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elionwriter · 2 years

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SW FALL OF THE JEDI

So, I just wanted to write a post on why I think taking Luke in the direction of the sequels is an absolute mistake, why it makes no sense for his character and why I believe the Jedi code REALLY should have rephrased or at least specified more its 'no attachment rule'.

I guess the really basic reason for the first point is: why would you go there when that's the thing EVERYONE, including Mark Hamill himself, hated of the sequels. Even those who liked the sequels didn't appreciate it. Luke's portrayal in TLJ is just plain bad, so why would someone set up themselves to turn a good character into a decisively bad and ooc one? I guess they are trying to do with him what they did with Anakin in the Clone Wars.

Let's remember that when the Prequels came out, there was a huge whiplash for how Anakin was portrayed and how he evolved into Vader. But not only did people adjust to it, we had 7 seasons of the amazing Clone Wars series to fill in the gaps left by the movie's limited runtime and made the transformation from Jedi to Sith way more heartfelt and understandable, to the point that it shatters one's heart to see Vader gazing over Ashoka's and Rex's apparent graves.

SW Rebels moreover gave us a bridge for the character between the prequel era and the original trilogy.

But here's the thing: Vader is possibly the most beloved and best written character of Star Wars ever! So it makes sense to try and polish Anakin's transformation as much as possible. When it comes to Luke however, no amount of extra explanation or screen time is gonna fix the mess the sequels did to him! It's not something fans asked for or are willing to see. Like, we are all hanging on our seats dreading every sign of it. The comics tried doing that as well, but there is just no way to justify Luke brandishing his lightsaber against his only nephew while he's asleep and use his final words to trash said nephew. Trying to keep canon consistent just isn't worth it, when there have already been cases of contradiction and re-writes.

Secondly, let's remember that no matter how much the Star Wars universe expands, its pivotal point remains the original trilogy. In it Luke's main characterizations are that he is 'hopeful', a symbol of hope and that he is very compassionate. He doesn't just roll with the Jedi teachings both Obi One and Yoda impart on him when they feel wrong. Both his masters told him to let his friend and sister die without doing anything and kill Vader but he just couldn't do it. In the end, the reason why things turned out alright was BECAUSE Luke's attachments were strong. He didn't resist the dark side, defeat the Emperor and Vader because he was a super powerful and detached Jedi but because he was a boy calling out for his father believing till the end that he could be heard. So, since this was his experience, why would he suddenly go " Yeah, let's isolate, pull away from my family and become super strict on the "no bonds - no emotions' part of the code when that's what saved me in the first place? Because that's the Luke we've seen in BoBF ep.6.

Like I've said in a previous post, I don't think he was written poorly in it because we can still see the kindness and patience and care in him as he trains Grogu, but the signs of him going there are very much present. Also, I do understand his conserns regarding Grogu, because a split heart is no good for a Jedi. Strictly speaking, that was Anakin's situation with his mother and we know how that went down. But Luke, of all people, should have had his heart melt at the goodbye scene between Grogu and Din as it was a perfect parallel to his own father's last moment. Grogu proceeded with his training even though it ached his heart and Din showed time and again that he was willing and ready to let Grogu go for his own good.

That's what the Jedi mean with detachment! It's not the lack of love or affection, it's not letting it override you! There honestly would have been no problem in letting both Din and Grogu see each other every now and again and Luke SHOULD know this from experience! Grogu's distress about missing Din is only an issue if seeing him is a forbidden thing, something that can't coexist with training.

We have a bunch of examples in which attachments weren't a problem at all for a Jedi but rather a source of strength beyond Luke himself. Kannan was in love with Hera and they even had a child together and that was never an issue. The ghost crew were a family for Ezra and he still loved his lost parents very much but that didn't deviate him because he had learned how to let go and handle grief. One could say the same for Cal Kestis and in the case of Revan from 'Knights of the old Republic' her loved ones were the very thing that kept her/him from falling to the dark side again.

On the other hand? The cases we've seen of Jedi taking these rules too seriously mark some of the most terrifying of their history: they nearly allowed Ashoka to get sentenced to death, they were willing to let Mandalore burn under Maul's whim (the only one who stood up to it and found a solution was Anakin) and they nearly watched the entire Republic fall when the Mandalorians took over, which in turn brought to Revan's fall. Because of their 'detachment' they let their shiniest stars Anakin and Revan suffer in silence and change beyond recognition! They made Ashoka walk away.

I'm currently reading the novels from "The High Republic" era (something I advice every Star wars fan to do) and in them you see the Jedi at their best, their codes and rules explained for what they truly mean.

"...I know of at least two former students who chose to meditate whenever I launched in the intricacies of lightsaber history. It is a particular passion of mine" "Now that is interesting. I thought the Jedi code stated there is no passion" "Indeed it does. Strong passions are something we try to control within ourselves, as emotions can cloud judgement, especially in stressful situations. That said, it would be foolish to suggest that a Jedi has no desires or interests. In fact, I would go so far as to say that it would be dangerous, leading only to complacency. Yes, I have a passion for learning and teaching. It is part of who I am. But I am also prepared to set such things aside at moment's notice. My passion must never be greater than my mission." Explains Master Stellan Gios.

"...He would also remind you how a Jedi faces the death of those they love. Because Jedi can love, Bell. We're not droids, nor should we ever be. We are living creatures rich in the Force, with everything that brings. Joy, affection and, yes, grief. Experiencing such emotions is part of life. It is light." "But-" "but while we experience such emotions, we should never let them rule us. You miss what you might have shared with Loden if he were here. That is natural. I miss him, too. And so we acknowledge that hurt. We understand it, embrace it even, but eventually..." "We let it go". Says Master Indeera Stokes.

Through the Jedi Avar Kriss and Elzar Mann we also learn that at the time, while kept on the hush-hush, romantic relationships between padawans were common and accepted. It was only when they had to choose whether to accept the title of knight or not that they were supposed to decide if they were ready to commit to the full Jedi life or not.

But I guess it's a natural progression for things to start a slow decline after they peak. It's only interesting that it happened twice nearly in the exact same manner. Back in the Old Republic and after the Clone Wars. On both occasions the order got almost entirely wiped out with only a handful of surviving members and because they hand in some manner lost their way; a former member of the order turning against them and passing to the dark side.

In the videogame "Jedi: Fallen Order", Cal finds the ruins of an ancient civilization, the 'Zeffo', whose faith seems to mirror the one of the Jedi.

"Despite our technological achievement we face extinction. Dogma blinded us to the path of balance and gradually we allowed our pride to corrupt us. The greater control we sought, the further we fell into ruin." Records a Zeffo Sage.

On the flip side, can one say that the 'no attachment' rule is absolutely pointless? Absolutely not. Vader is one of the best examples on how one should be weary. Luke himself almost lost himself to anger when Vader said he would go for Leia next. Also, from a strictly political and practical point of view, Jedi are supposed to be neutral and dedicated 24/7 to their cause. That can be a bit difficult to handle if you've got a family waiting for you somewhere and you are deeply attached to your original culture.

Still, going in the same way they always have, yielded the same result over and over again. So, maybe having a Luke that's testing the ground, trying to find a right balance between tradition and his own beat is more interesting than super serious and precise and secure Jedi Master Luke. He has always been a sensitive character in the middle of a growing process. It would be a shame to take that away from him, when in many ways he was the one who brought 'balance' to the Galaxy. If I could make a wish to the writers of all these new Star Wars series it to just treat him more like a real character and less like a stiff legend and to leave his disastrous portrayal in TLJ as something that will eventually happen in the future. Even if that, yes, means disconnecting rather than connecting the original series to the sequels which is, strictly speaking, what they're doing now. But wouldn't that be worth it? Wouldn't it be much more satisfying than settling for this:

#star wars #luke skywalker #din djarin #grogu #baby yoda #tbobf #sw tbobf #the mandalorian #jedi: fallen order #the high republic #cal kestis #jedi #revan #darth revan #darth vader #anakin skywalker #sw tlj #sw rotj #ben solo

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jostenneil · 3 years

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what do you think talia’s relationships would be like with linda, selina, jade, and clark? i say them specifically only because i’ve seen you talk about parallels, fix-it ideas, etc. between talia and those characters but feel free to add more!

i think in the post-lex corp era who i would most want to see her forming a close friendship with is clark. there's a lot they can relate to each other on not just through their relationships with bruce but also through the shared experience of being an immigrant and someone alien to a society you'd like to otherwise partake in but aren't sure how to. the fact that talia successfully leads her campaign against lex corp but never makes any friends during the experience really speaks volumes to me about how out of her element she's come to feel bc she's realized her outside connection to the world was primarily through bruce and their adventures together. and talia and clark, despite that alienated experience, are both kind people at heart. so it's not like it's flaws within themselves that prevent them from integrating. they just don't know how to grapple with what their individual responsibilities and place in the world means for their relationships with others and with justice at large, and once they got over their differences and misconceptions of each other, i could really see them bonding with each other over that and perhaps even coming to deeply trust each other bc of that shared experience.

with regards to linda, i said this half in jest on twitter, but i'm honestly really serious in that i totally think linda, lois, and talia could lead a behind the scenes team that tackles reconnaissance and discreet investigation for matters the justice league would otherwise have trouble navigating either bc they're busy dealing with the more immediate consequences of bad guys' chaos or bc their figures are too public to conduct certain aspects of investigation successfully. they're smart, resourceful women, they have extensive experience navigating superhero detective work bc of their adventures with their husbands, and together they have an abundance of resources that could help them in those endeavors. also, i think dc (esp in recent years) has kind of undermined the importance of journalism and how critical its operation would be to taking mastermind supervillains down. exposes are a long-lasting work in process and it makes no sense to me that there isn't a coalition of supers-associated journalists working together behind the scenes to help take down evil corporations and the like (i recognize talia isn't a journalist but she's an investigator for sure and that still counts to me lol) (also if dc had gone about vicki learning bruce's real identity any other way then it would be cool to include her here too)

with selina i think it would be an occasional acquaintance at best with the potential to develop into a friendship in special circumstances. perhaps. . . bruce disappearing. or dying. lolsies. but aside from that scenario i think however their paths crossed they'd be intrigued by each other more than anything. talia by this person who has seized freedom for herself since day one and enacts that freedom out in the strangest way possible and selina by this person who somehow goes through the deepest shit, esp at the hands of bruce, but still manages to be kind. i know talia condescending to selina is funny on a surface level but realistically i don't think she actually would. she's a humanitarian and she'd help people in need at the drop of a hat and i don't think she'd look down on selina for doing what she can about the disadvantaged in gotham's east end. she'd respect her for it and even try to help where she can if their paths happen to cross. and by way of that respect for each other i could definitely see them calling in favors from time to time, maybe gossiping every now and then at bruce's expense, or perhaps about their own traumas and shared sympathy. they'd be like wine moms

#talia al ghul #clark kent #linda park #lois lane #selina kyle #batman catwoman #mine:meta #asks #like tbh. selina could even help with the talia linda lois coalition they could call her in sometimes if they need some evidence retrieved #this is me basically building a birds of prey scenario but with characters i actually care about ajakjfldskjdljfbgf #no shade to the original birds of prey tho they're still babes

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linkspooky · 4 years

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A Mafia Member Who Doesn’t Kill

Bungou Stray Dogs chapter 88 has made it clear to me just how strong the Akutagawa and Odasaku parallels are. They are both orphans, raised to kill and taught their only value is the strength of their abilities that they use for killing, only to slowly unlearn that behavior over time. They are both characters who value life above everything else. I’m going to explore the connection more in depth, under the cut.

1. Origins

The temptation might be to parallel Oda to Atsushi, and Akutagawa to Dazai. Not only is Akutagawa Dazai’s first and direct disciple, and currently wearing his coat, but Atsushi has always been “the good one” of the pairing. The one obsessed with being good, and saving people in the way Oda was. Oda is also the closest thing Bungou Stray Dogs has to an example of living the life of “a good man” that all the main characters are currently striving for. However, I would say that it’s Akutagawa who parallels Oda’s life far more than Atsushi.

Of course Akutagawa parallels Dazai’s life quite a lot as well.He was recruited by Dazai the same way Dazai was recruited by Mori,wears Dazai’s jacket as his most precious possession, but he shares so much in common with Oda too including his origin.

In their youth they’re both referred to as killers who kill without showing any emotion. They start out completely empty and dead to all feelings inside, because neither of them have experienced anything to give them a reason to value life.

Fukuzawa suddenly recalled a rumor he had heard about a young redheaded hit man who wielded two pistols, and killed his targets while never showing any emotions. - BSD LN 3

They both kill because they’re strong, and that’s all they’re seen as. Both boys, orphans with nothing else to live for have been gifted with incredibly strong abilities. They kill, they don’t relish in it, they don’t gain anything from it unlike men in positions of power like Mori Ougai because they are ultimately tools, but they kill nonetheless.

“I’ve been working alone as an assassin for as long as I can remember,” he began. “I’ve never wanted friends or a boss... but seeing a martial artist like you compromise your principles to save one of your men... It makes me kinda jealous. He must be the happiest guy in the world to have you as a boss.” - BSD LN 3

They both start killing as a means of survival, because they are both orphans who have no one to care for them and look out for them. However, they also slowly over time begin to kill as a way to demonstrate their worth. Akutagawa was an orphan who lost the small amount of friends he was protecting, Oda had no organization he was working for, no connections their lives are utterly empty except for their strength so they come to understand killing as something that gives their life meaning and value. If only because there is nothing else for them.

However, for both of them killing isn’t enough. It’s merely surviving not living. Which is why no matter how strong they become they both remain empty, and they both feel insufficient, and even jealous of others. Oda is jealous of Fuzukawa’s connection to his subordinate, Akutagawa is jealous of Atsushi who is valued and connected to everyone around him and treated better by Dazai. This jealousy is also a realization that they are missing something in themselves but they don’t know what.

Most skilled hitmen looked down on others as if they were insects. Their eyes were cold and lacked compassion. But this boy’s were different. They weren’t cold or any temperature. They were just empty. Not only was there no compassion or kindness, there was no hate or passion to kill. His eyes were those of a person who had given up on hope and despair - the eyes of a person who had removed himself from emotional things. - BSD LN 3

Both Akutagawa and Oda start at a point where they are killing, not because they enjoy it, or they’re particularly sadistic, or think they are just or right. They kill because it’s the only thing they’re good at. They kill to demonstrate worth.

This kid’s different from the old me. Perhaps he never felt any joy from killing others. He was probably only killing because he had nothing to do. - BSD LN3

This also plays into a fundamental misunderstanding that Atsushi has of Akutagawa. He basically views Akutagawa as a bully who kills people to flaunt his strength in front of others.

He doesn’t realize that Akutagawa is strong yes, but that’s all he is. He clings to that strength, because he’s been given no other alternative. He hasn’t been given nearly the opportunities that Atsushi has. If there is a difference between Oda and Akutagawa, Akutagawa is noticably angrier, more resentful, but that’s because anger is the first emotion he ever definitely felt.

I feel hatred. I am no longer a dog. I have become a human being with feelings of my own. -’A Heartless Dog’

Akutagawa and Oda are both boys who lived considerably empty lives, that is until they meet somebody who shows them an alternative and changes their lives forever. Oda and Akutagawa meet someone and from then on they want to find meaning in their lives.

2. An Assassin Who Doesn’t Kill

Akutagawa kills without hesitance, and yet I would say he’s the only character in the manga who values life as much as Oda does. This might seem like a paradox but both of their characters are built around this paradox. That’s why they become mafia members who do not kill.

Akutagawa’s response to the old man in the latest chapter seems sassy, but Akutagawa’s never sassy, he’s overly serious and sincere about everything. He’s saying what he really thinks. All people are equally alive. Akutagawa is someone especially aware of the value of life, because in the past his life was treated as something so worthless.

He was not afraid to die. He was thinking perhaps even hell would be a better place to live then here. JJust continuing to live in this state was suffering, after all.

[...]

What’s the point of our lives? He had once asked travelers in their place this equestion. Why Must I go on living?

It’s because they have both lived through the absolute worst circumstances, that they value life more, and go on searching for these answers. Akutagawa equally treats life as worthless (kills people without hesitation) and also values life (tries to give people a reason to live, tries to justify his own life, tries to fight against the idea that someone from the slums lives a meaningless life).

When Kyouka finds a reason to live even though he’s not the one that gave it to her, he’s genuinely happy for her. Because Akutagawa values life, and wants people to find a meaning in life even though he kills.

Akutagawa is currently on the same path Oda is on. The lines in this scene are vague because they’re meant to apply to both Dazai and Akutagawa. He met a certain person, joined a certain organization, and the hope for death in his eyes vanished.

Oda gave Dazai reason. Dazai gave Akutagawa reason. Oda was also given reason when he met Natsume. All three continue on with a life of empty killing until an outside force intervenes and teaches them there could be something more to life.

They both come across someone who tells them that there is more to life than just killing. That they are capable of more than that, and they actually follow through and stop killing. Because, Akutagawa, and Oda deep down respect life. As cruel and heartless as they can be, Akutagawa is also one of the most heartfelt and respectful characters in the series when he opens up.

Akutagawa and Oda are people who understand other people on a level deep down, because they’re genuinely interested in the lives of others. Akutagawa is the only person who thinks about Atushi in a deep way, in ways Atusshi doesn’t even really want to understand himself. Oda is the first person to treat Dazai like a person, behind the genius. They understand, even the ugly parts of people because they don’t really look away from the dark parts of the world, of life, because no one’s experienced life’s cruelty like they have. Oda sees Dazai for who he is, and tells him that helping people probably won’t make him feel good, and that he’ll never feel good, but he should help people anyway because he’s capable of doing good.

Oda is the one who started the journey in an assassin trying to find meaning in life, but he didn’t finish it. In the end Oda’s character arc ends tragically, and his path is half finished. Because, Oda eventually chooses death.

I think a lot of people don’t realize this character flaw of Oda, because he’s usually such a good example, but he chose to kill again, chose to become a martyr to Dazai because he genuinely gave up on living when it became too hard for him again.

“Odasaku...” Dazai said softly. “Forgive me for the absurd wording, but - don’t go. Find something to rely on. Expect good things to happen from here on out. There’s gotta be something...” - BSD, Osamu Dazai and the Dark Era

Oda died because of tragic circumstances yes, but Oda also dies because he chose death. He chose the escape. He chose the easier path. There were still people that needed him even after he lost the orphans, people like Dazai, and Akutagawa who were orphans in need of help as well and Oda chose to let go of them.

Oda gave up on his attempt to find meaning in life, because the best way to find meaning in life is simply by living it.

‘People live to say themselves, it’s something they realize right before they die, eh?’ - BSD, Osasmu Dazai and the Dark Era

Oda chooses to die for the sake of someone else, rather than living for himself. While that’s a tragic choice it’s also a bad choice with consequences, because now there’s nobody around to help Dazai and Akutagawa who also appeared in light novel two and who both needed him to some extent.

In that sense Akutagawa can be stronger than Oda. Their lives are parallels but they’re also exact opposites. Akutagawa starts out by losing every orphan he was trying to take care of. Oda finishes his life when he loses the orphans who he was trying to raise and protect.

The choice they make in those moemnts is the opposite ones. Akutagawa tries to choose simply revenge at first the exact same way as Oda did, but when he meets Dazai he realizes there was something he wanted even more than revenge.

The question resounded in Akutagawa’s heart, and a single answer floated to the surface. Something he qished for. His heart’s desire. The lowest of the low. In a world that was the lowest of the low, it was a wih that could never possibly be granted. Akuagawa had to force the words out of his dry, trembling throat. “I want to find a reason... a meaning to my life.” - SHORT STORY A HEARTLESS DOG

Akutagawa wants to live for himself, stronger than even Oda did. Whereas, Oda stops wanting everything.

Dazai paused before continuing. “I would be able to find something - a reason to live.”

I looked at him; he looked back at me.

“I wanted to be a novelist.” I said. “I thought I wouldn’t deserve such a life if I killed someone during a mission. That’s why I never killed anyone. But that’s all in the past. There’s only one thing I want now.” - BSD VOLUME 2, Dazai Osamu and the Dark Era

Oda’s words to Dazai to conitnue to live are meaningful, but he’s also a hypocrite to those words. He tells Dazai to live on, when he made the choice to go off and die. While, Akutagawa as dirty, and arduous as his path is, is the one who keeps struggling to live no matter what like a stray dog starving in the streets.

Which is why Akutagawa is the one who is going to finish what Oda started so long ago, and be the true inheritor to his will. Utlimately, I predict, that’s the path his character development and arc are going to take him.

