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e-the-village-cryptid · 2 years ago

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What did you think of Rogue One?

Ah boy. Ok. First, a disclaimer that this is just my opinion, not me declaring some objective truth about the movie. Just because I felt one way about something doesn't mean I think everyone has to feel that way. If people really liked the movie, I am honestly happy for them! And if you really liked the movie to the point where someone disliking it will upset you, you may want to stop reading now. That said, here's my review.

Overall, I'd give the movie 2.5 stars on a scale of 1-5. Maybe 3 if we're being generous, because it was fun to watch in a casual way at some points, and some things were done well— Jyn's character and Galen's moral quandary were the high points for me. Everything else, though— storytelling, sense of place & visual feel, dialogue, characterization, most of the action sequences, overall plot— was disappointing to me. There was very little originality to be had in any of it, and although of course things don't have to be wildly original and never-been-done to be good, it felt like I'd already seen this movie a hundred times, except done better. Most of all, the majority of it felt flat and lifeless. It would have been extremely forgettable to me if not for Andor having already made me care about some of its characters.

Things I liked:

Jyn as a character. She has an interesting backstory, was well-acted, and has a depth and dimension that I feel the other characters were missing. I am very curious why, upon seeing that movie, the decision was made to dive into Cassian's backstory instead of Jyn's (although of course I'm glad we got Andor!). I think Jyn's time growing up being trained by Saw Gerrera would make quite an interesting story. (Watching her singlehandedly wreck like 12 people while Cassian watched in awe was definitely fun, haha.)

Galen's choice. I think this posed a truly interesting question. Was it true that the Death Star would have just been built without him? Would the destruction of Alderaan have happened without him? Did building in the flaw make up for the fact that he still in fact built it? Did his choice save lives or destroy them? Did he do it because he truly believed he could save lives that way, or because he was just trying to stay alive himself? Was it bravery or cowardice, or both in some strange combination?

K2. He was fun to watch, good comic relief, and I empathized with him a lot.

The death scene on the Scarif beach. Beautifully shot, acted, and directed. No notes.

The music. Lovely, orchestral, classic Star Wars scoring.

Things I didn't like:

My main issue with the movie is how flat everything felt. The characters, the setting— everything felt lifeless. It was hard to get emotionally invested because nothing felt like there was a true spark of life behind it. I'll go by points here.

The settings. The visual effects fell flat to me, but even beyond that, there was no humanity behind places like Jedha. It felt like the extras were told to mill back-and-forth aimlessly in front of the camera, rather than being given something to do that would give us a background glimpse into the culture of a place, as on Ferrix in Andor. The lack of depth to the setting made the locations feel like sets, not planets, and made it hard to feel a real sense of place and emotional connection.

Pretty much every character except Jyn was completely one-dimensional. None of them felt like real people at all, just devices to move the plot along. They each had their character archetype and were not allowed to deviate from it at all, and their choices came not from their characterization or their motivations, but from whatever the story needed in that moment. Their decisions felt contrived, making the characters not believable as people.

Many parts of it felt afraid of genuine emotion. It would pull back on the sincerity right as people died, refusing to actually let the emotional impact hit. Maybe this is a function of being directed at a younger audience, I don't know, but to me it felt like a refusal to take the world and people seriously in a way that affected my emotional investment.

The plot felt like a straight highway where you can see right through to the end and there's nothing by the wayside but endless fields of corn. I'm not even asking for twists, it's just... there was just not much there at all. No real arcs aside from the main one of getting the death star plans, no interesting or unexpected wrenches in the main plan, just... bland.

The action sequences were almost comically cliched. Nothing wrong with some well-used tropes, but after the second time Jyn wound up hanging off some ledge by one hand and had to dramatically haul herself back up, I could no longer keep from rolling my eyes.

Much of the dialogue was stiff and not believable. It didn't feel like people talking, it felt like the writers trying to deliver information.

The blocking was often very contrived and awkward to the point of feeling goofy.

Wow, they really managed to pull the "magical Asian" trope AND the "blind but can ~sense~ everything around them so don't worry they're not actually disabled" trope in one character. Really being efficient here.

(Also, not a critique but I am so genuinely confused on why they were all so dismissive of Chirrut. They treated him like just a wannabe, but... The man can literally dodge bullets and read minds, why the fuck is that not impressive or even like... useful to any of you?? Truly baffling, I do not understand it at all. "He's not actually a Jedi, so his ability to do crazy levels of Force magic that none of us can do doesn't really count" huh????)

(Also not a critique, just another thing I'm confused about now after watching— Why has Saw been so vilified, in canon and by fandom? "He's an extremist" everyone here is literally involved in a violent rebellion, he's doing the same thing "He's uncooperative with the other rebels" Rogue One also went rogue, because the other rebels were wishy washy and unwilling to commit "using Bor Gullet to read people's minds is so unethical" no more unethical than shooting your own source in the back of the head. What happened to enjoying grey morality? Anyway I stan Saw forever.)

#oof this got long #i'm gonna get anon hate for this lol #listen i was 1. directly asked 2. very careful with the disclaimers #ask tag #original post tag

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aarav-beyondicelebrities · 4 months ago

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week 11 documentary review

Link to trailer: https://www.youtube.com/watch?v=pRbquE2BAkQ

Link to website: https://www.thejanesfilm.com

The Janes dives deep into the fight for reproductive freedom, spotlighting a time before Roe v. Wade when abortion was illegal and incredibly dangerous. Instead of tackling the issue in abstract or legal terms, the film asks something personal and urgent: What happens when the government takes away your right to control your own body? Through the stories of the Jane Collective—a group of women in 1960s and 70s Chicago who secretly helped others access safe abortions—it paints a powerful picture of resistance. These women weren’t doctors or politicians. They were students, mothers, and activists who risked arrest to care for others when no one else would.

I think that the film is built on the voices of the women themselves. It weaves together old footage, photos, and raw, honest interviews to bring their experiences to life. This kind of storytelling feels personal and grounded. Instead of statistics or court cases, we hear about fear, courage, compassion, and the bonds between women. It makes you feel what it was like to be there—and why it mattered so much. Politics becomes personal, and the past starts to feel very close to the present.

I feel that what makes The Janes feel fresh and necessary is that it sheds light on a piece of history that’s often left out. While most conversations about abortion center on court rulings or legislation, this film zooms in on the grassroots efforts of regular people who built an underground network out of sheer necessity. Despite having no formal training, they ran what was essentially a healthcare system—because no one else would.

And in doing so, the film reframes how we talk about abortion today. It’s not just about laws—it’s about care, community, and agency. After the fall of Roe in 2022, The Janes gained even more urgency, reminding people that history can—and does—repeat itself. It has become part of the public conversation, reinforcing that access to abortion has never been universally safe or easy, and that real change often starts at the grassroots level.

Watching it was a gut punch. I was blown away by how organized and committed these women were, despite the real risks they faced. Some of their stories—especially about women who suffered or died from unsafe procedures—were heartbreaking. But there was also something deeply hopeful about it: the way they looked out for each other, the care they provided, and the sheer bravery they showed.

It made me realize how easy it is to take reproductive rights for granted, especially for those of us who’ve grown up with access. The film opened my eyes to the fact that, even now, many people—especially those from marginalized backgrounds—still struggle to access basic care. It shifted my view of abortion as not just a legal issue, but a question of equity, empathy, and health.

By putting the Jane Collective front and center, the film brings long-overdue recognition to a group of women who were, in their own quiet way, revolutionaries. It reframes them not as lawbreakers, but as caregivers and leaders. It adds to the growing archive of feminist storytelling that shows how big change often comes from small, courageous acts.

The documentary also pushes the conversation forward by showing how reproductive rights are tangled up with issues of race, class, and gender. In today’s climate, The Janes doesn’t just serve as a history lesson—it’s a wake-up call. It’s a reminder that we’ve been here before, and that we have to keep fighting, organizing, and supporting each other.

For co-directors Tia Lessin and Emma Pildes, this film was a major moment. Both had been involved in powerful, politically charged documentaries before, but The Janes brought their work into a broader spotlight—especially as abortion rights once again became a national flashpoint. They’ve helped shift the documentary landscape by centering women’s voices and giving space to a story that had been largely erased. While the film doesn’t focus explicitly on race, it’s a crucial addition to gender-focused storytelling in a field still dominated by male voices.

“When we started this, we weren’t out to change the world. We were trying to help women.”

— Jody Howard, former member of the Jane Collective (via interview in The Janes)

“The Janes is essential viewing—not just as history, but as prophecy.”

— The Hollywood Reporter

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shiningmystic · 11 months ago

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Hello! I hope this ask finds you well and safe. I saw your post on free tarot readings and was wondering if I could please participate?

Question: What important messages does my higher self have for me right now? You see, I'm currently reviewing for my board exam and things aren't a bit okay for me lately. I feel doubtful and less confident by each day if I would be able to successfully conquer the exam this year. I'd greatly appreciate some insights with regards to my situation.

Thank you so much. Please be well and safe 🌼

Maryel

Hi Maryel,

Your messages hit me right away and I understand the anxiety your going through.

Your logical brain and anxiety are working together and making you look to far ahead this leads to more anxiety and even procrastination.

Your higher self with the 9 of pentacles is saying you’re capable with every step you take and seriously you may have had to do a lot to feel confident in yourself but that only lasts for awhile, we have to keep nourishing that confidence with self love and listening to yourself when things are to much.

Hey, you’re working hard and it makes sense why you’re feeling like this but your higher self is like ‘everything up to this point you have gotten through and you’re not going to take this away from yourself because you’re having doubts’. the advice I’m sensing is to take it one step at a time and study the material at a your pace (even though I feel like you are and have lol) just keep focusing on the day by day schedule and study because that will be what truly sets you up for success.

In a sense, the anxiety and looking to far ahead robs us of the now and what we can do because we are thinking too much about what is going to happen. The anxiety is the part of yourself trying to save you from pain but just remind that part that you are working and studying now and that is proof of your commitment to yourself and future.

I can sense a lot of pressure on you not just from yourself, but the people you don’t want to disappoint. Just know your higher self is telling me you have everything there is to pass and all that’s truly holding you back is just looking to far ahead, take bite sized pieces of what you need to learn everyday and go from there. Again don’t be afraid to look yourself in the mirror and tell yourself that you can do whatever you put your mind to.

Even affirmations about you being capable and strong will eventually help (because admittedly my logical brain first thought it was stupid to do affirmations, like how could that actually work? But it does even my therapist tells me to do it. see that what you’re doing is being your number one cheerleader because you deserve it!)

Bravery doesn’t mean you don’t have fear, bravery is when you do but still do what you want anyway!

Seriously you are amazing I’m not afraid to be your cheerleader! You can pass just take it one day at a time.

#shmtarot #free tarot reading

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mobilegooshopp2 · 1 year ago

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The Ultimate Guide to Finding the Perfect Refurbished Phone Online in India

Finding the perfect refurbished phone online can be likened to treasure hunting. In the vast ocean of the internet, amidst the countless choices and options, there lies that one gem that's perfect for you. In India, where tech-savviness meets a love for value, refurbished phones have carved a niche of their own. So, grab a seat, maybe a cup of chai, and let’s dive into the ultimate guide that will lead you to your next phone treasure, shall we?

