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popculturebuffet · 3 years

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Top 12 Christmas Episodes!

Merry Christmas Eve Everybody! We’ve reached the end of my christmas reivews and what not on this blog.

But as a wise barrel chested canadian man once said, I fucking love christmas, So if i’m finishing up the holiday on my blog I want to go big and stay home. So in honor of the holiday, my memories of it and just how GREAT it makes me feel i’m counting down my top 12 christmas specials! After last year’s worst of list I really wanted to do the oppsiite.. but it was naturally a lot harder. Shows usually put a LOT of effort into their christmas outings, even the ones who do so once a year, so the good FAR FAR OUTWEIGHS THE BAD. To show the contrast I could only find like.. 8 I was comfortable with putting on the worst list and even some of them aren’t that bad just not good. With the best of list? I had over 60 considered and even once I started narrowing down.. it was still around 30 or 40 REALLY GOOD specials I had to work down into this list. It took a lot of work and up to the last one it was really HARD to cut it down this far. But this is the best of the best of the best of the best of the.. you get the bit. We’ve got a lot of ground to cover and this review was already supposed to come out on christmas eve, so, since I won’t be able to use this for another year...

Er. Top 12 Christmas Specials.

12. Merry Christmas Johnny Rose (Schitt’s Creek) So I finally watched all of Schitt’s Creek this year.. and i’m kicking myself for not powering through it’s terrible starting decent ending first season earlier because the show is easly one of the best comedies of the last decade and rightly earned it’s emmy sweep this year. Heartfelt, hilarious, and starring some of the best names old and new in comedy, the show is really great and I recommend checking it out.. just again be aware the first few episodes are not very good and if it wasn’t vital to the rest of the show story wise, i’d just recommend skippping season 1. While the characters minus patriach Johnny are insuferable at first... it’s their growing from self absorbed assholes to still self abosrbed but really good and decent people that is the beating heart of the show. And no where more is this heart on the show’s sleve than at christmas time as this episode is baked in just how far our cast have come.

The episode centers on Johnny Rose, played by Eugene Freaking Levy who co created the show with his equally talented son Dan who desrves the lion’s share of the credit for the show’s upturn in quality. Since the Roses used to have big lavish christmas parties once a year, Johnny decides to throw the equilvent of what they can do on a budget at the Motel they all live in. But his family all has other plans with daughter Alexis, now happily with Ted again, meeting his friends for the first time, son David, played by Dan Levy, busy at his store with his partner, in both senses, patrick and his wife Moira having a performance with her acapella group. At first it just comes off as something typical of johnny: Something well meaning and what not but ultimatley just not something his family is into or that he planend well for.

It’s only when Johnny finds himself alone at the local diner with Moira coming to see him we find out why he’s REALLY doing this: the old lavish parties, which we see one of at the start.. ultimately ended up with him alone, sad and everyone off to their own corners. WIth the family having actually come together over the past 4 seasons, Johny simply wanted to celebrate that and says such in one of the best moments in the entire show and with one hell of a line.

"I just thought, in spite of all the hardship, we found ourselves coming together, the kids, you and me, as a family. And it just seemed like the perfect day to celebrate that. The perfect day for a Rose Family Christmas Party." But Moira has already taken care of it and thus takes JOhnny home to find all their friends and the rest of the family gathered, wtih the Jazzagals serandading eveyrone with a beautiful rendition of silent night. It’s just a warm, well done character piece that really fits the holiday while also really cementing what the show had become: a show not afraid to make dirty jokes or humilatie it’s cast but one that has a true sweetness to it. It’s only that the first half’s jokes don’t quite pop all that well and feel a bit at johnny’s expense that holds it back. Otherwise this is one i’ll be coming back to every year.

11. Father of the Bob (Bob’s Burgers) Bob’s Burgers is a damn great show i’m season’s behind on. Warm, charming, weird and with an expansive side cast played by a whos who of whose in comedy today. It’s a damn fine show and i’m happy it seems to have manatained it’s quality long after the simpsons and family guy lost theirs. And the show really loves christmas.. and halloween.. and valentine’s day.. and thanksgiving. Oh god does it love thanksgiving. Point is, the shows good at holiday episodes and loves doin em and has produced some stellar ones and I had a lot to pick from here.. but I ended up going with my gut and my personal faviorite. It’s not the most christmasy despite the trappings, but the character work is just too good to leave it out in the cold. It’s Christmas Eve and the Belcher’s are visiting Bob’s Dad. As you can tell by the fact the most we’ve seen of him is a picture of his restraunt, big bob’s diner in the belcher’s living room and a flashback where he told bob to work instead of play as a kid that set off an episode’s plot, they don’t have the best relationship. Bob has a firm rule about not spending more than 15 minutes with his dad, as that’s the point they run out of things to talk about and his dad starts getting overcrytical and making jabs at bob’s life and restraunt. Linda, being Linda, decides to meddle and when she finds out Big Bob’s short order cook is missing, has our Bob fill in. But as we see in flash backs it’s not THAT easy to repair things, as there’s a long, bitter history between the two: When a youngbob made his first unique burger and served it to a customer, his dad threw it out without even letting anyone taste it. He then offered bob a partnership when bob was a young man but Bob snapped at Big Bob in front of his friends and left to make burgers his own way, leading to where we are now. And honestly i’ts the perfect origin story for Bob and adds a lot of shades to his character. He’s obessed with the restraunt not just because he genuinely loves cooking but because it’s HIS. His place, to create creative burgers, his family and his regulars. It’s his corner of the sky. It makes the restraunt’s existance and surivvial that much more heartwarming to know the meaning behind it.

Naturally things end up blowing up with Bob pointedly serving the burger to make a point and Big bob walking out angrily and sadly. It takes bob’s gift from the kids, who had their own neat subplot of making gifts for bob in the basement, a snowglobe wrapped in newspaper.. to find out hsi dad kept the newspaper with the review of his first restraunt and kept ALL reviews of Bob’s Burgers. Despite being a stone faced critical ass on the outside, Big BOb STILl cared.. and bob relizes he needs to make amends and actually make an effort instead of just avoiding his dad or gettin gback at him. And through the power of gay club next door line dancing, and nick offerman whose a wonderful guest star here, the two reconcile with Bob admitting he shouldn’t of humilatied his dad even if he had to go his own way, and Big Bob admitting he’s hard to work with, the loss of his wife hit him hard, and he was a bit too much. The two hug, and it’s genuinely just a good, well done story of father and son that somehow gives even more dimension to Bob, an already pretty damn fleshed out character. Just a really great episode whose holiday timing makes it better.. though not being AS much a holiday episode as a really good bob’s burgers that’s enhanced by it is why this one’s so low. Next!

10. Santa Claus Conquers the Martians (MST3K) I”m honestly surpised i’ts taken me THIS long to get to something MST3K related. I’ve loved the show since high school, first exposed to it thanks to a dvd from the library and continuing from there to present day. I love the show’s combination of riff’s on perfectly cheesy movie and fun skits with really good puppets especially for the budget. It’s just good comfort food in show form and no where is comfort food more welcome than christmas, and each era of MST3K, so far hopefully the show will come back again eventually, has had i’ts own damn good christmas special, with this being my faviorite out of the three.

The other two are good: ironically I have a poster for the santa claus over my computer, or rather crow and tom as santa and pitch aka satan respectively. Yes really, that’s the premise. IT is as awesome and batshit insane as it sounds. Point is I like that one and year without a santa claus, this one just has more personal warmth to me. I jus tlove the holiday feeling of joel and the bots readying for christmas in the host segments. It just feels like christmas and it’s wonderful to see the bots act like kids. That being said.. it’s still also fucking hilaroius, with the mad’s hilariously petty wish squisher, a device that turns good gifts into socks and other unwanted presents, the best Crow T Robot quote of all time as he gives joel his santa wish

And of course, one of the best and most patently insane christmas songs ever: Have Yourself a Patrick Swayze christmas, which has become oddly sweet after his death and got me to watch road house for the first time last year... and it’s as awesome and wonderfully rediclous as this song inspiried by it and even better once you get the refrences

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But while the host segments are what push this film into the list, the movie is still a delightful bit of 60′s cheese as, to restore their children to being children, a couple of martians kidnap santa to bring christmas to mars. Fights iwth robots, an asshole martian and an obnoxious sidekick named droppo, yes really, insue. IT’s just some fun cheese for the holiday and a staple of my holidays.

9. The Three Wise Men (Letterkenny) It’s no secret Letterkenny has quickly become one of my faviorite shows. After watching it last January, it’s become part of my being and one of my go too feel good shows, a funny as hell, uniquely weird slice of life show set in rural canada. While like it’s fellow recent legend of canadian television Schitt’s creek it’s first season CAN be a bit rough.. but it’s not as rough and getting through it is worht it as the show immiedatly picked up and became one of the funniest things to ever exist. It’s also uniquely tied to christmas as every year a season of the show has dropped on that day on it’s home streamer Crave TV in canada, and on boxing day here in the us. So it’s only fitting the show also has a REALLY great christmas special.

It’s Christmas eve and our heroes the hicks, are having a christmas party. For the uniniated the hick’s aren’t really all that “hick” ish just hardworking farmers who still accept everybody and work damn hard. Leading man, terse talker and certified badass Wayne is suprisingly really into christmas, as he spent pretty much every holiday spouting out inacuracies about it but this day? He genuienly enjoys, even insiting on awful holiday drinks only and a midnight toast, the titular three wiseman (Canadian, irish and American Whiskeys, one shot of each). “It’s tradition”. And thanks to tradition we get the main gag of the episode: most of the episode is wayne calling in various members of the town, most of whom he dosen’t like very much and some who deeply annoy him, to give them presents. And while i’ve admitted to being a guy who dosen’t like a plot that basically repeats itslef.. it works here.. mostly because while the setup is the same, each member provides something new and hilarious: while it starts innocently enough with Bonnie Mcmurray, local fanservice, nice lady and fangirl of wayne, getting a camera and offering to be an elf, an offer wayne is forced to take up, it soon becomes a parade of weirdness and bullshit Wayne really dosen’t want to put up with and that really makes me laugh hard: Local loveable sex maniac and bar owner Gail goes on for a good minute about her sexual antics with Wayne’s beloved departed uncle eddie after Wayne gives him a picture of the guy, Glenn, another of wayn’es unwanted admirers and local pastor, obsesses over a christmas themed digeredoo, local druggies and emos the skids intitally refuse to open their gift out of prinicpal until wayne simply asks “What if theres drugs in it” (It’s insted vitamin d), the local hockey coach sings a hilarious and gloriously cringe song about having sex with his wife when they were alive and the hockey players make wayne uncomfortable both by crying a bit. Also tanis gets an apron.

But even if the reactions horrify or piss off our hero into needing his elf’s help, the heart is in the fact that despite hating most of these people, he still got them a gift and one that’s hearfelt and well meaning. And naturally the sweetest is saved for his family of choice with the hicks: Squirrely Dan gets a pencil case for his oft talked about women’s studies class, Dary gets some clonge since he wears his barn clothes everywhere, and Katy gets an obscure korean christmas movie since her subplot that episode had been spent trying to get a christmas movie going, only for everyone to pick it apart: from the racisim of santa and co towards rudolph to pointing out how profoundly fucked up the premise of the santa claus is (including the fact various serial killers could’ve gotten the suit), which I agree with, it’s just a sweet gesture that shows how well he knows his friend. Overall it’s just a fun hangout of an episode that feels like a real christmas party and in these troubling times we could all use that. Now let’s all have a spit.