#akutagawa ryunosuke #odasaku #oda sakunosuke #bungou stray dogs #akutagawa #oda #dazai osamu #bsd meta #bungou stray dogs meta #bungou stray dogs analysis #bsd #bsd 84

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theonceandfutureking6481 · 3 years

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BBC's Merlin Season 1 Episode 3: The Mark of Nimue Analysis

*SPOILERS FOR THE WHOLE SHOW*

First off I always look fondly on this episode, mainly for Morgana being hilarious and epic, I mean she has the best line in the whole episode:

Arthur: You could get hurt

Morgana: So could you.... if you don't get out of my way

This episode is also fun and interesting from the perspectives of plot, characters and themes. Sorry, this is extremely long, I have a lot of opinions about Merlin.

Gwen and Merlin

This episode is in many ways about Gwen and Merlin's friendship, it is the driving force behind all of Merlin's actions within this episode and is the stepping stone for this show considering how to find a balance between acting for the greater good without suggesting that the ends justify the means.

Merlin and Gwen are first off just very sweet, their friendship is really characteristic of this show's representation of friendship overall, just genuine love and consideration for others. It is also self-sacrificing, that's one thing about the relationships in this show they are so self-sacrificing.

When Merlin says to Gwen "I didn't like to see you upset." It reveals a wonderful fact of Merlin's characterisation that I would argue stays consistent for the whole show. His motivation is always grounded in how much he cares for the people around him. He cares deeply about his friends and they are largely his reason for doing the things he does. This line is a wonderful parallel to in season 3 when Merlin decides to let Morgana die (after he accidentally trips her down the stairs), but then in the end he heals her because he couldn't watch everyone's grief. Merlin cannot separate his actions from the people he's doing them for, and he can't stand to see people hurt when he has the power to fix it because the people he loves are his motivation, they are the reason he wants a better world. This show does establish (as I'll discuss further down) that what seems immediately right (healing Gwen's father etc) isn't necessarily the right decision to make for the greater good. This is some ways always questions the validity of Merlin's motivations and his actions, but I'd argue it more seeks to find a balance. Besides a Merlin who didn't act motivated by his love for others is not a Merlin that could have helped Arthur build Camelot.

Medievalism: duty and social obligation

Quick disclaimer cause I'm touching on a more scholarly issue here that I have limited knowledge of, so I will undoubtedly make mistakes and this is my opinion. Everything I write is my opinion, but that's more obvious when I'm commenting on the themes of a fictional world rather than making a comment on actual fields of study which is what I'm doing here.

BBC's Merlin is an example of medievalism, it is an engagement with the medieval era (or ideas/images associated with it) for modern times. I honestly don't know that much about medievalism, or the medieval era, certainly not enough to make an extensive commentary on its representation in Merlin. One thing I would argue is that Merlin's representation of friendship has its roots in idealised views of the virtues of the medieval era. For many people the Middle Ages represents a time of duty and social obligation, this on one hand does lead to a stringent class divide but it also finds its idealisation in the sort of friendship represented by Merlin. The premise in most societies that place great value on social obligation is that the needs of the community outweigh the needs of the individual, that people should sacrifice themselves for the community as a whole. Every society places emphasis on this in different ways and to greater or lesser extents and our view of it as being prevalent in the medieval era is largely an idealisation based in some historical reality but also our own desires about what this era represents. There is a kind of social responsibility in the relationships in Merlin, there is a great emphasis on loyalty which is part of this idealisation. However, Merlin makes it more personal than is often depicted. We idealise social responsibility and obligation, it is often tied into the social roles of people such as loyalty to a king, or paying back debts of honour which is a form of social obligation. Merlin is more about friendship, it takes our idealisation of medieval social obligation and makes it the obligation and loyalty we owe to people who love us and who we love. I will always say that fundamentally Merlin as a show is about love, and it emphasises what we owe to people in our lives in a way I believe echoes idealisation of medieval loyalty.

This idea can also be seen in Arthur's fundamental trust of others, his fundamental assumption that everyone around him is not seeking to harm him, and that people are generally good. This ties a bit into the idea of social obligation. Arthur's idealised world is one in which people have bonds of social obligation towards each other, that people are seeking to act in the interests of the community. It's an idealisation, both of the medieval era but also an idealisation in Arthur's own head of the world he lives in.

Morgana and Gwen

Their relationship is somewhat expanded on in this episode, and they are just so sweet. Gwen gives Morgana flowers to cheer her up and its just lovely. They have a very genuine and close relationship. Morgana also has great respect for Gwen, for the work she does, and she treats her with respect.

Morgana: "If she was a sorceress, why would she kneel on the cold stone floor every morning if she could make these things happen with a snap of her fingers, like an idle king."

Aside from being one of Morgana's many quality burns towards Uther, this also illustrates one of her greatest characteristics, her empathy and genuine respect and admiration for what Gwen does everyday. She doesn't see the class divide in the same way Uther sees it or Arthur pretends to see it.

Also interesting note I heard in a Merlin podcast (I can't remember which episode), it could have been the episode about this episode. It's called Destiny and Chicken (you can listen to it on Spotify and anywhere else you find podcasts- they even did an interview of Bradley James who plays Arthur at one point), and its very good. But, they said something interesting about the paralleling between the relationship between Merlin and Arthur and the relationship between Morgana and Gwen. Both are fundamentally important and genuinely caring relationships for the character. However, for Morgana and Gwen (unlike Merlin and Arthur) the class divide remains much more in place, Gwen treats Morgana like her friend but she also treats her like her mistress in a way Merlin just doesn't with Arthur (especially not so early in the show when he's not so admiring of Arthur). This isn't to say their relationship is bad or has problems, its just different whilst still acting as a parallel. I'm not sure exactly the extent to which I agree or what this says overall in themes but its definitely interesting to think about.

Uther: "A Good and Terrible King."

This episode shows Uther at both his best and his worst which is always fun because Uther is a genuinely interesting character. I got the line from my favourite Merlin fanfiction Coronation by rageprufrock, which you should definitely read, I'll link it down the bottom, it's not too long so you can read it in half an hour. It's a character study of Arthur more than anything else and its amazing, wonderful and deeply poetic. Uther is not a huge part of this fanfic, its about Arthur's character and his relationship with Merlin and his kingdom, I'm not even sure he actually appears. This line though perfectly tapped into how I always felt about Uther so it connected:

"He's been a good and terrible father, a good and terrible king."

I often think in characterising Uther we do tend to villainise him to an extent which I personally don't find accurate. This is obviously just my opinion, and I have a tendency to think the best of people so more intensely negative views of Uther are very jarring for me. He did terrible things and I truly believe he is the ultimate villain of the show but he is very human and he could be a good king and he loved his children more than anything else. We cheapen Merlin's point if we cast Uther as pure evil, everyone is capable of evil just as much as goodness. Uther is the tragedy (like Morgana) of a person who could have been good or at least halfway decent corrupted and destroyed by his own hate and ignorance. That's the point of the parallels between Uther and Morgana, we love Morgana and she was capable of so much good, but she corrupted herself with hate.

Onto this episode, Uther shows both his capability and goodness as a king in this episode as well as his hatred and ignorance. Uther's initial reaction to the fact that the plague is caused by magic is a concern about his own authority, which isn't entirely unfounded, but does reveal a huge priority of his which is control. He fears not being able to control, that's were his cruelty as a father comes from and to some extent his opposition to magic. This does not show Uther in the best light, but his actions later in regards to dealing with the plague show a decent king who cares about his people. This scene in which he tells Arthur to shut off the lower town perfectly illustrates this:

Arthur: But what about the people who live there

Uther: Don't you think I haven't considered it? What else can I do? I have to protect the rest of the city

In this situation Uther is right, there is very little other choice, he's making a hard call but it's one he has to make, and he seems genuinely distressed at having to make it. He does care about his people's well being, and he feels the burden of their protection, he can be a good King. Much of Arthur's story is in breaking away from the legacy of Uther, and rightly so, but Uther also taught him many things and one of those things is the duty Arthur has towards his people, it's a duty he takes even more seriously than Uther, but nonetheless he learnt it from him.

This however, as I've hinted, is not the whole story of this episode, Uther is also shown at his worst, and his worst is his ignorance and prejudice towards magic. He is willing to sacrifice justice and even sacrifices logical thought to his blind persistence that magic is evil.

Arthur: She's right Father. You hear the word magic you no longer listen.

Uther: You saw it for yourself, she used enchantments.

Arthur: Yes, maybe. To save her dying father, that doesn't make her guilty of creating a plague. One's the act of kindness, of love, the other of evil. I don't believe evil's in this girl's heart

Aside from what this says about Arthur. Arthur's comment about Uther hits right to the point of things "you hear the word magic you no longer listen". You no longer listen implies its a choice, and it is. Uther has made the choice for the last 20 years to choose to go on a dogmatic campaign of hate against magic because its easier than considering the alternative, that he was complicit in his wife's death. What Uther says immediately after "there are dark forces threatening this kingdom." is the argument used by so many people throughout history, used to justify so much hate. That there is an evil out there threatening the stability of life, that the world must be controlled and people have to live a certain way or risk destroying their own lives. It's an argument that justifies campaigns of hate and makes them personal to ordinary people who usually wouldn't care, and it is always a lie, that's not how the world works.

This episode thus shows Uther at his best and his worst, both a dutiful king and a stubborn tyrant. It's a tragedy of what he could of been, and shows how twisted up people can become when they justify their decisions with hate and fear.

Arthur

This is the first episode where Arthur really opposes Uther, he directly questions Uther's indiscriminate hatred of magic, and an episode where he realises to an extent he perhaps hadn't before some of the ways in which Uther has failed as a king. He also consciously acts in deception of Uther, because he can see Uther can't see sense. Arthur shows far more nuance of view than Uther does, understanding (even whilst still accepting as he will for a long time that magic is dangerous and it corrupts) that using magic doesn't make you automatically evil. To see the world the way Uther does is a conscious choice, you have to choose to be blind to the virtues of every apparent magic user you come across, you have to believe harmless spells are the signs of greater evil. Arthur is not someone who lets his own cowardice blind himself to reality, and so his worldview can see far more nuance than Uther can.

"One's the act of kindness, of love, the other of evil. I don't believe evil's in this girl's heart."

He further has a very positive view of others, Arthur will always see the good in people and that is a great strength in my view. In a lot of versions of the story Arthur's not just inspiring because he's good but because he assumes others are good too, he trusts people to do the right thing and I do believe that, that can inspire people to do the right thing. It's funny in Merlin Arthur's trust gets betrayed so many times but it never really hardens his heart, he continues to trust people no matter how many times he gets betrayed. This can be seen in his perception of Guinevere here, he will not assume she is evil because she has made a mistake, he can see the virtue in her actions, and he will assume goodness until proven otherwise. Innocent until proven guilty, in other words. It's its own form of justice, a justice Uther is forgetting, its a tenant of many legal systems and its a tenant Arthur clearly supports.

Arthur is also seeing his role as the king of Camelot in creating a Camelot that he would like to live in.

"Yes I am yet to be king, and I don't know what type of king I will be. But I do have a sense of the type of Camelot I would wish to live in. It would be where the punishment fits the crime."

It's not the Camelot he would wish to rule, its the Camelot he would wish to live in. Arthur wants to live in a just world, he wants his people to be treated with justice just as he would like to be treated with justice. This further illustrates that unlike Uther he is not letting anger or ignorance blind him to reality, he wants the world he lives in to be fair without exception.

Finding the Balance between The Greater Good and The Immediate Good

The Greater Good is a tricky concept, you can justify any amount of cruelty if it will lead to good later on, but do the ends justify the means? It's not really a question its ever possible to provide a definitive answer for. It's easy to say that they don't, that you should just do the right thing, the nice thing, the good thing in the moment but actions have consequences and doing the good thing all the time (especially in a position where thousands of lives depend on you) is not usually possible. Merlin tackles this theme, I believe, quite well, trying to find a balance between acting for the greater good and acting with what is immediately good, and this episode is a good example.

In a just and fair world you would be able to do good all the time, but this is not the case for everything, though you should never use the worlds not fair as an argument for not doing good things but I digress. Merlin's decision to save Gwen's father ultimately backfires on Gwen because the world is not fair, the world Uther has created mean even these acts of love are punishable with death. Because, for Uther, magic is magic, and magic is evil. Gaius was, in this situation, ultimately right, Merlin can't always do what is easy and what feels right because the consequences may not be good. In other matters like closing off the lower town, Arthur's initial response is concern for the people who live their, but Uther's right he has to make this one tough decision because otherwise he risks the whole city.

However, Uther's attitude to Gwen (aside from revealing his own stubbornness and prejudice) is an example of the greater good taken too far. He has absolutely no evidence that killing Gwen will stop this plague, but he's making that sacrifice anyway because it might, that is not justice or fair or anything resembling goodness. And he justifies his decisions with what I've already said is an age old argument- "These decisions must be made. There are dark forces threatening this kingdom." This is just another version of any easy choice, acting without regard to the greater good is an easy choice but so is ignoring what is immediately right in pursuit of some ambiguous goodness. He's confusing his own weakness and ignorance for strength.

The point Merlin is, I believe trying to make is that there must be a balance. Sometimes you have to pursue the greater good, but the ends don't really justify the means.

There is a reason Arthur and Merlin will create the Camelot of legend and Uther and Gaius don't, Merlin and Arthur aren't going to sacrifice their own goodness for the sake of the greater good. Merlin for one ensures Arthur never has to, its sad but Merlin in many ways makes the harsh and cruel decisions that Arthur never has to make. However, he also often doesn't make those decisions. He reaches a point where he wants to let people die, but he never actively attempts to kill Morgana or Mordred by himself unless it is an absolute in the moment choice between them and Arthur, and even though there is plenty of moral ambiguity about that and plenty of debates you can have about that. Fundamentally the point remains, Uther would have killed them and that's why he could never be the king Arthur would be or the influence for decency Merlin would be, the ends don't ever entirely justify the means. Besides if Merlin had thought that and killed Mordred and Morgana for their possible futures he would not have been the decent person he was and he could not have helped Arthur build a good Camelot, Camelot would not have existed if Merlin had acted entirely with the greater good in mind to ensure Camelot's future.

Other Stuff

Gwen's scene in the cell is so terribly sad, she's trying to be brave and her final request to Merlin is just so sad, "Remember me." She's so young and its the injustice and cruelty of Uther's kingdom that's condemning her, his own blindness to anything involving magic. We all want to be remembered don't we, especially when you die so young that you've barely had the chance to live. -----Also Guinevere will be remembered, she is a legend so there's something very bittersweet in this. She is not forgotten, then or ever

It's funny watching back to season 1, Merlin spends a lot of the time complaining about how Arthur will never recognise him for who he is. He wants recognition. But by the end of the show, yes of course he'd like recognition but he's learnt to just put up with never getting it. His priorities have changed so much.

There's this thing that happens a lot in season 1 and 2 (and I think a bit in season 3 but its less funny then) where Morgana persuades Arthur to do things by insulting him and its the funniest thing ever, and the first instance of it is here. I like to call these her 'epic sibling powers' cause they are just such siblings and its hilarious every time

"You are one side of the coin, Arthur is the other."- Kilgaharrah--> Just, yes.

Also when Arthur gets Merlin out of when Merlin confesses to being a sorcerer—> he's obviously making stuff up on the spot—> like he might sort of believe it (the stuff about Gwen) but fundamentally he's just trying to protect him without really knowing for sure why Merlin's lying

"One day people won't believe what an idiot you were."- Gaius--> Fun little nod to the audience who know Merlin of legend (as nothing like the BBC Merlin)

Also at this point we don't know why Uther really banned magic so there is an element of moral greyness to it all. We know magic's not evil, we know Uther went too far but at this point there is still a question about 'how too far' did he go?

Coronation by Rageprufrock (seriously read it. It's amazing): https://archiveofourown.org/works/5749

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iamthenightcolormeblack · 3 years

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My Thoughts on Pride and Prejudice 1980: The Ladies Take Center Stage

It's easy to forget that there are dozens, if not hundreds, of other Pride and Prejudice adaptations because the discussion is generally limited to "1995 versus 2005." The subject of this review is the 1980 BBC miniseries adaptation of Pride and Prejudice, which stars Elizabeth Garvie as Elizabeth Bennet and David Rintoul as Mr. Darcy and consists of five 1 hour long episodes. Some Pride and Prejudice fans consider this show as the definitive version of the book, since it was one of the first adaptations that attempted to be faithful to the story by incorporating much more of Austen's dialogue compared to previous adaptations.

1. THE PRODUCTION

The video quality is blurry (typical with 1970s/1980s BBC TV shows), so this adaptation is hard to watch compared with the 1995 and 2005 adaptations. While I like the historic houses used in the miniseries, boring, stuffy studio interiors are used for the interior scenes (except for Pemberley). I would only recommend this adaptation for extreme Pride and Prejudice fans/completionists.

Each episode's opening credits are accompanied by illustrations of what happens in the episodes, reminding the viewer that they are watching a filmed version of the book. The caricatured figures are not appealing to the eye and look dated. It doesn't help that they all are accompanied by "ye olde timey" music.

The costumes are for the most part very historically accurate for the early 19th century Regency Era, possibly even more so than the 1995 version with open chests, since the women's day dresses cover their necks as well. The costume designer mastered the famous Regency era white dress; I liked Elizabeth's white day dress and Jane's white evening gown. However, not all the costumes are flattering; some of the ugly floral patterns and garishly bright colors come straight from the 1970s, while a lot of decent evening dresses are ruined by fake lace or clunky 1970s bibs.

The hair is mostly accurate, with the exception of Mary's straight bangs and pixie cut. Unfortunately, the makeup is of the 1970s, especially with the penciled eyeliner/eyebrows on Jane and Caroline Bingley. Poor Mr. Bingley meanwhile has the most unflattering 1970s "helmet bowl" hairstyle.

2. PLOT AND CHARACTER DEVELOPMENT

The adaptation focuses heavily on the female relationships within the book, much more so than other adaptations. Throughout the episodes, there are many slice-of-life scenes in which the Bennet sisters are gathered together in conversation while occupying themselves with typical activities for women of the Regency era (sewing, flower arranging, trying on clothing).

Charlotte Lucas has a larger role here than in the book. In this adaptation, she frequently visits the Bennet sisters at Longbourn, and the screenwriter uses her dialogue as a representation of the Regency perception of marriage as an economic proposition.

Mary Bennet also receives more screen time, and like Charlotte, she voices Regency attitudes towards women in general through her didactic remonstrances.

The many scenes in Elizabeth and Jane's bedroom are a means for Elizabeth to express the feelings and attitudes that she keeps hidden from society.

Elizabeth's favoring of Mr. Wickham is more obvious; she even pronounces him to be "above everyone, in person, countenance, [and] air" and is delighted that Wickham's trash-talking of Darcy confirms her hatred of him.

Inner monologues highlight Elizabeth's mental transformation as she grapples with the consequences of her prejudice against Mr. Darcy and considers the consequences of her family's social gaffes.

I dislike that the show chose to end with Mrs. Bennet's joy over the advantageous marriages of her elder daughters. It reinforces the perception that these marriages are ultimately for money rather than love.

The cast consists of largely unknown (to a mainstream audience) British actors whose portrayals of the characters are solid and replicate the book exactly. The rest of the supporting cast portray the characters just as they are in the book, but do not otherwise stand out. Here are my comments on the lead actors and other supporting cast:

Elizabeth Garvie: Garvie effectively portrays Elizabeth's wit, intelligence, and poise. She also looks right for the part, as she is believably youthful and has captivating eyes. Her pride is not so obvious because Garvie acts like a proper Regency girl, but it is brought out by the way Elizabeth looks people straight in the eye and addresses them directly while confidently stating her opinions, however flawed. My only minor nitpick is that Elizabeth is less vulnerable here; most of the time she is confidently in control of every situation she faces and has a smile for everyone.

David Rintoul: Rintoul looks the part, as he is tall, handsome, proud, and carries himself gracefully. However, he is too stiff and boring like a robot. In many scenes, even private ones with his close friends, he is always standing at attention like a soldier. With the exception of the Pemberley visit and the second proposal, he never smiles, and his voice is very monotone, even in the key romantic scenes where he is supposed to lose himself to his great passion for Elizabeth. Though he tries to appear amused at times, and shows some intelligence, his stiff body language never changes, undercutting the meaning behind his words.