Introduction

Remember the excitement of getting a new phone? The unboxing, the first setup, the smooth operation. Now, imagine getting almost the same thrill but at a significantly lower price. That's what buying a refurbished phone is all about. It’s about making smart choices, both for your wallet and the environment. But hey, I know what you’re thinking. "Refurbished" often gets mixed up with "used and abused." Let me guide you through the fog of misconceptions and show you how to find a refurbished phone that doesn’t just meet your expectations but exceeds them.

Why Opt for a Refurbished Phone?

Refurbished phones, contrary to popular belief, are not merely used phones. They are devices that have been returned to the manufacturer or seller for various reasons, checked, repaired if necessary, and restored to their original glory.

Cost-Efficient: Who doesn't like saving money? With refurbished phones, you can access high-end models at a fraction of their original price.

Eco-Friendly: By choosing refurbished, you’re giving a phone a second life, reducing e-waste, and contributing to a greener planet.

Quality Assurance: Reputable sellers put refurbished phones through rigorous testing, ensuring they meet quality standards.

Where to Find Refurbished Phones Online in India

Navigating the online marketplace for refurbished phones in India is like finding your way through a bazaar. It's vibrant, diverse, and full of opportunities if you know where to look.

Official Brand Stores: Many major smartphone brands have started selling refurbished models directly through their websites. This is usually the safest bet.

Certified Refurbished Platforms: Websites like 2GUD by Flipkart, Amazon Renewed, and Cashify specialize in selling refurbished gadgets and offer warranties and easy return policies.

Online Retailers: Some trusted online retailers also offer refurbished phones, often with good deals and warranties.

Tips for Making a Wise Refurbished Phone Purchase

Understand the Grading System

Refurbished phones come with grades that denote their condition. Here's a quick breakdown:

Grade A: Like new or very lightly used.

Grade B: May have slight cosmetic blemishes but nothing major.

Grade C: Noticeable wear and tear but fully functional.

Check the Warranty and Return Policy

Always look for a refurbished phone that comes with a warranty. A 6-12 month warranty offers peace of mind. Also, a friendly return policy ensures you’re not stuck with a device that doesn’t meet your expectations.

Inspect the Battery Life

Battery life is crucial. While you might not always get detailed info online, some sellers do offer a battery health guarantee. If it’s not mentioned, don’t hesitate to ask.

Verify Seller Reputation

Read reviews, ask questions, and ensure you’re buying from a reputable source. Good customer service and transparent processes are green flags.

Personal Anecdote

I remember snagging my first refurbished smartphone online. It was a flagship model from a year ago, and honestly, I was a bit skeptical. But when it arrived, I couldn't tell it apart from a brand new one. It worked flawlessly, and guess what? I saved enough money to buy those wireless earbuds I’d been eyeing. That's when I realized the true value of going refurbished.

Conclusion

Choosing the perfect refurbished phone online is an art and a bit of an adventure. It's about balance, understanding, and a touch of bravery to step out of the brand-new-only mindset. With this guide in your arsenal, I hope you feel more equipped to navigate the refurbished phone market in India. So, why wait? Your perfect refurbished phone might just be a few clicks away. Happy phone hunting!

Remember, buying a refurbished phone is not just a smart choice for your wallet; it's a statement that you care for the environment. Let’s make sustainable choices, one phone at a time.

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caprichaos77 · 2 years ago

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Help on Power Scaling and Worldbuilding

Hello I need help with some things with my worldbuilding.

The world is called Arkadyne: This world acts like a rpg basically. No, not people being trapped in a game or anything. The world itself is like that. To elaborate, someone walking up to you being like “oh you’re a level 5? Me too” is a normal thing to hear.

Rpg terms are naturally used kind of like slang. Civilization is categorized by “Kingdoms”. Each Kingdom has a pyramid rule of the King, Hero (ill elaborate more on that later), Advisor, then the militant forces of the kingdoms.

To focus on how life works, its similar to everyday life except the whole Level Up system. So once youre born, youre already at level 0. Level ups happen by you naturally growing as a person and of course, fighting.

When you level up to level 1, you gain a Tier. The first Tier is your Class type (more rpg slang). Also of course, you can either be a good person or bad person, the abilities don’t determine who’s good or not.

Class types are:

Puncher: fast paced class that utilizes close range combat

Swordsman: Uses swords to combat

Whipper: Uses whips to combat

Angel: A class that has wings and uses a halo as a boomerang/projectile/weapon

Priest: The OG healer class

Gunner: Uses guns with magic bullets

Mage: The ultimate magic user

People can reach up to tier 3 and tier 4 acting as a temporary power boost of tier 3 (like goku going from super sayian to ssb). These tiers act as “evolutions” of the Class the person has. For example, a Swordsman can become a dual sword weilder at Tier 2 and then at tier 3 a Swordmancer. Every class has its respective tier growths that vary upon the persons combat style (Simplified to heavy, light, or magic fighting style). Not every growth reaches Tier 3 also. Some are limited to tier 2.

Along with these are Arcums (the magic in the world) Arcum is accessible to anyone in the world. They don’t affect tiers, but they give magic status effects that can give them the upper hand. For example, a Elemental swordmancer and an Artificial swordmancer may be the same class but have clashing Arcum types.

Arcum is connected to the persons soul energy. Called Inner Essence (IE). Inner essence is separated into 4 sub-categories: Life, death, structure, and chaos.) There are 14 arcums in total:

(Categorized via sub-category organization and also polar oppositie)

Life:

Soul

Infinite

Death:

Necrom

Void

Structure:

Life Mend

Element

Chaos:

Life steal

Artifical

Neutral/non-dominant arcs

Spirtual plane

Spirit

Divine

Dark

Energy

Creation

Now in this world it has kind of a universal culture (subject to change im open to suggestions) of “combat shows strength”. However, people dont HAVE to fight. You can gain an Arcum and never reach past tier 1 and get a good career/job. It’s usually people who are wanting either fame, or wanting to be loyal to the kingdom and defend that go past Tier 1.

>>Elaboration of Heroes: Heroes are people who reached tier 3 and showed extreme loyalty to their kingdom. Being a national icon of pride and bravery to all who see. They have military power and also act as the last line of defense if they were to be attacked.

My issues i need help with:

General Review: How does it look so far? I want to make a comic from this world. I don’t want to change the world acting as a video game RPG but whats some things I could add? Is there anything you find interesting? Please ask questions if you have any I would love to answer and any suggestions are appreciated.

The Arcum: Do they make sense? How can I make it better? What should I add or take away?

The Tier system: So i have a crude version of the tier system written, the pic will be posted. But every line on it is a transition from tier 1-3. Tier 4 ascensions aren’t included as I don’t know them yet lol. Do you guys like it? How can I improve it? What types class tiers should I add like maybe punchers can have a Tier 3 Feral ascension or something?

Again. Im open to suggestions, answering questions, and making improvements. Ive been holding off this idea out of fear, but now ive picked myself up and am starting and i don’t want to stop. So again please if you have anything to tell me it’s greatly appreciated :3.

Btw also added the Arcum chart.

#worlbuilding #story making #art #discussion #pls help

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richincolor · 2 years ago

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Book Review: The Beauty Trials (Belles #3)

Title: The Beauty Trials

Author: Dhonielle Clayton

Genres: Fantasy

Pages: 352

Publisher: Disney Hyperion

Review Copy: ARC by publisher

Availability: Available now

Summary: With the dangerous, erratic Princess Sophia imprisoned, Queen Charlotte decides to invoke the ancient tradition of The Beauty Trials-a series of harrowing tests meant to find the one true ruler of Orleans. Edel, who has always aspired to be more than just a Belle, decides to enter and, after promising to bind her arcana to keep from having an unnatural advantage, joins a few dozen other hopefuls intent on becoming the next Queen of Orleans.

But the trials are far worse than any of them bargained for. As the women are put through dangerous tasks meant to test their strength, confidence, composure, and bravery, many perish, and Edel is mysteriously attacked by one of the other competitors-forcing her to use her powers just to survive. Will her subterfuge cost her the crown, or is there a larger conspiracy at play?

Review: Since it had been a while since “The Everlasting Rose (Book 2 of The Belles)” I decided to re-read both in preparation for “The Beauty Trials”. The one memory I had from both of the novels was the disturbing descriptions of beauty and what the people would do for them. Both novels were intense and I was happy to wander in the world again.

I expected “The Beauty Trials” to be just as full of extreme descriptive details but Clayton took a different track with this third book. A major change is that the story is told from Edel’s point of view rather than Camille’s and it was honestly a refreshing take. In the first two books Edel never desired to be a Belle and *spoilers* ran away from her “duty”. She was the more sarcastic of the Belles and always said what was on her mind. Having Edel be the focus of this third book, which focuses on the changes happening to Orleans after Charlotte takes the throne, was perfect. Edel may have not wanted to be a Belle, but she is willing to fight for her sisters, for them to not be slaves to the crown. I use the words slaves with purpose because the analogy is very strong in this book. Freedom was in danger for the Belles in “The Everlasting Rose”, but in “The Beauty Trials” we learn that freedom for the Belles wasn’t actually free and Edel is doing the work to keep fighting for them. So much so that she decides to participate in the Beauty Trials as she feels that by winning and becoming queen, she could create a world where the Belles have agency over their lives.

With this third book and the notion of the Beauty Trials, the magic that exists in Orleans really shines through. In the first two books it was subtle, like an every day thing, where in this book it becomes a matter of how their world functions. “Magic” is how Orleans came to be and what was once thought of mythos is actually true and I really enjoyed that aspect of the book. Edel believed the stories about the Beauty Trials were more myth than reality, but through the trials learns the truth. And learning this truth has her questioning everything she holds dear. In order to win, Edel has to let go of preconceived notions and open herself up to “fantasy and make believe” (though a much darker form). She has to be open to the fantastical world she experiences during the trials and I enjoyed going on this journey with her. Edel constantly questioned herself and her understanding of the world but through the trials, truly grew into a young woman who considered many options and listened to the advice of people around her. I really liked Camille, but I found myself really connecting with Edel and watching her grow into a strong leader and a person that others around her looked up to.

I enjoyed journeying into the world of the Belles and while I would love for another book, “The Beauty Trials” brings a satisfying conclusion. We are able to see how the world shifted after Sophia was deposed and how it continued to change to become a world that doesn’t try to hide because superficial beauty.

#book review #weneeddiversebooks #blackgirlmagic

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tomeandflickcorner · 2 years ago

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Episode Review- The Real Ghostbusters: The Boogeyman is Back

Well, this is quite the landmark episode. Not only do we have the return of an old advisory, but it’s also the first appearance of new recurring characters. Although, that second part is probably not something to be pleased about.

We open with the Ghostbusters battling a ghost atop the Twin Towers. (Because, in case you’ve forgotten, this show aired long before 9/11.) I do give the episode some credit because the ghost they’re fighting does have an interesting design. Anyway, this particular ghost ends up putting up a pretty good fight, countering the Ghostbusters’ attempts to trap them by firing off laser beams from their eye. In a shocking turn of events, one of the ghost’s attacks knocks Egon off the side of the building, and for a brief moment, the episode actually makes us think that Egon seemingly fell to his death. Of course, the show isn’t about to go THAT dark. Conveniently, Winston happened to be piloting the Ecto-2 and managed to catch Egon as he fell. Before much longer, the Ghostbusters are able to successfully trap the ghost they’re fighting. With the job done, Winston, Peter and Ray (as well as Slimer, who tagged along on this case), all express their relief that Egon is okay. Egon, on the other hand, insists he wasn’t the least bit shaken by his near-death experience. Though I can’t help but notice that his voice seemed a bit more wooden than usual.

