved he was dangerous when good, and the interactions proved he was deadly when evil.

—(But…was he ever truly evil?)—

She met him twice, and their second, longer meeting was made of metal, and amber, and moonlight. If he could cross straight into the night without a sunset, then maybe she didn’t know him well enough to say they shouldn’t have looked away.

Still, even though she didn’t know much else, she knew—when she did look at him—the look in his eyes. She was certain that, though his gaze was harsh and unrelenting at those times…there was tragedy behind that ice, frozen in time. She could see the cracks in his heart. Could hear the voices in his head saying Maybe you can’t save your father after all.

A criminal was not all he was. A cell was not all he deserved.

He was just a boy, lost and hurting.

Like she was, once.

She paused, peering around a corner at two guards posted at a door. She knew behind it was the staircase to the dungeon. To …him.

She’s so close…

She could go see him right now. Sleep deprived and unsteady in mind she could march down there.

What would she do if she did? Yell and question him? Lecture him on the merits of a non-criminal life? Demand answers, or expect no answers, just want to see him hurt like he hurt her?

She tempers her breath. The thought fades quickly as it comes.

That is not who she is. That is not who she wants to be, to appear to him as; all fear and anger. If she does, if she wants him to hurt, she is no better than the darkest parts of him.

And it is not what either of them need.

She turns away, deciding the bed is more inviting now that her thoughts have coalesced into resolve, and her bare feet take her swiftly back to her room.

Not tonight. Not now.

She will talk to him again. She needs to, for both their sakes. She’s not going to look away anymore.

Because she knows they are the same.

Members of the Film & TV Music community, made up of composers, songwriters, music editors, music supervisors, studio executives and more, are contributing their talents to SOUNDTRACK OF OUR LIVES: A CELEBRATION FOR THE FILM & TV MUSIC COMMUNITY, an online benefit event for MusiCares® COVID-19 Relief Fund. This specially produced program debuts June 25th, 2020, at noon pacific on YouTube, and will honor the talented people whose scores and songs transport, inspire, uplift and entertain us by creating the "soundtrack of our lives." The fun, delightful and heartfelt hour-long special will feature leading and iconic singers, composers, songwriters, actors, celebrity guests and others while celebrating glorious Film & TV Music moments with heart and humor. Donations to MusiCares® COVID-19 Relief Fund will be encouraged throughout the show.

"Thousands of music professionals and creators are struggling during this pandemic and remain in desperate need of assistance," says Debbie Carroll, Vice President Health and Human Services MusiCares®. "The continued support from the music community during these turbulent times has been heartwarming and inspiring. The power of music unites us all and gives us hope for better days ahead."

Over 75 film and television composers and songwriters, "From A to Z, Abels to Zimmer," will appear in this program. Collectively, this prestigious group has been nominated for 273 Grammys (with 87 wins), 216 Emmys (with 51 wins) and 136 Oscars (with 34 wins).

Confirmed performers and special guests include Sting, Catherine O'Hara, Ming-Na Wen, Patti LuPone, William Shatner, Elisabeth Moss, "Weird Al" Yankovic, Marla Gibbs, Jane Levy, Mandy Moore, Richard Kind, Alex Newell, Zachary Levi, Paul Reubens, Kiernan Shipka, Harvey Fierstein, Ginnifer Goodwin, Anika Noni Rose, Kasi Lemmons, Ted Danson, Auli'i Cravalho, Darren Criss, Drew Carey, Ray Romano, Holly Hunter, Reba McEntire, Bob Saget, Ken Page, Lucy Lawless, Mary Steenburgen, Dave Coulier, Kevin Smith, Peter Gallagher, Naomi Scott, Annie Potts, Clive Davis, Jodi Benson, Harvey Mason Jr., Susan Egan, Paige O'Hara, John Stamos, Andra Day and Rita Wilson.

Composers and songwriters participating include Michael Abels, Kristen Anderson-Lopez, Angelo Badalamenti, Glen Ballard, Lesley Barber, Nathan Barr, Tyler Bates, Jeff Beal, Marco Beltrami, Alan Bergman, Terence Blanchard, Jongnic Bontemps, Kathryn Bostic, Kris Bowers, Jon Brion, Nicholas Britell, Bruce Broughton, BT, Carter Burwell, Sean Callery, Joshuah Brian Campbell, Lisa Coleman, John Debney, Tan Dun, Fil Eisler, Danny Elfman, Charles Fox, Germaine Franco, Harry Gregson-Williams, Hildur Gudnadóttir, Alex Heffes, Joe Hisaishi, James Newton Howard, Justin Hurwitz, Ashley Irwin, Mark Isham, Steve Jablonsky, Amanda Jones, Laura Karpman, Christopher Lennertz, Joe LoDuca, Robert Lopez, Mark Mancina, Gabriel Mann, Clint Mansell, Dennis McCarthy, Bear McCreary, Alan Menken, Bruce Miller, John Murphy, Starr Parodi, Benj Pasek, Justin Paul, Daniel Pemberton, Michael Penn, Heitor Pereira, Rachel Portman, Mike Post, A. R. Rahman, Tim Rice, Lolita Ritmanis, Dan Romer, Anna Rose, Jeff Russo, Arturo Sandoval, Lalo Schifrin, Marc Shaiman, Teddy Shapiro, Richard M. Sherman, David Shire, Rob Simonsen, Mark Snow, Tamar-kali, Dara Taylor, Pinar Toprak, Brian Tyler, Nick Urata, Benjamin Wallfisch, Diane Warren, Mervyn Warren, Paul Williams, Austin Wintory, Alan Zachary, Geoff Zanelli, Marcelo Zarvos, David Zippel and Hans Zimmer.

Some highlights of the special include:

Members of the Film & TV Music community deliver heartfelt messages of hope, solidarity & encouragement.

"Musicians!" - a humorous musical tribute to the Film & TV Music community featuring Zachary Levi, Patti LuPone, Alex Newell, "Weird Al" Yankovic, Peter Gallagher and Harvey Fierstein.

Tony Award winner and Disney Legend Anika Noni Rose highlights the history of African American composers, songwriters and artists who have contributed to the Film & TV Music industry through the years.

Performers Danny Elfman, Catherine O'Hara, Paul Reubens and Ken Pagereunite to perform a song from the film The Nightmare Before Christmas.

Eight-time Academy Award winning composer Alan Menken performs his timeless song, "A Whole New World," alongside his daughter Anna Rose, introduced by Aladdin (2019) stars Mena Massoud and Naomi Scott.

Stars from beloved animated features step out from behind the microphone to lend their voices to inspirational messages, featuring Irene Bedard, Jodi Benson, Auli'i Cravalho, Holly Hunter, Mandy Moore, Susan Egan, Ginnifer Goodwin, Linda Larkin, Paige O'Hara, Annie Potts, Anika Noni Rose and Ming-Na Wen.

John Stamos hosts "Name That TV Tune!" with celebrity panelists including Elisabeth Moss, Drew Carey, Ray Romano, Eve Plumb, Reba McEntire, Bob Saget, Dave Coulier, Marla Gibbs, Lucy Lawless and Kevin Smith competing to identify famous TV themes.

Zoey's Extraordinary Playlist actor Jane Levy invites us into the dreamworld of her Extraordinary Soundtrack Playlist.

Various performers, including members of the original cast of La La Land, sing a parody version of "Another Day of Sun."

William Shatner explores how different scores can give the same film a different meaning as an exasperated director, played by Richard Kind, leads a composer in multiple directions for a short film starring Kiernan Shipkaand Christian Coppola.

Songwriter Paul Williams performs his classic song "The Rainbow Connection," from The Muppet Movie, joined by various special guests from the Film & TV Music community.

Tony- and Emmy-winner and seven-time Oscar® nominee Marc Shaimanperforms an original song tribute to end title sequences.

MusiCares® COVID-19 Relief Fund was created by MusiCares® to provide support to the music community during the pandemic crisis. The music industry has been essentially shut down with the cancellation of music performances, events, festivals, conferences and the many other live events that are the cornerstone of the shared music experience. Since the fund's establishment in March, over 14,000 clients have been served, with many more still needing help.

Show co-creator Peter Rotter says: "When the pandemic tragically hit our world and began to shut down our film music community, I felt that something needed to be done to help those who were in need of support and care. Through MusiCares® we have found the charitable vehicle that can come alongside our hurting musical family.

"Music has always played a role in history; reflecting both the subtle and monumental moments of our lives through its unique DNA. Music connects each of us, acting as a common thread of unification, opening the hearts of all people.

"Regardless of the color of one's skin, status or station in life, music powerfully breaks through boundaries as its message permeates deep within us; healing our human frailties and condition at our cores. Music is transformative and personal. It powerfully underscores our lives."

"Music has always helped transport, uplift and inspire us through wars, economic hardships, health crises and societal upheavals," says show co-creator, Richard Kraft. "When COVID-19 hit, it threatened the lives and livelihood of much of our Film & TV Music community. So, we decided to create an online special that both celebrates the soundtrack of our lives and benefits, via MusiCares®, the artists who create it."

Starting June 25th at noon pacific, watch the video on Youtube via Rolling Stone, Variety & GRAMMY's channels, as well as on www.soundtracklives.com. Donate at soundtracklives.com now!

hey! i noticed that you’ve written a lot about how voltron fails as a mecha series, and it got me curious about what a GOOD mecha series looks like. do you have any recs for someone whose only experience with the genre, quite literally, is voltron?

note: that is NOT where I wanted the cut. who knows what the devs are doing over there at tumblr hq.

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Welp, there’s more than one kind of mecha. There’s super robots -- where (in general) the robots are ultra-powered and relatively indestructible. Then there’s real robots, which will break down and/or run out of ammunition at the most dramatically critical moments. And then there’s a category that at best might be nearly-sentient robots, which have minds and motivations of their own -- but I wouldn’t say that’s a true category (in terms of the genre) so much as a distinction I've noted.

I’ve never been big into the super robot series (with a few exceptions), and I mostly find the combining robot genre to be frustrating. Former mechanic and engineer who currently works with AI, so a lot of the hand-wavey aspects are frustrating for me, especially in super robots where things mysteriously repair themselves and there’s never a struggle to upgrade/repair. (And don’t even get me started on the idea of controlling a bipedal reactive machine with only two foot pedals and a damn joystick.)

Which is all to say, I suppose I should recommend that you watch the classics, except I’m not really sure what they are because I’ve forgotten most of them. And frankly a lot of them are really shoddy animation by today’s standards, and life is too short to waste time on that. I’ll need to refer you along to other mecha fans to add their recommendations, instead.

Well, I can at least recommend Gundam and Macross, but that’s kind of like saying I recommend Doc Martens and Aididas -- that barely narrows it down, since there’s so many options within each brand. Everyone’s got their favorites in each, as do I, but any mecha series that’s stayed with me is one that found a way to either twist the core trope, or explored implications that other series glossed over.

Note: I’ve never seen any version of Eva, and never felt the urge to, either. Sorry. Ask someone else for input on that. Plus there’s also ones I’ll leave off here ‘cause they’re veering over into AI/robots/tech and less what would usually be called mecha, but they’re still worthwhile: Battle Fairy Yukikaze, Ghost in the Shell: Standalone Complex, Broken Blade, Last Exile, and Voices of a Distant Star all come to mind.

Gundam

For me, I adore the technical geeky touches in Gundam F91, but the story is total spaghetti, so you might want to skip that until you’re more familiar with the gundam tropes. (It was meant to be a series, iirc, got shut down, and they took the pieces and made a movie from it, so it’s... kind of compressed, to put it mildly). 

Gundam Wing and Gundam 00 are considerably less geeky on the technical (though they do satisfy the mechanic itch, with a bit more real robot, at least on the technicalities). I like the international core cast, and the way each series explores geopolitical dynamics. (That said, skip the second season of Gundam 00. It just goes totally off the rails into some really wild and wacky directions.)

A long-running concept like Gundam is recognizable across the series thanks to core concepts, and in Gundam’s case it’s the conflicts between imperialism and colonialism, war versus justified rebellion, and pacifism versus a first-strike as self-defense. What I liked with Wing and 00, in particular, was its central pilots felt more tied to (and aware of) the political ramifications of their actions.

I did watch about half of Iron-Blooded Orphans, which struck out in a new direction by having Mars as the colony instead of the lagrange points, but didn’t bother finishing. From what I hear, watch it with a box of tissues, as it’s a return to the classic kill-em-all perspective of the original Gundam series.

Macross

I’m sure someone else will tell you to watch the original Macross (the american version being Robotech, albeit highly edited). I know lots of people adore the first Macross series, but it’s just too late-80s for me. (The hair, my god, the hair.)

Personally, I prefer Macross Frontier -- the amination is much improved, though the fact is I also adore the voices of Yuuichi Nakamura and Aya Endō. Macross has some politics, but it’s mostly internal -- that is, the opponents aren’t human, so whatever debate there is about who’s right or wrong is mostly one-sided, since we only ever see humans doing the talking.

I tried to watch Macross Delta but it just didn’t do it for me -- and therein lies some of the issues (for me) with both Gundam and Macross. Because both have some core elements that they tackle in every series, it can start to feel a bit repetitive.

For Macross it’s always music, Valkyries (the mecha type for Macross), and a love triangle -- which sometimes isn’t even resolved. (I’ve read all kinds of debates about whether Alto ends up with Sheryl or with Ranka, but the series leaves it open.)

A good writer can explore these themes over and over, but between the two, I personally think Gundam has done a bit better of pivoting to take a new angle with each series. But at the same time, Gundam is pretty consistent about not building on a previous series -- with a few notable exceptions, most of its series are alternate-universe stories to each other. In Macross, they’re all continuations of the previous -- so if you’re not into its setup about aliens and weird diseases and whatnot, you’re only going to get more of the same in the next series.

Everything else

So here’s the series I like, but I’m not sure all of these would be counted as ‘true’ mecha by other fans (a debate I mostly ignore, so I’ll leave it to others to argue about that).

