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fermented-writers-block · 3 years

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PART 1 of 6 of the Owl Deity Hooty Theory

[NEXT PART]

[OWL DEITY HOOTY THEORY MASTERPOST] (in development)

(TLDR at bottom of post)

Over several long months of research and analysis since March of 2020, I have been following an utterly fascinating thread of potential misdirection and subtle details throughout The Owl House, and today, I would like to start weaving together of what I believe could become one of the biggest and most cleverly disguised twists in the entire show.

To begin, let’s take a look at the B plot of Understanding Willow:

On first glance, it’s an ultimately inconsequential sidestory with the sole purpose of justifying an excuse to keep Luz and Amity in Willow’s mind, as well as providing some well-needed room to breathe and release tension after the veryemotionally charged confrontation with Inner Willow. After half an episode of Eda and King outdoing the other in ridiculous ways to win Gus’ vote and Gus running off in frustration at the end of the episode from Hooty’s inane rambling, it’s easy to laugh off Gus’ pick and assume that nothing/of value was said when he closed the door for the interview.

However, if one pays close attention to that very scene, Hooty actually canstill be heard (if faintly) underneath Eda and King’s grumbling, interestingly talking about how “It all started with a hunt. Blood red skies. That’s right, I was created-.”

Now, while it may seem silly to focus on dialogue from Hooty of all characters, this A) tells us that there was an event in the past involving blood red skies and a hunt of some kind, B) that Hooty had been created close to said event, and C) implies that what he knows but can’t tell as a story worth a damn is EXTREMELY important to be included and be hidden in such a manner.

For comparison, the only other instance of dialogue being tucked away in the background in the entire show is in Wing It Like Witches:

During the lecture at the beginning of the episode, the history teacher openswith lore on Belos appointing a head witch to each coven over 50 years ago, immediately cluing in the audience to try and decipher the rest of the lecture as it moves to the background. Adding to this is how the musical sting when Luz shows off her movie obscures what he says even further, making it even more of a intriguing puzzle that the creators clearly intended for viewers to pick up on and attempt to solve.

In contrast, the hidden dialogue of Hooty’s interview is much shorter and not as hard to decipher as the teacher’s history lesson, but at the same time, there are few to no indicators whatsoever in that scene to clue in the audience to even check for something like that. It comes at the end of an episode where most viewers would have been paradoxically tired out and driven abuzz by the revelations of Amity and Willow’s relationship, doesn’t attempt to draw much attention to itself, and frames itself as a comedic subversion of audience expectations with neither the “greatest witch who ever lived” or the self-proclaimed king of demons being picked by Gus.

Instead, he picks someone that the show portrays constantly as an oblivious and gullible idiot after being described as a “state of the art defense system” at the very beginning of the series. Someone who, despite it being played for laughs, is scarily capable of casually subduing Lilith offscreen one episode and then beating her and an entire squad of Emperor’s Coven members without even the slightest change in personality or temperament.

Someone who, due to being the Owl House itself, could be considered the titular character of the entire show, yet is taken for granted by those who inhabit him and barely gets any respect from even the cutely patronized King - including when Hooty could be interpreted as having potentially been full on DEAD for a time given the use of extremely cartoony X eyes and a lack of vital signs in The Intruder.

And someone who Eda at best tolerates and at worst abandons in personal interactions and only occasionally acknowledges him when he’s actually doing his job. Yet at the same time is so implicitly trusted beyondprotecting her home to the point where - when up against the closest person Eda has to an equal outside of likely Belos - the only actually recognizable spells Eda used in combat were 1) stereotypical energy blasts, 2) a single shield spell in Covention, and 3) a noticeably large reliance on imitations of Hooty above any other spells she could have decided to use instead.

In short, the show repeatedly tells us he is just an idiotic gag character through and through, but at the same time demonstrates he has immense power through both onscreen and offscreen demonstrations, implicitly tells us his importance ahead of time through Eda’s imitations in actually serious situations, and treats his interview and origin story as - if not even more- important to keep secret than a long lore dump about how Belos’ reign works.

After all, there being only two instances of hidden background dialogue in the entire season is already intriguing on its own, but for one to get plenty of clues to draw in people’s attention and for the other to be treated as just another gag about a “mere comic relief character” - aka a good way to draw away attention and lower one’s guard - heavily suggests a far deeper significance buried under layers of misdirection, comedy, and conditioned audience expectations.

I mean, when Eda bragged about being “a bad girl living in a secret fortress,” Hooty followed with a remark about how “I’m the secret.” While that line may sound like Hooty simply being confused as part of a one-off on the surface, it’s an odd dialogue choice for the writers to pick when you think about all the other reminders of his nature as the house itself throughout the season. With the precedent these moments set, it would have been much more appropriate for him to latch onto the “fortress” side of “secret fortress” AND it would have been just as equally funny of a joke about his awareness skills, but instead, Hooty broke away from the established trend to say something that would make people suspicious were it to come from anyone else.

