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thejakeformerlyknownasprince · 5 years

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Hi! As someone who’s literary opinion I really trust, I was surprised that you’re a twilight fan? I know almost nothing except commen knowledge things about that series, and I always assumed it was actually bad/un-feminist. What is it that you like so much that others seem to miss? I’m just genuinely curious about your take on the hate it always seems to get vs. it’s actual quality. I’m not gonna judge bc animorphs is also one of those books where you see it and assume it’s bad.

In over 14 years of loving this series, I’m not sure anyone has ever asked me why I enjoy it instead of simply trying to convince me that I’m wrong to do so. So thank you for that.

First and foremost, I love the Twilight saga because of the vivid detail in Stephenie Meyer’s writing style. The descriptions are so lush and dense with sensory information that you can practically bite down on them as you read. Bella and Jacob aren’t just sitting on the beach; they’re sitting on a gnarled log of driftwood, worn smooth at the top from where so many Quileute teens have sat upon it during bonfires but still uneven enough to rock on its branches when Bella suddenly stands to rage at her own mortality. Meyer describes that log in Twilight, so tangibly and with such economy of detail, that we recognize it immediately when Bella and Jacob return to that spot in Eclipse. I’ve always disliked the movies, because I’ve always felt that the best part of Meyer’s writing simply did not translate well to the screen.

Secondly, I love the feminism.

Okay, let’s take a quick pause to let everyone gasp and clutch their pearls over me calling Twilight a feminist work. I will address the criticisms later. For now, please just hear me out.

Twilight strikes me as a premier example of what Hélène Cixous means when she calls for “women’s writing,” or writing for women, about women, by women, with a strong focus on the concerns and strengths and desires of womanhood. This is a series about building and maintaining close relationships, both romantic and platonic. It celebrates beauty, and love, and care. Bella moves to Forks because she recognizes that her dad is lonely while her mom is quite the opposite, torn between family priorities. She doesn’t simply subsume her interests to those of other people, but instead actively chooses how and when and where to express her love for her birth family and her found families. Most of the other major decisions throughout the story — Alice “adopting” Bella, Carlisle moving the family to Alaska, Jacob becoming werewolf beta, the Cullens going up against the Volturi, etc. — are motivated by care and devotion for one’s family and friends. Even the selfish or morally ambiguous character choices are shown to be motivated by love. Rosalie tells Edward that Bella died because she genuinely thinks it’ll help him move on. Victoria creates an army that nearly destroys Forks because she’s avenging James. Alice abandons Bella and the others before the final battle because if she can’t save her entire family, then she’ll settle for saving her lover before letting him die in vain.

Not only is there a striking concern with love and care, but there’s also a strong commitment to avoiding violence. Bella’s eventual vamp-superpower proves to be preventing violence and protecting others, an awesome character decision that I’d argue gets set up as early as the first book. She lives in a violent world — this is a YA SF story, after all — but she has the power to suppress violence and create peace, both in herself and others. I was already sick of “power = ability to inflict damage” in YA stories well before I knew the word “patriarchy.” Twilight was one of the first books to convey to me that power could be refusing to do harm in spite of hunger or anger, that power could be shielding ones’ family, that power could be about building enough friendships and alliances to have an army at one’s back when facing an enemy too strong to take on alone.

Closely connected to all of that love and care, I love how much Twilight is about navigating teenage girlhood. Is it empowering, intersectional, or all-inclusive? Hell no. Does it still dare to suggest that a completely ordinary teenage girl could have valid concerns about the world? Yep. The main conflict of the story, as Stephen King so derisively explained, is about the romantic entanglements of a teenage girl, and the book therefore has no literary merit. (To quote my dad’s response: “Bold words from the guy who inflicted Firestarter on the world.”)

There is, indeed, a lot of romance in Twilight. There are a lot of clothes. Alice and Rosalie especially spend a lot of time on makeup, and hair, and choosing the prettiest cars and houses. Twilight embraces all the stereotypically “girly” concerns of adolescence, and makes no effort to apologize for or condemn them. Bella isn’t particularly good at performing them — she likes but doesn’t excel at shopping, fiercely defends her ugly car as ugly, hobbles through prom on crutches — but she can still enjoy the feeling of being pretty in a sparkly dress while dancing with her sparkly boyfriend. And Twilight, like Animorphs with Cassie, takes the daring step of treating that feeling as valid.

Speaking of sparkles, I love the commitment to the fantasy concept in Twilight, including the myriad mundanities that Meyer brings with that commitment. If you have super-speed, why not use it to play extreme baseball? If you’re a mindreader with a clairvoyant sister, why wouldn’t you two play mental chess games? I couldn’t tell you, after seven seasons of Buffy or eight of Vampire Diaries, what Spike or Damien or Angel or Stefan does all day when not brooding or lurking in the bushes to creep on human women. I can tell you what the Cullens get up to. Emmett and Rosalie work on their cars, usually by holding them overhead one-handed. Carlisle and Alice read plays, and sometimes talk the whole family into home Shakespeare productions. Edward and Carlisle debate theology, Emmett and Jasper have dumb athletic competitions, Edward and Esme play music, Alice manipulates stock markets, the twins go shopping online, etcetera. The Cullens feel real, feel like the vampires next door, in a way that Louis and Lestat simply do not.

To get to the elephant in the room — I just described Twilight as a feminist text! — let’s talk about the other thing the Cullens do for fun: they have sex. Weird sex. Kinky furniture-breaking sex. Sex that Emmett (who would know) compares to bear-wrestling. These books suck with regards to queer representation, but they are sex-positive. They feature an old-school Anglican protagonist offering his daughter-in-law a medical abortion. They treat Edward’s desire for sex only within marriage and Alice’s desire for sex outside of marriage as both being valid. Like I said, not groundbreaking, even by the standards of 2005, but still more than most teen novels do even today.

There’s a passage from Breaking Dawn that people love to pull out of context as “everything wrong with Twilight in two paragraphs” because it describes Bella waking up the morning after sex with bruises on her arms. That moment is shocking out of context, to be sure — but in context, it’s the end result of an in-depth consent negotiation that lasts four books. Bella says that she’d like to become a vampire. Edward says okay, but only if she spends a few more years living as a human and considering that choice. Bella says okay, but only if Edward, not Carlisle, becomes the one to turn her. Edward says they can use his venom, but that Carlisle, who’s an MD, really needs to supervise the process. Bella doesn’t love the idea of Edward’s stepdad cockblocking what’s supposed to be an intimate moment, and so agrees only on the grounds that she gets to have sex with Edward as a human first. Edward’s hella Catholic, so he requests that they get married first. Bella’s super horny, so she demands that the wedding happen within six months. Edward says that he might hurt her during sex, and Bella says that she wants a little hurt during sex. They marry. They bang. During the banging, Edward makes every effort to be controlled and courteous and gentile, while Bella goes wild and crazy. The next morning, she has bruises and he does not. Edward apologizes, but Bella’s actually really into it. She spends a while admiring her sexy vamp-marked self in the mirror, touches the bruises many times, and reminds us yet again that Bella Swan’s whole M.O. is being a monsterfucker. Her kink is not my kink, and that’s okay.

To be clear, I think there are other aspects of the romance that get criticized for good reason. Edward does not negotiate with Bella before sneaking into her room to watch her sleep, and he does make unacceptable use of their power differences when he thinks she’s in danger of being mauled by werewolves. The text condemns Jacob’s “don’t wanna die a virgin” ploy to manipulate a kiss out of Bella, but not the wider conceit of all the male characters as possessing uncontrollable urges. Bella’s struggles to adjust to a new town feel very feminine and realistic; her amused tolerance of Jacob’s and Mike’s sexual harassment as the price for their friendship does not. Werewolf imprinting might be mostly platonic, but that doesn’t make it okay for Meyer to depict it as a form of soulmate bonding that happens with child characters. Those are good points, all around. I just wish that most of them didn’t come up in the context of post-hoc rationalizations for loathing the femininity of a feminine text.

I’m not calling Twilight an unproblematic series. I’m saying that it gets (rightly!) criticized for appropriating Quileute culture, while Buffy’s total absence of main characters of color and blatant anti-Romani racism are (wrongly!) not remarked upon. I'm saying that I’ve been told I’m a misogynist for liking Twilight but not for liking James Bond. I’m saying that there’s a reason people tend to go “oh, that makes so much sense!” when I let them in on the fact that reactive hatred for “Twitards” started and spread on 4Chan, later home of Gamergate and incel culture. I’m saying that Twilight depicts problematic relationship dynamics as sexy — but then so do Vampire Academy, Blue Bloods, Supernatural, Vladimir Tod, and Vampire Diaries. All of which take the time to stop and thumb their noses at Twilight, smug in the superiority of having vampires that fly rather than vampires that sparkle, and for thoroughly condemning teenage girls for being girly while continuing to show men inflicting violence on them.

After all, as Erin May Kelly puts it: “we live in a world taught to hate everything to do with little girls. We hate the books they read and the bands they like. Is there anything the world makes fun of more than One Direction and Twilight?” No one has ever called me a misogynist for liking the MCU, in spite of less than a third of its movies even managing to clear the low-low bar of the Bechdel test. Because people are still allowed to like Harry Potter in spite of its racism, or Lord of the Rings despite its imperialism. Because hatred for Twilight was never about its very real sexism, or the genuinely silly sparkle-vampires, until it had to justify itself as something other than hate for everything that teenage girls have ever dared openly love.

I enjoy the novels, and I enjoy the fan fiction that tries to fix some of the problems with the novels. I appreciate the extent to which Meyer has elevated fan culture, and made an effort to acknowledge her own past mistakes. I would love to be able to talk about my love for the series as a flawed but beautiful work of literature, but for now I’ll settle for asking that the world just let me enjoy it in peace.

#twilight #the twilight saga #breaking dawn #eclipse #new moon #stephenie meyer #fandom #nothing to do with animorphs #misogyny #ableist language #sexist language #long post #sexism #romance #anonymous #asks

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aion-rsa · 3 years

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The He-Man Movie You Never Saw Would Have Been Like a Buddy Comedy

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While Masters of the Universe: Revelation reignites Mattel’s toy-spawning fantasy franchise, the Kevin Smith-conceived Netflix animated series arrives in the recent wake of an ill-fated film project. Indeed, Sony/Columbia settled on up-and-coming directors Aaron Nee and Adam Nee to conjure new live-action exploits of He-Man in the land of Eternia, which progressed to pre-production and cast Noah Centineo in the starring role before the pandemic put an end to the endeavor. Interestingly, David S. Goyer, who wrote an early draft of the Masters of the Universe screenplay, reveals what would have been a rather unique dynamic at its center.

Contrasting with the potentially-controversial protagonist direction hinted in early reviews for Revelation, the driving concept for the long-planned Masters of the Universe live-action movie was to focus on the friendship between He-Man and his loyal giant green, orange-striped tiger steed, Battle Cat, as Goyer reveals to THR. Of course, most of the franchise’s various iterations present the narrative notion that Eternia’s sleepy slacker royal prince, Adam, secretly transforms into “the most powerful man in the universe” when he imbues himself with mystical energy from the Sword of Power, after which he directs said energy toward his cowardly talking pet tiger, Cringer, transforming him into the hero’s ferocious loyal steed, Battle Cat. However, Goyer reveals that—during his tenure with the script—the film would have broken precedence by putting a comically dysfunctional twist on the traditional hero/steed relationship.

“I legitimately liked the script that we did,” says Goyer. “We were going to do it as a feature at Sony. What I liked the most about it was that it was mostly about a friendship between He-Man and Battle Cat. The idea was there had always been He-Men and different recipients of the Sword of Power and that Battle Cat had always served at their side. And this was a new He-Man that Battle Cat and many people didn’t think was worthy of the sword.”

Contextually, while mainstream representations like 1983-1985 animated series He-Man and the Masters of the Universe and the 1987 Dolph Lundgren-starring Masters of the Universe movie mostly stuck to superficial backstories, the franchise’s deeper mythos—once canonically-inconsistent across the decades in its multimedia forms—has started to uniformly embrace the idea that Adam himself is merely the latest recipient of the mystical Sword of Power, which several generations earlier, was wielded by his ancestor and ancient castle namesake, King Grayskull, after which the sword—and the sublime power it yields—was passed down to various other “He-Men.” Indeed, even Revelation’s trailer showcases King Grayskull, implying continued adherence to the hand-me-down dynamic, and the possibility for time-travel-facilitated team-ups with previous versions of Eternia’s hero. Likewise, the concept was integral to Goyer’s screenplay, since Adam’s newfound role as He-Man would have come attached with an intimidating, seemingly-unattainable legacy, of which this wryer, more-critical version of Battle Cat seems acutely aware. Thus, Adam’s arc as an upstart hero would have hinged on earning the ornery Battle Cat’s stamp of approval, yielding buddy comedy style interactions.