Escaflowne -- one of the rare breed of fantasy-styled mecha (Broken Blade being another one that comes to mind). The animation is strongly 80s, but the voice acting is superb, the story (originally meant to be longer, then budget cuts forced a much longer story to squeeze into half the episodes it really deserved).

[It’s also a series I’d call a harbinger, similar to tripping over little-known movies from twenty years ago and realizing every single actor including walk-on parts went on to be massive names. Escaflowne’s got that, but that also extends to its animation team, its director, its composer, on and on. All of them went onto work on some of the greatest hits of anime. That makes Escaflowne immensely (if quietly and somewhat subtly) influential, both for the genre and animation overall.]

Eureka Seven -- another not-on-Earth story. At first the mecha movement -- almost like surfing in the sky -- was odd, but they took some interesting physics concepts and made them not just worldbuilding, but integral parts of the story. Okay, I’m not keen on how the female lead gets successively down-graded as the hero ramps up, but there are some emotional implications of Massive Destructive Machines where Eureka Seven lingers that a lot of other series gloss over.

Fafner in the Azure -- another aliens-against-humans, but first off, I’m gonna say it: you either love Hisashi Hirai‘s character designs or you want to torch them with total prejudice. If you can get past that, Fafner is brutal to its characters well beyond most other series, excepting the earliest Gundams. Although (of course) the pilots are all kids, there are in-story reasons, and there are still adults running the show. And there are consequences, small and large.

Code Geass: Lelouch of the Rebellion -- because what would life be if we didn’t have at least one mecha series with character designs from CLAMP. (Which, admittedly, I loathe, but somehow it worked here.) Can’t speak for the second season, but the first season played up something a lot of mecha bypass for just plain banging on each other, which is strategy. It caught me at the time, at least.

Full Metal Panic -- watch this after watching Gundam Wing and/or Gundam 00, to get the tropes they’re playing on with Sousuke Sagara (the ostensible protagonist who just cannot seem to relate to real human beings). I saw one description of him as “about as well-adjusted as a feral child” and that kinda fits. It’s more real robots, and of course parts require some hardcore suspension of disbelief (the commanding officer who looks 14, sounds like she’s 12, and has boobs that never occur in nature on a frame that teeny). But all told, a lot of fun and plenty of explosions.

RahXephon -- this is another oddball one, because the mecha aren’t mecha, they’re golems (as in, creatures made from clay). For all that, there’s a lot of significant mecha influence and tropes at work. It’s held up pretty well, animation-wise, considering its age (from 2002). and while it’s the same ‘strange aliens attack earth’ plotline, it spins all that off in a completely different direction.

Tengen Toppa Gurren Lagann (aka Gurren Lagann) -- don’t watch this one until you’ve seen plenty of others, though, because it’s a fondly affectionate send-up of nearly every possible trope from combining to super to real robots. Cranked up to eleven.

Knights of Sidonia -- of all the ones on this list, KoS is possibly my most favorite. It was an early all-CGI series, and a lot of people were turned off by that, but once you get used to it, the story can carry you along. Like Macross Frontier, it takes place in deep space, where a colony of humans fight for survival with an incomprehensible (and nearly unstoppable) alien foe. But KoS is true science fiction, with a lot of solid science driving its dramatic points. Also--unlike most of the others series--although the characters are technically human, they’ve also evolved as a result of their time in space. For one, they have three genders, for another, they don’t eat; they photosynthesize.

Nazi-Hating, Bisexual King, and German actor, Conrad Veidt (1893-1943) whose performances inspired the creation of Edward Scissorhands, Jafar from Aladdin, and The Joker, was a gem in real life. Be like Connie. Do it for him.

Here’s some information on how great he was:

https://aikainkauna.tumblr.com/post/41163268378/ten-reasons-why-you-should-love-conrad-veidt

“In honour of Conrad Veidt’s 120th birthday, let us present you with a list of reasons why you should love him. Because, let’s face it, he kicked more arse than you ever will. While wearing your great-grandmother’s dress.

1. He was an awesome actor who could hypnotise the screen in both the silents and the sounds. He could do amazing things with his body language, his eyes and his voice and move like an actual cat. Oh, and he was Method before it became popular. To the point where his friends and colleagues would get worried because his entire body language and way of speaking would change. He genuinely believed he was possessed by some greater spirit when he was acting. And it shows. 2. He was an amazing human being—everybody loved working with him because he was incredibly polite and jovial and charming, but he was even more amazing off the screen. Let us tell you why.

3. This guy starred in the first gay rights movie ever and played the first explicitly-referred-to-as-gay character on screen, and the first sympathetic gay character on screen. In a movie that said it was okay to be gay and that some people were just born that way. In 1919. The makers of the film and Connie himself were flooded with death threats from the far right. They would arrange riots in theatres and release gas and rabid rodents into the aisles. But the makers of the film stood their ground. Later, the Nazis tried to burn all copies of the film but over half of it still survives and a reconstruction can be seen here.

 4. Oh yeah, and this guy also starred in an early pro-choice film, had a high opinion on women (with some progressive views for his time, when the right to vote and to wear trousers were still seen as new and scandalous things) and was a fierce campaigner for human rights and a vehement anti-Nazi for his entire life. Speaking of which… 

 5. In the Thirties, he starred in two British movies sympathetic to the plight of the Jews. While still a German citizen. Hitler sent him personal hate mail, Goebbels tried to persuade him into doing propaganda films for the Nazis instead and he told them to go stuff themselves. This was after some of his Jewish and gay friends had already been killed by the Nazis, too, so he knew exactly the sort of danger he was in. Oh, and they imprisoned him and tortured him with sleep deprivation and put him on the Gestapo hitlist. Guess what? He didn’t budge. He never raised his hand in the Heil Hitler salute, once. And when, finally, the British authorities helped him escape to England, he never went back to Germany again. Also? Despite being Protestant, he identified himself as Jewish on official forms as a form of protest. In. Nazi. Germany. I’m sorry, but Conrad Veidt’s balls»»»>yours. 

 6. He spent a huge amount of money supporting the British war effort and personally smuggled people out of the hands of the Nazis. Including driving his third wife’s Jewish parents out to Switzerland in his car under the cover of night after much bribery and passport shenanigans. In the Forties, he participated in a fund helping fellow Europeans escape Nazis and settle in the UK and the US. One of the people he helped was his Casablanca co-star, Paul Henreid. By the time Henreid had reached the UK, the war was in full swing and he was treated as an enemy alien. Connie (who had managed to acquire British citizenship just before war broke out) personally rang the British authorities and vouched for him until Henreid could finally cross the Atlantic to safety (with some monetary assistance from Connie himself). So, kids, when you watch Major Strasser menacing Laszlo in Casablanca, remember this guy actually helped him escape the Nazis in real life. 

 7. While living in London in the late Thirties, he and his wife would regularly shelter war children at their house. When the air raid sirens came on, he’d rather run back home to be with the kids rather than stay safe at the studio’s bomb shelter. No, really. And even when he’d left for Hollywood in the 40s, he would do stuff like this for the poor kids of London huddled in bomb shelters. You might need tissues. 

 8. He was made of actual sex on and off the screen. He possessed an amazing, androgynous sexual aura that would take no prisoners. He could be feminine without being effeminate, seductive and possessing and powerful without being gruff or macho, incredibly catlike and soft without being weak. Despite being skinny as hell and 6’3” tall, he was as graceful as a dancer, gliding around so smoothly it was uncanny, slightly unnatural (when Disney were making Aladdin, they deliberately based the cartoon Jafar on his performance in The Thief of Bagdad and told the animators to make him glide like Connie did. Yeah, that’s right, Disney villains were based on him. No wonder. No, really, look at that). From the Thirties onwards, he was repeatedly described as pantherlike. He had a sensuous, cruel mouth (always a little more red and open and wet than it should have been in order to be decent), large, pale blue piercing eyes (oh yeah, he was well-read in hypnotism and occultism, so he is actually hypnotising and possessing you for real), finely manicured fingernails (sometimes filed into sharp points) and a voice to melt knickers off anyone within a five-mile radius. When he smoked, it looked like he was giving oral sex to a woman and a man at the same time. Watch A Woman’s Face, The Thief of Bagdad and Dark Journey for good examples of this amazing man’s slinking, slithering, purring charm. 

 9. Oh yeah, speaking of the off-screen sex… Merle Oberon said “he would have sex with a butterfly”, Anita Loos quipped “the prettiest girl on the [Berlin] street was Conrad Veidt” and he was a major gay icon in 1920s Germany thanks to the aforementioned gay rights movie and his androgynous looks and style. Let us remember this guy spent his youth in Weimar Berlin and its cabarets, a modern Babylon where “anything goes” was an understatement. Drugs, wild parties and sexual diversions of every sort imaginable were the done thing in those days. You were considered unfashionable if you didn’t dress in drag and experiment with bisexuality. In that, he was hardly different from his peers (like, for example, his good friend Marlene Dietrich). But then again… there were people who experimented and there were people for whom it was all a phase, but according to numerous sources, he was a natural, voracious bisexual and so in love with everything feminine he genuinely loved to dress as a lady. And apparently he would fall in love all the time, so the Twenties were… busy years for him, especially when his second marriage had started to fall apart. Just don’t ask what he did to Olivier. And according to a couple of sources, Gary Cooper. Oh, and his first wife left him after she found him wearing her dress (her loss). Most of the time, his friends would describe him as a ladies’ man during the day, and going after the men as well after he’d had a few drinks in the evening. He seems to have calmed down a lot in the Thirties after he found genuine happiness with his third wife and escaped the Nazis to the UK, but apparently he was still an incorrigible flirt with both sexes until the end of his life. If you think he looks seductive and deliciously perverse on screen, that’s all real and then some. So, yep, this was a guy who was a genuine saint and an amazing human being and a naughty, naughty man at the same time. How often do you hear of both sides coexisting in the same person? 

 10. He was, basically, the last lingering sigh of Romanticism as a genuine cultural movement. On screen, he played the Gothic, Byronic hero to the hilt (The Student of Prague being one of the greatest examples of the type). In the silents, he played degenerate dandies, tortured painters and pianists and violinists, cruel yet seductive tyrants, men haunted by their doppelgängers, possessed creatures wanting to crawl out of their own bodies, sleepwalking and twitching and writhing on the screen, turning everything into a dark, exquisite ballet. In the sound films, he turned that demonic energy outwards and would pin people down with his gaze as he cursed them, would undress women with a flick of his pitch-black lashes, would curl his long fingers around their arms in a sadomasochistic, erotic stranglehold. He never completely lost his accent, but he compensated for it with pitch-perfect softness and tone, speaking very slowly and quietly when everybody else would speak loud and fast. His voice in The Thief of Bagdad was compared to poisoned honey. The MGM bosses were surprised at the mountains of fanmail he received from women in the Forties, even if they had never given him a starring role, only supporting, villainous ones. And the ladies wanted this villain, oh yes. A woman moviegoer (presumably after seeing his performance in A Woman’s Face) described him thus: “Conrad Veidt has wicked eyes, a sinister mouth, strange hands and a half-man/half- woman quality about him. His walk is frightening. There is something not quite normal about him. And yet, he was totally fascinating, charming and appealing to me at the same time!”

So, there you have it. There are many more reasons to love him, but it would take forever to try and list all of them. I suggest you watch his movies and read up on him yourself, because he deserves to live forever.”

Suede

SKY magazine, December 1993

written by Simon Witter 

"HELLO! WHAT HAVE WE GOT HERE?!" asks Brett Anderson rhetorically, staring at the fluff he has just removed from his ear. "I haven't taken these earrings off for about nine years."

It may seem an incongruous moment to ask the 27-year-old indie pin-up about his personal style, but hey, that's the kind of guy I am. "Tatty," replies Brett with a wry smile. "I haven't been able to get out and go shopping."

Brett Anderson, frontman of Suede – the British pop sensation of 93 – is hotly rumoured to have a great dress sense. Today however, perched uncomfortably behind an executive desk at the central London HQ of his record company, his head inadvertently framed by a halo of Right Said Fred promotional balloons, he is sporting a navy blue jeans'n'top ensemble he accurately describes as "just anything". Brett has been telling me how he spends most of his time with people who work in shops or are unemployed – "real people, not in the business" – so I presume this boutique bonding provides a clue to his supposed, though temporarily non-evident, style savvy.

"Oh no," he gasps. "Not clothes shops! Most of my friends are in food shops. So I know a good bit of brie when I see it."

The thought of Brett Anderson having, at any point in his life, ever eaten food, conjures images of pigs flapping their trotters as they sail past this second floor window. But we press on with the personal style enquiry.

"I want to change it at the moment," he says. "I'm sick of wearing second-hand things. I used to have a grudge against new clothes because I don't like wearing things that another thousand people are wearing. It's nothing to do with being into clothes from years ago, or tatty clothes at all. I'm quite keen to toy around with my style until I eventually find something, to have clothes made for me. There's never anything, when I go out and look for clothes, that I really love. I've got quite a strong vision of what I want, which would be very, very well fitted things. I don't like baggy things. I like lots of ethnic looks. I really like the Spanish look, that sort of matador thing." By way of explanation, Brett strikes a pose, clicking imaginary castanets above his head. "I like that shape. Prince wears a really brilliant little thing sometimes. When I kept getting my bellybutton out, it was really a desire to achieve that shape more than anything, nothing to do with flaunting my navel."

It's well worth flashing your bellybutton while you still can, I assure him, a rueful hand on my own expanding waistline.

"Yep," he smiles. "Well I can't anymore. Not after that chinese last night."

In May of 1992 Suede released their first single, 'The Drowners'. They had already been on the cover of Melody Maker – before they had a record out – and would grace 18 other British magazine covers over the next year, including the cover of Q on just their second single. Their eponymous debut album, released last March, went straight to No. One in the charts and went on to win the Mercury Prize, and last autumn they released a full-length concert video Love & Poison. At this rate, it will be time for their memoirs by easter.