In a way, this reminds me much of the many subtle bits of foreshadowing strewn across the show, like Luz unknowingly describing Amity in Witches Before Wizards and Eda burning a hole through Luz’s coven type quiz that coincidentally selected the same track she had taken at Hexside as “a punky potionist.” At the time of airing, these initially seemed like one-off jokes, but eventually came back in full force several episodes later with Amity’s hidden sensitive feelings and love for the Azura books becoming clear in Lost in Language, and the reveal of Eda’s school track in Something Ventured, Someone Framed with her school misdemeanor pictures.

That said, compared to these individual bits of minor foreshadowing, the jokes about Hooty in Understanding Willow appear to simply be the most obvious pieces in a giant puzzle, implicitly and outright telling attentive viewers that there’s a major mystery to be uncovered here.

In fact, I feel bold enough to say that we could be looking at a twist on a similar scale to that of the Pink Diamond/Rose Quartz and Stanford Pines twists in Steven Universe and Gravity Falls respectively, what with this particular puzzle piece coming from how Gus wanted to make THE greatest interview of all time, and how he was looking for someone who was “interesting, accomplished, AND noteworthy:”

Note the emphasis on the ‘and’ here, as Gus had made a big deal that “people aren’t meantto be all those things” at the beginning of the episode, so as a result, stripping away all the comedic framing of his subplot leaves the intriguing implication that whoever - and, perhaps, what- Hooty is, they really are the most interesting, accomplished, AND noteworthy person out of everyone.

I could go further and talk about why I suspect the mystery surrounding King’s origins, whether true or not, is partially meant to misdirect us from paying attention to Hooty, or how the TOH crew’s could be disguising legitimate clues to his nature among made up and highly meme-able joke answers in order to proliferate said concepts throughout the fandom - thus letting us do all the dirty work of getting ourselves used to the ideas and used to dismissing them at the same time - but to bring things to a close for now, I’d like to leave you all with a question that I’ll start answering next time:

What does it mean when both the most powerful and notorious witch on the Boiling Isles and the possible actual king of demons/the Titan itself/something don’t match up to a house? And what do you think it is that makes him so special to warrant such misdirection?

TLDR: Between Eda’s golem spells, the show stressing his nature as the titular house, his implicit strength, and the odd dialogue and structure of Understanding Willow‘s subplot in relation to him, I believe I have good reason to suspect the show has been giving us many hints towards Hooty being much, much more important than it would like us to currently believe or even joke about. Particularly, through clever uses of comedy to establish and enforce a strong audience bias against looking closely at him or unironically taking him seriously, and to potentially plant the seeds for something I will start exploring in Part 2.

#the owl house #the owl house theory #owl house theory #the owl house speculation #toh theory #the owl house hooty #toh speculation #owl deity hooty theory #long post

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ordinaryschmuck · 3 years

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What I Thought About “Separate Tides” from The Owl House

Salutations, random people on the internet who most likely won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

...>A-hem< F**KING CALLED IT!

I said that the earliest that The Owl House would return would be late June and early July. And some of YYYOOOUUU sons of witches doubted me by saying it would be fall or winter. Well, guess what! "Separate Tides'' has come and gone, the show is back and better than ever, and we are all happy about it! You see how it pays to be optimistic, you persistent PACK OF PESSIMISTS!

...Sorry. Got a little hot there. I'm just so happy it's BACK!

10 MONTHS! It's been nearly 10 months since this show began its hiatus, large in part because of the pandemic. It was painful. BOY, was it painful. But I can already tell that the new season is going to be well worth the wait just by this episode alone.

But beware you mangey sea dogs! Thar be spoilers ahead when discussing such a premier.

And I swear to you that it's only spoilers for "Separate Tides." I haven't seen "Escaping Expulsion" either, and I promise you will be safe from anybody ruining it for you. But maybe don't read any responses from this post. Thar may be d**ks in these waters. So let's review, shall we!

WHAT I LIKE

Mirroring Season One’s Opening Scene: First off, this is a neat callback to what is the perfect first impression of the series. That scene perfectly introduces us to the type of show The Owl House is, while this one acts as a reintroduction to the world we left for way too long.

Second, this is also a well-hidden character moment. Luz is finally living the life she dreamed of, but it isn't exactly all that she expected. It's a great showcase that despite literally running away to a fantasy world, Luz is still getting a regular dose of reality. And I still love the irony in all of that.

(Plus, King eating the bounty is just funny).

The Recap Recording: This is a smart way to recap events from the season finale. It might be weird that Luz says things that the audience already knows, but she's not talking to us. She's talking to her mom. So she's going to explain all that she can in a way for Camila to fully understand. Besides, not every fan had repeatedly watched The Owl House Season One over and over again like a bunch of frickin' lunatics...You know who you are.

Plus, as an upside, Luz gets to explain new events and concepts for how she and the rest of the Owl House are making a living. In no way does it feel like forced exposition because, again, she's trying to describe as much as she can to her mother. It's a reasonable and natural way to talk to the audience in order to catch them up while also showing what's been happening since we've last left this show.

Luz Can’t Send Texts to Her Mom: ...Well, Texts to Home, it was fun while it lasted, but the current canon has decided that you're done. I'll miss you and appreciate all that you've done for me, but, yeah, this is the end. Sorry.