While fans of this show have praised Rintoul for being stiff, like book Darcy, this stiff portrayal hinders Darcy's character development, since he must change his cold manners in order to be worthy of Elizabeth's love. There are MANY instances in the book where Darcy shows some emotion; he smiles as he teases Elizabeth at Rosings, becomes angry when Elizabeth rejects his first proposal, and blushes when he sees Elizabeth at Pemberley. This Mr. Darcy is "all politeness" and we don't get to see Elizabeth peeling back his cold exterior to reveal the good man underneath, unlike in the book.

Malcolm Rennie as Mr. Collins: His portrayal of Mr. Collins is very similar to 1995's Mr. Collins, as both are fat and simpering (maybe 1995's portrayal of Mr. Collins is a copy of this one, except even grosser). I also like how he is super moralizing and preachy in this version. He even walks like a penguin too!

Casting I disliked:

Moray Watson as Mr. Bennet: His Mr. Bennet is thoroughly unsympathetic; he does nothing but scold the family, slam doors, and drink tea. While Mr. Bennet is a neglectful parent, he expresses his dislike of the family in far more subtle ways and does not get into fits of anger easily.

Judy Parfitt as Lady Catherine de Bourgh: While the adaptation makes clear that Lady Catherine likes getting her way, this Lady Catherine isn’t intimidating enough to frighten anyone into submission. What doesn't help is that the scene where she interrogates Elizabeth about her family situation is cut; this scene is important in establishing Lady Catherine's tyrannical personality.

The actresses hired to play Kitty and Lydia Bennet are far too old for the parts; they do not look like teenagers!

Scenes I liked:

The opening scene -- the adaptation gives Charlotte a larger role, as she visits Elizabeth at Longbourn right after the news of Bingley's arrival. She also reveals her practical view on marriage as a necessity for securing comfort, which is at odds with Elizabeth's view of marriage as an equal partnership between people who love each other.

"First Impressions" -- Elizabeth shares her bad opinion of Darcy with Jane and reveals that the Bingleys earned their wealth in trade, making them "new money" as opposed to the Darcy family, which has many generations of nobility. This detail about the origins of Bingley's wealth could explain Caroline's extreme arrogance and make Jane's separation from Bingley on the basis of her poor connections more cruel.

Elizabeth at Mr. Lucas' party: This adaptation includes a scene from the book which isn't in many other adaptations, not even the 1995 miniseries. Elizabeth, acting impertinently to catch the attention of Darcy's "very satirical eye," addresses him sarcastically. Charlotte then gets Elizabeth to play the piano and she takes another opportunity to show off her wit:

"There is a fine old saying, which every body here is of course familiar with - 'Keep your breath to cool your porridge', and I shall keep mine to swell my song."

Jane and Elizabeth at Netherfield. In a series of scenes, Elizabeth confides in Jane her true thoughts and feelings about Darcy, the Bingleys, and the Hursts. For instance, she theorizes about why Darcy stares at her and rants about how disagreeable and annoying the Netherfield party are. It's really entertaining to see Elizabeth driven to frustration by the arrogant rich people.

Any scene with Mr. Collins in it, but here are the funniest ones:

Mr. Collins eating with the Bennet family: I laughed at how he examines the food with a critical eye before shoving it in his mouth quickly. It perfectly captures Mr. Collins' arrogance combined with bad manners.

Mr. Collins at the Netherfield Ball: he cannot dance and embarrasses Elizabeth (definitely a parallel with the 1995 version, where he bumps into the other dancers and apologizes profusely).

Mr. Collins' first proposal to Elizabeth: I laughed at the added flourish (not in the novel), where he bends down on one knee, but instead of professing love for the intended, states proudly to Elizabeth that the main benefit of the marriage is the patronage of Lady Catherine de Bourgh.

Collins' proposal to Charlotte Lucas: this is not in the original book, as it is (mostly) limited to Elizabeth's point of view, where she only finds out about the proposal after it happens. This comical scene begins with pleasant music and blooming flowers to establish romantic connotations, before it cuts to an awkward Mr. Collins following Charlotte Lucas. When Charlotte accepts Mr. Collins, they are sitting together by a rosebush, and his pure joy at the unromantic, arranged marriage, combined with the floral imagery from earlier, elevate the situational irony and make for a good laugh. The flower imagery also ties into Charlotte's earlier comparison of marriage to growing a plant; Elizabeth challenges Charlotte's assertion by asking her what would happen if the soil was poor (metaphor for the respect Elizabeth feels is a foundation for a loving relationship).

Aunt Gardiner's advice to Elizabeth: This scene isn't included in other adaptations, not even the 1995 miniseries. Here Aunt Gardiner warns Elizabeth against falling in love with Wickham, telling her that she needs to keep her common sense intact; Elizabeth dismisses this, fully confident in her powers of judgment. It's great that this exchange is included because it foreshadows the discovery of Wickham's true character, and hints that Elizabeth's perceptions of others may be wrong.

Scenes I disliked:

The romantic scenes. This adaptation unfortunately fails in the romance department; there is zero chemistry between the actors; even the otherwise wonderful Elizabeth Garvie is not exempt. (more about this later).

The first country ball. The interior is dark, small, cramped and stagey. Also, the dancing and overall manner of the guests is very sedate and orderly; it’s so quiet you can hear the dancers feet scrape the floor in spite of the music. This isn't very realistic compared with the other adaptations, where we are presented with much more boisterous country dances.

The activation of Stalker Darcy: While Elizabeth plays the pianoforte, Darcy, while shrouded in darkness, moves like a ghost among the crowd until he all of a sudden appears very close to the pianoforte and golf-clapping. perhaps Darcy is a blood sucking vampire? Though this scene is entertaining for all the wrong reasons, it doesn't make sense that Darcy's love for Elizabeth makes him even more robotic and creepy.

Lady Catherine confronting Elizabeth: While the dialogue for this scene is lifted straight from the book, there isn't quite enough fury and anger on the part of either person.

3. THE SCRIPT

What makes this adaptation stand out is the script by Fay Weldon. While the majority of the script is taken directly from the book, many have commented that her interpretation of Pride and Prejudice is much more feminist because of the greater emphasis on Elizabeth's point of view, as well as her relationships with other women. Many of the creative changes made emphasize the ridiculousness of the patriarchy and Elizabeth's outspokenness. In addition, Austen's narration slips into the dialogue of the female characters; for instance, Mary proclaims the village's judgment of Darcy as "the proudest most disagreeable man in the world."

Creative Changes/Great Quotes from the Script:

Darcy adding further insult to injury: after proclaiming Elizabeth to be unattractive to him, he adds: "She has too many sisters."

Mrs. Bennet criticizing poor Mary: “You read too much! No wonder you’re shortsighted.”

Elizabeth has had enough with Darcy, the Hursts, and the Bingleys: “Jane, they are monsters! They like nothing and dislike everything!"

Elizabeth has no patience: "This is unendurable! Mr. Darcy has scarcely spoken more than 10 words to me during the whole of today!"

Mary Bennet praises Mr. Collins' writing skills: "But he is intelligent. In point of composition the letter he wrote Father was not deficient and it was very long."

Mr. Collins scrutinizes Longbourn (his future inheritance) Part 1: "The hall. The hall should be imposing. This one is spacious enough but a little dark..."

Mr. Collins scrutinizes Longbourn Part 2: "Truly a gracious dining room. Lady Catherine de Bourgh would not be ashamed to dine here...The table, though a trifle rustic, is solid and a good match."

Mr. Collins provides much needed moral lessons to Kitty and Lydia: "I have often observed how many young ladies are very little interested in books of a serious stamp, though written solely for their benefit. Certainly there can be nothing so advantageous to them as instruction."

Mr. Collins on Anne de Bourgh: "She is agreeably fragile, and she is to marry Mr. Darcy."

Lady Catherine de Bourgh supporting the patriarchy: "If I were to have more children, they should all be sons."

Mr. Collins' Aquatic Hat: In one of many examples where Lady Catherine micromanages everyone's life, she orders Mr. Collins to plant bulrushes by the lake and per her instructions he orders an ugly top hat with a shower cap inside it to prevent himself from drowning. Charlotte and Elizabeth laugh about it when Mr. Collins isn't looking.

Darcy is a dog person, how sweet! Before the first proposal and before he meets Elizabeth again at Pemberley, Darcy is accompanied by a dog. Perhaps if he brought his dog to the first proposal it would have succeeded?

Elizabeth's internal monologue after she reads the letter: I normally dislike internal monologues because they detract from the action or become redundant, but I like how this adaptation utilizes the internal monologue to show Elizabeth actively confronting her prejudice against Mr. Darcy and acknowledging that she has acted wrongly in judging him harshly. Some adaptations reduce or even leave out this fundamental part of Elizabeth's personal growth. My only quibble with this scene is that Elizabeth lets go of her prejudice too soon and in too calm a manner. In the book, she is initially angry at Darcy and needs to reread the letter multiple times before she starts to form a grudging respect for Mr. Darcy. For Elizabeth, letting go of her prejudice is a slow, exhausting, and emotionally taxing process, unlike in this adaptation, where her logical reasoning allows her to quickly overcome her unreasonable hatred of Darcy.

4. THE ROMANCE (or, to be more accurate, lack of)

Many of the key romantic scenes between Elizabeth and Darcy are shortened, which surprised me because the length of a miniseries in general allows for more character development. I was hoping to see a fuller picture of Darcy and Elizabeth's relationship than could be provided in a movie.

While the female characters of the adaptation are fully rounded and have many opportunities to express their perspectives, the male characters remain one-dimensional and do not get the same treatment as the women. In other words, the male characters are reduced to mere objects of affection.

Some critics have argued that Darcy is irresistible to women in part because he is mysterious. Even his appearance is left to the reader's imagination, as Austen only notes that Darcy has a "fine, tall person, handsome features, noble mien...[and] ten thousand a year." Thus, the reader gets to craft their ideal version of Mr. Darcy; he could look like any handsome man. When the "historically accurate Mr. Darcy" image was released several years ago (where he looks like George Washington); many, including me, were disappointed because we all have different images of Mr. Darcy in our heads (or more likely, we pick between Colin Firth and Matthew Macfadyen). This adaptation capitalizes into the mystique of the character by leaving the viewers to guess Darcy's intentions. Since we do not have access to his internal thoughts or motivations, we are limited to what we see before our eyes, much like the Meryton villagers. We do not get to see how Darcy develops feelings for Elizabeth; nor do we see how he is like in private occasions (even when alone with his friends, he says little and reveals little).

Other critics/Austen scholars/fans have argued that the one-dimensional treatment of male characters is in keeping with the unique writing style of Pride and Prejudice. Typically, female characters were the ones reduced to objects of affection for the male characters. Austen reverses this norm by focusing more on Elizabeth's viewpoint while Darcy remains mysterious.

Though a more reserved Darcy may work in the book, it does not serve the development of the romance well. Darcy's falling in love with Elizabeth is characterized by a gradual loss of control over himself; in his words he was "in the middle before I knew that I had begun [falling in love]." After all, he cannot stop staring at Elizabeth and frequently tries to keep talking to her at Netherfield before he begins to feel "the danger of paying Elizabeth too much attention." During his first proposal, he is agitated, and when Elizabeth rejects him, becomes angry. It is obvious, in the book and in the 1995 and 2005 adaptations as well, that the man is clearly an emotional train wreck.

The conflict between Darcy's outer shell and inner self is a key part of his falling in love with Elizabeth, and the adaptation misses out on this with a stiff, wooden Darcy who always carries himself properly and never smiles. In general, the most entertaining romances have this tension between self-control and passion, with lapses in manners usually the only sign of the passion beneath the surface; after all, in Elizabeth's words, “Is not general incivility the very essence of love?”

Back to the idea of the one-dimensional Darcy being an inversion of gender norms in writing: I have to disagree with this because (this is obvious I'm sure) Darcy is still a fully rounded character and does undergo his own journey, since he has to change his manners to earn Elizabeth's love. This quote shows what Darcy has learned about himself:

"I have been a selfish being all my life, in practice, though not in principle. As a child I was...given good principles, but left to follow them in pride and conceit. Unfortunately an only son, (for many years an only child) I was spoilt by my parents [who] almost taught me to be selfish and overbearing, to care for none beyond my own family circle, to think meanly of all the rest of the world, to wish at least to think meanly of their sense and worth compared with my own."

Though some fans of this adaptation like how the other relationships are treated with equal importance as the well-known love story, the romance is important as a source of personal growth for Elizabeth as well as Darcy. After all, they do have to overcome the "pride and prejudice" that separates them.

The marriage of Darcy and Elizabeth is a feminist triumph for Elizabeth Bennet; in my review of the 2005 movie, I noted that Elizabeth Bennet is revolutionary because of her unwillingness to compromise on her belief that marriage should based on love and respect, contrary to the prevailing social view of marriage as an economic proposition. While it seems counter-intuitive for a repressive institution like marriage to be a feminist triumph, Austen's heroines use marriage as a means of gaining not just material comforts, but ultimately the self-respect they desire by uniting themselves with partners whom they are equals with. The marriages Austen's heroines make are testaments to their independence, as they are choices made by the women themselves. Even Charlotte Lucas' otherwise unhappy arranged marriage works for her, since she enjoys the freedom that running her own household gives her. Not focusing on the romance of Elizabeth and Darcy leaves out Austen's complex perspective on marriage as a social necessity but also an unlikely route to freedom.

Here's my breakdown of the Elizabeth and Darcy scenes in this adaptation and why the romance fails:

"She is tolerable:" Elizabeth reacts rather too sedately to the insult Darcy gives her (and he also makes an added comment about her having too many sisters); unlike in other versions where she attempts to suppress a laugh or even taunts Darcy outright. The adaptation diverges from the book by having Elizabeth tell her mother instead of her friends about Darcy's insult; it does not make sense why Elizabeth would confide this in her mother, given that she knows her mother is a fool.

Netherfield dance: Darcy attempts to flirt with Elizabeth during this dance (which only lasts one minute!), but doesn't succeed because of his poor social skills and her prejudice. It's also an amazing battle of wits, as Darcy counters Elizabeth's accusations while admonishing her not to trust Wickham.

Unfortunately, the adaptation cuts out essential dialogue revealing the extent of Elizabeth's prejudice and foreshadowing the discovery of Wickham's true character. For example, what isn't included is Elizabeth's accusations that Darcy is to blame for ruining Wickham's life, to which he replies that Wickham is capable of charming others but not necessarily of retaining good friends.

More significantly, the adaptation cuts Elizabeth's admission that she cannot figure Darcy out:

"'May I ask to what these questions tend?' 'Merely to the illustration of your character,' said she...

'And what is your success?' She shook her head. 'I do not get on at all. I her such different accounts of you as puzzle me exceedingly.'

'...I could wish, Miss Bennet, that you were not to sketch my character at the present moment, as there is reason to fear that the performance would reflect no credit on either.'"

The development of the romance is harmed due to the omission of the portrait metaphor. Here, Darcy shrewdly observes to Elizabeth that her judgment of character may be flawed and foreshadows the discovery of her prejudice against him. After his many observations of Elizabeth, Darcy knows her so well that he can read her like an open book (though he underestimates the extent of Elizabeth's prejudice against him). The metaphor of the picture as a representation of character also becomes literal through Darcy's portrait at Pemberley; Elizabeth only falls in love with Darcy after examining his character through the portrait.

Ultimately, the Netherfield Ball dance between Elizabeth and Darcy is essential in demonstrating the fallacy of first impressions, and reducing the dialogue only to the beginning part where Elizabeth teases Darcy on his inability to make small talk undermines the richness of the story.

Darcy's first proposal: This scene is definitely the worst one in this miniseries because it fails on so many levels. First, this Darcy remains stiff throughout the entire proposal, like he was at a public ball rather than declaring love. This is a total contrast to book Darcy; who, though formal, is "agitated" and "pale with anger" at times. Those famous opening lines ("In vain I have struggled...") are delivered so quickly and without any sort of overwhelming passion. What should be the climax of Darcy finally letting the volcano of his repressed emotions erupt (with bad consequences for him) instead becomes a cold recitation of the script. Elizabeth also becomes robotic as well, repeating her lines back with a detached tone of voice as if reading a teleprompter. I'm warning you: be prepared for the worst 5 minutes of your life.

Visiting Pemberley: The adaptation utilizes Elizabeth's inner monologue as she praises Pemberley; it's interesting to people who have read and re-read the book, but I don't think it's necessary to "copy and paste" large portions of the book and read them to the audience.

I do like that this adaptation clearly indicates that Elizabeth still stands by her decision to reject Darcy's first proposal, even though she really likes his great big house:

"'And of this place,' thought she, 'I might have been mistress! 'I might have rejoiced in [these rooms] as my own, and welcomed to them as visitors my uncle and aunt. - 'But no'... 'I should not have been allowed to invite them.'"

Most adaptations include the "Pemberley could have been mine" part, but don't include Elizabeth's realization that Darcy's class prejudice would have estranged her from the Gardiners (unfortunately that includes the 1995 miniseries). Including Elizabeth's thoughts about her aunt and uncle dispels the perception that she is a gold-digger who marries Darcy only after realizing how rich he is.

The portrait: why, why, why does Darcy not smile in his portrait?! The book LITERALLY EMPHASIZES that DARCY SMILES in his portrait, revealing a more sensitive side to him than his cold and formal appearance would otherwise suggest. Big mistake.

Lydia's elopement: the adaptation messes up this scene so badly, which is unfortunate because the scene is important in showing how much Elizabeth trusts Darcy and how much he still loves her, as shown through his concern for her. First, it diverges from the book by having Elizabeth run several miles to Pemberley (while fully outfitted in a spencer, bonnet, and long dress) and somehow she doesn't sweat or faint from the exertion. Running to Darcy to tell him the news doesn't make any sense, since the book makes clear that she did not want anyone outside her family to know about Lydia's elopement, or else her marriage prospects would certainly be ruined; the news devastated her because she feared losing Darcy's respect due to his social prejudice. Darcy learning of the news was purely a coincidence because he happened to be waiting for her at the inn where she was staying (aw how romantic!). As for Darcy, he remains cold and doesn't seem concerned enough for Elizabeth, in contrast with the book, where he immediately springs into action. The adaptation also omits Darcy's kindness by cutting out the part of the scene where he consoles Elizabeth, gets her to sit down, and brings her some wine.

Second proposal: Darcy breaks the rules of social etiquette by going out alone with Elizabeth before proposing to her, unlike in the book where they are with Jane and Bingley, but this scene is still thoroughly unromantic because the two actors have zero chemistry.

5. CONCLUSION

Although this adaptation has some good moments, the dated production design, underdeveloped romance, and wooden acting means that I will only recommend this version to Pride and Prejudice nerds/extreme book purists. The adaptation is boring to watch unless you know the book by heart.

This script highlights Austen's wit and sarcasm, but the performances don’t always do it justice. The feminist approach to the novel makes the adaptation stand out, but comes at the cost of Darcy's character development and the central love story.

Purists and casual book fans are better served by the 1995 BBC miniseries, which has the right balance of entertainment, historical accuracy, and faithfulness to the novel.

Thanks to JASNA (Jane Austen Society of North America) for all the wonderful online articles that I pull many of my ideas from. I spent many hours entertaining myself by reading their scholarly analyses of Jane's other works as well as those related to Pride and Prejudice, and they have really helped me as I write these reviews.

@princesssarisa @austengivesmeserotonin @dahlia-coccinea @obscurelittlebird @appleinducedsleep @colonelfitzwilliams

#book adaptation #pride and predjudice #pride and prejudice #elizabeth bennet #mr darcy #mr bingley #long post #tv show review

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chocolateslatte · 4 years

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🚨The Rise of Skywalker Detailed Review and Spoilers Ahead🚨

George Lucas: “If the boy and girl walk off into the sunset hand-in-hand in the last scene, it adds 10 million to the box office”

The “fairytale” we got: A long long time ago in a galaxy far far away, there was a curse of pain and death in a family that just went on and on. They were never able to break it and they all die, the end.

Well, you did it JJ, you little punk...you ruined 40 years of cinema. Kids are coming out of theatres crying, they can’t understand. I guess this was the “fun and hopeful ending” you were speaking of during the press tours. Are you on crack or something, or just sadistic....why would you promote it like that!? Did you forget Star Wars at its core is a story of hope, light, a fairytale in space for children? They did it...they united Reylo’s and Fanboys through hate.

JJ you do realize tragical romances are only tragically romantic if there was romantic buildup? Romeo and Juliet married in secret, Anidala did as well and flirted in the fields. How was this supposed to be satisfying? A five-second beginning, middle, and end. How this went through multiple execs is beyond me.... I would have understood if Reylo was Rian’s creation. BUT JJ LITERALLY was the one who told Rian to go forth with it...he created Reylo so you can’t say the last Jedi derailed things on that front. JJ wasn’t brave enough for his own vision. This movie was like “the crimes of Grindlewald”, a lot of stuff happening that made me feel nothing.