Within the bizarre, incestuous fishbowl of the British music media, Suede have become almost self-damagingly important. After a couple of wilderness years spent faffing about, finding their feet and being universally loathed, their overnight transformation into the most hyped band in the world was nothing short of miraculous. Yet it created impossibly high expectations of their music. A German friend told me how surprised he was, after long distance exposure to their media glare, to discover how average Suede sounded – a judgment that casual discovery of the first album would hardly have elicited. And while touring America, their support act the Cranberries famously outshone them by an enormous factor when it came to album sales. Yet phase one of Suede's career has been – or appeared to be – so extraordinary, that they are going to be hard-pressed to follow it up with anything similarly momentous.

For now, we have 'Stay Together', a new, epically long single. As a measure of Suede's magnitude in the reality-starved world of British indie pop, I am treated to an absurd preview of the track the day before meeting Brett. Before entering the listening room I am subjected to a bag search to check – I kid you not! – that I'm not carrying a concealed tape recorder.

In LA, the world capital of muso control freakism, I was played U2's Desire, the immediate-follow up to their 15-million selling Joshua Tree album, eons before its release without anyone thinking twice. Yet now, without a hint of humour or irony, I am being treated as if I not only know anyone who cares what the next Suede single sounds like, but would be willing to pay for a tape of it recorded through a leather bag.

After regaining consciousness, I join in the fiasco, insist on a full body search (well, at less reputable establishments you'd have to pay good money for this touchy-feely experience) and am seated. The label boss places two speakers on each side of my head, facing my ears from about 20" away, turns it up LOUD, and begins to do that embarrassing, pseudo appreciative in-chair grooving that only people who work in record companies and recording studios have the gall to indulge in. "It's not pompous," he assures me, "even though it's eight minutes long."

Of course any pop song – as opposed to dance record – that lasts eight minutes is by definition pompous. 'Bohemian Rhapsody' was gloriously, defiantly pompous with a side order of pomposity to go. But, despite the circumstances, 'Stay Together' sounds like a fine, many-hued song, liberally doused with Bernard Butler's life-saving guitar, that is destined neither to win many new fans nor shock the devotees.

"It's about a sense of unrest I feel about the world," Brett tells me the following day, in an ill-advised shot at an explanation. "An attempt to make some sense when everything seems to be going slightly insane. I do get a real sense of impending doom, but not in a depressing way, not like we're all gonna die, let's go and rape people. I feel quite content with it. We're living under some shadow, and I'm not quite sure what it is. It's a bit like the fears I felt when I was growing up, when things were unstable and there was the threat of nuclear war, or the fear that your parents could die of aerosol poisoning."

Brett grew up, together with Suede drummer Mat Osman, in the soulless satellite town of Haywards Heath, between London and Brighton. According to Osman, if they'd been the tea party fops people make them out to be, they would've formed a grunge band. They only wanted to be really glamorous because of their stultifyingly dull working class backgrounds. Some might say that that would lead to the three-Es-a-night, dance-and-forget syndrome, rather than the formation of a glam rock band.

"Hopefully we're not a glam rock band," Brett shudders defensively. "You can escape those surroundings by taking a load of Es and ignoring it. Another way is to create your own myth, to try and become romantic in your own eyes, to create something beautiful out of the rubbish and the shit. It all sounds very Oscar Wilde, but that's the way we did it. None of us were brought up in workhouses, but we haven't had easy lives at all."

Suede claim to be obsessed with fame because they were excluded from it. Yet surely fame is the one classless thing people aren't born into?

"Lots of people are constantly privileged," says Brett, who has clearly spent an unhealthy amount of time pondering the abstract qualities of fame. "If you're born in Soho to rich professional parents, and you've got Jonathan Wotsisname coming round to your house every night to see your father, then you've got this world that you slip easily into. When you're excluded from it there's a desperation, you're desperate to have it. It doesn't come as second nature to you, like professionally famous people who hang out in Beverly Hills. It's not something you're comfortable with, but that mutates it into something far more interesting, a bit prickly and far more creative, because you're not just sitting there lapping it up."

Suede's appearance coincided not unfortunately with the post-Madchester 70s revival. But was their styling something more than just the result of being unable to afford new clothes? Personally, I had thought the emergence of Gary Numan had killed off the idea of anyone ever again wanting to be David Bowie (not to mention Bowie's recent records). Then along came Suede, with their rough guitars, their androgyny and their theatrical singer.

"I never thought of ourselves as '70s," Brett insists. "David Bowie is a genius, but the rest of all that rubbish I always found laughable. As for the clothes, I always thought we looked more 60s than 70s. It's all tied up with this whole kitsch thing, this Magpie and Porridge and rediscovering the culture of British music journalists' youths. Kids of 14 didn't know what anyone was talking about, it was just that the people in power had reached a certain age where they were getting sentimental about their youth and started remembering Magpie. That's all it was, all a complete load of rubbish. As soon as we were aware that this scene was going on, we wanted nothing to do with it."

Brett's voice is a highly variable instrument, perfect and beautiful on slow numbers like 'The Next Life', but occasionally, when he affects that archly operatic Bowie yodel, a whiney, sneering sound like Rik Mayall on speed boring into your brain – absolutely maddening. It goes without saying that his delivery owes much to the most overrated British pop star of the last decade, Morrissey.

"I forced my voice in that way because of how we were born, musically, playing shitholes. It was the only way I could make myself heard. I didn't want to sing in the murmuring way that was the style of the time. I wanted to project my voice, because I was writing songs that I wanted people to hear the words of. I wasn't just writing about fluffy little clouds, which is what everyone was doing at the time. People read into my intonations a theatrical seventiesness, but it was a complete accident."

Overworked as the subject is, it's hard to avoid asking why Brett thinks his androgyny caused such a fuss. It's not the first time it has been done; it's not even the tenth time. Genderless, mincing fops are to classic British pop what hairspray is to American rock, a staple ingredient. Brett, by comparison to most, is pretty tame.

"I don't know," he sighs. "We certainly weren't thinking 'oh let's be androgynous', it's just the way we are. I'm naturally quite an effeminate person – not all the time, I do play on things. I think it was because, at the time, people were so incredibly boring. We had been through five years of the cult of non-personality, and we never wanted to go with the flow. When everyone had their heads down, chugging away, we wanted to twist things a little bit. It's like at school, when you find that something annoys someone, you keep on doing it more and more. And that's what happened really."

A female psychologist wrote recently about the overt sexual expression of pre-pubertal girls at pop concerts, the way in which, amidst the non-contact hysteria of the pop experience, they could sometimes experience their first orgasm. She was, admittedly, talking about a Take That show, but I can't help wondering if it looks like that from the stage to Brett Anderson?

"No, nothing like that," he purrs, "nothing sexual. I always feel like people are putting it on."

Having their first fake orgasm?

"It's a bizarre thing in my head. I know they really like me, but I can't really take it seriously. When I'm onstage, and it's working, I feel like I can do absolutely anything. I feel as though there's no limit, even in the sense that I could fall asleep if I felt like it, because I'm that relaxed. I feel much more comfortable on stage than walking down the street. I could go off into a corner and do a crossword or shave my head. I feel ridiculously relaxed. I really enjoy the power of being onstage. It's to do with the circuit of the flow between the audience and you, when it's an audience willing you to be good. Your own power is an expression of how the audience is feeling, but I can't say I ever feel sexual, even if it looks that way. I think that to call the power purely sexual is to belittle it. When I've been to incredible gigs, it hasn't been a sexual thing, it has been something far more magical than that. "

Brett and Osman came to London in the mid 80s to study, respectively, architecture and politics at UCL and LSE. Suede began after they placed an ad in the NME in 1989, but initial concerts had audiences shouting "Fuck off!", critics calling them effete wankers and record companies running for the hills - a three-pronged invitation to eat shit and die that would have spelt the end for most bands.

"That X factor that made people despise us," muses Brett, "was something we managed to turn around in our favour. It's like being in love with someone, and exactly the same things you adore about them, completely horrify you when you've fallen out of love. We went away and learnt how to write songs, and came back transformed. And those qualities that originally pissed people off, we transformed into something provocative. I think the fact that we went through all that rubbish was a fucking good thing for us. People forget that the Beatles spent five years in Hamburg. No one would touch them in England, cos everyone thought they were an utter load of shit. They spent five years getting it together, suffering a bit and fighting for it."

A typical lyric from those hard years was Brett's line about "shitting paracetomol on the escalator". When they were recently described as chemically saturated, I had assumed more interesting chemicals were involved.

"That's about pure mundanity, being off your face every night and your staple diet coming from your bathroom cabinet. It's a metaphor for a humdrum life, going up and down the London underground, which I spent five years of my life doing."

In many ways this – Suede's poignant soundtracking of new depression Britain – is their strength. But if they are Her Majesty's equivalent of slackers, it hasn't made America any more amenable to their cause. Indeed, despite Brett's avowed loathing of the British character – "negativity, small-mindedness, lack of faith" – there may well be a Britishness about Suede which prevents America from getting the point.

Brett makes the mistake of quoting a Smiths song to me – something about innocence, fragility and trust – forcing me to point out that American audiences don't want to be trusted with something precious, they want to rock out with their cocks out. Evan Dando may wear a dress and pigtails, but the wider American market is notoriously unkeen on sexual ambiguity. Queen were big in America until the early 80s, when Freddie Mercury started appearing in full clone gear. They never toured America again, and didn't have a single hit until after his death (and then only thanks to Wayne's World). In fact, America's association of guitars and manliness make Suede fundamentally unsuited.

"No!" storms Brett. "I don't think we're fundamentally unmanly. All you have to do is come and watch us live. We're about sexuality, power and emotion, things that everybody feels."

Whether or not America is destined to fall for his Morrissey-meets-Larry Grayson stage persona, Brett's much-aired desire to move to America (and less well-known plan to live in Paris) has, for now, been replaced by a much smaller act of bedouinism.

"I've moved from Notting Hill to Highgate," he announces proudly, "from a fashionable place to a place where you're living in the last century pretty much. I was living in a very small flat in Notting Hill and it was driving me insane, I couldn't write and was being bombarded with nonsense all day long. I needed the peace and quiet, and now I have a bigger flat with a studio room in it and I'm writing quite prolifically. It's more serene, there's more space to think. It's quite a beautiful place, but you do feel like you're living in the last century, like you're some sort of oddity, or in a play. You keep going into these odd characters. But it's a great place."

In person, and despite the affectation of much of his thought processes, Brett Anderson is quite charming. An endearing smile – which seems to hibernate when cameras are around – plays constantly around his face, suggesting shared confidences which, to some extent, he delivers. Like so many people cocooned by over-protective minions, he is refreshingly open and approachable. I like him. But he is deeply shocked and incredulous when I paint a picture of the special treatment afforded him by those he works with.

"They treat me with the respect I deserve," he jokes defensively. "I don't have tea with Lenny Kravitz. My best friend works in a chip shop, and that's why I like it, it's a complete escape. One of the beautiful things about being successful is that it can rub off onto your friends as well. Not fame and all that bullshit – the really brilliant thing about being successful is the self-confidence, the sense of life having a purpose, that life is a wonderful thing. You open the shutters in the morning and the sunshine pours through. That sense of vitality about life can completely rub off on your friends. Sometimes it doesn't, it can go the other way, with friends ignoring you cos they think you don't have time for them, but that never happens with your proper friends."

And yet, engulfed in the sweltering perversity of his peer group, Brett has come to hold some pretty crap views, views that seem utterly irrelevant beyond the borders of saddo indie land. He worries about being thought a sell-out, thinks Suede are radically honest because they admit to having ambition – as if people didn't get over all that bollocks a decade ago – and, worst of all, that people don't talk enough about music in interviews. Oh dear!

But, despite all this, Brett's public image remains unshatterably cool. He exudes waves of sultry, sulky hipness. I feel an urge to know what naff items lurk in the corners of Chateau Anderson, his ownership of which will shock Suede devotees to the core. Brett tells me he's been to see Aladdin, listens to jazz music, likes The Orb and Verve and has just bought the new Shamen single. To prove it, he even does his Mr C impression - "Comin' on like a vibe, y'know!". This won't do at all.

"I like Terence Trent D'Arby," he admits, trying harder. "I think he's really good."

It's good, but it's not right.

"I bought Billy Joel's River Of Dreams album. I like that one."

Aha – as Inspector Clouseau used to say – now we are getting somewhere! What about films?

"No, I've got impeccable taste when it comes to films."

No feature length On The Buses video stashed chez Brett?

"No. I have got Crocodile Dundee."

Bingo and Bullseye! So much for impeccable taste.

"Well, my perennial favourite is Performance," he flusters wildly. "I can virtually quote the whole film from start to finish. And there's a brilliant film which I've just discovered called The Shout, with John Hurt, Alan Bates and Susanna York. It's about a man who has spent years in the Australian bush learning the secrets of the bush doctors coming to this ridiculously reserved Cornish village and turning two people's lives upside down. It's like an animal alive within this village, and when he shouts, everyone within a mile radius dies. If Alan Bates' part had been played by Vincent Price, it would've been laughable, but it's incredibly powerful, one of those great lost films."

It's a nice try, but nothing can erase the impression created by Billy Joel and Crocodile Dundee.

Earth Day 2020 Visiting Artist

For Earth Day 2020, MCAD will be virtually hosting Christine Baeumler, a community-based artist focused on ecological restoration. An associate professor at the University of Minnesota in the Studio Arts department, Baeumler has worked on various green spaces within the Twin Cities and abroad, including the rooftop Tamarack Bog at MCAD! To join the Google Meet for the Visiting Artist lecture, use the following information:

Google Meet Room: Christine Baeumler Lecture

Link: https://meet.google.com/hfy-gxsp-swt

Phone, dial 601-935-4191

PIN: 220 663 421#

To lead into this talk, I asked Christine a couple of questions regarding both her work and the current global situation. 

First of all, what are you currently working on?