Later on, the Ghostbusters are back at the Firehouse, getting ready to go to bed. Once again, the Ghostbusters start bringing up the fact that Egon nearly died that evening, and remarking how brave he was about the whole ordeal. Which seemed a bit insensitive to me. Did they consider the possibility that Egon might not want to be reminded about what nearly happened? Either way, Egon once again insists that he wasn’t the least bit shaken after his almost fatal fall. However, as the others fall asleep, we get our first real indication that Egon isn’t as stoic about things as he was pretending to be. In fact, he’s having difficulty falling asleep, with his mind constantly going back to what nearly happened to him. To try and calm his nerves, Egon decides to head downstairs to make himself a mug of hot chocolate and watch a movie. Unfortunately, the movie he selects ends up being a particularly grim movie about vampires, which obviously doesn’t help matters. (Incidentally, I found myself relating to Egon here. I remember this one time I woke up from a nightmare. I turned on the TV to try and calm down and was immediately greeted by the image of the Blue Man Group. Not exactly the sort of image you want to see when you’re trying to get back to sleep after a bad dream.)

Still, Egon manages to make it to the end of the movie. Though he’s seemingly even more shaken up than before. Regardless, he forces himself to go back to bed, telling himself he’s not scared and that he’s brave, like the others said. (Someone should really tell him that bravery isn’t the absence of fear.) Despite Egon’s attempts at giving himself a pep talk, it’s clear that he actually is scared. It then cuts to that other dimension, where the Boogieman has been trapped since Egon’s Ghost Bomb sealed him away, way back in The Boogieman Cometh. But it seems that the intensity of Egon’s fear is enough to break through the seal that’s kept the Boogieman trapped. Which grants the Boogieman the chance to escape once again, emerging through the closet portal that opened up within the Firehouse.

Yeah, I have questions about this. You’re telling me that nobody else has felt intense fear during that span of time since we last saw the Boogieman? We’re really supposed to believe that the fear Egon is feeling right now is more intense and potent than anybody else on Earth has experienced? Seems a bit much to swallow, but for the sake of the plot, we just have to accept it.

Anyway, when the Ghostbusters see that the Boogieman is roaming free again, they’re quick to grab their Proton Packs and open fire. The Boogieman jumps out of the window, and the Ghostbusters all run outside to pursue him. But despite their best efforts, the Boogieman manages to elude them by taking advantage of the lingering fear Egon is still feeling. The Ghostbusters announce that they have to find the Boogieman quickly, because as long as he’s loose in the city, the children are all in danger. Especially, as Winston states, the Junior Ghostbusters.

Oh, who are the Junior Ghostbusters? That’s a good question, because this is the very first time they’re referenced in the show, despite the Ghostbusters acting like they’ve known them for a while. From what I can gather from this episode, the Junior Ghostbusters are three kids, Donald, Jason and Catherine, who are the sole members of some Ghostbusters fanclub. Only they’re in close enough contact with the actual Ghostbusters to have their phone number, and Jason was even given his own PKE Meter from Egon.

At the current time, the three kids are apparently having a sleepover at Jason’s house, with Donald in the middle of telling the other two a scary story involving a monster going after a boy. Donald’s thrilling story is cut off when Catherine and Jason beg him to stop. They insist they’re not scared, but that it’s getting late, and Jason’s mother had said that she wouldn’t allow them to have any more sleepovers if they didn’t get a full night’s sleep. At that moment, the bedside table lamp starts to flicker and dies, and the PKE Meter that Jason got from Egon activates. This is because the Boogieman is coming closer. Which is driven home when we see the Boogieman frightening a little puppy that was sitting atop the roof of a high-rise somewhere. Which begs the question as to what horrible pet owner put that puppy out onto the roof in the first place. And no, I refuse to accept the explanation that it’s the same as putting the dog outside in the backyard for the night. What if the puppy got too close to the edge? Please explain to me how this doesn’t count as animal neglect.

Anyway, Jason determines that the PKE Meter is displaying negative readings, and he decides to call up Egon to ask him about it. Jason’s phone call comes right as Egon was admitting to his teammates how it was his fault the Boogieman was loose, and reminding them that the Boogieman wasn’t actually a ghost, so their equipment will not have much effect on him. When Jason tells Egon that his PKE Meter was showing a valance reading of minus nine, Egon realizes that it means the Boogieman is very close to them. He instructs the kids to get out of the house and wait outside for them to arrive. Of course, the Junior Ghostbusters don’t get the chance to do anything, because the Boogieman bursts through the bedroom door like the Kool-Aid Man, blocking their escape. (And I’m wondering why Jason’s mother didn’t seem to respond to the sound of the door breaking open, because we never see her make an appearance.)

Thankfully, the Ghostbusters arrive at Jason’s apartment before the Boogieman can actually do anything to the kids. But the Boogieman gets away again by roaring at them before once again jumping out of the window. After checking up on the kids, the Ghostbusters decide to head back to the Firehouse to come up with a plan. And then they just leave the Junior Ghostbusters behind, not bothering to think about what might happen if the Boogieman came back after they left. Remember how, in the last episode with the Boogieman, Winston volunteered to stand guard over Megan and Kenny Carter while Peter, Egon and Ray worked on solving the problem? Yeah, apparently they’re not bothering to do that this time. Sure, Donald, Jason and Catherine appear to be a bit older then Megan and Kenny were. But the point still stands.

Meanwhile, the Boogieman has found his way to a closed amusement park called the Big Apple Amusement Park, which he magically transforms into a nightmarish amusement park, announcing that it’s the ‘perfect place for fear to grow and thrive.’ Of course, the Big Apple Amusement Park doesn’t actually exist. Which begs the question as to why the show writers didn’t just have the Boogieman lay claim to Coney Island. Seriously, why go through the trouble of making up a fictional amusement park for your story when there’s a very famous amusement park right there in one of New York City’s neighborhoods? Were the show writers worried about getting a copyright strike or something?

Back at the Firehouse, Egon has managed to modify one of the Proton Throwers into an Atomic Destabilizer, which can convert solid matter into its ethereal counterpart. (Strangely, Peter, Winston and Janine seem to be clueless on what this means until Ray comments on the matter, though I didn’t think Egon’s explanation was hard to understand. Maybe the show writers felt they needed to spell it out for the youngest viewers.) Armed with the Atomic Destabilizer, the Ghostbusters head back out to track down the Boogieman, with Slimer once again tagging along (after a strange moment where Slimer briefly pretends to box with an unseen opponent until Slimer’s shadow inexplicitly gains sentience and punches Slimer. Seriously, what was that?)

The Ghostbusters eventually track down the Boogieman to the amusement part he’d laid claim to. But just when they locate the Boogieman, he uses his powers to transform a nearby rollercoaster train into this flying dragonlike creature, which quickly snatches up the Ghostbusters and drags them through a gateway in the shape of a face, after two clown mannequins strip them of their Proton Packs. As a result, the Ghostbusters are effectivly captured, with no way to fight back. This leaves Slimer alone to freak out and essentially run off. However, it’s here that Slimer’s presence does serve a bit of a purpose, as he’s able to go and get help. Although, he doesn’t go to Janine, who we have seen is fully capable of coming to the Ghostbusters’ rescue. (See Janine Melnitz, Ghostbuster.) Instead, he goes right to the Junior Ghostbusters. Because having the kid characters come to the rescue of the adults doesn’t send a problematic message at all.

Regardless, Slimer leads the Junior Ghostbusters to the Boogieman’s amusement park, where they find the discarded Proton Packs. Donald, Catherine and Jason are easily able to pick three of them up, with Slimer taking the fourth one, (aren’t the Proton Packs supposed to be heavy?) and manage to carry them through the same face-shaped gateway the Ghostbusters were dragged through. One has to ask why the Boogieman left the gateway open in the first place, but I suppose it could be argued that he didn’t expect the Ghostbusters to have any sort of backup. Either way, they manage to locate the Ghostbusters just as they’re being cornered by the Boogieman and his minions. (Because the Boogieman has minions now.) Upon seeing the kids, the Boogieman turns his attention onto them. But as the Boogieman approaches them menacingly, Egon manages to overcome his fears and breaks out of the ropes that had been wrapped around him, charging forward to come to the aid of the kids. Jason slides Egon the Proton Pack that had the Atomic Destabilizer attached to it (which was a pretty lucky chance when you think about it, since the Junior Ghostbusters hadn’t been present when Egon was discussing what it did), which enables Egon to effectivly trap the Boogieman and his minions in the Ghost Traps the Junior Ghostbusters tossed out. With the Boogieman captured, the other Ghostbusters are also freed from their binds. And the episode ends with Catherine asking Egon if he was scared, and Egon announcing that he was, and that he’s okay with admitting it this time.

Well, I admit the episode had potential with the return of the Boogieman. And I suppose it was somewhat fitting that Egon was the reason why the Boogieman got loose again, considering their personal history that went back to when Egon was a little boy. Even though I still raise an eyebrow at the implication that only Egon’s fear was intense enough to break through the seal that was keeping the Boogieman trapped inside his realm. However, maybe this episode was trying to send a subtle moral about how dangerous it could be to not admit it when you’re scared. Though if that’s what they were going for, I have to say that the Teen Titans episode Fear Itself managed to present that moral far more effectivly. (If you haven’t watched that particular episode, you really should.) As for the introduction of the Junior Ghostbusters? As I’ve already said, I find it questionable how the episode had these kid characters being the ones to come to the Ghostbusters’ rescue, as it does send a potentially problematic message about putting kids into dangerous situations. It’s also a bit strange how the show introduced Donald, Catherine and Jason in the way they did, with them already knowing and being on such familiar terms with the actual Ghostbusters. Of course, I am aware that the inclusion of the Junior Ghostbusters was one of the additions that the consultant team Q5 deemed necessary when the network started to interfere with the show. Because they seemed to think that kids needed to see kid characters in their shows. But even so, one has to ask why they didn’t just bring back some of the kid characters they’d already introduced in past episodes. For instance, Kenny Fenderman from the episode Masquerade. If the network and Q5 wanted to introduce a team of Junior Ghostbusters, why didn’t they bring Kenny and his friends back? After all, that previous episode had Peter humoring Kenny by naming him a member of the Ghostbusters Auxiliary. Not to mention how it had already been established that Kenny was a huge Ghostbusters fanboy, to the point where he even made his own cosplay jumpsuit. So not having Kenny included among the Junior Ghostbusters is a huge missed opportunity.

(Click here for more Ghostbusters reviews)

#the real ghostbusters #rgb episode review #ghostbusters franchise

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immaturityofthomasastruc · 4 years ago

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IOTA Reviews: Mega Leech

Like every cartoon ever made, today's episode is the environmental episode. We all know how high-quality those tend to be, right?

Let's get into the twelfth (chronologically the tenth) episode of Miraculous Ladybug's fourth season: Mega Leech.