Okay, first things first. The OG trilogy was necessary, the prequels were necessary to set up that Vader did not start off bad. What was necessary about the sequels? They just dismantled everything the Skywalker family worked for. Why did we have to see ALL of our favorite characters die? Was the aim that a villain can only be redeemed through death? How original. I’m convinced what they were planning for since force awakens was a journey from villain to hero...but instead we got this a 10min redemption resulting in death a la Vader. Why call Adam Driver’s character a “Disney Prince”?When did Happy endings become so controversial? We go to the movies to feel hope, to escape reality...George Lucas understood that. JJ’s trilogy is uninspired, bland and contributes nothing to the saga. JJ went as far as to recon his own “The Force Awakens”.It had the chance to define generations but no. Literal and utter garbage. Rian made some odd choices but he was bold, unafraid and had the vision. HE knew emotion was at the heart of Star Wars.

WHERE DID THE SKYWALKERS RISE? MORE LIKE RISE OF PALPATINE, HE BLOODY WON

BUT my problem is not with the ending, it’s the bloody entire movie. This movie made me realize that it's not Reylo that I am a fan of, it was Ben, Leia, Han, Ani, Padme, and all those other characters. I’m upset because this movie is not my Star Wars: of family, love and above all else hope. This is just a 2.5-hour video game with no emotions. This trilogy was all angst with NO payoff.

Okay, you will never ever convince me Palpatine was planned the whole time. This whole movie was retcon for the Last Jedi that pissed off the fanboys. Lucas films did not have an outline for the three films and Rian derailed whatever they wanted to do....except they didn’t even tell him what they wanted! This should be a cautionary tale of why you need to plan. Kylo ain’t bad, Snoke is gone....well pull out Palpatine I guess. This whole film is JJ’s mad scrambling. Alright, I will humor you, tell me how Palpatine came back when he fell down a shaft and exploded....not *boom boom because of force*. The force in this movie is not canon George Lucas force, it’s just an easy out whenever JJ wants one.

1. Opening Crawl: As soon as I saw this I knew all the leaks were true, I wanted to bolt from the theatre. When I saw them in August I laughed cause it was so ridiculous it couldn’t be true. How could Disney let a whole movie leak? The plot seemed like a bad fan-fiction. Actually, fanfics are way more true to lore. Anyway, so Palpatine “announces” that he’s back. Is this the shrewd Chancellor Palpatine we know? Certainly, not...why in the world would he announce it rather than keep on the DL and just attack. Yo Palps ain’t this dumb why would you let them (the resistance) prepare?? Because of plot...well okay.

2. Did Last Jedi even happen: this film is the sequel to the force awakens, like TLJ never happened...except it’s acting like there was some movie in between that JJ made. Okay, so why is Kylo trying to run Rey over with his tie fighter...he doesn’t really want to kill her. It’s just meaningless action shots. And don’t get me started on exposition, the dialogue: “hey look its the Knights of Ren”. Except they do nothing. Cool cool. Kylo’s character goes back to Force awakens era like no development had occurred...except he’s not even there he’s just messing around not even being a real villain. JJ’s specialty is set-up and he does this beautifully....but he can not wrap up and follow through.

3. Rose Tico: yup last Jedi never happened, she has nothing to do. She and Finn are irrelevant. Finn has reverted to being obsessed with Rey. Cool Cool. I honestly feel so bad for the lovely Kelly Marie Tran. How did you relegate a relatively big character into the sidelines?? Why introduce two new characters this late. Rose could have filmed in for them...but alas we must snub Rian at every turn because that’s just how petty JJ Abrams is. ( don’t get me wrong Jannah was cool)

4. The Rise Of Poe Dameron: Finn has been relegated to a side character who does nothing and just yells “REY!”. It was a great setup, a stormtrooper who was force sensitive but doesn’t want his life to be fighting for nothing. You could have explored trauma, the discovery of the light but nope nada. Tell me the point of his character journey. So flat and static. And with Jannah and the ex stormtroopers they could have gone with the arc of these lost, sad kids coming together to find family.

5. Leia: Okay you’re telling me our Princess would give up on her son before he was born, just throw away her lightsaber and accept Ben’s fate? Cool alright. And she knew about Rey Palpatine and didn’t say anything...my princess would never.

6. Mary Sue Rey: Ahh Rey this girl feels no emotion in this movie...just like the audience. Sure she’s trained but she can just do stuff with the “force” that even Jedi masters can’t. Stopping a whole starship, something even Yoda could barely do...yup she can do it. Beat Kylo all the time except one, yup she can. Manipulate the force in mind-boggling ways, heal people...sure Luke couldn’t but Rey certainly can. Cause she is the chosen one...hell even Ani wasn’t this talented and he had years of training. Poe and Finn have a genuine connection, Rey just seems disjointed (totally understandable why)...but if so the ending is even worse. She doesn’t even find peace with her friends. She’s not realistic and human like Luke and Leia were.

Force sensitivity in the galaxy: What a perfect setup, the boy with the broom at the end of TLJ that was force sensitive. The message is that the power to use the force was spreading through the galaxy. No longer confined to the elite. People were hearing of Luke’s battle of Crate and rising.

7. Kylo/Ben: I still maintain that he, other than Ani was the most nuanced character in the whole saga. His arc from Force Awakens to Last Jedi had progressed. How great that even someone from the legendary line of skywalker and solo could fall to the dark again. He wasn’t flat, he was a tortured boy that was conflicted since the first movie. How great would it have been to see him as a conflicted supreme leader, which was set up in TLJ. But *gasps* a plot of his very own, no can do, this is the nature of JJ’s crush on Rey and Daisy.

Disney released comics that made us sympathize with him, to see that all along he was manipulated by Snoke, and Palpatine the voices in his head. Neglected by those who were supposed to love him. Adam Driver was cast perfectly, he had almost no lines that weren’t related to Rey’s charcater arc. If he were a woman I’m sure everyone would be offended. That single line’s delivery “Dad-”

Come on Poe had more lines than him, and Driver according to JJ was half of the protagonist. He was pitched an arc opposite that of Darth Vader that’s why he signed. Man JJ really did do everyone dirty.

8. Ben had no lines while redeemed other than “ow”...I am so sorry ADAM that this nasty ass JJ did this to you...this part was 100% improv by Adam, I am willing to bet my life on it. You know why “ow” was brilliant? Cause it meant he felt pain and emotion, he was no longer hiding behind the hardness of Kylo REN. Adam’s performance as Ben left me speechless, he was convincing as Kylo, intimidating...but as BEN he shines in the way only Solo’s can. The way his eyes become determined once he accepts he must give his life, and he does so happily for the love of his life. His soulmate. Star Wars and JJ never deserved the talent that is Adam Driver.

9. They are supposed to be equals in the force yet they missed the opportunity to fight Snoke together. Tell me how they are equals. He existed only to further Rey’s plotline.

Oh and the other Jedi including Anakin whisper and help Rey...when his own grandson has been asking for help in distress for like 30years. Nice real nice.

10. Finally Reylo: it felt unearned cause there was no buildup, JJ just threw it in for kicks forgetting all the P&P parallels he was shooting for. An afterthought. Driver and Ridley’s acting saved the day, they had no lines. Adam Driver is truly one of the finest actors. You could see the difference between Ben and Kylo in his subtle gestures...the sass was pure Han Solo.

11. And then the death: I wouldn’t even say we won, but at what cost. We won in no way. Had he died fighting I would have understood, but this death was so unnecessary and put in just for the fanboys. Let me say again I would have been okay with death had it been justified. How is this any different than Vader x Luke. JJ can only copy not create. How crazy that you can just bring people back from the dead...Anakin is here like, am I joke to you? I could have brought Padme back say what???? What was the point of his whole fall to the dark. The force is infinite, that’s the whole point...once you know how to use it you can’t run out of it like juice. Oh, and Ben did not become one with Rey but rather the Force according to the Disney website. So why pray tell did he not appear as a force ghost? I’m convinced JJ was on crack.

12. No Mourning BEN no acknowledgment: 5 seconds! And then she moves on from losing her soulmate, half of her soul. She loses it over Chewie but nothing, no emotion not even a second over her other half. Seriously? No one ever knows Ben came back...nada. JJ set up Reylo, time and time again he has said that he crafted the story around the romance. He was left scrambling after Last Jedi and this was a last-ditch shock ending. No Reylo theme song, no across the stars

13. Last Jedi told us you don’t have to come from a powerful family to be important. THE WHOLE thing was that you could be force-sensitive and be a nobody. Nobodies can become somebody. A Hero is not born but made. The force lives in all beings, not just powerful families. It inspired me, what a great message to young guys and gals. Kylo’s line, “you come from nothing, you are nothing...you have no place in this story” finally turns out true. You have to come from something to have a part in the Star Wars story. And Rey had darkness inside her cause she was human. Because none of us are pure, we are shades of grey. But no, it’s cause darkness only runs in families. In the Last Jedi when she wants to see her family all she sees is herself and a shadow (Ben) who joins with her. Please do explain this JJ. And if this granddaughter thing was set up I would have had no problem...but they pulled it from their asses. You can have nothing but mean something. But no pander to the fanboys. In the end, a Palpatine lived and all the skywalkers ended....and we are supposed to have hope. Palpatine really did win.

14. Rey’s biggest fear was ending up in the desert alone, we were told “the belonging she seeks is ahead not behind” and “there’s someone who could still come back”. They mentioned she felt just as alone with the resistance. Only the other half of her soul understood her. This is truly tragic and sad...I am so heartbroken for her. And don’t tell me she isn’t there to stay...the soundtrack is called “a new home”. Enjoy the rest of your days being exactly where you started Rey....but hey at least you got a droid boo. I’m convinced this is not the balance JJ envisioned in the first movie. At one point in TFA Rey looks up sees an old woman alone, scavenging in the desert. This rattles her to the core and it starts her journey of wanting a better, different life. I am so sorry Rey. Okay so you may say she has the resistance and her friends...but let’s consult the last Jedi. In the end when everyone is on the ship...Rey is surrounded by friends yet looks more alone than ever. No one but Ben, maybe Luke, Leia, and Han understood her pull to the dark.

How sad that these two hopeless souls who had never known a moment of belonging and true love, found it for all but a few seconds.

I will quote: “preventing female characters with strong, compelling narratives from experiencing love, intimacy, and affection is just as regressive as reducing them down to sexual accessories. Assumes that women must choose between a romantic interest and depth of character”

Men really can not write good female characters, can they? A woman really can’t be a badass and end up with the love of her life

15. The Skywalker’s and Redemption: How truly truly sad that Han and Leia gave their life for their son who also died at a young age. ALL the Skywalkers and Solo’s have a tragic end. This is not what George Lucas wanted. What a tragic way to end this saga...they weren't able to break the curse. AND to all those troubled kids out there that lashed out and made terrible mistakes in their youth....doesn’t matter what you do dying is the only way out. You could have exiled him, made him pay in other ways. Nothing can be done to make up for your sins but death, no amount of good means that you can come home. To the young boys that get wrapped up in terror organizations, sorry the only way you can be redeemed is death...don’t bother changing and coming back. They could have exiled him, had him start an academy with Rey for Jedi kids. He could have spent the rest of his days redeeming himself. Why tell us he was literally preyed upon, haunted, and manipulated as a child. Even in a fantasy world, a victim of mental illness and abuse can not catch a break. Ben as a child could not fall asleep due to the demon-like voices in his mind. Everyone abandoned him in his time of need. Ben never desired power like Anakin, he went over to the dark because “the voice” of his grandfather promised belonging. I am shocked that this is the message Disney sends us. Oh and yeah you can totally take on the Skywalker name for kicks...the disrespect I swear

16. The worst bit is that I am 90% sure there was another ending that was scrapped. There was a promo shot of Jannah in a field, soft lighting, lush planet. It was exactly like P&P. Daisy Ridley said the lasts scene was known to only Her, Jannah on that panel (Driver was away). Convinced Jannah was looking at Rey and Ben starting a new life away from the desert which she and Luke hate so much. Hence the production of “A New Home” soundtrack. Hence why the “Farewell” song played behind Reylo kiss was hopeful. Why Luke’s soundtrack when he became part of the force was not triumphant. Why the death scene was sudden and cut weird and no sorrow from Rey. CAUSE THEY SCRAPPED THE ORIGINAL ENDING LAST MINUTE. Everyone knows JJ was still editing one month before. The concept art which was supposed to be released this month has been pushed to March. Why you ask? They need to remove the pages with a happy ending. He just didn’t have the guts, pandered to everyone and yet no one. He was successful in creating a beautifully filmed action-filled movie with none of the heart of Star Wars.

And then she goes and buries Anakin’s saber on freaking TATOOINE. He HATES Sand and Luke wanted to get away from there as soon as possible. Of course, a Palpatine would torture them that way. But nostalgia is the cash cow so. JJ can only generate nostalgia, not create original stories. IF he had any creativity she would have buried it at Padme’s grave.

The fanboys say “leave the romance for the romance movies”....have you seen the original trilogy or the prequels? Star Wars has always had hope and romance entwined with it.

SO AFTER 40 YEARS...PALPATINE WINS...HIS BLOODLINE LIVES ON

...and people thought the prequels were bad

JJ you also said that your goal was for people to come out of the movie feeling more hopeful and happy then they went in...yet here I am. My roommate literally had to console me and buy me ice cream. I am just so numb. I am sure the casual fan will enjoy this, as seen from the rotten tomatoes ratings. I think the critics were too generous with this one,

Star Wars is very simple at its core, Good vs Bad and Dark vs Light. The kids are expected to understand that a Palpatine being the only one who lives is hopeful? That is the conclusion of three generations of Skywalker sacrifice...

This is how the Skywalkers are remembered...In Tragedy and Curse??

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autumnblogs · 3 years

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Aside Glance: The Palpable Absence of the Dubiously Canonical

So you might have noticed throughout my writings that I have at the same time avoided directly talking about any of the expanded universe material while also occasionally alluding to it just enough to make it noticeable. At least, probably.

So to nobody’s surprise, let me say;

I don’t like the Homestuck Epilogues.

Before I dig into why, I wanna dig out what I think I actually do like about the Homestuck Epilogues. CW: for mentions of suicide, sexual violence, fascism, genocide, etc. Spoiler Warning for the Homestuck Epilogues, although if you haven’t read them by now, good; don’t. Keep reading for my thoughts on the Epilogues.

I do like that the Homestuck Epilogues say quite loudly and clearly that Fascism Is Terrible, and that Neo-Liberals are often Discount Fascists at best in terms of the material effects they have on the world that we have to share with them. They can often end up being interchangeable, and events can cause someone with a temperament predisposed toward Neo-liberalism down the path of bloody reactionary sentiment the way it did with Jane.

Homestuck has always been a pretty soundly anti-authoritarian work, and pretty aggressively contemporary work, so it makes sense that Homestuck^2 would reflect an internet culture rabidly obsessing about the politics of the Trump-Era United States, cast its villains as parallels to the Trump Administration, the grody religious movements it catered to, and the hyper-rich dingalings who benefited from it.

I do like that the Homestuck Epilogues develop the theme of criticizing the author and continues to call attention to its narrators, this time by explicitly casting them as villainous, and morally ambiguous/incomprehensible respectively. A central idea in Homestuck is the relationship between Author, Audience, and Characters, and the blending of the lines between them.

I like that it calls attention not just to the idea that a story’s narrator is an agent themselves, but also to the reality that the narrator may not have the best interests of either their readers, or their characters in mind. I like that the authorial powers of these characters are represented as overtly dangerous and evil when they are addressed at all.

I also like that the Homestuck Epilogues are rather brutally honest about the fact that sometimes, the people that you grew up with - your close friends - grow apart from you, and turn into kind of bad people. I’ve watched that happen in real time, and have had to stop hanging out with people because they just kind of... turned evil. That’s something that needs to be discussed more in fiction, and more honestly than the usual way. When the most visible example of like, someone you knew and loved turning into a bad person is like, Anakin Skywalker, maybe the world needs more stories about that.

So good, that’s what we’ve got for things I think were good to say. Well done.

What don’t I like about the Homestuck Epilogues?

In a word, I think, they are cruel. Relentlessly cruel. Even actively malicious.

Homestuck has, of course, always been rather mean-spirited and adversarial, pretty much since page one. And really, so has Andrew’s writing in general, since the days when he ran the site Team Special Olympics. His humor walks a fine line between and outrageous and genuinely offensive, as he dares you to say, “That’s fucked up!” so he can respond “it was just a joke, where’s your sense of humor?”

But the Epilogues transcend the usual sardonic envelope-pushing we can usually count on Andrew for, and instead opt to sink their teeth into the readers in an assault on the senses, and on the sensibilities. Reading the Epilogues is a brutal experience to endure emotionally, and in a lot of places, morally offensive.

And they are this way practically from the first page; our very first impression of the Homestuck Epilogues is a content warning that presents itself in such a way as to be almost unmistakably parodic. The stylization as an AO3 work, particularly in the context of Homestuck, where these sorts of overzealous content warning pages are associated with preachy jerks like Kankri, it comes across as a direct challenge to the viewer, and by a challenge, I really mean an attack. It is a mean-spirited joke at the expense of people who have a desire to curate their media experience - and then the authors have the gall to say that the one of the goals of the Epilogues is to challenge people to curate their media more.

Every time a character could conceivably make a bad decision, or become a more ill-conceived version of themselves, they somehow manage it, which becomes all the more unbearable because of the identification of character and audience that has been the case throughout all of Homestuck. If Homestuck introduces us to this entire cast and says, this is you, the Epilogues seem to follow up with and there is nothing good about you. Jade Harley somehow transforms into a grotesque caricature of a trans-woman, a girl who is sexually incontinent and predatory in a way that is directly tied to her having a dog penis - a state of being which the text variously slut-shames her for in Meat, or alternatively uses to blame her for ruining Dave and Karkat’s relationship in Candy.

John Egbert is severely depressed and dysfunctional, and this leads him either to go off and kill Lord English to chase the thrill of adventure and his own sense of purpose (in direct opposition to the all-but-explicitly-stated takeaway from Homestuck which Dave gives us, that the better option is to just leave the story alone altogether - explicitly the worst decision he could make according to the rules of Homestuck) or descend into decades of nihilistic solipsism while the world disintegrates around him.

Dirk’s worst natures take over him and transform him into a person who can only conceivably be satisfied either by becoming an arch-villain, or by murdering himself.

The Epilogues are aggressively cruel to Jake English, choosing to double down on the lack of emotional resolution he suffered from at the end of Homestuck, and squarely placing the blame for his own misery on his own shoulders, in a way which is pretty hard to read around, which is part and parcel of the general malice which Homestuck has historically treated mentally ill characters with. Nearly all the kids in Homestuck have suffered incomprehensible levels of mental and physical abuse, and the text expects them to simply overcome it sheerly by force of will. Sure, Jake is miserable but it’s his own fault, the text seems to say; if he’d just get his act together, like Dave, maybe he could get on with his life without being mind-broken by Dirk, or raped and whipped by Jane.

This isn’t even to delve into the flagship reveal of Homestuck 2, that Rose and Jade in the Candy Timeline have not only had a daughter of their own (without telling Kanaya), but that furthermore they have replicated their own trauma in her. Rose and Jade’s daughter has grown up completely emotionally alone, in the care of her Moms’ archenemy.

The point in all of this is not that the Epilogues have made everyone behave out of character or anything like that - I think it’s clear after a re-read especially that all of this is a conceivable direction that these characters could have taken. Rather, the Epilogues reliably choose to believe the worst of the characters of Homestuck in terms of their writing decisions. Everyone always makes the worst decision that they could make, or at the very least, nearly the worst. And because of the identification of reader and character, we can’t help but take away from that a sense that this is what the authors think of us as well.

And in case it wasn’t stated explicitly enough, a running theme throughout the Epilogues is that all this conflict and badness taking place is, to some extent or another, because we the audience are looking at it. As Andrew stated in relation to the Epilogues, there’s a kind of Happily Ever After possibility bubble around the characters that intrinsically collapses into conflict the moment we observe the events again - in other words, by participating in a story, we the audience members are somehow complicit in the characters’ suffering. Yet not all stories must be driven by conflict - and who triumphs and who fails in that conflict says a lot about what a story has to say about real life.

The Epilogues engage in a kind of voyeuristic cruelty, a kind of pessimism and cynicism, a kind of relentless ugliness that I have seldom seen, and to what end? The whole thing seems to me an attack on the audience.