Alright, now that I got my jokes out of the way, allow me to explain how this is really a heartbreaking moment. Because the fact that Luz is forever cut off from her mother, even through texts, is an idea that just twists the knife in your heart when you really sit down to think about it. Luz's little goodbye at the end of her video does nothing but makes it worse.

On the upside, we get some solid character development as Luz doesn't even hesitate to send the video to Camila, learning her lesson from "Enchanted Grom Fright" about being more honest. She finally faced her fear, even if it was a fruitless effort.

They’re Doing Odd Jobs Now: This is a smart workaround for how the Owl House residents are making money. Some fans guessed that maybe Eda had so much junk piled up that they wouldn’t worry, but this seems more of a logical direction. Even if Eda had enough garbage to sell, she’ll can and will eventually run out at some point, meaning that they will all have to take the odd jobs anyway. So I appreciate the writers used that plot point sooner rather than later, as a fun romp as bounty hunters is something you want to do early in the season instead of later on. Especially with how Dana Terrace confirmed that s**t’s gonna go down in the future.

Lilith: ...I'm still willing to hold off--What the f**k did I say his name was? *looks up past review* Frederick Ulis--Frederick Ulisinsburg!

I am willing to hold off Frederick Ulisinsburg, for now, because Lilith is...sort of on the right track. I mean, I don't like how quick she was to playfully mock Eda or rudely yell at Hooty. But I do think that there is potential for her character. She feels genuine guilt for what she's done, and there's a chance that the new season will explore that further if the writers are smart (which they are). On top of that, there's a possibility that every time Lilith tries to act cocky or full of herself, she will be treated as a proverbial punching bag because of it. Like how her poster got burned down after boasting how impressive she looks. Or how Golden Guard's poster magically sealed itself to her face when Lilith tried to throw it away. It's the latter that primarily got me cackling like a madman due to how deservingly hilarious it was.

And, well...she happily clapped like a schoolgirl! Which was adorable! I can't hate characters who have the potential to be adorable! It's not in my nature!

So, while I am a little hesitant in liking her, I think there's a chance for improvement in her character in the future that I look forward to. We just have to wait and see if the writers pull it off.

(By the way, to the person that came up with Lilith wearing a "battery low" shirt...you're a genius in visual gags/storytelling.)

Greg’s List: Have I ever mentioned that this show is funny?

Who's Greg? Why does he organize a list of perfect bounties?

I don't know, but the idea of some random person in the Boiling Isles is putting it on himself to set up a list to make bounties...I'm sorry, but that's funny to me. It's also probably for how Craig's List was made, but when you really think about it, Craig's List is a funny idea as well.

Eda Isn’t Feared Anymore: I sort of guessed that this would happen, but seeing it is a whole different level of sympathy to feel for the character. Eda's main schtick was being the most powerful witch on the Isles, and that's gone now. She's forced to adapt to this new normal, which she's quick to do, but still. Tt's got to be a rough kick to the ego now that no one even cares about who she is anymore.

It's a low moment for her character that hopefully sets up her own arc for the rest of the season.

Luz Feels Like She’s a Burden: I will demolish her with love and kindness if she even CONSIDERS talking so poorly about herself again! Because Luz is not a burden. She is a beam of light that literally brightens up the lives of nearly everyone she meets. Eda already explains how her life is better because of Luz (through a heart-tugging speech that almost got to me, by the way), but it's not just Eda.

King now has his first real friend who admires him and treats him like the king he wants to be.

Willow has become much more confident and cheerful because Luz was always in her corner.

Gus learns more about the humans he appreciates with his whole heart while also having a friend that treats him like an equal rather than a kid.

And do I even have to say ANYTHING about Amity?

The Boiling Isles wouldn't be better off without Luz. It's better because of her. And shame on this girl for thinking otherwise...even though I fully understand where she's coming from.

I'm about to get personal for a second, so strap in. Because I am a twenty-somthing-year-old who is currently living with his mom. It's as pathetic as it sounds. But it's because I'm still attending college, and she says school comes first and jobs and apartments come second. Despite that, I feel like trash for just...living here as she still takes care of me and pays for the food I can't afford. She says that I shouldn't worry about it, but I still wait for the day I can finally pay her back for everything. Not some things, but everything. And that's Luz's mentality in this episode. The overwhelming guilt she's feeling for thinking she's inconveniencing Eda's life is something that hits really hard for me. It doesn't matter if it's true, but that she believes it's true. It's a heartbreaking character arc she's forced into for this episode that also adds more to why she's one of the many characters I heavily relate to.

Lulu and Hootstipher: Whoever thought of this idea...I f**king love you.

This is similar to when Noah and Owen became friends in Total Drama World Tour. Seemingly one-sided at first, you see a cute friendship that you would have never expected, but it works! Hooty is this happy and naive character who hardly understands what's going on half the time, and Lilith is...Lilith. Their chemistry is instantly fun as their dynamic is quick to understand.

This also shines with potential for character growth, for it could give Lilith a chance to be more caring and Hooty a chance to be more than just the comic relief. If you were to tell me that this is what was going to happen when the season premiered, I would have thought you were crazy. But now, after seeing it in action, I'm genuinely excited to see where this cute friendship between these two goes.