8. The Feast of Alvis (Sealab 2021) Another Christmas staple for me.. and a gloriously strange one at that. This time we’re checking under the sea with Sealab 2021, one of the earliest adult swim shows and the blueprint for the abriged series format, it took a dry hannah barbara show about an underwater research station and remixed it into the antics of a bunch of idiots and lunatatics throughuly unequipped for the task. Except Dr. Quinn, the only sane person aboard.. most of the time. It was comedy gold courtsey of Adam Reed, creator of the later Frisky Dingo, a throughly underated show, and Archer, which is like Frisky Dingo but refined into it’s truest and most sucessful form. It was magical and just talking about it makes me want to talk about it again at some point, probably in a best of list. So naturally this madcap energy was perfect for the holidays. Originally the crew planned to use ACTUAL religions for this, but were forced by network to change it.. which ended up being one of those cases where the network ended up actually making the right call as the creators instead created thinly veiled substute for the various religions... and centered it around Alavanism, which is christianity.. but if christ was instead born in the us at some point, and instead of being a pacifist, was a drunken beligernt gun loving redneck who shot a guy in the face, has “vengance is mine” as one of his quotes (from said face shooting) and still had pomp and circumstance as part of his holiday. Helping this though is our Alvian for the evening is Captain Murphy, the series best character and often the center of it’s best moments, played by the wonderful and sadly late Harry Goz, a half crazed half chidlish cloud cuckoolander who often comes off like a demanding child in an old man’s body. So naturally this holiday is for him and even more naturally he’s holding a massive alvis day cermeony that’s as batshit as he and his religion are in the main deck: he’s got buffalo, a buffet that’s deeply unsanitary, and a hallogen light mimickign the alvistide star that he wants to plop a baby under. Naturally no one else is happy about this. Well Stormy, local hilarious dumbass, is as the only other alvian on board for this, and a general sucker for dumb shenanigans but he’s so plastared he’s even less coherent than usual and can mostly muster the desire to kick something’s ass or a weak “shut up” Most of all Quinn and his girlfriend debbie, who point out religious tolerance is a part of the sealab charter and that this kind of grotesuqe celebration really isn’t in season. I’ts also a nice dig at “War on Christmas Assholes”, long before that was as big a problem with Muprhy very much being the asshole and his cleebration rapidly crumbling. He also attempts to fire Sparks for being a wiccan stand in so yeah he deserves it. It’s all capped in Muprhy getting visted by a drunken halucination of his lord. All in all easily one of the best and most insane christmas specials ever put to film. If you have HBO Max watch it today or tommorow you will NOT regret it.

7. Arnold’s Christmas (Hey Arnold) A classic of my childhood, Hey Arnold is one of the best animated shows period. It’s something i’m not shy about saying, I bleivie I said it in my thanksgiving list and i’ll say it quite a bit. It’s not PERFECT, it has it’s flaws.. but it’s still damn good and the golden standard for slice of life shows.

This episode naturally is one of it’s best and, while I didn’t catch as a kid the signifigance or what this was about, touches on of all things the vietnam war and the children who were helicoptered out. In a heart destroying story, Mr. Winn, one of Arnold’s boardinghousemates, reveals he has a daughter he has no idea where she is as to give her a better life, he made sure she got on one of those helicopters as an infant. While he was able to immigrate later, he never found her. Arnold being our own personal jesus, refuses to let this stand and goes out of his way to figure it out and goes on a quest that seemingly ends in failure. It falls on Helga to save the day as Helga actually gets what she wanted from her parents, a pair of nice boots, and gets the rare moment where they actually acknoledge her.. but loving arnold and seeing the noblility in his quest.. she gives it up. Just to make someone elses’ dream come true. He may never know who did it and tha’ts okay. An utterly heartwarming and heartbreaking episode. Nuff said.

6. Santa Claus is Comin To Town Speaking of classics this is how you do a santa origin story. Not the first or last i’d see, and we’ll get to one of those in a moment. While i’m not a huge fan of Rankin Bass’ other big hit with Rudolph, this one really hits the spot for me and is only this low because it’s pacing is really slow at points. Otherwise this special is near flawless, looks good and holds up today. As I said this is a good Year One for santa establishing how he became immortal, how he met the elves, he was raised by them, how he started giving out toys, how he met mrs claus you know all the stuff you’d ask about. To me what really sells it the best though is Mickey Rooney as Santa. While I had no idea who played him till literally writing this article in my mind his earnesness, kindness and genuine nature just.. fit the old elf to me even as a young man and everything from his humble beginings to his wanting to help children just out of kindness to his teaching an old man to dance to his romance just feels.. genuine and warm like christmas should. It just makes me feel good and like others on this list.. FEELS like christmas if that makes any sense. Not a lot else to say. Burger Meister Meisterburger isn’t the best vilian, but it was the early 70′s and we weren’t quite to diamond levels of complex interesting villians just yet so fair enough. Baiscally I don’t have a TON to say about this special in short, I may review it next year, we’ll see, but it’s really good, really fun and sometimes simple just works I guess? Speaking of stop motion..

5. Abed’s Uncontrollable Christmas (Community) I love a good sitcom. I haven’t shared that love enough on here, I should try and change that at some point, but I do, as a fourth of this list should make crystal clear. So while sadly some of my faviorites like Brooklyn Nine Nine, Parks and Rec and Roseanne didn’t make the cut, Community thankfully did. Community is a show that’s really damn good and had THREE awesome Christmas episodes. All three, all winners and all in contention for some time. Regional Holiday music just barely didn’t make the cut. But ultimately I went with the best of the best, the most creative, most character driven, and most intresting. And the one that in Community’s traditional style, decided to take a spin on an old genre. In this case Abed, the study groups resident pop culture junkie, guy who thinks in tropes and future Huey Duck, is seeing everything in stop motion and may get thrown out of school as a result. With his friends deeply worried, they turn to Greendale’s local psychologist and british areshole Professor Duncan, played by my spirtual father John Oliver. ALL HAIL THIS MAN

Duncan takes the two into Abed’s fantasy and thus into a rankin bass special where Abed slowly weeds out his friends and tries to get rid of Duncan, whose naturally only intrested in proving a case. It’s a fun, chaotic ride including christmas pterodactyls, and the cast all in bizzare forms based on what Abed thinks of htem. it’s really damn creative and beauitfully animated at that. Naturally like most of these what clinches it is the heart and soul. We find out towards the end WHy this happened: Abed’s mom is spending christmas with her new family instead of him and it’s broken him to not be able to watch specials like they do> Thus the group rally behind their friend, beat duncan in a wonderful christmas number and watch specials with their buddy, as the weird ass family some of whom have or will make out, they are.

4. A Charlie Brown Christmas With my love of comic strips and sentiment, it should suprise absolutely no one this is on here. I love peanuts and have only grown to love it more over hte years for it’s mealancholy, finely constructed cast and weird bits people forget about like Snoopy’s disco phase, that really damn good arc where his house burned down, his brother stealing his fiance only to have her stolen from him, the fact Lucy threw Linus out once, that peppermint patty was once held back a grade and her snores took her place at her desk, the fact there was a character named 5, Charlie Brown and Linus’ friend roy who introduced peppermint patty to the cast, the fact a character named crybaby boobie exists, the fact there are specials devoted to a pastiche of call of the wild, a friend of linus’ getting cancer, and Flashbeagle. Just flashbeagle.

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It is glorious. And I really need to add that to my review queue.. maybe for late january. Seriously, tis glorious. And I OWN this one. So yeah. What were we talking about? Oh yes the special that made all the specials, especially flashbeagle, possible: A Charlie Brown Christmas This one has always been part of my life, but even beyond it’s signifigance to me, having grown up with it and grafted it to my soul, it’s just .. good. It has some good commentary on the consumrisim of the holiday with Charlie Brown rightly a bit upset about it and ending up roped into directing a christmas play. Great gags, and charlie brown trying to stick up for a scragly tree no one enlse likes insue. Oh and scripture as this is probably the only overtly religious special on the list. Not that ther’es anything wrong with not being religious and celebrating christmas: i’m not anymore but I still do and while I respect people who celebrate the holiday int he spirit of christ I have none for people who bash anyone who dosen’t just see it religiously and whose over zealous about it. Your just as bad as war on christmas people and you should feel bad. But yeah overal it’s just an inconic special whose clunkyness in production and audio just adds some charm to it. It shows it’s age.. but only in the animation and production values, which is just.. charming. It’s message is timeless, it’s characterization is perfect as you’d expect from peanuts in it’s prime, and i’ts ending is truly heartmelting. If you’ve never seen this one.. just go do that. I can wait.

3. How Santa Stole Christmas! (Ducktales) I”ll be brief on this one as, since it only aired a few weeks ago, i’ve already done a full review on it. But I will justify why such a recent special is this high up: because it’s just that good. It may of JUST been aired, but it’s as good as anything else here and age dosen’t matter. Quality does. There will likely be future specials worth this list i’m sure but for this moment in time this one earns it. It has Santa perfectly charactrized and tells an utterly heartrending story of friendship that ends up ending simply because the two are moving in opposite directions and of Scrooge learning the meaning of christmas. Not thorugh the ghosts, they already brilliantly messed with that one. It’s just really fantastic, gets the christmas spriit perfectly and uses the characters just as flawlessly. I will defintely be watching this one every year. Just a warm, creative, funny as hell special.

2. Comfort and Joy (Justice League) Speaking of reviews I held off reviews of my final two so I could save more thoughts here. I probably still will review them eventually, especially this one, I just felt i’d be repeating myself or have to be brief like the last one. But yeah this one slaps. The Justice League cartoon is easily one of the best superhero cartoons, if not superhero properties, period. Taking the base already built in from the previous three dcau cartoons, this one builds out the world and expands it , and introduced a young me to my lifelong loves of Martian Manhunter, The Flash and especailly the green lanterns with John Stewarts badass reciting of the oath easily etched in my brain. The only reason he isn’t my faviorite lantern is because mogo exists.. aka the lantern that is a living planet.

You can see why. But yeah Jon stuck in my mind. So it’s probably no suprise that the christmas special heavily featuring all three. It’s Christmas Time and after the league stops it’s usual disaster, they head off for their usual holiday activities. Batman and Wonder Woman are missing, but it’s fine. While I love both, especailly DCAU Batman, the episode is probably better off not trying to shove them in there just for the sake of it. One of the show’s greatest strength’s was character ballance, not forcing EVERY member of the big 7 into every episode and just using whose needed and shuffling them in and out FAR BETTER than say, Ducktales. Point is this, much like being loved by anyone, was not unusual and it makes the episode tighter. Even more so since this is the ONLY half hour episode in the first two seasons, the rest are basically hour long episodes split into two parters, though still paced for being two episodes so it’s good.. and three movie length three parters for the premire, and the season finales. Fun Fact: As a kid I missed starcrossed and thus had to find out second hand, and barely at that, why hawkgirl was gone at the start of unlimited. I still have not seen it. I will correct this eventually. It was a diffrent time.

So yeah this episode not only has a main character cast of 6, with 3 other major supporting characters, but is handily split into three amazing plot lines. The first has Green Lantern try to teach Hawkgirl how to have christmas fun by playing on a snowy world, while Hawkgirl takes him to a bar to show how she celebrates.. i.e. getting hammered and starting a fight. Nanananana, she’s gonna start a fight. It’s a fun really sweet segment, and some nice ship tease between the two. The other two though are what make this special.. not that the first one is bad these two are just really inspiried for the characters involved: For the Flash, who in this series is both Wally and a bit of a smug quipster.. we see beneath the ego and flirting he’s really a sweet, caring guy and spends his christmas finding a toy for the orphans in this case a rapping duck.