Aside from general, abstracted claims toward authorial intent (which I think is there), I also want to say that, I can’t emotionally engage with the Epilogues, for a personal reason; as somebody who has struggled with almost daily suicidal ideation for most of my adult life, the way that the Epilogues deal with that subject goes from troubling to malicious and hostile in its treatment of Dirk’s suicide.

And staying personal, while I haven’t had to deal with some of the other sensitive topics that the Epilogues handle recklessly, handle them recklessly they do - Jake is serially raped by Jane, and in a way that he serves as a vehicle to move the plot forward, rather than with any kind of compassion for Jake’s condition. The possibility that Tavros Crocker might be being molested by Gamzee is brought up flippantly in one scene and played off as a joke.

The Homestuck Epilogues play at maturity through handling dark themes and sensitive topics, and reveal a profound immaturity in their authors because of the ways in which they are cruelly, insensitively handled over and over again.

I guess I’ll close with the least egregious thing. The Homestuck Epilogues just aren’t funny. Even at its bleakest, Homestuck has always been funny. In their relentless pursuit of cruelty, and the shared misery of their audience and characters, the Homestuck Epilogues forgo even this most basic element of Homestuck, which Andrew has always described as being basically a comedy.

Anyway; I will not be doing a thorough analysis of the Epilogues. I hate them too much and they suck.

#The Homestuck Epilogues #rape mention #suicide mention #fascism

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spectraldragon2024 · 3 years

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Finding Peace Q/A

Questions and Answers: (WARNING: Many of these questions and answers have spoilers for Finding Peace.)

Q: How did Whiteout find out about the Realm Between and the Dream World? I thought only Adder and his close contacts knew.

A: A personal headcanon of mine is that the NightWings were one of the few tribes in Darkstalker’s era that focused on advanced theories in the same way scientists today have theories about Darkmatter. In Finding Peace: One of these theories was about the concept of there being worlds that existed parallel to the world dragons inhabited. Even when the NightWings relocated to the volcanic island, NightWing philosophers did not abandon these theories overnight since it’s implied the volcano did not become active until centuries later. In her twilight years, she would learn about this theory (which came from a NightWing philosopher’s circle that was formed by the students of the Seer Omniscience, a controversial Seer in NightWing history.) While Whiteout was not a Somnus, not knowing the full nature of these worlds, she eventually gained access to the Realm Between. How she exactly gained access to this realm is something I plan to explore in later stories. However, I can explain how she managed to communicate with her brother across the centuries. In the Realm Between: Time is a concept, not a law. This means those who enter the Realm, whether physically or mentally, can communicate with individuals from across time. But to do so requires two individuals to be in the same location of the realm. By sacrificing her foresight, Whiteout was able to use the Realm Between to communicate with Peacemaker through various times. The final time Whiteout speaks to Peacemaker is a month before her passing.

Q: Are we going to see Moon have that important conversation with Qibli? It was left open-ended in the final Winglet.

A: Yes, I can say with absolute certainty that we will see this conversation. However, what will happen after this conversation will be up in the air. Going into the Winglet: I wanted to show that even though characters like Moon and Qibli have their “Happy Ending”, that does not necessarily mean all trials are done when a relationship begins. In Darkness of Dragons, I felt that there were some unresolved points of concern in Moon and Qibli’s personalities that I imagine would cause their newfound relationship to suffer if those concerns aren’t addressed. Ms. Sutherland once said that because both Moon and Qibli are young dragons, anything can happen between the end of Darkness of Dragons and fifty years later. Some core issues that have caused Moon and Qibli to hit a bump in their relationship stems from differing priorities. Moon is a representative and the only active Seer in the world. Her word is valued by not just the Queens of Phyrria, but Pantala as well. But she knows this isn’t just going to be her future, that there is more on the horizon. She wants the perfect ending with Qibli...but she focuses too much on that ending and tries to take steps to make it perfect.

On the other talon, you have Qibli. Despite his love and loyalty to Moon and his friends, Thorn remains the big centerpiece of his world. After all, Thorn was his mother figure who brought him out of an unstable life. He owes everything to her. That means he will be what Thorn needs him to be: An advisor, a soldier...he will be any of those. Unfortunately, this means he puts a lot of other things on the back burner, his relationship with Moon in particular. This causes a lot of distance between the two. Into the Darkness and Our Sanctuary will not show this much-needed conversation, as these stories will follow Turtle, Kinkajou, and Winter’s storylines respectively. But as I write Braving the Tempest, I do hope to write a story that runs parallel to it that shows Winter, Qibli, and Moon...and how their subplot resolves.

Q: In the Winglet that focuses on Tempest's POV: You have her meet Clearsight. During the conversation, it looks like Tempest blames Clearsight for what happened to Darkstalker. I was wondering if you believe this and if you think Darkstalker did nothing wrong?

A: Do I hate Clearsight? No, absolutely not. I thought she was a very intelligent dragon with a good heart. She loved Darkstalker and tried to turn him from the dark path he was on. I do not blame her for Darkstalker's descent into madness. Darkstalker's actions were his own, he had every opportunity to turn back and be happy. He was the only obstacle to his happiness (as Peacemaker pointed out.) That being said, while Darkstalker is the cause of his madness and sadness, I do believe Clearsight could have helped convince him to abandon his ambitions and to just be happy. The scene in question was not meant to be a sign of hatred, but rather a critique of Clearsight's decisions leading up to Darkstalker's descent. When I originally wrote the scene, I wrote it with something in mind that Tui herself once said in a Q/A Biohazardia was in and posted on their Deviant Art page. The Question asked was along the lines of what could have Clearsight have done to turn Darkstalker away from his path. Tui answered that she believed that Clearsight did love Darkstalker, but deep down she did not trust him. That was the point of the earring she had Darkstalker give her in order to keep him from reading her mind. Tui thought that, if Clearsight had shown the visions she was afraid of, then Darkstalker could have chosen a better path. I admit while Darkstalker was to blame for his actions (nobody else made him kill Arctic, that was his decision, and his alone.) I do think things could have been different as Tui said. But I like to think Clearsight knew that if she had trusted him enough to share her visions, then maybe Darkstalker could have changed. Instead of focusing so much on the future Darkstalker (good or bad) and focused on the dragon, she loved in the present, then maybe things could have been different. When Tempest and Clearsight did meet in Tempest's limbo state, Clearsight used the personality she had while she knew Darkstalker as a way to test to see how far Tempest would go for Peacemaker. The reason she tested Tempest, was because the SeaWing had a personality Clearsight wished she had when she knew Darkstalker: And that was to focus on the present. That was the basis of Clearsight's personality after she arrived on Pantala. She urged her descendants to live their lives, day by day. The future was theirs to write. With Tempest, she needed to make sure that she held firm in her beliefs, that she could save Peacemaker even if the future was dark. So while I believe Clearsight could have done things differently, I want to make it clear that I do not consider her responsible for Darkstalker's own actions

Q: Will you explore quantum mechanics in future stories? (i.e. Time Travel.)

A: While I think time travel would be an interesting concept in Wings of Fire, unfortunately, it's not one I will be exploring in The Darkest Eclipse AU. My thoughts on time travel as a plot device are that it is a can of worms, one if not handled correctly can leave the readers confused (I know I have left many unanswered questions in Finding Peace, but that was simply because the answers to those questions I felt would be better explored outside of Peacemaker's POV). While there are ways for individuals from the past to communicate with someone in the future (such as Whiteout reaching out to Peacemaker throughout the story) there is no way for individuals from the future to physically travel to the past. The Darkest Eclipse prophecy focuses more on the Paranormal and how it relates to established magic and laws of physics in Wings of Fire canon (like how Somnus magic interacts with Animus magic.) That being said, if I were to explore Time Travel: I would follow the theory that time is a closed loop (as in the past cannot be changed, it has already been decided, and that any changes done to the timeline must occur in the future). This, I feel, can be properly explained and leave little confusion for the reader.

Q: TempestMaker or PeaceCliff?

A: Wait, there are ship names?

Jokes aside, I will say that at the end of Finding Peace: Peacemaker does not view Cliff or Tempest in a romantic light. He does love them as much as he loves his mother and Moon, they are important dragons to him and he cannot imagine his life without them. But he does not love them romantically. Will this change in the future? Likely. But for now, Peacemaker is not in the right space mentally to have a romantic relationship. He needs to discover what he wants with his life now that he is free to make it, discover what he wants to do with his future. Once all of the uncertainty in his life is cleared up, that could change.

Q: Apple Juice or Orange Juice? Also: Any tips for keeping a decent writing schedule?

A: I like both, but I lean heavily towards apple juice (always nice to start and end the day with something sweet to drink, but nothing too unhealthy.)

When it comes to writing schedules: What I did with Finding Peace was setting up deadlines for myself. I have always worked well under the knowledge that I have a deadline that I need to meet. Now, that being said, my preferred deadlines may not be for everyone. One of my best friends and colleagues, DONOVAN94, is able to get chapters for her stories out in a single week when she has everything planned out and ready! But that is because she has chapters outlined, and afterward all she needs to do is write in critical info. This works for her, but I always focused on posting one chapter a month. Now I explored posting multiple chapters in a month during the tail end of Finding Peace. While it worked out okay, it left me exhausted...and honestly, I am still tired after doing it.

All in all: My biggest advice to writers (whether fanfiction or writers who want to become published) is to work at your own pace. Set deadlines for yourself that you think you can meet, and never hesitate to experiment.

Q: Who is Omniscience? He is only mentioned at the end of the story when you posted The Darkest Eclipse Prophecy.

A: Omniscience was a NightWing seer who lived during the founding of the NightWing tribe, many centuries before Darkstalker’s era. During Darkstalker and Clearsight’s generation: Omniscience is regarded as one of the wisest seers in NightWing history, as well as the most controversial. Omniscience was born on a night when all three moons were full, but entered a “Thrice Lunar Eclipse'', with each moon eclipsing the other. Instead of receiving both mindreading and foresight NightWing abilities, Omniscience received only the power of foresight. However, because all three moons were technically full that night: The eclipse basically “overcharged” Omniscience’s foresight. This allowed him to see multiple millennia into the future with clarity even Clearsight did not have. However, despite this great power: Omniscience suffered from severe psychosis, causing him great difficulty in his early life to tell the difference between his visions, tricks of the mind, and reality. It’s because of his friends and family’s support did Omniscience learn to embrace his entire self, and became one of the wisest seers in NightWing history. He was controversial because of his philosophy that a wise Seer is not one who tries to map out the future for other dragons, but those who embrace the unknown of the future. In his prophecies he did not address large audiences, but instead, his prophecies addressed dragons in the future, offering them wisdom in difficult times he saw them face. The Darkest Eclipse Prophecy is one of his two final prophecies, alongside another prophecy. These two prophecies have long since been stored in a secret archive, somewhere in Phyrria.

Q: Which character was difficult for you to write in Finding Peace?

A: This might come off as strange, but the one character that was difficult to write throughout Finding Peace was actually Peacemaker himself. The reason this is the case centers around the circumstances of his “birth.” While, in canon, he is not the first year-old dragonet we have seen: But he is the first that was born out of Animus magic and his personality was made from that magic. While we have witnessed the perspective of those influenced by Animus enchantments (when Winter very briefly became Pyrite), Peacemaker is different as he will be living his life following an enchantment. Throughout Finding Peace, I had to balance the enchantment’s dictations and, yet, try to write Peacemaker so he was not simply someone being dictated by magic. In the end: I settled for the enchantment is in place in certain areas of his personality, while making Peacemaker strong-willed enough to actually have a choice of what he likes (as seen when he starts to show interest in food outside of strawberries or standing his ground when his friends were harassed.)

Q: Which is strongest: Animus or Somnus Magic?

A: At their core: Animus and Somnus magic are equal and capable of the same things. However, because of the rules around magic in the AU: It is too dangerous to use Animus magic in the Dream World, or Somnus Magic in the Waking World. As shown in Finding Peace: If you use them in worlds where they are not meant to exist, those worlds will seek to eliminate the magic and its user. The only place both magics can coexist safely in is The Realm Between, where it’s believed both magic originated from. In Finding Peace’s climax this happens, and from there: The power of the magic all depends on the skill of the user. So, long story short, neither magic is stronger than the other. While both magics have advantages and disadvantages depending on the realm of existence the user is currently located in when they are on the same playing field both magics would be left at a standstill.

Q: Most Peacemaker centric fics have Peacemaker be best friends with both Prince Cliff and Princess Auklet, why wasn’t Auklet in the story?

A: Truth is, Auklet was originally going to be one of Peacemaker’s friends in the Quartz Winglet. In my original outline: The main trio would have been Peacemaker, Cliff, and Auklet. Tempest was going to be The Jade Mountain Academy’s counselor, in which she used her Somnus magic to see what bothered the minds of the students. However, the more I thought about it, the more I felt Tempest would have a better role as a Clawmate of Peacemaker and Cliff.

Q: Are Tempest and Cliff reincarnations of Clearsight and Fathom?

A: Yes, Tempest and Cliff are both spiritual reincarnations. While they do not physically resemble Clearsight and Fathom, their spirits are connected to the two dragons. When I drafted Tempest and Cliff’s interactions with the spirits of the two dragons who had such a significant impact on Darkstalker’s life, I drew inspiration from the belief that reincarnation is spiritual, rather than physical (like pouring water from one cup into another cup.) Now, it’s important to note that while they are reincarnations of Clearsight and Fathom, this does not mean Tempest and Cliff are actually those two dragons. Rather, it just means their souls are similar. This allowed Tempest to speak with Clearsight, and Cliff speaks with Fathom when they were in a state of limbo.

Q: Where were Turtle, Kinkajou, and Peril during Finding Peace?

A: Peril is currently living in the Sky Kingdom. While she and Clay live together in the Academy, for the last few months Peril has been staying in the Sky Kingdom...waiting for an important day to occur. Once this day happens, she will be returning to her home in Jade Mountain.

As for Turtle and Kinkajou: Their whereabouts during Finding Peace will be addressed in Into the Darkness. But I will say that what is happening by the climax of Finding Peace is not good for Turtle or Kinkajou.

Q: Why did you include Somnus magic in Finding Peace?

A: When writing Finding Peace, I took into consideration how I could allow bits of Darkstalker’s memories and personality could bleed into Peacemaker. Given the nature of the enchantment, it would not be as simple as putting on a copy of Qibli’s enchanted earrings (Tui confirmed that Peacemaker would die if he put on the earrings.) So I needed to come up with a way that could allow Peacemaker’s slow rediscovery of his past life: And that was with the inclusion of Somnus magic and Adder, while also implying Peacemaker’s strong will allowed only part of the enchantment to take effect (it’s been shown that dragons with strong wills can overcome Animus enchantments.) With Adder tormenting Peacemaker’s dreams by pushing memories of Darkstalker into his mind via dreams, Peacemaker would still be Peacemaker, but the Somnus magic allowed that anguish and confusion in his mind to occur. Needless to say, I was nervous about the introduction of Somnus magic, as I felt readers might think I was “Jumping the shark.” In order to make Somnus magic make sense, I focused on the rules and limitations of this magic and how it interacted with Animus magic. This way Somnus magic is not instantly more powerful than magic from canon.

Q: Why did the group of bandits refer to Lynx and Bobcat as “Cursed ones” in the Winglets for Finding Peace? Why is there a group dedicated to killing them?

A: In the Darkest Eclipse AU there exist multiple secret societies that are aware of the paranormal of the world (such as The Dream World and Realm Between, though they are typically named differently depending on the organization.) As for this particular group, the Bandits that raid the border between the Sand and Ice Kingdoms hunt for the paranormal while seeking to make a profit off of them. As for why this organization targetted Lynx, in particular, has less to do with who she was as a dragon, but everything to do with her ancestry. As Qibli and Hailstorm discovered: Lynx is descended from the Somnus bloodline, making her a very distant cousin of Surf’s family. When she traveled from the Ice Kingdom to Sanctuary, the bandits targetted and killed her because of this bloodline...and the fact that she was married to Winter, who has ancestors from a line of animus dragons. As for why the bandits would want to kill Bobcat: in essence, he is a dragonet of the Somnus and Animus bloodlines. While Lynx does not have an active Somnus Gene, and Winter does not have an active Animus Gene, the bandits viewed this union as cursed, as no dragon has ever seen an Animus or Somnus descendant have a dragonet. Fearing what they do not understand, the bandits killed Lynx to prevent the hatching of a dragonet of the Somnus and Animus bloodlines. Ultimately the bandits failed in the objective of killing Bobcat before he hatched: As the last act Lynx did before succumbing to her wounds, was hiding her son’s egg in a place Qibli would find when he, Hailstorm, Winter, and guards of the boarder arrived.

As for if Bobcat’s existence will remain secret to the bandits and other groups like them: That remains to be seen.

Q: Are there any more stories planned for The Quartz Winglet? Will we see Peacemaker’s life in the Sky Kingdom with Cliff, or the Quartz Winglet reuniting during the Winter Solstice festival in the Sky Kingdom?

A: Yes, to all.

Sometime before the summer: I plan to do a short story that takes place two weeks after the end of Finding Peace, in which we see a day in Peacemaker’s life in the Sky Kingdom and how he is faring. I feel this short is important as it will show one last POV dedicated to Peacemaker and how he is starting to rebuild his life.

We will definitely continue to follow The Quartz Winglet in future stories. Braving the Tempest will follow Tempest’s point of view and show the Quartz Winglet reuniting in the Sky Kingdom during the winter solstice festival. The relationships between these young dragons will continue to progress in the sequel to Finding Peace, named Braving the Tempest, and I look forward to showing you all what new adventures they will have in the future.

#Wings of Fire #Fanfiction #Finding Peace #The Darkest Eclipse Prophecy AU #Question and Answer

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soysaucecas · 3 years

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oooh for the ask game 24, 30, and 44!

MAGPIE MY BELOVED HELLO

24. What are your favorite episodes?

The only episodes I've really watched are TMWWBK (which is my favorite episode and I'm certain would still be my favorite if I watched every single one because it has the only SPN character and the only SPN line), The French Mistake (which was funny enough but honestly in the Just Okay category for me, which makes me pretty sure I wouldn't enjoy actually watching SPN if this is one of the funniest/highest-rated eps), and Reading Is Fundamental (my best friend was watching it and asked me if I wanted to hop on Discord, I thought it might be fun to see Kevin's first introduction but instead this ep found the two of us taking like 90 minutes to get through it bc we kept pausing and screaming (derogatory) as the model minority stereotype jokes piled up and up and up... Unfortunately not a favorite even if we got Meg AND the "pull my finger" joke AND the "Sorry" shot). Other than TMWWBK, from clipping and transcript-reading, I like Wayward Sisters (who doesn't?), The Things We Left Behind (Claire!!!! Cas trying to be a dad! The diner scene aka my favorite destiel scene of all time bc being in love just looks so good on Cas! Also the parallels between Claire and Randy and teen Dean and the adults at that club in his story... woof.), Golden Time (Eileen gets to be HERE and be sad and loved and fight people with ghost powers and Cas gets to do a cool speech and a stabbing and do the Asian community a favor), and Lucifer Rising (just immensely sexy on all counts for Ruby, Sam, Cas, and myself). Also I am SO fond of Steve!Cas so I'll add Heaven Can't Wait even if I barely know anything about it.

30. What is an unpopular opinion or headcanon you have about the show?

Ooh okay hm I think. So I adore confession scene, but I don't think the "I cared about the whole world because of you" is like. The Objective Truth the way that most bloggers seem to take it. Cas was lobotomized tons of times before he met Dean, he was described as coming off the line with a crack in his chassis, he's always been the weird little angel who likes humanity too much! I don't think Dean came first, and although gay love was part of what helped Cas invent free will, he *Ruby voice* didn't need the feather to fly, Dumbo! I do think Cas believes what he says in the moment, but I also think he sorta... made himself believe it? This is probably just me deciding that cas-coding should go both ways, but like. I very much crush as a coping mechanism and I very much overascribe my actions to love because it simply seems more noble/poetic to do so. Being miserable because school is hard is cringefail but being miserable because of unrequited love is Good Shit. And I have been in unrequited love with my best friend for at least 7 years (probably 9 but I didn't realize it earlier) and if you asked I would 100% say that she taught me love and defined love for me and that she will be my first and last, but I also know that that is not entirely true; it's just the narrative that I like for myself. And I think that being in an Empty deal contingent on whether or not he LETS himself feel happy would lead Cas to do plenty of mental maneuvering, which I think involved intentional self-poor-little-meow-meow-ification via overascribing his choices and happiness to Dean (and I also think he'd already been doing that for a while just because of personal self-worth issues and because it's a nice narrative). I know as Cas's last Moment on the show it was probably written to be The Objective Truth, but I am perceiving him and I say no.