Currently, I am focusing on the intergenerational as well as the interdisciplinary dimension of my collaborative practice. For example, in the Buzz Lab youth internship program at the Plains Art Museum and in the Backyard Phenology project, I am focused on appreciating how those projects can bring people from different backgrounds and age groups together. We all have so much to learn and gain from each other’s experiences. 

You often work to improve urban green spaces. What are some examples of what you believe is a well done/designed green space? Any in the Twin Cities specifically?

I am most interested in urban green spaces that are not “designed” but intentionally create the conditions for increased habitat, biodiversity, and water quality considerations. This may mean managing plants introduced from elsewhere that thrive here to give the native plants a chance to re-establish, but also considering plants that are beneficial for pollinators and other species.  These places may not appear designed to an outside observer, but a lot of labor goes into creating a thriving space. I acknowledge, however, it is not possible to fully restore our ecosystems given the damage humans have done to the land, water, and soil, at least in a short time frame. 

Several places I particularly appreciate are the Quaking Bog at Theodore Wirth Park, (which inspired the Rooftop Bog at MCAD). It’s a tamarack bog with a walkway so that people can enjoy the bog but won’t disturb the delicate bog ecosystem there.  The Bruce Vento Nature Sanctuary in St Paul below Iminija Ska (the White Cliffs)  is an ongoing oak savanna restoration  of a railroad brownfield, managed by the Parks and Recreation Department and the Lower Phalen Creek Project. If you haven’t been to either of those places I recommend a socially distanced walk (the walkway at the Quaking Bog is a bit narrow, so something to consider now). 

I also appreciate the Native American Medicine Gardens on the University of Minnesota, Saint Paul Campus (across from the Bell Museum on Cleveland Avenue). The director of the Native American Medicine Garden, Cante Suta/ Francis Bettelyoun, has built up the soil (and the microbes) on the site over many years. Bettelyoun, students, and a team of volunteers care for the plants and animals there from the Indigenous perspective of Relatives.  I love that among  the neat rows of the experimental agricultural plots,  the NAMG has an organic quality that is teeming with life--insects, birds, and mammals.

What aspects of urban living are you looking to change? How do you believe the integration of art and green spaces work to improve the living conditions within an urban environment?

As I mentioned before, in relation to the Native American Medicine Gardens, I believe that shifting our perspective as the natural world from resource to Relative, which is an Indigenous perspective, is such an important shift in awareness. I hope this shift in our consciousness can lead to different approaches about the ways we live, what we consume,  as well as how we see our role as artists, designers and people with political agency. 

I believe we have the opportunity to reconsider our roles as artists, and expand our notion of what is and what can be. I admire the practitioners of Maintenance Art, Mierle Laderman Ukeles and Sean Connaughty, whose artistic practice involves an everyday attention to dealing with waste (something most of us would choose to ignore).  

This is another chance to think in terms of systems instead of discrete projects. We have big complex challenges, such as climate change, that need comprehensive and coordinated solutions. Individual choices matter, but we have to make systemic and political change on larger scales while keeping issues of environmental and social justice at the forefront of our consideration.  Big topics, to be sure, but they require us to be attentive to ways things are interconnected. Maybe we can see how we are all connected more clearly at this time as we are all starting to feel our own vulnerability. 

Artists and designers can integrate art and the urban environment by playing  a variety of roles--but to me, working in interdisciplinary teams and with and in conversation with communities  seems like an impactful  way to collectively address environmental challenges.

As I watch environmental protections rolled back, for example, during this moment of Covid 19, I believe it is also incumbent upon us to act politically, to make our voices heard, and to vote in the fall. 

We are in a time of great global change and uncertainty. How do you believe the quarantine and constantly shifting events will impact the art world, creatives, and our reactions to the world around us? Any advice for the students in quarantine?

I have so many questions instead of answers. First, how do we, as individuals and a community, consider those most deeply impacted by Covid 19?  Those who do not have a  home, food security or have health or economic challenges? How are we addressing more immediate needs?  How do we effectively stand up to attempts to dismantle  environmental  protections or other moves that are destructive? 

While we are reeling from the impact these changes make in our own lives, how do we stay present to what’s happening in the public sphere? I am asking these questions of myself and turning to those who have more advanced ideas and thinking about the present situation than I do.  

The art world, consisting of cultural and educational  institutions, organizations, community groups, funders  and individuals have all been impacted in ways we are only beginning to comprehend. This may lead to a different way of organizing ourselves and our practices. 

As I look out, I see a  myriad of ways artists are approaching  their work in this time of crises (plural because we face more than the pandemic)  by creating platforms, opportunities, raising up voices, making the invisible visible, calling out injustice, creating awareness, and  expressing  a range of emotional responses through a variety of media --and offering work that provides solace and humor as well. 

Historically, artists have always responded to crises and have been at the forefront of movements addressing injustice, violence, war, health crises, and environmental threats. 

Now it is our turn, as artists, to consider how we respond. What a significant, and perhaps somewhat terrifying, opportunity.  It may take us some time to collect ourselves. In fact, it seems important to take the time we need to adjust before we spring into action. 

For students in quarantine. 

I would encourage students to take this time to slow down, reflect, journal, meditate--whatever self reflective practices help you to be in touch with yourself--and take care of yourself.  Embrace your feelings, and reach out if you need assistance. It’s ok not to be “productive” at this moment. We are in a time where people are experiencing extreme disruption and trauma--so be gentle with yourself.  Connect to others in the ways you are able..  and don’t get too isolated. 

Your voice, your ideas and your work are significant, and matter to the world. But being in touch with where you are in the moment may be the most important thing to honor. 

Right now, many of us have the opportunity to slow down, reflect and more deeply examine our own lives and our relationship to what is important to our own well-being, our Fellow Beings and our Earth.

Any advice for how the individuals reading this can practice creativity, or any overall thoughts on the creative process in this time?

I want to offer a way to refresh our creativity. Take a break from technology. Go outside and connect with your “nature family,” the trees, the birds, the rocks, the sun, moon and stars. The weather.  Using your imagination and the power of observation, quiet your mind and listen to what the world has to communicate with you. Have a conversation with a chipmunk, debate a crow, chuckle with a stone. The human world has become more quiet now, and perhaps it is our chance to engage, through our minds and our senses, with the world outside of our doors and beyond our screens.  

-An Interview with Christine Baeumler, edited by Madilyn Duffy

I’ve got a few questions here and there for Optimus so I’d like to clarify a few additional details about him!

he is, in the current state of the metaplot, in the Great Library of Wan Shi Tong; how he got their is a mystery, but its the reason he’s been missing. Having wound up there, he is unable to leave the pocket realm under his own power, but this has kept him alive for a long time whne otherwise he might well have died.

Well, inconvenced him, at least. Optimus cannot die. In the mythology of this AU, Prime is not a simple title, but a direct anointment by Primus Herself to act as Her voice and communicate the will of Primus to all things, leading the world into a new age. They are given different abiltiies, in addition to absolutely ludicrous raw strength, to fulfill this goal. In Optimus’ case, whenever he is killed, his indestructible spirit returns to his body, piecing it back together, and he rises anew to continue his quest.

“Until Cybertron is whole once again, and ‘til all are one, you may not rest. Not until your task is done.” So spake Primus when She bequeathed him the Matrix of Leadership, signifying his position as Prime, and it was quite literal. No matter what happens, he will not stay dead. Melted into slag? He regenerates. Blasted into a billion bits of scrap? They come back together, and he rises again. No matter how badly he is beaten, no matter how dire the odds, Optimus Prime will never give up. He’ll always get back up and never stop fighting.

Nevertheless, he has been worn by the long battles of his lifetime, and genuinely lost hope many times. He comes to the Fleet, rescued from the Library by them, and is shocked to find that things are... better, a new massive fleet of heroes, and his Autobots among them! He joins them, osteniably as a religious figure, but unwillingly becomes a part of the inner circle of heroes, for not even Rose Quartz is as highly respected as Optimus Prime in freedom fighters. He relents, provided no one puts him in charge.

His time in the library has allowed him to return to his greatest joy in life; learning! Optimus has learned much in his unwilling exile, including much about the nature of reality and magic itself, and he is gradually teaching all his knowledge to the Fleet, and takes a central role as a father to the children of the Fleet, and has administered to much of the legal code to make it as Just as possible. All those who revere wisdom and righteousness regard him as a living embodiment of Lawful Good.

Of note, though, Optimus has a complicated relationship with King Grimlock. The two have been best friends for eons... of the ‘fuck you, I’m gonna kick the SHIT OUT OF YOU’ sort, rivals who always fought and respected each other, but they have never seen eye to eye. Optimus views Grimlock as a vengeful hothead whose lust for retribution may cause more harm than it heals, while Grimlock considers him a stubborn academic who could have ended the war if only he had just killed Megatron when he had the chance. Optimus believes in mercy and change; Grimlock in vengeance and justice. They’ve settled into an uneasy truce, though Grimlock believes Optimus deliberately abandoned the fight in favor of playing the long game, and resents him for leaving them to fight alone for so long. Optimus, for his part, has seen unspeakable horrors in his long exile, and really dislikes the implication that his torment was pleasant.

He has return to his beloved, Elita-1, and lives aboard her ship body! In the old days, he was the diplomatic leader of the proto-Autobots, while she was a charismatic rebel figure working to expel jetformer dominance from their homeland of Iacon. He the spiritual heart, she the fierce leader. They maintain this relationship into the present day.

Of particular note concern to Optimus is that he has not been called to pass on the Matrix yet. Cybertron, since rejoining the Fleet, has been restored to full function, and serves as the central part of the Fleet’s home system. The Autobots have returned home, and Cybertron teems with life. Why then, is his mission not fulfilled? He believes that Primus’ mission, to unite all things, means to unite all sapient life in all the multiverse, within the Fleet. He has resigned himself to being Prime for some time longer, but he believes for the first time in a long while that it really IS possible!

finally, Optimus and Rose apparently knew each other in their respective youth! They wrote to each other, bridging the gap between Gem and Transformer, and became good friends before wars tore their lives apart. They are still good friends, and much changed from the people they were. The relationship... MIGHT have been platonic, but its a big might. They certainly are very friendly with one another, but its hard to say if its them flirting or them just playing an elaborate charade in order to confuse people for the hell of it.

Optimus’ personality here is a gestalt of his different incarnations; given the light tone, he is primarily based off of the more easy going and silly G1 incarnation; jokes about having a lock picking technique before shooting the door, loves obnoxious dad puns, and hes just a good ol’ charmer with a weird sense of humor. He used to be like Animated Optimus back when he was a younger bot named Orion Pax, and there’s elements of IDW Optimus in his angrier, more revealing moments. Most of all, he is like Beast Wars Optimus Primal; he’s funny, prone to making snide comments at his more annoying friends, and he takes a relaxed approach to leadership, but he’s very uncompromising when it comes to justice and he does NOT suffer fools or people trying to play mind games with him.

He’s a wise but somewhat embittered and spiritually worn out figure. He is TIRED; he’s been alive for so long, seen all he’s worked for ground to dust over and over. He’s seen his people go nearly extinct, watched a close friend go mad with greed and give himself over to the Mother of Annihiliation on purpose, and for all his power, he could not save all the planets the Decepticons ravaged. The situation has improved, but nonetheless, he’s tired of watching people die.

Optimus here may be considered a paladin, in D&D terms! He’s a noble warrior blessed by Primus, with his various abilities as divinely powered gifts. He is incredibly strong (able to punch a city into dust with a single hit), just as durable, and on top of that, he is one of the most experienced leaders and warriors alive. He’s been fighting for longer than some civilizations have existed, and he has learned well; few can best him in combat experience, and he uses this as a teacher to instruct others.

He is a multiformer as well, and his favorite forms include heavy duty modes that emphasize stamina over other features! He can become an alien truck, shifting his excess kibble into a large trailer; this trailer can transform into a flying drone and weapons bunker that carries some of the Fleet’s nastiest weaponry, and in robot mode, it transforms into a kind of power armor that is normally integrated into his body. He can also transform into a giant robotic bat (prior to joining the Fleet, it was his primary mode) and he spends much of his time in this flying shape, lurking in libraries and vowing revenge against the Dewey Organizing System. He can also turn into a massive mechanical gorilla, a battle-ready flying tank, and a more conventional ground tank. (In short, his G1 mode, his Prime modes, and his Beast Wars modes are all options!)

He forms the crucial component in many combiners; he is the heart of the legendary Last Autobot combiner formed of every single Autobot in existence to make a planet-sized super-Transformer and vessel for Primus, and he and Elita-1 can fuse into an embodiment of their love and fighting spirit named Star Saber (not an individual character here, but reimagined as a combiner).

Reylo?   (Part I - Pro Reylo Perspective)

Definition: Reylo (pronounced RAY-LOW) – the romantic pairing of Rey and Kylo Ren from the Star Wars Sequel Trilogy “ST”.

So about the Reylo concept... there are certainly many arguments for and against Rey and Kylo coming together in a romantic, or frankly in any way.  That being said, this post will provide some Pro-Reylo thoughts and observations.  It will be followed in a coming post with anti-Reylo opinions as well, as I like to play Devil’s Advocate. Disclaimer: before you like or dislike my post, it is not the place of this author to weigh in on what she would LIKE to happen, only what I think WILL or WILL NOT happen, based on clues in the story, movies and novelization only.  I may also point to subtle clues given by the writer/directors.  Please read with an open mind.

  Reylo clue #1:  Rey and Kylo’s first meeting on Takodana

Kylo Ren takes Rey captive on Takodana.  He doesn’t have time to find BB-8 and believes that the girl has the map in her head, and he is interested to know more about her, so he takes her with him to Starkiller Base.  So, Kylo Ren, with a stormtrooper only yards away, makes Rey unconscious and “bridal” carries unconsious Rey to his ship himself - and quite a distance besides!