Not QUITE as embarassing btu close. He runs into the Ultra Humanite whose destroying the toys because he hates the comercialism and how it dumbs things down for the kids. Have I mentioned that I love the Ultra Humanite? Because I do.. the animated version. The comics version is REALLY fucking creepy but this version? He’s fucking great, an intellectual whose a formidable threat.. and honestly sympathetic. His motive here, while misguided, is well meaning and his price for selling out the injustice gang and going back to jail quitely? one of the best gags in human history. Getting PBS to say “This program was supported by viewers like you.. and the ultra humanite” He’s just awesome and i’ts a shame he never returned for unlimited. His comic version, while not BAD is just.. not NEARLY as intresting or deep and I wish the comics would have him take after this version. And that depth shows as once he learns what was going on, he willingly helps flash and simply reprograms the duck to recite the nutcracker. It’s a really nice gesture, that flash returns by giving his foe a christmas tree. Really good stuff. And I saved the best for last. Heading home for the holidays, Clark takes Jonn with him since otherwise he’d be stuck at the watchtower and batman was apparnetly “Begging” for duty. Granted one wonders what his surrogate dad and adopted sons think but odds are alfred would just drag them up there anyway no mater how much Dick protested. And of course Alfred has watchtower clearance, he’s alfred: he’s the only one besides Diana looking out for bruce.. and no I don’t buy the bullshit from the batman beyond comics that never happened. And Clark too, this is true... but it takes a village to get bruce to go the fuck to sleep and most of that villiage is alfred. And if your wondering “wait won’t he be in danger”... the only thing that can kill this man is apparently bane. He’s survivied earthquakes, poisonings, turning into a supervillian via radaition induced crazies, yes really, apparently dying leading to the supervillian thing, being stabbed, being shot at, having to help raise damien... my point is the guy’s been through a lot in comics, I doubt the dcau version is any less resilent and god damn I miss this old man. Salute alfred, salute. Where was I oh yeah, Clark insists on taking John home. And it’s stuff like this why I freaking love superman. Many dismiss him as corny, unrelaistic or boring.. all untrue. Sure he’s a boyscout, but he’s meant ot resprsent the best in mankind, what we can truly be powers or no, what we can achieve and the kind of moral, kind person we can be. He’s an inspiration for us all. And this kind of act is what shows that: his response to one of his friends having nowhere to go on christmas and not having been around the holiday? Take him to his house to share in the warmth and love. And Clark’s parents here show WHY he’s the hero he is and why I freaking love them in all flavors.. except Zack Snyder flavor and even then tha’ts only for Pa “Letting people die is the right thing to do now i’m going to throw myself into a tornado to prove that” kent. But it’s christmas so i’m not here to bitch about zack snyder and if you want that in full, you can pay for it. My point is they show, as they should how he became the moral paragon he is: they meet a man from mars, who they’ve never met and their son just invited.. and welcmoe him without a thought. While this isnt’ their first alien obviously, and they say so, it’s still really sweet they just warmly welcome the man in and give him their surrogate daughter/their sons’ biological cousin’s room while sh’es away. Oh Kara’s away conveniently skiing with barbra. Also she lives with them in this continuity. Also maybe that’s where dick is. I dunno, but I hope so. Dickbabs for life.. depending on the continuity. I”m still dick and star for life in the titans cartoon. Point is we get nice of sweet, and hilaroius, holiday stuff: Jonn is suprised to see this side of clark: while he’s always warm and inviting as Clark.. he can also be relaxed, enjoy the holiday and get real spirited. For one day he dosen’t have to be superman. He can just be clark. Evne superman can take a day off.. and he’s superman, he desrves one. Let Bruce and Diana take care of it after they finish marathon sex and Diana finshes with Cheetaah and Maxwell lord. But yeah as I was saying hilarious as we find out clark used to peak and they had to, and still do, line it with lead foil to make sure he can’t peak, and Martha gives John a sweater, saying his company is all they need for a gift and when it’s a bit big he charmingly grows into it. Jonn also walks among the humans a bit and we get a great little bit of him sneaking down a chimney after hearing the thorughts of a girl whose worried santa isn’t real. It’s just all great stuff that cumilates in Jonn joyfully singing a song in his native tounge while stroking Kara’s cat Streaky.. who sadly does not have a cape or super powers in this universe. Yet. Just a really good superhero story, a damn fine christmas story and one of the best episodes of a stellar show that thankfully is still remembered in this new age of heroes.

1. It’s Christmas You Dorks (Harvey Beaks) Yup not probably a lot of people’s first choice but fuck it. I’ve loved this one since i saw it a few years ago shorlty after the series ended, having grown far behind and caught up just as it was ending... and regretted it as Harvey Beaks is easily one of my faviorite shows from the wall to wall hit parade that was the 2010′s. It’s charming, hilaroius, heartfelt, and creative.. and really weird if not as weird as CH Greenblaht’s previous show chowder.. but still weird enough.Thankfully Big City Greens is carying the banner for this kind of show, as is Craig of the Creek, so the kind of gentle, slice of life stuff hasn’t gone away, but this show was still it’s own thing and i’m sad it’s gone. But while it was here it was spectacular and this is one of the best of em if not the best. And naturally for a show like this it has a neat approach: The episode is dialouge free, only having some singing in the last act and that’s diagetic, the characters singing a christmas song. We’ll get to that. This isn’t the FIRST silent christmas special i’ve seen, Courage the Cowardly dog did it’s own take on the nutcracker, but it’s still the best. And given Courage the Cowardly Dog is one of my faviorite shows, that’s high praise. Each segment is charming, unique, and well done.

As for what each are: The wraparound is a gorgeously animated bit of stop motion or something like it where the spirit of winter goes around and turns fall to winter or helps the kid with winter fun. It’s a bunch of really adorable stuff. The first proper one is the kids having a snowball fight when a bunch of asshole adults interupt, and hte kids end up getting even by hiding in some snowmen. Again just some really fun, really well done stuff. But the first one that really makes it follows Technobear, local wannabe ladies man in training who has a crush on Harvey’s mom and fantasies about giving her some lovely read shoes and skating with her. His hopes are dashed when instead her daughter michelle, the horrifing baby child pictured above, takes them instead. But not only is it heartwarming to see the stone faced future rule of the world crack a smile, Techno instnatly realizes whats’ improtant and takes the bby ice skating. The next segment is just some goofy googus with the squirrels, the local crooks who are also squirreels, but it’s still pretty good. We then get Jeremy trying to be santa which is both funny but genuinely heartwarming and finally the best bit as Dade, local killjoy, gets annoyed at everyone singing a popular new christmas song instead of the old standard he likes and being a dick about it before softening a bit when Harvey genuinely offers him camradere. It’s just.. good stuff that’s hard to put into words, and given putting it into words is my thing, it really speaks to just hwo good this special is. it just, makes me feel nice, and really gets the spirit of the holiday in all it’s forms. It’s gorgeously aniamted, well paced, and never stops being entertaining and that’s why it’s both my faviorite and why every year.. i’ll be coming back to little bark. And if nothing else.. it’ll keep this warm, great show alive in my heart. So with that I end this list. If you didn’t like it tha’ts fine, this is my opinon. But I wanted to share my faviorites with you and hope you’ll check them out this or next chirstmas. Until we meet again... Merry Christmas to all,and to all a good night.

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rivahisu107 · 3 years

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The Unresolved Baby Subplot Chapter 6: Of Marriage and Mikasa- And Maybe Some Chapter 69 Hints as Well

Our story has come to an end, and three years later, the world is recovering from the Rumbling, and the nation of Eldia (Paradis) has risen again as a dangerous power in the battle for survival, only without Titan powers this time. Hizuru is a strong ally, yet as for how all this happened and why Historia made her choice to keep quiet... we may never know. But she does want peace negotiations with the Alliance, so that’s a good sign she didn’t completely agree or side with Eren.

And Historia is married. But if the farmer is the father, why didn't she marry him in the first place? And why isn't he allowed a consistent face? Also on the island is a grieving Mikasa Ackerman, possibly under the protection of Hizuru. It seems that everybody in the Alliance is going back to Paradis to negotiate save for Onyonkopon, Falco, and Gabi- who had few to no ties to the island or are too young- and Levi as well, who is with them for unspecified reasons and in an unidentified region. How does all of this tie into this (conspiracy) theory of an unresolved plotline? And how does this tie back to the most important chapter to Levi and Historia’s characters?

Surprisingly, once again, the key to this all is Mikasa Ackerman.

To review, Mikasa has a scar on her arm that her mother of Azumabito heritage passed on to her as a young girl to keep secret and show to the one whom she will marry and have children with. At the time, this was a mystery, but when Hizuru pays a visit for exploitation of natural resources diplomacy, this is all revealed.

When Hizuru arrives, there is a nice panel with these words and the two Ackermans together.

Then cut to when Kiyomi is asking if Mikasa recognizes the marking, and then this happens:

Yes. In a scene all about marriage, children, and heritage, guess who appears right next to Historia? Levi, of course! The odd thing about this is that this is the only time Levi shows up in the manga in this scene. Check out the rest of the page if you don’t believe me. He just appears... then disappears. Huh? What was that all about?

Some may criticize me for reading too much into this, but remember, even the smallest of details can turn out to be big. When Eren was talking about the Armored Titan, there was a brief cut to Reiner at the table. It’s very suspicious that this detail here was included. And the anime kept this in but with more shots of Levi watching in the background, next to Historia the whole time.

Afterwards, Historia is even more curious and gets super happy that Mikasa is her “perfect match”. This is reminding me of the whole thing with Reiner and Eren “being the same”. It’s just too bad that neither of these got properly concluded. Anyways, I find it funny that Historia is getting all chummy with the Ackerman with royal blood.

What’s the story with Mikasa being royal? In the past, the shogun of Hizuru was an ally with the royal family on the island, and his son was friends of the family. But as the story goes after the Great Titan War:

What a tragedy! It’s awful when families are divided up in great worldwide disasters.

I can’t help but see some of the similarities here between the shogun’s relationship with the royal family and the Ackerman clan’s history with the royal family. Both clans were on close terms with the king but unfortunately, when they spoke out again Karl Fritz’ ideology and could not be mindwiped, they were persecuted heavily and almost driven to die out completely on the island. But then by some miracle descendants of both clans came together to have Mikasa, who would be the one to end Eren.

Now, after this chapter, Historia is stuck in the worst possible situation due to her royal blood, but she is willing to take on the Beast Titan to save her people... but then her unresolved, frustrating pregnancy happens. And with all these bits and pieces that I have put together, it would seem that Levi would be coming home to be with the woman he has been linked to and his child and marry. Unfortunately, due to the political climate on the island, the Alliance is not welcomed at home, and it has taken Historia to give protection to Jean and Connie’s families to ensure that they are welcome for peace talks.

You see, dear readers, Mikasa’s heritage may have given us a hidden clue this whole time about why Levi and Historia are where they are.

1. The Ackerman-Reiss connection. Kenny and Uri became friends by a miracle despite the history of the Reiss family persecuting the Ackerman clan, and despite their rough start, Levi and Historia became close enough to set up an Orphanage, and based on what I have posted here, they seem to have become very close by all evidence.

2. Great Titan War- The Rumbling was catastrophic with 80% of the human population in the world killed. Things are a total mess outside of Paradis. In all of this, there is no way for the Alliance, including Levi, to get back home. In all of this, he has a child back on the island, just like how the shogun had a child left on the island after the Great Titan War.

3. Secret Heritage- The child, a little girl, may not know who her true father is. The Jaeger Faction is powerful, and if they find out that the Queen has a child with a traitor who stopped the Rumbling and contributed to wiping out Titan powers, she may as well be killed off, and things in the world could become far, far worse than what they are now.

...

At this point, you may be scratching your head and frustrated with me and how I can’t just accept that the farmer is the father because Historia is mentioned to be married. Really? Just because she marries the man doesn’t mean he’s the biological father of the child. See above for why Historia may have entered a political marriage with him. After all, he’s a former bully who redeemed himself. He may not be the man she really loves or wants to be with, but he partook in this coverup and still cared for her since the real father is trapped faraway due to the political climate. It’s a real tragedy since this pregnancy was not according to any plan but a complete accident too, so Historia probably had to make some tough decisions. The Jaeger Faction would probably grow suspicious over the puppet Queen, just as much as the MPs, for having a child and not marrying.

Besides, do you really expect me to believe that a man who doesn’t even have a consistent face to count as a character? Image created by @pas-de-deux84.