We start off with the shyest girl in Marinette's class, Mylene, mentally preparing herself for a protest with her boyfriend, tough guy with a soft side, Ivan.

Wow, real subtle foreshadowing there, writers.

The thing Mylene and Ivan are protesting is something called the “Oxygen Project” by Mayor Andre Bourgeois, which will supposedly create fresh air for Paris. To be fair, this isn't just a random character trait they slapped onto Mylene like what we've seen with other episodes this season to justify their new Akuma forms. Back in the Season 2 episode “Reverser”, a major plotpoint for the final act was that Andre was about to approve a project that would send trash into space, which Mylene and Ivan were protesting at, before the titular Akuma threatened to send the trash back to the Earth. This show can get weird at times.

Even though they're the only two protesters, Andre still has Officer Roger Raincomprix take them into custody. To his credit, Roger does try to resolve things diplomatically, and is very hesitant to take them to his car (even though they aren't handcuffed and there's no divider), he only does so when his job is threatened by Andre. And let's get the obvious joke out of the way now because there's going to be a lot of moments like this.

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Marinette sees the event from her house, and after running late to school resulting in a brief moment of Unfunny Marinette Slapstick, tells the class what's going on. Surprisingly, instead of ignoring the whole situation like every other episode she's been in, Ms. Bustier decides to actually be a teacher for once and calls Roger. She says that she'll supervise their protest while the rest of the class comes with her.

Back at the park, Andre is about to chop a tree down with a chainsaw, but is soon called out by Ms Bustier. Mylene calls out Andre for the obviously not eco-friendly project, but he soon plays an ad for the Oxygen Project.

Huh. So this is how Druidia's canned air business took off.

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To be fair, this is actually a funny scene, as it does feel like an over the top commercial you'd see, especially the kind that gets promoted by a politician. Of course, this funny joke is soon followed yet another reminder that Marinette likes Adrien, because the writers assume the audience will forget if they aren't bashed over the head with this knowledge every episode.

And as usual, Adrien ignores Marinette's odd behavior around him, but that's more because he's distracted by the ad, because he was told it was for perfume (did the oxygen line not give away the purpose of the commercial?). Quick question: Why is Gabriel taking part in this? Why is a fashion designer being commissioned to create a bottle for a government-sanctioned project? Does he just invest in random projects and hopes they'll go under so he can akumatize someone? As for Mylene, her classmates are naturally confused as to why she is opposed to this project if it's good for the environment. Her response is something that can ironically be used to criticize this very show when talking about the Oxygen Project.

We then get a moment where, of course, Chloe is the one to say she doesn't care about trees despite having no real prominence in this episode. Seriously, this is the only line she gets and it's to remind the audience how much of an irredeemable monster she is.

Oh my God, Astruc, why don't you just say she's a climate change denier while you're at it, seeing how you already view them as criminals? You clearly want to throw every negative character trait and label at her, don't you? If you're so crazy about hating her, why not make Chloe Captain Planet villain levels of evil?

Marintte points out the obvious flaw in Andre's plan to stop pollution by selling air in plastic bottles that can easily pollute the ocean, which gives the Mayor a lot of bad press, and even though she's the one to say this, Mylene still shames her for ignoring her attempts to get people to protest because she was busy. Yes, the show is seriously trying to blame Marinette for not doing enough to help the environment on top of her various other responsibilities like PROTECTING THE CITY OF PARIS ON A DAILY BASIS.

The families of the kids come to support the protest, and Andre tries to call Gabriel for help, but he basically tells him to figure it out himself, supporting my earlier theory in the process. He transforms into Shadowmoth and sends an Akuma and an Amok to Andre. This transforms him into Malediktator again and and gives him a Sentimonster ally, the titular Mega Leech.

Mega Leech is another example of a Sentimonster with a simple design but a really interesting set of powers. As soon as its summoned, Malediktator jumps into his mouth and summons an army of minature clones of himself (making me wonder why they didn't call the Sentimonster “Micromanager”) to jump into the ears of civilians and control them directly like Plankton in that one episode of SpongeBob. It's a pretty terrifying concept and a really clever extension of Malediktator's mind control powers.

Adrien transforms into Cat Noir and tries fighting off the Malediktator clones, but obviously gets overwhelmed by their sheer numbers. Marinette soon pretends to be possessed by a Malediktator clone to get Mylene to run away while she transforms, once again summoning her Lucky Charm as soon as she meets up with Cat Noir because the animators really want to show off the new suit. She uses the Lucky Charm, a single ice skate, to break the mayoral sash around one of the Malediktator clones and frees the Akuma and Amok, but Mega Leech is still around, along with the brainwashed civilians. She and Cat Noir realize that the Akumas and Amoks must have multiplied when Malediktator cloned himself. Ladybug tells Cat Noir to distract the Malediktator clones (the latter actually acknowledging how he always has to do that)

Ladybug meets up with Mylene in the sewer where she had escaped to earlier, only to find the girl crying. Ladybug offers Mylene the Mouse Miraculous, but she turns her down because of how scared she is. Unlike when they tried to do the same thing by having Zoe doubt herself in “Queen Banana”, this scene makes sense because Mylene has consistently been shown to be a very timid person. It feels much more believable to see this from her. Granted, it's undermined by Ladybug saying that Mylene is already like a superhero because of her protesting for a good cause. I get she's trying to reassure her, but the whole environmental lesson is kind of muddled by saying Marinette doesn't care about the environment because of how busy she was FIGHTING CRIME. Thankfully, the lesson is more about bravery being able to move onward in spite of fear.

Nevertheless, this still motivates Mylene to take the Mouse Miraculous and transforms into Polymouse.

And boy, is it bad. I'm not trying to body shame Mylene here, I'm glad they didn't try and slim her down either, but I'm really not a fan of the color scheme for the suit. With the use of pink and white, it looks way too similar to Pigella.

I get that they were trying to make Mylene look like a mouse, but I'm just really not a fan of the white gloves and boots. They stick out compared to Pigella, where they actually blended in with the color scheme. Then there's the actual suit itself. Why give the suit a hood if you're going to make it yet another skintight jumpsuit? At least with Carapace, they had more armor to help him resemble a turtle, but there's no excuse here. And finally, the hair. How can you take a girl with a very vibrant hairstyle, make it pink when transforming, cover it up, and then call it a day? There are just so many questionable design choices here. I don't think it's as laughably bad as Shadowmoth's suit, but it's really one of the weakest hero suits to be introduced recently.

I'd give my thoughts on how to improve it, but thankfully one of my anons gave their own ideas for a redesign.

Thank you to whoever sent this in. You certainly get character design better than some of the animators on this show, and that's saying a lot given they're supposedly better than the ones at Pixar.

Ladybug gives Polymouse the ice skate to use as a makeshift flail with her weapon, a jump rope, while she fights the Maledikator clones. Polymouse uses her power, Multitude, which turns her into a swarm of miniature clones to take on the horde of Malediktator clones and free the brainwashed civilians. Ladybug meets up with Cat Noir, but big surprise, Cat Noir gets brainwashed by a Malediktator clone. Sure, Polymouse frees him from the control, but I'm surprised Ladybug isn't more used to this happening by now.

Ladybug then gathers several temp heroes to help them out. She gives Kagami the Dragon Miraculous to become Ryuko, Nino the Turtle to become Carapace, Max the Horse to become Pegasus, and she gives back the Bee Miraculous to the super amazing Zoe so she can once again become the world's greatest superhero, Vesperia. There’s a brief joke where Cat Noir rushes to join the team pose, which could be seen as foreshadowing for future events, and if it is, good job, writers.

Pegasus uses his Voyage to teleport Vesperia above Mega Leech, where she uses her Venom on the Sentimonster, while Ryuko uses her Wind Dragon to gather all the scattered Akumas and Amoks freed by Polymouse for Carapace to trap in his Shelter. Ladybug purifies all the Akumas and Amoks, gives Andre a Magical Charm, tells him to rethink the Oxygen Project, and the heroes leave where Ladybug takes back all their Miraculous.

Back at the park, Andre decides to plant more trees in what's obviously not a desperate attempt to save his reputation. He may say he's doing the right thing, but I doubt investors will be happy that the project's being aborted just like that. We get one more hilarious moment where Marinette stutters around Adrien, who soon goes home and gets sent to his room by his father (because we just needed an Angstdrien Depreste scene this episode for some reason), who fidgets with his ring and stares ominously as the episode ends. And in case you live under a rock, this reignited a certain fan theory I'll be talking about in another post.

Overall, I thought this was a pretty decent episode. The environmentalism subplot was pretty standard for episodes like this, with how the antagonist is a rich asshole who doesn't see how he's harming the environment, and gets his mind changed by a hopeful youth. I'm glad Andre isn't Captain Planet villain levels of evil here, though I am glad the episode acknowledges that there's no single solution to stopping pollution, and that there needs to be more unity if we need to help the planet's situation.

While it had a bumpy first act, things really started to get interesting as soon as the action started. Questionable design aside, I thought Polymouse (who didn't even name herself in the episode) had a good first outing with the use of her powers coupled with the use of the Lucky Charm. The first act with Mylene really showcased her character and her courage in the face of adversity well. Part of me kind of wishes we could have seen her interact with Ivan while she was transformed, but then again, he was still brainwashed I think.

The other heroes honestly felt shoehorned in during the climax. I get that they helped gather all the Akumas and Amoks, but there was really no buildup to them appearing like in other episodes with multiple heroes.

The one major problem I have is how the episode tries to blame Marinette for not being as kind as Mylene because she didn't know about the protest, even though, as I have stated multiple times, SHE ROUTINELY SAVES PARIS EVERY EPISODE. I think that counts as saving the planet.

This episode had some flaws, but it was still pretty enjoyable, and it was one of the better episodes this season so far.

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thoughts-on-bangtan · 4 years ago

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Three Asks

It’s been a while since we answered some asks so today and maybe tomorrow, or the day after tomorrow, we’ll collect some and answer them since we’ve gotten while a few in the last two or three weeks.

In today’s post I picked out the three most recent asks we’ve received, two of which are ones I’d usually just delete because answering is pointless but one of them showcased a popular pattern so we decided to reply just this once. So this time around the questions are about Namjoon and Seokjin, next time we’ll do ones about Tae and Jimin (and vmin), and so on.

Ask 1 - Did Namjoon have to bring up the criticism he received in 2015/16 in the Juju Chang interview?

Ask 2 and 3 - questions from either diet solos (someone who isn’t quite a solo stan just yet but exhibits the same thought patterns as solos do) or full on solo stans.

From anon: So you must have seen their interview alongside the President right on a news show? Most of it was fine and I liked how involved they were especially JK, but a point Namjoon made is what I'm kinda dicey about. He addressed that they were called out for WoH lyrics but the thing is I'm not sure if it needed to be brought up. Especially in American media and the way they contextualize things..

Obviously he meant that they grew from it but not sure if that was the way to put it I guess?

I will admit, there aren’t many times when asks that get sent to us annoy me, but this one in conjunction with the absolute nonsense that took place about this on twt just made my blood boil. Let’s look at the question and answer so we have full context when it comes to the interview and then, after that, we’ll look at the greater context of why Namjoon saying what he did is significant and a big deal.