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“So, it was a story of the character earning the sword, but, more importantly, earning the friendship of Battle Cat, who just thought this guy [Prince Adam] was a lightweight,” explains Goyer. “I really liked it. I thought it was a fun story. There was a lot of humor in it and it creeps up on you because Battle Cat sort of grudgingly accepts him, and it’s Battle Cat’s acceptance of He-Man that gave this version of the story heart.” Goyer’s comments seem to shed light on the reasoning behind the eventual casting of Noah Centineo (pictured just below), who—hardly the WWE-level jacked giant one would envision for the role—seemed set to convey Adam’s getting-by-on-good-looks slacker personality, having come from the realm of teen comedies, notably from his role as Peter in 2018 Netflix rom-com To All the Boys I’ve Loved Before and its two sequels. Thus, it not only would have been interesting to see how a fully-transformed He-Man himself would have manifested in this live-action attempt, but how Battle Cat could have served as his shade-throwing foil.

Alex Israel

Unfortunately, fate would not favor this particular Masters of the Universe live-action reboot project, which saw several attempts—notably the Lord of the Rings/Game of Thrones-influenced version under director Jeff Wadlow. Those years saw several hints about the movie in the form of early versions of its logo and various social media-teased concept art designs, which revealed a motif that—perhaps in response to Marvel’s 2014 success with Guardians of the Galaxy—leaned into the space-esque sci-fi technology side of the franchise’s traditional amalgam with savagery and sorcery. Moreover, back in 2015, one of the project’s more enthusiastic early proponents, producer DeVon Franklin, tweeted a concept image of what the Battle Cat in question might have looked like—albeit as a CGI creation—in this particular live-action milieu. Yet, despite years of hype and even a projected, never-realized March 2021 release date, the project came to an ignominiously anti-climactic coda, notably affirmed this past April after Centineo reportedly exited the role from the COVID-stopped production.

@danmillerNY @TheOneHansen @Guardians I totally agree!!! pic.twitter.com/6g6W18D9J7

— DeVon Franklin (@DeVonFranklin) March 3, 2015

Regardless, Goyer, having made a monumental mark on the industry with The Dark Knight Trilogy amongst other heavy hitters, isn’t thinking about He-Man and Battle Cat these days, since his hands are currently tied with two lofty tasks as the credited creator of Netflix’s developing television adaptation of Neil Gaiman’s The Sandman and, more imminently, the Apple TV+ television adaptation of Isaac Asimov’s sprawling novel franchise, Foundation. However, Masters of the Universe, while still generally associated with ‘80s pop culture, has managed to exist in the periphery across the ensuing decades. Oddly enough, we’re living in a time in which the franchise permeates (not even counting Netflix’s recent animated series centered on He-Man’s estranged twin sister, She-Ra,) with two major animated series (one of which is a developing CGI series,) and several current toy lines, two of which are sold at retail stores worldwide. Thusly, Revelation could prove to be the iteration that truly brings it back to the forefront, perhaps leading to another live-action attempt—maybe by Goyer again.

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In the meantime, Masters of the Universe: Revelation will release the first part of its inaugural season on Netflix on Friday, July 23.

The post The He-Man Movie You Never Saw Would Have Been Like a Buddy Comedy appeared first on Den of Geek.

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mantra4ia · 4 years

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Hello Bad Guys: Top tier Lucifer ‘villains’ s.1-4

August 5, 2020

One of Lucifer’s main weaknesses as a show is the episodic “cop procedural” not giving us a very long time to stew with the antagonists and really appreciate their villainy enough whether we love to hate them outright, or we really torn by their evil doing because the characters are layered. That being said, there are a few rare exceptions that add just the right amount of darkness to balance the devilish shenanigans of the show, to give depth to the stakes. I very much hope that we get more antagonist complexity in season 5. Villains are interesting in comic narratives and should be treated with care.

Lucifer: Tom Ellis delivers a masterful performance whether he’s being Saint Lucifer, or going on a truly vengeful bender. Although Lucifer is the central protagonist, when the show explores Lucifer at his darkest or most desperate, we get to see him at his most antagonistic. Two of the most recent examples are his against the Tiernan family in “Devil is as Devil does” when he breaks McCaffrey’s back and against his own brother Amenadiel when he lashes out at him trying to start fights. His one monologue against Amenadiel where he compares him to a masochist soul in hell - his “pointless existence...reminds me of you”- is still one of the most painful parts of the show to watch, like powerlessly watching a car wreck. That’s one of the reasons I am looking forward to him portraying Michael in s5, because not only will we get to see Mike brewing and developing hopefully long term over the whole season to get to know him, but Tom is so gifted at those chaotic nuances.

Malcolm played by Kevin Rankin: Celestials and supernaturals haven’t been the biggest baddies on Lucifer, which is good. I think Malcolm is so great as an antagonist because his character is 100% human, a corrupt cop (making Chloe vigilant about more corruption in the department), which grounds the show in reality despite other fantastical elements and shows how the scariest evil isn’t cosmic as much as the depth of depravity when people are consumed by greed. And when he comes back to life hell hungry / crazy as a fox, it’s legitimately scary because he’s unpredictable.

Maze played by Leslie Ann-Brandt: Again, although she is technically a protagonist, when Mazikeen is hellbent she is ferocious. Case and point when she teams up with Marcus, tortures Lucifer, and hurts Trixie. It’s hard to watch her spiral, but she does it spectacularly.

the decoy Sinnerman, Marcus’ associate played by Kevin Carroll. I believed he was menacing and committed to a life of crime, dude stabbed his own eye’s out with a pencil. I wish I got that intensity from Cain.

Mum / the Goddess played by Tricia Helfer: this character illustrates well, even as a larger than life cosmic entity, that you don’t have too be malicious or overtly intimidating to be an entertaining bad guy, just have a very clear motivation of what you want, misguided intentions, and a ruthless kind of tenacity to let nothing and no one stand in your way.

Perry Smith the prison warden played by Alex Fernandez: great bio (again, corruption in the prison system is both insidious and relevant) just not a very long arc.

Jacob Tiernan played by Jere Burns: I just love Jere Burns and I think that every actor from Justified should make an appearance on the show. Can you imagine? In all seriousness though, that human trafficking plot was hella grim. I wish we could have had a few more multi-ep arcs like that.

Oscar Rivas, the zealot from Los Xs played by Joseph Melendez: Jason Ning knows how write all the dark episodes! Season 4 “O, Ye of Little Faith ” sees Rivas go out by impaling himself on a stake. As far as murderous bad guy goes, literally nailed the dismount with insidious gore. The only disappointment was that this guy was a pawn of Father Kinley.

Honorable mention:

Nick Hoffman the paparazzo played be Jeremy Davies: I know he’s not a true villain as much as a painful antagonist from Chloe’s past, but I love his reckoning in her backstory. Did I mention how everyone on Justified should be on this show? Walton Goggins, pleeeasse be next.

Underwhelming baddies:

Amenadiel played by DB Woodside: before he became part of the Heavenly bros protagonists, I had really high hoping in season 1 that we would get more of Amenadiel as an enemy. We get great brotherly conflict from him to be sure, but apart from his first confrontation with Luci where he literally goes for the throat and the wing burning beach scene, there’s never a defining moment where we just get to hate him or say “Woah, that’s scary.” He’s just too charming to be worthy of that pilot line “I look forward to eating your heart one day” which was a stellar set up by the way. Which is why I love Amenadiel as a character, not as a baddie.

Uriel played by Michael Imperioli: I love Uriel, his power, his cleverness. I don’t think he was ever meant to be a conventional a bad guy. That’s not my disappointment. The underwhelming piece was that he was a 2-part setpiece for Lucifer’s character development (once in the flesh, once in the hellscape) rather than fully formed character

Father Kinley / Dromos the demon played by Graham McTavish: same problem I have with Cain (below). Father Kinley and Dromos are treated more as obstacles than threats. Granted, Dromos possessing Kinley is creepy, but not threatening although he’s meant to be ‘evil.’ Now Walton Goggins, he would have been a very scary vatican priest.

Lt. Marcus Pierce / Cain played by Tom Welling: Cain is an underwhelming big bad for me, specifically because we don’t get into the gritty of his past, just a lot of exposition that says but doesn’t show which makes it hard to connect the dots between tormented eternal, crime lord, and occasional straight arrow. It would be nice to get a sense of what triggers him to reinvent himself and what drives him to toe one side of the moral line or the other. We do get a flashback of him with the LAPD, but that’s when he’s on the right side of the law. I believe the motive that he wants to die, but the torture and mental instability of age that would lead into something menacing doesn’t translate on screen, just sad and bored Cain - therefore I don’t really believe him as an underground crime boss. Which is a shame, because I like Tom Welling, I enjoyed Marcus’ relationships with both Lucifer and Chloe, even the dynamic where he tries to use Chloe as a means to an end and has a change of heart. However, I never got the sense that the season arc knew where it was going with his villainy, and his descent back into crime near the end felt very unearned.

*21 Days of Lucifer Countdown: Here’s looking forward to the season 5 villains/antagonists. I cannot wait to meet Michael.*

#Lucifer Morningstar #mazikeen #marcus pierce #uriel #malcolm graham #lucifer on fox #Netflix Lucifer #villain appreciation #21 days of Lucifer

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localhorrornerd · 5 years

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31 Horror Movies for the Halloween Season

Well.. It’s a little bit over 31 bc of sequels and such but it’s a fun title for horror recs! For the record these are in no particular order in like what’s the best or anything! It’s just a list of horror movie recommendations that might get you in the Halloween mood. I tried not to have huge well-known movies on here, but I did throw in a few just because I love them and couldn’t resist. I did try to add small descriptions for each one, but given there’s like 31 movies on here, they are rather short. Either way, hopefully you’ll find one or a couple movies here that you’re interested in!

1. Trick ‘r Treat

A rather well-known one but is it really a list without Trick ‘r Treat? A fun horror anthology with four different stories that connect to each other in some way - including the fact they all take place on Halloween night! A fun one to actually watch on Halloween.

2. Hell House LLC

For the record there are two sequels (Hell House LLC 2: The Abaddon Hotel & Hell House LLC 3: Lake of Fire), however I have not seen either of them so can’t include them here, but if you want to watch them I’d say go check them out! Basically it’s a documentary style type film that follows what happened up to the days a horrible tragedy took place on the opening night of a haunted house attraction. No one knows exactly what actually went down, so the reason for the documentary is to attempt to figure out what truly happened that night.

3. Repo! The Genetic Opera

A horror musical! It’s set in a future where organ failure is extremely common so naturally a huge company comes along and is like “Okay you can have an organ transplant, but you have a huge payment plan and if you can’t pay then we’re just gonna kill you and take your organs back.” Also it has so many good songs would highly recommend if you haven’t seen it (and you can stomach a bit of gore).

4. The Devil’s Carnival & Alleluia! The Devil’s Carnival

Another horror musical! And done by the same people who did Repo! For the record The Devil’s Carnival is only about an hour long but the sequel is a full length movie! A short quick explanation is that it’s set in Hell (unsurprisingly) and follows the people who end up there - also during this the Devil is planning an attack - but I’ll let you find out the rest if you haven’t seen it yet.

5. Ju-On and/or The Grudge (Any Film)

It’s my favorite horror franchise, so of course Ju-On was gonna end up on here! Whether it be the original Japanese films or the American remakes, it follows vengeful spirits who were murdered in their home and are taking revenge on anyone who enters.

6. Sinister & Sinister 2

Okay I know Sinister 2 is one not very well liked, but since I have seen it I decided I might as well include it (though I don’t really remember my thoughts on it it’s been a while). Video tapes that contain children murdering their families and a mysterious being that may be at the center of it is the basic plot for these movies.

7. Tragedy Girls

Basically you got two best friends who capture a serial killer because they themselves want to become serial killers! Don’t wanna say too much outside of that, as that is the basic plot concept honestly, but it’s a really fun movie.

8. The Final Girls

A girl dealing with the anniversary of her mother’s death ends up, with a small group of others, stuck in a horror movie that her mother actually starred in. Okay as much fun as this one is it does pull on the heart strings a bit I gotta admit. But it’s truly great and naturally has a feel of an older slasher movie.

9. You Might be the Killer

Another one that’s got that older slasher movie vibe as it takes place at a camp. One where the counselors are getting picked off one by one by a masked killer. Comes in our protagonist, who is calling his friend, who isn’t at the camp and also is a huge horror enthusiast, for help to figure out what to do and maybe figure out what’s going on/who the killer is.

10. Danur (aka Danur: I Can See Ghosts)

A young girl who just wants friends finds them in the form of three potentially paranormal ones. Though it seemingly being just a childhood thing, it actually becomes of great importance as she gets older. This movie also has a sequel, Danur 2: Maddah.

11. Fright Night

For the record I am talking about the remake here, as I have not seen the original, but if you would prefer to watch that one - or maybe even both - go for it! Basically, teen starts to believe his new neighbor is a vampire after more and more people go missing. Also David Tennant is there if you go with the remake so that’s always fun!

12. Tales of Halloween

Admittedly I wasn’t too into this film, but I know a lot of people like it! Not too much to say, it’s a horror anthology with 10 different segments that take place on Halloween! So you’re bound to find something you enjoy within it, whether it be the paranormal, witches, or even just dumb fun horror comedy antics.