Slightly off topic, but another suspicious thing is that whenever Historia brought up in conversation, it’s always about “Historia and her children”, not “Historia and Jake’s children”. They can’t even name the man? Really? Are they aware of something they aren’t allowed to say out loud? Do they know or think that she got pregnant to save her skin? It’s only been the MPs, a third party, who recount anything about this whole situation directly.

The royal family on the island has a long history of coverups: the truth about humanity outside the walls, the true king of the Walls, Historia herself at one point. Why is it impossible to believe that Historia has orchestrated a mass coverup for her own and her child’s sake? Again, this is not helped by the fact that we got no real conclusion or answers to her actions.

And at the end of the manga, we don’t know why Levi is with Onyonkopon, Gabi, and Falco in an unspecified location either. Maybe he’s recovering from his injuries or something in a place where he and the others have been granted immunity for stopping the Rumbling. I highly doubt that it would be realistic that they are traveling the world together for fun three years after a mass genocide happens and world peace is but an idealistic illusion or even opening a tea shop.

Here’s the best thing somebody else pointed out not related to the ship in the first place: Levi and Historia have the exact same facial expressions. Levi’s is the last one he has in the manga, and Historia’s is from when the pregnancy was revealed. For some context to Levi, to be fair, he is looking up at a plane, which likely reminds him of Hange and his other fallen comrades whom he has given meaning to in their sacrifices. But what exactly is he doing after the Rumbling? We have no idea. Does he have goals? Does he want to get back to his family?

That’s the frustrating thing for me. Neither of them really had proper depth explicitly given to their final arcs, and neither do they have any moments where they reflect on their actions afterwards. Am I reading too much into this all? I may never know, but it’s the best I can think of.

...

Now, I want to talk a bit about Chapter 69, the colored chapter that was released with Chapter 139. You know, the chapter where Kenny and Uri reconcile and become friends and also where Levi and Historia have their iconic moments of the punch and becoming the next Ackerman-Reiss pair. Surprisingly, whether these two were meant to be a pair or not, they both had callbacks to moments in Chapter 69.

Levi is in the same position that Kenny was in when dying against the tree and Kenny gives his whole speech on everyone being a slave to something and how he himself was unfit to be a parent.

But Levi has “surpassed the father”. Why? Unlike Kenny, he stopped his slavery to being the hero. He gave up on his vow. He gave true meaning to his comrades’ deaths by ending the Rumbling and ending Eren. He may not have his Ackerman strength anymore, but he truly embodied at the end what the Survey Corps stood for. He dedicated all his heart. Oh, and he smiles again.

As for Historia, in Chapter 69, she became the True Queen of the Walls, a member of the real royal family.

Unfortunately, she has been a puppet queen for some time- until now- when the Jaeger faction has taken over the island, and she must use all her mind, strength, and resources to negotiate peace, or Eldians and the rest of the world are going to fight forever now.

By the way, Historia isn’t present on the podium when the Jaeger Faction is rallying the support of the crowd. She’s present here, awaiting her old friends to negotiate peace. Tell me what that says about her character.

It’s all these subtle details that just make you wonder. Could Isayama have given us all the answers we need, just in secret? It’s quite the conspiracy if you ask me!

...

Bonus round. I highly recommend reading this post about some features that the child shares with Levi’s side of the Ackerman clan.

I just love how this one image of Historia being pregnant in the anime with ridiculously long hair makes her resemble Levi’s own mother, Kuchel, who had long hair as well. And Kuchel has dark eyes here.

#attack on titan #rivahisu #unresolved baby plot

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arplis · 3 years

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Arplis - News: The Best Gifts for 4-Year-Olds, According to Child Development Experts

Age 4 is a huge milestone year. Not only do many 4-year-olds go to preschool or start pre-kindergarten, they tend to become much more well-rounded, articulate opinionated little humans at this age. Most 4-year-olds start to share, ask tons of questions, and form solid friendships. Kids also become choosier about what toys they will or won’t play with around age 4. That’s why the best Christmas gifts for 4-year-olds are toys that play into these new, emerging capabilities while also taking kids’ own specific idiosyncrasies and interests into account.

“Think about simple board games to use new thinking skills and emerging self-control as they wait for a turn and cope with losing, puppets to tell stories with, interlocking plastic blocks to create structures, a child-sized chalkboard for writing and drawing, or a bicycle or other wheeled toys so they can move their strong, growing bodies,” says Rebecca Parlakian, the senior director of programs at Zero to Three. “And pretend play props are always a great idea, as they let kids make up and act out stories.”

When it comes to Christmas gifts, consider a toy’s longevity. Open-ended toys, ones that can be played with in limitless ways, are the gold standard. They include blocks of all shapes and sizes, such as Legos, and toys that mimic real-life objects and tools. As a general rule, the less a toy does, the more your kid’s imagination has to work. When it comes down to it, the best toys for 4-year-olds are those that let them play however they want.

Balance Board by Wobbel

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Nature Detective Set by Hape

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Barbie Inspiring Women Series Ella Fitzgerald Collectible Doll by Mattel

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ABC Building Blocks by Uncle Goose

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Learning Resources Botley 2.0 The Coding Robot

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Doctor Role Play Costume Set by Melissa & Doug

Real-world toys like this set help 4-year-olds make sense of the complicated, often overwhelming things they see in the adult world. And let's face it: Seeing a doctor can be a scary thing. This gorgeous medical kit is great for pretend play, as kids dole out pretend shots and take your blood pressure.

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Hand Puppet by Cate & Levi

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Bristle Blocks by Battat

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Imagination Magnets by MindWare

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Magna-Tiles Stardust Set

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Dynamo Wooden Domino Set by Hape

This 100-piece domino play set encourages children’s spatial thinking abilities and color recognition, and fosters a basic understanding of physics. What goes up must come down. Kids learn that, and more, with this deceptively simple yet utterly cool domino set. It includes a bridge, a bell and assorted tricks that add extra drama to the domino racing game.

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Playfoam by Educational Insights

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Wooden Dollhouse by Hape

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Magnatab by Kid O

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Checkout Register by Hape

Sure, this cash register sneakily teaches kids about math. And yes, it shows them the basics of what it means to have and spend money. But it's also a good time, as they pretend to run a store, or a cafe, and charge their customers using the bar code scanner and card reader. Plus, they need to count out exact change.

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Every product on Fatherly is independently selected by our editors, writers, and experts. If you click a link on our site and buy something, we may earn an affiliate commission.

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The post The Best Gifts for 4-Year-Olds, According to Child Development Experts appeared first on Fatherly.

Arplis - News source https://arplis.com/blogs/news/the-best-gifts-for-4-year-olds-according-to-child-development-experts

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yungagora-blog · 7 years

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My script for my video “Libertarian Socialism IS NOT an oxymoron, critiquing Esoteric Entity”

First point I should make: that libertarian socialism is an umbrella term for a lot of positions that all believe in the voluntarily stateless society based on worker ownership (socialism) but disagree with the means to achieve and maintain it. So, the whole point of making this video is to have the viewer aware of this, and so not to conflate all libsoc thought as one as Esoteric Entity has.

0:41 First point that esoteric makes: that socialism is not voluntarily.

My argument: I can agree that certain strains of socialism are not voluntarily and very hierarchical (Marxism, i.e. state socialism) and tho I question certain libsoc thought (ancoms, ancols) this is something you have to present when debating saying “libertarian socialism in an oxymoron”, which thought do you mean? Because as I said in my other video a lot of your arguments are against anarcho-communism but lump the whole of libsoc thought with it, not rebutting the ideas that are contrary to anarcho-communism.

My first quote is Benjamin R Tucker can be found in his “Instead of a Book” and as the name implies, is actually a collection of essays from his newspaper “Liberty”, this quote can be found ‘A puppet for god’ but the debate Tucker is in this article begins in “Mr. Levy’s Maximum” where he attempts to argue that “the state is precisely the thing which the anarchist say it’s not – namely a voluntarily association of contracting individuals.”,

his argument being “When I said in my previous replies to mr perrine, that voluntarily assoications necessarily involves the right of secession, I did not deny the right of any individuals to go through the form of constituting themselves an association in which each member waives the right of secession. My assertion was simply meant to carry the idea that such a constitution, if any should be so idle to adopt it, would be a mere FORM, which every decent man who was a party to it would hasten to violate and tread under foot as soon as he appreciated the enormity of his folly.” Contract is a very serviceable and most important tool, but its usefulness has its limits; no man can employ it for the abdication of his manhood. To indefinitely waive ones right of secession is to make one’s self a slave. Now no man can make himself so much a slave as to forfeit the right to issue his own emancipation proclamation. Individuality and its right of assertion are indestructible except by death.”

In another quote in page 44-45 of instead of a book BRT extends this too with third parties, that third parties who did not agree to the terms and conditions of two agreeing parties are not bound to that same agreement made, so I don’t see your argument for “socialism, a system where people aren’t free to associate with others on a voluntarily basis, don’t have a right to the production of their own autonomy, or don’t have the right to exist free of free” if anything everything I have just stated agrees with your latter statement of “libertarianism a system that seeks to maximize the individual liberty of indidivuals allowing for the self ownership, autominity, and voluntairty association. “

1: 24 – 3:17 Esoteric point “You can’t redefine arbitrarily redefine socialism”

Camreon does a poor job in defining socialism in this bit especially where it lies in common with libertarian socialism. Socialism can be defined as “worker ownership of the means of production”, now what differs with libertarian socialism and state socialism is their goals with this definition, which Tuckers sums as AUTHOIRTY and LIBERTY. Tucker describes state socialism as “The Doctrine that all the affairs of men should be managed by the government, regardless of individual choice.” And then describing anarchism (libertarian socialism) as : “The doctrine that all the affairs of men should be managed by individuals or voluntarily associations, and that the state should be abolished”

So yes, Cameron and libertarian socialist can do this as this is what happens with all philosophy, people create thoughts and disagree with those thoughts or parts of it and make up their own terms to show where they lie, especially in the realm of political philosophy, I am not saying I agree with it but that in a manner it is useful, for example, you can’t go about telling everyone you are a “classical liberal” hoping they’ll actually know you are an anarcho-capitalist, you have to explain how you are both but that the latter differs from the primary (statelessness). And still you don’t address any of Cameron’s claims on how and why libertarian socialism differs from state socialism.

Esoteric entitiy in 4:00-4:50: Is it really hard for you to understand that state socialism and libertarian socialism are two different things? I can agree with your point on “why these regimes call themselves socialist” but you’re still not attacking Cameron’s argument on how libertarian socialism & state socialism are two different socialisms. And my problem with relying on dictionary.com to define socialism is best worded by a comrade I made through my first video who said “ I know you (ME, Agora) were like 'wtf your using the definition of socialism from a dictionary'. But to explain why you said that, that's how we feel a lot of the time because dictionaries give the simplest of definitions where-as a better understanding can be gained from encyclopedias. Maybe if you explain that, it would be better. There is a long historical tradition of libertarian socialism whether or not it "sounds right" to him. So he's literally arguing against history. When he looks up the definition of libertarianism he doesn't understand that the free will definition refers to free will vs determinism in philosophy. As in, are your decisions predetermined? He doesn't understand libertarian free will has nothing to do with politics. That shows how uninformed he is.”

5:38: in your point here you attack anarcho-communism and its forced collectivization and so assume that libsocs are not in favor of individual ownership which these next quotes will disproves: Paul Eltzbacher writes about Proudhon

“Proudhon calls that portion of goods which is assigned to the individual by contract, “property”. In 1840 he had demanded that INDIVIDUAL POSSESSION be substituted for property; with this one change evil would disappear from the earth. “ and continues to tumble around by his belief in INDIVIDUAL POSSESSION & PROPERTY till in 1850 he announces “What I sought for as far back as 1840, in defining property, what I am wanting now, is not a destruction; I have said it till I am tired. That would have been to fall with Rousseau, Plato, Lousic Blanc himself, and all the adversaries of property, into COMMUNISM, against which I protest with all my might; what I ask for property is a BALANCE – that is, “justice.”