44. If you could write an episode of Supernatural, what would happen?

Oh scream okay! This is a fun one! I am going to start out with two ideas from other people:

1. Months ago Nate from the pocnatural discord had the idea of an episode from the "monster"'s perspective where the Winchesters are just clearly the antagonists while not doing anything different than they usually do. I think the idea was that all these supernatural beings live in a self-regulating community together and we have one Very Likable pov character who's a member of this community, but one of the newer members messes up one day and kills someone and the Winchesters come on a case and wreak havoc on this Very Much Functioning (there was going to be a whole rehab and reparations thing for the new member who messed up!) system and kill pov character and in the end you just HATE Sam and Dean for it.

2. It's hard to adapt anything from bad moon rising (aka my favorite spn fic) very well because the point of an Arab Winchesters season 1 rewrite is that it doesn't really work with the white characters we have now, but I think I could see a version of chapter 2 adapted as long as Haley (an Ojibwe hunter who lives in the area affected by what Sam and Dean are hunting) takes the lead. I'd especially like to see this section:

Dean laughs, a little disbelievingly. The question has never crossed his mind. “Do you like it?”

This gives Haley no pause at all. “Yeah,” she says. “I mean, it’s not really about killing monsters, though, for me. Or, it’s not always about killing monsters. It’s about community. Not violence. It’s a spiritual thing to build a home, you know?”

“Oh,” Dean says. He can’t think of anything else to say. It has never crossed his mind before that hunting could be compatible with a community.

I don't have any original episode ideas to add to the hunting discourse, so we're on to my ideas about character-driven eps. I think I would like to see a version of my sastiel possession fic (ty again for beta-ing that! you're a real one) as an ep around the time of 9.11 because Sam deserves to work through their trauma, but idk what the Dean plot should be for that. Another thing I would like very much is TFW drunk history storytime (so like. Tall Tales bass boosted), where for some reason they all need to go over what they were doing during Stanford era but each of them is telling someone else's story. It's gonna be either Sam->Dean->Cas->Sam or Dean->Sam->Cas->Dean. It starts out very funny (they all have terrible wigs and makeup in the flashbacks. Cas is Jimmy wearing a giant mask with googly eyes on it.) but as it goes on it gets increasingly sad how much these three don't really know each other.

In the Sam->Dean->Cas->Sam episode, Sam's telling of Dean's past veers wildly between "crushing pussy and killing things" and "feels like absolute shit all the time" and it's funny but Not Right and afterwards Dean goes "I didn't know you thought of me that way" and Sam says "... I am basically reading off the voicemails you left me back then" and Dean has to sit there and contend with the mythology he himself wrote for Sam to believe in. Dean->Cas provides the comedic beats for the episode as Dean awkwardly narrates Cas's Life As A Weird Little Guy who watches trees grow and heals babies and in the end Dean goes "so how did I do" and Cas is like "well actually I was either getting lobotomized or murdering people so like 3/10?" The moral of this plot line is that Dean is bi. Cas gives a fairly faithful retelling of Sam living her trans little life at Stanford and veering between trying to be Normal and being a total weirdgirl and feeling guilty and angry and happy and free. It becomes clear that Cas admires Sam a lot (but also feels like. guilt and some self-recrimination for not being that) for rebelling from their dad and exploring their queerness during a time Cas was still to his knowledge in total soldier mode, and Sam is having an a_good_soldier's Thesis 5 moment about how she failed the kid she used to be and how very sorry they are about all the things that happened to them, and Dean hates that this is the first he's hearing about so much of this but is also quite emo about the parts where Sam is struggling. The ep ends with them all in the same room not looking at each other and not knowing if they want to group hug or never talk again.

Dean->Sam->Cas episode is similar but the storytelling dissolves a lot faster as it becomes clearer way faster how much their own emotions are getting in the way. Dean is upset that Sam could leave their family so easily and probably swing a normal life, Sam keeps wondering what it would be like to live millennia just KNOWING that you were right and good and clean, and Cas is gay and veering between fitting Dean's life into a larger Righteous Man narrative and just being very tender (and sad and angry) about Dean's pain. Episode ends in a rather cathartic shouting match where they all end up apologizing to each other for many things.

Oh also I would like to see Cassie again but I don't have an episode in mind there. Also would love to see Kaia adjusting to life in Sioux Falls and befriending the others and dealing with Bad Place trauma.

tysm for the questions sorry for taking so long!

(ask game)

#ask #long post

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wolf-stark · 3 years

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You ask I deliver — both tfatws asks in one!

tfatws weekly ask 1

i finally saw ep1!! i wont be able to see ep2 until thursday at the earliest but i already have some Thots on this ep. here are the ones I remember

first is, and i'm so sorry for this, a grammar lesson. an appositive is when you stick an additional phrase in between commas, dashes, or the like. i actually just used one! the "and i'm so sorry for this" in the first sentence of this paragraph is an appositive. thing is, most english speakers don't normally use them when they speak, only in writing. so i'm always on high alert whenever i hear somebody in tv or movies use one. (it's generally a marker of bad screenwriting). anyway there was one right in the beginning of the episode. the white army guy yelling at sam wilson said "first lieutenant Torres, our intel officer, will be helping on the ground." yeah so. the writing of this series started out on the wrong foot for me. but the rest of the episode was obviously tons and tons better (every interview i see with malcolm spellman makes me love him more and more)

the contrast between the opening minutes (falcon action sequence) and the rest of the ep.... i would 100000/10 rather watch a series with just sam and bucky dealing with life. i dont give a single crap about the flag-smashers or any of that. i just want sam, sarah & fam getting their boating business back on the ground & yeeting racist dickwads, bucky going through therapy and making amends, sam and joaquin being bros, sambucky homoerotic tension, etc.

the cinnamontography! wandavision mostly used cinematography to signify era n stuff. tfatws doesn't have wv's premise to go off of, so here's some tricks i noticed:

with sam there's obviously all sorts of shots with the captain america iconography next to his face, but he hasn't totally claimed it. there's the mural of steve rogers in the background; there's sam staring into the shield like it's a spectre of steve's face; there's sam looking into the exhibit, the shield and sam separated by glass and a layer of camera focus. steve is a constant spectre, always there, an idea, a symbol himself. sam's relationship with this iconography is distanced. he is separated by glass exhibit walls. by painting canvases. he doesn't yet feel worthy to take on that iconography. this whole thing was pulled off quite well but also a bit on-the-nose if only in quantity. there's just sooooo much fancy iconography stuff

speaking of the exhibit, there's something that i get real pissy about. it's when like, there's an action going on you're supposed to be paying attention to but the cinematographer is like,,,, hey! check out this location! or this headline! or something! there was a lot of that in the exhibit. the camera was like, you could focus on sam and rhodey's convo (which was fine but could have been so much better with an extra like 10 minutes of deep character study talk) but noooo you want me to look at the symbol for the united nations and read all the text about bucky who hasn't even showed up yet. shut up i know the lore and ill watch the shot-by-shot breakdown yt vids you don't have to make the shot this long jkdsalcjklasejf

my fav trick was with bucky and the therapist. i had seen a clip of the scene with bucky and the therapist beforehand and i thought the cinnamontography was super obnoxious, but then i was like, oh duh. the shots frequently change the distance between the camera and its subject. sometimes it's uncomfortably close and sometimes it's really far. a clear allegory for the duality of therapy, esp for bucky! therapy is an invasive process wherein he is ruthlessly examined, picked apart, and berated for his trauma (this therapist is crap in every way btw, "mean therapist" works for greg house and greg house only). so the camera goes close. it makes the viewer claustrophobic like bucky. but when he's like "no i haven't had any nightmares" the camera suddenly goes really far. we see bucky as this tiny head in the center of the bottom of the frame. we are distanced from him. he has pushed us away. we cannot see him. he lies because he is vulnerable. so yeah, amazing work there. the therapy scene was hard to watch on purpose!

did bucky slip a note to yori inside the dollar bill? bucky stop making me emooooo. the suuper awkward fake smile has me 😭 (veteran trying to adjust!)

mark my worrrrds when sam asks someone y the govt picked john “white bread” walker they’re gonna say “we needed somebody everyone can get behind....someone uncontroversial, someone everyone can see themselves in” like that exact racist dog whistle

tfatws weekly ask 2

just saw ep2 so im taking advantage of the 2 seconds i can be on tumblr without worrying about tfatws spoilers before new episode drops

when isaiah said "your people put me in prison for being a hero" and bucky thought "your people" means hydra. 🤦‍♂️

speaking of racism, the interplay between sam being Black (anti-Black racism) and sam being the Falcon (negrophilia, "can i take a selfie w you as i deny you a loan?") and the intersection between the two (j*hn lichrally called sam "steve's wingman"! he takes the crypto out of crypto-racist in like 2 seconds!) !!!!!!!! a Black celebrity's Black experience, the separation of man and identity!!!! (thinking about vanessa bayer in snl in that skit "beyonce is black" telling her black friend "you're not black, you're...my girl!")

after sam gets racially profiled by cops we see j*hn standing in front of cop cars cinematic parallels turns out j*hn is racist who knew

this therapist sucks major ass but she got bucky and sam together in the same room and ready to collaborate...that's something ig. it was lichrally couple's therapy she said she used her miracle exercise with couples sambucky antis get blended

bucky says "he was wrong about you so maybe he was wrong about me"...that's not how people talk. when therapist asks bucky, the guy who doesn't talk at all about himself, "y do you hate sam", the last thing bucky's gonna do is actually connect his hatred of sam to his own self-worth issues. bucky generally refuses to talk about himself, so why would he talk about himself in the one context that nobody ever links back to their own neuroses: hatred of other people? one thing human beings hate most is admitting we're wrong. admitting you hate someone because of your own issues? that's a major therapeutic step. bucky would absolutely have to be prompted to do that. even like one or two lines of dialogue more would have set up that line better. but in terms of the actual thought? an amazing way to take the sam/bucky relationship. bucky bases his self-worth on steve believing in him, and if steve is wrong bucky has no self-worth, so 1) he has to develop self-worth disassociated from steve's assessment of him and 2) he has to love himself before he can love sam, and 3) he has to realize that sam giving up the shield is a sign of sam's humility not his unworthiness.

conversely, we don't get into why sam hates bucky? yeah sam has the right to hate a guy that has tried to kill him (albeit while brainwashed) multiple times, and now shows up in his life just to bash him but. everything happens so fast i cant follow their relationship

in fact i dont feel like i understood much of anything. like y did bucky and sam go on that mission together? how connected are sam/bucky/joaquin with the government? doesn't bucky just want to retire now? literally what is everyone doing/feeling and why???

if battlestar becomes a knowing commentary on the black best friend stereotype i'm gonna party, but i dont expect much of that

the interplay between man and symbol. captain america is obviously a symbol. the shield is obviously a symbol. but steve rogers? the. man behind the cowl? he too seems to become a symbol. a paragon of a good guy, so good he's unreachable. steve was just a guy stop idolizing him the last thing steve would want is to be idolized

as the resident musician/music nerd on mcublr, 1) that captain america rally music slaps, but 2) re: the song at the end of the ep, if you're just gonna rip off mozart's lacrymosa then at least play mozart's lacrymosa. we wont blame you the lacrymosa slaps (if you dont know what im talking about go on yt and search it up youll recognize it fo sho

look i love enfys nest as much as the next guy but if tfatws is gonna get erin kellyman to play another innocent little gurl blackmailed into the fakeout-villain position (her text seemed to suggest as such) then 😡 like why can't women just....be evil? young, freckly, innocent-looking women? girls are not untouchable pure objects but full of rage and resentment just as much as anyone can be

bonus ep1 comment: bucky says about that senator whose car he hijacked, "she continued to abuse the power i gave her." fictionaldarling on yt say that he says "i" because he can't disassociate himself from his winter soldier persona which begets endless and senseless guilt. like dude. can i not be emo for like 1 second.

OKay. First off, as much I enjoy your sending it to me, what made you decide to send me these??

TFATWS WA #1

Don't worry about getting this to me as early as possible. I usually don't watch the episode right away.

1. Cool writing lesson.

2. Everyone wants a comedy show [like Friends] about the MCU superheroes.

3. Cinematography is always a beautiful thing.

4. Sam definitely has to carve his own Captain America status for himself, outside of Steve's ya know everything.

5. They have to do that for people who was just now tuning in because they're in love with Sam Wilson or Sharon Carter.

6. I think the therapist was taking a 'tough love' approach for Bucky, because she likely has some very strong opinions about the literal assassin she's been assigned to give therapy too. She did not choose to talk to him, she was assigned that make that clear in the second episode.

And, Bucky isn't lying when he said it wasn't a nightmare. It wasn't a nightmare, it was a resurfaced memory. So, technically he wasn't lying - and yes, the camera does move away because while he's saying he didn't have a nightmare, he's not expanding on what actually happened - so, he's still pushing the therapist/us away.

7. Bucky, and Steve, have/had a TON to adjust to.

8. Yeah, I agree that will be the bullshit line they give. If they ever actually talk about it.

TFATW WA #2

Yeah, always got to take advantage of avoiding those spoilers lmfaoo.

1. Honestly, that line was double meaning. Both about White people and Hydra [which is made up of mostly white supremacists/nazis] So, the line is gesturing to both White People in general and Hydra assholes together. I think the terminology is “double edge sword”??

2. This whole paragraph structure confused me, ngl - so I'm going to answer it the best I can. I do like that they're not ignoring the fact that Sam being Black is 1000% the reason he's not the Official Captain America - because the gov't is racist as hell.

I also like the little lines about how they point out little things about Sam's Falcon persona, like that kid calling him 'Black Falcon' specifically and Sam's response show the split between Sam and Falcon itself.

John is a dick for calling Sam the wingman of Steve Rogers. Sam was a hero all on his own before Steve asked him to join up again. [Side note, it's lichrally??]

3. Exactly, the parallel of Sam being profiled and surrounded while just on the street and John being surrounded by fans and being able to spring Bucky with apparently only a few sentences shows a Loooooot

4. Honestly, at this point I wonder if she's not actually a therapist and is just an agent assigned to assess Bucky outside of an Official Building. I do know, however, that her 'look at each other and speak' exercise is actually a real therapy practice. It's just a little slower.

5. Actually, I think he would've blurted that out. That whole line. I don't think Bucky hates Sam. I think they could've done the scene better, but I think that had Sam prodded him/the therapist been more annoying Bucky would've lost control of his emotions and blurted out the whole "If he was wrong about you, he was wrong about me" but I feel like the writing for this show is just... not there. Sometimes you blurt shit when you get overemotional and I think that was what Bucky was supposed to be like.

6. I don't think Sam hates Bucky, I think he doesn't trust him though. I do wish they'd talked about that though. The whole 'talk to each other' scene should've been a LOT longer and a LOT slower.

7. Sam and Bucky's relationship is being fast tracked because they don't really know how to work the relationship out, writers-room-wise. Bucky is technically retired, but I feel like he's trying to live up to Steve's expectations and doing what Steve would've done and we all know that if Steve was there, Steve would've jumped on that plane with Sam. It looks like Sam/Bucky/Joaquin are a side-team based from Military services but as Sam says they're all free agents so...?

8. Sadly, They seem to just be propping up to be another stereotype.

9. Captain America is a symbol. Steve Rogers is a man. But now Steve Rogers is an idol because of all the shit he's been through and honestly, it's not a bad thing he's become an idol for people - it's using Steve as a reason to make White Bread Walker the next Captain that makes Steve's idolization so fucked.

10. I don't know anything about music so I have no opinion here, sorry.

11. Enfys?? Also, I think they did the whole Innocent Girl Thing as side commentary for Bucky lowering his guard about seeing a young girl rather than a guy.

12. Bucky is the Winter Solider. The Winter Solider is Bucky. That is how Bucky will always see it because although he was brainwashed, it was still him and he remembers all of it. When you have constant memories of something 'someone else' did, you tend to not be able to pull the two personas out of each other. I want Bucky to take up the title, White Wolf instead of Winter Soldier. Honest.

This is all my opinion, I’m honestly a little disappointed with the writing of TFATWS so far so... I’m not really optimistic about this.

#Asks

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voodoochili · 3 years

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My 75 Favorite Albums of 2020

Every year produces excellent music and 2020 was no exception. The exceptional thing about this year, though, is the loss of livelihood so many musicians suffered as a result of the pandemic. To better celebrate all I’ve listened to and loved this year, I’ve expanded my albums list from 50 to 75 albums and included a highlight track from each in the Spotify playlist below. If you like what you hear, why not throw the artist a few dollars on Bandcamp?

Check the Spotify playlist HERE.

Without further ado, my favorite albums of 2020. Happy New Year, and happy listening!

10. Playboi Carti - Whole Lotta Red: Carti’s long-awaited opus has only been out for a week, which is probably not a long enough time to give an album as sprawling and surprising as this one a full critical evaluation. But I do know when I’m hearing something that’s unlike anything I’ve ever heard: this album rearranges hip-hop at the molecular level.

Whole Lotta Red is overstuffed with invention, the glitchy, expansive production giving Carti ample opportunity to glom onto the contours of the beat and experiment with his voice. That voice is the album’s main attraction: it squeaks, it squeals, it roars, it spits, it shudders, and organizes itself into irresistibly ignorant mantras (my current favorite is “Lamborghini parked outside, it’s purple like lean”).

Across its 24 tracks (which feels like too many, sure, but only the 5-minute long Kid Cudi-infected droner “Metamorphosis” overstays its welcome), Carti plays with listener expectations, annihilating rap songwriting conventions (why do you need verse-chorus structure if every line is a hook) as he defiantly proclaims his desire to be unlike anybody else. Though it bears some resemblance in sound and subject matter to Future’s Monster (and much of the production owes a debt to the work of Lil Uzi Vert’s favored Working Of Dying collective), Whole Lotta Red firmly establishes Carti as a totemic figure connecting mainstream and underground sounds.

9. BbyMutha - Muthaland: BbyMutha is a natural born spitter, armed with a drawly stutter-stepping flow that routinely annihilates unconventional instrumentals. She glows with supreme confidence and comfort in her own skin, especially when she’s dripping with disdain with those who’d dare refuse her the respect she deserves. A 25-track opus that earns every minute of its runtime, Muthaland is an engrossing immersion into Mutha’s world, balancing a fascination with the occult (“Sorry I don’t fuck with n****s who don’t fuck with Satan”) with grounding interjections from close friends and her four children. Boasting rockstar fantasies like “Heavy Metal,” bad girl anthems like “Nice Guy,” and dancefloor-ready jams like “Cocaine Catwalk,” Muthaland is a tour-de-force by one of rap’s singular voices, and if she’s really finished with music as she’s claimed (rappers never really retire, but Mutha has indicated she wants to focus full time on her Apothecary), the game will greatly miss her incisive punchlines and crudely empowering perspective.

8. Westerman - Your Hero Is Not Dead: In 2020, Mid-’80s sophistipop grew into one of my favorite comfort foods. Westerman’s Your Hero Is Not Dead struck me directly in the sophistipop sweet spot, evoking the attention-to-detail and synth-heavy craftsmanship of that era and pairing it with harmonic complexity and a piercing emotionalism that recalls his idol Neil Young. On songs like “Blue Comanche” and “The Line,” Westerman constructs tales as twisty as his melodies, economically exploring how people relate to each other at the beginning and end of romantic relationships. Westerman complements his tasteful palette of synth sounds with intricate and lyrical guitar playing, most notably on the sighing, gorgeous instrumental “Float Over,” which softly segues into the title track to end the album on a gently-rising high note.

7. WizKid - Made In Lagos: The focal point of the sub-Saharan Afrobeats renaissance, Lagos is having one of the most exciting musical moments of any city since Kingston in the early ‘70s. WizKid is one of the scene’s biggest stars, with an ability to combine the sonic tapestry of his hometown with Caribbean-influenced beats and vocal styles. Made In Lagos is a masterwork of sound design, bringing creamy bass, chicken-scratch speckles of guitar, tasteful interjections of saxophone and brass, and an intoxicating mix of acoustic and electronic percussion, all offered in service to an immaculate vibe that matches the album cover’s shiny, monochromatic color scheme. Made with lockdown in mind, the album eschews uptempo dancefloor workouts in favor of stress-relief and romance. WizKid plays the perfect host, tamping down his melodic flights of fancy and embracing a song-serving smoothness. He’s a warm and inviting presence throughout, laying out the red carpet for a cross-continental cast of collaborators like H.E.R., Skepta, Burna Boy, and Damian Marley. The result is a truly global pop masterpiece, capable of brightening even the dourest day of a miserable year.