Juju Chang: You guys are an all male band and, let’s face it, Korea, historically, has been a very male dominated culture and yet here at the UN one of the core values in Sustainable Development is educating women and having gender equality. You have a lot of female fans. What would you say to them about gender equality and working towards that?

Namjoon: Personally, I received a lot fo criticism regarding misogyny in 2015 and 2016, which led me to get my lyrics reviewed by a women’s studies professor. That experience, in turn, was an opportunity for me to self-reflect and question whether I’d been insensitive toward gender equality. I want to do the best I can to take interest in the topic, learn and make improvements. That’s my perspective now.

Namjoon used a personal story as framework to showcase that even someone like him, a man in a position of power/influence from a country which, as the interviewer explained, is very male dominated can learn, grow and, in the long run, contribute to change. It takes tremendous bravery to do something like this, to not only admit that you made such a mistake, but also to take it and grow from it, take the time to reflect and strive to better yourself to never repeat it again. And also talk about doing so not only during an international broadcast but also while your own president sits right there next to you.

Perhaps there are a relatively big number of countries in the west where equality is much closer to being a reality, where it is a core value to respect woman, one that you are raised with, but here the context was specifically BTS and their background, their country and their culture. From K-ARMY we know that things have taken a turn for the worse in Korea when it comes to women’s rights and the behavior of men toward them, how feminism is treated essentially as a dirty word and you will get hunted down for using it or for behaving in a feminist manner. Namjoon himself was placed on some list made by misogynists labeling him as a dirty, dirty feminist. The same men who even went after the military to get them to stop using a hand gesture which could, if you really want to, be used to make fun of a man for a small d*ck. In polls men in their 20s and 30s have voted being against feminism and I don’t mean just like 10 or 20% of voters, but rather 50-70%, even some presidential candidates have apparently been revealed as anti-feminists.

Circling back to Namjoon, having this context, do you now get why it was a big thing for him to say this, why it makes him a role model and why it was important to do so? Besides this isn’t just about the WoH lyrics which, to be frank, were never an actual issue but instead were made into one (the line I know that usually get’s brought up most is “The girls are equations, and us guys are solutions” which, if you think about it, actually means that boys and girls are equal since 2+5=7, the equation and the solution are the same, and also the song is satire about hormonal boys and their behavior which people have decided to ignore for the sake of sitting on their high horses instead). Namjoon wasn’t even the only member credited for the lyrics yet he took the blame upon himself, used this to better himself even though we know 2015 was an extremely dark time for him. But he is the leader, he took responsibility and he grew from it. He stands as example of how change is possible even in a country that is male dominated and misogynistic.

From anon: Reading your post about My universe I can’t but be heavy hearted.

It’s such a beautiful song but Jin not having almost any lines ruined the experience for me. He deserves so much more than being a mere backup vocal. Same goes to Jimin but I’m not as effected as Jin, since we’ve all seen a pattern there.

We know the boys decide collectively decide LD and how it fits their personalities and voices but I can’t but feel icky about Dynamite, not today, BS&T and now MY.

I truly hope this doesn’t continue and BH decides to respect Jin more as an artist. He’s one of the biggest reasons the group is where it is now.

Though I can’t say with 100% certainty that this comes from someone that has consumed too much solo stan “content”, it does very much feel like it and the only reason why I’m even answering this is that I’d like to highlight something, a pattern we've seen a million times over for years now in regard to line distribution but that is even more glaring and flawed in this case, after we’ve seen how My Universe was recorded:

“We know the boys collectively decide” and yet “and BH decides to respect Jin more”, with this you’re basically saying that you know all the members, including Seokjin, are involved BUT since giving him and the others slack for it would make you look bad, you instead throw blame at BH, which in this case had no say in the line distribution. That choice was Christ Martin’s to make. If you already complain about line distribution, at least have the guts to direct your hate at the people you just said yourself make the choice--the members. Solos already belittle Seokjin’s efforts as it is, and constantly demand an acting debut of him which basically, to me, just comes across as them wanting him to act because they don’t value his singing and music, so would it be really that farfetched for them to also hate on him for, what, not speaking up and demanding more to satisfy you?

Seokjin was so happy and excited while recording My Universe, while meeting Chris Martin, someone he’s admired and been a fan of for so long. He gave his best while recording and sounded absolutely marvelously, and yet instead of celebrating him, his voice, and what we do hear of him, you just focus on the negatives.

BH isn’t perfect by any means, don’t even try to come into our asks calling me a company stan or whatever because I’m far from it, but in this case they had nothing to do with it. Coldplay and Chris Martin did. We saw all the members record the chorus, and we heard it, we saw and heard Seokjin sing absolutely beautifully and get praise for it, and we saw how happy this collab has made him. Why can’t you just let this be a happy time, why must you immediately search for things to be negative about?

Would I have liked so hear more of his voice on My Universe? Obviously, I even said as much in my post about the song. I love Seokjin and his voice a lot, he is my bias wrecker for a reason. But the song has already happened, been recorded, mastered, and released. What will a negativity parade change? What? Absolutely nothing except for make him feel bad because you can’t just say “Seokjin did amazingly, I love his voice”, no, you have to go around yelling “OMG he is being cut from the song because BH hates him”. What does that do for him? Like really, tell me, because I don’t get it.

And if my opinion isn’t valid enough for you, it is, after all, just an opinion, take Seokjin’s opinion about the collab instead:

Or asks such as this one:

From anon: I honestly can’t wait for Seokjin to go solo one day. Go where he’s appreciated for his talents and musicality, not cuz he’s just a “hyung” or “comic relief” or “WWH”.

Where, tell me, has he ever expressed an interest in going solo? No, I’m serious, where, because all I know is that he is happy with his members, with what he does, that he enjoys making music and getting more involved than he used to. Just the other day during the interview with Juju Chang he spoke about how he misses the old times where he could go for soju and food with Yoongi to spend some time together.

And just a few years before that Yoongi said that Seokjin has been good from the beginning, and there are tons of other examples of the members praising Seokjin in terms of his voice and musicality. When he was going through burnout last year, Bang PD encouraged him to channel his thoughts and feelings into music, recommended him a producer he thought work well with him, and Seokjin said it really did help him. And we got Abyss as result from it all, a gorgeous and raw song.

Yes, he gets praise for being a good hyung, because guess what, he is a good hyung. Maybe for you that’s not good enough, but he’s proud of it, has always taken the fact that he’s the eldest seriously even when goofing around with his members. How is that a bad thing?

Seokjin loves his members and they love him. Seokjin loves ARMY and we love him back tenfold. Just because solos hate the members and aren’t satisfied with Seokjin, how is that my issue or even his? If you’re a genuine fan of his, support his hard work, support all his contributions to BTS’ music, their performances, their dancing, and everything else. Because he is part of BTS regardless if you like it or not, and as far as we are aware, he doesn’t plan on changing that any time soon, or at all.

#answered ask #namjoon #seokjin

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brockadoodles · 5 years ago

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mirrorball - b. boeser

AN: Since @slapshot-to-the-heart asked, you shall all receive. Here’s the repost of mirrorball. Which is just pure soft fluff from the folklore series. Hope you enjoy it!

Word Count: 1693 (honestly I didn’t know I could ever write anything so short)

Warnings: Babies.

I can change everything about me to fit in You are not like the regulars The masquerade revelers Drunk as they watch my shattered edges glisten

Brock was a lot of things to the people who thought that they knew him well. There was a degree of truth to the infamous nickname, Mr. Sensitive. Brock was the type of person to put everyone before himself, his family, friends, teammates, and you. So much so, that he often felt he had to be the beacon of strength for those around him, confronting every situation with a facade of bravery, not allowing his own feelings to preface those around him. He simply cared about people in the way that always admired you on the surface, not realizing how many facets of his own sensitivities that he never shared.

But what most of the people around him didn’t know was how complex Brock really was. It was subtleties that you picked up on, slight hints of mirrored edges of his personality. The things he desperately tried to conceal, even for you.

It was the way that he would take every loss gravely, spending late nights reviewing tape, wondering if he was good enough to be where he was.

It was the way he would smile and nod at interviewers, even when they weren’t being subtle about their criticisms of him.

It was in his voice, everytime he called home, concern evident in his eyes as he spoke with his father, not knowing what the future held.

It was just how scared he was about being a dad, hands shaking as you told him you thought you were pregnant. No one else saw the reflection of his watery eyes when the test was positive, thoughts swirling in his head of if he could be a parent, doubting himself immediately. They didn’t see the panic in his eyes when the doctor told you it would be a boy, his hand squeezing yours gently, wondering how he would live up to the pressures of raising a little boy.

“Brock, you can do this.” You breathed out, words hanging in the air between you as he grabbed the hospital bag, recounting each item on the list you’d need.

“I should be telling you that.” He whispered, eyes casting downward to his hands, attempting to hide his own anxieties. He was prepared for this, he spent weeks reading the books, memorizing the words as she turned each page. He went to every appointment, carefully pulling out his list of questions for that day, wondering how the baby was developing each time. He spent time with his nephew, asking every question he could think of about having a newborn. But most importantly, he was there, alongside you, doing everything he could to support you the last nine months.

You walked over, pushing past the pain of your last contraction, knowing that you needed to take this moment to take in Brock. You reached up, running your hand along his cheek, pulling his forehead to yours.

“You’re going to be amazing, he doesn’t know how lucky he is. No one is the perfect parent, we’re going to make mistakes, but he is going to be surrounded by so much love. You don’t have anything to worry about.” You smiled softly, looking intently in his eyes, making sure he heard what you were saying. You loved Brock in every way that a person could love someone else, you never doubted him about anything. If you had to tell him everyday until he believed it, you would, because you knew he was going to be the best father this baby could have.

Brock kissed you softly, pulling you close as he ran a hand over your stomach. Taking in the last few moments of what his life was like before your son was born. Your words echoing in his mind. He knew you were right, you were as prepared for this as any new parent could be expected to be. The nursery was finished, light grey paint adorning the walls, forest green accents complimenting the dark chestnut crib. The walls were adorned with photos of the lake back in Minnesota, stuffed bears sitting in a basket by the crib, dresser drawers fully stocked with every item a newborn could possibly need.

He thought about it for a moment, smiling softly as he realized the next time he would be in the nursery, his son would be there. Despite his insecurities and fears, Brock loved him more than he ever thought he would love someone, which was saying a lot considering just how much he loved you. He often wondered how he got so lucky finding you, falling in love while you were a grad student in Vancouver, taking you home to Minnesota to get married in a small lakeside wedding, and now you were giving him a child that would hopefully have all of the best features of you.

You winced in pain, hand pulling back to grip your stomach, another contraction evident on your features, the sound instantly returning his attention back to you. The emotions hit him all at once, this was happening, you were in labor, soon he would be holding a little boy.

Brock quickly picked up the duffle bag, throwing the strap carelessly over his shoulder as he focussed on helping you out the door. He carefully wrapped his arm around you, trying to alleviate any pain of yours that he could as he walked you to the car.

“Brock!” You called out, looking at him quickly with wide eyes. He froze, unsure of the concern present on your features.

“What? Did you forget something? What’s wrong?” He panicked, words tumbling out of his mouth as he quickly ran through the lists in his head, mentally checking off each item.

“You might want shoes?” You laughed, looking down to his feet. He quickly grabbed his sneakers from by the door, shoving them on before picking up the duffel again, cheeks flushed as he helped you into the car.