(As long as it doesn't involve fans shipping them. Because Hooty can do better)

Luz Getting Better with Her Magic: Our little bisexual princess is growing up! And, man, is it awesome to see. Luz going from just barely knowing how to do magic to full-on using her spells like second nature just warms my heart with all the character growth it presents. Now, some people might want an explanation for how she's able to do said spells, to which I say: "Who the f**k cares?"

If you ask me, Luz's magic is one of those things that doesn't need a direct answer because it doesn't matter as much. But if you're going to be a baby about it, here's what I can offer: As far as I can tell, it's equal parts having the glyph and mentally picturing what the spell should do. It's much like how Willow draws a spell circle and can either make giant jungle vines or a patch of flowers to land on. Luz's glyphs are her own spell circles. As long as she concentrates hard enough, she can make the glyph do whatever she wants it to.

There. You have your explanation. Now let's just all appreciate the fact that Luz can now throw fireballs and make vine whips like the superpowered teenager she most likely fantasized of being. Ok? Ok.

A Pirate Losing His Head...Literally: ...And I'm gonna go ahead and add that to the list.

I mean, for f**k's sake, WE SEE BONE! He puts his head back on, but we still see the bone!

Eda in a Pirate Outfit: ...That is all.

The Golden Guard: This guy shows up for only a few minutes, and I'm already beginning to like him. He seems just as threatening as Belos while also coming across as a guy who loves his job and being a ton of fun to watch because of it. I adore villains that find that balance of being funny and terrifying. The result is a character who makes me laugh on top of making me scared of what they could do to our protagonists. So far, that's the Golden Guard in a nutshell, and I can't wait to see what the rest of the season has in store with him. Whether it involves seeing him play with food as he did with Eda and Luz in this episode or seeing him getting kicked in the crotch like a little punk like him deserves, I am all for it.

(Bonus points if it's Amity who does the crotch kicking if he ever makes an advancement on Luz)

Eda Wanting to Protect the Selkidomus: I love this. It plays into the idea that Eda cares about things being wild and free and despises how Emperor Belos would want to control everything, including the most insignificant of animals. It shows just how kind Eda really is rather than someone motivated by greed...even if she does end up filthy rich in the end.

Emperor Belos’ Brief Cameo: Yup, still terrifying!

And if it turns out that Belos can see the Scrying Potion that Lilith made...we're going to have some problems.

Much like the actual problems that I have with this episode!

(Like that transition?)

WHAT I DISLIKE

King Being Stupid: King has two different personalities in this series. Either he's a pathetic wannabe ruler who seems intelligent or an idiotic Disney comedic sidekick. That latter version of King is what we get in "Separate Tides," and I don't like it (obviously). I don't care how cute it is to see him cling onto Luz's leg and exclaim how he won't let her leave. The same character who helped Luz break into a prison to save Eda shouldn't be the same one who falls asleep when a sheet covers him like a dumbass parrot! King's at his best when he's as intelligent as the rest of the characters. And not as dumb as someone like Hooty.

Eda Being Too Nice Around Lilith: This one bothers me the most. After being cursed for thirty years and having her life ruined by the person she thought she could trust the most, Eda is still all smiley and jokey when talking to Lilith. Yeah, sorry, but I don't buy that. No one in their right mind would be that cool with a person who did all of what Lilith did. It's a major misstep that squanders what could have been a fantastic overarching story of Eda learning to forgive her sister and Lilith trying to earn it. We'll at least get Lilith's guilt, but as is, I feel Eda showing genuine anger towards her would elevate that story by a lot.

IN CONCLUSION

But that's about all the bad things I have to say about "Separate Tides." As is, it is a well-earned, solid A of a season premiere. It introduces new concepts and characters I can't wait to see more of, continues old storylines and character development instead of ignoring them, and still proves that The Owl House is as charming and funny as it always was. Maybe the rest of the season could continue to be great, or maybe things might get worse. Time can only tell. For now, all I can tell you is that "Separate Tides" is a great and fun episode that makes me excited as we set sail to this new season.

(And Scared. Mostly scared)

#the owl house #the owl house season 2 #the owl house review #luz noceda #edalyn clawthorne #lilith clawthorne #the golden guard #king of demons #toh hooty #what i thought about

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lizacstuff · 3 years

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SCK/EDSER asks

My inbox was full again, so questions under the cut. Some of these are from today and some are from earlier.

(asks under the read more)

Anonymous said: Random things that amuse me: 1. When they met, Serkan didn’t seem all that mad that Eda keyed his car but was way more angered by her disdain for him. 2. I always forget about Eda’s ex because I think Eda forgot about him too. Cenk cheated on her and brought his new gf to break up with her, and Eda was more peeved that he implied Serkan was out of her league. (1/2)

The only time he’s brought up again is when Eda pretends to be texting him instead of Serkan (because Ayfer would be madder at her talking to Serkan lol). 3. Whenever Melo is supposed to be mad at Serkan in solidarity with Eda, she just cannot bring herself to dislike him. (2/2)

I LOVE THIS ASK!