6. Ka - Descendants of Cain: Firefighter by day and rapper/producer by night, Ka is a master of allusion. He organizes his thoughts into themed collections of metaphor, illustrating the bleak realities of street life with gnomic symbolism. On Descendants Of Cain, Ka’s strongest work to date, the enigmatic rapper expresses himself through a litany of biblical references, drawing parallels between ancient parables (he goes far deeper than the Cain/’caine double entendre that rappers have been using for decades) and the stark code of morality with which he lives his life. The 48-year-old hermit produced the project himself, creating an immersive sonic realm, crafting expansive, noir-ish backing tracks populated by late-night saxophones, sparkling pianos, and the occasional shot of sweeping strings. Once again, Ka’s music comes almost entirely without drums (certainly without “beats” in the traditional hip-hop sense–every once in a while, he adds an open hi-hat or a subdued shaker), the artist preferring to let his music swirl around his half-whispered words of wisdom. The album ends on a tearful, sentimental note with “I Love (Mimi, Moms, Kev),” in which the artist ditches the biblical lyrical conceit and expresses his love for his wife, his mom, and his best friend atop light percussion and a warm soul sample.

5. SAULT - Untitled (Rise): Rise is the second part of a diptych that SAULT recorded in response to the movement that exploded in the wake of George Floyd’s death. Black Is, the first part, is a great album (you’ll find it in the lower reaches of my 2020 list), but the mysterious UK collective fulfilled their immense potential with Rise, a propulsive, powerful, and danceable album that doubles as a thought-provoking examination of the nature of freedom and liberation. The album tackles weighty topics–police violence, fake-woke “allies,” protest, cultural appropriation–but handles them with an inspiring effervescence and a propulsion meant to usher right-thinking people into the streets. The music itself is an intoxicating marvel, combining elements from every trendy musical movement from the early ‘80s (post-disco, post-punk, house, hip-hop, whatever the hell ESG was) into a percussive and surprisingly cohesive cocktail. The album immediately makes its greatness known with its first four songs, one of the strongest opening runs of any album in recent memory: the swaggering, funky, keep-your-head-up anthem “Strong,” which features a drum solo from SAULT architect Inflo, the soaring, club-ready vamp “Fearless,” concept-establishing, string-heavy interlude “Rise,” and especially “I Just Want to Dance,” the best song ESG never wrote.

4. Fiona Apple - Fetch The Bolt Cutters: Fetch The Bolt Cutters arrived with the kind of universal acclaim that can make some people suspicious. The Pitchfork review got a lot of attention, not just for its perfect score but for its bold statement that “no music has ever sounded quite like it.”

That statement might’ve been slightly hyperbolic. Fetch The Bolt Cutters has the kind of propulsive left-hand piano figures, chest-thumping percussion, and impassioned vocal performances that we haven’t heard since...the last Fiona Apple album. But the album deserves its experimental reputation. These songs mess around with song structure and melody in ways that resemble avant-garde singers like Meredith Monk, use overlapping vocals that occasionally evoke the works of post-modern composers like Luciano Berio, and echoing modernist composers like Edgard Varese in the way she wrings pathos out of rhythmic elements.

Though Fetch might be a slight step down from The Idler Wheel, it’s an invigorating listen, packed with the soul-baring confessionals that only Fiona is capable of executing. Combining literary wordplay with plainspoken directness, Fiona forces the listener to confront her trauma and contemplate her diagnoses of patriarchal ills. The songs are uniformly excellent–especially opener “I Want You To Love Me,” the most “traditional” song on the record, and “Shameika,” a burrowing childhood rumination with a happy ending–but Fetch The Bolt Cutters stands out to me as a collection of amazing moments: when the jig-like “For Her” fades into an unforgettably painful cadence (“Good mornin’, good mornin’/You raped me in the same bed your daughter was born in”), Fiona’s ground-shaking vocal intensity at the end of “Newspaper,” her dogs howling over the outro of “Fetch The Bolt Cutters,” the winking repetition of the title phrase on “Ladies.” Her albums display more than enough ambition to forgive the long gestation periods, but hopefully we won’t have to wait another 8 years for Fiona to bare her soul once again.

3. Drakeo The Ruler - Thank You For Using GTL: Embroiled in a Kafkaesque legal saga that shines a light on the worst aspects of our horrendous justice system, Drakeo The Ruler spent more than three years wrongly incarcerated for a crime he not only did not commit, but for which he was acquitted (for more info on Drakeo’s ordeal, read Jeff Weiss). He’s now mercifully a free man, mostly due to the work of his lawyer, but at least partially because of publicity generated by Thank You For Using GTL. Recorded over the phone from prison during the height of the pandemic, it’s a miracle that an album created under such sub-optimal conditions sounds as excellent as it does, but credit producer JoogSzn–who not only supplied the creeping, head-nodding backing tracks but recorded Drakeo’s phoned-in vocals–and engineer MixedByNavin for the project’s astonishing fidelity. Drakeo and Joog spent hours on the phone to record the album, in the process paying thousands of dollars to GTL, the predatory telecom company of choice for the L.A. corrections system, whose mechanical interjections serve as a constant reminder of the injustice that made the album necessary. Of course, a good story is a good story, but that alone doesn’t get an album on 2020’s most prestigious Best Albums list (mine). It’s a classic rap album, perhaps the best ever released by an incarcerated rapper, and a thumb directly in the nose of the D.A. and the LAPD. The album is a lyrical marvel, packed with winding wordplay and outlandish flexes, as Mr. Mosley takes aim at 6ix9ine, cackles at sorry-ass Instagram haters, and sneers at American-made cars (“To be honest, a Hellcat isn’t a foreign”). Each song has a carefully considered concept, the rapper’s punchlines building upon one another to make an airtight case for his status as L.A.’s top dog. He contrasts his own whip-crashing lifestyle with flashy wannabes on “GTA VI” and “Backflip or Sumn,” mourns a favorite department store on “RIP Barneys,” and proves he still doesn’t rap beef on “Maestro’s Tension.” The album’s masterstroke comes with “Fictional,” the final track, in which Drakeo exposes the prosecution’s use of his lyrics as evidence in criminal proceedings as the farce it is: “It might sound real, but it’s fictional/I love that my imagination gets to you.” Drakeo’s story was a rare bright spot in 2020, and a rare one with a happy ending. Just last week, the rapper released Because Y’All Asked, a studio-recorded version of Thank You For Using GTL, giving the album’s songs the clarity they deserve. But I think I’ll mostly return to the original, which will live on as an excellent album and a vital document of post-George Floyd America.

2. Pa Salieu - Send Them to Coventry: Hailing from the middle of nowhere–or, more accurately city in the English Midlands only known in the states for its middling Premier League team–Gambian-British artist Pa Salieu served up the most distinctive, visceral, and daring rap debut of the year. His style fuses elements of grime, drill, afro-trap, dancehall, and the darker edges of U.S. hip-hop into a percussive slurry, injected with the urgency of his struggle to survive. The magic of the album comes from the way Pa’s fluid flows interact with the shimmering and foreboding production (Felix Joseph and Aod lead the cast of the project’s sound architects), which is perfectly suited for cold city nights. He slips effortlessly into the pocket, toe-tagging the beats with a combination of aggression and trance-like meditation and uttering casually powerful pronouncements (“I'd make a killa riddim offa any riddim/The grind can never stop 'til I'm wrapped in linen”) that make you believe he’s Britain’s next great rapper. Pa keeps the vibe consistent throughout, but the moments that stand out are the moments when he locks into an unbreakable groove over no-frills production, like on singles “Block Boy,” “Betty,” and “B***K.” The artist’s wry sense of humor and brash confidence keeps the album from feeling bleak, but Send Them To Coventry wisely ends on “Energy,” a warm and bright ode to keeping your creative spark safe from the prying forces of fame and fortune.

1. Kassa Overall - I Think I’m Good: “I think I’m good”–a phrase that’s ran through my head throughout this shitstorm of a year. Sure, I postponed a wedding, cancelled trips, and saw my friends and family much less often than I would like, but I count myself among the lucky ones. Still breathing, still sane. Though it was recorded and released before the pandemic started, Kassa Overall’s I Think I’m Good became a lodestar of sorts for me. It’s a brilliantly introspective and deeply personal album about existing in enclosed spaces–whether a jail cell, an NYC subway car, or the inescapable prison of your own body.

Kassa Overall made his name as a jazz drummer, touring with icons like Geri Allen, but his solo music incorporates elements of hip-hop, classical, and trap to create a wholly original milieu. The album features contributions from over 30 accomplished voices, ranging from luminary Vijay Iyer, to Kassa’s saxophonist brother Carlos Overall, to virtuosic pianist Sullivan Fortner, to venerated activist Angela Davis. But all the disparate elements come together in service of Kassa’s deeply personal and engrossing vision.

Taking partial inspiration from Kassa’s struggle with manic depression, the music fluctuates between meditative calm and unbearable tension, mimicking the patter of an unquiet mind. Album opener “Visible Walls,” is a mesmerizing prayer for salvation soundtracked by fluttering harps, piercing woodwinds, and heartbeat percussion. “Find Me” buries a plea for help within a cacophony of sampled voices and rattling piano notes. Fortner’s piano guides us through the hauntingly devastating “Halfway House” and the Chopin-indebted “Darkness In Mind,” each highlighting a different stage of grief (despair and acceptance, respectively). The arc of I Think I’m Good concludes with the hopeful “Got Me A Plan” and “Was She Happy (For Geri Allen),” a Vijay Iyer-assisted tribute to his late friend and mentor.

It’s ironic that an album that so deeply explores the feeling of isolation vibrates with such a collaborative spirit. I Think I’m Good feels like an answered prayer–a community coming together to check on a beloved friend who’s gone through a tough time: “You good, man?” “I think so.”

Here’s the rest of my list.

11. Yves Tumor - Heaven To A Tortured Mind 12. Shackleton & Waclaw Zimpel - Primal Forms 13. Bob Dylan - Rough & Rowdy Ways 14. Duval Timothy - Help 15. Lil Uzi Vert - Eternal Atake 16. Moodymann - Taken Away 17. Secret Drum Band - Chuva 18. J Hus - Big Conspiracy 19. Headie One & Fred Again - GANG 20. Tiwa Savage - Celia 21. Andras - Joyful 22. Bill Callahan - Gold Record 23. King Von - Welcome To O’Block 24. Flo Milli - Ho, Why Is You Here? 25. Chubby & The Gang - Speed Kills 26. Madeline Kenney - Sucker’s Lunch 27. Empty Country - Empty Country 28. Smino - She Already Decided 29. Destroyer - Have We Met 30. Yves Jarvis - Sundry Rock Song Stock 31. Ela Minus - Acts Of Rebellion 32. Creeper - Sex, Death & The Infinite Void 33. Alabaster DePlume - To Cy & Lee: Instrumentals, Vol. 1 34. Good Sad Happy Bad - Shades 35. The 1975 - Notes On a Conditional Form 36. Kate NV - Room For The Moon 37. $ilkmoney - Attack of the Future Shocked, Flesh Covered, Meatbags of the 85 38. Eddie Chacon - Pleasure, Joy and Happiness 39. Kenny Segal & Serengeti - Ajai 40. Bad Bunny - YHLQMDLG 41. Kahlil Blu - DOG 42. Califone - Echo Mine 43. Boldy James - The Price of Tea in China/Manger On McNichols/The Versace Tape 44. Bufiman - Albumsi 45. Moses Boyd - Dark Matter 46. Thanya Iyer - KIND 47. Jyoti - Mama You Can Bet! 48. Obongjayar - Which Way Is Forward? 49. Rio Da Yung OG - City On My Back 50. Young Jesus - Welcome To Conceptual Beach 51. Owen Pallett - Island 52. Oceanator - Things I Never Said 53. Shootergang Kony - Red Paint Reverend 54. Shabason, Krgovich & Harris - Philadelphia 55. Six Organs of Admittance - Companion Rises 56. Lido Pimienta - Miss Colombia 57. Kelly Lee Owens - Inner Song 58. Polo G - The GOAT 59. Actress - Karma & Desire 60. Phoebe Bridgers - Punisher 61. Porridge Radio - Every Bad 62. Yg Teck - Eyes Won’t Close 63. Mozzy - Beyond Bulletproof 64. Ratboys - Printer’s Devil 65. R.A.P. Ferreira - Purple Moonlight Pages 66. Ulver - Flowers of Evil 67. Rina Sawayama - SAWAYAMA 68. SAULT - Untitled (Black Is) 69. Ezra Feinberg - Recumbent Speech 70. Davido - A Better Time 71. Hailu Mergia - Yene Mircha 72. HAIM - Women In Music Pt. III 73. Half Waif - The Caretaker 74. Key Glock - Yellow Tape 75. KeiyAa - Forever Your Girl

#kassa overall #pa salieu #drakeo the ruler #fiona apple #sault #ka #wizkid #westerman #playboi carti #bbymutha

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dotthings · 4 years

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Okay SPN 15.04, here we go, where I feel weirdly self-conscious about posting a meta post about an ep that had so much meta on itself and now I’m going to write meta about it, so it’s meta on meta on meta, while I’m having my feelings.

THAT COLD OPEN HOLY CRAP DIRECTOR JENSEN. As a director Jensen always pulls out warm performances from actors and he’s a really kinetic director too. That opening fight sequence I held my breath for a lot of it.

BENNY OH NOES IT’S BENNY (this must be the character Jensen said was one of his favorites and the actor came back to set for one day to do it). “I’ll see you on the other side, brother.” Thanks so MUCH, spn, I thought I was over this and then you come in and reopen that and now I’ve got feelings gdi. Benny was a good friend to Dean. My heart hurts.

Ohshitohshitohshitohshit demon blood Sam. Noooooo. And he kills Dean. I can never erase these images from my mind, thanks a LOT spn.

Just a nightmare of Sam’s except no probably not given Sam’s god-wound, so wow this maybe happens on one of Chuck’s other worlds, that’s fine, oh that’s okay I’m fiiiiine, it’s fine. *covers face*

So we have a flip on early S14 here where Dean was turtling to cope with his trauma which is a healthy thing to do but hiding from the world wasn’t going to fix anything so Sam coaxes him out with a hunt. Dean coaxes Sam out with a hunt only I don’t think hunting works for Sam the same way, it’s not Sam’s mental comfort food the way it is for Dean, but still I appreciate the mirroring there.

Sam’s struggling with Rowena’s death and I think those horrific AU nightmare visions aren’t helping much either, but it’s clear he’s feeling the loss. Her loss, all the recent losses.

Dean trolls Sam with real bacon, which seems like Dean is maybe trying to cheer Sam up by pranking him and trying to cheer himself up via food pranks. Dean has quite the case of the munchies in this ep.

I noticed almost every scene Dean is snacking or drinking from his flask. How’s that whole “Cas walked out and left apparently for good” working out for you Dean, wow, you’re suspiciously chipper while stuffing your face and drinking and Not Talking About It. Did Sam and Dean talk about where’s Cas? Who knows, the ep didn’t mention it, hey SPN you needed a Cas mention, OH WAIT THE EP IS GOING TO CALL ME OUT FOR SAYING THAT.

Seriously though, this is very Dean MO, and I have thoughts about his mood in this ep and how Cas’s absence was felt, and what it means, I’ll get to that later, but even before the last scene Impala talk, I was thinking Cas is a reminder of pain--and no it’s not all about Dean’s anger at Cas, it’s not because Dean is angry at Cas. Cas is a reminder of some things Dean just isn’t coping with very well and part of the problem is Dean cares so much.

So Dean’s snacking and drinking and Sam is feeling the weight of them knowing all the scary things out there while people go on obliviously with their lives and I��m not sure if Sam is envying them or Sam is feeling some existential angst about the state of the world, how people can go about their lives unaware there are real monsters ready to pounce and tear their lives to shreds. And feeling the weight of the job they do in every bone of his body. Sam’s in a dark headspace.

Ok I admit I was not thrilled to see Becky again given her previous episodes and role. SPN’s later in-canon fan characters were much more nuanced and successful and respectful depictions of fans. But as with many other things, this era of SPN is revisiting some things to move them forward in a different way than before, and subvert some things that needed subverting and Becky has had--wait for it--character development. How about that.

Yes, Becky, run, you do not want anything to do with Chuck. Run, Becky run. I’m rooting for her now. RUNNNN.

Along with finding a more constructive way of channeling her interest in the Winchesters’ lives, and having a satisfying fandom creative life and a full life of her own, Becky has funko pops of Sam, Dean, and Cas. LOL. I see you spn.

Dean, still with the case of the munchies. So this is like the eating a whole pint of ice-cream after a break-up, only Dean does it with junk food while hunting vampires.

I enjoyed this conversation between Becky and Chuck about writing immensely. Becky is actually right. Speaking myself as someone who’s suffered from writers block for a while, it’s miserable, and not writing just perpetuates the cycle. You feel cut off from an important part of yourself. And--oh here we go getting meta within meta--I find writing meta on SPN a positive outlet.

“Writing is writing.” Damn Becky’s takedown of Chuck’s derisiveness about fanfic was sizzling and oh excuse me Chuck, what is it you think you were doing with those Supernatural books about your favorite story. Even though he’s the creator, I know. But still. Also seems to be a sly comment on how male-authored “fanfic” based on someone else’s characters or historical characters gets to be professionally published novels and nobody wants to admit it’s fanfic but it is, but women write fanfic and women write novels based on someone else’s characters or historical figures and it gets derided.

Did not expect commentary celebrating the creativity and validity of fanwork of women in particular an episode of SPN, especially not with Becky of all people, but here we are.

Uhhhh is Chuck writing this episode, as it happens? I am seriously uneasy now. What is going on. What is real. Which is what I think Dean is going through because of Chuck and OUCH the Winchesters think they’re free but they’re not but also they are their own people and Chuck isn’t controlling them but it’s like he’s still making the framework?? Or would this case just be happening on his own and Perez is just messing with our heads in this script right now.

Oh damn because this ep wasn’t sadness enough now here we go with the Jack parallels. “I can’t control this.” “I’m a monster.” “I killed someone I love.” Parents doing anything to save their out of control teenage kid or does he need to be killed, so the parents are Cas, while Sam and Dean are Dean.

Interesting that Dean lowered the gun and didn’t kill Jack, but tells Sam they would do that for Jack if it was necessary. You didn’t, though, Dean. You couldn’t go through with it any more than those distressed parents of the vampire teen.

Becky is voicing various non-dire fan complaints here, every lane of the fandom is being gently called out right now. Hahaha including lack of Cas mentions in an ep that pointedly is not!Mentioning Cas because it’s not a mistake there’s actually reasons for that which is just lampshading how much Dean is pointedly Not Going to Talk About Cas.

“Where they sit around doing laundry and talk” -- again every lane of the fandom should feel very called out right now. Seriously, fandom lanes that hate each other’s guts all have that common factor of craving more domesticity, and would like to see the laundry ep of SPN and for many, it has better include Cas, or we’re working through our need for this via fanfics or fanart. Even Jared and Jensen have expressed interest in a “Winchesters do the laundry” kind of episode.

But here’s the thing--here’s the thing about SPN...it depicts domesticity. In small bits of pieces. Even in this ep there’s domesticity. SO HA. It’s not that SPN is against depictions of domesticity, it’s definitely in the toolset of its storytelling, to give the characters more layers, to make their lives seem more real, but there needs to be mostly an action plot because that’s the genre so they mostly kill monsters and we only get nibbles of domesticity.

Becky and Chuck arguing about Chuck’s incredibly dark story ending, after Becky criticized him for the story not having enough bite, was so interesting. While the episode’s dark story ending was actually quite well done IMO and not overdone and yes it’s bleak but it’s supposed to be. So it’s not that sad is always terrible writing, no. It isn’t. But its overuse has been a raging hot topic in spn fandom for years and SPN is a hopeful narrative as well as a bleak one. Overuse of loss of hope and misery can hurt the story, causes a number of fans to become desensitized and lose their emotional engagement for it (which has happened to be at a couple of points in SPN’s long run). So that conversation interested me a great deal, yes it did.

So.....SPN had its current biggest of the biggest of ultimate big bads, the ultimate power God himself, the author, and made him the enthusiast for overuse of the misery pr0n like that’s the only smart way to tell a story. The season’s big bad villain is a misery porn enthusiast.

I’m just gonna....sit here and absorb that for a moment.