Brock carefully got you into the front seat, leaning over to pull the seat belt over you. He meticulously checked the infant car seat in the back, making sure it was level and perfect. You were growing impatient, ready to get to the hospital, but you let Brock take his time, understanding that he was nervous and had to handle this in the only way he knew how, by making sure that everything was perfect for the baby.

He sighed softly as he sat in the front seat, turning on the car. He took one last glance in the rearview mirror, checking that the car seat was still there before he turned on the engine.

“Ready to have a baby?” Butterflies were floating in your stomach, nerves present in your shaky voice. You felt scared yet calm at the same time, knowing that you could do this, Brock would be there every step of the way.

“Yeah, I am.” He whispered, reaching over the console to wrap your hand in his, fingers remaining laced together the entire drive.

----------------

Brock watched carefully as the doctors placed the baby on your chest. He felt like he was out of his own body, fixated on nothing but you and the baby as the moment went on. You were crying, stray hairs falling in your eyes, wet with sweat.

You had done amazing, spending 20 hours in labor, never complaining once. Brock watched in awe as the baby boy cried, adjusting to the world around him. He felt his own eyes water, leaning down to press a kiss to your head. A simple gesture, holding so much weight. He was comforting you, a reassuring presence held in his kiss.

The doctors and nurses were circling around the room, carefully cleaning everything up, helping guide you and Brock through everything. You felt like the room was spinning, no one around but you, Brock, and the small baby boy on your chest.

You glanced up at Brock, noticing the tears in his eyes as he looked at his son, noticing just how similar the two of them looked. Brock had a subtle smile on his face, eyes focussed on the baby. You saw something change in him, a new piece of glass added to his complex shape. Brock spent so much time changing himself, hiding how deeply he cared for other people, and watching him look at the baby, you saw all of that flutter away, revealing the Brock that you wished other people were lucky enough to know.

“Alright dad, you ready to hold your son?” The nurse asked. She motioned for him to sit down in the chair beside your hospital bed. You watched as the insecurities slowly regained their presence on his face, his lower lip slightly tucked between his teeth, eyes wide. You carefully balanced your son in your arm, reaching your other hand out toward Brock, offering him a subtle gesture, knowing he felt comfort under your touch.

Brock was so sure he was going to fail, that everything he built up in his head about being a dad was going to crumble underneath him as soon as he held the baby. His hands shaking softly as he lifted his shirt, remembering that skin to skin is important for bonding with a newborn.

Every doubt Brock ever had evaporated as soon as he held his son to his chest, cradling his tiny body in his arms, instantly feeling the need to protect him from the world. He looked over every feature, noting the curve of his nose and lips, features he thought looked like you. He was fragile, his tiny hands curled into his chest, body needing the security of you and Brock to guide him. Brock felt him settle into his chest, and he closed his eyes, focussing on the baby’s breathing.

Brock was a lot of things, but watching him sit with eyes closed, softly holding your baby, you felt like you finally saw every piece of him. Every shiny piece of broken mirror coming together in the moment, shining clearly.

#folklore series #brock boeser #brock boeser imagine #brock boeser fic #brock boeser story #nhl imagine #nhl fic #canucks imagine

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canary3d-obsessed · 5 years ago

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Restless Rewatch: The Untamed Episode 08 second part

(Masterpost) (Other Canary Malarkey )

Warning: Spoilers for All 50 Episodes!

Flower Town, Continued

The boys continue their ramble down main street. When they see an interesting crowd of people, Lan Wangji wants to hang back, actually verbalizing that it’s too crowded for him. He’s made a lot of communication progress since first meeting Wei Wuxian. Wei Wuxian reassures him, and hits him with a series of irresistibly fuckable coaxing expressions...

...and then grabs and drags him.

However, WWX only drags LWJ nearer to the crowd, not into it, letting go before he and Nie Huaisang step over to the group. Being taken out of his comfort zone is part of why Lan Wangji signed onto this Wei Wuxian ride, and as they grow closer WWX is learning LWJ’s particular parameters so he doesn’t cause a kernel panic total system crash.

Nie Huaisang recites some relevant poetry and Wei Wuxian praises him for being so cultured. I continue to love how sweet these two are with each other.

(more after the cut!)

Flower Boys

Lan Wangji gets rewarded for his bravery with a flower shower, and he blisses out, gazing at the pretty.

Nie Huaisang blisses out, gazing at Lan Wangji

Wei Wuxian valiantly tries to pretend he’s not totally heart eyes for Lan Wangji.

He fails.

Collecting the Yin Iron

Wen Chao is taking his own road trip, collecting Yin Iron and making trouble for our gang. This Yin Iron chunk is at the Flower Lady’s house.

Is...this a good way to store Yin Iron? It seems kinda precarious and, uh, stupid.

Next he goes to hassle the dancing rock lady, who, like OP, is a hystersister, but unlike OP, isn’t delighted about it. Having her female essence Yin removed some years ago made her hot all the time and now she eats souls if she gets a chance. Mood. Rock Lady needs better vitamins.

Anyway, Wen Chao is actually pretty effective at this Yin Iron getting thing, until he tries to catch Lan Wangji in a roadrunner trap anyway, and I don’t mind saying his dad should have more faith in him.

In between Yin Iron stops, Wen Chao takes a moment to menace Wen Ching, blah blah Wen blah blah Yin, oh my god this storyline is the dullest. But we do get to see her beautiful scabbard up close.

Before Wen Chao frees the rock lady from her bonds, she has a magic circle on the ground, like the one Wei Wuxian broke in Episode 1 by stepping on it. Seems secure. She is also bound in these chains. What are these chains (highlighted with white in the picture) supposed to accomplish, exactly?

Since they leave her front hand totally free, they are definitely not going to stop her from grabbing any of the dumbasses who consistently come and put offerings on the altar directly in front of her, is what I’m saying.

Wen Chao blasts the protection charm on the floor with some fire, and all of the chains fall off, so now Rock Lady is free to get her grouchy on.

Let’s review the master plan for hiding the Yin Iron, shall we? Of 4 pieces of Yin Iron, Xue Yang hid one up his ass somewhere that’s never revealed. The other three were hidden in 1. a well-warded secret ice cave, 2. A public-access temple 3. A flower. This is what happens when you don’t have a project manager.

Compatibility Score=Hard Nope

Wen Qing and Jiang Cheng sit down in a tavern for the world’s most antagonistic first date.

As it turns out, Wen Qing is being helpful. Aggressively helpful. Also, we discover that even when he’s got googly eyes for a girl, future Clan Leader Jiang takes no shit when it comes to confrontations. This is a heartening development, considering his parents’ terrible dynamic.

After Wen Qing delivers her message she tells her team to chill, and gets ready to sneak up the mountain to cause more trouble for her boss.

Flower Lady House

The boys continue to be a few steps behind Wen Chao, getting to the flower lady’s house and finding nothing but a feather.

Whenever we have an overhead shot of roofs I wonder where all the guards went. Possibly I have spent too much of my life playing Assassin’s Creed.

1. Nie Huaisang is very smart and observant 2. Nie Huaisang has super cool braids. There are even tiny side braids snaking up from his ears to his topknot.

Hey babe, how about some eye contact? Okay babe, but make it quick.

Dafan Mountain Town

Meet Granny, who is actually very nice and a good babysitter later in the story, but right now is baked out of her gourd.

Wei Wuxian tucks his sword in between his legs so he can make hand gestures while Nie Huaisang admires his hilt.

We can dance if we want to, we can leave your friends behind Because your friends don’t dance and if they don’t dance they’re no friends of mine

The gang wanders through the deserted town, which seemed pretty creepy back when I was young and idealistic and hadn’t seen goddamn Yi City yet.

Now it seems quaint and well-maintained. Also the town isn’t really deserted; the inhabitants are in the makeup tent getting their zombie cracks painted on.

Rock Lady Temple

Baked Granny and Vaguely Hostile Temple Tender Guy are like “sure, you kids can sleep in the haunted house, have a nice time with that” and our gang just fucking goes to sleep all at the same time like they’ve never seen a monster movie before.

Which is hotter: this fire, or this man asleep in this outfit with red laces on his vambraces and his red robe splayed all over the place and his knee up in the air and...ok, really there’s no need to even ask this question.

[too soon, OP, too soon. #FatalJourney]

Nie Huaisang wakes up all scared and startled, and Wei Wuxian subtly indicates his lack of concern.

Rock Lady Fight

Actually, of course, Nie Huaisang’s perceptions are right on the money, and the statue very sloooowly comes to life and attaaaaaaacks them. Spinning ensues.

Wei Wuxian deploys his bondage talisman, this time in yellowish-white. He probably picked blue before to remind him of Lan Wangji’s headband.

[note: for more spin-fighting be sure to check out my fanvid!]

The actors are really good at all this mime work. The CGI doesn’t always live up to their efforts, but they manage to sell it, most of the time.

Lan Wangji is a great fighter, let’s see what cool moves he will use to get out of this “hand lightly resting on my sword hilt” situation.

Lan Wangji, are you fucking kidding me?

Eventually the fight choreographer comes back from his lunch break and lets Lan Wangji put his arms down. They finish their scuffle with the rock lady, sticking her back on her pedestal. Lan Wangji uses a magic flint-and-steel maneuver...

...and Wei Wuxian deploys some extra-fabulous talismans.

This effectively keeps the rock lady confined for the next several years, so--go go battle buds!

Zombie Attack

Once Rock Lady is taken care of, the undead zombies living puppets attack.

Battle couple are on the same page throughout all of this, and decide to let go of the windows and doors they are holding closed in favor of putting a talisman on the center door only. Which, in the way of all zombie deterrents, works awesomely for about 2 minutes of screen time and then totally fails.

Duhn-duhn-duhn! We end on a cliffhanger. What will happen? Will our intrepid gang survive? Is Jiang Cheng going to help, since he’s lurking just off camera? Nope

Next rewatch is coming soon!

Soundtrack: 1. Safety Dance, Men Without Hats 2. Stand, REM

#fytheuntamed #the untamed #wangxian #cql #the untamed gifs #restless rewatch the untamed #canary3d-original #the untamed spoilers

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unpopularwiththepopulace · 4 years ago

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Here Lies Jenny: Bebe Neuwirth’s under-remembered masterpiece?

While Bebe Neuwirth is often remembered foremost for her presence in worlds like Chicago, Cheers or Fosse, there’s another piece in the tapestry of her work that brings many notable threads together and is equally significant to her.

Here Lies Jenny is the somewhat under-discussed piece of theatre that in fact has connections to all three of these aforementioned things, because of the people she worked herself on creating it with, and deserves to be brought up with slightly more comparable frequency.

A moment then to explore some of the history of this elusive but important show.

Here Lies Jenny, recalled as a “surprise off Broadway hit”, opened at the Zipper Theatre in downtown Manhattan in May 2004 and ran there for five months.

The show was an interpretive revue of the music of German composer, Kurt Weill, born out of an idea Bebe had herself. It was shaped by collaboration with close friends – with its initial genesis assisted by Leslie Stifelman (the show’s pianist, who she’d worked with on Chicago), direction by Roger Rees (who she’d long known and worked with since their time on Cheers together), and choreography by Ann Reinking (who was Bebe’s closest dance companion in the Fosse universe).