1. I have always wondered about that. Even current, softer Serkan would get PISSED at someone keying his car. He keeps all of his things pristine. You know under normal circumstances he would be infuriated by that and not let it go. The car would have had to go to the body shop and everything. I think the fact that he didn’t seem all that bothered, other than threatening to call the police of course, is that he was just so gobsmacked by this insanely beautiful, but also beautifully insane, lady yelling at him and handcuffing him that he couldn’t think straight. The fact that she had seriously vandalized his car became inconsequential.

Additionally, I think when he found out ArtLife had cancelled her scholarship, he became embarrassed and didn’t want to make any more of an issue about it.

2. I forget about him too. What a tool he was. It also seems a bit out of character for Eda now. All of her friends and her aunt knew that he was ghosting her, and they made it clear they thought it by their reactions, but Eda didn’t get it? Eda was ready to marry a dude she hadn’t seen for a year? That does not sound like the Eda we know. Independent, fiery Eda? It’s true that she’s grown a lot, but that much? It seems like they designed that relationship to put Eda in the right frame of mind to kiss Serkan on the podium and then, thankfully, forgot about it.

3. Yes, Melo is all of us. In the early episodes especially, Serkan could be a real jerk, but I know I never held it against him for long, just like Melo. None of us can resist him, I’m sure we were all cheering her on when she was the one to give up Eda’s Saturday morning location. And I love it when she calls him enişte. It’s also sweet that he’s fond of her as well.

Anonymous said: What are your thoughts about Engin and Piril? Sometimes I think they are cute and sometime I just don't think they are meant for each other. I hope Piril's father brings a new story and dynamic that will help us see whether they work as a couple or not.

My thoughts are pretty much the same as yours. In the beginning I really thought they were pretty flat and wasn’t really rooting for them. Partly because I loved Engin’s character and I was pretty “eh” on Piril. She was so laser focused on work that I didn’t like when she would try and guilt Serkan because he was spending time with Eda. I found that annoying and I thought Engin could have a more interesting relationship (like Melo!).

Alas, that wasn’t to be, however I surprised myself by actually cheering when he proposed, and I really liked their heart to heart talk in the NY episode. On the other hand I wasn’t really charmed by their disconnect when it came to entertaining people. They were SO FAR apart. Piril was so uptight and Engin so lacksodasical, I think they’ll end up driving each other bonkers and it’s hard to see how that will work, and I’m not sure it’s something I want to watch all that much of.

Same as you, I’m hope that Piril’s father turns out to be interesting. What’s going on there? Will we find out this episode?

Also, honestly, I’m still pressed they didn’t call Serkan to come to the wedding. (But I assume that had more to do with how quickly they shoot and needing to have scenes without Hande and Kerem in them. H/K were in tons of scenes that episode so it was probably tight with scheduling and they were doing A and B units etc.)

Anonymous said: Hi Liza, I hope you are well and you and your loved ones are staying safe. SCK really helped make 2020 better and I'm glad we have the show in 2021 too! Sometimes the letter count in these asks really get to me because I feel like I have so much more to say and ask but oh well. In this ask i just want to say I hope Seyfi and Melo both get their very own happily ever afters. They're my favs and totally deserve it. Leyla too! That actress is so pretty, I wish we got to see her dress up more!

Hello! I’m well, thank you for asking. I’m not even joking when I saw that SCK was a highlight of 2020 for me. I’m so appreciative for the happy and joyous distraction it’s been over the last few months.

I LOVE MELO AND SEYFI. They are two of my favorite supporting characters, and two of the only ones that have stayed at the top since the beginning. Now Aydan is up there with them, but she wasn’t in the beginning, lol!

Those two deserve all good things. Leyla is also a great character and I wonder what her feelings are towards Erdem. Does she really like him?

Anyway, I’m not sure what they might be planning for any of them, but I can tell you I’m more interested in how they might end up, than I am with Ceren, Ferit, Fifi, or Piril.

Anonymous said: This ask may not be worth answering but I've always wondered about Eda's family on her mom's side. I don't think they've ever mentioned it on the show and if they have I may have missed it but it's interesting. It's most likely that her grandparents died and her mom didn't have any siblings but it would be really cool if she did have a family member who understood her and supported her and Serkan unlike Ayfer.

It would be interesting to know, you’d think she would have some relatives on her mom’s side. We’ll have to see if the show ever mentions it.

Anonymous said: Ok it may be the overthinker in me but unlike everyone else I'm actually worried seeing Serkan wear his engagement ring. If he and Eda reconciled and he knows the truth about her grandma threatening her, wouldn't their game plan be keeping their relationship a secret and not flaunting his ring. But then that's what the fans want, and maybe the writers have a different idea. I'm freaking out with worry that maybe Serkan and Bulca got engaged! But then it looks like his original ring! let's see!

Anonymous said: I'm the one who feared the engagement ring in a previous ask. Well today's pics/videos that show Serkan, Aydan and Seyfi at Eda's home with flowers seem like they are asking for her hand in marriage. It's an assumption but I feel much better. Lol!