Eltzbacher explains: “In all these pronouncements property means nothing else than that portion of goods which falls to the individual on the basis of contracts, on which society is to be built up. The property which Proudhon sanctions cannot be special legal relation, but only a possible part of the substance of the one legal relation which he approves, the relation of contract. It can afford no protection against a group of men whose extent is determined by legal norms, but only against who have mutually secured a certain portion of goods to each other by contract. Proudhon, therefore, is here using the word “property” in an inexact sense; in the strict sense it can denote only a portion of goods set apart in an involuntary legal relation by particular legal norms. Accordingly, when in the name of Justice Proudhon demands a certain distribution of property, this means nothing more than that the contracts on which society is to be built should make a certain sort of provision with respect to the distribution of goods. And the way in which they should determine it is this: that every man is to have the product of his labor.

Now for this quote on property can be found in Tucker’s “Liberty and Property”: “Man has little to gain from liberty unless that liberty to control what he produces. One of the chief purposes of equal liberty is to secure this fundamental necessity of property, and, if property is not thereby secured, the temptation is to abandon the regime of contract and return to the reign of the strongest.”

6:55 Now Cameron, being an ancom believes in “direct democracy” but this isn’t to say, all libertarian socialist believe in democracy. Some quotes:

“Royalty is never legitimate. Neither heredity, election, universal suffrage, the excellence of the sovereign, nor the consecration of religion and time makes royalty legitimate. In whatever form it may appear, monarchical, oligarchic, democratic, - royalty, or government of man by man is illegal and absurd. “

“Democracy in particular is nothing but a constitutional arbitrary power succeeding another constitutional arbitrary power; it has no scientific value, and we must see in it only a preparation for the REPUBLIC, one and indivisible.”

“Authority was no sooner begun on earth than it became the object of universal competition. Authority, government , power, state, - these words all denote the same thing, - each man sees in it the means of oppressing and exploiting his fellows.”

“All parties without exception, in so far as they seek for power, are varieties of absolutism; and there will be no liberty for citizens, no order for societies, no union among workingmen, till in the political catechism the renunciation of authority shall have replaced faith in authority. No more parties, no more authority, absolute liberty of man and citizen, - there, in three words, is my political and social confession.” - Proudhon

And then I don’t think direct democracy is necessarily “unlibertarian” , just the fetishism with majority rule over individual, this fetishism being “because the majority agreed to it therefore it must be right” , an example I can think of is the death sentence, just because a majority voted to enact it doesn’t change it from murder, therefore right, but direct democracy in this case would solve the problem for a society “what are we to do with violent criminals” (serial killers, serial rapist, serial pedophiles) , that ALL participators of said society would ALL have an equal vote in the matter to enact or keep inactive the death sentence.

7:14 You don’t know what the big fuss is about

I agree, libsocs and libcaps can stand by each other more and less but what prevents this is the conflating of each other’s philosophy. Do you believe a libertarian socialist is interested in associating with you when you bring up the Economic calculation Problem, something only applicable to centralized (statist) economies?

8:19 social hierarchy

I can agree with your statements on “income inequality” as Benjamin R Tucker even says “There will remain the slight disparity of products due to superiority of soil and skill.” But as Voltaire de Cleyre wrote in her dialogue “The individualist & the communist” : ““Certainly I do believe there are such differences in ability, but that they will lead to the iniquity you fear I deny. Suppose A does produce more than B, does he in anyway injure the latter so long as he does not prevent B from applying his own labor to exploit nature, with equal facilities as himself, either by self-employment or by contract with others?”‘”

But now where social hierarchy comes in is the artificial enforcement of the ability for an individual “from applying his own labor to exploit nature with equal facilities as himself, either by self-employment or contract by others”. So, people who have made their power through the state or similar institutions of absolutism, have a social hierarchy over those who can’t achieve similar power by those same institutions. Some people being , aristocrats, bureaucrats, , aristocrats having to rely on a total monopoly of land to keep their subjects as peasants or whatever caste they were born into, bureaucrats often showing political and economic favoritism mimicking the aristocrats of the past with the same effects.

So yes, people making different life choices is not a hierarchy, but you don’t seem to realize that a system that PREVENTS individuals from making or choosing those different life choices through artificial enforcement is a social hierarchy. That, power relations between two parties THAT are not equal, that is legitimate, voluntarily, where one party through some means has acquired a good deal of COERCIVE power, is a social hierarchy. A good video about this is Punkonarant’s “What is power and how does it work?” I will post a link in the description, and tho a video against capitalism, I feel is good video on coercive power (statism).

9:56 “That libsocs want to abolish the state and voluntarily association through a coup d’état”

I don’t know where you got your “wanting to abolish voluntarily association” which I would like a source from as all libsocs, from mutualist to ancoms believe in voluntary association. I am not sure why Cameron doesn’t explain but I will. Again because libertarian socialism is an umbrella term for various thoughts that all disagree with another, they also disagree with what they call the “Social revolution” not a “coup d’état”, and yes, anarcho-communist, anarcho-collectivist, theorticans Peter Kropotkin & Mikhail Bakunin did argue for a violent revolution against the state and its cronies

But, the social revolution is not just against men, but against relations and things with it. Bakunin wrote: “Bloody revolutions are often necessary, thanks to human stupidity; yet they are always an evil (line added by me) a monstrous evil and a great disaster, not only with regard to the victims, but also for the sake of the purity and perfection of the purpose in whose name they take place.” Bakunin, Volkssache

“The first act of the social revolution will be a destruction , which is so natural and justifiable because it is at the same time an impulse to renovation, will find its full satisfaction. How much old trash there is to clear away! Does not everything have to be transformed? “ Peter Kropotkin

Now I chose to quote Bakunin first to explain his view on the Bakunin dialectic in contrast to the Hegelian, Marxist,which explains the views of Bakunin & Kropotkin on violent usurpation.

In ch 1 of the introduction of the book “The Basic Bakunin” , Robert M. Cutler writes : “ For Bakunin , the resolution of the dialectical contradiction signifies the victory of the negative. In this victory , both parties are vanquished ; neither is superposed on the other in the outcome. The negative and positive disappear , together and totally, in the final conflagration to which their struggles lead. “ and also “In Bakunin’s vision of the contradiction, however, the Positive and the Negative mutually destroy one another leading to the transcendence of both but preserving nothing of either. Thus Bakunin, in his revolutionary exhortation, foresees no aspects of existing society based on the institution of the state, to survive the universal insurrection. “ And so if Bakunin believed that the violence of the state (the Positive) was to not survive this violent revolution, along with the Negative (violent usurpation) , therefore the Bakunin synthesis proposes a New World free from muddle of the Old.

Kropotkin wrote “The work of destruction will be followed by a work of re-shaping”

But, as I can tell you are not one for violent revolution, neither am I, which is why I agree more with the “reformatory theachings” (as Eltzbacher puts it) of Godwin, Proudhon, Tucker & Tolstoi.

“The sole requirement is to convince men that the general welfare demands the change.”

“The point is to convince men as generally as possible. Only when this is accomplished can acts of violence be avoided.”

“The means to convince men as generally as possible of the nessecity of a change consist in “proof and persuasion. The best warrant of a happy outcome lies in free, unrestricted discussion. In this arena truth must always be victor. If therefore we are would improve the social insitituions of mankind, we must seek to convince by spoken and written words.” William Godwin, An Enquiry concerning political justice and is influence on general virtue and happiness

These next quotes are from Proudhon.

“Accomplish the revolution, they say, and after this everything will be cleared up. As if the revolution could be accomplished without a leading idea!” Apparently this had been mistranslated and Steven T Byrinton, the translator, writes “Eltzbacher finds sens “all wil be enlightended” where I translate “everything will be cleared up”. Eltzbacher’s view of the sense – that to those who say “enlightenment must come by revolution.” Proudhon replies, “No, the revolution must come by enlightenment” – correctly gives the thought brought out in the context.”

But now don’t be spooked by the word “revolution” as Proudon said “I want the peaceable revolution. I want you to abolish the very institutions which I charge you to abolish, and the principals of law which you will have to complete, serve toward the realization of my wishes, so that the new society shall appear as the spontaneous , natural, and necessary development of the old, and the the revolution, while abrogating the old order of things shall nevertheless be the progress of that order. “When the people, one enlightened regarding its true interests, declares its will, not to reform government but to revolutionize society, then the dissolution of government in the economic organism will follow in a way about which one at present only make guesses.”

“Nothing is requisite but to convince men that justice commands the change.” To Proudhon (Along with Tucker & Tolstoi) the Social Revolution would only be possible through education of anarchist philosophy and the development of counter institutions to show to people what is anarchism, without violating the law. And through the establishment of these anarchist counter institutions based on non-violence, non-coercion, voluntarily order, anarchism will replace the old world of coercion, violence, and involuntarily order.

Tucker says it best : “The idea that Anarchy can be inaugurated by force is as fallacious as the idea that it can be sustained by force. Force cannot preserve Anarchy; neither can it bring it. In fact, one of the inevitable influences of the use of force is to postpone Anarchy.” Instead of a book, A Principal of Social Therapeutics

And to play God’s advocate with the Devil, the idea of a “peaceful” transition from a stateful society to a stateless society is a bit utopic. A historic example of this would be the early Christians and several North American Indian tribes stance to, “turn the other cheek”, and often these people would be persecuted, aggressed upon, and killed when taking this extreme nonviolent route which is the stance of Leo Tolstoi.

Again looking to North American Indians we see how repeatedly they made contracts with the U.S. government which the government did not keep, stealing land and resources from the Natives, often leaving them to resettle in the rot of dissolute lands, resulting in the Indians to fight back.

My point being, that just because you are peaceful, non-coercive, voluntary society not breaking the law, won’t stop the state from initiating force upon you, and tho we should glorify violence, we must understand that revolution as the anarchist saw it came out of a necessity to oppose statism, hierarchy, coercion, and create the New World from the shell of the Old.

10:23 Not to be rude but you’re confusing Lao Tzu with Zhuang Zhou, Lao Tzu in his “Tao ti ching” makes repeated remarks about how monarchy is part of “the way” (tao). I am not sure if you said Talmud, that is the written law of the Jews, but I wouldn’t associate any religion with anarchism as some of these arguments of comparison are usually based around “themes of anarchism”, not that they were actually anarchist. And on Lysander Spooner, Spoon was born 4 years after Proudhon and died about 10 years later, so yes they were contemporaries but what you don’t say is that Spooner’s anarchism is based of Josiah Warren anarchism based on Proudhon that is mutualism, aka anarchist socialism. But you are right, Cameron makes a shit argument for an appeal to tradition which I won’t make, reading Paul Eltzbacher’s “anarchism” has shown me that anarchist philosophy doesn’t necessarily have to agree with each other 100% , but that it must be voluntarily as I have shown. 11:49 As I have demonstrated that yes, libertarian socialism does fit the definition of libertarianism I hope you can actually address Cameron’s point here, that being, why should we as libertarian socialist not identify as libertarians? 12:04: already explained in my first point 12:36 Cameron makes a good point here that you just dismiss without giving an actual argument. When you look into the history of libertarian movements from the past a repeated theme is that they’re often betrayed for authortianism and suppressed by their opposition, usually marxist , now don’t tell me that doesn’t even ring true with some ancaps are making an appeal out to the alt-right (ancap chase, Christopher Cantwell, molyneaoux) 13:00 Camerons examples are of ancom regimes that I’m not interested in defending so I will give my own examples of anarchism at work. Josiah Warren’s “Cincinnati Time Store” The entrepreneurship of Benjamin R Tucker, a man who started his own newspaper (Liberty) , translated the works of several anarchist having them republished. Lysander Spooner, my favorite example as he challenged the U.S. governments monopoly on mailing, out-competing the U.S. until they made his buisness illegal, preserving its monopoly. Henry David Thoreau, believed in self-reliance and abhorred slavery so much he refused to pay the tax So here is some anarchism in action. 14:11 not an argument �Z5'\Z�

#libertarianism #libertarian socialism #anarchism #esoteric entity #yung agora

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Feature: Favorite 25 Films of 2018

Once upon a time, Derek Smith wrote: “2017 was a year endured rather than lived.” But all due respect to the past, because here we are creeping into this new 2019 and things are so much better than we thought they’d be! True, the year probably felt like 37 years or whatever removed from Rick Deckard’s squared-off tie and malfunctioning memory. And truth be told, the political crisis unfolding in the gray hallways might seem more honest if it resembled the light-starved, gnarled noir of Blade Runner. At least Schwarzenegger and The Running Man promised that 2019’s only choice would be “hard time or prime time,” even if its presentation of a neon capital, corporate-owned world seemed, you know, subtle. And for all the (dead) kids in cages and bodies bleeding out on street corners here and abroad, Michael Bay and The Island had a perfectly-drooped Buscemi diagnosing our humanist crisis: “I mean, you’re not human. I mean, you’re human, but you’re not real. You’re not a real person, like me.” A lot of people were told they weren’t humans in 2018. This isn’t a writerly evasion or poetic epithet designed to elicit righteous ire/compel you to read another year-end list. Because what else could you call the concentrated attempt by some humans to discourage the freedoms of other humans? Our narrative didn’t turn science-fiction to let us off the hook: these non-humans weren’t clones or replicants or estranged Atlantean denizens returning to claim their kingly right. They just weren’t human enough (or the right kind of human) to matter in the eyes of louder, more powerful humans. All of our past’s proposed images of our worst futures pale in comparison to this denial of basic humanity that we see out our windows. It is unsurprising, then, that cinema, our most volatile cultural mirror, began to show the stretch and strain in its images of our species. But what is surprising is that cinema in 2018 retained nuance and compassion as it mediated the cruelties and depravities of its age. Unlike this slab of prose, movies in 2018 moved beyond mediating good and evil in simple, monolithic terms. They attempted to sketch the boundaries of real freedom in an unjust world (BlaKkKlansman). They investigated, more acutely than ever before, the responsibilities of what it meant to keep (Shirkers) and tell (Madeline’s Madeline) another human’s story (If Beale Street Could Talk), especially in remembrance (Roma). They presented distorted genealogies (Hereditary) and fisheye-lens histories (The Favourite) to track the human body’s motion (Suspiria) in and out of comradeship (Support the Girls) and trauma (Burning). In 2018, we hurled our betrayed humanities up against foreign corpses (Zama), scorched country (The Ballad of Buster Scruggs), alien twins (Annihilation), and incongruent voices (Sorry to Bother You). We began to see, in everything, something like a way through the darkness. Why else keep watching the past (The Other Side of the Wind) if not to plot something we’d never imagined before (The Night Is Short, Walk On Girl)? Our moving images in 2018 proposed that real love (Eighth Grade) and genuine care (Lazzaro Felice) could stretch impossibly across time to add up to a life steeped in both nuance and compassion (Won’t You Be My Neighbor?). Our love would not look the same (Leave No Trace) nor could it resound in strictly-feasible tones (Mandy), but we would recognize its absence; we could see that sometimes humanness looks like something we’ve never seen before (Spider-Man: Into the Spider-Verse). More than anything, as one derelict theory proposed, “Through the negative you could see the real, inner, demonic quality of the light.” In laying the responsibilities of the filmmaker and artist at the feet of a murderer, The House That Jack Built came perilously close to endorsing our worst demons. Those demons shook and raged and hissed at us, urging us to give in to despair and make a world in their image. How did we let it stand? Thomas Merton was a central figure in a figurative, feral lens for our year, and he wrote that “despair is the absolute extreme of self-love.” To levy our humanity so close to inhumanness, suggesting that our better angels are distortions, is dangerous. To know, as these 25 films know, that there can be nothing without despair until there is love is to actually be human. To look, as we did, through our ruinous year and resist the despairs of all our oppressors and lowest urges, to shout, in image and montage and light and shadow, that this is how I deny you is to attain, beyond our humanity and into the future, a new kind of prayer. –Frank Falisi --- 25 Roma Dir. Alfonso Cuarón [Netflix] Roma was Alfonso Cuarón’s excursion into simplicity, a self-imposed challenge that drew back from his earlier, more extravagant films. Cuarón told his simple allegory in a monochrome treatment, but while wearing multiple hats — he also produced, shot, and edited the film. The choice to go black and white not only focused the elements of filmmaking to its barest essentials, but it also emphasized its nostalgic underpinnings. Though it made use of elaborate staging for its more chaotic events, Roma paradoxically found fascination in the quotidian and the mundane. The film was dedicated to the maid that the Cuarón’s family employed when he was a child — realized as the previously unknown Yalitza Aparicio, who brought an indelible humanity to her role — but the story itself was secondary. It was presented more as a series of tableaus, culminating in a climactic sequence at the beach. Here, Cuarón’s camera lingered, unedited, in a harrowing scene that illustrated Aparicio’s undying devotion to the family and revealed the film’s true heart. –Tristan Kneschke --- 24 Won’t You Be My Neighbor? Dir. Morgan Neville [Focus Features] With no dirt to dig up on his subject, director Morgan Neville tended to accent the blue-tinged notes heard throughout the Neighborhood in his Fred Rogers documentary. The director’s seamless cardigan scene-weaving stitched together instances of cluster chords and doubting puppets into a portrait of vulnerability that reinforced one of Rogers’s core motifs: It takes a person, not a hero, to protect children. Not a pie-in-the-face kind of guy, we watched Fred McFeely Rogers ponder in the tall grass in between changing shoes and tackling hard topics like grief, death, and terrorism. Demonstrations of his honesty, inclusivity, kindness, patience, listening skills, and unconditional love revealed the subject as the archetype for a timeless paternal figure. Although his ministry athwart sensationalism took place in the era of broadcast television, we imagined that any younger generation in the history of the world could connect with and feel empowered by his carefully worded and well-tempered mission. –Rick Weaver --- 23 Leave No Trace Dir. Debra Granik [Bleecker Street] Few directors are as curious about or sensitive to alternative modes of existence as Debra Granik, who followed Winter’s Bone and the documentary Stray Dog with this tale of a father and daughter willfully attempting to live off the grid in the present-day Pacific Northwest. Leave No Trace was quiet and deliberate, but not remotely uneventful: Granik showed Will (Ben Foster) and Tom (Thomasin Harcourt McKenzie) moving through a handful of makeshift, scrappy, and industrialized communities. With minimal embellishments, Granik made each change of scenery feel at once seismic and utterly authentic. Moreover, she guided her two lead actors through agonizing psychological arcs without a whiff of cliché, as a daughter gradually discovered that her life and well-being will be enriched by community, while her PTSD-afflicted father confronted the fact that he can’t abide by the obligations and niceties of modern civilization. Granik’s film had a Bressonian bleakness, but it was entirely heartfelt and so convincing in its particulars that it couldn’t help but realign our sense of the world. –Christopher Gray --- 22 Support the Girls Dir. Andrew Bujalski [Magnolia Pictures] Your workdays don’t end with you back home ready to decompress; they are your back-home and your decompress. Maybe you slept or something like that (scrolled? drank? had a crisis?), but you aren’t really awake till the first table is seated, and you better leave everything else at the door (lol). Your customers are guests, your wage is nil, and your smile is forced by uninvisible hands. Your coworkers are either No Face or your own flesh and blood, the only ones keeping your head from falling off and bursting into flame at the foot of the heat lamp. They get it! They get you. Or they get the gist, which is about as much of you as you get anyway. Because if you actually stopped to think about… No need to pretend: You hate this place, and you find yourself doing anything for it, for each other, because you all know the conditions are absolutely fucked and fuck that. Your favorite regular is here; you’re in a good mood for some reason. You act certifiable, you scream, you screw your head back on. The POS is down. You’re short. You make it. Your coworker says, “[That manager] can suck my dick.” Or, “I am going to murder this couple.” Or, “Y’all come back now!” You loved her for that. This movie loved her for that, through all of it, and it loved you too. A double whammy: Regina Hall et al. returned the workday to life itself and transformed working class unity into grace (laughter), something we could use. You have nothing to lose. –Pat Beane --- 21 Eighth Grade Dir. Bo Burnham [A24] In an interview with NPR, former YouTube star Bo Burnham said he wanted to make a story about the internet and how it feels to be alive right now. OK, sure, he succeeded in doing that by having 13-year-old Kayla Day (Elsie Fisher) create and upload vlog entries on how to best navigate the social anxieties of being a young teen. However, by the end of the film, what this angle really emphasized with great nuance (perhaps unintentionally?) is that children of every generation — regardless of the gap — suffer from the same anxieties, sexual insecurities, and self-blame. Identity has always been a fluid performance; the internet has simply made it more permanent. To star a young girl currently living the same age IRL that she portrays brilliantly in the film is in large part what made Eighth Grade not only one of our favorite films of 2018, but also one of the most genuine coming-of-age films, period. This casting decision made it impossible for Burnham to project his experiences and memories onto the story, which fortunately meant it was not biographical or about nostalgia. Rather, Eighth Grade was simply a present-day story about a complex experience that has always transcended the outlets through which they’ve been mediated. –NB [pagebreak] 20 Suspiria Dir. Luca Guadagnino [Produzioni Atlas Consorziate] In 1980, during Italy’s “years of lead,” Bologna Station, built in neoclassical style during the Fascist era, was bombed by neofascist terrorists — 85 died. Today, despite the coffee-drinking herds pouring through it, the station retains a bleak and melancholy atmosphere. Luca Guadagnino captured something of this in his remake of Suspiria. Set in the German Autumn of 1977 (the release date of the original), the poisonous and paranoid atmosphere of Cold War Berlin, when Leftists turned to violence in the face of failed denazification and a conservative establishment, bubbled in the background. To its cold occult decadence, the film added stylized and unforgettable body horror. The whole built to an over-the-top conclusion, which was perfect both as a nod to the campiness of the original (and the giallo genre) and because Guadagnino’s deft melding of physical and emotional horror was a slow-burn that demanded combustion. It was a wyrd companion piece to surreal works grappling and playing with similar legacies, from Bruce LaBruce’s The Raspberry Reich (a.k.a. The Revolution Is My Boyfriend) to Syberberg’s Hitler: A Film From Germany. The personal was also political: the original was a masterpiece of style and ambiance marred by subtle misogyny, but in Guadagnino’s vision, this became an exploration of the fraught heat and darkness of dynamics between women in their exercise of power and community. Dakota Johnson lacked fire in the belly, as did Thom Yorke’s anaemic soundtrack, but a subplot some thought needless served up the film’s most appalling moment: a sickening portrayal of the pain of lost love regained, then once more ripped away with casual malice. This was more than a memorial suspiria; it was a wholly worthy rebirth of the Mater Suspiriorum. –Rowan Savage --- 19 Lazzaro Felice Dir. Alice Rohrwacher [Netflix] Alice Rohrwacher’s third feature, the Cannes-celebrated Lazzaro Felice (Happy as Lazzaro), was built on the many tensions it engendered &mdash namely, between a humanistic premise and the layers of dejection it was buried underneath, the timeless aspirations of a fable and a cynically bitter view of modernity, and the rustic realism of its form and the story’s fantastic detours. The film followed the threadline that, like the wolf, men will exploit men in all spaces, times, levels, and situations: A Marquise keeps a group of peasants working for her in near slavery; they in turn abuse and overwork the titular Lazzaro, a young peasant whose innocence and goodness paint him into the archetype of the “holy fool.” He roams through the story in a perplexity recalling the Christ-like dispossessed of classic Italian cinema. His mission on this earth, it would seem, is to prove that even the lowest of the low, the wicked and the perverse, are capable of gestures of kindness. How enduring, truthful, and