Set in a dark and shadowy looking barroom, the piece followed Bebe as the central, amorphous female figure named ‘Jenny’, supported by three male cast members and a pianist, through an evening of carefully selected Weill songs. Alongside Bebe and Leslie on stage were Gregory Butler and Shawn Emamjomeh, as two rough denizens of the bar, and Ed Dixon as the general proprietor.

There was no linear storyline to the show and no spoken dialogue, but Bebe described how the evening unfolded “in a very logical and emotional, fulfilling way.” All of the songs presented “[described] the interaction between these five people there, that make it necessary to sing the next song.” Rather than taking a group of songs by a particular composer and imposing a narrative on them, the songs were interwoven together to create an “impressionistic and realistic painting of this person’s life.”

To give a summary of the show’s arc, Jenny initially descends the wire staircase into the bar, with little more than a frightened expression and a small bag of wordly possessions. Accosted by the two forceful patrons, she’s flattened down both physically and emotionally. The men depart and return throughout, and the emotional core of the piece fluctuates from song to song as each number evokes a different picture and interpretation of a circumstance or feeling. As reviewers put it, “she’s sometimes bold, sometimes reticent, until she leaves…with what seems like a modicum of self-possession and hope,” and “climbs that long staircase on her way into the world again.”

The idea for creating Here Lies Jenny came out of Bebe’s own desire to put together a piece of theatre and an evening of performance of her own. It was a notion intensified by growing external interest, or as she recalled, “people have always said to me ‘Do a show, do a show, do a one woman show!’”

But for a while the form the piece would take was unclear. Bebe knew she “didn’t want to do a revue”, and she didn’t want “the usual cabaret thing… [or] ‘Bebe and Her Boys.’”

“I generally hate one women shows,” she would remark, “unless it’s Elaine Stritch or Chita Rivera or, you know, Patti LuPone.”

According to Bebe, she’s “much more comfortable as a character doing something. I'm not comfortable just being myself and singing in front of people.”

On and off for around two and a half years then, Bebe had been considering how to approach this matter while putting together some music, predominantly that of Kurt Weill, with musician, conductor and friend from Chicago, Leslie Stifelman.

Leslie suggested bringing in a director, so Bebe turned to Roger Rees – a person she regards as “not just a great actor,” but also “a fantastic director”, with a “very interesting creative mind.” Showing Roger the songs, he “realised that they all described women, or aspects of women, or different times in women’s lives.”

Roger thought it would be interesting then to combine all of these varied sentiments and have them channelled through one specific woman, in one specific location, to present a complex but diversely applicable tapestry centred around the emotional interiority of one tangible female force.

The show is “fragmented, prismatic…less narrative than poetic,” according to Roger. It’s not prescriptive. Rather, it evokes strong feelings and allows the audience to interpret them into their own individual and personal narrative for this woman. It poses questions and provokes thoughts. Who is this woman? Why is she here? Why is she here now? Is that a child? Or is that just a wish for a child? What did she have in this life before we meet her and what has she now lost?

It is indeed an unusual entity, and atypical from other more standard revues, cabaret acts, or works of theatre. A “self-described Japanophile”, Bebe explained how it played in the “Japanese aesthetic concept known as wabi sabi.” Of this she would elaborate, “There’s no direct translation, but it’s about the beauty of things as they age, embracing what’s painful in life as well as what’s joyful.”

It is certainly a piece that contains beauty as well as pain, which itself is a complexity and dichotomy often ascribed to Kurt Weill’s music.

When initially finding and working on songs for what was to become Here Lies Jenny, Bebe noticed being drawn to the work of one composer most strongly.

Like Bernadette Peters talking about how she gravitates to selecting Stephen Sondheim’s material for her concerts, Bebe would say simply, “all of the music that I loved the most was Kurt Weill music.”

A revue in 1991 called Cabaret Verboten (also with Roger Rees), that sought to recreate a Weimar Republic cabaret and re-conjure some of the decadence of pre-Nazi Germany, increased Bebe’s exposure to Kurt Weill’s music and was where she “first became captivated by the composer”. Building on this strong connection and deep appreciation in the years since then, Bebe would assert of his music, “it resonates for me.”

“Neuwirth knows Weill’s music isn’t for everyone,” one reviewer wrote, “but she won’t apologize for it.” She sees its capacity to be “appreciated on many different levels,” and has described it on varying occasions as “unflinchingly honest”, “very fulfilling to perform”, not just “arch and angular and Germanic…[as] many people think”, but as having “great lyricism and tenderness”.

Bebe feels a strong affinity for Weill’s music in part because of its “ability to convey the truth completely and fearlessly and without artifice”. For example, “If you're talking about heartbreak, [his music] goes to the absolute nth degree of what that really means. The way he shows that is with fearless lyrics and the bravery to make the music as beautiful as it can be.”

“Maybe the way I appreciate it speaks to the kind of person I am,” she would say. “I’m very bright but not an intellectual. I like things in a visceral, passionate and spiritual way.” And to Bebe, Weill’s music certainly provides that – which was why devising this show was of such importance and significance to her.

Bebe said also that “the show offers the broad range of Weill's songwriting talents.” This is indeed a truism, with the work of no fewer than ten different lyrists being showcased across the nearly two dozen songs during the evening, including Berthold Brecht, Ira Gershwin, Alan Jay Lerner, Langston Hughes, and Ogden Nash.

The different styles and languages of Kurt Weill’s music mirror Weill’s own history and geographic progression through the world. Born in Germany, “Weill, a Jew, had to flee the Nazis at the height of his popularity. He fled to France and then to the United States, where he became a citizen in 1943.”

His songs reflect the world in which he was living. For instance, ‘The Bilbao Song’ is a tale of sometimes gleeful, sometimes regretful nostalgia and comes from a collaboration with Berthold Brecht in German. It is performed here only in English through the use of “Michael Feingold's now-accepted translation”. The Brechtian-ism is a feature of this production as a whole that was remarked on at the time, being appraised there was “more than a dash of an alienation effect at play,” with material being sung for example behind grilled windows or facing away from the audience.

His French material is alternately reflective of the musical identity Weill tried to devise while having to reinvent himself from scratch in France. Bebe performs one of these French numbers here, entitled ‘Je ne t'aime pas’, which has its own poetic lyricism, and indeed mournful significance, given the translation of the title as ‘I don’t love you’.

Alternately, jazzy, Broadway glamour is comparatively evident in some songs like ‘The Saga of Jenny’ from musicals that arose in America on the Great White Way out of the era of Golden Age of the American musical in the ‘40s to the 60’s.

This show was ambitious then, in its mission of exploring a wide range of the composer’s musical contributions across multiple decades, countries, styles of music, and lyrical collaborations.

Beyond his own musicals, Kurt Weill’s music has been notably seen elsewhere on Broadway or in the theatre world via interpretations such as songs in concerts with Betty Buckley, Patti LuPone, Ute Lemper; or full stage productions with Donna Murphy as Lotte Lenya in Hal Prince’s 2007 Lovemusik; or Lenya’s recordings herself.

Much of Kurt Weill’s legacy lives on through his wife, Lotte Lenya, who was seen as his “chief interpreter… [and] largely responsible for reviving interest in the composer” after his death.

Like Lotte with her “whisky baritone”, Bebe is able to convey meaningful interpretations of Weill’s music through her vocal richness and skilled acting choices, carefully controlling factors like timing, pronunciation and syllabic stress.

An example. Bebe does the most satisfying version of ‘The Bilbao Song’ I have heard. There’s a line in this song that states: “Four guys from ‘frisco came with sacks of gold dust,” in which the last portion of the phrase is repeated a further two times. Bebe emphasises the third “SACKS, of gold dust?!” in the dramatic manner stylised through my punctuation in attempts at recreating its phonology, which contrasts against the two previous readings. This gives the line a salient narrative purpose. It conveys not just an observation, but a tale of surprise and incredulity – who on earth would walk into a bar carrying entire sacks of gold dust?

It may be seemingly just one small detail, but it has a large impact. Other versions that intonate all three repetitions of this line the same miss this engaging variation and feel flat in comparison.

This song would justly so later become a staple of her concert material – along with others like ‘Surabaya Johnny’ and ‘Susan’s Dream’.

But there is unfamiliar territory traversed in Here Lies Jenny too. The rendition of Ogden Nash’s lyrics with ‘I'm a Stranger Here Myself’ is ‘new’ – and it’s exquisite, in its melodic, lilting and playful but darkly seductive swirling sentiment.

Another notable number in need of individual mention would be ‘The Saga of Jenny’. There are two Kurt Weill songs most strongly associated with the ‘Jenny’ moniker – this, and the also well-known ‘Pirate Jenny’ from The Threepenny Opera, which Bebe had done a production of in 1999. The latter was trialled in early versions of the show but ultimately didn’t “serve the piece as well as other…moments could,” so was taken out. Fortunately, Bebe would later work it into her concerts.

The former made it in, and provides the exciting opportunity to get to hear Bebe’s take on this song as made well-known by a number of respected performers. ‘The Saga of Jenny’ appeared initially in Weill & Gershwin’s collaboration for the musical Lady in the Dark in 1941, starring Gertrude Lawrence. The song has since gone through innumerable reiterations, such as via Ginger Rogers in the 1944 film adaptation of the same name; Julie Andrews’ big-production performance in the Gertrude Lawrence biopic Star! in 1968; and other high-profile concert performances like via Ruthie Henshall, Christine Ebersole, Lynn Redgrave and Ute Lemper; along with Lotte Lenya’s own recordings.

Further extending the song’s life was ‘The Saga of Lenny’ – a version devised with new lyrics by Stephen Sondheim, performed by Lauren Bacall for Leonard Bernstein’s 70th Birthday in 1988. All of these are on YouTube and I would testify are worth a watch.

In this show, Bebe performs the number with the bravado of a war-time songbird. She strides around with an old-school 1940s microphone back and forth across the stage as she progresses through the song’s distinct chronological sections, grounding the show centrally back to its identifying moniker and characterising an eponymous, engaging and multiply varied ‘Jenny’.

When not bound to microphones, Here Lies Jenny also involved the use of Ann Reinking’s “minimal but inventive” choreography to create striking visual images. Though perhaps not resembling the fast-paced, razzle-dazzle of Chicago, these patterns of movement are at times no less impactful. Bebe is dragged fluidly across a countertop, rolled sinuously down pairs of legs, centred in a dark tango (that one review likened as a potential metaphor for a ménage à trois), or spun backwards upside down onto Emamjomeh’s shoulder in the air – to name a few notable moments.

Not a dance show by any strict sense, all of these demands are nonetheless physically taxing. This is a matter of importance given the timing of the show.

What Bebe had long deemed a “peculiar” hip from her early twenties, begun causing notable pain when it “went from peculiar to downright bad in 2001” during Fosse on Broadway. It was recorded the “pain continued during [this] high-concept Kurt Weill revue” in 2004, such that performing this manner of movement in the show can have been no trivial feat. The next three years brought subsequent arthroscopic surgery for cartilage removal, and then total hip replacement.

That being considered, the show was able to run in the highly demanding manner it did for five months straight because of Ann Reinking’s assiduously crafted choreography.

The Zipper Theatre was the “funky downtown Manhattan space” that housed the show for that time. The timing of the production and the nature of the theatre played integral parts in the piece’s characterisation.