See, this is why I always say not to borrow trouble by worrying about the disaster scenario. Why would he ask Balca to marry him the day after he sexed up Eda? Even if they were hiding it and using Balca for subterfuge, why would they need to go all the way to engaged to do that?

I’m glad you’re feeling better. I agree that the video posted today with them all at Eda’s house with the flower and the chocolate looks very much like they’re doing the traditional asking for her hand for serious this time!

WHEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE!!!!!!

Can’t wait to see them with their rings back on, we’ve been waiting so long.

Also, I have no idea why they are able to get away with this... maybe Eda found something while investigating that neutralized Babaanne? At least for the moment?

Anonymous said: Sometimes I hate being the audience, we know things that the characters don't and I want to yell at my tablet screen. I don't though because I don't want to confirm my parents thoughts that I am crazy, lol! Anyway I wanted to say that I appreciate you and the SCK community because none of my friends watch the show and I'm glad I have people to discuss this with, otherwise I'd actually go crazy. Edser & Hanker & the cast and crew make me happy! They're just amazing and I'm thankful for them!

Me too! I appreciate the cast and crew AND I appreciate the fandom. There are some very lovely people here, and I’m thrilled that I have you all to discuss the show and ship with because none of my friends or family in real life watch either. I’ve told many people about it, and sometimes I will drop words or phrases in Turkish that I’ve picked up watching and all they do is roll their eyes at me. (I enjoy that)

Also... talk back to that screen, I do. It’s fun. LOL.

Anonymous said: Thoughts on the fan theory that Eda & Serkan are actually already working together to bring her grandma down? Not sure that I really saw any clues throughout the episode that a scene of the two of them talking together was cut out but guess we could always get flashbacks to show it. I think for me that might make a little sense because how does Serkan not suspect that Grandma flat out made Eda breakup with him? He knows she wants them kept apart, he got arrested and then magically released which coincided with Eda staying away from him, entry of a prince interested in Eda and Eda being chummy with her Grandma 🧐. Or maybe he does suspect all of that but finally understands the risk that she poses to all of them so he agreed to end things? Very interested to see how the show gets us from that heartbreaking breakup to Serkan & Eda being jealous at the restaurant.

My apologies, I know this ask was sent before some of the recent spoilers including the second promo with the... uh... explosion. (sex) So at this point I do not think they are working together, the break up appears to be real. So it will be interesting how the first 2 hours of this episode plays out. I assume the sex will be in the last 15 minutes.

It looks like Serkan’s tact is to pretend he’s over her and moving on and let that drive her crazy. So I’d say that in order to do that, he has a pretty good idea why Eda broke up with him and knows it’s because of Babaanne and threats against him.

Anonymous said: Can I just say - I really dislike Ayfer. And I just realized that she has had like no growth at all in these 25 episodes. I guess she has an instagram business now? There is such a huge contrast between how they've developed her and Aydan, not only in how they view EdSer's relationship but on their own as well. Aydan is a new woman while Ayfer is still just a hater and a negative nancy about everything. You'd think they'd give her a better storyline with her mother in town but I don't see it

Since you sent this I’ve answered another ask about Ayfer here. I very much agree with you. She reacts negatively to everything, I’m not sure why the girls like to hang out with her so much, they have to hide everything and she is like a damp rag covering any bit of excitement.

On rewatching some of the early episodes, I have noticed that she was negative from the beginning. She was even annoying in her first second on screen, when she was waking Eda up to go help with the soil delivery. I hate that shrill voice she uses to say Günaydın over and over again.

You’re so right that she hasn’t had much if any growth. Neither she nor Aydan were excited by the Eda/Serkan pairing from the beginning. Aydan was more vocal, but Ayfer was just as disapproving. And frankly, even though between the two of them, Aydan might have seemed like the more formidable foe to the relationship, Ayfer actually always had more power. Just because Serkan Bolat is going to do whatever he wants to do and he’s not going to be swayed by his mother’s disapproval, but as we’ve seen in episode 21 Eda is more susceptible to her aunt’s guilt and disapproval. Remember when she asked Eda if she could trust Serkan’s positive assessment of her work because he might lie if he has feelings for her!?! GRRRRRRRRR.

The other big difference is that once Aydan saw how absolutely heartbroken Serkan was, she completely changed her tune and became supportive of the relationship. Her son’s happiness mattered to her. While Ayfer sat there last week and watched her heartbroken niece and reacted with glee. Eda’s happiness is apparently not important to Ayfer.

If indeed the Bolat’s have come to woo Eda, it will be interesting to see how Ayfer reacts. Will she come around on her own or will Eda have to give her an ultimatum. I wouldn’t mind that, actually. Give Ayfer a reality check on the way she’s been behaving, just as controlling as her mother.