Kylo carrying Rey to the ship was NOT in the novelization.  It was only in the movie.  Visually, JJ Abrams maybe wanted to create imagery that will be more significant as the story moves forward, particularly, a surprisingly tender connection between Kylo and Rey.  The Dark Prince and Secret “princess”.  From a fairytale perspective, this was like Aurora meeting Prince Phillip or Ariel meeting Prince Eric.  Someone of Kylo Ren’s importance and rank surely would not normally carry a grown woman approximately 1/2 mile.  He would make an underling, a soldier do it.  This may very well have been foreshadowing a romance very early on in the story before anyone really realized what was potentially happening.  In the director commentary of the movie, JJ Abrams basically references this fairytale story aspect himself.   It’s not your imagination!

Reylo clue #2:  “I’ll Come Back for you” dialog (Rey’s Vision on Takodana)

Going back to Rey’s vision in Maz’s castle basement when she touched the lightsaber, in the novelization, Rey hears what is called “THAT voice” and someone says “Stay here, I’ll come back for you.”   We did not see this from the flashback of Rey being left on Jakku by her ... well somebody.   Is this novel reference what we think it is?  Was it Rey’s parents?  Or could this actually end up being spoken in Episode IX by Ben Solo? You decide! I can picture this and I kind of like it.  It would certainly be thematic. 

Why include this “...I’ll come back for you” line in the novel but take it out of the movie?  Was it cut from the script at some point?   If so, you have to ask yourself why? Maybe it’s because we were not allowed to hear that person’s actual voice in Episode VII.  It was too early to reveal the person behind that bit of dialog.  Or it could just be that it was unnecessary (if it was indeed her parents) to have them say they would try to come back.   

We have no idea still if Rey’s parents meant to actually return to her or not.   Hopefully we will find out.  If not, Rey needs to move on from this past of hers.  But if this was actually Kylo Ren/Ben Solo, imagine that there is a scene where they are together and for some reason he has to leave her behind but promises to come back, harkening back to the last time she heard those words that have haunted her for all of these years.  If Reylo is real, he WILL come back, indicating that she was special, she is loved.

Reylo Clue #3: Kylo Ren’s “Money Shot”

Need I explain this one?  Well, let me go ahead and do so anyway.  Look, regardless of what great physical shape Adam Driver was in by the time of filming this particular force connection scene in Episode VIII (the one where he is wearing only black, high-waisted pants), Rian Johnson would not just decide “oh heck, let me include a beefcake shot of Kylo Ren” (only the second one in Star Wars history) if Kylo Ren is in ANY WAY related to Rey (brother, cousin, etc…) - that would just be icky.  And whether you like him or not, Rian Johnson is too sophisticated a filmmaker for that.  This is not some sleazy CW show.  

This is the scene that actually made me realize there WAS a Reylo dynamic.  I had no idea there was a Reylo before I watched this.  I was honestly, completely oblivious.  I thought for sure, Rey was Luke’s daughter.  This was the scene that prompted me to do the research on the Google machine.  This is why it is an obvious clue.  After all, I watch a lot of those sleazy CW shows.  I can tell when two characters are going to eventually hook up.

Reylo Clue #4: The Hut Scene, Bare Shoulders and Hand-touching All the Way Across the Galaxy

Like the Kylo Ren shirtless scene, Rey is all wet and her shoulders are bare in this scene holding a little blanket barely covering her wet clothes and body.   Things are getting a little familiar, no?  We go from fighting and snarky dialog to clothing starting to come off and sitting in front of a fire within hand touching range of each other.  That Rian Johnson… I hope I still sound objective here, but again, this is where my “CW” radar went off.   Firelight, bare shoulders, wet hair, gloves off, bare hands reaching out, softly touching, Rey and Kylo have tears running down their cheek, then Dad comes in and interrupts.   What is happening????   Separate those two!!!

Reylo Clue #5: Snoke taking credit for the Force Connection = Disappointed boy

When Snoke reveals to Rey, in front of the kneeling Kylo Ren, that it was he, Snoke, who opened the Force connection bridge between Rey and Kylo, Kylo looks slightly upward with a subtle yet angry face as if to say “What the Hell????” He was surprised, disappointed, hurt.   Snoke said he saw Kylo Ren as too weak to hide his feelings from Rey.  Snoke used Kylo as a tool to get at Rey, the real threat, not Luke Skywalker.   This is yet another blow to Kylo Ren, who saw the Force connection between him and Rey as something special, something the Force intended.  Instead of an opportunity for Kylo to find a kindred spirit in Rey, he learns that this experience was something manufactured by another person.   It reminds me of that Hallmark Christmas movie where the girl creates a dating app for her business and starts “dating” the cute guy that came up as a match in order to show her boss how well the app works.  Then the poor guy finds out she was just going out with him to forward her career and he decides to move back to his hometown, but she races to find him before he leaves to tell him that she really likes him and they end up together at the end.   The point is that the dude was hurt to find out that it wasn’t “fate” that brought them together but some stupid computer algorithm.  Technology can be a real bitch sometimes.  And so could Snoke apparently.

Reylo clue #6: Kylo’s Botched “Proposal” to Rey after the throne room fight mirrors a classic literary romance!

Fans of Pride and Prejudice, like me, will find strangely familiar the moment that Kylo Ren, in a moment of passion and heightened self-confidence, asks Rey to join him in ruling together. When the offer is not immediately accepted, his ego takes over.  He makes Rey cry and tells her she is nothing, a “nobody”, only then to tell her that regardless of her being a nobody, with no real connection to anything or anyone, she means something to HIM and wants her to join him.  This is, of course, followed by her justifiable rejection of this proposed partnership and the pair of them going their different ways. 

This is mirrors what happens in the novel by Jane Austen, but in this case Mr. Darcy is Kylo Ren and Elizabeth Bennett is Rey.  If you read P&P, you will also know that Elizabeth misjudged Mr. Darcy based on her initial impression of him and that first impression somewhat tainted her reception of Mr. Darcy’s marriage proposal.  Also, despite being raised wealthy and well-educated, Mr. Darcy’s social awkwardness caused him to inadvertently hurt her feelings while expressing his true and tender feelings for Elizabeth.

We also see that Mr. Darcy’s pain of rejection influenced his transformation into a better, less proud man, worthy of Elizabeth’s love, and his second marriage proposal is more graciously accepted.  If Episode IX follows this story influence, we may see something of a transformation in Kylo Ren aka Ben Solo.  Look for signs in the first act of Episode IX of Kylo changing his own behavior and proving himself more worthy.  Otherwise, I’m not sure how he would be worthy of a romantic relationship with anyone, except someone as mean as him who will stab him in his sleep.  

Final thought on this scene – if Kylo Ren’s feelings for Rey were not romantic, would he have extended his hand to her?  If Rey were a man, would he hold out his hand to him?   No, he would not.  He wanted her to take his hand and walk away with him like they were the new power couple, like a King and Queen, like a Prince and Princess, not merely as a “partner in crime”.  He is a man, she is a woman.  It seems reasonable to him that she would say yes to him after they just slayed the dragon together. Also, Kylo Ren has been thinking about this new vision for the future, internally planning.  This is not spur of the moment.   He knew Rey was coming to him, he knew what he had to do.

Some last thoughts

These are the big clues, albeit not as obvious as Anakin and Padme, and the Han & Leia thing was way more obvious, more flirtatious.  If Reylo was the plan from the beginning, this is definitely a slow burn but totally possible, a modern day twist of the classic story - designed from the beginning to shock and surprise and audience.

The Reylo concept has been a very divisive topic among Star Wars Fans.  The point here is that you can be objective and scientific about this, keep feelings out of it. 

I will not be disappointed if Rey and Kylo don’t have a romantic relationship in the last movie of Star Wars.  I just hope the ending makes sense.  This is the Star Wars universe, not real life.  Yes, we interpret movies and TV through a current day lens, but anything can happen in this world.  The filmmakers are trying to surprise/shock us.  At this point, would Reylo be the shock/surprise or would Reylo be the obvious outcome?    Is the average fan even aware of Reylo?  I asked my mom about it and she just doesn’t see it.  What percentage of people also watched Episode VII or VIII and Googled “Rey Kylo Ren romantic” and found two years worth of online post about it?

Final thoughts

For Reylo to happen, there has to be a catalyst for Kylo to be redeemable, a believable turning point.  

Does Rey have to have a romance? 

Do you think we’ll see a more mature, more confident, sexier version of Rey in this story?  If so, then I think we’ll see her with a sexier counterpart/partner, someone with the intensity and passion of Ben Solo (Kylo), not Mr. Nice Guy Finn or Poe.  (see my next post!)

What is the true significance of Rose’s line about not destroying what we hate but saving what we love?  Will Kylo love Rey, and vice versa, and will that be key to ultimate end of the story? 

And by the way, what did Kylo mean when he said to Rey “don’t be afraid, I feel it too.”

Review: Mobile Suit Gundam

Television (Anime) Consumed in: English Sub Also known as: Gundam 0079. OG Gundam. Gundam TV

Note: This review covers only the first television series. This is not the franchise as a whole or the 0079 movie trilogy. Those will come along eventually.

Airing from April 1979 to January 1980, animated at Studio Sunrise and directed by Yoshiyuki Tomino, I’m sure most if not all of you know what “Gundam” is even if you might not have watched or read any of it. I have watched the debut of this long-running series over the last few weeks and had the lovely experience of seeing the birth of Real Robot Mecha and many other pieces that would become part of Anime Culture. Though the question tends to come up with genre fathers, does it still hold up? Or did this simply work in an era of lower standards? This review will not contain any major spoilers, though for the sake of analysis I will have to discuss how the series handles its plot and characters even if I avoid going into major detail. Alright, let’s rock.

PLOT: So while Mobile Suit Gundam *is* the story of the One-Year War, it is also not. The year is Universal Century 0079. The Earth Federation now covers more than just Earth, with lunar colonies and artificial satellite space colonies known as “Sides”. However Side 3 has risen up in rebellion, calling itself the Principality of Zeon, and has in a swift move of advanced technology and facist war culture fought a destructive war against the Earth Federation, taking out many Sides and even conquering parts of Earth. By the time the show has started, this war has cost a toll of half of the human population. However this show isn’t about the war as a whole, more so it’s the story of one ship, the White Base. Classified military vehicle White Base docks at Side 7, carrying with it prototypes of the Earth Federation’s Mobile Suits. However Zeon gets a jump on the federation, launching an invasion on Side 7. The White Base makes its escape with the civilian population of Side 7 on board. The rest of the series follows the voyage of the White Base, from its escape to Earth, to its fights in the operation to end the One Year War. Rather than a large scale lens the plot is told through mostly the experiences of the White Base and its crew, we actually see more from the perspective of Zeon than we do from other Federation forces, and every instance of other Federation views are directly on the White Base. While this focus can lead us to becoming intimately familiar with a size-able cast, it means that any large scale operations the White Base partakes in feel similar to the independent skirmishes it partakes in, as we see only the perspective of the White Base crew and the opposing general, mostly hearing about other fronts through radio reports and discussions. However this isn’t necessarily a bad thing, but those looking for a bigger war story might be a tad disappointed. In general I found the plot to be rather engaging. It mostly moved at a pretty fast speed and kept shaking things up enough that the constant battles didn’t get very old. As the stories are told in a more episodic manner most conflicts tend to get resolved in a timely manner and we move on. However the downside of the episodic nature is occasionally you just get uninteresting episodes (such as Episode 7) where the whole thing feels pointless and feels like it needs to move on with the overarching plot. Aside from the arc on Earth dragging on occasion most individual episodes tend to make noticeable progress and push along the course of the narrative. Occasionally it even feels like the story is moving too fast, some enemies get steamrolled, some interactions turn a significant result after only a few minutes, but it never felt like the story overall moved too fast, and a lot of these happened towards the end of the series, where anyone familiar with the production of Gundam might be able to estimate why. Though mostly grounded, towards the end the plot takes some strange turns with the introduction of the concept of Newtypes, which could make the show more or less interesting depending on the viewer. To briefly touch on the ending, I thought it was pretty good. It’s definitely not the most climactic of endings (as one wouldn’t except a war story to climax with a final episode called “Escape”) but it was satisfying none the less. It was messy and chaotic only insofar as war itself is messy and chaotic, and it put a good bow on the stories of our characters, though some epilogue would’ve been nice (like perhaps a “Where are they now?”).

For this section I’d give a 7.5/10, it’s good but nothing amazing.