13. The Tag-Along

Based on an urban legend from Taiwan, “The Little Girl in Red”, it focuses on a man and his girlfriend. Of which the man’s grandmother suddenly goes missing one day - eventually leading to him discovering clues of a potential unknown little girl who had began following his grandmother around. There are two sequels to this movie as well that I have not seen yet, that being The Tag-Along 2 & The Tag-Along: The Devil Fish.

14. Three... Extremes

Another anthology film that contains three separate stories, each one coming from a different East Asian country. It also has a prequel, Three (or 3... Extremes II in the U.S.), and a full length film made from one of the stories within it, Dumplings.

15. The Hallow

Really feel like the point of this movie is like ‘Don’t fuck with the woods’. As it basically focuses on a couple and their baby, who seems to be the target for the odd things happening to them that seems rather connected to the woods nearby.

16. The Devil’s Candy

A man moves with his family into a new home, and slowly begins to feel as though something is possessing him in a sense. That and also the potential fact his family is being targeted by the previous resident of the home.

17. Wake Wood

Apparently FMA did not teach us not to fuck with the dead enough, so here’s a movie about a grieving couple that lost their daughter who move into a town that holds the power to bring someone back from the dead for only 3 days. Unfortunately like FMA, things go horribly wrong (just not... in the same way as FMA).

18. The Cabin in the Woods

College students go out to a cabin in the woods in which things quickly take a turn for the worst. Seems simple enough, but it’s so much more complicated than that - however I won’t be sharing any of those details for those who haven’t watched it yet.

19. Prevenge

A pregnant woman who’s husband has recently passed away, believes that her unborn child wants her to track down and kill everyone who was involved in the accident. An extremely wild but honestly rather fun time.

20. You’re Next

Home invasion, baby! In which everything goes to hell for a family and their partners when masked killers start trying to kill everyone there. Though things take a turn quick and you start to wonder who is really the ones being hunted down here. (A fairly well known one, but I had to recommend it given one of my favorite characters in horror is in this movie)

21. Kuronezumi (aka Black Rat)

Not too much to say here basic plot wise. Six students receive texts from their dead classmate, they follow as the texts ask and go to the school at night, and then start getting targeted by a killer wearing a rat mask.

22. Lights Out

A family potentially being haunted by a creature that only appears when the lights go out? Plus a whole lot of family drama? Always fun truly! It’s also somewhat based off a viral short film of the same name that the director had made before he got to make it a full length film.

23. Absentia

Absolutely had to put a Mike Flanagan movie on here. One that focuses on a pregnant woman who’s started towards attempting to move on with her life after her husband disappeared seven years ago. However, as she takes a huge step towards doing so, something rather odd happens - which I’ll let you find out for yourself if you choose to watch it.

24. Halloween III: Season of the Witch

Perhaps it’s because it’s the one Halloween movie without Michael Myers, or perhaps it’s because I was blanking out on movies I watched that aren’t extremely well-known, but I felt the need to add this one on here. It focuses on this man who is out to kill children on Halloween by using a line of Halloween masks. So basically another fun one to watch on Halloween!

25. The Barn

Teenagers go to a barn where there’s a supposed curse that can awaken Halloween-themed monsters on Halloween night. What could possibly go wrong? Honestly another one that would be a lot of fun to actually watch on Halloween.

26. Behind the Mask: The Rise of Leslie Vernon

A really fun documentary type film where it’s set in a world where iconic horror slashers are actually real! And a documentary crew are out to make a movie centered around Leslie Vernon, who wishes to go down in history as another one of the famous slashers. This one is really just *chef’s kiss* to me, very much recommend if you haven’t seen it.

27. Creep & Creep 2

Found footage type films in which we follow people who are hired by this rather concerning man to film him. That’s really all I can say unfortunately without trying to give away too much.

28. What We Do in the Shadows

Another documentary-style type movie! It tends to be more comedic than it is horror, but it follows a group of vampires that live together! Sort of documenting their lives and how they survive day by day. Honestly it’s so ridiculous and hilarious, and I know many people have seen it by now but I have to recommend it none the less as it’s one of my favorites. Plus, it also has an equally hilarious tv series now that you can also give a watch!

29. The Banana Splits Movie

Who doesn’t want to see the Banana Splits as animatronics that start randomly slaughtering people after the news that their show is going to be cancelled? Honestly it’s really just a fun, ridiculous movie that isn’t meant to be taken seriously. Perhaps something to watch with friends to get in the mood for Halloween.

30. The Last Exorcism

Another one that has a sequel I have not seen: The Last Exorcism Part II. Another documentary style film (Sorry I added so many of these whoops), that follows a reverend who goes around performing fake exorcisms. Things start getting a bit more complicated though when lines start beginning to blur between what is real and what is fake while doing his current “exorcism” he was asked to perform.

31. V/H/S & V/H/S 2

There is also a third film, V/H/S: Viral, however I have not seen that one. Not too much to say here, they’re basically just an anthology of short horror films that are supposedly being shown from VHS tapes.

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twentiethcenturymoviesandtv · 3 years

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Growing Pains: The Characters

No matter what medium, characters are an integral part of storytelling. Whether it’s a book, stage play, movie, or a television show, the audience will likely not stick with it if they should happen to think the Eight Deadly Words:

“I don’t care what happens to these people.”

While it’s important to develop good characters in every form of storytelling, it is perhaps the most crucial to get them right on television.

While a film can distract from it’s lackluster characters with interesting visuals, a fast-paced storyline, and some neat twists and setpieces, television rarely has that luxury. Produced with a smaller runtime, on a smaller budget, television episodes tend to be character-based. With the exception of anthologies, most television shows have a set number of cast members that the audience follows through multiple episodes. This means that the characters in shows must be versatile enough to be interesting in multiple stories, and multiple types of stories, and be able to grow and change at a slow, but steady, rate. As a result, writing for characters on television can be hard.

Even when the said characters are a family from a Domestic Sitcom.

Like I said, characters are a vital ingredient in television. They are the people that we come back to every week, and often, they are the reason we keep watching. The characters make or break a television show, and as such, it’s incredibly important to create a main cast that the audience enjoys spending time with.

Luckily, the way to do it isn’t as hard as it might seem.

I’ve mentioned before that the secret to creating main characters (especially for television) is to mix two components: relatability and entertainment.

As with all fiction, television is an exaggerated version of reality. Even the slice-of-life sitcom scenarios have to be a little bigger, a little more extreme than our normal lives in order to be entertainment. But the audience tends not to buy it unless there’s that dose of reality, that relatability within the stories and characters in that we can see ourselves reacting in similar ways, or recognize elements in our own lives. This is true of writing for plots, but it’s also true of writing for characters.

Which brings us to our question:

Are the Seavers good television protagonists?

What a great question, I’m so glad I asked! Let’s take a look.

The Seavers are, to some degree, a family that any of us might know, or in some ways, be. They fight, make up, grow and learn as much as any family does, and as such, the audience identifies with their dynamic. They react to events, not as a unit, but as individuals within a family unit, and their separate personalities and interactions with one another make for engaging stories and development.

But, like I said, they are individuals, not a unit, and we have to look at them as such, starting with the patriarch of the family: Jason Seaver.

Jason is a psychiatrist, a dad, and a Reasonable Authority Figure. While not infallible, Jason does whatever he can to be fair with his kids, and, being exposed to them often, combined with his practice gives him an edge on knowing how to get them to behave. He’s interested in knowing the roots of the behaviors, and tries very hard to understand his family. He’s more likely to concoct an ‘outside the box’ method to reign in his kids, but he’s always respectful of their feelings, and tries to bring the family together. He is the heart, ready to take charge when necessary.

Of course, being a ‘grown-up’ does not automatically make him a complete person. Jason also grows and learns throughout the series, and comes with struggles of his own. There are plenty of episodes where he deals with decisions like whether to go back to work, or stay at home to support his wife’s career, or is forced to contend with things like his mother’s second marriage. As such, he’s a relatable character, more than just ‘The Dad’, but a person in his own right. This element is shared by his wife, Maggie Seaver.

Maggie is a reporter, a mom, and, surprisingly, another Reasonable Authority Figure. Again, not infallible, but in a different way than her husband. Maggie is a little more prone to laughing at her family’s antics, and being a little more quick to jump to action than Jason’s “Wait for the teachable moment” strategies. She’s more of the disciplinarian between the two, a devoted career woman, and is on the more cautious side.

She has her share of problems too, such as dealing with an unexpected pregnancy, harassment in the workplace, and her father’s death. Again, she is more than ‘The Mom’, and continues to grow throughout the series. She’s a more rounded character, a person for the audience to relate to.

Perhaps the most interesting thing about the parents on the show is how they work together and interact. As it turns out, the show was originally going to be more focused on the parents, until Mike turned into the Breakout Character of the show. The ‘grown ups’ don’t always agree, and approach parenting in different ways, but they endeavor to work together as a team, with a genuine relationship. Sometimes they fight, but they are typically supportive of one another, and handle problems in a mature way that tends to more closely reflect real life rather than other ‘zany’ revenge or ‘lesson teaching’ plotlines of other Dom-Coms. They do genuinely want what’s best for their kids, and the audience gets to watch them watch their family grow up and expand in a way that’s resonant with how real parents deal with their own families.

As a result, Jason and Maggie work well as sitcom protagonists, being different enough from each other to spark conflict and struggle, but affectionate and loving enough to patch it up before it gets too ugly. Their relationship comes across as genuine, and they grow enough as individuals that it’s satisfying to watch them throughout all seven seasons of the show.

But, of course, there’s a lot more to the Seavers than the parents. Let’s talk about the kids.

We have to start with Mike.

The oldest kid and the Breakout Character (similar to Michael J. Fox’s character, Alex P. Keaton, on Family Ties, except a polar opposite personality), Mike Seaver is most parents’ mildly annoying nightmare. Not bad enough to be a ‘bad kid’, but nowheres near good, Mike was a middle-of-the-road teenager. He got into trouble, came home after curfew, lied, attempted to cheat, and was overall, kind of a self-centered brat early on, but he typically knew where to draw the line (see the drug episode, “Thank God it’s Friday”), and didn’t get away with the bad things that he did do.

As time went on, Mike grew up and out of a lot of his problematic behavior, becoming more responsible and mature. (Some of that was affected by actor Kirk Cameron’s conversion to Christianity during the show.) Even early on, there were signs that Mike not be so much of a troublemaker, where he did show a hidden heart of gold underneath the cocky, snarky exterior. Typically the funny-man of the kids, Mike was always ready with a quick-witted joke, (usually at someone else’s expense, especially his siblings) which made him a fan-favorite early on. The show is an excellent showcase of his development from problem-child to responsible adult, getting a job and moving out. But he wasn’t the only one of the kids to change.

Carol, second oldest, was the brain of the family, and she knew it. Bright, studious, hardworking, and just as much a Deadpan Snarker as Mike, Carol was typically the Only Sane Man of the kids, the most likely to realize when something was a bad idea. Occasionally suffering from self-esteem problems (being ‘nerdy’ in the 1980s was akin to having the Black Plague, according to teen media), Carol was more cautiously adventurous than her brothers, wanting to see the world and learn as much as she could.

She too grew up. Throughout the series, Carol learned that academics wasn’t everything, and grew into a more rounded individual, taking risks, exploring, and becoming a responsible adult, changing through experiences both good and bad. Occasionally self-righteous, sensitive, and intelligent, Carol was a fine, and relatively realistic example of the high-school smart-kid in the real world.

That leaves only Ben, the youngest.

From a young age, Ben was rowdy, rambunctious, rascally, and (I’m almost out of R words, help) a royal pain to his siblings. Initially rather gullible and apparently insistent on taking lessons the wrong way, the trouble Ben got into in the beginning was mostly due to the fact that he was just naive (Inviting a homeless kid in for Christmas Eve, calling a porn hotline repeatedly, etc.), but as time went on, Ben became more of a problem than Mike had been, getting himself into bigger trouble. As the youngest and the most perpetually childish, more and more lessons were milked out of Ben than any of the other siblings, and as such, he had to screw up more than they did.

He got more than his share of focus episodes too. Episodes like “Birth of a Seaver” included large subplots where Ben had his own big moments, dealing with the death of a stranger, and then the new life of a family member, in a rather interesting way. Other episodes focused more on his learning hard truths, such as the unfortunately accurate Aesop: Sometimes, cheaters prosper, but honesty is better for the long run.

It’s difficult to say that the kids ‘got along’, because for the most part, they didn’t. They fought, squabbled, tattled, and got each other into trouble quite often. By the same token, they also knew when to help each other.

Like I said earlier, the one thing you can say about the Seavers is that they felt absolutely genuine. They deconstructed character types and sitcom plots regularly, and the family’s interactions felt real. They weren’t totally saccharine, and they weren’t unbelievably nasty to one another either. They were different from one another, (different enough to get different stories out of them for seven years) but came together when they needed it. At the end of the day, despite the personality conflicts, disobedient kids, and unfortunate events, the Seavers loved each other, and felt like a family.

And that’s what made the show really work.

The characters had to grow and change, albeit slowly, because that’s how life works. Growing Pains was a sitcom depicting exaggerated family life, and as such, the characters had to be memorable, as well as learn and grow. By the end of the show, these are not the same people that we started out with. Out of necessity, they had to grow up. And that’s a good thing.