integral these were to their characters, to the essence of their humanity, was something Lazzaro must discover at his own expense, paying ever higher costs in this beguiling yet disturbingly recognizable modern parable. –jrodriguez6 --- 18 Night Is Short, Walk On Girl Dir. Masaaki Yuasa [Toho] You wake up after a long night out. You aren’t hungover at all — it’s a miracle, truly a miracle. What do you remember from last night? Not names, certainly. Maybe not even places. It’s all like a strange fairytale, one of glowing neon and drinks that tasted better because you didn’t pay for them, of hilarious characters and absurd triumphs. Did that bouncer really let you in, even though you were $9 short of cover? You feel fantastic. This feeling was alive in Night Is Short, Walk On Girl: an insensible, overwhelmingly jubilant, and optimistic perspective on “a night on the town.” Pulling trade tactics from films like Amélie, El Futuro, and A Town Called Panic, the movie was full of humor, bliss, and no pulled punches (friendship punches or not) when it came to devilish winks. With not a single frame lacking in humor or joy, the film left us feeling like hangovers are something we’ve never experienced, like each night is full of mystery and romance, like our next big moment is waiting just around the corner. Perhaps we’ll make this a big weekend — go out on Friday and Saturday? — who knows… –Lijah Fosl --- 17 If Beale Street Could Talk Dir. Barry Jenkins [Annapurna] Barry Jenkins’s adaptation of James Baldwin’s 1974 novel was perhaps the most aesthetically accomplished and jaw-droppingly beautiful American film in years. It’s difficult to avoid hyperbole or rampant name-checking when confronted with an opening crane shot and a sumptuous autumnal wardrobe straight out of Douglas Sirk, or with a bracingly musical, time-shifting sense of montage that conjured numerous titans of contemporary Asian cinema, or with a swelling score by Nicholas Britell that exquisitely captured the film’s oscillating currents of unabashed romanticism and great melancholy. Despite the film’s sweeping, sexy, earnest depiction of the bond between pregnant teenage shopgirl Tish (KiKi Layne) and Fonny (Stephan James), a sculptor in jail accused of rape, Jenkins’s adaptation was clear-eyed and anguished about how they have to navigate lives of subjugation, a theme brought to the fore in alternately haunted and agonized performances by Brian Tyree Henry and Regina King. As such, Jenkins remade Baldwin in his image, trying with all his might to conquer fury with love. –Christopher Gray --- 16 Burning Dir. Lee Chang-dong [CGV] Deep under the delicate melodrama of a love triangle, the noir-ish mystery of a disappearing woman, and the moody male rivalry that plays out in its final act, Burning was charged with the same currents that power our defining social divisions: rural against urban, men against women, working class against dubious wealth, connected against isolated. Director Lee Chang-dong’s comeback thriller was a Trojan horse stocked heavy with political anguish, a dense, angular ballet of themes erupting just out of sight under a sensitive character drama that forced three young people of clashing identity and privilege into a pressured environment of overlapping interests and dark secrets. What stood out about Burning was how it probed not these ideological struggles themselves, but the existential uncertainty they inspire, as well as the insidious psychological toll they take on the individual. In all its discomfort and beauty — aided by subtle performances and distinctive cinematography — Burning served as both a careful portrait of a quietly revolutionizing South Korea and an uneasy study of the antagonisms and paranoia gradually tyrannizing the youth of today’s globally tainted age. –Colin Fitzgerald --- 15 Madeline’s Madeline Dir. Josephine Decker [Oscilloscope] From the very start, Madeline, and by extension the audience, was told that performance is not identity, that the emotions an actor renders are borrowed from someone else. This warning was not heeded. We met the eponymous 16-year-old (Helena Howard) as she shuffled through roles: a cat, an actress, a daughter, a sea turtle, an assailant, a pig on the run, a prisoner, a confused young woman of mixed race. Some of these identities played out on the stage of her experimental performance troupe, managed by maternal — and directorial — surrogate Evangeline (Molly Parker), though they inevitably bled through to her “real” life and back onto the stage, forming a tight, indiscernible tangle as this feedback loop began to dominate the production. Driven by the tension between the neurotic, controlling impulses of her mother Regina (Miranda July) and the haphazard psychic excavation spearheaded by Evangeline, the film, cut to the rhythms of a psychological thriller and as improvised as the troupe’s performances, unreeled with disorienting, balletic, colorful, and oftentimes invasive cinematography. Madeline’s Madeline was a complex film of blurred and appropriated identities, one concerned, reflexively (as it is in some sense a retelling of how Decker and Howard came to collaborate and make this very film), with self-authorship, self-ownership, and the power dynamics inherent in representation. “I’m really interested in people who are out of control of their circumstances,” stated Evangeline at a dinner party. But what do we owe these lenders of emotion and what does it mean to tell a story that is not ours? As we move through psychic strata leaving our own fingerprints everywhere, inhabit or direct bodies that look and experience differently than our own, what are our responsibilities? Where is the ethic of storytelling? Of course, no film could satisfactorily answer such questions, but Madeline’s Madeline grappled with them in a dense, dizzying, hyper-expressive, sometimes frustrating, and self-castigating manner that spoke to the immense trust between actor and director. –Cynocephalus --- 14 Spider-Man: Into the Spider-Verse Dir. Bob Persichetti, Peter Ramsey & Rodney Rothman [Sony Pictures Releasing] In an arena that seems to be getting more overstuffed with each passing year, Spider-Man: Into the Spider-Verse surprised us just by being the most fun superhero movie we’ve seen in ages. From the second it revved its engines, Into the Spider-Verse hit a breakneck speed as exhilarating as a web-slinging joyride through the city, its mesmerizing 2D/3D graphics illustrating each thought, sound effect, and surreal set piece with an eye-popping neon panache. Each character was sketched with just the right mix of sympathy and self-awareness, whether it was our immediately relatable hero Miles Morales, the cynical, sweatpant-clad Peter B. Parker, or the wounded, monstrously gargantuan Kingpin. Even down to the music, Into the Spider-Verse kept its pace relentlessly fresh, washing us in waves of Swae Lee and Juice WRLD as we journeyed across alternate Spider-Man histories and dimensions in search of a way to once again save the world from destruction. It all somehow added up to a movie as unexpected and experimental as it was unabashedly pop — a classic, trope-skidding superhero tale that you’ve got to see to believe. –Sam Goldner --- 13 BlacKkKlansman Dir. Spike Lee [Focus Features] In BlacKkKlansman, Ron Stallworth (John David Washington) was a man caught between two worlds. Too black to be taken seriously as a police officer, too loyal to his duties as a police officer to be taken seriously as a proponent of Black Power. Naturally, Stallworth did what anyone would do in this situation: become the first black detective in Colorado Springs, infiltrate his local Ku Klux Klan chapter by posing as a disgruntled white supremacist on the phone, enlist his Jewish colleague (Adam Driver) to pose as him at Klan meetings, catfish David Duke himself, and foil a deadly bomb plot. The KKK, as portrayed in this Spike Lee Joint, could be best described as a gang of bumbling idiots. Just literal morons who blow themselves up. If the events of the film weren’t based on a true story, they would seem almost too absurd to be true. As racism today threatens to tear the country apart from the inside, BlacKkKlansman did all it could to call out white supremacists and serve them a modicum of justice. But the film also recognized just how dangerous the ideas of these people can be and how imperative it is to keep fighting to bring them down. –Jeremy Klein --- 12 Annihilation Dir. Alex Garland [Paramount/Netflix] There is a common fundamental misconception that Nirvana is either a place, like Heaven, or a state or period, like Peace. In reality, Nirvana means something like “blowing out” or “extinguishing.” Attaining Nirvana, then, isn’t an attainment at all, because it isn’t a summit or a destination or really even a “thing.” It is not, however, synonymous with Annihilation, but just as Gravity housed symbols that could be appreciated as “Buddhist,” Annihilation beckoned us into life’s terrifying glimmer of impartial consequence so that we could assess our way out of it. In The Shimmer, karma accrued, leaving behind not moral threads, but matter in forms as disparate as flowering corpses and a bear made of screams. Locating Buddhist imagery in film is often a sign of clumsy analysis, but witnessing these women worn by this violence of culmination grapple with their own threads of being was like witnessing a hierophany, a horrifying refraction of sacred DNA in a profane plane. It’s enough of a reminder of why we even started making existential art. Awfulness irrupted through Annihilation in that old-school religious studies sense, because it refracted what many of us associate with being human: self-destruction. And whether or not we could explain what we saw when we faced ourselves in that lighthouse, we left changed in a way that only prayer or film could catalyze. –Jazz Scott --- 11 You Were Never Really Here Dir. Lynne Ramsay [Amazon] Adapting a book by Jonathan Ames, writer/director Lynne Ramsay upends the thriller/character study by making a brilliant film about violence without showing the actual violence onscreen. It was a choice born of necessity — the filmmaker didn’t feel comfortable shooting action sequences — but it was completely within the spirit of this bold and haunting look at a man (Joaquin Phoenix) whose sole gift of violence and pain followed him like a heavy shadow. By focusing more on the consequences of violence that weighed deeply on him as he navigated a path of righteousness, Ramsay depicted a compromised world, shattered long ago by a trauma that reverberated louder with every new transgression. The film was angry, mournful, and frightening, but it also pierced through the oppressive darkness without sugarcoating the ordeal. Propelled by Jonny Greenwood’s incredible score, You Were Never Really Here was a gorgeous movie that waded into bleak territory without feeling like tragedy porn, a beautiful tale — even amongst the grotesque — about the inherent need for salvation that drives us forward. –Neurotic Monkey [pagebreak] 10 Hereditary Dir. Ari Aster [A24] Hereditary, the first feature from writer-director Ari Aster was more than just the spiritual descendant of The Exorcist, Rosemary’s Baby, and Psycho. It was not just the latest addition to the A24 family of slow-building, well-crafted horror films. Hereditary was about the unavoidable legacies that our families leave us, and for this it bore an uncanny resemblance to the bleak family dramas of Bergman or Haneke. Annie (played by Toni Collette in a career performance) said and did unforgivable things to her son and husband (Alex Wolff and Gabriel Byrne), and we squirmed. First out of angst, then disgust, and finally fear. And after being emotionally worn down with 90 minutes of this, the film fully committed to its supernatural heritage and delivered some of the best frights of the year. We loved it because it was an assured first step from a new director and a further commitment to excellence from an exciting young distribution company. We loved it because if the first two-thirds were painful to watch, then the last third offered us the voyeuristic release of a horror film. But most of all, we loved it because it married the visceral and the cerebral, giving birth to an unholy experience that stuck with us, like a tick. –Jeff Miller --- 09 The Ballad of Buster Scruggs Dir. Ethan Coen & Joel Coen [Annapurna] The last two decades have had their share, but 2018 was a proper trifecta of spirited, inventive Westerns. Audiard’s Sister’s Brothers was the bitter pill rendered unexpectedly sweeter; Damsel was a triumphant anti-romance (a nice thematic companion piece to 2015’s Slow West); and this anthology gave us a perfectly-blended fun, dark, and heartbreaking (namely the beautiful, merciless “Meal Ticket” segment) genre classic. The tone shifted wildly, well heralded by the eponymous opening tale (cartoonishly musical and silly, but cleverly undermined with graphic violence and grim meta-commentary). We had our requisite rich characterization native to a Coen Bros. film, with strong turns from Zoe Kazan, Stephen Root (natch), Harry Melling, Grainger (“DOG HOLES!”) Hines, and Chelcie Ross, for a start (Brendan Gleeson almost does “The Unfortunate Rake” as well as Ian McShane, but not quite). But there was also a curious, world-weary current fusing the episodes, one of exhausted sadness and a dread-dodging sort of hindsight. Life and its lore as a turgid tangle we’re a little too anxious to leave behind. A long goodbye to the “the meanness in the used to be.” –Willcoma --- 08 The Other Side of the Wind Dir. Orson Welles [Netflix] For all the excitement that it stirred, there was a fear among cinephiles that Orson Welles’s final film, completed 33 years after his death, wouldn’t live up to the story of