Anonymous said:bHey Liza! Thanks for your thoughts on ep25, was looking forward to them today cause you're always rational and I pretty much agree with all you've said lol. The number of ppl mad at Eda/saying her character is ruined is wild, did they watch the same episode?? Eda HAD to end things because of the shit her grandma was pulling, like it wasn't small things she has serious connections, obviously Eda isn't gonna endanger serkan!! I really hope the people being irrational read your answers lol. The only thing that's bothering me about the episodes is that this is supposed to be a romantic comedy and I'm missing that (gotta be honest I fast forwarded thru the Alex ayfer aydan stuff lol) but hoping for some funny Edser stuff at least lol. Also THE PRINCE REALLY DO BE CRAZY lmao

This was also sent before some of the recent schedules. It looks to me like we’re are in for a bit of romance the next few episodes.

I’M SO EXCITED!!

Anonymous said: the prince is very specifically credited as a guest actor, so i think that maybe he'll only be here for 1 or 2 more episodes max. which makes me think that this arc at least with him directly involved won't last very long. i'm excited about the bombshell to be dropped though because as of right now neither eda or serkan know exactly what babaanne's plan for him is in regards to eda.. and not to mention his other creepy motives that have to do with his dead wife.

I haven’t seen him mentioned in any BTS stuff for 27... maybe he makes his exit is 26? We shall see.

Anonymous said: while i understand where serkan was coming from in his decision to not tell eda the truth, it was coming from a purely selfish reason (even he says that) eda's decision is bc of a very real 3rd party threat that would have consequences for serkan's family, business, and his wellbeing. and eda has no time to prepare a plan or anything of the sort; she's basically backed into a corner. i really wonder why serkan is granted so much more understanding in the fandom than eda's character..

I don’t agree that Serkan was coming from a “purely selfish place.” I don’t remember Serkan saying that and if he did, I’m sure it’s because he’s attributing all his motives to the one he’s most ashamed of feeling. Because while there was something selfish in not wanting her to know the truth and not wanting her to think of her dead parents when she looked at him, I think it’s clear he was also trying to protect her from those thoughts. He was trying to protect her from the heartbreak of dredging up their deaths, protecting her from having to make the decision to leave him. It was a lot more complicated then just him being “purely selfish.” Remember he inflicted the greatest heartbreak on himself, you don’t do that for purely selfish reasons.

It would be nice if anytime something went wrong, there wasn’t a knee-jerk reaction to vilify one or the other characters.

#sen cal kapimi #edser #Sen Çal Kapımı #sckask #SCK discussion #asklizac #edser discussion #anonymous

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mrmichaelchadler · 5 years

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Brian Tallerico's Top Ten Films of 2018

It’s that time of year when critics take a look at dozens of different pieces of art and try to put them in the same box. There’s something inherently odd about pitting films against each other, but it’s also a way to draw attention to things you love and want to share with more people. It’s often a way to consider themes in art, but I was struck more this year by what my top ten says about my personal taste more than overall motifs in the world of moviemaking. I spoke to Barry Jenkins earlier this month, and he commented on how he’s attracted to what he calls genuine filmmaking. That’s clearly a through-line in my picks too, none of which were made purely to garner awards or fatten wallets. They are deeply personal films from masterful filmmakers, across the spectrum of genre and style. What do Boots Riley and Debra Granik have in common other than a deep passion for what they do? They share that passion with us, and lists like this, at their best, amplify it just one step further. I saw around 250 films released this year. This list could be different with rewatches or even just over time. It’s always subject to change. But, as of today, these were my favorites of a very good year:

Runner-ups: “Black Panther,” “Blindspotting,” “First Man,” “First Reformed,” “Hereditary,” “Lean on Pete,” “Mission: Impossible - Fallout,” “Spider-Man: Into the Spider-verse,” “Wildlife” and “Zama”

10. “Sorry to Bother You”

It’s the rare film that can feel both completely current and ahead of its time. Boots Riley’s incredible social satire, anchored by a performance from Lakeith Stanfield that is only getting a fraction of the year-end attention it deserves, is the best debut of the year (and it was a strong one for debuts with this, “Hereditary,” “Minding the Gap,” “Eighth Grade,” and more). Riley’s film echoes his music in its blending of different styles and influences into something that feels both defiantly new and classically funky. It is often hard to tell when you’re in a year what movies from it that people will be watching five or even ten years from now. I would bet money they’ll be watching this one.

9. “You Were Never Really Here”

Lynne Ramsay’s award-winning “thriller” (the quotes because there’s not really one genre appellation that feels like it captures everything this movie does) is such a perfectly calculated work of art that it’s easy to take for granted the first time you see it. Every choice here has been carefully considered by a master craftsman, but that attention to detail is offset by an organic, emotional, borderline dangerous performance in the center from Joaquin Phoenix, doing what I consider the best acting work of the year. Phoenix is mesmerizing, capturing a man who has to access his trauma to do his very unusual job, and someone who dives deeper into his own nightmarish abyss each time. It’s a challenging, unforgettable film, and a testament to the overall quality of the year that it’s this far down the list.

8. “Shoplifters”

Hirokazu Kore-eda is one of our best living filmmakers, a man who personifies the Ebert principle of cinema as an empathy machine. He makes movies about real people, using them to encourage conversation about complex issues like masculinity, justice, and the definition of family. His Palme d’Or-winning latest is arguably his masterpiece, a film that reconsiders so many of his previous themes, but also works purely as heartbreaking melodrama. He spends 90 minutes getting his viewers deeply involved in the life of a family on one of the lowest rungs of society, and then challenges how we feel about them with stunning revelations in the final act. Directing some of the best performances in his catalog (Ando Sakura’s work here may be the most underrated of the year), this is an example of a master working at the top of his form.