Thanks to the familiar format and personalities, the audience enjoyed tuning in every week to watch and laugh along with a family that we related to, that we understood. Almost everyone can find at least a part of themselves in at least one character, and we recognize the interactions in our own lives and families.

In the end, the Seavers are good sitcom protagonists, because they hit that combination of entertainment and relatability nearly perfectly, with just the right consistency to tell stories full of heart, comedy, and tragedy, and to make it work for seven years. They felt real, and after all, that’s the point of good characters.

Thank you guys so much for reading! Join us next time as we discuss Growing Pains and the culture. If you have anything you’d like to say, don’t forget to leave an ask! I hope to see you all in the next article.

#Television #TV #TV-G #Growing Pains #80s #Comedy #Family #Alan Thicke #Joanna Kerns #Kirk Cameron #Tracey Gold #Jeremy Miller

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tomhiddleslove · 5 years

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Tom Hiddleston, Zawe Ashton and Charlie Cox play the three points of Harold Pinter's adulterous triangle in Jamie Lloyd's superb production from London.

Reverse chronology has become a familiar narrative device in film, but when Harold Pinter employed it in 1978 in his blisteringly personal drama about an extramarital affair, Betrayal, it was still uncommon enough to become highly influential. It makes the drama start from a place of awkwardness steeped in grief, two years after the illicit liaison has finished, and end at the beginning, with a rapturous sense of secret possibility, marbled by the deep vein of melancholy present from the first scene. That emotional complexity smolders like hot coals in Jamie Lloyd's expertly calibrated production, transferring to Broadway direct from its hit London engagement.

The headline news is the commanding Broadway debut of Tom Hiddleston, taking a breather from the Marvel Cinematic Universe to revisit the stage roots to which he has returned periodically throughout his career. The coolly charismatic star is matched at every step by Zawe Ashton and Charlie Cox, the latter trailing his own Marvel association from Netflix's Daredevil.

Lloyd staged Betrayal, one of the tightest and most straightforward (albeit back to front) of Pinter's full-length plays, as the unorthodox culmination of an acclaimed London season of the dramatist's one-acts. The director's feeling for Pinter's tricky rhythms, his freighted silences, glacial distances and brittle intimacies is unerring, evident not just in the dialogue-driven moments but also in the physical staging, the austerely elegant design choices, the stunningly descriptive use of shadow in Jon Clark's lighting and the precise attention to movement.

The action unfolds in bars, restaurants, family homes, a regular assignation address and a Venetian hotel. But designer Soutra Gilmour's set is a simple, stark rear wall in slate gray that makes intimate advances on the actors at times, with a sparingly used turntable that suggests the unkind passing of time, even as the scenes play out in backwards order. Among the few props are two chairs, the glasses or bottles required for a variety of alcohol, cigarettes, of course, and only late in the play, a table with an Italian linen tablecloth that becomes the saddest sight you'll ever see.

The three principal actors are onstage for the duration, with the third player at first remaining detached in the background through each of the mostly two-character scenes. But almost imperceptibly, the tiniest flicker of reaction begins playing across the face or in the body language of the silent additional presence as key information is divulged, twisting the knife as to who knew what and for how long. It's a masterstroke of direction, adding lacerating stabs of hurt to a drama in which none of the protagonists is overly sympathetic.

The parties involved, all in their mid-30s, are Robert (Hiddleston), a London publisher; his wife Emma (Ashton), who runs a gallery; and Jerry (Cox), a literary agent who also has an unseen wife at home. Each couple has two children. Complicating the seven-year affair of Emma and Jerry is the friendship of much longer duration between Robert and Jerry, who was best man at their wedding. The two first met when both were bright young things editing poetry magazines, Robert at Oxford and Jerry at Cambridge.

Pinter, and in turn here, Lloyd, get much mileage out of the urbane sophistication of these very English characters, consistently testing the strain beneath their polite small talk and practiced civility, with an edge of formality even between spouses and lovers.

It's thrilling when the simmering rage beneath Robert's smooth, at times bordering on smug, surface bubbles up, for instance in a discussion of the male ritual of a squash game followed by a pint at the pub and then lunch, his exclusion of Emma delivered like a casual body blow. Or during one such lunch with Jerry, when he rants about the tediousness of launching a novel while ferociously attacking a plate of prosciutto and melon. That his anger is never directed openly at its target doesn't make it sting any less.

But it's in those moments when the armor of Robert's composure is pierced by vulnerability that Hiddleston's performance truly dazzles. A scene in Venice, during which Robert dances around his suspicions to the point where Emma reads the knowledge of her transgression in his eyes and chooses that moment to confess, is made all the more wrenching by its restraint. As they sit side by side and she provides key details — location of their trysts, how long it's been going on, reassurance about the paternity of their youngest child — Robert stares straight ahead, impassively absorbing the full impact as his eyes pool with tears. The generally guarded Emma's sudden emotional release is quite different, but no less affecting in Ashton's self-possessed but finely layered performance.

Lloyd's brisk scene transitions add texture to the drama throughout, notably when that painful exchange segues to Emma and Jerry meeting at the suburban flat they've been renting, the shadow of their embrace seeming to infect the still-seated Robert like a virus.

The uncustomary choice to show one of Robert and Emma's children (an adorable girl played at the performance reviewed by Emma Lyles) also pays off. Repeated reference is made to Jerry tossing her up in the air and catching her one afternoon in their kitchen — or was it his? It rips your heart out to watch the child giggle with joy when that happens before curling up in her father's arms to sleep as Emma then meets with Robert early in their relationship, seemingly contemplating making a permanent change.

It might be argued that Lloyd's repeat use of a chilled-out, female-vocal cover of Depeche Mode's "Enjoy the Silence" is a little on the nose for Pinter ("Words like violence / Break the silence"). But the effect is powerful and the music choices, including Trent Reznor and Atticus Ross, Ryuichi Sakamoto and Norwegian electronic duo Royskopp, help thread one scene to the next, as words and wounds bleed into the spaces between.

At the beginning of the play (which is the end of the story), Robert's infidelities also have contributed to end the marriage, two years after Emma has broken off the affair with a still-aching Jerry. But of the three, Jerry is arguably the only one who wears his guilt visibly. The excellent Cox plays that burden with a palpable sense of the pain beneath Jerry's studied attempts to keep things light and breezy. His declaration to Emma in the final scene, at the start of their love story, is one of the most searing Pinter monologues — ecstatic in its expression of romantic feeling and yet desolate in the awareness that Emma is condemning Jerry to a kind of exquisite misery.

"I can't ever sleep again, no, listen, it's the truth, I won't walk, I'll be a cripple, I'll descend, I'll diminish, into total paralysis, my life is in your hands, that's what you're banishing me to, a state of catatonia, do you know the state of catatonia? Do you? Do you? The state of… where the reigning prince is the prince of emptiness, the prince of absence, the prince of desolation. I love you."

Those last three little words never sounded so doomed. The smile of contentment as Robert interrupts them, entering the room from the party all three are attending, seems veiled on Hiddleston's face with a suggestion that he already sees what's happening. And Lloyd stages the closing moments like a mournful dance, anticipating the pain of what's to come.

It's just six years since the last sizzling Broadway revival of this work, directed by Mike Nichols and starring Daniel Craig, Rachel Weisz and Rafe Spall, all in top form. But this very fine production makes an absolutely compelling case for returning so quickly to the play, in which betrayals cut in every direction — between couples, friends and within the characters themselves. Lloyd and his actors illuminate a glimmering darkness in the drama, a deeper well of sorrows that linger in the air even after the cast take their bows.

If there's one nagging issue, it's with the audience, not the production. While it's great for business that fans flock to Broadway to see an MCU star like Hiddleston showing consummate skill, the constant laughs at inappropriate moments must be distracting for the actors, particularly in the many moments of quiet devastation. Sure, there are sparks of dry humor throughout Betrayal, but c'mon people, it’s Pinter, not Upright Citizens Brigade. It's for grownups.

[ Link to full article in source below. ]

#Tom Hiddleston #Zawe Ashton #Charlie Cox #Betrayal Broadway #The Hollywood Reporter review article #bernard b jacobs theater #jamie lloyd production #harold pinter play #Theatre tom #tom hiddleston stage performance #tom as robert #zawe as emma #charlie as jerry #Broadway debut #new york city

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insanityclause · 5 years

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stranger-who-writes-fiction · 6 years

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Hey hi hello is anyone else just a puddle of emotion after that episode? Yes? Well then! Let’s all be puddles of emotion TOGETHER by way of a poorly organized recap!

Spoilers, obvs.

Okay, OKAY, so like. I went in with...I’m not gonna say low expectations, because Season 3 has been delivering BUT. I did think it...improbable? That we were gonna get a solid forty plus minutes of just Kara and Alura dealing with the emotional fallout of this meeting (which was the dream lemme tell ya) so I decided, fairly early on, that I was gonna take what I could get, so to speak.

WELL.

WHAT WE GOT WAS PRETTY GOOD? ALL THINGS CONSIDERED?

I mean. Just briefly:

Kara’s ongoing struggle with identity PLUS multiple references to status as an alien on Earth/immigrant

Cut back and forth between Kara’s Rousing Speech and Alex ‘You’re the Reason I Felt at Home on This Planet’ Danvers

Alex’s CAN I HAVE IT ALL??? struggle (spoilers, Alex: You can.)

Mon El finally, finally getting his Pet the Dog moment (more on that in a bit)

Uh, FORT ROZZ MENTION? ASTRA MENTION???

RUBY AND WINN BONDING OVER TERRIBLE PARENTS

SPACE DAD BEING HERE FOR HIS DISASTER HUMAN DAUGHTER

And again, that’s...just a brief outline of the plots.

Oh, right, Reign and Lena and James are there too.

SEE. SO MUCH.

(This is where Supergirl’s overeager tendency to cram in EVERYTHING is kind of welcome.)

Right. Okay. Specifics:

I’m gonna go out of order because there were references that I really liked THE FIRST BEING:

Evil Holo-Woman is on the COUNCIL *gasp* and her name is SELENA! *double gasp*

And that’s exciting because SELENA is the villain from Supergirl the 1984 film!

There is a lot less scenery-chewing with this version though, I must say.

Also, smaller reference, but I liked that in the council room, the two sculptures flanking the door are reminiscent of the...okay if I try to describe it it’s gonna be weird so here’s a pic:

(The metal circle things, there.)

We learned about Zor’s fate. RIP Zor.

Also, Alex’s bike was blown up. RIP bike.

Nice callback to Midvale there, with Sheriff whatshisname.

(RIP Kenny.)

“I was hoping to get to know my daughter.” Just. Tears. Tears, and audible ‘awwwwws’ at the TV screen.

And the PLANT thing, I just. HnnGGNNNFFF

Also I like the Zor-El home, with it’s li’l marker out front with the crest. Does everyone have that? Is it like the futuristic Kryptonian equivalent of a mailbox?

“Daughter of the Great House of El, alive.” I’ve never liked the whole, ‘Kara is Kryptonian Royalty’ angle but I don’t mind ‘Kara is the Daughter of a Well-To-Do Upper Middle Class Family Known to Make Morally Questionable Decisions’

But it sounds like Zor earned some good press at the end there. Re-purposing his genocide tech. (That’s what I assume Alura was talking about, anyway.)

OKAY, so now it’s time to talk about our good friend Mon El.

I know some folks were upset that he tagged along. AND I know that some people are not overly fond of his ongoing presence in the show, period.

And I get this. I understand this. I was right there with them, last year, praying for his untimely demise.

But he was pretty unobtrusive in this ep? There was an entire scene dedicated to JUST Kara and Alura (which, I mean, is absolutely as it should be) but GIVEN some stuff that went down last year, it’s like. Kinda great. That it’s just Kara and Mom time. And overall, he was kinda...quietly supportive? And he was there to hold the rock, if need be?

BUT NOW. LET’S TALK ABOUT HIS PET-THE-DOG MOMENT.

So, real quick, in case that term is unfamiliar: It’s a thing that happens in stories...it’s common to the point of cliche, hence the term. ‘Pet the dog’ refers to a moment in a story wherein the protagonist does something kind for someone else, and we, as the audience, are thus inclined to root for them. Often, this takes the form of being nice to animals or kids. Think Aladdin giving the bread to the orphans.

(The opposite of this is a ‘kick the dog’ moment. Where the bad guy hurts an innocent, so that we KNOW they’re bad news.)

One of my major gripes last year, regarding our good friend Mike, is that he had multiple opportunities for a ‘pet the dog’ moment. Where he could’ve behaved selflessly, but he did not. (I’m not talking the big ones that the fandom likes to yell about, like leaving the planet. I’m talking small moments of selfless heroism, that would’ve endeared him to us.)

We heard about how great he was, but so often, his scenes with Kara were just...yelling and then promising to be better, that there wasn’t really a ton of time to just be alone with him and see him being this ‘great guy.’

(Which is understandably a tricky line to walk because the show is called Supergirl so any amount of time you dedicate to just hanging out with the Boys is gonna take away time from your lead and gosh, I wish people would lighten up on the writers. It’s a thankless job.)