its own production. These fears were unfounded. Suffused with moments of staggering brilliance, The Other Side of the Wind was a dense, multivalent, sometimes maddening film, one that we are lucky to have in any form. Much like Henri-George’s Clouzot’s Le Prisonniere (and its ill-fated precursor Inferno), The Other Side of the Wind evidenced a master filmmaker pushing himself in his late period to fully explore the visual representation of aberrant psychology through abstraction, deconstruction, and exaggeration. Both Clouzot and Welles amplified color to impressionistic, oversaturated heights, but whereas Clouzot’s experimentation was primarily formal, Welles upended narrative, creating a mise en abyme that was at once hagiography and self-assassination. Even what was clearly intended as pastiche (Hannaford’s film, also titled The Other Side of the Wind, was essentially the De Düva of Antonioni’s then-recent work) was utterly riveting, with balletic mise-en-scène that presaged and rivaled the best of Brian De Palma and Dario Argento. Most impressive, however, was the juxtaposition of the aggressively stylized film-within-the-film and the faux-vérité surrounding it — Hannaford’s film was all propulsive jump-cuts on action in a self-consciously auteurist mode, while the frame story comprised a messy collage of film stocks, focal lengths, and framing styles meant to suggest a polyphony of perspectives, or perhaps a fracturing of one’s psyche; editor Bob Murawski, working from Welles’s extensive notes and workprint, sutured it all into a kinetic rhythm both jarring and cohesive. This was absolutely essential viewing, an invigorating testament to the medium itself and a reminder of how much further it can still go. –Christopher Bruno --- 07 Shirkers Dir. Sandi Tan [Netflix] Shirkers was, among other things, a portrait of young creativity, folklore, fragile egos, self-discovery, DIY practices, and the cultural impact that a film can have on a country. The documentary told the story of Sandi Tan, a Singaporean teenager who set out to make the country’s first notable road movie in 1992. With the help of the “established” Western director Georges Cardona, a gang of dreamy-eyed college kids put their lives on hold for the film (also named Shrikers) in an attempt to write their country’s film history. However, in the final stages of the process, the footage disappeared with Cardona. What followed was a decades-long search for a rebellious movie that was supposed to blow Singapore wide open, its creator, and the man plagued with an imperialistic obsession for fame. It was a real-life story that could only happen in a movie. –Sam Tornow --- 06 Zama Dir. Lucrecia Martel [Strand Releasing] Look: Don Diego de Zama has come unstitched in time. He stands at the edge of earth and sea. Waves are undertow, proof that the future is unfolding somewhere. But time has ripped itself up and away from him. He turns from the waves and walks up the shore, still in frame. He pauses, walks back, trapped. He is not entitled to languish; his days are spent running ruined bureaucracies. He appeals to a succession of fat governors to be sent away or home or anywhere else. But he is here. He is casually cruel and pathetically hopeful that he will be rendered reverence. He will not be. Lucrecia Martel, the master, adapted the fevered anti-history of Antonio Di Benedetto’s prose into transformative euphoria. Her cinematography was for freeing bodies. Zama didn’t represent colonialism so much as it canceled the notion that belonging has a place anymore. By pinning her hero to the same useless hope as he decayed through the years, Martel created a world of unwavering indigenous bodies and mocking llamas. She papered over Zama like an unmoved fungus, reducing him back to ephemera to be fertilized. She said no to his hopes. The corregidor, the man who can’t be king, remained in frame. –Frank Falisi --- 05 The House That Jack Built Dir. Lars von Trier [IFC] Lars von Trier’s movies are not easy to watch, but past the gruesome violence, the fucked-up interpersonal relationships, and the heady themes, there’s always something there. Case in point: The House That Jack Built, a pitch-black film in which a serial killer explains five “incidents” from his life to a mysterious companion. And unsurprisingly, with its aggressive depictions of the macabre, the film enjoyed about as divisive a public response as Stravinsky’s The Rite of Spring did at its riotous 1913 premiere. At Cannes, von Trier’s film reportedly moved over 100 people to walk out; yet, when it ended, it was met with thunderous applause and, indeed, a standing ovation from those who remained. Yes, it was shockingly violent, but it was also incredibly funny, and as its protagonists traveled through their Dantean hellscape, they offered profound and unique meditations on art, time, and history. In other words, the film’s brutality was in service of something, not just an end in itself. Today, people are obsessed with talking about how everyone should and should not behave, what people should and should not think and say. But they’re far less interested in examining the pathological reasons why we have those urges to say or do the “wrong” thing in the first place. Some would argue that this is the exact reason art exists, to examine ourselves at a deeper level. And this film asked big questions: Can destruction be art? Can murder? Is depicting something the same as validating it? If you don’t want to subject yourself to this movie, my opinion is that that’s exactly why you should watch it. If you get through it, you may learn something about yourself. I did. Lars von Trier isn’t afraid to channel and complicate humankind’s darkest, most sadistic desires, and that’s a good thing. In fact, isn’t that one of the essential roles of the artist? –Adam Rothbarth --- 04 Mandy Dir. Panos Cosmatos [RLJE] Words like psychedelic, hallucinogenic, revenge, rage, and insane got tossed around liberally by those attempting to summarize Mandy, the sophomore directorial effort by Panos Cosmatos (Beyond the Black Rainbow) starring Nicolas Cage in all his nouveau-shamanic glory and then some. But those were understatements. Mandy was a maximalist assault, a new death yarn whose title screen didn’t even arrive until an hour and 15 minutes in, when protagonist Red went hunting for Lysergicenobites and Jesus freaks. Like antagonist Jeremiah Sand, Cosmatos, Cage, cinematographer Benjamin Loeb, and late scorer Jóhann Jóhannsson all weaponized complete sensory overload to mesmerize and capture their audience. But unlike the Mandy character, we could hardly muster a laugh past “Erik Estrada from CHiPs” — we merely watched in wide-eyed, slack-jawed awe at the un(adulte)rated, undefinable phantasmagoria — the bathroom scene, the chainsaw scene. OK, so maybe that wasn’t what Roger Ebert had in mind when he rightly called Nicolas Cage one of the greatest actors of his generation, but then Ebert probably also wouldn’t have imagined the actor spending two nights in his underwear, tied to a fence in a Belgian forest to prep for a scene (apparently, yes, that happened). That’s the point, though. The hype was realer than real. Mandy was a masterpiece beyond what any of us could ever have imagined. –Samuel Diamond --- 03 Sorry to Bother You Dir. Boots Riley [Annapurna] Every day, they take a little bit more. For months, we’ve heard about how Amazon runs its warehouses like sweatshops. A couple weeks ago, it was Facebook selling your private messages. If WorryFree were to step forward tomorrow with a unique, 21st-century approach to living debt-free, would any of us be surprised? For all its detours into the surreal and the absurd, Sorry to Bother You never felt that far removed from the world we inhabit. The questions it asked and dilemmas it presented touched on everything from the changing face of corporate power in the age of tech startups, the challenges of navigating predominantly white spaces for non-whites, and the complicity of individuals in larger systems of oppression. Moving through the world today is an act of gliding from one outrage to the next, and Riley shares our outrage, but he coupled it here with a sense of playfulness and hope that rendered Sorry to Bother You one of the most important films of 2018. –Joe Hemmerling --- 02 The Favourite Dir. Yorgos Lanthimos [Fox Searchlight] Early on, Duchess Sarah admonished her lover, Queen Anne, that love has its limits — to which the queen replied, “Well it shouldn’t.” The story proceeded through a delicious series of political and bedroom maneuvers to prove the queen utterly and tragically wrong. Yorgos Lanthimos has always taken a perverse glee in sticking his movie knife into the banal, received wisdom of Western right-thinking. His trajectory from Dogtooth forward had increasingly tightened the thumbscrews on his audience; The Killing of a Sacred Deer was as muscle-bound and torturous to watch as it was incisive. But The Favourite turned that sensibility inside out, exploding with bright and colorful production design, brilliantly mining 18th-century courtly fashions for visual comedy. Rouged, powdered, and highly wiggy men ponced about like overbred poodles through all the absurd ornamentation, as a raging battle of wills played out among the film’s three towering female protagonists. The script was nastier than Dynasty and invented a patois of 18th-century Queen’s English and contemporary colloquialisms that somehow felt organic, but it had a Shakespearean heft at its core that played out in a perfectly odd and dissonant finale. –Water --- 01 First Reformed Dir. Paul Schrader [A24] 2018 was filled with days when hopping from one social media platform or news network to the next resembled a modern-day Stations of the Cross, with each subsequent click offering something that was somehow more terrifying, depressing, and enraging than the last. With the massive sprawl of readily available information, staying informed was more effortless than ever, yet it could easily, almost imperceptibly, transform from a desire to remain dutifully cognizant of our ever-shifting global landscape into a form of unabated and isolating self-flagellation. In Paul Schrader’s First Reformed, it was this hyper-awareness of earthly perils that plagued Michael (Philip Ettinger), a young environmental activist who believed it immoral for his pregnant wife Mary (Amanda Seyfried) to bring a child into this crumbling world, when he desperately met with Ethan Hawke’s already jaded, world-weary Reverend Toller for counsel. Despite telltale signs of suicidal thinking, Toller found their discussion not troubling, but “invigorating.” And when Michael blew off his head with a shotgun, the good reverend reacted not with sorrow or regret, but by taking on Michael’s all-too-real concerns of potential global disaster, bearing them like a cross upon his shoulders as he confronted the duplicitous evils that have infiltrated both his tiny, sparsely attended church and the superchurch that funds the relic he was keeping alive after 250 years. In this year’s cinema, there was perhaps no greater metaphor for the failure of American institutions to serve the public in any meaningful way (as many have slowly been reduced to thinly veiled money-laundering schemes for the wealthy) than the fact that Toller was stuck in a historically famous church with a broken organ, forced to hawk cheap souvenirs merely to keep the doors open. First Reformed deftly tackled this notion of the individual vs. implacable global forces, with an acute focus on the unsettling merging of ecclesiastical forces with those of an unbridled and amoral capitalist system. Schrader’s ascetic vision, informed most explicitly by Ingmar Bergman’s Winter Light, Robert Bresson’s Diary of a Country Priest, and Yasujiro Ozu, offered the perfect aesthetic framework through which traditional systems of belief could collide haphazardly with the ruthlessly unfeeling, profit-hungry, hyper-modern business models that dominate both corporate and institutional cultures. Schrader’s camera was almost exclusively immobile, yet this stillness presented a deeply perceptive gaze and compositions as stark as the cold New England winter. It was a vision of the world as unwavering as that of Toller, who lived a life virtually sealed off from the real world, indulging himself with the sort of small rituals we all tend to hold onto to provide a semblance of order and meaning in an increasingly chaotic world. But for all of Toller’s pain (often self-inflicted), First Reformed offered a vision of grace and tenderness in the heavily symbolic Mary, who prevented the film from tipping into the complete and utter despair that Toller found himself in. In one of the year’s most remarkable sequences, Mary arrived at Toller’s office and together performed a ritual that she often did with her now-deceased husband. As she laid on top of the priest, making as much body-to-body contact as possible and matching his breathing patterns, the two achieved a temporary sense of communal transcendence, slowly rising from the floor as they began to travel over vast mountains and beautiful oceanside vistas. But Toller’s thoughts couldn’t remain fixed on utopic ideals for long before visions of city life and landfills of untold sizes took over. Such incessant and uneasy wavering between hope and despair, sensuality and violence, love and rage, faith in the future and the fatalistic acceptance of our environment’s demise filled First Reformed, which stands as the most eloquent yet soul-shattering microcosm of the world that we saw all year. –Derek Smith http://j.mp/2H7Z1Nd

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Arplis - News: The Best Gifts for 4-Year-Olds, According to Child Development Experts

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