Oh and this while all the PR for the show keeps warning us about how sad this story is and how bleak the ending will be, not a happy ending show. Are they warning us? Are they trolling us and misdirecting? Because they made their villain a misery pr0n fanboy and this intelligent, self-aware positive depiction of Becky the fan taking him to task for it.

I feel like could be headed for every story needs its darkness and its light, you need the darkness to appreciate the light, and you need some light or the story is less meaningful. We’ll see.

“I’m a writer,” says Chuck and then takes away everyone Becky loves and then unmakes Becky. This is a purposeful depiction of a writer creator as a sadist. It’s a diabolical reversal on the Stephen King’s Misery scenario. Becky played the deranged fangirl in the past, who kidnaps an object of obsession, now she’s the victim of the deranged sadistic writer who breaks into her home, destroys her life, and then effectively kills her because of his own obsession with making Sam and Dean wretchedly miserable because he thinks that’s the only way to make the story exciting.

*blinks*

In the last scene, oh thanks Sam, for vocalizing the Jack connection.

Hey Dean, that’s really a nice speech and yes Sam did give you a great pep talk but Sam wasn’t the only one who told you what you did still has meaning. This is like 15.01 where Dean is pointedly erasing Cas again despite Cas very obviously having done something Dean refuses to acknowledge. In 15.01 it was Dean leaving Cas out of his us vs the forces of evil speech to Sam, despite Cas having spent most of the ep shooting ghosts in the face and saving Sam’s life twice. Sam and Cas both have given Dean pep talks about the meaning of what they do but only Sam pulled Dean out of it...uhhh yeah that’s not writer error or canon ignoring Cas. That’s Dean trying to push Cas out of his mind. Something there hurts so much Dean isn’t dealing with it right now.

As I said, as I’ve been saying, it’s not so much that Dean is that angry at Cas. It’s not just about Mary. Or about Cas keeping things from him. Although those are all valid reasons for Dean’s hurt and anger. Dean seems to be afraid or hurt over more than that. And his love for Cas, IMO, is part of why this is weighing so heavily. What does he fear. I think it’s connected to the whole existential crisis about Chuck. What if none of this is real. I’ve talked about that in other posts, if none of this is real, if Dean still doubts, then what if what’s between him and Cas isn’t real, what if Cas doesn’t really care about him because none of it real.

Dean valiantly puts a brave face on things here, they keep going, they keep fighting for the sake of those they lost, no matter what, “keep putting one foot in front of the other.” Which makes sense. That’s how you honor those you’ve lost. It’s just that I don’t think Dean has really reached that. He is Not Dealing with an awful lot of stuff here. And we have seen again and again how hard Dean reels from losing loved ones. So what’s going on with Dean here. This is a healthy concept, but not if Dean is just whistling past the graveyard again. This might look like character development except look at what’s been going on with Dean. How deeply losing Mary, losing Jack affected him. The impact of those losses needs to be acknowledged and dealt with in order to truly move on and move forward. It’s like Dean is voicing a healthy outlook but isn’t actually experiencing it. I think Dean is posturing because if he lets all the hurt it right now, it will devour him.

There’s also the part where Sam and Dean have in the past displayed a lack of ability to just keep on keeping on if they lose each other, so they used to sell their souls, or violate the other one’s wishes and autonomy, or let the darkness free, but we’ve also seen them let each other go, and “keep putting one foot in front of the other.” Sam and Dean have done both ways with each other. Dean didn’t exactly just keep on keeping on no problem when Cas died at the end of S12.

Sam voices the other side of things, he can’t just move on right now. He’s feeling all the losses. They’ve piled up and piled up and it’s crushing him. Sam says he "can’t breathe” at times. He brings up Jessica, a loss he suffered 14 years ago.

So Sam and Dean are airing the two aspects of loss and grief on SPN. One the one hand, you don’t just give up and quit because of loss. Honor who you’ve lost and keep on fighting. But losses are deeply felt, and it’s not all okay either. Sam and Dean don’t just shrug off these losses because they have each other. That’s not how this works. They need more than just each other and SPN is increasingly having more and more open dialogue about all of this.

S15 so far has been so much about the impact losing people they love has on Sam and Dean, and why their isolation isn’t a good thing.

And there’s Chuck, the big bad, typing away to add more misery. Because Chuck gets off on giving them loved ones and taking them away, over and over and this isn’t presented as a good thing or a satisfying thing or a desirable thing or a celebration of anything.

#Sam Winchester #Dean Winchester #Chuck Shurley #Becky Rosen #spn #supernatural #supernatural spoilers #meta #Sam and Dean: a work in progress #Destiel #Team Free Will #Jack Kline #Castiel

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strvwberryblcnde · 4 years

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👫 teddy/lana

send a 👫 and I’ll write four headcanons i have about our muses’ relationship.

ok so. lana has a habit of sharing food as one of her many love languages i think. she jst likes.... giving ppl things even if it means she’ll have less. she’d let a wolf make a meal out of her n eat every last piece if she loved him n she knew he’d feel full. bt of everyone i feel like teddy hs always been the one she does this w most.... like even when they first met in the cafeteria she gave him spoonfuls of her greek yogurt n honey. whenever she’s eating fruit (which is a lot she’s obsessed w strawberries n peaches n grapes n tangerines n oranges) she’ll ALWAYS give him half whether tht’s segmenting up pieces or dividing bites evenly between them n Without Fail it’ll always b half tht she gives him whereas she might give other ppl like.... a bite or a piece or two bt......... it’s rly specific each time tht she gives teddy half. it isn’t even intentional it’s jst like a subconscious thing bt if we were to slide on spectacles n analyse this in an english class fr it’s Meaning then. looks at u then looks away. i think this represents the way tht teddy hs always felt like another half of her. they’re one in the same. in a lot of ways they’re very similar mayb even................ TOO similar n that’s why it’s been sch a fking.... bastard of trying to work things out ever bc they very much hv the same rampant commitment issues n bad timing n fears of never being gd enough. i feel like in the past a guy she ws dating (noncommittally as lana tended to do these things) wld have even noticed this n it would have bugged him a lot just like... how close she was w teddy in general............. n he would’ve one day brought it up in the middle of a fight he’d picked jst cutting away from what they were talking abt to be like. u only ever give me one bite but u would give teddy all of it if he asked u to. tell me i’m wrong. n she’d scoff out a laugh in disbelief looking around like omg...... all this over a fruit...... what are u even sa-- n he’d cut her off n be like. literally tell me i’m wrong lana. n she wouldn’t even b able to after going quiet n rly realising what it was he was actually Saying. he’d storm out. relationship over. icons of always being a little bit in love w each other n not even noticing it until someone else points it out <3

god. sighs dramatically at the idea i jst had. i cn imagine in la verse lana being rly drunk getting bk from a date one time n inevitably it was just some random loser since she’s back to dating Trash in this era bc she just truly cbas trying after her breakup w dom n............. it would be like a parallel to tht one time they’d fallen out over him sleeping w imogen when she ws upset w him bt crawled into his bed drunk at a party just to lie w him for a little while despite everything...... she wld have gone to his instead of hers on some drunken automatic pilot n somehow got into his room n..... she’d clamber in n flop nxt to him n maybe it wld be funny at first if he woke up n was like lana what the fk...... are u doing here.... so disorientated n confused.......... n she’d just be joking initially bt very clearly drunk like making fun of her date talking abt how he kept complimenting his own hair n calling himself a tesla in a sea of prius’ n checking himself out in every window they passed n then the laughter wld slowly trickle off n she’d go kind of quiet fr a moment n maybe teddy wld assume she ws passing out bc she’d drank sm bt after a short silence she’d perk up with a mumble out of nowhere n, barely conscious of what she’s saying, b like “why didn’t u wait for me like u said u would”. n if he was like.............. huh? she’d have her eyes shut n just b murmuring half awake then open them sleepily to look at him n rly quietly be like........ “u promised”. mayb she’d even reach out to gingerly trace his face bt then her wrist wld go slack bc she was rly tired n she’d just wriggle closer n tuck her head to get comfy n be like “warm” then promptly fall asleep. JSGSFKGHFHGKHGSFKH. literally jst jolting him awake w this rarely serious n genuine conversation then passing out. jst the worst fk teddy’s life bet he lay there staring at the ceiling fr so long after tht one <3 lana wouldn’t remember this in the morning either she’d wake up like why am i here........ did we meet up last night............ teddy jst like >_> u crashed here it was nbd.

i picture the first week they moved to LA lana wldn’t have admitted it bt she wld be feeling rly homesick............ radcliffe was very much like the first place she truly felt was her home n she’d miss all of the ppl there n just the general area A Lot............. one night i can see her jst wanting to spend with teddy to have like a sense of familiarity in an unfamiliar city (even if she’s spent a decent amt of time there over the yrs bc of jameson records hving studios etc bt still) n i’m imagining them like. breaking into an indoor swimming complex that her n her friends in high skl used to break into in the summers when they vacationed yrs ago.... maybe lana still has a key cut tht works from a connection she made bk then idk <3 it doesn’t matter <3 n they’d inevitably be drunk n just messing around n splashing each other n doing handstand competitions n all the typical..... fun frivolous childish antics lana n teddy tend to get into whenever they’re around each other.... truly jst transformed into big kids whenever they’re in the other’s company..... inspired a little by this gifset jst in terms of the playing around underwater vibe. anyway. mayb they mostly dry off bt they end up climbing up onto the rooftop after n it’s a baking summer night anyway so it isn’t like they’ll catch a cold being damp bt they share a big fluffy towel n bottle of rum between them huddled overlooking the lights of the city. n maybe somehow it gets onto lana admitting how much she misses home n how it’s kind of weird being here especially bc she’s further from caleb. she’s never been this far from him since he was away in the army n we all kno hw tht turned out. mayb she’d go a bit quiet after saying this bt then i think she’d take his hand w their fingers laced together n she’d rest her head on his shoulder n be like. at least i’ll always have u. it’s like i took a piece of home w me. we’ve always had each other like that. then she’d perk up n lift her head n be like let’s make a deal. i’ll be ur home if u’ll be mine. ok? n make him pinky promise. i dnt think she’d quite consider the sentimentality in tht bt 😔 she nvr rly does she jst says what feels natural without attention paid to the deeper meaning tht motivated it n.... sighs. looks at u then looks away....

this is inspired by tht scene in don’t trust the b in apartment 23 where she’s like “look. that video of me getting rawed by my best friend means the world to me.” KJGFGJKSFHKGHKSFGHKFSHKGSHGK god. inevitably in lana n teddy’s prime when they were literally hooking up 24/7 in earlier college yrs they made.............. a few videos. i mean it’s jst realistic. it’s jst common sense. probably even a feature length film at one point. n i had this idea where bc teddy’s trying to get into acting etc mayb if he gets an agent his agent is like.... do u have any dirt u need to take care of? loose ends to tie up? incriminating files to delete? sex tapes? n if he was like... ya..... mayb his agent wld have asked him to delete them if he still had them on his computer or w.e i mean i kno lana wld n wouldn’t have deleted them she wld have been proud of their work of art...... bt maybe he told lana abt this just laughing abt it n the atmosphere ws lighthearted at first bc she’d find it rly funny too like ommmmggggggg i’m a skeleton in ur closet tht is so fun if u get famous i cld be blasted all over perez hilton that’s kind of sexy..... bt............... mayb she’d as a joke be like. mayb we shld watch it one last time before u delete it. kind of like a funeral service. a goodbye party. sailing out the flaming viking raft n paying our respects u know??? n they were joking bk n forth bt then she’d be like. seriously tho mayb we should? growing more accustomed to the idea actually being a genuine one even tho tht is fking. the WORST idea i have EVER heard in the world like i do NOT know how lana wld think she has the self control to do that bt in her head she’s like. teddy n i are jst best friends now... it’s fine........... we’re open w each other it’s just a bit of fun.......... n then i can imagine if he went along w this it’s like a game of chicken they’re playing w each other where they’re both like fking hell shd we do this.... dnt wna seem like I’M the one tht thinks i can’t handle it........ n it’s some back n forth like nick n jess in new girl where they’re daring each other to have the threeway w the landlord. bt then like not even.... a minute into watching it as they’re both silently holding their breath n crunching popcorn they mde for the occasion (insisting on acting like it ws just a normal movie night) lana wld literally have to be like. slams laptop shut. UMMMM i forgot.... i....... have a very important meeting......... n teddy’s just like. meeting? u don’t have a job... what are u ta-- n she’s like A MEETING A VERY IMPORTANT MEETING...... very blatantly squirming around as she slowly gets up n tries to head fr the door... n teddy’s like.... taking the excuse without much question too like... ya i have to run lines actually i jst remembered gt an audition coming up..... n they’re both like ya haha... maybe some other time.... or maybe just delete it it’s whatever.... anyway we gtg haha... bye.... ttyl...... lana wld literally hv to SPRINT out of there to go home n. deal w how flustered this made her i won’t lie. she bumps into parker n is all flushed in the face n is just like CAN’T TALK BYE n takes off sprinting again like some kind of freak. it’d b a train wreck. i jst think that’d b rly funny tho n dare i say it? it’s canon.

#lana jameson | teddy lawrence #meme #excvlsior

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monicalorandavis · 4 years

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Let’s all quit fucking around and give Renee her Oscar for ‘Judy’ now

I am several months late to the ‘Judy’ party. But due to a trip getting cancelled last minute I’m having a staycation instead of a vacation. (Tomato, tomahto!) Needless to say, I’ve got time on my side and I’m watching movies, baby. Time for Judy Garland, baby. Because that’s showbiz, baby!!!

I regret even joking about the razzle dazzle of show business because for Judy Garland show business, the very business she adored, also destroyed her. And that whole journey through the dark, twisted roller coaster of entertainment is sort of the thesis statement of this whole thing.

“The biz” was a cruel bitch to the greatest entertainer of all time. Her nic-name was Miss Show Business for crying out loud and yet when we meet Zellweger, playing the title character in ‘Judy’, she’s in the final year of her life, struggling to keep a roof over her children’s heads. She’s gaunt, exhausted, addicted to pills, alcohol and can’t manage to meet a decent man to save her life.

And instead of nitpicking every wrong choice that led her there, director Rupert Goold allows us into the plodding sojourn that was Judy Garland’s final tour in England. She’d lost custody of her children to ex-husband no. 3 and finally went across the pond where her fans were still willing to pay top dollar for the Hollywood legend.

But when she gets to England we peer into the sheer loneliness that encompasses the lives of the super famous. No friends to share dinner with, kids thousands of miles away, and vulturous men always lurking on the sidelines. It’s grim and bleak and you can’t imagine things ever getting so bad. And yet they were. But, again, and I have to stress this because some power of Judy Garland compels me to underline this as a fellow woman in the arts, this is not the story of how Judy Garland ended up broke. It’s the story of how she tried her damnedest to make enough money to get her kids back because we actors are tryers.

She was a relentless performer who tried. Over and over again. She tried and tried and tried. She tried to put on a good show every night and we watch Zellweger lose the battle to those cloying pills and that seductive martini until she quite literally falls on her face. No, she doesn’t pretend like it didn’t happen. She gets up and is booed off stage and she barks back. And then she gets fired and gets word that her children want to stay with their father in Los Angeles. The final twist of the knife. Zellweger delivers that final conversation to her youngest daughter with aplomb and grace. The Judy Garland we wanted to know - Judy Garland, the mother. Tortured, flawed, generous and loving. A sensitive, soulful singer who had to fight for every scrap of dignity she ever got.

And I kept finding myself wanting to change how things turned out. She was so, so good. So talented. So kind. So willing to give herself to the audience, to new friends. She deserved more.

In one scene, that gives me chills to even think about, she asks two male fans to dinner and they can’t believe their luck. Only after dragging Judy Garland around the streets of London all night in hopes of a meal do they agree to host her at their home just blocks away. She obliges graciously and, of course because a living legend is in your home, they totally ruin the meal. And she couldn’t be a more gracious guest. She eats the terrible, soggy eggs, then, sings while her new friend plays the piano and, then, comforts him when he crumples into a ball of tears, overcome by this grand situation he finds himself in. She knows, and we know, that these two men are gay and the point is not belabored or sentimentalized. Instead, Goold treats us, the audience, like grown-ups with enough context to understand how important Judy Garland was to the gay community. She was their patron saint. Be it all the struggle, the pain under the surface and the resolve to put one foot in front of the other and sing her heart out in spite of it all. A metaphor for being gay, perhaps. Her life and legacy meant something to the community and still does. (The Stonewall Riots occurred on the day Judy Garland died and I think it played no small part in pushing things over the edge that fateful day.)

What a fight it was to be Judy Garland. A star who’d been spit out by Hollywood. Any actress over 40 will tell you their version of the story. And maybe no one understands that today quite like the star of ‘Judy’, Miss Zellweger.

I don’t think Renee Zellweger’s ever been better. She fucking soars. She sings her ass off (and I didn’t know the bitch could sing, not like this). In some instances, the resemblance is so striking between Zellweger and Garland it baffles the mind to reconcile that you are not looking at the original Judy, herself. Somehow, Zellweger completely transforms even the expression in her eyes as if the thought process, or the experience, or perhaps even the torment, is the same between both starlets. How else can an actor arrive at the exact same place as the person they are imitating? How do you achieve not just a version of a person, but the person, themselves?

I do not know what spiritual voodoo Zellweger achieved (move over, Christian Bale!). But this performance is an achievement of the highest order. I imagine Garland herself, at times her toughest critic, would be thrilled to watch the film even in its hardest moments.

Because Judy, and I suspect Renee, are consummate performers. Completely engrossed. Not engrossed. Obsessed. No, not obsessed. Addicted...

Judy Garland was completely addicted to the stage. Yes, Lady Gaga coined “I live for the the applause” but that’s only because she did her homework. Any diva in training gives their respect to the o.g. Judy Garland devoted her entire heart and soul to her performances. Often to her detriment, and to the detriment of those around her.

To be so completely talented, I imagine, is a curse to the performer. And when you’re a mother, a curse to your children. The performer’s gift has the power to kill them. It can drive them to the brink of self-destruction. The pressure and the anxiety of not performing at the same level again and again, night after night, drove Judy to the brink. The pills and the booze became absolutely necessary.

Years ago, I recall news stories about Renee Zellweger suggesting addiction and anorexia. She had wasted away, rumors swirling of drug abuse chased her - she’d been branded with a scarlet letter.

And then, I saw her in person, in Santa Monica. I was inside a Barnes and Noble bookstore (a rare occurrence nowadays in the era of dwindling brick and mortar). She was skin and bones. I barely recognized her. She looked...deranged. Her eyes were bulging nearly as much as the veins in her neck. I didn’t know why she was so distraught but my eyes fixed on her like a cheetah staring down a gazelle. She was just on the other side of the glass, and then she locked in on me. Suddenly, she was the cheetah. She stared at me, then a sour look fell upon her and she dashed away. I was shaken. I had never felt so judged by a famous person before. I had never shared such a fraught moment with a star of her caliber. But then, I wondered, maybe she hadn’t been looking at me at all. What if the glass was opaque and she wasn’t staring at me at all? What if she was looking at her own reflection that whole time? Could it be that she stared at herself that way, with that loathsome look in her eyes?

And now my heart breaks because I do believe she saw herself. She saw something in herself that she couldn’t stand and she fled from the reflection. Just like Judy would’ve ran. Just like Judy.

I’ve asked so many questions and I apologize but I must ask a few more:

What if Renee Zellweger doesn’t win an Oscar for ‘Judy’? Oof. Yes, I remember that she won for ‘Cold Mountain’ in 2004 but it was sort of payback because she’d been nominated for ‘Chicago’ in 2003 and was a shoe-in (but lost) and even that had been a sort of a gimme nom since she’d been nominated in ‘02 for ‘Bridget Jones’ Diary’ and lost even after she stole the entire world’s heart.

In a parallel way, Garland was famously snubbed for a ‘Star is Born’ in 1955 when she gave the performance of her life and lost to the quintessential Hollywood beauty, Grace Kelly. After a lifetime of comparisons and cruel remarks about her looks, it had to feel like a stab to the heart to lose to the pretty girl, the princess. Poor Judy. She just wanted to be beautiful and thin. But instead she was talented and charming. And that’s not to say she wasn’t beautiful and thin, she just didn’t fit the stupid, totally arbitrary model of beauty. And she eventually wasted away to a skeleton. Why did we do that to her? Why do we do that still?

I don’t know. But I do know that Renee Zellweger should win this god damn Oscar.

#judy #judy garland #wizard of oz #renee zellweger #oscars #oscars 2020 #grace kelly

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