Which brings us to the gift that is Season Three.

Mon-El helping that kid is his pet the dog moment. Where he’s ON HIS OWN, separate from the women in his life, motivated to do good because it’s the right thing to do, not because he’s trying to earn affection or because someone else told him to.

And really, Season Three has been doing a good job of showing us this mature, heroic Mon El. I’m not saying that he’s been terrible up until now.

BUT AS SOMEONE WHO WANTED TO SEE THIS SPECIFICALLY ONE ENTIRE YEAR AGO...IT IS MASSIVELY SATISFYING.

It soothes my story artist heart.

Anyways.

I’ll say it because it annoys the fandom jerks: Lena and James have the healthiest romantic relationship on the show right now.

(I mean it helps that they’re the only couple really, but whatever, I’m salty.)

(At fandom.)

(To be clear.)

Loved the Kryptonian council. And the design of Krypton as a whole. (Or, I should say, Argo.)

Sketchy space rock is SKETCHY. And reminds me a bit of the omegahedron from Supergirl (1984 version) That thing mutated and merged with like...a dragon sculpture? And caused problems?

(It’s a weird film. Everyone should totally watch it.)

But yeah, I’m thinking that’ll be a Problem coming up.

I’m digging Ruby a whole lot more in this back half (not that I ever really disliked her? I was mostly just ‘eh.’) But she’s playing off of the other characters a lot better, I think.

OKAY, I think...I think that’s it? I think I covered everything? Maybe?

If I missed stuff I can always add it. *shrugs*

OH WAIT HOW ‘BOUT THAT PROMO, HUH?????

TO SAY NOTHING OF THE CLIFFHANGER.

WELL PLAYED, SHOW. WELL PLAYED.

#SG post #supergirl spoilers #long post #stranger rambles

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entergamingxp · 4 years

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Celebrating Blackness in Gaming’s Past, Present, and Future

June 9, 2020 2:30 PM EST

During times like this, it’s especially important to highlight and celebrate black heroes, casts, and developers themselves in video games.

With what’s been happening in the past and especially in light of current events, it’s important to reflect on the video games that have centered or been inclusive of black characters, as well as games led by black developers. Representation has been an ongoing conversation in video games (and other forms of media), and the desire for new stories told from the perspectives of diverse voices and backgrounds has only continued to grow.

In recent years, more games have been releasing that highlight black characters or have been created by black developers. A large chunk of those games are created by independent developers, who have far more creative freedom to craft the kinds of characters they would like to see in games. Even rarer are games led and published by black developers, with many of these narratives still being told by white creators.

But compared with the amount of white protagonists (and all or mostly white casts) that we often see in video games, there’s still so much work to be done. As we’ve been seeing in the past week, plenty of black creatives have been given the long-due spotlight to showcase their talents as opportunities from companies are finally opening up. I truly hope this will lead seeing more blackness reflected in both the games that we play and their internal development talent.

That said, there have been notable black characters and stories told through video games that are worth highlighting. Below, here are some of the most prominent games of the past several years that either star a black character, have a significant (as in mostly) black cast, or were made by black developers.

Telltale’s The Walking Dead

Many fans were enraptured by the first season of The Walking Dead, which introduced two lead black characters: Lee Everett and Clementine. Their relationship and overall story arc–backed by some seriously powerful writing–gave birth to one of the greatest narratives in gaming I have ever witnessed. After Lee’s death, seeing Clementine grow far too fast as she fights for survival while reconciling her perceived role in her father figure’s death is moving and harrowing. Most of all, Telltale’s The Walking Dead creates a sense of constant urgency and dread that completely sucks in the player and doesn’t let go until the very end.

Mafia III

Set in 1968 New Orleans, Mafia III follows the exploits of Lincoln Clay, a war veteran who aims to build a new criminal organization while seeking revenge on the Italian mob. The game holds an extremely uncompromising gaze at systematic racism while allowing for the black protagonist to empower himself and take back power from those who would strive to oppress him. The characters are compelling, and the setting and story of Mafia III offers a rare gaming experience that interweaves the experience of actual blackness in its narrative.

Chromatose

Chromatose is an upcoming indie title by a black lead developer going by the moniker Akabaka. A visual novel and JRPG blend influenced by Persona 3, it follows the protagonist as he awakens in a strange nightmare after a fall that should have ended his life. Amnesiac strangers are also trapped in this world for their own unique reasons. The haunting visuals filled with strong color contrast convey a tale filled with danger at every turn. Between a captivating and diverse cast, excellent monster designs, and a fast-paced battle system, Chromatose seems to be shaping up to be a gem of an indie game.

Watch Dogs 2

Watch Dogs 2 takes place in a fictionalized version of the San Francisco Bay Area and stars Marcus Holloway, a hacker who works with the hacking group DedSec to take down the city’s advanced surveillance system known as ctOS. Having the black hacker Marcus taking the lead role in this game adds a unique perspective on the plot that deals with fighting back in a system designed to strip away power and silence its citizens. Seeing him fight tirelessly and slowly gain traction against the city government is incredibly empowering and strengthens the overall narrative even more.

Murder By Numbers

For fans of the excellent Ace Attorney series comes an indie game with a similar approach to storytelling, over-the-top characters, and investigative gameplay. Murder By Numbers takes place in 1996 Los Angeles and stars Honor Mizrahi, an actress on a hit TV detective show. Unfortunately, her boss winds up dead just moments after he fires her and she finds herself forced to investigate his murder in order to secure her own innocence. Putting aside the harsh reality of black women being kicked out of their own careers, the game does well in emulating the fun and often ridiculous style of Ace Attorney while establishing its own charm. Much of that charm is attributed to Honor herself, who’s plucky, determined, and resourceful, as well as her interactions with her robot sidekick SCOUT. Murder By Numbers is a fun and lighthearted foray complimented by Picross-style puzzles that’s worth checking out.

Apex Legends

Seemingly (but officially unconfirmed) in response to the Overwatch controversy surrounding its lack of playable black women, the free-to-play Battle Royale game launched with two black women characters: Anita Williams and Ajay Che. Not only that, but these two were and still are front and center in the marketing of Apex Legends, which is very notable. While the game is light on lore (as games in this genre tend to be), both of them have very separate upbringings, personalities, and combat proficiencies. From what we know of them, they have well-fleshed-out motivations for why they fight. And I really love the touch that Ajay is a healer, an archetype you don’t tend to see associated with black women characters.

She Dreams Elsewhere

This indie title is a true rarity in that the entire party is black and stars a black woman protagonist. She Dreams Elsewhere is a surrealist adventure RPG where you traverse protagonist Thalia’s dreamscape along with her friends. She must come to grips with and confront her mental health conditions, and escape from a never-ending coma. One part Undertale, one part Persona, it’s a game made beautiful through its retro simplicity and haunting soundtrack that combines black music such as R&B, funk, and jazz. Not only do we have that level of diversity and culture, but the characters themselves–especially Thalia–are fleshed out and fully-developed. When pitted against the well-designed monsters using abilities grounded in reality, She Dreams Elsewhere truly ups the surrealism surrounding its setting and atmosphere.

EQQO

EQQO is a unique title, in terms of both its passive storytelling and gameplay, as well as the fact that it’s inspired by Ethiopian mythology. This game is the tale of a mother as she weaves a great story of her son born blind yet full of life and love. The puzzle-based exploration and gameplay is presented as a mythological legend slowly unfolding as the mother, playing as the narrator, tells it. Gorgeous orchestrated music complements the visuals in a harmony that gives even more depth to the narrative. Seeing this level of care and detail with a mythology that is rarely represented in gaming gives me hope that the future will bring more games like this one being created and given proper attention.

Cyberpunk 2077

It’s exceedingly rare to find a triple A title’s universe created by a black person, and yet the upcoming Cyberpunk 2077 is just that exception. Mike Pondsmith is best known for his work for the publisher R. Talsorian Games, where he developed a majority of the company’s roleplaying game lines. His most recent project is the collaboration between himself and CD Projekt Red, Cyberpunk 2077, which takes place in his own Cyberpunk RPG universe. Pondsmith’s involvement in the video game’s development mostly focuses on the game world aspect and mechanics as well as his general input, such as shooting a bulletproof backpack to test just how a bullet would react with it; for implementing in the game properly, of course.

Streets of Rage 4

The triumphant return of the wildly popular 2D side scrolling beat-em-up franchise, Streets of Rage 4 stars a cast almost entirely of black/POC fighters including newcomer Cherry Hunter. Wood Oak City falls under the control of a new crime syndicate led by Mr. X’s children, the Y Twins, who are planning on brainwashing the city with the use of hypnotic music. The plot, while simple, is a great excuse to beat up some mooks and the character designs, animation, and music are phenomenal. Also that’s not to mention that Cherry, Floyd Iraia, and Cherry’s father Adam Hunter are featured very prominently on the cover and the general advertising. It’s great to see a beat-em-up starring so many cool black characters.

Earthnight

A love letter to classic fast-paced 2D platformers (think Sonic the Hedgehog), Earthnight uses the genre to tell a tale of a bleak dragon apocalypse where humans have been exiled to space, forced to live in orbit above the planet. Protagonists Sydney and Stanley team up one day and decide to skydive back to Earth, taking out as many dragons as they can along the way. The 2D animations are breathtaking; everything from the ripples in their clothing, to the fluidity of their general movements, to the colorful and insane monsters that can take up nearly the entire screen are stunning. It’s clear there was a lot of love and effort put into this game. I also need to mention how much I love Sydney’s design and the way she’s front and center in the trailers. How can you beat a game that lets you fight dragons because a little girl and a dude had enough?

Broken Age

Broken Age released back in 2014 and 2015 as two separate acts by Double Fine and starred protagonists Vella Tartine and Shay Volta (played by Masasa Moyo and Elijah Wood, respectively). While initially their narratives are completely separate from each other, as the story unfolds you realize how intertwined they really are. What makes the storytelling so satisfying is that because the protagonists are kept separate for so long, their individual character arcs can develop in a satisfying way without interfering in the overall story. Vella, the young black girl, in particular had a very strong and compelling story worth experiencing. In Broken Age, seeing her deal with traumatic events as she fought back against a seemingly unavoidable force of destruction made for an excellent real-life comparison to black struggle.

Here are some honorable mentions of other games featuring black/POC characters that, though they didn’t make my list, are worth checking out:

Assassin’s Creed Origins

Half-Life: Alyx

Afterparty

Treachery in Beatdown City

Where the Water Tastes Like Wine

Dishonored: Death of the Outsider

Beyond Good and Evil

Remember Me

If you’re looking for more black indie talent, check out this Twitter thread as well as this one. For a huge directory of black game developers and their projects, check out the Black Game Developers website and consider supporting them.

And finally if you’re a Black, Asian, and/or Ethnic minority, Code Coven is offering scholarships for their Intro to Game Making Course, which will be open until June 10, 2020.

Are there any games or developers you know of that deserve a mention? Feel free to sound off in the comments!

June 9, 2020 2:30 PM EST

from EnterGamingXP https://entergamingxp.com/2020/06/celebrating-blackness-in-gamings-past-present-and-future/?utm_source=rss&utm_medium=rss&utm_campaign=celebrating-blackness-in-gamings-past-present-and-future

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jakelace · 6 years

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2017 IN FILM - PART 1 (84-71)

It’s the most wonderful time of the year again! No, not Christmas. It’s Awards Season, my friends. The time of year where we look back at the films that graced cinemas over the calendar year, and where, just like last year, I tell you all about every new movie I saw in that time. With the announcement of the Academy Awards nominees I’ve decided that we’ll begin our journey today with the worst of the worst that 2017 had to offer. Over the course of the year I saw 84 films. Some were good, some were bad, and still others had Emoji in the title, so without any further ado, my ranked list of every 2017 movie I’ve seen.

84. The Emoji Movie

“We’re number two! We’re number two!”

The Emoji Movie, despite being at the bottom of my rankings, is not the worst movie of 2017. That’s because this ninety minute misstep isn’t a film, it’s an advertisement. While it might seem silly to make such a distinction (there is a plot that actually makes a shred of sense, it’s at least feature length, etc.), it’s incredibly hard to get past just how often this advertisement detours from its central plot just to make a cheap and out of touch product placement for an outdated app like Candy Crush. The Emoji Movie’s greatest offense, however, is when it tries to capitalize on the inherent meme culture that surrounded itself from the pre-production stage by creating a new dance called ‘The Emoji Pop’, that I am absolutely certain they thought was going to catch on with the youth of the world. Sony Pictures Animation’s latest cash-grab is an unoriginal, unfunny, and morally questionable mess. At least the animation is decent?

83. Unforgettable

“There was a time when I thought we were on the road to getting back together...but then he met you.”