CHARACTERS: It might seem odd that I didn’t mention any characters in the plot section, but that’s because the crew of the White Base act together as a unit, though definitely not to discredit their individual characters. Let’s start with the main character Amuro Ray. Amuro is the 15 year-old son of the Federation engineer Dr. Tem Ray, he moved out with his father to Side 7 so his father could work on developing Mobile Suits. Amuro himself is pretty technology-savvy (having built the series mascot Haro). Through a large part being forced and a small part choosing himself, he ends up piloting the prototype mobile suit, Gundam, after the invasion of Side 7. As a natural pilot and engineer, he becomes the leading man of the White Base’s combat forces, being the main pilot of the Gundam and doing some rodeos in the other Mobile Suits. Over the course of the series we see him develop from a semi-anti-social teen who’s hesitant to shoot another human to an ace soldier. His arc develops slowly with plenty of bumps caused by his immaturity, but he does naturally grow and develop over time and by the end he’s quite the force to be reckoned with. While not a particularly unique or shockingly nuanced character, he’s more than serviceable and in a lot of ways represents different aspects of the world of Gundam. Being both the civilian dragged into the catastrophic war and eventually being our lead into the secret of the Newtypes. Other people of note on the White Base include Bright Noa, the military officer pressed into active command of the White Base after its captain becomes incapacitated. He starts off as a rather unsympathetic hard-ass, who’s stiff nature both causes him to be effective in crisis but also to break hard rather than bend. He learns to warm up and adapt, over time becoming the heart of the White Base and its leader. By the end of the show he was one of my favorite characters. Sayla Mass is also a character of note, initially working as a coms officer and eventually becoming a pilot. She’s the only female pilot and despite taking a long time to become decent, she becomes one of Amuro’s most reliable comrades by the end. Her past also slowly becomes revealed as it holds some of the secrets to the origin of the One Year War. Last character of the White Base I want to give special mention to is Kai Shinden. Kai starts out as the cynical voice of the cast, showing a desire for self-preservation and satisfaction, being generally unsympathetic to the “we’re all soldiers now” narrative everyone else plays. However for a few episodes in the late 20s his character arc becomes the main focus, it’s one of the stronger parts of the show in my opinion, and seeing him go from unlikeable douche to a character with his own baggage and reason to fight was nice, even if the arc itself was tragic. However the characters I mentioned early are stand out rather than the whole cast. I mean no disservice to Hayato, Ryu, Mirai, and Fraw Bow, who have some pretty good development of their own, just more interweaven into the overarching story rather than taking a front seat. They’re good characters in their own right, but they aren’t the shining stars you’ll never forget. As I mentioned earlier in the plot discussion, we also see the perspective of Zeon quite a bit and as such they have some pretty strong characters themselves. First and foremost is the show-stealer Char Aznable. The Red Comet, Char is a Lieutenant Commander of the Zeon military, and the one leading the chase of the White Base. Char is a very strong character both in combat and presence, he stands out for his masterful Mobile Suit control (notably his Mobile Suit is painted red) and his quick thinking and strong tactics. Even in a losing battle Char is known to keep his Mobile Suit intact and is already preparing for the next battle ahead. As much as Char spends his time hunting the White Base, he has grander ambitions within the Zeon Military. His wit is not only in combat strategy, but in politics and people, making him a joy to watch. He too has a hidden past, covered up like his face, which he always hides with a mask. Some other notable Zeons are Garma Zabi, the son of Zeon ruler Degwin Zabi, who alongside his siblings play major roles as opponents and leaders in the Zeon military. And Ramba Ral, a lieutenant in the Zeon military and an old fashioned soldier through and through. He’s rather likable with his noble patriotism and respect for his opponents, treating them as equals rather than lessers. He’s a good man who just happens to be on the opposing side, he inspires admiration and respect from both his soldiers and the viewers. All in all Gundam does a good job of developing and both likeable and large cast. Char himself is worth a bonus point.

8/10, loveable cast but only Char reaches anything above good.

VISUALS: Keep in mind this series was made in 1979. It’s old, no way around that, but not necessarily bad. The designs are pretty good even if there’s not a lot of stand out. The Mobile Suits and technology generally look pretty good, but I felt some of Zeon’s newer weapons introduced in the later half were a bit much on the design aspect. The Gundam itself is iconic, but I wouldn’t call it amazing. If anything my favorite mecha design was actually the Guncannon. The backgrounds never really stood out to me as anything too amazing, and I wonder if it’s intentional that the series mostly avoided showing futuristic big cities. The animation itself is hit and miss. There’s a lot of cool direction and interesting ideas. Due to the nature of mecha anime in the 70s, a large amount of the violence had to be separated from humans. For a war story there’s very little blood as most battles are fought with machines and explosions. A good amount of times some interesting presentation tricks were taken to show death or extreme violence. Covering up blood and death in the chaos of war is hard to do believably but Gundam pulls it off. Towards the end though the gloves come off and we occasionally see some people get straight murdered. However to balance out all the unique tricks and ideas are loads of animation errors and inconsistencies. Weapons and gear changing between scenes, pieces of machines vanishing for a bit, derp faces, you name it. The series has lots of them but they’re never really distracting but aren’t fun (or are fun depending on who you are) to notice. The only real egregious one is a derp face Ryu makes once that keeps showing up in the episode opening recaps (which aren’t themselves bad) for a bit. Other than that they mostly go over with no problem and don’t much damage the experience. Though there are interesting ideas in direction, I never really found any point where the animation was particularly impressive. It’s a 70′s TV anime though, so we just have to accept that. Not everything can be Akira. After the introduction of Newtypes we occasionally get some unique and trippy visuals but they themselves aren’t much to write home about even if they’re nice to watch.

5.5/10, It’s mostly passable, the good and the bad balance out a lot. Though the mecha designs are iconic for a reason.

AUDIO: Starting with voice acting it’s a pretty flat even. Char’s got a good Seiyuu, so does Garma. Nothing too amazing, no Mamoru Miyanos here. No real negatives either, the kids can be annoying but they’re little kids, little kids are annoying. The narrator is pretty good and Haro’s got a nifty sound. Everyone is nicely distinct though. It’s average and that’s fine. The music is more notable though. There’s some good bops in there, the few times the show puts a full insert song make for a good time, though the regular OST does it’s job quite well. Some of the combat themes have some nice kick to em, and Lalah’s theme is pretty memorable. Large part though the soundtrack isn’t that memorable. Nothing outside of action scenes really stuck with me. There were a few times the soundtrack sounded confused, cutting from piece to piece uncomfortably and on a few rare moments it felt like they were using the wrong track for certain scenes. Nothing particularly noticeable unless you’re trying to pay attention to the OST though. The OP’s pretty good, definitely grew on me over time, by the late 20s I found myself singing along to it on occasion (and once in public). The ED’s pretty nice and quiet and pretty alright, didn’t do much for me personally.

Overall 6/10, it’s decent but not much more. Few really good moments, few missteps.

FINAL SCORE: 7/10

While the show is by no means perfect, it was still a damn good time that even made me cry once. It has aged but many things have aged worse than it. It shines a lot in it’s ideas and characters, but has noticeable hickups along the way. Not only is it important in the history of mecha and the Japanese media industry, it’s also just a genuinely good show with a lot of heart. I’d still give it a recommendation to fans of mecha and classic anime, though the movie trilogy or Origin manga might be a better telling of the story (I’ll go through both eventually). It’s a good show on is own, but as the first step into a mega-series I’m excited to see where we go from here. All in all, Doan Cucruz didn’t deserve to be cute from the dub and DVD, his episode was good, Tomino.

Here’s the promised rant! It goes on for thirty years! The season 6 as i can’t unsee it because i rewatched it at a weird point in life!

Step one: if you have shipping goggles on, take them off. If you have a big sentiment towards Cas's perspective in 6.20, for now, leave it at the door. It belongs in the trashcan, I hope you know that.

Welcome to season 6 and the gender-coded horror aka all the things that were done to Dean because he just wouldn’t stay in the kitchen.

Season 6 in its entirety stronger than any other season placed Dean into the role of a woman. It’s a thing since day one in spn, but s6 was all about it. Dean's horror in that season strongly resembles stories about women being abused and belittled because they are believed to be less than men; simply because they aren’t men [and know jack shit]. Their feelings don’t matter, neither does their consent, not really, which the season’s vaguely threatening “can’t or won’t?” encompasses very well [women don’t get to say “no” or “can’t” and keep it. It will get dissected and disrespected. Which is also Dean’s story].

Re-watching season 6 I felt like I was watching Rosemary's Baby but simply without the baby??? Everyone there is either lying to Dean or gaslighting him or both, all the while he's being repeatedly told everything that has been done to him, everything that hurt him, everything that took his choice away, was done to him for his own good or for the greater good vaguely including his own (or not) . And maybe he should shut the fuck up and drink a cocktail [or, according to Cas, some more whiskey].

This pattern stars in the very beginning of the season where Dean is being told that an important truth regarding Sam was hidden from him on purpose because Bobby Sam and Cas knew better what's best for Dean and they treated Dean's arguments as emotional and unreasonable. Dean fucking spent an entire year suffering from grief after losing his brother whom due to abuse and brainwashing Dean couldn't help but see as his own child (which is something that season 12 canonically confirmed). Like with Ro’s baby being declared dead at first but hey I digress, scratch that.

Unfortunately, this is just the beginning of his choice being taken away from him, since right away he gets guilt-tripped back into the hunting life and all the things that were supposed to be so good for him he got endlessly ridiculed for. Soulless Sam even drags Dean’s entire life when Dean chooses to stay with Lisa. Dean doesn’t know Sam doesn’t have a soul. He’s just supposed to take the abuse from the guy who pushed him into the domestic life in the first place and consider it normal.

Dean is also being called soft and too feminine, too weak to be treated as an equal decision making party in the hunting arrangement. He’s ranked below Gwen, only woman in the group, the lowest ranking member before Dean came.

Also very interesting that throughout the season Dean is heavily connected with taking care of children, bonding with them, and feeling for them deeply [Ben, 6.02, 6.03, 6.19], which again is something he gets criticized for every single time.

The criticism however doesn't end there and an extremely important example is where Dean begins voicing his concern regarding Sam and his behavior. Even though Dean knows Sam best, Bobby insists that Dean is being paranoid. Even after Sam literally served Dean to the vampire, he gets ordered to stop being so weak and get dressed into a more reason-based professional approach to the problem and he's supposed to put his trauma aside, basically he's being told to man up. Because he’s being emotional. And probably wrong and hysterical.

Of course it's no surprise that the game-changing moment for Dean too puts him in a woman's position within the narrative. While sexual assault isn’t a problem only women experience, statistically and, especially in the media, this is the sort of violence that women are in a larger threat of facing than men. What's more to it, what happens on screen in the episode only shows the girls being lured into a trap and forcefully changed. And all of this has extremely sexual connotations. Being unwillingly turned into a vampire and the forced feeding with a vampire's blood is a blatant metaphor of rape. In Dean's case the sexual undertone of the assault was heavily accentuated even in dialogue.

But not just there. In the episode Dean takes the vampire book and refers to its cover [the vampire watching the girl sleep] as “rapey”. He’s uncomfortable with the whole thing. The act of staring at an unaware sleeping woman is presented as a monster vs woman thing to do, as an assault. When Dean gets turned, he watches Lisa sleep before she startles awake [6.05]. Lucky, the dog-skinwalker, watches his “love”/unaware owner sleep, then crawls into her bed [6.08]. Castiel, despite of knowing the sigils were literally meant to be a restraining order, enters Dean’s room, watches him sleep. Tries to convert him [620]. The same episode also brings  up all the times Dean, completely unaware, was being watched by him. Just like the girl from the book cover was, just like Maddie was.

No surprise Cas takes the creepy cake because he resonates with the disturbing theme perhaps the most, showing through how in season 6 Dean's relationship with Cas played out. Or, to be more specific, how Castiel's relationship with Dean played out (and there is a difference).

The thing of the biggest import here, before I begin, is that power imbalance, the difference of species. The angelic mindset in the Angels versus Humans dynamics, which is rooted in the same arguments men use to establish their dominance over women and to later excuse it: according to Angels (and technically supernatural beings in general), humans are weaker, too emotional, definitely dumber, less experienced, less competent.

And what they deserve, at best, is patronizing treatment showing them where is their place, because they’re too fragile and too stupid to make decisions for themselves. Not worthy taking a meaningful position in a war, but at the same time they're extremely valuable due to their souls, which to an extent kind of reminds me of how women are often seen as valuable only because they are capable of childbirth, which is an ability unique to them in the same way having a soul is something that angels just lack, so they use humans for that.

Castiel might say he values humans as his equals, but even if he believes that, his actions don’t reflect it [5.18 for example, pick ANY episode from s6]. The thinking is so ingrained into him like patriarchal perspective is in men’s heads by default. Castiel's and Dean's relationship in season 6 is solely gender coded in this regard. Castiel simply isn't capable of seeing Dean as his equal because he’s, according to Cas, weaker, less experienced, too biased by his flawed - or castiel's actual words - “crippling” - human perspective, therefore he should be put away from the fighting for his own good. No matter the cost, no matter Dean’s judgment on the matter, no matter his choice. Safety is priority, right? Early in s6 Dean, desperate, tries to protect Lisa and Ben like that too, but he understands, he backs off. They reach balance.

But when the narrative puts Dean in Lisa’s place? The only thing he's allowed to do is to perform some basic tasks that are completely unrelated to what's happening on the Big Front and only when Cas sees it fit, and only how he sees it fit. Dean, as long as  it is for Castiel to decide, doesn't even have to know what he's doing. In fact, in the original plan it was supposed to go along the lines of: Manly Men (angels) Fight Wars To Protect Women (Dean) because they're capable and strong and cunning and rational, while Women (Dean) Stay At Home And Rake The God Damn Leaves. What they do is keep the fire going for the Victorious Soldier when He returns from War and if they don't get that, they're just dumb because their human little brains are too small to comprehend the stakes. So they don’t get a vote. They’re supposed to trust blindly. Men (angels) know better. And all of it of course is because Men (Castiel) love Them (Dean) so much and They’re willing to do everything and anything to protect those poor, brittle things (favorite pets?).

The list of anything and everything includes: lying about everything all the time directly into Dean’s face despite of the crushing emotional pain Dean was in. And I don’t even mean burning Crowley's bones-lying, but every single time Dean has voiced his worry that something is wrong with Sam. What Castiel does is to placate Dean, reassure him that he doesn't know what happens but he's so sorry and he'll try to find out! Aids and encourages Dean’s alcoholism just to make him docile, while lying to him actively, by the way [6.06]. And when that stops being an option and Dean is determined to return the soul to Sam, Castiel suddenly stops being so understanding and sweet. Like a flip of a switch. He guilt trips and indirectly threatens Dean before he follows through [6.10] and after placing Sam's soul back in its place [6.12]. And of course it has nothing to do with actual worry over Sam's wellbeing.

Cas pulled Sam out of the cage and didn't bother to check on him for over a year, even though soulless!sam prayed to him repeatedly. Not to mention that he later broke Sam's wall without blinking, so he did the exact thing he “warned” Dean about and by “warned” I mean that he made sure Dean would know the blame, if anything happens to Sam, is going to be his. The point of the whole show of concern was to keep Dean busy and technically powerless because together, alive and kicking, the Winchesters, while extremely dysfunctional and codependent, make a much bigger threat for the supernatural because it's so much harder to keep the game going when suddenly both of the brothers are asking questions and Dean is no longer being pulled down, preoccupied and controlled by T-1000. Dean is much more compliant when he has no support and when he has no moves to make, which Castiel knows.