7. “Annihilation”

What’s the cinematic equivalent of an earworm? You know those songs, or even ad jingles, that burrow their way into your brain and don’t go away? You think of them at random times, humming them to yourself without even knowing you’re doing so? Alex Garland’s latest is the movie version of that, a movie I saw early this year that will not go away. The images, the themes, the faces, the horrors—there’s something about "Annihilation" that has lodged itself in my memory in a way films rarely do. Part of the reason for that is how open the film is to interpretation, relying on imagery instead of plot twists. Those are the movies that last. We may remember a line or some shocking twist from films we like, but it’s the images from the movies we love that sneak up on us. “Annihilation” will be doing so for decades.

6. “The Ballad of Buster Scruggs”

I smile every time I think of Joel and Ethan Coen’s latest Western anthology, which is somewhat ironic given it’s a movie about death. Maybe that’s part of the game. After all, the final segment in Netflix’s film is about bounty hunters who distract their targets with stories. We’re all just distracted by the stories of life, many of my favorites told by the Coens, on our way to shuffling off this mortal coil. These stories work on their own or taken as an entire piece, elevated by the Coen’s incredible attention to detail in every element of the production, including Bruno Delbonnel’s stunning cinematography, one of Carter Burwell’s best scores, and a simply perfect ensemble. I wrote more about the excellence of this film here, and I’m still smiling.

5. “Widows”

Every once in a while, there’s a movie that gets dismissed as pulp by the critical Illuminati. What’s funny is those pulp movies more often find their way into the cinematic firmament than the most buzzed Oscar bait. I'm not worried about the future of "Widows." It didn’t help Steve McQueen’s masterfully entertaining and enlightening examination of corruption and agency in Chicago that it was horrendously advertised, leaving viewers who might like it at home and those who probably wouldn’t angry in their theater seats. Suffice to say, “Widows” was mishandled, but I am as confident in anything on this list that “Widows” will find a loyal, devoted audience over time. Great movies always do.

4. “Burning”

My top 2-4 are relatively interchangeable, all films that did what is so much harder and harder to do every year—broke through our increasingly diffused attention span. With the amount of distractions in this tech-heavy world, it’s getting more difficult even for film critics to “give themselves over” to a movie. For me, I’m often distracted by the other work I have ahead of me—pieces I have to write or editorial duties at this site. Our brains seem to increasingly be asking “what’s next?!” And so there’s something breathtaking about a movie that is powerful enough to push out the “next” with the “now.” Lee Chang-dong’s masterful thriller does exactly that, weaving a mesmerizing tableau for over two hours and then throwing you back into the world, dazed and marveling at what you just watched.

3. “Leave No Trace”

I had a similar reaction to Debra Granik’s poignant drama when I saw it in Sundance. All the other films in Park City faded away as I became deeply invested in the lives of two strangers. Granik’s compassion for these two people is contagious. We feel for the young Tom (Thomasin Harcourt McKenzie) and her PTSD-afflicted father Will (Ben Foster) in ways that is rare in cinema. We want Tom to be happy. We want Will to find stability. We want them to be their best selves, and yet Granik doesn’t even remotely judge Will for his trauma or Tom for her increasing need to leave him. It’s that rare subgenre of the character study that isn’t designed to make some grand statement about all of humanity but fully capture the lives of the people in its center. Will and Tom feel real. We know them and we root for them. And we don’t forget them.

2. “If Beale Street Could Talk”

I couldn’t possibly capture why I love Barry Jenkins’ adaptation of James Baldwin’s “unfilmable” novel more completely than Odie Henderson did in his brilliant review, so just read that first. My top two films of the year—and this clearly reflects a personal preference in what I’m looking for lately—blend the lyrical and the realistic. The story of Fonny (Stephan James) and Tish (KiKi Layne) is tragically real in its injustice and examination of broken dreams. And yet there’s also a poetry to Jenkins’ filmmaking that’s simply beautiful. There is poignant tragedy here, of course, but there’s also overwhelming joy. The joy of a family, of love, of hope, and of filmmaking artistry. It’s the rare movie that I feel will shift ever so slightly every time I watch it, offering me something new to appreciate and adore.

1. “Roma”

That last sentence also holds true for Alfonso Cuarón’s masterpiece, the best film of 2018. So many movies lately feel like they “take” from their audience, whether it be with lazy filmmaking or CGI extravaganza that leave you more exhausted than exhilarated. “Roma” gives and gives. I put so much of myself —what I value in both film and criticism—into my review that I’m not sure what else I could say other than I walked out of this movie on a high that films rarely give me any more. Perhaps it’s a reflection of the state of the form or just getting older and busier, but that “spark,” that “movie magic” doesn’t come along like I wish it would as often as it did when I was younger. I was floating after “Roma.” I still am.

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