Here it is, my lowest rated film of 2017! While a lot of times a movie can be bad for being incoherent, unoriginal, or offensive, I often say that the worst sin a film can commit is being boring. Unforgettable commits that sin. While I can admire Rosario Dawson’s commitment to this truly awful retread of the “crazy ex-wife” trope that was popularized by every Lifetime movie ever, its Katherine Heigl’s performance that makes the film somewhat endurable. It’s over the top in all of the best “so bad it’s good” ways. After thirty minutes of being bored out of my mind I found the best way to get through this cinematic torture was to watch for the next hilariously overacted bit of poorly written dialogue that would come out of Heigl’s mouth. In the end though, you can’t blame her for trying to make the best out of such a predictable and horribly paced film. Unfortunately it would seem that Unforgettable is by far the most forgettable film of 2017.

82. Phoenix Forgotten

“I just want to apologize to Mike's mom, Josh's mom, and my mom. And I'm sorry to everyone.”

Do you remember Phoenix Forgotten? No? Neither do I...yes I know that’s two jokes about forgettable movies with some form of ‘forget’ in the title in a row, but I just couldn’t help myself. Just like the screenwriters for this film couldn’t help themselves from stealing every plot point in the movie from not only the 1999 horror classic The Blair Witch Project, but also taking several ideas from last year’s sequel; Blair Witch. It’s absolutely shameless how little originality can be found within the film’s eighty minute runtime. The film follows three college high-school students lost in the woods desert, searching for a witch aliens who terrorize a town, while footage from the present day follows the protagonist’s brother sister who is still haunted by the sudden disappearance of their sibling. All of this blatant plagiarism wouldn’t have even been so bad had the movie at least been decent, but who needs to make a good film when you can just ride on the coat tails of a horror film that is already beloved? No other release this year sparked such a passionately heated response from me which shocks myself the most considering I’m not even that big of a fan of The Blair Witch Project in the first place! Oh well...at least they don’t fight about a map in this one...or did they?

81. The Bye Bye Man

“Don’t think it! Don’t say it!”

If Phoenix Forgotten is horrible for being unoriginal, then The Bye Bye Man is horrible for being completely and laughably incompetent in every way. The entire film is based on the premise that if you say or think his name then he will come and...make you go bye-bye? The rules are completely unclear, and that’s a huge part of the problem. The threat of the Bye Bye Man (I seriously hate that name) is hindered by the fact that it’s impossible to understand what his powers are. Sometimes he can make our poorly acted main characters see things that aren’t really there. Sometimes he can possess them. Sometimes he can...make them impotent? Who encouraged the thought that that would be a good thing to include in their supernatural horror film? Like, I get it, erectile dysfunction is a serious and scary thing that affects more than three million American men every year, but it’s not really the kind of fear I’m looking for in a movie called The Bye Bye Man. I’d continue to discuss this one, but, I mean, it’s all in the name. Also in this scene from the movie. Enjoy.

80. Amityville: The Awakening

“God gave up on us, sweetheart...”

I had been watching the post-production and release of this film very closely for years before it was eventually released this past October. While that might not seem too out of the ordinary, you have to keep in mind that this was filmed in 2014. That is three years of reshoots and pushed back releases. However, when all seemed bleak and I thought I might never get the chance to watch what was sure to be a glorious train wreck, the film was released to own for free on the Google Play store. However, even with my rock bottom expectations, I was still disappointed by Amityville: The Awakening. While I was expecting something laughably bad, what I got was an end product that was more boring than anything else. And while I haven’t seen any of the other films in the Amityville franchise, I can’t help but feel contempt for its continued use of a real family’s suffering all in the name of making money. I guess it’s a good thing this one only made $742 dollars on its opening weekend then, yeah?

79. Wish Upon

“Hold up, you dig on multiverses?”

One shot. I liked one shot in this entire movie. Everything else is lazily written drivel. It’s not all that hard to get me on board for a movie with Final Destination style deaths. I love how silly and over-the-top those films are, and I’ve always thought that bringing that style of Rube Goldberg death traps into more films could provide for entertaining new ideas. This movie has none of that. Its biggest offenses, however, come when it also tries to tackle the well-worn “be careful what you wish for” message. Besides the weird moment where Joey King’s character wishes that her dad would become cooler which then in turn leads to her friend wanting to to sleep with him, the moral of the story is so trite at this point that even adding a horror element into the mix can’t save this from being nothing but bland. Looks like the director should have wished for a better movie.

78. Rings

“There's a mark on your hand. It says ‘rebirth’.”

If Rings was an attempt to bring the horror franchise into modern technology by presenting Samara’s video as a metaphorical computer virus, or even commenting on the state of internet content as a whole, then this movie completely fails on that front. Seriously, the only time this movie even brings that aspect into play is in the last two minutes of the film. No joke. Everything else up to that point is a senseless retread of the previous two American films in the franchise. On top of that, it is easy to tell that Rings fell victim to countless reshoots and rewrites. There is no finer example of that than the fact that this film has two cold opens. It’s almost as though they had the plane cold open (the one from all of the trailers) from a previous version of the movie and thought it was just so good that they couldn’t leave it on the cutting room floor. If it were up to me I would have left the entire film on the cutting room floor.

77. The Mummy

“Sometimes it does take a monster to fight a monster.”

How do you kill an entire cinematic universe in one fell swoop? Ask The Mummy. Sure, that might be a low blow, but The Mummy is one of the most sorry excuses for a blockbuster I’ve ever seen. When the entire conflict of your entire supernatural action flick can be boiled down to ‘who would Tom Cruise rather sleep with? A mummy or an alive woman’ you know you went wrong somewhere down the line. The worst part about this is that there are moments where you can see where they’re coming from and what they’re trying to accomplish, but they just can’t seem to make any logical sense of it. Scenes are often rushed or dragged on for far too long and it becomes clear that nobody involved had any grasp on how a film should be paced...or written...or acted...or made at all.

76. Rock Dog

“Dad, I’ve decided to become a musician.”

I barely remember this movie. There is a dog. He shoots lasers out of his hands (not kidding). He rocks I’m guessing. I know I watched this, but everything about it was so generic and well-worn that I felt like I had seen this before, just done a lot better. I had never seen laser dog hands before though. Sure the moral about following your dreams and standing up for what you believe in is good, but when it comes to children’s entertainment you can do so much better. Unless you want to see a dog shoot lasers out of his hands. This movie has got you covered on that.

75. Fist Fight

“Teachers can’t fight!”

I wanted to really enjoy Fist Fight. It’s filled to the brim with actors I find quite funny, like Charlie Day, Jillian Bell, and Kumail Nanjiani, but it’s hard for these comedic talents to find anything to work with when the plot for the film is so bare-bones. Outside of the original comedic value in thinking of teachers fist fighting in the schoolyard, it’s hard to find much else to do with that premise. Nothing speaks more to the failure of this film than the fact that I didn’t laugh even once. The story is dumb, the jokes are played out, and worst of all the director wastes some of the best comedic actors in the industry on a movie that barely even functions.

74. Split

“Someone's coming for you, and you're not gonna like it.”

Controversial Opinion Alert! When I first saw Split I felt like I was alone on my island of disapproval of this film. The world seemed to be completely sold on M. Night Shyamalan’s most recent directorial endeavor, but something just felt off to me about it. It took me a few months and discussions with my friend Aaron when he finally cracked the case wide open; while everyone was expecting the film to vilify individuals with mental illness, the exact opposite comes true in the final act. Split goes so far as to glorify mental illness and being ‘broken’ in a way that feels unbelievably gross to me. If you want to read more of my thoughts about the exposition-heavy writing side of the film you can do so here, but I can’t even begin to explain how horrible of a message this is, so let’s just move on, shall we?

73. Sandy Wexler

“You can’t stop a shooting star, scientists have proven this.”

If it weren’t for its ungodly long runtime and constant detours into meaningless garbage, Sandy Wexler might actually be alright. In fact, this film does something that an Adam Sandler film hasn’t done for a very long time: it made me laugh. Sure it was just once and every other attempt at humor is just as overdone and juvenile as anything else he’s made, but a small step in the right direction is still a step. Last year for my ‘year in review’ I covered another Adam Sandler flick called The Do-Over, and in that mini review I called Sandler’s recent string of films a downward spiral in quality and ability. Now, if that was true, then Sandy Wexler is the first step towards getting out of that creative hole he’s found himself in. What can I say? I’m an optimist.

72. Despicable Me 3

“You told me my father died of disappointment the day I was born!”

Despicable Three (yes I’m calling it that and there is nothing anyone can do to stop me) is the same brand of gutter trash we’ve come to expect from Illumination Studios. The story is nonsensical, the animation is sinfully simplistic, and the Minions...my god...the Minions. Once again, I have to ask how Illumination Studios have become so popular with American audiences? I truly do not understand. Every character, every plot line, every joke feels focus tested to death. There is no originality in any of these frames. The heart and soul of the original is gone and replaced with Minions merchandise. Every decision seems to be based around how merchandisable they can make every second of their sensory overloading piece of garbage they have the nerve to call a film. I hate Despicable Three and everything it stands for. That being said, I love hearing Trey Parker’s voice come out of a children’s cartoon.

71. The Circle

“Knowing is good, but knowing everything is better.”

I love how much I hate The Circle. If you’re looking for a basic description of what this YA fiction masterpiece in preaching is all about, then imagine Black Mirror, but remove all of the subtlety and nuance about a world run by tech and replace it with a caveman grunting “technology bad.” There you have it, a screenplay worthy of Tom Hanks and Emma Watson’s time and talent. Just kidding. Why would they ever agree to this? Maybe they too hate the dangers of social media so much that they can look past all the good it can do. The worst part about it all though is that the film constantly insults the intelligence of its audience by claiming that there is no healthy middle ground to take between being completely obsessed with technology and living off the grid entirely. Which reminds me? Why are you reading this online? Go make weird deer antler ornaments or something you tech junkie.

That’s all for today, but join me tomorrow as I cover three bombastic blockbusters, two unsettlingly bad thrillers, and one movie about a baby that’s also a boss...no hints.

#the emoji movie #Unforgettable #Phoenix Forgotten #The Bye Bye Man #amityville the awakening #Wish Upon #rings #The Mummy #Rock Dog #Fist Fight #Split #Sandy Wexler #Despicable Me 3 #The Circle

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canvaswolfdoll · 6 years

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CanvasWatches: Stranger Things

I am super late to the Stranger Things… thing, and it took the premier of the second season and an unexpected stretch of free time to finally sit down and watch it. Even then, it took me a couple extra weeks.

I’ve been a critic of Netflix’s binge-focused release format. Not because I don’t enjoy a good binge watch from time to time, but because I like the freedom to choose when I take a break. When bingeing a show formatted for segmented release, each episode tends to be written in such a way as to let the audience comfortably wait a week, either because the narrative is one and done, or by carefully pacing the series to allow it to hold up with a time gap between episodes.

Also, everyone was raving about Stranger Things, which induced some hype poisoning, and I was born after the 80s died, so I don’t really have any nostalgia for the era. Besides Back to the Future and Ghostbusters, I never really watched much 80s media.

Plus everyone was so excited by how the show featured D&D. There are very few D&D-centered episodes that I like, as such depictions always fall short of my expectations.[1]

Besides one groan worthy aspect in season 2[2], I was actually pleasantly surprised by how the show handled the subject: by making it a casual part of the kids’ lives. Season One opens with a game, and closes with a game, and it’s sometimes used to color dialogue, but it’s never in focus, which is good. Hobbies should color characters, not define them.

The actual plot of season 1 was well written, and uses the only plausible excuse for characters not telling each other vital information: by segmenting the plot between three groups that have no reason to interact until the plot threads run together.

Sure, Chief Hopper maybe should’ve been keeping Joyce appraised a little more often, but he was also busy, so I can give that a pass.

Oddly, beside Eleven, I didn’t actually care about the Kids’ plotline. They’re well cast, don’t get me wrong, but the argument over what to do once El enters their lives just runs in circles until the other two plotlines convene, and I just wasn’t particularly invested in them.

And the teens are likewise dull until Nancy and Jon start proactively hunting the eldritch horror. And even then, it’s plagued by gross High School Romance drama. I don’t care who Nancy starts dating, I want to know what’s up with the supernatural weirdness and the effects that has on people.

Which, of course, leaves Hopper and Joyce to be the ones to pull me through. Also Eleven’s flashbacks. You know, the parts showcasing and developing the things that are strange.

The first season is, mercifully, a rare example of a well-executed secrets plot. The mystery’s set off by Will’s disappearance, a strong inciting incident that gets three different casts going down three different plotlines until convening at the end.

Because of the nature of who the characters are and the methods they use to accomplish their goals, they’re kept separate not because of tedious secrets kept to ‘protect’ others, but because they just don’t have any reason to interact.

Hopper and Joyce’s efforts to find Will lead to the Government Conspiracy, and they are unaware of Eleven’s existence for most of it. Eleven is (rightfully) afraid of the Energy Research place, and doesn’t trust adults because of it, making it reasonable the kids wouldn’t know. The teens (once they get past the dumb romance drama) are trying to find Barb, who no one else cares is missing.

The moment the three groups learn they’ve been pursuing different sides of the same puzzle, they work together and share information without fuss. Then they split again when their goals lead in different directions. Hopper and Joyce don’t want to put the kids in danger when they go to confront the big bad; the kids continue to protect Eleven; the teens seek revenge on the demogorgon.