So yes, maybe Castiel didn't pull out Sam soulless on purpose but it is no accident that he was so determined to keep him that way regardless of how much it cost Dean, whom, of course, he loves so fucking much.

And when you are an angel loving a man/mother figure so much you are also going to hurt the child just to force him to accept his position and stand down. And later tell him that he had it coming because he didn't listen and didn't do what he's told (if the babysitter is slapped, she’s clearly done something wrong). All of it in the name of freedom, of course.

While attempting to emotionally manipulate Dean into supporting his cause and agreeing that what Castiel is doing is right, Cas invokes values like caring, protecting, being a family -  which are in our society values mostly associated with women. Even the Superman metaphor presents Dean as Lois Lane (which Dean knows, so he throws that hot ball away as fast as he can). Throughout the entire 6.20 Dean is shown as and approached to as the delicate hurt wife that can't believe she's being cheated on, so everyone’s just being soft and protectional on her, poor thing, which starts in 6.19.

And fuck lemme tell you a thing about 6.19, buckle the fuck up. The episode very telling in the context of this gender-based abuse reading. It’s because both Bobby and Sam immediately understood that something is wrong about Cas while Dean couldn't. And, the way see it, it’s not the problem of Dean trusting Cas more and blindly because he's in love with him and stuff, no. At least not mostly. I think it has a lot to do with the fact that technically in the presence of both (especially soulless) Sam and Bobby Cas didn't put that much effort into playing soft concern and caring thing  as he did during the brief encounters he had with Dean alone. Sure Cas determined when he made it clear to Dean that driving the boys to their uncle is not something they have the time for, but there is a difference between the way he spoke about it in Dean's presence, to Dean directly, and the comments he made when only Bobby was there to hear them. Here, compare for yourself:

CAS: Dean, can I have a word? We need to find Eve now.

DEAN: Yeah. Go. Me and Sam just gotta make a milk run.

CAS: We need your help here.

DEAN: Hold your water. We’ll be back in a few.

CAS: Dean, Dean. Millions of lives are at stake here, not just two. Stay focused.

DEAN: Are you kidding?

CAS: there’s a greater purpose here.

DEAN: you know what, I-I’m getting a little sick and tired of the greater purposes, okay? I think what I’d like to do now is save a couple of kids. If you don’t mind. We’ll catch up.

Now, same problem, but with no Dean to hear it. I heavily advise you to dig 6.19 out and watch if not both scenes at least this one because the way Misha delivers his lines here is vital. I know just the words to describe that for you, but hear that for yourselves:

BOBBY: They won’t take long.

CAS: They might find more orphans along the way.  

BOBBY: Oh, don’t get cute.

CAS: Right. Pardon me for highlighting their crippling and dangerous empathetic response with “sarcasm”. It was a bad idea, letting them go.

Now, a bit on both [I still insist you should go watch that scene i’m begging you]:

First scene? Castiel approaches Dean gently, asks for a permission to talk in private, gives him space. He speaks to him super softly. I threw up softly. Dean doesn’t notice the demand in the demand at all, so he just goes ok, you do you, I do me i don’t get it??? So Cas goes into  the emotional territory [always works, don’t it], still soft.

Now dean gets it, but doesn’t budge. So bigger ammo goes off. And don’t even get me started on “Dean, Dean,” and how throughout the show only the villains do the variations of repeating Dean’s name to address him. The delivery slightly differed here but

It was followed by an order that was all the way patronizing. Only Castiel’s eyes reflect the irritation, his voice doesn’t - even though as scene with bobby makes clear - he’s pissed as shit. On dean specifically. He does say “they” but note that sam hasn’t spoken once on the whole issue? It’s dean who he was talking to.

He thinks Dean is crippled for being empathetic and bound to children and he isn’t rational enough to understand the stakes. Let it sink in. now think about it in the context of being a gender [species] issue. Let it sink deeper.

Something in Dean’s words, that thrown in “if you don’t mind” - that’s totally subjective but it kind of makes me think of this women-specific way of speaking from many decades before. Like 40s-50s wife thing? That implied asking for permission woven into their lexicons? Dean is, of course, bitter here, but still, you ever hear a man use that construction? I haven’t. Feel free to discard this point it’s just me trying to work with leftovers of my linguistic training and it’s subjective and i’m in no way saying that line went like that on purpose, ok? It just Bothers  me on some crawling under my skin level.

“Letting” someone do something is Bad Idea - says dude who slaughters in the name of Choice and Freedom. Oops.

And a bonus: Eve lured Dean into her trap, relying on his maternal side. Then, she tried to reach him using Mary. The whole thing being a mother to a mother talk because as a “mother” you should get my feelings.

Another bonus because you probably didn’t dig 6.19 out. That wasn’t an impersonal, rationalish vaguely grumpy sarcasm. That was soft, belittling, ridiculing contempt, the exact one you will meet again in 7.01! I wonder why!!

say bye bye to 6.19, we’re going elsewhere now. Still within the realm of season 6 fucking with Dean’s agency, gendering his problems, and somewhat within the realm of Castiel’s soon to be kingdom.

All that talk about making sacrifices for Dean’s good [because of dean/for dean, mind you] and preserving free will? Oh man, that was to not even convince God [who was blogging about cats at the time], but to make himself feel good and justified in what he’s doing.

And if he really meant what he said by “i’m doing this for you, i’m doing this because of you”, that’s because Dean is his prized possession. Spoils of war from apocalypse no. 1 [5.18 anyone? Bueller? Bueller? Entitlement?]. His trophy wife.

And no one can lay a hand on Dean and hurt him [michael, raphael, balthazar, atropos, crowley, demons] or even insult him [rachel]. Except of him, of course [ignoring him for a year, not even to say sam isn’t dead, grabbing and slicing Dean’s arm without asking and warning, guilt tripping him as hard as it gets re: Sam, agreeing to put him in harm’s way during crowley-related errands, keeping the lisa blackmail going due to convenience, re-making Dean’s reality and life without his consent BUT when that didn’t pan out, making him keep the knowledge just because he wanted to? Um, yikes? And of course hurting sam to get specifically to dean?]

Because

CAS: I’ve earned that, Dean. [6.21]

*mic drop*

Kelly Marie Tran: Raya and the Last Dragon was a ‘Healing’ Experience

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In Raya and the Last Dragon, the new film from Walt Disney Animation Studios, Kelly Marie Tran voices the title character, a warrior princess who embarks on a quest to reunite her shattered land, the mythical kingdom of Kumandra, as an insidious evil from reemerges within. A formidable, fearless fighter already, Raya assembles a ragtag team as she goes, including the world’s last dragon (voiced by Awkwafina), who possibly holds the magical key that Raya needs to unite the peoples of Kumandra again.

“It means a lot to me,” says Tran about landing the role of Raya after original star Cassie Steele dropped out (according to Vanity Fair, Tran was cast after the character was changed significantly enough that a different interpretation was needed). As a Vietnamese-American actress, Tran has now made history three times: She was the first woman of color to nab a significant role in a Star Wars film, she was the first woman of Southeast Asian descent to appear on the cover of Vanity Fair, and she is now also the first to play a Disney princess in the company’s first movie based on Southeast Asian culture.

“I think back to moments in my childhood where I didn’t get to see myself represented in anything,” says Tran as we speak on Zoom ahead of Raya’s opening. “To believe that we are hopefully broadening the narrative when it comes to what people think of when they think of the word princess, or when they think of the word hero, or when they think of the word warrior–and hopefully reinforcing the idea that it doesn’t matter what you look like or where you come from, you can be any of these things. I think young me would have been really proud of where I am today and what I’m trying to do.”

Just over three years ago, however, things were a lot different for Tran. After landing the part of Rose Tico in director Rian Johnson’s Star Wars: The Last Jedi, she was the subject of vicious racist and misogynist attacks on social media from a toxic subsection of fan culture, leading her to abandon social media as members of the cast and acting community at large rallied to her defense. “I just don’t think about it that much anymore,” she tells us now about that time. “There’s probably some healing that was done in just being able to work on something else that I cared just as much about.”

That something was Raya and the Last Dragon. With the movie steeped in the culture of eight different countries, including Tran’s ancestral land of Vietnam, Tran says everyone involved in the production was personally invested in representing various aspects of those cultures in the fictional melting pot of Kumandra.

“I think everyone working on the movie had input when it came to that,” says Tran. “It was really an open door policy. Everyone was really meticulous in wanting to make sure that we authentically represented this specific part of the world.”

She continues, “From the martial arts depicted in the movie to the food to the ways in which the characters interact with each other, there’s so much specific to this part of the world, to this culture. And I’m really glad that I got to play a part in that because I was really surprised and really comforted just by how serious the team as a whole was when it came to making sure that we captured authentically what it was like to be a part of these cultures.”

Tran started her voice sessions for the film in a traditional recording studio before moving to a makeshift one in her house.

“My boyfriend made for me… it was sound blankets taped to the wall, and then furniture haphazardly put together to make a rectangular shape,” she says. “That was the glamorous location in which most of this was recorded” She also adjusted her performance to the way that the character evolved over time, something which tends to happen in animated productions.

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“I think with projects like this, the look of the characters and the relationships of the characters change a lot,” the actor explains. “For me, I think the most important thing is really the relationships of the characters, because that will affect the ways that they’re interacting with each other, and the ways that the characters even interact with themselves, if something happens early on that affects the way that they see themselves. I was really grateful that Don (Hall) and Carlos (López Estrada), our directors, were really good at giving us the specific circumstances in which our characters found themselves in.”

As is also typical of animated productions, and even more so since this was done last year during the initial onslaught of COVID, Tran did not get a chance to act directly opposite Awkwafina, of whom she was a tremendous fan even before they got to become castmates.

“We had met once at an event,” Tran says. “And then after that, we got to interact a lot more just through doing press like this. Unfortunately, because of COVID we haven’t really been able to interact that much, but I’m such a huge fan of hers. I just respect her so much. I think that she is an incredible force and will continue to do amazing things in her career.”

In one of the strange ways that pop culture and real life seem to connect somehow–which is always odd considering how long films like this are in development and production–Raya and the Last Dragon is coming out with a message about a people finding unity and trust in each other at a time when those very aspects of our own society are arguably at their lowest in more than a century.

“It’s crazy to be part of something that has been in development for so many years and to have the message feel so timely and so relevant,” says Tran. “That’s definitely something that you can’t really plan. But I absolutely understand the significance of that, and recognize that we’re doing a movie where the main character believes that the world is broken, and believes that you can’t trust anyone, believes that there’s danger around every corner.

“And by the end, I think what’s really incredible about her is that she meets all of these characters who she at first doesn’t trust, and then she recognizes that once she opens her heart to them, that they are these incredible people,” Tran adds. “But then she takes it a step further by risking everything to fight for the idea of a world that’s bigger than the one that she’s living in, a world where all of her friends and her community that used to be her enemies can hopefully live in unity and harmony. That is such an important message, and such a worthy cause… I hope it also is something that stays with people.”

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Raya and the Last Dragon arrives in theaters and as a Premier Access offering on Disney+ today.

The post Kelly Marie Tran: Raya and the Last Dragon was a ‘Healing’ Experience appeared first on Den of Geek.

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Stephen King's coming-of-age drama Stand By Me is a timeless tale of four friends, just as relevant today as it was on its initial release in 1986. The film is based off a novella by King called The Body, and was directed by Rob Reiner. It was received well by fans and had largely positive reviews, with critics praising the performances of the young stars. Reiner calls it the favorite of all his projects, and King loved the adaptation. But what would a 2021 version look like?

The story of the movie is told through the point of view of Gordie Lachance (Wil Wheaton), who, as an adult, reads in the newspaper that his childhood friend Chris (River Phoenix) has been killed. He begins to write a recollection of a childhood adventure with Chris and their friends Vern (Jerry O'Connell) and Teddy (Corey Feldman) in which they go on a quest to find the dead body of a teenager in their neighborhood who had gone missing. Some older teens led by the terrifying Ace Merrill (Kiefer Sutherland) also seek the body, wanting to claim the glory for locating the boy. Ace threatens, bullies, and belittles the younger boys, pushing them to their emotional limits. Gordie, who is mourning the death of his kind older brother Denny, finds the strength within to stand up to Ace, defending himself and his friends.

RELATED: Every George Romero & Stephen King Collaboration That Never Happened

The drama touched audiences and remains a fan favorite, retaining its legacy over thirty years after its debut. Much of the magic of the film was credited to the casting, about which Wheaton said, "Rob Reiner found four young boys who basically were the characters we played." Were the film to be remade today, it would be necessary to recapture the striking chemistry and lovely acting that made Stand By Me so special.

As the film's point of view character, the role of Gordie requires a lot of sensitivity and strength. Gordie is an imaginative, reflective boy who has lost the only family member who noticed and appreciated his talent for storytelling. At the tender age of 12, Gordie feels invisible in his own home, cast aside in favor of his athletic and charming older brother whose death has rocked his family. His father is not handling grief well, acting gruffly and dismissively toward Gordie, who just wants to be seen. Gordie feels like the shadow cast by his older brother will forever get in the way of his relationship with his parents. He seeks closeness with his friends, particularly Chris, who acts as his cheerleader, telling him that his parents simply don't know him, and that one day he'll be a great writer.

Wheaton's portrayal of Gordie was powerful and poignant, and it earned him a spot on VH1's "100 Greatest Kid Stars." The boy who replaces him would have to be a skilled actor and a bankable star, and Jacob Tremblay is both. At a young age, he has already garnered praise from critics for the dramatic heavy-hitter Room, and his performance in another King story, Doctor Sleep, was so effective that he disturbed all of his adult co-stars. Tremblay has shown enormous range and star power for one so young, and his winning relatability and potent depths would bring Gordie Lachance to a new generation.