Roger took Bebe to see the theatre when they were devising the show, and to Bebe, it felt right. “There is this creative gesture that we are making and the gesture is completed if it’s in this place.” Not in some new, shiny theatre; but here, with a darkness and sense of history that created an evocative mood similar to the tone of the whole show “as soon as you walked into the building.” This was aided by the show beginning at 11pm each night – “absolutely an artistic choice” – given that what “happens between these five people, happens very late at night”, in a shadowy time of day filled by darkness and secrets.

Here Lies Jenny ended its run in New York in October 2004. But this did not mark the end of the piece. Bebe and her troupe took the show to San Francisco in the Spring the following year – after a seven month interim that included filming thirteen episodes of Law and Order: Trial by Jury, the aforementioned hip cartilage removal, and subsequent recovery.

The show was not deemed flawless by everyone who reviewed it. Some thought it too dark or wished for less abstraction and ambiguity. But as one article would conclude, “Faults aside, it’s hard not to recommend a show devoted to Kurt Weill,” ultimately providing a “unique and polished evening at the theatre.”

Roger Rees would reflect on the show, “Weill & Neuwirth work so well together” because Bebe’s “high standard of performance” means she is able to “delve deeply and go on forever” into material he likened to being as complex as Shakespeare.

It “demands a great deal from a performer, and she is equal to it,” Roger said. “She’s very deep in herself. There’s nothing made up about [her], which is a rare and beautiful thing. The match between performer and material is exquisite.”

This would likely mean a lot to Bebe, as the show itself meant a lot to Bebe. And still does several years later. She would cite it in 2012 as the “role she wish[ed] more people had seen”, as to her, it “was a beautiful, unusual piece of theatre”. Altogether, it was something ineffable and “bigger than the sum of its parts”.

“It’s something I've wanted to do, and I did instigate it,” she said, of putting the show together. But that’s not to say it was easy to helm matters. “For me to be in charge, makes me very uncomfortable.”

That the show got made at all then Bebe would recognise as “a testament to how deeply I love the material and how inspired it makes me.” Her trust in people like Leslie, Annie and Roger enabled the creation of such a project from the ground up that wouldn’t have otherwise existed. Thus, to borrow a phrase from Stephen Sondheim, it was the combination of both personal drive, and also the shared collaboration of four people who all “love each other very much” that ultimately ‘made a hat where there never was a hat.’

It was even further an important show to her, because it was “a very private thing.” She’d describe Jenny as a very physical and emotional role – “the most personal of anything I've done.”

It clearly holds a special place in Bebe’s own heart. Undoubtedly, it would be poignant to revisit again. As we look to the near future of theatre with shows that could feasibly be staged as events start coming back, in tandem with the publicly expressed desire of people wanting to see Bebe back on stage again, this pre-existing, modestly-sized, inventive piece would be no bad suggestion.

How about a Here Lies Jenny reprise when theatre returns?

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adurowrites · 4 years ago

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A Percy Weasley Snippet

The lecture hall was quiet, but not perfectly silent. Percy could hear the scratching of quill on parchment, the creak of wooden chairs, and every now and again, a hard exhale as someone met a question they weren’t prepared to answer.

There were twenty test-takers in the room, Percy included. One proctor sat at the front of the room, the other took slow laps about the room, sometimes muttering revealing charms to ensure no one was cheating. The soft footfalls paused somewhere in the back of the room. To the left, a witch coughed, hoarse and rough and momentarily distracting. Some of the test-takers had put silencing bubbles around their desks, wanting absolute quiet to focus on the exam. Percy preferred the ambient noise of the room. It made him think of Hogwarts, of taking his NEWTs in the Great Hall with the rest of his year.

For as much as he hadn’t been particularly popular, or even well-liked, Percy had enjoyed his time at Hogwarts. He’d gotten along well-enough with his housemates, but he had found true camaraderie in the Ravenclaws of his year. He’d often wondered why the Hat hadn’t put him in Ravenclaw. He’d asked for it at his Sorting, even though he’d be breaking a family tradition and the thought of disappointing his parents terrified him. But it was the logical choice, and so he’d politely asked to be sorted into Ravenclaw. Apparently it was that request, and his bravery to buck tradition, that had the Hat put him into Gryffindor instead.

But he was too studious for most of his house, and he’d spent most of his time studying with the Ravenclaws. There wasn’t much conversation, just quiet focus and the sense of belonging. Percy had missed that comfortable atmosphere as he’d been studying for the barrister’s exam. His flat, as cozy as it was, had the tendency to make him feel lonely. He enjoyed peace and quiet, but he also enjoyed company. Rather than sit alone, he’d done most of his studying in the Ministry library, keeping company with the various interns, undersecretaries, and paralegals.

He came to the end of the exam and glanced at the clock. There were four hours allowed for completion, and he’d hoped to save an hour and a half for review. He was behind by fifteen minutes. He grimaced and turned back to the start of the test.

Just before the three-hour mark, a wizard got up and strode towards the proctor at the front. He handed his parchment over and left with a self-satisfied smile. A witch followed a few minutes later, looking a bit disgruntled. Percy figured she had wanted to be the first to complete the exam. He used play such games with his classmates at Hogwarts. Who was the first to finish? Who could write a paper the fastest? He used to think that finishing first was a sign of intelligence. But as he’d gotten older, he’d realized that taking his time with his work was a sign of maturity and wisdom. After all, the quality of the work was far more important than winning a silly race.

So Percy stayed in his seat and reviewed his answers with the time remaining. There were only a few others that stayed to the end with him, although they appeared to have lingered out of necessity rather than patience. One witch looked disheveled, her hands twisting at her hair, and another wizard appeared damp with sweat. Or tears, Percy couldn’t tell. They filtered out into the hall where the other test-takers were waiting. The two who had finished first were arguing over a couple of questions, and they’d created quite a debate.

Percy didn’t join. Instead he grabbed his portfolio from the locker and checked it for any messages. The Ministry knew he was taking his test today, but there were still a couple of work-related messages that had appeared inside - questions about the Minister’s meeting with the court, a few requests for paperwork, and a couple of messages wishing him luck, including one from Minister Fudge himself.

Percy felt a flush of pleasure at the notice. (Yes, his name was spelled wrong, but Fudge was notoriously bad at names.) The personal note meant that Fudge was indeed considering him for position of Assistant. Now, all Percy needed, was just to have passed the bar.

He took a seat on the benches along the wall and responded to what questions he could while he waited for the proctors to tally the scores. it only took half-an-hour, and then the door to the lecture hall opened. There was a rush and a minor traffic jam as the other test-takers raced inside. The results would be posted on the blackboard, and Percy felt a wave of nervousness. What if he hadn’t passed? What if the Minister had wished him well, only for Percy to have to re-take it? There was no harm in retaking the exam, of course. Plenty of barristers and government officials did. But Percy had never failed a test in his life.

....Divination didn’t count.

He got up, hands clutching his portfolio to his chest and slowly walked into the room. He logically understood that he hadn’t failed. He logically knew he’d done well, very well in fact. But what if he’d somehow mixed up his answers? What if he’d forgotten to put his name on the test? What if - ?

The other wizards and witches were crowded around the parchment posted on the board. Some of them were celebrating. Some of them were swearing. All of them turned as he approached, and he saw a myriad of emotions cross their faces as they looked at him. Some were openly envious. Others looked impressed. Some gave him congratulatory smiles.

“There he is!” the proctor said, stepping forward, his hand outstretched. “It’s not every year we have someone achieve a perfect score. Congratulations, Mr. Weasley.”

Percy automatically shook his hand, his eyes going to the parchment, and there it was. His name at the top, and beside it, a 500, a perfect score. He felt a relieved, incredulous, proud smile spread over his face.

“With that score, you’ll have your pick of law firms,” the proctor said. “Might you consider Bolgers and Fawcett?” A card was slipped into his hand.

“He’s not going into law,” one of the test-takers said. “He’s in government. Senior Assistant to the Secretary.”

“I know,” said the proctor. He gave Percy a sly sort of smile. “Just in case you’re looking for something more lucrative.”

Bolgers and Fawcett was one of the wealthiest, most powerful law firms in the Wizarding UK. Percy knew the starting salary was easily triple what he was making now.

He shook his head. “I’m quite satisfied with my current position, thank you.”

“Not if you’re taking the bar,” the proctor said. “You’ve got your sights set a bit higher. Well, when you tire of life as a public servant, let us know.”

“Thank you.”

The proctor left and Percy accepted more congratulations from the test-takers, some given more graciously than others. He responded with his own, and then once he was able, he slipped away, back to the Ministry. He still had work to do.

He did divert by the Ministry’s owlry to jot down a quick message. I passed the barrister’s. A perfect score!

At another time he might have written more. He might have written about how rare a perfect score was, and that less than a hundred people had ever achieved a perfect 500 in the history of the exam. He might have written about the proctor trying to poach him for Bolgers and Fawcett, or about the test-takers recognizing him. But he knew by now that such additions would only be taken as arrogance. It seemed unfair to him, that only his boastings were considered prideful. In truth, Percy may have been boastful as a child, but he’d been forced to speak out about his achievements because no one else seemed to recognize them, or understand how significant they were. He’d grown up insisting on his own merit, celebrating his own accomplishments, and because of it, he’d been labeled prideful. He’d tried to be quieter about it lately, but it seemed even small comments on his success was enough to considered bragging.

“Where shall I send it, sir?” the postmaster asked.

“The Bur -,” Percy cut himself off. He remembered the last time he shared such news with his parents. They ignored the message. They were unimpressed. No, worse than unimpressed. They were disapproving.

His siblings had been happy for him though - they’d gotten him a gift for his office. And his parents had seemed apologetic over Christmas. He could try to reach out again, see if the fences had been mended.

But if they hadn’t... Percy swallowed hard. It had hurt, when no one knew about his promotion, when his mother and father had kept it secret, like they were ashamed of him. It had felt like he’d done something wrong. It had felt like he didn’t belong. If it happened again... Percy didn’t think he could bear it.

“Charles Weasley,” Percy said instead. “The Dragon’s Repast, Romania.”

“Very good, sir.”

Percy left, feeling slightly easier at his decision. Charlie wouldn’t ignore the missive. Charlie wouldn’t disapprove. Percy could imagine him, getting the owl and reading the message, and letting out a big whoop of joy for him. Charlie might even tell his friends about it - how his younger brother had gotten a perfect score on the bar exam. And the next time he came to visit, he’d insist on taking Percy out to celebrate.

Percy nodded. That was enough. As long as he had Charlie, it would be enough.

-----

(So, I have more head-canon about Percy, but it doesn’t really fit into my fic. I thought I’d plot a bit here on tumblr because I didn’t think it was hefty enough for Ao3, and it was just meant to be a little drabble, a tidbit, a snippet. But it doubled in length and then turned a little angsty at the end. So I may have to put it up on Ao3.

For those folks confused, this is my interpretation of Percy Weasley from my fanfic series The Code, found on Ao3 and FFN. It’s not really about Percy, but Draco Malfoy and Bill Weasley.)

#percy weasley #hp fanfic #the code #harry potter #head canon #fic #it was really supposed to be short #drabble #not a drabble #charlie weasley is the best

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