And all three contribute to the resolution.

Then the second season opens, and Hopper, who I loved for being a reasonable protagonist, betrays my trust. Eleven’s hurting being separated from her friends and her friends are hurting not knowing her fate.

A problem easily solved if Hopper just told Mike “Hey, Eleven’s with me, she’s safe, but I’m keeping her out of the public eye. I’ll try to arrange some visits, but they can’t be frequent. Here’s a morse code info card, and a frequency. Don’t keep each other up too late, and don’t tell anyone who hasn’t already met her.”

There, Eleven’s got some social stimulation, no one’s pining, and everyone knows where things stand.

They all worked together for season one’s finale. Hopper’s actions are inexcusable.

Hopper went from my favorite character to one of the most annoying.

As a whole, the first season felt much more tightly written than the second. The first balanced the eldritch horror and psychic powers sufficiently well.

The second advanced and built upon the Upside Down in exciting ways, including a giant central intelligence to the whole place. Confirmation that, instead of just a decaying world to mirror our own, the entire place is a single malevolent entity, represented by an enormous, alien being. I love what is being done with the Upside Down.

Then there’s ‘The Lost Sister’. Which is… the episode literally doesn’t fit. Eleven leaves, seeking her mother. Okay, good development. This leads to some new exposition of what Eleven’s young life was like. That’s good! Slowly exploring that works for the show! Introducing another test subject in the form of ‘8’. Logical, since Eleven is, well, number Eleven.

Elle/Jane goes looking for this mystery girl. That’s where the show goes off the rails. Not that Eleven searching for others like her isn’t a fair plotline, but it literally takes the show away from Hawkins and all the endearing characters we’ve met.

It’s a filler episode, and it turns Eleven from ‘Oddity with connection to the Eldritch’ to ‘Blossoming superhero’ which… Stranger Things wasn’t a superhero show. It’s a mystery and thriller. It’s an episode so divorced from the other eight episodes, you can literally skip it and lose nothing.

Kali’s gang has no redeeming features. They’re criminals and murderers, plain and simple. Elle finds them, establishes a connection with Kali, and then it’s just a ‘Good Character is lead down a dark path before leaving’ plot. It adds nothing.

And Kali has a different power set from Eleven, deepening the Superhero aspect where each mutant has a different power. If, instead, Kali had the same (but weaker) Psionic powers I might take her inclusion better.

But, worse still, none of it has anything to do with the rest of the plot, even when it would’ve been easy to integrate, though that probably would require more time.

Kali’s gang, as mentioned, are bad people. Send them rocking into Hawkins in search of a place to lie low while the heat dies off, maybe induct Billy Hargrove… maybe they could find a space.

Actually, no, nevermind. They’d still be a distraction. It’s a series that works on the strength of it’s dynamic characters. Suddenly hamfisting in Kali and company would strain that.

In fact, I’m not sure searching out numbers 1 through 10 (maybe 12) will ever work, because that would imply a road trip season, which would suck because we’d see less Hawkins in favor of Scooby-Doo’ing up the series.

So keep the fates of the previous ten test subjects a mystery. They were experiments that failed. And considering how much hullabaloo Eleven’s escape caused in the first season, Eight getting away without any remark until now is ridiculous.

It… just doesn’t work. It’s too Kyle XY.

So, let’s take some metaphorical scissors, snip after episode 206, and before 208, remove the middle episode, and drop it out a window. It’s gone, hopefully never to return to hurt us.

Keeping Eleven separated from the rest of the cast for most of the season is the greatest sin of the second season.

Having strong characterization can only go so far if you limit who characters interact with. Segmenting the cast by age groups in the first season was fine as we were meeting the characters, so we need to learn about them in their preferred environment and when normality is interrupted. They come together at the end and cooperate to save the day, an experience shared by all. Mike and Nancy even have a heart-to-heart about how they won’t keep secrets from another. Real touching stuff.

For the second season, besides needing to flesh out the now present Will, we know the cast. So the fun should come from now intermingling the cast. Have Nancy consult Mike about getting hashtag Justice for Barb; Jonathan and Steve becoming romantic mentors to Lucas and Dustin;[3] Hopper becoming an unwilling paternal figure to the party; and show Eleven adjusting to the Real World.

Instead, Eleven only interacts with Hopper all season, and, yes, Daddy Hopper is adorable, though he should maybe try and remember he’s caring for a socially stunted psychic before he starts yelling. Maybe have him start yelling, Eleven gets mad, one bookshelf falls over, both stop to look at this reaction, then Hopper runs both of them through the deep breathing exercise from the end of Season One before talking it through.

Eleven and Hopper’s arc should’ve been about learning to trust in a scary world, instead of… whatever they were going for. And giving her limited interaction with her friends would’ve allowed for this growth, as the party would first have to coax her out of the cottage, and then she’d have firmer ground to question Hopper keeping her cooped up.

And I so love fish out of water stories. Learning what money is and asking Hopper for an allowance? Stumbling about and learning not to assault people who offend her?[4] Being the first kid to form a bond with Bob? All would’ve been nice to watch happen.

Also, Bob was… okay. He didn’t leave much of an impression on me for a generically nice man. They should’ve worked the ‘Bob founded the AV Club’ thing in way sooner, so it wasn’t an awkward line shoved in after his death to retcon in stakes for The Party. It was awkward.

Also, no one else wearing costumes is the least realistic thing. After my 13 years of public school, I know that would never happen.

It’s not all bad, let’s be clear. Upping the threat of the Upside Down and giving it a central intelligence was good, as was expanding on the Demogorgon lifecycle to bring in a nice Alien touch. The tunnels made the threat feel more immediate, and explained the pockets of Upside Down that broke out in season 1. Max is… promising. Hopefully she’ll get more of a concrete arc going forward, but she’s got a good start.

So, in summation, I liked Season 1, and 2 was as enjoyable with a few missteps that hopefully won’t be forced back in. My one fear is that they’re going to put the Mind Flayer on the back burner and spend the next season on the less interesting ‘Other Test Subjects’ plotline. We’re heading towards the end of the Superhero Media boom, while I can’t think of many properties that focus on themes of eldritch and inhuman intelligences that the Mind Flayer and Upside Down presents.

Still, when Stranger Things 3 arrives, I’ll watch as eagerly as anyone else.

If you enjoyed this review, may I suggest to trawl through my archive to see if you enjoy my other works? (The CanvasReviews tag should give you a good start). Also, feel free to send me messages and question. I also have a Patreon, if that’s your sort of thing.

Kataal kataal.

[1] Yes, even Community’s much beloved take. There was no passion in it and it was weighed down by the ‘One Character for all games’ and ‘Dice results dictate everything’ concepts that makes zero sense. [2] How can you forget about Rogues, you idiots? It’s literally the best class! [3] I will go on record: if you sit me through a tired love triangle, but follow it up by having two corners advise on a new love triangle, I will be on board for that absurdity. [4] For context, my ideal ending of the the show is the town just transitions into casually accepting that, sometimes, eldritch horrors pop up, and just deal with them casually.

#CanvasWatches #stranger things #CanvasReviews

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comfy-precision · 6 years

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It Came Upon the Midnight Clear (1984)

Plot Summary:

Mike Halligan is a retired police detective from New York who moved in with his daughter's family in California after his wife died. On the day before he was going to visit New York with his grandson Robby, Mike dies and his spirit goes to Heaven. In Heaven, the angels allow Mike to come back to life to complete his trip to New York, on the condition he search for a missing angel while he's there.

The angel, Wiley Boggs, was tasked with spreading Christmas cheer across New York City, but finds this more difficult than usual and gives up. When Mike finds the angel and learns that he cannot do his job, Mike decides to spread Christmas cheer on his own.

Mike crashes a local news report about the lack of festivity in New York City, instructing the viewers that they must make their own Christmas cheer. A crowd forms around Mike, who he leads in singing Christmas carols. At midnight on Christmas Eve, Mike dies again, this time for good.

Unusually Direct Reference to Christianity:

Basically the entire movie. God, Heaven, Angels, churches, and Christmas carols that reference the birth of Christ are typically absent from most Christmas movies, and this one's got all of that in spades. It's far more fascinated with the afterlife and the cultural impact of faith than Santa Claus or Christmas cheer.

Bad Medicine:

When Mike first dies at the beginning of the film, Robby’s mother calls an ambulance. Perhaps to make Mike’s recovery seem more miraculous, the paramedics are shocked that Mike’s heart would start beating again a few moments after it stopped.

Robby’s father Richard doesn’t even believe Mike really had a heart attack, accusing Mike of having “faked” it. Robby’s mother, on the other hand, seems to believe that while the heart attack was real, Mike’s recovery could only have been a supernatural event.

Raising the Red Flag:

Mike's son-in-law Richard questions the stability of Mike's mental health, and with good reason. When first waking up after his heart attack, Mike declares to his family that he is now on a "mission from Heaven," and explains the rest of his vision of Heaven offscreen.

Based on this, Robby's parents decide that Mike isn't in a condition to travel alone with his grandson and call off their trip to New York. Mike believes that this is just because they "don't believe in angels."

After Mike and Robby's trip to New York is called off, Mike convinces Robby to go to New York with him anyway. I don't think it's at all inaccurate or unfair for Richard to say that Mike "kidnapped" Robby.

Keep It In the Family:

When Richard discovers that Mike has flown to New York with Robby, Richard books a flight to New York the rest of the family to bring them home. If Richard felt that Mike was mentally unstable and had “kidnapped” his son, why didn’t he just call the police?

Grandpa Knows Best:

Once the rest of Robby’s family arrives in New York, where they can keep an eye on Robby and his grandfather, Richard decides to turn it into an impromptu family vacation. Richard ends up having a good time, and deciding that the whole “angel” conceit was some sort of brilliant plan on Mike’s part to bring the family together for the holidays.

The Cultural Loop:

Once again we have a Christmas movie that portrays a relationship between strong religious faith, celebrating Christmas, and kindness. It's understood by multiple characters that the majority of New Yorkers celebrate Christmas, and are traditionally much nicer to each other during the Christmas season.

This year the New York City government has cancelled a Christmas parade to trim their budget and banned Christmas lights in the interest of conserving energy.

And at the same time that celebrating Christmas in New York has been severely restrained, multiple characters observe that New Yorkers are being uncharacteristically mean to each other.

Likewise, secularism is shown to obstruct very real supernatural forces that make life better for everyone: Wiley Boggs, the angel in charge of spreading Christmas cheer in New York, is placed in a mental hospital for claiming to be an angel.

It Was a Different Time:

Christmas movies from the 1980s have their own trends. I've only reviewed two others so far -- A Hobo's Christmas and It Nearly Wasn't Christmas -- but they're all remarkably similar. Here's how they compare:

All of the protagonists are older men. Two are grandfathers, and the other is Santa Claus. Although their mental fitness is doubted by younger adults, the wisdom of their old-fashioned ways is eventually accepted.

All three films feature themes of economic hardship. A Hobo's Christmas and It Nearly Wasn't Christmas both feature fathers who leave their families in search of work, and are too ashamed to return having failed to find it. In this film, the government of New York City is cutting its budget, and a local journalist believes the city government might be seeking another federal bailout.

In this film and It Nearly Wasn't Christmas, the protagonist discovers a United States which has become more secular, more cynical, and more unkind than they remember it.

As in It Nearly Wasn't Christmas, a personal computer plays an important role in the story and the appliance is treated as something of a novelty. In this film, Mike's old precinct uses a computer to look up Wiley Boggs, the missing angel.

The Saddest Christmas Movie?

I don't think I've ever seen a Christmas movie this grim. In the first ten minutes, it shows a grandfather dying.

Even though Mike comes back to life, it's only until Christmas, so that he can find a missing angel and go on one last trip with his grandson. At one point in the film, Mike muses about how he knows he's about to die, and attempts to make peace with the fact and comfort his grandson.

Then there's the angel who finds it so impossible bring holiday cheer the mortal world that he drowns his sorrows in alcohol.

Mike's speech that rouses the masses to find their Christmas cheer is pretty downbeat as well. Mike angrily tells the viewers of a local news broadcast that "you've let me down ... you've all given up." He howls a demand for them all to "sing your favorite carol... SING!"

Then the film ends with Mike dying again, this time permanently, at the stroke of midnight on Christmas Eve.

#christmas #it came upon the midnight clear #mickey rooney

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eyeofhorus237 · 5 years

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Derry is a fictional town and a part of Stephen King's fictional Maine topography. Derry has served as the setting for a number of his novels, novellas, and short stories. Derry first appeared in King's 1981 short story "The Bird and the Album" and has reappeared as late as his 2011 novel 11/22/63 (see list below). Derry is said to be near Bangor, but King has acknowledged that Derry is actually his portrayal of Bangor.[1] A map on King's official website, though, places Derry in the vicinity of the town of Etna.[2]

King, a native of Durham, Maine, created a trinity of fictional Maine towns—Derry, Castle Rock and Jerusalem's Lot—as central settings in more than one work.