As the naïve, silly comic of the group, Vern is often picked on but is resilient enough to brush right by the taunts. He is the one who introduces the idea of the trip to the group, asking them if they want to go see a dead body. He was under the porch digging for a jar of pennies he had lost when he overheard his brother talking to a friend about spotting the dead body of Ray Brower. Vern's desire to find the body coincides with his yearning to be a town hero instead of a "town loser." He is so often dismissed and ignored that he seems keen to prove himself. At first glance, Vern may seem a little slow and merely there to be a source of comedic relief, but he just like the other boys is facing an unfamiliar and yawning future, and he is trying to reinvent himself via an act of bravado.

RELATED: How Old Are Stranger Things' Child Actors?

Stand By Me was O'Connell's very first film, and his breezy, natural skills are effortlessly presented. Similarly, Lonnie Chavis is relatively new on the scene but has already won audiences and adult co-stars over with his maturity and adaptability. A keen observer of life and the human condition, Chavis was able to dive into his roles with electric energy and a firm grasp on reality that won him a significant role on the hit show This Is Us. Chavis would be a fun, fresh face to experience on the silver screen.

Teddy is perhaps the most tortured and erratic of the group. He suffers from a frightening home life with a father who has PTSD and takes the worst of his episodes out on Teddy, including an incident wherein he held Teddy's ear to the stove until it almost burned off. Despite this, Teddy venerates his father, holding sacred the fact that he "stormed the beaches of Normandy" in World War II. Teddy is often given over to fits of rage and sorrow, attempting suicide by standing in front of a train and getting into a screaming match with the man who runs the local dump. Teddy, in a way, is a symbol of the aftereffects of war, something still very close to home at the close of the 1950s when the film takes place. The window of innocence seen in the '50s would soon give way to the turmoil of the '60s, something that these young men are about to face along with adulthood.

Feldman was already a rising star when he appeared in Stand By Me, and the film stood as a testament to his position as an up-and-comer. His turn as Teddy Duchamp was truly incredible, marking a high point in the actor's career. Another such up-and-comer is Dylan Gage, who broke the hearts of audiences with his sweet, plaintive, and effective portrayal of young gay teen Gabe on the comedy Pen15. Fans of the show were gobsmacked and undone by Gage's performance as the middle-schooler coming to grips with his sexuality, finding the earnest performance gracefully executed. Gabe was also a theater actor, playing a sort of Edward Albee-esque character onstage across lead actor Maya Erskine, showing off his comedic ability and wonderful range.

In the 1986 movie, the late River Phoenix played Chris Chambers. As the narrator, Gordie says of Chris, "He came from a bad family and everyone just knew he'd turn out bad...including Chris." Chris Chambers is the leader of the group and Gordie's best friend, but he has trouble seeing the light in himself as much as he sees it in other people. His father and brother are violent toward him, and he has become convinced that he is worthless and will never amount to anything. He struggles against the turmoil of lowered expectations, desiring to advance academically but not being permitted to due to a suspension from school and access to the economic security that his friend Gordie has. He tells Gordie that they are bound to go separate ways because Gordie, unlike the rest, will have the opportunity to go to college, and he won't want to hang with losers like them. In the end, it is revealed that Chris pushed himself to graduate high school, attend college, and become a lawyer. He bravely tries to intervene in a bar fight where he is stabbed to death.

RELATED: Why Lost Boys Was Almost Like The Goonies (& Why It Changed)

Like Chris, Phoenix faced a difficult home life, sensitive emotionality, and a premature death. The talented young actor offered an abundance of heart and fire for one so young, and his performance in Stand By Me is one revered by fans. To replace him would be no easy task indeed, and that is why the role should be taken up by someone whose popularity and talent are pronounced. Noah Schnapp of Stranger Things has proven himself a valuable and enlightened actor whose star is beginning to shine.

Ace Merrill is not only a terrifying bully in Stephen King's Castle Rock, but a kind of symbol of childhood trauma and death. His palpable presence onscreen casts a pall over the film, acting as a dark and heavy cloud that disrupts the sunny bubble of childhood that the four young boys wish to hold on to. A notable turning point for Gordie occurs when the boy aims a gun at Ace, confronting his newfound comprehension of death and the unknowable consequences of the future all at once.

Sutherland was chilling as Merrill, his presence onscreen almost Shakespearean as he stalked through the hamlet of Castle Rock, Oregon. His smooth, detached performance is icy and effective, convincing audiences that he might pose a deadly threat to the boys. To match such a profoundly unnerving performance would take experience and poise, both of which Asa Butterfield has in spades. The young star of Hugo and Sex Education has enough clout to carry the bully off with aplomb.

The older version of Gordie is not visible through much of the film, but his voice carries the story. He is the audience's lens through which these characters are seen and the mirror of adulthood that many viewers face. At the end of the film, his words, "I never had any friends later on like the ones I had when I was twelve. Jesus, does anyone?" reflect thoughts that many people have had. Richard Dreyfuss plays the role tenderly in the original, and a return of Sutherland would be a fun nod for fans of the original as well as an echo of what happens with adulthood. Sutherland and Tremblay also bear a passing resemblance, so he would fit the role nicely.

RELATED: Every Horror Movie With A Final Boy (Not Girl)

Though the role of Gordie's older brother is a mere cameo, he is a weighty presence in the film. Much of Gordie's character hangs on the approval of his older brother, and the motivation to find the dead body leads Gordie to a profound understanding of death, life's ultimate conclusion. When he gazes upon the body of Ray Brower, he not only understands the finality of existence but the phenomenon that took his brother away from him. The actor who plays Denny Lachance has to sparkle. He is handsome, charismatic, and kind, and the original cameo by John Cusack was just the ticket. Movie star Tom Holland would be well suited to such a task. Universally adored, sweet, and bankable, the star of Spider-Man is the perfect choice to play Gordie's beloved older brother in a Stand By Me reboot.

NEXT: Recasting Horror Movies' Most Iconic Final Girls In 2021

Recasting Stand By Me In 2021 (Every Major Character) from https://ift.tt/3rEmkjQ

British Museum Great Court London

British Museum Great Court London Building Photos, Foster + Partners Architects, Location

British Museum Great Court

7 Dec 2020

British Museum Great Court Building in London

The Great Court at the British Museum turns 20 Date built: 2000 Design: Foster + Partners

Photographs by Nigel Young / Foster + Partners

The British Museum’s Great Court turned twenty on Sunday 6 December 2020. As the departure point for Museum visitors, it has transformed the experience of the Museum. Since it opened, 113 million people have walked under its arched glass roof with its 3,312 triangular panes of glass. On social media, it is the most photographed space in the Museum.

The Great Court is a two-acre space at the heart of Robert Smirke’s Museum. Originally it was conceived as a garden for promenading and discussing but it only lasted for a few years before his brother Sydney constructed the famous Round Reading Room at its centre. As lean-to book storage buildings were added, the Court was lost to the public until 1997 when the Library moved to St Pancras. The opportunity was then realised with our master plan to open it up for the public once more.

Marking the 20th anniversary, Norman Foster, Founder and Executive Chairman, Foster + Partners, said: “The rediscovery of the amazing courtyard of the British Museum – the Great Court – and its rebirth as a new social focus followed what I have often called the historic tradition of change, which respects the past while steadfastly reflecting the spirit of its own time. The simple act of opening it up as the spatial heart of the museum was a catalyst in the Museum’s reinvigoration. The celebration of its 20th anniversary this year is a reflection of its success and we join in congratulating the British Museum for its foresight and vision.”

Spencer de Grey, Head of Design, Foster + Partners, said, “The opening of the Great Court symbolised the excitement about the future that characterised the new Millennium. As a public space, it gave the Museum a new, much needed focus with a new public route through the building and much needed education, cafes, social and community facilities. Every time I visit the Museum, I’m heartened to see the many diverse groups enjoying its naturally lit, sheltered public space with its restored magnificent neo-classical architecture, just as so many others have over the past twenty years.”

Foster + Partners won the competition to reimagine the museum in 1994. The Great Court is in a continuing tradition by the practice working with numerous historic structures such as the Royal Academy of Arts and HM Treasury in London, and the Reichstag in Berlin. Central to our approach is to breathe new life into these buildings as part of our strong sustainable agenda.

The Great Court was opened by HM The Queen on 6 December 2000. At the opening ceremony, she hailed it as “a landmark of the new Millennium” and said “In the life of the nation, the British Museum is a remarkable phenomenon. It is an institution which has had a worldwide reputation for nearly 250 years and it is an enduring source of learning, inspiration and pleasure for millions of people who visit every year from this country and from overseas.

She added: “The Great Court will benefit the millions of people who come to the British Museum every year. We can be confident that it will become a landmark associated with the new millennium.”

To celebrate 20 years of the Great Court, Foster + Partners’ photographer has revisited the Great Court to capture the space 20 years on.

Facts about the Great Court

1. In the original Robert Smirke design for the Museum, the central space within the quadrangle of buildings was supposed to be a garden and an open courtyard for promenading. However, from 1852 lots of bookstacks were built in the space, and along with the Round Reading Room it became the home of the library department.

2. The library which was homed in the courtyard was formally separated into a new body – the British Library – in 1972. It wasn’t until 1997 when it moved to a new home at St Pancras. The Library’s move facilitated the Great Court development.

3. It takes about two weeks to clean the whole roof. It gets cleaned every three months because being in the centre of London, it gets very dirty. Cleaners can’t walk unaided on the roof – instead they have to be hooked on by a harness to a network of cables that run over the roof, which can’t be seen from below.

4. The current design is not the first at the Museum to have proposed using a glass roof. In the early 1850s, Charles Barry, joint architect of the Palace of Westminster, proposed roofing over the courtyard with sheets of glass supported on 50 iron pillars. Inspired by the famous Crystal Palace of 1851, it was to have served as a Hall of Antiquities, but never came to fruition.

5. The roof is made up of 3,312 individual panels of glass, and no two panels are the same shape. They are held together by four miles of steel and there’s enough glass up there to glaze around 500 household greenhouses.

6. The roof stands 26.3 metres above the floor at its highest point – that’s nearly as tall as six of London’s famous double-decker buses.

7. At two acres, it’s the largest covered square in Europe.

8. The 315 tonnes of glass that make up the roof are supported by a 478-tonne steel structure – in total, that’s equivalent to seven-and-a-half blue whales

9. During construction of the new space, 20,000 m3 of demolition material was removed from inside the courtyard, equivalent to twice the volume of the Egyptian Sculpture Gallery or twelve Olympic swimming pools.

10. On completion, the redesign grew the Museum floor space by 40%. For the first time in more than 150 years, the new two-acre Great Court gave visitors the chance to move freely around the main floor of the Museum.

11. The Great Court can also get dark when the roof is covered in snow, so floodlights are fixed around the top of the Round Reading Room, illuminating the space.

12. The cafés in the Great Court serve over 1 million hot drinks each year.

13. Famous guests to the Great Court include HRH The Prince of Wales, Nelson Mandela, Sir David Attenborough, President George W Bush, Angelina Jolie and Katy Perry.

14. In 2004 Great Court hosted a special display of costumes from the Wolfgang Petersen epic film Troy. These included the armour worn by Brad Pitt as Achilles, one of Helen of Troy’s gowns – played by Diane Kruger, and costumes worn by Eric Bana as Hector, Peter O’Toole as Priam and Brian Cox as Agamemnon. The film went on to be nominated for an Academy Award for Best Costume Design.

15. When The Queen opened the Great Court in 2000, our Visitor Services staff had the chance to put on the Windsor Livery, which can be worn on special occasions. It was granted to the Museum by King William IV in 1835, and consists of a blue coat with a scarlet collar and cuffs.

16. Engraved into the floor is an extract from ‘The Two Voices’ by Alfred, Lord Tennyson. It says “and let thy feet, millenniums hence, be set in midst of knowledge”.

17. The £100 million project was supported by grants of £30 million from the Millennium Commission and £15.75 million from the Heritage Lottery Fund.

18. The after-party of the world premiere of the James Bond film Spectre was held in the Great Court, with a Day of the Dead theme. All the stars including Daniel Craig attended.

19. In 2008, the Olympic Torch passed through the Great Court as part of its world tour from Olympia in Greece to the Olympic Games in Beijing, China.

20. The space has been the home of numerous installations over the last 20 years, including the Tree of Life in 2005, built from decommissioned firearms from the Mozambican civil war, by artists Kester, Hilario Nhatugueja, Fiel dos Santos and Adelino Serafim Maté. Other installations have included a scale model of the ancient site of Olympia in 2004, a Volkswagen Beetle in 2014, Zak Ové’s Moko Jumbie figures in 2015, and Esther Mahlangu’s BMW Art Car 12 in 2016.

British Museum Great Court information from Foster & Partners, 071220

Previously on e-architect:

British Museum Building

British Museum Great Court Dates built: 1994-2000 Design: Foster & Partners

British Museum Building

British Museum Dates built: 1823-47 Design: Sir Robert Smirke

Address: Great Russell St, London WC1B 3DG

photos © Adrian Welch

BM building – aerial view photos © Keepclicking

Detail of the Great Court roof: photos © Keepclicking

British Museum entry facade: photos © Adrian Welch

British Museum Great Court: photos © AW

British Museum Conservation + Exhibition Spaces Dates built: 2007-11 Design: Rogers Stirk Harbour & Partners

Location: Bloomsbury, north central London

aerial photo © the Trustees of the British Museum

British Museum Great Court

Design: Foster & Partners

British Museum Great Court + existing space to east: photos © Adrian Welch

North facade, at rear of the British Museum: photo © Nick Weall

Foster + Partners

Richard Rogers

British Museum Building Extension

British Museum Building Extension image © the Trustees of the British Museum

British Museum Building Extension

British Museum World Conservation & Exhibitions

British Museum architect : Robert Smirke

Location: British Museum, London, England, UK

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Comments / photos for the British Museum Development London Great Court design by Foster + Partners architects page welcome

Website: www.britishmuseum.org

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