Locations Within Derry

The House on 29 Neibolt Street

On several occasions in It, the Losers find themselves at 29 Neibolt Street, a run-down, abandoned house near the trainyard. It's here where Eddie Kaspbrak first encounters It, which shows itself as a mix between a homeless leper and its familiar Pennywise form. Later, after Eddie tells them his story, Bill and Richie go to investigate the house and are chased off by It, the creature having taken the form of a werewolf.

Soon after these incidents, the Losers Club goes back to the house in hopes of confronting It. However, as soon after they confront It, the creature disappears into the sewers through a toilet pipe. They therefore decide to enter the sewers for their first showdown with It.

During It's 1985 killing spree, the body of one of the creature's victims is found directly across the street from the house.

In the 2017 adaptation, 29 Neibolt Street is stated to be built on the well house that leads to It's lair and is a central hub for the town's sewer system. It's also the place where the children It gets meet the dead lights and ' Float too'

The Barrens

The Barrens are a small tract of land still heavily covered in trees and plant life. Derry's landfill is located here, as is a gravel pit and several sewer pump-stations. The Barrens play the most prominent role in It, as the Losers adopt them as their home away from home, even building an underground clubhouse there. Most of the Losers have their first meeting here while trying to build a small dam in the Kenduskeag Stream, which runs through the Barrens, and next to Derry.

The Canal

A section of the Kenduskeag that runs through downtown Derry. The canal goes through a tunnel under the streets for a short way and comes out in Bassey Park. In January 1958, a young Ben Hanscom first encounters It walking on top of the frozen surface.

Derry Civic Center

The Derry Civic Center is a recent structure built after the old civic center was destroyed in the 1985 flood. It was designed by famed architect (and one-time Derry resident) Ben Hanscom. It plays an important role in the events of the novel Insomnia. The Crimson King, the supervillain of King's Dark Tower series, planned to use Ed Deepneau to fly into the Civic Center on a kamikaze mission, using a small plane armed with C4 explosives. The aim of this mission was not to kill the people inside the Center, but to kill a child named Patrick Danville, who plays a key role in the Dark Tower story. Following an encounter with the Crimson King himself, Ralph Roberts and Lois Chasse force Deepneau to crash the plane in the Center's parking lot. Several people are killed, but Danville is ultimately saved.

Kitchener Ironworks

The Kitchener Ironworks was an ironworks outside of Derry. In 1906, despite every machine in the works having been shut completely down, the Ironworks inexplicably exploded, killing a group of 88 children and 102 total people who were participating in an Easter egg hunt. The tragedy was caused by It sabotaging the equipment, presumed to be responsible for eight missing bodies. This marked the beginning of the creature's twenty-seven-year hibernation period. It is at the ruins of the Kitchener Ironworks where a young Mike Hanlon first encounters It in the form of a giant bird in 1958.

In the 2017 adaptation, Ben Hanscom first encounters It in form of a headless child that was among the victims of the Kitchener Ironworks incident.

The Standpipe

The Standpipe was a large watertower in Derry, very similar to the Thomas Hill Standpipe. In its earlier days, it remained unlocked so that patrons of an adjoining park could climb a spiral staircase around the tank to look out over Derry from the top. The Standpipe was closed to the public after several children drowned in the tank, most likely the fault of It. The Standpipe is where Stan Uris first encounters It, which takes the form of drowned children.

After the grown-up Losers Club kills It in the second Ritual Of Chüd in 1985, a huge storm ensues, destroying many buildings and landmarks in Derry, including the Standpipe. In Dreamcatcher, Mr. Gray drives to Derry to find the Standpipe, only to discover a memorial featuring a cast-bronze statue of two children and a plaque underneath, dedicated to the victims of the 1985 flood and of It. The plaque has been vandalized with graffiti reading, "PENNYWISE LIVES." In 11/22/63, Jake Epping buys a pillow with a picture of the standpipe on it. He hides a gun in it, the gun he uses to kill Frank Dunning.

Tracker Brothers Shipping

According to It, the Tracker Brothers were two men who owned a trucking depot on Kansas Street during It's 1958 killing spree. The brothers maintained a baseball field behind the depot for children to play on. In Dreamcatcher, Jonesy, The Beav, Henry, and Pete first meet Duddits in the depot's parking lot in 1978 (at which time the depot has closed), saving him from a gang of bullies. In 1985, while visiting the abandoned depot, Eddie Kaspbrak encounters Pennywise for the first time since his childhood. The depot was destroyed in the same 1985 storm that destroyed the Standpipe.

Voigt Field

In The Running Man, a Richard Bachman novella set in a dystopian future, Derry is home to a large airport consisting of acres of parking lots, a huge "Northern States Terminal", several runways with the capacity to support large widebody aircraft, and a large fuel tank farm. Ben Richards, the novella's protagonist, arrives here by car and is allowed to board a "Lockheed GA/Superbird" by bluffing that he has enough plastic explosive with him to blow up the entire complex.

Works set in Derry

It (1986)

Insomnia (1994)

Bag of Bones (1998) (partial)

The Road Virus Heads North (1999) (partial) (short story which appears in Everything's Eventual)

Dreamcatcher (2001)

Fair Extension (2010)

11/22/63 (partially) (2011)

It (2017)

Works referring to Derry

The Running Man (1982)

The Body (1982) (novella which appears in Different Seasons)

Pet Sematary (1983)

"Uncle Otto's Truck" (1983) (short story which appears in Skeleton Crew)

"Mrs. Todd's Shortcut" (1984) (short story which appears in Skeleton Crew)

The Tommyknockers (1987)

Misery (1987)

"The Night Flier" (1988)

Secret Window, Secret Garden (1990) (novella published in the collection Four past Midnight)

Needful Things (1991)

Gerald's Game (1992)

"Autopsy Room Four" (1997)

Hearts in Atlantis (1999)

Storm of the Century (1999)

The Dark Tower VII: The Dark Tower (2004)

Lisey's Story (2006)

"Mute" (2007)

Under the Dome (2009)

Full Dark, No Stars (2010)

11/22/63 (2011)

Pet Semetary (2019)

#horror film

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philaprint · 7 years

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Threshold of Revelation: A Disabled Queer Killjoy on National Themes

By Bani Amor

"Like failure, chaos contains information that can lead to knowledge—even wisdom. Like art." - Toni Morrison

I lay in a fetal-ish position on the floor of my little sister’s room, reaching beyond the tethers of immobilization for a pillow to slowly slide between my thighs. It feels like I’m stuffed in some invisible box or bound by powers only I can’t see and all I can really do is cradle my phone in my hands, so I open Twitter and see that the Senate has taken its first step in gutting the Affordable Care Act. I exhale - carefully, to avoid triggering the piercing pain radiating from the root of my spine - and think to myself, “That’s America. It’s just no country for the infirm,” a line from one of my all-time favorite plays, Angels In America: A Gay Fantasia on National Themes, before dropping my phone, the rough coils of the hideous pink carpet the only sight staring back at me now.

Seeing as surreal was the most-searched word of 2016, it’s clear that the collective experience of chaos demands a deeper inquiry into the nature of reality, one that lies at the center of one of the best scenes from Mike Nichols’ 2003 TV adaptation of Tony Kushner’s 1993 play about a group of people struggling with faith during the AIDS epidemic in Reagan-era New York, and it takes place in our protagonist’s dream. In it, Prior Walter applies stolen makeup to his face before a vanity to distract himself from the Kaposi’s sarcoma lesions forming on his flesh. But the reality of his condition tears into his dreamscape (“You know you’ve hit rock bottom when even drag is a drag,”) and with it, enters Harper, a Valium-addicted housewife in the middle of a hallucination, and together they discuss the insight that comes with being pushed to the margins of reality, but only after lamenting the limits of the imagination. See, a scene like this shouldn’t even exist. Aren’t killjoys cardinally opposed to the acts of dreaming and dissociation? (Asking for a friend.)

I binge the entire six-hour HBO special whenever the flare-ups of chronic illness keep me floor-ridden and there’s nothing to do but just cry and feel sorry for myself over the sad state of my corporeality and the hurdles to healing our ableist society props up, one after another, until they blur in the distance. Each time, I wonder why the blunt force of the horrors that Angels portrays comforts me, like the moment Prior semi-consoles a crying Harper, saying “I usually say ‘fuck the truth,’ but usually, the truth fucks you.” Maybe I’ve lost the ability to dream, because, as Harper says, “Imagination can’t create anything new.” There is no world in which I don’t feel the tingly choke of nerve damage in my hand and arm, the dull, non-stop ache in the entirety of my upper-right body, the constant stab in my lower back, cold and clear like a depressing winter sky; no world in which I’m not bipolar and dependent upon Medicaid for treatment. None in which HIV/AIDS doesn’t exist. Even in the dream realm. “The world - finite. Terribly, terribly,” Harper concludes.

Yet then again, the scene itself is a testament that reality and unreality aren’t binary domains. Prior apologizes to Harper for hosting such a depressing hallucination, to which she responds, “I can’t expect someone who’s really sick to entertain me.” He’s taken aback, wondering how she saw through his facade. “Oh, that happens. This is the very threshold of revelation sometimes; you can see things.” It reminded me of Junot Díaz’s essay on apocalypse just after Haiti was hit with that devastating earthquake in 2010, in which he quotes Roethke: “In a dark time, the eye begins to see,” before concluding on his own that “apocalypse is a darkness that gives us light.” It also reminded me of Toni Morrison’s essay on chaos published in The Nation just after George W. Bush won a second term as president, called No Place For Self-Pity, No Room For Fear, in which she writes, “This is precisely the time when artists go to work.” This has been re-circulating in light of Donald Trump’s election win, and it’s no wonder why. I don’t know what it’s like to be white and completely flabbergasted right now. I don’t know what it’s like to be my moms and feel continually betrayed by the country she immigrated to, don’t know what it’s like to be Black or Native American with Trump or without Trump. I just know that I went to work.

The racialization of light vs. darkness as metaphor is being subverted right at this political moment, when white people have gotten themselves into such deep shit that they turn to Black saviors to fix it all, when they’re terrified of being plunged into a darkness so total that they can’t conceive of living through it, because they are ill-equipped to live lives without the concept of Hope™. It takes from ten minutes to several hours for a human’s eyes to adjust to the dark but for some, it’s been centuries. This couldn’t be more evident in Angels in America, whose only non-white and most femme character, Belize, seems to hold all the answers to the problems of the fledgling white gay men orbiting him. At the funeral for a Black drag legend, Prior is morose as hell, dressed in all-black, while Belize is outfitted in sparkly, colorful fabrics, singing along with the choir. Throughout the mini-series, the white characters are scattering to contend with the apocalypse while Belize just lives his life, his back turned to Central Park’s Angel of Bethesda water fountain while rain pours over him in a pivotal scene, declaring with a dead stare, “I hate America.”

In another central scene, Prior’s ex Louis is whitesplaining American racial politics in a breakneck rant to Belize as he shifts uncomfortably across from him in the corner booth of a Manhattan diner. A depressing winter sky hangs above them. The actors portraying these characters are straight men - a junior Ben Shenkman facing off against the seasoned prowess of Jeffrey Knight. “Ultimately, race here is a political question. Racists just try to use race here as a tool in a political struggle - it’s not really about race,” Louis says. “There are no angels in America, no spiritual past, no racial past, there’s only the political.” Belize then calls Louis’s little speech “racist bullshit” and his response is immediate: “I. Am. Not. A. Racist. So maybe I am a racist.” He barely breathes between the two statements. He is white liberal guilt personified and performed. I wonder what has changed and the answer comes to me once Angels ends.

In the play, the TV adaptation and in the United States at large, the face of HIV/AIDS is a white middle-class gay man. Watching it, I - a low-income disabled queer gender-nonconforming person of color - have so many questions, like how Prior can afford his endless stream of meds, how he can afford not to work and live alone in the West Village; how he avoids being discriminated against within the medical complex. While we collectively watch the dismembering of the Affordable Care Act, a piece of legislation that was insufficient in a healthcare system that’s world-renowned for its lack of humanity, in 2017, the face of disability is white. The face of “the LGBT community” is white. But how can the face of HIV/AIDS possibly remain white, over three decades after its outbreak in the US, despite all evidence to the contrary? To quote Shernell “Toni” Sells of the South Carolina HIV/AIDS Council, “You know back in the day, they used to say this is a white gay disease?” she asked a Black female patient in the 2015 documentary Wilhemina’s War, shaking her head. “Guess who the face of HIV is now? Me and you.” I wonder if the white disabled and “LGBT” communities see Black southerners, women and queer people in particular, as the face, or even a part, of their movements; of their work to save ACA.

It did not take a Trump presidency for me to realize that my enemy sees me more than my purported ally ever will. I was just a tween when my moms begged a white man in a Florida Medicaid office for coverage for her three children. The eldest in a wheelchair, having grown up in hood hospitals, the middle one institutionalized for a suicide attempt, the baby suffering epileptic seizures that would leave her with irreversible brain damage. He robotically denied her as she openly cried.

That’s America. It’s just no country for the infirm.

https://www.philadelphiaprintworks.com/blogs/news/threshold-of-revelation-a-disabled-queer-killjoy-on-national-themes

#Angels in America #Disability #Queer #Affordable Care Act #ACA #philaprint

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